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THE GAME, for Street to Wall Street, is a movie which traces the history of hip hop, who pass from undergroung  to mainstream society.              Here is the trailer .

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THE GAME, for Street to Wall Street, is a movie which traces the history of hip hop, who pass from undergroung  to mainstream society.              Here is the trailer .

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Du Bronx à la Bourse... Entrez dans le game du hip hop (teaser du documentaire THE GAME)

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THE GAME : de la street à Wall Street - A découvrir sur CANAL+ mercredi 4 octobre à 22h50 sur CANAL+ -------------------------------------------- La culture hip-hop a conquis le monde pour devenir un mode de vie à part entière, ainsi qu'un commerce planétaire.

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This is a kind of street art using stencil. This image vehicule a powerful message about the actual society. More precisely about the hate of policemen.

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This is a kind of street art using stencil. This image vehicule a powerful message about the actual society. More precisely about the hate of policemen.

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In the USA, thanks to the Afro-American people the rap music born. Indeed the Black people used rap to conveys messages and express themselves about the society and the issues around them. Mostly young people rap mainly about their exclusion and talked about the violence against them.

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London : a city where there are ecomical exchanges

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London : a city where there are ecomical exchanges

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In London, we see that there is a CBD where economic exchanges take place in the city. In fact, this district exchanges with the world at the economic level

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For example in Shoreditch we seen that is a city where street art have a important place and favors the exchange, the development of the city

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The street is a traffic lane in a city lined with houses, buildings, shops. But the street is more than a traffic lane, it is a place where people of different nationalities mingle and give birth to trade, be it economic, social or cultural.

We've seen over the years that the street has been a place where people express themselves and transmit values, for example the street is a place where people demonstrate against political problems. Moreover the street is a place for exchange, people exchange about their culture. Street culture is an example of exchange because street culture was born in the street and now it bacame mainstream and it multiply the exchange between communities.                                    Nevertheless street culture has made unfortunate for example rap music has been uprooted. Before people used rap to convey messages, it belonged to a specific community, the black community. However the white upper class has come and rap music has become mainstream and now it has become a business that allows to have money.

But the street favors the exchanges that results in the development of our society

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Street art, and those who create it - those who dare, dream, fight, question and challenge, whether it be for rebellion or for necessity, for the past and for the future, for no reason and for vital ones, for themselves and for a greater good... in my mind encapsulates all that is historically significant about this medium.

Street art began in a place of rebellion, and speaks of spiritual survival. It was often the only tool of the poverty stricken, the disenfranchised, to communicate their stories, their sense of place. When you have nothing, being able to "claim" a wall, marks your sense of ownership of your place, your town. It's a mark to claim humanness, and a marker for the future.

The street has long been a place to advocate and express personal, social and political opinions. From the historic role it has played as a meeting point for revolution, in the last few decades the street has become the place, the medium and the message.

Street art's birth in a cultural art historical context developed from the rise of graffiti in Philadelphia in 1968 - then New York soon after.

This development represented a major shift in how art movements come into being, in as much as its motivating imperative was disaffection, poverty and urban blight, inner city youths going beyond the deprivation of their day-to-day lives, by reimagining themselves as larger-than-life and almost super heroic visual alter egos.

With pen names such as BLADE, DAZE and CRASH, these artists painted their names on the side of subway trains in 10ft high letters, spreading news of their nocturnal adventures and creations across the whole city.

Around the same time in New York, artists such as Keith Haring and Jean-Michel Basquiat pushed the boundaries of what graffiti was and took it into galleries.

In Paris, even from the early 1960s, street art diverted from graffiti and addressed the use of techniques and more universal political issues.

Artists such as Gerard Zlotykamien spray painted silhouettes of human figures in the ruins of Les Halles, a green market area that was demolished to make room for a modern shopping centre. When Ernest Pignon-Ernest placed wheat pastes in the same neighborhood, he was creating a technique that still resonates in the methods used by street artists today.

Whereas graffiti in Philadelphia and New York tended to be a personal marking of space, a tag, a writing of a name or gang to claim a neighborhood, early French street art developed techniques and a more political message. It was the combination of both of these that grew together to form the modern global street art movement that we know today.

Graffiti was the template, the means, the method.

Street art adopted all of this and pushed the boundaries of what outside art can be, going beyond anything achieved during the Golden Age of graffiti's early evolution.

Few can ignore Rone's 20-storey murals splashed across cities globally, and JR's 3D photo-sculptures at this year's Olympic Games in Rio or Banksy's works selling for thousands of pounds.

I believe that the Street Art Movement has gone beyond all art movements to date. Stylistically, politically and socially it has inspired, challenged and changed people's lives positively across the world.

In terms of style, street artists utilise their day to day environment as a canvas like no other movement before. Any surface becomes a canvas. Street artists go beyond the confines of the expected, or art school training, to create works on any background - from walls to railings, from wood to metal, from buildings to vehicles.

The mural is not a new invention, far from it, from Michaelango to the murals of Diego Rivera. But the nature and versatility with which street artists use any medium in, on and around the street to communicate and create is unprecedented.

Politically, with the street as their medium they can voice their thoughts instantly, changing rhetoric and opinion through their direct communication to the people. Street art work can become influential very quickly - Shepherd Fairey's iconic Hope image was created in one day and very soon after was adopted by pro Obama supporters and reproduced widely.

Socially, street artists work is now being used as a proactive tool for change, transforming areas across the globe.

In Miami the Goldman family have almost singlehandedly gentrified one of the most dangerous areas of the city. With a specific and good hearted program of embracing and encouraging street art in Wynwood Walls, the area has been transformed, and is now both an international tourist attraction and affluent neighborhood in its own right.

Similar schemes, by developers, individuals and social initiatives, have sprung up in other parts of the world. In England, from London's Shoreditch to Swansea, street art and artistic communities are actively encouraged, creating a sense of dynamism and relevance.

A really positive example of art being used as a tool for change is when the artist JR undertook a series of installations in Rio, creating artworks on and in the favelas. These significantly changed the communities in which they happened, enhancing the mood of the neighborhood and encouraging a sense of pride in previously disenfranchised residents. JR calls the streets "the biggest art gallery in the world". I'd personally add that it's also one of the most exciting.

One of the reasons that this movement has had such a global impact is the internet.

The internet has both grown the street art market and in turn, the street art market, has, because of the internet, decentralized control of the global art market. It enables artists and individuals to directly promote and trade their own work.

Artists are taking control of their work and in the last decade have changed the art market fundamentally. Traditionally an artist would need to establish a reputation, present to a dealer and become attached exclusively to a gallery. Then, once the artist was fully established, their work would be sold through auction.

This traditional route to market has been dramatically altered by the advent of street art and the champions in that field who use social online platforms and websites to share and promote their work directly to the public, making the traditional routes to market superfluous. The internet has become their tool to directly communicate with their buyers and the world at large.

Fundamentally, the internet's ability to provide instant live information from the artists to a diverse far reaching audience has ensured that street art has gone beyond the usual boundaries of the art market.

The street as a medium has also ensured that street art has a far reaching appeal, enabling a generation to appreciate and engage with art who normally wouldn't have been inspired to go to a gallery.

The work itself is approachable, appeals to all ages and through the very nature of the content of street art, you don't need a formal art education to understand it. Street artists have ensured that art is accessible to all, whether you choose to engage with it or not.

People see a work, research on internet, find where to buy and purchase painting and prints works by these artists. These portable works are now defined by the art market as urban contemporary. Whether that is directly from an artist, or a gallery, a dealer or an auction house, from an art market's perspective, street art has opened up a whole new community of buyers. This audience previously has not been part of the art market equation, and their inclusion, and buying power, have propelled the street art market into a multimillion pound industry.

One of the main reasons why this art has been so accessible and popular is the artist's ability to relate to the here and now - to live in the moment and to express a personal, a social and a political rhetoric. A rhetoric that is immediately understood, a collective consciousness to which we can all relate.

The streets as a canvas gives the artist the ability to directly communicate and comment, expressing opinions, thoughts and aspirations. For instance, Banksy's Mobile lovers and all of his work in fact pass comment on our modern society and its ironies.

Mobile Lovers in particular had a double impact, one, the message of the work itself, and two, the location in which it was created.

In this work the artist is pointing out that modern technology (specifically smart phones, in this instance) and social media, hold us all in a state of constant detachment, of not being 'quite there', and not paying attention to the person/s in whose company we are physically present.

Banksy's Mobile Lovers, whilst seemingly in an intimate embrace, are more interested in their phones than one another. The original location of the painting (like all Banksy's street pieces) was crucial to its impact, situated as it was in a dark doorway at the end of a dead- end street, where no one goes after dark. The use of glow-in-the-dark spray paint to illuminate the subjects' faces (a first for the artist) added weight to the idea that this piece is intended to be only 'half seen', at night and in the shadows.

It is quite clear that Banksy created this work with the clear intention of assisting the boys club as he would of be aware of their financial predicament through the appeal earlier in the year and it is even possible that he may of attended the club when he lived in Bristol.

I was approached by Broad Plain to handle the sale after Banksy acknowledged authenticity and the right of the boy's club to sell the work. I subsequently sold Mobile Lovers to a private collector for £403,000 with proceeds going to the Boy's Club, ensuring their future. Without Banksy's intervention, this club would have surely closed. This is a direct and powerful example of street art (and Banksy) changing lives.

Previously described as vandalism or criminal activity, street art has seen a noticeable softening in the attitude of the judicial system towards it with councils protecting works of art as a cultural attraction for tourists.

There is a paradox here. In the UK, some councils are punishing those who 'graffiti' areas whilst others are simultaneously promoting areas where they have been 'graffitied'.

For instance, the city of Bristol, which is considered the birthplace of modern British street art, has been at the forefront of the paradox.

Bristol, for a number of possible reasons - it's size, geography, multicultural population was one of the first - if not the first - city in the UK to embrace the seminal hiphop culture from New York. With the burgeoning counterculture scene encompassing not just music, but art, fashion and creativity, Bristol quickly became hugely important in the street art scene.

John Nation has been a key figure in Bristol's underground art and music scene for over three decades and is one of the main instigators in the development of street art in the UK. Known as the "Graf father" his support in the 1980s of young people at the city's now legendary Barton Youth Club, paved the way for the early wave of influential street artists such as Inkie, FLX, 3D, Cheo, Nick Walker and later, Banksy.

The other day I was chatting to John about the difference between graffiti and street art and how they are being viewed by the artists, communities and the law. He mentioned that there has been a huge upsurge in tagging in Bristol in recent years, and to combat this apparently the Bristol police, in partnership with Bristol City Council, have set up Operation Block to put a stop to this problem which as they see it has got out of control.

On the other hand, the same council are now protecting works by Banksy, Inkie and other street artists as cultural heritage and are actively encouraging street art, as they can see both the intrinsic commercial value and the value that this work offers the city by attracting tourists. The irony is that artists such as Inkie, in the 1980's were prosecuted under 'operation anderson' are now encouraged in their work.

This highlights that graffiti art and street art are being viewed differently, the former unacceptable and later, acceptable.

On discussing this matter the Bristol Police say;-

"the police do not want to determine exactly what is street art and where it is painted, they just want to eradicate illegal graffiti in Bristol".

To date, there is no legal distinction between the two, subsequently prosecutions vary massively or not at all, if deemed aesthetically pleasing. At the moment, the Bristol Council are apparently looking at transforming a working policy in defining exactly what is street art and where it is acceptable for street art to be.

Graffiti art and street art are forcing the law to re-evaluate what is right and wrong and thereby challenging the institutional confines of law.

However, it is rare these days that street art is created without permission. Certainly that it was produced previously without sanction gave the artists a rebellious 'edge' but those who are really achieving huge acclaim now are working largely within the confines of the law. Combine this with those actively encouraged to create art in specific neighborhoods, to aid development, and it's clear that what we are seeing now is really a mural movement, that carries on very much in the tradition of Mexican Muralism, in as much as they are being commissioned and utilized as a form of municipal improvement and large-scale public artworks, gentrifying areas.

This is a natural evolution of a separate movement on from street art, a sanctioned, paid-for, decriminalized version of its antecedents.

To contextualize this within an art historical framework as 'post street art' as it is largely created within the confines of law - unlike its predecessor 'street art' which was born from graffiti culture and created works illegally on the street.

But ultimately, to expect that this art movement exists within the confines of labels is to misunderstand what sets it apart from all other art movements.

Street art was born from graffiti and the drive for freedom of expression. There is no singular prescribed aesthetic code, or language. It is one of the broadest, and most free of art forms.

In conclusion, street art is a movement that is going beyond, it is evolving continuously and few movements before this can boast so many living artists reaching such high acclaim. It has impacted artists, the art market, democratized the art buyer market, made art accessible and approachable to all.

The evolution of this to a Street Art Movement where so many use their art for good, for political comment, and to envision a better future, beyond the commercial, and even the aesthetic, in my opinion proves that street art has changed generations like no other art movement to date and it is the most multi-faceted and prolific movement in the history of art.

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Street art, and those who create it - those who dare, dream, fight, question and challenge, whether it be for rebellion or for necessity, for the past and for the future, for no reason and for vital ones, for themselves and for a greater good...

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Lil Dicky - Professional Rapper (Feat. Snoop Dogg)

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Rap music is undeniably one of the most popular music genres to date but how well do you know the history of rap? Join me as I take a stroll down memory lane and revisit the origins of what we know today as Hip-Hop.

Rap is actually a very old word. You can find the term popping up as early as the 15th and 16th century in Britain. Initially the word rap meant to strike or to hit. A few centuries later a slight variation of this definition appeared which meant to speak or talk. In America around the 1960's it began to pop up in the black community and was used as a slang word to mean that someone was talking or having a conversation.

Thousands of years ago in Africa "griots", where village story tellers who played basic handmade instruments while they told stories of their family and local current events. This style of talking while music is playing is rap music as we know it at its root form. The griot is still a major form of communication in Africa still to this day.

This griot tradition carried over when Africans were captured against their will, transported to America & forced into slavery. One way they would cope with the tremendous amount of pain & heartbreak of slavery would be to sing. While they were working in the fields they would often sing using "call to answer". One leader would call out a certain part of a song and the rest of the slaves would answer with the next line. In modern times performing artists call this emceeing or crowd participation.

History is about to be made

On August 11, 1973 in the Bronx, New York history was about to be made. DJ Kool Herc (now known as the first DJ & founding father of hip hop) & his sister Cindy began hosting back to school parties in the recreation room of their building. It was these gatherings that would spark the beginning of a new culture we know today as Hip-Hop. One night during

DJ Kool Herc's set he tried something new he called "merry go round". He used two turntables playing the same break beat section of the James Brown record "clap your hands". When one turntable would finish playing the section he would switch to the other turntable and play the same section. This allowed him to extend that section of the song as long as he wanted. This technique is now referenced to as looping and is used by record producers in almost every beat.

As DJ Kool Herc continued to do more parties he realized that speaking on the mic was just as important to keeping a party live as DJing was. In order to keep up with the demands of the crowd he reached out to his good friend Coke La Rock to be the first dedicated MC of these parties. During one of these parties Coke La Rock spit his very first bar, " There's not a man that can't be thrown, not a horse that can't be rode, a bull that can't be stopped, there's not a disco that I Coke La Rock can't rock". This one bar made Coke La Rock the very first rapper in Hip-Hop and birthed a new genre of music we know today as Rap music.

The first mainstream rap song emerges

Within the next few years DJ's & Rappers was popping up at every block party to showcase their talent but record companies considered rap music a fad & was not compelled to invest into it. Rap music finally reached mainstream recognition in 1979. The first rap song to get commercially released was "King Tim III (Personality Jock)" by the Fatback Band. However this song was pushed to the b-side of the tape but after getting a huge response from the clubs it was later released on the a-side and became a top 30 hit on r&b charts.

In the winter of that same year a rap group emerged called Sugar Hill Gang

comprised of Englewood, New Jersey natives Michael "Wonder Mike" Wright, Henry "Big Bank Hank" Jackson, and Guy "Master Gee" O'Brien. They released a rap song titled " Rappers Delight ". This song was over 14 minutes long and used the "Good Times by Chic" sample in the background. Rappers Delight went on to achieve the top 40 billboard spot in 1980.

And the rest is history. What record companies thought was just a fad rapidly grew into the most popular music genre of this decade. Rap music's beginnings were humble and focused on bringing families together and uplifting each other's spirits in times of heartache and pain. Since its inception much has changed and evolved but the essence of its heart and soul remains. What are your feelings on the current state of Hip-Hop? Please leave your comments below.

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History of Rap - The True Origins of Rap Music

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Rap music is undeniably one of the most popular music genres to date but how well do you know the history of rap? Join me as I take a stroll down memory lane and revisit the origins of what we know today as Hip-Hop. Rap is actually a very old word.

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On the face of it, as a society, we seem to be a little mixed-up when it comes to "graffiti", as you call it if you work in the local council's cleansing department, or "street art" as you say if you're the chap - and they do mainly seem to be blokes - wielding the spray can.

But the confusion now runs deeper than those who spray and those who remove the paint. Great British institutions have been polarised. Last week the might of English law delivered its verdict at Southwark Crown Court where five members of the DPM graffiti crew were jailed - one, Andrew Gillman, for two years - after admitting conspiracy to cause criminal damage costing the taxpayer at least £1m.

By contrast, just down the road, the riverside facade of Tate Modern had been covered in giant murals by six urban artists with international reputations, including Blu from Bologna, Faile from New York, and Sixeart from Barcelona, in the first display of street art at a major museum.

The courtroom and the museum were so close that supporters of the men on trial popped down to the Tate to do a bit of retouching during one lunchtime adjournment. "There is a huge irony in the juxtaposition of the two events," said one of the artists.

The man to credit for bringing street art into established gallery spaces is Banksy. A few years ago he was sneaking his work into galleries such as the Louvre and Tate Britain. Now Tate Modern is selling his book in its gift shop. His works go for hundreds of thousands of pounds and he was recently featured in a retrospective exhibition alongside Andy Warhol. He, more than anyone else, has legitimised the genre and spawned a new generation of young imitators - much to the chagrin of those who want to clean up behind them.

Bob has been involved in graffiti since 1982 when he was a punk. He now works, by day, for a London art gallery and describes himself as an upstanding taxpayer. "London is to street art, at the start of the 21st century, what Paris was for Impressionism at the start of the 20th," he says with unfeigned immodesty. "And yet we hate graffiti more than anywhere else in the world. England is by far and away the most draconian for punishments for what are only economic crimes."

A gallery in New York launches an exhibition next week based on the work of those convicted at Southwark. "DPM - Exhibit A", at the Anonymous Gallery Project in SoHo, will display large photographs of the convicts' work alongside copies of their charge sheets to ask whether the men are criminals or artists.

It is a question which prompts different answers in different parts of the world, says Cedar Lewinsohn, the curator of the exhibition at Tate Modern. "Brazil for instance is more relaxed about it," he says. "In parts of Australia, they are like the UK and people really hate graffiti and tags on vans and trains, but in Melbourne van drivers compete with each other as to whose is more decorated."

They have similarly schizophrenic responses in other nations too. In Toronto, police have just hired a street artist to paint walls to help find the man who murdered her brother. Elsewhere in Canada, a court has ruled that, after a police crackdown on graffiti artists, a 28-year-old man is only allowed to venture into town if he is accompanied by his mother. One internet blogger wrote: "In their twenties and still vandalising other people's property - shouldn't they have moved on to drug dealing, or perhaps become real estate agents by that age?"

Street art, you see, is a highly polarising phenomenon. On the one hand there are those like the American artist Elura Emerald, who is also involved in next week's New York exhibition, who insist that "artists who paint on the street are merely expressing themselves, not hurting anyone" and should not be punished "but appreciated and celebrated". Then there are those like Judge Christopher Hardy who, in court in Southwark, described the activities of the DPM Crew as "a wholesale self-indulgent campaign to damage property on an industrial scale".

How is such a dichotomy to be resolved? How, The Independent asked the street artist Bob, can artistic expression be reconciled with the fear and loathing that graffiti inspires in many citizens who see it as a symbol of lawlessness and the deterioration of their neighbourhood? "Well, not by sending them to jail," he says.

Gedis Grudzinskas, whose son Ziggy, 25, was one of those jailed last week agrees. "Ziggy has been sent to prison for 18 months having pleaded guilty to a crime not involving violence, terrorism, knives or drugs but vandalising public property," he says.

Having said that, Bob concedes, "you can't let people run wild". "If there's a clash of rights obviously those of the owner of the wall take precedence over those of the person painting on it," he adds. "There's room for debate but jail sentences shouldn't be part of that. They should just have to do youth work, or clean up ugly tags."

Greenwich and Tower Hamlets councils agree. They commissioned Ziggy and another DPM member to lead summer workshops as street art tutors for young and vulnerable people. The two councils sent references to court vouching that the DPM men were "positive" and "inspirational" in working with "young people who aren't able to do reading or writing". But it was not enough to save them from prison.

Is artistic merit enough of an excuse? A hoary old "is it art?" debate is taking place on street art next month at Tate Modern. Under the title "Graffiti - Utopia or a bit boring?", two art critics will consider whether graffiti is "glorified vandalism or a legitimate cultural movement". Bob does not think it will help much.

"Street art starts with kids doing ugly tags," he says. "When a kid starts to play music only the next-door neighbours hear but with street art the whole neighbourhood sees him not being very good when he starts out." The trouble is there is a whole lot of learning going on.

Some 85 per cent of graffiti is just tags, and another 10 per cent is gang communication, according to US sociologists who survey this kind of thing. And who, anyway, says Bob, is going to police "what is art and what is ugly"?

The money men will not help much, for all their attempts to cash in on street art. Red Bull, Adidas, Puma, 55DSL and Lee Jeans have all incorporated graffiti into their marketing campaigns. The BBC hired the DPM Crew's ringleader Andrew Gillman to deface the set of EastEnders to add a sense of authenticity to Albert Square. And the German paint firm Belton has even developed a new line of spray paint called Molotov aimed at street stencillers, with colours named after well-known graffiti artists.

So if artistic merit and commercial value aren't yardsticks for resolving our national confusion what is?

"I suppose the greater the cost of removing the graffiti, the greater the punishment should be, though not prison," says Bob, somewhat unexpectedly. This is not a million miles from Judge Hardy's verdict on the two-year spree in which the DPM Crew staged 120 night-time attacks on stations, trains and railway rolling stock in London, Somerset, Liverpool, Manchester, Sunderland, Paris, Amsterdam and the Czech Republic.

The judge had little patience with Gillman's notion that "trains were like a moving canvas" on which to create something artistic and thought-provoking that made "commuters look up from their paper".

Judge Hardy admitted that "it would be wrong of me not to acknowledge that some examples of your handiwork show considerable artistic talent", but he concluded, "the trouble is that it is has been sprayed all over other people's property without their consent and that is simply vandalism." Over the two years the bill must have run into millions of pounds.

If art is defined by the artist's intent then vandalism must be determined by the response of the owner of the thing vandalised. Peterborough City Council recently tried to find a compromise. It erected two 8ft by 4ft boards to allow artists there to express themselves freely. The trouble was that they were pulled down by vandals.

Additional reporting by Kate Mead

Six of the best street artists (apart from Banksy)

Paul Insect

Insect's Pop-art inspired street art has rapidly risen in profile. Last year, Damien Hirst snapped up his entire collection before it reached exhibition for a reported £50,000, while the actor Kevin Spacey has also acquired some pieces. Insect is best known for his anti-establishment messages.

Rough

One of the most respected and sought-after artists in Britain, Rough uses letterforms for his graffiti artwork. With a career spanning nearly two decades, Rough's work has been exhibited to critical acclaim in Australia and across Europe. A graphic designer, Rough has published a book, runs a T-shirt label and releases records as a rapper in a hip-hop band.

Blek Le Rat

The grand old man of street art is said to have paved the way for Banksy. After years of dodging the French authorities, he ended up being embraced by them. The Parisian has been spraying stencil-art graffiti since the early 1980s, the style favoured by Banksy.

Eine

Best known for the letters he paints on shop fronts around London. He spray-painted the word "nightmare" along a 110ft wall in an exhibition of street art in east London last year showing an alternative vision of Christmas.

Nick Walker

Emerged from the 1980s Bristol graffiti scene alongside Banksy. His work Moona Lisa - a bottom-baring version of La Joconde - went for £54,000 at Bonhams.

Robert Del Naja

Also known as 3D, the street artist and musician was part of the Bristol collective known as The Wild Bunch and went on to become a founding member of Massive Attack. His first live gig was as a DJ accompanying artwork he had produced in a Bristol gallery.

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On the face of it, as a society, we seem to be a little mixed-up when it comes to "graffiti", as you call it if you work in the local council's cleansing department, or "street art" as you say if you're the chap - and they do mainly seem to be blokes - wielding the spray can.

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This image shows 50 Cents wearing a baggy pant, a stocking cap and bling bling jewelry, this style is common in the hip hop industry. These artists popularized this style close to young people

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This image shows 50 Cents wearing a baggy pant, a stocking cap and bling bling jewelry, this style is common in the hip hop industry. These artists popularized this style close to young people

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This picture is about street art. The message of this picture is to fight for the rights of the homosexuals. This is a strong message and something that some people can approuve or not.

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This picture is about street art. The message of this picture is to fight for the rights of the homosexuals. This is a strong message and something that some people can approuve or not.

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Street Culture deals with the culture in the cities more precisely in the disadvantaged areas, for example in the ghettos or in the suburbs.
First and foremost, street culture is a variety of counter culture which started at the beginning of 20th Century mostly in the United States. These movements have emerged in developed countries against a society of exclusion which results in racial discrimination and social problems. It's a struggle against social inequalities and and their rejection of the consumer society.
To live, the population created the street culture to bring together and to share a common culture. It's also a way to express themselves and to fight against the social and racial segregation and for their emancipation.
Street culture is a set of variety  made up of artistic movements, such as urban art like the graffiti, the street art, there is also movements related to the universe of music like the rap, the beat box, the hip hop, the break dance. Street culture also gave birth to the streetwear which consists of sub genre like the hip hop fashion or the punk fashion or even the hippies fashion. Streetwear is associated to the youth, who adopted a casual style. Street culture had an impact on the food because it created street food with food truck.
Althought, street culture is an underground mouvement. Street culture began to pass from the subculture to mainstream society.

-Why street culture is important ?
-How street culture has spread into mainstream society ?
To begin with the street culture is a way of expression, it conveys feelings, it's something which is proper to oneself, it's a way to give your opinion about a specific subject for example the peace or the capitalism. It's something that everybody can see and sometimes you can identify to it. The street culture is first of all something belongs to the street.  But Street culture became an important mouvement since the end of the 20th Century
Nowadays, the street culture has become an industry that generates money  thanks to the youth. For
example Che Guevara was a revolutionary and nowadays
he became an object of sale, we see him on t-shirt, on mug and soon. As we know he embodied values and now he is just a selling product.
Indeed, these industry are directed by the white upper class and labels. They influenced the young generation by using artists and make publicity. Due to this industry street culture was stolen from the street as the rap music to the Afro american people.
The street culture has spread into the mainstream society thanks to the company who sell the street culture to the the young generation so street culture became a part of the society