Reading Number 1 on the rap

Popular art, an output The sensitivity of the people has increased, and today the artists create networks and forms of resistance with niches and nodules within walking distance to the rear of the bandolas. Since the 80's and 90's during the resistance popular alternative for young people expressed through punk, with a meeting in the park Guanábano (or journalist). Since then, the urban artist knows no boundaries, as there are places and times to share with people from all over the city and beyond, while the bare life of crime in the slums of Medellin was enclosed in a perimeter a few blocks away. The punk of that era sang to state violence, the abuses of the police, indifference from a compartmentalized city and insensitivity of some of the city that forgot the other. The hip-hop today takes up that role, that of Colacho, Medina, Chelsea, Gordo and Yheil and those who survive are many, with outstanding Jeihhco with C15, Esk-lion with Radio and Jecca with Route Diffuse: many dreams is this a natural obsession with death, but especially with the search for life, many lives. Both Route Diffuse Eska-lion as are roads without shortcuts, depending on the discipline and profession. In the hip-hop have found tenderness, respect, right to the city and desire to live in love, saying, testing and creating. The hip-hop itself upset the criminal, but not the one from the top order kill the peel, but that same young people who took the path of "success" individual and fast, the rascal corner, teen gangster. There the unruly teenager, who raises his voice for life, not left to handle, which is rebellious and "not copy anything" as opposed to another who is willing to be killed by an order. Network Elite hip-hop in Comuna 13 is "protest and complaint, also the formation of human and social fabric construction," says Jeihhco, one of their leaders, and makes it clear that these bare "are putting problem," criteria have already formed, have positions, they will not leave manipulate and deceive not, because they are priceless, and what art is found with them, deep self. In the end, the first scenario remains the territory. In families without a father and where the mother is also a pimp ridden, drug penetrated and failed to offer a business that "since age 10 is an errand, or turn to make and at 17 you say that you are the owner of a neighborhood." There are also growing our artists, with other imagery of success and happiness, yet capable of not interfering with their former classmates and neighbors, today's criminals, and are still exposed to the rearrangements in the crime for replacements and outbursts that the sides engage in a contrived and insane. We must find a way to prosecute adults, early, before arming most popular teen. Finally, the solution is deeper in the process and move in that direction. We see an explosion of street art popular with hip-hop singers (MC) [2], its artists (graffiti artists), dancers (B-boys and B-girls) and musicians (DJ), creating new forms of popular youth solidarity search for meaning. While hip-hoppers do not understand at all, very young but good heirs to an old art history as an alternative in Medellín sore, we must be guided by these artists. The strength it enjoys today hip-hop is that anyone looking for a destination for boredom, a refuge for desperate home and a beacon of identity for the solitude of marginality can start dancing on the asphalt, singing without instruments, and not in the center of the city, but from suburbs, owner of art thanks to a comprehensive code that allows you to rebuild without the intermediation of their right to dream.