A film about Northwest hip-hop from

NEWCOMER

This 82-minute feature film is an intimate introduction to Seattle’s vibrant hip-hop underground. It was assembled from hundreds of tiny performance clips—shot for Instagram—into a single, continuous concert mosaic, and stars 93 of the top hip-hop artists from The Town.

Here’s how KEXP describes it in their review: “NEWCOMER stretches the idea of the concert film to an artistic extreme: Sub-minute snippets artfully arranged to resemble a field recording of Seattle’s rap scene, the pieces fractured and pieced back together in a truly engrossing way. The narrative flows through venues like Barboza, Cha Cha Lounge, Vermillion, Lo-Fi, the Showbox, the Crocodile, and dozens more. It’s Khris P pouring Rainier into a Solo cup while he raps; bodies packed into regional landmark ETC Tacoma; SassyBlack improvising a song urging concertgoers to buy her merch; the delightfully awkward dance moves of white people in KEXP’s Gathering Space; Chong the Nomad beatboxing and playing harmonica simultaneously; Bruce Leroy bullying a beat next to the clothing racks at All-Star Vintage; Specswizard rhyming about his first time performing in front of a crowd while standing before The Dark Crystal playing on a projection screen. The film is about the moments we experience—as lovers of live performance—just as much as the performances themselves.”

NEWCOMER was directed by Gary Campbell and was an official selection at the 2020 New York Hip-Hop Film Festival and the 2020 Golden Sneakers International Hip-Hop Film Festival in Hamburg, Germany. Throughout November 2020, the film screened for four weeks on the Northwest Film Forum theatrical screening site in honor of Hip-Hop History Month.

You can watch the full movie below.

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A film about Northwest hip-hop from

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Grey

In their annual year-end critics’ poll, The Seattle Times ranked Grey as one of the very best Seattle albums of 2020, saying:

Whether in the booth or on a canvas, Tacoma-area rapper/painter Perry Porter is one of the most consistent artists in the region. (Perhaps you saw his handiwork on Capitol Hill’s Black Lives Matter street mural or custom charity sneakers for Pete Carroll this year.) Here, the talented dual-threat teams with up-and-coming producer OldMilk, leaning more heavily into his cerebral side as he skates lyrical circles around gliding house beats (“Move My Feet”) and the soulful pitter-patter of lead single “Custom.”

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A film about Northwest hip-hop from

BLEU

BLEU, the fourth record from Dave B, explores the anxieties of adulthood in our social media-drenched new millennium. It’s a deep, witty, and contemplative scroll through frustration and love. DJ Booth says that “Dave B’s rhymes call to mind the artfully constructed schemes of both mixtape-era Chance The Rapper and Aminé,” while The Stranger summarizes it thusly: “Witty lyrics, soulful singing, incisive rapping, and excellent production: BLEU is really fucking good.”

Here’s another take:

In their annual year-end critics’ poll, The Seattle Times ranked BLEU as one of the very best Seattle albums of 2019, saying:

With his fourth album, the proven emcee further bolsters his credentials as one of Seattle hip-hop’s top dual threats, splicing gospel-splashed singing passages into his nasally bars with aplomb. The 10-track introspective journey carries nods to late Seattle luminaries Kari Ca$h and J. Moore, with Dave’s unflappable flow belying the internal tension in his lyrics.

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A film about Northwest hip-hop from

Bobby Ro$$

Bobby Ro$$ is a vibe-heavy hustle through the landscape of art, blackness, and self-love. On it, Porter inhabits a trap music avatar of the much-loved PBS painter and uses snippets of interviews with cultural luminaries such as Kara Walker, Jean-Michel Basquiat, and Maya Angelou as a narrative lattice to paint himself into the canon of black art. NPR calls him “A skilled rapper and a multimedia threat,” while Respect My Region says that “Perry Porter paints a masterpiece with his latest album.”

Here’s another take:

In their annual year-end critics’ poll, The Seattle Times ranked Bobby Ro$$ as one of the very best Seattle albums of 2019, saying:

Since the breakup of his rowdy mosh-rap group Sleep Steady, Perry Porter has established himself as one of Seattle-Tacoma’s unique talents through infectiously fun hybrid rap/live art shows. The charismatic rapper/painter (or is it painter/rapper?) looks and sounds increasingly comfortable grooving in his own watercolored lane on Bobby Ro$$, which arrived this summer with a track-by-track color wheel guide to match the variegated album’s many moods. The man can still annihilate a trap beat with the best of ’em (see: breathless five-alarm banger “Sink or Swim”) while alternately cooling down with beatific cuts like the closing “Watercolor,” which samples artist Kerry James Marshall discussing the dearth of “self-satisfied” Black people depicted through art. Porter, who often paints vibrant, bright-colored portraits of Black women, is refocusing the narrative while doing equally beautiful things with 808s and acrylics.

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A film about Northwest hip-hop from

Kiss The Sky

Kiss The Sky is “a catchy, fun listen with stand-out production and memorable lyricism” says Respect My Region in a glowing review. They say the record is an “honest and uplifting project… It holds nothing back, showing no regrets for the amount of work, passion, and discipline Romaro has put into his music over the years.” ETC Tacoma’s review takes a different approach, suggesting a listening experience somewhat more akin to incantation: “Pressing play will take you down a neon-lit rabbit hole.”

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In The Comfort Of

CityArts declared In The Comfort Of as their Album of the Month for March. They describe the magic of this record as Sango’s “wholehearted embrace of change as an agent of evolution for the city and the nation.” DJ Booth touches upon the emotional intensity of the music, “capturing the peaks and valleys of personal growth with an unfiltered lens… Sango reveals himself as a true empath.” Pigeons & Planes praises the “infectious Latin rhythms, romantic and lush, while still having a sleek electronic sheen… it is a perfect project to get lost in.”

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Running Wild

Hmmm... There's not a lot of information about this project in the museum encyclopedia. We'd love your help! TOWN LOVE is maintained by an awesome community of passionate volunteers who keep it all up to date.

Do you know something about the history of this record? Do you have a favorite lyric or a favorite memory? Send us an email on why this is one of the great hip-hop albums from the Northwest. Thanks!

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Mirror

I have one of Romaro Franceswa’s “NO ENEMIES” shirts that I wear all the time. In the current climate, it’s a message I like to project. His latest release, Mirror, strives for a certain audio maximalism, There’s an unrelenting quality, rarely a quiet moment. It’s like you’re in the mind of Romaro’s cover protagonist, worked up, nervous, twitchy, steeling oneself with liquor, afraid to look up. The opening of “Forgive Me” starts with a few mumbled lines and then there’s a joke I always laugh at about Kanye getting back to making records. On headphones, there’s lots to listen to, multiple instruments constantly moving in multiple directions. Some great collaborators here: Parisalexa, Ryan Caraveo, Warm Gun, and Ariana DeBoo. A great release from the always stellar Black Umbrella collective.

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A film about Northwest hip-hop from

7 Slaps In The Sack

7 Slaps In The Sack is a video interview series created by Carrick Wenke. Shot between 2014 and 2020, the show has more than 50 episodes, each of which involves going record shopping at Everyday Music on 10th in Seattle with “your favorite rapper’s favorite rapper.”

Everyday Music is sadly gone now, but you can view all the episodes from the series on YouTube. A wide range of Town talent has spent the day shopping with Carrick, talking about favorite records, influences, and craft, including Jarv Dee, Keyboard Kid, Nacho Picasso, Romaro Franceswa, Travis Thompson, and many others.

We’ve embedded a few of our favorite episodes below.

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A film about Northwest hip-hop from

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The Sickle & the Sword

The Stranger picked The Sickle & the Sword as one of the “Top 5 Albums of 2013,” saying that:

RA Scion had a busy year in 2013. In spring, he released Adding to the Extra, an album produced by Todd Sykes (one half of Tacoma’s CityHall), which marked Scion’s return to the “old boom-bap” and introduced a new and very talented rapper to the scene, John Crown (he is on “Amalgam X”). But in the fall, Scion dropped a huge, beautiful, and deeply spiritual/philosophical LP, The Sickle & the Sword, which was produced by New York City’s Rodney Hazard. Three reasons for loving this record: One, the dubby, ghostly, gorgeous track “Bloodletter” is one of RA Scion’s highest achievements as an artist; two, it has a unified sound (thanks to Hazard); three, it takes a lot of risks and does not fear overflowing or even failure. Hazard and Scion need to join forces again.

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A film about Northwest hip-hop from

Romaro Franceswa

The Stranger picked Romaro Franceswa as one of the “Top 5 Albums of 2013,” saying that:

In late spring, the young rapper Romaro Franceswa dropped an excellent self-titled album that was produced by the local veteran BeanOne. The album is about the streets, and the streets that Franceswa is all about are found in Federal Way. The album is good for three reasons: Franceswa’s raps are packed with energy, and this energy is matched by the second reason, BeanOne’s beats (this cat has been in the business since the mid-’90s—probably even earlier than that—and yet he manages to sound as fresh and energetic as a young buck going for broke). Three, Romaro Franceswa kept the streets in the 2013 game. What do I mean by this? With the continued gentrification of Seattle (good-bye, Yesler Terrace), it’s important to keep in mind (and not lose sight of) the life of those who are harassed by racist cops and often have to hustle to make a living in a society that has systematically abandoned them. In short, Franceswa is keeping it real.

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