'It started from nothing.' Black NFT artists on inheriting the legacy of hip-hop and jazz
, and the curator Diana Sinclair, who co-runs the Digital Diaspora series, and the hip-hop artist Latashá.)Gioncarlo Valentine for TIME
The event also drew an older, hip-hop oriented guard who believe that NFTs will be just as powerful for them as they will be for a younger generation. Many of hip-hop’s foremost elder statesmen have jumped into crypto, including Jay-Z, Nas, and Snoop Dogg. And in Harlem, a trio of beloved rappers who rose the prominence in the 90s—Fat Joe, Ja Rule, and Bun B—showed up to soak in the crowd and talk with younger artists.
Guerrier says she understands why the NFT space receives criticism, and would like to help reorient some of its goals. With the June event, she wanted to show an alternative vision for the future of NFTs, one based not on rampant speculation but artistry; that is communal instead of extractive; that centers Black culture instead of copying it for profit, as the jazz, rock and hip-hop industries had done in generations past. “There’s some people who are just about money and clout.
Kai Miller, a digital strategist, echoed her comments, and pointed to NFTs as a potential solution toward the exploitative nature of the music industry. “When you’re getting into licensing and points on an album, you realize a lot of your favorite Black artists don’t even own their masters. Why did Michael Jackson and Jay-Z have to buy their masters back?” she says. “In the NFT space, ownership is from day one.
Fat Joe, who was at the 1998 shoot, reflected on the link between the two events. “Everywhere you looked, you saw hip hop royalty,” he said of the 1998 shoot. “I see what Ja [Rule] is trying to do here with the NFT world: pretty much trying to tap into the DNA of what was—and what’s going to be in the future.”Gordon Parks—The Gordon Parks Foundation
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