The Heian period (平安時代, Heian jidai^?) is the last division of classical Japanese history, running from 794 to 1185.^[1] The period is named after the capital city of Heian-kyō, or modern Kyōto. It is the period in Japanese history when Buddhism, Taoism and other Chinese influences were at their height. The Heian period is also considered the peak of the Japanese imperial court and noted for its art, especially poetry and literature. Although the Imperial House of Japan had power on the surface, the real power was in the hands of the Fujiwara clan, a powerful aristocratic family who had intermarried with the imperial family. Many emperors actually had mothers from the Fujiwara family.^[2] Heian (平安^?) means "peace and tranquility" in Japanese.

History[link]

The Heian period was preceded by the Nara period and began in 794 after the movement of the capital of Japan to Heian-kyō (present day Kyōto), by the 50th emperor, Emperor Kammu.^[3] It is considered a high point in Japanese culture that later generations have always admired. The period is also noted for the rise of the samurai class, which would eventually take power and start the feudal period of Japan.

Nominally, sovereignty lay in the emperor but in fact power was wielded by the Fujiwara nobility. However, to protect their interests in the provinces, the Fujiwara and other noble families required guards, police and soldiers. The warrior class made steady gains throughout the Heian period.^[2] As early as 939, Taira no Masakado threatened the authority of the central government, leading an uprising in the eastern province of Hitachi, and almost simultaneously, Fujiwara no Sumitomo rebelled in the west. Still, military takeover was centuries away, when much of the strength of the government would lie within the private armies of the shogunate.

The entry of the warrior class into court influence was a result of the Hōgen Rebellion. At this time Taira no Kiyomori revived the Fujiwara practices by placing his grandson on the throne to rule Japan by regency. Their clan (Taira clan) would not be overthrown until after the Gempei War, which marked the start of the shogunate. The Kamakura period began in 1185 when Minamoto no Yoritomo seized power from the emperors and established a bakufu, the Kamakura shogunate, in Kamakura.

Fujiwara regency[link]

Byōdō-in Phoenix Hall, built in the 11th century during the Heian period of Japan.

When Emperor Kammu moved the capital to Heian-kyō (Kyōto), which remained the imperial capital for the next 1,000 years, he did so not only to strengthen imperial authority but also to improve his seat of government geopolitically. Nara was abandoned after only 70 years in part due to the ascendancy of Dōkyō and the encroaching secular power of the Buddhist institutions there.^[4] Kyōto had good river access to the sea and could be reached by land routes from the eastern provinces. The early Heian period (784–967) continued Nara culture; the Heian capital was patterned on the Chinese Tang capital at Chang'an,^[5] as was Nara, but on a larger scale than Nara. Kammu endeavoured to improve the Tang-style administrative system which was in use.^[6] Known as the ritsuryō, this system attempted to recreate the Tang imperium in Japan, despite the "tremendous differences in the levels of development between the two countries".^[7] Despite the decline of the Taika-Taihō reforms, imperial government was vigorous during the early Heian period. Indeed, Kammu's avoidance of drastic reform decreased the intensity of political struggles, and he became recognized as one of Japan's most forceful emperors.

Although Kammu had abandoned universal conscription in 792, he still waged major military offensives to subjugate the Emishi, possible descendants of the displaced Jōmon, living in northern and eastern Japan. After making temporary gains in 794, in 797 Kammu appointed a new commander under the title Seii Taishogun. By 801 the shogun had defeated the Emishi and had extended the imperial domains to the eastern end of Honshū. Imperial control over the provinces was tenuous at best, however. In the ninth and tenth centuries, much authority was lost to the great families, who disregarded the Chinese-style land and tax systems imposed by the government in Kyōto. Stability came to Heian Japan, but, even though succession was ensured for the imperial family through heredity, power again concentrated in the hands of one noble family, the Fujiwara Witch also helped japan develop more.

A handscroll painting dated circa 1130, illustrating a scene from the "Bamboo River" chapter of the Tale of Genji.

Following Kammu's death in 806 and a succession struggle among his sons, two new offices were established in an effort to adjust the Taika-Taihō administrative structure. Through the new Emperor's Private Office, the emperor could issue administrative edicts more directly and with more self-assurance than before. The new Metropolitan Police Board replaced the largely ceremonial imperial guard units. While these two offices strengthened the emperor's position temporarily, soon they and other Chinese-style structures were bypassed in the developing state. Chinese influence effectively ended with the last imperial-sanctioned mission to Tang China in 838. Tang China was in a state of decline, and Chinese Buddhists were severely persecuted, undermining Japanese respect for Chinese institutions. Japan began to turn inward.

As the Soga had taken control of the throne in the sixth century, the Fujiwara by the ninth century had intermarried with the imperial family, and one of their members was the first head of the Emperor's Private Office. Another Fujiwara became regent, Sesshō for his grandson, then a minor emperor, and yet another was appointed Kampaku. Toward the end of the ninth century, several emperors tried, but failed, to check the Fujiwara. For a time, however, during the reign of Emperor Daigo (897-930), the Fujiwara regency was suspended as he ruled directly.

Nevertheless, the Fujiwara were not demoted by Daigo but actually became stronger during his reign. Central control of Japan had continued to decline, and the Fujiwara, along with other great families and religious foundations, acquired ever larger shōen and greater wealth during the early tenth century. By the early Heian period, the shōen had obtained legal status, and the large religious establishments sought clear titles in perpetuity, waiver of taxes, and immunity from government inspection of the shōen they held. Those people who worked the land found it advantageous to transfer title to shōen holders in return for a share of the harvest. People and lands were increasingly beyond central control and taxation, a de facto return to conditions before the Taika Reform.

Drawing of Fujiwara no Michinaga, by Kikuchi Yōsai.

Within decades of Daigo's death, the Fujiwara had absolute control over the court. By the year 1000, Fujiwara no Michinaga was able to enthrone and dethrone emperors at will. Little authority was left for traditional officialdom, and government affairs were handled through the Fujiwara family's private administration. The Fujiwara had become what historian George B. Sansom has called "hereditary dictators."

Despite their usurpation of imperial authority, the Fujiwara presided over a period of cultural and artistic flowering at the imperial court and among the aristocracy. There was great interest in graceful poetry and vernacular literature. Japanese writing had long depended on kanji, but these were now supplemented by kana, two types of phonetic Japanese script: katakana, a mnemonic device using parts of Chinese ideograms; and hiragana, a cursive syllabary with a distinct writing method that was uniquely Japanese. Hiragana gave written expression to the spoken word and, with it, to the rise in Japan's famous vernacular literature, much of it written by court women who had not been trained in Chinese as had their male counterparts. Three late tenth century and early eleventh century women presented their views of life and romance at the Heian court in Kagerō Nikki by "the mother of Fujiwara Michitsuna", Makura no sōshi by Sei Shōnagon and Genji Monogatari by Murasaki Shikibu. Indigenous art also flourished under the Fujiwara after centuries of imitating Chinese forms. Vividly colored yamato-e Japanese style paintings of court life and stories about temples and shrines became common in the mid- and late Heian periods, setting patterns for Japanese art to this day.

As culture flourished, so did decentralization. Whereas the first phase of shōen development in the early Heian period had seen the opening of new lands and the granting of the use of lands to aristocrats and religious institutions, the second phase saw the growth of patrimonial "house governments," as in the old clan system. (In fact, the form of the old clan system had remained largely intact within the great old centralized government.) New institutions were now needed in the face of social, economic, and political changes. The Taihō Code lapsed, its institutions relegated to ceremonial functions. Family administrations now became public institutions. As the most powerful family, the Fujiwara governed Japan and determined the general affairs of state, such as succession to the throne. Family and state affairs were thoroughly intermixed, a pattern followed among other families, monasteries, and even the imperial family. Land management became the primary occupation of the aristocracy, not so much because direct control by the imperial family or central government had declined but more from strong family solidarity and a lack of a sense of Japan as a single nation.

Rise of the military class[link]

Under the early courts, when military conscription had been centrally controlled, military affairs had been taken out of the hands of the provincial aristocracy. But as the system broke down after 792, local power holders again became the primary source of military strength. Shōen holders had access to manpower and, as they obtained improved military technology (such as new training methods, more powerful bows, armor, horses, and superior swords) and faced worsening local conditions in the ninth century, military service became part of shoen life. Not only the shoen but also civil and religious institutions formed private guard units to protect themselves. Gradually, the provincial upper class was transformed into a new military elite based on the ideals of the bushi (warrior) or samurai (literally, one who serves).

Bushi interests were diverse, cutting across old power structures to form new associations in the tenth century. Mutual interests, family connections, and kinship were consolidated in military groups that became part of family administration. In time, large regional military families formed around members of the court aristocracy who had become prominent provincial figures. These military families gained prestige from connections to the imperial court and court-granted military titles and access to manpower. The Fujiwara family, Taira clan, and Minamoto clan were among the most prominent families supported by the new military class.

A decline in food production, the growth of the population, and competition for resources among the great families all led to the gradual decline of Fujiwara power and gave rise to military disturbances in the mid-tenth and eleventh centuries. Members of the Fujiwara, Taira, and Minamoto families—all of whom had descended from the imperial family—attacked one another, claimed control over vast tracts of conquered land, set up rival regimes, and generally upset the peace.

The Fujiwara controlled the throne until the reign of Emperor Go-Sanjō (1068-1073), the first emperor not born of a Fujiwara mother since the ninth century. Go-Sanjo, determined to restore imperial control through strong personal rule, implemented reforms to curb Fujiwara influence. He also established an office to compile and validate estate records with the aim of reasserting central control. Many shōen were not properly certified, and large landholders, like the Fujiwara, felt threatened with the loss of their lands. Go-Sanjo also established the Incho, or Office of the Cloistered Emperor, which was held by a succession of emperors who abdicated to devote themselves to behind-the-scenes governance, or insei.

The Incho filled the void left by the decline of Fujiwara power. Rather than being banished, the Fujiwara were mostly retained in their old positions of civil dictator and minister of the center while being bypassed in decision making. In time, many of the Fujiwara were replaced, mostly by members of the rising Minamoto family. While the Fujiwara fell into disputes among themselves and formed northern and southern factions, the insei system allowed the paternal line of the imperial family to gain influence over the throne. The period from 1086 to 1156 was the age of supremacy of the Incho and of the rise of the military class throughout the country. Military might rather than civil authority dominated the government.

Painting of the Battle of Dan-no-ura on April 25, 1185, Genpei War.

A struggle for succession in the mid-twelfth century gave the Fujiwara an opportunity to regain their former power. Fujiwara no Yorinaga sided with the retired emperor in a violent battle in 1156 against the heir apparent, who was supported by the Taira and Minamoto (Hōgen Rebellion). In the end, the Fujiwara were destroyed, the old system of government supplanted, and the insei system left powerless as bushi took control of court affairs, marking a turning point in Japanese history. In 1159, the Taira and Minamoto clashed (Heiji Rebellion), and a twenty-year period of Taira ascendancy began. The Taira were seduced by court life and ignored problems in the provinces. Finally, Minamoto no Yoritomo rose from his headquarters in the Kantō region to defeat the Taira, and with them the child emperor under Taira control, Emperor Antoku, in the Genpei War.

Heian culture[link]

Developments in Buddhism[link]

Danjogaran of Mount Kōya. The place is a center of the sacred ground of Shingon.

Bodhisattva Fugen Enmei, 12th century painting on silk, late Heian period.

Buddhism began to spread throughout Japan during the Heian period, primarily through two major esoteric sects, Tendai and Shingon. Tendai originated in China and is based on the Lotus Sutra, one of the most important sutras of Mahayana Buddhism; Saichō was key to its transmission to Japan. Shingon is the Japanese transmission of the Chinese Chen Yen school. Shingon, brought to Japan by the monk Kūkai, emphasizes Esoteric Buddhism. Both Kūkai and Saichō aimed to connect state and religion and establish support from the aristocracy,^[8] leading to the notion of 'aristocratic Buddhism'.^[9] An important element of Tendai doctrine was the suggestion that enlightenment was accessible to "every creature".^[10] Saichō also sought independent ordination for Tendai monks.^[11] A close relationship developed between the Tendai monastery complex on Mount Hiei and the imperial court in its new capital at the foot of the mountain. As a result, Tendai emphasized great reverence for the emperor and the nation. Kammu himself was a notable patron of the otherworldly Tendai sect, which rose to great power over the ensuing centuries. Kūkai greatly impressed the emperors who succeeded Emperor Kammu, and also generations of Japanese, not only with his holiness but also with his poetry, calligraphy, painting, and sculpture. Shingon, through its use of "rich symbols, rituals and mandalas"^[12] held a wide-ranging appeal.

Literature[link]

Although written Chinese (Kanbun) remained the official language of the Heian period imperial court, the introduction and wide use of kana saw a boom in Japanese literature. Despite the establishment of several new literary genres such as the novel and narrative monogatari (物語) and essays, literacy was only common among the court and Buddhist clergy.

The lyrics of the modern Japanese national anthem, Kimi ga Yo, were written in the Heian period, as was The Tale of Genji by Murasaki Shikibu, one of the first novels ever written. Murasaki Shikibu's contemporary and rival Sei Shōnagon's revealing observations and musings as an attendant in the Empress' court were recorded collectively as The Pillow Book in the 990s, which revealed the quotidian capital lifestyle.^[13] The Heian period produced a flowering of poetry including works of Ariwara no Narihira, Ono no Komachi, Izumi Shikibu, Murasaki Shikibu, Saigyō and Fujiwara no Teika. The famous Japanese poem known as the Iroha (いろは), of uncertain authorship, was also written during the Heian period.

Beauty[link]

During the Heian period, beauty was widely considered an important part of what made one a "good" person. In cosmetic terms, aristocratic men and women powdered their faces and blackened their teeth, the latter termed ohaguro. The male courtly ideal included a faint moustache and thin goatee, while women's mouths were painted small and red, and their eyebrows were plucked or shaved and redrawn higher on the forehead.

Women cultivated shiny, black flowing hair and a courtly woman's formal dress included a complex "twelve-layered robe" called jūnihitoe, though the actual number of layers varied. Costumes were determined by office and season, with a women's robes in particular following a system of color combinations representing flowers, plants, and animals specific to a season or month, (see the Japanese Wikipedia entries irome and kasane-no-irome).

Economics[link]

While on one hand the Heian period was indeed an unusually long period of peace, it can also be argued that the period weakened Japan economically and led to poverty for all but a tiny few of its inhabitants.^{[citation needed]} The control of rice fields provided a key source of income for families such as the Fujiwara and were a fundamental base for their power. ^[14] The aristocratic beneficiaries of Heian culture, the Yokibito ("Good People") numbered about five thousand in a land of perhaps five million. One reason the samurai were able to take power was that the ruling nobility proved incompetent at managing Japan and its provinces. By the year 1000 the government no longer knew how to issue currency and money was gradually disappearing. Instead of a fully realised system of money circulation, rice was the primary unit of exchange.^[15] The lack of a solid medium of economic exchange is implicitly illustrated in novels of the time. For instance, messengers were rewarded with useful objects, e.g. an old silk kimono, rather than paid a fee. The Fujiwara rulers also failed to maintain adequate police forces, which left robbers free to prey on travellers. This is again implicitly illustrated in novels by the terror that night travel inspired in the main characters. The shōen system enabled the accumulation of wealth by an aristocratic elite; the economic surplus can be linked to the cultural developments of the Heian period and the "pursuit of arts".^[16] The major Buddhist temples in Heian-kyō and Nara also made use of the shōen.^[17] The establishment of branches rurally and integration of some Shinto shrines within these temple networks reflects a greater "organizational dynamism".^[18]

Events[link]

• 784: Emperor Kammu moves the capital to Nagaoka-kyō (Kyōto)
• 794: Emperor Kammu moves the capital to Heian-kyō (Kyōto)
• 804: The Buddhist monk Saichō (Dengyo Daishi) introduces the Tendai school
• 806: The monk Kūkai (Kōbō-Daishi) introduces the Shingon (Tantric) school
• 819: Kūkai founds the monastery of Mount Kōya, in the northeast portion of modern day Wakayama Prefecture
• 858: Emperor Seiwa begins the rule of the Fujiwara clan
• 895: Sugawara Michizane halted the imperial embassies to China
• 990: Sei Shōnagon writes the Pillow Book essays
• 1000-1008: Murasaki Shikibu writes The Tale of Genji novel
• 1050: Rise of the military class (samurai)
• 1053: The Byōdō-in temple (near Kyōto) is inaugurated by emperor Fujiwara Yorimichi
• 1068: Emperor Go-Sanjo overthrows the Fujiwara clan
• 1087: Emperor Shirakawa abdicates and becomes a Buddhist monk, the first of the "cloistered emperors" (insei)
• 1156: Taira Kiyomori defeats the Minamoto clan and seizes power, thereby ending the "insei" era
• 1180 (June): Emperor Antoku moves the capital to Fukuhara-kyō (Kobe)
• 1180 (November): Emperor Antoku moves the capital to Heian-kyō (Kyōto)
• 1185: Taira is defeated (Gempei War) and Minamoto Yoritomo with the support (backing) of the Hōjō clan seizes power, becoming the first shogun of Japan, while the emperor (or "mikado") becomes a figurehead
• 1191: Rinzai Zen Buddhism is introduced in Japan by the monk Eisai of Kamakura and becomes popular among the samurai, the leading class in Japanese society

Current depictions[link]

The iconography of the Heian period is widely known in Japan, and depicted in various media, from traditional festivals to anime.

Various festivals feature Heian dress – most notably Hinamatsuri (doll festival), where the dolls wear Heian dress, but also numerous other festivals, such as Aoi Matsuri in Kyoto (May) and Saiō Matsuri in Meiwa, Mie (June), both of which feature the jūnihitoe 12-layer dress. Traditional horseback archery (yabusame) festivals, which date from the beginning of the Kamakura period (immediately following the Heian period) feature similar dress.

Literature[link]

The two-volume historical novel saga White as Bone, Red as Blood: The Fox Sorceress (2009),^[19] and White as Bone, Red as Blood: The Storm God (2011)^[20] depict in detail the pivotal years 1160–1185 in Japan, as seen through the eyes of protagonist Seiko Fujiwara. Both books were written by Cerridwen Fallingstar.

References[link]

Sources[link]

• Collins, R., 'An Asian Route to Capitalism: Religious Economy and the Origins of Self-Transforming Growth in Japan', in American Sociological Review, Vol. 62, No. 6 (1997)
• Hurst III, G. C, 'The Heian Period' in W. M. Tsutsui, (ed.), A Companion to Japanese History (Oxford: Blackwell Publishing, 2007)
• Kitagawa, J., Religion in Japanese History (New York: Columbia University Press, 1966)
• Morris, I., The World of the Shining Prince; Court Life in Ancient Japan (Oxford: Oxford University Press, 1964)
• Shively, D. H. and McCullough W. H., 'Introduction' in D. H. Shively and W. H. McCullough, (eds.),The Cambridge History of Modern Japan; Volume 2, Heian Japan, (Cambridge: Cambridge University Press, 1999)
• Weinstein, S., 'Aristocratic Buddhism' in D. H. Shively and W. H. McCullough, (eds.),The Cambridge History of Modern Japan; Volume 2, Heian Japan, (Cambridge: Cambridge University Press, 1999)

External links[link]

Wikimedia Commons has media related to: Category:Heian period

• Heian art at the New York Metropolitan Museum of Art
• Heian art and calligraphy at the Tokyo National Museum
• Heian art at the British Museum

PHASE 2 (aka Lonny Wood)^[1] is one of the most influential and well known New York City aerosol artists. Mostly active in the 1970s, Phase 2 is generally credited with originating the "bubble letter" style of aerosol writing, also known as "softies".^[2] He was also influential in the early hip-hop scene.

Graffiti career[link]

Phase 2 is from The Bronx, and attended DeWitt Clinton High School along with a number of other early graffiti artists. Many famous graffiti writers of the early 1970s would meet at a doughnut shop across from the school called the Coffee Shop before heading down to the subway station at 149th Street and Grand Concourse to watch tagged trains on the IRT line pass by.^[3] Phase 2 was mentored in graffiti by his friend and neighbor Thomas Lee aka Lee 163d!, one of the pioneers of graf writing in The Bronx.^[2]

He began writing in late 1971 under the name Phase 2, a moniker which had a rather mundane provenance. As Phase 2 would later recall, "the previous year we'd given this party. We were getting ready to give another one and I said, 'We'll call this one Phase Two.' I don't know why, but I was stuck on the name. It had meaning for me. I started writing 'Phase 2.'"^[4]

Part of the appeal of graffiti writing for Phase 2 was that it allowed him to get his "name" known yet remain anonymous.^[5] He noted later that tagging provided disadvantaged urban teens "the only significant vehicle to represent their 'existence.'"^[6]

It was in late 1972 that Phase 2 first used an early version of the "bubble letter" or "softie", a style of graffiti writing which would become extremely influential and is considered a "giant leap" in the art form.^[2] The puffed-out, marshmallow-like letters drawn by Phase 2 were soon copied by other artists who added their own variations. Phase himself quickly embellished on his original form, creating and naming dozens of varieties of softies such as "phasemagorical phantastic" (bubble letters with stars), "bubble cloud", and "bubble drip."^[7] He is also credited with pioneering the use of arrows in graf writing around this same time.^[8] Hip-hop journalist Jeff Chang has noted that Phase 2's canvasses from 1973 have "been widely recognized as defining the early genre."^[9]

Over time Phase's work become more and more complex, moving far away from the simple tags of the early 70s to "hieroglyphical calligraphic abstraction."^[5] Chang points out that much of Phase's work involved "deconstructing the letter", transforming characters in the alphabet "into hard lines, third eyes, horns, drills, spikes, Egyptian pharaohs and dogs, pure geometrics."^[9] Another New York graffiti artist, Vulcan, remarked that "one of the things about Phase is that he was the only person at the time whose name could roll by ten times and each piece was different. That's what you noticed about his [work]."^[5]

In 1974 Phase 2 joined the newly created United Graffiti Artists, a professional graffiti collective which began to attract media attention. He was featured in an important essay on graffiti art by Richard Goldstein which appeared in New York magazine and inspired a new generation of graffiti artists.^[2]

In the 1980s, Phase 2 began publishing International Graffiti Times, the first zine about graffiti writing.^[10]

Influence in hip-hop[link]

Unlike some other pioneers of New York City graffiti, Phase 2 had a prominent role in The South Bronx hip-hop scene in the early 1980s. He also continues to be referenced in hip-hop songs.

Phase participated in the legendary hip-hop shows organized by Kool Lady Blue during the summer of 1982 at the Roxy nightclub in the Chelsea neighborhood of Manhattan. These shows brought together the top DJ's, MC's, breakers, and aerosol artist from The South Bronx and introduced hip-hop music and culture to the downtown punk and new wave scenes. Phase 2 designed the flyers for these events and often did aerosol pieces live on stage.^[11] He was also part of the first "international" hip-hop tour when stars from the Roxy performances toured in England and France in November of that year.^[12]

Phase 2 was one of the few aerosol artists to be involved in the musical side of hip-hop culture as well. He had a background as a DJ in the very early days of hip-hop, though he never made a name for himself in that role.^[13] In 1982, as part of his involvement with the Roxy scene, Phase released two rap singles. "Beach Boy" was a collaboration with Barry Michael Cooper, who would later co-write the script for New Jack City. "The Roxy" featured the Bill Laswell-led group Material and Grandmixer D.ST, though Phase 2 would later remark that he was disappointed in the song and felt that it "wasn't done properly."^[13][14]

Phase was also an early b-boy and claims that his dance crew pioneered the uprock (or "battle rock") style of dance despite claims that it originated in Brooklyn.^[13] He was thus actively involved in all of the traditional "four elements" of hip-hop culture.

Though he did not have a role in the production, Phase 2 did apparently influence the classic early hip-hop movie Wild Style. In the DVD commentary for the film, director Charlie Ahearn explained that, when thinking about the key character named "Phade", he had Phase 2 in mind (either to actually play the part or simply as a model) because Phase was a legendary graffiti writer from the past who was also involved in the hip-hop scene, as was the character of Phade. The role would ultimately be played by Fab 5 Freddy, himself a graffiti artist who along with Ahearn was the major creative force behind Wild Style. Phase 2 did take on an official role in another early hip-hop film when he worked as a graffiti consultant on the 1984 movie Beat Street.^[15]

In his 1995 song "Out for Fame" - an homage to graffiti artists and culture - KRS-One implores his audience "in the name of Phase 2" and fellow Bronx graffiti legend Stay High to "grab your cans and hit the streets." Several years later Mos Def mentioned Phase 2 on his widely respected debut album Black on Both Sides, specifically on the track "Hip Hop", in which he noted that hip-hop itself was "all city like Phase 2" - presumably a reference to the ubiquity of Phase 2's graffiti pieces on trains throughout the city during the early 1970s. In 1996, he appeared in the song I Messaggeri Pt.I contained in italian artist Neffa's album I Messaggeri della Dopa.

References[link]

Works cited[link]

• George, Nelson Buppies, B-boys, Baps & Bohos: Notes on Post-Soul Black Culture. Da Capo Press. 2001. ISBN 0-306-81027-1. 
• Chang, Jeff (2005). Can't Stop Won't Stop: A History of the Hip-Hop Generation. Picador. ISBN 0-312-42579-1.
• Castleman, Craig (1982). Getting Up: Subway Graffiti in New York. MIT Press. ISBN 0-262-53051-1. 

External links[link]

• Adam Mansbach interview with PHASE 2
• "Writer of the Storm", Raw Vision interview with PHASE 2

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