Hiphop beyond Entertainment!

Peace and much love.


As we end the month of November showing gratitude and appreciation, particulary to Hiphop History Month, Native American Heritage Month and the Annual celebration of the Universal Zulu Nation, also a bit of relief from the frenzy of passing mid term elections. As well in honorable mention, the VH1/Russel Simmons/Viacom effort last month honoring pioneers Afrika Bammbataa, MC Lyte, Rakim, Ice Cube, Wu-Tang, ect,. I was particularly interested in the increase of various praises, in statements, media programming, propaganda and promotions. However, no matter how content, I am drawn to emphasize the necessity for those of us who are progressively conscious in our communities to begin, continue, and further advance the thinking and being of Hiphop, beyond entertainment.



Furthermore, with the inundating, every day promotion of "rap music", then the subsequent barage of criticisms that comes along with it. It becomes painfully obvious that without a "conscious" balanced, responsible and practical approach to Hiphop, Hiphop Kulture, its elements and expressions "we" as Hiphoppas become short sighted in vision, apathetic in standard, complacent and boring. From television, radio, magazine, and ofcourse blog to blog, in some of the most intellectual, exclusive and popular of circles, from thread to thread, all that is discussed is the same old skewed perspective of rap being the center of Hiphop's universe.

Again not to be repetititve, or to disrespect those who have heard this, and you know word is life; but Hiphop is "NOT" rap music! Rap is something you do, Hiphop is some thing you live!" By and large, its official and globally recognized and accepted, that Hiphop is a creative global consciousness. When this consciousness acts or performs, it is recognized by its elements breakin, emceein, grafitti art, deejayin, beatboxin, street language, street fashion, street knowledge, and street entrepreneurialism. (see Refinitions) Be clear, this is not just another Temple promo. This ofcourse is the very material basis and validation that Hiphop is without question culture, not sub-culture and certainly, not just music.

Granted either as a 14 billion dollar industry, or a never ending stream of special interest promotion, economists agree it is quite certain that it will be here for more than just a few years. Everywhere, from around the world, from Okinawa Japan, Sidney Austrailia, Cairo Egypt, to the South Bronx NY, Altanta Georgia and Los Angeles California; youth are more and more, embracing and responding to the wholesale mass marketing of "hip-hop" oriented strategies. So I inquire, "how many real Hiphoppas are in the place to be...?" Globalization is here, and it should be top priority for many of us who are Hiphop-citizens, or those rap fans sympathetic to our cause; to be responsible for Hiphop's continued establishment and preservation. We must step up as groups, networks, communities and further sustain what has been established, by each of those pioneers we dont hear enough about. So that it may continue to inspire and reach men, women and children across the globe. Provoking them to challenge the status quo, developing dignity and character, becoming educated, considerate and productive people while carrying messages of peace, love, unity, and safely having fun.

Considering the compelling issues either overwhelming or dividing our communities, such as the increased corruption and world wide ethno-political conflicts. Or the unabated structural violence, environmental tragedies, natural disasters, pandemic sicknesses, festering hatreds, widespread ignorances and wrenching poverty that continues to cripple our homes, schools, workplaces, religious institutions, health care facilities, town halls, recreational programs, local, state and federal governments. Motivating and convincing more capable, interested and concerned persons to raise the quality of the Hiphop lifestyle, or just lifestyles in general, by choosing to be "more" responsible, "more" accountable, "more" considerate and thoughtful for how Hiphop looks and acts in society is paramount. This will encourage like-mined citizens of other communities to break down defense mechanisms that perpetuate corrosive ignorances like racism, descrimination, common stereotypes and prejudices which directly and indirectly effect Hiphop Kulture, Hiphop politics, Hiphop economics, business and trade.

In many of our inner city communities, we find our surroundings in utter decay, with little to no applicable direction, knowledge, resources or support systems to alter its destructive patterns. There appears to always be an open availablity for "get rich quick" schemes and no tangible, functional, practical, institutional or entreprenurial strategies to ensure minimal success and gratification. Despite figures that suggest low unemployment (4.3%), millions of us struggle to find stable employment or sustainable income, but constantly find ourselves depending on insufficient sources to maintain our families, finances and lifestyles. Resulting in cycles of under employment for over qualified skilled workers. Every year, more students drop out of high school (50%) and college(24%) with no possibility of return, to join an underpaid, overtly descriminatory workforce to pay for basic necessities. Translation, a 2007 American workforce unprepared, overdemaded and unequipt to compete in a global economy, where education with concentrations in mathematics, all sciences, critical analysis, language, grammar, literature and comprehension are imperative.



Furthermore, with the increasing numbers of young people who look at any one of Hiphop's (9) elements as their most promising way to success, I highly recommend fundamentally sound formal education with skills and training in organization, professionalism, discipline, administration, etc. To all practioners of Hiphops' elements this campaign to decriminalize Hiphop's public image is essential to the progress of your futures, and the very preservation of Hiphop itself. Every day someone new emerges from the confines of a colony, with new messages to offer Hiphop kulture. So each hiphoppa should be prepared, adequately equipt and properly motivated to compete, or sustain their progress while persuing their goals. Therefore, to compete hiphoppas must know the value of their contributions as average citizens. Not just consumers!

For example, consider Hiphop in its beginning stages, when corporate interests, bottomlines, marketing strategies and the like were not a main stay in our young cultural community. Before Dondi, Herc, Bamm, Cowboy and Flash were seen as pioneers. When the days of being Ghetto Fabulous meant that, you were respected and loved by your local community and an artist's success was deeply rooted in the credibility and validity of his or her expression. The days of yes yes yallin'.
However, many of Hiphops original citizens (mostly African Americans) during Hiphop's Dark Age (1971-1981) and the Golden Age (1981-1991), portrayed hip-hop,(the unorganized, immature culture before 1999, not the self aware, empowered, more unified Hiphop Kulture that exists today); as a black thing (so you would'nt understand.)

This was primarily perpetuated because for many of us, we had nothing and Hiphop was definitely something. Something that was capable of transforming objects, subjects and eventually circumstances to better define and articulate our mentalities, economics, socio-political ideas and inner being. Consequently, like many things originating in African-American culture, the resource, credit and rewards are often extracted by coersion to undermine the initial goals and intentions. Which often gives the perception of being like an overprotective parent, not wanting your children to play down the street and be misled, abused and taken advantage of. Most critics accused blacks of "reverse racism" and dismissed the existence of such a creative consciousness. Nevertheless, the committed DJ's still spun, real Emcees still rhymed, and street entreprenuers still hustled. It was not about the dolla dolla bill, because what was valuable was within us!

Furthermore, to quote Grandmaster Caz of the legendary Cold Crush Brothers, during Hiphop Appreciation Week 2001 in New York, "Hiphop is our baby, we created it!" And we created it... because necessity is the mother of invention. At the time, our necessities were peace, love, unity and safely having fun. They still are. However, in 2007, we need to expand these principles and broaden our vision to complement our maturity. A successful, well thought out campaign to assert the fact that we are more than just gangstas, we are more than just bitches, we are more than just con-men, coons and video hoes. We are teachas, doctors, mechanics, active duty military and veterans, city council, mentors, clergy, secretaries, nurses and most of all... MANY OF US ARE PARENTS! Parents who want what is in the best interest of our children and not solely what is in the best interest for corporations. So I challenge any and all corporate sponsors, radio stations, television stations, print media, internet media, music label A&R's, advertising and marketing firms do not be afraid of us. Just because we speak differently, dress differently, and at times think differently, do not merely dismiss us as insignificant. Go beyond what is being promoted now in rap music and see us for what we are. We are not just doing hiphop, WE ARE HIPHOP!
HIPHOP BEYOND ENTERTAINMENT!

There it is.

Hiphop Teaches Stanford University "The Ledge"!

HIPHOP TEACHES STANFORD UNIVERSITY
“THE LEDGE”

By LeRoi Burns



This past Saturday March 4th 2006, Stanford University invited a cluster of journalists, authors, organizers, professors, activists, rap artists, Hiphop teachas and pioneers to the Wallenberg Hall to discuss Hiphop. Considering that I am in my mid thirties and a Hiphop archivist / journalist who has covered such illustrious events as the “Meeting of the minds” in 1994 at the Schaumburg Center in New York, the Rock and Roll Hall of Fame Hiphop Exhibit in 1999, and the presenting of the Hiphop Declaration of Peace at the United Nations in 2001, a host of conferences, well known and not so famous; lectures, gatherings and concerts, I was somewhat skeptical to begin with covering this assignment. The reason; to date academia still has not approached Hiphop with the integrity of a scholar or a journalist, to accurately research, document or present, let alone archive. With this said, after the six hour drive from Los Angeles the previous day, I was excited to be a part of such an event considering such participants as Dr. Michael Eric Dyson, Bizzy B., Camilla Westenberg, Bakari Kitwana, the Teaha KRSONE, Angela Ards, Ben Caldwell, Davy D and Derrick Darby to name a few.

At the top of the morning I arrived as most of the participants did, being overwhelmed by the wealth it must take to coordinate such a campus, with its sprawling lawns, expensive architecture, majestic palms flanking the long driveway towards a structure that reminded me of the antebellum slave south and its flamboyant plantations. Walking up the stairs, I began to feel that same ole’ feeling I always get when I am someplace where I may not be genuinely welcome. Nevertheless, I pressed on into the foyer to discover the event was being held practically in the hallway of this building. Now excuse me, but I have been in several University functions but shouldn’t this type of event at least be in a room of its own. The organizer who greeted me, was somewhat distracted by the members of a Hiphop organization ahead of me in line, who were clearly disappointed that there was no general public or audience, no formal room, no impartial non-participant media sources, which obviously meant, no Hiphop.

After getting my bear claw and starbucks coffee, I immediately made my way to a small table in the corner of the hallway waiting for the first panel to begin, when I noticed a group of well dressed, inner city kids bringing in a large backdrop of the Hiphop Declaration of Peace. Intrigued, I proceeded to ask a charming young Latino woman with them, who they were and was the Hiphop Declaration of Peace apart of the archive? Articulately and politely, she began to tell me that they were with The Temple of Hiphop, and that their kultural specialist / global advocate was giving orientations on the Declaration of Peace during the intermissions. Amazed, considering that no other organization representing liberation Hiphop was present, I thanked her and stood in the hallway as the curator of the archive Marcyliena Morgan began to announce the event was beginning. Surprisingly unorganized, due to the moderator’s late arrival, things kicked off rather sluggishly. Journalist Angela Ards, from the village voice impeded the monotony by providing some much needed contrast to the panelists, self-centric approach to documenting Hiphop’s history. Somewhat unimpressed by hip-hop historian Davy D’s, claim that “he was there” during the culture’s inception, she interrupted saying “I have been a journalist since before their was a term, hip-hop journalism, and that all journalists should express the fundamentals of writing and journalistic integrity, something lacking in the genres documenting.”

Consequently, two panels later, after some very subdued intellectualizing about rap music, pontificating, name dropping and credential ejaculating, we were finally to be given real Hiphop in the form of a panel named “The Artist is the Theorist: I AM Hiphop”. Panelists, Boots Riley, Bizzy B., Ladybug, Angela Ard, Davy D, Adissa Banjoko, Ben Caldwell, Camilla Westenberg, KRSONE, Craig Watkins, Marcyliena Morgan, Martha Diaz, Giuseppe Pipitone, to name a few began to discuss the issue of Hiphop. Pioneer and first solo Emcee Bizzy B., began by stating how honored he and KRS was to be invited, considering much of the conversation was confined to chronicling rap music, its lyrics and its influence, African American gripes, race relations and the prison system instead of the main topic of being Hiphop. At this time, a question was posed to the legends and leaders of Hiphop about what it means to be a rapper in today’s society. Composed and clearly strategic, KRS being the only artist relevant enough to answer, stood up and began by greeting and offering respect to the university and panel, then began to make the distinction that although “rap is something he does, Hiphop is what he lives!”

Furthermore, he began to discern the difference in discussing Hiphop from an objective and skewed perspective, as opposed to the subjective and point of origin. KRSONE immediately addressed a bay area journalist Adissa Banjoko, who for those that do not know, has been slandering KRS on his website to sell a few copies of his book for well over a year. Banjoko has also demanded KRS debate the globally embraced “I am Hiphop” philosophy created by the Teacha in 1994. Expressing some frustration about imposter hip-hop opportunists, KRS said that “he does not debate faith” and their were enemies of Hiphop on the panel such as Mr. Banjoko, who could be a federal co-intellpro agent working towards the dismantling, division and downfall of Hiphop, its cultural character, elements and expressions. He went on to say that after twenty years of supporting every journalist on the panel, including Mr. Banjoko, and those also nationally and abroad, that with such disrespect in direct violation of the publicly presented Hiphop Declaration of Peace at the United Nations, that he felt like “beatin’ his fuckin ass”, for having the audacity to be in such a forum.


By and large, the rest of the event was somewhat therapy for the rap fans present who were compelled to the realization that Hiphop is not rap music! For far too long, Hiphop (including rap music industry) which is a 10 billion dollar industry must continue to demand its respect in every institution, social order, political structure, capitalist endeavor and democratic venue. To the approval and applause of those present claiming Hiphop, this outburst by KRSONE was quite refreshing considering the current state of Hiphop and rap music. Reminiscent of the November call to action by Zulu Nation founder, Afrika Bammbaataa, to take a stand for Hiphop against the scandalous corporate radio stations, record labels and media telecommunications outlets under federal investigation for the past two years, many of us who consider ourselves citizens of the Hiphop nation, were very pleased.

For the rest of the event, the panel, wanted to ease the tensions between Hiphop’s statesmen and those who clearly continue to claim to be hip-hop, whether bishop or historian, but continue to compromise Hiphop’s cultural unity and common spirit for profit, prestige and acceptance. Many of the participants emphatically began to agree with KRSONE and Bizzy B, while offering some much needed understanding and compassion to the discussion. After the panel, KRS and Adissa adjourned to the entrance to further their heated conversation, which seemingly formed clarity when MalikONE, the global advocate of the Temple, began to emphasize the necessary respect when approaching Hiphop’s leadership, culture, and salient issues. I later interviewed MalikONE at a KRS concert filled to capacity in Berkley, who throughout the event, with the support of the Temple of Hiphop, gave an informative presentation on the Hiphop Declaration of Peace, advocated the upcoming 9th annual Hiphop Appreciation Week™ and garnered support for a Hiphop Guild to implement the pertinent developments of the Stanford Hiphop Archive event.

Resonating points by Imani Perry and Ben Caldwell, MalikONE stressed “It’s good that things were shaken up a bit today to affect the apathy of those doing the documenting, and the two things that move politics are money and people.” He also affirmed that “not only is the Teacha acting within the best interest of Hiphop’s culture, but that this is a time for action not acting!” He also gave me some insight to the reason KRS chose this forum to address these issues and Adissa. Apparently as KRS briefly mentioned during the discussion, Adissa was working on a book entitled Chicken Soup for the Hiphop Soul, which KRSONE and the Temple endorsed and financed some $5,000.00, but was never completed, or justified by Adissa Banjoko. When asked about this, Adissa refused to comment. Finally, I must add that Dr. Michael Eric Dyson did not attend, but his assistant did say that he was disappointed that he would not be able to meet with KRSONE, who was the reason he was attending and moderating. Predictably, this entire event will most likely be convoluted and politicized by those who were exposed and only wish to disrespect the cultural character of Hiphop, and build a career on the credibility of those patriots who continue to fight the power.

Organizing Hiphop's Commonspirit

*NOTE This is being published by popular demand

Malik ONE's report from a meeting between The Teacha and Chuck D.

HIPHOP S.P.E.E.K.S. ...REAL NEWS FOR REAL HIPHOPPAS!

ORGANIZING HIPHOP’S COMMONSPIRIT
By MalikONE

Three months deep into 2004, during yet another U.S. governmental cycle of political-social economic distress, Hiphop’s Teachas discuss the strategies of further organizing, developing and preserving Hiphop Kulture’s common~spirit. Friday night March 12th, the real Hiphop was over here, in Anaheim Hills southern California studio, when KRSONE and Chuck D. convened for a session. On assignment here just south east of Los Angeles, the Statesmen discussed several topics from Chuck’s highly anticipated debut; hosting live talk radio in New York City each weekday, to our Teacha KRS’s invigorating release Keep Right, the planning of the 7th Annual Hiphop Appreciation Week, to the geo-political economic growth of Hiphop kulture since the signing of Hiphop’s Declaration of Peace at the United Nations just three years ago this May.

During the third week of May, the 16th to the 23rd 2004, while Hiphoppas throughout the international community join together and celebrate the positive cultural images of Hiphop, and this year’s theme of performing faith; the cultural common~spirit and its influence continues to show aggregate growth. 52 countries were cited in Chuck’s assessment of his international tours since 1998. Both the Temple of Hiphop and RapStation have reported an increase in registration among international membership. Conscious organizing efforts and activities for spiritual, political, environmental, economic, kultural and social awareness have reached record highs. South America, Western and Eastern Europe, Australia, and Africa were some of the continents duly noted and receptive to not only the establishment of Hiphop as an International culture of peace and prosperity, but Hiphop beyond music and entertainment.

From the attuned perspective of a kultural specialist employing Hiphop’s “sight”, and reviewing current political-social studies, this peak in participation, more than suggests a rise in Hiphop activism, has a direct relation to increased ethno-political conflicts in the international community. Many Hiphoppas have simply chosen to seek a better quality of life, often associated with overstanding Hiphop’s common~spirit.

Furthermore, their discussion served as the framework to lead and intensify the international campaign to further develop participation of Hiphoppas worldwide preserving Hiphop as a lifestyle, community and culture. As Chuck works towards the completion of an upcoming Rap project, he plans a progressive alternative to conservative talk forums citing the necessity for “credibility, integrity and cultural diversity in mainstream intelligentsia.” Check for details at RapStation.com.

The Teacha who is on intercession between a west-to-east touring schedule has motivated several large crowds at lectures, concerts, and book signings from San Diego, Los Angeles, Oakland, Portland, Nevada, and Utah. Thought provoking inquires of self-analysis and mastery, spiritual principle, and the “state of Hiphop” has lead to resonating messages of empowerment and edutainment. The Teacha KRS emphasizes to all who may or may not have the opportunity to attend one of the Temple of Hiphop’s events to recall Hiphop’s founding principles of “peace, love, unity and having fun” as well as “have the courage to be yourself. ”

REMEMBER, YOU ARE NOT JUST DOING HIPHOP,
YOU ARE HIPHOP!