By MalikONE ~HIP HOP KULTURAL SPECIALIST~
Peace and much love.
ARE YOU HIP HOP? Do you see the value of preserving Hiphop's culture? Have you ever invested in any of its billion dollar industries? Furthermore, are you concerned with how Hiphop will be documented in world history? Right now, Hiphoppas around the world are working to change the way governments, businesses, security organizations, media, religious, educational and civic organizations and institutions view Hiphop; as consciousness, culture, elements and expression. However, everyone does not see the vision of a unified, self governed and prosperous Hiphop Kulture. Most people can only understand and accept Hiphop as rap music. Some people prefer to only use the elements of Hiphop to satisfy their own self interest.
As prescribed by the HIP HOP DECLARATION OF PEACE, certain times during the year have become a time to reflect upon our roles as citizens of the International Hip Hop community. If HIP HOP is to survive WE MUST recommit ourselves to Hip Hop's core principles of peace, love, unity and safely having fun! May 3rd is Rap Music Day. Hiphoppas are encouraged to dedicate their own time and talent to self-development and for service to their communities. Every third week in May is Hiphop Appreciation Week. During this time, Hiphoppas are encouraged to honor their ancestors, reflect upon their cultural contributions and appreciate the elements and principles of Hiphop Kulture.
Every November is HIP HOP HISTORY MONTH. During this time Hiphoppas are encouraged to participate in the creating, learning and honoring of Hiphop's history and historical cultural contributors. Hiphoppas have set aside these times to assess the progress of the ‘conscious' Hip Hop movement as well as one's own role within such a movement. May 16th 2001, during HIP HOP Apprecieation Week (every third week in May), The HIP HOP Declaration of Peace was established and presented at the United Nations by HIP HOP Pioneers, Founders, Teachas, Educators, Clergy, Activists and Kultural Specialists.
This Hiphop Declaration of Peace guides Hiphop Kulture toward freedom from violence, and establishes advice and protection for the existence and development of the international Hiphop community. Through the principles of this Hiphop Declaration of Peace we, Hiphop Kulture, establish a foundation of Health, Love, Awareness, Wealth, peace and prosperity for ourselves, our children and their children's children, forever. For the clarification of Hiphop's meaning and purpose, or when the intention of Hiphop is questioned, or when disputes between parties arise concerning Hiphop; Hiphoppas shall have access to the advice of this document, The Hiphop Declaration of Peace, as guidance, advice and protection.
RIGHT NOW... WE HIP HOP KULTURE respectfully request every Hiphoppa and ALL SUPPORTERS to review this document at (www.templeofhiphop.org) and SIGN our petition to endorse HIP HOP'S 18 principles of Peace! RIGHT NOW advocate against privatization and corporate greed and the selfish exploitation of Hip Hop's intellectual properties. Such greed and exploitation is the root cause of why "rap music" looks and sounds the way it does right now. RIGHT NOW YOU can make a difference and JOIN the conscious, responsible Hiphop community. Together, we must not allow those who think and see Hiphop only as "rap music" to continue to demean and reduce our culture to products and the artistic equivalancy of poison, sex, violence and materialism. We sincerley thank you in advance for your time, interest, support and ACTION!
For more information email IAMHIPHOP1970@YAHOO.COM AND REMEMBER, we are not just doing Hiphop; WE ARE HIP HOP!
SIGN PETITION USING THIS LINK:
http://www.thepetitionsite.com/takeaction/964883009.
There it is.
MalikONE
Global Advocate
Temple Of Hiphop
Monday, July 30, 2007
Tuesday, July 24, 2007
HIP HOP MISSION: POSSIBLE
By MalikONE ~HIP HOP KULTURAL SPECIALIST~
Peace and much love.
For well over 12 years now, I have organized and preserved Hiphop campaigns, Hiphop conferences, Hiphop studies, Hiphop classes, Hiphop concerts, Hiphop exhibits, Hiphop panels, Hiphop radio shows, Hiphop websites, Hiphop video shows and Hiphoppas themselves! Since 1996, I have been an active member and supporter of The Temple Of Hiphop; Hiphop's preservation society whose mission is the very preservation and empowerment of Hiphoppas themselves. Hiphop's consciousness and its modern presentation is almost 40 years old; and were it to be personified, I would liken it to an adult woman or man, slightly grey but with an organic, street-wise, savy, advanced, intellectual, youthful mind, body and spirit. Not just on the surface, but deep down to the core this creative consciousness, this alternative behavior and "mind-set" has undoubtedly learned and been developed from its unique experiences in life. As a result, it multiplied exponentially and constructed and manifested a way, where there was no way. By and large, this way of life has transformed subjects, objects and circumstances and produced prosperity and life, where there was nothing but self destruction and death! Much like many of us in our earlier stages of life, we too were once ostricized, isolated and outcast because we did not fit in with what society dictated and deemed acceptable. However, for those who follow their hearts and refuse to give up on what we believe in, have faith in and where we come from; we saw that there was another way! A better way! So with maturity, adversity and discipline we grew to overstand our circumstances and have become the very strategies to our own successes. In 2007, never before is this Hip Hop mission more necessary, more essential and above all more possible. For both young and old, parent and child, rich and poor, conscious and unaware, revolutionary and loyalist, national and International, Hiphoppas by the droves are seeking a better way to do what we do best... SURVIVE, ADAPT AND OVERCOME!
For those of us who claim Hiphop as our lifestyle and culture; everyday we see the constant growth and exploitation of our citizens and resources. On any given day, a new mix is mastered and a new RIAA copyright law enforced. A new rhyme is completed and a advertising strategy is marketed. A new style of dress is made cool and a fashion designer developes a successful line of clothing. It goes on and on, identically like many other business markets. Since the advent of Hiphop deep in the South Bronx, NY sometime in 1970, Hiphoppas have not learned the value of our innate, intuitive independence. For the most part when a Hiphoppa is inspired to be innovative and creative, someone else is still the benefactor and profits on the fruits of another's labor and intellectual property. However, what I am getting at is simply; why is this still the case? In the overwhelming majority of circumstances when it comes to Hiphop; Hiphop culture, its elements, expressions, gross domestic product of 10(+) billion dollars annually and its intellectual property; those outside of this culture continue to reap the benfits and profits of our labor. This is a problem because many of the issues facing our culture could be rectified with the control of some of the finances we generate. For example, you have an aspiring Emcee and DeeJay, but they have no viable method to develop there skill, presentation, product and then distribute that product without the support, resources, validation and approval from major record labels, radio and distribution conglomerates. Know this in Hiphop's early days, this is actually counter to the original recipe and way it was done! Not that there is absolutely no place for corporate structure, professional grooming and the good old fashion "know how" from that corporate structure. But what we continue to see is yet another generation of new artists, engaging in predatory contracts that ultimately leave artists in debt, with no responsible and accountable system in place to protect and support the development of the Hiphop artists, Hiphop products and ultimately Hiphop culture. By and large, considering the American way, many would agree as the creator of a product; the creator should maintain the rights and ownership to his or her own products as well as the lion share of what profits that product produces. Be clear, I am not suggesting that Hiphop culture in itself is nothing more than product. Again, we know and acknowlede that Hiphop is consciousness! However, for decades now most have suggested that this is merely because of a lack of knowledge or awareness on the artists behalf; in signing and negotiating such contracts where these circumstances occur. Well if this were in fact true; why have we no accountable representation or guidelines established for the expressed protection and benefit of our intellectual properties when dealing with corporate structure? Or do we? Furthermore, as a community we also have all seen the long term effects of this type of business being conducted, not just in Hiphop, but Jazz, Blues, Rhythm and Blues, Rock and Roll, education, agriculture, real estate, medicine, politics, etc.
In addition, what we also continue to see is the over representation of corporate interests and no representation of cultural, community or artistic interests. Which brings me to another question. What does it take for there to be an acceptable, equitable balance between cultural and corporate interests? What does it take for there to be a balance between public interests and corporate interests? Can we co-exist? Can we all just "get along?" How do we as a culture engage these isssues and begin to bring what is in obvious disparity and imbalance into balance? Considering the impact of socio-economic conditions of this country since the 1970's all the way to today, we have witnessed communities deeply entrenched in crime and poverty, produce very creative individuals with fresh, pioneering and ground breaking ideas and utilize Hiphop as a means of spiritual, self, and political expression. So clearly there is more here than just beats, rhymes, hooks and loot. Hiphop has also served as a means of social commentary, while steering through a hostile environment of mass media and rap music exploitation and commercialization. This environment is increasingly unsympathetic due to policies like the Telecommunications Act of 1996. For eleven years this policy has proven to limit such soical and political expressions, with the number of major corporations that dominate television, movies, music, radio, cable, publishing and the internet plummet from 50 to less than 24. Hence, power has concentrated chiefly in 10 enormous conglomerates. According to the Free Press the six largest media companies and their earnings in 2005 are General Electric (157.2 billion), Time Warner( 43.7 billion), Walt Disney (31.9 billion), News Corp (23.9 billiion), CBS (14.5 billion) and Viacom (9.8 billion). For this reason as a Hiphop cultural specialist I have suggested along with many others that this imbalance has threatened the nature and overall productivity of not only our Hiphop culture, but to democracy in the United States. furthermore, in plain terms this salient issue requires knowledgable, capable Hiphoppas to articulate and address these matters. After studing this issue what Hiphop culture must demand is honest, authentic and bona fide market competition. Subsequently, in 1996 during the same time that the historic Hiphop unification movement was being formed and ownership of radio and television stations was becoming more consolidated with passing of the Telecommunciations Act; we now know that it is increasingly complicated for owners from communities of color, many of which are single station operators to compete with larger corporations. In fact, by 2001 people of color owned only 3.8 percent of full power commercial radio and television stations in the United States, the lowest number since the National Telecommunications and Information Administration began reporting the statistics (Free Press).
Reminicent of Hiphop's Golden Age and the conscious rap movement in the 1980's; Public Enemy's Chuck D, said "Radio... suckas never play me"! This was an obvious statement towards the refusal of radio and media outlets to play the music Hiphoppas themselves wanted and demanded. Hiphoppas wanted music from emcees who voiced and reflected the social conditions of our society, community and country such as institutional racism, unemployment, healthcare, drug abuse, violence, political discourse and tagible, fruitful education and sustainable economic development. Nowadays, we see these messages have become completely absent in the media presentation of Hiphop. This is not because emcees and rappers do not think its important anymore to address such matters. But because its now known that along with the current presidential administration, congress, supreme court and lack of regulation in the business market in general, finance and distribution is scarce for "conscious" music. Even in the Golden Age, these messages were heard but during that time there was a progressive march towards some degree of balance with these messages. In contrast, now that the rap music industry's demographic is larger and more diverse, rap artists have chosen to reflect corporate interests (consumption and profits) and ignore the responsibilities to the very Hiphop cultural community which has created the foundation for success. Not to mention the age old argument that controversy, conflict, sex and violence sells. As a result, the rap that dominates the air waves, publications and internet today is uncharateristically, displaying a monoscopic one sided version of what rap music has to offer. Consequently, as documented by the New York times we have also seen major cities like New York City's police assign special surveliance and tatical units for Rappers and Hiphoppas. Primarily because of the lifestyle being promoted by media conglomerates without a balanced interpretation of Hiphop; so that it can be clearly known that Hiphop culture is not all pimps, all hoes, all bitches, all thugs, all gangstas and just criminal and deviant in nature. So here we are again in 2007 being strategically shut out while a public saftey issue has evolved to the point where rap and Hiphop are steadily becoming synomous with criminality, violence, misogyny and homophobia. Accordingly while many who represent the conscious rap movement are vocal about the lack of representation in public formats, one thing that has been very well communicated is that they do not support an outright ban or complete shut out of other forms of rap music, much like what is being played. They have merely stated that since Hiphop's inception what is imperative is a balanced media presentation consistent with Hiphop's founding priniciples of peace, love, unity and safely having fun. Moreover, while most media outlets and stations only play music consisting of lyrics that promote misogyny, homophobia, sex and violence; they also have indirectly supported claims that these are the core values and worth of not only rap music but Hiphop as a culture and a people.
Currently, we have a window of opportunity to make significant advancements to our culture and our communities. Remember, when speaking of advancing Hiphop culture, I am directly speaking of the attitudes, behavior and charectaristics of Hiphoppas themselves. If you know of a Hiphoppa, this advice should be passed on to that individual or read to them to assist them with direction and guidance in achieving the productive Hiphop lifestyle. Furthermore, for those who live Hiphop, teach Hiphop and prosper from Hiphop, its elements and expressions this is once again our time to "grow" Hiphop past the disfunctions and disorders of ourselves and an absent minded American society riddled and inundated with contridiction and corruption. During Hiphop History Month (every November) 2006; Hip Hop Statesman Afrika Bambataa announced a "call to consciousness" to bring balance and order and "TAKE BACK HIP HOP!". This November 2007 will be one year since this directive was announced. How much progress has been made? What steps have we as Hiphoppas made to achieve this goal, which is clearly in the best interest of Hiphop culture? Yes I know many are still struggling. I know people still have to go to work and slave for your pay. I know there is a War still raging and we still have a rogue administration in the White House and people are scarred to "do" and "be"! I know you DeeJays dont want to lose your jobs and Grafitti Artists dont want to go to jail. But, remember, procrastination is opportunities assassin and as we think..., so Hiphop is! The hands that help, are holier than the lips that prey. So as a Hiphop Cultural Specialist, whose duties include teaching the principles of Hiphop to Hiphop culture. As well to accurately interpret and answer the sensitive cultural questions reguarding the principles and proper presentation of Hiphop; and deciphering and articulating the salient issues facing our culture, I offer and present an initial solution. Right now, we still see many confuse rap music with Hiphop. On a fundamental level rap music is a combonation and hybrid primarily between two Hiphop elements, Emceein and DeeJayin. It has also included beatboxin, beat machines, live instruments and at times acapella. Again, for all those who do not know, after the first ever Hiphop census in 1996, we as Hiphoppas have spoken up and defined ourselves. So we now say with pride and dignity, conclusively and decisively; Hiphop is NOT rap music! Rap is something we do, Hiphop is something we live! This is edified by none other than the Teacha KRSONE. Those few who do not claim Hiphop, and do not understand Hiphop which is their choice; are still under the impression that Hiphop is menacing and criminal in nature. Some ask how can this notion be asserted even after the 1974 Bronx River House meetings organized by Afrika Bambataa and the Universal Zulu Nation to organize a peaceful, loving, unified Hiphop culture. Furthermore, dispite the even more famous and memorable "Stop the Violence" movement in the late 1980's, followed by "All in the same Game" on the west coast. Coupled with the manifestations of organizations like the Hiphop Political Convention, Hiphop Congress, H2A Film Festival, Hiphop Ministries, B-Boy Summit, and Hiphop Summit Action Network many still wonder how do these notions persist that all of Hiphop is delinquent and corrupt? So with careful consideration, and much debate I offer the advice and guidance found in the Hiphop Declaration of Peace.
This Declaration of Peace was established and presented May 16th, 2001 at the United Nations, during Hiphop Appreciation Week (every third week in May). The Hiphop Declaration of Peace guides Hiphop Kulture toward freedom from violence, and establishes advice and protection for the existence and development of the international Hiphop community. Through the principles of this Hiphop Declaration of Peace we, Hiphop Kulture, establish a foundation of Health, Love, Awareness, Wealth, peace and prosperity for ourselves, our children and their children's children, forever. For the clarification of Hiphop's meaning and purpose, or when the intention of Hiphop is questioned, or when disputes between parties arise concerning Hiphop; Hiphoppas shall have access to the advice of this document, The Hiphop Declaration of Peace, as guidance, advice and protection. When we as a culture begin to collectively take responsibility for how Hiphop looks and acts in society, by instituting the 18 principles found in this document, we consciously begin to speak in one voice, live as one community and operate in one spirit.
TO VIEW THE HIPHOP DECLARATION OF PEACE PLEASE VISIT WWW.TEMPLEOFHIPHOP.ORG
Peace and much love.
For well over 12 years now, I have organized and preserved Hiphop campaigns, Hiphop conferences, Hiphop studies, Hiphop classes, Hiphop concerts, Hiphop exhibits, Hiphop panels, Hiphop radio shows, Hiphop websites, Hiphop video shows and Hiphoppas themselves! Since 1996, I have been an active member and supporter of The Temple Of Hiphop; Hiphop's preservation society whose mission is the very preservation and empowerment of Hiphoppas themselves. Hiphop's consciousness and its modern presentation is almost 40 years old; and were it to be personified, I would liken it to an adult woman or man, slightly grey but with an organic, street-wise, savy, advanced, intellectual, youthful mind, body and spirit. Not just on the surface, but deep down to the core this creative consciousness, this alternative behavior and "mind-set" has undoubtedly learned and been developed from its unique experiences in life. As a result, it multiplied exponentially and constructed and manifested a way, where there was no way. By and large, this way of life has transformed subjects, objects and circumstances and produced prosperity and life, where there was nothing but self destruction and death! Much like many of us in our earlier stages of life, we too were once ostricized, isolated and outcast because we did not fit in with what society dictated and deemed acceptable. However, for those who follow their hearts and refuse to give up on what we believe in, have faith in and where we come from; we saw that there was another way! A better way! So with maturity, adversity and discipline we grew to overstand our circumstances and have become the very strategies to our own successes. In 2007, never before is this Hip Hop mission more necessary, more essential and above all more possible. For both young and old, parent and child, rich and poor, conscious and unaware, revolutionary and loyalist, national and International, Hiphoppas by the droves are seeking a better way to do what we do best... SURVIVE, ADAPT AND OVERCOME!
For those of us who claim Hiphop as our lifestyle and culture; everyday we see the constant growth and exploitation of our citizens and resources. On any given day, a new mix is mastered and a new RIAA copyright law enforced. A new rhyme is completed and a advertising strategy is marketed. A new style of dress is made cool and a fashion designer developes a successful line of clothing. It goes on and on, identically like many other business markets. Since the advent of Hiphop deep in the South Bronx, NY sometime in 1970, Hiphoppas have not learned the value of our innate, intuitive independence. For the most part when a Hiphoppa is inspired to be innovative and creative, someone else is still the benefactor and profits on the fruits of another's labor and intellectual property. However, what I am getting at is simply; why is this still the case? In the overwhelming majority of circumstances when it comes to Hiphop; Hiphop culture, its elements, expressions, gross domestic product of 10(+) billion dollars annually and its intellectual property; those outside of this culture continue to reap the benfits and profits of our labor. This is a problem because many of the issues facing our culture could be rectified with the control of some of the finances we generate. For example, you have an aspiring Emcee and DeeJay, but they have no viable method to develop there skill, presentation, product and then distribute that product without the support, resources, validation and approval from major record labels, radio and distribution conglomerates. Know this in Hiphop's early days, this is actually counter to the original recipe and way it was done! Not that there is absolutely no place for corporate structure, professional grooming and the good old fashion "know how" from that corporate structure. But what we continue to see is yet another generation of new artists, engaging in predatory contracts that ultimately leave artists in debt, with no responsible and accountable system in place to protect and support the development of the Hiphop artists, Hiphop products and ultimately Hiphop culture. By and large, considering the American way, many would agree as the creator of a product; the creator should maintain the rights and ownership to his or her own products as well as the lion share of what profits that product produces. Be clear, I am not suggesting that Hiphop culture in itself is nothing more than product. Again, we know and acknowlede that Hiphop is consciousness! However, for decades now most have suggested that this is merely because of a lack of knowledge or awareness on the artists behalf; in signing and negotiating such contracts where these circumstances occur. Well if this were in fact true; why have we no accountable representation or guidelines established for the expressed protection and benefit of our intellectual properties when dealing with corporate structure? Or do we? Furthermore, as a community we also have all seen the long term effects of this type of business being conducted, not just in Hiphop, but Jazz, Blues, Rhythm and Blues, Rock and Roll, education, agriculture, real estate, medicine, politics, etc.
In addition, what we also continue to see is the over representation of corporate interests and no representation of cultural, community or artistic interests. Which brings me to another question. What does it take for there to be an acceptable, equitable balance between cultural and corporate interests? What does it take for there to be a balance between public interests and corporate interests? Can we co-exist? Can we all just "get along?" How do we as a culture engage these isssues and begin to bring what is in obvious disparity and imbalance into balance? Considering the impact of socio-economic conditions of this country since the 1970's all the way to today, we have witnessed communities deeply entrenched in crime and poverty, produce very creative individuals with fresh, pioneering and ground breaking ideas and utilize Hiphop as a means of spiritual, self, and political expression. So clearly there is more here than just beats, rhymes, hooks and loot. Hiphop has also served as a means of social commentary, while steering through a hostile environment of mass media and rap music exploitation and commercialization. This environment is increasingly unsympathetic due to policies like the Telecommunications Act of 1996. For eleven years this policy has proven to limit such soical and political expressions, with the number of major corporations that dominate television, movies, music, radio, cable, publishing and the internet plummet from 50 to less than 24. Hence, power has concentrated chiefly in 10 enormous conglomerates. According to the Free Press the six largest media companies and their earnings in 2005 are General Electric (157.2 billion), Time Warner( 43.7 billion), Walt Disney (31.9 billion), News Corp (23.9 billiion), CBS (14.5 billion) and Viacom (9.8 billion). For this reason as a Hiphop cultural specialist I have suggested along with many others that this imbalance has threatened the nature and overall productivity of not only our Hiphop culture, but to democracy in the United States. furthermore, in plain terms this salient issue requires knowledgable, capable Hiphoppas to articulate and address these matters. After studing this issue what Hiphop culture must demand is honest, authentic and bona fide market competition. Subsequently, in 1996 during the same time that the historic Hiphop unification movement was being formed and ownership of radio and television stations was becoming more consolidated with passing of the Telecommunciations Act; we now know that it is increasingly complicated for owners from communities of color, many of which are single station operators to compete with larger corporations. In fact, by 2001 people of color owned only 3.8 percent of full power commercial radio and television stations in the United States, the lowest number since the National Telecommunications and Information Administration began reporting the statistics (Free Press).
Reminicent of Hiphop's Golden Age and the conscious rap movement in the 1980's; Public Enemy's Chuck D, said "Radio... suckas never play me"! This was an obvious statement towards the refusal of radio and media outlets to play the music Hiphoppas themselves wanted and demanded. Hiphoppas wanted music from emcees who voiced and reflected the social conditions of our society, community and country such as institutional racism, unemployment, healthcare, drug abuse, violence, political discourse and tagible, fruitful education and sustainable economic development. Nowadays, we see these messages have become completely absent in the media presentation of Hiphop. This is not because emcees and rappers do not think its important anymore to address such matters. But because its now known that along with the current presidential administration, congress, supreme court and lack of regulation in the business market in general, finance and distribution is scarce for "conscious" music. Even in the Golden Age, these messages were heard but during that time there was a progressive march towards some degree of balance with these messages. In contrast, now that the rap music industry's demographic is larger and more diverse, rap artists have chosen to reflect corporate interests (consumption and profits) and ignore the responsibilities to the very Hiphop cultural community which has created the foundation for success. Not to mention the age old argument that controversy, conflict, sex and violence sells. As a result, the rap that dominates the air waves, publications and internet today is uncharateristically, displaying a monoscopic one sided version of what rap music has to offer. Consequently, as documented by the New York times we have also seen major cities like New York City's police assign special surveliance and tatical units for Rappers and Hiphoppas. Primarily because of the lifestyle being promoted by media conglomerates without a balanced interpretation of Hiphop; so that it can be clearly known that Hiphop culture is not all pimps, all hoes, all bitches, all thugs, all gangstas and just criminal and deviant in nature. So here we are again in 2007 being strategically shut out while a public saftey issue has evolved to the point where rap and Hiphop are steadily becoming synomous with criminality, violence, misogyny and homophobia. Accordingly while many who represent the conscious rap movement are vocal about the lack of representation in public formats, one thing that has been very well communicated is that they do not support an outright ban or complete shut out of other forms of rap music, much like what is being played. They have merely stated that since Hiphop's inception what is imperative is a balanced media presentation consistent with Hiphop's founding priniciples of peace, love, unity and safely having fun. Moreover, while most media outlets and stations only play music consisting of lyrics that promote misogyny, homophobia, sex and violence; they also have indirectly supported claims that these are the core values and worth of not only rap music but Hiphop as a culture and a people.
Currently, we have a window of opportunity to make significant advancements to our culture and our communities. Remember, when speaking of advancing Hiphop culture, I am directly speaking of the attitudes, behavior and charectaristics of Hiphoppas themselves. If you know of a Hiphoppa, this advice should be passed on to that individual or read to them to assist them with direction and guidance in achieving the productive Hiphop lifestyle. Furthermore, for those who live Hiphop, teach Hiphop and prosper from Hiphop, its elements and expressions this is once again our time to "grow" Hiphop past the disfunctions and disorders of ourselves and an absent minded American society riddled and inundated with contridiction and corruption. During Hiphop History Month (every November) 2006; Hip Hop Statesman Afrika Bambataa announced a "call to consciousness" to bring balance and order and "TAKE BACK HIP HOP!". This November 2007 will be one year since this directive was announced. How much progress has been made? What steps have we as Hiphoppas made to achieve this goal, which is clearly in the best interest of Hiphop culture? Yes I know many are still struggling. I know people still have to go to work and slave for your pay. I know there is a War still raging and we still have a rogue administration in the White House and people are scarred to "do" and "be"! I know you DeeJays dont want to lose your jobs and Grafitti Artists dont want to go to jail. But, remember, procrastination is opportunities assassin and as we think..., so Hiphop is! The hands that help, are holier than the lips that prey. So as a Hiphop Cultural Specialist, whose duties include teaching the principles of Hiphop to Hiphop culture. As well to accurately interpret and answer the sensitive cultural questions reguarding the principles and proper presentation of Hiphop; and deciphering and articulating the salient issues facing our culture, I offer and present an initial solution. Right now, we still see many confuse rap music with Hiphop. On a fundamental level rap music is a combonation and hybrid primarily between two Hiphop elements, Emceein and DeeJayin. It has also included beatboxin, beat machines, live instruments and at times acapella. Again, for all those who do not know, after the first ever Hiphop census in 1996, we as Hiphoppas have spoken up and defined ourselves. So we now say with pride and dignity, conclusively and decisively; Hiphop is NOT rap music! Rap is something we do, Hiphop is something we live! This is edified by none other than the Teacha KRSONE. Those few who do not claim Hiphop, and do not understand Hiphop which is their choice; are still under the impression that Hiphop is menacing and criminal in nature. Some ask how can this notion be asserted even after the 1974 Bronx River House meetings organized by Afrika Bambataa and the Universal Zulu Nation to organize a peaceful, loving, unified Hiphop culture. Furthermore, dispite the even more famous and memorable "Stop the Violence" movement in the late 1980's, followed by "All in the same Game" on the west coast. Coupled with the manifestations of organizations like the Hiphop Political Convention, Hiphop Congress, H2A Film Festival, Hiphop Ministries, B-Boy Summit, and Hiphop Summit Action Network many still wonder how do these notions persist that all of Hiphop is delinquent and corrupt? So with careful consideration, and much debate I offer the advice and guidance found in the Hiphop Declaration of Peace.
This Declaration of Peace was established and presented May 16th, 2001 at the United Nations, during Hiphop Appreciation Week (every third week in May). The Hiphop Declaration of Peace guides Hiphop Kulture toward freedom from violence, and establishes advice and protection for the existence and development of the international Hiphop community. Through the principles of this Hiphop Declaration of Peace we, Hiphop Kulture, establish a foundation of Health, Love, Awareness, Wealth, peace and prosperity for ourselves, our children and their children's children, forever. For the clarification of Hiphop's meaning and purpose, or when the intention of Hiphop is questioned, or when disputes between parties arise concerning Hiphop; Hiphoppas shall have access to the advice of this document, The Hiphop Declaration of Peace, as guidance, advice and protection. When we as a culture begin to collectively take responsibility for how Hiphop looks and acts in society, by instituting the 18 principles found in this document, we consciously begin to speak in one voice, live as one community and operate in one spirit.
TO VIEW THE HIPHOP DECLARATION OF PEACE PLEASE VISIT WWW.TEMPLEOFHIPHOP.ORG
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