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AeroSoul3 Healing the Hood from Khemet 2 Aztlan (Hip Hop Pioneers Return to the Bay)

July 10, 2012 By

Refa One

Bay Area legend Refa One is no joke when it comes to fighting for the people in our community. He is uncompromising in the face of white supremacy and oppression. He’s clear about holding himself and all of us in the community accountable when it comes to setting  fast and hard guidelines for the youth he works with to follow.

When there’s a problem in the hood, Refa is not one to sit around waiting for the Mayor, the NAACP or some other messianic leader to come along and solve it. He and the Northstar Zulu Nation chapter he rolls with are quick to step up and show and prove.They show love.. Demonstrate skillz and speak to the importance of connecting back to the essence of who we are as a people and what Hip Hop ultimately is..

“Youngstas on the block should not have to go downtown and leave the neighborhood to see artist put in work designed to address issues and bring about social change”.. Refa would often say. He notes its important that him and others stay rooted in the hood and be visible to the community when they do their work. Over the years its made a difference. Places where Refa and his crew have painted have been claimed by the community as respected spaces where folks can gather and be free of drama.

Last year he brought several dozen African-American graf pioneers from NY and all over the world for AeroSoul 2. their goal was to build and work on ways to take back our neighborhoods and redirect Hip Hop culture which they felt was hijacked and misdirected by corporate interests..Aerosoul 3 is set to jump off this week.. It has abigger goal of not only using art to touch the masses and help heal, but also to connect and build bridges to various Black and Brown communities all over.. Hence the name from Khemet to Aztlan..

We got a chance to sit down and talk w/ Refa as well a Docta, a well-known artist from Senegal. Here’s our convo which aired on Hard Knock Radio.. In this interview you hear incredible music from Bay Area legend Bas1. Later this week we’ll be speaking with some of the pioneering graf writers out of NY..

For more info go to website where you can watch the trailer

http://www.refa1.com/1/post/2012/06/refa-one-feature-artist-in-aerosoul-3july-13th-2012.html

Below is information Refa posted about the historic gathering of AeroSoul 3

That’s right ‘chall… AeroSoul, the world’s most comprehensive body of work focusing on the African/Black experience in Spray Can Writing Culture is coming to San Francisco California this summer July 13th-15th.

The Exhibit will break historical ground at the prestigious African-American Art & Culture Complex in San Francisco’s Fillmore district. 2012 marks the 3rd year for this annual Pan-African Spray Can Art Festival.

AeroSoul 3, “From Khemet to Aztlan” will feature a body of work accentuating the African presence in art from Ancient Africa to the early African presence in the western hemisphere through the style lens of HipHop Calligraphy and iconography. This collection work and artifacts will represent some of the worlds most skilled muralist and illustrators in the African Diaspora.

AeroSoul3 will chart the historic evolution of Spray Can Writing Culture from it’s East Coast (New York City/Philadelphia) origins to it’s style successors world-wide through the narrative of the African experience. Artist from across the United States, Europe and West Africa will converge for this annual festival to celebrate the African Legacy in Spray Can Writing Culture as well as joining together to paint a Mural in the tradition of the HipHop genre. The Gallery exhibit will run a full 6 month period from July 2012-February 2013.

During the Opening weekend an Artist panel from around the globe as well as representatives from different dynastic periods will speak about the state of the art and their rich experience. This year AeroSoul 3 is proud present the Youth edition of the exhibit that will run congruently at the AAACC.

The Youth show will highlight the young and upcoming masters of the craft that have been engaged in programs provided by AeroSoul Art instructors. The AeroSoul line up is very impressive this year with a cast of writers from NewYorks 1970’s  & 80’s era, Riff170, Slave TF5, Butch2,Tean TMT, Kade TMT,Chain3,Skeme, Shame125, Sak MBT, and Soon1 to name a few. Mark your calendars folks, this historic event to promote the legacy of writing culture and end youth violence through art is not to be missed. For more info go towww.AeroSoulArt.com and www.AAACC.org

HipHop Lives!

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Filed Under: 2012 Daily News Tagged With: , , , ,

New Years Resolution for 2012: Make Room & Follow the Lead of our Sistas Within Hip Hop

January 2, 2012 By

With 2012 upon us, we wanna encourage folks to seriously take some time to invest and make room in the cypher and at the proverbial Hip Hop roundtable table for our sistas who hold it down on the mic. There have been far too many discussions about where are the female emcees and why don’t we see and hear more of them, when in reality they are all around us..

Its up to each of us within Hip Hop to insist that promoters make sure that women are included in their line up.. We’re not talking about a token opening act, but a fair amount woven in the main line up.. Its up to us to insist that radio deejays including myself are consistently playing women emcees in our offerings. Male emcess…How about inviting more females to spit a hot 16 on an epic song?

B-fresh photography

It’s up to each of us who claim to love Hip Hop to be familiar above and beyond a casual name drop. We should know folk’s music. We should know the release date of albums. We should know when and where folks are touring. They should be apart of our discussions and debates. We should allow room for the diversity of expressions and not fall back on the tired stereotype of all female emcees sounding the same. We should also follow the leads of our sisters understanding there is much we can learn from them and whole lot of flava we can soak up to improve help improve ourselves.

As males within Hip Hop we should not limit our attraction or engagement to female emcees based on overt displays of sex. yes we know there are the Lil Kims and Foxy Browns who made their mark going that route, but just like we’ve had male groups like 2Live Crew who brought that to the table, we dont limit the male experience within rap to that group, hence whey should we limit our sistas?

Below are 3 great websites that’ll hopefully get people familiar with female emcees in 2012. One of them, Hip Hop Sisters is run by Hip Hop legend MC Lyte. The other one Femmixx focuses on female Hip Hop producers as well as deejays and emcees.. That’s run by Tachelle Wilkes.

Another site The Illest Female Rappers, focuses on independent female rappers..while the Womyns Hip Hop Movement focuses on a soon to be released compilation put together by DJ Kuttin Kandi dedicated to ending domestic violence..

Folks should be familiar with Momma’s Hip Hop Kitchen which focuses on Health, Nutrition and Physical Activity using Hip Hop Culture.. They are celebrating their 5th year and currently they’re looking for artists to be down with their upcoming Be The Cure event in march.

Since Hip Hop has as its 5th Element Knowledge, we urge folks to get familiar with http://crunkfeministcollective.wordpress.com/ They bring attention to a lot of issues that are of importance to the Hip Hop Generation coming from an unapologetic, uncompromised feminist perspective. They dont take no mess from nobody..

Over the holidays I put together a youtube playlist that has over 100 female emcees. Its by no means a definitive list, but hopefully it’ll turn folks on to some artists they can add to their repartoir. You can access that playlist below or by clicking this link

http://www.youtube.com/playlist?list=PL4DA130E1819B4915

In 2012 lets push the envelop, do some serious crate digging and be the change we say we want….

Filed Under: 2012 Daily News Tagged With: ,

Meet Hip Hop’s Most Underrated Emcee-Black Thought

March 19, 2011 By

Who is Hip Hop’s most under rated emcee? Thats right you guessed it the one and only Black Thought of the legendary Roots Crew. He’s not to be toyed with and he proved that point when him and J Period wrecked shop at the True Skool 12th anniversary in San Francisco a few weeks ago. It was a show to remember and Thought came with it..Ya don’t belive me check out his flows..

http://vimeo.com/20907157

Filed Under: 2011 Daily News Tagged With: , , , ,

Women Rock the Mic and Hold Up half the Sky..Music Mix for Women’s History Month

March 9, 2011 By

Cindy Campbell

In celebration of International Women’s History Month we decided to highlight the voice of many who are often overlooked, taken for granted or forgotten about. Those are our sisters in Hip Hop. Women have always been on point from day one when it comes to architecting this culture called Hip Hop. We can start with Cindy Campbell-the sister of Hip Hop’s father Kool Herc. had it not been for her suggesting and ultimately setting up the now landmark party on 1520 Sedgwick Avenue in August of 1973, we might not be on the mic, yes yes y’alling at all today in 2009.

During the pioneering years we had stellar emcees like Zulu Queen Lisa Lee who was down with Afrika Bambaattaa,Pebbly Poo of the Masterdon Committee and Sha Rock who was down with DJ Baron & Breakout-Funky 4 Plus One More.. Of course we have to tip our hats to the one and only Mercedes Ladies-the first all female Hip Hop Crew.. We have an interview with original member Shari-Shar about to drop real soon-so be on the look out..

Over the years lots of women have blessed the mic and left their mark from Salt-n-Pepa to Roxanne Shante to the Real Roxanne to Queen Latifah to MC Lyte.. The list goes on.. Sadly we’ve had a situation within the music industry that had decided that women artists are not marketable. The conventional wisdom has been that the average listener can’t distinguish their voices. Hence its always been situation where you always find maybe one or two females at most on a major label with them being released and marketed at different times.

Of course here at Breakdown FM, we see it differently. There’s a world of difference between MC Lyte and Queen Latifah, just like there’s a world of difference between Chuck D and KRS or 50 Cent and Ice Cube. Different looks, rhyme styles, subject matter etc. So much for industry wisdom

This week we went and dug deep and highlighted some folks you need to check for.. We kick things off with Seattle sensations Canary Sing and their dope new song ‘Heroines‘. We proceed their cut with a short tribute to Shirley Chisolm who kicked down the doors for both Jesse Jackson and Barack Obama-She was the first to run for President back in ’72 around the birth of Hip Hop.

Also out of the Emrald City which has plethora of female emcees. To be honest we could’ve done a 25 Joints just with Seattle women-that’s how deep they’re rolling. Artists like Toni Hill, Felicia Loud, Southern Komfort, Sis Moni Tep, beyond Reality, Christina Orbe are just a few of the many. On this 25 Joints, we feature DJ B-Girl and her cut ‘Murder She Wrote‘ featuring Julie C and Sister Hailstorm. We also have pioneering emcee Laura ‘Piece’ Kelley and her classic song ‘Soundwave‘.

Queen Nasim

Right next door to Seattle is Portland which has a wealth of talent in the form of groups like Siren’s Echo. We featured Queen Nasim who has been doing her thing for minute with a song called ‘I’m Original’. It has that old school sound and feel. Because of Seattle and the NW’s deepness in talent we’ll probably have to do pt2 on the all female 25 Joints. So stay tuned.

The midwest came hard as we drop gems from artists like Invincible out of Detroit with her song ‘Regonize‘. her album ‘Shape Shifters’ is what Hip Hop should really be about. We have Nefertiti and with her slamming joint ‘Addicted‘ and San Jose transplant to Grand Rapids Brazen who has a wonderful spoken word song called ‘Grand Plight‘. Not to be missed isTMD who we’ll have to highlight next go round.

Also out the midwest and holding down Minneapolis is Maria Isa who we featured last year. Her piano laden Latin flavored joint ‘Die Not Kill‘ is pure butter.

Lastly we have Chicago native Lah Tere from the group Rebel Diaz. She’s currently working on a solo project. She laced us with a head nodding cut called ‘You Are‘

Mystic blessed us with an exclusive cut that will be a cornerstone to her upcoming album bearing the same title ‘Beautiful Resistance‘. This Grammy nominated artists has serious fire and deep insights to our minds and souls. Don’t sleep on her.

In the same vein is Pittsburgh native Kellee Maize who recently was cited as one of the best in the city that now calls itself ‘Sixburgh’ because of the Steelers 6 Superbowl wins. Last year Kellee hit us over the dome with an album called ‘Age of Feminine‘that centered on Women’s empowerment and spirituality She returns with a new song called ‘Third Eye‘ which takes us deeper.

Chuck D of Public Enemy has been backing an all female crew called Crew Grrrl Order. They came hard with a new song that pays tribute to the First Lady Michele Obama. Longtime producer Johnny Juice does a nice remix which accenuates these sister’s flows and lets us know that they will be around for a minute. he also gets busy cutting in excerpts from Michelle Obama

Mystic

Like Seattle the Bay Area comes deep with female talent. We have Mystic who we highlighted along with Jennifer Johnswho is on fire. The Conscious Daughters of course who we’ll feature on pt 2 are the best known names. But the Bay has a lot of folks like Aya De Leon, Joyo Verlarde, Kofy Brown, Goapele are just a few of the other names that are stellar in talent and presence.

On this 25 Joints we bring the spot light to Queen Deelah who comes out of East Oakland the the Silence the Violence Movement. She’s part of a larger collective of artists who have dedicated themselves and Hip Hop to stopping the carnage that plagues the mean streets of Oakland. Deelah’s song ‘Mind Yours‘ is dope and captures that vintage Bay sound.

Another up and coming talent starting to make noise is Kenyanna Bean. Her new song ‘Good Wit Me‘ is also popping. Like Queen Deelah Kenyanna is also out there making noise in the community trying to make a difference. Big shout out toSimone Nia Rae who could’ve also been on this episode if we had more space. She too is also a part of the new school of Bay talent. Her new song ‘Jealousy‘ has been featured on local radio stations in nearby Stockton. We’ll be rocking her in upcoming 25 Joints.

Jean Grae

As we close out we’d be remissed not to acknowledge the Queens from the Big Apple who are seriously on point. If you never heard of Tiye Phoenix you’re slipping. her joint ‘Nicewitis‘ lives up to its name. When her project finally drops, I guarante she’ll be turning Hip Hop upside down. She’s joined by Jean Grae which whom no all female showcase would be complete without her in the building. Grae can do no wrong when she touches the mic. Her song Supa Jean makes you wonder why people have been overlooking her.

Eve, Queen Latifah Isis aka Lin Que hold us down with some classic joints from their catalogue. We also have a dope joint from Hip Hop MC Lyte produced by DJ Premier called ‘Wonder Years‘. That song which dropped in 07 is vintage on Breakdown FM. Medusa is also a pioneering figure from the west coast who is still snatching heads when she gets on the mic. She’s blesses us with a new song called ‘Cali Fame‘ which proves that assertion.

Zulu Queen Rha Goddess and Sarah Jones show us just how potent spoken word can get. The lyrics to the songs ‘Revolution‘ and ‘Immaculate Conception‘ will make a whole lot of artists step up their lyric game.

Catch this weeks show by clicking the link below:

Press here to listen to pt of our four part series:

01-Canary Sings ‘Heroines’ (Seattle)
02-Kellee Maize ‘Third Eye’ (Pittsburgh)
03-Isis ‘Rebel Song’ (NY)
04-Jean Grae ‘Supa Jean’ (NY)
05-Eve ‘Life Is So Hard’ (NY)
06-Mystic ‘Beautiful Resistant’ (Bay Area/ LA)
07-Laura ‘Piece’ Kelly ‘Soundwave’ (Seattle)
08-Nefertiti ‘Addicted’ (Grand Rapids, Mi)
09-DJ Vadim w/ Sarah Jones ‘Revolution’ (NY)
10-DJ B Girl w/ Sista Hailstorm & Julie C ‘Murder She Wrote’ (Seattle)
11-Queen Latifah ‘Latifah had It Up To Here’ (NY)
12-Rha Goddess ‘Immaculate Conception’ (NY)
13-Rocky Rivera ‘Go There’
14-Cihuatle Ce ‘Dreamaah’15-J Ross Panelle Queendom
16-Invincible ‘Recognize’ (Detroit)
17-Crew Grrrl Order ‘Official First Lady (Johnny Juice Remix)
18-Macy Gray w/ Mos Def “I Committed Murder’ (gang Star rmx)
19-Tiye Phoenix ‘Nicewitis’ (NY)
20-Mala Rodriguez ‘Ajierro’ (Spain)
21-Queen Deelah ‘Mind Yours’ (Oakland)
22-Bernice King & Sister Souljah meet the Rhondo Brothers (interlude)
23-Medusa ‘Cali Fame’ (LA)
24-Jennifer John ‘Painting on Wax’ (Bay Area)
25-Queen Nasim ‘I’m original’ w/ Rosa Clemente (Portland)
26-Maria Isa ‘Die Not Kill’ (Minneapolis)
27-Lah Tere ‘You Are’ (Chicago/NY)
28-Brazen ‘Grand Rapid’ (San Jose/ Grand Rapid)
29-Kenyanna Bean ‘Good Wit Me’ (Oakland)
30-J Ross Panelle ‘Hey There Sister (Reno)
31-Antia Tijoux ‘Crisis un de MC (Chile)
32-Hopispitshard The Trunk’
33-Psalm One ‘Let Me Hear’

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Graf Writer Refa1 Speaks About UpComing AeroSoul 2 Event in Oakland

February 2, 2011 By

This Friday February 4th will be a Historic Moment in Hip Hop. It’s the kick off to the AeroSoul 2 which has been described as a Moral Boost for the Hood. It’s noted as:

This is the First African Mural Diaspora conference in colonial history..It’s  HipHop PanAfricanism Rising to advocate for Black youth. Joining us will be the finest Artist that the Spraycan Art genre has to offer in way of Talent and commitment. There will also be a HipHop Drum Circle on the Turntables provided by The Universal Zulu Nation & DJ 12vles. Dancing… Art… Cultural craft vendors(please bring $ome dough) that will have FRESH & rare items.

Please come out and support the roots of a surging life filled movement. There will also be light horsd’oeures
served throught the evening and the fun will be unceasing. Let’s Bring peace back to Oakland in
style.

We spoke with well known graf writer and freedom fighter Refa 1 who came to our studios and spoke with Hard Knock Radio about the importance of this conference and what he and the scores of artists many of them pioneers who are coming from all over the world hope to get across..He shares with us the impact writers have been having on youth in Oakland. He also reminds us that Hip Hop has been grossly peverted by corporations and thats its time for people who are grounded in the community  to reclaim the culture.

Here’s the link to the show http://www.kpfa.org/archive/id/67255

Please view the trailer and follow the links.
http://www.youtube.com/watch?v=HpGMKA4synE

check web page for schedule changes for the monthly calendar.
http://aerosoulart.com/

Here’s Refa speaking at our class at SF State

http://www.youtube.com/watch?v=tnHB9VSbmpY

Below is more information on this event…

On the corner of 14th and Campbell in West Oakland, one lone aero soul face sits on

the corner of a wall. The face, once part of a larger mural in progress, is all that remains

of the monument to a fallen young man in the neighborhood.

Along the BART corridor near 51st and Martin Luther King Jr. in North Oakland, a painting

of a smiling winged young Black man emanating from rays of light once dawned the

concrete column. It was painted near the very spot where young Gary King ran,

unarmed and in fear, before police bullets entered his back.

From The Corner of 17th and Broadway in Downtown Oakland the beaming face of

Oscar Grant Jr. gleams among roses and sunbeams, a tribute to his untimely death on

a BART platform one New Years day.

With violence claiming their lives daily, many city walls are becoming RIP monuments

for youth instead of a celebration of their existence. Now, re-imagine walls filled with

color and wisdom. Walls for miles etched with the sacred scribings of imagination.

Stepping forth to foster such a vision is the Bay Area Aero Soul Heritage Society, which is

dedicated to reclaiming city walls to foster positive mural projects for youth suffering in

violence-torn communities.

Murals are a lively and engaging way to connect with young people and to create a

positive community environment. THE BAAHS is galvanizing Seasoned Writers to mentor

youth in the art of Spray Can Calligraphy as a way to curb the crisis of staggering

violence and toxicity facing young people in many Urban communities across the

country.

In honor of African History Month The Bay Area Aerosol Heritage Society is proud to

present the second AeroSoul event “AeroSoul 2011” which will kick off on February 4th at

the Joyce Gordon Gallery in Downtown Oakland, CA, and be followed by a month-

long series of events including an artist panel, slide show lectures, youth art workshops,

live painting, and educational seminars.

With over 40 well-known Muralists from around the globe, this artistic consciousness-

uplifting endeavor is advancing to bring forward a movement dedicated to fostering

peace, mutual love and healing.  A movement that will enlighten the minds and spirits

of the community at large, sending shock waves of change to a society in desperate

need of social face-lift.

AeroSoul 2 will showcase some of the most cutting-edge, dynamic Black Urban

Calligraphers in the world, featuring artists from Writing’s east coast origins to the new

lettering stylists of the day. Participating and invited artists include: Case 2, Pose 2,

Mode2, Mad Hatter, Refa 1, CRE8, Toons, and Many More.

Participating artists will demonstrate the creative benefits of the art form, and promote

the essence of Writing culture, including how it is a means to address many of the social

ills facing the black/brown community today, as well as a tool for collective

empowerment and cultural liberation.

This historical event strives to give recognition to the visionary creators of this urban

craft. The fact that these contributions are rarely shown in their proper historical context

if acknowledged at all has also been a driving force to bring these gems to light.

Oakland Youth, as well as youth across the nation, are facing critical times and taking

responsibility as a community is vital if positive energy and peace are to become the

new driving force in our city streets.

The Bay Area Aerosol Heritage Society actively promotes non-violence and youth

empowerment through Art and Hip Hop culture. BAAHS, founded in 1999, is an

organization created to foster community enlightenment in the city of Oakland. Their

mission is to promote positive youth development and knowledge of culture and the

arts with an emphasis on Bay Area Spray-Can History.

AERO SOUL ART 2: SATELLITE YOUTH ART EXHIBIT (FEBRUARY 1 – MARCH 4TH 2011)

February 25h, 6 PM, Janina’s Posh Pieces Studio: Reception, screening and discussion on youth

art and Hip Hop culture.  This satellite Art Exhibit will showcase art by the TCB Crew as well as

work created by East Bay Students, including a special showing of work by youth involved in art

programs at the San Francisco Juvenile Hall Facility.  The reception will also feature a screening

of “Urban Hieroglyphics 3”, a work in progress produced by Chocolate Beats Media and Royal

Crownz.

JANINA’S POSH PIECES STUDIO, 3824 Telegraph Avenue, Oakland, CA 94608

Filed Under: 2011 Daily News Tagged With: , , , , ,

Classic Hip Hop Mix: When in Doubt All Beats Count

January 21, 2011 By

Here’s another classic Breakdown FM All day Play FM Hip Hop Mix to get you through the weekend… Some of the tracks include: MC Lyte ‘10% Dis’ , Lost Boyz ‘Music Makes Me High’, Ice Cube ‘Who’s the Mack’, Outkast ‘Playalistic’ and Ice T ‘Colors’ are just a few of the fe joints.. 

You can peep the mix on mixcrate.com … 

http://www.mixcrate.com/mix/29933/Davey-D-When-In-Doubt-All-Beats-Count/ 

Click Here to Peep the Mix

Filed Under: 2011 Daily News Tagged With: , , , , ,

Keeping It True School-An Interview w/ Monie Love

February 4, 2007 By

This is a great interview done by my boy Tony Muhammaed down in Miami Florida. He sits down with a true Hip Hop legend Monie Love..

In the beginning of January UAN had the distinct honor and pleasure of meeting with London-born Hip Hop pioneer Monie Love at The Marlin Hotel in South Beach for a fun filled True School Party, featuring super dope DJ and producer 9th Wonder on the 1s and 2s, where we reminisced while jamming to 80s and 90s Hip Hop and R’N’B hits all night long. Without question, Monie has come a long way since back in the late 80s and early 90s when she hooked up first with the Native Tongues Crew and later with legendary producer Marley Marl, producing vibrantly spunky jams that were guaranteed to “hype up the party.”

At age 36 and being the mother of three children, the Monie of today is a much more mature Monie, not only on a personal level but with her level of consciousness of how the industry works, landing work as a DJ on an MTV game show in the 90s and as a morning show radio personality in Philadelphia in recent years. This interview was very timely as it came two weeks after Clear Channel 100.3 and Monie had a “falling out.” It is speculated throughout the industry that this was actually an act of termination in response to an on-air argument Monie had with Young Jeezy just weeks prior.

It is believed that the incident ruined some “back door” payola (pay to play) agreement between Jeezy’s label or management and the radio station. With the overall message of Nas’ new album sparking endless debates among Hip Hoppers everywhere, it found itself in a big way at the radio station that morning. What was supposed to be a discussion promoting Jeezy’s new album turned into a debate about whether or not “HIP HOP IS DEAD” and whether or not Nas truly has “street credibility.” Based on the manner in which Jeezy interacted with Monie on the air, you could tell that he did not have a good idea who she was. Throughout the interview, Jeezy continuously disrespected her; first by questioning her background (being from England) in relation to Hip Hop and second by constantly interrupting her when she was about to respond to his statements. After Monie lashed out at Jeezy by explaining why she felt that “HIP HOP IS DEAD,” Jeezy walked out of the station (Peep the discussion on Odeo.com for yourselves).

Beforehand, Monie and I agreed that the interview was not going to be focused on this incident that has had Hip Hoppers talking all over the World Wide Web through e-mails, blogs and message boards. Yet, if you pay close attention to Monie’s commentary she makes some very strong general statements about Hip Hop artists of today that truly do not have knowledge of Hip Hop’s history (probably referring to Jeezy) and how commercial (terrestrial) radio and media has played a strong role in dividing the Hip Hop generation of 15 years ago from the Hip Hop generation of today. This is a very powerful and emotion filled one and one that is sure to get Hip Hop fans all over talking. Next month, look out for another powerful interview with co-founder of True School Corp., 9th Wonder of Little Brother. For now, enjoy this exclusive piece:

UAN: What is True School Corp. and how are you involved with it?

Monie Love: True School is an organization put together by several college alumni and one of them being the youngest set of alumni which is 9th Wonder, producer and DJ and member of the group Little Brother. I have been a member of the organization for about a year exactly and what the true school movement is about is creating a venue, whether it is a place to go, station to listen to, music to listen to for the non-represented Hip Hop fans which I would say range from about 23 and up. Many of them really don’t feel represented, especially 25 and up. Many of them really don’t feel like going out.

I love Hip Hop and I listen to it in my car and in my house, but I feel like I can’t go listen to it in a club because I’m going to find myself fighting to get in the club. So, what we are trying to do is create a venue and a forum for them to let them know that there is an audience out there that is just like you and we need to represent ourselves and we need to create venues to go out and party. We need to create stations and music formats that we can listen to that play the kind of things that we want to hear. It’s crazy to me how you can find 15 and 16 year old kids wearing a Led Zeppelin t-shirt and knowing the lyrics to a Rolling Stones song. That doesn’t happen in Hip Hop. It doesn’t happen because we don’t carry our own traditions, which True School Corp. is definitely an organization interested in carrying on tradition and passing it down.

UAN: I heard Chuck D once say that many in the older generation have compromised planting little seeds of knowledge on the youth in exchange for “looking good.” Would you agree with this view?

Monie Love: Absolutely and wholeheartedly! You know, speaking for myself, I do not compromise.

UAN: We know that for a fact!

Monie Love: I do not compromise, but in general for my generation a lot of us do compromise. We are so fixed on remaining in the 18 to 34 bracket or even younger that we end up not focusing much on the 34 end of it. Many of us are paying much more attention to the 13 or 14 year old age bracket and do not realize that it is not our audience and they aren’t really interested. It’s crazy that a lot of the kids are fixed on a lot of the snap dancing and all of that, but you put on some “boom bap” sh*t on, they do not know what to do. They do not know how to dance to it. It’s the craziest thing to watch because it’s like “Oh my God!” This came out before the snapping. The “boom bap” came first. It just bugs me out how these little white kids know about Led Zeppelin and the Rolling Stones and Def Leopard.

UAN: Well, a lot of the young white kids now know about the history of Hip Hop.

Monie Love: That’s ludicrous to me and we are partly … I wouldn’t say that we are 100 percent to blame because we are not. Radio has given a lot to Hip Hop and taken away from Hip Hop because radio has assumed the position of dictating what’s “in,” what you should be listening to now, what is “old school” and what is “too old.” Radio does that. TV does that. TV video shows do this. Media does it in general. Media does this by eliminating talent; creating hierarchy within Hip Hop … you could go as far back as Ed Lover not doing Yo! MTV Raps anymore. (Yo! MTV Raps had its final episode in August 1995)

UAN: I remember at one point MTV moving the show (Yo! MTV Raps) at some crazy hour in the middle of the night and Ed Lover and his partner Dr. Dre looked angry and were actually saying some things real negative things about MTV, about how messed up they were being treated.

Monie Love: Yeah, that was towards the end. You can even bring it up to speed more recently with BET getting rid of AJ and Free. They were the landmark of 106 & Park. Basically, media has this real fickle attitude towards Hip Hop and as far as it being on TV and on radio; they determine that someone is too old to be delivering it anymore. There’s no too old! It’s ours and it belongs to us! So we can be old, freakin’ grand parents, which some of us are. Like the set before me, they’re now grandparents. It’s ours and it belongs to us and it will be ours until we die therefore there is no better messenger for its history to come from than from us. The stories of old Hip Hop shows, of when this one got on stage and this one was at the park jams … because it all brings it up to speed. Everyone and everything has a history. You can not act like it doesn’t exist because then you’ll just sit there and ask, “Well, where did Hip Hop come from?”

UAN: Right! …. Uuummm … RUN DMC? (Laughs)

Monie Love: You know what I’m saying? … And yes, you know, right! But a lot of these kids can’t even sing a RUN DMC song from start to finish. It’s ridiculous and it’s stupid and it partly has to do with how media handles Hip Hop and promotes it like some disposable music form.

UAN: I remember back in the day when MTV had segments called “Closet Classics” and they would show TV broadcasted performances by Rock artists from the 60s and 70s. Even though kids that were into hard Rock in the 80s didn’t really grow up with Black Sabbath, yet and still many of them were very quick to identify a personality such as Ozzy Osborne as “God.”

Monie Love: That’s exactly what I’m talking about. Now, the other end of the responsibility comes from us, myself, Chuck, Flav, Ed Lover … you name it! It is partly our responsibility to do as Nas says on the Hip Hop is Dead album. On one of the tracks, he talks about carrying on tradition. We have to do that! It is our responsibility to do that. We have not been doing that! So, partly what is happening to some of the youth who are not Hip Hop fans … and you can tell someone who is making music today and put records out and are not Hip Hop fans … and the easiest ways to detect one of these people is if they have absolutely no clue of people who came before them. And not just knowing the obvious cuts it. Everyone pretty much knows about RUN DMC, Doug E. Fresh and Slick Rick. That’s not hard. When you start getting into Sweet Tee and Jazzy Joyce …

UAN: Well, let’s take it back to Kool Herc and Bambaataa.

Monie Love: You know what I’m saying? Let’s talk about Diamond D, Boot Camp Click … all of these people. You need to know this kind of stuff! If you don’t know this kind of stuff then you’re not really a fan and if you are not a fan, then what the f*ck are you making Hip Hop music for?

UAN: Generally what artists today would you consider to be “True School?” What is the definition of “True School?”

Monie Love: Everything that you do not hear on terrestrial radio!

UAN: Well, what about someone like say a Busta Rhymes who is still trying to maintain the appeal of the younger audience? And some may argue that he has gotten legally in trouble for trying to lead the particular lifestyle he is now rhyming about. For instance, on his most recent album, on certain songs he mentions how he is a crack dealer. How do you view this?

Monie Love: Actually, Busta had his stint with that and was constantly getting into trouble as a young kid. Young kids find themselves sometimes walking a path that they have no business walking along and can get in all sorts of trouble. Some get saved, others don’t. Busta got saved through family and friends, through people that loved him and his group Leaders of the New School … But, I can tell you that Busta did have his stint of walking the wrong path totally.

UAN: So what would you say about the content of the album?

Monie Love: I love Busta’s album. Busta is able to mix it up. In listening to that album you can tell that he is able to bridge the gap with the youth today without artistically selling out where the hell he comes from. In order to do that all you have to do is listen to track number 8 which is a cut with him and Q-Tip.

UAN: What are your views of what may possibly be the future face of MTV as far as Hip Hop goes – the more abstract and content filled underground genre of artists?

Monie Love: I totally agree that there is a tremendous amount of talent out there that has not been tapped into yet. They are the emcees of the future and they are the people that are going to carry on Hip Hop for years to come. I would like to think that they would learn from their predecessors as far as … It doesn’t make sense saying anything if no one is going to hear it. If you make things so tremendously difficult to understand and you spend time constantly only within your own ciphers that have the same mental orgasmic intensions with their lyrical content people outside of your circle aren’t going to listen to you. You need to broaden what you say in order to bring some people in and understand what you are doing.

UAN: Right now, for True Schoolers, what is the best way to bridge the gap between generations?

Monie Love: By carrying on tradition, by passing the stories down, by creating an environment that people can get to their 30s and not think “Oh well, I need to hang Hip Hop up now. There’s nowhere for me to go and nothing for me to listen to.” That’s crap! There is an entire legacy of music, whether it is R’N’B or Hip Hop or whatever. There is a legacy of music that needs not be forgotten and therefore tradition can be carried on into the following generation. Those Hip Hop heads that are saying things that are so intricate and so crazy and so deep that the masses outside of them don’t understand, broaden your horizons, flow in a manner that you can invite others from the outside and what we are doing right now as the older heads is we are trying to create an environment that will set the tone so that when your sh*t comes out and your sh*t has had its run and your sh*t is now old, there is an environment for your sh*t to continue being heard!

For more info on True School Corp, visit www.trueschoolcorp.com.

source:http://www.uannetwork.com

Filed Under: 2009-Daily Hip Hop News Tagged With: , , , , , , ,

Turning Outrage Into Power-National Hip Hop Political Convention

August 16, 2006 By

National Hip Hop Political Convention-nhhpc

Turning Outrage Into Power
By Malik Cooper, WireTap

Alternet — August 16, 2006

www.alternet.org/story/40441/

Saying hip-hop is global now isn’t telling you
something you don’t already know, unless you have been
living under a rock since Planet Rock first dropped.
But using the art form for political gains is something
new, and spearheading this movement is the National Hip
Hop Political Convention (NHHPC).

The 2006 NHHPC in Chicago — the second biennial
convention — opened on July 20 and over the course of
three days engaged over 1,000 participants in the
debates over issues like misogyny in hip-hop, media
justice, the aftermath of Katrina, grassroots activism,
organizational leadership and electoral politics. The
convention closed with a concert on Saturday featuring
Dead Prez, Chicago Poets and Boots Riley among many
other artists.

NHHPC was founded in late 2002 when some elders pulled
organizers from all over the country for the first
national convention in New Jersey that aimed at
creating a political agenda for the hip-hop community.
I first got involved at this time, as we worked at
finding the issues of our community. Born and raised in
California’s Bay Area, I had been speaking publicly
since a young age, but became really active when I
finished filming MTV’s Real World series. After the
show I traveled as a motivational speaker to colleges
and got involved with youth organizations committed to
the fight against Big Tobacco. Through a good friend I
got invited to the Bay Area’s Local Organizing
Committee (Bay-LOC) meeting, and began to get involved
in hip-hop politics.

Like other local organizers around the country, we went
around our community with issue sheets for people to
fill out, which we used to create a state agenda.
During the state convention individuals from over 30
states and Puerto Rico came together and created a
national agenda. By February 2005, a group of different
LOC members had a retreat in Atlanta and formed a
national body with a steering committee whose goals
were to help bring local groups together and facilitate
any national work that needed to be done.

After Bay-LOC returned to California, we began to
organize a local Hip Hop Summit at Laney College in
Oakland in September 2005. One day of workshops and a
concert, which included performances from Dead Prez and
E40, attracted thousands. We had support and speeches
from Rep. Barbara Lee and Bay-LOC’s own Dereca
Blackman, and handed out voter guides, which we rewrote
in new language that identified with the hip-hop
generation.

Around the same time, the Chicago-LOC began working as
a host committee for the next convention. It was up to
them to handle the event program, and the event’s
success can only be attributed to their hard work.

The convention itself started with a dialogue between
organizers of past movements like Civil Rights and
Black Power, including Fred Hampton Jr. (Prisoners Of
Conscience Committee), Cliff Kelley (WVON Radio Host),
Angela Woodson (Federation of Democratic Women), and
writer and activist Amina Norman-Hawkins. Organizers
both young and old felt this was needed, since many
believed the torch was never passed on to the new
generation.

Hip-hop politics today — as I see it — identifies
strongly with the Black Power movement; the lyrics in
conscious rap resonate with ideals of Malcolm X and
self-determination. The Bay Area especially identifies
with the Black Panthers since its roots are found here.
But all over the globe — and even in early days of
hip- hop, when most music came from New York — lyrics
focus on the social ills and mistreatment of people of
color in this country. The same “@#%$ the system”
attitude gave birth to gangsta rap. And although the
majority of it now focuses on the material and the
misogynistic, early pioneers of the art form told the
world what was going on or was absent in their
neighborhoods. In other countries like Brazil,
Venezuela, Cuba — today more than ever — hip-hop
serves this same purpose.

Not everyone at the convention represented a LOC, and
with the alliance building that had been taking place
since the NHHPC’s inception, I saw other hip-hop groups
like the Hip Hop Congress represented there in full
force, leading workshops and hosting the concert piece.
The League of Young Voters had a huge presence, and not
only helped raise money for the convention but also
taught workshops on branding the hip-hop political
movement, lobbying, base building and electoral
politics.

The first day’s workshops seemed geared at creating
better methods of organizing the organizers. Panels and
workshops focused on alliance building, using art for
activism, political prisoners, organizing against war
and occupation, hip-hop and gender politics,
nonviolence strategies, and the use of electoral
politics.

On that Friday afternoon, a jam-packed room of folks
from all over the country listened to Kali Acunu
(Jericho Amnesty Movement), Troy Nkrumah, (chair of the
NHHPC steering committee), and chairman Fred Hampton
Jr. (Prisoners Of Conscience Committee) talk about the
many political prisoners that are currently
incarcerated. Harman Bell, Kamau Sadiki, Zolo Azania
Ojora Lutalo, Rodney Coronado, and Veronza Bowers were
a few of the names mentioned. Rapper Immortal Technique
event came in and voiced his support on the issue, and
it definitely was one of the most informative panels.

Saturday, July 21, seemed to begin with many issue-
based workshops and panels on education, criminal
justice, health and wellness, Katrina, immigration,
gender rights, white privilege in hip-hop, and media
justice. The media justice panel included Lisa Fager
(Industry Ears) and Davey D (Hardknock Radio/Breakdown
FM), who talked about a variety of subjects like the
media’s control over hip-hop and net neutrality. The
immigration and gender rights were two new issues added
to the 2006 agenda. I led the panel on gender rights,
whose purpose was to expose some of the misogynistic
rap lyrics in a social context, allowing participants
to better understand why the popular rap pushed by
record executives and radio stations seem so focused on
portraying negative images.

After the panels were over, a concert was thrown with a
battle between local folks. Using all the elements of
hip-hop, from rapping, break dancing, DJ-ing and
graffiti, crews took to the stage to compete for a
$1,000 prize. Afterward, local conscious artists like
Akbar, and national artists like Dead Prez and Immortal
Technique gave amazing performances. Even Chicago’s
rain and thunder could not clear the crowd formed at
Mandrake Park.

Sunday was a day for the national steering committee to
hear the voices of participants. Delegates representing
different LOCs, artists and organizers for different
groups were allowed to change the agenda and recommend
action steps that the LOCs can take home and start
implementing. The location for the next convention will
be announced soon. Will it be back East in New York,
down South in Atlanta, out West in the Bay Area, or
will newly formed but highly active Las Vegas LOC take
the 2008 to its Red State? We shall have to wait and
see.

The organization as a whole has a talent at balancing
the varied political views of its members, some of
which seek to fight for social justice through
electoral politics, while others seemed more determined
to fight through grassroots activism. The way these
varied ideologies have still found a way to work
together for a common goal is why the NHHPC is still
going and growing strong. The structure with no leader
but still led strong through the local organizing
committee gives this organization a type of strength
that I have not seen in many other organizations that
function more top-down. I believe this unique model
will help keep their work relevant, and the
organization intact.

===
For more information about the NHHPC, or to learn how
to start a LOC (Local Organizing Committee) in your
area, go to HipHopConvention.org.

[Malik Cooper is the national spokesperson for the
NHHPC, as well as a Bay-LOC member. He also owns a
silk- screening and embroidery shop called People’s
Choice Printing.]

Return To Davey D’s Hip Hop Corner

Filed Under: archive articles, Hip Hop and Politics Tagged With: , , , , , ,

MC Lyte is Still Lyte as a Rock Our Intv w/ a True Pioneer (Breakdowm FM)

January 6, 2006 By

There aren’’t enough words to describe the importance of one of Hip Hip premier emcees MC Lyte. Nor is there enough space in this column to lay out the long list of accomplishments attributed to her. One thing is certain, if there’s a Hip Hop Hall of Fame, MC Lyte is definitely in it.

If there’’s an official list that lays out Hip Hop’s top 20 Greatest Emcees of All-time, MC Lyte is definitely on it. When we look back and ask ourselves who made a significant difference in Hip Hop? Who changed the game? Again MC Lyte’’s name will be front and center.

We caught up with Lyte not too long ago and spoke to her about all that she has accomplished. We talked to her about the early stages of her career when she introduced herself to the world while still a young teen with a landmark song called ‘I Cram To Understand’ which dealt with the crack epidemic’.

We talked to her about her evolution from rapper to actress to social activism to book author and to business owner. For those who don’’t know, long before P-Diddy, Jay-Z or any of today’s high profile mega-rich rap stars hit the scene opened up businesses, MC Lyte had her own including the Harlem Cafe restaurant and the Duke the Moon management company with former X-Clan rapper Linque.

Today Lyte now owns a female clothing boutique in North Hollywood California. Her social activism has just seen her launch a successful Hip Hop Week at Spelman College in Atlanta where she lead nightly discussions about negative images in Hip Hop and the ways in which women can change things.

She appears regularly on TV shows including on the WB network. She’’s gotten critical acclaim for her work in the movie Civil Brand which focuses on the nation’s increasing female prison population. But most important of all MC Lyte is back on the scene with new music including popular new joints like ‘Juke Joint’ and the popular DJ Premier produced track called ‘The Wonder Years’. A quick listen lets anybody who had any doubts that after rocking the mic for almost 20 years this Grammy nominated emcee still has all her skillz in tact and will put heads to bed if you step to her on the mic..

Here’s a brief rundown of our in-depth interview… We started out by laying out the long list of MC Lyte’’s accomplishments and we spoke about her new book which is aimed at improving the lives of teens called ‘Just My Take’. Lyte noted that it was important for her to set a good example and share words of inspiration with young people who are often overlooked and expected to somehow find answers to important problems on their own.

In part 2 we spoke to Lyte about the negative images found in rap and the way women are portrayed in videos. We spoke about the driving forces behind such imagery. Lyte noted that money is at the root of all this and that many executives are out to make a quick buck, while other decision makers are simply out to keep their jobs with little or no concern about the impact they are having on the community and the rest of the world.

She explained that the exploitation is such big business that when women who wish to show another side and express their intelligence it is somehow perceived as strange and out of the ordinary. She cited the behind the scenes struggles of fellow rap artist Eve who found that her songs which talked about dancing or sex would get highlighted and pushed by the record company while more meaningful songs which focused on important issues like domestic violence would be pushed to the back.

She speculated that such decision making led to Eve focusing her attention on acting. We ended this segment of our interview by asking about her song ‘Georgy Porgy’ which is considered a Hip Hop classic and whether or not the story she raps about was true. She said it wasn’’t, but she understood how one could come to that conclusion. Lyte explained that she came up in an era where it was critical for rappers to talk about something and that she learned to be a good story teller. We spoke about how that is a lost art in today’’s world of Hip Hop.

In part 3 of our interview we spoke about Lyte’’s decision to do the song ‘Ruff Neck’ which talks about her love for the ‘Boyz in the Hood’ and interestingly enough got nominated for her Grammy while her other songs which focused on drug addiction and sexism were by passed. She noted that she wanted to do a song that gave praise to the cats on the block, but she has no desire to actually kick it with Rough Necks. She noted that she hopes that maturity and change of heart and lifestyle has come upon those individuals who she would have applied that label when she first did the song. Lyte concluded that she had no regrets in doing the song even though she understands that it may have been a bit misleading in terms of what she values.

She went on to note that her one regret was releasing battle records like the landmark song ‘10% Dis’ that were directed at other female emcees. She regretted the fact that far too often these verbal conflicts were fueled by men who thought it would be financially viable and entertaining to pit the few females out on the scene up against one another.

We also talked about the tradition of artists causing controversy by releasing battle records when they first came on the scene as a way of getting known. She acknowledged that the battle records was a way that artists like Roxanne Shante and Salt-N-Pepa got their names out there,

Lyte pointed out that up to this day many record labels seem to have a problem putting more then one female on their rosters. She explained that Sylvia Rhone who headed up her record label was the only executive to have more then one female artists. She said YoYo, Missy Elliott and herself all shared the same label, but even in that case the label was careful to spread out the time in which their albums would be released thus ensuring that only one woman would be on the scene at a time.

In Part 4 of our interview we changed focus and spoke to MC Lyte about her acting career and her social/political activism. She went into detail about the movie Civil Brand and why she felt it was important to be part of an ensemble cast that focused on the raising prison population amongst females. She wanted to help change the false perception that being criminal and going to jail was a cool thing and a rite of passage.

She also explained that Civil Brand was produced on a shoe string budget and did not have all the expensive bells and whistles that is often attached to movies. She explained that good substance was driving force behind that movie’s success and that rappers should borrow a page from that philosophy. She noted that over the years the music industry has stopped looking for talent and started focusing image which is not a good thing.

In part 5 of our interview MC Lyte talked about her desire to forma coalition of women to work together within the industry. Currently her and YoYo are working on re-launching The IBWC ‘Intelligent Black Woman’s Coalition’. She also talked about being a role model and the challenges she has when the industry seems to be rewarding and enticing people to go in the opposite direction. She also talked about her new projects including the new albums as well as her businesses and how they came into being.

Below are pts1 and pt2 of our Breakdown FM intv w/ MC Lyte

http://www.youtube.com/watch?v=1GxyhI-QyH0

Podcast: Play in new window | Download

Filed Under: Breakdown FM Interviews, Hip Hop Articles 2006, Hip Hop Pioneers Tagged With: , , , , , , , ,

Seattle’s The Stranger Publishes A Racist Hip Hop Article

May 17, 2004 By

Davey D Archived articleWell known Seattle DJ- B-Mello alerted us to this incredibly racist article that recently appeared in ‘The Stranger’ which is supposed to be a weekly ‘Progressive‘ Newspaper. According to B-Mello the regular Hip Hop Columnist, Samuel L. Chesneau was let go from the newspaper after he missed his deadline. He wrote a weekly column called ‘The Truth’. Apparently he was on tour managing a group. From the looks of the article, The Stranger decided to bring in a substitute columnist and Stranger editor Dan Savage who calls himself a ‘cocksucking, musical theater’ fan.

My guess is that the substitute column was written poorly with the attempt to recruit new writers and alert readers just how bad Hip Hop will be treated without a qualified writer. For example, he writes about his experience in listening to a DJ Spinna CD where someone is Beatboxing and how it sounds like a fart. This ‘faked’ clueless approach to Hip Hop music is somewhat understandable although lame, gets the point across. The newspaper needs a Hip Hop writer. What wasn’t excusable was Savage referring to a colleague as ‘Scholar Nigger’.

Apparently there’s a guy on The Stranger’s staff named Charles Mudede who goes around the office calling himself ‘Scholar Nigger’. This in turn led to Savage feeling comfortable enough to refer to him throughout the article by that name.

It’s bad enough that we have folks running around that think its ok..to use the ‘N’ word in mixed company. That’s an ongoing debate within the African American community. It gets compounded when it shows up in public discourse because now when folks start to object and point out how offended they are, the person using the term-in this case Stranger editor Dan Savage can smugly refer back to his colleague Charles Mudede who likes to call himself that. I’m not sure if Mr Mudede is African American or not, the term is still offensive.

Lastly what makes this incident even harder to deal with is that the formal spelling of the ‘N’ word is used. Most people who insist on blissfully using the word like to make the claim that when they use the word they are spelling it N-I-G-G-A as opposed to N-I-G-G-E-R. I’ve been on dozens of panels and discussions where rap artists and others insist that there’s a difference in the use of the word. The NIGGA spelling is supposed to be the Hip HOp, more friendly-terms of endearment spelling while the NIGGER spelling is the racist term. I have no idea who came up with this rule. I don’t agree with it at all, but nevertheless, that theory goes out the window with respect to this article in the Stranger.

This guy Mudede refers to himself as NIGGER and the editor Dan Savage references him with that particular spelling. Hence no matter how you slice it and no matter who many mind games we play with using this word as a term of endearment and pointing out its dual meanings-Savage and The Stranger crossed the line. Shame on this Mudede cat who allows himself to be referred to as a Scholar Nigger

Here’s the offensive article..
———————–

THE LIE
The Hiphop Tipped Over
www.thestranger.com/current/hiphop.html

Editor’s Note: The Stranger is currently without a hiphop columnist. Until we find a new one, Stranger editor–and cocksucking musical theater fan–Dan Savage will be filling in.
“I’m fascinated by rap and by hiphop,” Democratic presidential hopeful John Kerry recently told an MTV reporter. “I think there’s a lot of poetry in it. There’s a lot of anger, a lot of social energy in it. And I think you’d better listen to it pretty carefully, ’cause it’s important.”

I have to admit that Kerry’s comments cut me to the quick. Was I less hip than a U.S. senator who appears to have been born with a silver stick in his ass? The only hiphop performance I’d ever seen was that rapping granny in The Wedding Singer. Worried that I was missing out on an important art forum infused with poetry, anger, and energy, I asked Charles Mudede, Stranger staffer and self-confessed “scholar nigger,” to make a CD for me featuring a selection of hiphop tunes.

The first song was DJ Spinna’s “Hold.” It opens with what sounded like a fart–not one of those moist buttock-flappers that you might hear on The Howard Stern Show, but a tight, dry toot, the kind of fart your mother might cut in church. I asked Charles about what this fart sound was and he said it’s the “beat,” created by a “human beatboxer,” and not flatulence. Who knew? Then came Lifesavas’ “Me,” which was almost… music. The song opens with an actual, identifiable musical instrument: Someone is playing the piano! Then, unfortunately, the song proper started, a different human beatbox started farting away, and the piano was almost drowned out.

Oh, hey, we’re running out of space. My final duty as your hiphop columnist is to mention some “fat” shows coming up this week. Lifesavas will be performing with their pianist–I hope–at Chop Suey on Thursday, May 13. In fact, let’s hope only the pianist shows up. Friday, Cool Nutz performs at Premier. I didn’t listen to his CD, but I read through Cool Nutz’s press materials and all I have to say is that this man has a very high opinion of his own talent. He is, he tells us, “the epitome of creativity.” (It rhymes but is it true?) And Tuesday, May 18, John Kerry and other hiphop fans will pour into Chop Suey to see DJ Spinna play a free show, complete with pre-recorded fart effects.

Editor’s note again: You see what we’re left with here? Our old hiphop columnist ran off to be in an Eminem cover band, and Dan “I can write about anything in a half hour or less” Savage forces us to let him fill in. Do you have a strong voice in your writing and think you know more about local/national hiphop and can write better than both our editor and Charles “scholar nigger” Mudede? Mail in a cover letter about yourself and clips of your writing to Savage Knows @#%$ About Hiphop, c/o The Stranger, 1535 11th Ave, third floor, Seattle, WA 98122. Now. Please.

Filed Under: archive articles Tagged With: , , , ,
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