This documentary honors the evolution of beat boxing juxtaposed against the final day of competition to crown the first American beat boxing champion. On the judging panel are Rahzel the “King of Noise,” Parrish Smith of EPMD, as well as Jarobi White of A Tribe Called Quest. After the screening there will be a talkback with Director Manauvaskar Kublall, producers Richard McKeown, and Chesney Snow. Presented as part of the Schomburg’s Hip-Hop 4.0 Initiative.
FREE! MUST REGISTER HERE.
PLANET ROCK MIXTAPE: EXPORTING HIP HOP CULTURE
THE FOURTH ANNUAL “IS HIP HOP HISTORY?” CONFERENCE
Themed the “Origins Debate,” this year’s “Is Hip-Hop History?” Conference plans to explore the issues of hip-hop’s roots and the particular experiences and contributions of Latinos.
The conference will kick off with a reception at 5 p.m. for legendary veejay Ralph McDaniels, who is celebrating the 30th anniversary of his TV show Video Music Box (VMB). McDaniels 25-panel retrospective photo exhibit telling the story of his pioneering music show opens at the conference and will run through May 30.
The reception will be followed by the keynote lecture by Quinnipiac University sociologist Don C. Sawyer III, who will discuss the “Sociology of Hip-Hop Culture.” Sawyer, a Harlem native, is a former emcee and DJ. At Quinnipiac, he is teaching the Hamden, Conn. university’s first sociology course dedicated to hip-hop culture.
Ms. Romero, author of “Free Stylin’: How Hip-Hop Changed the Fashion Industry,” will moderate “Latinos in Hip-Hop,” a panel discussion on the contributions of Latinos to hip-hop and their particular experiences. Panelists include:
DJ Eddie Cleverhand will be spinning throughout the evening. The conference will conclude with a dance performance by the Hip-Hop Dance Conservatory.
A SEARCH PAST SILENCE: THE LITERACY OF YOUNG BLACK MEN (LANGUAGE AND LITERACY SERIES) BY DAVID KIRKLAND
Foreword by Pedro Noguera
This beautifully written book argues that educators need to understand the social worlds and complex literacy practices of African-American males in order to pay the increasing educational debt we owe all youth and break the school-to-prison pipeline. Moving portraits from the lives of six friends bring to life the structural characteristics and qualities of meaning-making practices, particularly practices that reveal the political tensions of defining who gets to be literate and who does not.
Key chapters on language, literacy, race, and masculinity examine how the literacies, languages, and identities of these friends are shaped by the silences of societal denial. Ultimately, A Search Past Silence is a passionate call for educators to listen to the silenced voices of Black youth and to re-imagine the concept of being literate in a multicultural democratic society.
WHAT EVER HAPPENED TO HIP HOP? (DOCUMENTARY)
Documentary from Sonali Aggarwal: Starring Afrika Bambaataa, KRS-ONE, Busy Bee, Kool Keith, MC Lyte, Slick Rick, Jean Grae, Gemini and other notable people being part of the Hip Hop movement. It began with the beat of the drum. With the beat, came a voice for those without one. From this voice, came a movement. Overcoming the odds, the originators of Hip Hop took their music from block parties of New York City streets to world wide radio waves. During the early years, the music and message reached new heights by exploring humanity, politics, and street life, while keeping it real and having fun. But what ever happened to Hip Hop? Currently the most pervasive music worldwide, its roots have been forgotten, its message perverted. With Hip Hop in the spotlight, it’s time to put it back on track. This documentary presents views from Hip Hop founders, contributors, and artists in an attempt to return its audience to the four principles: Peace, Unity, Love & Having Fun
ONE MIC ONE MOVEMENT 2: CONFERENCE & CONCERT
Advances in HIP HOP THERAPY and HIP HOP PSYCHOLOGY
FORDHAM UNIVERSITY – Lincoln Center Campus
Saturday, April 27th, 2013 9am – 7pm
BRONX BERLIN CONNECTION
SCREENING @ THE SCHOMBURG CENTER
6:30 - 8:00 PM
APRIL 24, 2013
The Bronx Berlin Connection is more than a Youth Exchange Program. Living conditions in Berlin communities can’t adequately be compared to those in American inner cities. There are similarities: increasing levels of poverty, poor employment or educational opportunities and a lot of young people who have chosen hip-hop culture to vent and talk about their frustrations and anger. After the screening, there will be a talk back with Dr. Mark Naison and Fabian “Farbeon” Saucedo.
Presented by the Schomburg’s Hip-Hop 4.0 Initiative.
REGISTER HERE: http://www.eventbrite.com/event/6208153755/eorg
Call For Papers
A Special Issue of Women and Performance: A Journal of Feminist Theory.
Issue Guest Editors: Shanté Paradigm Smalls (University of New Mexico) and Jessica N. Pabón (New York University)
Submission deadline: May 1, 2013
Women and Performance invites submissions for a special issue, “All Hail the Queenz: A Queer Feminist Recalibration of Hip Hop Scholarship.” The editors welcome scholarly articles and performative texts that foreground feminist and queer performance studies approaches to hip hop culture, consumption, and production.
Contemporary rap music, as a stand-in for hip hop culture and production, is virtually synonymous with misogyny and homophobia in the mainstream US and academic imaginary. We want to explore the range of understandings and theories that inform how women and queers experience hip hop culture and performance; this issue underscores the multiplicity of hip hop culture and rejects a myopic totalizing view of what “the culture” does and is. We seek to engage with the wide range of hip hop scholars and practitioners working at the intersections of various methodologies not always associated with scholarly considerations of hip hop (including psychoanalysis, feminist and queer theory, and performance theory), as well as methods typical to hip hop studies—sociology, Black studies, literature, history, musicology, and urban studies. An emerging class of hip hop scholars pressure the givens of race, gender, performance, sexuality, region, nationality, artistry, and iconography—as a culture that has been in a state of constant development for the past forty years, hip hop scholarship is more than due for a queer feminist remixing and reimagining.
As coeditors, we challenge the readers of Women & Performance to ask: What would a specifically queer feminist performance studies approach to hip hop’s culture and production generate in terms of scholarship? How does a queer feminist experience and critique revise hip hop studies? Why has performance studies had so little to say about hip hop, what interventions does performance studies yield? The issue’s focus on producing knowledge about hip hop culture that centralizes women, girls and queer people will include a range of elements, both popular and subcultural: DJ culture, dance, graffiti, human beat boxing, rap music, as well as fashion, media and print, organizing, and other forms of knowledge production. No matter the genre, hip hop is often conceived and misrepresented as a male-dominated culture which casts women and girls as an addendum to hip hop rather than as primary producers, critics, and consumers. Within the pages of this issue, contributors revisit the centrality of feminist and queer artists to the production of all elements of hip hop culture and of feminist and queer critique to hip hop scholarship. “All Hail the Queenz” intends to tease out the nuanced negotiations women, girls, and queer people develop as hip hop artists, critics, and consumers participating within this climate.
Through re-centering feminist and queer critiques and female and queer performance, “All Hail the Queenz” recalibrates hip hop’s center. By recalibrating the center, contributors to this issue refashion hip hop historiography and hip hop aesthetics beyond the art of rapping by the cisgendered male body. In a kind of textual reperformance, this issue takes its title from Queen Latifah’s lyrical demands for respect on her first womanist rap classic album, “All Hail the Queen,” and reminds readers once again that “stereotypes, they got to go!”
Article submissions should be 6-8,000 words in length and adhere to the current Chicago Manual of Style (CMS), author-date format. Performative texts should be 2-3,000 words and in any style the author chooses (same CMS style as above if using citations). Photo essays are welcome. Questions and abstracts for review are welcome before the final deadline.
Complete essays and texts for consideration must be submitted by 11:59 PM EST, May 1, 2013.
Further submission guidelines may be found at: www.womenandperformance.org/submission.html. Women and Performance is a peer reviewed journal published by Routledge, Taylor & Francis.
THE CORNELL HIP HOP COLLECTION
Meet archivist Katherine Reagan and Assistant Archivist Ben Ortiz, as they discuss how they launched and developed the largest national archive on Hip-Hop culture. Hip-Hop legend photographer Joe Conzo and legend MC Raheim from the Furious Five will be joining them to talk about their collaboration with Cornell’s Hip-Hop Archives.
FREE - MUST REGISTER: http://www.nypl.org/locations/tid/64/node/210419?lref=64%2Fcalendar
Friday May 3rd at 8:00pm
Suena la Diaspora! A musical and lyrical exploration through the narrative sounds of identity, displacement, and solidarity comes to 92Y Tribeca. An evening full of Afro-beat, Soul, Hip-Hop and Spoken Word merging together into a kaleidoscope of history and its textures.
Doubling as the official release party for the new Hache ST (Quisqueya) Zafraalbum, the event will include performances from Native Sun (UK/Mozambique),Bocafloja (Mexico), The Welfare Poets (Puerto Rica/NY) and De La Ceiba(Honduras/NY).
To buy tickets, visit the 92Y Tribeca page here.
TEACHING BEAT MAKING | EP. 1: GOMA, DR CONGO | BEAT MAKING LAB | PBS DIGITAL STUDIOS
Beat Making Lab is a new PBS Digital Studios series featuring young musicians from around the world. In Ep. 1 Professor Pierce Freelon and Apple Juice Kid collaborate with youth in the Democratic Republic of Congo at Yole!Africa. Subscribe: www.youtube.com/beatmakinglab
The Architects: Stephen Levitin (aka Apple Juice Kid) and Pierce Freelon
Mastermind of Videography: Saleem Reshamwala (aka Kid Ethnic)
PBS Co-conspirators: Matthew Graham and Lauren Saks
Editing Genie: Mandy Padgett
Musical Poetry: Beat Making Lab and Apple Juice Kid
BY ERIK NIELSON
In an interview with Fuse last year, Kendrick Lamar—who just took the top spot in MTV’s annual “Hottest MCs in the Game” list—revealed that his greatest regret in life was that he never attended college when he was younger. “Now all these years have passed, and I done got deep into a career, a music career,” he said. “It’s gonna be hard to find time unless I really put my focus into it.”
It might seem strange that a rapper at the top of his game would place such importance on going to college, especially coming from a genre that prizes street knowledge over formal education. And yet a glance just a bit further down the “Hottest MCs” list reveals that the ivory tower has been a stop along the path to stardom for some of today’s biggest names, including Rick Ross, 2 Chainz, and Kanye West.
In fact, this has been true throughout most of hip hop’s 40 year history. While traditional narratives tend to present early hip hop solely as the product of marginalized urban youth, cut off from elite social institutions, it’s hard to deny that colleges and universities have played a critical role in the early formation, and continued evolution, of hip hop as well.
Perhaps the most obvious illustration can be found in the formation of Def Jam Recordings. In 1983, Rick Rubin, an NYU student at the time, aspired to break into the burgeoning hip hop industry, so he borrowed $5000 from his parents and recorded “It’s Yours” by T La Rock and Jazzy Jay. When the song became a dance hit, he came up with the Def Jam label and began running it out of his dorm room. Shortly thereafter, he teamed up with Russell Simmons—himself a former college student—who had already begun signing the big names in hip hop that would eventually put Def Jam on the map. Among them were Kurtis Blow, rap’s first major-label artist, and Run DMC, easily one of the most influential groups in rap history. Like Def Jam’s founders, these artists also attended college, something D.M.C. (Darryl McDaniels) explicitly brags about on the 1984 song “Sucker MCs”: “I’m D.M.C. in the place to be. / I go to St. John’s University. / And since kindergarten I acquired the knowledge, / and after 12th grade I went straight to college.”
On its way to becoming the premier hip hop label in the business, Def Jam went on to sign more successful college-student-turned-rappers, including the Beastie Boys (two of whom attended college) and Public Enemy. In the case of Public Enemy, college turned out to be more than just a stop on the way to a hip hop career—Adelphi University in Long Island provided the creative environment that brought together Chuck D and Flavor Flav, as well as producers Hank Shocklee and Bill Stephney. And since then, the genesis of groups like dead prez, Blue Scholars, Kidz in the Hall, and Das Racist can also be traced to college campuses, where group members met one another as students.
These examples are hardly isolated. Indeed, over the decades a long list of hip hop’s biggest and most respected names can also claim ties to the academy, including …
READ MORE: http://www.huffingtonpost.com/erik-nielson/post_4633_b_3064824.html
81st Street between Columbus and Central Park West
Saturday, April 27, 2013 at 3 pm
MARLEY MARL ‘CLASSIC RECIPES’ - RECREATING BIZ MARKIE ‘MAKE THE MUSIC WITH YOUR MOUTH, BIZ’
In this fourth installment of Classic Recipes, the legendary DJ/producer Marley Marl explains and demonstrates how he produced and mixed the lead single off Biz Markie’s 1986 debut album Goin’ Off. Marl tells the story of how a young Biz, who was referred to at the time as The Diabolical Biz Markie and The Inhuman Orchestra, tracked him down in Queensbridge one weekend and introduced himself. When Marley Marl’s beats and melodies were combined with Biz Markie’s beat-boxing and rhymes, the chemistry was instantaneous.
In this video Marley Marl reconstructed the beat from “Make The Music With Your Mouth, Biz” using the Akai MPC Renaissance. He uses his trusted kick and snare (The Honey Drippers’ “Impeach The President” intro drum beat) but this time around he has switched-up the beat pattern, using the hi-hats to create ghost notes. To complete the beat, Marl adds a sub-heavy, off-beat 808 kick drum, a sampled/sped-up piano melody from Issac Hayes, and some shakers which he created by recording his own voice.
There are 7 DAYS left to apply for the Queens Camp for Leadership & Excellence! Over the past two years, our selective summer program has welcomed exceptional girls from around the world to engage in enriching and life-changing experiences.
SKILLS: 2 weeks of instruction in various classes including Tech, Financial Literacy, Entrepreneurship, College Prep, DJ Turntable Lab, Musicology, Film & Literature, Poetry & Writing, Culinary Arts, and more!
EXPOSURE: 20+ speakers, demos, presentations and workshops led by professionals and entrepreneurs; team building challenges; field trips to museums, academic institutions and more.
MENTORSHIP: Group discussions with leading members of the community, top female executives and influential women, from diverse industries who will provide the socio-emotional support and guidance needed for positive development.
This year the two-week intensive leadership program will be held at Columbia University in NYC, July 20 to August 3, 2013. Applications are due by April 29th, 2013.
Mentored youth are nearly 99 percent less likely to drop out of school, less likely to join a gang, and less likely to become teenage mothers.