connecting*the*dots

Larry Lessig of Creative Commons is quite possibly the last person I would’ve expected to have a civil, working relationship with the late head of the MPAA, Jack Valenti.

I was ready to tar and feather Valenti after watching Kirby Dick’s brilliant documentary, This Film Is Not Yet Rated.

Live and learn, I suppose.

Each Sunday, I’m going to spotlight a Hip Hop artist who isn’t a product of the music industry and can’t be cornered into representing the stereotypes that are so convenient for American mainstream media to manipulate.

This week, it’s Dead Prez.

Let’s kick it off with an interview of M-1 by Tao Ruspoli of LAFCO, where M-1 breaks down both his inspirations and his very real decision to make revolutionary choices on a daily basis:

Now stic.man, the other half of DP, who shares an experience from childhood — and the American educational system — that put him squarely on the path of self-determination, self-expression, independence and freedom. Again, brought to you by the folks of LAFCO:

Every revolution needs to be documented, otherwise who would believe that it was ever happening in the first place? Atlanta based photographer, Shannon McCollum, is the man who does just that for DP:

Are you feeling what goes into their work yet? Now, the product itself:

Uh, uh, uh, 1-2, 1-2
Uh, uh, 1-2, 1-2, uh, uh
All my dogs…

[Hook]
It’s bigger than..hip..hop..hip..hop..hip..hop..hip..
It’s bigger than..hip..hop..hip..hop..hip..hop..hip-hop

[M1]
Uh, one thing ’bout music when it hit you feel no pain
White folks say it controls yo’ brain
I know better than that, that’s game
And we ready for that - two soldiers head of the pack
Matter of fact, who got the gat?
And where my army at? Rather attack and not react
Back to beats, it don’t reflect on how many records get sold
On sex, drugs and rock ‘n’ roll
Whether your project’s put on hold
In the real world; these just people with ideas
They just like me and you when the smoke and camera disappear
Against the real world *echos*
It’s bigger than all these fake-ass records
When po’ folks got the millions and my woman’s disrespected
If you check 1-2, my word of advice to you is just relax
Just do what you got to do; if that don’t work, then kick the facts
If you a fighter, rider, biter, flame-ignitor, crowd-exciter
Or you wanna jus’ get high, then just say it
But then if you a liar-liar, pants on fire, wolf-crier, agent wit’ a wire
I’m gon’ know it when I play it

[Hook]

[stic.man]
Uh, who shot Biggie Smalls?
If we don’t get them, they gon’ get us all
I’m down for runnin’ up on them crackers in they city hall
We ride for y’all - all my dogs stay real
Nigga, don’t think these record deals gon’ feed your seeds
And pay your bills, because they not
MCs get a little bit of love and think they hot
Talkin’ ’bout how much money they got; all y’all records sound the same
I’m sick of that fake thug, R&B-rap scenario, all day on the radio
Same scenes in the video, monotonous material
Y’all don’t here me though
These record labels slang our tapes like dope
You can be next in line and signed; and still be writing rhymes and broke
You would rather have a Lexus? or justice? a dream? or some substance?
A Beamer? a necklace? or freedom?
Still a nigga like me don’t playa-hate, I just stay awake
This real hip-hop; and it don’t stop ’til we get the po-po off the block
They call it…

[Hook 2x]

[Repeat 6x]
D.P.’s got that crazy shit
We keep it crunked-up, John Blazed and shit

(*”They call it, call it, call it” -> stic.man*)
(*”Fake, fake, fake records” -> M1*)

More Dead Prez:

• I Believe
• They School
• These Are The Times
• Radio Freq
• Mind Sex
• Hell Yeah

(shot by taoruspoli)

Founded in 2000, The Los Angeles Filmmakers’ Cooperative is a mobile production company based out of a fully equipped school bus. Loaded with digital HD video cameras, 3 editing stations, a portable library, a screening room, and room to sleep 5, the LAFCO bus has seen countless adventures in the United States and beyond, producing dozens of music videos, documentaries, and narrative films.

Click To Play

LAFCO’s clients include Sony Music, Big Imagination Group, JVC, dead prez, The Outlawz, Talib Kweli, Yellowcard, and several others. LAFCO was awarded the Best Editing prize at the prestigious Ann Arbor Film Festival for work on their first feature film, Camjackers.

Can you say dream gig?

(shot by stephenomenal)

National Poetry Month is coming to a close in a few days, but Clement Mallory might have just put it to bed last night with a bang.

With a packed house in the lecture hall of the Greensboro Historical Museum, Clement effortlessly moved the crowd as the emcee of the competition, displaying a rare range of lyrics and emotion, delivered across numerous poems as the judges tallied their results.

But there’s something other than talent that separates Clement from his peers.

While he’s making moves as an up and coming performer, it’s his foundation as a teacher and his Brooklyn born and raised personality that makes his approach unique.

The first half of the show consisted of a teen competition and by any “standard” of a spoken word competition, the kids delivered more poetry than passion — mostly standing behind a podium and reciting their words.

But as a teacher, Clement’s concern was visibly focused on the kids growth as poets, performers and their confidence with their own voice, not their current ability to rock the stage. His realness, casualness and sense of humor seeped from his soul each time he addressed the crowd — whether killing time between acts, giving advice to the kids after the adults slammed or while making connections with his next opportunity through an ill shout out.

Before the show was even half-way through, he had the audience completely eating out of his hands.

In the end, the finals of the adult slam came down to two poets battling it out for the first place prize — Monica Daye and Keith Robinson (A.K.A. The Arsonist). If it were up to me, they both would’ve walked away with top honors.

Click To Play

Click To Play

Click To Play

Keith Robinson (A.K.A. The Arsonist) ended up bringing home the $250 first prize, but it wasn’t because of this powerful drop. Let’s just say that this Marine veteran of the first Gulf War wasn’t feeling the actions of our current president.

Look for that winning slam on next week’s Lyricist Wednesday.

Another great night in GSO.

Earth Day, 2007 by Mr. Fish.

A few years old now, but as powerful as ever:

The reporter didn’t correct himself, forgetting to mention that the wall that Banksy addressed actually divides Palestine from itself *not* just Israel from Palestine.

In any event, Banksy went to town with his unique style:

(originally uploaded by FREEPAL)

(originally uploaded by FREEPAL)

(originally uploaded by the walker cleavelands)

He followed up the street art with a more traditional painting of Jesus & Mary unable to get to Bethlehem because of the Israeli wall:

(originally uploaded by FredR)

Classic.

In five days, it’ll be the four-year anniversary of “Mission accomplished.”

Unbelievable.

btw, Steven Connell is amazing.

Clement is hosting the spoken word jam this Friday night. Come on down (it’s free) and you’ll have an opportunity to get to know The Future of Poetry.

Congrats again on the cover story, man.

I’m on the North side of Greensboro, watching Bill Moyers Journal: Buying the War with 15 other engaged citizens. House parties like this were set up all across the nation by Free Press.

How simple was it? I received an email from my brother after he was made aware of the showing through their local action alert email newsletter.

In any event, it’s great to see so many concerned and engaged citizens — mostly strangers before tonight — coming together to ask tough questions. Actually, it’s much more hemming and hawing at the incompetence of our Fourth Estate than dialog between each other, but I’m sure that’ll come in a few minutes.

I’m furious watching this broadcast, but it’s nothing new in terms of knowledge. I’ve been blogging about this fucking mess before we invaded, while we invaded and throughout the occupation and opined about most of the concepts and players covered in this brilliant narrative by Moyers.

If you saw this documentary — or plan to catch it in the future — don’t waste your time getting mad with politicians making decisions based on self-interest and power plays. Instead, think about your personal relationship with the media, journalism and reporting and how it shapes your world view.

Kent Bye has been working on a project since the run up to war called, The Echo Chamber Project. Paraphrasing his thesis: he’s attempting to present a large number of perspectives about both the media coverage in the run up to war and interviews with professionals from a large variety of industries in a manner that can be contextualized, remixed and redistributed to the live web by world citizens.

Why is that important?

Because the current journalistic methodology of reporting and “coverage” from centralized business domains is responsible for pimping this war into fruition.

Maybe if we all have the ability to participate in a methodology that allows for easily stitching together unbundled clips of perspective, reporting, coverage, etc. and contextualize it with our own knowledge and narrative, we can make a real dent in the mainstream business as usual.

Maybe we can even replace TV as we know it today.

Kent and I rapped about a bunch of the possibilities last year. If you have some time, check out the interview.

Andy is going to post an audio file of the conversation we just had post-viewing (which was really interesting). I’ll link to it as soon as he posts it himself.

UPDATE: Andy just posted the post-viewing conversation.

(shot by renocargo)

The Insider: Chuck D
by Andy Langer

WHO: Chuck D, 20-year leader of Public Enemy, the seminal hip-hop group whose 1990 LP, Fear of a Black Planet, was recently chosen by the Library of Congress for a list of 50 recordings worthy of inclusion in the National Recording Registry.

Austin Chronicle: Once again, it seems like best of the times and the worst of times for hip-hop.

Chuck D: It always is. That’s our history. But I think right now hip-hop’s value is too often weighed in quantity, not quality. When you just talk about business, I tell people slavery was a booming business in America, one of the strongest businesses America ever had. It was morally and ethically corrupt and bankrupt. We have to watch ourselves when we measure the success of something based wholly on numbers.

AC: Isn’t the nature of the record business to focus on dollars and cents?

CD: Sure, but I think its lack of emotional attachment to the art and music has really hurt in the digital transition. To me, a lot of the people who replaced guys like Berry Gordy, Ahmet Ertegün, and Al Bell weren’t big enough fans of the music. And you have journalists limited in the knowledge of the music they cover. So the attitude is, “Yesterday don’t count; now counts, and tomorrow we’ll wait for the next big thing, because today’s not that great either.” That’s a terrible attitude to have. The music business is healthy. The record business is in trouble.

AC: Where does that leave PE? Twenty years in? What’s your legacy?

CD: Twenty years and 57 tours. We got our passports in 1987 and have been spreading our dream around the world ever since. We tour the U.S. every four years and meet people who ask, “When are you going to come back through here?” We might not, but that doesn’t mean we’re not getting down. We come around like an eclipse. We have seven continents to deal with.

AC: Have you always gotten the credit you deserve?

CD: Hip-hop doesn’t get the credit it deserves for being diverse and thorough. When hip-hop gets respect as an art form, we get it by default. But people want to talk to us about Flavor of Love, Ali Rap, or our take on Barack Obama. That stuff has nothing to do with our consistency. Controversy has nothing to do with getting down and being good.

We’re the Rolling Stones of rap. I don’t know if Flavor is Keith or Mick, but our performance is a combination of Run-DMC, the Roots, and Rage Against the Machine. We developed the standard for live hip-hop. We’ve truly been the group that represents the meaning of hip-hop and rap music, the respect of music as the universal language, and taken that attitude all over the world.

Americans are poor on understanding time, history, and geography. We try to be strong on all those points. Around the world, PE resonates. America needs to get with it. We never fell off. America did.

Opinions are like assholes, everybody has ‘em.

Ed, if you want to protect yours from the big, bad world outside of Ed, keep ‘em in the paper and off of our internet.

Artist: Public Enemy (ft. Sister Souljah & Paris)
Song: Hard Rhymin’
Release Date: 2006

==========

[Sister Souljah]
Brothers and sisters, this is not a test
I’ve been asked by Public Enemy leader Chuck D to make this emergency announcement
The police in your cities, for all intents and purposes
have declared open season on black people (hey yo check one two)
Public Enemy was driven into the underground by government forces
However a small resistance is forming
Both Terminator X and Chuck D have resurfaced
Leading a small mobile rebel unit, “The Valley of the Jeep Beats”
(1-2-3-4-5-6)

[Chuck D]
Hard rhyme and the rebel is on the mic
One time, rhyme animal’s on the mic
They’re still keepin, youth asleep an’
We in the hood with heat and still beatin
And we back with the rap that packs the room
Black tracks with the rhythm that make you move
Can’t hush the bumrush, we bust the sound
with these sonic bombs, feel the pressure all around
Raise the level I’m up again rhymin
Ridin on the devil since I began rhymin
Hell we bring back the meat that rap lacks
Cause like I said, we got sold down the river
And I ain’t for these racist wars
A lie’s fed by these TV whores
I know it’s more to news fake the truth
We break through won’t lose we move with Public Enemy

[Chorus 2X: Chuck D] + (Paris)
Hard rhyme when the rebel is on the mic
One time rhyme animal’s on the mic
(It’s P.E. - whattup - it’s on you, brother what’chu wanna do)
(Brother tell me if it’s on, it’s on)

[Chuck D]
Now hip-hop was a gift that lifted up
Loved rap ’til the companies ripped it up
Now the soul is set, we’ve been had like jazz
If you down for change then they take your voice away
And then they tell you the best is white
Co-signed by a nigga that pimped the mic
Make the rule the view that the beef is cool
But what it do is fool the few fools who buy the feud
Keep the people all blind and dumb dancin
Never let a record that wreck become rampant
See the street copycat the crap rap and songs
Not knowin “There’s a POISON Goin’ On”
‘Til the message revealed and I show
But you never get to hear it on the radio
Jack be nimble, Jack be quick, fuck Jack!
Bust that, squeeze, rewind the shit, c’mon

[Chorus]

[Interlude - scratching and samples]
“C’mon now!” DJ Lord
“Here we go again”
“C’mon now!” Guerilla Funk
(Hey yo check one..)

[Chuck D]
We move as a team to keep them demons out
Y’all know what I’m talkin about
See ‘em used, abused, confused us into thinkin that
bein ghetto mean the same as bein ignorant
And so we strive to rise and get by
No peace for the beast we police and shine the light
Culture vanish on the television pimpin those
on “Cribs” in a home that they never own
Damn! Tell me that once again
Radio and the video don’t uplift
Take a stand be demandin all my freedom and my civil rights
Worldwide fight the plan and they genocide
Yes the road is long and hard
And when I’m gone you’ll say I did my part
Keep gunnin, we the crew that never lose
on the ones and the motherfuckin twos, Public Enemy

[Chorus] - 2X

[Flavor Flav]
Hey yo check one two
Yeah that’s right, Flavor Flav takin you back to the next millennium
You know what I’m sayin? Always cold cold kille-enum
You know what I’m sayin? And I ain’t playin
It’s all in the message that we’re layin
I got a secret weapon, you know what I’m sayin?
Let’s take two steps to the rear, we gettin out of here
You know what I’m sayin? Operation Cold Killin ‘Em to the next millenium

Flavor Flav, rock the house

Hey yo check one two

(direct link to the first pod of the seven part series)

From 2000 to 2003, I lived just down the road from Williamsburg, Brooklyn, first in Park Slope and then Gowanis.

As consistently penetrating as the New York City media is, not once did I even hear a whisper about the toxic issues my former neighbors in Williamsburg have been dealing with for decades now.

Instead, I reveled in the culture. Now I’m thinking, at what cost?

Gotta love that “self-interest” angle of capitalism, eh?

UPDATE: I’m currently watching part 6 of this 7 part series. Be sure to watch it all. It’s beyond disturbing. Greensboro residents are worried about strip clubs? Try living next to Radiac Research Corporation — a nuclear storage facility, where the radiation level can be pick up from a geiger counter flipped on at the front door.

It also resides across the street from an elementary school.

Scary stuff and great reporting.

(originally uploaded by philipn)

What is Man?
Mark Twain

“Man is the only animal that deals in that atrocity of atrocities, War. He is the only one that gathers his brethren about him and goes forth in cold blood and calm pulse to exterminate his kind. He is the only animal that for sordid wages will march out… and help to slaughter strangers of his own species who have done him no harm and with whom he has no quarrel…. And in the intervals between campaigns he washes the blood off his hands and works for “the universal brotherhood of man” — with his mouth.”

(originally uploaded by Richard Liriano)

Russel Simmons responding to criticism of Hip hop lyrics on 4/16/2007:

“My response to Sen. Obama is that you have to talk about the poverty and ignorance that creates such a climate that the poets can talk like that. People who are angry, uneducated and come from tremendous struggle, they have poetic license and they say things that offend you,” Simmons told ABC News. “You have to talk about the conditions that create those kinds of lyrics. When you are talking about a privileged man who has a mainstream vehicle and mainstream support and is on a radio station like that you have to deal with them differently.”

Russel Simmons responding to criticism of Hip hop lyrics on 4/23/07:

“We recommend that the recording and broadcast industries voluntarily remove/bleep/delete the misogynistic words ‘bitch’ and ‘ho’ and the racially offensive word ‘nigger’,” Simmons and Benjamin Chavis, co-chairmen of the advocacy group Hip-Hop Summit Action Network, said in a statement.

“These three words should be considered with the same objections to obscenity as ‘extreme curse words’ “

Russell Simmons spotlighted in BusinessWeek on 10/27/03:

“Any company that wants to tap into the youth market today has to pay attention to Russell,” says Frank Cooper, the head of multicultural market development at Pepsi. “He is one of the principal architects of hip-hop culture. It’s a market that is massive and that is global.”

Enough with the corporate perspective; let’s hear from a Hip hop head:

Not all Hip hop artists play the industry to make their dough, so an all out ban on particular language is senseless — it truly is all about context.

So maybe a good place to start would be applying pressure in the signing process of record industry itself, where A&R people tend look for the next hotness explicitly in terms of whether it’ll sell or not.

If these folks were actually held to a standard beyond simply bringing in artists that will sell in the current market, we wouldn’t have this problem — misogynous and degrading rap would fall back to indie distribution models… at best.

But it’s not like Hip hop culture hasn’t been aware of this problem for a long time now:

[…] My optic presentation sizzles the retina.
How far must I go to gain respect? Um.
Well, it’s kind of simple, just remain your own
Or you’ll be crazy sad and alone.
Industry rule number four thousand and eighty,
record company people are shady.
So kids watch your back ’cause I think they smoke crack,
I don’t doubt it. Look at how they act.
Off to better things like a hip-hop forum. […]

(originally uploaded by Steve Rhodes)

Question: Who’s the man in the above picture?

I admit the visual reference might not be enough for anyone that isn’t a Hip hop head, so I’ll give you even more of a hint:

Sorry for the set-up; I wouldn’t expect many people to know that he’s Boots Riley from The Coup.

I also wouldn’t expect many people to know the depth of the man and his music.

Or even that Boots blogs.

I’m using Boots as just one example of someone who represents one particular slice of a culture, Hip hop, that most people don’t know anything about — no matter what they think.

More on Boots and his colleagues in a bit.

What You Hear Is Not A Test

Today, Ed Cone ventured into a pretty lightweight deconstruction of “rap” lyrics, and only after numerous people and media outlets — local and from afar — made a stink about Don Imus catching flak for his pointed remarks a few weeks back, arguing that African-Americans and/or “rappers” actually drive the use of this harmful language.

Ed’s introduction to his column:

[…] “For my newspaper column, I listened to the lyrics of Billboard’s top ten rap tracks and tried to contextualize the Imus affair.” […]

I can’t remember the last time someone in Hip hop, out-of-the-blue, verbally assaulted a specific group of innocent people like the Rutger’s Women’s Basketball team. Admittedly, I’m not twisting the context of the offense to the use of a particular word or phrase and instead, keeping it focused on the nature of the attack from a broadcaster.

Along those lines, IMO, it would be more productive to review the context of Imus’ bile by looking at the rest of the shock-jock industry, like this gem from Neil Bortz:

Boortz: For instance, or for goodness sakes, jump in and I’m gonna say — I’m gonna start out with something controversial. I saw Cynthia McKinney’s new hair-do. Have you seen it, Belinda?

Skelton: No.

Boortz: She looks like a ghetto slut.

Skelton: Well, how is it?

Boortz: It’s just — it’s hideous.

Skelton: Is it braided? Or –

Boortz: No, it’s not braided. It just flies away from her head in every conceivable direction. It looks like an explosion in a Brillo pad factory. It’s just hideous. To me, that hairstyle just shows contempt for — no, it’s not an Afro. I mean, no, it just shows contempt for the position that she holds and the body that she serves in. And, I’m sorry, there’s just no other way to — it’s just a hideous and horrible looking –

Marshall: It looks better than the braids she was wearing.

Boortz: No, the braids had some dignity. They had some class.

Marshall: The braids had dignity?

Boortz: They had more class than this thing.

Marshall: This says, you know, kinda 2000s, you know, stepping up to the plate. Contemporary look, you know?

Boortz: She looks like Tina Turner peeing on an electric fence.

Pam has great context for those of you who might think of these comments as harmless.

But the point of this post isn’t about Don Imus, nor is it about those people out there that are obfuscating the context of his comment. There’s a whole other angle of misinformation in Ed’s post, based more in ignorance than intent, that I wish to dissect.

I’m One Of A Kind And I’ll Shock Your Mind

Whether he knows it or not, Ed made a bunch of generalizations in his column. This particular paragraph stood out the most to me:

[…] “I’m bothered not just by what rappers say but why they say it. The lyrics and the popularity of the genre aren’t happening in a vacuum; they reflect something about the realities of a larger culture that is coarse, consumerist and often violent. Public Enemy’s Chuck D famously said that rap is like “CNN for black people.” Maybe part of the problem is that these days, the best-known member of the socially conscious Public Enemy is Flava Flav, who once rapped about the harsh reality of life in poor neighborhoods but now does clownish “reality” shows on corporate television.” […]

People like to talk about Hip hop as if they know everything about anything, so I’m not surprised by Ed’s perspective — even with him being alive during The Sugarhill Gang’s debut.

How Ed jumps from “a larger culture that is coarse, consumerist and often violent” to Public Enemy — without pause for at least a paragraph on the current administration of the Executive Branch — is beyond me.

You know, it wasn’t Flavor Flav that told America to go out and buy shit just a few days after the towers went down on 9/11.

I’ll play along for shits and giggles, though.

So, Flav has become the king of reality tv, but as the de facto hype man in the carefully orchestrated membership of Public Enemy — something that would take another post entirely to detail — that shouldn’t shock anyone.

Flav was never the point man of PE, the guy “rapping about the harsh reality of life in poor neighborhoods.” For every 911’s A Joke, there are a hundred songs with Flav explicitly playin’ his role in the group as comic relief while shadowing Chuck.

So how does that play out 20 years beyond the zenith of Public Enemy’s career?

While Flav does his reality tv and flashes his grill, Chuck D does his speaking gigs and radio shows covering everything from anti-DRM to politics. The whole of Public Enemy prospers from their individual focuses — which draw in new audiences from distinct demographics — far more than simply being a sum of its parts.

But if you’ve seen any of the Flavor of Love shows, you know that he doesn’t represent himself as a foul-mouthed “rapper.” I honestly don’t see how Flav acting like Flav with a viking cap and oversized clock necklace and sunglasses has anything to do with the topic at hand — except for serving as a convenient segue from the bridge of the CNN line.

All that said, Ed is pretty much on point when he ruminates over “rap” lyrics and the ills of a larger culture.

The point begging to be made about this particular element — the crux of his column — is that he doesn’t realize to what degree and how narrow of a focus that truly is within the culture of Hip hop.

What we need is the Teacher to break this down to a digestible format:

More KRS-One:

(by thecnote)

[…] “ ‘Hip hop has nothing to do with rap. Rap is an element. There is a consciousness that makes you rap, graffiti or break, for example.’

KRS-One talked a great deal about the importance of being one’s own self, the most essential part of Hip hop culture. ‘Hip hop begins with the courage to be yourself. Being you has consequences,’ KRS-One said.

Want to find out if you’re Hip hop? You know you are if ‘you gravitate toward it. You see graffiti art and you try to make out the words, you see breaking and you say, ‘Man, I could do that,’ KRS-One said.

And, of course, one should know the proper way to actually identify the culture. Hip hop is a culture; therefore, it should function as a proper noun. Hip hop is the music, and referring to the culture in the hyphenated form, KRS-One claimed, is degrading. The rapper’s explanations of the technicalities of the Hip hop world could have left audience member confused; if Hip hop is not the music, what is?

Listeners were enlightened about the differences between Hip hop and rap. ‘Hip hop is not rap music,’ KRS-One said. ‘Rap is controlled by corporations. A rapper rhymes for corporations, and an emcee rhymes for culture. A rapper talks about himself, what he has. An emcee talks about what’s already on your mind. An emcee raps about what you need, not about fantasy.‘ Ultimately, a point stressed heavily throughout the night, Hip hop is something that is lived, a consciousness of the world around us.” […]

That’s a much more expansive description of Hip hop than “rappers” being misogynistic and foul-mouthed, but culture can’t be locked down to one set of definitions either — passing the mic back to Boots Riley, from a long, lost interview at Davey D’s spot:

(by bagelradio)

[…] “When the first Sugarhill Gang record came out and it was on the radio I was already living in Oakland then but there were people who had recently moved out here from the mid west and the south and I remember us saying they had a hambone record out on the radio. My whole thing with that is there’s a lot of elements of hip hop… like the four elements of hip hop is really just a commercialization and a way to commodify things because you have to put things into easy categories in order to sell it. It’s a lot easier to sell as an invention that kind of slipped and fell together by a series of events that happened in one place than it is to tell it as a history of a people. So that’s something that I feel is left out of hip hop. That was my first connection to rapping [hamboning]. Another more obvious one is beatboxing. That was something that was very much a part of hip hop. I first started hearing the four elements maybe from the early 90s. I don’t know who started that but it’s full of shit to me.” […]

Contradicting, yet accentuating points of view within a culture — a hell of a lot deeper than “bitch” and “ho” framed within the bullshit corporate constructs of a genre.

The CNN For ALL People Who Care To Tune-In

If all this isn’t new to you, glad to have you in my digs. To those of you who are learning something new, you might just dig checking out a few CTD alumni.

One bit of advice: focus on the message, the intent and the wordplay — leave the curse count for Tipper Gore.

• De La Soul
• Immortal Technique
• The Roots
• Public Enemy / Paris
• The Coup
• Brand Nubian / Common
• Rage Against The Machine
• KRS-One
• Talib Kweli
• DJ Danger Mouse
• Chuck D
• Mos Def

Thank God their standards for speaking truth to power and shedding light are higher than CNN.

(originally uploaded by counterclockwise)

Bloomington, Indiana

UPDATE: I just found a video clip of this work w/the artist’s description on WC:

From the Artist:

“This piece is part of a line of work I have been developing over the last year or so, which is called “Urban Impressionism”, in which represent 3D objects in 2-Dimensions through shadows. These shadows are created at a particular point of day, or night, and later stenciled and spray-painted in order to resemble real shadows. Through this process I am able to discuss light and form, in an unconventional way, placing it directly on the streets of the contemporary urban “cityscape” that surrounds us.

Ideally I hope to create a moment of magic or illusion in which the spectator or passer-by questions the space around him/her, through the shadows that are either naturally cast or artificially created. This particular piece incorporates text to politicize a very important issue for many of us today — the end of the war in many regions of our globalized world.

PS. I noticed that on the site, the piece had been mistakenly tagged as a “chalk” piece… The piece itself is was stenciled on the floor using a shadow cast by a light post at night, and later carefully sprayed with a ‘camouflage black’ can.”