Monday, April 23rd, 2007

Don’t Scapegoat Hip-Hop :: LA Times Editorial with Dave Zirin

Dave Zirin and I teamed up to get this editorial into today’s Los Angeles Times:

No Scapegoats: The Other Side of Hip-hop
By Jeff Chang and Dave Zirin

April 23, 2007

MUCH OF THE criticism of commercial rap music – that it’s homophobic and sexist and celebrates violence – is well-founded. But most of the carping we’ve heard against hip-hop in the wake of the Don Imus affair is more scapegoating than serious.

Who is being challenged here? It’s not the media oligarchs, which twist an art form into an orgy of materialism, violence and misogyny by spending millions to sign a few artists willing to spout cartoon violence on
command. Rather, it’s a small number of black artists – Snoop Dogg, Ludacris and 50 Cent, to name some – who are paid large amounts to perpetuate some of America’s oldest racial and sexual stereotypes.

But none of the critics who accuse hip-hop of single-handedly coarsening the culture think to speak with members of the hip-hop generation, who are supposedly both targets and victims of the rap culture. They might be surprised at what this generation is saying.

In his recent PBS documentary “Beyond Beats and Rhymes,” filmmaker Byron Hurt made clear that rap music can be as sexist and homophobic as it can be positive and enlightening. Marginalized young women and men have found their voices in hip-hop arts, gathering to share culture at b-girl conventions around the world or reading for each other in after-school
poetry classes. Hurt’s film pointed the finger where it needs to be pointed – at American popular culture, which has trafficked in racist and sexist images and language for centuries and provides all sorts of incentives for young men of color to act out a hard-core masculinity.

If all the overnight anti-hip-hop crusaders really cared about the generation they want to save, they would support the growing Media Justice movement led by hip-hop pioneer Afrika Bambaataa and such outspoken women activists as Malkia Cyril and Rosa Clemente. The group contends that such media powers as Emmis Communications and Clear Channel have corrupted hip-hop radio.

The critics would engage young public intellectuals like Joan Morgan (“When Chickenheads Come Home to Roost”), Gwendolyn D. Pough (“Check It While I Wreck It”) and Mark Anthony Neal (“That’s the Joint!: The Hip-Hop Studies Reader”)*, who are defining what they call a new hip-hop feminism.

The gap between the programming on Viacom’s MTV and BET and young people’s interests seems never to have been bigger. According to the Black Youth Project, a University of Chicago study released in January, the overwhelming majority of young people, especially blacks, believe rap videos portray black women negatively. That’s one reason rap music sales declined 20% last year and remain down 16% this year.

Yet sales are a poor indicator of what is really happening in hip-hop.

Local hip-hop scenes are thriving. Great art is being made not just in music but in visual arts, film, theater, dance and poetry. It can be seen in the works of Sarah Jones, Nadine Robinson, Rennie Harris, Kehinde Wiley and Danny Hoch. Hip-hop studies is a rapidly growing and popular field at colleges and universities, with more than 300 classes offered. In hip-hop after-school programs, voter registration groups, feminist gatherings and public forums, the future of hip-hop is under discussion. These hip-hop thinkers want to take the culture that unites many young people and channel it toward political engagement. In 2004, voter registration campaigns using hip-hop to target youth produced more than 2 million new voters under the age of 30.**

To confuse commercial rap made by a few artists with how hip-hop is actually lived by millions is to miss the good that hip-hop does. If hip-hop’s critics paid attention to the hip-hop generation, they would learn that the discussion has already begun without them and that they might need to listen. Then a real intergenerational conversation could begin.

UPDATE :: Two additional notes I need to clarify:

* Mark’s book on hip-hop and masculinity was somehow missed in the Times edit, and is called New Black Man. It’s a very important book.

** There were more than 4 million new voters between the ages of 18 and 29, and more than half–the 2 million plus cited here–were Black and Latino, a demographic watershed that has gone completely ignored by mainstream media and most progressive media, for that matter. In any case, this fact somehow got mangled in the final edit. You can find more information on this here.

posted by @ 6:40 am | 7 Comments

Wednesday, April 18th, 2007

A Must-Hear :: Davey D Takes Out Rap Misogyny, John McWhorter, and Hip-Hop Haters

From this morning’s broadcast of WNYC’s Brian Lehrer Show, Davey D ethers rap misogyny, anti-hip-hop media pimp John McWhorter, and hip-hop haters.

Recognize: Long before Sharpton and Constance Rice and a whole long line of civil rights generation anti-hip-hop crusaders did, Davey D and Kevvy Kev launched the first nationwide rap boycott over issues of misogyny back in 1989, when they called for the Bay Area hip-hop community to decide whether or not they wanted to hear NWA. Over the course of two weeks, the people called in and voted to stop playing NWA. Both are Bronx men who grew up with the old school and moved to the Bay Area to become heroes for many of us.

At the same time this was being aired today, rap industry execs were having an emergency meeting behind closed doors to talk about how to handle the continuing blowback from the Imus incident. We can assume that the agenda included how to handle a growing beef with the Rev Al Sharpton and two panel discussions on Oprah’s show that may have caused more damage than good.

Fam, there is no reason to think that much in the way of substance will be coming out of there.

The bottom line is that if the conversation on gender and hip-hop is going to go anywhere, we have to stop letting civil rights-gen mouthpieces act like the hip-hop generation doesn’t have its own history and voices, and we have to stop letting media folks go to the old names when the real work has been happening with real people down here on the ground for decades.

Davey will be telling his full story on this episode on his myspace page and website soon, and I’ll post that when it’s ready.

posted by @ 3:55 pm | 2 Comments

Monday, April 16th, 2007

Getting Random


Sorry Yankees. We still own you.

Hip-hop journal Words Beats and Life is soliciting submissions for its new issue. The topic is timely: “It Ain’t My Fault: Blame It On Hip-Hop”. Download the call on that page link above. It’s hard to find, but it’s in the right corner.

For those of you who caught the New Orleans riff, come check us out this weekend in Seattle at the EMP and the University of Washington.

If you are in NYC this weekend, skip the Yankees game and go see Kwikstep & Rokafella’s Full Circle Productions 10th Anniversary at PS 122. This is where, 16 years ago, Kwikstep and the Rhythm Technicians set off perhaps one of the most important events in the hip-hop arts movement ever, “So What Happens Now?” It is recognized now as the production that launched the hip-hop theater movement.

Busy week here in the Bay too. We have a Total Chaos event Tuesday night at the Yerba Buena Center and you can catch your boy interviewing Aaron McGruder on Thursday night at the Jewish Community Center. All the info is here.

posted by @ 5:08 am | 2 Comments

Sunday, April 15th, 2007

42 :: More Than A Number


Thank you, Jackie Robinson.

posted by @ 8:53 am | 0 Comments

Sunday, April 8th, 2007

Nutn But A Number


Islanders Give New Meaning to 40 Water

Big up to Weyland, Sake Uno, and all the Aries and Taurus April massive…

posted by @ 7:55 am | 0 Comments

Wednesday, March 21st, 2007

It’s Officially Spring


95 mph of blazing fire…

Today is the first day of spring so I’d like to take this opportunity to remind all Yankees, Red Sox, Angels, and Giants fans that your team still sucks more than mine. Let the games begin!

posted by @ 8:29 am | 4 Comments

Monday, March 19th, 2007

Asian Americans Want Their MTV World Back


Nusrat Durrani, the embattled visionary behind MTV World

Quick on the news of MTV World’s demise, a number of activists have begun circulating a petition to save it.

Last month, in a start-of-the-year downsizing, Viacom eliminated MTV World, the 18-month experiment headed by Nusrat Durrani in niche channels targeting Asian American audiences. In July 2005, it launched MTV Desi for South Asian American audiences, following with MTV Chi for Chinese American audiences, and finally MTV K for Korean American audiences last year. A fourth channel, possibly for Pilipino Americans, was rumored to be on the drawing board.

None of the channels gained traction, but it could be fairly argued that they were never given the chance. The channels were accessible mostly through obscure “international” premium packages from DirecTV, and a mix of smaller cable networks.

Offering the channels through such “international” packages was a strategy that made the least sense. Such packages are usually purchased by older, wealthier immigrants who want to stay in touch with news and pop culture from “back home”. But the entire MTV World experiment was predicated on the idea that the children of these immigrants–and their curious friends–would demand a completely different, much more eclectic, polycultural aesthetic. Yet very few options were available to allow this next generation to get their MTV World.

Expansion efforts were afoot when the axe came down. MTV World was about to offer a more robust set of websites, including some recognized bloggers (I was asked to be one, though I couldn’t), and rumors circulated were that MTV World was about to offer cell-phone content. But there were no, say, ala carte options, which would have allowed young viewers to perhaps add MTV World into a mix of stations they might have wanted, like say, ESPN or MTVu.

To be sure, things change slowly in the cable world, and while there have been debates in Congress on the issue ala carte, no big change has yet been forthcoming. When I interviewed Durrani in late 2005, he was assembling a whipsmart staff, who would go on to do some very creative and relevant programming on a shoestring. Durrani was certain that MTV’s leadership was well behind the project and that they understood it would not produce immediate returns, but take hold slowly.

Durrani is a visionary, and at the time, his thinking seemed to make a lot of sense. If MTV was to wedge itself into the Asian American market early, it could be in a great position to develop it and reap the whirlwind when it took off. This was the same thinking that had guided the creation of AZN-TV, a Comcast vehicle that now functions almost mechanically, and Imaginasian, the lovable independent NYC-based bootstrapping upstart.

But there were warning signs: AZN imploded almost as soon as it began, laying off almost all of its talented staff in one fell swoop early last year. Imaginasian–with a much different model than MTV World–has been growing organically and intelligently, but not at a rate that impresses Wall Street types.

In the end, MTV World heard from the mothership. Viacom’s recent moves–especially its $1b lawsuit against Google/YouTube–seem to demonstrate that the company is reorienting itself to what it considers to be immediate threats in the internet space. (The fairly quiet relaunching of MTV and VH1’s websites last year were the first part of this reorientation.) It’s hard to get anyone to hear about the importance of a long-term investment–however small in the grand scheme–in as-yet unproven niche markets when Viacom’s leaders are running around scared over Google/YouTube.

And so Asian American activists are taking a page from the multicultural wars of the 80s and 90s, and trying to demonstrate grassroots support for MTV World to the folks who run Viacom.

I think it’s important to show support for any kind of community-oriented programming in these days of media consolidation and stock-market oriented decision-making. I just want to add that we need to champion our visionaries as well. There aren’t too many like Nusrat Durrani out there anymore. Let’s recognize what we’ve got.

posted by @ 4:33 pm | 3 Comments

Monday, March 19th, 2007

Sean Bell Case Heats Up: Detectives Indicted, Protestors Arrested

Just off the wire: Two of the detectives–who accounted for 42 of the 50 shots–have been indicted on first- and second-degree manslaughter charges. One more detective is being indicted on a reckless endangerment charge.

Coverage is here:

–Newsday
–New York Times

However, many believe that there was enough evidence for the Queens DA to bring stronger murder charges.

As a result a new wave of protests has begun, already resulting in 4 arrests at the Queens’ DA’s office. Famed community activist and former Young Lord Panama Alba is among those arrested. Hundreds also gathered at Union Square this afternoon and marched down Broadway to City Hall, blocking traffic.

Here’s the press release:

Activists Block Entrance to Queens Courthouse to
Protest DA’s Failure to Indict All Cops in Bell Shooting

A group of activists today blocked the entrance to the Queens Courthouse at 125-01 Queens Boulevard, Kew Gardens, to protest the Queen’s DA’s failure to indict all the police officers involved in the murder of Sean Bell and the attempted murder of his two friends, Trent Benefield and Joseph Guzman.

“If the District Attorney is closing the doors of justice to the victims of these shootings, then we feel obligated to physically close the doors of justice to demonstrate our outrage with this criminal, criminal justice system,” said one activist.

Members of the group also expressed concern that the trial would be moved out of New York City and will result in the acquittal of the indicted police officers as was the case with the police officers who killed Amadou Diallo. Additionally, they called for the immediate removal of Police Commissioner Kelly and NYPD Chief Anthony Izzo and an independent prosecutor for all cases involving police brutality/misconduct.

Activists are calling for a 5pm rally tomorrow evening at Union Square.

posted by @ 8:53 am | 0 Comments

Friday, March 16th, 2007

Getting Random

Catching up on blogging is always tough when you’ve got one foot here and another out the door. So here’s a couple of weeks of stuff.

• Flash is still cool. Congrats on him and the Five making it into the R+R Hall of Fame. Next up: Public Enemy?
–Newark Star-Ledger
–Newsday

• Davey D features “Confessions of a BET Producer”, in four parts.

• Jonathan Lim on Arcade Fire.

• Dave Zirin on Bowie Kuhn and the unsung Black hero of free agency, Curt Flood.

• The Good The Bad and The Queen live.

• Bye Coach K!

posted by @ 11:03 am | 3 Comments

Monday, March 5th, 2007

Rap’s Holy Grail? :: Live Convention ’77-79


That’s right, 1977.

Old school afficianados know all about the Disc-O-Wax Live Convention 81 and 82 platters that captured the Fantastic Romantic, Flash, Mel, the Cold Crush and others off of street tapes that were circulating at the time. The records have become highly collectible and have been oft-bootlegged. For folks like me, who first heard these records all out of context during the mid-to-late 80s, they were proof early on that hip-hop had rich roots we had no idea about. The tapes were technically recorded after the record industry was into the rap thing a couple years, but the vibe–and the thrill of hearing live tapes–brought to our minds the energy of “Wild Style”. Folks have since sampled the records over and over–including Blackalicious on “Swan Lake”.

Now the Golden Reaal folks have brought to light what may be an even deeper story: that the first real Live Convention tapes weren’t ever committed to wax! The story begins with a Bronx edit-master and engineer from the Soundview projects named Kenny Wilson.

Kenny loved hip-hop’s beats and mixing, but, being a sound guy, was frustrated by the quality of his younger brother’s live tapes. So he decided to recut the music straight to reel to reel tape, imitating the turntable trickery of folks like Grand Wizzard Theodore and DJ Kool Herc. Then he added the rap routines back over these clean remixed versions. The result is pure old school rap heaven, back when hip-hop wasn’t something you could have a remote control relationship with. It’s urgent, in-your-face, just lots of fun.

Unlikely stars–including folks who never made it to wax–emerge like Kool Kyle the Starchild and a young girl named MC Smiley of the Herculords. Kenny also cut sound bites from movies like “80 Blocks From Tiffany’s” and anti-drug films over the music. If the story he tells is true, this could be one of the first proper mixtapes. (I’m sure there must have been home-recorded show demo tapes around, tho I’ve never heard stories of any.)

Here’s his story:

Q: How did the Live Convention 77-79 mix happen?

A: …After they started releasing rap records by the end of ’79, my brother and I figured we might be able to make some money by selling our mix. Reggie had already quit selling tapes as he was too busy with other hustles, but hearing rap on the radio got him back into it. He was seeing a girl who worked for a record store opposite the Celebrity Club at 125th street which was owned by Johnny Soul – may his soul rest in peace. Tanya told me Johnny wanted to talk to us after he heard what we were doing with the edits and all. So one day in the summer of 1980 she took us out there to see him. We brought him a cassette containing the best edits that I had done, and he was like hell yeah, I’ll put this out, because he was also trying to get into the business of releasing rap records. He was cool with a lot of artists (such as Fantastic Five, ed.). He told us we would release a ‘part 1’ and ‘part 2’. He made me go back to the drawing board to prepare the mix for release. It took me another six months before I could hand over the masters around January ’81, over 3 years after I began editing. Remember all of this was done outside my regular day job at the studio.

Q: What was Johnny’s part in the process?

A: Well, we basically left the business side up to him, which would include talking to the emcees [featured on the tapes], and obviously he would pay for the pressing, do the marketing and all. He also came up with the name Live Convention 1977 1979 and had someone do the cover art, which didn’t really represent the amount of work we had put into the mix! It was a sketchy drawing of a deejay standing behind one turntable, not even two. Still, we was proud, even though we weren’t even mentioned on the sleeve at all and we didn’t know how much money was in it for us.

Q: So why were the records never released?

A: Two things happened: myself I had been looking to get away from NY. I had a girl who wanted to get married, thinking of having a baby and we didn’t want to stay around the Bronx any longer. So when I got the chance to take a share in my uncle’s electronics store in Richmond, VA, I accepted. The other thing was Johnny’s store got robbed at gunpoint and together with some jewellery, they took two boxes with the master reels and the art work for our records!

Q: Why would anybody want to steal that stuff? Did you buy that story?

A: You know, it wouldn’t have made a lot of sense for him to make that up. There were other reel-to-reels with rap recordings inside those boxes, but they were heavy, so the robbers must have known that they weren’t taking any lunch money, haha. Reggie and I were pissed off but we couldn’t do nothing about it. The story out in the streets was that it had to do with an unpaid debt. But we never saw those tapes back.

Q: And that was the end of it?

A: I had to concentrate on starting a new life away from NYC, so I couldn’t go back to the studio to compile a new mix from the reels that we’d kept at the studio. Some of them had been recycled anyway. So I just left it. Reggie lost hope that our record would ever come out. After I moved to Virginia, two records came out by the same name we had picked: Live Convention 81 and 82, on Soul Wax / Disc-o-wax, which was Johnny’s label. But the concept was totally different, he only used live cassette recordings and more recent stuff. No edits like I had done, so the sound wasn’t that good at all!

(excerpt from the site and liner notes) Fast forward to 2004. At a liquidation auction in Newark (NJ), Jay of Golden Reaal buys the entire inventory of a former record store with the purpose of reselling the most wanted soul & funk items in the UK. Part of the lot is a number of boxes with dusty reel-to-reels which look as if they have sat there since the 80’s. One box comes with artwork for an apparently unreleased album and a hand-written producer royalty contract. Jay also discovers five test pressings which are labelled ‘Live Convention 77-79 volume A’. Aware that he may have discovered one of hip hop’s holy grails, a predecessor of the legendary Live Convention albums, he calls up his partner who proceeds to inspect the reels and finds out that this is the real deal!

A search starts. Local phone directories and yellow pages to butchers, grocery stores and relatives finally lead to the man behind this production, who is living a quiet life with his family a few hundred miles from New York. A phone call puts Jay in touch with Kenny, who is surprised that anyone shows interest in his work, and even more so to find out that the lost tapes have resurfaced. When they meet in person, they agree the importance of this set makes it worth a re-release on the newly established label Golden Reaal records.

I honestly don’t know how much of this can be verified, and I honestly don’t have any reason to doubt its veracity. To me, the point is simple: the CD sounds fantastic. It’s a must-hear.

If you have never heard some of these original live tapes, it’s a mind-blowing experience. Even if you collect them, you will still be awed by how Kenny captures the feel of those tapes: the raw energy, the human mistakes, the crazy echo-chamber effects, all of that. It’s just jaw-droppingly great.

You can listen to snippets of this incredible document and purchase the CD here.

posted by @ 5:28 pm | 0 Comments



Previous Posts

Feed Me!

Revolutions

Word

Fiyahlinks


twitter_logo

@zentronix

Come follow me now...

Archives

We work with the Creative Commons license and exercise a "Some Rights Reserved" policy. Feel free to link, distribute, and share written material from cantstopwontstop.com for non-commercial uses.

Requests for commercial uses of any content here are welcome: come correct.

Creative Commons License