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h2ed guidebookThe Hip-Hop Education Guidebook Volume 1: How can we utilize the energy and creativity of Hip-Hop music and culture to make schools and classrooms more engaging? The H2Ed Guidebook provides answers. The H2Ed Guidebook addresses the tenets of a critical Hip-Hop pedagogy, framing the issues of concern and strength within Hip-Hop culture by providing in-depth analysis from parents, teachers and scholars. And most importantly, the H2Ed Guidebook offers an array of innovative, interdisciplinary standards-referenced lessons written by teachers for teachers. [Try It! ]

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The H2Ed Wiki is a tool created specifically for Hip-Hop educators and Hip-Hop education research. It includes resources like links to valuable online resources, downloadable and editable curriculum, online activities, and learning models that use Hip-Hop culture as a pedagogical tool. [Try It! ]

Books Archive

December 27, 2007 @ 8:13 pm

That White Girl (Simon and Schuster/Atria, 2007), by JLove

whitegirl

This novel is a coming of age story traveled by a white girl who flirts with the color lines. In the process Amber gets allured by the call of thug life and becomes immersed in the world of gangs and graffiti. Amber twirls through tales of risky crimes and party times until illusion and reality collide resulting in a painful tragedy.

White Girl explores the humiliations and triumphs that occur when an outsider breaks boundaries and becomes involved with the art, politics, and lives of people perceived as different. On a more personal level, the book chronicles Amber’s inner struggle for identity and self-expression, and ultimately her transformation from gang-banger to Hip-Hop activist.

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March 10, 2007 @ 1:45 pm

ACADEMIC HIP-HOP? YES, YES Y’ALL.

When hip-hop journalist and former emcee Davey D, a.k.a. David Cook, turned in his undergraduate thesis titled “The Power of Rap” in 1987, he didn’t think he had a problem with sources.



“I handed it in with no footnotes,” he remembers in a phone interview, “and my professor was like, ‘Cool. This is good but there aren’t any footnotes. You need footnotes.’ I mean, I’m talking about something I was  a part of, something I knew a lot about, and he was like, ‘Footnotes omething. There’s got to be books about hip-hop.’ “



But there really weren’t any source books on the subject, so Cook the student ended up footnoting emcee Davey D — himself — as someone who had been quoted in Bomb magazine.   “I got an A and left,” he says. Today, Cook would have no trouble filling a bibliography. With hip-hop itself hitting its third decade, hip-hop studies has become one of the most explosive subjects to hit academia in decades — as UCLA Professor H. Samy Alim says, “It’s reinvigorating the academy.” But Cook’s story  highlights some of the tensions inherent in the ivory tower taking on a street-born culture such as hip-hop: namely, who are the experts? David Cook from UC Berkeley or Davey D the emcee? According to a 2005 survey by  Stanford’s Hiphop Archive, more than 300 courses on the subject are now offered at colleges and universities across the country.



“There is a literary flood,” says Jeff Chang, a writer, UC Berkeley graduate and sometime Chronicle contributor, whose award-winning book “Can’t Stop Won’t Stop: A History of the Hip-Hop Generation” is one of the primary texts in many classes. “It’s becoming a tidal wave. Right now, I have six or seven books on my desk for me to review or blurb. They weren’t there a year ago.”



And that might only be the beginning. “What has been published to date doesn’t tell the whole story, because a whole generation of young scholars is coming along, at the moment, and those researchers will produce a sudden gush of publishing within a few years,” says Peter Monaghan, a correspondent for the Chronicle of Higher Education. “This is already becoming evident in academic publishers’ catalog listings of forthcoming books.”



Historically black Howard University is ahead of the pack: After being the first to teach hip-hop in 1991, it now offers a minor in hip-hop studies (as of fall). Not surprisingly, the impetus for teaching and studying hip-hop tends to come from the younger members of the academy. In fall 2006, a group of UC Berkeley graduate students, led by sociology  doctoral candidate Michael Barnes, formed the Hip-Hop Studies Working Group to increase “the presence of hip-hop studies in academia,” which includes, as a long-term goal, to recruit more faculty who are interested in hip-hop. Similar groups already exist at the University of Michigan and UCLA, and there is one in the works at UC Davis. The group’s participants number at least 20 and hail from a wide array of disciplines: African American studies, American studies, history,  linguistics and ethnomusicology, among others. Some come to the group as active contributors to hip-hop, such as Larisa Mann, a.k.a. DJ Ripley, and spoken-word poet Aya de Leon, as well as scholars.



Mann, who has been a DJ for 10 years and is doing an ethnography on Bay Area rap, says that there is a direct connection between hip-hop as she studies it and hip-hop as she lives it. “I’m studying how people relate to law from the music industry,” she says. “They find it threatening or  ignore it altogether and make awesome music.” The study of hip-hop is contentious — the definition of what hip-hop is, for instance, never fails to provoke passionate debate. Many point to the Bronx, circa 1975, as a historical starting point. “It’s really tough to  pin down,” says Barnes. “It can be less tangible — more of a feeling or energy that comes from performance techniques, DJs, emceeing, dancing.”



“My working definition? Oh, no,” laughs Rickey Vincent, a group member and  author of “Funk: The Music, the People, and the Rhythm of the One.” “Here goes: an urban, youth-oriented culture based on rhyme and color that originated in black and Latino communities in New York in the ’70s. “But that’s just a frame of reference, a starting point.” Chang calls the Bay Area ground zero for this swelling field.



“There is so much incredible hip-hop intellectual talent here,” he says, listing hip-hop journalists such as Davey D along with San Francisco State University Professors Shawn Ginwright and Antwi Akom and Stanford Professor Marcyliena Morgan. “When you look at what’s happening with a  broad scope, you see the Bay Area emerging as a center.” It’s hard, actually, to find people inside academia who would dismiss the study of hip-hop as simply specious and silly (although media coverage of UC Berkeley’s class on Tupac Shakur and Syracuse University’s course on Lil’ Kim would suggest otherwise). Ever since the various social movements of the ’60s and ’70s opened up the university canon, African American history, women’s studies and pop culture became subjects for research and study.



While cultural thinkers, such as Greg Tate and Steven Hagar, and magazines including Bomb began dissecting hip-hop in the ’80s, a few key books in  the mid-’90s provided roots for the current conversation. Brown University Professor Tricia Rose’s 1994 book, “Black Noise: Rap Music and Black Culture in Contemporary America,” along with the writings of University of Pennsylvania Professor Michael Eric Dyson and University of Southern California film Professor Todd Boyd, provided the first layer of academic inquiry. Many point to the evolution of jazz studies as a blueprint for hip-hop’s growth.



Actually, according to Ginwright, business schools began studying hip-hop before it surfaced in the humanities. But the study of hip-hop does have its critics. Some, such as Boston Globe columnist Alex Beam — who, in December, devoted a column to praising the “great books” curriculum at St. John’s College while disparaging Morgan’s Hiphop Archive — find it to be unworthy of serious study. Others, like Davey D, critique the narrow confines of what constitutes “legitimate” academic inquiry.



“Now it’s like everybody is dealing in hip-hop,” says Davey D, “but they have nothing to do or no connection with the culture at all. The edicts that drive academia — publish or perish, for instance — aren’t hip-hop. “You have an interesting phenomenon, where the ‘hip-hop experts,’ with university appointments attached to their name, have no credibility whatsoever in hip-hop circles. That, coupled with the fact that academia in a lot of places has always kept a distinct separation between what goes on in community and what happens on campus, is a source of tension.”



It’s a concern shared by many who work within the confines of the university. “Our hip-hop class at San Francisco State University began in an effort to close the gap between theory and practice, academics and activists, ‘descent and street,’ ” Akom says by e-mail. Vincent started the San Francisco State class in 2001. It was clear from the occupied seats and vocal participation that students in the San Francisco State class were responding well to the material. At a recent lecture focusing on race, Ginwright opened the class by playing Public Enemy’s classic “Fear of a Black Planet” (which was also part of the homework), diving into the notion of race as a social construct.



Later, Adam Mansbach, author of the award-winning novel “Angry Black White Boy,” spoke. Ginwright says that the race lecture tends to be one of the most explosive discussions of the semester, as the class talks about personal experiences. “Hip-hop is a space where we can dialogue,” he says to the class. “It’s a space where, as my colleague Dr. Akom says, ‘We can have ‘courageous conversations.’ We peel open the cover and expose issues of race and  power.



“Hip-hop forces those in the academy to examine a people’s culture, so to the language of this generation. If you don’t want to speak it, you don’t even understand the language, and you’re not engaging with the population that needs to be addressed the most.”



“Remember,” he continues, “the academy needs hip-hop more than hip-hop needs the academy.”



E-mail Reyhan Harmanci at rharmanci@sfchronicle.com. -



—————————–

Copyright 2007 SF Chronicle


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February 5, 2007 @ 3:16 am

Rakim Told Me By Brian Coleman

Rakim Told Me By Brian Coleman
Wax Facts Straight from the Original Artists–The ’80s. (Paperback)

Why the hell didn’t hip-hop albums ever have liner notes?!!??

For years, hip-hop fans have been robbed of context and background when buying and enjoying classic albums from the Golden Age: the 1980s. Rakim Told Me brings you these invisible liner notes, one album at a time, with new angles and engaging stories. 21 albums are examined in-depth, and facts are uncovered with the turn of every page.

Journalist Brian Coleman has, over the past decade, immersed himself in and written about the hip-hop artform as a columnist for national magazines like XXL, Scratch,CMJ and URB. In this volume, The ‘80s, he digs deep, one-on-one, with legendary artists like Rakim, De La Soul, Ice-T, Public Enemy, KRS-One, Run-DMC, Slick Rick, Too $hort and many more. Rakim Told Me lets you dive head-first into the world of your favorite hip-hop artists and the classic albums they produced.

These are pure wax facts straight from the original artists, brought to the surface again after years of invisibility. So dig out your turntable, clean off your Zulu Nation medallion, crack open a chapter, and relive hip-hop’s most creative and captivating era.

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February 5, 2007 @ 12:41 am

Total Chaos - By Jeff Chang

No, we’re not referring to Bush’s new strategery. We’re talking a brand new book for ‘07!


TOTAL CHAOS & TOTAL CHAOS HIP-HOP FORUM SERIES COMING IN FEBRUARY!


That’s right, Total Chaos is the companion volume to Can’t Stop Won’t Stop. It’s an anthology of hip-hop artists talking in their own words about the art and aesthetics of hip-hop.


You can find out all about the new book on the newly launched website, courtesy of 226-Design and www.kuwayama.com. Click through now!


www.totalchaoshiphop.com


Can’t wait, won’t wait? You can pre-order the book here.



If you’re a professor or a teacher who would like to receive a desk
copy of the book to consider using it in your classes this semester,
contact the Perseus Book Group staff at:



examcopies2006@perseusbooks.com



or fax a request on your institution’s letterhead to the Perseus Book Group customer service at:


800-351-5073


Stay tuned for more announcements on the book and the groundbreaking Total Chaos Hip-Hop Forum series shortly…




THE HIP-HOP BLOG YOU DON’T HAVE TO HATE



Over the last
four years, the Can’t Stop Won’t Stop blog has become one of the best
loved rest-spots on the hip-hop information superhighway. No BS, no
faux outrage, no bland recountings of uneventful weekends. This week:
Rennie Harris, DJ Drama, and Jay-Z!


www.cantstopwontstop.com/blog

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December 10, 2006 @ 1:16 pm

Ghetto Capitalism

book

Sudhir Venkatesh’s new book unravels the mystery of the underground economy.
By Patrick Radden Keefe

America’s underground economy stubbornly resists reliable study or measurement. Its overall size may be anywhere from 5 percent to 10 percent of America’s GDP. Estimates of annual unpaid taxes range from $200 billion to $500 billion. Even the low ballparks are high. So, why do the dynamics remain so mysterious?

One answer is that under-the-table deals are by their nature surreptitious, and whether you’re paying an undocumented immigrant to rake your lawn, underreporting the money your restaurant made on a Saturday night, or dealing crack in a schoolyard, you’re not likely to expound on those activities to an academic (much less an IRS investigator). It doesn’t help that social scientists tend to employ the bluntest of tools. In their best-seller Freakonomics, Steven Levitt and Stephen Dubner tell the story of a grad student, Sudhir Venkatesh, who entered poor black Chicago neighborhoods armed with a wonky questionnaire while studying urban poverty in the late 1980s. The typical response to questions like, “How do you feel about being poor and black?” was so contemptuous that Venkatesh wondered whether, in addition to the multiple choice answers ranging from a) Very Bad to e) Very Good, he should perhaps have appended f) for Fuck You.

Eventually, Venkatesh jettisoned the survey and adopted a less orthodox methodology. He calls it “hanging out.” He spent years in a 10-square-block neighborhood on Chicago’s South Side observing the clandestine work of gangbangers and mechanics, prostitutes and pastors. The result, Off the Books: The Underground Economy of the Urban Poor, suggests that in some American neighborhoods, the underground economy is a source not just of sustenance but of order, and that while shady transactions may be illegal, they adhere to a distinctive and sophisticated set of laws.

Off the Books differs from most studies of underground economies in both scope and perspective. Venkatesh goes micro. His statistics are based on tiny areas: Only two of the 21 families on one residential block are traditional nuclear families; only 10 percent of the shop owners along one commercial strip have good credit. Eschewing the objective distance often prized in the social sciences, he gains the trust of the people he is hanging out with, sometimes by mediating their disputes. (He’s a little sheepish about this, saying he remains “not entirely comfortable” with his involvement.)

On that one residential block, Venkatesh focuses on three women: Bird, a prostitute; Eunice, an office cleaner who sells home-cooked meals on the side; and Marlene, a nanny who is president of the block’s neighborhood association. (All the names in the book are pseudonyms.) The women share tart observations about their respective livelihoods: Bird thinks gangsters should “let the pimps show them how to run a business.” Through them, we come to meet a diverse cast of locals, “nearly all linked together,” Venkatesh writes, “in a vast, often invisible web that girded their neighborhood. This web was the underground economy.”

Licit and illicit economies tend to be entwined, and in a closely knit urban neighborhood, this mutual dependence means that public-minded civilians and hardened criminals are regularly forced to negotiate. In the spring of 2000, an entrepreneurial gang leader, Big Cat, was elevating the criminal activity in a local park. Marlene and a preacher, Pastor Wilkins, arranged a tense summit with the kingpin in a church basement. Venkatesh talked his way into the room and watched as Big Cat agreed to stop peddling drugs in the park during after-school hours. For this concession, Pastor Wilkins promised to persuade a nearby store owner to allow Big Cat’s gang to deal in his parking lot, and Marlene agreed to ask the cops to leave the dealers unmolested in their new location.

“I can’t figure out who’s crazier,” Big Cat chuckles, once the deal is struck. “Me, or you niggers.”

The people in Off the Books are struggling, and their many informal transactions represent a kind of adaptive strategy —and often an indigenous social safety net. Private property is a luxury in the neighborhood, so for $300 a pop, a restaurant doubles as a gambling hall on the weekends; prostitutes use the back room of the dollar store; the currency exchange sells fake Social Security cards obtained by a local pastor. All of this gives new meaning to the urban planning notion of “mixed use.”

Similarly, neighborhood residents get around bad credit by borrowing what money they need within the community. Debts aren’t always repaid with money. Venkatesh charts the degree to which promises and payments in kind substitute for cash. Small businesses give homeless people a place to sleep in exchange for food because it’s cheaper than paying a night watchman; a prostitute and a grocer transact business without ever opening their wallets. Leroy, a mechanic, eventually gets rid of his cash register, because “his customers seemed unable to pay with our nation’s legal tender.”

In his efforts to demonstrate that this shadow economy is anything but the desperate Hobbesian scramble an outsider might assume, Venkatesh can at times sound like Jane Jacobs extolling the civic merits of Manhattan’s West Village. “Beneath the closed storefronts, burned-out buildings, potholed boulevards, and empty lots, there is an intricate, fertile web of exchange, tied together by people with tremendous human capital and craftsmanship,” he writes. In this view, even Big Cat is a “stakeholder” in the neighborhood, with an interest in seeing norms adhered to and order preserved. “It’s not a crack house,” as an old Onion headline had it. “It’s a crack home.”

But these very bonds of mutual dependence that hold the neighborhood together can breed severe dysfunction and seriously compromise pillars of the licit establishment. Eunice, who sells soul food for a living, pays a teacher $20 a week to let her grandchildren out of school to make deliveries. Cops take bribes and enforce justice selectively.

Perhaps the most surprising aspect of Venkatesh’s account is the role of neighborhood ministers. Clergy resolve disputes, but they don’t do it for free. Numerous ministers accept “contributions” from gangs and drug dealers for their services. They take other forms of payment, as well; Bird, the prostitute, has serviced “most of the preachers in this community.” Other ministers have been known to hide guns, drugs, and stolen property for a fee. Nannies rely on preachers for referrals to families but must pay a 10 percent commission. The residents are unshocked by all of this. They conclude that it would be impossible to navigate the community without making certain allowances. “We are poor people. And so are our ministers,” one congregant says. “We need to be our leader, not perfect or without sin.”

If Venkatesh sometimes marvels at the ingenuity of the people he writes about, he does not overlook the essentially tragic nature of the story he is telling. The depredations of daily life mean that for many residents, what Venkatesh calls the “perceptual horizon” does not extend beyond the neighborhood. Sadder still, it doesn’t reach beyond the struggles of the day to day. Bird, Eunice, and Marlene each envision a leisurely future of comfortable retirement. But none is clear on precisely when and how that future will come to pass. In the meantime, they hustle to get by, and the hustle means relying on one another. “You have to do things shady,” one local businessman tells Venkatesh. “Well, maybe not shady like committing a crime, but shady like you depend on each other.”

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December 3, 2006 @ 3:23 pm

Featured Book: Hip Hop High School

Hip-Hop High School by Alan Lawrence Sitomer

via Amazon

Grade 8 Up–In this sequel to The Hoopster (Hyperion, 2005), readers meet Andre’s younger sister. As Theresa makes her way through the racial hotbed of her poverty-stricken L.A. high school, she keeps her eyes on her goal: admission to USC. Devon, a fellow academic in hip-hop clothing, takes her under his wing and they work like fiends to learn all they will need to know to ace their SATs. Then Devon’s Harvard hopes are dashed when he is shot in a street fight before he is able to send in his application.

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November 2, 2006 @ 12:45 pm

Words. Beats. Life. Global Journal of Hip-Hop Culture

Words.Beats.Life

“The Golden Era of Rap Music: 1986-1995″, Volume 2 Issue 1
[COLOR]
(Paperback)

After completing the first four issues of what has become a locally supported and internationally known academic journal of Hip-Hop culture, the second volume continues to push the envelope of what a global academic journal of Hip-Hop culture can be.

[Purchase a Copy]

[Defuse More]

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October 5, 2006 @ 12:46 pm

WE GOT ISSUES!

H2A’s own Dondrie Burnham, Poet, Actor, & Director of Film Acquisitions & Programming for the H2O [Hip-Hop Odyssey] International Film Festival, is featured in WE GOT ISSUES!

We Got Issues!

“Back before I knew what it was that men wanted…
back when a smile was just a smile…
a nod was just a nod…
and god bless you was reserved for sneezing and Sundays…
back before I knew that I should be afraid…
that I should dance a jig and put on a show…
be seen not heard and never let my feelings go…
back before I knew what fuck was…
when innocence lingered like cheap cologne…
and naivete draped me like a shroud…
when I could graze the fields and soak in sunshine…
i welcomed the hunter…
the predator…
the wolf in sheep¹s clothing…
my man…
my idol…
cleverly disguised as a daddy/lover all in one…”

-Dondrie Burnham
[Defuse More]

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Defuse News is the official news service of the Hip-Hop Association. The mission of Defuse News is to connect the global Hip-Hop community through reliable news and information from a Hip-Hop perspective. Published monthly, Defuse News includes commentary from members of the Hip-Hop community, as well as information about global issues and developments, community announcements, and resources like grants, fellowships, and job opportunities.

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