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Get the Hip-Hop Education Book

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! ]

H2Ed Wiki

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! ]

Feature Archive

February 19, 2008 @ 1:04 am

Hip Hop for Hounds Contest: Rap for Darryl “DMC” McDaniels and Win $1,000

 

dmcIs your dog your best friend? What do you think about dogfighting? Now is your chance to speak your mind for rap legend Darryl McDaniels (aka DMC) of Run-DMC fame and win some major cash!  

The HSUS is holding the first “Hip Hop for Hounds” contest for the best rap song that stands up for dogs—

and against dogfighting. The winning rap will be hand-picked by DMC, and the winner will score $1,000! (See our contest rules for details.)

Also, stay tuned for our “People’s Choice Award”—

vote on your favorite of the top rap entries! If your song wins this contest, you could walk away with $500!

Here’s How to Get Started

Write your rap. Remember—it’s about the dogs! The song should be about why we love our dogs and what’s wrong with fighting them. Creativity is encouraged!

You can submit your song two ways:

Record your song and email it to us. Go toyousendit.com and attach your song file (under 3MB). Then email it to hiphopforhounds@hsus.org.

Record your song onto a CD and mail it to the following address: Hip Hop for Hounds Contestc/o Laurie Maxwell 2100 L Street NWWashington, DC 20037

Contest submissions will be accepted until midnight EST on March 31, 2008. The winner will be announced shortly thereafter.

Questions about the contest should be submitted tohiphopforhounds@hsus.org.

Want more? Visit our myspace page.

For more information on Darryl “DMC” McDaniels, please visit his official website at www.Me-DMC.com, the official Run-DMC website, www.RunDMC.com or his MySpace page.

Related Links

Hip Hop for Hounds flyer

Hip Hop for Hounds Contest Rules

Hip Hop Moguls Amp Up Anti-Dogfighting Message at Awards

Jay-Z and Other Artists Need to Step up against Dogfighting

Dogfighting

Dogfighting Fact Sheet

Taking Action to End Dogfighting: How to Spot the Signs and What You Can Do

State Dogfighting Laws

 

Filed under Announcements, Feature, News · No Comments »

January 30, 2008 @ 1:33 pm

Mama’s Hip-Hop Kitchen- The Soup Kitchen

Filed under Events, Feature, New York, News · No Comments »

March 10, 2007 @ 12:51 pm

Cipher Sounds - DJ Understanding

Cipher Sounds - Biography.



The original hip-hop D.J. Cipher Sounds was established in South Side

Jamaica, Queens, New York in the year 1975.  Little more than a year after

the originators of the genre; Kool Herc, Afrikka Bambatatta, Grand Master

Flash and others had created the culture and had begun to guide it through

its infant stages in the Bronx, DJs Divine, Understanding, and Divine

Justice had the idea to create their own sound system that would play in the

parks and community centers of their neighborhood in Jamaica Queens. Thus

Cipher Sounds was born.



In the dictionary a cipher is defined as; A series of well-defined steps

that can be followed as a procedure.  On the streets of NY in the early 70s

the word cipher had become widely associated with a spiritual sect known as;

The Five Percent Nation (5%).  They utilized the word to describe a group of

their members who had gathered together in a circle to pass along knowledge

to one another.  This knowledge was known as “Divine Mathematics”  The

original founding members of Cipher Sounds; Divine Justice, Divine and

Understanding, were practicing members of the culture.  Cipher Sounds did

their first gig at the Southern Queens Community Center and quickly became a

neighborhood favorite.  Their style of incorporating European disco records

together with soulful break beats was popular with mobile DJs across the

city, but Cipher Sounds added a unique aspect to their performance by

incorporating an echo chamber for the microphone, adding reverb and effects

to the voice of the M.C. behind the music. This soon became their signature

sound and would set them apart from many of the other street DJs in New York

City.



As time went on two of the original triad; DJ Divine, and Divine Justice

left the group to pursue other ventures, leaving DJ Understanding to become

Cipher Sounds.  Using mostly family members and close friends in the group,

Understanding began to solidify the buzz established by Cipher Sounds in the

streets of Jamaica Queens.  Showcasing their sound system and unique style

of DJing in parks and schools like; Lincoln Park, Ajax Park, 48 Park and

I.S.8 Junior high school, Cipher Sounds created a reputation that would fill

events. The buzz became so huge that Cipher sometimes packed the park beyond

capacity, occasionally causing the set to be derailed by the local police.

As the status of the group began to swell, Cipher Sounds broke new ground as

the first mobile DJs to become the house set for the popular Queens disco;

The Fantasia, located on Linden and Merrick Boulevards.  It was also at this

time that he would meet and a young hip-hop upstart named Russell Simmons.

Russell was a club promoter who booked Hip-Hop acts like his own artist;

Kurtis Blow and placed them in clubs such as The Fantasia, BG Manor, Le

Chalet, and Christ the King. Russell had heard about Cipher Sound and began

to book Cipher at his events. Cipher Sounds would become the first Queens DJ

set to battle against Bronx legend Grandmaster Flash at the Hotel Diplomat

in Manhattan.  Cipher Sounds continued to work with Russell and in 1978 met

Glenn Toby, a young man who was also making a name for himself  in the

hip-hop game, going by the name; Sweety G. Glenn introduced Cipher Sounds to

well known promoters Mike & Dave who also represented a hot group of

Manhattan based rappers called The Crash Crew.  Cipher Sounds began to work

with Sweety G. and Mike & Dave, performing at the world famous Harlem World

in Manhattan and the legendary Disco Fever in the Bronx.



By 1979 Cipher Sounds was working with major recording artists like Michael

Murphy of The System (Don disturb this groove) and Bernard Wright who had a

big dance hit with Who do you Love” They introduced Cipher Sounds to the

Drum Machine.  Soon after, Cipher Sounds began working with up and coming

rap groups including; Positive K, Kool Moe Dee of Treacherous 3, M.C.

Spanky, Spyder D, The Crash Crew and Jimmy Spicer (Super Rhymes).  In 1981

he began to produce records and worked with Stetsasonic, Davy DMX, Dr.

Jekyll & Mr. Hyde, The Breakout Crew and the Fearless Four.  In 1982 Cipher

Sounds did a deal with Romell Records and produced and recorded two singles

for the label 3 card Marley and Get moved on  He then moved on to sign a

deal with Profile Records and began to do Dance music as well as Rap.  While

working at Profile, Cipher Sounds would meet and mentor a group of rappers

(The Rza, The Genius and Old Dirty Bastard) that would later become members

of the WU Tang Clan.  He also formed and produced a dance music group called

Artz and Kraftz  Cipher Sounds left Profile Records in 1988 and signed with

Uptown Records as a producer, doing songs for Mary J Blige, Jeff Red, and

Father M.C. After inking Artz & Kraftz to a deal with Motown Records, Cipher

Sounds began producing and writing songs for the movie; House Party starring

Kid & Play. He would produced two songs for the soundtrack Surely and What a

feeling. With the success of House Party, Cipher Sounds appeared with Jeff

Red on Soul Train, BET and Showtime at The Apollo.



In 1991, Cipher Sounds left Motown and moved Artz & Kraftz over to Columbia

Records and toured the United States on the strength of the single All of

it. The song was also an underground hit in the U.K. and would take the

group to parts of Europe, Japan and Canada, taking their sound world wide.

In 1994 Cipher Sounds left Columbia Records and signed to L.L. Cool J Uncle

L Records while also producing for Ja Rule, Black Child, Helter Skelta, and

the Original Gun Clappers.



In 1995, after 20 years of making hits and working with some of the most

influential people in the record industry, DJ Understanding (Cipher Sounds)

decided to broaden his talents and learned graphic design.  In 1999 he

started a business in Harlem, New York and his new multimedia company

included but was not limited to; video editing, video production, an audio

recording studio, as well as web and graphic design.  After establishing his

venture as a full production studio, and becoming a major force in the

industry right in the heart of Harlem, DJ Understanding was faced with a

life-altering crisis when in 2002 his daughter was diagnosed with a

congenital brain tumor at the age of 8 years old, thus causing him to turn

away from the industry to concentrate on family issues.



Currently Understanding (Cipher Sounds) has returned to the entertainment

industry in an effort to reestablish his position as a leader in the fields

of music and video production and computer graphics.



You can reach The Original Cipher Sounds at: www.myspace.com/ciphersounds or

http://www.ciphersoundsny.com

Contact: 718 536-1638



Check Cipher Out on the British Hip Hop http://www.britishhiphop.co.uk - The

original UK Hip Hop History and ..

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February 6, 2007 @ 7:27 am

CANNEDIDATES

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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 @ 1:24 am

Common & Kanye West - Southside Superbowl LIVE

Common & Kanye West - Southside Superbowl LIVE (2-3-2007)
Courtesy of OnSmash.com
[Watch Video]

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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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January 25, 2007 @ 5:29 pm

reduce recycle reuse

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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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About

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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