Hip Hop Stacks: 2014

Saturday, September 27, 2014

#IceTpolitics2014

Presenting Hip Hop Alumni's 1st

Publication Contribution

Gaming the System:
Ice-T as Neoliberal Hustler

& Entrepreneurial Philanthropist

by Greg Dimitriadis and HHA's Justin De Senso

This year marks the 1st publication contribution from Hip Hop Alumni by way of co-founder Justin De Senso and Dr. Greg Dimitriadis, Professor and Associate Dean of Academic Affairs from the University at Buffalo New York.

This post is being scribed be Lee Rhyanes, co-founder of HHA as I've recently received my copy and began setting some time aside in my week to read the text. These days HHA has channeled a majority of its social networking time through the ease + access of Twitter at twitter.com/hiphopalumni. On twitter we're going to begin a #hashtag to track notes on the read and to encourage others to read either through purchase at online or book retailers or as request through univeristy/community libraries.

To learn more about this text and HHA visit HHA's Twitter and #hashtag #IceTpolitics2014.

From one brother to another, I want to congratulate Justin De Senso for his dedication to his students & colleagues, first and foremost, and the good will of having the opportunity to network and connect with folks which resulted in how HHA got involved with the Rapper, Writer, Pop-cultural Player, Ice T and the Politics of Black Cultural Production text through Ashgate publications.

We're hopeful this is the first of many publications that either involve or are lead by HHA and its partners. Below in the tags you'll see a list of all the authors that contributed to the text, including Justin De Senso's mentor James Peterson and several others. In addition, we look to share a number of recordings and thoughts on this text both here on the blog and through Twitter, including a recording of a panel that took place overseas in the United Kingdom, of which Justin was a presenter.

This one is for Hip Hop. Peace.

Ashgate Publishing: click here

Amazon.com: click here

-Lee

Monday, September 1, 2014

Louis Armstrong's New Orleans

Louis Armstrong's New Orleans

Following up on a #HHcAtalog post from July 7, 2014, of Thomas Brothers' newly released Louis Armstrong, Master of Modernism, here we have Louis Armstrong's New Orleans, a 2006 publication from Brothers & the same publisher W.W. Norton & Company. Having arrived to Chapter 3, 'Larenzo's Soul' I've decided to purchase the text for my own collection. It's a book I highly recommend for all all library patrons interested in music history and an in depth journey into the life of one of music's maestros, Louis Armstrong. You don't have to be into jazz or knowledgeable of it to access the rich story and history lesson that Brothers eases readers to enjoy through his exceptional & honest writing style. The imagination is supported by key photographs and the music of Brother's writing as one enjoys a close reading.

Below is a link to Amazon to purchase and a link to the El Paso Public Library (EPPL) location of the text as well as the World Catalog location for anyone else in the vicinity that would like to locate this text. In preparation for the upcoming sections 'Street Hustler' and 'Jail', its a reading experience not to be rushed! And if you're a collector of anything music, it's one for your personal archive. Builds anticipation for the Master of Modernism read as well.

Amazon / Purchase: click here

El Paso Public Library / Checkout: click here

WorldCat.org / Checkout: click here

Notes

Some notes I've jotted so far include Thomas Brothers as an "Armstrong scholar". Also thinking of oral histories as a primary source (ix), looking up copy editors and the idea of "musicology reading groups" (xi). I made note to look up books and other notes such as Louis Armstrong, In His Own Words, Louis Armstrong House and Archive, Institute of Jazz Studies, New Orleans Public Library, Duke Music Library, Hogan Jazz Archive, and the Louisiana State Museum. My interests in juvenile justice made me note the information provided on the Colored Waif's Home for Boys and Armstrong's sentence on January 1, 1913 for busting off a gun at merely 11 years old. This is the moment of which his skills on the cornet would emerge. I thought a lot about Louis Armstrong as King Oliver's only mentee. There is a quote on page 19 of music as an antidote to violence and I noted the political position of an artist. Reading in late July brought me to consider the origins of Hip Hop through Armstrong's story, in so far as understanding vernacular (slang) and the musical and social complexities that makes New Orleans so important... especially to be engaged in learning history through ((listening)). Page 45 made me think of Bruce Lee's water idea, in which Brother's quotes Zora Neale Hurston stating, "...an African American sermon is not something 'set' rather it is something loose and formless and is in reality merely a framework upon which to hang more songs...". On page 51, I noted another quote that I liked... "[music] fostered wholeness by bringing spirituality, criminality, and politics into the same performing circle..." Another quote referenced by Brothers of Mahalia Jackson states, "...first you've got to get the rhythm until, through the music, you have the freedom to interpret it..." 'The Saints' chapter provides a very interesting view on the musical-social-spiritual-synthesis of this chapter's subject matter. Til' the next read time of Louis Armstrong's New Orleans...

Saturday, August 30, 2014

Fruitvale Station Today

Fruitvale Station Today

I've been wanting to see this movie for a long while. I waited for the film to land on Netflix but would forget to look it up. Now that I check out Red Box films I noticed Fruitvale when I was searching for God's Not Dead. Immediately, I changed plans and made up my mind to screen Fruitvale Station for the evening after dinner.

Oscar Grant

I became familiar with Oscar Grant's story in 2009 through news feeds of Hip Hop advocates like Davey D (who's based in the Bay Area) and also through the coverage of independent news sources like TruthOut who published several articles after the police killing such as "Unrest in Oakland Has Deep Roots in City's History of Race Relations". A few clips since put me on to Grant's name via Hip Hop MCs like Raashan Ahmad ((How Long)), Zion I's Oscar Grant Tribute ((listen)), and other shout outs as well. The Beat Within, a writing and art publication for incarcerated youth based out of the Bay Area also educated readers on their feelings about the police killing. A couple years ago I instructed an NMSU class online called Criminal Justice & Youth Outreach (CJYO) and we watched footage captured the night Grant was killed by police. The footage included below is a higher quality than the clip we watched clearly showing the un-excusable act of murder by policeman Johannes Mehserle. Much of the footage is reenacted in the film, including the dialogue between the police and Grant as he was pressed into the floor face down before being executed.

Michael B. Jordan

I was introduced to Michael B. Jordan through his moving role as Wallace on HBO television series The Wire. The first project outside of The Wire that I seen with Jordan was Red Tails. There are certain lifetime roles that I believe wait on very special actors, whether we're talking about Denzel Washington's portrayal of Malcolm X, the late Philip Seymour's role as Truman Capote, Chadwick Boseman as Jackie Robinson in 42, or Meryl Streep in the Iron Lady, etc. As a fan of Jordan, when I heard about Fruitvale Station, I felt this would be one of those moments in film. And I don't mean this was a "break through role". It's much more a "break through moment" for everyone involved, especially the family that granted access to portray their lives in Oakland and how they were affected by police terrorism. In watching Jordan work, we're able to reflect on Oscar Grant's life, his family, circumstance, and how volatile encounters with law enforcement can be. This is especially true for those that doubt or try to find reason to excuse these murders. Through everyone's involvement, especially Jordan, we're able to appreciate what independent film projects have to offer counter to the uninvolved nature of the Hollywood clown box.

Ryan Coogler

Fruitvale Station is film director Ryan Coogler's debut. Listening to Ryan Coogler on the bonus features, you see not only the passion and drive to make this film, but an individual who overstands the power of what he's doing and why. You also sense his connection to the Bay Area community as a native of Oakland through the film's sounds, sights, and slang. The audience also see's the humility in his approach to inspire audiences to think, not only about the struggles between police and community, but also the internal problems young people face growing up in neglect, poverty, and/or locations affected by gang violence (and police violence). While this film definitely invokes feelings of sadness, especially anger, the director mentions his intent to raise awareness and demonstrate advocacy through a film like Fruitvale Station. He also gives viewers the opportunity to become familiar with Oscar Grant, beyond just the name. This is especially true in light of the character defamation that some police-murder victims go through to save face of the inconsistencies of the protect & serve facade in several American communities.

I respect Coogler's care for this film and what the audience takes from his relationship with mentors like Forest Whitaker and the support they were able to leverage. Especially to incorporate the caliber of actress like Octavia Spencer and to highlight the incredible talents of Michael B. Jordan, Melonie Diaz, the supporting cast, and the involvements of producer Nina Yang Bongiovi, amongst others.

This film is a platform to continue the dialogue in light of today's tragedies. To encourage people to understand that Oscar Grant, Kendra James, Trayvon, Martin, Sergio Adrian Hernandez, Israel Hernandez, Kendrick Johnson, Michael Brown, James Boyd, Daniel Saenz, Jordan Davis, and so many others impacted by the pain of corruption and police terror, MATTER.

Recently I read an article titled "After Ferguson, Grant Makers Seek Solutions to Racial-Justice Issues" by Suzanne Perry posted in the Chronicle of Philanthropy. She writes about thoughts of philanthropic leaders and their thoughts of response to Ferguson both short and long term. One of the quotes by Susan Taylor Batten mentions her belief that "grant makers should go beyond such efforts and examine longstanding issues related to race - for example, by paying for databases to collect information about the number of unarmed black people killed by police and organizing discussions in their regions about community-police relations." Perry quotes Ms. Batten stating, "it's a challenge to get philanthropy to turn its attention as a field to some of these thornier, tougher issues." It's these type of conversations that connect to the greater purpose of a film like Fruitvale Station and creative ways people like Coogler and the cast are addressing this situation. It becomes a part of a larger conversation especially in thinking about those questions Perry mentions in her article related to poverty, police accountability, and harmful stereotypes about young black men. Through story it emphasizes human rights and protection from discrimination or violence at the hands of those that possess power of another.

Support this film at your local Red Box or buy it if you can. Pass the word and request that your local libraries add to their catalog: www.fruitvalefilm.com.

Monday, August 4, 2014

Words and Paintings by Kadir Nelson | EPPL

Words and Paintings of Kadir Nelson

This is one of the greatest children's books I've ever read. Reading that thought back to myself it doesn't even sound right to place a label on this work of art as a "children's book". This year I got the chance to watch the film 42 through my first Red Box rental and wrote a review about it click here... Initially, I was searching for a book about "basketball history" for my nephew when I stumbled across this text. It's a little bit ahead of my nephew's reading level so I decided to check it out for myself.

Prior to this text, I didn't know enough (if anything) about Negro League Baseball... other than what I learned in the first few moments of the Jackie Robinson film, and pieces of information I use to pick up here & there about Satchel Paige and Josh Gibson through references in Spike Lee joints...sometimes (though rarely) television networks like ESPN would highlight a footnote about a player or important moment... Even all the 30 for 30 documentaries I've seen on Netflix... not one about a legend from the Negro Leagues. I've never been as deep into baseball as I was other sports, but as a kid we loved to play stick ball (or soft ball in Middle phys-ed) and collect all the trading cards... My father on the other hand has plenty of stories having met Willie Mays during his youth with his twin brother. Some players I know of having grown up in a neighborhood where all the streets are named after baseball hall of fame players.

Starting with the front cover, We are the Ship, the Story of Negro League Baseball, pulls you in. The oil painting depicting Josh Gibson is powerful. While most children's books I've read have an author & artist (two different people) as you begin your journey through the oil paintings with the pitch strike on the title page and Mr. Buck O'Neil followed by a painting I'd turn into a poster for my wall if I could (of the Monarchs) and on to a rich painting of Hank Aaron who writes the foreword... immediately, I began planning the next moment I could spend time reading EVERY... SINGLE... WORD by Nelson while examining EVERY... SINGLE ... PAINTING by Nelson.

I've held on to this book for two check out cycles and will return it to the El Paso Public Library today. While there is so much to say about the book, at the end of the read it inspired my interest to learn more about all the athletes Nelson illustrates & introduces to readers. Each painting taught me something new. It's a book that took time in its research and presentation and one of those lifetime achievements meant to be introduced to the world by a very specific person. It's similar to how I felt about Chadwick Boseman's portrayal of Jackie Robinson in 42. Sometimes certain things in this world wait on the person and the moment for which the message is intended to be delivered. And with We are the Ship, Kadir Nelson creates a true gift that visually preserves what's been kept from readers... youth and elder alike.

Below I've included a YouTube video that features Kadir Nelson as well as a website. In the keywords below you'll find names of several of the baseball legends referenced throughout the text. This review does little justice to what I took from this text and the quest to learn more... but its intended as a starting point for myself to dig further into the true story of baseball and Nelson's other projects including paintings that have been featured on Hip Hop projects.

www.kadirnelson.com

Sunday, July 27, 2014

HH Stacks: Hip Hop Files, Photographs 1979-1984

Hip Hop Files

El Paso Public Library (EPPL)

Hip Hop Stacks

In 2011, we submitted a book, CD, + film list to the El Paso Public Library (EPPL) to begin building a "Hip Hop Stacks" collection. The list consisted of over 100 recommended titles. To document this collection I'm developing a PDF file visitors will be able to download that reference titles currently available at the EPPL from HHA's 2011 recommendations. I also plan to add future books, CDs, + films we're able to propose and stack for library patrons at the EPPL.

One of the books from the 2011 list currently available at the EPPL is Martha Cooper's Hip Hop Files, Photographs 1979-1984. This photographic journey is a wonderful snapshot into Martha Cooper's life through lens and an incredible "at the right place, at the right time" story detailing her contribution to capturing Hip Hop's early days of exposure.

The text is of good size to display some fascinating photographs from an internationally fearless photographer. The "Life in Photography" thumbnails which run along the bottom of the first and last pages provide readers a shot into Cooper's world beginning at the age of 5 (1948) with her "Baby Brownie camera at Baltimore Harbor" and to her travels in Thailand during the early 60s as a U.S. Peace Corps volunteer. Readers will see bits of Cooper's story in thumbnails of Cambodia, Thailand, India, Afghanistan, Iran, Russia, Germany, England, Philippines, Japan, Peru, and her arrival to the New York Post in 77'. It was Cooper's wandering interest to see the unscene and a craft that took chances out of respect for the lives & culture she became intimately connected to through photography.

The text begins with words from graffiti elder Zephyr on Hip Hop as social activism, its multi-cultural existence, and the art of compassion readers will discover through Cooper's character and the lives that speak for the photographs represented in Hip Hop Files. It's an incredible intro for Cooper's "active trigger finger" and the personal dialogue of Hip Hop's surviving alumni that provide narrative to those photographic beginnings. Cooper's undiscriminating lens gives clues to even the history before the history as discussed by notables such as DEZ aka DJ Kay Slay.

Cooper captures Hip Hop in motion, sneaking through the night with writers in the train yards, only to be on location of a platform to photograph the finished Krylon painting of passing AM trains. There is music in the descriptive language of the environments Cooper captures such as her shots on the "morning side" and "afternoon side" which play like the Side A and Side B of a record. I encourage you read this text to understand.

As a visual masterpiece, Hip Hop Files educates readers and helps to undo the forgetful nature of a vulture-like "music" industry. Through narrative captions from dozens of Hip Hop legends, readers get the story as if the speaker is observing the photograph alongside them. It's a text that personally speaks to my interest of photography and the work of photographers I've been inspired by such as Jamel Shabazz, Ernie Paniccioli, and D-Nice.

In addition to Hip Hop Files, Photographs 1979-1984, there are a number of other text and films referenced throughout the book, including the globally influential Subway Art published in 1984 by Martha Cooper and Henry Chalfant, Dondi White Style Master General: The Life of Graffiti Artist Dondi White by Andrew Witten & Michael White, and Jamel Shabazz's Back in the Days... this is only to name a few!

For more information on Hip Hop Files, Photographs 1979-1984 check out From Here to Fame Publishing at www.fromheretofame.com. I was unable to locate a website for Martha Cooper but suggest a number of YouTube interview videos that are available online. Below is video footage featuring Martha Cooper and Henry Chalfant.

To check out Hip Hop Files from EPPL: click here

Monday, July 7, 2014

Master of Modernism

Master of Modernism

One of the many things I love about libraries, unlike bookstores, is the option you have to learn about what's new in the world of lit and being able to walk over to the check out counter with a library item, and take it home... at no cost. One of my stops upon entering a library is the new releases display, which is where I discovered the Thomas Brothers Master of Modernism Louis Armstrong text, published this year 2014. It's a good size text, at least 500 plus pages on Louis (pronounced with the s) whom the intro describes as a "small man who controlled a powerful instrument".

It mentions that the text is accompanied by a music CD, but I didn't notice a CD in the copy I checked out from the library. Reading through the introduction, you just want to dive right into Chapter One, "Welcome to Chicago". In scanning the text, it includes a bunch of photographs, the first a diagram detailing the South Side of Chicago, I'm assuming upon Armstrong's arrival. The next photograph is of Louis, his mother May Ann and sister Beatrice (1922). I stopped going any further than page 13 after learning of a text that precedes this one titled Louis Armstrong's New Orleans also by Thomas Brothers.

Master of Modernism tells the story of Armstrong during the period of his arrival to Chicago in 1922, and ten years after. In the introduction I thought about what Brothers' mentions in learning the musical and social legacies of slavery through figures like Armstrong, and the social analysis of Armstrong's melody, harmony, & rhythm. I've heard of the mentorship between King Oliver & Armstrong through documentaries and a vinyl record I own that displays the two together on the cover... and as much interest as I have in those snapshots, its but a footnote compared to what this text has to offer for those interested in learning about Armstrong beyond the music.

This text is a journey for those of us unaware of Armstrong's creative genius... a chance to become more knowledgeable of his legacy and place in history. It's a thesis study by Brothers, a major part of his life as a writer, scholar, historian, and teacher during a time where the quality of an in depth story, is forced to exist amidst the sound bites of downloads, clips, and wiki talk.

Being that I'm the type that must see, hear, or read part ones before I move on to a part twos, I'm going to take back Master of Modernism to the Richard Burges library in Northeast El Paso in exchange for Brothers' New Orleans text and start there.

With these snapshot reviews, I'm coming at it through the perspective of a library patron with an eye that's always searching and who's approach to reading for fun is scattered across a range of topics, especially when it comes to music. My goal with some of these postings is to bring attention to what we have available to us in our libraries and to connect it to the the concept "Hip Hop Stacks" (will explain more about this later as it has some history)... overall I hope this will encourage readers (& non-readers) towards these resources. I'm also driven to create content and document what catches my attention but with the purpose of promoting the hard work of folks like Thomas Brothers. I believe that everything happens for a reason... even something as simple as finding a new book. Especially considering how big of an accomplishment this is for the writer...it has the potential to inspire something in the reader as well.. We never know.

Below are some videos I found of Thomas Brothers, including a lecture through the Library of Congress. Check it out!

Catalog Links
Louis Armstrong's New Orleans by Thomas Brothers: click here

Louis Armstrong, Master of Modernism by Thomas Brothers: click here

And we'll conclude with a Louis Armstrong song with his Orchestra...one from my personal favorites. ((Song of the Vipers))

HHA Theatre: Biggie Smalls Rap Phenomenon

Rap Phenomenon

In many cases, there are a lot of documentaries out there that are like greatest hits CDs regurgitating what we've heard before, or in the case of film documentary, what we've been told and shown before. With Rap Phenomenon, I enjoyed some aspects of the film and seeing old clips of Biggie perform, learning more about his camp, specifically D-Roc, and hearing about the microphone master from some of his closest Hip Hop associates. For fans of Big, check this out. It isn't something I'd collect, but it's one to view. Available on DVD through Netflix.

The film is not rated. Recommended for those that have a vested interest in the life of Christopher "Biggie Smalls" Wallace. Not recommended if you're concerned with language censorship and other contents that reference drug use, violence, or sexual content.

Along with films that are available at local libraries, or obtained through a partnership with Hip Hop Alumni, the Hip Hop Stacks blog will also link visitors to films available through other archives such as Netflix, Amazon Prime, or that are posted on YouTube for free viewing.

Citation:
Biggie Smalls: Rap Phenomenon. Director. April Maiya. Roc Darling Films, 2009. Web. Netflix. http://dvd.netflix.com/Movie/Biggie-Smalls-Rap-Phenomenon/70114195?trkid=222336.

Monday, May 26, 2014

HHA Theatre: Russell Simmons Presents The Show

The Show

Available on Netflix, a documentary film I recall wanting to see during my youth. Had access to the cassette tape soundtrack but never really saw the film... would always see the clips of the documentary on rap video shows. The soundtrack includes a roster of rappers East to West, which was constant in most soundtracks during the time (e.g. OSTs Menace II Society, New Jersey Drive, etc.). Below is a video clip from the documentary with Andre Harrell.

Citation:

The Show. Savoy Pictures, 1995. Web. http://dvd.netflix.com/Movie/The-Show/70000559?trkid=222336.

HHA Theatre, Russell Simmons, Craig Mack, Dr. Dre, Naughty By Nature, Notorious B.I.G., Run-D.M.C., Sean "Puffy" Combs, Slick Rick, Snoop Doggy Dogg, Tha Dogg Pound, Warren G, Wu-Tang Clan, Andre Harrell, 1995 Hip Hop, The Show Soundtrack, Russell Simmons Presents