Special Thanks

I'd like to offer my heartfelt thanks to The Legacy Foundation of Northwest Indiana for being the first grantsmaking entity to believe in our program at YFCR, The Hip Hop: Art, Science and Business course.

Stay in Tune,

TTT

You Could Hear a Pin Drop

The latest class on Wednesday July 30 was a breakthrough session. 10 students showed up and it was the most quiet and effective session we have ever had. The children came into the class and immediately set themselves up at the available workstations and began to work on beats and compositions. Very few words were spoken. The class was so quiet you could hear a pin drop. All that was audible was the faint, tinny traces of music that emanated from the kids blaring headphones.

Faces were fixed and focused. Meaningful activity and accomplishment permeated the room. It was a sight to behold; a true breakthrough for our class. No horseplay, no mindless chatter, no hormone-driven flirtation, just focused, concentrated digital music production.

From that I realized that we are making a difference. We are making true progress. I was proud beyond measure. And despite our meager resources and our dwindling grant opportunities I knew that we were succeeding in what we set out to do. To make music producers out of "ordinary" kids.

The Need for Philanthropy: Learning to Fish

Our program doesn't seek charity, it seeks investment in individuals. We seek investment on the front end of lives, rather than the back end. We seek to create and build meaningful lives before the otherwise inevitable pitfalls of ghetto experience derail the progress of our youthful charges. There is far too little of this type of intervention going on today. We need philanthropy to work harder at teaching people to fish rather than to simply give fish. And, yes, this takes money just like conventional charity, but the money works considerably harder because it spurs regeneration and future, sustainable progress.

So far we've only scratched the surface of what is possible with our Hip Hop: Art, Science and Business course. We've done almost immediately what we set out to do, and that is to teach children to create studio quality musical passages using only laptop and desktop computers. In the process we have brought about greater computer literacy among the students. We've increased vocabulary and moreover we've bolstered self-esteem.

But still we need more, so we can do more. We need more space, more equipment, respectable salaries for our highly skilled producer/instructors, and more publicity. I make no apology for that. We need more resources because we fight the battle on the the absolute frontier; the human mind and spirit. That's where we wage a valiant battle against crime, illiteracy, apathy, violence, ignorance and generational poverty.

Ours is the fight for human progress and self-actualization.

Turntable Technique

Fund Raising Mode (continued)

Turntable Technique on Technics Turntables

Laptopia

Fund Raising Mode

I'm in serious fund raising mode right now. The program slows down a bit while we regenerate funds. When you do good work it demands to be sustained. Sustenance comes from the altruistic giving of philanthropists and the conscientious solicitations of nonprofit development personnel. Well, besides helping to conduct our Hip Hop: Art, Science and Business course, my other very vital responsibility is to raise funds. I do so proudly and unflinchingly. Because I know that we are fulfilling a worthwhile purpose; we are introducing children to their true selves. We are mining the vast creativity of the mind of the child. This is the important work that is to be done in all communities where children are at risk. Education is key, but knowledge of self is what allows that key to unlock the treasures of life.

And that is what I explain to prospective donors. We are teaching children to have pride in accomplishment. They create finished works of music. Tangible accomplishment.

Beyond Music - Into Self-Esteem

I want to make it clear that this course is not just about music. It's not just about hip hop culture or music production technology. If it were, then you would see a more conventional approach. You'd see conventional instruments and practices; conventional music principles and parlance. Moreover if this were a conventional course it would give more credence to convention.

The convention of which I speak is not just the types of conventions inherent in conventional band and choral instruction, but also I speak of the conventions of hip hop, rap and r&b music production. Our course, "Hip Hop: Art, Science and Business" does not subscribe to any one theory of modern or ancient music production. Rather, we are a hybrid of them all. I'd like to say that we have refined the process to embrace the overarching principles of human music perception and creation.

This refinement gives our participants the freedom to rise above the constrictions of the musical status quo. Not just the status quo of band instruction, orchestral instruction, or choral instruction in a conventional music school based curriculum, but also the status quo of street-based instruction (i.e. turntablism, sampling and synthesizer workstation music creation). To be sure, we seek to teach beyond the conservatory and the street corner alike.

Musical Mind

Turntable Instruments

Super Duper Music Looper

Super Duper Music Looper by Sony allows children and adults to create original musical compositions using sound loops (rhythmic sound samples) in unique ways to express their "inner musician". Despite often using the same core ingredients no two kids come up the the exact same composition since they are compelled by the software to make crucial composer/producer decisions which are solely of their own choosing and volition. It is truly an uncanny process and we are excited about the possibilities.

Brought To You By

I'd like to offer my heartfelt thanks to The Legacy Foundation of Northwest Indiana for being the first grantsmaking entity to believe in our program at YFCR, The Hip Hop: Art, Science and Business course.

Stay in Tune,

TTT

Teaching and Learning

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To Teach is to Learn and to Learn is to Teach. Instructor Tommy Daniel (Mr. D) demonstrates the finer points of "turntablism". Program Coordinator Theodore McClendon beams with pride as the students delve into the science of scratchin'.

The Music That Inspired Hip-Hop (Take Notes Class)

Music Timeline: 1925 - 1978
The Early History of the inspiration for Hip-Hop Music


1925: Earl Tucker (aka Snake Hips), a performer at the Cotton Club invents a dance style similar to today’s hip-hop moves. He incorporates floats and slides into his dance style. Similar moves would later inspire an element of hip-hop culture known as breakdancing.

1940: Tom the Great (a.k.a. Thomas Wong) uses a booming sound system to please his audience. Wong also utilizes hip American records to steal music-lovers from local bands.

1950: The Soundclash contest between Coxsone Dodd’s “Downbeat” and Duke Reid’s “Trojan” gives birth to DJ Battling.

1956: Clive Campbell is born in Kingston, Jamaica. Campbell would later become the father of hip-hop.

1959: Parks Commissioner Robert Moses starts building an expressway in the Bronx. Consequently, middle class Germans, Irish, Italians, and Jewish, neighborhoods disappear in no time. Businesses relocate away from the borough only to be replaced by impoverished black and Hispanic families. Along with these poor people came addiction, crime, and unemployment.

1962:James Brown records Live At The Apollo. Brown’s drummer Clayton Fillyau influences a sound that is now known as the break beat. The break beat would later inspire the b-boy movement, as breakers danced to these beats at block parties.

1965: In a historic boxing bout, Muhammad Ali (born Cassius Clay) defeats Sonny Liston in the 6th round. Before the bout, however, Ali recited one of the earliest known rhymes:

Clay comes out to meet Liston
And Liston starts to retreat
If Liston goes back any further
He'll end up in a ringside seat.
Clay swings with a left,
Clay swings with a right,
Look at young Cassius
Carry the fight.
Liston keeps backing
But there's not enough room
It's a matter of time...

1967: Clive Campbell migrates to the United States at the age of 11. Because of his size, kids at Alfred E. Smith High School nickname him Hercules. He would later become a writer and change his name to Kool Herc.

1968: A gang named Savage Seven would hit the streets of the East Bronx. Savage Seven later transforms into Black Spades, before eventually becoming an organization known as Zulu Nation.

1969: James Brown records two songs that would further influence the drum programming in today’s rap – “Sex Machines” with John Starks playing the drums and “Funky Drummer” with Clyde Stubblefield on the drums.

1970: DJ U-Roy invades Jamaican pop charts with three top ten songs using a style known as toasting. The Last Poets release their self-titled debut album on Douglas Records combining jazz instrumentations with heartfelt spoken word. (The Last Poets would later appear on Common’s 2005 rap anthem, “The Corner.")

1971: Aretha Franklin records a well-known b-boy song “Rock Steady." The Rock Steady crew would go on to rule in the world of break-dancing, with members all across the globe.

1972: The Black Messengers (a group that staged performances for The Black Panthers and rallies relating to black power movement) feature on The Gong Show.
However, they are only allowed to perform under the alias "Mechanical Devices," because of their controversial name.

1973: DJ Kool Herc deejays his first block party (his sister's birthday) at 1520 Sedgwick Avenue, Bronx, NY. Herc would often buy two copies of a record and stretch the break parts by using two turntables and mixing in both records before the break ends. The Zulu Nation is officially formed by a student of Stevenson High school named Kevin Donovan. Donovan later changed his name to Afrika Bambaataa Aasim in honor of an ancient Zulu chief.

1974: After seeing DJ Kool Herc perform at block parties, Grandmaster Caz, Grandmaster Flash, and Afrika Bambaataa start playing at parties all over the Bronx neighborhoods. Around this time, DJ/MC/Crowd Pleaser Lovebug Starski starts referring to this culture as "hip-hop."

1975:

* Herc is hired as a DJ at the Hevalo Club.
* He later gets Coke La Rock to utter crowd-pleasing rhymes at parties (e.g."DJ Riz is in the house and he'll turn it out without a doubt"). Coke La Rock and Clark Kent form the first emcee team known as Kool Herc & The Herculoids.
* DJ Grand Wizard Theodore accidentally invents 'the scratch.' While trying to hold a spinning record in place in order to listen to his mom, who was yelling at him, Grand Wizard accidentally caused the record to produce the “shigi-shigi” sound that is now known as the scratch. Scratch is the crux of modern deejaying.

1976: DJ Afrika Bambaataa performs at the Bronx River Center. Bambaataa’s first battle against Disco King Mario sparks off the DJ battling that is now embedded in the culture.

1977:

* The Rock Steady Crew (the most respected b-boy crew in history) is formed by the original four members: JoJo, Jimmy Dee, Easy Mike, and P-Body.
* DJ Kool Herc is nearly stabbed to death at one of his parties. Although the assault placed a permanent dent on Herc's career, Grandmaster Flash, Afrika Bambaataa, Disco Wiz (the first Latino DJ), and Disco King Mario kept performing around town.

1978:

* Kurtis Blow, who was being managed by Russell Simmons, decides to hire Simmons’ brother, Run, as his DJ.
* Run was so-called because he could cut so fast between two turntables.
* Kurtis would later become the first rapper to be signed to a major record deal.
* Music industry coins the term "rap music," and shifts its focus toward emcees.
* Grandmaster Caz (aka Cassanova Fly) and Bambaataa engage in a battle at the Police Athletic League.

Producers of the Future

With the right technology and a thorough understanding of musical sound many who might have thought being a producer was out of reach could one day be the shapers of music in the future. Our course seeks to ground youngsters in the principals of musical production theory and PC literacy.

Sony Acid Music Software

Our Headquarters is on Jackson Street

The Gary, Indiana Headquarters of YFCR and the Hip Hop: Art, Science and Business Program is located just 4 blocks south of the birth home of the Jackson 5. Our temporary location at 21st and Jackson Streets is just a block and a half north of the Jackson 5 homestead.

This is the epicenter of the new evolution of music. There is something in the air.

Stay Tuned and Stay in Tune,

TTT

Girls Scouts or Music Production Class?

This venture that we're on with the Hip Hop: Art, Science and Business course never ceases to amaze me. New and wonderful things unfold on an almost daily basis. Most recently, we have come up against a little bit of friendly competition with the Girl Scouts. A local Girl Scout Troop that meets at the same time as - and in the same building with - our music production class has complained to YFCR (our parent nonprofit organization) about the popularity of our course over and above that of the Girl Scouts.

You see, on several occasions when the Girl Scout leaders would come and retrieve some of their girls from our class the girls would reluctantly get up and go to the Girl Scouts meeting. One day when the scout leaders came in to round up the girls from our class, Tommy Daniel (our Hip Hop expert instructor) said to the girls, "okay, you can go to Girl Scouts now". Two of the older girls said, "can?". Tommy repeated, "you can go to Girls Scouts now". "CAN go to Girl Scouts?" the girls retorted. Perplexed, Tommy said, "yes, you may go to Girl Scouts now?" "We MAY go?", the girls asked while giggling. I then interjected, "Mr. D (Tommy) I think the girls might want to stay in our class right now."

To make a long story short, the Girl Scout leaders requested that we change our meeting dates. We now meet on Wednesdays and Fridays (instead of Tuesdays and Thursdays).

I am humbled by all of this, in a profound way.

Stay in Tune,

TTT

Day 4 - Knowledge Transfer

And, yes, there were still more lectures about the history of Hip Hop and the history of rhythmic music. In addition we talked a bit about connectors and signal flow; inputs, outputs, thru-puts, crossfades, etc. The kids have been great. They've been real troopers, but I know they're more than ready to get into the hands on phase. And I can't say that I blame them. Well kids, if you're reading this blog you'll be glad to know that in the next session I will begin the demonstrations of the Sony Acid software. It is the software that will awaken the inner musician of you all.

But we're not done with classroom instruction yet. You've got lot of terms and keystrokes to learn.

I'm excited about this course. It is a labor of love and an honor to be a part of the Hip Hop: Art, Science and Business class. We are about to set the music education world on its ear.

Through much struggle, introspection and trial and error I have found that software (like Sony Acid) has refined the process. Virtuosity is at hand. Wherever there's a PC, there's an orchestra.

Stay in Tune.

TTT

Day 3 - "Turntable-ology" and the Beatbox

Tuesday's class delved into some of the traditional instruments of Hip Hop sound creation. We took a deeper look into the rise of the turntable as instrument rather than merely record player. Not having access to musical instruments and formal training, early Hip Hop artists used what they had at their disposal and expressed themselves despite the limitations.

We also talked about human beatboxin' where an individual would use his own human body to produce the sound of drums and other percussion instruments.

And then came the drum machine.. Roger Linn was not the inventor of the drum machine, but he is probably its most prolific innovator. Prior to his creation of the Linn Drum in the early 80's, most drum machines didn't sound like real drums at all. They sounded more like the toy drums. Many organs of the 60's and 70's had on-board drum machines that sounded very much like toy drums. These were the earliest drum machines. Roger Linn took that concept and created more lifelike sounds using first PCM (pulse code modulation) and later sound samples. Then in the mid to late 80's Mr. Linn took the science to the next phase with his MPC 60 (Midi Production Center, licensed to Akai Professional Electronics, Inc.). The MPC 60 is the prototype for most of the drum pad-based production centers that are used to this day by the most prominent hip hop producers.

Day 2 - Finding Our Way - Taking Notes

You just cannot realize how proud I am to have started this course "Hip Hop: Art, Science and Business" at YFCR, a Gary, Indiana nonprofit. But I'm even more thrilled to be affiliated with our main instructor, Thomas Daniel. This guy is teaching hip hop for real to youngsters who are inundated with nonsensical rap on a daily basis. He brings a breath of fresh air and "uplift" to the wasteland that engulfs our youth.

What follows is an essay written by young Tommy Daniel on the history of hip hop.

[NOTE: if you are a student of this class here's your chance to get caught up on the notes in case you didn't write good notes in class.] :-)

"Unlike any other subculture in American history, the hip hop culture has transcended ethnic, class, and gender boundaries. Because of its eclectic audience, it has the greatest opportunity to build educational and ethnic bridges, to improve race relations and can be used to teach historical urban art appreciation.
The “hip hop culture” has permeated popular culture in an unprecedented fashion. Because of its enormous cross-over appeal, the hip hop culture is a potentially great unifier of diverse populations. Although created by black and Latino youth on the street, hip hop's influence has become worldwide.

Today, hip hop's rap component is the fastest growing music genre in the U.S. , accounting for more than 10 percent of the $12.3 billion music sales in 1998. Rap music has become the linchpin of the hip hop culture. The overall hip hop culture has been established by this musical art form. The language (street slang), dress (baggy pants, caps worn backwards, flashy sneakers), and style of the hip hop culture have all evolved from rap music.

To illustrate rap's widespread popularity, according to Soundscan, a company in Hartsdale , N.Y. that monitors music sales, at the end of 1998, 9 of the 15 albums on the pop chart were rap. At the end of 1998, three of the top selling albums were rap acts: Jay Z, Outkast, and A Tribe Call Quest. According to Neil Strauss, "rap is replacing rock and roll as the most popular genre of music among youth". Thirty years ago, in the suburbs you heard teenagers blasting music from such rock artist as the Byrds, Doors, the Eagles, Van Halen, and Guns `N' Roses. Today, teenagers are blasting rap music from such artist as Jay Z, Common, Lil John, Kanye West and Outkast.

According to the Recording Industry Association of America, rock music accounted for 46.2 percent of the industry's $12.3 billion in sales during 1997. But this figure is down to 32.5 percent. Meanwhile rap music's share of sales has increased 150% over the last ten years and is still rising. Approximately 75% of the rap and hip hop audience is non-black. It has gone from the fringes, to the suburbs, and into the corporate boardrooms. Indeed, McDonald's, Coca Cola, Sprite, Nike, and other corporate giants have capitalized on this phenomenon.

Indeed, it is this industrial capitalization of Hip Hop culture that is responsible for the ignorant perceptions of its art forms. Since the early to mid 90’s, hip-hop has undergone changes that purists would consider degenerating to its culture. At the root of these changes is what has been called “commercial hip-hop". Commercial hip-hop has deteriorated what so many in the 70's and 80’s tried to build- a culture of music, dance, creativity, and artistry that would give people not only something to bob their head to, but also an avenue to express themselves and deliver a positive message to their surroundings.. Its positive derivatives have been overshadowed by the commonplace of vulgarity and the glorification of media status symbols.

What does the term “commercial” mean? It can take on various meanings, but in essence that term is used to label artists who have alienated parts of the hip-hop culture in their work. The High and Mighty, a duo from Philadelphia signed to Rawkus Records, summed up what commercial hip-hop is in their 1999 single release, “The Meaning”. Mr. Eon says: “…they’re tryin’ to turn hip-hop to just plain rappin’/let the poppers pop/and the breakers break…” But the disenchantment with artists who don’t appreciate hip-hop as consisting of various subsets is not new. Underground artists, predominately hip-hop purists, have lashed out on perpetrators for many years.

According to KRS ONE, the founder of the Temple of Hip Hop and widely known rap pioneer, "rap is something you do; hip hop is something you live". There seems to be a disproportionate amount of our inner city youth, world-wide, who do not understand that Hip Hop is a culture of protest, uplift and artistic appreciation. Media and corporations have preyed off of the ignorance of youth in order to promote their own financial interests. These corporations depend on fashionable, generational trends. Unfortunately, these latest crazes are overflowing with violence, disrespect and a love of quick money schemes which perpetuate the status quo.

Today's youth must inherit a historical understanding of the multi-faceted consistency of Hip Hop Culture. The Refinitions (or redefined definitions) are a collection of Hip Hop cultural terms and codes designed to protect, preserve and establish Hip Hops common Spirit and raise the self-worth of the true "Hiphoppa" and those who are unfamiliar with the culture. Hip Hop organizations may practice a different set of elements and terms. However, The Refinitions remain the primary teaching tool of those who are live within the culture of Hip Hop. With this body of knowledge we raise our self-worth as Hiphop cultural Specialists. These elements are as follows:


BREAKIN: (The study and application of street dance forms). Commonly called Break Dancing or B-Boying, it now includes the once independent dance forms; Up-Rockin, Poppin and Lockin, Jailhouse or Slap-Boxing, Double Dutch, Electric Boogie and Capoeira martial arts.

It is also commonly referred to as Freestyle Street dancing. The practitioners of traditional Breakin are called B-Boys, B-Girls and Breakers. Breakin moves are commonly used in aerobics and other exercises that refine the body and relieve stress. Dance and other rhythmic body movements appear at the genesis of human awareness. Dance is also a form of communication. Break-dancing acrobatic style of street dancing.



EMCEEIN: (The study and application of rhythmic talk, poetry and divine speech). Commonly referred to as rappin or Rap. Its practitioners are known as emcees or rappers.

The emcee is a Hip Hop poet who directs and moves the crowd by rhythmically rhyming in spoken word. The emcee is a cultural spokesperson. Technically, the emcee is a creation of his/her community whereas the rapper is a creation of his/her recording corporation.

The word emcee comes from the abbreviated form of Master of Ceremonies (M.C.). In its traditional sense, M.C. referred to the hosting of an event the master of a ceremony or an event.

In its ancient sense, to emcee meant to pray or to communicate with God. It was used by the Greeks to communicate with their oracles and to pray to their gods.

The earliest known forms of Emceein were done by the ancient priest, sages and philosophers of Africa and Asia. Later in history, the ancient art of Emceein would be practiced by African griots and djelees as they went from village to village teaching (or rather performing) history and important life lessons.

Emceein (or rhythmic speech/divine speech) also appears at the genesis of human awareness. It is the language of the heart.

Early "Hiphoppas" transformed the traditional character of the Master of Ceremony to include crowd participation routines and poetry. Today, the emcee seeks to be a master of the spoken word, not just the best rapper or poet.

Emceein (when properly understood) manipulates air through sound vibration in an attempt to alter or expand consciousness.

Emcees also deliver lectures and other forms of public instruction. Most emcees rate themselves on their ability to rock a party, speak clearly and/or tell a good story, NOT ON PLATINUM CHAINS, 24" RIMS, AIR JORDANS, etc...

Know this. A talented emcee almost always becomes a respected rapper. But a talented rapper usually never becomes a respected emcee.

The emcee expresses through rhyme what is already on your mind, whereas the rapper tells you all about his or her self. True emcees are encouraged to study both styles for maximum success.

Popularized by: Cab Calloway, Coke La Rock, Pebblie Poo, Sha Rock, Chief Rocker Busy Bee, Keith Cowboy, Melle Mel, Grandmaster Caz, Rakim, Queen Lisa Lee, Slick Rick, Big Daddy Kane, MC Lyte, Muhammad Ali, and others.



GRAFFITI ART: (The study and application of street calligraphy, art and handwriting). Commonly called Aerosol Art, Writin', Piecin', Burnin', Graff and Urban Murals. Other forms of this art include Bombin' and Taggin'. Its practitioners are known as Writers, Graffiti writers, Aerosol artists, Graffitists and Graffiti artists.

Also at the genesis of human awareness, writing on walls, trees, stones, clothing, etc. plays an important part in the development of human intelligence and self-expression. Most inner-city children instinctively begin learning to write by writing on walls.

Ancient humans of prehistoric times would put certain berry juice in their mouths and blow or spit their images onto cave walls sometimes in total darkness just as the modern graffiti writers of the 1970s and 1980s would do with their aerosol spray cans on the sides of subway trains.

Today, Graffiti artists seek to be masters of handwriting and art. Graffiti artists rate themselves on their ability to write and/or draw a good story. Many writers have become graphic artists, fashion designers, photographers and motion picture directors.

Know this. Graffiti as art is not vandalism! Traditionally, the word Graffiti originated from the Italian term Graffito meaning; a scratchthus its connection with Deejayin (visual deejayin).

Graffiti was a term given to Hip Hops graphic art animation when it appeared legally and illegally on public and private properties as an act of social protest (especially on subway trains).

Similar to the way Emceein was labeled Rap and Breakin was labeled break dancing; so it became with writin, bombin, piecin, burnin and taggin which have all come to be labeled graffiti.

Graffiti writing or drawing that is scribbled, scratched, or sprayed onto a surface.

Popularized by: Taki 183, Phase 2, Stay High 149, Kase 2, Lee, Chico , Cope 2, TATs Cru, Presweet, Iz the Wiz, Seen, Quik, O.E., Revolt, Dondi, Zephyr, Futura 2000, and others.


DEEJAYIN: (The study and application of Rap music production and radio broadcasting). Commonly refers to the work of a disc jockey. However, Hip Hop's disc jockey doesn't just play vinyl records, tapes and compact discs.

Hip Hop's deejay interacts artistically with the performance of a recorded song by cuttin, mixin, and scratchin the song in all of its recorded formats.

Even beyond music and other forms of entertainment, Deejayin as a conscious awareness not only inspires our style of musical instrumentation, it also expresses the desire and ability to create, modify and/or transform music technology. Its practitioners are known as turntablists, deejays, mixologists, grandmasters, mixmasters, jammasters, and funkmasters. Disc Jockey- presenter of recorded music.

Popularized by: El Marko, Kool DJ Herc, Afrika Bambaataa, Jazzy Jay, Grand Master Flash, Grand Wizard Theodore, Kool DJ Red Alert, DJ Cash Money, Marley Marl, Brucie B, Chuck Chillout, Kid Capri, Afrika Islam, Jam Master Jay, and others.



BEATBOXIN: (The study and application of body music). Commonly refers to the act of creating rhythmic sounds with various parts of the body; particularly the throat, mouth and hands. Its practitioners are known as Human Beatboxes or Human Orchestras.

Beatboxin is about seeing and using the body as an instrument. Earlier versions of this expression included Handbone or Hambone. However, modern Beatboxin originates from the act of imitating early electronic drum machines.

The early electronic drum machines were some of the original beat boxes; and to skillfully imitate them was called Beatboxin. However, ancient Beatboxin was the ability to imitate the sounds of Nature with one's own body parts.

Not only is Beatboxin a form of communication, Beatboxin' is also found at the genesis of human awareness. In fact, imitating the sounds of Nature (or one's natural environment) is at the very beginning of human communication, knowledge and survival.

Popularized by: Doug E. Fresh, Biz Markie, The Fat Boyz, DMX, Greg Nice, Bobby McFerrin, Emanon, Click the Super Latin, K-Love, Rahzel, and others.


STREET KNOWLEDGE: (The study and application of ancestral wisdom). Commonly refers to the basic common sense and accumulated wisdom of inner-city families. It consists of techniques, phrases, codes and terms used to survive within the inner-cities.

It involves the ability to reason soundly with or without the ideas or validation of the traditional academic mainstream. Street Knowledge is the accumulation of Hip Hops cultural self-awareness.

Its practitioners are known as Hiphoppas as well as Sisters, Brothers, Goddesses, Gods, Mothers, Fathers, Teachers, Queens , Kings, Princesses, Princes, Lords and Divine.

Contrary to the myth that knowledge is only accumulated in quiet, ordered, academic environments much of Hip Hops communal knowledge can be found with its comedians, poets and authors. Hiphoppas learn and transfer knowledge through laughter and having fun. Streetwise knowing how to survive modern urban life.

Popularized by: Malcolm X, Dr. Cornell West, Martin Lawrence, Afrika Bambaataa, Clarence 13X, Minister Louis Farrakhan, Kwame Toure, Chuck-D, Nas, Dick Gregory, Chris Rock, Tupac Shakur, The Wayans Brothers, Sista Souljah, and others.



STREET LANGUAGE: (The study and application of street communication). Commonly referred to as Black English, Urban Slang and Ebonics. It is Hip Hops language and linguistic codesthe verbal communication of the streets.

Advanced Street Language includes the correct pronunciation of one's native and national language as it pertains to life in the inner-city. In addition, advanced Street Language deals with ones communication even beyond what one says.

Street Language is not always spoken words. Hip Hops Street Language includes certain street codes that may not be communicated in words at all.

Still, Street Language (as it pertains to the spoken word) is Hip Hops attempt to free itself from the confinement of standard language and standard views of reality.

English (for example) does not have enough words or definitions to describe how we (Hiphoppas) feel about the world. This is what makes our Street (slang) Language so important to our state of freedom.

Street Language helps Hiphoppas interpret their world their way. Its practitioners are known as Hiphoppas.

Popularized by: Richard Pryor, Martin Lawrence, the Last Poets, Chris Rock, The Watts Poets, James Brown, Gil Scott Heron, E-40, DJ Hollywood, Lovebug Starsky, Nas, Fab 5 Freddy, Frankie Crocker and others.


STREET FASHION: (The study and application of urban trends and styles). Commonly refers to the clothing trends of the inner-city. However, Street Fashion deals with all trends and styles of Hip Hops culturewhats in and whats out regardless of the expression. Its practitioners are known as Hiphoppas.

Self-expression through Street Fashion is an important way to present Hip Hops unique identity to the world. Street Fashion represents the prominence of all Hip Hop cultural codes, forms and customs.

Not only is fashion a very ancient form of communication, but our expressed consciousness was (and still is) also represented in the way in which we adorned, colored and dressed ourselves.

Popularized by: The Black Spades, The Black Panthers, The Crips, The Bloods, Jew Man, Ron 125th, Dapper Dan, Shirt Kings, Lugz, FUBU, Karl Kani, Sean Jean, Wu Wear, Fat Joe 560, Phat Farm, and others.


STREET ENTREPRENUERIALISM: (The study and application of fair trade and Hip Hop business management). Commonly referred to as street trade, having game, the natural salesman or the smooth diplomat. It is the readiness to engage in the creation of a business venture that brings about grassroots business practices. Many of Hip Hops apprenticeships begin here.


Different from entrepreneur-ism which may include the techniques and practices of the entrepreneur, entrepreneurial-ism focuses upon the motivating Spirit to be self-employed, inventive, creative and self-educated.

It is this Spirit; the Spirit of self-creation, the urge to create and sell ones own talents, discoveries and inventions that is encouraged by these teachings. Its practitioners are known as hustlers and self-starters. Entrepreneural self-motivated creative person who undertakes a commercial venture.

If messages of love, peace, anti-racism, and human uplift are resonated among the hip hop population, it can have an enormous impact on ethnic relations in our society. In the 1950s and 1960s the Beat Culture spoke of love, yet challenged the status quo in ways that did not compromise their rebellious spirit. In the same vein, it is possible for the hip hop culture to keep its rebellious street flavor and speak to issues such as love and respect for all. It is possible for rap artists such as Master P, Wyclef Jean, and Busta Rhymes to empower America and the world's youth like Bob Dylan, John Lennon, and Bob Marley did. "

WORD

Day One - Hip Hop Technology Course

We had an auspicious start to the "Hip-Hop: Art, Science and Business" course at YFCR (Youth Family Community Renewal). Facilitator Thomas Daniel and myself introduced the course with lectures on Hip Hop history, African-American history and music technology.

The kids were surprisingly attentive and their grasp of the information was phenomenal. It made us realize that they are the "digital native" generation that we hear so much about. It became apparent that we as instructors will have to make a special effort to think and act at video game speed. This is actually a plus because our studio will be laptop based. Kids know computers, so our job will be made easier by using this familiar medium to introduce unfamiliar (and often complex) concepts and principles. Sound engineering, sound wave mapping, audio signal flow and many other recording studio fundamentals will be made exponentially easier to teach because of the children's inherent facility with the personal computer.

Again, day one looked very promising. We had 16 youngsters attend the lecture, and we anticipate perhaps a dozen more enrolling within the next 2 weeks.

I have an idea where I'd like to go with this course, but the real excitement awaits in the realm of unintended (hopefully positive) consequences. Lives may be changed in ways we cannot now imagine. I noticed this today in our first lecture. The future looks bright and unlimited.

We will raise the additional funds to make the course flourish at the level of its potential. We will inspire donors to support our lofty cause.

Laptop Studios: a Study of the Power and Autonomy of Sony Acid Music Software

The democratization of music production has arrived. No longer is one required to spend inordinate amounts of money just to set up a home studio. Gone are the days wherein multi-thousand dollar multitracks, mixers and synthesizers are required. Software is well on its way to replacing the standard hardware based tools of the trade. And it's about time.

Most of the gadgets that are used in the studio are computer processor-based anyway. Why not use a full blown computer to do all of the sound creating and processing? This is only logical.

In a lot of cases musicians and engineers already know this. They know that the tiny computers in the devices they regularly use are inferior by degrees to the immense processing power of the personal computer. And those various gadgets that have become the tools of the trade are so many millstones around the necks and wallets of the studio faithful.

Even hardware helpers like ProTools software fall short of what is now possible with the more advanced and smarter software on the market today. ProTools, the so-called industry standard, is so tethered to gadgets and conventional devices and practices that it only serves to delay the inevitable. Soon recording studios will be mostly virtual.

Enter Sony Acid Software.