For
well over 12 years now, I have organized and preserved Hiphop
campaigns, Hiphop conferences, Hiphop studies, Hiphop classes, Hiphop
concerts, Hiphop exhibits, Hiphop panels, Hiphop radio shows, Hiphop
websites, Hiphop video shows and Hiphoppas themselves! Since 1996, I
have been an active member and supporter of The Temple Of Hiphop;
Hiphop's preservation society whose mission is the very preservation
and empowerment of Hiphoppas themselves. Hiphop's consciousness and its
modern presentation is almost 40 years old; and were it to be
personified, I would liken it to an adult woman or man, slightly grey
but with an organic, street-wise, savy, advanced, intellectual,
youthful mind, body and spirit. Not just on the surface, but deep down
to the core this creative consciousness, this alternative behavior and
"mind-set" has undoubtedly learned and been developed from its unique
experiences in life. As a result, it multiplied exponentially and
constructed and manifested a way, where there was no way. By and large,
this way of life has transformed subjects, objects and circumstances
and produced prosperity and life, where there was nothing but self
destruction and death! Much like many of us in our earlier stages of
life, we too were once ostricized, isolated and outcast because we did
not fit in with what society dictated and deemed acceptable. However,
for those who follow their hearts and refuse to give up on what we
believe in, have faith in and where we come from; we saw that there was
another way! A better way! So with maturity, adversity and discipline
we grew to overstand our circumstances and have become the very
strategies to our own successes. In 2007, never before is this Hip Hop
mission more necessary, more essential and above all more possible. For
both young and old, parent and child, rich and poor, conscious and
unaware, revolutionary and loyalist, national and International,
Hiphoppas by the droves are seeking a better way to do what we do
best...
For those of us who
claim Hiphop as our lifestyle and culture; everyday we see the constant
growth and exploitation of our citizens and resources. On any given
day, a new mix is mastered and a new RIAA copyright law enforced. A new
rhyme is completed and a advertising strategy is marketed. A new style
of dress is made cool and a fashion designer developes a successful
line of clothing. It goes on and on, identically like many other
business markets. Since the advent of Hiphop deep in the South Bronx,
NY sometime in 1970, Hiphoppas have not learned the value of our
innate, intuitive independence. For the most part when a Hiphoppa is
inspired to be innovative and creative, someone else is still the
benefactor and profits on the fruits of another's labor and
intellectual property. However, what I am getting at is simply; why is
this still the case? In the overwhelming majority of circumstances when
it comes to Hiphop; Hiphop culture, its elements, expressions, gross
domestic product of 10(+) billion dollars annually and its intellectual
property; those outside of this culture continue to reap the benfits
and profits of our labor. This is a problem because many of the issues
facing our culture could be rectified with the control of some of the
finances we generate. For example, you have an aspiring Emcee and
DeeJay, but they have no viable method to develop there skill,
presentation, product and then distribute that product without the
support, resources, validation and approval from major record labels,
radio and distribution conglomerates. Know this in Hiphop's early days,
this is actually counter to the original recipe and way it was done!
Not that there is absolutely no place for corporate structure,
professional grooming and the good old fashion "know how" from that
corporate structure. But what we continue to see is yet another
generation of new artists, engaging in predatory contracts that
ultimately leave artists in debt, with no responsible and accountable
system in place to protect and support the development of the Hiphop
artists, Hiphop products and ultimately Hiphop culture. By and large,
considering the American way, many would agree as the creator of a
product; the creator should maintain the rights and ownership to his or
her own products as well as the lion share of what profits that product
produces. Be clear, I am not suggesting that Hiphop culture in itself
is nothing more than product. Again, we know and acknowlede that Hiphop
is consciousness! However, for decades now most have suggested that
this is merely because of a lack of knowledge or awareness on the
artists behalf; in signing and negotiating such contracts where these
circumstances occur. Well if this were in fact true; why have we no
accountable representation or guidelines established for the expressed
protection and benefit of our intellectual properties when dealing with
corporate structure? Or do we? Furthermore, as a community we also have
all seen the long term effects of this type of business being
conducted, not just in Hiphop, but Jazz, Blues, Rhythm and Blues, Rock
and Roll, education, agriculture, real estate, medicine, politics, etc.
In
addition, what we also continue to see is the over representation of
corporate interests and no representation of cultural, community or
artistic interests. Which brings me to another question. What does it
take for there to be an acceptable, equitable balance between cultural
and corporate interests? What does it take for there to be a balance
between public interests and corporate interests? Can we co-exist? Can
we all just "get along?" How do we as a culture engage these isssues
and begin to bring what is in obvious disparity and imbalance into
balance? Considering the impact of socio-economic conditions of this
country since the 1970's all the way to today, we have witnessed
communities deeply entrenched in crime and poverty, produce very
creative individuals with fresh, pioneering and ground breaking ideas
and utilize Hiphop as a means of spiritual, self, and political
expression. So clearly there is more here than just beats, rhymes,
hooks and loot. Hiphop has also served as a means of social commentary,
while steering through a hostile environment of mass media and rap
music exploitation and commercialization. This environment is
increasingly unsympathetic due to policies like the Telecommunications
Act of 1996. For eleven years this policy has proven to limit such
soical and political expressions, with the number of major corporations
that dominate television, movies, music, radio, cable, publishing and
the internet plummet from 50 to less than 24. Hence, power has
concentrated chiefly in 10 enormous conglomerates. According to the
Free Press the six largest media companies and their earnings in 2005
are General Electric (157.2 billion), Time Warner( 43.7 billion), Walt
Disney (31.9 billion), News Corp (23.9 billiion), CBS (14.5 billion)
and Viacom (9.8 billion). For this reason as a Hiphop cultural
specialist I have suggested along with many others that this imbalance
has threatened the nature and overall productivity of not only our
Hiphop culture, but to democracy in the United States. furthermore, in
plain terms this salient issue requires knowledgable, capable Hiphoppas
to articulate and address these matters. After studing this issue what
Hiphop culture must demand is honest, authentic and bona fide market
competition. Subsequently, in 1996 during the same time that the
historic Hiphop unification movement was being formed and ownership of
radio and television stations was becoming more consolidated with
passing of the Telecommunciations Act; we now know that it is
increasingly complicated for owners from communities of color, many of
which are single station operators to compete with larger corporations.
In fact, by 2001 people of color owned only 3.8 percent of full power
commercial radio and television stations in the United States, the
lowest number since the National Telecommunications and Information
Administration began reporting the statistics (Free Press).
Reminicent
of Hiphop's Golden Age and the conscious rap movement in the 1980's;
Public Enemy's Chuck D, said "Radio... suckas never play me"! This was
an obvious statement towards the refusal of radio and media outlets to
play the music Hiphoppas themselves wanted and demanded. Hiphoppas
wanted music from emcees who voiced and reflected the social conditions
of our society, community and country such as institutional racism,
unemployment, healthcare, drug abuse, violence, political discourse and
tagible, fruitful education and sustainable economic development.
Nowadays, we see these messages have become completely absent in the
media presentation of Hiphop. This is not because emcees and rappers do
not think its important anymore to address such matters. But because
its now known that along with the current presidential administration,
congress, supreme court and lack of regulation in the business market
in general, finance and distribution is scarce for "conscious" music.
Even in the Golden Age, these messages were heard but during that time
there was a progressive march towards some degree of balance with these
messages. In contrast, now that the rap music industry's demographic is
larger and more diverse, rap artists have chosen to reflect corporate
interests (consumption and profits) and ignore the responsibilities to
the very Hiphop cultural community which has created the foundation for
success. Not to mention the age old argument that controversy,
conflict, sex and violence sells. As a result, the rap that dominates
the air waves, publications and internet today is uncharateristically,
displaying a monoscopic one sided version of what rap music has to
offer. Consequently, as documented by the New York times we have also
seen major cities like New York City's police assign special
surveliance and tatical units for Rappers and Hiphoppas. Primarily
because of the lifestyle being promoted by media conglomerates without
a balanced interpretation of Hiphop; so that it can be clearly known
that Hiphop culture is not all pimps, all hoes, all bitches, all thugs,
all gangstas and just criminal and deviant in nature. So here we are
again in 2007 being strategically shut out while a public saftey issue
has evolved to the point where rap and Hiphop are steadily becoming
synomous with criminality, violence, misogyny and homophobia.
Accordingly while many who represent the conscious rap movement are
vocal about the lack of representation in public formats, one thing
that has been very well communicated is that they do not support an
outright ban or complete shut out of other forms of rap music, much
like what is being played. They have merely stated that since Hiphop's
inception what is imperative is a balanced media presentation
consistent with Hiphop's founding priniciples of peace, love, unity and
safely having fun. Moreover, while most media outlets and stations only
play music consisting of lyrics that promote misogyny, homophobia, sex
and violence; they also have indirectly supported claims that these are
the core values and worth of not only rap music but Hiphop as a culture
and a people.
Currently,
we have a window of opportunity to make significant advancements to our
culture and our communities. Remember, when speaking of advancing
Hiphop culture, I am directly speaking of the attitudes, behavior and
charectaristics of Hiphoppas themselves. If you know of a Hiphoppa,
this advice should be passed on to that individual or read to them to
assist them with direction and guidance in achieving the productive
Hiphop lifestyle. Furthermore, for those who live Hiphop, teach Hiphop
and prosper from Hiphop, its elements and expressions this is once
again our time to "grow" Hiphop past the disfunctions and disorders of
ourselves and an absent minded American society riddled and inundated
with contridiction and corruption. During Hiphop History Month (every
November) 2006; Hip Hop Statesman Afrika Bambataa announced a "call to
consciousness" to bring balance and order and "TAKE BACK HIP HOP!".
This November 2007 will be one year since this directive was announced.
How much progress has been made? What steps have we as Hiphoppas made
to achieve this goal, which is clearly in the best interest of Hiphop
culture? Yes I know many are still struggling. I know people still have
to go to work and slave for your pay. I know there is a War still
raging and we still have a rogue administration in the White House and
people are scarred to "do" and "be"! I know you DeeJays dont want to
lose your jobs and Grafitti Artists dont want to go to jail. But,
remember, procrastination is opportunities assassin and as we think...,
so Hiphop is! The hands that help, are holier than the lips that prey.
So as a Hiphop Cultural Specialist, whose duties include teaching the
principles of Hiphop to Hiphop culture. As well to accurately interpret
and answer the sensitive cultural questions reguarding the principles
and proper presentation of Hiphop; and deciphering and articulating the
salient issues facing our culture, I offer and present an initial
solution. Right now, we still see many confuse rap music with Hiphop.
On a fundamental level rap music is a combonation and hybrid primarily
between two Hiphop elements, Emceein and DeeJayin. It has also included
beatboxin, beat machines, live instruments and at times acapella.
Again, for all those who do not know, after the first ever Hiphop
census in 1996, we as Hiphoppas have spoken up and defined ourselves.
So we now say with pride and dignity, conclusively and decisively;
Hiphop is NOT rap music! Rap is something we do, Hiphop is something we
live! This is edified by none other than the Teacha KRSONE. Those few
who do not claim Hiphop, and do not understand Hiphop which is their
choice; are still under the impression that Hiphop is menacing and
criminal in nature. Some ask how can this notion be asserted even after
the 1974 Bronx River House meetings organized by Afrika Bambataa and
the Universal Zulu Nation to organize a peaceful, loving, unified
Hiphop culture. Furthermore, dispite the even more famous and memorable
"Stop the Violence" movement in the late 1980's, followed by "All in
the same Game" on the west coast. Coupled with the manifestations of
organizations like the Hiphop Political Convention, Hiphop Congress,
H2A Film Festival, Hiphop Ministries, B-Boy Summit, and Hiphop Summit
Action Network many still wonder how do these notions persist that all
of Hiphop is delinquent and corrupt? So with careful consideration, and
much debate I offer the advice and guidance found in the Hiphop
Declaration of Peace.
This Declaration of Peace was
established and presented May 16th, 2001 at the United Nations, during
Hiphop Appreciation Week (every third week in May). The Hiphop
Declaration of Peace guides Hiphop Kulture toward freedom from
violence, and establishes advice and protection for the existence and
development of the international Hiphop community. Through the
principles of this Hiphop Declaration of Peace we, Hiphop Kulture,
establish a foundation of Health, Love, Awareness, Wealth, peace and
prosperity for ourselves, our children and their children's children,
forever. For the clarification of Hiphop's meaning and purpose, or when
the intention of Hiphop is questioned, or when disputes between parties
arise concerning Hiphop; Hiphoppas shall have access to the advice of
this document, The Hiphop Declaration of Peace, as guidance, advice and
protection. When we as a culture begin to collectively take
responsibility for how Hiphop looks and acts in society, by instituting
the 18 principles found in this document, we consciously begin to speak
in one voice, live as one community and operate in one spirit.
TO VIEW THE HIPHOP DECLARATION OF PEACE PLEASE VISIT WWW.TEMPLEOFHIPHOP.ORG
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