Rap Music
RBG Street Scholars Think Tank's Purpose: This Educational Program and Research Project is Dedicated to Further Building the Hip Hop--Black Liberation Movement Connection by Integrating Conscious Digital Edutainment with A Scholarly... [more]
RBG Street Scholars Think Tank's Purpose:
This Educational Program and Research Project is Dedicated to Further Building the Hip Hop--Black Liberation Movement Connection by Integrating Conscious Digital Edutainment with A Scholarly Self Directed Learning Environment.
N.B. June 3, 2007: From this point forward all post in the article /group blog section without thumbnails will be delete by the editor/RBG Street Scholar. This is because such posts compromise the formating of the zine. Furthermore, we refuse to get side tracked with eurocentric rap/pop culture. So, if posts don't jell with the RBG Movement / Rap Genre and the academic nature of the zine,again, they will be deleted. This is not a democracy, but an educational research project; and as such we intend to stay on point regarding our edutainment mission, goals and objectives. Please don't allow the title to make you get it twisted, the full title is RBG Hip Hop/Conscious Rap Music Wikizine.
Anyone who has a problem with this please start your own zine, it's free.
Asante(Thank You) for your contributions.
This Zine is a Hip Hop / Rap Music guide with photos,audio, videos, links, feeds, news, comments, group blog and forum. Special focus on Hip Hop History, Underground /Indie and the Positive and Socio-politically Conscious Rap Genre / Artists, RBG Style; along with links and extensions to each of the integral aspects of hip hop culture. Including Knowledge, DJing, MCing, Break Dancing and Graffiti.
Please take some time to browse.Your contributions are welcome and encouraged if you're looking for a scholarly, and at the same time entertaining, place to expose your work and help build a comprehensive multi-media resource for others to learn from. It's what we make it--a project in evolution and always under construction.The more of us that have something to share on the subject contribute, the better this resource will be for those wanting to do research.
"Of All The Disciplines Of Study, History Is Best Qualified To Reward All Research". Thus, let's commence the discourse with a brief historical overview.
The Political Origins of Hip-hop:
> Historically poetry/ rap/ spoken word, literature and music have been combine to play a pivotal role in black progress and power, rebellion, revolt and revolution.
Political Rap Started With the Afrikan Talking Drum.
> Because of the perceived potential of talking drums to "speak" in a tongue unknown to slave masters / traders and thus to incite rebellion, in 1838 these and other drums were banned from use by Africans in the United States.
> H “Rap” Brown, known to many of the 1960's/70's Civil Rights and Black Power Movements as the original master rapper. Rap, a given nickname, comes from his being such an eloquent speaker he would be rappin. For more see Dr. Errol Henderson on Black Nationalism and Rap Music and our Hip Hop Audio History.
RBG Hip Hop is Black Power, f. Freedom's Journal-The Completion Album Promo
BE SURE TO CHECK OUT:
RBG Rap Music Classics Video Channel
HERE WE HONOR AND ENJOY THE CREATIVITY OF OUR HIP HOP ICONS IN FULL SCREEN VIEW FACILITATED BY OUR NEW AND CUTTING EDGE RBG (NING) VIDEO PLAYER.
About FREEDOM'S JOURNAL:
"Freedom's Journal" which was established in NY by Samuel E. Cornish & John B. Russwurm in 1827-1829. The name of this collective is "COMPLETION" which is a Hip-Hop group that consist of two members, Trance The MC & Mr. Emphatic! This group displays a wide range of vocabulary concepts accompanied by a politically charged analysis of the Black experience, complimented by a solid array of beats and rhymes. These two wordsmiths do not have a problem w/waving the flag of the conscious rapper as they aspiss. With a true respect for the art form, Completion stands firm in maintaining their artistic integrity while promoting hip-hop's ability to educate as well as entertain.
http://www.myspace.com/completionmusic
Tracklisting for FREEDOM'S JOURNAL:
1 Acknowledgement (Intro)
2 We're On Our Way (Ft. Darien Brockington)
3 Certified
4 We Got It!/Lets Ride
5 What Do You Stand For?
6 Game Plan (First Installment)
7 The Proposal
8 Under Pressure
9 Rock To The Rhythm (Don't Stop!)
10 Warrior's Code (Ft. True Allah & O.G. DASU)
11 One Night
12 I Wanna Get To Know You (Stand & Deliver)
13 The Ambiance (Ft. Karim Shabazz)/Don't Make Me Wait
14 The Appreciation Tour (of Duty)
15 Ride Or Die Chick
16 So Beautiful (Warrior Queens Anthem)
17 Freedom's Journal: 2nd Journal Entry (Ft. True Allah)
18 Acknowledgement (Outro)
19 Days Of Our Lives (In These Times)
All songs produced by Illmind except, "Acknowledgement" & "Game Plan (First Installment)" Produced by Algorythm for algorythmatic productions, "The Ambiance" Produced by Zo! for Chapter 3hree Verse 5ive Music LLC & "Lets Ride" Produced by Best 21 for Piql'd Beats
For detailed multimedia Bio and knowledge cipher see:
http://rbgnation.ning.com/xn/detail/991279:BlogPost:2003
3. To begin to develop an appreciation of Afrikan-Centered Education propagated through the oral tradition; including Afrikan Music/Drums, Spoken Word /Rap, Rhythm & Blues, Classic Blues, Jazz and Reggae.
Amiri Baraka, born in 1934, in Newark, New Jersey, USA, is the author of over 40 books of essays, poems, drama, and music history and criticism, a poet icon and revolutionary political activist who has recited poetry and lectured on cultural and political issues extensively...Link to read more

To take part in the African revolution it is not to write a revolutionary song; you must fashion the revolution with the people. And if you fashion it with the people, the songs will come by themselves, and of themselves. ... In order to achieve real action, you must yourself be a living part of Africa and of her thought; you must be an element of that popular energy which is entirely called for the freeing, the progress, and the happiness of Africa. There is no place outside that fight for the artist or for the intellectual who is not himself concerned with and completely at one with the people in the great battle of Africa and of all suffering humanity.
Sekou Touré1

HISTORICALLY POETRY / RAP, LITERATURE, ART AND MUSIC HAVE BEEN COMBINED TO PLAY A PIVOTAL ROLE IN BLACK PROGRESS AND POWER; REVOLT, REBELLION, AND RESISTANCE TO PSYCHOLOGICAL AND SYSTEMIC OPPRESSION.
AFRIKAN TALKING DRUM”

Because of the perceived potential of talking drums to "speak" in a tongue unknown to slave traders and thus to incite rebellion, in 1838 these and other drums were banned from use by Africans in the United States.
Def Poetry, also known as Russell Simmons Presents Def Poetry or Def Poetry Jam, is an HBO television series produced by hip-hop music entrepreneur Russell Simmons. The series presents performances by established spoken word poets, as well as up-and-coming ones. Well-known actors and musicians will often surprise the audience by showing up to recite their own original poems. The show is hosted by Mos Def. Def Poetry is a spin-off of Def Comedy Jam.
As he did on Def Comedy, Simmons appears at the end of every episode to thank the audience. The show premiered in 2002 and the latest season to air (Season 6) premiered in February 2007. As of summer 2008, there has been no word about the possibility of a Season 7.
Though technically not a poetry slam, Def Poetry has become heavily associated with the poetry slam movement, and utilizes many of poetry slam's best known poets, including National Poetry Slam champions such as Beau Sia, Taylor Mali, Big Poppa E, Mayda del Valle, Mike McGee, Alix Olson and Rives, among others. Even poets who are critical of the poetry slam, such as John S. Hall, have acknowledged slam's influence on the show. In a 2005 interview, Hall was quoted as saying, “It's true that I was on Def Poetry even though I've never slammed. I'm probably the only person to be on there who hasn't slammed. And I think most people on Def Poetry have won slams or done well in slams. And, all of them, except the special guest stars, the celebrities, are writing slam poems and performing slam poems on Def Poetry, so to me, Def Poetry is still extremely slam-informed, and I think it will probably always be. What they say about Def Poetry is that it wants to bring an urban feel. And to me, they don't mean black or Latino, or non-white. What they really mean is, a rhythm of poetry that comes out of the Nuyorican Poets Cafe, that came out of the slams.”
In a 2005 interview,Bob Holman, who founded the Nuyorican Poets Cafe's poetry slam and appeared on Season 4 of the show, applauded Def Poetry, noting,
“ I'm real happy poetry is on television. My hat is off to Russell Simmons, who has found a way to get poems on HBO in a way that feeds his own business. It gives him the back credentials for his hip-hop label, and at the same time he's magnanimous towards the art of poetry, giving us a place like that. It's a great, great moment, just as Def Poetry Jam on Broadway was a great moment, too. Not since Ntozake Shange's For Colored Girls [Who Have Considered Suicide When the Rainbow Is Enuf, 1975 Obie Award-winning play] has a poem like that been on the stage.
In November 2002, a live stage production, Russell Simmons Def Poetry Jam opened on Broadway. The show featured poets Beau Sia, Suheir Hammad, Staceyann Chin, Lemon, Mayda del Valle, Georgia Me, Black Ice, Poetri and Steve Coleman. The show ran on Broadway until May 2003, and won a 2003 Tony Award for Best Special Theatrical Event. The show subsequently toured both nationally and internationally.
Rap music has had a profound impact on the African American community in the United States. Its greatest significance, to my mind, derives from the fact that it has fostered a profound nationalism in the youth of Black America. Arguably, hip-hop has become a conduit for African American culture to a greater extent than even jazz. Where the latter could, though its polyrhythmic syncopations, embrace both the nuances and jagged edges of the collective Black experience, it could not self-consciously energize the nationalist ethos in quite the way the more lyrically focused hip-hop does. To present these jagged edges, jazz, or be-hop, needed the uncompromising lyric of the poet. Also, poets, with their jagged edges intact, still required the talking drum of instrumentation to fully capture the Black ethos of struggle, resistance, righteousness, exploitation, and creativity in Black America. Hip-hop fused the two—poetry and jazz—in such a way as to render itself the most conductive source of the current of African American culture...
Read More / Hip Hop History 101 : A Refreshing Audio Chronology 1970-2005
"Minister Malcolm X, The Best MCee Ever"




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http://www.thelastpoets.net/

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RBG POST SCRIPT
"15 N Da Video Clip"

Data Source:
RBG Hip Hop and Conscious Rap Music Wikizine
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