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Journal of Hip-Hop,Volume I, Issue 1 Spring 2005 | ISSN 1554-4532

Copyright 2005

Readers may quote from, copy, and distribute this work for educational purposes as long as the copyright

holder and The Journal of Hip-Hop are properly acknowledged and the original work is not altered. The

reproduction or transmission of any part of this publication for other purposes in any form or by any

means, electronic or mechanical, including photocopy, recording, or any information storage and retrieval

systems, requires the written permission of Hip-Hop Matters Inc.

Printed in the United States of America


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Journal of Hip-Hop | Spring 2005

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PUBLISHER

FOUNDING EDITOR-IN-CHIEF

FOUNDING EXECUTIVE EDITOR

FOUNDING MANAGING EDITOR

EDITOR-AT-LARGE

LAYOUT EDITOR

COPY EDITOR

STYLE EDITOR

ILLUSTRATORART DIRECTOR

BUSINESS MANAGER

RESEARCHER

STUDENT INTERNS

CONTRIBUTORS

Hip-Hop Matters Inc.

Andrew J. RyanAkil E. KennedyJeff Tate

Deliya RyanKirian VillaltaLydia X. McCoyShayla Herndon

Aniekan UdofiaFritz Doseau

Jennifer Manigross

Charisse CecilMaurice HodgesEric Tate

Alicia Adams, Ray Alston, TaliyaBanda, Gil Brimais, AlonzoGamble, Sergio Gonzalez, Delia

Husband, Janeen Ingram, NyjiaJones, Vernon Kathemba, Rich-ard Lanahan, Tee Leathers, Rich

Manu, Jeff Miller, Luan Nguyen,Michelle Nadora, Erik Noel,Pho Palmer, Angelika Peacock,Ebony Utley, Ada Valatitis,Chris White, Kurt Young

Journal of Hip-HopVolume 1, Issue 1

www.journalofhiphop.org

-

JoHH welcomes letters to the editor, particularly those that comment on the

publication or the works that appear within it. All letters are subject to edit ing for

the purpose of clarity.

SEND ALL MATERIAL TO:

Journal of Hip-Hop

Hip-Hop Matters Inc.

1718 M St #279 NW

Washington, DC 20036

E-mail: [email protected]

Telephone: 202.841.4090

Hip-Hop Matters and Journal of Hip-Hop (JoHH) editors will not assume

responsibility for loss or damage to material submitted, nor will Hip-Hop Matters,

JoHH editors, staff, volunteers, or financial supporters assume any legal responsibility

for materials published in JoHH. Materials published in the journal do not necessarily

reflect the views of Hip-Hop Matters, JoHH editors, staff, or financial supporters.

JoHH is published three times a year (Winter/Spring/Fall)

Subscriptions to JoHH are available to members of Hip-Hop Matters with their annual

membership. Individual copies are $25 US/$30 CAN with discounted prices

for educational organizations.

Founded in 2004

The Bronx | Chicago | Washington D.C.


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SUBMISSIONS

The Journal of Hip-Hop will accept short essays, poems, graffiti, photo-essays, and

editorials. We invite scholars of all levels: whether academically trained or self educated.

Journal articles are carefully edited (in addition to a review process) to ensure readability.

In each issue we will typically publish 7-10 articles of various levels of scholarship.

Articles must reach a logical conclusion and primarily deal with Hip-Hop culture. Articles

should not analyze Hip-Hop from the outside in (i.e. too violent, too commercial)

but rather critique, deconstruct, advance and contribute to Hip-Hop culture. Before

submitting, please consult the JoHH reference pages online which contain information

packets to assist in your research.

REVIEW PROCESS

JoHH conducts a strict review process. All submissions to the Journal of Hip-Hop are

internally reviewed and given an initial critique by two JoHH reviewers. Articles meeting

minimum requirements will undergo a second review process, involving the author,

managing editor and a designate from the journal review board. Final acceptance occurs

once the second review process is complete.

Hip-Hop Matters is a Washington DC based non-profit serving the youth of

America. Hip-Hop Matters has three core operating areas: Youth Advocacy, Urban Youth

Outreach, and Education. Our mission is to energize, motivate, empower, and support

the youth of America through outreach, youth advocacy, urban policy analysis, educational

publications and educational consulting which responsibly utilize the five elements of

Hip-Hop culture and encourage proactive civic engagement.

To volunteer, donate, or for general inquiries:

www.hiphopmatters.org | [email protected] | 718.701.4170

People treat Hip-Hop like an isolated

phenomenon. They dont treat it as a

continuum, a history or legacy. And it

really is. And like all mediums or move-

ments, it came out of a need.

- Mos Def

i am hip-hop, i am changetm


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JoHH Mission

Founded in April 2004 The Journal of

Hip-Hop presents an opportunity for

writers (graphic and text), poets andartists, to critically dialogue on Hip-Hop

culture. Hip-Hop, consisting of at least 5

elements: bombing, b-boying, dee-jaying,

emceeing, and knowledge (of self and

culture), has gone from humble begin-

nings in the South Bronx during the

early 1970s, to a worldwide culture with

a billion-dollar earning value. Emcees,

our urban griots, have used rap music

as oral history in recording the eventsof urban America. The Journal of Hip-

Hop provides a landscape to intelligently

dissect, critique, attack, sermonize, or

eulogize Hip-Hop culture, through the

written word.

About The Logo

The Journal of Hip-Hop (JoHH) logorepresents the five elements of Hip-

Hop. The four primary elements which

define the culture and the fifth, knowl-

edge, which educates the masses on the

history and responsibilities of Hip-Hop.

With knowledge on top, emceeing, dee-

jaying, writing (populary known as graf-

fiti), and b-boying (or breakdancing) are

all represented on the JoHH logo.

ESSAYS

8 The Commercial Commodification of Hip-Hopby Chris Payatagool

16 A Brief History of Graffiti, 1965-2000by Justin Longo

24 Hip-Hop Meets Music Video: The New MilleniumMinstrel Showby Josh Seffinga

42 Hip-Hop, Ghetto-centricity and the CommodityFetish by Peter Anderson

FEATURES7 Hip-Hop Timeline Selected Events in Hip-Hop History

10 Photojournalism Exploring Wildstyle

22 Rap Music as Equipment for Life by Andrew J. Ryan

Poetry30 Mainstream vs Underground by Mark Crosby31 Hip-Hop Aint Ready by an urban public school teacher32 I Dont Understand by Shayla Herndon34 Pass the Mic by Keyanna Stone

35 Artist Spotlight Tyson Hall

Lyrical Analysis48 Ras Kass What Part of the Game View from Masada50 Last Emperor UndergroundMusic, Magic, and Myth52 Jean Grae No DoubtAttack of the Attacking Things...The Dirty Mixes54 Cee-lo Decisions, Decisions DJ Muggs Presents...The Soul Assassins

56 Editorial Hip-Hop Confusion: And This is For?by Panama Jackson

58 Book Excerpt: To The Break Of Dawn:Blues Culture & the Origins of Hip Hop, by Jelani Cobb

Book Reviews66 Unbelievable: Life Death and Aftermath of the Notorious BIG

68 Is There a God on the MIC: The True 50 Greatest Emcees69 Street Conscious Rap

70 Comic Strip True SchoolIllustrated by Fritz Doseau

74 Ed.U.TainmentTupac Shakur: Keeping It Real vs. Keeping It Right by Andrew J. Ryan

87 Coming From Where Im FromSpotlighting organizations using Hip-Hop to engage youth

88 Editorial Upturning the Childrens Table: Hip-Hop Generation Attempts toClaim Leadership by Todd Steven Burroughs

90 Through the News Wire Quotes from various news sources on Hip-Hop

92 Brothers of Struggle by Jeff Tate

96 Classic Album Review by Daryl L. Francis

Curriculum Spotlight98 University of Maryland at College Park, Dr. Jessica Nembhart98 Trinity College, Dr. Gail Waldu99 Temple Universiry, Prof Will Boone

100 Of Hip-Hop and Education by Akil E. Kennedy

102 Hip-Hop SurveyResults from a survey conducted by Spring 2003 Hip-Hopcourse at George Mason University by Deliya Ryan

106 Factwords (Crossword)

108 Bibliographical References

109 Contributors

110 Thats My Word Satisfied by J-Live

112 Lyrical Libations

TABLE OF CONTENTS


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LETTER FROM THE EDITOR

JoHH dedicates this issue to the memory of Amadou Diallo, a brother who died in the struggle.

I grew up on Noble Avenue, about 4 blocks from the Bronx River Projects where Hip-Hop

first organized in the late 1970s. I was nine years old and in my room, when I first heard

Criminal Minded. It was 1986. For the first time there was a music speaking to me. I grew

up on Hip-Hop.

I have a Bachelors degree in Computer Science (Binghamton University), a Masters in

Engineering (George Mason) and Im working on a PhD in Public Policy. For the past 6 years,Ive worked full time as an aviation researcher (NASA/FAA stuff) while taking classes and

teaching (everything from statistics to multimedia and of course Hip-Hop).

Why a Journal of Hip-Hop?

The idea for a journal came from my Spring 2001 Hip-Hop course at New Century College,

a school within George Mason University. It was a one credit course (now 4), requiring 2

short essays and a research paper. Since that course, Ive kept electronic copies of every

student paper . . . they were that good!

Community outreach (I work with a Hip-Hop non-profit called the Midnight Forum) and

teaching courses on Hip-Hop has always been my escape. I read Dave Chapelles XXL issue:Become the change you want to see, he explained. Then Chapelle funded a free concert in

Brooklyn last September where he brought together some of the top names in Hip-Hop for

a benefit concert. I soon learned Stax Records did a similar concert in Watts in 1972, giving

back to the community and culture. I did say I workedin aviation . . .

Individual success means nothing, if the community, as a whole, is going nowhere.

- Malcolm X

Common said it a little differently on Age of Aquarius:

Time to build // As far as building Im the doorman, opening doors // My blood I expose on

the floors // Tell them the game aint only to score

How It all Started

Ive known Ak (the executive editor) for almost 20 years . . . this journal began evolving back

in the late 80s on Noble Ave and Parkchester in the Bronx (and secretly in Rogers Park

Chicago). Its now 2005, Hip-Hop is coming of age. Hip-Hop has created a dope soundtrack,

but music only preservedthe calm on the Titanic. In the words of Reggie Noble:

Time 4 SumAksion!

Dru Ryan

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