--> New America Media, News Feature, Suzanne Manneh, Posted: May 24, 2008
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SAN FRANCISCO — May 2008 marks the sixtieth anniversary of the Nakba – Arabic for catastrophe, the expulsion of the Palestinian people and creation of the state of Israel. However, the Palestinian Diaspora decided to commemorate it with a different image: sharing and performing hip-hop. A commemoration concert was recently held here at the Civic Center Plaza and it was free and open to the public.
Performers were male and female. They ranged in ethnic backgrounds –from Palestinian and other Arab nationalities, to African American, Mexican and Caucasian. They had come from across the United States, Canada, the West Bank and Israel.
"This is a hip-hop festival for Palestine. Hip-hop is not dead; it lives in Palestine. It's about unification for our people," Patriarch, a Palestinian-American hip-hop artist asserted before the audience.
Event organizers say this was the first large-scale gathering of 3,500 or more people: Palestinians, other Arabs and nearly a third of non-Arabs, recognizing the Nakba through hip-hop.
The performances were in English and Arabic, with some performers using both languages. The music was energetic and its sounds reflected everything from the classic African-American hip-hop of the 1980's and 1990's to contemporary underground African-American hip-hop. Some artists incorporated classical Arab beats, music, and melodies into their routine.
The Bay Area Nakba Committee, a group of Palestinian American peace activists, in collaboration with other Arab organizations and community groups such as the American Indian Movement and the International Jewish Solidarity Network, organized the event.
"I participated because I'm in solidarity with the Palestinian people and I want to demonstrate my support," said Alley, a volunteer with the International Jewish Solidarity Network. She didn’t want her last name to be used. “A people are being oppressed in my name, and it’s important to show that I disapprove of it,” she added.
Lead organizer Noura Khouri explained the need she saw for making the commemoration a hip-hop event.
"We wanted to connect urban youth culture with the Palestinian struggle," she said. "We're so sick of seeing people going up on stage and lecturing about history and politics. We wanted to connect youth to the issues in a way they can digest and we didn't know of a better way than through hip- hop." Yet, there is a perception that hip-hop could not be associated with Palestinians or Arabs.
"I never thought of Palestinians or Arabs as rappers," said a woman who was dancing to the music. This is a common stereotype that is assigned to Palestinians, and one that many people believe, says Nasser Halteh, activist and member of the hip-hop group Politikal Heat.
"We're supposed to be conservative and hip-hop is not something we're expected to participate in," he explained. "But what we're doing is nothing negative. We're performing hip-hop and telling our stories.” “Hip-hop was positive from the beginning. They (African American hip-hop pioneers) created something out of nothing to tell their stories, and that's what we're doing," he asserted.
Sammy Totah, of the pan-ethnic hip-hop group Scribe Project, feels likewise and believes that hip-hop is the strongest, constructive medium to communicate the Palestinian message.
"Hip-hop has a lot of history behind it," Totah said. "It is a revolutionary tool that has inspired positive change and instead of using our fists, we use our words."
But hip-hop has also become a means of self-exploration for many Palestinians, Halteh suggests. Halteh, who was born and raised in the United States, has been rapping since he started high school, and sees it as “his duty” to rap about Palestine. “I feel lost here in America, and when I rap, I can express myself, my Palestinian roots, and that maintains my identity."
Formed in 1998, DAM (Arabic for "lasting an eternity”), the first Palestinian hip-hop group, performs in Arabic, Hebrew, and English, and came from Israel to perform and realize the importance of expression and exploration through the music.
"Hip-hop is my way of expression. Our songs speak to all kinds of people and reflect what they feel," he said.
For this very reason, over the past decade, hip-hop has generated much popularity in the Palestinian American youth culture and has gained a larger success in Palestine, as shown in the documentary feature, Slingshot Hip-Hop.
However, while the older generations of Palestinians admit that hip-hop is not their musical preference, several were at the hip-hop event to support the Palestinian struggle, and recognize the success hip-hop has gained for articulating it.
Nabila Mango, founder of ZAWAYA, an Arab arts organization, said that while she understands "barely two-thirds of the hip-hop culture," she enjoyed the concert nonetheless. "I was shaking and grooving with everyone else," she said.
Khouri said that her parents and older relatives, all over 60, are not hip-hop fans, but came and found themselves "waving their arms and raising their fists into the air, singing and dancing with the music." Other performers included distinguished African American hip-hop artist Boots Riley from The Coup, (who brought his constituents and said he wanted to show his solidarity for the Palestinians. He said all minorities are struggling in the face of oppression.
While the Nakba commemoration was primarily focused on hip-hop, there were also cultural and educational elements consisting of Dabke, the traditional Palestinian folkloric dance, as well as simulated refugee camp exhibits, pictures from the 1948 Nakba, and a tent where Palestinian elders recounted their memories for those interested in listening.
Khouri explained that hip-hop carries a peaceful, hopeful, yet strong message and effect that she cannot find in other ways of expression and hopes to plan similar gatherings in the future.
"Just like Erykah Badu sings it," Khouri said, quoting the famous hip-hop diva, "'hip-hop is bigger than the government, it’s bigger than religion. It's the healer.'"
Source: http://news.newamericamedia.org/news/view_article.html?article_id=3e56eae63ac1c291480e34fdc36d5ae8
 By: Davey D
In the spring of 1999, the Rev. Al Sharpton gave an impassioned keynote address to the NAACP. Essentially, he chastised the hip-hop generation for being absent from protests during the aftermath of a serious incident in the Bronx. Amadou Diallo, a young, unarmed West African immigrant, had been shot by police officers 41 times. Sharpton bemoaned the fact that hip-hoppers weren't more vocal about the Diallo affair. He said the "big, bad New York rappers" were too busy making money for Clive Davis to stand up for justice.
Sharpton also expressed disappointment that more of the pent-up rage depicted in rap videos wasn't directed at holding police accountable for their actions. He got a standing ovation for his sobering words.
Unfortunately, not all his views were on point. He seemed unaware of an open letter in February of that year from rapper Mos Def, calling for fellow artists to take a stand against police brutality. The result was the ambitious EP project "Hip-Hop for Respect," on which more than 25 major artists expressed their outrage.
Mos Def's efforts were stymied, however, by the refusal of many radio stations to play the song. Even so, it was undeniable that hip-hoppers were concerned, and tried to make something happen.
Fast-forward to April 2008, when an outrageous not-guilty verdict came down for three officers involved in the killing of another unarmed man, Sean Bell, who died in a hail of 50 bullets that also wounded two of hisfriends on Nov. 25, 2006. Since Bell's killing, hip-hop artists and organizations have mobilized throughout the country to combat police abuse. The Game, Papoose and Jasiri X have been among the rappers who have released songs about it. Jay-Z set up a trust fund for Bell's child and family. Dead prez did fundraising concerts.
Two days after the not-guilty verdict came down, Immortal Technique called for fans to mail documentation to him (at policestatechronicles@yahoo.com) about police abuse they have experienced. He wants to present the accounts to the United Nations and ask for a tribunal to investigate patterns of abuse in U.S. police departments.
Here in the Bay Area, Boots Riley from the Coup and my own crew at "Hard Knock Radio" on KPFA put together a mix tape with sound clips from people who have experienced police violence, information about individual rights and resources on ways to protect yourself against abuse, as well as to report it, should it happen. (Information: www.hardknockradio.com.)
Also in the Bay Area, the Hip Hop Congress and the Silicon Valley DeBug have been acting as watchdog agencies. The congress released a video documenting a recent incident during a dead prez show in Olympia, Wash. Now the organization is putting together a CD about police accountability.
DeBug has used its magazine and radio shows to publicize the plight of the marginalized. The organization will hold its regular weekly meeting at 2:30 p.m. Sunday at the San Jose DeBug Community Center (701 Lenzen Ave.). People who have been abused by the police or experienced harrowing encounters in the Santa Clara County criminal justice system are invited to share their stories at the meeting. For more information, go to www.siliconvalleydebug.org., or call (408) 971-4965.
By Davey D
Source:http://www.mercurynews.com/music/ci_9343554?nclick_check=1
 Several of the original architects of Hip-Hop are coming together to celebrate “No Profanity Day” in New York City Friday. The special holiday was instituted when last week the New York State Assembly unanimously passed a resolution submitted by Assemblyman Ruben Diaz, Jr.on behalf of rap pioneer Minister Kurtis "Blow" Walker.
A bevy of Hip-Hop legends are expected to gather in the Bronx tomorrow, for a history-making concert - "The No Profanity Hip-Hop Anniversary Tour" - at Utopia’s Paradise Theater.
The three-hour curse-free concert will feature performances by the genre's early icons, including the day's leader Kurtis Blow, Afrika Bambaataa & the Soul Sonic Force, Grand Wizard Theodore, and Grandmaster Mele Mel.
Also billed to perform are Spoonie Gee, Rob Base, Dana Dane, DJ Hollywood, Positive K, the Force MDs, The Air Force Crew, Rew York, and Kurtis Blow, Jr.
“I’ve always been a stickler for being more conscious of the lyrics in Hip-Hop,” Kurtis Blow told AllHipHop.com. "Not only do I think it’s important to support no profanity in Hip-Hop and rap music, but also it’s more important to support no profanity in everyday life because in our society, most violence starts with the way we talk to each other."
Kurtis Blow, who has recorded over 150 songs without any profanity, is also the co-founder of Harlem’s Hip-Hop Church.
Source:http://livesteez.com/news/news_detail/702
 Souls of Mischief's Opio To Release Trilogy of Albums
Vulture's Wisdom, Volume 1, first chapter of the trilogy, is a nod to the golden era of hip-hop and features production from The Architect
"They (Souls of Mischief) were the first 'fresh to death' group. They were the '93 version of me" - Kanye West
Kanye West, John Mayer & Just Blaze give props to Souls of Mischief
(May 21, 2008 - Brooklyn, NY) Opio, member of the classic hip-hop group Souls of Mischief, has released details of his sophomore solo album, Vulture's Wisdom, Volume 1. The album will include a bonus DVD with music videos as well as animated shorts and features artwork by renowned pop artist David Flores. The album will be released in August on Hiero Imperium Records as the first chapter of a forthcoming trilogy.
Vulture's Wisdom, Volume 1 is a challenge to bloated hip-hop. With production solely from Oakland-based The Architect, whose production credits include early Stones Throw releases, Coolio, Planet Asia, and Encore, the album has a deliberate focus on Opio's rhyming and artistry. With fourteen songs under 39 minutes, the album is a short and sweet collaboration of golden-era rap polished to a 2008 sheen. While current artists such as Lupe Fiasco and Kanye West have been appropriating the classic mid 90's sound, Opio says, "People are trying to tap into that energy, whereas I am that energy." This is no braggadocio. In fact, it is an honest self- assessment of what Opio represents in the world of hip-hop; he is a living legend that has been recording and touring consistently for more than fifteen years.
The idea for Vulture's Wisdom came about in conversations between The Architect and Opio after they met while sharing neighborhood studio spaces. The conversations sparked a flood of creativity from Opio, and as fast as The Architect could supply beats, Opio was penning lyrics. "We embody the energy that people are trying so desperately to recapture or reconnect with. We never fell prey to all the trappings of materialism. Our music has stayed true to the art form and this album is a tribute to that." The album includes a bonus DVD with 7 music videos as well as animated shorts. Pop artist David Flores (XLARGE, Stussy, Deluxe, Shorty's) provided the album artwork.
As a teen, Opio hooked up with local rappers Tajai and A-Plus, whom he met through Casual, another emcee who was Opio's classmate and neighbor. The three instantly clicked and began recording together, soon adding fourth emcee Phesto Dee, to form the group Souls of Mischief. Together with Del the Funky Homosapien, Casual, Domino, and Pep Love, the legendary crew Hieroglyphics was born. Opio has always done double duty for Hiero as both an emcee and producer. Opio's recent production credits include the track "Naked Fonk" from Del's recent 11th Hour. Opio's first solo effort, 2005's Triangulation Station, moved over 20,000 units. Vulture's Wisdom, Volume 1 will be released in August on Hiero Imperium records.
Opio will be touring this summer and fall in support of the album with Hieroglyphics. Dates available here.
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Streams:
"Stop The Press"
Video: http://youtube.com/watch?v=gWj_GMQOoqc
MP3: http://media.audibletreats.com/Opio-Stop_The_Press.mp3
Kanye, John Mayer & Just Blaze gives props to Souls of Mischief
http://www.youtube.com/watch?v=NyW37_-WAug
Bio, pictures, and streams available here:
http://www.audibletreats.com/download/Hiero
Myspace:
http://www.myspace.com/opiolindsey
Hiero MySpace:
http://www.myspace.com/hieroglyphics
David Flores:
http://www.davidfloresart.com/
Label site:
http://www.hieroglyphics.com
Please contact Michelle if interested in talking with Opio.
Michelle McDevitt
michelle@audibletreats.com
 ATLANTA, GA, May 16, 2008 -- In a time where music sales are suffering and independent artists face larger obstacles to breaking into the music industry, N.Y.L.A. Entertainment Group is making available $5,000 in music promotion grants available to record labels and artists. The grant can be used towards in-house music promotion and/or marketing services including: record label consulting; music servicing to DJs, tastemakers, & record pools; marketing plans; project management; and select PR services. Record labels can apply online at www.NYLAEntertainmentGroup.com/prgrant.htm. Deadline to apply is 11:59 pm on June 16, 2008, and applicants will be notified of their acceptance or denial status no later than July 16, 2008. All completed applications received by the deadline will be notified of their acceptance or denial status by July 16, 2008. Grant is not available to current or former clients of N.Y.L.A. Entertainment Group. Only 1-3 record labels/artists will be awarded the grant based on need & project viability. All others who have been denied will receive a 50% discount on the same services.
"I decided to offer this music promotion grant because the music business as we know it is dying a fast death, and we're now entering the new world of Music Business 2.0. There's a new way of promoting music and those that have caught on are doing well, but unfortunately, many artists and labels, particularly independent artists, still lag behind. Ultimately, there will continue to be a wider gap between those who do it well and have sizable budgets and those trying to break into the industry. So, this music promotion grant is sort of my way of continuing the education so to speak. Admittedly, there's still a lot to be learned about these emerging trends transforming the industry, but it takes a keen mind to be innovators and progressors." Fabiola Fleuranvil, CEO of N.Y.L.A. Entertainment Group.
###
Contact:
Fabiola Fleuranvil
N.Y.L.A. Entertainment Group
(404) 437-0078
Fabiola@NYLAEntertainmentGroup.com
 Two of Detroit’s heavyweight MCs are going to be teaming up on a brand new collaboration album, as Royce Da 5′9″ and Elzhi will complete an LP together, produced by Detroit underground super producer Black Milk. “We decided to do it awhile ago,” announces Royce. “It’s just gonna take us a minute, but it’s a definite.”
Also in a recent Black Milk interview he said that he’s agreed to do an album with Detroit’s two most respected emcees: Royce Da 5’9” and Elzhi. “People always probably thought about it in their head, but they probably thought it would never come to life.”
Check out these recent collaborations, click the link below to download:
Royce Da 5′9″ & Elzhi - Motown 25 (Produced By Black Milk)
http://www.zshare.net/download/11770252ab29e51d
Royce Da 5′9″ & Elzhi - Best To Do It (feat. Supastition)
http://www.zshare.net/download/2544743af92da3
Royce Da 5′9″ & Elzhi - Glow (Video Performance)
http://www.photobucket.com/video/20320122008
 Nicolay is finally letting the details slip on the album that everyone and they moms wants to hear, the Foreign Exchange sequel titled, Leave It All Behind. “Let me cut right to the chase the new Foreign Exchange record is almost finished!” says Nic. “We are currently working on one of the last tracks, which is the title track, ‘Leave It All Behind’, already one of my personal favourites. Some other song titles that I can confirm at this point are ‘Sweeter Than You’ and ‘House Of Cards’.” Phonte also announces “I been working on this album on and off for a year and some change, in between finishing up Getback and my 80’s project with Zo that drops real soon,” Phonte states. “I can’t tell people what to expect,” he says when asked if the new album will be similar in vibe to Connected. “What I can tell them NOT to expect is ‘Connected Part 2.’ This is a totally different record with a different energy, but it’s still me and Nic doing what we do. I feel like this is the kind of record I’ve wanted to make all my life; I can’t wait for the world to hear it.”
As far as the release for the project, Phonte went on to state that he fully expects a video and single to be completed by the end of the summer, with the actual release slated for the fall. The anticipation is immense, let’s see if they deliver another classic.
Source:http://streethopmagazine.wordpress.com/
 Blacksmith Music presents JEAN GRAE and her electrifying and highly anticipated album ‘JEANIUS’. Produced by 9TH WONDER (Mary J Blige, Jay-Z and Destiny’s Child), Jean Grae delivers an impressive range of vision that instantly marks her as an extraordinary artist. ‘LOVE THIRST’ the lead single and video captures Jeans’ uncanny word play with an intimate twist.
The ‘Jeanius’ LP is the second Blacksmith Music release, following the inaugural success of ‘TALIB KWELI’S’ ‘EARDRUM’. Make no mistake the ‘Jeanius’ album is a classic. Make sure you pick up your copy on July 8th, 2008 through Blacksmith Music Group.
Official Tracklisting:
1. Intro
2. 2-32s
3. Don’t Rush Me
4. My Story
5. The Time Is Now
6. Billy Killer
7. Think About It
8. #8
9. American Pimp
10. This World
11. Love Thirst
12. Desperada
13. Smashmouth
 RED BULL BIG TUNE is a program that was created to showcase the musical talents of emerging as well as established producers...The Producers battle head to head through rounds of single elimination competition.
The last Producer standing will be the Producer with the... "Big Tune"... and crowned champion of the evening.
The event is inspired by the spirit of the Jamaican Reggae/Dancehall Culture where the term "Big Tune" is derived.. In traditional Jamaican Dancehall Culture a battle is referred to as a "Clash". Selectors (dj's) would "Clash" with other Selectors by spinning the latest/heaviest "Riddims"(songs). DJ's (emcee's) would record their own artistic interpretation or "Version" of a standard "Riddim that Selectors would play in the Dancehall. Whichever " Version" that was most favored by the people is considered the: "Big Tune".
During "BIG TUNE" event, Producers are paired and then battle head to head.
THE FORMAT
The format is pretty simple:
a) Two producers share the stage each at their own station/table where they have 2 cdj's and a mixer that they will use to play their Tunes.
b) Producer (1) will play an original self-produced tune approx for 60 seconds...
c) Producer (2) will do the same.
d) Each Producer will play their 2nd original self-produced tune. This brings the end of the round.
e) At this point the host will inform the crowd that they have a collective decision to make... The Producer who elicits the largest response from the people/crowd will advance to the next round and be paired with the other advancing producers to compete for the BIG TUNE TITLE.
REGIONAL EVENTS AND BIG TUNE NATIONAL FINAL
12 producers will be selected for each of the 6 regional events.
You can apply to be one of the 12 participants - by submitting your info along with 3 beats.
Our team will evaluate all entrees and will get back to the 12 that they would like to participate in each of the 6 cities hosting a Big Tune in 2008.
The top two producers from each event will be flown to New York City for the Big Tune Final in December 2008.
2008 PARTIAL SCHEDULE:
Philadelphia
Event Date: 5/21/08
Venue: Filmore at the TLA, 334 South Street
Oakland
Event Date: 5/29/08
Venue: Sweet's Ballroom, 1933 Broadway
Houston
Event Date: June 25, 2008
Venue: TBD
Detroit
Event Date: July
Venue: TBD
Chicago
Event Date: August
Venue: TBD
Seattle
Event Date: September
Venue: TBD
Washington DC
Event Date: October
Venue: TBD
Los Angeles
Event Date:November
Venue: TBD
NYC/Big Tune National Championships
Event Date: December
Venue: TBD
http://www.redbullbigtune.com/
 Connect Magazine is published by Jameel Nadir of Flint, MI and ready to take on the challenge of mixing the major industry with the underground scene by being the premier magazine for the new generation growing up influenced by the Hip-Hop culture. The Dallas, Texas based bi-monthly publication is complete with eye catching photography, revealing stories, and fulfilling content that can not be compared to. The idea is to feature an artist with major artist status on the front cover while the back cover always features someone who is a certified representative of the independent grind in one way or another. Whether it is the latest in fashion, music, news, or technology, Connect has dedicated every page to presenting the most information with a quality approach. From the in depth interviews with artists from around the country to the music reviews, the goal to please the entire audience more with every issue and be a Connect between the urban culture and the rest of the world.
"We felt that there was a lane for us in the magazine world with our concept so it was time to execute," stated Nadir. "We decided that with the name Connect, it best represents what we want to be to our target audience and our goal to Connect with our readers and our industry counterparts."
The premiere issue of Connect invades the magazine rack with its first cover featuring Grammy nominated Bun B of UGK giving us a insight as a solo artist a second time around under different circumstances than the first with the loss of his partner, Pimp C. While on the flip side, CTE's artist Roccett gives his testimonial as a new generation star from Cali while being signed to one of the hottest labels out of the south. Also featured in the pages of this issue are articles featuring BloodRaw, Erykah Baud, YG, Joe Dean, Guilty Simpson, and Sha Money XL's One Stop Shop Producer's Conference. Don't forget to check for the Ten section featuring Sophie of "My Dougie" fame and the On The Set section which features pictures of people in the know all over the place.
Connect Magazine currently shows more info on this issue and the magazine on its website, www.connectmagonline.com. Subscriptions are available for only $13.95, so get yours to get connected!
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