Ivy League Rap:

Rappers make their voices heard at Harvard
by Aisha Moore

On Friday December 8th about 2000 people gathered in Harvard Law school's Ames Ballroom to hear some of today&Mac226;s most noted hip-hop artists participate in forum on issues of race, police, and the community. The panel discussion, sponsored by the Reverand Al Sharpton & the Source magazine, included David Mayes (CEO and publisher of the Source), Carlito Rodriquez (Editor in Chief of the Source), Ray Benzino of Made Men, Shyne, Treach, Queen Latifah, Master P, Fat Joe, and the RZA. This was an opportunity for the artists to speak about issues affecting the rap industry, hip-hop culture, and communities of color in general.

When asked to say a few words about the current state of hip-hop, Ray Benzino, the most prepared of the group, commented that the monopolization of radio has allowed rap music&Mac226;s audience to expand but, many new listeners do not understand the struggle behind the music. Shyne added to this point that most rap is not going to be about happy things because there is 'nothing for children in the ghetto to smile about'. Queen Latifah expressed that the expansion of hip-hop has been so rapid that the hip-hop community is still playing catch up and as a result has put limits upon itself. David Mayes and the RZA saw this expansion as a large problem in that hip-hop is being encroached up by outside forces. Master P made a very salient point when he touched on how to bridge academics with hip-hop. Knowing that many rappers are not formally education there is room for professionals to provide services to them. He asked that professionals, particularly those of color, use their expertise and join the hip-hop community to make it a success. The hip-hop community needs lawyers, doctors, and accountants also. It was presented as a concrete solution for those who created and were an inspiration for hip-hip to keep control of it.

The panel was asked to speak on their own experiences with racial/hip-hop profiling. Shyne spoke about how radio and video outlets won&Mac226;t play his music because of his gun charge. Contrasting this with Eminem , who also has a gun charge, receives major support and rotation from all of the major media outlets. Queen Latifah had the most interesting perspective in that her father, brother, and uncle were all policeman. She spoke of how policeman would not have to use racial profiling if they had better rapport with the community. This would lead to less mistrust and the police could rely on the community as an ally. Most importantly to her was that racial profiling would always be problematic as long there was racism.

Lastly they were all asked to comment on how their music effects adolescent&Mac226;s perceptions of violence and persons of the opposite sex. Fat Joe clearly stated, what he does is entertainment, although it is based on the past experiences of himself and those close to him. As role model, he felt that it was his personal responsibility to go back to the Œhood and speak with and motivate the youth. Joe even admitted that he tells kids that he graduated from high school although he did not. He felt it was important to show the importance of education to the youth. Shyne also commented about how his perception of life was changed through reading. Being the only female on the panel Queen Latifah spoke about male-female images in hip-hop. Latifah stated that the image of rappers having several women creates mistrust towards men among women. Conversely, the notion that all women are hoes out to get money also creates mistrust toward women among men.

Overall the consensus was that these issues are all bigger than hip-hop. They stem from a poor educational system, racist police training, and the disenfranchisement of felons and people of color. This forum gave the artist an opportunity to speak with out having to be in a defensive setting. Each of the artists gave very emotional and sometimes personal statements. Many of the artists were able to tell their stories and the audience was able to see beyond the entertainer. Rev. Sharpton and Dr. Olgotree, of Harvard University, announced that there would be similar dialogues taking place all over the country over the next few months. It is my hope that these dialogues can move into action. This was a testament to the fact the hip-hop community will not be ignored. Hopefully these dialogues will lead to action to address the issues that concern and affect the artist, their communities, and fans.
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Commonly referred to as "Rappin" or "Rap." The Emcee is a mass controller who directs and moves the crowd by rhythmically rhyming in spoken word.

1 The word "Emcee" comes from the abbreviated form of "Master of Ceremonies" (M.C.). In its traditional sense to "Emcee" (M.C.) meant to host an event.

2 Early Hiphoppas transformed the traditional character of the M.C. to include crowd participation routines. Today, the Emcee seeks to be a master of the spoken word, not just the best Rapper.

3 Emcees also deliver poetry readings, lectures and other forms of public instructions. Most Emcees pride themselves on the ability to tell a good story. Its practitioners are known as "Emcees" or "Rappers.". Popularized by Grandmaster Caz (Cold Crush Four), Cowboy. Melle Mel (Furious Five) and others.

1 Today, Graffiti artists seek to be masters of handwriting, not just great artists. Graffiti artists pride themselves on the ability to write, and/or draw, a good story. Its practitioners are known as "writers" and "Graffitist." Graffiti -- writing or drawing that is scribbled, scratched, or sprayed on a surface. Popularized by Phase Two, Seen, Cope2, TAT's cru and others.

Commonly refers to the actions of a disc jockey. Hiphop's disc jockey doesn't just play vinyl records, tapes, and compact discs. He or she interacts artistically with the performance of a recorded song by "Cuttin," "Mixin," and "Scratchin" the song in all of its recorded formats. Its practitioners are known as "Turntablists" "Deejays," "Grandmasters," "Mixologists," "Mixmasters," "Jammasters," "Funkmasters" and "Blastmasters." Disc Jockey -- presenter of recorded pop music. Popularized by Grandmaster Flash, Afrika Bambaataa, Jam Master Jay, Kid Capri, Red Alert, Marley Marl, the Awesome Two and others.

Commonly refers to the act of creating rhythmic sounds with various parts of the body, particularly the throat, mouth, and hands.

1 Philosophically, Beatboxin is about seeing the body as an instrument. Earlier versions of this expression included "Handbone" or "Hambone." It is the act of imitating early electronic drum machines.

2 These machines were some of the original beat boxes and imitating them was called "Beatboxin." Its practitioners are known as "Human Beatboxes" or "Human Orchestras." Popularized by Doug-E Fresh, DMX (Just-Ice), Biz Markie, Emanon.

Commonly referred to as "Black English," "Urban Slang," and "Ebonics." It is Hiphop's language and linguistic codes, the verbal communication of the "streets." 1 Advanced Street Language includes the correct pronunciation of ones native and national language as it pertains to life in the inner-city. Its practitioners are known as "Hiphoppas." Popularized by Hiphoppas.

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 and the ability to reason soundly with or without the ideas or validation of the mainstream. Its practitioners are known as "Sister," "Brother," "Goddess," "God," "Earth," "Mother," "Father," "Teacha," "Queen," "King," "Princess," "Prince," "Lord," and "Divine." Streetwise -- knowing how to survive modern urban life. Popularized by Chuck D (Public Enemy), KRS-ONE, Rakim Allah, Poor Righteous Teachas and others.

2 Hiphop is a unique inner-city awareness that enhances ones ability to self-create. It is a "sight."

3 In the past Hiphop was spelled "hip-hop." True Hiphoppas are advised to spell Hiphop with a capital "H," as it is the name of our collective consciousness and our kulture.

4 Hiphop, spelled "hip-hop," means (hip) trendy, (hop) jump or dance. We are not just a "trendy dance" however, those that spell Hiphop like this (hip-hop) usually approaches Hiphop like a trendy dance or music.

5 In addition, Hiphop's kultural unity is established by spelling Hiphop as one word, "Hiphop," unless the term "Hiphop" is being displayed as art or in public advertisement.

6 Those that spell Hiphop, "hip-hop" are undermining Hiphop's kultural unity and demeaning the importance of what Hiphop really is.

7 Know this. Hiphop spelled "Hiphop," is not only the code for writers that participate in Hiphop's preservation, generally it is a matter of respect!

1 There is Hiphop, Hiphop's kulture and Hiphop's elements. For the sake of convenient conversation, Hiphoppas are allowed to use the term "Hiphop Kulture." But in reality, it is Hiphop's kulture that is called "Hiphop Kulture." True Hiphoppas spell culture with a "K" signifying the "self-aware" Hiphop Kulture.

2 Hiphop Kulture spelled with a "c" (culture) represents those that regard Hiphop as a product (the "hip-hop" culture).

3 Hiphop Kulture spelled with a "K" also represents Hiphop after the year 2000. Hip-Hop culture spelled with a "c" represents "hip-hop" culture before the year 2000.

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