Bombs over Bagh---....IRAN!

What up, YoungWorld!

In THIS episode of ghettoGEEK Radio we focus on the current political struggle in IRAN with none other than the impassioned intellect; Sable Verity! Sable discusses the Iranian conflict from a political and cultural vantage point. Utilizing Neda Soltan's death, Ahmedinejad's rhetoric, and America's current strategic posture, Sable attempts to provide insights on gender issues, issues of oppression, and implications for Iran's affect upon the global community.

Before closing out, OuttaBoundz shares conversation with the DriFish...one half of the Baltimore-based Spoken Word duo; The 5th L! DriFish shares his passion for lyricism, community, global politics, and work ethic! He provides an in-depth glimpse at the experiences that influence the artistry we've come to know as the The 5th L. (All in all, an insightful glance at the theory and methodology BEHIND the music!)



OuttaBoundz
WeBeGeekin'
A. Dub Productions
www.ghettogeekin.blogspot.com

A Lil' Left Coast History Lesson....

Cops patrol projects and the people livin’ in ‘em,
I was born an inmate, waitin’ to escape the prison.
Went to church, but don't understand it. They underhanded!
God gave me these commandments.
The world is scandalous!
Blast 'til they holy high
Baptize they evil minds….rise…no longer blinded.
Watch me shine, Trick.
Which one of y’all wanna feel the degrees?
Bitches freeze when they see Black Jesus!
(Tupac Shakur, Black Jesus, 2000)

It is of no surprise that rap music is a derivative of the economic underclass. The themes, messages, and meanings that are contained in rap music are based upon the understanding that the information being relayed is of importance to the urban underclass. As Rose (1994) states, “these unusually abundant polyvocal conversations seem irrational when they are severed from the social contexts where everyday struggles over resources, pleasure, and meanings take place” (p. 2). Rose does a wonderful job at contextualizing her observations and understandings of the Hip-Hop culture, more specifically, rap music within the parameters of mainstream society. Black Noise takes readers on a socio-historical tour of the Hip-Hop culture. Beginning from the economic collapse in the South Bronx during the late 1960s, Rose (1994) begins to explain the behavior of rap music by drawing consistencies with the environment from which it was born. To fully comprehend the social depth of her chronological cross-reference, she makes it known that the economic depression in the Bronx was neither coincidence or community-inflicted. She makes it quite clear that New York City planner, Robert Moses, was strategic in his disrespect for communities in the ethnic minority: “Like many of his public works projects, Moses’s Cross-Bronx Expressway supported the interests of the upper classes against the interests of the poor and intensified the development of the vast economic and social inequalities that characterize contemporary New York” (Rose, 1994, p. 32). Her ability to state the cause of the economic depression in the Bronx, during this period in history, allows for recognition of the correlation between rap’s view of society and society’s ill treatment of these artists and their communities.

Arthur Pressley (1992) discusses the ill effects of economic depravity in his emphasis on psycho-theological interpretation of rap music. The first part of his argument addresses the psychosocial and physical needs that are lacking in many urban black communities due to lack of economic resources. He gives examples of staggering death figures that “include 920 suicides, 650 homicides, 20,000 deaths from cardiovascular disease and 500 deaths from cirrhosis of the liver” (Pressley, 1992, p. 93.) He speaks of urban black males, which he interviewed, who speak as if their only real choice in life is how they will die. He continues to construct a scene that consists of narcissistic individuals, who have only their dilapidated habitat to blame, as they attempt to build healthy relationships.

OuttaBoundz
WeBeGeekin'
www.ghettogeekin.blogspot.com

Come Together....RIGHT NOW!

OuttaBoundz
WeBeGeekin'
A. Dub Productions
www.ghettogeekin.blogspot.com

We know y'all got Soul...but do you have GYPSY SOUL?

Y'all go ahead and PRESS PLAY to hear your MainMan, OuttaBoundz, get the scoop from the whole Gypsy Soul Crew, Kayencha, Will, and Shauna! It was so LIVE out at the Eubie Blake National Jazz Institute and Cultural Center--the crew had to exit the building for us to capture an audible interview! So, do yourselves a favor and hit Baltimore, Maryland for some of the best in sexy, intelligent, comfortable, enlightening entertainment! With the GoodPeople of Gypsy Soul as your tour guides, you can't go wrong! Make sure to catch them at TeaVolve and various venus around the City...



WeBeGeekin'
A. Dub Productions
www.ghettogeekin.blogspot.com

How GOOD and how PLEASANT it would be, before GOD and MAN...

NAS & DAMIAN "JR GONG" MARLEY DISTANT RELATIVES preview from nabil elderkin on Vimeo.

WeBeGeekin'
www.ghettogeekin.blogspot.com

The Beauty of an Intercultural Communication Exchange!

In the midst of WeekEnd full of Fun, I received the opportunity to engage in an enlightening global/political conversation....and I would like to share a bit of my experience with you....



OuttaBoundz
WeBeGeekin'
A. Dub Productions
www.ghettogeekin.blogspot.com

Don't Shed a TEAR....Mama I'm not Happy HERE...

Pac's Frustation with Media Framing



Pac's Plan for using Rhetoric to Empower



Let's take lessons from the successes and failures of those in our past...

WeBeGeekin'
www.ghettogeekin.blogspot.com

My Mama made me Stupid, but the Devil, he made me Smart!

....thank you, BigBoi! ....I'll take it from here, MyMan....

It's mid-August 2001....I'm in Washington, DC....at the GreyHound Bus Station watching my Mother wave "good-bye" behind the dark tint of the "Proletariat Chariot."

Damn....I'm feelin' lonely than a muhphuka....What the hell I have I decided to do with my life?

She was on her way back to San Antonio, Texas....and there was a large part of me that wanted to jump on that bus...and ride back with her.

My Father, Brother, AND Sister TOLD her not to take this journey with me! She had just had her tonsils removed the week before--and she was in NO physical shape to travel. But, true herself, my Mama never listened to a word. And as I loaded up that late-model Buick LeSabre in Texas, she made sure I left just enough room for her.

Three (3) days later, we pulled up to the DMV (DC, Maryland, Virginia). I attempted to find residence near Howard University within two days! (Yep, proper planning wasn't always my forte.) In spite of the lack of planning and my ignorance to the geography and cost-of-living scale in DC, I managed to find a room for $280.00/month--all bills paid. My new address was 27 Bryant St. NW., Washington, DC 20001. {See below}.

Looks ravishing, doesn't it?

At full capacity, I was ONE of SIX people who lived here. My room was on the 3rd Floor...where all of the Heat and Humidity from the other floors would rise and collect. This "abode" came "fully-equipped" with NO A/C, filthy carpet [infested with mosquitoes and mosquito larvae], roaches [and other types of vermin], a semi-functional coin-operated washer/dryer, squeaky floors, old/tiny bathrooms, and the smell of an aging house that needed serious overhaul. As you can see from the picture, it came with an awesome PINK paint for the exterior. WTF? In short, it was one HOT, SWEATY BOX nestled in the Heart of the City. My roommates and I appropriately called our quaint homestead "The Dungeon." This moniker was most fitting....trust me.

Needless to say, it took a while before my "pimpin'" enticed those of the opposite sex to enter...though eventually they did come. (...And my hat goes off to every young lady that ever visited me there.)

In any regard, the lessons I learned while living in this section of NorthWest Washington, DC was just the beginning of my lessons in becoming a Man, a Scholar, and a Street Urchin.

I learned the rhythms and schedules of the D-Boys on the corner of Bryant & North Capitol. Through watching them, I learned to "tell time." Their morning greetings and saluations to each other meant it was 7:00 a.m...time for class. During the 5 o'clock rush hour they'd be out on the block...busy...working at a frantic pace...yet keep a "cool pose." For their nighttime patrons, they'd be heavy on the block from 11:00 pm-1:00 a.m. as well. (They kept great schedule; better than an alarm clock.)

I learned the mechanics of the "Gas Game" in P.G. County from a CrackHead/Crack Dealer/Thief/All-Around Career Criminal....he was one of my many roommates during my time in P.G. County, Maryland. This guy was almost the Devil in the flesh! Your typical BadGuy. You could SMELL the evil on this dude! Man, he would STEAL and LIE! But, due to conditions beyond my control (primarily ECONOMIC), I shared residence with this guy for approximately ONE year...and in having to deal with him...I learned a great deal about tolerance, accessing and exercising different forms of social power, detecting and utilizing manipulation, the list goes on.....

And though some of his general character traits were despicable, I formed an ability to appreciate his perspectives on certain issues. (Not always finding agreement...but understanding or appreciating the view of another person taught me a great deal about effective communication.)

In fact, for Thanksgiving 2005, we ate a Thanksgiving meal at the house in which everything was garnered from he and his homies panhandling in front of the local Giant grocery store. While eating, he told me that we were experiencing a more authentic Thanksgiving than most people, because like the real Pilgrams, we were feasting off the "land" [read: the people]. In the midst of my girlfriend leaving me for another person, my family members being 1,500 miles away, and experiencing a Thanksgiving void of any loved ones, I remember responding to his assessment of the situation by smiling and saying, "You are absolutely correct, Chief...please pass the cornucopia."

Later, I refined my Chess game with a few GoodGuys who never spoke too much or shared too much information. One, in particular, however, was up front about his incarceration...and the ways in which he improved his Chess game while behind bars. I would listen. I would share. I would listen. I would share. It was a delicate balance...because I would never divulge too much...and I KNEW they were selective about what they divulged as well.

I was never confused about being in the midst of "smart" people. Outcasts and pariah in the eyes of society, but some of these people have been far more intelligent than persons whom I shared space with in advanced theory class. As a matter of fact, I would share my dissertation ideas, my teaching methodologies, and my future plans for spreading the rhetoric of ghettoGEEKS with my "deviant" brethren, and in turn, received some of the best pragmatic and theoretical critique.

However, I always felt as if I was in the Devil's pit. I never got too comfortable. I'm not sure if I was EVER RELAXED during this 5-year period of my life. Even during the best of times, the Chess game never STAYED on the board.

DC, Maryland, and Virginia....

It was here, where I learned what could happen if you choose to ignore the LONG-ARM of the STATE. It was here, that I grew accustomed (numb) to ambulance sirens sounding ALL DAY and ALL NIGHT LONG. It was here, where I learned to appreciate the taste of West Indian Cuisine. It was here, where I learned you had to be RICH to be POOR...in the City. It was here, where I learned that not ALL conversations with the Homeless were a waste of time. It was here, where I learned about the depth of PRETENTIOUSNESS amongst the Bourgeoise. It was here, where I discovered though we lived in a Shitty House in the 'Hood...once we got upon the roof, we had a BEST view of the National Fireworks during the 4th of July!

I share all this to say....It is in some of the most UNCOMFORTABLE situations where the most GROWTH occurs.

Without a doubt, there will be future situations where the Devil will re-introduce himself to me. But, God allowed me to come through the experiences I just shared as a stronger individual...and I am confident that He will walk with me as I meet my future challenges. But, the greater blessing has been in sharing these experiences with you.

So, irregardless of your situation...you need to GET UP, GET OUT, and GET SOMETHING!

OuttaBoundz
WeBeGeekin'
www.ghettogeekin.blogspot.com

The Same 'Ole Gospel

The White, Sinful Church

The Church of God on Earth to-day
Is scandal of the King;
It teaches men to sing and pray
For golden wealth to bring.
It sanctifies the cause of war,
And winks at evil deeds;
It sends its "saints" and men, afar,
To preach the victor's creeds.
The Blacks and Weaker Sets of Men
Are robbed and killed galore;
The Church looks o'er Commandments ten,
As tyrants kill some more.
The lands that God gave men to dwell
Are taken by the sword
As preachers go, their creeds to sell,
To those who heed their word.
Almighty God looks down on Earth
To see the Church in sin,
And so we hope for Cleansing Birth,
To let the Master in.
And when the Gentle Jesus leads,
The Priests and Pastors, too,
Shall see the growth of harvest seeds
That blend with every hue.

Marcus Garvey
-1935

The above poem was penned by Marcus Garvey. A journalist, publisher and political activist, Garvey was certainly a major contributor in the movement to establish equality for African-Americans in the United States. Though considered by many a radical and possibly too far right to actually benefit the plight of African-Americans in the Americas, Garvey was at heart in support of the Life, Liberty and Freedom of people of color.

Regardless of his politics, his spirituality, more specifically his Christianity, are reflected in many of his poems and writings. What strikes me in the above piece is his obvious criticism of the Church, both white and black. There is usually nothing to gain in criticizing the Church, except further ostracization especially in the African-American community where spirituality lies at the center of the community.

Garvey, nevertheless, found it necessary to voice his opinion about the inconsistent structure of the Church. He points out the incongruous political and social goals espoused from the pulpit and the ongoing hypnosis of the congregation to support the selfish desires of the pastor and church leaders.

I happen to agree with Garvey's diagnosis of the Church. What he's saying is not at all novel. Carter G. Woodson also expressed similar opinions in his seminal work, The Mis-Education of the Negro. The question is why do reasonable people continue to put their money and time behind a religious structure that does not empower them, especially in the African American community?

I believe mental and spiritual enrichment leads to action. Can you really say that the African American Church has addressed the needs of its constituents? Does spending the massive amount of money that the Church receives on million dollar buildings and fancy clothes for the pastor do anything to instruct the lives of the broader congregation?

The next time you go to church, you should ask yourself, “What is the difference between what is being preached today compared to the other hundred times you’ve listened to these sermons”? Is the edict for the day to simply remain devout in your belief that Jesus is your Lord and Savior and come back next week or are you asked, no, charged with organizing your community and family in some practical way?

Quiet Riot
WeBeGeekin'
www.ghettogeekin.blogspot.com

The Trials and Tribulations of Interracial Dating

Kudos to all those who participated in THIS conversation.

For those involved in meaningful interracial relationships, your courage and sense of character is nothing short of commendable. If we are honest with ourselves, we must acknowledge issues of race are far from being resolved. THIS interview proves that.

Stay Strong.



WeBeGeekin'
www.ghettogeekin.blogspot.com

Is there ANY significant meaning BEHIND these Gangsta Rap Tunes?

The most popularized forms of violence within rap music are those acts of violence perpetuated by black males against other black males (see Cave, et. al, 2006; Hari, 2002; Hiatt, 2005; Mitchell & Johnson, 2005). This intra-racial violence is commonly referred to as horizontal violence and/or intrinsic violence (Fanon, 1963; Roberts, 2004). It is Neil Roberts (2004) who defines intrinsic violence in juxtaposition with instrumental violence (anti-hegemonic/vertical) by suggesting “in contrast to instrumental violence, [intrinsic violence] refers to a metaphysical concept in which the act of either random irrational or calculated rational violence itself contains inherent value” (p. 146). Frantz Fanon (1963) uses a psychological approach to introducing intrinsic violence through a discussion on the freedom experience that dreams provide the oppressed. Fanon’s argument is that while dreaming the oppressed individual experiences a freedom of motion through physical acts of running, jumping, and climbing. Once the dream is finished, the oppressed individual exiting repose first exercises this physicality against his own people. Because the colonizer/oppressor is much an exhibitionist with power, and as a result an intimidating force, “the muscular tension of the colonized periodically erupts into bloody fighting between tribes, clans, and individuals” (p. 17).

Anthony Pinn (1999) suggests that a condition of absurdity plagues severe economically deprived communities. He defines absurdity as a phenomenon that “connotes alienation from self, and leads to a collapse of self-esteem” (p.10). He continues by stating that self-hatred, which is manifested in Black-on-Black crime, is a result of inhabiting in a state of absurdity. The hostile environment essentially creates absurdity that many inner-city Black Americans face as a result of economic malaise and institutional and political racism. Pinn (1999) does an excellent job in connecting the notion of absurdity with the awesome defects of ghetto life. However, what he does even better is that he connects these traumatic situations in the Black community with the need for renewed combat and a new vision for the Black community. He offers both gangsta rap and progressive rap as a rhetorical means for social transformation.

This black-on-black violence is thoroughly documented throughout the chronicles of Hip-Hop culture and rap narratives. A mere 10 years ago intrinsic violence reached its peak within the Hip-Hop culture with the deaths of Tupac Shakur and The Notorious B.I.G. in an intense, media-infused, East Coast/West Coast rap war. To date, this is the most unequivocal example of the intensity and tragedy of intrinsic violence within Hip-Hop. It is still important to not that though not as publicized, there were violent deaths of rap artists before Tupac and Biggie and rappers have met violent deaths afterward as well. One of the latest violent deaths being that of Detroit-rapper, Proof, Eminem’s hype man and member of the popular rap group D-12 (Cohen, 2006; Zahlaway, 2006).

Opposite Fanon’s (1963) psychological approach to understanding intra-racial violence, Arthur Pressley (1992) opts to take a more cultural approach to the problem. Placing more of an emphasis on the culture of impoverished inner-city communities, it becomes important to note that in 1978, the same period as the birth of Hip-Hop, death figures for black men were around 37,000 a year (Pressley, 1992). These deaths are illustrated as “920 suicides, 650 homicides, 20,000 deaths from cardiovascular disease and 500 deaths from cirrhosis of the liver” (p. 93); remaining deaths were distributed between prisons and hospital drug treatment facilities. Sharing this stance with Pressley (1992), Rose (1994) reminds us “poor people learn from experience when and how explicitly they can express their discontent” (p. 99). So, whether using indirection, signification, other forms of metaphor, or direct verbal confrontation, American blacks have consistently resisted the hegemonic powers that be. In essence, the dances, languages, and musics produce communal bases of knowledge about social conditions, communal interpretations of them and quite often serve as the cultural glue that fosters communal resistance (Fanon, 1963; Rose, 1994). Though total black resistance is duly noted, the vehicle of rap music and Hip-Hop culture is characteristically masculine. Kitwana (2003) offers the idea that “rap music has given young Black males {italics added} a primary avenue through which to access public space” (p. 87). It is Eithne Quinn (2005) who proffers the notion that “gangsta rap is seen both to reflect and to be constitutive of the worsening problems facing African-American communities and especially young black men” (p. 19). It is this collective scholarly emphasis on black masculinity, within Hip-Hop culture more specifically, and African-American resistance more generally, that create a catalyst for research dedicated to uncovering phenomena concerning black masculinity. As an astute advocate the feminist movement, bell hooks (2004) comments on the paucity and/or whimsical treatment of black masculinity in contemporary research on black men. She notes “the absence of this work stands as further testimony validating the contention that the plight of black men is not taken seriously” (p. xvi). hooks’ (2004) concern, being quite valid, provides significant reason for brief examination of black masculinity and resistance.



WeBeGeekin'
www.ghettogeekin.blogspot.com

So...I guess we can assume they didn't care for the "Cairo Speech"

WeBeGeekin'
www.ghettogeekin.blogspot.com

Racial ReMix - Part III

This episode of the ghettoGEEKS Radio included a conversation between a High School buddy of mine [David McCoy] and a Graduate School colleague [Renu Beniwal]. We recently came together to discuss our various perspectives on Race in contemporary America. Like most discussions of this nature, it characteristically ended with everyone thinking about each other's viewpoints on the subject AS WELL AS pondering upon our OWN perspectives on the situation.

Personally, it gave me the opportunity to re-connect with some old friends AND subsequently share this experience with world. Because we didn't SOLVE the Race question, please leave your comments as you are now participants as well.



WeBeGeekin
www.ghettogeekin.blogspot.com

Julia Kennedy Jayes - FULL interview

Hello, Young World!

For all our friends who have been eagerly waiting on the remainder of our discussion on race with Mrs. Julia Kennedy Jayes...today is the day!

Please enjoy our interview with Julia in its entirety. We'd love to get your commentary on the subject as we continue to uncover, analyze, and educate ourselves on some of society's "hot-button" issues.

Be Well...



OuttaBoundz
www.ghettogeekin.blogspot.com

Can't judge a ghettoGEEK by her cover!

wake up mr. west mr. west mr. francis? from andreacasey.com on Vimeo.

OuttaBoundz
www.ghettogeekin.blogspot.com

Kanye West and Absolut Vodka

Absolut Kanye from Paul Burns on Vimeo.

OuttaBoundz
www.ghettogeekin.blogspot.com

A suggestion for the closest Corporate Culture near you!

OuttaBoundz
www.ghettogeekin.blogspot.com

Wordz, Beats & Life TEACH-IN! -- Press Release

CONTACT
Simone Jacobson
(202) 667-1192
simone@wblinc.org
www.wblinc.org

Words Beats & Life Honors Kanye West in Chicago, Afrika Bambaataa in D.C. and Convenes Hip-Hop Artists, Scholars, Organizations and Youth for Three-Day Teach-In

Washington, D.C., June 2, 2009—Two hip-hop icons, Afrika Bambaataa and Kanye West, will be honored for their commitment to social change when Words Beats & Life Inc. (WBL), hosts its second national teach-in, Remixing the Art of Social Change: a Hip-Hop Approach.

From June 12-14, 2009, hip-hop artists, scholars, organizations, and youth participating in hip-hop programs will come together in our nation’s capital for a three-day convening of the greatest thinkers and doers of the hip-hop generation. This year’s event also sees the launch of the Remix Awards, presented to individuals and organizations at the forefront of social transformation work through hip-hop.

On June 11, 2009, WBL’s Executive Director, Mazi Mutafa, will travel to Chicago to attend Kanye West’s Loop Dreams concert to honor West and his philanthropic initiative, the Dr. Donda West Foundation, with an inaugural Remix Award in the category of Hip-Hop Foundation of the Year. “Though a young foundation, it’s off to a great start,” commented Mutafa, who added, “The foundation is blazing a trail. They have drawn inspiration from merging Dr. West’s commitment to education and Mr. West’s commitment to quality music in order to support the work of hip-hop nonprofits and programs.”
Another inaugural Remix Award recipient in the Traditional Foundation of the Year category, ZeroDivide echoes the importance of hip-hop for social change: “By applying technological advances and providing knowledge and expertise on policy reform and advocacy, the hip-hop community is now an important participant and leader in mainstream social justice activism.” ZeroDivide’s Hip-Hop Initiative was created to bring the hip-hop social justice movement to a higher level of influence and expand its reach. The Initiative was intended to provide a new model of collaboration among the hip-hop community, nonprofit sector, music industry, media activists and academics. Other Remix Award recipients include Afrika Bambaataa; Hip-Hop Theatre Junction; DC Commission on the Arts & Humanities; and Joseph G. Schloss, Ph.D.

For anyone working with, studying, researching, or interested in the field of hip-hop culture, the teach-in is an opportunity to participate in the silent element of hip-hop: Knowledge. Day 1 of the teach-in (June 12) will take place at the Eugene and Agnes E. Meyer Foundation at 1250 Connecticut Avenue, NW, Suite 800, Washington, D.C. 20036 from 1-4 p.m. Space is limited for this event and requires pre-registration via e-mail to simone@wblinc.org . Night 1 of the teach-in will take place at St. Stephen’s Church at 1525 Newton St. NW, Washington, D.C. 20010 from 9-11:30 p.m. (no reservations required, non teach-in registrants pay $10 at the door). Day 2 takes place at the Blackburn University Center at Howard University, 2400 6th St. NW, Washington, D.C. 20059 from 8:30 a.m.-6:30 p.m. Night 2 will conclude the weekend with hip-hop visual artist Aniekan Udofia’s first solo gallery show at Dissident Display at 416 H St. NE, Washington, D.C. 20002.

Friday, June 12th, ZeroDivide will present how its funding priorities in technology and hip-hop have impacted nonprofits throughout the state of California. Miami filmmaker Dan Perez and Brimstone 127 will present P.A.T.H.: A Hip-Hop Documentary. That evening audiences can enjoy the sneak preview of New Muslim Cool, a film by two-time Emmy Award-winner Jennifer Maytorena Taylor, which will air on PBS on June 23, 2009. There will be a film screening & discussion with the Senior Project Advisor and Ph.D. student researching 20th Century African American History and Religion at Columbia University, Zaheer Ali, and M-Team’s Hamza Perez, an emcee who is the documentary’s main subject.

From 8:30 a.m.-6:30 p.m. on June 13, 2009, Gloria Nauden, Executive Director of the DC Commission on the Arts and Humanities, will welcome attendees to a day of over 50 presentations, panels, and workshops led by leaders of the hip-hop and nonprofit community, the Remix Awards Ceremony (including performances by Urban Artistry and youth poets), and more. At this second national teach-in, notable scholar/author Joseph G. Schloss, Ph.D. will guide discussions about the field of Hip-Hop Studies and where it might be headed. The afternoon Scholar Track session will address creating a hip-hop curriculum and its place in academic institutions. Roger Gastman, Editor-in-Chief of SWINDLE magazine, will moderate a panel about graffiti and public art, while Clyde Valentin (Executive Director, Hip-Hop Theatre Junction) and Nancy Petrisko (adjunct professor, Arts Management at American University) lead a workshop about budgeting and individual giving in a parallel session.

After a thought-provoking panel about how traditional organizations like the John F. Kennedy Center for the Performing Arts, the Phillips Collection, and the Smithsonian National Portrait Gallery are adapting to embrace hip-hop (or not), guests will be inspired by the surreal and often disturbing, humor-infused new works by Aniekan Udofia, a Nigerian-American artist living and working in D.C. for the past 16 years. Co-curated by local artists, Fred Joiner and Adrian Loving, The Sickness 3 exhibit is the result of a one-month pilot Artist-in-Residence program co-sponsored by Words Beats & Life, Inc. and Dissident Display. Of his residency at Dissident, Udofia shared, “It’s really helped me to be able to walk away from the work. I come here [to Dissident Display], I paint, and then I can go home and not think about it for a while. When I’m at home, I just keep looking at it and it haunts me.”
For additional information about the teach-in, including a full itinerary, or to schedule interviews with any of the artists, scholars, or organizations represented, please contact Simone Jacobson.

Individuals and organizations can register and download the full itinerary at >. All registrants automatically receive a one-year trial membership to Words Beats & Life, Inc.’s national network and capacity-builder for hip-hop based organizations, The Cipher. Pre-registration is required. Registration ends June 10, 2009. All individual events are $10 for non teach-in registrants.

ABOUT WORDS BEATS & LIFE, INC.

Founded in 2002, Words Beats & Life transforms individuals and whole communities through the elements of hip-hop culture. WBL currently serves 150 students at its five Urban Arts Academy sites in D.C. and up to 300 students during the summer. WBL works towards breaking the cycle of poverty and hopelessness using hip-hop in its two main program areas: The Urban Arts Academy and The Cipher. The Academy is a pre-vocational arts program for youth ages 5-23 in the District of Columbia. The Cipher is a growing local/national network of and resource for hip-hop based organizations. This year, The Cipher will expand to four geographies—St. Paul, Minnesota; Chicago, Illinois; San Francisco, CA; and Washington, D.C. —for its third national teach-in, Remixing the Art of Social Change: A Hip-Hop Approach.

OuttaBoundz
www.ghettogeekin.blogspot.com