For immediate release! KRS One: Hip Hop’s Leading Light
Current mood: inspired

KRS One: Hip Hop's Leading Light

For Immediate Release
February 12, 2008


Undoubtedly one of the most respected artists in the music industry, KRS One's 20-year career demonstrates not only longevity, but true and lasting leadership as well. Critical of materialism and immaturity in Hip Hop, KRS One continuously puts his money (and his work) where his mouth is.

Iverson Photography

Activism
Over the last five months, KRS One has met with influential institutions on behalf of the Hip Hop community to discuss the culture's public image and urge content providers to instate positive change. Dynamic meetings have occurred with BET's Senior VP of Music Programming and Talent, Steven Hill as well as Matt Smith of the network's Rap City program. He has also held meetings with representatives from VH1 and MTV. KRS One also participated in a prestigious panel discussion with FCC Chairman Kevin J. Martin and spoke at length with Koch Records President Alan Grunblatt and Jeff Harleston at Geffen Records about the need for the decriminalization of Hip Hop.

Stop The Violence Movement Recording Project
While music's elite schmoozed and boozed for Los Angeles Grammy Week, KRS One focused his energy on curbing violence in American society. A leader among leaders, KRS One focused his influence to confirm vocal contributions from 50 Cent, Busta Rhymes, Snoop Dogg, Fat Joe, Cassidy, Lil Wayne, Rick Ross, Lil Mama, Talib Kweli and MC Lyte for a recording project benefiting his newly revitalized Stop the Violence Movement. Building on support from these artists, KRS One locked himself into the Los Angeles Recording School for three days of sessions February 7-9. Nelly, David Banner, The Game, Chamillionaire and 55 other artists joined the legendary artist/activist over the weekend as he produced a historic audio and video recording for the Stop the Violence Movement. KRS One also welcomed cornerstones of the LA underground like 2Mex (Visionaries), Rakaa Iriscience (Dilated Peoples) and Planet Asia, demonstrating a true connection to community through the three days of recording sessions, which also included Raheem DeVaughn. The resulting music project, produced by Duane Darock Ramos, will be distributed through the Stop the Violence Movement to promote peace and non-violent means of conflict resolution. Get your teaser copy on Monday February 18th.

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BOOKING KRS ONE, SHOWS, LECTURES, MEDIA.

I get alot of emails with interests to book KRS ONE. I need all of the following information before you can get a booking price. Thanks and many blessings.


Caddy One

Temple of Hiphop.





BOOKING KRS ONE, SHOWS, LECTURES, MEDIA.

How to book KRS ONE, shows and lectures.

Please answer each of the following questions for either show bookings and lectures. Please copy and paste the provided format and answer all questions if possible.



Show info?


Dates:

Venue/location/state/city:

Venue capacity:

Price for admission:

Other performers:








Seminar/Lecture info?


Date of seminar:

University event budget:

Venue/location/state/city:

Venue capacity:

Price for admission:

Seminar content, what is the subject:

Other speakers:











Recording info? (company name and contact info)

Record label info:

Album info:

Album budget:

Featured artists:












Interview info: (Company name and contact plus readership and subscription stats.) MUST AQUIRE HIGH NUMBERS OF READERS.

Interview content brief:

Pre-interview questions:

Date of deadline:





No free drops, or call in shot outs. Call in interview may be accepted but are not preferred. DVD and sale stats must be submitted if you plan on selling.










Please send all available contact info and details to
Simone G Parker:
Management for the Teacha / KRS ONE

For Bookings:
cityofhiphop@gmail.com
For Media:
cityofhiphop@gmail.com
For General Info:
cityofhiphop@gmail.com



Caddy One


"Moderator"



Temple of Hiphop.

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THE MOVEMENT CONTINUES!
Current mood: accomplished

KRS ONE PREPARES FOR THE 2008 RELEASE OF HIS NEW BOOK THE "GOSPEL OF HIPHOP".

(For Immediate Release)

Wednesday, September 20th 2007 – New York – KRS ONE's latest album project "Hip Hop Lives" (produced by Marley Marl) is a testament to KRS's commitment to the preservation and transference of Hip Hop from one generation to another. Everyone is well aware of what KRS ONE stands for and what he means to the international Hip Hop community, and this could be why Black Entertainment Television (BET) has named KRS ONE the 2007 recipient of its "I am Hip Hop Icon Award" televised from Atlanta Georgia this year.

Also the "teacha", KRS ONE is planning the release of his third self-published book entitled "The Gospel of Hiphop"—a teacher's manual and study-guide for students and apprentice of Hip Hop's culture—sometime around January of 2008. Serious "Hiphoppas" can email their request for advance (autographed) copies of the "The Gospel of Hiphop" at gospelofhiphop@AOL.com.

"The Gospel of Hiphop approaches Hip Hop spiritually as well as culturally. It outlines a spiritual code of conduct capable of assisting Hiphoppas toward increased health, love, awareness and wealth. We realized long ago that in order to truly preserve Hip Hop we were going to have to preserve the Hip Hop community with an understanding of Hip Hop beyond entertainment" says KRS.

Within his on-going campaign to preserve and popularize the spiritual essence of Hip Hop, KRS ONE will be teaching and expressing the principles of "The Gospel of Hiphop" at the 2007 Congressional Black Caucus in Washington D.C., The Rock and Roll Hall Of Fame in Cleveland Ohio, the VH-1 "Hip Hop Honors" in New York and the 2007 College Music Journal convention (CMJ) also in New York.
Yes, the movement continues!

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Dear Friends and family:
Current mood: peaceful

Dear Friends and family:

We wish to thank all of you for your support and well wishes during this difficult period; however, for personal reasons, we have decided not to hold the planned New York memorial service. If the hundreds of letters and responses to the announcement of the passing of our son are any indication, we know that through you, his life and spirit will forever be celebrated and live on.

We extend our apologies to all who have come to our support, volunteered your time and services and planned to attend the service.We trust that you understand and respect our decision.

We continue to be deeply moved by your tremendous expressions of kindness and will forever hold you in our hearts and thoughts. May you continue to celebrate your life as you have celebrated our son's.

With love and respect always,


The Parker Family

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HIP HOP APPRECIATION WEEK 2007 (WRITTEN BY KRS TO MYSPACE)

HIP HOP APPRECIATION WEEK

Hip Hop Appreciation Week begins on May 14th 2007 and concludes on May 21st 2007. Hip Hop Appreciation Week began in 1998 as a time set aside every third week in May to acknowledge and appreciate the existence of Hip Hop itself. During this time (May 14th-21st 2007) the Hip Hop community refocuses itself through a collective review and update of its own history and core principles and elements. Principles- peace, love, unity and having fun. Elements- Breakin, Emceein, Graffiti Art, Deejayin, Beat Boxin, Street Fashion, Street Language, Street Knowledge and Street Entrepreneurialism. The idea is to celebrate Hip Hop itself.

During Hip Hop Appreciation Week artists can be asked to give sound advice on what they've learned about life and living Hip Hop this year. Schools of all sorts are encouraged to discuss Hip Hop academically and critically amongst its students and teachers. Radio DJs can upgrade their play of "conscious" Rap music over the airwaves and parents can discuss the true meaning and history of Hip Hop with their children. During Hip Hop Appreciation Week the Hip Hop community is encouraged to:

Give the next person the right of way. Allow people to pass you. Do not block a person's forward movement.

Donate your skill or profession to someone who cannot afford it.

At the supermarket give your change to the person behind you in line.

Be quick to compliment and slow to criticize. Be ready to forgive and move on.

Tithe 10% of your salary this week to your child's teacher.

Ease a neighbor's pressure by donating your time toward the assistance of some duty they must undertake. Give of yourself this week.

Let us show our respect for Hip Hop with a sincere respect for one another. Men—support the women in your life. Women—comfort the men in your life. And let us all remain committed to the well-being of our children; they are the reason we do what we do. Love your children. Reserve a special love for them. Give them your time and your attention. Be patient with them. Touch them, hug them, play with them and be sure to teach them, advise them, protect them, discipline them, and most of all LISTEN to them. One of the best ways to teach our children that they are valuable is to value them. Often we must compliment them, point out their special qualities to them, fulfill their prayers, support their legitimate dreams and aspirations and let them know that we are interested in them. They are the future of Hip Hop! The preservation of our children IS the preservation of Hip Hop. HAPPY HIP HOP APPRECIATION WEEK! There it is.

KRS ONE















USE THE PICTURE AS YORU DEFAULT PICTURE FOR THE WEEK. SHOW YOUR SUPPORT AND SPREAD THE WORD. NOW IS THE TIME MAKE THE CHANGE BEFORE 2008!

PEACE

CADDY ONE

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Want to learn more about the Temple of Hiphop?
Current mood: accomplished

Hiphop beyond entertainment

Political and spiritual dialogue is not new within the Hip Hop community. Hip Hop has always touted a socially and politically aware "undaground" community. The 1982 release of The Message by Melle Mel formally introduced Hip Hop's "undaground" to the mainstream. Today, many mainstream media outlets overlook (even deliberately ignore) Hip Hop's more politically charged voices, yet the conscious Hip Hop movement continues to grow and remains the glue that bonds the Hip Hop community worldwide. In 1987, Afrika Bambaataa called an historic meeting at the Latin Quarter night club where he urged the Hip Hop community to become more politically and socially active. Heavy D, MC Lyte, Daddy-O, Just-Ice, Harry Allen, and KRS-ONE were among the attendees. Personally influenced by the meeting, KRS-ONE went to work releasing a 12" single entitled "Stop The Violence" (1988 Jive). This song gave rise to the views of a swelling community of conscious Hiphoppas.

In 1989, KRS-ONE, along with VP of A&R at Jive records Ann Carli and author/musicologist Nelson George, developed an all-star project that would become a legendary Hip Hop peace anthem, "Self-Destruction". The recording boldly denounced Black-on-Black violence and united some of the most popular Rap performers of that time. MC Lyte, Just-Ice, Kool Moe Dee, Heavy D, and Public Enemy were among the contributing artists. It was this song that popularized the term 'Stop the Violence' while raising more than $400,000.00 dollars for the literacy programs of the National Urban League.

Two years later in 1991, KRS-ONE and friend Professor Z organized a global Hip Hop awareness campaign called H.E.A.L.-Human Education Against Lies. It was a consortium of artists committed to spreading a singular message: Hip Hop is more than "just entertainment" and its reach extends far beyond race, religion and class. H.E.A.L. released an album entitled: "Civilization vs. Technology". It featured Michael Stipe of R.E.M., Billy Bragg, DMC, Ziggy Marley and more. The 12" single, "Heal Yourself," featured a star-studded lineup including MC Lyte, Big Daddy Kane, Queen Latifah, Freddy Foxxx, Kid Capri, LL Cool J, DMC and the late Jam Master Jay.

In 1994, KRS-ONE and Hip Hop activist/writer Harry Allen organized a Hip Hop "Meeting of the Minds" conference at the Alfonse Schomberg Center for Black Studies in Harlem to discuss the proper archiving and documenting of Hip Hop as a culture. Afrika Bambaataa and Zulu Nation, Crazy Legs, Mr. Wiggles, Kool DJ Herc, and Grand Wizard Theodore were among the attendees. It was here that Hip Hop's pioneers proposed the global direction of Hip Hop as an international culture and set the framework for the creation of Hip Hop's history. From this meeting KRS-ONE went to work on a collaborative book project entitled: The Gospel of Hiphop.

Inspired by the productivity of that meeting, KRS-ONE began regularly hosting and sponsoring a wide variety of national Hip Hop summits, conferences, and town hall meetings to discuss and document the primary issues facing Hip Hop as a community. It was during this time that KRS-ONE experienced and witnessed (first-hand) the sickness, hate, ignorance, and poverty shared by so many people that claimed Hip Hop as their lifestyle and inspiration. KRS-ONE argued; "...if Hip Hop is to exist as a real community of real people, it will need a code of conduct capable of raising the self-worth and living quality of such a people. Hip Hop has many organizations, but Hip Hop is in need of a serious ministry!"

In 1996, KRS-ONE, with the support of Professor Z, Chuck D, Big Daddy Kane, Kool DJ Herc, Afrika Bambaataa, Fat Joe, and others announced the establishment of a Hip Hop preservation society called the Temple of Hiphop. The purpose of the Temple of Hiphop was (and still is) to assist in the building of Hip Hop as a legitimate community of prosperous and peace-filled people. The Temple of Hiphop teaches ancient spiritual knowledge through the language and experience of modern-day 'Hiphop Kulture'. Members of the Temple of Hiphop (Temple Members) approach Hip Hop far beyond music entertainment. For Temple Members Hip Hop is an alternative behavior capable of raising one's self-awareness, self-worth, and self-respect.

Through the Temple of Hiphop, KRS-ONE coined profound affirmations including, "Rap is something we do. Hip Hop is something we live!" as well as, "We are not just doing Hip Hop, we are Hip Hop." and "I am Hip Hop!" Declarations like these helped solidify the message that Hip Hop is not just a collection of music and dance products, but is the collective consciousness of a real community.

In 1997, the Temple of Hiphop organized the first census of Hip Hop's cultural existence. More than 80,000 people from around the world responded to basic questions such as: What is Hip Hop? as well as, How may we improve Hip Hop? The results of that census helped to complete the Gospel of Hiphop and confirmed the strength of an international, unified Hip Hop voice - a voice that is politically aware, spiritually minded and socially active. This more 'conscious' Hip Hop community consists of those who acknowledge and participate in Hip Hop beyond entertainment.

In 1998 the Temple of Hiphop announced every third week in May as Hip Hop Appreciation Week - a time set aside to assess the progress of the 'conscious' Hip Hop movement as well as one's own role within such a movement. The Temple of Hiphop would also be an advocate against corporate greed and the selfish exploitation of Hip Hop's intellectual properties. The point was (and still is) to live Hip Hop.

The first set of thirty-two Hip Hop principles toward peace; co-authored by KRS-ONE, Pop Master Fables, Ralph Mc Daniels, Afrika Bambaataa, Harry Allen and others was declared "the Hiphop Declaration of Peace" at the United Nations headquarters in New York on May 16^th 2001. At the same ceremony the Temple of Hiphop, Ribbons International, the United Nation's Educational, Scientific and Cultural Organization (U.N.E.S.C.O.), along with some 300 Hip Hop activists, artists, pioneers, and U.N. delegates signed the Hiphop Declaration of Peace which officially declared 'Hiphop' an international culture of peace and prosperity.

Since 2001 the KRS ONE through the Temple of Hiphop has been promoting the Hiphop Declaration of Peace and teaching its principles to all interested Hiphoppas. The Temple of Hiphop inspires Hiphoppas to reach for their higher selves by exploring Hip Hop not just as a rhyme, dance and/or art skill but as a life skill capable of raising one's own self-worth. The 'Teacha' KRS-ONE often asks his apprentice, "do you have the courage to be you? Do you have the skill to actualize the YOU that is in your dreams? Even more than your own failure; you may be even more afraid of your own success?"

The Temple of Hiphop's general doctrine picks up at Afrika Bambaataa's urging for "peace, love, unity and having fun". To achieve a life of peace, love, unity and fun the Temple Member is taught to maintain his/her health, love, awareness and wealth through the actualization of one's life purpose. As an international community Hiphoppas are taught to "...be the changes that they would like to see in the world". KRS ONE has consistently taught the Hip Hop community to think of itself beyond entertainment and more as a specific culture of new people in the world. As the seventeenth principle of the Hiphop Declaration of Peace states; "...Hiphop is shown the highest respect when Hiphoppas respect each other. Hiphop Kulture is preserved, nurtured and developed when Hiphoppas preserve, nurture and develop one another."

"We are developing Hip Hop as a productive lifestyle capable of raising families and producing peace in the world" says KRS-ONE. He continues, "...for these reasons we have expanded Hip Hop's elements to include: Breakin, Emceein, Graffiti Art, Deejayin, Beatboxin, Street Fashion, Street Knowledge, Street Language, and Street Entrepreneurialism. As nine elements, Hip Hop is capable of being lived and not just performed. As a sustainable lifestyle, and not as just a form of entertainment, we spell Hip Hop either as 'Hip Hop' (culture) or as 'Hiphop' (consciousness). To spell any culture or nation in lower case letters (hip-hop) is simply disrespectful. The correct title of our community is 'Hiphop Kulture' and the citizens of our culture are called Hiphoppas".

The Temple of Hiphop operates within four departments which are called its "M.A.S.S." or ministry, archive, school and society. As a ministry, the Temple of Hiphop seeks to relieve human suffering through an awareness of useful spiritual knowledge and the actualization of one's true life purpose. The Temple of Hiphop is a self-realization ministry believing that God speaks through one's true purpose in life. As an archive, the Temple of Hiphop seeks to collect and document Hip Hop's material experiences in the world. Its aim is to develop a traveling Hip Hop exhibit and an official Hip Hop museum and archive for the study of Hip Hop as an international cultural movement.

As a school, the Temple of Hiphop seeks to correctly teach the meaning, purpose and proper uses of Hip Hop to all interested students. "We believe that a good education does not prepare you for the job market exclusively. We believe that a good education helps you to realize and prefect your true life purpose. Such an education helps YOU to become a better YOU". Finally as a Hip Hop society, Temple Members seek to help and mentor one another through the challenges of life.

You simply must be; 12 years of age or older, registered with the Temple of Hiphop, own at least one copy of the Gospel of Hiphop (a study manual that accompanies the 'Hiphop' lifestyle) and you must love Hip Hop to call yourself an official "Temple Member". Apprenticeships, teaching positions, live concert and lecture touring apprenticeships are also available.

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This Hiphop Declaration of Peace guides Hiphop Kulture toward freedom from violence

This Hiphop Declaration of Peace guides Hiphop Kulture toward freedom from violence, and establishes advice and protection for the existence and development of the international Hiphop community. Through the principles of this Hiphop Declaration of Peace we, Hiphop Kulture, establish a foundation of Health, Love, Awareness, Wealth, peace and prosperity for ourselves, our children and their children's children, forever. For the clarification of Hiphop's meaning and purpose, or when the intention of Hiphop is questioned, or when disputes between parties arise concerning Hiphop; Hiphoppas shall have access to the advice of this document, The Hiphop Declaration of Peace, as guidance, advice and protection.
 
 

 
 
First Principle
 
Hiphop (Hip´Hop) is a term that describes our independent collective consciousness. Ever growing, it is commonly expressed through such elements as Breakin, Emceein, Graffiti Art, Deejayin, Beatboxin, Street Fashion, Street Language, Street Knowledge and Street Entrepreneurialism. Wherever and whenever these and future elements and expressions of Hiphop Kulture manifest; this Hiphop Declaration of Peace shall advise the use and interpretation of such elements, expressions and lifestyle.

Second Principle

Hiphop Kulture respects the dignity and sanctity of life without discrimination or prejudice. Hiphoppas shall thoroughly consider the protection and the development of life, over and before the individual decision to destroy or seek to alter its natural development.
 
Third Principle
 
Hiphop Kulture respects the Laws and agreements of its culture, its country, its institutions and whomever it does business with. Hiphop does not irresponsibly break Laws and commitments.
 
Fourth Principle

Hiphop is a term that describes our independent collective consciousness. As a conscious way of life, we acknowledge our influence on society, especially on children; and we shall forever keep the rights and welfare of both in mind. Hiphop Kulture encourages womanhood, manhood, sisterhood, brotherhood, childhood and family. We are conscious not to bring any intentional disrespect that jeopardizes the dignity and reputation of our children, elders and ancestors.

Fifth Principle

The ability to define, defend and educate ourselves is encouraged, developed, preserved, protected and promoted as a means toward peace and prosperity, and toward the protection and the development of our self-worth. Through knowledge of purpose and the development of our natural and learned skills, Hiphoppas are encouraged to always present their best work and ideas.

Sixth Principle

Hiphop Kulture honors no relationship, person, event, act or otherwise wherein the preservation and further development of Hiphop's culture, principles and elements are not considered or respected. Hiphop Kulture does not participate in activities that clearly destroy or alter its ability to productively and peacefully exist. Hiphoppas are encouraged to initiate and participate in fair trade and honesty in all negotiations and transactions.

Seventh Principle

The essence of Hiphop is beyond entertainment: The elements of Hiphop Kulture may be traded for money, honor, power, respect, food, shelter, information and other resources; however, Hiphop and its culture cannot be bought, nor is it for sale. It (Hiphop) cannot be transferred or exchanged by or to anyone for any compensation at any time or at any place. Hiphop is not a product. Hiphop is the priceless principle of our self-empowerment.
 
Eighth Principle
 
Companies, corporations, non and not-for-profit organizations, as well as individuals and groups that are clearly benefiting from the use, interpretation and/or exploitation of the term Hiphop, (i.e. Hip Hop, hip-hop,) and the expressions and terminologies of Hiphop, (i.e. Hip Hop, hip-hop,) are encouraged to commission and/or employ a full-time or part-time certified Hiphop Kultural Specialist to interpret and answer sensitive cultural questions regarding the principles and proper presentations of Hiphops elements and culture; relative to businesses, individuals, organizations, communities, cities, as well as other countries.
 
Ninth Principle

May 3rd is Rap Music Day. Hiphoppas are encouraged to dedicate their own time and talent to self-development and for service to their communities.  Every third week in May is Hiphop Appreciation Week. During this time, Hiphoppas are encouraged to honor their ancestors, reflect upon their cultural contributions and appreciate the elements and principles of Hiphop Kulture. November is Hiphop History Month. During this time Hiphoppas are encouraged to participate in the creating, learning and honoring of Hiphop's history and historical cultural contributors.

Tenth Principle
 
Hiphoppas are encouraged to build meaningful and lasting relationships that rest upon Love, trust, equality and respect. Hiphoppas are encouraged not to cheat, abuse, or deceive their friends.
 
Eleventh Principle
 
The Hiphop community exists as an international culture of consciousness that provides all races, tribes, religions and styles of people a foundation for the communication of their best ideas and works. Hiphop Kulture is united as one multi-skilled, multi-cultural, multi-faith, multi-racial people committed to the establishment and the development of peace.

Twelfth Principle

Hiphop Kulture does not intentionally or voluntarily participate in any form of hate, deceit, prejudice or theft at any time. At no time shall Hiphop Kulture engage in any violent war within itself. Those who intentionally violate the principles of this Declaration of Peace or intentionally reject its advice, forfeit by their own actions the protections set forth herein.
 
Thirteenth Principle

Hiphop Kulture rejects the immature impulse for unwarranted acts of violence and always seeks diplomatic, non-violent strategies in the settlement of all disputes. Hiphoppas are encouraged to consider forgiveness and understanding before any act of retaliation. War is reserved as a final solution when there is evidence that all other means of diplomatic negotiation have failed repeatedly.

Fourteenth Principle
 
Hiphoppas are encouraged to eliminate poverty, speak out against injustice and shape a more caring society and a more peaceful world. Hiphop Kulture supports a dialogue and action that heals divisions in society, addresses the legitimate concerns of humankind and advances the cause of peace.

Fifteenth Principle

Hiphoppas respect and learn from the ways of Nature, regardless of where we are on this planet. Hiphop Kulture holds sacred our duty to contribute to our own survival as independent, free-thinking beings in and throughout the Universe. This planet, commonly known as Earth is our nurturing parent and Hiphoppas are encouraged to respect Nature and all creations and inhabitants of Nature. 

Sixteenth Principle
 
Hiphop's pioneers, legends, teachas, elders, and ancestors shall not be inaccurately quoted, misrepresented, or disrespected at anytime. No one should profess to be a Hiphop pioneer or legend unless they can prove with facts and/or witnesses their credibility and contributions to Hiphop Kulture.

Seventeenth Principle
 
Hiphoppas are encouraged to share resources. Hiphoppas should give as freely and as often as possible. It is the duty of every Hiphoppa to assist, whenever possible, in the relief of human suffering and in the correction of injustice. Hiphop is shown the highest respect when Hiphoppas respect each other. Hiphop Kulture is preserved, nurtured and developed when Hiphoppas preserve, nurture and develop one another.

Eighteenth Principle

Hiphop Kulture maintains a healthy, caring and wealthy, central Hiphop guild fully aware and invested with the power to promote, teach, interpret, modify and defend the principles of this Hiphop Declaration of Peace.

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The Refinitions, 9 Elements of our Kulture.

BREAKIN: (The study and application of street dance forms). Commonly called Break Dancing or B-Boying, it now includes the once independent dance forms; Up-Rockin, Poppin and Lockin, Jailhouse or Slap-Boxing, Double Dutch, Electric Boogie and Capoeira martial arts.

It is also commonly referred to as freestyle street dancing. The practitioners of traditional Breakin are called B-Boys, B-Girls and Breakers. 1 Breakin moves are commonly used in aerobics and other exercises that refine the body and relieve stress. Dance and other rhythmic body movements appear at the genesis of human awareness. Dance is also a form of communication. Break-dancing acrobatic style of street dancing.

EMCEEIN: (The study and application of rhythmic talk, poetry and divine speech). Commonly referred to as rappin or Rap. Its practitioners are known as emcees or rappers.                                                                                          

The emcee is a Hip Hop poet who directs and moves the crowd by rhythmically rhyming in spoken word. The emcee is a cultural spokesperson. Technically, the emcee is a creation of his/her community whereas the rapper is a creation of his/her recording corporation.

The word emcee comes from the abbreviated form of Master of Ceremonies (M.C.).  In its traditional sense, M.C. referred to the hosting of an event the master of a ceremony or an event.

In its ancient sense, to emcee meant to pray or to communicate with God. It was used by the Greeks to communicate with their oracles and to pray to their gods.

The earliest known forms of Emceein were done by the ancient priest, sages and philosophers of Africa and Asia. Later in history, the ancient art of Emceein would be practiced by African griots and djelees as they went from village to village teaching (or rather performing) history and important life lessons.

Emceein (or rhythmic speech/divine speech) also appears at the genesis of human awareness. It is the language of the heart.  

Early Hiphoppas transformed the traditional character of the Master of Ceremony to include crowd participation routines and poetry. Today, the emcee seeks to be a master of the spoken word, not just the best rapper or poet.

Emceein (when properly understood) manipulates air through sound vibration in an attempt to alter or expand consciousness.

Emcees also deliver lectures and other forms of public instruction. Most emcees rate themselves on their ability to rock a party, speak clearly and/or tell a good story.

Know this. A talented emcee almost always becomes a respected rapper. But a talented rapper usually never becomes a respected emcee.

The emcee expresses through rhyme what is already on your mind, whereas the rapper tells you all about his or her self. True emcees are encouraged to study both styles for maximum success.   

Popularized by: Cab Calloway, Coke La Rock, Pebblie Poo, Sha Rock, Chief Rocker Busy Bee, Keith Cowboy, Melle Mel, Grandmaster Caz, Rakim, Queen Lisa Lee, Slick Rick, Big Daddy Kane, MC Lyte, Muhammad Ali, and others.

GRAFFITI ART: (The study and application of street calligraphy, art and handwriting). Commonly called Aerosol Art, Writin, Piecin, Burnin, Graff and Urban Murals. Other forms of this art include Bombin and Taggin. Its practitioners are known as Writers, Graffiti writers, Aerosol artists, Graffitists and Graffiti artists.

Also at the genesis of human awareness, writing on walls, trees, stones, clothing, etc. plays an important part in the development of human intelligence and self-expression. Most inner-city children instinctively begin learning to write by writing on walls.

Ancient humans of prehistoric times would put certain berry juice in their mouths and blow or spit their images onto cave walls sometimes in total darkness just as the modern graffiti writers of the 1970s and 1980s would do with their aerosol spray cans on the sides of subway trains. 

Today, Graffiti artists seek to be masters of handwriting and art. Graffiti artists rate themselves on their ability to write and/or draw a good story. Many writers have become graphic artists, fashion designers, photographers and motion picture directors.

Know this. Graffiti as art is not vandalism!  Traditionally, the word Graffiti originated from the Italian term Graffito meaning; a scratchthus its connection with Deejayin (visual deejayin).

Graffiti was a term given to Hip Hops graphic art animation when it appeared legally and illegally on public and private properties as an act of social protest (especially on subway trains).  

Similar to the way Emceein was labeled Rap and Breakin was labeled break dancing; so it became with writin, bombin, piecin, burnin and taggin which have all come to be labeled graffiti.

Graffiti writing or drawing that is scribbled, scratched, or sprayed onto a surface.

Popularized by: Taki 183, Phase 2, Stay High 149, Kase 2, Lee, Chico, Cope 2, TATs Cru, Presweet, Iz the Wiz, Seen, Quik, O.E., Revolt, Dondi, Zephyr, Futura 2000, and others.

DEEJAYIN: (The study and application of Rap music production and radio broadcasting). Commonly refers to the work of a disc jockey. However, Hip Hop's disc jockey doesn't just play vinyl records, tapes and compact discs.

Hip Hop's deejay interacts artistically with the performance of a recorded song by cuttin, mixin, and scratchin the song in all of its recorded formats.

Even beyond music and other forms of entertainment, Deejayin as a conscious awareness not only inspires our style of musical instrumentation, it also expresses the desire and ability to create, modify and/or transform music technology. Its practitioners are known as turntablists, deejays, mixologists, grandmasters, mixmasters, jammasters, and funkmasters.  Disc Jockey- presenter of recorded music. 

Popularized by: El Marko, Kool DJ Herc, Afrika Bambaataa, Jazzy Jay, Grand Master Flash, Grand Wizard Theodore, Kool DJ Red Alert, DJ Cash Money, Marley Marl, Brucie B, Chuck Chillout, Kid Capri, Afrika Islam, Jam Master Jay, and others.

BEATBOXIN: (The study and application of body music). Commonly refers to the act of creating rhythmic sounds with various parts of the body; particularly the throat, mouth and hands. Its practitioners are known as Human Beatboxes or Human Orchestras.

Beatboxin is about seeing and using the body as an instrument. Earlier versions of this expression included Handbone or Hambone. However, modern Beatboxin originates from the act of imitating early electronic drum machines. 

The early electronic drum machines were some of the original beat boxes; and to skillfully imitate them was called Beatboxin. However, ancient Beatboxin was the ability to imitate the sounds of Nature with one's own body parts.

Not only is Beatboxin a form of communication, Beatboxin is also found at the genesis of human awareness. In fact, imitating the sounds of Nature (or one's natural environment) is at the very beginning of human communication, knowledge and survival. 

Popularized by: Doug E. Fresh, Biz Markie, The Fat Boyz, DMX, Greg Nice, Bobby McFerrin, Emanon, Click the Super Latin, K-Love, Rahzel, and others.

STREET KNOWLEDGE: (The study and application of ancestral wisdom). 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 within the inner-cities.

It involves the ability to reason soundly with or without the ideas or validation of the traditional academic mainstream. Street Knowledge is the accumulation of Hip Hops cultural self-awareness. 

Its practitioners are known as Hiphoppas as well as Sisters, Brothers, Goddesses, Gods, Mothers, Fathers, Teachas, Queens, Kings, Princesses, Princes, Lords and Divine.

Contrary to the myth that knowledge is only accumulated in quiet, ordered, academic environments much of Hip Hops communal knowledge can be found with its comedians, poets and authors. Hiphoppas learn and transfer knowledge through laughter and having fun. Streetwise knowing how to survive modern urban life.

Popularized by: Malcolm X, Dr. Cornell West, Martin Lawrence, Afrika Bambaataa, Clarence 13X, Minister Louis Farrakhan, Kwame Toure, Chuck-D, Nas, Dick Gregory, Chris Rock, Tupac Shakur, The Wayans Brothers, Sista Souljah, and others. 

STREET LANGUAGE:  (The study and application of street communication). Commonly referred to as Black English, Urban Slang and Ebonics. It is Hip Hops language and linguistic codesthe verbal communication of the streets.

Advanced Street Language includes the correct pronunciation of one's native and national language as it pertains to life in the inner-city. In addition, advanced Street Language deals with ones communication even beyond what one says.

Street Language is not always spoken words. Hip Hops Street Language includes certain street codes that may not be communicated in words at all.

Still, Street Language (as it pertains to the spoken word) is Hip Hops attempt to free itself from the confinement of standard language and standard views of reality.

English (for example) does not have enough words or definitions to describe how we (Hiphoppas) feel about the world. This is what makes our Street (slang) Language so important to our state of freedom.

Street Language helps Hiphoppas interpret their world their way. Its practitioners are known as Hiphoppas.

Popularized by: Richard Pryor, Martin Lawrence, the Last Poets, Chris Rock, The Watts Poets, James Brown, Gil Scott Heron, E-40, DJ Hollywood, Lovebug Starsky, Nas, Fab 5 Freddy, Frankie Crocker and others.

STREET FASHION: (The study and application of urban trends and styles). Commonly refers to the clothing trends of the inner-city. However, Street Fashion deals with all trends and styles of Hip Hops culturewhats in and whats out regardless of the expression.  Its practitioners are known as Hiphoppas.

Self-expression through Street Fashion is an important way to present Hip Hops unique identity to the world. Street Fashion represents the prominence of all Hip Hop cultural codes, forms and customs.

Not only is fashion a very ancient form of communication, but our expressed consciousness was (and still is) also represented in the way in which we adorned, colored and dressed ourselves.     

Popularized by: The Black Spades, The Black Panthers, The Crips, The Bloods, Jew Man, Ron 125^th, Dapper Dan, Shirt Kings, Lugz, FUBU, Karl Kani, Sean Jean, Wu Wear, Fat Joe 560, Phat Farm, and others.

STREET ENTREPRENUERIALISM: (The study and application of fair trade and Hip Hop business management). Commonly referred to as street trade, having game, the natural salesman or the smooth diplomat. It is the readiness to engage in the creation of a business venture that brings about grassroots business practices. Many of Hip Hops apprenticeships begin here.

Different from entrepreneur-ism which may include the techniques and practices of the entrepreneur, entrepreneurial-ism focuses upon the motivating Spirit to be self-employed, inventive, creative and self-educated.

It is this Spirit; the Spirit of self-creation, the urge to create and sell ones own talents, discoveries and inventions that is encouraged by these teachings. Its practitioners are known as hustlers and self-starters. Entrepreneura self-motivated creative person who undertakes a commercial venture. 

Popularized by: Madame C.J. Walker, Russell Simmons, Luther Campbell, Sean puffy Combs, Jack the Rapper, Robert Townsend, Eazy E, Too Short, and others.

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About the Temple of Hiphop
Current mood: energetic
Category: Goals, Plans, Hopes

What is theTemple of Hiphop? A Hip Hop ministry, A Hip Hop archive, a Hip Hop school and a Hip Hop preservation society (M.A.S.S.)

What is the Temple of Hiphop's function? To nurture and protect Hip Hop's cultural development.

When did the Temple of Hiphop begin? In 1996 when its founder KRS-ONE announced publicly; "Rap is something we do; Hiphop is something we live!"

What does the Temple of Hiphop teach? Ancient spiritual truths through the culture and language of modern Hip Hop. We teach average "rap fans" how to be true Hiphoppas. Our teachings are based upon the philosophy that education should assist You in becoming a better YOU!

What is the vision of the Temple of Hiphop? To establish Hip Hop as a legitimate international culture of peace and prosperity. We envision a full-service Hip Hop city someday.

What does the Temple of Hiphop believe? We believe in GOD! We believe that Hip Hop is God's response to our suffering. For us, Hip Hop is solid proof that God is real and that God loves us! Yes, God loves Hip Hop! For us, Hip Hop is indeed the "Promised Land".

What are the basic principles of the Temple of Hiphop? Health, Love, Awareness and Wealth (H-LAW). As a temple we are governed by the principles of the Hiphop Declaration of Peace and we are guided by the Gospel of Hiphop.

What are Hip Hop's nine elements? And why? Breakin, Emceein, Graffiti Art, Deejayin, Beatboxin, Street Fashion, Street Knowledge, Street Language, and Street Entrepreneurialism. As nine elements Hip Hop is capable of being lived; not just performed. For us, Hip Hop is a sustainable lifestyle; not just music.

HIP HOP APPRECIATION WEEK MAY 2007

Welcome to the Temple of Hiphop

    www.templeofhiphop.org

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HIP HOP APPRECIATION WEEK MAY 15TH-22ND 2006
Current mood: thankful
Category: Life

11:12 PM - 1 Comments - 15 Kudos - Add Comment