FNV In Today's Issue: December 4 2000

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The FNV Newsletter
written by Davey D
c 2000
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An Open Letter From KRS-One

As a follow-up to our October 30th, 2000 Hiphop Summit held at Rev. Al Sharpton's "House of Justice", we are requesting your participation in the unity and image building of Hiphop Kulture and it's elements. The participants, organizers and speakers of the Hiphop Summit agreed through applause and attendance that Hiphop must take itself to the next level. The negative stereotyping and profiling of Hiphop Kulture must end!
Our meeting on October 30th, 2000 opened up with Dave Mays (Source Magazine) calling for more social responsibility amongst Hiphoppas. James Mtume spoke about the gap between old and young people, as well as the importance of Hiphop as a strong political movement for social change. Reverend Al Sharpton echoed the long-time vision of Afrika Bambaataa with a call for "Hiphop's Unity!" He also spoke about entertainment companies supporting the communities they make their money from; and the fact that, "who defines you, confines you". Hiphop must define itself for itself. With an agreed upon identity, Hiphop begins the political, social and spiritual work needed to enhance the quality of all our lives.

Conrad Muhammad (the Hiphop Minister) said it best "...Hiphop is a Kulture...". Followed up by Sean "Puffy" Combs (Bad Boy) who said, "Who I am today, is not who I will be in the future". These are truths. Hiphop will be different in the future, but how much different? Who will define it in the future? What will Hiphop turn out to be? Will it help or hinder our children? Will Hiphop Kulture go down in history in shame or in victory? The choice is ours, for real!

As Chuck D (Public Enemy) put it at the Hiphop Summit, "...We are in an industry where we don't own shit!" We must begin the great work of defining and establishing our Kultural identity in the world. This begins with the participants of the Hiphop Kulture creating a document that outlines Hiphop's Elements, meaning and general purpose. As Lyor Cohen (Def Jam) put it "...Hiphop is in need of a code of honor...a national agenda". It would be very difficult to achieve the "union" Master P spoke of at the Hiphop Summit without first establishing this "code of honor" and "national agenda".

Just as the black police officers of New York, also at the Hiphop Summit, pledged to protect the youth of Hiphop Kulture, all of us must adopt the same attitude. In order to achieve Hiphop's unity and longevity, it is important that Hiphop publicly expresses it's unity on paper. Please review the "Refinitions" then sign your Hiphop name on a blank piece of paper and fax it to 201-227-9639 so that we may include your signature in a larger "Refinitions" document. We shall reveal this document to the public during Hiphop Appreciation WeekTM, May 14th - 21st, 2001 at Al Sharpton's "House of Justice". If you have any revisions, mark-ups or suggestions, please fax them with your signature to the above fax number. Your signature proves your commitment toward the creation of a legitimate Hiphop Kultural union. Call 201-521-9742 to find out how you can contribute to this historic event.
This, we believe, is the first step in establishing Hiphop's kultural identity, meaning and purpose. Remember, you are not just doing Hiphop, you are Hiphop!

Notes from the Hiphop Summit




R-10 BREAKIN: (The study of Martial Arts). Commonly called “Breakdancing,” it's origins lay in the James Brown dance moves of the early seventies. It now includes up-rocking, pop-locking, jailhouse or slap boxin’, Double Dutch, Electric Boogie, and Capoiera martial arts.
1 Breakin moves are commonly used in aerobics and other exercises that refine the body. Its practitioners are called “B-Boys,” “B-Girls,” and “Breakers.” It is also commonly referred to as “freestyle street dancing.” Break-dancing -- acrobatic style of street dancing. Popularized by the Rock Steady Crew, The New York City Breakers, and others.

R-11 EMCEEIN: (The study of Divine Speech). 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.

R-12 GRAFFITI ART: (The study of Color, Light and Handwriting). Commonly called “Aerosol Art,” “Life Art,” “Pieces,” “Burners,” and “Urban Murals.” Other forms of this art include “Bombin” and “Taggin.”
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.

R-13 DEEJAYIN: (The study of Music production and Radio Broadcasting). 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.

R-14 BEATBOXIN: (The study of Mind and Body Health). 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.

R-15 STREET FASHION: (The study of Human Behavior). Commonly refers to the clothing trends of the inner-city. However, Street Fashion deals with all trends and styles of Hiphop Kulture, what’s in and what’s out regardless of the expression.
1 Self-expression through Street Fashion is an important way to present Hiphop’s identity and ideology to society. Street Fashion also represents the presentation of all Hiphop kultural codes, forms and customs. Its practitioners are known as “Hiphoppas,” “models” and “role models.” Popularized by Dapper Dan, Ron 125th, Karl Kani and others.

R-16 STREET LANGUAGE: (The study of Communication). 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.

R-17 STREET KNOWLEDGE: (The study of Universal Law). 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.

R-18 STREET ENTREPRENEURIALISM: (The study of Trade and Business Management). Commonly referred to as “having game,” “The Natural Salesman,” “the smooth diplomat who creates business opportunity.” It is the readiness to engage in the creation of a business venture that brings about grassroots business practices. Many of Hiphop’s kultural apprenticeships are included here as well. Its practitioners are known as “Hustlers,” and “Self Starters.” Entrepreneur -- person who undertakes a commercial venture. Popularized by Russell Simmons, Sean "Puffy" Combs, Luther Campbell and others.

R-19 HIPHOP: In its true essence, Hiphop cannot be (and should not be) interpreted or described fully in words. It is a feeling. An awareness.
1 Intellectually, it is an alternative behavior that enables one to transform subjects and objects in an attempt to describe and/or change the character and desires of ones being.
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!

R-20 HIPHOP KULTURE: Hiphop Kulture is Hiphop’s character. Hiphop is the consciousness, Hiphop Kulture is the collective character of the Hiphop consciousness. It is the consciousness in action.
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.

R-21 HIPHOP ELEMENT: A Hiphop element is one of the contributing factors that express Hiphop’s kulture. It is an aspect of Hiphop’s kulture.
1 By itself it is not the totality of the kulture, it is a representation or an introduction to Hiphop’s kulture. It is a skill that reflects the character of Hiphop’s kulture.
2 An “element” is usually created when the Hiphop “sight” is applied to a subject or object. Presently Hiphop’s elements are: Breakin, Emceein, Graffiti art, Deejayin, Beatboxin, Street Language, Street Knowledge, Street Fashion, Street Entrepreneurialism.




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written by Davey D
c 2000
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