CFP: Hip Hop Literacies at OSU

The Ohio State University

February 15-16, 2013

The 2013 Hiphop Literacies conference features keynotes, performances and workshops by leading scholars, educators, and artists and focuses on pedagogies for social change in its attempt to target innovative, critical and activist work that uses Hiphop and popular culture including a wide range of media across geographic and virtual space, diverse populations, and methods for stimulating freedom movement.  We are especially interested in student-centered curriculum, integrating media, arts, community-based projects, progressive learning and teaching that are participatory, inquiry-based and interdisciplinary addressing social issues such as impoverishment, mass incarceration, community re-entry, sexism, human rights, language diversity, literacy, education, and social inequality.  Our goal is to continue to locate and instigate unified critical movement on behalf of critical scholars, researchers, students, teachers, artists, community members and policy makers.

The deadline is October, 30, 2012. 

Check out the webpage here. 


-- Nick J. Sciullo

Dayvon Love, Baltimore City Council candidate for the 8th District, Talks Hip-Hop, Social Justice, and His Candidacy with Nick J. Sciullo

Council District 8 in Baltimore City just may have a new look. Dayvon Love, a soon to be Towson University graduate and championship debater, is running for the seat. He is the youngest candidate on the slate and HipHopLaw.com decided to sit down with him and ask him about what it means to be young, Black and taking his first dip in the electoral pool. Nick J. Sciullo sat down with him and posed a few questions to Mr. Love. The questions and his responses follow:

NJS: Many folks will be talking about how young you are. The average candidate for public office isn’t in their 20’s, but you’re taking this monumental step in a city you call home. What do you think the advantages of being a young candidate are?

DL: There are two major advantages I have as a young person running for office. The first is that I have not been pigeonholed into a particular clique or group. I am the new kid on the block in many ways and I get to create the image I want to portray without having to wrestle with a lot of excess baggage. The second advantage I have is that I have a strong appeal to those who are young and who are tired of the status quo. My youth brings a substantive youth presence to Baltimore politics that is severely lacking now.

NJS: You’re a founding member of Leaders of a Beautiful Struggle (LBS), a Baltimore-based activist group that has been active engaging the political system and asking hard questions of leaders and community members. Until your candidacy, LBS has functioned outside of the political establishment. Why do you feel it’s necessary to fight the system from within?

DL: LBS understands that we need to use every tactic at our disposal in order to effectively address the oppression and suffering of the people of Baltimore. We are focused on developing a fusion of grassroots activism and electoral politics in a way that is not being deployed in this city. Running for office is a natural extension of our focus on public policy and social justice.

NJS: HipHopLaw.com is about engaging the many intersections between the law and all that is hip-hop. As someone who came into hip-hop at the tale end of the hip-hop generation, a generation roughly characterized as those born between the mid-1960’s and the mid-1980’s, what does hip-hop mean to you and how will hip-hop’s influence benefit you and your candidacy?

DL: Hip Hop is an organic expression of the social, political, psychological and existential aspects of subaltern voices. Born out of the womb of Black life during a time of extreme misery brought on by Reaganomics, Hip Hop provides an ear to the lives and the collective consciousness of those who are traditionally excluded by the power structure in Baltimore. Being a person of the Hip Hop generation many of the issues I will address are an outgrowth of the many concerns expressed in Hip Hop.

NJS: Most urban environments are characterized by tense relationships between law enforcement and minority communities. Hip-hop has made much of this tension. Baltimore, like most cities, is not immune from such difficulties. What can you do to help resolve these tensions?

DL: We need a new paradigm of law enforcement that makes substantive community engagement a necessity for those interested in a career in law enforcement. This means that people in uniforms are not merely patrolling their communities, but are involved in other aspects of community life. A policy that demands substantive community engagement of officers with the community would be a policy I would advocate for as a city councilman.

NJS: Debate is a tremendous activity that demands excellent public speaking skills, research skills, and teamwork. Your alma mater, Towson University, is the only intercollegiate policy debate team in Baltimore and one of only two colleges in Maryland, the other being the United States Naval Academy in Annapolis. What has debate taught you that will help you work with your potential councilmembers?

DL: Debate has given me skills to rigorously test issues of public policy in a way that no other activity can. It has given me a critical perspective that has a deep intellectual backing. This allows me to be an independent-thinking city councilmember who can exercise leadership on important issues. Debate has also taught me how to effectively refute arguments in a way that is persuasive. Those currently in power provide arguments with a lack of soundness, and debate gives me a unique opportunity to use the skills I’ve learned to challenge councilmembers who are defenders of the status quo.

NJS: What are your policy priorities? Education, crime, access to social services, and (re)development are all issues in Baltimore. What do you plan to do about these issues?

DL: The major issues I want to address are education, criminal and juvenile justice, economic development, housing, and youth development.

On education, I want to focus on 4 major areas:

a) Increased access to Vocation/Industrial education and IT training-

This will allow young people in Baltimore who are not interested in going to college to have real alternatives. Vocational/Industrial education has been mostly abandoned by public schools. Re-integrating this into the education system will allow for young people to have skills that can help them make a living. Also with the rise of Information Technology, there is a huge market for people with skills in this area, and these skills do not require comprehensive academic training. This can provide employment opportunities for many young people in Baltimore who are finding it hard to find employment.

b) Mentorship-

Mentoring needs to be institutionalized into the school system. This is a very basic concept, but also very important.

c) Social Justice-

It should be required that students engage issues of social justice. With so many injustices that confront them everyday, it is a crime not to teach students about the injustices that they see in their own lives.

d) Entrepreneurship-

There is an entrepreneurial spirit amongst the young people in this city, but they are not given the formal skills to start businesses. Schools should provide the opportunity for youth to development businesses so they can be participants in the economic activity of Baltimore.

NJS: And now for a few questions that might be of more direct interest to our readers… Favorite hip-hop artist and album?

DL: Hard question. My answer to this question changes all the time. Right now, it would be Common and his album Like Water for Chocolate.

NJS: What blogs do read regularly?

DL: I don’t read blogs regularly (NJS: Except for HipHopLaw.com of course!).

NJS: Is hip-hop political? If so, how can communities harness this energy?

DL: Hip Hop is political because of it’s ability to capture the attention of the masses. We need the Hip Hop community to take the power that they have and use it to support political candidates that will represent the people in the Hip Hop community.

NJS: Thanks for the time, Dayvon. It's great to see young people taking the opportunity to positively affect their communities and who are willing to advocate for change. Best of luck.

Roots and Reality Check, Part 2: Is “Conscious” Hip-Hop On the Next?

I might've failed to mention that the chick was creative

But once the man got to her, he altered the native
Told her if she got an image and a gimmick
That she could make money, and she did it like a dummy
Now I see her in commercials, she's universal
She used to only swing it with the inner-city circle
Now she be in the burbs lookin' rock and dressin' hip
And on some dumb shit, when she comes to the city
Talkin about poppin glocks, servin rocks, and hittin switches
Now she's a gangsta rollin with gangsta bitches
Always smokin blunts and gettin drunk
Tellin me sad stories, now she only fucks with the funk
Stressin how hardcore and real she is
She was really the realest, before she got into show-biz

-- Common, “I Used to L.O.V.E. Her”

This entry is a follow-up to Roots and Reality Check Part 1: Nuthin’ is Free, which was a reaction to a hot back-and-forth on the topic of free speech and hip hop at American University Washington College of Law’s Roots and Reality II: Hip Hop, Law, and Social Justice Organizing conference held in April.

Another provocative topic that emerged during the final roundtable, entitled “On the Next: Hip Hop in the Grassroots,” was the question of whether “conscious” or politically-engaged hip hop could be commercially viable? And if so, should it be?

I think that the conventional wisdom is a flat “no.” Typically two reasons are given for this, which were expressed by one panelist, Jemar Daniels (J.D., original co-organizer of Roots II). The first reason is the belief that politics won’t sell. After all, who wants to hear about revolution when they can bounce to a repetitive dance track? The other reason often espoused by local conscious artists, like artist and panelist, Head Roc, is that hip hop produced for mass consumption inherently compromises a political message. Interestingly, these are the same reasons that industry folks put out to justify the current sad state of most popular hip-hop, and maintain the status quo of video-vixened, auto-tuned up music.

But, are these reasons true? Another panelist, Mazi Mutafa, founder of Words Beats and Life, Inc., flipped these ideas on their head, by droppin’ science of his own: because some conscious hip hop does sell (take a look at some of Jay-Z’s, Kayne’s, and Common’s music) why do we give life to a myth that no conscious hip hop can’t be commercial? (Head-nodding.)

Mazi’s got a point. Some hip-hop with conscious elements can and do blow-up. Regardless of what you think about Kayne, his body of work from College Dropout’s “Jesus Walks” to My Beautiful Dark Twisted Fantasy’s “All of the Lights,” contains politicalized themes about perseverance, violence, and power. These tracks are not Dead Prez’s “Hip Hop,” or even Jay-Z’s “99 Problems,” but they are critical and complicated in ways much of popular radio hip-hop is not. But they are more like Eminem’s “Love the Way You Lie,” which is analytically rich, among other things.

There’s a lot more to say on this subject, but I think it breaks down to this: explicitly political hip hop may not sell platinum because the politics may scare some listeners or may rhyme in a language unfamiliar to others, but this gap can be bridged, ‘cause we know that politicized hip hop music can sell if industry execs, artist power-houses, or savvy producers give life to it.

And maybe if hip-hop lovers are willing to expand their ideas of what’s political and “conscious,” we may be surprised by the reception to the message. I want us to find a way to defy the conventional wisdom because hip hop politics have got to become popular—as a way to resist the crushing political forces, like mass incarceration, which threaten the communities where hip-hop calls home. I can’t be down with sellin’ out, but I can be down with transforming what’s “out” there.

-- Richael Faithful

Roots & Reality Check, Part 1: Nuthin’ is Free

All I need is one mic... yeah, yeah yeah yeah

All I need is one mic... that's all I ever needed in this world, fuck cash


All I need is one mic... fuck the cars, the jewelry


All I need is one mic... to spread my voice to the whole world

-- Nas, One Mic

On April 13, American University Washington College of Law (WCL) sponsored Roots and Reality II: Hip Hop, Law, and Social Justice Organizing. RRII is the second installment of the Roots and Reality Social Justice Project—a collective of activists, lawyers, artists, and others committed to public interest law, and the “public” they serve—envisioned and co-organized by hiphoplaw.com contributor, Professor Pamela Bridgewater. I was humbled to serve as a student co-organizer for the event this year.

RRII turned out to be a dope event, featuring hiphoplaw.com co-founders, andré douglas pond cummings and Nick J. Sciullo, among other leading legal minds, activists, artists, and young people, who shared the space in community and conversation for two days. This post is first of two RRII afterthoughts prompted from the event.

Our first roundtable, Law(lessness), (In)Justice and Legacy of Hip Hop Music and Culture, centered on a “hot” question, “which degrees of free speech does the law guarantee for artists and activists resisting the powers that be?” You can watch the impassioned exchange between Rosa Clemente (activist, former Green Party VP candidate) and Mora Namdar (activist, WCL third-year student) where Mora explains her view that dissident speech is better protected in the US (than in Iran), and where Rosa fiercely challenges her. It was sort of like a freestyle battle, but rather with a spit-beat, it pulsed on a heart-beat.

I felt an unfolding of reactions as I watched it live, but in hindsight, I settled on some perspective: Mora is a law student, artist, and activist; she was threatened with arrest for her paintings in the US while in college; and who is engaged with artists/activists in Iran (the homeland of her parents who left after the Iranian Revolution). These Iranian activists’ messages are violently silenced by the state (from sudden disappearances to street murders) forcing them to use technology and the underground. Rosa is a PhD student, hip hop artist, and activist; a native New Yorker who is well-known for her radical organizing and writing; and who like many people faced military intimidation while bearing witness to Hurricane Katrina’s aftermath. The resistance of radical activists’ with whom she engages has been targeted by the state through overt and covert police action (from warrantless wiretaps to the FBI’s COINTELPRO programs).

Both activists described self-proclaimed democracies which have a history of violent suppression of dissident speech, often squash meaningful legal interventions, and especially don’t want to hear criticism from strugglin’ folk through hip hop. So although Rosa and Mora disagreed on the degree of speech guarantees, as the audience member who commented at the end, neither approximates free speech—both regimes circumvent their own laws for “national” interests. All in all—whether it is the savage terrorist violence oppressing Iran’s Green Wave or brutal police assassination of young vocal leaders, such Fred Hampton in Chicago—it’s insidious, inhumane stuff.

Breaking it down, in my mind, the crucial point from the back-and-forth was the reality that our role as lawyers and activists, here or elsewhere, is as effective as our ability to work as creative resistors to hypocritical systems. Where a constitutional claim or protest might not reach, a hip hop track might move, even if the music is censored, or artist’s life destroyed. In that way, art forms like hip hop, is a freedom that no law can ever guarantee, but no law can ever fully contain.

-- Richael Faithful

Hip Hop and Social Change

In March, Russell Simmons, godfather of DefJam records and hip hop mogul, led a group of protesters in New York City challenging the harsh New York drug laws known as the Rockefeller Drug Laws. Hundreds gathered outside Governor David Paterson's Manhattan office to call on the Governor and various state representatives to repeal the 1970s era drug laws enacted by then Governor Nelson Rockefeller.

The Rockefeller Drug Laws, now famous for harsh mandatory-minimum sentences and the hugely disproportionate impact it has on African American and Latino offenders, was severely criticized as illegitimate and profane by many attending the protest, including Simmons. The Rockefeller Drug Laws were enacted in 1973 and are composed of mandatory-minimum prison punishment based upon the type and amount of drug an offender is arrested with. Originally, the laws were intended to capture large drug kingpins, but evidence indicates now that most of the individuals imprisoned under these laws are low-level, non-violent offenders, many with no previous criminal history.

Simmons was quoted at the protest as saying:

"We are at the pivotal point where our hard work pays off, [b]ut we can't let up now. The fact is the Governor and State Senator both fought for the changes that the assembly has proposed to them. But both Governor Paterson and State Senate Majority Leader Malcolm Smith need to hear our voices. They are being pushed by forces that are not interested in changing this horrible law which has devastated black and brown communities for two generations."

Through 2009, it is estimated that of the 12,000 individuals convicted on Rockefeller charges, 90% are African American or Latino and cost the state of New York $45,000 per person annually.


Simmons participation in this protest brings to mind the many and various ways that hip hop artists and leaders have taken political positions of importance in the past. Groups like Public Enemy, The Roots, N.W.A. and artists like KRS-One, Talib Kweli, Common and Mos Def have certainly impacted society with their lyrics and political sensibilities. Still, the question is often raised as to whether hip hop and hip hop artists can genuinely contribute to positive social change? Can hip hop and socially conscious artists truly affect social change and impact society in a positive way?

This very question was debated last weekend at the "Conceptualizing Substantive Justice" conference held at the University of Denver Sturm College of Law (April 17-18, 2009). A panel at that conference engaged in robust discussion in connection with hip hop and its curious relationship with criminal justice. Many conference attendees wondered aloud and debated whether hip hop has the potential to overcome its negative encumberances (violence, misogyny, homophobia, materialism, hypermasculinity) so that its important and genuine societal critique and plea for social change can be heard. Can hip hop still be heard?

- andré douglas pond cummings