Does Hip Hop Hate Women? Panel and Discussion

[JemChi]

Does Hip Hop Hate Women? Panel and Discussion
Saturday, April 28, 2007
1:00 p.m.
International House Assembly Hall
1414 East 59th Street
Chicago, Illinois
Free & Open to the Public

Bakari Kitwana (moderator) is co-founder of the first ever National
Hip-Hop
Political Convention and the author of the groundbreaking The Hip-Hop
Generation: Young Blacks and the Crisis in African American Culture.
The former
editor of The Source, his writings have appeared in the Village Voice,
The New
York Times, The Nation, Savoy and the Progressive. He's been the
editorial
director of Third World Press and a consultant for the Rock and Roll
Hall of
Fame. Why White Kids Love Hip-Hop: Wankstas, Wiggers, Wannabes and the
New Reality of Race in America is his most recent book.

Mark Anthony Neal is the author of What the Music Said: Black Popular
Music
and Black Public Culture (1998) and Soul Babies: Black Popular Culture
and the
Post-Soul Aesthetic (2002). A self-proclaimed Black male feminist, he
has
lectured on hip-hop and gender around the country, including the Ford
Foundation, Stanford University and at the groundbreaking 2005 Hip-Hop
and
Feminism conference at the University of Chicago. An Associate
Professor of
Black Popular Culture in the Program in African and African-American
Studies at
Duke University, his scholarly interests are in Black popular culture
and Black
feminist and queer theory. New Black Man: Rethinking Black Masculinity
(2005)
is his most recent book.

Joan Morgan is the author of the bestselling When Chickenheads Come
Home to
Roost: My Life as a Hip-Hop Feminist. Since she published the book in
1998,
Morgan has been a widely sought after lecturer and commentator on
hip-hop
and feminism. An award-winning journalist, a provocative cultural
critic and a
self-confessed hip-hop junkie, she began her professional writing
career
freelancing for The Village Voice before having her work published by
Vibe,
Madison, Interview, MS, More, Spin, and numerous others. Formerly the
Executive Editor of Essence, her work appears in numerous college
texts, as well
as books on feminism, music and African-American culture.

Tracy Sharpley-Whiting is the author of the forthcoming book on Black
women
and hip-hop, Pimps Up, Ho's Down: Young Black Women, Hip-Hop and the
New
Gender Politics (New York University Press, 2006). Her 2000 publication
The
Black Feminist Reader, which she co-edited, is taught on college
campuses
across the country. The Director of the Black Studies Program at
Vanderbilt
University, she's lectured around the globe on feminism and race. She
is also
Professor of French and Director of the W.T. Bandy Center for
Baudelaire and
Modern French Studies. Her books include Negritude Women (2002), Black
Venus: Sexualized Savages, Primal Fears, and Primitive Narratives in
French
(1999), Frantz Fanon: Conflicts and Feminisms (1998).
Byron Hurt is the producer and director of the provocative film on
machismo
and homophobia in hip-hop, Beyond Beats and Rhymes: A Hip-Hop Head
Weighs in On Manhood in Rap Music, which viewed at the Sundance film
festival
earlier this year. He's also the producer of the award-winning
documentary film,
I Am a Man: Black Masculinity in America. Additionally, Hurt, is the
associate
director of Mentors in Violence Prevention-Marine Corps (MVP-MC), the
first
system-wide gender violence prevention program in the history of the
United
States military. Hurt has lectured and facilitated workshops at
colleges and
universities nationwide including the University of Kentucky,
UMass-Amherst
and St. John's University.
Co-sponsored by the Institute for the Study of Women and Gender in the
Arts
and Media at Columbia College Chicago, and International House Global
Voices
Performing Arts Program.
Persons with disabilities that may need assistance should contact the
Office of
Programs & External Relations at least 72 hours in advance of the
program at
773-753-2274.

Patrick M. Oliver
Editor, Turn The Page and You Don't Stop
Founder, Say It Loud! Readers and Writers Series
Celebrating 10 years of Reading, Writing and Telling Our Stories
www.speakloudly.com
(312) 287-0415

"I believe that the best learning process of any kind of craft is just
to look at the
work of others." - Wole Soyinka, poet

April is National Poetry Month so visit your local bookstore or library
to get a
book of poetry. Attend or host a poetry reading at your home, school or
church.

[RBG Street Scholar]

It never cease to amaze me how so many people use the term hip hop where they should be using rap music--only a specific genre of rap music at that.
So all these discussions start out using the wrong premise.
All that is Rap is part of Hip Hip Culture, but Not All that is Hip Hop Culture is Rap.
We need to talk about the part (rap) of the whole (hip hop culture) to start on the correct premise.

From Wikipedia:
The term hip hop (also spelled "hip-hop" or "hiphop") refers both to a musical (see hip hop music) and cultural genre or movement (hip hop culture) that was developed predominantly by African Americans and Latinos[1]. in urban communities, starting in the 1970s. Since first emerging in New York City in the seventies, hip hop has grown to encompass not just rapping, but an entire lifestyle that consistently incorporates diverse elements of ethnicity, technology, art and urban life. There are four fundamental elements in hip hop: bboying (commonly misconstrewed as breakdancing), urban inspired art (notably graffiti), DJing and MCing.

Like KRS-One Say: "Rap is something you do and Hip Hop is something you live".

WHEN YOU USE THE TERMS INTERCHANGABLY YOU END UP "THROWING THE BABY OUT WITH THE BATH WATER".

TO ANSWER YOUR QUESTION, SOCIO-POLITICALLY CONSCIOUS /MESSAGE RAP MUSIC EMBRACES AND EXPRESSES LUV FOR BLACK WOMEN--IT IS NOT MISOGYNISTIC

[RBG Street Scholar]

Originally Posted by RBG Street Scholar

It never cease to amaze me how so many people use the term hip hop where they should be using rap music--only a specific genre of rap music at that.
So all these discussions start out using the wrong premise.
All that is Rap is part of Hip Hip Culture, but Not All that is Hip Hop Culture is Rap.
We need to talk about the part (rap) of the whole (hip hop culture) to start on the correct premise.

From Wikipedia:
The term hip hop (also spelled "hip-hop" or "hiphop") refers both to a musical (see hip hop music) and cultural genre or movement (hip hop culture) that was developed predominantly by African Americans and Latinos[1]. in urban communities, starting in the 1970s. Since first emerging in New York City in the seventies, hip hop has grown to encompass not just rapping, but an entire lifestyle that consistently incorporates diverse elements of ethnicity, technology, art and urban life. There are four fundamental elements in hip hop: bboying (commonly misconstrewed as breakdancing), urban inspired art (notably graffiti), DJing and MCing.

Like KRS-One Say: "Rap is something you do and Hip Hop is something you like".

WHEN YOU USE THE TERMS INTERCHANGABLY YOU END UP "THROWING THE BABY OUT WITH THE BATH WATER".

TO ANSWER YOUR QUESTION, SOCIO-POLITICALLY CONSCIOUS /MESSAGE RAP MUSIC EMBRACES AND EXPRESSES LUV FOR BLACK WOMEN--IT IS NOT MISOGYNISTIC

FEATURING:


Please Study and Enjoy Our Hip Hop/Rap Music Portal and post a comment i will respond with an image based comment. This is how we continue to transform the image search engines and make them see us un-mistakable determine to be free.

AT RBG SSTT "THE REVOLUTION IS IN THE MUSIC"