So the Young Communist League has this awesome song on their website dedicated to the movement surrounding Barack Obama...

The song titled "Will of the People" was created by artists/members of the Philly Club of Young Communist League.

...this is a change I could get used to.

I had the pleasure of attending this year's Center for American Progress' Campus Progress national conference in DC and was struck by what was said during a particular session on Hip Hop. As the front of the room filled with other conference participants, I could hear the buzz of individual conversations about the diversity in the room. The panel included Jeff Johnson (moderator), artist M-1, Billy Wimsatt and Angela Woodson. I've admired these Progressive leaders for years and waited with anticipation for the session ahead.

Hey YP4,

For the hip-hop activists, fans, and groupies (jk): there are two major hip hop events going on this summer. I found out a few days ago so I'm just spreading the word.

1. National Hip Hop Political Convention 2008, Las Vegas, Nevada

http://www.nhhpc.org/convention.html

August 1-3

There was an abundance of conscious rap music to choose from the 1990s, so the scope had to be narrowed. To show the largest difference in the evolution of the music, I chose two songs - one from the early 1990s and another from the late 1990s. These selections reveal my bias toward music that meets three criteria. First, the songs must have dope beats - if the music doesn't get my attention, then it doesn't deserve analysis. Next, there must be some basic lyrical creativity. Double meanings, unusual rhymes, varied verbal rhythms all meet this standard. Finally, the lyrics must construct some larger message or meanings. Several interesting metaphors, similies, and syllabic rhymes are entertaining, but only in the most basic sense. The two songs studied here raised level of hip hop music in every way. Gangstarr's "Who's Gonna Take the Weight" (1990) and BlackStar's "Thieves in the Night" (199 are two of the greatest hip hop performances ever recorded (and also served as personal inspirations for me).

"The following article was written by: Dr. Walter D. Greason, Ph.D. © 2006"

A generation ago, some thought it was radical to claim that the personal was political. Women across the globe seized this idea to exclaim their voices in the halls of legislatures, courtrooms, and executive offices. African Americans, too, have been silenced by the idea that their intellect was too raw, the emotions were too passionate, to contribute to legitimate political discourse. Just as the Civil Rights and Black Power Movements' leadership were coalescing to form the Congressional Black Caucus in the early 1970s, the next generation of black voices began to emerge from the streets. Rap was the expression of the communities still disenfranchised after the legislative victories of the previous decade. It was not always - or even often - a strictly organized political expression. However, it was always cultural.

Rap explored the overlooked logics and strategic consciousness of the impoverished black and Latino communities of the declining inner-cities. Young men and women reasserted the lessons of the Feminist movement in a new form - the cultural is political. The more educated among the society still struggle to articulate the depth and dimension of this concept. Meanwhile, over the last forty years, hip hop has attained a new sophistication for synthesizing rage, creativity, kinesthetics, logic, symbolism, humor, polyrhythm, liberation, and joy into 180-second soundbytes that change humanity wherever it is heard.

"How does the hip-hop connection differ from the role that other music-related subcultures have played in politics? (Or does it?)"

It most certainly does differ.  Various musical genres have voiced, advocated for, or demonstrated an opinion on issues from a general viewpoint.  However, hip hop music is exclusive to the issues of Blacks, more particularly young Blacks.  Thereby enabling this group of people a means to visibly air their social and political concerns.  The difference rests in history; Blacks traditionally are disadvantage in the areas of economics, politics, and education - access to a culture such as Hip Hop, which reaches a vast majority of people, brings light to the range of concerns.  Hip Hop in its holistic sense is the socio-political force for Black youth.

"In the moment of inhaling...Tears swelled my soul's passage way...Till I caved into a wounded wailing...In the morning I had nothing left...But, Hip Hop It Gave Me Breath" (original piece).  

Thinking back to my first loves Hip Hop music is definitely at the top of the list.  During times of heartache, suffering, celebration, disappointment, and bereavement amongst other things, the melody enabled me to overcome or enjoy each of those moments.  Observers of the culture and music fail to comprehend the emotion and commitment artist bring to the genre.   Furthermore, the constant bout to masculinize the culture overshadows the tenderness within the music.  Hip Hop is more than gangsterism, exploitation of females, and glorification of negativity.  For that reason, because of Hip Hop I live and love; and since I love and live, the love of Hip Hop does also.

When the beat drops and Wild Wild West streams through the speakers, is it Hip Hop?  Or perhaps bump'n the Ying Yang Twins Whistle While Twirk is that Hip Hop?  How about when a brother is spitting knowledge about the latest political topic?  Could it possibly be some cat capp'n on a female he scored the previous night?  Is Hip Hop natural or relaxed hair?  Is it customed made suits with gator shoes or African attire?  What is Hip Hop?

Hip Hop has been scrutinized on a regular basis for all the dysfunction and negativity it has caused.  However, American society fails to understand as well as educate itself about the culture of Hip Hop.  At its rawest form hip hop was created to uplift and bring a sense of joy to a hopeless community.   Over time the art form became a commodity just as its originators.  Music can be traced throughout the Black community; during slave trade it became the communication between varying tribes, in the fields it was access to freedom up north, Jim Crow produced a the Blues, and in the slum neighborhoods of New York Hip Hop was birthed.  Currently, Hip Hop-the umbrella suffers from cultural genocide.

For the last couple of years Hip Hop has been on trial.  Charges range from murder of Black America's culture, negative influence on the youth, breakdown of the Black family, and prejudice against females.  It is time that the community takes responsibility for the negativity, which we're currently plagued by.   Utilizing a genre of music (seeing as no one recognizes Hip Hop as a complete culture; just rap), as a scapegoat is ridiculous.  Who or what will receive the blame when hip hop really dies?  

Saturday, I served as a panelist to Cleveland's ESOP Youth Committee, Hip Hop Forum; and to no surprise the finger pointing began.  "If it wasn't for the videos, if it wasn't for the lyrics, if it wasn't for the flashy clothes and such, if the artists would be better role models"...HUH?!?!  When did `we' as a people put the responsibility of our youth and community into the hands of entertainers and artists?  Their only purpose is to ENTERTAIN us, nothing else.  Yes, it's great if from time to time an artist creates an uplifting or educational piece, but that's not their primary responsibility.  Therefore, I insist you STOP BLAMING HIP HOP!!!