The (R)Evolution of Immortal Technique – DVD Documentary to Be Relea

Total Page：16

File Type：pdf, Size：1020Kb

The (R)evolution of Immortal Technique – DVD Documentary to be Relea... http://www.birthplacemag.com/2012/03/the-revolution-of-immortal-techn... The (R)evolution of Immortal Technique – DVD Documentary to be Released Spring ’12 Within the arm of hip hop music and culture that deals with social issues through recordings, activism and community outreach, there are an elite few who are regarded as standard bearers. Among them is Peruvian-born, Harlem raised Immortal Technique , who has dedicated his musical career to speaking on issues such as institutionalized racism, the prison system, gangs, justice and equality. Along the way, Cary Stuart has been documenting the world travels of this intelligently outspoken and passionate MC/activist, compiling the results into a full-length documentary, The (R)evolution of Immortal Technique , due out in the Spring of 2012. The double-disc DVD is filled with seven years worth of Immortal Technique performances, interviews and behind-the-scenes footage, in addition to interviews with cultural notables such as Ice T, Dr. Cornel West and Public Enemy’s Chuck D, who is quoted as saying, “[Immortal Technique] symbolize[s] the voice of truth all around the world in the name of rap music and Hip Hop.” Aside from the music, the documentary will spotlight Immortal Technique’s travels to Afghanistan and his partnership with Omeid International to launch the Amin Institute, an orphange, school, and medical facility. Hip hop, at its core, has always been about providing a voice for those underrepresented in the world, and while socially conscious hip hop music is not a part of the mainstream as it once was, there are still those like Immortal Technique who effectively carry on this legacy. The (R)evolution of Immortal Technique is set to be released in the Spring of 2012, followed by the release of his fifth album, The Middle Passage . DOWNLOAD – IMMORTAL TECHNIQUE - The Martyr - [FREE ALBUM] . About Birthplace Magazine Birthplace Magazine is on a mission to be THE online source for New York-area hip-hop. Are you an up-and-coming artist grinding away? A hometown vet looking for a place to speak from a local perspective? Having a hip-hop related event? Are you an organization that deals in hip-hop? BirthplaceMag.com wants to know about you, and bring the story to everyone. View all posts by Birthplace Magazine → 1 of 1 5/18/2012 11:39 AM.

Copy Link

Recommended publications

Tom Jennings
12 | VARIANT 30 | WINTER 2007 Rebel Poets Reloaded Tom Jennings On April 4th this year, nationally-syndicated Notes US radio shock-jock Don Imus had a good laugh 1. Despite the plague of reactionary cockroaches crawling trading misogynist racial slurs about the Rutgers from the woodwork in his support – see the detailed University women’s basketball team – par for the account of the affair given by Ishmael Reed, ‘Imus Said Publicly What Many Media Elites Say Privately: How course, perhaps, for such malicious specimens paid Imus’ Media Collaborators Almost Rescued Their Chief’, to foster ratings through prejudicial hatred at the CounterPunch, 24 April, 2007. expense of the powerless and anyone to the left of 2. Not quite explicitly ‘by any means necessary’, though Genghis Khan. This time, though, a massive outcry censorship was obviously a subtext; whereas dealing spearheaded by the lofty liberal guardians of with the material conditions of dispossessed groups public taste left him ﬁred a week later by CBS.1 So whose cultures include such forms of expression was not – as in the regular UK correlations between youth far, so Jade Goody – except that Imus’ whinge that music and crime in misguided but ominous anti-sociality he only parroted the language and attitudes of bandwagons. Adisa Banjoko succinctly highlights the commercial rap music was taken up and validated perspectival chasm between the US civil rights and by all sides of the argument. In a twinkle of the hip-hop generations, dismissing the focus on the use of language in ‘NAACP: Is That All You Got?’ (www.daveyd.
[Show full text]
Sonic Jihadâ•Flmuslim Hip Hop in the Age of Mass Incarceration
FIU Law Review Volume 11 Number 1 Article 15 Fall 2015 Sonic Jihad—Muslim Hip Hop in the Age of Mass Incarceration SpearIt Follow this and additional works at: https://ecollections.law.fiu.edu/lawreview Part of the Other Law Commons Online ISSN: 2643-7759 Recommended Citation SpearIt, Sonic Jihad—Muslim Hip Hop in the Age of Mass Incarceration, 11 FIU L. Rev. 201 (2015). DOI: https://dx.doi.org/10.25148/lawrev.11.1.15 This Article is brought to you for free and open access by eCollections. It has been accepted for inclusion in FIU Law Review by an authorized editor of eCollections. For more information, please contact [email protected]. 37792-fiu_11-1 Sheet No. 104 Side A 04/28/2016 10:11:02 12 - SPEARIT_FINAL_4.25.DOCX (DO NOT DELETE) 4/25/16 9:00 PM Sonic Jihad—Muslim Hip Hop in the Age of Mass Incarceration SpearIt* I. PROLOGUE Sidelines of chairs neatly divide the center field and a large stage stands erect. At its center, there is a stately podium flanked by disciplined men wearing the militaristic suits of the Fruit of Islam, a visible security squad. This is Ford Field, usually known for housing the Detroit Lions football team, but on this occasion it plays host to a different gathering and sentiment. The seats are mostly full, both on the floor and in the stands, but if you look closely, you’ll find that this audience isn’t the standard sporting fare: the men are in smart suits, the women dress equally so, in long white dresses, gloves, and headscarves.
[Show full text]
Rap in the Context of African-American Cultural Memory Levern G
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2006 Empowerment and Enslavement: Rap in the Context of African-American Cultural Memory Levern G. Rollins-Haynes Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF ARTS AND SCIENCES EMPOWERMENT AND ENSLAVEMENT: RAP IN THE CONTEXT OF AFRICAN-AMERICAN CULTURAL MEMORY By LEVERN G. ROLLINS-HAYNES A Dissertation submitted to the Interdisciplinary Program in the Humanities (IPH) in partial fulfillment of the requirements for the degree of Doctor of Philosophy Degree Awarded: Summer Semester, 2006 The members of the Committee approve the Dissertation of Levern G. Rollins- Haynes defended on June 16, 2006 _____________________________________ Charles Brewer Professor Directing Dissertation _____________________________________ Xiuwen Liu Outside Committee Member _____________________________________ Maricarmen Martinez Committee Member _____________________________________ Frank Gunderson Committee Member Approved: __________________________________________ David Johnson, Chair, Humanities Department __________________________________________ Joseph Travis, Dean, College of Arts and Sciences The Office of Graduate Studies has verified and approved the above named committee members. ii This dissertation is dedicated to my husband, Keith; my mother, Richardine; and my belated sister, Deloris. iii ACKNOWLEDGEMENTS Very special thanks and love to
[Show full text]
American Music Review the H
American Music Review The H. Wiley Hitchcock Institute for Studies in American Music Conservatory of Music, Brooklyn College of the City University of New York Volume XLIII, Number 2 Spring 2014 DJ Kuttin Kandi: Performing Feminism Ellie M. Hisama, Columbia University As a turntablist, Pinay, poet, feminist, and activist, DJ Kuttin Kandi challenges the sexism manifested in hip hop and popular music by collaborating with other women in her performances, publishing open letters about male-dominated lineups, and speaking critically about controversies such as Day Above Ground’s 2013 song and video “Asian Girlz.”1 In his recent book Filipinos Represent, Anthonio Tiongson Jr. suggests that hip hop DJing provides a site for Filipina DJs to negotiate gender conventions, sexual norms, and familial expectations.2 Kuttin Kandi’s performances are a form of critical authorship that actively engages a politics of the feminist body and are grounded in feminist collaboration. A long-time member of the New York-based DJ crew 5th Platoon, Kandi was the first woman to place in the US finals of the prestigious DMC USA competition in 1998.3 She has toured throughout the US and internationally, performing with distinguished musicians including Afrika Bambaataa, Kool Herc, Black Eyed Peas, MC Lyte, the Roots, dead prez, Immortal Technique, and Le Tigre. Kandi has been deeply in- volved in cultural advocacy and grassroots political organiza- tions, having worked with Filipino American Human Services and Gabriela Network to fight the sexual exploitation of Filipi- nas, police brutality, and sweatshop labor. While living in New York, she taught the art of turntabling and DJing at the Scratch DJ Academy, and taught spoken word and poetry to high school students at El Puente Leadership Center in Brooklyn.
[Show full text]
Immortal Technique Remembers J. Dilla & Roc Raida, Explains Why
Immortal Technique Remembers J. Dilla & Roc Raida, Explains Why He... http://www.hiphopdx.com/index/interviews/id.1880/title.immortal-techni... RSS Feed 17,130 readers Twitter 95,293 followers DX on Facebook // DX on MySpace // DX on Twitter Search The DX Newsletter Get the day's biggest hiphop stories, right in your email inbox. Go Home News Audio Singles Mixtapes Hitlists Videos Album Reviews Features Interviews Editorials DX Next Beauty & Brains Giveaways Messageboard Release Dates The DX Shop - Sale! Home > Features > Interviews > Immortal Technique Remembers J. Dilla & Roc Raida, Explains Why He Doesn't Hate America Immortal Technique Remembers J. Dilla & Roc Raida, Explains Why He Doesn't Hate America by The Company Man posted April 24, 2012 at 10:16AM EDT | 33 comments 1 of 16 5/18/2012 11:49 AM Immortal Technique Remembers J. Dilla & Roc Raida, Explains Why He... http://www.hiphopdx.com/index/interviews/id.1880/title.immortal-techni... 252 Like 107 Tweet Exclusive: The Revolutionary emcee recalls Roc Raida's generosity, his experience with Ma Dukes, and why he measures his songwriting and lyricism against the works of Chino XL and Pharoahe Monch. Immortal Technique is a master communicator. Whether on international television intricately dissecting the complicated nuances of Occupy Wall Street for Russia Today , on stage in front of an international crowd of thousands kicking rhymes righteous enough to incite a riot, or in-person, one-one-one talking Trayvon Martin, Roc Raida, and J. Dilla - the Peruvian lyricist connects. He makes the complex seem simplistic; the abstract seem IMAX. That quality alone is arguably the linchpin to his decade long rise as one of Hip Hop’s most respected emcees.
[Show full text]
The Politics of Independent Hip-Hop a Dissertation Submitted in Partial
UNIVERSITY OF CALIFORNIA RIVERSIDE Just Say No to 360s: The Politics of Independent Hip-Hop A Dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Sociology by Christopher Sangalang Vito June 2017 Dissertation Committee: Dr. Ellen Reese, Chairperson Dr. Adalberto Aguirre, Jr. Dr. Lan Duong Dr. Alfredo M. Mirandé Copyright by Christopher Sangalang Vito 2017 The Dissertation of Christopher Sangalang Vito is approved: Committee Chairperson University of California, Riverside ACKNOWLEDGEMENTS I would like to thank my family and friends for their endless love and support, my dissertation committee for their care and guidance, my colleagues for the smiles and laughs, my students for their passion, everyone who has helped me along my path, and most importantly I would like to thank hip-hop for saving my life. iv DEDICATION For my mom. v ABSTRACT OF THE DISSERTATION Just Say No to 360s: The Politics of Independent Hip-Hop by Christopher Sangalang Vito Doctor of Philosophy, Graduate Program in Sociology University of California, Riverside, June 2017 Dr. Ellen Reese, Chairperson My dissertation addresses to what extent and how independent hip-hop challenges or reproduces U.S. mainstream hip-hop culture and U.S. culture more generally. I contend that independent hip-hop remains a complex contemporary subculture. My research design utilizes a mixed methods approach. First, I analyze the lyrics of independent hip-hop albums through a content analysis of twenty-five independent albums from 2000-2013. I uncover the dominant ideologies of independent hip-hop artists regarding race, class, gender, sexual orientation, and calls for social change.
[Show full text]
Guest Information
The Park Ave North Welcoming you to New York City Guest Information 65 East 129th St. New York, NY 10035 Tel: +1 212 837 1207 Email: [email protected] Web: www.parkavenorth.com Dear Guest, We are delighted that you have selected our inn. On behalf of the entire team at the Park Ave North, I extend to you a very warm welcome and trust your stay with us will be both enjoyable and comfortable. We strive to provide you a room that is clean and comfortable, with friendly and attentive service. If at any time you have a suggestion on how to improve our service, please just let us know. If you have a problem while staying with us, please contact the front desk immediately so that we have the opportunity to correct the situation. We want you to enjoy every day of every. The professional and friendly staff at the Park Ave North are committed to making your stay pleasant and smooth. May we take this opportunity to thank you for having chosen the Park Ave North and we look forward to serving you again in the near future. Sincerely, The Management Team at The Park Ave North House Rules Check in time is 3:00 PM and Check out time is 11:00 AM. Not vacating rooms without approval of management will result in a fine of $100 charged directly to the guest’s credit card. Cancellation policy: For cancellations made less than 7 days before the check in date, or if the guest vacates the room prior to the check out date as indicated on the reservation, the amount of the total stay shall be retained by the Inn as liquidated damages.
[Show full text]
Examining the Role Hip-Hop Texts Play in Viewing the World
Georgia State University ScholarWorks @ Georgia State University Department of Middle-Secondary Education and Middle-Secondary Education and Instructional Instructional Technology (no new uploads as of Technology Dissertations Jan. 2015) Fall 1-10-2014 Wordsmith: Examining the role hip-hop texts play in viewing the world Crystal LaVoulle Follow this and additional works at: https://scholarworks.gsu.edu/msit_diss Recommended Citation LaVoulle, Crystal, "Wordsmith: Examining the role hip-hop texts play in viewing the world." Dissertation, Georgia State University, 2014. https://scholarworks.gsu.edu/msit_diss/119 This Dissertation is brought to you for free and open access by the Department of Middle-Secondary Education and Instructional Technology (no new uploads as of Jan. 2015) at ScholarWorks @ Georgia State University. It has been accepted for inclusion in Middle-Secondary Education and Instructional Technology Dissertations by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. ACCEPTANCE This dissertation, WORDSMITH: EXAMINING THE ROLE HIP-HOP TEXTS PLAY IN VIEWING THE WORLD, by CRYSTAL LAVOULLE, was prepared under the direction of the candidate’s Dissertation Advisory Committee. It is accepted by the committee members in partial fulfillment of the requirements for the degree, Doctor of Philosophy, in the College of Education, Georgia State University. The Dissertation Advisory Committee and the student’s Department Chairperson, as representatives of the faculty, certify that this dissertation has met all standards of excellence and scholarship as determined by the faculty. The Dean of the College of Education concurs. _________________________________ _________________________________ Peggy Albers, Ph.D. Tisha Y. Lewis, Ph.D. Committee Chair Committee Member _________________________________ _________________________________ Kimberly Glenn, Ph.D.
[Show full text]
Immortal Technique - Wikipedia, La Enciclopedia Libre
Immortal Technique - Wikipedia, la enciclopedia libre http://es.wikipedia.org/wiki/Immortal_Technique Immortal Technique De Wikipedia, la enciclopedia libre Felipe Coronel (más conocido como Immortal Technique), es un MC que además de hacer Immortal Technique música rap, ejerce como militante político. La mayoría de sus canciones se centran en la desigualdad social y cubren una amplia variedad de temas como por ejemplo, la pobreza marginal que asola las ciudades y las desigualdades socioeconómicas que tienen lugar dentro y fuera de los EEUU (sobre todo en Sudamérica, de donde procede). Technique protesta además contra el encarcelamiento de Mumia Abu-Jamal, contra la militarización de la sociedad estadounidense y la Immortal Technique en vivo, marzo del 2010 fuerte industria estadounidense que la respalda, así Datos generales como contra la complicidad de los Estados Unidos Nombre real Felipe Coronel en los ataques del martes 11 de septiembre del Nacimiento 19 de febrero de 1978 2001, la incansable influencia de los medios a favor de las fuerzas políticas de derechas y las Origen Lima - Perú multinacionales o el racismo que muestran tanto Ocupación Rapero, activista unos como otros, especialmente hacia las personas Información artística negras de los Estados Unidos. Alias Immortal Technique A pesar de que en su día, al menos una de las Género(s) Rap grandes discográficas le ofreció un contrato que garantizara una mayor comercialización de su obra, Coronel rechazó la oferta para preservar así su independencia, ya que teme que pudieran ponerle trabas ante el fortísimo cariz político de sus letras. Immortal Technique ha declarado en más de una ocasión su deseo de controlar sus producciones y se ha mostrado contrario a la situación actual, en la que por lo general, son las compañías discográficas quienes sacan mayor provecho al trabajo de los artistas y quienes determinan cuál será la distribución de las mismas.
[Show full text]
Assimilation and Hip-Hop
Assimilation and Hip-Hop Interethnic Relations and the Americanization of New Immigrants in Hip-Hop Culture By Audun Kjus Aahlin A Thesis Presented to The Department of Literature, Area Studies and European Languages -North American Area Studies- -Faculty of Humanities- University of Oslo In Partial Fulfillment of the Requirements for the MA Degree Spring 2013 Assimilation and Hip-Hop Interethnic Relations and the Americanization of New Immigrants in Hip-Hop Culture II © Audun Kjus Aahlin 2013 Interethnic Relations and the Americanization of New Immigrants in Hip-Hop Culture Audun Kjus Aahlin http://www.duo.uio.no/ Print: CopyCat, Lysaker in Oslo III Acknowledgements It would not be hip-hop without a lot of shout-outs. So… I will like to thank my supervisor, Associate Professor David C. Mauk for his encouragements and advises. I also need to acknowledge Associate Professor Deborah Lynn Kitchen- Døderlein for some needed adjustments in the early part of this project. I am much grateful to Terje Flaatten, who proofread the thesis. Thank you for taking the time out of your busy schedule. Thank you to the John F. Kennedy Institute for North American Studies in Berlin, who let me use their facilities last autumn. I am also grateful to Espen Sæterbakken for his help with the printing of my thesis. Appreciations are also due to Jeff Chang, The Mind Squad, Nelson George, Bakari Kitwana, ego trip, Dream Hampton, and the countless other journalists, writers, scholars and activists who taught me at an early age that few things in life are better combined than hip-hop and intellectual writings.
[Show full text]
Bars-4-Justice-Press-Kit.Pdf
® A Rapper gives up his freedom in Ferguson Missouri in order to fight for justice or else. Police killed at least 1,152 people in the United States from January 1 - December 15, 2015. Nearly one in four of these people was killed by one of America’s largest 60 city police departments. 41 of the 60 police departments disproportionately killed unarmed black people relative to the population of black people in their jurisdiction. *Data compiled by www.mappingtheviolence #Bars4Justice film is ©2015 - 4 eva by Nation19 Magazine a Mobile Regime Brand. …superlative…” “This is about the tension in Ferguson...” “…Immersive…” The State Press #Bars4Justice ©2015 Nation19 Magazine a Mobile Regime Brand. Featuring Rahiel Tesfamariam (Urban In order of appearance Cusp) Jasiri X Rabbi Susan Talve ( Reform Talib Kweli Congregation) Fubar St Louis Rev Michael McBride Tory Russell (Hands Protestors up United) Davey D Kayla Reed (OBS) Rosa Clamente Kendra Ross Deray Mckesson (We The The Ferguson Poet Protesters) Cornell West Andre Anderson, Chief of Bree Newsome Police Ferguson Immortal Technique Tef Poe T-Dubb-O Pharaoh Monch Bun B (UGK) M1 (Dead Prez) Common Family of Mike Brown Rev. Renita Lamkin Rev. Osagyefo Uhuru Sekou Rev Traci Blackmon 5 6 78 9 10 #Bars4Justice ©2015 Nation19 Magazine a Mobile Regime Brand. On August 9th 2014 unarmed black teenager Michael Brown was killed by Ferguson Police officer Darren Wilson setting off a string of protest, rioting, and millions of dollars of property damage. Since that day over 1200 unarmed US citizens have been killed by Police. Bars4Justice was shot on location in St Louis and Ferguson, and follows Emcee / Community activist Jasiri X who was invited to perform at a benefit concert on August 9th 2015.
[Show full text]
A Specter Is Haunting the Hood: Traces of Socialism in Rap Music
International Journal of Communication Vol.2, Issue No.1, pp 1 - 12, 2018 www.carijournals.org A Specter is Haunting the Hood: Traces of Socialism in Rap Music 1*Ali Cagil Omerbas *Corresponding Author‟s Email: [email protected] Abstract This article aims to demonstrate the links between the Hip Hop Culture -especially rap music- and the ideas of philosophers, politicians and activists of the left view. Although rap music has turned into a multi-million dollar industry in United States, Hip Hop artists maintain the revolutionary world view of the black freedom movement, which has not ceased since the early days of slavery. Starting from the mid-20th century, the movement became much more organized and aimed to equip black people with socialist ideas, hoping to create an extremely educated and self- sufficient community. The ideas formed by Karl Marx, Friedrich Engels, Mao Tse- tung, Malcolm X, Dr. Martin Luther King Jr. and especially Black Panthers Party are still embraced by the Hip Hop Culture and can be traced in various songs and performances. This paper tries to draw attention to such examples, especially in rap songs. Keywords: Hip Hop Culture; Rap Music; Black Freedom Movement; Socialism; Black Panthers Party; Immortal Technique; Public Enemy In 1848, Karl Marx was addressing the proletarians and telling them to organize and resist the system; that they have nothing but their chains to lose (Marx and Engels 1970, p.77). A similar call was echoing in the black ghettos in 2003. Revolutionary Hip Hop band, dead prez, was addressing the poor people and telling them to do the same thing, in their 2003 song Scared to Die: I ain't scared to die, I ain't got shit to lose Plus I ain't happy here livin' on a planet full of fools I ain't scared to die, I ain't got shit to lose Plus I ain't happy here, no, I ain't happy of your family.
[Show full text]