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Table of CONTENTS 1. ZERODIVIDE............................................................................................ 01 2. C.E.O. Letter........................................................................................... 02 3. SHOUT OUTS........................................................................................... 03 4. PHILANTHROPY MEETS THIS GENERATION........................................... 05 5. “HIP HOP IS…”....................................................................................... 06 6. FROM THE STREET CORNERS….............................................................. 07 7. …TO THE NATION.................................................................................. 08 8. PHILANTHROPY TAKES NOTICE............................................................. 09 9. OUR VISION........................................................................................... 10 10. WHY TECHNOLOGY AND HIP HOP?..................................................... 11 11. EVERYTHING BUT THE KITCHEN SINK.................................................... 13 From The Ground—Up Research....................................................... 13 The Kitchen Cabinet........................................................................ 14 Our Committment............................................................................ 15 12. THE MODEL............................................................................................ 16 13. A NEW WAY FOR A NEW GENERATION............................................... 18 Operational Model........................................................................... 18 14. UNDERSTANDING THE HIP HOP COMMUNITY..................................... 20 The Foundation Must Strive for Authentic, Sustained Engagement....... 20 Money Is Not The (Only) Key............................................................ 20 Adopt A Network—Building Approach.............................................. 21 15. ACHIEVEMENTS..................................................................................... 22 16. CONCLUSION: TOWARD A SOCIAL ENTERPRISE APPROACH............. 24 17. LIST OF GRANTEES WITH LINKS.............................................................. 26 18. APPENDICES........................................................................................... 27 ZERO ZeroDivide invests in community enterprises Table of CONTENTS that leverage technology to benefit people in low—income and other disadvantaged communities. Through our investments, underserved communities create ground—breaking enterprises, capture important but suppressed voices, distribute DIVIDE content in diverse ways, and collectively influence policies and practices to enhance and mobilize community—based assets for social change. Hip Hop and Social Justice Initiative Page 1 Dear Friends of ZeroDivide, As funders of social change programs, we must create new ways to support resilience and growth in the communities we serve. In 2003, ZeroDivide sought to merge the powerful, popular phenomenon of hip hop and the connective thread of information technology to create what became a new philanthropic model. We called it The Hip hop and Social Justice Initiative. Over the next seven years, ZeroDivide created new partnerships and funded innovative—even risky— grassroots youth programs that simultaneously created community enterprises and fostered civic engagement. Our theory of change was: TECHNOLOGY + POPULAR CULTURE = ADOPTION OF TECHNOLOGY AND POSITIVE SOCIAL CHANGE In this paradigm, technology was the mechanism and hip hop was the language and the medium. Technology has the potential to equalize. When coupled with the vibrant and world-wide culture of hip hop, it has the power to transform lives. ZeroDivide explored and refined our model through practice and investment, and our commitment was rewarded. ZeroDivide’s community investment programs brought and taught marketable, transferable technical skills to disadvantaged young people while supporting their innate artistic and entrepreneurial abilities. In the following pages, we offer you a proven strategy to help young people prosper and thrive. Tessie Guillermo President & Chief Executive Officer Page 2 Hip Hop and Social Justice Initiative SHOUT OUTS: ZeroDivide would like to acknowledge and thank the following people: Bakari Kitwana He documented years of his perspective on and participation in the Initiative. His wise counsel and easy-going demeanor are always appreciated. Arnold Chandler This report would not have been possible without the extensive research and interviews conducted by Arnold. We thank him for his work, insights, and the perspective he brought to the project. Rebecca Wilson We are grateful that she shared her superb editing skills and guidance in completing the project. Kitchen Cabinet Special thanks goes to all the Kitchen Cabinet members and grantees that participated in the Initiative. Their dedication to hip hop and social justice fueled our hearts and minds. The Hip Hop for Social Justice Initiative is dedicated to the memory of Alan Watahara Youth Advocate, Attorney and Friend Hip Hop and Social Justice Initiative Page 3 “ZeroDivide sees itself as trying to influence the field of philanthropy. We want other funders to fund tech as a means of social change — not just funding administrative costs. We want them to understand themselves not as funders of equipment, but funders of the means of communication and of civil rights.” Tessie Guillermo, CEO Page 4 Hip Hop and Social Justice Initiative PHILANTHROPY MEETS THIS GENERATION Something special, important, and transformative happens in the place where hip hop and technology meet. ZeroDivide first recognized the power of incorporating popular culture into a philanthropic strategy when the foundation began to identify, fund, and work with youth organizations on innovative projects. The Foundation discovered that when given the proper resources, youth activists possess a unique capacity to improve themselves and their communities. ZeroDivide funded Tessie Guillermo, CEO programs that armed youth with crucial skills for the labor force, created new businesses, and encouraged civic action. This report demonstrates that these youth—centered efforts unlock the power of hip hop and technology. These new community—to—philanthropic partner- ships offer exciting solutions to some of the most difficult questions of our time. They bring youth from the margins of society into the center of civic and economic ac- tivity, and make them key stakeholders in building a new America. Hip Hop and Social Justice Initiative PG.Page 03 5 “HIP HOP IS...” Hip hop is an urban, street art organized around five primary forms—dance, DJ—ing, graffiti art, MC—ing, and “the truth” (i.e., communal history). It evolved into a cultural arts move- ment that allowed young people to both express and survive the economic and social despair in Black communities. Pioneer artists such as Kurtis Blow, Melle Melle, and Afrika Bambaataa recognized hip hop as the pulse of their generation. Later artists like Public Enemy and KRS—One forged an artistic and political marriage that is alive nearly 40 years later. Activist organizations—namely Black Cops Against Police Brutality and the Malcolm X Grassroots Movement—understood that successful youth—oriented strategies must incorporate hip hop. Page 6 Hip Hop and Social Justice Initiative From the STREET CORNERS... Hip hop organically arose during the economic downturn of the mid—1970s. Black urban communities were devastated; unemployment rates were nearly double the national average and inflation topped 14 percent. These communities suffered high Vietnam War losses and were plagued by drug abuse. National public policies failed to stop rampant unemployment and unequal education. Both civil rights and Black power tactics could not significantly improve health care or change a racist criminal justice system. Hip Hop and Social Justice Initiative Page 7 ...TO THE NATION By the 1980s, hip hop hit mainstream America. It defined popular youth culture and crossed social, economic, and racial lines. The music industry capitalized on this phenomenal growth and created commercialized “gangsta rap,” which was musically, but not ideologically, linked to hip hop. Despite this artificial distortion, grassroots hip hop continued; “Indie” artists remained true to their communities and the original political energy of hip hop stayed alive. In 2003 and 2004 hip hop became a formal political voice. Hip hop—driven political organizations emerged, including The Hip Hop Summit Action Network, The League of Young Voters, and the National Hip Hop Political Convention. These were youth—driven groups focused on social change. During the 2004 presidential campaigns, the Ella Baker Center for Human Rights and 21st Century Youth Leadership Movement adopted unique hip hop—inspired strategies that galvanized young voters. Page 8 Hip Hop and Social Justice Initiative PHILANTHROPY takes notice From 2003 to 2005, The Ford Foundation, The Rockefeller Foundation, Soros Foundation, and The Nathan Cummings Foundation funded independent hip hop arts and activist efforts. Some of the impetus was the novelty as hip hop grew indistinguishable from America’s youth. Other foundations recognized hip hop as a viable new “high art.” Still others saw hip hop’s pervasive grassroots presence as a local and national unified youth culture with the potential to mobilize youth toward social justice

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