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Teach-In Video Clips

Dear Cipher Members: Over the last eight months since our June 2009 teach-in, it has been more than a pleasure to build with all of you. In an effort to better serve you and in turn, your communities at-large, we have compiled a time capsule of sorts that encompasses the beautiful energy, both intellectual and physical, that made all of our late nights, research and planning worth every moment.


Enclosed you’ll find text, video, photos from our 2009 Remixing the Art of Social Change: A Hip-Hop Approach International Teach-In and hope that you will join us for the teachin June 2010!

Warm regards,

Afrika iBamibaataa Keynote Gimmie The Loot

The Take Over Simone Jacobson Cipher Director, Words Beats & Life 1525 Newton St. NW Washington, D.C. 20010 T  202-667-1192 | E




REMIXING THE ART OF SOCIAL CHANGE: A HIP-HOP APPROACH Definition of the Field: Our “field” is made up of organizations and individuals that use hip-hop culture to promote social change.

WHAT IS THE TEACH-IN? A iBRIEF HISTORY The Remixing the Art of Social Change: A Hip-Hop Approach International Teach-in is designed to outline the tools and resources necessary to develop curriculum, programs, and work (artistic and scholarly) based on hip-hop culture. The teach-in also addresses how to retain and attract high caliber hip-hop artists and build sustainable organizations. Our field is made up of organizations that use hip-hop culture to promote social change and push the envelope of what hip-hop culture can produce artistically, academically, politically and socially. The presenters at Remixing the Art of Social Change are the artists and educators who never gave up on hip-hop and are still actively working through it to promote love, peace, unity and having fun. The teach-in is for people who move beyond hip-hop as a purely aesthetic art and see it as a vehicle to build organizations and to educate youth and families along with their communities through the arts. Words Beats & Life, Inc. (WBL) is spearheading the move to the next stage of our field’s development by creating a strategic development plan for excellence, scale, and sustainability to strengthen the network of hip-hop based youth-serving organizations. This process is being initiated though a teach-in called “Remixing the Art of Social Change: A Hip-Hop Approach”, and through a series of subsequent gatherings of board members, youth, front line staff and executive directors of hip-hop based organizations and programs. WBL is working towards hosting the teach-in in four different geographies from 2009-2011. The first of these will mark the second annual national “Remixing the Art of Social Change: A Hip-Hop Approach” teach-in. This will take place June 12-14, 2009 in Washington, D.C. The second, third, and fourth will be hosted in St Paul, MN, Chicago, IL and San Francisco, CA, respectively. The planning of these four teach-ins follows our groundbreaking, inaugural West Coast teach-in in the Bay Area or California in October 2008. The California teach-in was inspired by the release of “The Blueprint for a Movement” issue of our peer-reviewed journal, Words. Beats. Life: The Global Journal of Hip-Hop Culture. As a part of the release of the issue in November of 2007, the staff of WBL organized the first “teach-in” in November 2007 at Howard University to showcase the work being done around the country through the medium of hip-hop culture to transform individual lives and whole communities. It included presentations about best practices, artist exhibitions, panel discussions, and both fundraising and interactive workshops. The event has initiated the creation of a forthcoming publication called the “The Counter Balance: The Impact of Hip-Hop Non-Profits on Communities.” WHERE IS THE TEACH-IN HEADED? The upcoming teach-in in DC (2010) will be the fourth time we have hosted this event and the third time in the District of Columbia. In 2009, we had more than 250 individuals from around the world register to attend our DC teach-in. Due to the success of our national and West Coast teach-ins—the San Francisco event convened 45 organizations from all over California—we anticipate that the number of registering organizations will continue to increase in 2010.

WHO DOES THE TEACH-IN SERVE? THREE TRACKS FOR TEACH-IN The 2009 DC teach-in was a three-day event with three tracks 1) Organization Track for those that operate as Hip-Hop Non-Profits, Non-Profits Organizations using Hip-Hop, Non-Profits Working with the Hip-Hop Generation(s); 2) Youth Track for emerging youth leaders participating in/benefiting from the activities of these organizations; 3) Scholar Track for professors, students, and freelancers doing research related to hip-hop culture. Although not a separate “track”, the teach-in can also benefit independent hip-hop artists through networking opportunities, especially for those considering building a non-profit or for-profit venture, those working with/for youth, and/or those interested in further research and personal and professional development.

Definition of Audience for Organization Track -Hip-Hop Non-Profits -Non-Profit Organizations using Hip-Hop -Non-Profits Working with the Hip-Hop Generation(s)

Definition of Audience for Scholars Track -Published Authors (focused on Hip-Hop) -Graduate and Undergraduate Students -University Professors -Individuals being published in upcoming or past issues of the WBL journal -Emerging and established scholars

Definition of Audience for Youth Track -Emerging youth leaders participating in/benefiting from work of non-profits and other hip-hop centered organizations -Youth wanting to learn about funding, research, and other elements of the field -Urban Arts Academy Students (required for all participating in the Swagger Expo in Sept. ’09)

STRENGTHS OF THE FIELD -Serving the same population of youth means great collaboration opportunities -Several levels of organizational capacity among the various organizations



1. Hip-Hop Scholar: Joe Schloss, author of Making Beats: The Art of Sample-Based Hip-Hop and Foundation: B-Boys, B-Girls, and Hip-Hop Culture in New York (NY)

1. Hip-Hop Non-Profit: Hip-Hop Theater Junction, producers of the Hip-Hop Theater Festival in Washington, DC; New York; San Francisco and Chicago (NY)

1. Hip-Hop Foundation: Dr. Donda West/Kanye West Foundation, supporters of education through hip-hop programs like Loop Dreams (IL) Every year, Words Beats & Life’s teach-in convenes people from around the world using hip-hop as a tool for lasting social change and those who are supporting this field. The Remix Awards began in 2009 in an effort to recognize the outstanding work being done in the U.S. and abroad by scholars, organizations, artists, foundations and government agencies as each relates to hip-hop. WBL saw that many invaluable contributions of this field were going unnoticed, both within the field and outside of it. As a result, Remix Awards are given annually at the teach-in to individuals, organizations and agencies that have demonstrated excellence in a given category during the previous year. In 2009, six inaugural Remix Awards were granted in the following categories: (1) Hip-Hop Scholar of the Year (2) Hip-Hop Nonprofit of the Year (3) Hip-Hop Foundation of the Year (4) Traditional Foundation of the Year (5) Government Agency of the Year (6) Pioneer Award For the 2010 teach-in (June 17-20), the distinguished Remix Awards Committee will add new award categories, and award nominees/ recipients will be invited to present their skills and expertise at the convening in Washington, DC.

1. Traditional Foundation: ZeroDivide, founders of the HipHop Initiative (CA)

1. Government Agency: DC Commission on the Arts and Humanities, issuers of Hip-Hop Grants for DC artists (up to $2,500) and organizations (up to $5,000) (DC)

1. Pioneer Award: Afrika Bambaataa, “Godfather of Hip-Hop” (Global Citizen)

Kanye West Accepts Remix Award

2009 Teach-in PRESENTERS 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17. 18. 19. 20. 21. 22. 23. 24. 25. 26. 27. 28. 29. 30. 31. 32. 33. 34. 35. 36. 37. 38. 39. 40. 41. 42. 43. 44.

Tessie Guillermo, President and CEO, ZeroDivide (CA) Ruth E. Williams, Community Investment Officer, ZeroDivide (CA) SiNGA (DC) Critical Exposure (DC) National Black L.U.V. Festival (DC) Cory Stowers, Art Director, Words Beats & Life (DC) Kaajal Shah, Capacity Building Specialist for Fair Chance (DC) Peter Krisko, Executive Director, Albus Cavus (DC) Rodney Camarce, Big Picture Assistant Program Manager, Philly Mural Project (PA) Dominic “Tru” Painter, Executive Director, Midnight Forum (DC) Victoria Murray, Arts Program Coordinator, DC Commission on the Arts & Humanities (DC) Youth Venture (DC) Serve DC (DC) Urban Leadership Institute (DC) Tyrell Holcomb, Chairman, DC Youth Advisory Council (DC) Anita Guzeh, Youth Organizer, Youth Education Alliance (DC) Felicia Pride, Founder, Back List (MD) James Pearlstein, Founder/Director, Youth Power Network (DC) Joseph G. Schloss, Visiting Scholar and Adjunct Assistant Professor of Music, New York University (NY) PAGES, poet from Maryland Youth Slam Team (MD) Jonathan Tucker, poet from DC Slam Team (DC) Urban Artistry (DC) Guerilla Arts Ink (DC) Clyde Valentin, Executive Director, Hip-Hop Theater Junction (NY) Nancy Petrisko, Adjunct Professor, American University (DC) Eldridge Allen, Associate Director, Howard University Institute for Entrepreneurship, Leadership & Innovation (DC) Beats Rhymes & Life (CA) Graffiti Art Therapy (DC) Blueprint for Life (Canada) Leila Smith, Manager-in-Residence, Arts Management Program, American University (DC) Eliza Brinkmeyer, Account Executive, Fenton Communications (DC) Follow Your Dreams (MD) The Latin American Youth Center Art and Media House (DC) Straight No Chaser (DC) Goldie Deane, DC Urban Arts Academy Director, Words Beats & Life (DC) Jared A. Ball, PhD, Morgan State University (MD) William Smith, PhD, North Carolina Central University (NC) Msia Clark, PhD, Howard University (DC/CA) Jobyl A. Boone, Guest Co-curator, RECOGNIZE! Hip-Hop and Contemporary Portraiture, National Portrait Gallery, Smithsonian Institution (DC) Carla Perlo, Dance Place (DC) Timothy D. Prestridge, Manager, Performing Arts for Everyone at the John F. Kennedy Center for the Performing Arts (DC) Brooke Rosenblatt, Manager of Public Programs and In-Gallery Interpretation at The Phillips Collection (DC) Fred Joiner, Curator of Public Programming, American Poetry Museum (DC) Jovette Gadson, Program Specialist US Dept. of Housing & Urban Development Center for Faith-Based and Neighborhood Partnerships

TEACH-IN REFLECTIONS “I just wanted to say thank you. You guys really added to the experience of being a Hip-Hop educator/activist. I had a great time and got a chance to connect with some great people. I am very excited about the work WBL is doing and despite my exhaustion, I’ve become re-ignited in the work I am doing. Thanks again, you guys are so on point!” ~Sarah M. Montgomery-Glinski, teach-in attendee, Hip-Hop Association (H2A) “I wanted to congratulate you and your organization for putting together an event that was exceptionally well executed and thoroughly informative at many levels. I was uncertain as to what this conference would hold for me personally as I’m less a “Hip-Hop Head” and more of a corporatestrategist in my approach to running my business. However, the instructors you selected for the breakout sessions were exceptional and many came from corporate backgrounds while others came from successful non-profits who deal with a corporate Board of Directors. The information was invaluable to many of those who attended. I not only picked up some great tips that I can use to grow my business right now but also a wealth of information for that day when I start my own non-profit organization (maybe!). Great job!” ~Dan Perez, teach-in presenter, Dan Perez Films “I enjoyed the teach-in. The energy felt like summer camp, a lot of good people to talk to who share an interest. I felt the awards ceremony was great because it added another level of official-ness to the whole event, gives incentive to the foundations and funders to be involved, and makes the [organizations] step up and try to match the work of the highlighted groups. You’re doing great things, keep it up!” ~Dominic “Tru” Painter, teach-in presenter, Director of the Midnight Forum “I want to thank WBL for allowing Urban Artistry to tell their story and be a part of an event with so much depth. Day to day we all are pounding ground, putting in work; but we often fail to notice just how much the community is growing around us or see all the possibilities for our individual growth within reach. We just do our part. The Teach-In reminded my entire organization that the social change we seek starts with dialog within the united hip-hop community; not just a few zip codes. We have reconfirmed our love for this culture and have equipped ourselves with some new tools to work smarter and harder. Again, Thank you WBL, your army just got bigger.... with that ...back to the trenches.” ~Junious “House” Brickhouse, teach-in planning committee member, Founder/ Executive Director of Urban Artistry LLC

TEACH-IN REFLECTIONS Dear Colleagues at WBL, When I arrived in the United States for this fellowship 10 months ago, I had pretty naive ideas about what I would be doing. I had set some lofty goals and designed a highly detailed program plan. I imagined that I’d be taking amazing classes (not on offer in South Africa) and having deeply intellectual debates in graduate seminars. With some exceptions, this mostly was not the case. This left me feeling a little despondent and, at times, alienated. The dream classrooms I had imagined did not materialize. I hadn’t expected that the intellectual space that I so craved would be not in the academy but in a hip-hop nonprofit operating out of Columbia Heights. My first exposure to the journal staff at its Monday meetings in the heady days of September ‘08 was eye-opening. Listening to debates where the presidential election campaigns were being examined through a hip-hop lens was invigorating. I have to admit I almost was a little intimidated, and concerned that my darts might not be sharp enough to hang with this bunch. But perhaps that is where being a part of the WBL fam has been most affirming. As a professional affiliate (*cough* intern), I was entrusted with real tasks -- writing the Ellis Report, reviewing and editing submissions, and organizing the scholar track of the teach-in. In the midst of all of these tasks (which do not begin to approach the workload that all of you put in) I always had the feeling that people had my back and that my ideas were respected. There are few more inspiring environments I have worked in, and it really has been an honor to be affiliated with WBL. So this isn’t an email to say goodbye (I plan to continue working with the journal staff ‘virtually’), but rather to acknowledge the important role that WBL and the entire staff have played in the success of my fellowship year. Thank you for having me and letting me join in the dynamic work that you do. PEACE Eitan Prince, teach-in Scholar Track Coordinator, Fulbright Fellow


“It was more than memorable attending your workshop and meeting the inspiring staff of Words Beats and Life. I am overjoyed that for three days, people touched each other in ways that resonated on a soulful level and redirected paths. I know it impacted me strongly. Thank you, again.”   ~Edith Hancock, teach-in attendee, Interstages “Brim and I would like to extend our deep, deep gratitude to you, Mazi and the WBL family. The teach-in was an incredible and invaluable experience for our budding organization. You guys are doing great work with your organization as well as building a network for all of us working towards a common mission. We will keep you updated on our progress and continue to build with y’all! Much love n respect. Thanks again. Peace love and HIP-HOP!” ~Amit Regev, teach-in presenter, P.A.T.H. “So, I loved the gathering, the exchange the rearranging of traditional and boring conferences. I think the discussion during the Scholar Track was important and one I’ve not heard much of elsewhere. That is, I don’t hear a lot of the talk around defining the field of hip-hop studies. …These are issues I think must be confronted and to the extent we were able to proves the value of this conference. So, thank you.” ~Jared A. Ball, Ph.D., teach-in presenter, Morgan State University

“I want to tell you what a great time I had on Saturday -- the audience was polite, engaged, informed, thoughtful and just a delight. I hope that they had as rewarding an hour or two as I did. I think that Dan Perez was in the group, but I didn’t have a chance to talk to him -- I was impressed with his film. Again, thank you for asking me to participate and congratulations on what appeared to be a great success -- I know just how much blood sweat and tears went into it!” ~Leila Smith, teach-in presenter, Manager-in-Residence at American University’s Arts Management Program


When Simone Jacobson, the Cipher director for Words, Beats & Life, asked that I conduct a workshop at WBL’s 2009 teach in, I accepted without hesitation. I knew little or nothing about WBL and the hip-hop culture, but I knew and trusted Simone. She was one of the brightest of my students at American University and if she was involved with something, it would be worthwhile. In the following months, Simone took special care to introduce me to the organization, to the goals of the teach-in and to my wonderful copresenter, Clyde Valetin from Hip-Hop Theatre Festival in New York. Her passion for the art form, her commitment to learning, and her impressive organizational skills made the preparation enjoyable. A conference call that linked Simone, Clyde and me helped bring ideas and logistics together so when the day of the teach-in arrived, I felt prepared and excited by the day’s potential. I came a little early to take in the atmosphere before setting up the workshop. Howard University was abuzz with activity. Lots of lively conversation, laughter and open affection set the mood. I was one of the oldest participants, but this observation was quickly forgotten as I was greeted warmly and made to feel welcome by at least four WBL administrators, fellow participants and the director himself, Mazi Mutafa. I entered a large room filled with the day’s participants and enjoyed the opening welcome speeches that helped heighten this sense of excitement and purpose. Afterwards, I headed to the classroom. It was a beautiful space – with one full wall of windows, a fountain and a prime view of the campus. The university provided some of its best space for WBL and this small detail helped create a professional atmosphere. Soon after I arrived, I met my co-presenter Clyde Valetin in person. Although we shared little in common – different sexes, different ages, and different aesthetics – we soon found common ground. Clyde was intelligent, principled, and quick to laugh. He was generous of spirit. Our workshop was on fundraising and finance – seemingly two pretty dry topics. But Clyde brought great examples of his successful “five on it” fundraising drive and I brought lots of information on best ethical and financial best practices. We made a great team – seamlessly working together to strengthen concepts, involve the audience and bring new understanding to help participants be successful in their work. At first, the participants were small in number but little by little more and more joined in until nearly all chairs were taken. Those in the room included artists, founding nonprofit administrators, and even some from the for-profit sector finding their way in this new world. They were from different parts of the continent and although everyone was engaged in hip-hop, each had a different story. These varying perspectives made the exchange all the more valuable. I was impressed with the high level of intelligence, the sincerity, and the willingness to engage by all of the participants. The time flew by. After much more than our allotted two hours, nearly everyone stayed around to ask questions and to linger over concepts. By the time I left, I was loaded with recordings, business cards and the feeling that hip-hop is on the brink of an explosion. I felt lucky to be involved, in some small way, during its evolution. ~Nancy Petrisko, teach-in presenter, independent arts manager/consultant

TEACH-IN REFLECTIONS To me, a b-boy Cypher was always about taking all that nervous energy about getting down in the center and letting your soul and dance be driven by the music and the inspired by the passion of those around the circle. Taking all life’s bullshit and letting the anger and frustration be released on the dance floor. Channeling the spirit and emotions of our lives in our art and dance in a way that keeps us from self-destruction and out of jail. The whole gathering in DC felt like a big Cypher to me! At the end of the day, we are all stronger together – when we celebrate all of our differences and still find the common passions. Like a B-boy Cypher where we battle and get down challenging ourselves and others, at the end of the day it comes down to giving and receiving respect in the most human of moments – when one shares their art and passion with others. I feel like a grandfather watching Hip-hop grow into its own over the years - with a grin from ear to ear as peeps get better at articulating the power of what we do. Governments spend millions on programs that don’t work, and out of the ashes of this failure - our own human spirit came up with its own survival tool kit by listening to ourselves. Seems like the right starting point, doesn’t it? We have always known this as B-boys and artists in the other elements, but to see it spread around the world with such power for change!!!! Damn!!!! B-boys and B-girls can really change the world. When we work with youth in Canada’s Arctic, the suicide rates are the highest in the world. The reasons are complicated, but they often give up because they truly believe they don’t count, no one is listening, and they cannot control even the simplest environment in their immediate painful world. Words Beats and Life affirms we are not alone, in fact this fam has vision, passion ands respect for those less fortunate than ourselves as we all work in these communities. Let us all continue to speak up for those who are still finding their voice and continue to help them find it, encouraging them to scream it to the world. Affirming a sense of control of who we are must be the starting point for believing we all count. I’ve always said the next level of Hip-hop is what we give back - and this conference was just that!!! So, thanks to all of you who made it happen. In the finest traditions of a Cypher and B-boyism, next year I look forward to battling any peeps at the conference who want to get down so don’t sleep on this 50 year-old B-boy. I went easy on Joe Schloss ’cause it was his moment to shine for writing that book - but next year B, it’s on, son!!! Let’s all continue to stay in touch and with pride celebrate all of our accomplishments together. It’s much more than just stories. It’s our lives and fam. Heres an old B-boy poem I wrote about 20 years ago - you asked for poems, so don’t hate on this old man for trying!!!! ~Buddha, teach-in presenter, Blueprint for Life (Canada)

“Ode to a IB-Iboy” by Buddha (1987)

The IBattle’s in the Circle The IBeat is in their Heart Their Heart defines their Soul Their Soul defines their Life!

NyahIbingi Alchemy by Kymone Freeman

Be not afraid of growing slowly

Stolen lights & stolen cable

Be afraid only of standing still

Caribbean moons Afrikan hurricanesDirt cookies 4 hunger pains

H. rap brown edition

sharp instruments 4 other thangs

Of the Grinch that stole Christmas

The only acceptable change is improvement

Guerrilla floetry poetry classic transition

w/o deviation from the norm progress is not possible

Black unapologetic never ask 4 permission

sick & tired of being sick & tired

Crisis intervention clairvoyant intuition ghetto inspired ambition

so we don’t stop like supply lines in Palestinian tunnels

In a maze of misery violence & poverty

ain’t no wonder why we write because we believe

Searching 4 happy feelings crackin glass ceilings

the human spirit cannot be tamed & should not be trained

While wars eat children old men make a killing

b4 it was a game it was a struggle life’s a bubble

Monumental stealing

so we live life like bootleg liquor on Sunday night

More profit 4 the willing in gentrified buildings

the art of transmitting reality into something sacred

2012 still standing in a garden with banana peelings w/ no hard feelings

the sacred & profane definition of insanity is doing the same thang

Intuition a sudden immersion of the soul

expecting change proceed with caution talk to angels often

Into the universal current of life’s satellite television

prefer cremation to coffins until such time…

Born in the park after dark in the South Bronx

jesus is a fake as santa claus & the devil is as real as taxes

Between beak beats & turntables

as I search 4 matches

Aniekan Udofia

The Sickness 3 Solo Exhibition Nigerian-born visual artist Aniekan Udofia’s work represents an amalgamation of his commitment to exposing perspectives of the hip-hop generation and his keen eye for translating some of the most disturbing and urgent social dilemmas of our time into works of art. Udofia’s universal curiosity leaves no subject ineligible for harsh critique, while his paintings and illustrations retain an element of caricature seen in comic books and rap albums, which majorly influenced Udofia’s work in the earlier part of his career. His work has been featured in numerous urban publications such as XXL, Rime, Elemental, and Frank 151. Co-curated by Fred Joiner and Adrian Loving, The Sickness 3 was the result of a one-month pilot Artistin-Residency program at Dissident Display, co-sponsored by Words Beats & Life. The culmination of the residency was hip-hop visual artist, Aniekan Udofia’s first-ever solo exhibition, featuring DJ 2-Tone Jones spinning live and an artist talk.

P.A.T.H. Hip-Hop Documentary film screening & discussion

Building on the enthusiasm of ZeroDivide’s introduction to how the fusion of hip-hop and technology can create lasting changes, WBL hosted a screening of P.A.T.H, a hip-hop documentary film. P.A.T.H., which stands for Preserving, Archiving, and Teaching Hip-Hop History, is the new film by award-winning documentary filmmaker, Dan Perez. The film documents the P.A.T.H. Hip-Hop Academy, the first summer camp of its kind in Miami, FL. P.A.T.H. is the brainchild of popular Miami hip-hop artist Brimstone 127, who (after eight years) finally found a home for his program at the Miami Light Project’s downtown Miami studio. During the four-week camp, teenagers from ages 12-18 studied hip-hop history, the art of deejaying, emceeing (rapping), B-boying and B-girling (break-dancing), and urban art. Several of Miami’s most talented artists and performers served as instructors. The list included urban artist Krave, DJ Immortal from Scratch Academy, International B-girl Beta Rawkz, and Soulflower, who has shared the mic with performers such as Erykah Badu, KRS-One and OutKast. The camp also featured an impressive lineup of guest speakers. Hiphop pioneer Grandmaster Dee of Whodini, DJ Epps, Spider Loc of G-Unit, DJ Magic, popular Miami artist Lebo, Faisal Tavernier of Urban America Network, and international motivational speaker Kirk Nugent were just some of the names that took the time to stop in and address the students.

New Muslim Cool film screening & discussion

Twelve years ago, the Puerto Rican-American rapper, Hamza Perez, ended his life as a drug dealer and started down a new path as a young Muslim. Now he’s moved to Pittsburgh’s tough North Side to start a new religious community, rebuild his shattered family, and take his message of faith to other young people through his uncompromising music as part of the hip-hop duo M-Team. Raising his two kids as a single dad and longing for companionship, Hamza finds love on a Muslim networking Web site and seizes the chance for happiness in a second marriage. But when the FBI raids his mosque, Hamza must confront the realities of the post-9/11 world, and challenge himself. He starts reaching for a deeper understanding of his faith, discovering new connections with people from Christian and Jewish communities. New Muslim Cool takes viewers on Hamza’s ride through the streets, projects and jail cells of urban America, following his spiritual journey to some surprising places - where we can all see ourselves reflected in a world that never stops changing. There was also an opportunity to discuss the film and the important topics it addresses with the film’s senior project manager and a hip-hop scholar, Zaheer Ali.

WHO MAKES IT HAPPEN? Mazi Mutafa, WBL Executive Director Simone Jacobson, Cipher Director Graham Eng-Wilmot, Editor-in-Chief for Words. Beats. Life: The Global Journal of Hip-Hop Culture Ashton Wingate, Marketing Director For more information about the teach-in or about Words Beats & Life, please visit or e-mail the Cipher Director, Simone Jacobson, at or call (202) 667-1192.


Teach-In Yearbook  

Year Book summarizing the National Teach-In event of 2009

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