The EQ: Vol 1 Iss 1 (The DJ Issue)

The EQ.

Words Beats & Life Biannual Magazine

WBL at 20

Feat exclusive interviews with RBI, Geena Marie plus more

4 page spread of photo essays by wbl photoghrapher Flex Mathews

WBL20

CONTENTS CULTURE + MUSIC + ART

07 EDITOR'S LETTER YEARS OF IMPACT 09 20 Testimonials from our friends

11 2040 FELLOWSHIP Where is WBL and Hip-Hop headed?

13 20 YEARS OF HIP-HOP & SERVICE A visual breakdown of your favorite Words Beats & Life moments over the last 2 decades

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HE TALKS WITH HIS HANDS

21 RETROSPECTIVE

A LOOK BACK AT OUR FAVORITE MURALS 16 DMV YOUTH POET LAUREATES Get to know the DC, MOCO and Arlington County Youth Poet Laureates

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MIA DUVALL

GET INTO GEENA MARIE

Yahsmin mb Bobo has written a compelling profile on local artist and friend of WBL Mia Duvall

See what DJ Geena Marie has been up to since her time in the WBL Academy

41 2040 VISION A look at what awaits us moving forward

1525 NEWTON ST. NW, WASHINGTON, DC 20010 (202) 667-1192 PR@WBLINC.ORG WWW.WBLINC.ORG

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WBL20

CONTENTS CULTURE + MUSIC + ART

47 Yo Alumni?!

WYA?!

49 The Academy: Impact, Growth & the Future

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SERENA x Naima: 50 Parent interview

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Extended Family: Off 53 the Couch RBI x Marte: The 63 Basics, a look back Forever in our hearts: In 66 Memory of 44 Learn the Priorities 69 Hip-Hop in Uganda: a photo essay

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CONTRIBUTORS Alex Mitchell Marketing + Communications Manager for Words Beats & Life and Editor in Chief of The EQ

Serena Lewis

Asad Ali Jafri Strategy & Innovation Specialist for Words Beats & Life and EQ contributor

Ron RBI Brown Yahsmin MB.

Marcus Moody

Academy Director for Words Beats & Life and EQ contributor

Web Developer for Words Beats & Life and The EQ

Bobo

Director of A writer,amd Projects and artist. EQ Guest Events for Words Beats & Contributor Life and EQ contributor

Richard Illustrator for Words Beats & Life and The EQ

Mazi Mutafa Executive Director of Words Beats & Life and senior editor for Helen Bryant the EQ Second Vice Chair for Words Beats & Life and EQ contributor

Dominic Painter Marketing Director for Words Beats & Life and Executive Art Director of The EQ

Taylor Anderson

Flex Mathews

Marketing intern for Words Beats & Life and Copy Editor for The EQ

Official Photographer for Words Beats & Life and The EQ

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Mark Lawrence Chair

Jamila Sams First Vice Chair

Naima Macintosh

Second Vice Chair

Ptosha Davis

Secretary

Bennie Heron

Corresponding Secretary

Timothy Ann Burnside Member

Member

Samantha Armstrong Member

William Hegwood

Member

Shantelle Wright

Saafir Rabb Member

Filippo Rossi

Member

Secretary

Kenysha Bartee Member

David L. Schwed

Helen Bryant

Member

Landon Jones Member

Elaine Kennedy Member

Asia Clark Member

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EDITOR'S LETTER

Where to start!? Working on this publication for the twentieth anniversary these last few months has been an awakening. We get so caught up in the day-to-day admin activities and marketing tasks and operations, you almost forget that we are all here because of our combined love for hip-hop, the arts, and our respective crafts. Developing this magazine helped me tap back into my creative brain and see a little bit of each of my coworkers' brains.

There is so much passion behind the work that each and every one of us does to keep WBL running.

In our 20th year, Words Beats & Life continues to bring hip-hop culture to our followers across continents. I know, I know, we're all tired of hearing about Covid, and the impact it had on EVERYTHING, but, WBL was able to use the last 2 and a half years to make incredible strides to digitize the programs you all know us and love us for. Making hip-hop accessible in all its forms to the whole world, through multimedia platforms and live venues doubling down on our streaming services.

Ever since we made the decision to launch The EQ, I’ve been so excited to bring this type of content to our loyal supporters and also to those who appreciate using art as a vehicle for social change. The EQ is a fun approach to our quarterly updates and philanthropic news. With a distinct hip-hop flavor and an overlay of real talk, The EQ offers personal stories and vivid imagery of our organization’s growth over the last 2 decades. If anything, this inaugural edition of The EQ Biannual Magazine, is our love poem to you all, day-ones, new follower, donors, all of y'all! As tough as it has been, having to narrow down what will be featured and editing things out, being Editor in Chief, has been an honor. I learned so much about the magic and the grind that went into building not only WBL, but the successful careers of our contributors.

I feel like there is this belief that non-profit magazines are going to be stale and overwhelmingly donation oriented, there isn’t a lot out there that deals with more than corporate and charitable giving or financial news. Our goal was to create a publication that goes right to the heart of what matters most to us and our audience. The EQ is a place for readers to find stories from the folks that helped grow WBL to the organization it is today, and find comfort and inspiration as they read words that will make them say, ‘I remember that!’

-Alex Mitchell Editor in Chief

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AND I HEARD EM SAY. . .

BOMANI ARMAH: WBL SHOWED ME WHAT IT’S LIKE TO TAKE THE PRESERVATION AND DISSEMINATION OF CULTURE SERIOUSLY. FROM COLLEGE PARK MD TO KAMPALA UGANDA, I’VE TRAVELLED WITH WBL AND LEARNED THE ART OF PRESERVING THE ART. WORKING WITH THIS AMAZING ORGANIZATION WAS A CRUCIAL STOP IN MY PATH AS A TEACHER, AND AS AN ARTIST, AND HELP ME REALIZE I AM A TEACHING ARTIST. TWENTY YEARS LATER I SEE STUDENTS USING THE TOOLS WBL BROUGHT TO THEM. WBL IS BOTH A STAPLE AND PILLAR IN THE LOCAL ART COMMUNITY, AND A BEACON OF TO THE REST OF THE WORLD.

TATI KOLINA: THROUGH THE YEARS I HAVE WITNESSED WBL CONTRIBUTE TO THE DMV WITH THEIR INNOVATIVE IDEAS, INSPIRATION, AND MOTIVATION OF YOUTH, AND THEY ARE CONSIDERED AS ONE OF THE MOST IMPORTANT ORGANIZATIONS FOR CREATION OF YOUTHFOCUSED LEADERSHIP DEVELOPMENT PROGRAMS. CLYDE VALENTIN IT'S BEEN AMAZING TO WATCH WBL GROW INTO A CULTURAL INSTITUTION OVER THESE LAST 20 YEARS. THE ADVENT OF THE JOURNAL ONLY SOLIDIFIES THE RESPECT AND REVERENCE WBL PAYS TO THE CULTURE AND THE IMPORTANCE OF BRINGING THE NEXT GENERATION ALONG IN TERMS OF LEARNING AND PRACTICE.

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LEE LEVINGSTON PERINE SINCE I WAS FIRST INTRODUCED TO WORDS BEATS & LIFE IN 2014, I HAVE ENJOYED WATCHING THEM PRODUCE BOLD PROGRAMMING, EXPERIENCES AND MEDIA THAT CELEBRATE HIP HOP AND SHOWCASE WASHINGTON, DC'S DYNAMIC CREATIVE COMMUNITY. I APPRECIATE EVERY OPPORTUNITY TO CONNECT WITH WBL BECAUSE I KNOW THEY ARE CONSTANTLY INNOVATING AND ELEVATING. I ADMIRE HOW THEY CONTINUE TO MAKE DC AND THE WORLD THEIR CANVAS.

TONEY SMITH THE J.DILLA FOUNDATION WOULD LIKE TO TAKE THE TIME AND OFFER OUR THANKS TO WBL FOR ALLOWING ILL STREET GROOVES WPFW 89.3FM, WEPLAY360, THUG NERD STUDIO, AND VINTAGE VIBEZ MUSIC GROUP TO ASSIST IN THE DEVELOPMENT OF OUR YOUTH. KNOWING HOW IMPORTANT IT IS TO HAVE SOMEONE SHOW THEY CARE, WE THANK WBL FOR KEEPING THE DREAM GOING.

DIONNE KIRBY MAKING THE WORLD A BETTER PLACE CAN SEEM LOFTY, EXCEPT THAT WORDS, BEATS, AND LIFE HAS BEEN ACCOMPLISHING THIS WITH PRECISION FOR 20 YEARS. THE IMPACT OF WBL WITH/FOR YOUNG PEOPLE IS IMMEASURABLE, AND THE ORGANIZATION IS A BEACON FOR NONPROFITS NATIONWIDE AND BEYOND.

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20 2 0 4 0 F E L L O W S H I P ASAD ALI JAFRI

Towards 2040

When I first heard about Words Beats & Life, it was through the Global Journal of Hip Hop Culture, which was the world's first peer-reviewed academic journal of its kind. This effort to elevate the study, critique, and preservation of hip-hop culture in all of its manifestations, inspired me and as I explored the organization more, I was moved by its mission and vision. WBL’s unapologetic role as an advocate for the transformational power of hip-hop culture spoke to me directly. I quickly found myself engaged with WBL including as a presenter at its teach-in, Remixing the Art of Social Change. Almost 15 years later, after playing various roles as an artist, speaker, consultant and grant writer, my role at WBL has now evolved to Strategy and Innovation Specialist, which allows me to think about the long-term impact of WBL’s work.

In 2020, as WBL approached its 20th anniversary and the pandemic affected the entire globe, we reflected on our work and that of our peers and realized we needed to envision the impact that our collective work could have over the next 20 years. That summer, we convened members of our local, national and international communities to develop a collaborative vision for the year 2040. This vision prioritizes community and takes an asset-based approach that transforms communities and the lives of individuals by centralizing marginalized voices, reimagining arts education, evolving creative employment and, transforming cultural diplomacy. Words Beats & Life is building a future in which freedom, liberation and, radical love are the foundation of our work; systems and spaces are truly accessible to anyone; communities support and invest in each other; and youth and educators are at the center of our collective success. This vision revolves around long-term generational change.

In order to actualize our vision by 2040, we need to respond to the inequity in the distribution of power, privilege, and resources especially in communities of color and in the arts. As part of a multi-pronged approach, WBL will continue to produce Remixing the Art of Social Change as a convening of individuals and organizations designing the solutions to issues our communities face. The ideas and work of these artists, academics and activists will continue to be presented in WBL’s Global Journal of Hip Hop Culture.

What is most exciting to me about this journey is the development of a new initiative, Towards 2040: A Creative Leaders Fellowship. This national fellowship will recruit five creative leaders within hip-hop culture through an open call process for a nine-month fellowship. Through this annual fellowship, we hope to build a cohort of leaders over the next 20 years that can take a solution-based approach to achieving the 2040 vision. These leaders will receive skill-based training, mentorship, coaching and, resources to develop and build projects addressing community needs through innovative practices in social justice and cultural production. They will also participate in monthly creative solutions sessions which will allow the fellows to apply shared learnings directly to projects they may be working on. The Fellows will also be integrated into WBL’s existing framework of changemaking through the WBL Festival, the Journal and Remixing the Art of Social Change. Our goal is to support leaders that are already working on the change that we need to see in our communities and systems at large.

I’m particularly interested in the Fellowship because it allows WBL to support the work of some of our most innovative leaders and include them in a network that can amplify their impact. It also allows WBL to evolve its role as a thought leader in the sector by acknowledging and supporting work that is being done beyond our own organization. The Fellowship brings me back full circle to the initial inspirations I had when first interacting with WBL–an organization that recognizes the power of individuals and grass-roots organizations, learns from their challenges and celebrates their successes.

As we develop this first round of the fellowship and build a cohort over subsequent years, I hope that our conversations about hip-hop culture, change making and solutions for our communities also evolve. Though we say the vision is for 2040, I hope it continues to expand well beyond that and includes generations that are yet to come.

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An illustrated history of WBL over the years THE EQ

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a history of dope s**t, words beats & life is 20

twenty years of social change

VI EN TE

AÑ OS

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HE TALKS WITH HIS HANDS

Words Dominic D Painter Photography Flex Mathews

Words Beats & Life "day one" and Events & Programs Director, Ron “DJ R.B.I.” Brown”, sits with WBL Marketing Director and fellow DJ, d.painter, to discuss cultural shifts and his journey with WBL over the last 20-years.

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Dominic: How'd you meet Mazi?

RBI: I believe I met Mazi at the University of Maryland, College Park (UMCP), [at a conference]. He had a hand in it, 'cause he was one of the judges at a DJ battle there. Mazi didn't have a watch to keep time so I let him borrow my watch, that's how I met Mazi. And I didn't get my watch back for like 3 months.

Dominic: Haha! Well I guess there were no hard feelings about that because y'all are still working to this day. At what point after that conference did you become aware of Words Beats & Life (WBL)?

RBI: I was doing that play called A Rhyme Deferred with my man Jabari Exum, Kamilah Forbes, Chadwick Boseman and Priest Da Nomad… just our local poetry and hip-hop scene putting this thing together. We had just come back from the road and they booked us over at UMCP and they had us as part of the WBL conference.

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What Mazi wound up doing is talking to, [I believe] Nyakya Brown, about having me come down and do a DJ workshop during the conference. That was my first work relationship outside of doing the play with what later became known as Words Beats & Life inc.

Dominic: [As WBL started growing beyond UMCP], were you there at the Benning Park Recreational Center when the Academy first started?

RBI: I think I was at the first one.

Mazi had done day-long workshops which I believe were at UMCP and the Community College of Baltimore County at Essex. I feel like those were informal test runs for how things would go at Benning park, because [soon after] Benning became a weekly thing. But I was definitely there.

Above DJ RBI teaching turntable techniques to academy student

Some kids came in and thought everything about EDM was new and didn't understand that house music and techno are American art forms, that dubstep had existed in the late 90s as a sub-genre popular in Europe.

RBI: Benning Park is a lot different in terms of median motivation and interest versus [WBL's home office at] Newton St. At Benning we were bringing in DJing as a practice they could participate in but it was very much optional. The people who got involved with it, there was a curiosity there, but it was the hood [so students were] being influenced by popular culture and the interest came down to, "how much money can you make? Can you buy a nice car from DJing? Do the girls sweat you?" You can have a class that goes from 15 students to 5 students because of the amount of time you have to put [into learning the skills]. The upside to that, the ones that did remain dedicated became really good at it. I remember one student went to college and was DJing a little bit so he was able to take that down there and make a little money.

Being amongst that scene he ventured off and got into photography, but being a DJ [was what] put him in a position where he was even able to find [that] other interest.

Dominic: Seeing as the academy went from one-offs to weekly classes to the citywide program it is now, how has your approach to teaching DJing changed?

Now, we don't even have to use turntables, we can use a controller which is a facsimile of a traditional set up.

That's one of the major things.

RBI: Number 1, when I first started with WBL, Serato [DJ software] wasn't a thing. We were using traditional vinyl, 2 turntables and a mixer. We were still using our eyes, ears, and our hands but there was no screen to look at. What you were looking at was the placement of your hand and the cue marks on your records in order to consistently find and manipulate whatever sounds on the record. Once Serato came into play you could actually see the [song's sound wave] on the computer screen which made things a little easier in terms of the [teaching] speed. Also, it made things easier in terms of collective learning. It's a different thing when you have a computer screen in front of you 'cause everyone can see the same thing at the same time and I don't have to have anyone interpret things more abstractly.

[The technology] changed the ways students [can be involved] in class because they don't have to bring records in, they can have their own songs [they made] and put them on a usb or download them and we are off and running. It kind of catapulted a lot of things in terms of them being able to contribute their own stuff as well.

Dominic: When WBL started in the early 2000’s, that was a cultural turning point in hip-hop's crossover appeal but you still had students who remember it being underground. Now, especially if you're talking about a 15 year old, hip-hop is just a thing that's always been there and an activity to make money off of. In the 20 years of WBL how have you seen a shift in the motivation to learn DJing in your classes?

It's the importance of having that lifeline, having some continuity [to the] base skills, the culture.

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THERE WAS A CURIOSITY THERE, BUT IT WAS THE HOOD Moving ahead to [the Academy at] Newton St., we had different waves. One of our initial classes…and when I say classes I'm talking about the different groups that would come 2 to 3 years apart… I saw the widening of the genre appreciation, then I saw a narrowing of the genre appreciation and then another widening of the genre appreciation. What I mean by that is, initially, we had guys that came in that were kind of into hip-hop, R&B, reggae, and what you would consider black musical styles. They were learning a lot of the techniques that [come] from hip-hop and reggae culture. The EDM (Electronic Dance Music) guys started coming and they didn't really have an interest in learning the hiphop techniques so much at first, but they learned them and still applied it. Some kids came in and thought everything about EDM was new and didn't understand that house music and techno are American art forms, that dubstep had existed in the late 90s as a sub-genre popular in Europe.

It served as a bridge in a lot of ways so they got to learn about Cybotron, Ten City, Timbaland, The Eurythmics and relating that to what was happening currently in electronic music.

A couple years after that, that kind of fell out of vogue with our new students. Our new groups were into old school hip-hop! It's just interesting how that thing moves around.

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So, that includes the appreciation for old school [tools] like real records, turntables and mixers contrasting the use of controllers, knobs and FX. So, that includes the appreciation for old school [tools] like real records, turntables and mixers contrasting the use of controllers, knobs and FX. Dominic: With your involvement with multiple institutions in DC that are preserving the legacy of true hip-hop culture, from WBL to the National Museum of Hip-Hop, What's the importance of this work?

RBI: It's the importance of having that lifeline, having some continuity [to the] base skills, the culture. The younger the [students] are, in certain instances, the less connection they have with the fact that this was a hard fought battle for this [music] to maintain some kind of legitimacy as an art form. The content of popular music is very narrow and has nothing to do with culture… I boil it down to just feelings and materialism, you know what I'm saying. Also, now the barrier to entry is not high, which I think is a good thing, but at the same time there's a strong lack of appreciation for the fact that this thing has its own idioms There are certain [disciplines] that [need to] keep a structure and what happens over time is it can get lost! These things take time to learn in a lot of ways, and we have shorter attention spans.

The [new technology offers] a lot more instant gratification.

RBI (cont): You have machines that if you press a button it can scratch for them. Some of the kids I teach would rather press the button to have it scratch for them than learn to scratch themselves. I think that's a problem. It's cool as a feature, but, you get to a point where it's so flat, it can become lifeless. I just think that's dangerous because people have put a lot of work into building this thing out to exist 40 some odd years later.

Words Beats & Life puts you in the position where you can learn the basics, understand it, relate it to culture because there's history behind it... there're things that happened in the 70s. 80s, 90s, 2000s... there's an evolution for it so now you understand where your seat is. I'm sitting in this seat because of what happened yesterday, and now I want to add to it so someone can come behind me and pick up from what I did. Hopefully you can make your mark in it and be lucky enough to have a bigger impact.

check out page 39 for another exclusive . interview with former DJ student DJ Geena Marie

Dominic Painter serves as our director of marketing and artistic director for the EQ

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WORDS BEATS & LIFE

MURALS THE EQ

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The EQ.

A COMPILATION OF A FEW WBL MURALS OVER THE YEARS

BENT/Max Gibbons/Dema one/Kate Deciccio/CheLove/Mas Paz/Isaias Crow/JBAK/Trust Your Struggle/Coby Kennedy/Asad ULTRA Walker/WBL/Layla Barryn

1525 Newton pl NW, Washington DC 20010 202-667-1192 | pr@wblinc.org WWW.WBLINC.ORG

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DC 500, 2010 Coby Kennedy

Top: Max Gibons & Dema One Africa Bottom: Addison Karl

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Neighbors + Friends THE EQ

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Kate Deciccio, Washington DC

Show Off

CheLove, Washington, DC

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Humanity THE EQ

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Dema One, Baltimore 2019

Magnets of Creativity Maxx Moses, Mas Paz, Isaias Crow Pakistan, 2017

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Untitled - Maxx Moses, Mas Paz, Isaias Crow Pakistan, 2017

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Angelika Maxx Moses

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ANGELIKA 2 Maxx Moses

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SHHH JBAK, 2013

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PHIFE IS LIVING BENT, 2016

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Untitled Isaias Crow,2018 THE EQ

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Untitled Trust your Struggle 2017

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She Sees This sweet yet powerful picture book takes readers on a journey of a father who witnesses his daughters begin to make sense of the world around them and their place in it.

Download the soundtrack

A soundtrack for fatherhood inspired by the book She Sees

MARCH 2022

PROFILE

Take a peek into the mind of WBL Alum Geena Marie. Find out how she developed her craft.

A CONVERSATION WITH GEENA MARIE

by Alexandra Mitchell

It took a minute to get here but, I finally got to interview one of my favorite DJs: the immensely talented Geena Marie.

Covid tried to knock me down, but after escaping to a cute little cabin in West Virginia to [safely] live out the remainder of my quarantine sentence, me and my brain and eventually, me and Geena finally caught up, digitally obviously, but still face to face.

Since I’ve known Geena she has been tearing the city up. One, sometimes two parties in a night. We met (no surprise here) at a dancy-dancy, drinky-drink venue where I used to tend bar (the good ole days).

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Always humble and a tad quiet, but always scintillating and emanating confidence, Geena standing at a whopping 5’2 would step up to the turntables and get the slumpest, drunkest happy hour patron up out of their sad seat and on to the dance floor.

Her career began in 2014 after connecting with DJ Nativesun on a short film project.

After working a few events with him, she started booking gigs herself and her career took off. Geena was featured on mad fliers, if it was a poppin' party, 9 times out of 10, she was spinning. One of my greatest social highlights is when my partner and I were able to book her for our Sunday dance party we used to throw prepandy.

Geena is a powerhouse, great personality, terrific ear, hip hop enthusiast, dope kick connoisseur and just straight up nice! So it was no surprise when I found out she was connected with WBL.

“This sound is dope, other people need to hear this, and I was like, lets go!”

Geena was one of DJ RBI's students in the WBL Academy

During our call, we chopped it up about her time as an academy student and how it helped to morph her into the DJ she is today. Check it out.

Alex: Tell me about how you were introduced to Words Beats & Life.

Geena: I was introduced to WBL through Nick Da Wonda. I remember speaking to him and him telling me about WBL and how they offered DJ classes for free. This was really early into my DJ career, so I knew I had to take advantage.

Alex: Was that your first introduction to DJing, or did you know you were passionate about it prior too?

Geena: I stayed in LA for a few months in 2011 and hung out at Turntable Lab. The store was staffed by DJs and people who worked in music. I remember being told by one of the DJs who worked there that I should think about DJing. I brushed it off because I was out in LA to get a job in TV or film and at the time was just happy finding and listening to new music. My time in LA did introduce me to DJ culture and listening to DJ mixes and expanding my music taste.

What really set me on a path to DJing was after I did a short documentary on DJ Native Sun. After having to follow him around for a few months, I decided to really go after DJing and wanted to DJ live for people. It grew from there.

Alex: So, is it safe to assume you’re a DMV native? You would think I'd know that information…hehehe. Did you attend any other music programs growing up?

Geena: I was born and raised in Silver Spring, Maryland. In elementary school, I took band.

After that, I didn’t take any other music classes or programs but, music continued to interest me.

Alex: That's cool, so who was your DJ instructor at WBL? Did you feel like you were getting quality 1-on-1 time?

Geena: I was instructed by RBI while taking classes with WBL. The 1 on 1 time and small class sizes were so beneficial to my DJ education. There was never more than 2 or 3 other people in the class with me.

Alex: And did you make any life long friends there or…? What were some of the most valuable lessons you learned during your time as an academy student?

Geena: Yah, definitely, I still got some WBL homies. I would say the most valuable thing I picked up was learning vinyl. Being able to understand how to DJ with vinyl made DJing on other equipment easier.

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PROFILE

MARCH 2022

THE EQ

“Always put your best foot forward, you literally never know who will be at your gig and who is hearing you play.”

Alex: Would you ever consider coming back to teach today's youth your passion for DJing?

Alex: So like, do you have a secret trick on how to read a crowd or ‘the vibe? Or do you just stick with what you vibe with most?

Geena: Yep, I actually did teach some classes with WBL a few years ago. Most recently I taught some youth and did a few classes for the “Scratch Sip and Paint” events.

Geena: Ha! eh, I don’t know if it’s a secret trick, but I think understanding that I’m there to perform and not impose my personal taste is important. There are instances where I can play songs that people don’t know, but I have to find a balance or recognize that this party or event doesn’t call for that and let people enjoy popular songs. I really don’t take gigs where I’m put in a position to play music I don’t connect with, so that helps too.

Alex: I know you as a DJ who performs live, and you effing kill it always, does that come with the event host giving you a direction or is it just your innate ability to read the crowd?

Geena: It depends on the gig. When I’m at bars and clubs, it’s about reading the crowd.

When doing events, I do take direction from who is throwing the event or party. As a DJ, it’s important to recognize people are there to enjoy themselves. Hearing music that fits their taste will make the experience memorable for them.

Alex: Is there any genre of music that scares you? Like anything you absolutely refuse to mix? Or are you like HECK it, CHALLENGE!

GEENAS TOP TIPS

FOR ASPIRING DJ'S

Geena shares words of wisdom from her years of experience as a young DJ.

EXPERIMENT

DJing is a long game. You’re not going to sound good your first year, or even your third year. It takes time to develop skill and music taste.

PATIENCE

Don’t be in a rush to be on big stages. Taking time to get good with transitions, song choice, and crowd reading will prepare you for larger crowds. If you rush into big stages and sound bad, you won’t be asked back and it can hurt your future opportunities.

CONNECT Have fun and play the music you connect with. Try to be apart of the culture of the music you play and also step out and listen to DJs outside of your genre to get inspiration and ideas.

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Geena:Nah, I wouldn’t refuse to mix anything, but there are crowds that I just know I’m not going to understand. By that I mean knowing what songs are popular, which ones are big hits, what to play at peak times, etc. I think I feel the most out of the loop with crowds that are heavy into reggae and trap music. I could definitely go and enjoy myself, but DJing those crowds would probably be difficult for me.

Alex: Who are your idols? Who’s sound did you first emulate or who made it clear for you that this is what you want to do?

Alex: What technique do you use to engage listeners? Was it something you learned at WBL or did you morph into your own style? Elaborate please.

When I came back home [from LA] and started hitting up Monday’s at Marvin, Jah was doing a lot of what I liked with J.Rocc but I actually got to experience it live. I mean, Jah’s party at Marvin ended up introducing me to a venue and people that I became close to.

Geena: I think being myself and taking time to play music I love is what has drawn people to me. I like a lot of music and listen to a lot, so my interest span from radio hits to indie music.

The main thing I learned from WBL is technique and understanding the equipment. I also got taught a lot about hip-hop and DJ culture. It plays a role.

Geena: J.Rocc was the first DJ that I really looked up to. I also was [and still am] a big fan of Jahsonic. I used to cop his “Taster’s Choice” CDs and listen to all his mixes. He has a lot of music knowledge and can play almost any genre and it reminded me of my music taste.

Geena: Words Beats and Life is a great program and important to our city. There aren't very many organizations who provide such quality classes for the little guys FOR FREE!

"Build community.

Being a solo DJ can get you places, but it’s good to find someone or a group of people you connect with musically to make sh*t shake."

Catch Geena's mixes on 5050fm.com hosted by Eaton Radio, new shows weekly Alexandra Mitchell serves as our marketing and comms manager and our Editor in Chief for the EQ

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2040 VISION

Vision 2040 In 2040, Hip Hop will be over 65 years old; Words, Beats and Life will be approaching our 40th year as an organization. Since WBL’s inception, we have worked to change lives, build community, and empower artists by tapping into the power of Hip Hop culture in all its forms.

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Written by Helen Bryant Young people who take part in WBL’ s programming are provided with opportunities to practice what WBL teaches through performances, public art-making, managing their own projects and events, and so many more avenues. In our 20 years of supporting young creatives, we have seen time and again that our approach to education builds resilience, supports creative aspirations, and opens pathways to robust, sustainable creative employment.

Looking ahead, WBL aims to expand our influence well beyond the classroom and studio - our mission will touch the lives of people and communities across the world.

Ultimately, WBL envisions a world where justice, freedom, and liberation are as important as joy and love. Where we can manifest radical change across policies, institutions, communities, and individual actions through the collective power of Hip Hip culture. Where complex histories and narratives are taught in schools and homes, and educational systems heal past and present trauma. Where the role of Hip Hop in teaching history, exploring culture, and healing this trauma is universally elevated and recognized as integral to success.

Where Hip Hop has evolved from an aspirational culture and set of values to an intentional cultural practice that lives in communities across the globe.

A bold vision for sure. So how do we get there over the next 20 years? WBL believes we can manifest this vision by ensuring marginalized voices are centered in everything we do, making arts education available to all, advancing creative employment pathways, and strengthening connections within and across global communities to grow the collective power of Hip Hop in all of its forms.

As WBL is working to make creative employment a vibrant, sustainable, and widely-accessible career pathway, we are at the same time setting the foundations for a true revolution in how Hip Hop is viewed as a powerful tool for education, community-building, advocacy, selfmastery, and healing.

WBL aims to expand our influence well beyond the classroom and studio I have had the honor of serving as a WBL board member for the past three years, and have known about WBL’ s programming since I was in college myself. My experience with WBL’ s brilliant community of creatives has shown me the tremendous transformative power of using Hip Hop in all of its complexities to master skills, build knowledge of self, support creative aspirations, and connect communities across lived experiences. This is why I believe so strongly in our 2040 vision for the world.

WBL’ s vision for 2040 can seem both inspiring and daunting. With the support of our larger WBL family, I know WBL’ s highlymotivated community of creatives is more than able to make it a reality. Will you j oin us?

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Scratch + Sip

is lit

A new spin on Live Streaming Sip Spin Turn up

Lets go!

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www.wblinc.org/shop

Get Like Us. WBL

wbl

Priorities wbl

WBL has developed programs to support Arts Education and Creative Employment for young creatives throughout the District of Columbia with the human and material resources and opportunities to participate in the District’s creative economy as both creators and project managers. We do this through a curriculum that involves instruction, research, and the hands-on application of lessons learned as performers and creative directors.

1

Arts Education Students are exposed to new creative techniques and provided with opportunities to grow their knowledge and network through alternative winter and spring break activities.

2

Creative Employment Engages members of the larger creative community to share their knowledge and experience as guest speakers, mentors, and potential employers.

3 4 5 Cultural Diplomacy Students develop creative collaborations thanks to master classes and scholarships that send artists abroad as well as bring artists from abroad to the U.S.

Centering Marginalized Voices We expand minds, knock down walls, and build bridges between communities through programs that are interdisciplinary, taught by people of color, and often women led.

For the Culture Words Beats & Life hosts events and creates work that focuses on community building and expanding hip-hop culture locally, nationally and globally.

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Sasa Aakil

eate ty Youth Poet Laur Montgomery Coun tter, ar old artist, writer, po Sasa Aakil is an 18 ye ore. She aker, bassist, and m painter, poet, print m since e DC art community has been active in th e Arts.

Fin rsuing a degree in age 13 and is now pu d has s awards in writing an ou er m nu n wo s ha She d on Washington Post an been featured in the nched on her A Man Was Ly WTOP for her work ess e uses her art to addr Yesterday Project. Sh ion, and identity. topics like race, relig working dressing, and actively Acknowledging, ad le. that affect her peop for or against issues

h Amiri Nas

Laureate outh Poet Y . .C D , n niversity, Washingto at Brown U n a m aw. h s e fr is a and Civil L re tu ra e Amiri Nash it lish L tudies Eng nization where he s ce, an orga ti s u J f o n d Sig bout antiHe founde ersations a v n o c rk a p NN, The aiming to s tured on C a fe s a w h whic has written Blackness orbes. He F d & t, s o P n Journal an Washingto rovidence P e h T r fo ieces r Sign Of editorial p ersonally fo p d re tu a o fe ves pasta he was als e piano, lo th s y la p e NPR: H Justice in x. g on Netfli and bingin

Charolette Maleski

Arlington, V A Youth Po et Laureate Charlotte M aleski is a po et, musician filmmaker a , and ttending hig h school in County. Curr A rlington ently, she is serving as A Youth Poet rlington’s Laureate of 2021, and w of the 2020 a s a member DC Youth S lam Team. S love with sp he first fell in oken word a t her middle poetry open school’s mic; three y ears later, sh invited back e has been to this scho ol, and othe county, as a rs across the guest speak er on poetry .

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2021YOUTH POET LAUREATES |

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WBL ALUM

The Words Beats & Life Academy is the heartbeat of our organization.

For over 15 years we have been making an impact on DMV youth by providing free Hip-Hop based artss classes. See what the Alum have been up to!

where are they now?

"I came to WBL around 2007. I was about 11 or 12 years old. I was really interested in becoming the best at DJ’ing! I first learned that hip hop music isn’t just songs, it’s a style and secondly, your network is just as important as DJ’ing!"

"Since WBL I have been on tour playing music instruments, DJ’ing, and sound engineering for local artists! Right now I’m just focusing on my business, trying to make sure it can grow to the best of its ability!”

Trevon

aka DJ Tre Pound "I came to WBL back in 2014. I was very interested in learning to better my skills in DJing/Music Production and also I was interested in networking and learning how the industry works. WBL took the alumni to different places to visit multiple artist that have had amazing experiences and could teach us about them, as an alumni we had many sessions with people that knew how to network/artist/dancers/musicians I also made great connections and friends that I got to work on music with and learned from an amazing if not one of the best DC DJ's out there RBI.

Aria

I've actually gotten really good at DJIng multiple genres I have been doing some local shows, I've learned to better myself in music production I can now finish a song from start to finish without giving up on the songs and I've also learned to branch out and work more with other artist."

"My current activities are learning to mix and master like a professional and hopefully get my degree in audio engineering to work in a studio."

Iden aka DJ Zaydex

“I came to WBLl in the summer of 2015 right after my freshman year of highschool. I was initially interested in DJing because my dad had been a DJ in the 90s and early 2000s. My mom thought it would be a good side hustle and I was already interested in music. I didn't come in with a lot of expectations. I just wanted to learn. I ended up learning a lot during my time at WBL. I am forever grateful that I was able to learn the history and culture behind DJing and Hip Hop. I am so glad that I was able to start my DJ journey working with turntables. It's an unique and impressive skill that is incredibly hard to find in modern DJs, especially other DJs in my age group.”

“I have grown a lot since WBL. When I started I was a young teenager and now I'm an adult with a media degree. Through learning about the history and evolution of Hip-Hop at WBL I have developed a love for musicology. I prefer to study the history behind all types of genres and art movements that I'm interested in. I understand the importance history and culture plays in the development of modern music. Right now I am just getting back to work since the pandemic. I just finished my associates degree and I am planning on transferring into a bachelors in journalism. Eventually my goal is to go to law school and continue making art on the side. I still DJ occasionally. I offer 1 on 1 lessons to friends and family. In September I performed at and organized a small rave for my friends in the underground breakcore community. I still DJ upon request but school and work are my main focuses”

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Learn more at www.wblinc.org/academy

EXCLUSIVE

THE ACADEMY +A LOOK BACK ON SERENA LEWIS' FIRST YEAR AS ACADEMY DIRECTOR +AN INTERVIEW WITH AN ACADEMY ALUM PARENT AND CURRENT BOARD MEMBER, NAIMA.

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THE ACADEMY IMPACT, GROWTH & THE FUTURE MY FIRST YEAR OF WBL ACADEMY

BY SERENA LEWIS

Three words to summarize my first year running the Academy…meaningful, challenging, fulfilling. When I decided to make a career change from law to education and youth development, at the height of the pandemic and in a new location, I knew all of this at once would be challenging. The challenge didn’t shock me, especially when [on day one], Mazi mentioned this would be the first virtual Academy WBL has ever had, I knew I would be figuring it out as I go.

What did surprise me was how fulfilling this work is. I truly love our students and their families. I may be biased because these are our students and we’re literally watching them grow, mature and find their voices, but they are amazing young humans who are not only talented but incredibly aware and intelligent.

Interacting and knowing these young people makes everything worth it. Being a space of safety where creativity can flourish is not only a priority to me but also my team.

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When I approached this work and was given the task of leading the largest team WBL has, I told myself this won’t be easy but always give grace and do your best. I make it a point to lead with love with my team and our youth because anything else would be way harder than it really needs to be. It costs us nothing to be good and loving people and I’ve realized that resonates with not only our youth but also their families. At a time when there is so much uncertainty it's important to be able to give some kind of stability to our youth and the larger community. If nothing else, students know when they come to the Academy they will be greeted with warmth and love, which gives them the ability to flourish and unlock their greatness. Their parents know they are safe and in a space they can learn and grow in. As we approach the next session of the Academy, I am looking forward to continuing this work with my amazing team and helping with the sustained growth of our Academy as a resource to our community.

+AN INTERVIEW WITH AN ACADEMY ALUM PARENT AND CURRENT Serena: What’s your connection B O A RtoDHip-M E M B E R , Hop? NAIMA.

even if you don't have communication tools

Naima: I guess my connection to hip-hop is

and you're not a good speaker, it gives you

growing up around it. My mom was a big

more options to deal with the world.

jazz head and then when I was like 10 we moved into the section eight neighborhood.

There I was really sent into hip-hop and

Serena:Tell us the ages and art forms of

gogo culture and I kind of jumped right in.

your kids that were in the Academy. Do

Before it was just kind of like this myth. I

they still love art now?

had heard the Beastie Boys song on the radio or you know the kids at school talked

Naima: One was 14 or 15 and was in the DJ

about LL Cool J. But then when I jumped in,

class. She still loves music and practices the

it was like, Oh, you're the new girl you got

skills she learned. Another was 11 or 12

to come to our laundry room parties where

and was into visual arts, graffiti especially

all the kids hang out and they play music

and still loves to draw. And the youngest

and dance in the laundry room. Then it was ,

was 10, she took photography which she

“oh, you don't know how to dance?” Let me

still loves to this day.

show you what the cabbage patch is. From then on, it was like a huge part of my

Serena: What made the Academy a good fit

childhood. As a teenager, it kind of became

for your kids?

less cultural and it started to be like, oh man, these rap lyrics feel like me and like

Naima: The main thing was the teachers

home!

were great. They were really good. All my kids vibe really well with them. Teri, the

Serena: What about the WBL & the

photography teacher, was great with my

Academy resonated with you?

younger daughter. She feels like photography is her home, she is kind of shy

Naima: I came across WBL because I

but she loves to see how you can see the

always had a thing for graffiti. I used to take

world in different ways. She got into an art

the train into the city and I would always

program at her school and specifically said

see these artists like Disco Cool Dan paint

“oh man I wish Teri taught at my school, she

along the metro rail line and I felt like, Oh

would be better than this teacher.” Asad

those are those are our artists, you know

was a Godsend. I love that guy to death, my

what I mean like those people are from

son Cade is on the spectrum so sometimes

where I'm from, they're there for us. I saw

it's kind of hard for him to communicate

WBL was having a paint jam and I brought

and he just kind of created an atmosphere

my kids and that's where I ran into Mazi

that allowed him to just be himself and not

and found out that you guys had an

have to worry about what to say. The

Academy. That was perfect because my

Academy was a great place for him to be

kids were middle school age and I was like

expressive without any pressure. To this

we have to find something for you to do

day he still loves drawing and draws all the

before you get in trouble, so I signed

time. The Academy was a great experience

everyone up! I always kind of encourage

for him because it gave him something that

creativity with my kids because I feel like

he was good at and also gave him

it's a way of processing your emotions and

confidence and a safe space, which is

helping you just kind of get through life,

difficult when you're in middle school and

"She feels like photography is her home, she is kind of shy but she loves to see how you can see the world in different ways."

you're kind of different.

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And then Aria, my oldest kid, she really loves history and so RBI was the man! He knew everything about music and dj-ing.

To this day she still likes that and she still wants to know where all these sounds came from and how they're all connected. She actually still uses the skills she learned and her blends are really good. She has such a profound love of music and I think that's really where it started were those classes of WBL. Serena: How did the Academy speak to you as Mother?

Naima: As a Mom, it was something for my kids to do, where they can have a community. And with that teenage age I feel it's a really weird transitional point because everybody wants to be adults and nobody knows how to be adults. So they are trying to figure out what that means and if you don't provide something for them to do or a healthy community, they're going to go to their peers and other 12 year olds have no idea what they're doing, they get their stuff from the media. So finding a place where they had community and their peers had good values and common goals was such a sigh of relief.

Serena: Did the impact of the Academy on your children make you want to be more involved with WBL and become a Board Member?

Naima: Oh yea, a lot! Mostly because I feel like people really need to understand what you can do. When you talk about culture, even your own in school, it's kind of a very specific perspective. Hip-Hop is our culture and I wanted to be sure that was passed down. The Academy gives kids confidence and that's a really big deal. Even if they don't do anything with it just knowing that they can, and knowing that other people could, and knowing that there's something that's theirs is something and it's something that's important.

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Even if 20 years from now, they go, “I remember this one time when I was in school and we used to go to the library and I learned how to DJ,” that's something and it's important, so I really wanted to make sure that continued and that it keeps going.

Serena: How do you think the Academy can or is igniting our youth to be leaders in the D.C. creative sector?

Naima: I love the idea of for us, by us, kind of thing and I feel like it's time. The younger generation is really trying to establish themselves and I see that and I can't wait to see what they're going to do.

And as artists who have grown up with all of this media that we did not grow up with, you know and taking pieces from here and there and creating all these new amazing things. I really am excited to see what kind of structures they create for their art and where it's going to go because every time there's something new I'm like, “where did that come from?

It seems out of left field and my kids are like, ``Oh mom, you don't get it!” I think WBL kind of gives our youth a little more momentum and kind of will show them how to bridge that gap like this is where the structures are this is what you're doing. Go out there and build a new structure!

Serena: If you can describe the Academy in one word, what would it be?

Naima: Evolution

FIND THE BEST ARTWORK IN THE CITY DURING ANY ONE OF OUR SPECIAL MURAL TOURS

OFF THE COUCH WBL EXTENDED FAMILY: OFF THE COUCH DJS

At WBL, we get to work with some extraordinary talent from around the world. During the pandemic we launched the Off The Couch virtual party series which helped expand on our network of international DJ’s who are now part of our extended family here. Here are a few you should get to know.

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GET FAMILIAR

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BLAQ PAGES ACCRA, GHANA

A

ccra, Ghana’s Blaq Pages has become arguably the US’s most notable talents in Afrobeats.

Originally establishing himself mixing hiphop in SoCal, as West African music started gaining mainstream traction Pages quickly established some of LA’s biggest events like Afrogogo and Trybvl to showcase the best in Afrobeats, Afro house, amapiano and gqom music.

His bi-continental touring life between the US and Africa keeps him plugged into what’s next and offers a chance to produce music for vocalists back on the continent.

His Spotify is constantly expanding with releases including “Thursday” ft. Camidoh & Kirani Ayat, “Santorini” w/ Soko7 and the High Energy EP.

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WBL Exclusive

PARIS, FRANCE

2022

oreviD aruaL AUM | octaY nagaeT tsilytS | nosoJ onibaS rehpargotohP

AFSHIN

A

fshin began his career in the Parisian house scene by throwing acid house nights with Laurent Garnier, inviting legends such as Joey Negro and Norman Jay to host the 'Sweet House party’ in the 90s. In 2003 he founded the legendary Djoon Club which quickly became the reference point for house culture in Paris, and a European hot spot for house dancers from Chicago to Johannesburg.

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On the production side, besides a trove of greatly received “My Grooves Edits”, from Jimmy Ruffin to Cesaria Evora. He’s been busy in the studio putting out tunes on labels such as GAMM, The Djoon Experience or Moblack.

FRANCESCA HARDING

LOS ANGELES, CALIFORNIA

O

ne of LA’s finest selectors, Francesca Harding has toured the globe rocking crowds in Mexico, the UK, South Korea and beyond.

When she’s not showcasing her diverse taste from pop to Latin sets, or opening for major artists like Ariana Grande and The Weeknd, she works in the film industry licensing music and curating music.

Her history in radio dates back years but it’s her new position on-air at the prestigious KCRW 89.9 FM in Los Angeles that has lifted her to new heights as a premier tastemaker in the city. She can be heard Tuesday nights 10pm-1am PST streaming at kcrw.com

SIXTH SENSE WASHINGTON, DC

Y

es Indeed! DJ Sixth Sense has been a mainstay of DMV (DC, MD, VA) radio and clubs for nearly 3 decades. In the 90’s he became a regular on the new WKYS 93.9 FM while rocking crowds at The Ritz, DC Live to Platinum.

He gained national recognition as part of the syndicated radio show, Russ Parr In The Morning, with his “Wrong Songs” mixes.

Decades later he can still be heard weekly in 13 cities from Cincinnati to Orlando and in DC on Magic 102.3 FM. THE EQ

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PAINTING THE PATH TO MASTERY Quite often, Mia Duvall visits the morgue. Minus the morbidity and carnage, this morgue is a proverbial dwelling for archival work and unfinished pieces. One would assume its air and energy is sorrowful and contrite but not for Mia - the morgue signifies her evolution as a creative. Presently, this work is purged on Instagram labeled “studies and doodles” along with succinct process videos. No longer avoiding vulnerability, Mia sees it through a different lens. This gradual shift in mindset has taken her career to new heights - Digital Creator, Designer, Art Director, Illustrator, and Muralist.

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YAHSMIN MAYAAN BINTI BOBO

Her work is celebrated in both virtual spaces and physical venues. In the winter of 2016, she was featured on Instagram’s #MakeYourMap and then casually participated in #Inktober the following year, which amassed a remarkable series of portraits. Her mediums include textile and canvas, when she’s not painting a storefront or gracing the walls of a local establishment with elaborate panoramics.

featured image:Untitled Mia DuVall

Moten Elementary School in Anacostia received her solo work on its enclosures and she partnered with Busboys and Poets at two locations in the span of three years.

Beyond that partnership, Mia joined their #PaintTheStorefronts campaign in April 2020 and again in 2021 at a Columbia, Maryland location. While continuously confronting “Lazy Artist Syndrome”, the timeline for this enterprising artist is still thriving.

And then, there’s her Instagram timeline with sketches of Sade, Diana Ross, Moon Girl, and even some steampunk inspired pieces. MF Doom immortalized in one piece, and after some scrolling, we see her paraphrasing Picasso while painting Tupac.

Although she confesses to the demands of “constructively sharing” work, Mia has diligently committed herself to documenting the journey. Followers can sample watercolor works of Mr. Yuk, Mos Def, Amy Winehouse and Audrey Hepburn. Every birthday season she paints a new artist.

They can delight in the digital formats of Bob Marley and have likely noticed she was commissioned for a book jacket as well. And that is the kind of collaboration she doesn’t shy from. In fact, Mia is hungry to co-create and feeds off of the synergy these opportunities provide like the mural she painted for the Washington Mystics. This project speaks to the intersectionality of gender and athleticism. In the Spring of 2021, Mayor Muriel Bowser launched 202Creates.

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Aside from all this success, Mia acknowledges the feeling that her abilities have been underestimated.

It only fuels her passion and motivation when she’s mistaken for a wife while in collaboration with male muralists. Co-creation wasn’t always her preference. Mia cites solitude as her best friend in childhood. This aloneness made her more artful and brought her closer to her own emotive expression.

Intentionality is now the approach to every project. Solitude has once again been accessed during the pandemic. Mia prioritizes rest and recovery as essential practices as she heals the body. It’s true, most of us don’t realize how physical the artistic process can be. Long periods of standing, climbing and squatting tax the artist in ways we cannot estimate.

Keep up with WBL

featured image: Untitled Mia DuVall

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Whether it’s painting pillars in the studio or carefully crafted reels on IG, Mia Duvall engages her audience in the most adorable and playful ways. Posts are often eloquently captioned with quotes and lyrics relevant to and consistent with the content. It’s more than marketing or promoting her work, followers are given a glimpse into her aesthetic, her methodology and even her obsessions with ramen, science fiction and Afrofuturism. One of her first videos hosted on YouTube was hyping a “milestone” in her documentation process as she’s pictured with a drippy brush in hand. Mia may experiment in the monochromatic but emphatically admits composition and color are her superpowers. The vibrancy with which she paints is coming intimately close to masterwork.

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Painting the Path to Mastery

aloneness made her more artful and brought her closer to her own emotive expression. featured image: Mary McLeod Bethune and Fannie Barrier Williams & 2 younger women, who represent the continued fight for equality, respect and opportunityin Ain't I a Woman by Mia Duvall in Ward 8

Any follower or fan is blessed with lifelike images of brown people and particularly women and girls. Fannie Barrier Williams and Mary McLeod Bethuneas are visualized in her Ward 8 mural dedicated to the suffrage legacy. Centering women in art is paramount but Mia does create a likeness of male subjects. Marvin Gaye was painted in a series developed two years ago. She believes in serendipity and that joy is wholly communicated in her work.

Inspiration is drawn from political events such as the suffrage movement and women gaining the right to vote to song lyrics that propel her into a creative mode. Lyrics help Mia visualize the palette with which a painting springs to existence. And if it isn’t songwriting that catapults ideas, it is conversation, reading and researching. Sometimes, she is informed through a visitation in her subconscious, through a dream. Mia muses this way. Her platform is abuzz and her following is as heavy as the optics sustaining it.

An accolade in portraiture was shared before the unfortunate anniversary of Aaliyah’s death.

Twenty years have advanced since the stars iconic career and passing which made completing the portrait a bit daunting for Mia. Creating a likeness of someone so famed isn’t a task she undertakes lightly. Honoring the beloved, Mia predicted Aaliyah at age 41 as a way to reimagine both life and legacy.

Similarly, Godzilla received an homage in a digital form using her ipad. Evidently, the monster turned sixty seven. Jimi Hendrix got the same royal rendering, using the same tool. Being quarantined provided the energetic shift, after much rumination, to digital art exploration by way of a tool named Procreate.

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"COMPOSITION AND COLOR ARE HER SUPERPOWERS"

On a community level, Mia has high hopes for Ward 8- legislative accountability, visibility and accessibility to housing in response to mass displacement by way of evictions and foreclosures. Art and advocacy can go hand in hand. Meanwhile, we are assured that Mia Duvall was humble enough to embrace apprenticeship and eager enough to ascend to mastery- once again process over product is affirmed.

Yahsmin Mayaan binti BoBo is an applied literary artist. Her work began in print journalism with an emphasis on art, culture and society. Most of her published pieces are magnified through the lens of hip hop culture. Yahsmin’s writings have been translated into three languages as editorial, profiles and interviews. In hiatus from journalism, she’s now telling her own story. That anthology is in the works.

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apply now

This fellowship will recruit five creative leaders from the Hip Hop Community in the US through an open call and application process.The selected fellows will participate in an 9-month fellowship program

for more information visit the link

Application deadline:

30th April 30th 2022

www.wblinc.org/towards2040

PROFILE

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Castching up with

MARTE

An interview between friends.

DJ RBI

10 years after his first experience with WBL Academy, Marte is still making moves.

Marte was one of my first DJ students. With our similar backgrounds and love for music, culture and art, we were able to bond DJ to DJ. This year is the 20th anniversary of Words Beats & Life so I definitely had to check in on my OG. During our interview we caught up, it had been a little over 10 years since we had interacted, but some things are so solid that time doesn’t change a thing. I am so excited to let everybody know what my man Marte Garner has been up to since he's gone through the program and what he has been doing lately. Here is our interview.

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EXCLUSIVE

MARTE DJ 40

I just used to see random things happening, uncommon for where we grew up around Benning Park. It was Different–WBL stood out

RBI: How’re you doing, man? [You’re]

to me. Tony Parka actually is the one who

looking like a straight superstar man.

introduced me to the program itself. I didn't necessarily start off DJing, my first class was

MARTE: I appreciate it, I'm trying. I'm all

graffiti. Cory actually was the one who showed

good man.

me a few skills, showed me how to write my name out and everything. It was “40 Cal” at the

RBI: Honestly, you're one of the first people

time, [and] that is a skill that I kind of picked up

that a lot of us got a chance to know. And I

and I never actually forgot it. I still know how

feel like we had some type of input in your

to write it to this day.

life, just being able to have conversations [with you], advise you here [and there], meet

RBI: I didn't know that, that's great.

your mom, your brothers, you know; We got kind of close. So, I felt like it was only right to

MARTE: Yeah, I doodle it every once in a blue

make sure we spoke with you, especially

moon. When I zone out, it’ll come out. I’ll just

because you’re my man! We go back. So I

doodle it, [and] people realize, “it looks aight…”

[have] some simple questions for you man…

I’m like “yeah, I [still] got it”. But yeah, I didn't

When did you first come to Words, Beats, &

quite catch onto that. B-Boying was never my

Life?

thing. Always entertaining, but I never caught it. But then I met you. [You] showed me

MARTE: I remember being, like, 11 [years

turntables. I remember working with James

old]. And I remember WBL being at The Rec.

Brown songs and catching that beat.

They used to come only on Saturdays maybe

Constantly. It would be like, “just count out

like once a month. I remember the people

four counts”. Trying to catch the beat on point

that I would see, of course I’d see you, Mazi

and it was like, “aight”. Once I realized I could

& One Luv.

catch a beat, DJing caught my attention.

I can’t remember the James Brown song, only how it goes a little bit–that “uhh!” in the beginning — you gotta catch it right there. That was the four count.

RBI: “Say It Loud, I'm Black And I'm Proud” MARTE: Yup, “Say It Loud…” After that, I got hooked on that mix that, again, I can't forget to this day. It was Black Star…. “Respiration” Pete Rock remix.

MARTE: That's what it was and it was T-Pain, “I Can't Believe It”. I got hooked on that mix.

RBI: Yeah, I remember that was one you did, it was T-Pain with Lil’ Wayne. [editor’s note: it was a mash-up/blend he did using the Black Star instrumental with the acapella from TPain’s song] MARTE: Yeah, yeah. So, that was, that was something that kind of got me. That was maybe 2006?.

RBI: Let's say maybe 2007, sounds about right. [editor’s note, it was 2008] MARTE: I was in junior high. Actually, I went to Hines when I first met you guys, so I was 12, maybe 13. So that'd be around the time.

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RBI: The fact that you knew how to write

MARTE: Right. Well, Mr. Ward actually, he

Today I will work a party for no reason. And

graffiti, or at least you developed an

was a big role–God rest his soul–but he

just to entertain because I love music.

appreciation for it, and your appreciation of

played a big role in our [lives], of course, our

Everybody knows that.

music–did you consider yourself an artistic

generation, a lot of us didn't have fathers

But the most memorable thing I can take

person coming into Words, Beats And Life

around – so, Ward was like that “Big

away, I will put at number one, would be

or did you feel WBL helped to bring that

Brother” fatherly role that we all felt drawn

going to San Francisco. And that's for a lot

out of you?

to. Until this day his name stays alive. We

of reasons. First thing is I've never been on

make sure it stays alive. [...] The Rec was

a plane before that. Okay. That's the first

MARTE: To be completely honest, I will say,

entertaining before WBL, I feel like the

thing. The second thing, it was basically

WBL brought that out. It may have been an

organization itself brought a little

free. Who wouldn’t take that trip?

innate interest of mine that I didn't

[something] extra. Like today if you walk

understand -- because it wasn't in my

around Benning Park, you don't remember

RBI: Right, right, right, that's the life right

environment until it was introduced to me.

the life of The Rec without the graffitti–

there.

So yeah, WBL opened the doors up to an

without the art around it, period. That was

artistic side that I didn't even know I had.

a milestone to show that WBL made a big

MARTE: It’s the most memorable to me

But I believe that it was always there, and I

impact towards that community.

because I felt like I was on tour. You know

just had no room to discover it.

It was something that was highly

I'm a young DJ–I was, what, 16 at the time–

appreciated. [WBL] asked the community,

11th grade?! So I was young, I’m DJing, I’m

RBI: Right. So how would you describe how

“what would [you] like?”, rather than just

hot! Like, it’s like– it was cool! You know it

you were going about your day-to-day over

doing what they wanted. Before WBL, we

gave me some bragging rights for, you

in Benning Park up until the point that you

never had anything like that. We never had

know, my generation. It made me want to

got introduced to WBL? What's the typical

no one who actually cared enough to give

go to college.

lifestyle?

us something to do.

"YOU KNOW IT GAVE ME SOME BRAGGING RIGHTS FOR MY GENERATION, IT MADE ME WANT TO GO TO COLLEGE" MARTE: Of course, school. All of us

RBI: That's dope. It's interesting to hear

If you ask Mazi, back in the day, my mindset

growing up in the neighborhood, we all

you say that man ‘cause I always wondered

was that–when I met you all, even up until

went to the neighborhood school [for the]

how that experience would be reflected

maybe like my late teenage years–I did not

majority of the day. Then, you know, going

upon after all this time. You mentioned

want to go to school. I hated school. I hated

to The Rec, hanging out, finding something

doing the murals and stuff like that. Are

everything about school. To myself, I’d tell

to do. Maybe it's going to the gym, playing

there any other specific memorable

myself that I’d finish high school so I’d

pool, or playing ping pong.

experiences you had that really had some

never have to go back. So going to that

At the time we had a guy named Demetrius

type of impact on you personally? Not even

world and just seeing the different type of

that worked there…

just at The Rec, just going through the

people, it wasn't the same “hoodly”

program because I know there are degrees

environment.

RBI: Yeah, my man…

of your experiences with Words Beats &

MARTE: Yeah, “D”… He used to bring video

Life. What are some of the few things that

When I looked to my left, I’d see these types

really impacted you?

of people, I looked to my right I’d see these

games. So that was another thing that we

people and then walking down the streets –

used to commonly do. Other than that, it

MARTE: Alright, this one might be a little

it’s a bunch of weird people so they had on

was -- mostly outside of The Rec -- it was

long,there are quite a few things.The first

tutus and stuff. That’s not something I'm

just mainly hanging in the neighborhood,

thing is: y’all introduced me to an art style

seeing on a normal basis .

just parlay[ing] basically.

that I took [skills from] and made a career out of [during] my childhood. It helped me,

RBI: So The Recreation Center was already

it gave me a craft. And it wasn't a monetary

a hub for you to find a way to focus your

craft. So, I didn't always look for the money

energy outside of school.

-- of course you know you had to do gigs -or you get paid for it, so that happens, but it

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was for the experience.

RBI: In San Francisco?

MARTE: In San Francisco.

RBI: Okay, okay…

MARTE: So, where I'm at today is not necessarily where I wanted to be, but it's the place I have to be at. And that was the start.

RBI: That’s beautiful man. Hey, you might have a future in life coaching, y’know -MARTE: That’s funny, one of my boys -he's actually a life coach he just actually asked me. I want to quit my job so it's like -I'm looking around for new work he's like, “man, look, you’re one of the only people I know that can have a full conversation when you speak to a person. You speak with understanding of what they just said, so you comprehend. So you're able to relate back some of your past experiences or something that you can relate to in a way that is helpful to a person”. So he was like, “man like I'm gonna look around, see if anybody got anything in our field”. And you know, so that makes me think like, “hey, maybe I should go ahead and do that.”

RBI: Right, right, right. Hey look, I will say

MARTE: Yeah, actually to be completely honest, WBL is the reason that I stayed in college!

RBI: Wow! MARTE: There were times as a first generation college student, I couldn't ask my family for guidance. What I’m supposed to do when I get there, who am I supposed to speak to? What office am I supposed to be in to handle certain things?

The thing I learned that I apply today is, ‘don't take no for an answer’. I got that from Mazi, specifically

… it was a lot, but to be honest with you…

This is another way WBL came in, Mazi specifically: handling all of that–new experiences, being on my own, having a team of promoters and DJing and getting in all these clubs – it did distract me from school work, so my GPA dropped drastically. I lost financial aid, any scholarship I had -- it was gone. Over the summer, I panicked and I didn't know what to do.

Again, first generation college student. I don’t know who to turn to say, “what can I do to get this back or how can I fix this?” It’s almost like a month and a half into the summertime. At this point, I got denied for my appeal for finance aid.

The one thing I learned that I [apply] today is, ‘don't take no for an answer’. I got that from Mazi, specifically. We went down there and the one thing he told me is, “if they say no, somebody will say yeah, keep going.” That mentality, pushed me. I got my financial aid back that year.

this much like: we talk about the “Words”

BUT, I could call Mazi, you, 2Tone, Goldie–

and “Beats” part a lot so I'm enjoying seeing

whoever in my field that could assist me. All

MARTE: [...] I went from a 1.3 to a 3.8 –

how the “Life” part has been working out as

those people, they came from Words Beats

3.86 that year. That experience taught me

far as the connection is concerned, you

& Life. So my introduction into college

to be a mentor. Using the knowledge I

know what I mean…

alone is thanks to the organization, I tell

learned from Mazi–now I am able to help

people all the time. Even my stories going

kids help them with a lot. And in the same

And it's not just for the sake of the job, you

back speaking about different mentors I

way he helped me.

know. It’s [about] a relationship [in which]

had growing up, WBL is the biggest impact

we've been able to build a community

in my life.

amongst ourselves. Where [it’s been about]

My lifestyle was not the common lifestyle from where I come from, so it was like, the

eight years since I’ve probably seen you in

Even where I'm at today, where I could be

impact WBL made on me changed me, and I

real life, but we still can connect and kick it

tomorrow–WBL is always a part of me.

would say for the better. Because I pulled

like it was yesterday. You know, I love that.

myself away from that environment, now I As far as college and my experiences with

can offer others what WBL gave to me.

Tell me a little bit more about your college

art: I did pick up a few entrepreneurial

experiences and how maybe some of the

things. One came from WBL. My first year

RBI: You got a wider view of what your

things that you picked up as far as [your]

at VSU (Virginia State University) I DJ’ed! I

possibilities could be. [Of] what your

artistic sensibility [manifested] or even

started a promotions team, got hooked up

potential is. You know, you got a better

[how] you’ve picked up a little

with all the clubs – the con to that is, it did

chance to know who you [are]..

entrepreneurship as a result of going to

distract me from my school work a lot.

school. Is there any way that you could draw any inspiration or influence from

Like that first year of partying… and then

WBL on how you progressed in that

you’re a DJ, got your own team

direction?

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MARTE: I did flunk out of my original

I've gotten so much just from being a DJ

degree. I will say that. With that 1.3, being

and being a student of a DJ, a student of a

an engineering major, that ain’t happenin’. I

philosopher [of] music and other hip hop

had to go undecided for a minute but I love

origins. Again, I wouldn't have gotten none

music, taking a step back from DJing was

of that without having the organization in

hard–I haven't DJ’ed since, honestly. I still

my life.

I appreciate you contributing your time and

got some equipment, and I’ll play around– RBI: I hear that. That’s dope man. And I love

to chopping it up with me, you know, and

how you were able to have [somewhat of] a

I'm proud of you. [Lastly] I want you to say

I picked up another love. Because I couldn't

spiritual successor to what you learned by

one thing about being in the Washington

figure out what I wanted to do, I jumped

developing another passion, but still having

Post, and how famous they made you

into another field of art. I found a love for

the same fundamentals within a different

[when] going back to [high] school.

photography. I loved it, eventually that

idiom. You know, just like you said about

evolved into videography.

being able to be steady and consistent with

MARTE: So, the moment it was written, I

how you hold your hands and things like

got so many different letters from

My editing is amazing. My hands [are] very

that, that's interesting. That's another

individuals who I had no idea even read the

stable and that stability comes from DJing.

artistic thing right there. I wouldn't have

newspaper. A guy from jail, who was

Moving them, scratching so long, getting

thought of that.

inspired by a quote that I said and he

but I haven't honestly seriously DJ’ed.

basically gave me an applause for what I

my muscle reflexes good. I can hold a camera still as if I got a stabilizer in my

MARTE: Yeah, putting them into each

said and the passion that was behind it

hand. Or swivel around where I need to.

other. Honestly, if I was able to multitask–I

when it was written.

could DJ and take pictures at the same time, I would do it but I can’t.

RBI: What was the article about?

that from being in WBL. The skills I picked

RBI: I want to ask you a couple [more]

M: [The] article was about how a young

up allowed me to use excel in other areas of

questions before we wrap. You mentioned

man in a troubled neighborhood found

focus.

your business. What's the name of your

chess as a way to navigate through life. The

business?

quote was “I'm a pawn. A pawn is

So [let’s talk about] the stable hands thing.

DJing played a big part in that. I learned

sometimes overlooked, but a pawn can also

Now my hobby can remain a hobby, allowing me to focus on photography and

MARTE: I was [doing business as] “40/40

become the queen. But I will gladly sacrifice

giving me the ability to monetize that skill.

Vision”, but now it's inside of an umbrella

myself for my queen”. The question after

DJing, that's what I do when I'm in my zone.

brand. The umbrella brand is a team of me

that was “who [is] your queen?” I put my

I do that for fun, I do it for entertainment.

and all my friends who are also

queen as my mother. But again, the pawn is

That’s is my first love.

entrepreneurs. It’s established through

always the underdog. He can take any piece

photographers, videographers, and fashion

on the board, he can make it to the other

The photography comes [next]. I love it

designers. We have a few graphic designers

side and improve. If you give it time.

because it makes me money. Even though I

as well. Everybody does their own thing

went to school for it, I can give it up any

we’re just under one house which is an

RBI: There you go. I [want to declare that]

day. Sometimes I do feel like I want to give

umbrella. It’s called “House Of Wealth”.

this is what you did, you were the one that made it to the other side. A lot of people

up. But the music, I never want to give up.

“Inside of the House Of Wealth” are

don't expect a lot from us. And you prove

individual artists. We all have our own

them wrong. You know, so I'll say thank

unique input on what's going on.

you, man. I appreciate you contributing your time. I think a lot of people will be able

RBI: Okay, man. So look, we're going to take

to learn from your journey. Your continuing

this and let everybody know -- let the world

journey, your continued successes -- and

know – what my man Marte Garner has

where you are now -- can be an inspiration

been up to since he's gone through the

for someone whether they're older or

program and what you've been doing lately

younger.

man.

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Forever in our Hearts Mr. Woody Ward If you ever met Mr Ward, you know that he was a force for good in so many young people's lives. He was an advocate for every opportunity, and every resource he could bring to the Benning Park Recreation Center community, the first home of the Words Beats & Life Academy. Mr Ward you taught us all so much.

Dr. James White

Dr. Clyde Adrian Woods Dr Woods was part of WBL when we were still just a conference. He was part of the original editorial review board for the WBL Journal and lent us the value of his name and his network to get our first submissions.

Dr Woods was the thesis advisor to our Executive Director, Mazi Mutafa, and is the reason he graduated from the University of Maryland. He was also connected to the work of WBL and celebrating the difference we were making in the DMV.

A former Board Chair of WBL and the only Board Chair to publish an article in the WBL Global Journal of hip-hop. Dr White served on multiple hip-hop organization Boards but said he learned the most being on WBLs. He once said “It never occurred to him that the best way to have a national impact or a global impact for that matter, was to have a really meaningful impact locally.” Thank you for your leadership, guidance and motivation.

Mr. Mikal Husband Mikel Husband was the first managing editor of the WBL Journal. He played a critical role in the development of the editorial process of the journal and laid the foundation that would allow the journal to direct the creation of new programming and events at WBL.

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HIP-HOP IN UGANDA A photo essay

BWETTE DANIEL

Saba Saba was the artist that invited us to visit his country, when he visited the Saturday Academy to tell us about hip-hop in his country. It took us two years to find the money but it would be worth all the effort. The Pearl of Africa, it was the first place we visited as an organization. Over the years we recognized the work of Breakdance Project Uganda and the Bavubuka Foundation as two of the world's best hip-hop organizations. Each led by brilliant MC's with messages for their communities and the world.

The photos in this essay are courtesy of the UG HipHop Archivist, Bwette Daniel, a leader in the Bavubuka Foundation. They showcase the culture of hip-hop in a community or Graffiti artists who are also shop owners, MCs that are also farmers, and dancers that are also teachers. It is a truly rich community filled with beautiful people living the truest hip-hop lives you will ever witness. We have learned so much by just being in the company of these creative giants. We hope that these photos inspire you to travel to be part of a hiphop community. You will be changed by it.

Introduction

In the last twenty years, Words Beats & Life has visited a total of fifteen countries and made an impact on hundreds of people while beautifying walls with murals or bringing different aspects of hip-hop to communities.

Uganda was one of those trips.

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CHECK OUT THE LATEST FROM OUR CONTRIBUTORS

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"To be an organization of creatives dedicated to helping people realize their own potential just feels like the real purpose of life. It is what love looks like. We are Words Beats & Love" Mazi 1525 Newton St., Washington D.C. 20010 (202) 667-1192 Email: PR@wblinc.org www.wblinc.org