After a monumental photo shoot in front of the Lincoln Theatre, the still-life portrait of the DMV’s (DC, Maryland, Virginia) hip-hop generation comes to life.
On Saturday April 17th, popular DC-producer JUDAH partnered with the Historical Society of DC (in conjunction with Hip Hop Cinema Cafe) to bring the district, the first of its kind, an account of the region’s own hip-hop history of the last decade and its position in the music industry. Directed by Dre of ABB Video and Sophia “The Historian” Nelson of Ordinary People Books, the collaboration with JUDAH sheds light on the journey for exposure and collectivity in rap music for DMV hip-hop artists.
Documentary stats:
Length- 20 min.
Seating: 148 seats per viewing (6 seats to accommodate those w/special needs, 2 front rows for media and guest persons)
Directed by: Dre of ABB Video, JUDAH, Sophia Nelson
Viewing times and location: 4/17—
(1st presentation) 1-2pm;
(2nd presentation) 2:15-3:15pm;
(3rd presentation) 3:30-4:30pm
Historic Society of DC at Mount Vernon Square
801 K. St NW
Washington, DC 20001
Commentary from: Studio 43 artist X.O. (also of Diamond District), MCA recording artist Black Indian, 368 Music Group artist Phil Ade, radio personality DJ Heat, noted producer Kev Brown (and many others!)
For guest appearances, interview opportunities and media coverage of the event, please submit your contact information along with expected viewing time to Sasha Vann (sasha.vann@gmail.com).
To have the documentary presented at a campus near you, please contact Sasha Vann (sasha.vann@gmail.com)
Join us for the viewing and brief discussion about the DMV music scene and its continuous climb toward national recognition.
This event is about the people.
About JUDAH:
No vinyl, drum machine, keyboard or anything that projects a tune can be out of reach of the creative mind that sits within this producer. Using music as a binder for people of all backgrounds and musical preference, JUDAH steps into territories foreign to most producers, having developed productive film such as DMV: Bridging the Gap and the instrumental video “Choose Wisely” which has found favorable attention in the UK. Look for more projects from JUDAH stemming from overseas!
There is an old saying that goes “Be careful what you wish for, you might just get it” and that is exactly what Toronto MC The kid Famous is hoping, to get what he asks for to be, well Famous! He has made a name for himself in the city of Toronto and now worldwide through not only being an MC but a burgeoning actor as well. Having done mixtapes with DJ Whoo Kid, Clinton Sparks as well as release a short film project all while working on his debut album and recently he was nominated for a Juno award(Canada’s Grammy) The kid called Famous is on his way to being a staple in hip hop. Hip Hop Cinema Café sat down and talked to Mr. Famous about how he got started, the Toronto hip hop scene, his movie Goddess Girl and why he represents for an area that does not have a strong presence in hip hop…the suburbs.
HHCC:So tell me who is The kid famous?
Thekidfamous: Yo, see that’s crazy, it’s the first question everyone asks me.
HHCC: Yeah I know, it’s so generic.
Thekidfamous: It’s so generic, but this is how I say it. You’re asking who the kid famous is, even if I were to say it people would still want to see it. So with that being said I would tell them to check out the website irapnow.com or thekidfamous.com that’s who famous is.
HHCC:Got it
Thekidfamous: So give us a quick rundown of how you got started in hip hop?
I mean ummmm I’ve always been an entertainer. It started probably five years ago. I got an internship at universal def jam doing web design. I started working at sony and then sony merged with bmg. Then I started interning at the only urban radio station in all of Canada Flow 93.5 and you know just being in those three positions you know I’ve been an entertainer my whole life and I always wanted to do this, it just seemed like a realistic goal. I took a music business administration class and then moved out to Toronto and the rest is history.
HHCC: So you’re not originally from Toronto?
Thekidfamous:No naw, I’m originally from Montreal. It’s crazy the people from Montreal always hit me up like Yo why you always big up Toronto you’re from Montreal. But Montreal made me the individual I am where as Toronto made me Famous, the artist. So people ask where Famous is from I say Toronto, people ask where Ashton is from I say Montreal. That’s where I was born that’s where I learned my morals. As far as MCing, lyricism, networking all that stuff is Toronto, straight Toronto.
HHCC:You rep for the suburbs right? Being from the suburbs what do you bring to the table that not many people are? Since you openly rep for the suburbs, not many rappers do that.
Thekidfamous:Well the thing is like, repping the suburbs it’s kind of like, the suburbs is where I’m from. So it’s more about repping the general public, the consumer of hip hop music. The actual person who goes out and becomes a fan of hip hop. I was a FAN, a lot of us are fans. A lot of rappers create this façade that fans look up to but is it realistic? I rap from the standpoint of a fan, from the kid trying to be famous. My music is general, that it relates to the general public that just happens to live in an urban market, it’s more urban than suburban if anything.
HHCC:What is there about the hip hop scene in Toronto, the T.Dot that inspires you?
Thekidfamous: Oh! I’m loving it, it’s so pure, it’s so unique. You know it’s like it’s a sad reality. The reason it’s so pure out here is because people been doing it without making money off of it. It’s sad but it just goes to show you that we do it for the love of the music. So you can hear it in the music. Certain people ascribe to the money and you can hear it in their music. Just Toronto, I was feeling the muli-culturalism I like seeing different faces, I don’t like everybody looking the same. Toronto is known for that, it’s one of most mult-cultural cities in the world. I really drew to that, I enjoy life, I enjoy people.
HHCC: Do you think Toronto and Canada as a whole has been embraced by the hip hop community?
Thekidfamous: Aaaahhhh I still don’t think so, no. I think individuals from Toronto have been embraced. I don’t think the city in general has been embraced. As far as the city I think Kardinall does a great job of painting a picture of the city. I think he gives it a great description. We don’t have a sound right now, Toronto is not known for a certain type of sound. Toronto is known for great artists and talented artists. When you hear the music you’re not thinking oh! This is from Toronto unless you hear something from Kardinal… To add to that, it might not happen! We are so diverse, it’s not like we are ten generations deep where the culture is the same, the culture is so mixed that it comes out in the music that way.
HHCC: You did a quick verse in support of President Obama shortly after the inauguration, as a Canadian how do you feel he has done so far? Is there a general sentiment about the President in Toronto?
Thekidfamous: I can’t speak for all of Toronto. I can kind of see of it, I don’t know this might come off on some arrogant shit but the way Obama speaks to people is the way I speak to people, through music. It’s so real, he makes everybody understand. I never really followed American politics but I guess It’s the way this man spoke, it’s like okay interesting let me listen. He sounds like he cares, he sounds like he knows the experience. I think that’s what drew a lot of people to him he was just so real. Me, I was never one to follow politics but I’m one of those people like what are you going to do for me. Like if there was two people I was going to vote for and one is going to lower taxes and the other one is going to work on public transit, I’ve going for the guy who is going to lower taxes because I know that would really help me right now. I don’t know all that other stuff and half the stuff they say doesn’t even happen. To go deeper with the politics, I just think there is a higher power and it’s a whole other world I don’t even want to get into. Obama’s just a worker.
HHCC:I know I was in shock that it happened
The Kid Famous: Like yeah! That’s not suppose to happen, it happened for a reason. You know like really let’s be honest!
HHCC: In a sense to feel like we overcame, like what people wanted actually happened.
The kid Famous: It’s like watching an old movie and you think somebody is suppose to die but nothing happens you just can’t believe it, like okay so what’s the point this can’t be happening and yeah it just happened and we’re alive to experience it you know.
HHCC: Yeah the catch phrase down here during the election was ‘if McCain wins, I’m moving to Canada
The Kid Famous: (LAUGHS) Yeah I’m tweeting that right now
HHCC: Moving on, you did a song with Tona, Kardinal Offshall a while back for Caribana. What does Caribana mean to Toronto?
Thekidfamous: It’s the DEFINITION! Coming from a west Indian background, it’s the definition of Toronto. Honestly, it’s like, it’s not just black people you see every colored person representing for their country. There’s nothing more to say
HHCC: What makes the Kid so Famous?
Thekidfamous: Ummmm I guess it’s a self proclamation, it’s something to live up to. If somebody wears something hot and buys an outfit they go outside knowing they’re hot shit. It makes them feel good, that’s what drives them. For me, I got a name like Famous, I always thought I was more famous than the next person. I always thought that I was more famous than the average person at least in my own mind and I’m allowed to think that way. So I guess each to their own definition and hopefully one day on a bigger level (laughs) I’ll be Famous (laughs). My mom actually said, I got this movie coming out and on the poster is says Ashton “Famous” Bishop and she says ‘when you left here and you told me you’re name was famous I was like nobody know you, it’s good to see you’re actually living up to it’ and that’s exactly what is, I’m trying to live up to this name.
HHCC: Okay before we go…Talk about your movie a little bit?
Thekidfamous: You know it’s 8 scenes, 8 weeks, 8 songs so every week I put out 1 song for download available on itunes.com/famous and every week for 8 weeks a song comes out with a minute visual and at the end when you put all the visuals together it creates the movie which is goddnessgirlmovie.com it’s basically to have peoples attention on the music coming every week 8 songs, 8 different looks and all you gotta do is check out
HHCC: What’s in the works 2010 and beyond?
Thekidfamous: Right now focusing on this movie and the soundtrack. Working on new, music winter gets me in the studio, I’m going to be in the studio blanking out on beats and doing a lot more traveling going overseas, going south down to the border hopefully in like March/April come out with a major label push.
HHCC: Let’s wrap this up, any shoutouts, yeah this print but we do it differently(laughs)
Thekidfamous: Yeah… you want me to give shout outs!?
HHCC: Yeah for real!
Thekidfamous: Okay, team famous, Mcitylove, ummmm burd and keyz they’re the producers of the goddess girl soundtrack. My boy Rez, cityonmyback.com and yeah just hit up all my sites
HAPPY 1 YEAR ANNIVERSARY HHCC!
We’re pleased to announce our new partnerships with
INDEPENDENT LENS / ITVS / COMMUNITY CINEMA and HIP-HOP DX!
The Show Must Go On, It Did and It was Good-January One Year Anniversary Screening
As I think most of the people who prior to the day-of had the intention of going to Hip-Hop Cinema Cafe (HHCC) January 30, 2010 did, I spent the morning of it wondering if I would actually attend it after all. The weather forecasters had underestimated the snowfall that day and by about 10 A.M., the 1 – 3 inches they had predicted was already on the ground and the flakes were still coming… big and consistently. Also as a result of what the meteorologists said, the salt trucks didn’t make their way out onto the roads the night before I suppose from thinking it was unnecessary for such little accumulation which made it extra dangerous. At about 11:30 I told myself I’ll me go ahead over to it so I’ll get my money’s worth for being a Subaru owner. I also told my friend & co-founder of HHCC Kimani Anku that I would be there to assist him since it was also the monthly event’s 1 year anniversary – presuming he had something special planned for it which he may need a hand setting up. However, when I got there, despite it being almost a whole hour before showtime, he actually already had everything set-up so we just killed time talking about the likelihood of people showing up and how scarce & pricey parking in the area has become all of a sudden.
There were about 10 people in attendance once the film Hip-Hop: Beyond Beats & Rhymes by Byron Hurt got started and about 13 more late-comers between then and it’s end. It is a fabulous work and all the accolades it has received were well-earned. Ironically though, one of the best things about it was a bit of a cliche with the title for in a way it wasn’t “beyond” rhymes; it took the very rhymes which seem to presently be most of what we hear in hip-hop – those describing violence and promiscuity – and looked at them in depth while questioning why so many aspiring rappers sound almost identical with the content of their lyrics. It also discussed other areas of taboo in hip-hop such as homosexuality, hypocritical & indifferent artists, and anglo-americans participation in the genre.
Despite Byron Hurt and panelist Dr. Jared Ball being unable to attend the screening, the discussion after it concluded was indeed “powerful” as promised on the event’s flyer. As the moderator Dru Ryan spoke, his hand gestures coincidentally (?) seemed quite reminiscent of those done by the token emcee in performance; upon noticing it I couldn’t help wonder if rapping may be something he does on the side or as a hobby. The one panelist who was there in person – Natalie Hopkinson, gave the audience details on how not only she had expertise on the subject of hip-hop, but also her husband (whom she made seem even more knowledgeable on it than she is) and her children which she had participate in the Q&A time after the film. One big “hip-hop” family I thought while applauding at her saying that her home boycotts BET. After a few connection problems, Paul Porter was able to join in care-of Skype, right in time to hear what was probably the most memorable comments of the discussion by one audience member who was seeking to know how to solve the problem of womens’ “invisibility” in hip-hop (and life in general). No one seemed to be able to give her a sufficient answer before the theater had to be dismissed for the reception, but hopefully the delicious cake Solsource provided for it was a little bit of consolation which was cut in extra big slices for everyone since not as many people as expected showed up because of the snow.
Lance Meadows-HHCC Staff Writer
Thanks to all who made it though the snow to attend and participate in our powerful film discussion in January.
Thank you Dru Ryan, Paul Porter and Natalie Hopkinson.
A talented young hip-hop performer becomes the vehicle for her father’s unfulfilled ambitions in the feature documentary P-STAR RISING. At the dawn of hip-hop’s breakthrough into the mainstream in the early 1980s, Jesse Diaz was poised for fame, success, and wealth – but a prison sentence soon quashed his dreams. Though Jesse manages to reclaim his life and regain custody of his two young daughters, lost to the foster care system while he was incarcerated and after their mother succumbed to drug addiction, he struggles to support his family as a single dad. Broke, unemployed, and living in temporary housing, he pins his hopes for the family’s fortunes on his youngest daughter, Priscilla AKA P-Star. Recognizing Priscilla’s natural musical talent and precocious personality, Jesse sets out to realize his deferred dreams of hip-hop stardom by making the nine- year-old the next rap phenomenon – “the youngest girl on the scene.” Filmed over four years, P-STAR RISING follows Jesse and his daughters as they navigate the peaks and pitfalls of both the music business and family relationships. As P-Star starts to break through professionally, Jesse struggles to balance his responsibilities as a father to Priscilla and her older sister Solsky with his music industry aspirations. Solsky, increasingly sidelined in the family by Priscilla’s career, does poorly in school and turns to the church for support. As Priscilla matures, she comes increasingly into conflict with Jesse, and risks losing her childhood to satisfy his demands. From performances on the street corner to appearances on national television, from signing record deals to dealing with feelings of abandonment by Priscilla’s crack-addicted mother, Gabriel Noble’s chronicle of the Diaz family offers a personal, intimate look at ambition, talent, and the sacrifices family members make for one another.
Cool Kids Forever Films is a full production house company located in Washington DC that caters to both independent as well as major artists and labels. Our trendsetting cinematography has been seen on MTV, VH1, and BET. It includes work done for DC superstar Tabi Bonney and Grammy Nominated artist Raheem Devaughn. We pride ourselves in being able to develop and deliver a product of superior quality for a reasonable price. Our goal is to push the envelope of creativity and redefine the medium of film particularly as it relates to the music video.
Sundance Documentary “Why We Laugh” Acquired by Showtime to Air TONIGHT at 8pm
Groundbreaking Documentary Examines the Cultural Influence of Black Comedy
Los Angeles – Codeblack Entertainment CEO Jeff Clanagan announced today that “Why We Laugh: Black Comedians on Black Comedy,” the groundbreaking film examining the history and cultural influence of American black comedy, has been acquired by Showtime and will premiere on the cabler TONIGHT- Thursday, Feb. 4 at 8 p.m. The film will air throughout Black History Month.
Directed by noted actor-producer-director Robert Townsend (“Hollywood Shuffle”), the documentary, which originally screened at Sundance in 2009 in the Premiere section, features interviews with prominent scholars, politicians, cultural critics, and a host of notable comics, including Bill Cosby, Chris Rock, Keenan Ivory Wayans, Steve Harvey, and Katt Williams.
“Why We Laugh” tracks the evolution of black comedy from the character of Stepin Fetchit and minstrels in blackface to the politically tinged humor of Dick Gregory, and from the television success of Good Times and The Jeffersons to the big-screen accomplishments of stars such as Eddie Murphy and Whoopi Goldberg. The film also turns a perceptive eye on the controversial career decision of Dave Chappelle and the implications of corporate efforts to capitalize on the massive success of Russell Simmons’s Def Comedy Jam and Spike Lee’s The Original Kings of Comedy.
“’Why We Laugh‘ is a major historical contribution to American culture,” said Codeblack executive vice-president Quincy Newell. “This film is a tribute to the way one courageous person with a microphone can change history.”
Newell produced the documentary which he co-wrote with John Long. The film is based on the book “Black Comedians on Black Comedy: How African-Americans Taught Us to Laugh,” by Darryl J. Littleton. Codeblack’s Clanagan, Richard Foos, and Littleton are executive producers on the project.
Director Townsend has been at the forefront of black cinema for 30 years and received a Career Achievement Award from the American Black Film Festival in 2002.
About Codeblack Entertainment
CODEBLACK ENTERTAINMENT is the first independent, vertically integrated African American-owned film studio, actively engaged in the business of feature film production and distribution, worldwide DVD & digital assets distribution, urban market consulting, and production of programs for television broadcast and syndication.
Recent national theatrical releases from the company include Shadowboxer (the directorial debut of Lee Daniels, producer of Monster’s Ball, The Woodsman and director of the 2009 Sundance Film Festival award winning Precious), Constellation, Steve Harvey’s stand-up comedy film Don’t Trip…and Preaching to the Choir. Under a multi-picture deal with 20th Century Fox’s film distribution division FOXFAITH, Codeblack produced film adaptations of the 80s Off Broadway gospel musical hit “Mama I want to Sing!” as well as the popular play “A Good Man is Hard to Find.”
The solSource Group, ITVS,
Hip Hop DX and Historical Society of Washington, D.C.
present Hip Hop Cinema Café One-Year Anniversary
with Filmmaker Byron Hurt
Saturday 01.30.10:
@ Historical Society of Washington D.C.
801 K Street NW (Mount Vernon Sq.), 8th and K Streets 20001
2PM-5PM | Free
featuring:
Hip-Hop: Beyond Beats & Rhymes
61 minutes 2006 Byron Hurt
Filmmaker Byron Hurt, a life-long hip-hop fan, was watching rap music videos on BET when he realized that each video was nearly identical. Guys in fancy cars threw money at the camera while scantily clad women danced in the background. As he discovered how stereotypical rap videos had become, Hurt, a former college quarterback turned activist, decided to make a film about the gender politics of hip-hop, the music and the culture that he grew up with. “The more I grew and the more I learned about sexism and violence and homophobia, the more those lyrics became unacceptable to me,” he says. “And I began to become more conflicted about the music that I loved.” The result is HIP-HOP: Beyond Beats and Rhymes, a riveting documentary that tackles issues of masculinity, sexism, violence and homophobia in today’s hip-hop culture.
Sparking dialogue on hip-hop and its declarations on gender, HIP-HOP: Beyond Beats and Rhymes provides thoughtful insight from intelligent, divergent voices including rap artists, industry executives, rap fans and social critics from inside and outside the hip-hop generation. The film includes interviews with famous rappers such as Mos Def, Fat Joe, Chuck D and Jadakiss and hip-hop mogul Russell Simmons; along with commentary from Michael Eric Dyson, Beverly Guy-Sheftall, Kevin Powell and Sarah Jones and interviews with young women at Spelman College, a historically black school and one of the nation’s leading liberal arts institutions. The film also explores such pressing issues as women and violence in rap music, representations of manhood in hip-hop culture, what today’s rap lyrics reveal to their listeners and homoeroticism in hip-hop. A “loving critique” from a self-proclaimed “hip-hop head,” HIP-HOP: Beyond Beats and Rhymes discloses the complex intersection of culture, commerce and gender through on-the-street interviews with aspiring rappers and fans at hip-hop events throughout the country. The violent and hypersexual imagery in hip-hop has been a topic of heated debate on school campuses, in civic organizations, legislative sessions, women’s magazines, churches and homes. These debates stir strong emotions, with particular resonance among African Americans, arguably the community most affected by the negative messages and stereotypes reinforced by the music. Some defend the right to self- expression or argue that hip-hop encourages entrepreneurship; others link it to an increasingly nihilistic youth culture that supports violence against women and homosexuals. Missing from the debate are tools to help communities lead and sustain productive conversations that engage all sides.
HIP-HOP: Beyond Beats and Rhymes examines representations of manhood, sexism, and homophobia in hip-hop culture through the eyes of an adult fan, an African American male and anti-sexism trainer. Instead of offering simple conclusions about hip-hop’s fans and creators, the candid voices in the film describe the cultural and political environment in which the music is created, commercialized and consumed.
After film there will be a powerful panel discussion around the film with producer/filmmaker Bryon Hurt via Skype, Natalie Hopkinson, Jared Ball (Assistant Professor of Communications Studies at Morgan State), other panelists in the Hip Hop Community, moderated by Dru Ryan and a small reception to celebrate Hip Hop Cinema Café’s One Year Anniversary.
Jared Ball Assistant-Professor of Communication Studies (Morgan State University) WPFW-FM 89.3 Radio Personality http://www.voxunion.com
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“The monthly Hip-Hop Cinema Café is a great way to enjoy hip-hop and film at the same time in D.C., but if you want to participate fully in these screenings, you should first familiarize yourself with a few canonical movies. Sure, you can show up, watch, and bounce, but often the best part of this event is the talk afterward, which typically includes a roundtable of D.C.-based arts luminaries.”
