How Can Hip Hop Save the World? Lessons from a Seattle Youth Service Scandal

On March 3rd, I was invited to speak at an intimate panel at Seattle University called “How Can Hip Hop Save the World?” The gathering, brought together by SU’s Mary Pauline Diaz, featured Mako Fitts, Ready C from my crew Alpha P, and myself, as well as about 10 student participants. I didn’t know what to expect, but I was inspired by the topic, ensuing conversation, and current events to write this article up.

(Photo: Kool Herc, founder of Hip Hop, currently fighting the American healthcare system.)

Before addressing how Hip Hop can save the world, you first have to determine whether it can, and what “Hip Hop” means to begin with. Now although we could debate cultural memory, nommo, and collective experience all day, the truth is that the only thing that brings most of us together under the umbrella of “Hip Hop” is that we, as artists, engage in the artistic practices deemed by Afrika Bambaataa to be the elements of Hip Hop: bboy/girling, emceeing, graffiti, Djing, beat-making, etc. Of course cultural production in Hip Hop is not just limited to that, it also includes secondary extensions of this. For example, independent media/websites/shows such as Seaspot, Flava News, Coolout Network, Untappedmuzik, All Power to the Positive, Seattle Hip Hop Street Fights, Street Sounds, Boombox FM, She Ready Radio, and Zulu Radio are included here as well as bloggers like those at Raindrophustla, Chul Gugich from 206up, Hugh from, and Miss Casey Carter, writers like Marian Liu and Jonathan Cunningham, even online forum mafiosos like the habitue of 206Proof are Hip Hop cultural producers. Promoters/venues/functions are also hugely important to Hip Hop cultural production (think Dope Emporium, UmojaFest, Obese Productions, an institution like Stop Biting at Lofi (shouts to Introcut), or Ladies First, formally at Hidmo, etc.) Extending even farther out, we can include fashion (think Mint Factory Clothing or CrisisNW Gear), photography (like Ruf Top Productions, and Jennifer Mary), and a plethora of others. Through this lens, Hip Hop CREATES communities around these artistic practices and acts of cultural production. The question then shifts from “Can Hip Hop save the world?” to “Can communities save the world?” and of course, the answer here is yes. But what role does Hip Hop have in this?

As an artist, and like a lot of artists and cultural producers out here in the Northwest Hip Hop scene, I believe in community accountability to the youth. We do not just understand and create art about issues of gentrification, poverty/job creation, educational reform, healthcare, and youth violence prevention, we organize and mobilize for positive changes within our spheres of influence around these issues, for their benefit. I’ve worked with organizations who turn crack houses into community centers and throw Hip Hop Leadership Conferences (Seattle Hip Hop Youth Council & Umojafest P.E.A.C.E. Center), organizations who connect artists with schools, play cafeterias and gymnasiums, and organize city-wide Youth Summits (206 Zulu), collectives who throw multi-day free all-ages Hip Hop festivals with youth showcases (Dope Emporium), business owners who turn their restaurants into activists hubs and performance spaces, who launch community empowerment projects (Hidmo), and I’ve been blessed to connect with other collectives, organizations, and crews in cities across the country who share the same priorities and mission in this work. (Shouts to DeBug in San Jose, W.I.T in Kentucky, J.U.I.C.E and GorillaMic in Los Angeles, IMAN & Coalition to Protect Public Housing in Chicago, B Girl Be in Minneapolis, W.E.A.P in Oakland, and all trues in the PPEHRC, UZN, HHC networks). There’s power in this groundswell.

Through my travels, connecting with “Hip Hop” communities across the country, I’ve also learned that the national policies and initiatives enacted locally on a state, county, & city level have created common struggles & challenges for us. Broadening our perspective on these issues to include the struggles of communities outside our scene allows us to see how these issues manifest in different cities, and facilitates better understanding on how we can enact change in Seattle. One example of this is HUD Block Grants that wiped out public housing in virtually every urban community across the country, shrouding the reality of gentrification and urban economic displacement under the guise of “private-public partnerships”. Another very recent example is the Youth Violence Prevention Initiative (YVPI). Most don’t know that at the time this was launched in Seattle two years ago, former Mayor Nickels was the President of the National Council of Mayors, and it’s not a stretch to say his decision to entrust the Seattle Urban League with a no-bid multi-million dollar grant for executing the project locally was in no small part due to the “New Deal” partnership for the Conference of Mayors and the National Urban League announced at their centennial celebration.

Two years ago, at the time this happened, I was working with Umojafest P.E.A.C.E Center, Mother’s Outreach Movement, Hip Hop Congress, and a collective of over 20 other local Hip Hop and youth advocacy organizations in the Unite for Youth Coalition, who were very much in the trenches of youth violence prevention work. The coalition members were also very concerned with the city’s move to hand these desperately needed funds over to the Urban League, an organization with questionable leadership, a history of unsavory community appropriation, and virtually no track record of notable violence prevention work. Plus at the same time, the city of Seattle was proposing to build a $110 million dollar jail, and the new Seattle School District Superintendent Maria Goodloe-Johnson (who was just fired March 3rd by the school board over the recent scandal) was proposing to shut down six schools. We organized, and began contacting people in the mayor’s office, on the school board, and in the Urban League, and our concern only grew. As community organizers and youth service workers, we were uncomfortable with 1) the disconnect of these conversations 2) the Seattle School District’s questionable management of public funds and their inability to keep schools open 3) the lack of transparency, really the shroud of secrecy over the Urban League’s plans for the violence prevention money. Two years ago, we staged demonstrations, put out articles on the issue, and did our best to engage our communities in the conversation, for the interest of the youth. Were we successful in raising awareness and asking questions? Yes. Were we able to prevent the scandalous debacle that ensued? No.

Today, two years later, after at least four schools are closed, the Seattle Times front page is riddled with stories about the Seattle School District’s financial scandal, how over a million dollars was handed over to vendors that never did anything but get the money, and how the single largest recipient of that money was the Seattle Urban League. This all came out after the Urban League quietly lost the YVPI contract in January, after they spent $900,000 with little to show for it. (Here’s the city’s performance evaluation for the larger half of that amount). I’d be interested to hear how this played out in other cities.

Despite all this, ours was not a lost battle. Quite the contrary, the pressure and spotlight put on Former Mayor Nickels and his administration came right before elections season. Hip Hop ran its own candidate, Wyking Garrett, for the purposes of putting these and other critical issues on the table, and coalitions of urban youth organizations like the Young Voter’s League were hosting their own candidate forums at which Nickels was virtually absent. Although Wyking lost in primaries, the face time we bought with other candidates won us a huge platform to educate others on what was going on in the community, and it was out of these conversations that Mayor McGinn surfaced as a favored pick among young voters. It is the presence of this new mayor which has eventually lead to the space for transparency in the YVPI, as well as for new leadership to emerge from the community. We should not forget or downplay this victory, even if it did take some time, but we should also strive to mobilize quicker, stronger, and more effectively next time by taking key lessons from what went down in our own backyard:

1) Be proactive in creating and/or contributing to the growth of institutional alternatives to the status quo. (Instead of trying to use the master’s tools to dismantle the plantation. This applies to the dying music industry & corporate media model as well as activism and youth service.)

2) Leverage the political process by running our own Hip Hop candidates who will put our issues and interests into the forefront. (Instead of raking up election year funding by remaining operatives for existing political parties.)

3) Keep building Hip Hop as an effective medium for community education and mobilization.
(Think unionizing teaching artists and Hip Hop youth service workers, building coalitions between our businesses, collectives, and organizations, and creating “rapid response” networks on youth policy issues among our independent media outlets.)

Hip Hop is a vast & powerful network. We should not shy away from being active in changing the world from the ground up. The above is only one example of the small atrocities committed daily, and the role our community of cultural producers can and needs to play in intervening and recreating. Even here in our seemingly isolated, burgeoning scene, we are a part of a larger movement with larger aspirations, and there are many reminders of this. (Take our comrades in the Hip Hop communities of North Africa for example). There’s a lot of answers to the question “How Can Hip Hop Save the World?”, but the most important answer is in the alignment of all our efforts and the clarity of our collective vision.

Julie C is a teacher, cultural advocate, and emcee. Her upcoming E.P Sliding Scale is dropping May 2011 from the indy label B Girl Media. Email her at, and comment on this story and others at

Breakdown FM: The Knox Fam-Destroy to Build



The Knox Fam consists of Seattle Hip Hop mainstays, Julie C, and Jermz from the super group Alpha P and well known producer DJ B-Girl. They came together to not only drop a nice album, but to also add to a serious community movement that the city’s Hip hop community has been sparking.

Breakdown FM: The Knox Fam-Destroy to Build

by Davey D

Click Link below to Listen to Knox Fam interview 

Listen to Breakdown FM Interview of the Knox Fam

The Knox Fam

The Knox Fam

The Knox Fam consists of Seattle Hip Hop mainstays, Julie C, and Jermz from the super group Alpha P and well known producer DJ B-Girl. They came together to not only drop a nice album, but to also add to a serious community movement that the city’s Hip hop community has been sparking.

In other words Knox Fam are not simply rappers who are looking for commercial airplay or BET love. Sure, they’ll take it if offered. And they are more than talented to deserve it. However, what stands out first and foremost for the group is that they are community activists and organizers who are part of a larger more vibrant scene. Its not good enough to just flow on the mic. Nowadays many of the city’s heads are knee deep involved with some sort of organization or project. Maybe its 206 Zulu which has one of the larger and more exciting annual celebrations. Maybe its Hip Hop Congress which has Seattle as it the site of its conference later this year (July 29-Aug2). Maybe its community outlets like Umojafest Peace Center or B-Girl Bench. Whatever the case for many in Seattle, Hip Hop is beyond music and the Knox Fam personifies that.

DJ B-Girl

DJ B-Girl

During our interview we kicked things off by talking with DJ B-Girl about the Seattle sound which has come along long ways since the early Sir Mix-A-Lot days. She explained that her production skillz and the Knox Fam has added to the underground sound as defined by stellar names like Vitamin D, Jake One, Blue Scholars and Gabriel Tedros to name a few.

We spoke with Jermz about the influence his two female counterparts Julie C and B-Girl have had on him. In an industry that is often criticized for being too male dominated, Jermz explained that the two forced him to step up his game and become more polished. He also talked about how he has built upon life experiences and reflect them in his rhymes. You’re not likely to hear him rhyming for the sake of riddling.

Later in the interview Julie C and B-Girl spoke about the strong presence of women in the Seattle scene. Julie C noted that many, including herself had been flowing and getting busy long before it became a trendy thing to focus on.. DJ B-Girl rattled off a long list of female emcees ranging from Canary Sing to Beloved One to Toni Hill who is featured on the Knox Fam Ep. There were so many names of people who who are putting out dope material there’s no excuse to not have a female on the ticket of any Hip Hop show. If you can’t find someone go to Seattle cause they rolling extra deep.

During the interview Julie C expanded upon the community projects that the group is committed to including the Hip Hop Congress Goes Platinum project which is a innovative fund raising tool for the organization.

JulieC-225She also talked about the concept behind the groups’ name Knox Fam. She said it was inspired by the movie Natural Born Killers and that the Knox Fam understands they have to Destroy to Build. In this case they are about breaking the chains and challenging the long held notions and paradigms that in many ways has stifled Hip Hop and communities in general.

For example, we talked about the fact that the album took more than a year to make… Once upon a time that was the norm. People took their time and perfected their craft. Nowadays in the days of instant gratification, people step in a studio literally freestyle an album in 10 minutes and put out half ass material. DJ B-Girl noted it was important to take time to do things right. For her its not just producing and editing, but also getting the business aspect correct. The Knox Fam is on an independent B-Girl media label.

Julie C added that the group did not want to compromise or shortchange their community activities. In fact if anything the community involvement helped make the group and album more accountable to the communities they wanna speak to..

All in all the Knox Fam EP is just a the start of great things to come from this talented trio from the Emerald City. Currently they are on tour and in keeping true to their words, their tour involvedthem connecting and building with local community centers. Julie C described it as a homecoming of sorts..

Click Link Below  to listen to Knox Fam Interview

Listen to Breakdown FM Interview of the Knox Fam

Return to Davey D’s Hip Hop Corner

Seattle Makes History By Opening Hip Hop Culture School


 Umojafest P.E.A.C.E Center will be making history by opening its tentatively named Center for Hip Hop Culture, Business & Technology in the historic Central District of Seattle, Washington, this summer..

Using Hip Hop as Cultural text for Emancipatory Education

Posted by Julie C

Umojafest P.E.A.C.E Center will be making history by opening its tentatively named Center for Hip Hop Culture, Business & Technology in the historic Central District of Seattle, Washington, this summer. While this community-owned and operated Hip Hop center is the first of its kind that will serve community youth, particularly dropouts, high-risk, and those under the criminal justice supervision, it is also a continuation of the historical struggle for an African American Heritage Museum and Cultural Center in the CD that reaches decades back. It will feature a digital recording studio, computer lab, video production studio and a library/reading room. The summer school at the Center for Hip Hop will coordinate culturally enriching, entrepreneurial-based activities to address social and community development through daily, open-door element and technology workshops, study sessions, and classes. An initial glimpse at the program schedule reveals DJ and producer clubs, Young Kings and Queens Leadership Development, and class titles that range from “Music History” to “Hood Politics”. Through launching a youth-led, community-centered approach to outreach, education, and violence prevention, Umojafest P.E.A.C.E Center is putting revolutionary social change theory to practice with Hip Hop Culture.

18 year old Imani Kang, the youth committee president of UPC, is development director for the summer school at the Center for Hip Hop Culture. As a drop out, she can’t tell you the benefits of a diploma, but she can quickly break down how the social construction of knowledge through dominant culture in traditional classrooms alienates youth today. “Freshman year, I attended all my classes in the beginning, but felt like I was doing the same thing over and over again. I went to Job Corp to get my GED, and during those classes, I asked myself how relevant is this? We’re taking the same classes from 4th grade to now. I took the test, and the test is so easy, and I started asking myself, is this is all I have to do to be complete? What are they really doing to us? What are you guys really teaching me?”

Her critical reflection on oppressive education systems continued to develop through watching many of her friends get driven away from school by boredom, or from being penalized for challenging what and how things were being taught up, and give up altogether. “I know kids who dropped out and haven’t gotten their GED, haven’t done anything but kick it, sometimes work, but a lot of the time, they just stop because they think that school is the only option for learning,” Imani says. “The ones who ended up pursuing something after dropping out, it’s because they find something that they’re interested in, something that keeps them there. Some aren’t fortunate to find that. The Hip Hop Center will be one more way to get one more person there.”

Assuming the agency to reinvent education through Hip Hop culture is a powerful and strategic move toward self empowerment for today’s youth, especially for those who’ve inherently rejected the role of being passive objects in the school enterprise. “School is a closed box, they teach only what they want you to know, like closing one eye on one side. Our school is resistance to that because we want wanna keep both eyes open, we want to see everything. Our idea is for these classes to be open conversations, collaborative ideas, rather than having students be sitting and watching. We have so many volunteers and special guests that are already lined up; it’s exciting,” says Imani with a smile. For more information on how to get involved, or to show your support, email Imani Kang at

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