The festival is thrilled to announce MC Lyte as the headliner for the 2017 event. MC Lyte will appear at the main concert on Saturday, April 9, 2016 in the Washington Room at Mather Hall, Trinity College, Hartford, CT.
First female to perform hip hop in the White House and first African American female to serve as the President of the Los Angeles chapter of the Recording Academy (Grammy Organization): these are just the first of many firsts. Lyricist, inspirational speaker, dj, pioneer, icon, veteran and entrepreneur describe one of the most prolific and well-respected female Hip Hop artists of all time: MC Lyte. She has consistently found ways to reinvent herself musically, while expanding her resume and gaining new fans. A current member of the Board of Trustees of Dillard University and reared in Brooklyn, New York, MC Lyte always has her finger on Hip Hop’s pulse. Many are familiar with her stellar music making skills, but over the course of her extensive career, MC Lyte has ventured out to other avenues that have allowed her to show the world just how talented she truly is.
A pioneer in the industry, she opened the door for future female Hip Hop artists by daring to do what had never been done while doing something she loved. MC Lyte is the FIRST rap artist ever to perform at New York’s historic Carnegie Hall, the FIRST female rapper to ever receive a gold single, the FIRST female solo rapper ever nominated for a Grammy and in 2006, MC Lyte became the FIRST solo female rapper to be honored/inducted on VH-1’s HIP HOP HONORS.
The Youth 4 Change Showcase and Graffiti Exhibition at the 12th Annual Trinity International Hip Hop Festival is now seeking hip hop dance, poetry, music and graffiti design submissions for a chance to perform or paint on Saturday, April 8, of the festival! The central theme is how do you impact your community with your art form? Main performers and graff writers should be between the ages of 13-18, but if you have younger children in your group, please still submit. Priority is given to Hartford-based artists but we are open to anyone in the region. The submission deadline is Monday, February 6, 2017 by midnight.
Submission forms are available on http://trinityhiphop.com/youth-4-change/
If you have any questions, please contact coordinators at Y4CHipHop@gmail.com
The 12th annual Trinity International Hip-Hop Festival returns to Trinity College on April 7-9, 2017.
The theme for 2017 is “U.N.I.T.Y.: Unifying Gender, Race and Class Through Hip-Hop” and will feature three days of lectures, films, workshops and panel discussions. Highlighting the event will be spoken word events, the regional talent showcase, the Friday night b-boy/b-girl battle and hip hop dance event, and the main concert on Saturday night, April 8th. Check back for the full schedule for the most up to date details.
Prince Paul – DJ, producer, man of mystery, crime fighter and people’s champion, hip hop skit inventor, producer of three Grammy award winning albums and nominations,”Best Producer of the Year” 1990 New York music awards in addition to numerous awards, gold and platinum records. Paul considers himself quiet, quirky and humble
“I didnt see this coming… I thought I was going to be a postman.” Paul was born in Queens, New York, raised in Amityville, Long island. Paul started DJing at the age of 10, joinging his first crew (Eveready Crew) in the 6th grade . He went on to join Newkirk (aka Kid Wonder), Mic Teelux and Sugar Ray to form The Soul Brothers in the early eighties. Paul then went on to join Stetsasonic in 1984, becoming their DJ and releasing their first single “Just
Say Stet” on Tommy Boy rRecords in 1985 . Paul battled in the New Music Seminar DJ Battle for World Supremacy in 1986 and went to the semi-finals.
Stetsasonic went on to record three albums: On Fire , In Full Gear, and Blood Sweat and No Tears. From that point, Paul was seasoned in record making and production. Paul went on to produce pioneering hip hip group De La Soul starting with their single “Plug Tunin'” 1987/88 , and their second single “Potholes in My Lawn” leading to the album 3ft High and Rising in 1989.
Paul states, “I loved working with De La. It gave me a chance to be the silly kid I was and to experiment musically.” Paul is credited with inventing the “hip hop skit” – originally known as “bugg out pieces”. The Grammy nominated 3 ft High and Rising went beyond conventional rap albums with its own sound, culture and style. Paul continued to work with De La and produced De la Soul is Dead and Bahloon Mind State. During that time, Paul also produced “Gas Face” by 3rd Bass, and songs for Big daddy Kane, Queen Latifah, Mc Lyte, Boogie Down Productions, The Jaz and Jay-Z , Groove B Chill , Slick Rick , The 7A3, Nikki D, Vernon Reid… the list goes on and on. He did remixes for The Beastie Boys, Cypress Hill, Living Color, Fine Young Cannibals, Peter Wolf, and many more.
In 1990, Paul started his own label – Dew Doo Man Records – under Def Jam’s Rush Associated Labels (RAL). The label only spawned one single release by Resident Alien and an unreleased album by Mic Teelux. After being accepted then rejected by the music business, Paul put together the Gravediggas in 1991 with The Rza (Wu-Tang Clan), Poetic and Fruitkwan (formerly of Stetsasonic) and renamed themselves The Undertakes (Paul), The RZArector, The Grym Reaper (Poetic) and The Gatekeeper (Fruitkwon). The group banded together as “industry rejects” and made a demo that circulated for more than a year with no results. During that time, Rza released Wu-Tang Clan independently with great results. After continuous rejection, the group finally was offered a deal with Gee Street Records in 1992, releasing 6 ft Deep which later became a critically acclaimed cult classic.
Paul went on to produce Psychoanalysis on Wordsound in 1996 which Paul described as “a bunch of rejected songs that will surely end my career”. Surprisingly, the album caught the attention and ears of many and pushed Paul’s career even more. Paul then signed new record deal with Tommy Boy and took an offer to produce Chris Rock’s three
Grammy award winning albums: Roll with the New, Bigger and Blacker (No Sex in the
Champagne Room) and Never Scared (and the score for “Pooty Tang” and the music for the Chris Rock Show).
Paul followed that with another solo album, A Prince Among Thieves which was hip hop’s first movie on wax/Hip Hopera. In 1999, Prince Paul teamed up with Dan the Automator to create Handsomeboy Modeling School, renaming himself Chest Rockwell for the critically acclaimed “So…How’s Your Girl?” and “White People”.
Paul continues to spins music all around the world showing he can still still “rock a party!” – touring as a solo act, with De La Soul and various other groups. Paul briefly worked with XM satillite radio producing and hosting his own show “The Illoutshow on Rhyme 65 ” in 2006 which spawned a huge following. Unfortunately, Paul retired the show after one season while XM restructured its format.
Some of Paul’s upcoming releases this year are “BrookZill!” with Ladybug Mecca, Rodrigo Brandau , and Newkirk And “Super Black” with Sacha Jenkins of Ego Trip and Rapper / Drummer J Zone . You can also see Prince Paul play the role of “The Bootlegger” On VH1’s original movie “The Breaks”.
Once asked “What has been your greatest project?” Paul replied, “I have yet to do it.” On that note, Paul continues to push his creativity into the future .
“In my freshly landed, just got off the boat enthusiasm for living in Africa, I tried to blend, to melt, homogenize, disappear, erase the essence of what made me who I was and am, an African, who grew up in, and was molded by, the hoods of America. I almost lost myself self”, Charlotte O’Neal, aka Mama C, booms out in her rich, velvet voice. This poeticism is imbued in every aspect of her life, as she manages to tackle her African-American identity and exile with rare eloquence and insight.
As a teenager living in the tinder box that was Kansas during the Civil Rights Movement, she ran away from home and joined the Panthers. But shortly afterwards, as the city exploded in violence, she and her new husband had to leave. As he explains, “They had police stationed outside our houses, we were under constant surveillance and I said to Charlotte, we won’t live much longer.”
Now living in Tanzania they run a home for extremely disadvantaged children and Mama C continues to make her art and explore her complex relationship with Africa and her homeland. “I had brothers and sisters come from the states that tell me Mama C, you’re free to do that because you’re not under this constant pressure of racism that we are living in the west.” She explains how the feeling in Africa is so different to the world she grew up in, “there wasn’t a shield up that you had to constantly have wrapped around you when you’re in the west”. She speaks of how the perspective of exile has completely changed her life and outlook, “You know being here, living here in Africa but also looking at myself as a part of the international community, as a part of the global family, has really freed my spirit”. A true revolutionary and trailblazer,her words speak to a remarkable universal vision of what society should be: “Tribalism, no! Tribal wisdom is what we want. Peace, love and unity.”
Kool Koor is a New York-born artist now based in Brussels, who is considered as one of the original graffiti pioneers of the NYC scene. Together with his friend Rammellzee and other artists like A-One, Quik, Dondi White, Crash and Futura he stood at the basis of the New York Graffiti Street Art Movement.
Born as Charles Hargrove in 1963, he grew up surrounded by such artists as A-One and Toxic who lived in the same neighborhood in the South Bronx. Kool Koor attended the Art and Design School in Midtown, causing him to travel everyday on his commute to and from school, and gained him an access to the world of subway trains. In that period, the artist began his street career, writing tags on the subway trains and throughout the urban landscape. Kool and his fellow artists Rammellzee, A-One and others were some of the first to completely diverge from classic Graffiti Art, pushing the boundaries of their work to transform urban scrawl into something completely innovative in the artistic scene. Through collaborative and individual works on the trains, Kool Koor brought the South Bronx style to downtown Manhattan at venues such as Fashion Moda, the first gallery that will focus on the Bronx artists.
Known for his space-age-inspired works, which range from surreal scenes to intricate works of abstraction, Kool Koor’s style is unique and recognizable. ‘I see my twisting structures, with their never ending labyrinths and formations a direct result of perfect coexistence’, the artist states. Kool Koor’s works are featured by contrasting areas of extension and compression within the canvas.
Against almost monochromatic backdrop plane there appear extensively detailed hieroglyphs consisting of splines, circles, angles, lines, wheels, arches. Taken individually, they resemble urban and architectural elements – highways and crossroads, bridges, peaks of skyscrapers and facades of buildings.
Since 1979 he works outside the graffiti-art scene as well, producing paintings, drawings, site specific pieces and illustrations. Kool also ventured into music and acting industries.
From tags in the streets to shows in prestigious galleries and museums, Kool Koor had numerous solo and group exhibition in Belgium, France, Luxemburg, Poland, Germany, Africa and the USA. His works are included in different private and museum collections like The Metropolitan Museum of Art New York, Musee des Beaux-Arts in Mons in Belgium, The Groninger Museum, Galleria Communale d’Arte Moderna in Bologna and Herbert and Leonore Schorr Collection.
Kool Koor is currently living and working in Brussels.
Amer F. Ahmed, Ed.D, serves as Director of Intercultural Teaching and Faculty Development at University of Massachusetts – Amherst, Faculty at the Summer and Winter Institutes for Intercultural Communication and a member of SpeakOut: Institute for Democratic Leadership and Culture. He has been featured on MSNBC’s “Melissa Harris Perry” show and in Dr. Shakti Butler’s film on racism entitled “Cracking the Codes.” An individual with eclectic personal and professional experience, he is a Hip Hop activist, spoken word poet, diversity consultant and college administrator, channeling his diverse experiences into work geared towards facilitating effective intercultural development. Amer’s education in Anthropology and Black Studies, professional experience in Higher Education and extensive global experiences support his efforts to address issues of social justice that continue to face traditionally marginalized communities. He is also engaged in the field of Intercultural Communication with a focus on a developmental approach to Intercultural competency. Such approaches have been useful in his work in Organizational Assessment and Development, Inclusive Human Resource Management, Workshop facilitation, Public Speaking, Leadership Development and Student Support.
Sina A. Nitzsche is a researcher and instructor at the Department of American Studies at TD Dortmund University, Germany. In the academic year 2011-12 she was a Halle Foundation Visiting Scholar at Oglethorpe University, Atlanta, USA. She is the co-editor of Hip-Hop in Europe: Cultural Identities and Transnational Flows (2013) and Breaking the Panel! Comics as a Medium (2015). Her research interests are at the intersection of Cultural Studies, Media Studies, and Urban Studies with a particular emphasis on popular culture, hip-hop studies, urban decline, and The Bronx.
Dr. Meredith Schweig is Assistant Professor of Ethnomusicology at Emory University. Her research explores 20th- and 21st-century music of East Asia, with particular emphasis on popular song, narrativity, and cultural politics in the Chinese-speaking world. Currently at work on a book about Taiwan’s rap scene, Schweig has received fellowships from the Asian Cultural Council, Whiting Foundation, Fulbright-Hays, and the Fairbank Center for East Asian Research at Harvard. Her article “Hoklo Hip-Hop: Resignifying Rap as Local Narrative Tradition in Taiwan,” published in CHINOPERL: Journal of Chinese Oral and Performing Literature, won the 2015 Rulan Chao Pian Prize from the Association for Chinese Music Research.
Kendra Salois is an ethnomusicologist (Ph.D. UC Berkeley, 2013) whose work lies at the intersection of religious and national belonging, popular musicking, and transnational markets. Her research interests include Afro-diasporic popular musics in the Middle East and North Africa, North African popular musics, trans-Saharan musical connections, music and diplomacy, citizenship, labor, and neoliberalism. Her current book project, based on ethnographic research undertaken between 2007-2015, explores the relationships between Moroccan hip hop aesthetics, practitioners’ ethics, and changing conceptions of citizenship in the context of thirty years of economic neoliberalization in Morocco. In 2015, she was awarded the Saharan Crossroads Fellowship to study musical and institutional connections between hip hop festivals in North and West Africa. Her work appears in Anthropological Quarterly, the Journal of Popular Music Studies, The New Inquiry, and elsewhere, including the edited volumes Music and Diplomacy from the Early Modern Era to the Present (2014) and Islam and Popular Culture (April 2016). Prior to joining the Department of Performing Arts at AU, she was a Visiting Assistant Professor at the University of Maryland, College Park.