Open Letter to and 's initiative in nomame Paolo Sarpi The music has no boundaries. : No ghettos! No censorship!
Milan, Thursday, April 19, 2007, at 13.
The police has so far not approved the proposed event-Jam hip hop against racism promoted by Mama No Project, Music against racism and xenophobia for today in "Chinatown." Or rather, the possibility has not been authorized to make the event where required: Via Sarpi.
Sarpi has been described as a zone of strong tensions between Italians and Chinese, it is not, nor is it for those who live there, it's not in our direct experience. Despite the events of Thursday, the frames media is still willing to talk and know each other, get in touch. We found great enthusiasm in recent days against this initiative also built in collaboration with the Italian-Chinese boys and girls. Through the initiative, promoted in Italian and Chinese have known many, many people in the community of Sarpi, by all we have found an unexpected warmth.
The ghettos are the result of racism. The ghettos are created by the irresponsibility of directors a stupid and wicked City Council intolerant towards a future of mixed race and multi-ethnic coexistence and interaction between many worlds, differences, communities of a metropolis. trust in an intelligent decision. The music has no boundaries. No Mama Project against racism and xenophobia
Fast and Furious Hard Core, Zizza Pawa Posse, M & M's Rebel Trash accessions
musicacontroilrazzismo@gmail.com -VOLTUS -SASUMA
-DISH-Mastiff-
CLICKPLAZA
-Assassin-
LORD BEAN
-VAITEA
-PORNO-MISH-
TRUNNA-ENSI
-FEAR-CLEMENTINO
- U. NET-Parr-Colle Der Fomento
-collision course-
KiaveVOCALAMITY-(Bg's Team)
-GIAN-WEIGHT-
TINTIN
-BROKE-GB-
Berets
Saturday, April 21:
MC CONTEST
Mastiff, 7th ENERGY
SPECIAL GUEST: FEAR, CLEMENTINO
SELECTION CLICKPLAZA, DJ PARRI
Photos the workshop with BOOTS RILEY, U. NET, Mastiff, Lord Bean, VOLTUS, CLICKPLAZA, PORNO, GOMEZ CONSTRUCTION ... @
Saturday, March 24 WORKSHOP ON SITE WITH BOOTS RILEY (USA), U. NET, Mastiff, LORD BEAN
A discussion / workshop / sull'hiphop chat with BOOTS RILEY, American artist (mc of The Coup), U.net, Lord Bean and Mastiff. 
children read below, I know it's a bit long but read it, is good for you! 
Bigger Than Hip Hop Tour
Thursday 22 to Saturday, March 24 Boots Riley, leader of the California underground rap group The Coup, will be in Italy to attend the first edition of Bigger Than Hip Hop Tour, an independent, born from the need to broaden the perspectives of analysis on Hip Hop culture, it is proposed submit to the Italian artists, intellectuals and activists released from any business logic. From an editorial, which aims to disseminate ideas, experience and knowledge about the black community in the United States (Bigger Than Hip Hop, agenzia/Cox18books -2006), was born on a tour that, in stages, will present numerous members of the Italian public more advanced forms of cultural expression and political community African American contemporary art.
The Tour consists of two evenings and one afternoon of words, music and images. War on Terrorism, the African American Hip Hop culture and the possibility of forms of political rival will be the subject of meetings and moments of confrontation in which u.net and Boots Riley (the author of Bigger Than Hip Hop) will interact with the public . The meetings prior to the live music and the jam in which Boots Riley will work with artists such as Radiohead Italian Hip Hop, Dre Love, DJ Fonx, Mastiff and Lord Bean and all those who will perform during the open mic. The tour kicks off on Thursday, March 22 (22.30) Space Public Autogestito Strike in Rome to move to the next night - Friday, March 23 from 22.30 - in Milan at the Community Center Cox18 and end with the afternoon workshop of the No Mama Yard Project at the social center of Milan (sab24marzo 16.30) during which Boots Riley recounts experiences, difficulties and 'tricks' to dell'MCing aspiring rapper and will perform some 'Acappella'.
The Bigger Than Hip Hop Tour will present characters become symbol of struggle and art expressed in the black community in America. The figure of Boots Riley, the first artist to inaugurate the project, is particularly fascinating because in addition to writing lyrics and producing the musical basis for The Coup - collaborating with the likes of Tom Morello (RATM, Audioslave), Dwayne Wiggins (Parliament-Funkadelic, the Gap Band), Toni! Tony! Tone! - Has been engaged for years in political campaigns at both national and international level, becoming a fixture in the campaigns of protest against the policies of the Bush administration and his music the soundtrack of protest against the bombing and occupation of Afghanistan ' Iraq. Icon of the California underground scene, respected figure in the streets of the ghetto as well as in universities, pimps and gangsters as well as by intellectuals and academics, Boots Riley was recently honored by the trade union AFL-CIO for his efforts in the "Tell Us The Truth Tour" and in denouncing the limitations on individual liberties, social injustice and political repression by the regime established George W Bush.
In the words of the song that introduces his latest album Pick a Bigger Weapon (Ephitaph, 2006), What We've Been doing Obviously Is not working so far. (...). There is not no spectatin. You up in this fight. Pick A Bigger Weapon - It is clear that what we have done until now it did not do anything. (...) There are no spectators. You are part of the fight. Get a more powerful weapon. Boots Riley with the power of speech is dependent upon the creation of forms of collective struggle. Revolutionary lyrics, funky beats and a sharp irony: the soundtrack of Bigger Than Hip Hop Tour
Boots Riley: Native Son I'm a walking contradiction / Like bullets and love mixin ', says Boots Riley Bullets & Love in the piece that opens the last album of Californian rap group The Coup, Pick a Bigger Weapon. These mixed feelings that the 36-year old rapper has developed since his adolescence, from his early experiences as a musician and activist in the streets of Oakland. The texts are full of Boots Riley quotes and poems that allude explicitly Marxist ideology and violent expressions of dissent against the established order - elements entirely plausible for an artist who says she wants to "destroy the International Monetary Fund and the entire capitalist system." On the one hand, therefore, the radical political ideology, which is essential for the very identity of the group, on the other hand, the celebration of the carefree lifestyle in which fun, humor and love are the only way to survive in contemporary society. This powerful combination of street culture and political activism poses Boots Riley of the most important leaders in the vanguard culture of the black liberation movement in the United States.
The collective musical and political celebrities The Coup no ghetto or ostentation of luxury goods and materials but only experiences of daily struggle for survival that characterizes the life of the communities most depressed inner cities in the U.S. to live without any form of health care, education and opportunities for social mobility, working at minimum wage for the fast food chain Mickie D, live in direct collusion with the criminal underworld as the only livelihood options and, of course, be subject to harassment and brutality of the police. Boots Riley seems to be one of the few artists of Hip Hop to understand and to opposrsi the way underground through which racism operates in contemporary society, writes lyrics and flow using a manifold through which the stories of the road is the wildest fantasies of told him - imagine '5 million ways to kill a CEO 'or piss on the grave of George Washington, not only seem reasonable, in some cases, even necessary.
Boots Riley's philosophy is accompanied by the explosion of his creative productions. The Coup's sound is a mix of bass, hypnotic rhythms, samples and infectious groove with a retro feel, proposed by wise Junoesque scratch DJ Pam The Funkstress, joy, vitality and a strong sense of rebellion. Hard, sharp, revolutionary and ironic rhymes Boots Riley enter the minds of listeners with the same ease with which the music of The Coup infects and affects the bodies of fans in a dance of protest, stressing once again that his art only represents the direct result of his passion for political activism.
The Oakland rapper, in fact, has been immersed in politics since his childhood, his parents were in fact actively engaged in Civil Rights Movement, first in the National Association for the Advancement of Colored People in Chicago, then to Detroit and Oakland, where his father worked with the Students for a Democratic Society and the Progressive Labor Party. Although the black movement was now a shadow of what he had represented in the Sixties and early Seventies, Riley reached adolescence when he began attending the youth who gathered around the Progressive Labor Party, becoming soon one of the leading youth at national level. The immobility of the Movement and the distance of policy from the needs of poor communities, however, led him to seek alternative forms to communicate and to radicalize the youth color. Boots Riley and some friends created a cultural association Mau Mau Rhythm Collective, a group of artists who had the sole objective in changing the status quo. The organization did not last long but that experience was born from the rap group The Coup, originally composed by Boots Riley, E-Roc, and Pam The Funkstress.
The first album by The Coup, Kill My Landlord (1993), as well as the subsequent Genocide and Juice (1994) laid the foundation for the birth of a legend in the underground scene but also marked the Californian ' exclusion of the media by commercial outlets that dominate the entertainment industry. The Coup shocked the music scene of the early nineties, bringing on stage the hardness and ruthlessness of the typical gangsta rap, but spreading a message of education, fun and at the same time, revolutionary. The lack of visibility was a major blow to the group that managed to attract a following, however, huge in the Bay Area. Boots Riley of The texts were now seen as' dangerous' by the establishment: Not Free Yet songs like they had the potential to stir up riots and racial violence while others, such as Fat Cats, Bigga Fish, ridiculed all the values \u200b\u200bwhich reflect the ' capitalist America.
When EMI bought the label that had released the album by The Coup, and decided to put aside that project, Boots Riley found himself reflecting on the effectiveness of his artistic endeavors, and for a period, he decided to abandon his career devoted to the creation of an organization Policy in Oakland, the Young Comrades committed to producing art that educate and instruct their people. Instead of expelling them from the music, the experience convinced him of the necessity and importance of knowledge and dissemination of revolutionary ideas through art. Boots Riley began working on a new album, Steal This Album (1998), complex and interesting experience for the originality and eclecticism that Boots showed not only to write rhymes, but also in producing backing tracks and instrumentation using both artists who live samplers and drum machines. The album was a huge success commercially going sold out within a few weeks, but The Coup won a high visibility (for better or for worse) with only their fourth album, Party Music (2001), whose cover image Boots and Pam blow up the World Trade Center one month before the tragic events of 11 September. The new controversy could not, however, to drown in the media controversy of the group's new album, producing the most brilliant and mature to date, the album contains some of the funkier pieces and radical Boots Riley's career: 5 Millions Way To Kill a CEO, Ride The Fence, Get Up. Although he had a wide circulation Party Music was not the commercial success that could have been despite the critical hosannas and magazines, including Rolling Stone and the Village Voice, declared him "the best rap album of the year."
Figure Boots Riley is one of the most complex and interesting of contemporary hip hop scene, which has become a fixture in the campaigns of opposition to the policy of the Bush administration and the soundtrack of protest against the bombing of 'Afghanistan and occupation of Iraq. With Pick a Bigger Weapon The fifth working group, Boots Riley has produced a raw sound and aggressive style than that Parliament Funkadelic, more Dirty Mind that Purple Rain "- on this occasion collaborating with the likes of Tom Morello (RATM, Audioslave), Dwayne Wiggins (Parliament-Funkadelic, the Gap Band), Toni! Tony! Tone! (Sly and The Family Stone) - and rhymes able to inflame the feelings of thousands of young people around the world.
listening to the music and lyrics by Boots Riley has the feeling that America needs figures of his caliber now more than ever! America needs someone who understands the power of word is able to awaken a collective struggle. Obviously What We've Been doing so far Is not working. (...). There is not no spectatin. You up in this fight. Pick A Bigger Weapon - It is clear that what we have done until now it did not do anything. (...) There are no spectators. You are part of the fight. Get a more powerful weapon.
more information on THE COUP and Boots Riley (in English, I know you are multilingual so I will not tradurvelo) (source: wikipedia)
BOOTS RILEY
Riley has been involved in political activism and hip hop since he was 15 years old. Since the age of 14, he has considered himself to be a communist: I think that people should have democratic control over the profits that they produce. It is not real democracy until you have that. And the plain and simple definition of communism is the people having democratic control over the profits that they create. In 1991, he and other artists founded the Mau Mau Rhythm Collective, a group set up to use the power of hip hop music to publicize other efforts and movements. The next year, Riley founded The Coup. Riley wrote and performed the music for The Simpsons episode "Pranksta Rap". Matt Selman wrote the lyrics for the songs.
HISTORY OF THE COUP
The Coup, politically radical and Marxist in their music, align themselves with other radical hip-hop groups like dead prez. Their music is characterized by electronic sounds and bass-driven backbeats overlaid by humorous, cynical and sometimes violent lyrics criticizing capitalism, American politics, prostitution, and police brutality, among other things.
The Coup's debut album was 1993's Kill My Landlord. In 1994 they released their second album, Genocide and Juice. After a four-year recording hiatus, the group released the critically acclaimed Steal This Album in 1998, with a title reminiscent of anarchist Abbie Hoffman's Steal this Book, and a stand-out single in "Me and Jesus the Pimp in a '79 Granada Last Night". The online magazine Dusted called Steal This Album "the best hip-hop album of the 1990s".
In 2001, The Coup released Party Music to widespread praise; however, in part due to distribution problems, sales of the album were low. The original album cover art depicted group members Pam the Funkstress and Riley standing in front of the twin towers of the World Trade Center as they are destroyed by huge explosions; Riley is pushing the button on a guitar tuner. The album's planned release date was just after the events of the September 11, 2001 attacks, and the cover art was withdrawn hastily. The cover art was finished in June 2001; there was no connection between the band and the attacks. The album release was held back as alternative cover art was prepared.
The attention generated to the album's cover art generated some criticism of the group's lyrical content as well, particularly the Party Music track "5 Million Ways to Kill a CEO". The song's rap includes lines like, "You could throw a twenty in a vat of hot oil/When he jump in after it, watch him boil". Conservative columnist Michelle Malkin cited the song in calling The Coup's work a "stomach-turning example of anti-Americanism disguised as highbrow intellectual expression".On November 15, 2005, Tarus Jackson (AKA Terrance), who had joined the group as a "hype man", was shot dead during a robbery at his home in Oakland.
December 2, 2006 saw another tragedy for The Coup: About two hours following a performance at the San Diego House of Blues, the tour bus in which they were riding drove off the road and flipped over before becoming engulfed in flames. All passengers managed to climb out alive, though some were badly injured. They did, however, lose all of their clothes, computers, cash, identification, house/car keys and cell phones as well as all of their instruments and sound equipment. Since an insurance settlement is Potentially a year away, They Were Forced To Cancel The Rest of Their tour. They set up a PayPal account Have On Their MySpace page for donations.
The latest provocation Boots Riley (The Coup) to the Bush administration.
In his latest blog post on the group's Boots Riley has made available online "Captain Sterling's Little Problem," a song about the rebellion of a young soldier tired of fighting in a war without end, and to kill others young soldiers in a faraway land. The soldier wants to go home and is willing to use any means necessary!
The piece, recorded as part of the soundtrack of the documentary "Sir! No Sir!" David Zieger (www.sirnosir.com), is inspired by real stories of mutiny and rebellion, implemented in different ways by American soldiers during the war in Vietnam. The discontent of the troops and mutinies and murders of officers were among the factors specific to the U.S. withdrawal from Southeast Asia. This is precisely the idea of \u200b\u200bBoots Riley: unleash as many revolts within the ranks of the U.S. military in Iraq!
examine the situation: More than 600,000 civilians and 3,100 U.S. military deaths in the ranks. To this you need to add the victims of the armies of the allied countries. The territory is hostile, the population as well, and suicide bombings are on the agenda. Today, as then, the soldiers want to go home!
Today, as then, the insurgency is the only solution.
Here's the scenario: The Coup has over 25,000 friends / fans on myspace. What would happen if all download the song "Captain Sterling's Little Problem" and sent via e-mail to friends and relatives in the army?
Listening to this piece could sow the seeds of a revolt in the ranks of the military?
.
It's a wrap then (Hey!) Grab the Mac-10 (Yeah!)
Permission to go home or blow off your knees It's a wrap then (Hey!)
Kill the Captain (Yeah!)
| Shit I'm nineteen and I'm missin' all my homies All that fight for freedom shit- we know that shit is phoney Free to work at Shoney's bout one hour for six boneys | Shit I'm nineteen years old and I miss my friends all those stories of fighting for freedom - we know it's all fucked up to work at Shoney Available for $ 6 an hour Every day we turn anything to a dish of pasta and cheese , bullets from my assault rifle |
Emilietta
slap
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spacial guest: Franz-turin- Critical Mass-night skinny-
MAMA JAM 
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from 21.00 
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Laboratory of hiphop music and culture: 
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