As a site of an double violence judged a run explore will cspans global audience will see this. The information in this lecture is come from two major sources. We have done over 300 interviews with people who grew up in the bronx in the 1930s. In the process, pupil documented this createsations something called the bronx berlin using this, which is a change between social workers in berlin and new york city, infusing hiphop to motivate and reach the youth. I have been to berlin six times. Will have a chance to experience firsthand how hiphop culture has spread in europe. This was enthusiastically adopted here. Here and, and many other portions of the world. The substance of my lecture explores the bronx history, which many people are familiar with. On to explain what definition of hiphop i will be using in this. An artform taken to its highest by two puncture court, many dutchman but feel a bit this elements, ms. Cle at many hiphop artist. I describe as a multilayered instance of which wrapping is only one owner. In the bronx in the early and arounds communities the world in the 1980s its still spreading to this day, consisting of connected components. Which was the original artform for the hiphop revolution. When people talk about the start of hiphop, they talk about djs who helped spread this through the bronx. Second form was breakdancing. Group dancerobatic that had more than a few commonalities with this. Groupon dance and latin music and rhythm and blues and fog. Remedial. Is its a form of illegal public art and selfexpression which would have its way here, announcing hiphop events as well as our building and transportation systems, especially buses and subways. Least, mc t varying being assertively political. This art forms which are merged in the bronx in a late 1970s spread around the world to gather, disseminated by film and music video, and can be found today in every city in the world in one form or another. Let me give an example of this. When i was first brought to berlin to lecture about hiphop culture in 2005, my folks took me to an abandoned school in a section of that city which was turned into a Community Center. I was stunned by the visual image projected that every surface inside and outside the building was covered by the elaborate multicolored repeating thing in the style of the covered subway train to new york. Clearly in this section of related, what we see as quote vandalism by many new yorkers could be encouraged among young people in immigrant neighborhoods secondly, i was ,aken to a great dance class where many women, some wearing his jobs, were perfecting and smooth. Finally, i was shown the stateoftheart music studio with the makers and raptors, who were producing original music in which the language of choice moved between german turkish and english. Turkey, immigrants from are the largest Minority Group in berlin and germany generally. This was not the only place where i saw i saw the same glorification of the four elements of hiphop in three other Community Centers in berlin, most of them serving immigrants from turkey, the middle east and eastern europe, as well as other Community Centers in barcelona, spain. In all these places, as well as their counterparts in paris, havana, rio de janeiro, rome, tokyo, and even hanoi, the art forms are cultivated with love and respect and transmitted to new generations of youth, along with the understanding that they started in the bronx. I will pass around a book of french hiphop. Which is an Art Exhibition in paris, which explains visually how hiphop, which started in the bronx, spread to paris and its suburbs. And then became an integral part of the movement known as the arab spring, where the art of hiphop was part of the social movement in many different countries. So what started in the bronx has gone global. The big question here is, why the bronx . Why did this multidimensional artform starts in the bronx and why did it spread . And in answering this question i will be looking at three different variables. One, the unique Cultural Capital of the bronx and its people, which derived from immigration and the mixing of cultures. Two, the tragedies which befell the bronx in the 1960s and 1970s, once regarded as unique, which would hit other cities and communities and subsequent years, not only in the u. S. But in many other places. And third, the easy accessibility of the bronx via Public Transportation. Harlem, midtown manhattan, the village in the lower east side, where culture makers and entrepreneurs, when they saw what was going on in the bronx, where in a position to market what they saw nationally and globally. So, before going into these three underlying factors, the Cultural Capital the bronx, the tragedies that struck the bronx, and the proximity of the bronx to culture making centers in new york, i want to give you a brief hiphop timeline. Most scholars think the big bang, which launched hiphop, took place at the parties held by Cindy Campbell and her brother, aka, dj cool at the Community Center of a housing complex at 1520 sedgwick avenue in 1973. There, the dancers of the party would go crazy if they used two turntables and sections of popular records, which they called break beats, into 10 minutes of percussion pure percussion bid after several successful parties at the youth center, he decided to take his sound system into a public park 10 blocks north of his house, cedar park, using electricity from the bottom of a lamp post. Thousands of young people came to the outdoor jams, which were not broken up by police, even though they were done without a permit. And other talented djs in the bronx decided to follow the example. Among these were former gang leaders from the bronx, one of them who called himself africa bom botta, and a young man who had trained in electronics at a Vocational High School who called himself grandmaster flash. By 1976, parties where the djs competed with one another to create the most danceable beats using breaks from records were taking place all over the bronx in parks and Community Centers, in school yards and abandoned buildings. At these parties, dance competitions between the cruise crews, using innovative steps taken from martial arts movies, latin dancing, and a james brown moves, became common occurrences almost to the point where they were as much a part of the event as the djs. Soon the djs, that were competitive with one another, started to try to distinguish themselves by commandeering street poets to rhyme over there beats. And by the late 1970s, the artistry of the rappers was starting to gain as much attention as the djs and the dancers. By now, the parties were starting to spread into private clubs and dance halls, as well as parks and Community Centers, places like the stardust and disco fever, and the people from other parts of the city and region were starting to take notice. Then in 1979, a record entrepreneur from englewood, new jersey named sylvia robertson, who had once been a senior in the bronx singer in the bronx, decided to try to record the music. There were new Business Opportunities to be found in the bronxbased art form. Within five years, scores of rap records were being produced. Some which have their own music videos. And massmarket films were produced which highlighted the bronx setting for hiphop, as well as the djs, the breakdancing, the graffiti and wrapping, which were all integral parts of the scene. As a result, hiphop in all forms of spread around the city, the nation and the world, almost always in places where there were large numbers of people who felt this franchise and marginalized. So essentially the marketing of hiphop, which spread outside of the bronx around the country and the world, really began in the late 1970s. And for the first six years, and there was little outside attention given to what was later hailed as a musical revolution. So that is the broad story. Why the bronx . Lets look first at the population of the bronx and the sonic universe that they lived in prior to hiphop. The concept of a sonic universe is to me very important, because a lot of you know when we were talking about rock and roll that the sonic universe of many workingclass communities was receptive to harmonic music. In the 1970s, those same communities are becoming responsive to a much more percussive and inyourface kind of music. So what are some of the features of the bronx culturally that led the bronx to have more receptivity to the percussive elements of this music than many other places . Here you have to understand something about the unique history of the bronx. Well before the emergence of hiphop, several neighborhoods in the south bronx had a mixture of cultures and traditions that made them unique in new york city. And the nation enforced musical creativity. In the 1940s, 50s and 60s, too large workingclass neighborhoods in the south bronx, where peacefully integrated were peacefully integrated by different population streams coming from harlem. Africanamericans originally from the u. S. South, west indians from caribbean countries like jamaica and barbados, and spanishspeaking people coming from puerto rico, cuba and panama. Each of these peoples brought their own musical traditions to the neighborhood schools and housing projects that they lived in, and over time they fused in the most remarkable ways. By the 1950s, the clubs, theaters and churches and schools in these neighborhoods were places where you could hear afrocuban music, doowop and rhythm and blues, deep up and beebop and dixieland jazz, and calypso. Now these forms began to evolve as the americanborn youth began to transform them, giving rise to salsa, funk and latin soul. After awhile, the white population of those neighborhoods largely moved out, leaving only a few people left behind. But what you had in the bronx was a mixture of more people from different parts of the african than existed anywhere in new york city. And having people from these different traditions living in the same Apartment Buildings and housing projects produced the unique, sonic universe where melodies and his songs in different languages took place in a backdrop of powerful percussion. And i want to give you a few quotes which describe what it was like. Nowhere else in new york city did people who came from the american south, or from the anglophone caribbean, live in proximity with spanishspeaking people from the caribbean. And as a result, everyone in the bronx danced to latin music and had an experience of hearing latin percussion. Let me read you a couple of quotes that will bring this to life, because it helps prepare the way for hiphop. This comes from a book by alan jones. The Patterson Houses, which opened in the 1950s, at night were alive with activity and sound. Music is everywhere, coming out of peoples apartments and out of park benches. On one side of the street you would have people bring out turntables with speakers. On the other side you could hear brothers singing a Frankie Lyman song, why do fools fall in love . But the one constant every night without fail was the sound of Puerto Ricans playing their bongos in local parks and playgrounds. The steady beat of those drums boom, boom, bam, boom, with background music to my living reality. Now a quote from african bilbao to, who grew up in the bronx river houses. I will say this, wherever we were, the Puerto Ricans was there. I dont like to get into it when we call them Puerto Ricans, they are africans like us. We got to remember that are puerto rican brothers are the ones that kept africa alive. They are the africans that kept the drums, they kept the gods of santeria alive. In the 1960s, blacks and Puerto Ricans were always playing the conga. Always had the rhythms. This is from the next quote, this is from ray manea, who became a prominent musician in the latin music genre, but also play jazz. After i got to play the conga drums, i had a bunch of friends that were all interested in playing the conga. The puerto rican kids in my area, we started to jam on the roof. It was every saturday and every sunday, everybody would go to the roof with their drums and we would play all kinds of rhythms. It was like a big party with the drums. Meanwhile, down in the bottom, down on the street, we had black people and they were into doo wop. The black folk, they took their drums away, so they had to invent something and they invented doo wop. They were dooop, we were rhythm. African rhythm. We were playing and thank god they never took our drum away. This is one of the things that is unique, the constant sounds of german in these multiple fast sounds of drumming in these projects. That was the progressive sound. Folks in the bronx, whether they had families that had come from the caribbean from the south, from puerto rico, and doris, the honduras, those drum sounds where part of their sonic universe. Because that is what the bronx was like. But the people did not only hear the sounds, they danced. The bronx was a dancing community. People danced in their homes, in their clubs, in schools, and in the streets. And people shared their dance traditions. If you grew up in the south bronx, whether you are black, latino or white, you dance the latin. If you were latino you probably slow danced to the drifters and fast danced to james brown. Vicki archibald, a social worker that grew up in the Patterson Houses in the 1950s and 60s, describes how latin music became a powerful force in the life of her black friends and neighbors. Frankie lyman was one of my favorites, but i loved all kinds of music, including latin music. It was in the sixth grade when i first was introduced to latin music. Before then, i heard it, but i do not really dance to it. As i got older, i noticed more black people dancing to latin music and they were good. They used to dance for my professionally in places and we watched these folks who also lived in patterson, who are maybe high school age, and we fell in love with the music. And as my doctoral student lisa reminds us, many of the people from the spanish caribbean were also black. Were also of african descent. So you had this diverse, Multicultural Community tuned in to this percussive music and to dancing. And this was, there were places like that in other parts of the city, but nowhere where the percussive traditions as a strong and as public as in the bronx. In the south bronx, music and dancing were everywhere. Nothing was more prized than music that forced you to dance, because of the powerful beats. For the 30 years before the hiphop jam, the bronx was swaying to the rhythms of the African Diaspora indoors and outdoors, in parks and a schoolyard, Community Centers and clubs, and in the streets where people took record players out in the summer for block parties and outdoor jams. Well before djs started hooking up sound systems, the panels at the bottom of light poles, small puerto rican bands called tiki rikis, in imitation of the sound of roosters, where doing the same thing with amplifiers when they played in the parks. Something that was recalled for us in an interview by a great south bronx percussionist named angel rodriguez. But not only Puerto Ricans brought amplified music to the streets. From the early 1960s on, it was extremely common for africanamerican as well as latino bronx residents to bring their portable record players outside and dance on the sidewalks on hot summer nights. Teresa roberts, a bronx schoolteacher whose father was africanamerican and his mother was puerto rican, talked about how people entertained themselves outside of her Apartment Building during the summer months. We are talking largely in the 1960s, before the parties. In my building it was normal for people to bring their equipment outside. Whoever would have the best equipment for a good stereo, they would bring their radio right from the living room and bring it outside and play it. Sometimes people would put their speakers in the window with a dj working the system and would stand outside in front of the building and we would dance. This was all before hiphop. The percussion, the dancing, the mingling of cultures. Um, when had his big bang and created 10 minutes of pure percussion at the Community Center, the young people of the bronx were not only predisposed to respond to it joyously, they were prepared to dance to it like their parents and grandparents had it done, although in different positions. Which brings it to another element of the Cultural Capital of the bronx, which helped it to spawn hiphop, a new wave of caribbean immigration from the anglophone caribbean that followed the relaxation of immigration quotas in 1965. Some of you may know, 1965 immigration laws were passed which drastically cut the quotas that were set up for immigration from the caribbean, eastern europe, and Southern Europe in 1924. Clive and Cindy Campbell were among the more than 10,000 jamaican immigrants who came to the bronx between 19651970 by bringing with them, among other things, the sound system culture of that country which helped spawn reggae. Young people like Clive Campbell came from a society where people made extra cash by sponsoring parties with huge amplifiers and speakers, often in the outdoor spaces, playing the most popular records. It is that tradition that he and his sister brought to sedgwick with a louder sound system that nobody had ever heard. The sound system alone could not excite the crowd. Campbell combined the power of his amplifiers with something they had never heard before, something that made them dance with power and frenzy they had never had before, a sound that reflected the percussion traditions they had grown up with and the sonic universe of the community where the fire engines and Police Sirens were moaning, and the windows of cars and buildings were being shattered. Later, that experience would be captured by an amazing song, the message, by grandmaster flash. Broken glass everywhere, people pissing on the stairs cannot take the noise i got no choice roaches in the back donkeys in the alley with a baseball bat [rapping] that is 1982. But already all these things are happening in the 1970s. So campbell, whos not having anything more than a couple of words like, to the beat yall but is still capturing music and the universe of this Multicultural Community with the lived experience of people going through, well what was seen as one of the great urban tragedies of modern history. So, let us now turn to the second feature of why hiphop started in the bronx, which is the case of the people who created musical innovation amidst extraordinary hardship, which of course is an old story because it happened during slavery, it happened with the blues in the midst of jim crow, but here it happens in the bronx. So here is the tragedy. During the very years that have years that hiphop emerged in the bronx, there was a cycle that left Thriving Communities and produced the loss of Housing Stock and population rivaling those areas hit by bombardment. Hunt point and responsible for creativity lost 50 and 60 of their population respectively between 1970 and 1980. And fully 40 of the Housing Stock of the south bronx was destroyed. But the fires in the abandoned buildings were only one component of the tragedy. The new york city fiscal crisis, not only were the fire and Police Services drastically cut in the bronx, but the great music programs and afterschool programs in bronx schools were shut down as a result of budget cuts. Depriving young people of the borough opportunity to learn how to play the Musical Instruments and showcase their musical skills the way that their parents and grandparents had done. Yet, while they suffered terribly because of this tragedy, at least not until some of the music programs were restored at the beginning of century, no one had rejected or anticipated timetable and sound systems and vocal poetry to create something the older generation neither welcomed nor predicted but would end up sweeping the world. How did hiphop survive in tragedy . Lets look at how it was disseminated. After hercs first parties, hiphop spread through the bronx as a result of outdoor parties in school yards and bars with electricity from lampposts done illegally. Why were these parties allowed . Because this is a question. If you try to do this now, if we decide to set a system of, plugged into a light post, we would have three minutes before we are broken up by police. Why could one go on all night in the 1970s . This has to do it part with budget cuts due in part with budget cuts because the police were so decimated by budget cuts and reduction in personnel in the 1970s, given all the other forms of violence taking place in the bronx, they made a decision to allow hiphop parties to take place, even making huge amounts of noise as long as no one was being shot or stabbed. Did people complain . Hell yes. The noise was crazy, but Police Ignored the complaints so long as the gatherings remained peaceful. Basically, scores of illegal outdoor parties attracting thousands of people were allowed to take place in the 1970s because the bronx was viewed as such a war zone by Law Enforcement that such gatherings were tolerated. 10 years earlier or 20 years later, that would not have happened. The same thing was true in the graffiti yards that accompanied the rise of hiphop, one of the four elements of hiphop. Why were trains covered with these graffiti burners and works of art in teh 1970s and 1980s, it is really because budget cuts and transit made it impossible for those doing graffiti to whitewash their masterpieces. Like hiphop parties thrived outside the law, so did graffiti art, and the two paralleled one another. Many new yorkers regarded this as lawlessness and chaos, new music and visual art forms arose, took such a compelling form as to inspire imitators around the nation and around the world. Even rioting helped the spread of hiphop. When new york city was hit by a blackout in 1977, every Major Business district in the bronx was looted, especially fremont avenue. Perhaps the most popular target of looting was electronics stores, leading to the dissemination of hundreds of sound systems the bronx used and the creation of more aspiring hiphop. In the past, such young people would have learned to play trumpet, saxophone, and trombone in public schools. Looking for outlets in blues bands, but with those programs gone, kids with musical talent looked to djing and wrapping as rapping as an outlet here they produced music when popularized many young people found irresistible. Because one thing has to be said when we are trying to understand why an art form created in the bronx spreading around the world. This building abandonment that took place in the bronx in the 1970s turned out to be anything but unique. Indeed, it would prefigure what would happen to almost every Industrial City in the u. S. And western europe when factories began to close and industries begin to move to developing countries. By the late 1980s and early 1980s, you could see abandoned neighborhoods which looks like the bronx in the 1970s placing places ranging from baltimore, youngstown, manchester, england and ireland, germany. Berlin, germany. Those circumstances, the sound that bronx hiphop deejays were producing and the wraps and art forms raps and art forms he became the soundtrack of a generation of young people around the world caught up in the throes of industrialized nation. We have to find out how hiphop survived the bronx and was marketed as a commodity for people who saw its commercial potential. We have to understand the bronx assess ability by Public Transportation to other communities where Global Cultural production was taking place, albeit in different musical forms. The young people of the bronx had the ability to create culture, but not to market it. That responsibility would fall upon those located in other neighborhoods, who were hiphop was sold as musical, as musical art, dance, and fashion. We have to look at the new york location of the bronx area we see hiphop the bronx. As we look at people based outside the bronx. The early bronx hiphop gbit deejays and graffiti artists on the help from people with more resources, and that would be forthcoming in part because of the bronxs accessibility to other sections of new york by Public Transportation. Though the tragedies that hit the bronx took a unique cast, people in other parts knew all about it. It was 15 minutes from harlem, 40 minutes from lower manhattan, 20 minutes car ride from new jersey. Sending the visual in new york music scene by the late 1970s, they all had hiphop on their radar screen albeit for a different reason. As previously mentioned, sylvia robinson, a former bronxbased singer and club owner, her husband Bill Robinson owned a record label based in new jersey. They started recording rap songs. They produced beats, the result was successful the concept took off. Following rappers delight, the. Five produces several the furious five produced several different albums. Other small labels started to produce catchy rap songs, among them 1980 hits by rapper kurtis flow. But hiphop also got the punk scene in the lower east side. They saw the potential to market rapping as an artform, they saw breakdancing as marketable performance live or unfilled on film. This was in the film blondie which included actual wrapping by the lead singer rapping by the lead singer Deborah Harry and the fab five. One of the verses in the songs goes like this. Fab five freddy, everybodys heart dj spinning flash is fast flash is cool the song was a huge hit and was followed by a movie about the bronx hiphop scene and its connection to the downtown punk scene called wild sorrow wild style which featured breakdancing as much as rapping. Wild style was the first hiphop movie. Its set in the bronx and graffiti and dancing are as important in it as rapping and djing. This was followed a year later by a movie produced by Harry Belafonte called beat street, which featured a rap battle and had a tribute to a graffiti artist who had been killed tagging the trains. The success of wild style and beat street had as much to do with the spread of hiphop as the song rappers delight and the message in the breaks. Both movies treated mcing, djing, graffiti as connected art forms created by the youth most decayed borough, the bronx, which suddenly became legendary for its artistic creativity as well as its devastation. When hiphop spread to paris and berlin in the 1980s, and it was not just as music, it was an dance and visual art as well. And this continued through the 1980s and 1990s as it went to asia, south america, africa, and eastern europe, all with the understanding that it started in the bronx, and that the bronx has an honored place in Global Cultural history. So, what is the meaning . Hip hops origin in the bronx are hip with irony. Spread and young people lost the ability to play instruments in their schools. But it was precisely hiphops emergence from this tragedy as well as its multicultural origins and connection to immigration that were essential to its appeal. What happened in the bronx was going to spread throughout the world. Factories closing, school being shut, people wanting to live together not as they migrated, not only from countryside to city but from one country and continent to another. That the young people of the bronx, abandoned, despised, and marginalized, created art forms that fused into a powerful message of defiance and inspired young people around the world, finding themselves in similar circumstances. Using their own languages and musical traditions, drawing drawing on their own dancing and visual images, they have created hiphop alive and fresh for more than 50 years, never forgetting where it started, right here in the bronx. Thank you. [applause] mark naison i have some great videos to illustrate it, but now is your time for questions. Do you think if we have a similar approach as berlin did, will we see lower crime rates were youth Pay Attention to their art forms compared to now . Mark naison i think that if we restore the music programs in the schools and accrued include hiphop and afterschool programs that feature the arts, we will definitely engage many more young people and lower crime rates. And that will be true no matter where. It would work in yonkers, too. So obviously although it started off as a small part, rapping became the main part of hiphop music. I read that the song, the message was one of the main reasons for that, because it for the rapper in the front. Mark naison you have to look at rappers delight. Sexual posting, partying, celebrating and bringing everybody in to it, the black and white and yellow. The message was the political commentary. To this day hiphops party music and is political criticism. I think both are equally important. I look for that in rappers delight because it became more essential. It is more than just partying. How do you feel that this story of hiphop connects the story of bringing home . Mark naison i dont know enough about regaton, so i will dodge the question. It comes from firsthand research. Not being fluent in spanish, i could not penetrate the lyrical elements of regaton the way i could with hiphop. I will leave that to you to write a book about it. Anybody else . Yes. On the objective history for hiphop, but could you give us a personal story of how you first encountered hiphop and your first kind of spark of interest . Mark naison it certainly wasnt when i was teaching here. The single most popular indoor venue for hiphop fans was the webster pal at 100 31st street, and i had no idea anything important was going on at the time. The first hiphop song to make an impression to me was the message, which i love the lyrics, but my colleagues and i and the board of africanamerican studies had no interest in hiphop jams taking place in the community. I only began to get sensitized to it in the 1980s when my students from the bronx began saying, naison, you really need to listen to it. But my exposure came as a coach in the late 1980s and early 1990s. I was coaching traveling teams baseball and basketball in brooklyn, and i would put on my sam cooke, aretha franklin, the doors, marvin gaye they said coach, can we have our music . I said ok. Then we had wutang clan and dmx, and i remember when they put on cream, cash rules everything around me. And i said, my god, this describes what is going on with young people in the city better than anything i have ever heard. I started to listen to hiphop as a narrative of what was going on in the city. I began to use it in my courses. Its in the early 1990s when i embrace hiphop as a narrative of real life and the voice of the youth. The first 15 years i did not get it. In part because i liked sam cooke so much. Anybody else . Yeah. So between the diaspora and the budget cuts that you described, you think hiphop would have evolved the way it did if it were not for those events . Mark naison no. I think you have places like washington, d. C. When you had grassroots, a Grassroots Music that became very popular in that city. It was incredibly creative and inventive but never spread. I think that what made hiphop special is not the music alone but the connection to the dance and the graffiti, which were taking place for various reasons in a place like the bronx, where this extraordinary level of decay took place. I think there were other places where there was great you sick music and dancing occurring in cities like l. A. , but the totality of the African Diaspora in the bronx was greater, and the tragedy was greater. So it was the big bang which allowed that to happen. And the new york location where the punk people could seize on it, and old rhythm and blues people like sylvia and Bill Robinson. I dont think it could have taken place anywhere else even though there was great creativity in so many other cities. Ok, i want to show you a video which will blow your mind. This is from we are talking about how hiphop spread globally. I will show you a video from vietnam with a rapper that will blow you away. Lets get some lights out, and you are allowed to dance, by the way. You can come up and dance and become worldfamous you can come up and dance and become worldfamous. Can anybody beatbox . I will go back to the mike, here we go. When i started talking about the history of the bronx and bronx schools, people were like, who is this old white guy . So i started rapping along with the message by grandmaster flash, which they thought was hilarious, then they knew me as the notorious phd, which i will share with you. They call me notorious phd i dont wear bling i do mystery i come from the pk mcs know that i dont play you may be shocked to see my face the words on stage dont match my race but the jams are bringing the hardcore truth they will make you rock from floor to roof i may be old i may be white, but my floor is funky and my rhymes are tight [applause] mark naison are we almost done . I have one more but i will say that to the end. Save that for the end. [rapping in vietnamese] mark naison any questions, any thoughts . You expect to see that out of vietnam . Thats bad. And thats all four elements that started in the bronx. Its not because rapping the dance is as much a part of it, and beat boxing became a fifth element. That was a way of adding percussion and scratch. [indiscernible] so its not very surprising vietnemese have a lot of businesses in black communities with nail aesthetic shops, and they are much more connected to communities of color rather than other asian communities that come to the u. S. So its not very surprising. Filipinos and cambodians are in sync to communities of color. Mark naison in the u. S. . In the u. S. Mark naison any other thoughts . [indiscernible] mark naison i dont have the language to translate, but they have songs in english. Look her up. She has probably 15 youtube videos, some in english, some in vietnamese, some moving back and forth. You can Google Translate it. Somebody can do their paper on her. That would be interesting. I want to bring her to florida. I want this. That would be amazing to have this in your conceit in new york and see this incredible joy of taking this art form create this is 50 years later, and is alive. The next video i am going to show you is from germany, and it was partially shot with students in my class. The world is listening. And it is women rappers. Hiphop began very much as aggressively male, now women have been, especially globally have been incorporating it as well. See if you can recognize [indiscernible] it is cologne, germany. Mark naison any comments on that . Yeah. I thought that the last section, the whole world is listening, that part is interesting because it is like the truth. You said this was from germany . Mark naison it was shot in cologne, germany. But she is from new haven originally, and she was an artist in residence. She shot portions of it here. Its interesting that the world is listening because movement started in the bronx, and you go back for the movement would this place affect other places like personally not and like ours alone and germany . Barcelona and germany . The result is the entire world in this movement. Mark naison you are absolutely right, and that is the message the whole world adopted, what was created by young people everybody abandoned and gave up on. Thats a hell of a story, isnt it . Thats what needs to be. The most marginalized, despised, they took away the music. They took away the afterschool, and they created music using turntables that would change the world. With their own dance forms, and using an art form that was hated by 95 of the leaders of new york city. They thought graffiti was reversion to savagery. And all over the world graffiti art is honored as one of the most creative art forms around the globe. Its in cuba, in brazil, in every european city, in japan, in vietnam. So youre absolutely right, the world is listening. Its a hell of a story, isnt it . Makes you proud to be in the bronx . Oh yeah. Ok, thank you everybody. Thank you, cspan. Now i am all yours reading this stuff. [applause] [captioning performed by the national captioning institute, which is responsible for its caption content and accuracy. Visit ncicap. Org] join us every saturday hearng at 8 00 a. M. And we topics ranging on the American Revolution to 9 11. Lectures in history are also available as podcasts. Visit our website www. Cspan. Org tory podcasts or download them on itunes. Lets go back in time. Back to 1992. Its august, they can educate. The b52s release a new album called the good stuff. In minneapolis, the mall of america opens for business with 300 stores, it is the largest Shopping Mall in the country. Meanwhile, the major hurricane is moving directly towards south florida. We expect the storm is going to be in our neighborhood here. Y early in the date monday area monday, the wind hits 150 miles per hour. Most of the area is without power. In its wake, devastation that is nearly totaled. All my life savings. Every money in the house. Everything. Tuesday, august 25, on most Everyone Needs food and emergency supplies. But most stores are shut down. We are selling generators, chainsaws, gas and oil. The only people selling things come from out of town. They were not accept checks or credit cards. There is a huge demand for cash and local banks are running short. That triggers Emergency Action by the miami branch of the Federal Reserve. The miami branch is part of the Federal Reserve bank of atlanta, which serves as at least. Branch manager jake curry was at the bank soon after andrew struck. Calling on the Financial Institutions and talking with them, letting them know we were in business and wanted to show them we heard they had cash in the region. We had cash available and we would do whatever possible to get the cash to them based on their need. Local banks have an account with the fed. The fed credits their account. In normal time, the local banks ask for cash as is needed. In this case it is needed immediately and in great quantities. But jensens Vice President of the First National bank of homestead