Founded by Hip-Hop author and scholar Adisa Banjoko, is the worlds first scholar to teach how music, chess and martial arts can promote unity, strategy and non-violence. This award winning speaker teaches youth of all backgrounds risk assessment, emotional mastery and how to apply what they see on the chessboard to real life decision making. Follow us @realhiphopchess on IG! You can also listen to Bishop Chronicles podcast on www.bishopchronicles.com iTunes, Spotify and Mixcloud.
Peace to the planet Earth! I have missed you! Sorry for such a long delay in posting. A lot of stuff changed for HHCF, but for the good. The truth is, I fell ill in 2020 with a bacterial infection in my stomach.. It was bad. I had to get two blood transfusions and was literally a day away from dying when I was called to the hospital. Had I gone to work that day, or put off going in I would not be writing you now.
I contracted a separate infection of the potentially fatal MRSA staph a few months later. I had to go to the hospital again because it was on my face and with it came a horrible case of impetigo- but I recovered. The process was strange because the infection took a lot of my energy. Nevertheless I beat it.
In the meantime, I was posting on our instagram @realhiphopchess and teaching at the UFC Gym in San Bruno plus teaching at Zaytuna College as head instructor of jiu-jitsu and chess. I began working on a book called A Dead Man's Diary. It's about how my near death experience impacted my personal philosophy about life. I went through some dark days.
In truth, I had gotten a bit depressed, and unclear on who I was initially. But after that I became supremely focused and motivated. I had to use all of the tools from HHCF (which worked thankfully), plus my jiu-jitsu, plus my closest friends and family members, plus therapy and taking a class on stoic philosophy to make sense of what I had endured. Plus a lot of reading new things..
In the course of it all I lost my personal love for chess. Everything about the game seemed lifeless to me. I was playing and losing. But the losses were not resonating. I didn't care. I was not seeing dynamic forces engaging on the board. My chessvision had been altered. I traveled a bit. While in UK I played a game and for the first time the entire board felt wholly dead. For the first time the board was not radiating with life. It was just glass and stones. The positions were irrelevant.
I realized at that point that the game had not changed. I had changed. Keep in mind the entire time this is happening- I'm STILL TEACHING. I'm at juvenile halls, high schools and colleges. I realized chess was not the issue. I was. So, I've went on a deeper journey inside my mind. I understand now why the game became dead to me. Within weeks my love for the game had returned. The board and pieces were breathing again and full of life. As I unlearned to relearn new opportunities arose in the space of education and mentoring. Everything I went through started to make sense.
In the meantime I focused on the Bishop Chronicles Podcast at www.bishopchronicles.com . It now has more than 100 episodes! (thanks to Mike Relm and the good people over at www.PharcydeTV.com! Visit the site right now to heard incredible interviews and conversations about the fusion of Hip-Hop news, chess, martial arts and health and fitness trends. I'm talking about valuable stuff to keep your body in good shape and your mind sharp. In every episode there is a section showing you how to use chess, jiu-jitsu and Hip-Hop to improve yourself. But mostly, it's just be being silly with my friends. This is like NPR meets VICE. That is the vibe.
1. How Niccolo Machiavelli impacted the strategies of Tupac Shakur.
2. I have in depth conversations with entrepreneurial rappers like Mista FAB.
3. I even talked to MMA legend Ralph Gracie about the current state of the UFC.
4. There was a super deep talk with Stanford Philosophy Professor Greg Watkins,
5. Simon Purkis, CEO of Purling London (maker of cool designer chessboards selling for 10K!).
6. Tribute show remembering the life of rapper Juice Wrld and a look at why our kids are depressed.
You can subscribe to iTunes, Spotify, Mixcloud and Libsyn to get the full rundown of the shows. It is always funny and informative (appropriate for teens and up).
In 2020 the goal is not to merely feel better. We intend to help you actually be better. New folks on the team, new events and new knowledge from the #hiphopchess army will be coming at you soon.
The HHCF Official Page is down right now. It is being revamped. Look for its relaunch and big announcements coming soon. Super soon.
Long story short: I missed you, but I'm back- let's go be great.
For more on HHCF please follow us on Instagram @realhiphopchess (the impostors are out- begun the clone wars have) LOL.
To learn more about Bishop Chronicles follow us on Instagram @bishopchronicles !
If you would like to contact me directly about HHCF inquiries or speaking engagements email me at abanjoko@gmail.com! (serious inquiries only)....
The growth of Adisa The Bishops' RELAUNCH of The Bishop Chronicles Podcast on www.pharcydetv.com has been received amazingly. We wanted to post some of the shows up here for you on Mixcloud! Our team has been putting in a lot of OT to make sure that you get insightful, fun YET VALUABLE information that you can use to stay inspired no matter what you do.
Take a minute to soak up one of the shows below and send one to a friend of you really like it. Every show is produced by the one and only Mike Relm.
Bishop Chronicles STREAMS M-F 5 PM PST on www.pharcydetv.com and posts to Mixcloud and www.BishopChronicles.com at the end of each week!
The Curatorial Approach to RESPECT: Hip-Hop Style & Wisdom at the Oakland Museum
By: Adisa, The Bishop
Open Arc System (OAS) of Storytelling and Framing History is a method I developed in my approach to planning RESPECT: Hip-Hop Style & Wisdom which opened March 24, 2018 at the Oakland Museum of California (OMCA). Mike Relm and I created this way of approaching curating events while working with Susan Barrett over the course of a year or two. It totally changed the way Hip-Hop is presented, documented and shared with the masses. I have always believed that it is not enough just to cover Hip-Hop history. My job is to cover Hip-Hop in a historic manner. That is what my team and I set out to do.
Initially, these concepts were employed when I was first working with Susan Barrett when she was Dir. at the World Chess Hall of Fame (WCHOF). We did a record breaking exhibit there called Living Like Kings. It was launched a few weeks after the Ferguson Uprising began. Despite Susan’s hard work, there were certainly elements inside the Hall of Fame that were seriously afraid of Hip-Hop, and martial arts. I had to find ways to help others in the WCHOF think around those individuals fear and ignorance- but still connect them to what they loved (be it chess or Hip-Hop). I realized early that it might be better to not dig too deep on the cultural impact of Hip-Hop on chess. It seemed the deeper I went the deeper they certain people became of Hip-Hop or Black people. I found ways to create “cliffnote” aspects of Hip-Hop in a way that still honored the subculture- without undercutting the actual value of Hip-Hop. It worked. What did was a smash success.
I saw someone who was a hardcore chess historian after giving a talk with Rza to several hundred kids and teens in Stl. I asked him how he liked the exhibit. He said he was blown away by all the things he did not know about chess and Hip-Hop. He acknowledged that he learned a lot more than he thought he would. My job from the beginning was to make sure that if someone came in deeply steeped in Hip-Hop or chess that they walked out knowing more about what they loved and what they were initially unconcerned with than they had anticipated. That, is the hard part. Narrating the story so the novice and the vet can enjoy the exhibit at the same depths with connected coherence and appreciation.
Living Like Kings made history by getting more visitors opening day than the Bobby Fischer exhibit. His exhibit was one floor above ours. Imagine, Hip-Hop beating Bobby Fischer! Living Like Kings proved to be more than just an exhibit. It was a safe place for people to enjoy themselves beyond the racially polarizing chaos fracturing the city and relax. I was very thankful to Rex Sinquefield and his wife Jeanne for their open minds and hearts. It would never have happened without them.
Mike Relm, creator of the amazing video installation at OMCA! Photo SF Bayview
We believe that RESPECT: Hip-Hop Style & Wisdom at the Oakland Museum of California is the best Hip-Hop exhibit in North America if not the world right now. It might be the best Hip-Hop exhibit ever, and I say that with no sense of ego. I say it with utmost loving intention and care for Hip-Hop. I say it because a lot of amazing people came together with not just good intentions but good information that the world needs to see. I say it because we are telling the history of Hip-Hop outside the traditional narratives that are not only not that exciting- some of them are not even factually true. Rather than getting ensnared in those debates we went in a new direction.
The OAS Framework of storytelling and framing history is something I was doing instinctually but I did not recognize until OMCA hosted a convening. A convening is a gathering of historians and culture keepers where we talked about what the exhibit could look like, who could do what, who should be involved etc. At the beginning of the talk I observed with much sadness how hard people talked to define Hip-Hop. Just asking the question “What is Hip-Hop?” by Senior Curator Rene De Guzman initially brought a lot of classical definitions that I was raised on (rapping, DJ’ing, B-boy’ing, graff and the pursuit of knowledge). However the conversation quickly evolved into discussions of beatboxing, double dutch jump rope, etc. As all those present were passionate about the topic some people seemed to be moving towards argumentation rather than an open discussion.
The more I thought about it, what I knew as Hip-Hop classically had evolved into so much more than that Kool Herc, The Rocksteady Crew, Grandmaster Flash and others had seemingly initiated. First of all, we had to look at the idea that the classical 1973 “creation” of Hip-Hop is not wholly accurate. Eric Arnold really hammered this idea home in his research. You can see his ideas on the Hip-Hop timeline at OMCA. What we mean for instance is that there were many rebellious aerosol can artists before 1973 across the country.
The first graffiti I recall was on a short pedestrian bridge in SF in 1975 as I approached my grandmothers house on the edge of the The Mission District, in Noe Valley. It read simply “Vietnam Killed My Brother” and it was painted in a hard place to remove. Thousands of cars ran under it every day. Every time we visited her I read it. I thought Vietnam was an individual who killed this persons brother. I asked my parents one day about Vietnam and they tried to explain it as best they could to a 5 year old about war and how many needless people died. Now was that Hip-Hop? Maybe not in the classical sense. Maybe it was. What had occurred on a psychological level though was that I understood art as a form of open rebellion. This was 7 years before I knew Hip-Hop existed.
Beyond that there were other regional dances than b-boying happening in the streets. Journalist and critical thinker and arts advocate Eric Arnold (who wrote extensively for the exhibit) notes that Boogalooing (Eric talks about this in the KQED link towards to the top), popping and locking were getting their start on the west coast before 1973.. There were rebellious forms of oral poetry in the mid 1960’s (The Last, Poets, Watts Prophets, Gil Scott Heron, Nikki Giovanni etc.), Black funk music was evolving in different ways. What came together to be known as Hip-Hop got its embryonic baby legs in the South Bronx. However, it seems to me that it was a cultural inevitability on a national scale. Let me be clear, what Herc, Bam and Flash did was huge and crucial to the creation of what we now know as Hip-Hop. But the wave of artistic rebellion of Black and Latino youth was untouchable force the world could not stop.
Beyond that, we have to look at how quickly things changed from the first five elements of Hip-Hop. Everything from Grandmaster Flash's’ creation FlashFormer (which allowed people to transform scratch without a mixer), to rap producer Marley Marl’s innovations with sampling specific drum sounds to create new patterns etc. led to technological innovations by the artists and corporations. The Turntablist movement (using the turntable as a musical instrument) created by DJ Disk, DJ Qbert, Mixmaster Mike, DJ Apollo, DJ Flare and others overturned the entire mixer and turntable design industries. All of them consciously working to accommodate battle DJ needs.
In the early 2000’s DJ Vlad took the courageous step of using CDJ 1000’s. Many traditional DJ’s who used vinyl regularly mocked him and chastised him for moving forward with technology. I remember him saying then “Why carry huge crates of records around party to party when I have software that can hold thousands of songs? Today it is a standard and the DJ’s who laughed at him then use similar equipment now, without ever mentioning his courage, vision and influence.
These days folks are making whole albums on their phone! If you said a phone was Hip-Hop 20 years ago people would have laughed at you and beat you with the phone. Now they are collabing, sharing files in the cloud, DJ’ing, sharing dance routines, making album covers etc.
The problem in the traditional framework used by most museums and university archives is that they use dated, boilerplate methods for telling you the who, what, where when and why any given thing happens. This archaic way of sifting through the granular, often conflicting elements of the Hip-Hop subculture make it hard for institutions to be authentically engaging.
This is why our approach had to serve as the root framework for Open Arc System (OAS). a living breathing global subculture as ever expansive and vibrant as Hip-Hop. It has to be told in a new way- we have found that way.
A huge part of OAS method that made OMCA is how ahead of the curve they were on making museum exhibits interactive. A friend of mine who recently got his Doctorate in Education told me OMCA knows more about educating kids than most school districts. We invited battle champion DJ AkikoLuv to our first gathering of culture keepers. She brought a portable turntable to the meeting. The son of another DJ was addicted to scratching with it. He was about 6. We knew having turntables, beat machines, mics, tagging areas and open space to dance would be crucial to the exhibit from day one. But that moment was magic for all of us.
Senior Curator at OMCA Rene Deguzman, Fashion Consultant Susan Barrett of Barrett Barrera and Guest Curator Adisa Banjoko Photo SF Bayview
Rene DeGuzman, Penny Jennings, Rhonda Pagnozzi, and their team worked with us tirelessly to ensure that Hip-Hop was experienced- not just seen under glass. The idea was always that if we can let them experience Hip-Hop through direct participation that we would not need to tell them every “element” of Hip-Hop. By engagement in the art itself, all visitors would know Hip-Hop for themselves.
Opening night, I saw an elderly women and men making beats. I saw kids scratching on the turntables and families playing chess and dancing together. It was perfect.
Looking at it there are a lot of pro's to this approach.
Pro’s and Con’s of Framework:
Pro’s:
1.Storytelling becomes more fluid.
2.Institutions do not have to burden themselves with having definitive positions on Hip-Hop history. What Kool Herc ate for breakfast may be interesting to some but it does not define the depth of one's knowledge. We lead the visitors down open paths of Hip-Hop that are not burdensome.
3. The traditional artist profiles and histories do not have to be mandatory parts of an exhibit. It helps the space breathe more and
4. Specifically using the video remix method of Mike Relm we are able to create dynamic engaging content that connects generations. For example he remixed Cardi B’s Bodak Yellow over 90’s classics (Jay Z, Aaliyah and more!). Teen girls cried out “Ayyye!” as soon as they saw their icon rapping. The
moms were clapping to. But that was because they heard her rapping over Jay Z and Aaliyah. These videos also allow you to celebrate the local Hip-Hop culture and still honor the national icons on the same level.
5. We do not attempt to define your interpretation of what Hip-Hop is or may be. Is it anti-establishment? Is it a part of mainstream America now? Has it lost its political edge? None of that is our job. Our job in the OAS method is to deepen your exposure and point you in the direction of where to learn more of what you want. This is your life and your art to interpret as you wish.
Con’s:
Sometimes artists may feel slighted that their specific histories are not outlined for visitors. However, due to the rich multimedia section and the manner in which we ultimately we point in the direction of all subsections that exist in Hip-Hop. Granular knowledge of the elements we believe is on the visitor we are simply the guide.
In conclusion, we believe that in 5 years most museums and universities will use Open Arc Systems to tell Hip-Hop narratives. Further, we believe that in 10 years other artistic mediums will be using Open Arc Systems to tell other stories. This is not a Hip-Hop specific methodology. If your museum, brand etc., is in need of being re-framed please feel free to reach out to us. We would love to help you breathe new life into your exhibit. I can be contacted directly at hhcfteam@hiphopchess.com for serious inquiries.
Come to our upcoming Unity in Diversity event Feb 26th and see an amazing panel of tech experts talk about Technology, and Hip-Hop beyond the code. Get tix here! This is an all ages event and we expect a lot of great people coming out. If you are a teacher, a student or a parent looking for new insights, this is the event to be at. Do not miss this.
Watch the new video channel by Adisa Banjoko and learn how your enemies improve you. Don't forget to subscribe to the channel. Be sure to subscribe to see more in the series.
Rapper Jasiri X, HHCF Educator Arash Daneshzadeh and Adisa Banjoko hanging out on the 64 squares. Chess set sponsored by www.thechesspiece.com
2016 is starting strong for the Hip-Hop Chess Federation. Their Founder started a new video series produced by YouTube Remix King Mike Relm (known for his Star Wars, Iron Man and Avengers video remixes). Mike Relm and Adisa Banjoko have a series of short videos about life strategy and philosophy that will leave you inspired and informed.
HHCF Founder Adisa Banjoko recently interviewed Vince Krause. Vince is a skateboard pioneer in Hawaii who went onto become a jiu-jitsu practitioner and training partner of acting icon Paul Walker. In this exclusive interview Vince shares very inspirational stories about his own life path, and reflections on Paul Walker. These are things you will not learn watching TMZ or simply watching clips of Fast and Furious 7. We hope you enjoy this and share it wide. They also talk about speed chess in Hawaii back in the day.
Adisa Banjoko, journalist and founder of the Hip-Hop Chess Federation, visited St. Louis recently to highlight the powerful fusion of chess, hip-hop and activism.
He convened experts including James Braxton Peterson, founder of Hip-Hop Scholars, LLC; and Asheru (born Gabriel Benn), a Peabody award-winning journalist and youth activist. Asheru is also a hip-hop artist who created The Boondocks theme song.
Banjoko led panel discussions for at-risk youth at Innovative Concept Academy, Confluence Academy and for detained youth at the Juvenile Detention Center.
Banjoko is a self-proclaimed nonviolent revolutionary. This ideology is at the core of his organization, based in the San Francisco area, which aims to curb youth violence by teaching youth the game of chess. He stated that St. Louis has a lot of violent crime; the city consistently ranks as one of the nation’s most dangerous cities. READ THE FULL STORY HERE
There are certain times in your life, where you feel it coming together. Right now is one of those moments. Shortly before I started Hip-Hop Chess Federation I interviewed Grandmaster Maurice Ashley for my second book Lyrical Swords Vol. 2: Westside Rebellion. The book also included interviews with RZA, GZA, Afrika Bambaataa and many others.
I met him face to face through Jen Shahade in NY at a HHCF/9Queens event with the RZA. He was very supportive of the momentum we had. I told him then that there was no purpose in me doing what I did if he, Jen, Josh Waitzkin and others did not exist. I explained that HHCF for most serious chess players and fans is misunderstood. That I point people in their direction, knowing that you (meaning Maurice, Jen, Josh, and other GM's, WGM's etc.) do all the true heavy lifting.
Over the years he and I would talk, or email, but we could never seem to catch up.
Thankfully, Jen Shahade introduced me to Susan Barrett from the World Chess Hall of Fame and she invited Hip-Hop Chess Federation out to do several panel discussions on the history of where Hip-Hop, chess and martial arts interlock and how we can use it to inspire children toward self-mastery and self-discovery.
L to R Alan "Gumby" Marques, rapper Asheru, Judge Jimmie Edwards, Susan Barrett of World Chess Hall of Fame, Dr. James Peterson, Mike Relm at Innovative Concept Academy
The events they set up were nothing short of amazing. We went to the famous ICA school ran by Judge Jimmie Edwards. We hosted a panel at the St. Louis Library, the Confluence Academy (also one of the best schools I have ever been to!) and a juvenile hall detention center. To stand on Marilyn St. in Saint Louis between the World Chess Hall of Fame and the St. Louis Chess Club is like standing between Meeca and Jerusalem. The energy is electric.
Adisa Banjoko addresses Confluence Academy
Among the other amazing things that happened though, is, Maurice Ashley interviewed me during the championships. It was a shock and I was truly nervous beyond words during the interview. But later the next night, I got to interview him. It was amazing!!! He talked about his early years as a young chess player, his time playing with Jay-Z and an amazing chess hustler set up match he had with jazz legend Wynton Marsalis. This stuff is simply beautiful. I hope you enjoy listening to it as much as much as we loved making it. St. Louis is a beautiful city and my experiences there made me a changed man. I understand chess culture better than I ever have.
I want to thank a few people before I go and understand that the list is simply too long to really get everybody. But here it goes: Jen Shahade (you pulled the trigger on this, thank you so much!) Susan, Laura, Shannon, Amanda (great driving!), St. Louis Police Department (the two nicest cops I ever met after a fender bender was in St. Louie!), everybody at KMOX (Hi, Charlie and Debbie!),Matt Barrett, Mike, and everybody at the St. Louis Chess Club for their kindness to the HHCF squad and my family. You all opened by eyes to a new level of chess culture and duty to serve the community. Thank you for making me a better citizen of the world.
Ashley and Seirawan take on all comers at ICA in St. Louis
To my HHCF squad (The Furious Five): Mike Relm, Dr. James Peterson, Alan "Gumby" Marques, Asheru and Dr. Daaim Shabazz. You guys take the science and art of Hip-Hop, chess, martial arts and education to the next level. I could not imagine having a better experience in St. Louis than I had with you. Thank you for trusting my vision and bringing your best selves to the Live The Game event. A special shout out to Meek Gaborski (the titanium backbone of this organization) David Frazee Esq., Arash Daneshzadeh (HHCF's Education Director), LyRyan Russell, Elaine Moskowitze, Kay Hones, Pablo Fuentes, T-KASH, Dlabrie, Shamako and Rahman, Josh Waitzkin, Joe Schloss, Dawn-Elissa Fischer, Davey D, RZA, Rakaa Iriscience, Ralek, Ryron and Rener Gracie, Denny Prokopos, Eddie Bravo and a lot of the real Hip-Hop, chess and jiu jitsu folks that really put it down for us back when nobody believed in the fusion of Hip-Hop, chess and martial arts.
To Judge Jimmie Edwards at ICA, the St. Louis Library, to everybody at Confluence Academy and St. Louis Juvenile Detention Center I want to thank you for your open minds, for giving us a chance to speak to your youth and trusting that our vision could help. Any time you need us, please reach out. You all do amazing work and everybody at HHCF was left inspired beyond measure.
FOOD SHOUTS: Lesters, Bar Italia, Drunken Fish and PAPPYS (thanks for the extra bottle of sauce, but TSA gaffled it).
PHOTO CREDITS: Shots of ICA credit Daaim Shabazz. Photos of Maurice Ashley and Adisa Banjoko credit Mike Relm.
Live
the Game:
National Experts Convene in St. Louis
to
Highlight the Powerful Fusion of Chess, Hip Hop, and Martial Arts
March 4, 2013 (St.
Louis, MO) -- Look closely and you’ll see it at the beginning of
the new Justin Timberlake video featuring Jay-Z. Read the lyrics of
“General Principles” by GZA. Check out the album cover for Pawns
in the Game, the 1990 album
by Public Enemy emcee Professor Griff. It also shows up with RZA in
scenes featuring hip hop characters on the hit TV show
Californication.
It’s chess. And
at first glance, it doesn’t appear to have a link to hip hop.
Throw martial arts into the mix and you really have to have your
finger on the pulse of popular culture to know about the connection.
A group of
national experts who really do know do “have their finger on the
pulse” – and know the impact that this combination can have on
young people – will meet in St. Louis on May 8 to present to
students of the Innovative Concept Academy. A second session with
local leaders will be held at the Schlafly Branch of the St. Louis
Public Library.
“These
presentations will illustrate how chess and martial arts have been
woven into the history of hip hop. Further, it will show how the
blending of art, logic, and physical fitness guide young people to
self-discovery, self-mastery, and nonviolence,” said Adisa
Banjoko,
journalist and founder of
the Hip Hop Chess
Federation.
Banjoko, who has
been tapped to present at institutions like Harvard University and
Brown University, assembled the group and will moderate discussions.
Panelists include Dr. James
Peterson (founder of Hip
Hop Scholars, LLC, and
director of Africana studies at Lehigh University),
Mike Relm Youtube
video remix icon and co-founder of Bishop Chronicles podcast show, Asheru
(Peabody Award-winning journalist, creator of The Boondocks theme
song, educator, and youth activist), and Alan
"Gumby" Marques
(Black belt in jiu-jitu and founder of Heroes Martial Arts).
The presentations
are sponsored and coordinated by The World Chess Hall of Fame.
“Our focus at
the World Chess Hall of Fame is to show how the game of chess has an
impact on society. The work of Adisa and the other panelists has
been life-changing for many people. The examples they will share
will show how this change can happen in St. Louis as well,” said
Susan Barrett,
executive director of the World Chess Hall of Fame.
Details
Date: May 8, 2013
Presentation 1:
10 am, Innovative Concept Academy
Presentation 2:
4:00 pm, Schlafly Branch of the St. Louis Public Library
About
Adisa Banjoko
Adisa
Banjoko is a respected journalist, lecturer and the founder of the
Hip Hop Chess Federation. His organization has appeared in the New
York Times, San Francisco Chronicle, Washington Post, and Vibe
magazine. He’s also been a guest on NPR and Good Morning America.
About
Dr. James Peterson
Dr. James
Braxton Peterson (Duke ’93, UPENN 2003) is the Director of Africana
Studies and Associate Professor of English at Lehigh University. He
has been a visiting lecturer and preceptor in African American
Studies at Princeton University and the Media Coordinator for the
Harvard University Hip Hop Archive. He is also the founder of Hip Hop
Scholars, LLC, an association of Hip Hop generational scholars
dedicated to researching and developing the cultural and educational
potential of Hip Hop, urban, and youth cultures.
About
Mike Relm
Mike
Relm is a pioneer video remix artist who has toured with The Blue Man
Group, Tony Hawk and rocked stages at Coachella, Bonnaroo and The
House of Blues. He has more than 13 million hits on Youtube. Notable
remixes include Iron
Man 2, Old
Spice, Scott
Pilgrim Vs. The World,Doctor
Who,
and Harry
Potter.
His Punisher/Spirit/Transporter remix won the 2009 Webby
Awardfor
Best Mashup/Remix.
About
Asheru
Asheru,
born Gabriel
Benn, is a
hip hop artist,
educator, and
youth activist. He is widely known for performing the opening and
closing themes for the popular TV series, The
Boondocks,
as well as his pioneering and innovative efforts to forward the Hip
Hop Education movement.
About
Alan “Gumby” Marques
Gumby
is a first degree black belt in Jiu Jutsu and is best know as the
co-founder of OTM, one of the world’s leading sources for Brazilian
Jiu Jitsu. He is an author, commentator, coach, referee, and
instructor.
About
the World Chess Hall of Fame
The World Chess
Hall of Fame (WCHOF) is a nonprofit organization committed to
building awareness for the cultural and artistic significance of
chess. It opened on September
9, 2011, in St. Louis’s
Central West End after moving from previous locations in New York and
Miami.
The WCHOF is
housed in an historic 15,900 square-foot building that includes three
floors of galleries, the U.S. and
World Chess Halls of Fame, and
the stylish Q Boutique. It provides visitors with a unique
opportunity to use chess as a platform for learning, exploring, and
seeing their world in entirely new ways.
It is the only
cultural institution of its kind in the world and the only solely
chess-focused collecting institution in the U.S.
Adisa & Mike Relm enjoy a quiet game at the St. Louis Chess Club
We are proud to announce a new podcast show launched produced by Mike Relm called The Bishop Chronicles. Its about technology, music, chess and life. Please listen to it now and share it :
.JPG)
