New Approaches to Teaching Hip-Hop History at Oakland Museum

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.

LISTEN KQED RADIO: https://www.kqed.org/forum/2010101864552

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:

1. 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.

HHCF Panel on Hip-Hop & Violence August 6th in The Bay Area!

For Immediate Release

Crystal Silva

Contact@hiphopchessfederation.org

Hip-Hop Chess Federation Hosts Community Panel to Discuss

Hip-Hop and Violence

RZA of Wu-Tang Clan Sponsors HHCF Community Forum on Rap’s Role in Promoting Peace

July 18, 2016- San Francisco, CA - Due to the climate of violence in America the Hip-Hop Chess Federation (HHCF) is hosting a panel discussion on Hip-Hop and Violence. “HHCF has been fusing Hip-Hop, chess and the martial arts to help kids conquer violence for ten years. In the recent wave of violence in America and the around the world we are hosting a panel on how people art are using it to educate and inspire people to be more peaceful servants of our community.” August 6, from 2-6 PM at GM Services in association with HHCF located at 42660 Christy St. Suite B, Fremont, CA. This event is free for all ages!

Panelists include rapper Casual of Hieroglyphics, Sociology Instructor at Merritt College Dr. Charity Clay, rapper CMG of the pioneer woman's rap group Conscious Daughters and St. Louis Art Consultant Susan Barrett of Barrett Barrera Projects. A special MMA guest panelist will be named shortly.

After the panel there will be open chess gaming to be played by those who attend, Hip-Hop dance exhibitions and Brazilian jiu-jitsu exhibition matches as well. The organization's goal is to help individuals discover themselves and respect the humanity of others through the fusion of art and logic.

The event is being funded in large part by RZA actor and founding member of the Wu-Tang Clan. RZA is on the HHCF Board, a 501c3 nonprofit.  RZA and Adisa have worked together in St. Louis promoting art as a path to peace to the youth during the St. Louis uprisings surrounding Mike Brown. Due to RZA’s heavy recording and film schedule he cannot attend this event but knows the importance of it. The work RZA and Adisa accomplished in St. Louis is detailed in Adisa’s new book Bobby, Bruce & the Bronx: The Secrets of Hip-Hop Chess.

Beyond the panel there will be exhibitions of Hip-Hop dance, Brazilian Jiu-Jitsu and open chess gaming.

“RZA supported us when few understood the importance of what we do. His kindness and consistence with HHCF is unparalleled” stated Adisa Banjoko. “ With so many weapons of war on American streets and in the world, there has never been a better time than now to be nonviolent. When I look at the streets of Minnesota, Louisiana and Dallas the one thing I’m sure of is that those choosing violence as a solution are not winning!!  I don’t see anyone winning with violence right now. I see all sides in America losing. My faith in the power of innovating nonviolence has never been greater and the time has never been better than now to create more peace.”

For more information call 888-335-4418 or RSVP @ https://www.facebook.com/events/1738612206381189/ or follow them on IG & Snap @realhiphopchess

HHCF Hosts Chess and Life Strategies Class at St. Louis Juvenile Hall

This past weekend I was in St. Louis talking to kids about the value of Hip-Hop and chess. As many of you know, this has been my lifes obsession that went from a small organization to a rapidly growing 501(c)3 nonprofit.

The long version of what we do, is that we fuse music, chess and martial arts to promote unity, strategy and nonviolence. We have been doing this since 2006 and the impact is expanding and  as our research and knowledge is refined and revealed through innovative outreach strategies.

Rapidly these strategies gave us new insight and naturally changes our form of approach. So today we simply say, “The Hip-Hop Chess Federation fuses logic and the arts, to unite minds and hearts.” It may be done through chess, Hip-Hop, performing arts, cheerleading, theater- it goes on. We are not committed to anything beyond helping American children improve their sense of purpose and academic function. How it happens, is less important. We all learn differently.

Our organization was born from a visit I made to a juvenile hall detention center in San Francisco. Since then I have always had a special place in my heart for incarcerated youth and at-risk youth of all racial, cultural, and religious backgrounds. We believe that American children are some of the planets most valuable resources. Many of these intellectual diamonds, rubies, and emeralds are largely undiscovered in our juvenile halls and dysfunctional high schools. So this is where we like to spend our time. We excavate the minds of the youth in search of a better tomorrow.

RZA from the Wu-Tang Clan has faithfully served as our Director of Outreach. since early in our infancy. After doing a mountain of research for the Living Like  Kings exhibition at the World Chess Hall of Fame (because of the kindness and wisdom of Jennifer Shahade and Susan Barrett) RZA and I spoke at the Demetrious Johnson Charitable Foundation to about 400 kids from across St. Louis (where the WCHOF is located).

I fell in love with the city a year or so before when I came out there with my man Mike Relm. He and did some work at a co-ed juvenile hall and it changed me. It refined my sense of purpose. RZA and I spoke there again the day of the Living Like Kings opening. They invited us back and the demand was heavy. Before the closing of the opening, I returned for a weekend to meet with some hitters in education, innovation and art between new visits to both the city and county juvenile hall facilities.

I went with the HHCF’s Director of Chess Education, Kevin Hwa. He’s a great teacher of chess as well as a super avid Hip-Hop head. He understands chess on a much deeper level than I do and can integrate my philosophies into positional realities on the board that I cannot see (due to my very average playing ability).

When I invited him out, Kevin was immediately on deck. He is a true student of the black and white jungle. A chance to go see the World Chess Hall of Fame, visit the St. Louis Chess Club (the Mecca and Medina of the chess world) and help kids in the same weekend? He was not going to miss that.

Our hostess was Susan Barrett of Barrett Barrera. She is to HHCF what Obi Wan Kenobi was to Luke  and Han Solo. That was unnecessarily nerdy, but it is a fact. She took us around and is always framing and reframing the history and culture of St. Louis for us so we don’t miss a beat.

When we landed it was super late. The city was chilly, but not freezing as it usually is this time of year. After checking into the hotel we went straight to my favorite sushi spot, Drunken Fish we tore down some White Tiger rolls and Spider rolls as we talked about everything under the sun. It was almost 1 AM and we were lucky they let us in. We went back to the hotel and got ready for the morning grind.

At 8:45 Susan pulled up and we went to the juvenile hall. Kaelan Mayfield greeted us (he’s a real good dude) and took us to the lunch room. It has mustard colored walls and fluorescent lighting. The overcast light from outside gives the room and odd balance of light and darkness. Juve is gloomy homey. This was the first place Mike and I went to when we first came here. This was a bigger group of kids. The audience was 100% Black, as it was last time. A small contingent of girls with faces harder than the hardest hard rock could get entered the room.

Kevin setup a board and played with kids who knew the basics while I evangelized on the power of chess for young minds. I was not met with much immediate buy in. But I kept on. I broke down the 3PA > 1NT methodology. Told them how I knew Pac in my youth and the importance of reading. I broke down how if Pac does not read The Prince by Niccolo Machiavelli we lose how military science and Hip-Hop meet. I talked about Michael Jordan and the important duty of diligent practice. I talked about how the Moors brought chess to Europe and if those African Muslims don’t do that then we never get chess in America. At that point in the conversation I might as well have been telling them about Martians.

Susan shared some ideas on art the work ethic it takes to be truly great. Kevin was showing the kids how to improve how they see what is happening on the board and why. I cannot lie, it was a lukewarm start. Nevertheless, by the time the session was done, they were feeling us. . I even shared a 16 bar rhyme cipher with one of the youngsters. He was really good. A reminder of the untapped artistic and intellectual goldmine in juvenile halls of America.

                                                      T-shirt by artist Daniel Jefferson

From there we went on several meeting with artists and educators across the city. One of the most memorable was Daniel Jefferson. He is one of the realest dudes out there right now. His approach and sincerity struck me. I wanna bring him out here. He reminds me of my man Keba Konte...They look related. I also made a stop by the Philip Slein Gallery where they have an amazing exhibit on African American artists. Such a healing and beautiful space given the nature of the tensions in the city out in Ferguson. Needless to say, HHCF has a new crew of allies and we are honored to be in tune with so many wise and beautiful spirits.

Adisa, Yasser, Ana and Kevin

                                     

Next we had dinner with some amazing friends at Bar Italia in the Central West End (soooo good). As luck would have it Grandmaster Yasser Seirawan and Ana Sharevich were there. Yasser is a wise and fun man who always has been supportive of HHCF. It is always enriching even to spend a few moments with him.

HHCF Founder Adisa Banjoko and rapper So'nSo from Midwest Avengers in Paint Louis

After dinner rapper So’nSo from Midwest Avengers took us around St. Louis. It was almost midnight. Me and Kevin wanted to go to Ferguson, but we all agreed it was pretty tense and we did not wanna get hemmed up. All day rumors of the city announcing on if Darren Wilson would be charged by the DA would happen. Riot vibes were in the air. Instead he took us to Paint Louis. It is a mile and half long wall of bombing (graffiti pieces). It was so amazing. I was mad it was so late. I plan to go next time first thing after hitting Sweetie Pies!!! Damn that food is the best soul food on Earth.

The next day we went to the other juvenile hall center. This was the one where RZA and I had spoken together at in October. TJ and the rest of the staff there are always very awesome. One of the other guys there, Mike, is a serious Brazilian Jiu Jitsu student. He and I spoke at great length about how cool the connections between chess and BJJ are. Not long after that the kids came out.

Most of the kids from my initial visit with RZA were gone. None of the girls from our previous visit was there. About ¼  of the kids from in October were on hand. They were excited to see us there. Kevin and my man James had the boards set up.

They have a serious passion and knowledge of chess fundamentals. Some of them are giving me pounds on sight. The ones who were not here when RZA and I last spoke are just supportive off top because they see the love we get from their peers. When I jumped into the philosophy of it, they were locked in from word one.

I went over 3PZ > 1NT again and went into the Poisoned Pawn. They got it. They loved it. Then we had Kevin host the simul. They had never seen one. Essentially, we line up all the boards. The kids are on one side. Kevin is on the other. He walks to the first board, moves, then the other guy moves. Goes to the next board, moves, then the other guy moves etc. He rotates to each board move by move until no one is left. It was great. The winner got to keep one of the boards. Then Susan suggested we give a few boards to the hall. TJ and Mike were happy about that.

                                  Adisa Banjoko gets faded by one of the kids in St. Louis. 

I played a few games. Lost one to a kid I crushed a few weeks back. He was looking for me. I had a few big blunders. First, I did not castle early as I had planned. Second, I slipped and lost my queen early. Third, I thought a knight fork check was real when it was not real. I lost.

The kid was so juiced. I told him I looked forward to playing him again in a few weeks. He smiled big and said “I get out tomorrow.” To not be able to play him next time I come out, made my happier than plotting my revenge on the 64.

HHCF Dir. of Chess Education Kevin Hwa and HHCF Founder Adisa Banjoko

Super long story short. We ran by the World Chess Hall of Fame and the St. Louis Chess Club to take some photos and chill. Took some photos of my research on display. Then James took us to the airport. It was an amazing trip. So’nSo Midwest Avengers, KyJuan from St. Lunatics and Jason Wilson get an extra shout out. Looking forward to building more bridges between St. Louis and The SF Bay Area. If you or anyone you know might be interested in helping us connect on a deeper level, or help is find funding for education, arts and peacemaking events visit www.hiphopchessfederation.org .  

PS. I know we are late dropping the HHCF Street Games Vol. 2. It is in the mix. I gotta send the last tracks to DJ Rob Flow. I think it will drop in late Nov., or early Dec. Grandmaster Maurice Ashley and Eugene Brown (the real dude from Life of A King) are the hosts for the mixtape.

SF Examiner Feature Profiles HHCF's Raheem Payton and Antonio Godoy

Senior Raheem Payton was oblivious to the students crowding around him, sitting on a bench in the middle of the quad, deep in thought about the consequences of moving his knight forward. His opponent in this chess game, security guard Adisa Banjoko, waited patiently for him to meditate on making his move. Suddenly, the silence was broken as the front doors of the school burst open.

“They got guns!” A student screamed, as four males brandishing handguns rushed through the lobby, their voices barking orders at the students to move out of the way.

Banjoko quickly moved into action, covering another security guard, Juan Gallardo, who was standing in front of the student the intruders were after. Payton sat frozen at the table, watching the scene unfold.

The intruders, including a 13-year-old suspected gang member, engaged in a verbal dispute with the guards before noticing security cameras and abandoning their pursuit of a rival gang member. Payton held his breath those minutes before they ran from the building.“All I could think was what is going on here,” he recalls, “It happened so fast, the way they ran in ready to fight.”

READ THE FULL STORY HERE!

HHCF and World Chess Hall of Fame Take Over St. Louis + Adisa Interviews GM Maurice Ashley

LISTEN TO THE INTERVIEW HERE: www.bishopchronicles.com

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.