article by Jordan Murray via nbcwashington.com
The Kennedy Center announced their first director of hip-hop culture and contemporary music Wednesday. Simone Eccleston, currently the director of programming at Harlem Stage in New York, will assume the role March 13. Eccleston’s new role will include leading a center-wide commitment to hip-hop culture and contemporary music, which includes R&B, soul, folk and roots, indie, world music and Latin music, according to a release.
Eccleston will also work as a partner with other areas of the Kennedy Center to highlight the collaborative nature of hip-hop music. The program will also aim to increase opportunities for community involvement and participation. Hip-hop is based on five core elements — deejaying, emceeing, break-dancing, graffiti writing and knowledge of self — the Kennedy Center said, all of which build and transform communities through art and action.
“With the Kennedy Center serving as the preeminent home for our nation’s arts and culture, the creation of a programmatic platform for hip-hop culture is deeply significant,” Eccleston said in a statement. She also said hip-hop culture has influenced and contributed to every aspect of American society and helps drive innovation and creative expressions across many different disciplines. “It is also an important catalyst for community building, activism and empowerment.”
Kennedy Center Senior Vice President Robert van Leer said the nature of hip-hop culture can create collaborations with the dance, theater, music and education programs. “We are thrilled to have an arts administrator of Simone’s caliber join us — someone who can lead that exploration of what hip-hop at the Kennedy Center can become in the coming years,” van Leer said in a statement. “And we believe it is the Center’s responsibility to develop and elevate thought-leaders like Simone to champion the bright future of our nation’s cultural institutions.”
Last March, the center appointed MC, rapper and record producer Q-Tip as its first artistic director for hip-hop culture.
To read full article, go to: Kennedy Center Names First Director of Hip-Hop Culture | NBC4 Washington
It took only 20 seconds for Clyde Stubblefield to drum his way to immortality. They came near the end of James Brown’s “Funky Drummer,” recorded in a Cincinnati studio in late 1969. Brown counts him in — “1, 2, 3, 4. Hit it!” — and Mr. Stubblefield eases into a cool pattern, part bendy funk and part hard march. It’s calm, slick and precise, and atop it, Brown asks over and over, “Ain’t it funky?”
It was. That brief snippet of percussion excellence became the platonic ideal of a breakbeat, the foundation of hip-hop’s sampling era and a direct through line from the ferocious soul music of the civil rights era to the golden age of history-minded hip-hop of the 1980s and 1990s.
Though Mr. Stubblefield wasn’t enamored of the song — “I didn’t like the song. I still don’t really get off on it,” he told Paste magazine in 2014— its mark became indelible. Public Enemy’s “Fight the Power,” LL Cool J’s “Mama Said Knock You Out,” Boogie Down Productions’ “South Bronx,” Sinead O’Connor’s “I Am Stretched on Your Grave,” George Michael’s “Freedom! ’90” and Kenny G’s “G-Bop”: Mr. Stubblefield’s “Funky Drummer” break appeared as a sample in all of those songs, and over a thousand more, from the 1980s to the present day. It made Mr. Stubblefield, who died on Saturday in Madison, Wis., at 73, perhaps the most sampled drummer in history.
The cause was kidney failure, said his manager, Kathie Williams.
Mr. Stubblefield was born on April 18, 1943, and grew up in Chattanooga, Tenn., where he was drawn to the rhythms of local industrial sounds, from factories to trains. “There was a factory there that puffed out air — pop-BOOM, pop-BOOM — hit the mountains and came back as an echo,” he told Isthmus in 2015. “And train tracks — click-clack, click-clack. I listened to all that for six years, playing my drums against it.”
