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https://www.blackenterprise.com/memphis-hip-hop-museum/
Memphis, Tennessee, has a rich history in soul music, but over the past couple of decades, hip-hop has also made an indelible mark. So much so that the city is proposing a permanent museum that will celebrate the music and the culture behind the genre that has come from Bluff City.
According to WREG, at a Shelby County Commission meeting that took place on Dec. 11, the topic was brought up for discussion. Former Greater Memphis Chamber president and former executive director of the Civil Rights Museum, Beverly Robertson of Trust Marketing, spoke to the city commissioners to discuss the proposal for a Memphis hip-hop museum.
“We’ve had a thriving music culture for years, but it’s revving back up after Stax closed down,” she said.
With a hip-hop museum in place, it could potentially be visited by more than 43,000 people each year. They are also projecting that it will have yearly operating expenses of $1.8 million, with an anticipated revenue of $1.14 million. However, it could require more funding, to the tune of more than $700,000.
“Once we get anchored, we will figure out how to generate the revenue to be able to sustain and grow the museum long-term,” Robertson added.
Memphis recording artist Al Kapone, who was responsible for a song on the Hustle and Flow soundtrack, “Whoop That Trick,” likes the idea of a museum.
“The Memphis music scene, especially the hip-hop scene, has been dominating for a long time. We’ve been just as unique as the soul music era.”
The commissioners wanted to know if artists, musicians, and historians from Memphis could be involved in the project if given the ok. They also questioned if there could be an educational component for children, with a possible job-training program in music for young adults. The organizers stated that it could be and there can also be master and production classes, as well as performance and wellness spaces.
Al Kapone added his thoughts and believes that a hip-hop museum can drive more tourists to the city.
“Listen, we need that hip-hop museum in Memphis because the history runs deep,” he said.
RELATED CONTENT: National Civil Rights Museum To Host Symposium On 1964’s Freedom Summer
We’re still shouting happy birthday to Hip-Hop! Having turned 50 on Aug. 11, 2023, Hip-Hop culture has changed the lives of many people since its birth. The evolution of Hip-Hop has embodied art, DJ’ing, dance, fashion, hair, jewelry, language, lyricism, music and guess what else—literature ..books.
BLACK ENTERPRISE salutes Hip-Hop books for penetrating the literary space. Here are 10 books from Hip-Hop artists that tell their story and share their perspective not heard through music.
1.) From Pieces to Weight: Once Upon a Time in Southside Queens
Read From Pieces to Weight: Once Upon a Time in Southside Queens by 50 Cent (2006-08-15) #books ~ https://t.co/HvL2OVJvUY pic.twitter.com/5I90ZMtT95
— StudentsArena.com (@studentsarenake) October 8, 2018
This memoir, written by Curtis “50 Cent” Jackson with Kris Ex, is a tale of how 50 Cent navigated his difficult childhood as a youth: dealing with the murder of his mother; hustling in the streets to survive; being shot nine times and achieving the American dream.
2.) The Wu-Tang Manual
Got some new reading material for the upcoming vacation. RAW is captivating right off the bat I can’t put it down and can’t wait to jump into the Wu-Tang Manual @Ugodofwutang @RZA #WuTang #wutangforever pic.twitter.com/nULpRfRrwl
— BakedToaster (@Poolius420) July 19, 2019
The Wu-Tang Manual by Robert Diggs, otherwise known as RZA, and Chris Norris. The Wu-Tang Manual is made up of 4 books that break down all things Wu-Tang Clan—from information about the nine original members, Wu-Slang, and the philosophies and personalities that make the Wu-Tang Clan what it is. If you’re heavy into Wu culture, this book is for you.
3.) Sweat The Technique: Revelations on Creativity from the Lyrical Genius
RAKIM “Sweat The Technique: Revelations On Creativity From The Lyrical Genius” is available everywhere now…! #rakim #sweatthetechnique #revelations #creativity #lyrical #genius #18thletter #forever #godmc #microphonefiend #lyricsoffury #nocompetition #ther #flowforever pic.twitter.com/i1lZ6rd88k
— HipHopGods (@hiphopgods) October 1, 2019
Rakim Allah’s book is half a memoir and the other half is a writing guide. In this book he details who and what influenced him in his youth (jazz and John Coltrane) while highlighting the reason he is hailed as the god MC.
4.) Hurricanes
Rick Ross – Hurricanes: A Memoir (Book Review)
Now available on YouTube: https://t.co/85nSMbzdlV#HipHop #HHT #Rap #RickRoss #Hurricanes #BookReview pic.twitter.com/WNIOGFmCXg
— Pure Rap Podcast (@PureRapPodcast) January 23, 2022
Rick Ross and Neil Martinez-Belkin wrote this memoir about Ross’ upbringing in South Beach Miami during the War On Drugs era, which covers his time as a high school football player, dope boy hustler, and correctional officer. Ross chronicles the making of his debut hit song “Hustlin’” to having a large deal with Def Jam records. This read will give you insight to Rick Ross’ experiences and inspirations
5.) Decoded
On this day in 2010, Jay Z released his autobiography and memoir, Decoded pic.twitter.com/L7sNcDwtHm
— •UP•NORTH•TRIPS• (@evboogie) November 16, 2019
Decoded, written by rap icon and business mogul Shawn Corey Carter (widely known as Jay-Z,) is a one of a kind memoir that shows the worlds Jay-Z has maneuvered. Beyoncé’s other half tells his story while highlighting the hip-hop art form and culture by deconstructing his lyrics and giving readers a deeper dive into his journey as a artist.
6.) E. A. R. L. The Autobiography of DMX
[Read] EBOOK E.A.R.L. The Autobiography of DMX >>% pic.twitter.com/btsH2Orvwb
— Linda T. Artman (@Lindatartman) March 11, 2022
The Autobiography of DMX, by the late Earl Simmons and Smoky D. Fontaine, shares X’s upbringing in the streets of Yonkers, New York. Readers learn how DMX overcame struggles involving neglect, physical abuse, drug abuse and jail time. The book reveals DMX’s ability to never give up on his dreams, finding his passion for hip-hop and releasing a no. 1 album four times in a row. X’s story literally shows that if you slip and fall you can still get up.
7.) Cross The Tracks
Boosie first Memoir ‘Cross the Tracks’ will be released on September 20 pic.twitter.com/DkoeA8yf0l
— SAY CHEESE!
(@SaycheeseDGTL) September 2, 2022
Torrence Hatch Jr., the controversial rapper known as Boosie Badazz, gives readers the details of growing up in Baton Rouge and being a local star at the age of 14, and becoming one of the most prominent rappers in the South. Boosie talks about survival, having a second chance at life, and beating the odds after facing death row and ultimately gaining freedom.
8.) Vibrate Higher
@MrChuckD reading “Vibrate Higher” by Talib Kweli #BookRecosFromCelebs #readmore #read #bookrecos #book #books #reading #author #BlackTwitter #booktwitter #chuckd #publicenemy #blackexcellence #hiphop #talibkweli #raphistory #prophetsofrage #eastcoastrap #blackstar pic.twitter.com/khlwarlcrG
— BookRecosFromCelebs (@CelebBookRecos) April 29, 2022
Vibrate Higher is a rap tale written by Talib Kweli that shares his upbringing in Brooklyn, New York. Kweli writes about what hip-hop has done for his life and how the culture impacts life socially, politically, and creatively.
9.) The Autobiography of Gucci Mane
Blunts & Books
The Autobiography of Gucci Mane
Jet Fuel pic.twitter.com/7pPdZLYznZ
— c h a n d l e r (@MrBrickFactory) February 13, 2022
The Autobiography of Gucci Man was written with the help of Neil Martinez-Belkin. Gucci Mane began writing this story while locked in federal prison. Gucci highlights the ups and downs of his life and career, and leans into growing up in poverty, his father’s abandonment, jail time, and how all these shaped him. He shares a bit about the infamous ice cream tattoo and how his career has evolved over time.
10.) Ladies First: Revelations of a Strong Woman
LADIES FIRST, Revelation of a Strong Woman by Queen Latifah#BlackAuthors#OurBlackStoriesToldByUs#Readingisfundamental#SelfImprovement#Authentic#Classic#QueenLatifah#BlackHistoryMonth2021
pic.twitter.com/JbF5GJWHc8
— C.A.S.W. (@CherylAnnWill15) February 16, 2021
Dana Owens, our beloved Queen Latifah, wrote an autobiography that is an inspiration to women. Queen Latifah details growing up in Newark, New Jersey, and the difficult decisions she had to make dealing with sex, drugs, depression. The award-winning hip-hop artist shares what it means to be confident and independent, and what life was like being the first female solo rap artist to get a major record deal at 19-years-old.
RELATED CONTENT: KRS-One Talks 50 Years Of Hip-Hop
The release of 1986’s IT by Stephen King didn’t just give birth to one of the scariest clowns in pop culture, but it also gave birth to the idea of the Macroverse, described as the home of ancient, otherworldly beings like Maturin and IT. Over time, King expanded the concept of the Macroverse in his Dark Tower series, and his world thrived on mysteries that blurred the lines between cosmic horror and childhood nightmares. One of those mysteries is the Ritual of Chüd, a cryptic and ancient battle of wills that served as the Losers Club’s ultimate weapon against IT.
Now, with HBO’s Welcome to Derry promising to explore the origins of IT and the hidden depths of the mythology King has created, the fanbase is brimming with expectations, one of which regards the mysterious ritual. Will the upcoming series finally unravel the secrets behind the Ritual of Chüd and bring clarity to King’s mind-bending lore? Well, this remains to be seen sometime in 2025, when the series is scheduled for release. In the meantime, we can discuss the Ritual of Chüd as it appeared in the movies and novels.
Since the series builds upon the adaptations directed by Andy Muschietti, we’ll reference those movies instead of Tommy Lee Wallace’s 1990 miniseries that, for many, was the first introduction to IT. It’s also worth pointing out that the Ritual of Chüd depicted in the recent IT adaptations is somewhat different compared to that described in the novels, and because of that, we’ll start from the source material.
In the novels, Bill Denbrough was the first to learn of this ritual when he stumbled upon the information about it in a book called Night’s Truth at the Derry Public Library. He also learned that IT was part of an ancient and malevolent race of shapeshifters called Glamours, who were known by many cultures under many different names, and that the Ritual of Chüd was the only way to defeat the old monster Himalayans recognized as Taelus.
The ritual itself comes from the old Himalayan belief and involves a holy man staring into the monster’s eye, with both of them biting into each other’s overlapped tongues. The two take turns telling riddles until one of them laughs despite the pain. If the Taelus laughs first, it gets sent away for a hundred years, but if the holy man laughs first, the Taelus (known to readers of this story as IT) gets to eat the man’s soul. It’s also important to note that the Ritual of Chüd actually involves a metaphysical confrontation with IT rather than a purely physical encounter.
During their childhood battle with IT, the Losers experience the shapeshifter in various terrifying forms that prey on their personal fears. However, Bill Denbrough’s connection to IT during the Ritual of Chüd stands out in the novels because he’s the only one who engages IT on a deeper, more metaphysical level after enacting the ritual. Being thrust towards the Macroverse and the dreaded Deadlights, which represent the essence of IT’s power and its otherworldly nature, Bill also comes across Maturin the Turtle.
Maturin is somewhat of a benevolent Lovecraftian god-creature who accidentally created our universe by throwing up. While he doesn’t actually teach Bill the ritual itself, Maturin offers guidance and insight into a broader struggle against IT, showing him how the Losers’ actions tie into a much larger universal struggle between good and evil. Bill then starts battling IT telepathically, and the Losers end up defeating the monster but ignore Maturin’s advice to finish IT off, and IT supposedly escapes.
Twenty-seven years later, when IT returned to terrorize the people of Derry, the now-adult Losers came back to stop IT. Bill was once again the first to face IT, but without his childlike imagination, he is weaker in the battle. Still, the losers are eventually able to use the Ritual of Chüd to overpower IT, and Bill ends up crushing IT’s still-beating heart between his hands, finally putting an end to Pennywise the Dancing Clown.
However, in Andy Muschetti’s It Chapter Two, the Ritual of Chüd also appears, but in a very different form and not by name. In the movie, Mike visits the local Native American tribes as an adult and discovers the ritual in a vision induced by the tribe’s sacred root herb called Maturin. The ritual involves exposing IT’s true form as the Deadlights and trapping them inside the Native American tribe’s ceremonial Sealing Jar, which is strong enough to trap evil IT. The ritual proves to be ineffective in the movie.
But, the Losers still succeed in killing Pennywise by making him believe that he’s small and weak, allowing them to expose his heart and crush it together with their hands, finally killing the ancient evil once and for all. The movie significantly simplifies many elements of King’s original ritual, but for those who haven’t read the book, the message remains the same: without belief, there’s no such thing as fear, and without fear as a weapon against its victims, IT is powerless.
It’s worth noting that the introduction of the fictional Shokopiwah tribe and their ceremonial Sealing Jar has been met with some criticism. King’s work, and by extension their adaptations, have often been scrutinized for blending cultural references in ways that feel reductive and appropriative at best. While the Ritual of Chüd plays an important role in IT, its portrayal in It Chapter Two risks oversimplifying Indigenous cultures and traditions for narrative convenience—which is most definitely the case in this movie.
Welcome to Derry now has the chance to further explore the Ritual of Chüd, its significance, and its ties to Maturin the turtle-god, as well as how it’s used to defeat Pennywise. Done right, this expansion of King’s mythos could further elevate the horror of Welcome to Derry to new, mind-bending levels. But whether or not the series actually explores the Ritual remains to be seen once Welcome to Derry finally drops next year.
The post The Ritual of Chüd: Will ‘Welcome to Derry’ Dive Deeper into this Mysterious Mythology? appeared first on Black Girl Nerds.
Photo Credit: Raymond Alva 
Leon Thomas is redefining his narrative, and his journey has never been more electrifying. With the release of his sophomore album, MUTT, on September 27, he showcases a fearless dive into the complexities of love and human connection. The album, featuring collaborations with Masego, Baby Rose, and Ty Dolla $ign, among others, is a testament to his artistry—a blend of raw emotion, intricate production, and lyrical depth. Fresh off a Grammy win for his work on SZA’s “Snooze,” Leon’s momentum is unstoppable.
In an interview with ESSENCE, Leon reflected on his growth as an artist since his debut album, Electric Dusk. “This album is me stepping into my confidence,” he said. “It was a tough journey getting into music out of Nickelodeon during my twenties, but now, in my thirties, I’m showing people that I know what I’m doing—and I’m having a good time doing it.”
Photo Credit: Raymond Alva Collaboration played a pivotal role in MUTT. “The majority of the features were done with the artist in the room,” Leon shared. Tracks like “Lucid Dreams” with Masego and “Feelings on Silent” with Wale emerged organically, born from creative chemistry rather than corporate matchmaking. “Every collaboration is a new class,” he added, emphasizing his commitment to learning from his peers.
Thomas recently wrapped up a successful run on Blxst’s North American tour, and he’s already setting his sights on the future. “Every album unlocks a new part of myself,” he said. With aspirations to channel live, jam-session energy reminiscent of Motown into his next project, he is poised to keep pushing boundaries—and audiences can’t wait to see where he goes next.
ESSENCE: You’ve traversed theater, television, film, and music. What is it that inspires Leon Thomas’s creativity? What does that creative spark and motivation come from?
Leon Thomas: I think a big part of it is family—family is a big thing. I come from a creative circle. I come from a tribe of artists. For me, music and art and entertainment is a way of life and a constant exploration. I feel like the keyword to all of this is next. So I’m always focused on my next mission and my next challenge.
You released your sophomore album a few months ago—it’s amazing. I wanted to ask you, how did your personal experience affect the creation of this project, and what message do you hope listeners take from it?
Well, I hope listeners really just take this as more of a cautionary tale. I feel like when it comes to dating in this generation, there’s just so many options. We have social media playing a big factor and role and everything. My grandfather was married to my grandmother at 20 years old, and they stayed married well into their eighties. She recently just passed away, but he dealt with a different time period, and I’m just documenting the challenges that we go through right now in this dating scene. I think a lot of it isn’t just my own experiences, it’s also me documenting the experiences I’ve seen with all of my friends as a collective, and just giving a voice to the challenges we face as men in this current generation.
How do you think—because you’ve recently celebrated the one-year anniversary of Electric Dusk—how do you think you’ve grown personally as well as creatively since the release of that album, if at all?
I feel like during the creation of Electric Dusk, the industry was validating my creative sound. There were certain artists who were messing with some of my records and putting them out and putting them on their albums. But since I’ve dropped Electric Dusk, I’ve had a chance to work with Ye, Drake, SZA. Huge, amazing artists, icons even, in my generation that have really kind of stamped the fact that my perspective and creativity is really something special. I feel like this album is me stepping into my confidence. It was a tough journey getting into music out of Nickelodeon over the course of the decade of my twenties. So I feel like the thirties is where I’m really just showing people that I know what I’m doing and I’m having a good time doing it.
So you spoke about some of your collaborations, but I want to speak specifically about the collaborations on this particular album. You have Wale, Masego, Ty Dolla $ign—it’s a diverse bunch of artists. How do you choose the people that you want to collaborate with on your projects?
What I really love about a lot of these records is that the majority of the features were done with the artist in the room. The majority of them. Masego was an amazing artist that I met and we became friends very quickly, but it took a while of us just seeing each other at parties before we actually decided, you know what? Let’s buckle down, right? Let’s schedule some time and see if we can knock out a record. I had two sessions that day, so we only had four hours to write “Lucid Dreams.” But seeing just how destiny put a lot of creative ideas in our head at the moment, it just turned into a beautiful record.
It was tailor-made, and it wasn’t our A&Rs trying to put us together or our labels trying to find a really good fit to get more exposure. It was two artists coming together and telling a really cool story, and that’s the journey of literally all of the features, from Wale, who I’ve become really good friends with. I go to his crib and we kick it and watch the game and then maybe try to get creative for something we’re doing or a project we’re doing later on. Spending a lot of time with Wale turned into “Feelings on Silent.” I’m learning so much from everybody around me. I’m a consistent student of the game and every collaboration is just a new class.
I’ve interviewed a lot of other artists just throughout the years, and say that things really change after you get that Grammy Award. In what ways has your perspective as an artist changed since you got a Grammy, and how do you feel about your placement in the industry since then?
It’s been a real pleasure getting to know the Grammy board, getting to know the Grammys as an organization outside of just the award show itself. Outside of just the award show itself, getting to know the whole process that they have has been amazing. I think the biggest thing that’s really changed is just that I don’t have a degree in music. I come from a family of artists and creatives, so I learned by experience. This gives everything that I’m doing creatively a new sense of validation, and I’m really super thankful for the opportunity to be able to have this wonderful award in my living room right now. I’m literally looking at it right now and it’s a blessing and every morning to see my hard work really come into fruition.
Expounding on that, how do you balance your roles as a producer and an artist?
That’s been a process and journey for me. “How do I schedule out my years so I have seasons of production and artist seasons where I’m really focused on myself and give myself the opportunity to really focus on all the aspects that can give me balance?” I feel like when I’m in my production mode, it’s okay to just be in my PJs making beats throughout the day, trying to just really find new sounds, create new ideas. But when I’m on artist mode, I really do my best to keep my days jam-packed with full schedules. So when we hit tour season, I’m not shell-shocked by the crazy, crazy schedules that end up popping up. So I need a three-month period to warm up into both fields. It’s not like a hard switch. I have to schedule it out now.
So when you’re in production mode, you like more solace and seclusion. When you’re in artist mode, you want to be in the mix a little more?
I’m in the mix a little bit more. I’m a little more outside, more networking. I’m bouncing around in different studios. But in my production bag, I’m pretty much at the crib making tracks. When I’m on call to go to a different country or state that an artist is working in, I might fly to Jamaica, or with Ye it was Italy. I spend time with that artist and get to know them and try to help the best way that I can to help tell their story.
Congratulations on wrapping up the tour—how was that experience, and what was the preparation process like?
This is a big switch up for me. I usually have a band, but with this run I’m going to be just with a DJ. We’ve been messing around with my set list to just make it more compatible for that format and just getting back into working the stage more again and having some fun. I’m playing bigger crowds than I usually play for a lot of my headline stuff. So just big movements. I’ve been running every morning, you know what I’m saying? Trying to get my two miles in so I win on that stage. You heard. I’m still a Husky nigga.
So, what’s next for Leon Thomas?
I feel like every album I unlock a new part of myself and then the next album is an opportunity to explore that new level I just unlocked. Seeing the live records I was able to do on this project, I’m really curious to see how people react to me having a room full of musicians on a song like I used to, and it being 100% a jam session that we formatted and turned into a song. That process, adjacent to neo-soul, adjacent to Motown Records, that live energy is what I really want to focus on for my next album, and I want to do a full projectrel="tag">Leon Thomas
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