People talk, write, and rap about Hip Hop's power for social change, but there is perhaps no one more familiar with that power than Shamako Noble. Noble is a Bay Area emcee, organizer, and current president of the Hip Hop Congress, which has grown ten-fold since its inception almost a decade ago. And Noble has been there every step (and mis-step) of the way.

I first came into contact with him in 2000, as a freshman at Indiana University. On my way to math class I saw a flyer for the Hip Hop Congress, which at the time, was just forming on the campus of Indiana University. I skipped my math class that day, and made a decision that has played a prominent role in the direction of my life. I can't say with 100% certainty that without Hip Hop Congress, I may never have become a DJ, or Hip Hop journalist. But I can say that without Hip Hop Congress I would have not have become a student leader at IU, a corps member of Teach For America, or gained the cultural and historical understanding of Hip Hop and its community that simply cannot be attained through De La Soul, Public Enemy, Dilated Peoples, and Beastie Boys records. But this article isn't about me. It's about Hip Hop Congress, and how while many speak of the Hip Hop Generation's lack of commitment or interest in social and political issues, Noble is able to produce clear evidence that contradicts the notion that Hip Hoppers are simply selfish...But, as demonstrated in his song by the same name (which I tell him all the time is my absolute favorite), Noble also knows that they most certainly can be.

I asked my friend, my emcee, and one of my role models to speak about Hip Hop Congress, working with artists that may be there for a cause but still like to see their name in lights, as well as some other organizations fighting the good fight for all, not just those who buy their records or contribute to their campaigns...

RubyHornet: Hip Hop Congress has been around for a long time now. Can you briefly discuss what it is about the Congress that makes it attractive and has allowed it to grow? In addition with growth comes new opportunitiy, but I'm sure also obstacles, what are some of each as it relates to Hip Hop Congress?

Shamako Noble: I think what makes Hip Hop Congress attractive is several things. I think that the first thing is for those of an entreprenurial spirt, those who want to make change in their community, or just those that want to take Hip Hop in a positive direction, HHC is a clear opportunity to make what's imaginary real. I think that there's a freedom in Congress, and there's a network with which to take advantage of that freedom. I think that there's a perception that HHC helps facilitate growth for the community and for the individual.

I think that big opportunity has come in actually becoming large enough to begin making impact on a national, regional, and local level in a coordinated
manner. The challegenes come in applying universal standards, keeping organizational information and structure in play, and keeping programs at a
level that functions at the same pace of the organization. Sometimes more projects than people, sometimes more people than projects...And cats get real upset when you don't call them back. It's not productive, but it's also not something to ever be taken personal.

RubyHornet: We know that Hip Hop is inherently political and community based, but it can also be very individualistic. You work closely with people that are artists and activists, and have been called one yourself...What is it like to wear both hats, and what are some of the hard parts about working with activists who are also artists?

Shamako Noble: Wearing both hats in today's world is natural and I believe is simply the flow of following a trail. When I did the song "Selfish", I was refelcting my own shortsightedness in not recognizing that everybody has their process. So not every artist who starts individualistic will end up there. Espcially as murder rates go up, as the war rages on, as police brutality like in the case of Sean Bell continues to go unrecognized. Art reflects the times, and in these times, even apolitical artists are political by stating they will not acknowledge that power is real and is affecting their careers and their communities. You get a lot of gigs though. You rob each thing of time on occasion. When you're caught up in campaigns, it's harder to be in the studio, When you're in the studio, seriously, it's harder to get to meetings. Sometimes sides won't comprimise and you find yourself hearing 'You need to be at these meetings' or 'you need to be in the studio' a lot.

RubyHornet: What is Hip Hop activism? Is it activism concerning the preservation of Hip Hop, or activism made through Hip Hop? Or is it a little bit of both...

Shamako Noble: Hip Hop Activism doesn't exist. The practical movement exists and cultural production exists and there are places of clear overlap. I don't believe that beatboxing at a march is a new form of acvitsim in and of itself. There is a huge application of Hip Hop in education and social justice work, but that's cultral production meeting the practical movement. There are a lot cats in Hip Hop working against police brutality, but cultural production meeting the practical movmement...I think maybe if you were to see graff artists organizing messages throughout a cityscape in a coordinated strike, that might be considered Hip Hop activism, but I doubt there could even be a coordinated message without that message being rooted in the practical movement; something like Anti-War
work, housing or health care.

RubyHornet: It sometimes seems that the Hip Hop community is neglected in terms of attention to needs, as well as issues of poverty, education etc...Hip Hop is looked at by some as the cause of the problem...with that, why should Hip Hop care about anything else?

Shamako Noble: Because it has to. People who view Hip Hop as the cause of the problem are being intellectually dishonest. You can argue it contributes, and you might even have a decent argument. However, you couldn't win without indiciting a series of players, which is a conversation we've been having for nearly a decade now. It's not like the Media Justice and Media reform movements came out of nowhere. They're direct refelctions of something that, as my mellows Dead Prez might say, is bigger than Hip Hop. But if Hip Hop wants to survive, if it wants communities to surivive, if it wants that energy back, or not even back but just to show (because it's there) than that's why it should care. Because it has to.

RubyHornet: What are some other Hip Hop bent organizations doing similar work to HHC?

Shamako Noble: I think what you see a lot of is local organizations doing the kind of work HHC does. 206 Zulu, and all of the Universal Zulu Nation. Nothing but love for them. The Mississippi Artists and Producers Coalition. The Hip Hop Chess Federation and the Hip Hop Association are doing excellent work. Beats, Words and Life are making it happen. J.U.I.C.E. in SoCal is doing their thing. There's a lot of organizations out there keeping it grimey. I got love for all of them.

RTC and Mak in St. Louis circa '04

RubyHornet: We had Vote or Die in the 2004 election, as well the League of Hip Hop Voters...Are those things not around in '08, or are we just not hearing it? What do you see as the Hip Hop community's role in the '08 election?

Shamako Noble: Vote or Die isn't, but you'll hear from the League shortly. I think that HHC will be playing a role in the election. The primary hasn't settled down and I think that's slowed down the entry of a lot of groups, because they can't really position themselves until they know whose running against who. The Hip Hop Community's role in the election can't be determined until we decided between Hilary and Obama. Hip Hop will be much more effective behind Obama than Hillary. That's just how it's going down. You'll see the league coming down the pipeline shortly with Generation Vote. That's a coalition of groups like Hip Hop Caucus, the USSA, The League, Hip Hop Congress, Wiretap Magazine and a whole host of other folks. I think that Hip Hop can contribute cultural and media support, as well as on the ground bodies. All depends on who wins the primary.

For more info on Hip Hop Congress, please visit www.hiphopcongress.org