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Bringing The Dirty South To The World

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The Dirty South exhibition at the VMFA documents 100 years of Black southern expression, from the church to the dance floor. Hip Hop Henry checked it out and brought us a detailed report.

If you have been on or around Arthur Ashe Blvd lately, I’m sure you have seen signs or billboards featuring a Cadillac grille with the words “Dirty South” on it. The signs were to let the city know about the newest exhibit at the Virginia Museum of Fine Arts (VMFA), which is dedicated to the South and its musical and cultural contributions.  Recently I went to the exhibit with the magazine crew and found myself honestly amazed by the creativity of the art. As someone whose family comes from South Carolina and Hopewell VA, I was also blown away by the way it resonated with me personally.

Sanford Biggers (American, born 1970)
Khemestry, 2017

The Dirty South exhibit highlights one hundred years of Black expression in the southern United States. There is a lot of artwork and different forms of media in the exhibit, and of course, the standouts for me were the direct tie-ins to southern music culture. When you go downstairs, the first visual you get is a video clip of a child on a swing while the sound of Billie Holiday and Jill Scott singing “Black bodies swinging in the southern breeze,” from the groundbreaking 1939 anti-racist song “Strange Fruit,” play in the background. 

The connection between the Black experience and music is on display immediately. “Take It to the Bridge” by Kevin Sipp displays what looks like an African drum being connected to a turntable by a tree branch like an umbilical cord, depicting the drum gave life to all the music that we have grown up with and love.

The history of Christianity and Black people in this country is highlighted throughout. The Sinners and Saints section showcases the intersection faith and music, and the conflict that some Black southerners faced; who else had parents who didn’t allow secular music in the house? 

Nathaniel Donnett (American, born ?)
I looked over Jordan and what did I see; a band of angels coming after me, 2017

Pieces in this section include “Til Earth and Heaven Ring” by Sonya Clark; a player piano off in the corner of the room with the sheet music to the Black American National Anthem, “Lift Every Voice and Sing,” by James Weldon Johnson; and a recreated Liberty Bell on the wall above the piano.  

Two standout pieces are Nadine Robinson’s “Coronation Theme: Organon” and Rodney McMillian’s “From Asterisks in Dockery.” “Coronation Theme” has been seen numerous times before in other media sites and on the internet; it depicts a gang of speakers in the shape of Ebenezer Baptist Church in Atlanta, where Martin Luther King Jr. used to preach. It could easily be an album cover. Based on “the birthplace of the Blues,”

Nadine Robinson (American, born England, 1968)
Image from Artist Nadine Robinson

“From Asterisks In Dockery” is inspired by Dockery Farm in Mississippi, which was once a cotton plantation. McMillian’s red vinyl, hand sewn piece is in the form of an early 20th Century Black church. The entire piece is deep red, from the walls to the pews, pulpit, and cross. The Black church acts as the anchor for the whole Sinners and Saints wing of the Dirty South exhibit, from paintings of people falling from the heavens to depictions of people praising The Lord. It made me think of OutKast’s video for “So Fresh and So Clean,” where the hangout spot at the end of the clip was the place where almost all of our music was birthed: the church.

Rodney McMillian (American, born 1969) From Asterisks in Dockery

As you move through the exhibit, you begin to see more hip-hop culture being shown. There’s a tribute painting to Houston legend DJ Screw by El Franco Lee II, featuring a who’s who of Down South emcees hailing from Houston. On the wall is one of the most famous quotes in all of hip-hop: “The South Got Something to Say.” This was originally said by Andre 3000 during the Source Awards in the Summer of 1995, and boy was he right. The exhibit covers 100 years of the Black experience, so of course you get to see video clips and performances from Down South legends, including the aforementioned DJ Screw, as well as James Brown, Cee-Lo Green, Sun-R,a and Richmond’s own Mad Skillz, whose beat machine is on display in the exhibit.  There has always been a conversation around the question “How south is Virginia?,” especially when it comes to hip-hop, but the Confederate flags that people put up alongside all of the major highways into Richmond should help you figure that out.  

El Franco Lee II (American, born 1979)
DJ Screw in Heaven 2, 2016

When you first walk into the VMFA, you see a Cadillac Brougham on display. My cousin and I used to ride around in an Oldsmobile, so I knew what time it was. From that first introduction to the maps at the end showcasing major Southern cities and their musical contributions, the Dirty South exhibit does a great job at showing the many different ways we all grew up in this region, while also documenting our shared experiences. 

Richard FIEND Johes, aka International Jones (American, born 1976)

At the end of the exhibit, you can sit and watch a video which encompasses the whole exhibit, showing video clips of everything that is the Black experience in America, not just the South. From Olympics highlights to Miles Davis, from Michael Jordan to President Obama and even twerking, all while Kanye West’s “Ultralight Beam” plays throughout. There are clips that will make you laugh, cry, and think. The highlighting of our struggles and triumphs, the good and the bad — the majority is good — shows just how much our culture and contributions to this country have impacted everyone.

Arthur Jafa (American, born 1960)
Love Is The Message, The Message Is Death

Virginia Museum of Fine Arts: The Dirty South: Contemporary Art, Material Culture, and the Sonic Impulse

Additional Photo Credits: Landon Shroder, Parker Galore, John Reinhold – RVA Magazine

Jason Moran (American, born 1975)
STAGED: Slugs’ Saloon, 2018

Skillz for a New Generation: Q & A with Richmond Rap Royalty Mad Skillz

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In the midst of big changes in the local landscape, RVA Mag caught up with Richmond hip hop legend (Mad) Skillz to talk monuments, music, and making real change in the Commonwealth.

Skillz has the wisdom of experience, having worked with everyone from The Roots and Nas to Jay-Z and Nicki Minaj. A veteran of the game, Skillz has not only presaged current events, but laid the foundation for generations of artists to come. During this time of protest, unrest, and political upheaval, who better to help navigate the many complex realities of life in the commonwealth?

RVA Mag caught up with Skillz and Richmond rapper Michael Millions one rainy day last week at the (soon to be removed) statue of Robert E. Lee to chat about the movement, Richmond, and how rap and hip hop has accelerated our consciousness.

RVA Mag: You’re a Richmond hero, rap legend, you have national prominence: With all of your experience, what’s this movement mean to you right now, where we at? 

Skillz: I’m proud to see the city take a stand. Some of these objects have been here for as long as I can remember [points to the statue of Robert E. Lee]. For people to take a stand against systematic oppression and racism, I knew it was a bubble that was going to burst at some point — I’m just glad that I’m here to see it. 

Michael Millions [to Skillz]: Prior to the civil unrest, have you ever been this close to this monument?

Skillz: No, not this close. 

Michael Millions: Driving through the city or utilizing this roundabout, have you ever even intentionally looked up at this statue? 

Skillz: I’ve been in Richmond since 1987 and I have never looked to the top of this monument. During the VCU days when I was living a block away, I never looked up going around this corner. 

Michael Millions: And you’ve never steeped foot on this soil in this city? 

Skillz: I have never stepped on this soil. 

RVA Mag: When you guys saw this statue in its current form, what was the first thing that popped into your mind?

Michael Millions: When I think of structures going up, I look at structure and shapes, everything they laid down, the foundations — there is a lot of intention to raise this, this high. And on top of all this, there is this statue on top. 

Everything returns to the earth. Even if they left it up in this form, the people have reclaimed the land. We like this now — it is definitely an art piece. 

Skillz: I have talked to plenty of people from out of town who had to come down here and take photos, and let their children see it before they take it down. 

RVA Mag: Skillz, coming up in the 90s, what’s it like to see this transitional moment, not just in Richmond but also in the US. Is Richmond playing a deeper role than most people think? 

Skillz: The difference between the 90s and now is about moving around the city — we chose to ignore these [Confederate statues], because they were never speaking to us. We never saw ourselves. They have way more of these than we had any representation. Now, for this to be a space that the oppressed feels to have taken over and reclaimed, it feels good. I believe this generation can be the generation to push forward for real change, because it is different now. A lot of things that used to fly can’t fly anymore; not without question, revolt, or repercussions. 

RVA Mag: Did you ever expect to see this in your lifetime? 

Skillz: In Virginia, in the Commonwealth? No, never. Whatever this is going to be, it needs to represent all people, not just some people. 

RVA Mag: What does this movement look like to you as a man of conscience, a creator? You have also been the artist-in-residence at University of Richmond. You sit at the nexus of all these things. 

Skillz: You might feel as if there is no change you can make, but what I want to say is that you can make that change. People at my age, not all, but some, have become complacent. I’m proud of all the young people stepping forward to make change. Now, when these cops stand in front of the protest groups and they see these people standing in front of them, it’s not just black people; it’s also gay people, Latino people, trans people. The army of “you’re not going to oppress us” is way bigger than just Black people. 

Sooner or later they’re going to have to realize that this is a whole new thing. 

RVA Mag: As someone who has articulated the Black experience in the 90s through their music, does this movement feel different?

Skillz: Yes. This is at my front door. I came back from LA to buildings burning and buses burning on Broad St. I’ve never seen that shit in my life. To see that, I can’t even imagine these people living here and seeing this thinking, “this shit is really happening outside my window.” And that’s how change happens. You almost don’t believe it is right at your front door, but it is. It is uncomfortable and uneasy, but that is what change is. 

RVA Mag: It seems like the boundaries of American culture have shifted quite rapidly in the past two weeks. The NFL, NASCAR, major corporations — even if its disingenuous, it’s still happening. What role has rap and hip hop culture played in pushing this national consciousness over the past 20 to 30 years?

Skillz: It has shown that it can’t be ignored. From day one people always thought it was a fad and it would fade away. No one saw this coming — that it would be a major global trillion-dollar business. Black culture is culture; this shit ain’t cool until we do it. And then when everyone else starts doing it, we stop and start doing something else. It is a transition, a cycle. These voices will be heard one way or another. This is the most popular music in the world — it is so prevalent in today’s society that you almost overlook it, because it is in everything. 

RVA Mag: From a certain perspective, it is America’s number one cultural export. 

Skillz: Without a doubt. I’ve been to places where they don’t even speak English and they know the words to 50 Cent, “In The Club” — some people have learned English through hip hop. 

RVA Mag: Do you feel Virginia ever really took ownership of its rap and hip hop scene? Given the sheer number of national and international acts that have come out of Virginia, it has always seemed strange to not represent that the way New York, Atlanta, Los Angeles, and other places would have. Do you think Virginia has come full circle in terms of national rap and hip hop culture? 

Skillz: No I don’t think we have. It takes perseverance, more soldiers, more cracks in the armor. When you look at some things that you never thought would happen, they have happened. So you can’t say that the history has to be absorbed and respected, because amazing things have happened here, and there are more amazing things to come. 

RVA Mag: Michael, let me ask you something. Based on what Skillz said, what is the next step for Richmond rap and hip hop? 

Michael Millions: More perseverance. Richmond is such a special place, our awareness in music is what makes artists from Richmond so special. If we could get in front of the curve, in terms of bringing that craftsmanship back to music. Look at where we live, there is not an artist here that is not impacted by this city. Where we live makes our writing and thoughts very special. I don’t think anything is going to stop us coming out of this area. 

RVA Mag: Skillz, as the artist-in-residence at University of Richmond — given that the students which go to that school are quite privileged and it’s one of the most expensive schools in the US — what was your main takeaway from there?

Skillz: In the midst of being there and seeing the diverse students, our class was one of the most popular on campus — it was definitely something that took me to a place where I could acknowledge that this music [rap and hip hop] was the voice of America. I worked at VCU too, so I can’t say that I want to be exclusive to [University of] Richmond. I think it would be dope to teach all across the city. I would teach this class at all schools if I could, because I feel like everyone can absorb something from that. When they take my class on the first day, I ask, “Why did you take this class?” A lot of them come and think it is going to be an easy A, but it’s not; they have to do the work. 

The big takeaway is that you never stop learning. You’re always going to be a student. 

RVA Mag:

Great seeing you guys. Thanks for the lessons.

The Word and the Book

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Hip-hop is more than the cliché of “money, hoes, and clothes.” Students at Virginia Union University are peeling back the layers of the 45-year-old art form, and discovering that faith and religion are an important part of the music.

The collegiate focus is only the latest transformation in how American culture views hip-hop. From block parties in New York City to worldwide phenomenon, to the halls of academia, hip-hop has come a long way. Although Howard University offered the first hip-hop class in 1991, it’s gone from a niche topic to something taught even at Ivy League schools like Harvard University, where Nas and 9th Wonder hold fellowships.

The article originally appeared in RVA #33 Summer 2018, you can check out the issue here, or pick it up around Richmond now. 

In our region, classes range from 9th Wonder’s hip-hop class at North Carolina Central University to a course co-taught by RVA’s Mad Skillz at the University of Richmond. While 9th Wonder and Mad Skillz focus on the music — Skillz even brought in Public Enemy producer Hank Shocklee this spring — Virginia Union University is all about the faith.

Photo Branden Wilson

Rapper Ricky Parker had the idea in 2016 while doing research on hip hop courses from North Carolina to New York City. “I was just really trying to figure out, what am I going to do at Union? You know, what is Union’s story?” he said. Ultimately, it was the theology department and religious foundation of Union, a Baptist-affiliated school, that he thought a hip-hop course could highlight.

Union is one of many Historically Black Colleges and Universities, schools founded with Christian affiliations where legendary rappers like DJ Red Alert and Das EFX, along with present-day stars like DJ Envy or Wale, earned their degrees. Parker worked with Dr. Carleitta Paige-Anderson, Director of the Center for Undergraduate Research, to develop curriculum for students learning about the intersections of faith and hip hop.

“It’s like almost two cultures, that exist at this school. You have an undergraduate HBCU culture,” Parker said, describing this first group as being overwhelmingly into hip hop and contemporary rap. About the second group, he said, “Then you have the faith component… the mix of people that are looking to start churches, missionaries, that come here to get an education, too.” The class serves as a way to integrate the two interests across the campus, bringing secular students and ordination-track theology students together.

One of the marquee events for the independent hip hop studies program took place last spring when Gene Thornton, the rapper known as No Malice of the legendary hip hop duo The Clipse, came to campus as a guest lecturer. On the phone, Thornton told me that came about through Parker. “He put it together and, I’m trying to think of how that actually fell in my lap, but I knew it was home, and it was about faith and hip hop in Virginia Union,” he said.

You must be born again. Who gave you your talent, gave you hip hop?

“They had asked me about what I thought about faith in hip-hop,” Thornton remembered, describing it as “a great opportunity.” The experience was a good one, he said, adding, “I got a chance to come and tell my truth.”

Another event pulled in Greg Carden II, a Richmond-based rapper known as Radio B. He spoke about his latest album, Jesus Never Wore A Suit, sharing the deeper meanings behind the work. “It’s an escape from forced doctrine,” he said, explaining that culture ties the idea of being a grown man to wearing expensive professional clothing. “My response to that was, you know, Jesus never wore a suit.”

It’s about more than clothing, though. “That can be universal,” he said. “The idea is that the perception that we apply to certain images, especially something like a suit, that there’s an advanced level of professionalism, ethics, intelligence, that doesn’t necessarily apply to what someone has on. It’s more about overall perceptions that we put up to cover up our insecurities and to put our best image forward.”

Hip hop has always had a message to the music, and each of the rappers I spoke with had different words to impart to the students at Virginia Union. Radio B wanted to encourage them to think about more than a safe career path. “Being a creative person that stepped out independently from my job to chase my passions, I think that’s important for students to see. A lot of students get into school … but their goals are based around, you know, something that they were told they should do.”

Other students, he said, are stuck, not getting anywhere, and his message was slightly different for them. “Everyone has something that you’re drawn to,” he said. “Maybe not a passion, because they haven’t put enough time into it or given it enough interest or fed it enough. But I felt like it was important for me to be able to speak to them from that position, to give them some perspective on approaching their dreams.”

No Malice had a more straightforward message, centered on his faith in a creator-figure. “You must be born again,” he said. “Who gave you your talent, gave you hip hop? Who gave you communication skills? You know, everything you do. You talk about. You rap about. Or creative gifts and talent — where does that come from? We tend to have this thing where we worship the creation more than the creator. You know, you can’t just start with the creation, and start rapping. You have to start with the creator, first and foremost.”

Talking about faith in hip hop brings up childhood memories for most of us, too. Parker and Radio B both said that rap and hip hop came into conflict with their family faiths.

“My mom was a Sunday school teacher, and my older cousin is a pastor,” Radio B said. “I spent a lot of time in church, between those two influences.” Growing up in “the golden era of hip hop” was his second major influence, he said, which led to a “balancing act between the two.”

My response to that was, you know, Jesus never wore a suit.

Radio B managed to find a way to keep his faith and his music, and even integrate them. He said, “I feel like Jesus Never Wore a Suit, in a way, is very much a gospel album — even though it’s not a gospel album, obviously. You know, with some of the language.”

Thornton, too, saw his faith as part of his artistic life. “They do go hand in hand … I believe personally that God is the author and the finisher of my faith, and that the gifts and the talents that he gave me are to glorify him,” he said. “You know, I’ve been a fool for far lesser things, I’ve said that in one of my verses, so I have no problem letting everybody, the entire world, know that Jesus Christ is the Son of God.”

Photo Branden Wilson

Parker brought up Islam, too, which he described as just as close to hip hop, pointing to Nation of Islam founder Louis Farrakhan’s outreach to rap artists. He described this past semester at Union as the first step he’s taken in exploring faith and hip hop, adding, “I think there are a lot more artists that are open about talking their faith, whether it be Christianity or Islam.”

Hip hop is a microcosm of the entire planet; you can speak on any subject and there are still new things being discovered. The power of the culture is more than just mainstream pop music. There is a balance that is needed, and places like Virginia Union are helping open doors for an important dialogue between the church and hip hop artists. As Thornton said, “It’s a conversation you can’t avoid.”

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