Notes from the Green Festival

This is a guest post by Bianca of Latino Sexuality and of The LatiNegr@s Project. I’ll be cross-posting and blogging! Read a bit more about me when we introduced The LatiNegr@s Project team.

cross posted from my Media Justice column

I was asked to be on a panel at the Green Festival held in NY last weekend. The panel was titled “The F-Word: Perspectives In Contemporary Feminism” and on the panel were: Misha Clive of Green America, Marianne Schnall of Feminist.com, Aiesha Turman of the Black Girl Project and myself. Our session was described in the festival program as:

“At a time when feminism equates to political, social and economi rights for women, why is it considered the F-word? While women leaders like Michelle Obama and HIlary Clinton are prominent figures in forming public policy, widespread access to healthcare remains controversial and domestic violence a common occurrence. Join this panel of empowered women for a lively discussion on how feminism informs our politics and our lives.”

We had a conference call a week before to discuss the panel. Still, I had not really figured out what to expect as I’d never been to the Green Festival. I was invited on the panel by my friend Tanya Fields of The BLK ProjeK  who was helping to find folks interested in joining. I responded to the request indicating that I could participate on the panel, but that I had to be honest in that I don’t identify as a feminist but as a radical woman of Color and that often when I speak about this, and has been the case recently, women of a certain age and racial group (i.e. white women over 45) usually disagree with me, stand up and leave to show their disapproval. In response to this I was told that these are the types of conversations that were desired on the panel.

One of the main reasons I decided to join wasn’t to just discuss my identity as a radical woman of Color, something that is not new, or different as the people who worked to produce the book: This Bridge Called My Back: Writings By Radical Women of Color, have led the way for me. I was also interested in seeing what the Green Festival had to offer and being able to offer free tickets to folks in my community.

I admit that when I think of the Green Festival I imagine a bunch of folks handing out granola bars and talking about riding bikes or living “green.” These often exclude me: someone who makes significantly less than 25k a year, because to me “living green” means having the status, money, and access to live in a way that one can eat organically, limit exposure to toxins, using “natural” cleansers, or other things along those lines. Yes, these are some stereotypes. Yet, some of these are true.

Arriving at the Jacob Javits Center North with Aiesha Turman and her daughter was probably the best thing I could have done. We arrived two hours before our panel so we could enjoy the festival. The first booth we encountered: granola bars. We tasted some and took full size samples with us. And that happened throughout the festival. We also saw organic clothing, cleansers, energy efficient light bulbs, “green” vehicles, and a children’s area where we rested for a bit.

When it was time for our panel we introduced one another. Our moderator Misha then asked folks present (about 40 people in total as all of the seats were filled) what were some of their motivations for attending the session. Two folks shared and one indicated they wanted to hear more about eco-feminism and the other shared they would like to hear about international connections and feminisms. Then Misha asked each of us to discuss what feminism means to us.

I shared how some may think I officially came to US feminism in college, but others may think I was raised in a feminist home, with a father who was present during the day and when we came home from school and a mother who worked longer hours. In college I shared how I rarely found a space that felt comfortable for me in US feminisms. It was from this discomfort and recognizing how many US feminists and feminisms all too often exclude folks from my background and experiences. It was then that I started to identify as the women of Color who came before me: Audre Lorde, Gloria Anzaldúa, and Nellie Wong.

Nobody really stood up to leave as I spoke. But folks did leave throughout, perhaps more so because we were not discussing the topics they wished to hear. However, we did discuss eco-feminisms. This was a topic I thought folks may have wanted to discuss and shared that on the conference call we had, but we didn’t spend too much time exploring that possibility. So when this person mentioned eco-feminism I was sort of ready. My participation to this topic was connected to environmental racism. Aiesha spoke about food deserts (i.e. not having quality or any foods available for consumption) in her Brooklyn neighborhood and how she has witnessed community members responding in specific ways to end food deserts.

When discussing environmental racism I made connections specifically to my upbringing by parents who were in support of our homeland of Puerto Rico being a sovereign nation, free of US intervention and presence. This is where my understanding of environmental racism emerges: who owns their land and who can work and claim and reap the benefits that it can offer. I connected this to the experiences of indigenous communities in the US. How they have been forcibly removed from their homelands, their sacred burial grounds uprooted and built upon. We see similar things occurring to farmers of Color in the US. Where is our self-determination as colonies of the US, spaces controlled by

I connected these ideas of environmental racism to reproductive justice as well. Since the crowd was over 35 years old I used the term “overpopulation” as that’s a term that was common a few years ago. This term I used to connect to our ideas of “choice” and what “choice” means to people who do not have a “choice” or who practice “agency within constraints” regarding our reproductive health and rights. It is rare when folks really care or listen to how poor communities, people with disabilities, and communities of Color are impacted by “birth control trials.”

This discussion lead me to share how our history haunts us. There is a haunting that I experience when folks discuss the oral birth control pill. A haunting that is connected to the cultural transmission I received from the women in my family. A haunting that is established each time a person questions my purpose in reminding folks that many people, especially poor Puerto Rican women on the island were used without their full consent in oral birth control pill trials. I shared how when discussing that haunting, many “feminists” have attacked me. Have questions about the usefulness of remembering such issues and if that’s reason enough to dismiss the positive outcomes of the oral birth control pill. These responses to my testimonio of this haunting have been very public.

It is these instances when I realize that “feminism” really isn’t about me, my community, my health, or my choices. It is about being “right” in these situations and that’s not what I’m interested in. I shared how these responses from “feminists” have essentially been them telling me to “shut up” about the historical legacy that I carry with me in this world. Now whose voice is being silenced? And speaking of that silence: these discussions on reproductive justice rarely include transgender people or their needs and care. So what bodies are really seen as justifiable, redeemable, and worth of protection? Misha talked more about the needs of trans* communities and reproductive justice.

Aiesha discussed how her experiences are ones that have come with the reminder that as Black women, our bodies have never been our own in the US. They were always used for profit of others versus for our own pleasure and satisfaction.

We ended the panel with Misha asking us what we have always wanted to share on a “feminist” panel but never got the chance to. I wasn’t expecting this question but what I did state was that it’s important to realize we do a lot of important and hard work quietly. Reading, thinking, assessing don’t all need to be done vocally and that is alright. To stand in solidarity with communities that are oppressed will take time, building trust, and sometimes just not even be physically present, because recognizing that maintaining a space that is sacred and healing for many may mean removing oneself from that space, especially if they are an ally or outsider.

Advertisements

Media Justice: Why Citations Matter

This is a guest post by Bianca of Latino Sexuality and of The LatiNegr@s Project. I’ll be cross-posting and blogging! Read a bit more about me when we introduced The LatiNegr@s Project team.

cross posted from my Media Justice column
by Bianca Laureano

You may want to bookmark this post for future reference. For many of you in school (high school, college, a vocational school) you are most likely going to be expected to write something. Each semester I have students write at least two papers, which is something that we are encouraged to do in an effort to support and expect students to be able to express themselves through writing. With all of the advances in technology, many folks are writing online. When you write, citations are important.

Citations are not just for the reader, but they are also for you, the writer and the folks whose work you find useful. These citations are so important; they shows you have done your research, are open to other perspectives, and can offer ways for the reader to go back and read those citations and make their own opinions. They are also important because naming the people whose thoughts, ideas, beliefs, and work makes them visible. Often youth, working class people, folks with disabilities, who are trans* or people of Color rarely get the attention, support, and simple naming of their work that other folks receive. Our names are powerful and choosing not to name someone, or ignoring their name is a form of erasure. This happens too often, even within and among marginalized groups.

As someone who requires a paper using media literacy skills and examining different forms of media, citations are one area where my students struggle. With the advancements of the Internet, various websites, and social media networks where students find their information, they rarely know how to properly cite them in a paper. This article is for those of you who are trying to figure out how to cite these new forms of information collection! Some of these may change (such as citing Facebook Fan Pages and the like) as new forms of online communication and virtual spaces evolve. So this page will definitely be outdated one day.

I tell my students I don’t care if they use MLA, APA or Chicago Style, as long as they are consistent. An amazing resource online is the Purdue Online Writing Lab.  I encourage you to visit the site and spend some time becoming familiar with what is shared and how it will impact your choice in citations. Below are some examples on how to cite certain forms of print, non-print, and web-based media.

How to Cite a Film
Films need to be cited using the title (in italics), name of the director, studio/distributor, release date and if necessary a list of the cast/performers. A great place to find information about a film or television show is the Internet Movie Database. Let’s use the film Pariah as an example in MLA format:

Pariah. Dir. Dee Rees. Performers Adepero Oduye, Kim Wayans and Aasha Davis. Focus Features. 2011. Film.

(You can use the same format for MLA citations of a VHS or DVD just change the “Film” part to the format that the film is in).

Here’s how to cite in a paper:

There are not many films that center the experiences of young Black lesbian women living in Brooklyn in major theaters and the few that do exist rarely are limited release (i.e. Pariah, 2011).

How to Cite a TV Episode
For television series you have to know the name of the episode (this is where IMDb is useful too), title of the show/series, network, original air date, and city and state of the studio or distributor. Depending on the format you may also need to list the writer and director. Here’s an example using the TV series Pretty Little Liars (which my students seem to enjoy watching).

King, I. Marlene (Writer), Shepard, Sara (Writer) & Friedlander, Liz (Director). 2010. The Jenna Thing [Pretty Little Liars]. ABC Family. J. Bank (Producer) & L. Cochran-Nielan (Producer). Burbank, CA: Warner Horizon Television.

Here’s how to cite this in a paper:

In this episode, the clothing of the cast caught my attention and this is where we are introduced to the different styles of each character and how it connects to their personality (Pretty Little Liars, 2010).

How to Cite a Song
Citing a song is often done first by the name of the artist or performers. Included in the citation is the name of artist/performer, title of album (italicized), name of the song (in quotes if used), date of publication, recording manufactures information (i.e. record label), and the format (i.e. CD, MP3, Digital File, etc.). Let’s use Big Freedia’s Hits Album, where she has self-distributed her own album. Here’s MLA examples below:

Big Freedia. Big Freedia Hitz Vol. 1, 1999-2010. Big Freedia, 2010. MP3.

Another example of a group I’ve written about who are on a major label and focusing on a specific song includes:

Dead Prez. “Mind Sex.” Let’s Get Free. LOUD Records, 2000. CD.

When you cite this in the paper you do so like this:

When Dead Prez talk about getting to know one another before engaging in sexual activity, they are sending a message that supports abstinence (2000).

How to Cite a Website (Wikipedia is always popular!)
I encourage you to ask your instructor first before citing Wikipedia. Some folks are not in favor of using Wikipedia as a source because as a collective form of documentation, some information can change or not be factual. There are often citations at the bottom of the Wikipedia page and if you can go to the original source you should use those first as citations. Wikipedia has also offered a useful guide to citing their site. 

Let’s use the Wikipedia entry for Advocates For Youth in APA format. The same format that you use to cite a book or printed publication is what you use for online sites. The additional information needed is the year and date of publishing (or just the date of publication), and full web address and date retrieved (make sure you put the location, i.e. Wikipedia, in italics). Here’s an example:

Advocates For Youth. In Wikipedia. Retrieved May 2, 2012, from http://en.wikipedia.org/wiki/Advocates_for_youth

To cite in the paper and text, a simple form is often ok; however sometimes when you paraphrase or quote from a particular paragraph on the site you’ll need the title of the heading (i.e. “Programs”) or the number of the paragraph you are citing (“Programs” para. 2). Wikipedia offers a more in-depth discussion of citing specific paragraphs and headings at their site.  For a more general in-text citation do the following:

Advocates For Youth is based in Washington, DC and have US and international programs (“Advocates For Youth,” 2012).

How to Cite a Tweet
Let’s use this Amplify Tweet as an example.

What you need for all forms of citations include: The original tweet, name on/of the account, date the tweet was sent, and the link to the tweet. Below is an example in APA format:

Advocates For Youth. (2012, May 12). Tell the Obama Administration: Stop Endorsing Homophobic and Sexist Program in Our Schools ow.ly/aF8l2. [Twitter Post]. Retrieved from: https://twitter.com/#!/AmplifyTweets/status/197793985740288000

When you want to use this as a reference in your paper you will cite it as name on/of the account followed by the date. Here’s an example:

Advocates For Youth has been vocal about challenging the Obama Administrations endorsements programs in the US schools that they state are homophobic and sexist (Advocates For Youth, 2012).

How to Cite an Personal Interview or Email
For a personal interview or email communication you’ll need the specific date (including day, month and year), the person’s name and the format. Here’s an example if you received an email from me telling you how excited I am to share the link to this post with you and you wish to cite it in MLA format:
Laureano, Bianca. Personal Email. 2 May 2012.

To cite this in text you would do so in the following way:

My first opportunity to hear about a post featuring ways to properly cite virtual spaces and forms of media was when I received a email from the author (Laureano, 2012).

When Language Changes: Using the @ Symbol

This is a guest post by Bianca of Latino Sexuality and of The LatiNegr@s Project. I’ll be cross-posting and blogging! Read a bit more about me when we introduced The LatiNegr@s Project team.

cross posted from my Media Justice column

“So if you want to really hurt me, talk badly about my language. Ethnic identity is twin skin to linguistic identity—I am my language. Until I can take pride in my language, I cannot take pride in myself.”

Gloria Anzaldúa, “How To Tame The Wild Tongue” in Borderlands/La Frontera: The New Mestiza. 2007. pg. 59.

Earlier this week I created a post on The LatiNegr@s Project about our use of the @ symbol. It stemmed from a question about if this was an appropriate term and form to use in a academic paper by a student in college. I was humbled and thankful to be asked this question and responded by providing this statement so the student could have a citation to support their use of the @ symbol.

Since writing that post many folks have had something to say and shared an opinion. For those of you uncertain about how Tumblr works, you can look to the bottom of the page and see who has responded and in what way, sometimes clicking on a person who has “reblogged” the statement can also show more input. I’ll get into some of their suggestions and thoughts in a moment. Before that I want to make a few things clear: The post I wrote was specific to LatiNegr@s. It discussed the code-switching that occurs, as a first language for some of us, in our daily lives and among LatiNegr@s. As a result, many comments and suggestions asked about other ethnic and racial groups using the @ symbol. I think this is fantastic!

The terms “Latino” and the use of the @ symbol in identifiers such as Chican@, Xican@, Mestiz@, etc. are fairly new terms. This is something that occurs when we speak for ourselves, from the spaces we occupy, and when we claim new and more appropriate and representative self-identifiers. I believe this is not something we need to be scared of or find anger in. I think these are opportunities to be challenged (much like challenging our use of ableist language), be more inclusive, and reflexive of how we use language to include, exclude, and create messages.

Language is at the core of media justice.

Language changes and that is something we may celebrate, especially when it is changing in a way that recognizes and includes people who are experiencing multiple oppressions. The @ symbol does just that by challenging a gender binary and dichotomy that has been implemented to privilege men, masculinity, and maleness especially in romance languages such as Spanish. It is also inclusive of our transgender and gender queer community who are often excluded and omitted on a regular basis.

When someone challenges and questions the use of the @ symbol, claims this is a part of “rewriting language” and who do we think we are to do that, those folks are not yet at a space to understand how language was created and in that creation it can be changed (regardless of how long ago it was created). In addition, these folks are also continuing to erase and isolate people in our community that are the most in need of our support. Finally, they are upholding the misogyny that is present in language, especially in the Spanish language. The process of unlearning can be a struggle for many and one that several may resist.

I ended my above post by stating: “The questions still exist of how to actually speak the @ sign and this has yet to really be resolved. How have others negotiated this?” This is where the most responses were shared and presented. I really loved reading how so many folks considered pronouncing and speaking the @ symbol. People shared some really thoughtful and personal testimonios of using the @ sign and how to speak it when in use.

There’s a lot of food for thought about this particular topic, and I hope it continues. I’d love to hear how others are approaching the use of language, code-switching and speaking new terms such as the @ symbol. How have you negotiated these terms?

Media Maker’s Salon: Hip Hop Is For Lovers

This is a guest post by Bianca of Latino Sexuality and of The LatiNegr@s Project. I’ll be cross-posting and blogging! Read a bit more about me when we introduced The LatiNegr@s Project team.

cross posted from my Media Justice column

Last year Hip Hop is for Lovers (HH4L) became a live broadcast online. Since then, the expansion and attention HH4L has received is phenomenal. This is expected as the two women who are the driving force, creative energy, and developers of the series are fantastic. I asked Uche and Lenée if I could feature them for the Media Maker’s Salon as their form of media is one that is so accessible! They agreed. I should share that Lenée and I are homegirls, chosen family and that I am a regular listener, tweeter, and fan of HH4L.

Uche and Lenée both identify as 30 something Black women from the US who are English speaking. Lenée identifies as a “queer working class, anti-academic and Spanglish speaking” Black woman and Uche as a “hetero” African American woman. Their identities are important because this impacts the media they create, conversations they have, and education they provide on HH4L.

What is HH4L? When and where did it begin?

Uche: Hiphopis4Lovers.com conception came from a conversation. First it was a microblog on tumblr and was almost a mixtape but now its a full on radio show and now
budding network. We discuss Love, Sex, intimacy and Hip Hop Music every
Wednesday 8pm-10pm and we have The XD Experience every Thursday
9pm-11pm.

What was the motivation for beginning HH4L? What are some goals you have for the project/program?

Uche: The Motivation for HH4L in the beginning was to create a space where people we could talk about sex and Hip Hop in a real adult way. To address the issues in intimacy and sex that the hip hop generations faces on a daily basis.

My ultimate goal would be to change the culture of how sexuality, sex and intimacy is viewed, and discussed in the culture of Hip Hop. To create a space for adults who still engage in the culture of Hip Hop to deal with issues facing them in their personal lives.

How did the two of you meet and what went into collaboration?

Lenée: We met via twitter, actually. I was out at a wine bar in Brooklyn and Uche recognized me from my twitter avatar. We’ve been hanging out ever since. Later, she approached me about taking her microblog series, Hip Hop is for Lovers, to another level by making it a podcast. In May of 2011, we switched the format to include live broadcasts.

Share with us the importance of the naming of your media. How is language important in the projects you create and are a part of?

Uche: With Hip Hop, one of the main identifiers of people engaged in the culture is language. There is a seeded vernacular that in Hip Hop is this always changing but remains universal to the listeners. In Hip Hop is 4 Lovers we are using that language, that semantic to talk about Sex and Love.

Lenée: Language plays a huge part! The radio show is reflective of and steeped in Hip Hop culture and language — the vernacular we utilize from the larger culture are a big part of the sound and tone of the show. Also, we have our own sayings that are part of the show’s fabric. For instance, Uche coined the term “No bueno on the non consensual anal,” in response to the idea that one partner can surprise another with anal sex. We have HH4L quotables on virtually every episode. Also, we name every episode uniquely — usually something humorous — as a way of piquing the interest of potential listeners.

What themes do you seek to discuss/address/present and how are they received by audience?

Lenée: Our subject matter is based on love, sex, intimacy, and relationships. So, we talk about sex itself, sex work, dating, coparenting, child rearing, etc. We talk a lot about personal agency in relationships and sexual encounters, consent, and transparency. I believe what we talk about on the show is very well received by our audience. I do find that sometimes our shows about very juicy (and for some people controversial) topics sometimes get more realtime feedback on twitter.

Uche: We talk about everything sex/ intimacy related. Everything from parenting to the kinds of sex people are having. Addressing topics like Slut Shaming, Self Love, even Polyamory has struck chords with our audience. We also, always put emphasis on consent and full disclosure in intimacies between individuals. Our audience seems to be excited to have a space where the issues that concern them and (even some that don’t) are being discussed.

How are topics and songs selected? Is this an individual process? The two of you? audience suggestions? something else?

Uche: Its both the HH4L team and our audience. We discuss and brainstorm about our topics and even do research to make sure we are giving a full representation of any topic and not just our own personal ideals.

Lenée: The creation of our library was a collaborative effort — we both add to it regularly. We also take suggestions from our audience, and from artists themselves.

What role does race, gender, sexual orientation, class, and location play in the creation of HH4L?

Lenée: Hip Hop, as a culture and as a genre of music, belongs to People of Color (POC). It began in the Bronx, in a community of working and lower middle class black and brown folks and to this day is largely reflective of the lives and experiences, aspirations, goals, and sometimes the suffering of People of Color. Of course, there are white artists who make this music, and I find that the white artists whose work is best received both commercially and critically are people from working class and or poor communities, like Yelawolf. I think class plays a big part because early Hip Hop was self-made entertainment based on the experiences of black and brown youth. Though an abundance of Hip Hop music is driven by men who identify as hetero (or express heterosexual desires), there’s a lot music informed by what we might call alternative viewpoints. Hetero women, queer women, queer men, and trans people make hip hop — some of which is played on both the main HH4L show and the show on our network hosted by The XD Experience. Regarding location, we are NYC based. NYC is the birthplace of Hip Hop music and culture; this means that for a long time the epicenter of the culture was here — some argue that it still is. I think that the urban experience of working class and or poor People of Color is as integral a part of the music of Hip Hop as rhyming itself.

Uche: As a woman (especially a woman of color) who grew up in the culture of Hip Hop and has no fear being identified as such is a big deal. I have met a lot of women who have a love/hate relationship with Hip Hop. Dealing with issues of “where is my place?” is very real for a lot of POC women who grew up listening to a music that at first glance doesn’t seem to value them or acknowledge their place in the culture. I’m sure that goes for other “alternative”(probably not the right word) identified groups that ultimately identify with the culture of Hip Hop. The fact that the majority of the people involved with HH4L are POC women is a big deal as we tend to talk about what affects us more so than our non POC counterparts.

How has HH4L evolved? How would you like to see it evolve in the future? Are there goals for the year?

Uche: We went from being a podcast to a live weekly show. Now we are branching out to becoming a network by adding The XD experience and some other shows that will be announced soon. We have goals of always expanding the audience and growing as a team.

As media makers, what outlets/equipment/training/workshops/tools/etc. do you utilize to create?

UW: HH4L is broadcast right from my home. I did research on a lot of different broadcast sites style sites before settling on Spreaker.com. We also use lots of social media to get the word out about our broadcasts and the happenings of HH4L. I would say that social media is a major tool for us.

Lenée: I think it’s imperative that people who make media understand the intersections of social media (Twitter, Facebook, Tumblr) and traditional media (print/ radio/ video). It’s all linked now. Since Twitter is a big part of what we use to communicate and share our media, I think demonstrated ability to navigate and manage social media is as important as knowing how to update a website via platforms like WordPress. Also, it’s a good idea to learn about sites like podomatic, Spreaker, and Soundcloud.

What are some necessary texts, films, images, photography that you think are essential for youth, especially youth of Color, queer youth, and youth who are marginalized in general, to interact with/read/be exposed to? Why these artifacts?

Lenée: I think for young Women of Color — queer and hetero alike — to begin to actualize themselves, it is imperative that they know their experiences do not occur in a vacuum. I recommend Colonize This!,  and Borderlands/ La Frontera  for starters. I also suggest Sisters of the Yam: Black Women and Self-Recovery  and Naked be read in tandem. It’s never too early to learn!

For marginalized youth in general, I think it’s important that they utilize the resources they have access to — be they libraries in the community or at school, or even the personal libraries of people they know and trust. When I was 15, I read The Autobiography of Malcolm X,  because I thought it was necessary for me to learn exactly how he became an activist. Not everyone is born with a fist in the air — our kids need to know that. I also read Race Matters  by Cornel West (required reading by my school) and found the words I had been seeking all along to explain what I felt when my wealthy white schoolmates expressed not just racism or sexism, but classism in their interactions with me and one another.

Have there been any challenges/obstacles, etc. you’ve encountered in creating your media? Will you share some examples with us?

Uche: I would say that my greatest challenge in creating HH4L is that I didn’t know of anything that existed like it before. I had no guide to tell me how to create a site/radio show that wants to discuss Love, Sex and Hip Hop. Sure there are sites and radio shows that discuss sex and hip hop but not together. So I would say my biggest challenge has been creating this form of media that I didn’t know to exist prior to.

What support systems help you cope with frustration, challenges, obstacles, etc. as POC inclusive media makers?

Uche: I would say our biggest support system has been our growing audience. They have let us know we are doing something needed and wanted by them. That is what I know helps me face any challenges or obstacles I’ve faced.

Lenée: I’m not certain that we’ve faced too many frustrations or challenges as POC inclusive media makers, but I have noticed that sharing with people what I do as co-host and sometimes site contributor to the show can be met with puzzled faces. People really do seem to think that Hip Hop music is all about guns, hoes, drugs, and violence. They’re sometimes surprised… While others think that the music library couldn’t possibly be extensive, as the music within the genre that they like is very singularly minded.

What time management strategies/advice can you share with us about creating media and also finding time for yourself/family/friends?

Uche: There are times that I feel consumed by HH4L. I live it constantly so I make sure to have my down time to “check out.” Its essential for me to create a work/ life balance as it allows my creativity to recharge and grow.

Lenée: We make sure we’re fed and hydrated before the show starts. It’s imperative that we have sufficient nourishment and rest beforehand. HH4L Radio, though it requires a substantial time commitment for me, doesn’t keep me from having quality time with friends and/ or family. I believe Uche has different experiences, though, since she’s the site’s founder and primary content contributor.

Are there any upcoming events planned?

Lenée: With dates TBD, we have a group trip to the Museum of Sex in New York City, and another Lovers Joint!

How may people get in contact with you? listen to the show?

Uche: Tune in to the show on www.hiphopis4lovers.com. Also, find us on Twitter, Tumblr  and Facebook.  If they want to submit music they can do it through the contact section on the website and also sign up for our mailing list.

Lenée: I don’t know specifics, but we’ve got a good following on Facebook and Twitter. Also, the site we broadcast from shows us our stats including unique listeners to each broadcast and how many downloads we get. I’d estimate that we have just under a thousand folks listening to us, which is quite impressive to me considering that we’ve been doing the live shows for just under a year.

Are there any other topics/issues/etc. you’d like to discuss?

Lenée: Check hiphopisforlovers.com for announcements about upcoming events and to stream our latest shows.