Category Archives: Press

Press releases, links to external news sites, videos, etc. Appears under “NEWS” on front page, and also on the “Press” category page.

JUiCE Los Angeles Hip-Hop

J.U.i.C.E. it Up: With Gisella Ferreira

Campus Circle, Culture: LA Faces

Article posted on 9/28/2009

J.U.I.C.E. it Up: With Gisella Ferreira

By Jessica Stern

As the fierce rhythms of the live congas infuse the beats of samba in Brazil Brazil Cultural Center’s open space, Gisella Ferreira proves the mantra, “bodies never lie.” Combining hip-hop and Afro-Brazilian dance, Ferreira invokes the vivacity, rawness and soul into her dancing that stays true to her Brazilian-American roots.

Ferreira has been moving to the sounds of samba and hip-hop since she was a child, and soon after recognized that these forms not only spoke to her, but as Ferreira says, they became “the two dominant loves of [her] life.” As an ArtsBridge Scholar, she taught hip-hop and samba workshops to various Los Angeles high schools and later embarked on what would be one of her most formative experiences: teaching hip-hop and English classes in Brazil.

Inspired by samba’s diverse forms and women’s roles in Brazilian society, Ferreira converged her passions and developed a style that connects the uninhibited improvisation of hip-hop with the feminine spirituality of the orishas (goddesses) of Candomblé. This dialogue of cultures has manifested into a piece that will be featured as part of the upcoming J.U.i.C.E. Hip Hop Dance Festival on Oct. 3rd at the Ford Amphitheatre.

With all female live drumming, orisha role-play and moves that guarantee endless fascination, Ferreira promises a show that is “energetic, creative and powerful.” Come see the goddesses interact through a fusion of hip-hop and Afro-Brazilian full-body expressions for a performance that exudes female empowerment and an energy that’s bound to get your ass shaking.

The Second Annual J.U.i.C.E. Hip Hop Dance Festival will take place Oct. 3rd at the Ford Amphitheatre. For more information, visit

JUiCE Los Angeles Hip-Hop

‘J.U.I.CE Hip Hop Dance Festival’: The Best of L.A.’s Street Dance Styles

Campus Circle, Aug 2008

By Jessica Koslow

Standing onstage at the Ford Amphitheatre on the evening of Sept. 15 for J.U.i.C.E.’s “Hip Hop Ya Don’t Stop!” Jam Session, I was overcome with awe, emotion and inspiration. To my left were Amy “Catfox” Campion of Antics Performance and Marissa Labog of One Step Ahead demonstrating breaking moves to several enthusiastic kids. Scatterbrain, J.U.i.C.E.’s music production coordinator and Nameless, its MC coordinator, were holding the mic, spitting while encouraging a handful of bashful bystanders to rhyme, too. B-girl Peppa and b-boy Barafuco of Outer Circle were stretching on the side, in attendance to show their support. Graffiti writers and turntablists were also on hand to impart their knowledge.

This night was just one event in a string of weeklies sponsored by J.U.i.C.E. (Justice Uniting in Creative Energy), a community organization focused on youth empowerment and education through the hip-hop arts.

Executive director Monica Delgado explains the mission of the seven-year-old non-profit. “We want to create a safe space for young people to come and engage in [hip-hop] arts. We encourage peer mentorships. The only rule is respect.”

On Oct. 4, J.U.i.C.E. and Amy “Catfox” Campion’s Antics Performance present “JUiCE Hip Hop Dance Festival,” a showcase of the best in L.A. hip-hop choreography of all street dance styles. A whirlwind of breaking, popping, locking, krumping, fusions of breaking and modern, hip-hop and jazz, the performances will be all across the board.

For Peppa and Barafuco, this is an opportunity to step outside of the box.

“We are hip-hop dancers,” starts Peppa, “but we’re going to be doing other forms of dance: salsa, swing, partner, popping, locking, breaking, top rocking.

“[Our piece] is going to be magical, imaginative,” she continues. “We’re going to let the audience use its imagination of where we come from and what’s really going on onstage and who we are.”

Some of the other companies featured will be Lux Aeterna and the Get Down Dolls.

This is the second year in a row that the Ford is presenting the J.U.i.C.E. festival. Last year, their debut, was an incredible success.

“Last year the Ford took a gamble on us,” states Campion. “Ford had never had hip-hop before and they were searching for younger audiences.”

With a second CD in the works and hopes to open its own 24-7 community center, squeezing societal ills into an inspirational cypher and pouring out kids with hopeful, creative futures within their grasp.

“It’s great to see the metamorphosis of young people,” relays Nameless, “not just the skill level but it’s an organic form of mentorship by your peer. Healthy habits are encouraged.”

“JUiCE Hip Hop Dance Festival” will take place Oct. 4 at the Ford Amphitheatre, 2580 Cahuenga Blvd. East, Hollywood. 8 p.m. Tickets $25, students $5. For more information, visit

JUiCE Los Angeles Hip-Hop

J.U.i.C.E. Reaches Out to At-Risk Youth

Pasadena City College Courier, June 6, 2008

J.U.i.C.E. Reaches Out to At-Risk Youth
Quenching a thirst for hip-hop
by Stacey Wang

Los Angeles — On the outskirts of MacArthur Park and Koreatown, beats can be heard in the distance, luring bystanders to the infectious collective gathered at a Los Angeles church.

Nestled in the confines of an 8th Street hum on a warm Thursday, the walls of First Unitarian Church have an air about them that does not sound off as a religious gathering. Instead, Thursday nights belong to the at-risk youth of L.A. As the uplifting vibe seeps through from the entranceway of the stone building, hip-hop enthusiasts gather in part of a non-profit culture program known as Justice by Uniting in Creative Energy.

“Real hip-hop digs into it. It’s about artists inspiring each other in a positive attitude,” said Artistic Director, Dance and DJ Coordinator Marcus Anthony.

B-boying, also known as break dancing, is one of the four elements of hip-hop practiced at the JUICE program on the Thursday sessions. Anthony, who is the most senior staff member of the program with about six years under his belt, has seen a change in the program as well as himself.

“JUICE kept me grounded. It was an instant community,” he added. “It was one of the best things that happened to me.” Formerly a sponsored aggressive inline skater, Anthony tore up his knee and was unable to continue skating. Anthony, who turned to partying and recreational drugs for two years after, straightened up by getting involved in JUICE.

As a PCC student and self-employed repairman, Anthony’s responsibility outside of the program is vital for his duty as a role model. While those around him look for his enthusiasm, Anthony relies on them to continue doing even the most tedious jobs, such as carrying equipment up and down three flights of stairs every week.

“It’s the community, it’s the people. That’s what keeps me going,” Anthony said. “These people, their energy inspires me.”

Founded by Dawn Smith in 2001, JUICE has been a weekly event that young and old can turn as a safe haven to develop their passion for the hip-hop culture. Among other things, the program was developed to deter juvenile crime in the L.A. community.

Walking into the church, several wooden boards are set up for participants to show their artistry. Graffiti art is one of the four elements of hip-hop practiced at the JUICE program on the Thursday sessions.

“The kids who come here have artistic energy. We take the creativity and turn it into a marketable job skill,” said Director Monica X. Delgado. “In school, they may be looked [at] as trouble makers, but when they’re here, they’re star students.”

With the lack of complete social acceptance for the hip-hop culture in today’s society, some may find the program as a deviance itself. However, Delgado and her staff use their 4 to 9 p.m. program as an opportunity to teach participants the four elements of emceeing, b-boying, DJing and graffiti art to refine their respectability.

“There’s a value placed on the way the system was created. There is a value placed on fitting the mold. These kids don’t fit the mold,” explained Delgado, who’s students range from elementary schoolers to middle aged adults.

Being a smaller community coming together for the love of hip-hop, JUICE members share a similar enthusiasm for their craft and engage in each other’s spirit.

“The cool thing about the program is it’s a place to get together and do what they love. It really becomes a community,” said Music Production Coordinator Daniel “Silence” Rizik-Baer.

“JUICE is really diverse and very representative of L.A.” Reaching up to the second level of the church, Rizik-Baer and a group of rhyme-spitters and music-makers reside in a small room that pulses with inspiration.

In a small space upstairs, music enthusiasts gather to practice emceeing or music production. Emceeing is one of the four elements of hip-hop practiced at the JUICE program on the Thursday sessions.

Even with young producers and emcees cramming in this modest all-in-one office, studio and storage space, the creative JUICE flow permeated into their first album “The Danger Room Files: Volume One” and a second album in the works.

“From 4 to 9 on Thursdays, this is our space. We’re making music in here and there’s just a magnetic pull to express,” said Rizik-Baer.

Among some of the frequent participants making their way upstairs, El Camino College student Christopher “L.C.” Givens has found confidence while getting cozy with others in the lab.

“People get together from all walks of life from a hip-hop level. We all relate to that creative expression,” said the 19-year-old Givens.

At JUICE, the general attitude is for staff and participants to mentor each other, trading their creative viewpoints to improve their craft.

“When I first came here, I went straight to the dance floor,” said West L.A. College student Emmanuel Thomas. “When I come and break, it’s like a natural high.”

Thomas, a 20-year-old who has benefited from the give-and-take to satiate his hip-hop endeavors, first visited JUICE on a field trip with the Boys and Girls Club three years ago. He is often found in the main hall where b-boys and turntablists set up shop.

DJ Facilitator and PCC student Joshua “Kenzo” Aldrete spins on the 1s and 2s. DJing is one of the four elements of hip-hop practiced at the JUICE program on the Thursday sessions.

Given the chance to mentor high-spirited individuals like Thomas, DJ Facilitator and PCC student Joshua “Kenzo” Aldrete sees JUICE as a way to build a collective understanding for hip-hop and character.

“Everyone has an idea of culture and their best self. This program helps cultivate that at no cost,” said Aldrete.

Aldrete, a high school dropout and a “knucklehead” growing up, has matured into someone with an instinctive passion for serving his community.

Contributing to the same mentality, JUICE shared the underground art of graffiti in the L.A. area on legal murals, marking the city as its canvas to expose the culture of hip-hop to the uneducated.

Artists from JUICE also competed in the “L.A. versus the Bay Graf Battle” at the Malcolm X Jazz Festival in Oakland on May 17, capturing the title for the third annual. The program has kept active beyond its walls, also hosting the JUICE Hip-Hop Dance Festival at the Ford Amphitheatre on Oct. 4.

Even as the sun set and it passed 9 p.m., it was difficult for participants to break the vibe found in each of the rooms during hours as they continue their exchange of ideas. Only when they are asked to leave do JUICE attendees disperse back to their lives outside of the church.


Breaking the Cypher video

BREAKING THE CYPHER, presented by Antics Performance and J.U.i.C.E., originally performed Oct 5th, 2007 at the Ford Amphitheatre in Los Angeles. Artistic directors: Amy “Catfox” Campion and Jacob “Kujo” Lyons Continue reading


KABC Channel 7 Eyewitness News

Aired May 9, 2007

JUiCE Los Angeles Hip-Hop

Rap Thrives in Los Angeles’ Koreatown (Associated Press)



Korean rapper Jonathan Park, 21, aka DumbFounDead, raps during a freestyle rap session at the Justice by Uniting in Creative Energy – JUiCE Hip Hop Jam held at the First Unitarian Church in Los Angeles, April 12, 2007. (AP Photo/Matt Sayles)

LOS ANGELES — Crammed into a room on the third floor of a church, rapper DumbFounDead spits freestyle rhymes with six other emcees as a small group of 20-somethings bob their heads to the music.

It’s not the music that makes the scene notable; it’s the rappers. DumbFounDead, whose real name is Jonathan Park, is one of two Korean-Americans present. The others include three blacks and two Hispanics.

Park is part of a thriving Korean rap scene in the city’s vast Koreatown, where concerts and impromptu rap battle sessions are held in churches and cafes, and aspiring lyricists swap songs and jabs on MySpace.

The music is allowing young Korean rappers to build bridges with blacks half a generation after thousands of Korean businesses were torched in one of the country’s worst race riots. In doing so, these young Koreans with hip-hop style are defining their own Korean-American experience in a way their parents couldn’t.

The 21-year-old DumbFounDead said blacks used to snicker “Bruce Lee” or “Jackie Chan” references when he began rapping at 14. But he’s earned acceptance with his talent and by reaching out.

“It comes down to relations between blacks and Korean people,” said Park, considered one of Los Angeles’ best young rappers of any race. “I couldn’t even be an emcee without having good relations with black people. They started hip-hop.”

RAP UNITY—Korean rapper Jonathan Park, 21, aka DumbFounDead, left, laughs as he listens to another rapper, Lamar Glover, 25, aka Nameless, rap during a freestyle rap session at the Justice by Uniting In Creative Energy Hip Hop Jam held at the First Unitarian Church in Los Angeles, April 12. (AP Photo/Matt Sayles)

Los Angeles County has nearly 200,000 Koreans, more than anywhere else in the country, most of whom live in Koreatown. While most Korean rappers are too young to remember much from the race riot, they feel its effects.

“The riots definitely have a big impact on the K-town rap scene,” said Brian Kim, or Oddsequence, a 26-year-old who is part of the group Yello Belly Bastids. “Those race relations still affect how I’m seen when I’m chilling in South Central.”

The violence that exploded April 29, 1992, left 55 dead, more than 2,300 injured and about 2,500 Korean businesses destroyed, mostly in South Central and Koreatown. The acquittal of several white police officers in the beating of black motorist Rodney King lit the fuse.

Under the surface, however, were years of cultural clashes and misunderstandings between blacks and Korean shop owners. Many blacks saw Korean grocers, many of whom spoke little English, as opportunists who took money out of poor neighborhoods but disrespected customers by not talking much to them or looking them in the eye — cultural norms for Korean business owners.

Such frustrations reached a boiling point a year before the riot when black teen Latasha Harlins was shot and killed by a Korean grocer in a dispute over a bottle of orange juice. Ice Cube’s 1991 song “Black Korea” expressed the frustration many blacks felt.

“So pay respect to the black fist / Or we’ll burn your store right down to a crisp,” goes the song, which turned out to be tragically prophetic.

The riot was so traumatic for the Korean community that even today many parents don’t allow their children to listen to rap, or “black music.”

But there was no keeping the vibes away from young Koreans’ ears, especially in a city that has produced many of the country’s best rappers.

“Many friends were like `forget rap music’ after the riots,” said Sonny Kang, 31, a Korean actor who stood guard outside Korean stores during the rioting. “Then when Dr. Dre dropped ‘The Chronic’ album in the summer of ’92 it was like ‘Wow, this album is so good we can forgive anybody.’”

By the late 1990s, a handful of Korean-American rappers had achieved commercial success, but mostly rapping in Korean and selling their music in Korea.

The first annual Asian Hip Hop Summit, inaugurated on the 10th anniversary of the riot, was created as a way for Koreans to reach out to blacks and Hispanics and solidify the growing Korean rap movement.

Black and Korean rappers are cautious when reflecting about how much rap music can improve race relations in Los Angeles. Rap music, they say, is a world of its own.

“Open Mike Eagle,” 26, is a member of the group Thirsty Fish, which includes DumbFounDead. “When we leave here, we go back to our own families,” Eagle, who is black, said during the recent church session. Pausing and reflecting, he added, “But we do take this experience with us into the world.”

The riots and race relations are among many themes Korean rappers explore. Like artists the world over, they make music to recount personal experience.

For some, that means broken homes or pressure from their parents to be a doctor or engineer, acceptable careers in a community where education is paramount. For others, it means violence, gang life or illegal immigration, also very much a part of Koreatown.

DumbFounDead is an example. He dropped out of high school in 10th grade and moved out on his own by 18 because his parents had separated.

Mixed into Korean rap lyrics is vocabulary to express questions of identity felt by many young Koreans living in America.

“FOBs” are Koreans “fresh off the boat,” while children born here to Korean parents are called “bananas” because they are “yellow on the outside and white on the inside.”

In one song, American-born Doc Whisperer, who is 26-year-old Peter Yoo, and Korea-born Viruss44, or Sean Rhee, 26, who moved here when he was 14, rap about feeling alienated.

“I’ve been through a whole lot of insecure years / Cause I’m the first in my family to be born here / Raised in California, I crawled in Eight Zero (’80) / And when growing up I couldn’t recall an Asian hero,” Yoo rapped at a recent “Ghetto Musik” concert, which included dozens of Korean rappers and dancers.

In the crowd was 15-year-old Keith Smith and three of his friends, all of whom are black.

“I just came to check out my Korean homies,” said Smith, who would later lose a freestyle contest against DumbFounDead. “This is some good stuff

JUiCE Los Angeles Hip-Hop

Hip Hop in Germany, August 3, 2006

Photo by Bichito via

Posted by Deanna Adams in Music

JUiCE Los Angeles Hip-HopL.A.’s youth have all the fun these days. Set aside sex, drugs, and violence, there are several organizations that allow them to have a blast. The Boys and Girls Club may be nice and all, but one program stands aside as one of the most unique.

The local organization Justice by Uniting In Creative Energy (J.U.I.C.E.) formed in 2001, with a mission to help fight juvenile crime through the hip hop culture – word, music, dance, and art. J.U.I.C.E is opened to anyone, of any age, and free of charge every Thursday from 4pm to 9pm, and offers open turntables, DJ sessions, Emcee workshops, Graffiti and Mural Art classes, Music Recording classes, and a dance floor.

That is not even the best part. J.U.I.C.E. was selected to be a part of the Youth Urban Arts Exchange in Stuttgart, Germany from August 15-28. This program enables some of L.A.’s youth to visit Germany and explore how the hip hop culture lives abroad, by way of joint workshops, performances and roundtable discussions facilitated by local scholars and artists.

“The main premise of the exchange goes beyond sharing our two cities. We will be creating and documenting an international dialogue around Hip Hop, Youth, Media and Violence as it is perceived and experienced in our distinct countries and communities”, said Monica X. Delgado, Executive Director of J.U.I.C.E. “We are proud to celebrate and share the diverse talents of Los Angeles’ Bboys and Bgirls, Graffiti Artists, Deejays and Emcees with like minded youth in Germany.”

This entire experience will be documented and presented in a live forum both here and in Stuttgart. To learn more about J.U.I.C.E. and the Youth Urban Arts Exchange, visit


Stuttgarter-Nachrichten-JUiCE Los Angeles Hip-Hop

Stuttgarter Zeitung

Von Inga Ehret  |  Samstag, 26. August 2006

Stuttgarter Zeitung

"Hip Hop ist eine Sprache, die jeder versteht"
Stuttgarter Jugendinitiative "Rap Present" veranstaltet internationales Austauschprogramm mit Kustlern aus Los Angeles

JUiCE Los Angeles Hip-Hop

Hip Hop for World Peace/ HipHop für den Weltfrieden



by Kerstin Bund
(translation by Dr. Alfred Baer)

JUiCE Los Angeles Hip-HopThey could hardly be more diverse. The 30 participants of the youth initiative Rap Present organized by the exchange program, they share neither skin color, language, nor nationality. What keeps them together is the love for Hip Hop. “Hip Hop is the language which everyone in the world can understand.” The words of Eddie Nuñez resounded with deep conviction. “Chief Roc,” as he is known, is one of the 30 young people, aged 16-26, who are participating in the German-American exchange. In July, the Stuttgart artists of the Hip Hop culture visited like-minded youth in Los Angeles. Now, the American emcees, DJs, graffiti artists and breakdancers are returning the visit.

The organizers are the local youth initiative Rap-Presents and the youth center J.U.i.CE.. from Los Angeles. A mixture of geography, local culture and workshops are being experienced by these overseas guests while they are staying with their host families until Monday. The theme of the 12 day sojourn is “Media and Violence”. Hip Hop is an alternative way by which the artists can have discussions with words, song and dance.

Peipei Yuan is a B-girl, which means she dances in the way of breakdance. “I devote my entire life to this music,” says the graceful Asian. Then she gives a little demonstration and suddenly her artists’ name “Peppa” (Pepper in conventional terms) declares itself: apparently made of rubber, she dips to the beat, jumps on her hands, wiggling her legs up so that in the next moment all her joints seem knotted. “When I saw someone ‘break’ for the first time, it changed my life,” she declared. At one time, she hung out in bars and discotheques, swallowed pills and dealt drugs. “Now I am away from all that stuff and there is only Hip Hop for me.” That this can change more than a single life is the conviction of Joshua Aldrete (alias Kenzo). “For me, Hip Hop means peace in the world.”
Stuttgarter-Nachrichten-JUiCE Los Angeles Hip-Hop


JUiCE Los Angeles Hip-Hop

A Word (or two) from Editor Tess Taylor (NARIP)


The National Association of Record Industry Professionals, July 28, 2006

A Word (or two) from Editor Tess Taylor about J.U.I.C.E. (Justice by Uniting In Creative Energy)

JUiCE Los Angeles Hip-Hop

(L-R) Naddi Zschiesche of Stuttgarts Rap Present & Monica X. Delgado of LA's JUICE

So what is a classical music lover like me doing scooting around the grungy outskirts of Korea Town in Los Angeles on a sweltering midnight looking for a hip-hop event? I asked myself this same question, cursing quietly under my breath as I searched for the address on the dimly lit boulevard (why is it that builders insistently and maddeningly refrain from affixing street numbers to buildings?). And I wondered if the police car with flashing lights parked a hundred yards off was responding to a domestic violence call or other explosive incident into which I could get myself entangled. Lovely. But when I got out of my car to investigate on foot to find the venue, the beats I heard in the distance guided me to the right place.

What I found was a Unitarian church transformed into Hip Hop Central, with loads of mostly exuberant young men in their highly fashionable and expertly shredded threads against a backdrop of colorful fresh graffiti murals. I entered just as the young men (and a few courageous young ladies) were in the middle of a high-energy break dancing battle. Whatever you call doing Russian Cossack-style squat-leaps and hurling yourself into the air, landing on your head, striking fantastically complicated poses that seem to require rubber limbs, moving with robotic precision at hyper speeds and suspending the weight of your body in mid-air with your wrists, they were doing it. I was fascinated, these guys are talented. Cirque du Soleil could do with a bit of this.

Intrigued by an announcement I received the day before, Id come to investigate the promise of the press release: German Youth in LA for Hip Hop Exchange. I chuckled, German hip-hoppers? Now that’s amusing, it seems like such an oxymoron. I was interested to see how this music form was being put to work by JUICE (Justice by Uniting In Creative Energy), an LA-based hip-hop focused community center which emerged from work with high-risk youth in shelters, schools and juvenile halls.

Hip-hop seems to have become a universal language, an updated dialect of the rock & roll language with which my generation used to infuriate our parents. But what I saw last night wasn’t a sharp-stick-in-the-eye provocative, it was a group of high-energy teens expressing themselves and having a great time doing it. The atmosphere was uplifting. How much better to have all this youthful energy put into something positive rather than lolling around detention centers and juvenile halls.

From what I can see, the origins of hip-hop have not always been positive but there appears to be a strong upward trend from the underground into the mainstream with messages to organize and uplift communities, to keep kids off the streets and out of gangs, and to speak up about social and political causes. I perceive a much stronger unifying element in hip-hop today than, say, 5 years ago. By whatever means awareness reaches them, it encourages me to see a greater level of it among the younger generation.

JUICE has been selected to participate in a Youth Urban Arts Exchange in Stuttgart, Germany this summer. Fifteen youth from JUICE Los Angeles will visit Stuttgart in August, while fourteen youth urban artists from German hip-hop organization Rap Present are in Los Angeles from July 18-30.

I strongly encourage and promote cultural exchanges like this for children and teenagers at the earliest possible age, and am happy that art has put itself to practical use by being the common denominator here. Having benefited so much from my travels and lived abroad myself for a number of years, I see living and travel abroad as essential to greater global understanding and lessening of international friction. Most Americans (embarrassingly) never get beyond the borders of this fantastic country and their ego-centric attitude often reflects this. We are privileged to live in the greatest, wealthiest country in the world and despite its many problems, America is still the destination of choice for millions of people around the world and has been for decades, even centuries. In our position as a global superpower, we have an obligation to help others so that more people can partake in the wealth and opportunity here. This is only one reason why cultural exchange programs are so important. When you understand how others live and when youve traveled through a third world country where having running water and a flush toilet is a luxury, you can appreciate so much more what you have here in the States.

But I digress. I applaud Monica X. Delgado, Executive Director of JUICE, and Naddi Zschiesche, founder of the Stuttgart-based Rap Present whose efforts made this exchange possible. Says Monica, “The main premise of the exchange goes beyond sharing our two cities. We will create and document an international dialogue around Hip Hop, Youth, Media and Violence as it is perceived and experienced in our countries and communities. We are proud to celebrate and share the diverse talents with like-minded youth in Germany.” The program will include joint workshops, performances and roundtable discussions in both countries facilitated by local scholars and artists. The documented results will be edited into a short documentary and presented at public forums in both Los Angeles and Stuttgart.

Naddi told me that over twelve years ago a similar exchange took place and several German artists went to San Francisco. Twelve years later, she says they are still raving about what a great experience it was for them and how much it changed their lives for the better. The German hip-hoppers here today have fallen in love with Los Angeles and are already plotting their return.

Both organizations JUICE and Rap Present could use your support. As Pablo Picasso said, Everything you can imagine is real. So imagine greater harmony in the world and do something about it today. Start with checking out the Web sites of these two organizations (URLs below). Then drop Monica or Naddi a line. They would love to hear from you. So would I.

Tess Taylor


Justice by Uniting In Creative Energy (J.U.I.C.E.), a hip-hop focused community center, was founded in 2001 in the Rampart District of Los Angeles. Every Thursday hip-hop heads meet to practice their skills and just kick it with like-minded people. We paint graffiti murals in the community, record and produce music, emcee, DJ, and dance on a large hardwood floor. The concept emerged from work with high-risk youth in shelters, schools, and juvenile hall. JUICE’s vision to sustain a safe and permanent home for youth where the elements of hip-hop are used as a tool for social change, youth empowerment and art education.

Monica X. Delgado
Executive Director of JUICE
Tel: (213) 344-9435

Rap-present is a volunteer-run youth initiative in Stuttgart, Germany whose activities focus on the world of hip-hop. Rap-present comprises nearly 20 youth and young adults, supported by about 10 helpers. Our site features a database that allows artists to publicize their services free of charge, and functions as a booking platform. Local groups see their purpose in organizing events and representing the interests of the hip-hop culture towards institutions and other groups from outside the scene. At our monthly Club we support young DJs. A number of events are in the pipeline for 2006, as well the expansion of local groups to the cities Hamburg, Berlin and Dresden, and the countries Serbia and Bosnia.

Christin Naddi Zschiesche
Tel: 0 11 49 711 319 54 38