Freestyle: Gateway to the Beyond Within (Redux pt.1)

Freestyle Gateway To the Beyond Within (Redux pt. 1)

Freestyling is the area within Hiphop culture where I've found a home. Not only does freestyling allow me to honor my love for being creative but it also allows me to genuinely connect with others in a very human way. Sharing the vulnerable space of cyphering with others who are trying to be as completely welcoming of their experience and unafraid to be themselves as possible, reminds me of many experiences that i’ve had in my life that felt spiritually genuine. For me the intimacy, openness and loving support i’ve found in cyphering has been similar to attending a Sweat Lodge with the lights on. I write about the subject of freestyling the most because I've found it to be the area of Hiphop where pretense isn’t admired and where authenticity and self acceptance equal success. Cyphering is also one of the only Hiphop centered activities that asks me to directly confront the fundamental human fear of not being enough and needing to continue the exhaustive search of being someone else. I hope that these writings are of some benefit to those who read it.

There is more to freestyling than just rhyming and what follows are how I’ve come to understand and practice cyphering. My advice: Don’t worry about being good. Be more concerned with experiencing the goodness of Being.

I wrote most of what follows in 2002-3 during a time of my life when I was doing a lot of what my teacher called spiritual weightlifting. I recently decided to dust it off and re-edit it. To me all my writings are living documents and always worthy of reanalysis and rewriting. It was the first piece of Integral Hiphop literature I believe and it was how I became friends with my brother Corey DeVos (now Editor of integrallife.com and a dope integral woodworker) who found it in a chat room and reached out to me and invited me into a world that included Rick Rubin, Saul Williams and Deepak Chopra. Since that time i’ve continued writing and experimenting with Hiphop based theories and practices that I hoped would benefit humanity.

May a second look a these writings turn us all towards our nature.

Meaning of the Cypher

In the vibrant world of Hiphop, the freestyle cypher is not merely a gathering; it is a crucible of creativity and a sacred circle where practitioners and aficionados converge to engage in freestyling—the art of improvised, spontaneous lyrical delivery. This dynamic arena serves multiple purposes: it is a battleground for sharpening lyrical prowess, a sanctuary for personal expression, and a communal space where individuals connect through the power of words and rhythm.

The term "cypher" has deep roots in Hiphop culture, symbolizing a complex matrix of meanings. Firstly, it represents a 'code' or 'hidden meaning,' reflecting the layered, often metaphorical language of rap lyrics which convey intricate messages and cultural commentaries. Secondly, it denotes a 'nobody' or 'non-entity,' emphasizing the transformative potential of the cypher, where unknown artists can emerge as significant voices within the community. Thirdly, the cypher is literally a circle—enclosed and intimate—where participants and observers are drawn into a shared experience of authentic discourse.

Understanding the Freestyle Cypher

The freestyle cypher is a dynamic and multifaceted element of Hiphop culture, serving as a platform for spontaneous lyrical improvisation. It is a communal space where emcees, beatboxers, and other musicians gather to express themselves through the art of freestyle rhyming. The cypher (often conducted in a circular formation) allows each participant to contribute their unique voice to the collective experience. This practice is deeply rooted in the traditions of African oral culture and has evolved to become a significant aspect of Hiphop's global influence.

Purpose

The primary purpose of the freestyle cypher is to foster a sense of community and collaboration among Hiphop practitioners. It is a space where artists can showcase their skills, exchange ideas, and engage in friendly competition. The cypher also serves as a training ground for emerging artists, providing an opportunity to hone their craft and gain recognition within the Hiphop community. Additionally, the cypher acts as a conduit for cultural expression, allowing participants to address social issues, share personal narratives, and celebrate their identities.

Processes and Dynamics

The process of engaging in a freestyle cypher involves a series of unwritten rules and etiquette that ensure a respectful and inclusive atmosphere. Participants take turns performing, typically adhering to a set number of bars, and are encouraged to build off one another's energy and content. The dynamics of the cypher are characterized by a balance between individual expression and collective interaction. This balance is maintained through active listening, responding to the cues of others, and contributing to the overall flow of the session.

Therapeutic Uses of Freestyling

Freestyling has been recognized for its therapeutic potential. The spontaneous and improvisational nature of freestyling allows individuals to tap into their emotions and articulate their thoughts in a supportive environment. This process can lead to increased emotional awareness, resilience, and a sense of well-being. The Freestyle Therapy Cypher model, for instance, utilizes freestyle rap as a medium for therapy, incorporating exercises that address self-critique, gratitude, and goal setting. Such therapeutic applications underscore the cypher's role in promoting mental health and personal growth.

Beginning in 2003 I began to utilize a therapeutic freestyle framework called NTU FREE when working with adjudicated adolescents at Progressive Life Center Inc. I utilized the 5 stages of Dr. Frederick Phillips Afrikan centered psychotherapeutic model called NTU Psychotherapy. As the therapist I guided the participants through the stages of NTU psychotherapy as I would in an individual therapy session, listening and processing in the moment, staying with and guiding the participant through the stages. When the participant displays qualities of stabilization I transition the session to the next stage sometimes unknowingly to the participant and at other times I stop, check in and move on, starting a new stage with a new rhyme. 

The NTU FREE process involves 5 stages and key elements:

1. Harmony: Participants verbalize their connection with the group and a creative energy, fostering a sense of unity and shared purpose.

2. Awareness: Individuals articulate personal challenges and joys, using the cypher as a reflective space to address life's complexities.

3. Alignment: Through their lyrics, participants acknowledge personal responsibilities and challenges, fostering a sense of personal accountability.

4. Actualization: The cypher becomes a platform for declaring intentions for change or continuity, allowing artists to vocalize their developmental trajectories.

5. Synthesis: Emcees express their integration with the forces of change and continuity, symbolizing their commitment to personal growth and artistic evolution.

I’ve utilized this model with clients who are more “Hiphop” centered and it has served as a therapeutic relationship building tool as well as a means of culturally connecting with my patients who understand themselves through the lens of Hiphop. 

Cultural Significance

The cultural significance of the freestyle cypher lies in its ability to create a microcosm of the broader Hiphop community. It is a reflection of the values and experiences that shape the culture, including themes of resistance, empowerment, and social justice. It is also a reflection of how we have learned to work with each other and often exposes challenges with social listening and participation. The cypher embodies the principles of Hiphop as a form of creative placemaking, where artists use their talents to impact the social fabric of their communities. Furthermore, the cypher is a manifestation of Hiphop's oral tradition, drawing parallels with African and religious practices where the circle symbolizes unity and shared knowledge.

Outcomes of the Cypher

The outcomes of participating in a freestyle cypher can be multifaceted. For individual artists, the cypher can lead to skill development, increased confidence, and artistic validation. For the community, cyphers can strengthen bonds, foster a sense of belonging, and provide a platform for voices that might otherwise be marginalized. Additionally, the cypher can have broader societal impacts, such as influencing public perception of Hiphop, contributing to cultural preservation, and facilitating social change.

The freestyle cypher is a complex and integral component of Hiphop culture that serves various functions, from artistic development to community building and therapeutic intervention. Its processes and dynamics reflect the collaborative spirit of Hiphop, while its outcomes demonstrate the culture's capacity for personal and social transformation. The cypher continues to be a vital space for expression, innovation, and connection within the ever-evolving landscape of Hiphop.

Freestyling with Intention

Far from just being a tool to entertain ourselves or others, freestyling when done with the intention of knowing one's own mind can enhance self-awareness and self-worth, deepening their understanding of others' styles and lyrical skills and connecting more profoundly with a creative or divine force. 

Moreover, the cypher is a conduit for transmitting messages of personal significance to the audience—referred to here as the 'congregation'—enhancing the collective's understanding and connection to the creative forces that drive the Hiphop ethos. It is a space where harmony, balance, interconnectedness, and authenticity are not only practiced but celebrated.

The cypher, therefore, is more than just a feature of Hiphop culture; it is a microcosm of the culture itself. It encapsulates the principles of relationship and interconnectivity that are foundational to the human experience, mirrored in the communal and improvisational nature of Hiphop. Whether participants are conscious of it or not, each cypher session is a step towards mastering the art of freestyle and a deeper engagement with the cultural, spiritual, and communal roots of Hiphop

Hiphop Alive

Justin F. Miles is the founder of Hiphop Alive and pioneering practitioner, theorist and educator at the intersection of Hiphop culture, mindfulness and contemplative studies. He is the leading voice championing the use of Hiphop infused contemplative modalities to foster resilience, emotional intelligence, and community empowerment. 

J-Cole and The 10 Paramis

J-Cole and The 10 Paramis

The recent Kendrick Lamar vs. J-Cole and Drake battle has been exciting for Hiphop fans nostalgic for an energy that has driven much of how Hiphop was experienced at its foundation; claiming who’s the best and proving it. Hiphop fans love a good beef but for a couple decades now I've questioned not just the point of beef but the usefulness of it. Battling seemed to have somewhat of a purpose a long time ago. Kool Moe Dee vs. Busy B was necessary to evolve the artform of lyricism and creative writing, Common vs. Ice Cube and Company Flow vs. Sole was necessary to reveal the consequences of self inflation i.e. taking lyrics that weren’t meant for you personally. I could also argue that the Biggie and Tupac beef was necessary in order to show the world that the issue wasn’t between them. The issue was (and is) a world eagerly willing to watch two Black men destroy themselves through materialism and violence (on their own, prior to and during their beef) and the world of those who dehumanize themselves as a seemingly valid response to and extension of capitalism and slavery. The other conflicts surrounding the K-Dot v. Drake beef i.e. Kanye + Rick Ross + The Weekend vs. Drake as well as the budding Quavo vs. Chris Brown beefs, all seem to have little to not use other than to reinforce illusory superiority while ignoring the genuine behavioral and mental health challenges of everyone involved.

Recently, me and a couple Hiphop minded middle aged brothers (Remedy and Scott ZloRock) were texting and one of them asked if the Kendrick Lamar vs. J-Cole and Drake beef matters. This was my response: 

I think psychospirtually and culturally it matters in terms of what it says about the levels of identity and moral development of those that people idolize and listen to. J-Cole’s admission of his feelings and retracting his song says a lot about his ability to 1.) not be ruled by emotion, to 2.) allow himself to experience challenging feelings and hold them in his awareness long enough to find a way to respond to them honestly and in a healthy way and 3.) to display the powers of hindsight, insight, forgiveness and reparations.

In short, my point was that the conflict mattered much more because of J-Cole’s apology (and the mind behind it) than anything related to how behaviorally skilled K-Dot or J-Cole (and now Drake with Taylor Made….sheesh) were, or who was the more successful camp i.e. OVO, Dreamchaser or TDE (even though Kendrick is independent now). 

Why did it matter more? 

Because when we usually talk about conflict (internal or external) surrounding Hiphop artists the tendency is to focus on the the dynamics of what we can see, but when the focus turns to interiority or an internal world the conversation goes away. When our artists suffer and die we don't have extensive conversations about the mind behind the addiction, the overeating, the poor health, the violence, the drug dealing, the out of control emotions, the clearly unreconciled trauma, the narcissism…we appreciate the art, call them legends and move on. We’d rather appreciate the entertainment of an ODB, Shock G or Phife Dawg than openly discuss their internal struggles with caring for their health.

That J-Cole said through his apology, “Hiphop is not just what you see outside, Hiphop has something else going on inside” (which is the same message passed down from the now disgraced and defunct Afrika Bambaataa to KRS-ONE to De La Soul to J-Cole), indicated that he’s aware of values that transcend his ego or even the group ego of battle rap culture. Hiphop practitioners and fans suffer because our culture often wilfully ignores the benefit of exploring and identifying the struggles and richness of its insides, and instead validates the behavior and social presence of Hiphop linked to entertainment. Hiphop is largely about being seen, not seeing oneself. By my approximation, most of the deceased artists who have claimed to practice any of the Four Elements died violently, and very often because of something preventable had they had a better relationship with their emotions, thoughts and awareness. 

I like to focus on finding areas of how Hiphop can cause itself and others less suffering. It's been a driving force behind much of what I write and think about and it's because I love not just “the culture” so much, but because I also understand it as another way that humans are attempting to express their desire to be happy, and the pain and suffering of the struggle to not be the ones causing themselves the unhappiness. 

Recently I began exploring Hiphop culture through the lens of the Ten Paramis of the Buddhist tradition that I think offers a profound understanding of the ethical and moral dimensions that underpin Hiphop as a vibrant art form, as well as provides a foundation for exploring the application of intentional morality in Hiphop. The Ten Paramis, also known as the Ten Perfections, are essential virtues in Buddhist practice that serve as a foundational framework for ethical and spiritual development. These virtues are particularly significant for those on the path to becoming a Buddha, known as bodhisattvas, but they are also relevant for lay practitioners seeking to cultivate a meaningful and morally grounded life. Although the Paramis are thought to be virtues central to Buddhist practice, they also provide a framework for analyzing how Hiphop artists can cultivate a practice that is not only artistically fulfilling but also morally enriching. Below, we delve into each Parami to understand its relevance to Hiphop culture and how artists might embody these virtues in their craft and daily lives.

Dāna (Generosity)

Generosity within Hiphop manifests as the sharing of knowledge, skills, and resources with the community. Hiphop artists practice Dāna when they mentor emerging talents, organize workshops to hone the skills of fellow artists, and participate in charity events to give back to their communities. This Parami emphasizes the importance of contribution over competition, fostering a culture where artists support one another and uplift their communities.

Sīla (Morality)

The practice of Sīla, or ethical conduct, is crucial in ensuring that Hiphop does not perpetuate harm through its messages. Artists embody Sīla by creating music that promotes positive values and refrains from glorifying violence, substance abuse, or misogyny. This alignment with the 10th Element of Hip Hop, which emphasizes health and wellness, ensures that Hiphop serves as a force for good, guiding listeners towards constructive and ethical lifestyles.

Nekkhamma (Renunciation)

Nekkhamma involves the renunciation of materialistic desires and attachments that do not contribute to personal or communal well-being. For Hiphop practitioners, this might mean prioritizing the art form and its cultural significance over the fame and material gain that can accompany success. By focusing on the essence of Hiphop and its potential to effect change, artists can maintain integrity and authenticity in their work.

Paññā (Wisdom)

Wisdom, or Paññā, in Hiphop is cultivated through continuous learning and reflection. Artists can deepen their understanding of the genre's history, cultural roots, and social implications by engaging with the stories and experiences that have shaped Hiphop. This knowledge informs their creative process, enabling them to produce work that is not only artistically sophisticated but also culturally and socially relevant.

Viriya (Energy)

Viriya represents the energy and effort dedicated to mastering the craft. Whether it's DJing, MCing, breakdancing, or graffiti, Hiphop demands diligence and persistence. Practitioners of Viriya commit to refining their skills and pushing the boundaries of their art, demonstrating that excellence in Hiphop is achieved through passion and perseverance.

Khanti (Patience)

The journey to success in Hiphop, as in any field, is fraught with challenges. Khanti teaches patience and resilience, encouraging artists to withstand setbacks and frustrations with grace. This Parami is especially relevant in the competitive and often critical world of Hiphop, where the path to recognition and respect is long and demanding.

Sacca (Truthfulness)

Sacca is about authenticity and honesty in one’s expression. In Hiphop, this means ensuring that one's music, public persona, and actions reflect true personal beliefs and experiences. Artists practicing Sacca engage with their audience and the broader culture in a way that is genuine and sincere, fostering trust and respect.

Adhiṭṭhāna (Determination)

Adhiṭṭhāna refers to the determination to set and pursue goals, even in the face of adversity. For Hiphop artists, this could mean dedicating themselves to mastering a challenging piece of music, advocating for change through their art, or striving towards personal and professional milestones. This Parami underscores the importance of commitment and resolve in achieving success and making an impact.

Mettā (Loving-kindness)

Mettā involves extending kindness and compassion to others. Hiphop artists can embody this virtue by using their platform to spread messages of love, unity, and social justice. Through their lyrics and actions, they can address issues affecting their communities and advocate for change, demonstrating how Hiphop can be a conduit for empathy and solidarity.

Upekkhā (Equanimity)

Finally, Upekkhā teaches the value of maintaining a balanced and composed mind in all situations. Hiphop artists face both criticism and acclaim, success and failure. Equanimity allows them to navigate these highs and lows with grace, staying true to their art and values regardless of external circumstances.

By embodying these virtues, Hiphop artists not only elevate their craft but also contribute positively to their communities and the broader cultural landscape. Through ethical and moral reflection, the Hiphop community can foster an environment of growth, respect, and social responsibility, ensuring that the culture continues to thrive and inspire.

J-Cole and the Paramis

J. Cole's recent apology to Kendrick Lamar for creating a diss track marks a significant moment in Hiphop culture, embodying the ten Paramis, or virtues, that guide ethical and moral behavior. This gesture not only quells potential discord between two influential artists but also serves as a powerful example of maturity and introspection within the industry. Below, I explore how J. Cole's actions reflect these virtues:

Dāna (Generosity)

By publicly apologizing, J. Cole demonstrated generosity not only towards Kendrick Lamar but also towards the Hiphop community at large. His willingness to share this moment of humility and reconciliation offers a valuable lesson in ego management and the power of amends, enriching the cultural fabric of Hiphop.

Sīla (Morality)

Choosing to apologize and steer clear of perpetuating beef reflects a strong moral compass. J. Cole's action aligns with promoting positive interactions within the industry, steering clear of negativity that often plagues rap battles and diss tracks, which can glorify conflict and detract from the music's artistry and message.

Nekkhamma (Renunciation)

In apologizing, J. Cole renounced the potential personal gain that comes from rap beefs—be it attention, fame, or financial profit. This shows a commitment to higher values over material or ego-driven desires, focusing instead on the well-being of the community and the integrity of his and Kendrick Lamar's work.

Paññā (Wisdom)

This apology reflects wisdom gained through reflection on the consequences of his actions—not just for himself but for all involved. It demonstrates an understanding of the impact words can have and the importance of resolving misunderstandings and conflicts constructively.

Viriya (Energy)

It takes significant effort and dedication to confront one's mistakes and address them publicly. J. Cole's determination to put in the hard work of reconciliation and personal growth, rather than taking the easy route of silence or continued antagonism, embodies the virtue of diligence in self-improvement and community healing.

Khanti (Patience)

Patience is crucial in navigating the fallout of public disputes. J. Cole's approach suggests a willingness to wait for understanding and forgiveness, recognizing that healing and reconciliation are processes that cannot be rushed.

Sacca (Truthfulness)

J. Cole's apology is an act of truthfulness, requiring him to honestly assess his actions and their impact. This candidness fosters trust and authenticity, strengthening his relationships with peers and fans alike.

Adhiṭṭhāna (Determination)

The decision to apologize and seek a peaceful resolution demonstrates J. Cole's determination to uphold his values and commitments, even when doing so involves personal vulnerability and the risk of public scrutiny.

Mettā (Loving-kindness)

Extending an apology is a clear act of loving-kindness, as it seeks to repair harm and restore harmony. J. Cole's gesture towards Kendrick Lamar is an embodiment of compassion, prioritizing peace and mutual respect over conflict.

Upekkhā (Equanimity)

Through his apology, J. Cole exhibits equanimity by maintaining a calm and balanced perspective in the face of potential criticism and controversy. His ability to stay composed and focused on what he believes is right, regardless of the outcome, reflects a mature and stable approach to life's ups and downs.

J. Cole's public apology serves as a compelling illustration of how the 10 Paramis can guide actions and decisions within Hiphop culture, promoting ethical conduct, personal growth, and community solidarity. By embodying these virtues, artists like J. Cole contribute to a more positive and impactful musical landscape, setting a powerful example for others in the industry.

Hiphop Alive

Justin F. Miles — the founder of Hiphop Alive — is a pioneering practitioner, theorist, and educator at the intersection of Hiphop culture, mindfulness, and contemplative studies. He is the leading voice championing the use of Hiphop-infused contemplative modalities to foster resilience, emotional intelligence, and community empowerment. 

Void School Rules Vol. 3: Cyphering in 3's

Please feel free to enjoy some of my music while you read. Thanks for listening!

Void School Rules Vol. 3: Cyphering in 3's

I find that in my life when asked to be present in a way that shines the light on me and only me (even if its only for a second) I experience anxiety. However, freestyling with others (sometimes called cyphering) allows me an opportunity to engage and make space for my fears.

I have no shame in saying that cyphering makes me nervous. What makes me the most nervous is that when it’s my turn to rhyme, it feels as if i’m being judged, and not just for what anyone can see but also for what they can’t. Because my presentation is filtered through another persons subject (which I have no control over) their perception will never match the reality of who I am.

Once i’ve started, even if I wanted to run there’s nowhere to go except deeper into the rhyme and the anxiety.

I’m in the spotlight, falling through the groundlessness of the moment, not knowing what will arise in my mind, feeling into the dynamism of emotions and thoughts with a mind that moves constantly outside (“what will they think?”) and then inside itself (“what am i thinking?”). In a freestyle cypher there is no refuge to be found aside from the immediate reality of the experience of our body, mind and what some may call spirit. In the cypher there is no place to hide; your refuge is your experience.

Similar to how we may show up in our everyday lives, instead of allowing ourselves to relax and accept ourselves as we are, its common in a cypher to present that we need to be more than we are in attempt to convince ourselves and others that we are confident and competent. Sometimes to appear less nervous we present as humorous or do something entertaining to distract others from the truth of our uneasiness. At other times we hide in our self deprecation acting as if we aren’t even worthy of being there. Regardless of the way we try to hide our anxiety we only genuinely hide from ourselves and in turn continue the exhaustive search for how we can be someone else. In that act there is no genuine acceptance of myself (which is also profoundly unkind towards myself).

Therefore, in a cypher let your refuge be the truth of what’s real about you and your immediate experience.

Unless it is the point of the rhyme scheme or topic, don’t elevate or reduce your sense of worth or embrace a false feeling or disingenuous sense of self.

Be natural.

You have everything you need and your simple presence is enough.

If we can relax a bit and welcome our complete experience (and not just our worry or hope) we may find that what we have at our disposal is the reliable richness of our body, mind and nature.

Our body, mind and nature can actually be represented in three groups of three’s.

• The three bodies

• The three perspectives

• The three faces of spirit

The 3 Bodies

All sentient beings have three bodies and it is these three bodies that we have immediate access to at all times. They are the areas of our immediate reality that are able to be experienced by us without any other persons assistance or influence.

These three bodies can be called:

Gross: or your physical body, bones, organs, systems etc.

Subtle: your energetic body, electricity, heat, qi, jing, shen, prana, elan vital or commonly thought of as “energy”.

Causal: this is body of your fundamental awareness, your witness mind, the mind that is witnessing you reading this right now. It is spacious, attentive, calm yet full of activity, and the home of fundamental wisdom, unconditional compassion and equanimity.

When cyphering all of these bodies are touched into to some extent, but what facilitates true relationship with these bodies is what facilitates true relationship with anyone or anything; returning to it over and over again in order to know it intimately. Eventually, that which you didn’t have a relationship is seen as a part of you and your life. This stands for healthy and unhealthy activities.

In order to know and benefit from the experience of these bodies it is important to train prior to cyphering.

If you practice when you’re not cyphering experiencing and trusting the three bodies is easier.

When we do not practice we do not know the capacity or the direct experience of these bodies and the benefit of the relationship diminishes.

A simple practice of engaging the three bodies can look something like this.

Gross:

before rhyming drink two glasses of water, give yourself a 5 minute deep tissue self massage, take three deep slow breaths, stretch your limbs, Buddhist Mindfulness of Body practice. Overall, be aware of your physical body.

Subtle:

before rhyming, practice a simple set of qigong movements, intently trying to feel qi moving through your body, tai chi, self tonglen/acceptance/kindness practice to relax energetic reactivity to self deprecating mind states. Overall, be aware of the feeling of energy moving throughout your body.

Causal:

before rhyming, engage in a practice that allows you to rest in unobstructed awareness and experience the expansiveness of the mind as vast as the sky., Big Mind practice, Shikantaza, Zuowang, Mahamudra.

Why is this important to freestyle practitioners?

The three bodies are your home and they include the totality of our immediate experience. When cyphering, the three bodies serve as both refuge and source of sustenance. When we need to know what is reliable and available our bodies are here for us.

Freestyling also allows us to work with two fundamental experiences of the mind:

• our fundamental awareness: the part of us that’s watching, witnessing, seeing etc.; our internal experience

• our conditioned mind: the self, our identity, that which is experienced as ever changing and can be studied .

Our fundamental awareness is related to the word “free” in freestyle.

Our fundamental awareness is free, meaning it is unencumbered, unburdened, not obstructed and nothing blocks its ever presence. It is one of the aspects of the experience of being “in the zone” or “getting open”. The truth is that you’re neither getting open and you’ve never left the zone. The zone is an ever available field of awareness in which you already exist. The vastness of your awareness is ever present and available but we do not relax into it, but instead become nervous in its largeness (ignoring the potential largess) and begin to search for ground as it will, seeking stability through thinking instead of stability in the natural openness of our awareness. We are not creating openness we are revealing it. When we let go of needing to go anywhere else or to search for something to remedy our experience of being truly present in the cypher, openness presents itself. We are dis-identifying with the totality of our experience as only existing in our comfortable everyday relationship to thinking and feeling, that pre-informs us of our experience instead of allowing us to experience things as they are. As the renowned psychologist Viktor Frankl pointed out, “between stimulus and response is a space, in that space is our power to choose our response. in our response lies our growth and freedom”. Learning to rest in the space between being moved to do something and doing something, is trusting that I will not be destroyed in that space and in fact can make wise decisions based on not reacting to the fear of boundlessness or feeling that we need to be more than this experience. how we choose to respond determines not only how we learn to navigate our experience but also freedom from the faultiness of fixation on a permanent sense of self, that in truth is changing moment to moment. we are free from being trapped by shortsighted perception and have learned to take refuge in a relaxed yet attentive mind. This aspect of the mind is seen from the inside, experiences various states of consciousness and is associated with the scientific field of phenomenology.

Our conditioned mind refers to the word “style” in freestyle.

Style is what your bodymind looks like from the outside, can be experienced as various structures and stages of physical, mental and spiritual development and is associated with the field of hermaneutics. What you appear to be doing on the outside can be viewed from three perspectives: body style i.e. style of kinesthetic movement and activity (ex. stiff, fluid), how you physically interact with space. mind style i.e. the archetype you inhabit, level of identity development, morality, values, meaning making etc. spirit style i.e. how your relationship with awareness/consciousness presents itself. if awareness is like an ocean, our relationship with it could be likened to the waves. some waves are very close to the ocean and are not very destructive. some are middling, more destructive and powerful in their capacity to do harm but still connected to the source. some waves are very large and cause widespread destruction to many people; still, it remains connected to the source, the ocean. there is nothing you can do to disconnect from consciousness. the most you can do is obscure your experience of it by associating yourself with what is distant from the source, instead of seeing yourself as the source itself. Styles express relationship with our bodies, minds and spirit, and like relationships can change depending on the amount of effort we put into our desired area of growth.

When we freestyle or cypher, we are cultivating a relationship with both the free and the style aspects of our being but there is a difference between reading it and doing it; knowing it and experiencing it. When we rhyme with the full awareness of our bodies, we increase the potential of experiencing an integrated body mind and reap the benefits to our rhyming and to our lives.

The Three Perspectives

There is another aspect of the mind that should not be ignored and that is the ability of the mind to take perspectives.

All human beings have the capacity to take on three various perspectives of their experience:

• 1st person: me, mine, I.

• 2nd person: you, we.

• 3rd person: they, them, it, it’s.

We inhabit these perspectives all throughout our days and when we cypher as well.

Why is this important information?

This is important because our psychological and spiritual growth is based on our capacity to see both within and beyond our own perspective. Cultivating understanding, mutual resonance, peace, enlightened society etc. calls for us to be able to understand who I am and how I cause myself and my world suffering (1st person), who others are and their reality as well (2nd person) and what is the objective word around me i.e. nature, mountains, the stars, the universe etc. (3rd person).

The more we inhabit these perspectives the more we know them, can feel into and understand them and hopefully be able to hold multiple perspectives (mine, yours and all of ours) at once.

We can cultivate perspective taking through freestyling when we intentionally choose a perspective to inhabit or avoid.

• For example, rhyme without referencing yourself. you can’t say I, me, mine or my. You can only take on 2nd and 3rd person perspectives. Why would i do this? in order to go beyond a fixation on “me” and how i see things. It promotes connection through living in the perspectives outside of my own.

• Another example is to intentionally take on the perspective of another person or object. Rhyme as if you are that 2nd or 3rd person. Speaking from your first person perspective, take on the perceived first person perspective on that second person or third person objects first person perspective.

• You may also want to try taking the second person perspective of a third person objects first person. If the earth could have a conversation with you what would it say?

Using what is called Integral Mathematics, there are 27 possible permutations of primordial perspectives. Practicing taking perspectives cultivates mutual resonance across culture and consciousness when we allow ourselves to walk in the shoes of others.

The Three Faces of Spirit

Expanding further, we can also take on the three available relationships with what is called Spirit, the Divine or God. Sometimes it is called the Three Faces of Spirit. The Three Faces of Spirit practice, as described by Teilhard de Chardin and Ken Wilber, involves viewing Spirit from three perspectives: 1.) as the actual direct phenomenological experience of God/Spirit in the form of satori, kensho, ecstatic reverie and other sorts of "peak experiences" of the divine (God/Spirit-being-us) 2.) as a living intelligence that we can interact with in our own lives (God/Spirit-beside-us) and 3.) as an objective, transpersonal, nontheistic, cosmic face that we reflect about (God/Spirit-beyond-us). These three faces correspond to the three ways of relating to Spirit and are experienced through different spiritual practices, such as contemplative practice, meditation, or prayer.

Exploring the Three Faces of Spirit through the lens of freestyle rhyming offers a unique and creative approach to understanding and experiencing these distinct perspectives on the Divine. Here's how each face of Spirit can be experienced and articulated through freestyling:

1st Face of Spirit: Inner: The "I AM" Presence

The 1st Face of Spirit is experienced as the Eternal, transcending space and time, often described with words like Stillness, The Infinite, The Womb, Peace, The Ground of Being, and Oneness. In freestyle rhyming, this face can be explored through introspective and meditative lyrics that reflect a deep sense of unity with the Divine. The freestyler might use imagery of nature, the cosmos, or the inner self to convey this sense of oneness and eternal presence. The focus is on the internal experience, the "I AM" that exists beyond words, yet is expressed through the flow and rhythm of the rhyme.

Example:

"In the silence, I find the rhyme, transcending space, beyond the time,

Eternal presence, in the flow, where I end, there's no 'I' to know,

Stillness in the beat, peace in the sound, in the womb of the infinite, I am found."

2nd Face of Spirit: Intimate: The Relational "Thou"

The 2nd Face of Spirit is experienced in a relational context, where the Divine is seen as the Holy Other, the Beloved. This face is about the "I-Thou" relationship, where Spirit/the Divine/Awareness is experienced as a living intelligence with whom one can interact. In freestyle rhyming, this face can be expressed through lyrics that address the divine directly, sharing personal struggles, gratitude, questions, and love. The freestyler engages in a dialogue with the Divine, using the rhyme to bridge the gap between the self and the sacred.

Example**:

"Yo, I speak to You, in rhymes we converse, in my heart, Your love, I immerse,

Through trials and joys, You're my guide, in this rap, with You, I confide,

Beloved Divine, in You, I see, the mirror of my soul, set me free."

3rd Face of Spirit: Infinite: The Cosmic Web

The 3rd Face of Spirit is often described as the "great web-of-life," experienced when observing objects of miraculous beauty or the interconnectedness of all things. This face emphasizes the transpersonal, cosmic aspect of the Divine. In freestyle rhyming, this face can be explored through lyrics that highlight the interconnectedness of life, the beauty of the universe, and the awe-inspiring aspects of creation. The freestyler might use metaphors and imagery that evoke the vastness of the cosmos and the intricate web of life, emphasizing the external, objective experience of the Divine.

Example:

"In the grand design, I find my line, rhymes that weave, the cosmic sign,

Miraculous beauty in every verse, in this web of life, we're all immersed,

From the stars to the street, all is divine, in this rap, the universe and I align."

Through freestyle rhyming, the Three Faces of God can be experienced and expressed in a dynamic and personal way, allowing the freestyler and the audience to explore the multifaceted nature of the Divine through the power of words and rhythm.

Considering and utilizing the three 3’s when cyphering allows for one’s experience to be both based in the experience of ones nature and psychospiritually beneficial as it turns the freestyler towards aspects of their immediate fundamental reality.

Hiphop Alive

Justin F. Miles is the founder of Hiphop Alive and pioneering practitioner, theorist and educator at the intersection of Hiphop culture, mindfulness and contemplative studies. He is the leading voice championing the use of Hiphop infused contemplative modalities to foster resilience, emotional intelligence, and community empowerment. 

The Three Lineages of Hiphop and Kohlberg's Stages of Moral Development

Please feel free to listen to my music while you read. Thanks and I hope you enjoy!

In spiritual traditions like Tibetan Buddhism, the concept of lineage refers to the unbroken transmission of teachings, wisdom, and blessings from teacher to student, stretching back to the originator of the tradition. This lineage ensures the purity and integrity of the teachings, as each generation of practitioners is directly connected to the source through their teachers. The importance of lineage in Tibetan Buddhism is profound, as it not only signifies the authenticity of the teachings but also embodies the living connection between the past, present, and future practitioners.

Similarly, in Hiphop culture, lineage can be understood as the transmission of styles, techniques, values, morals and philosophies from the pioneers and originators of the culture to the current and future generations. This notion of lineage in Hiphop is not just about the music or rhyming; it's also not just about the struggles, stories and social messages of its adherents. Hiphop is also about the diverse ethical and philosophical perspectives that have been passed down through its elements. Hiphop, since its inception, has been more than just entertainment; it has been a voice for the voiceless, a form of resistance, a tool for social change and a method of examining and developing character, integrity and virtue.  The lineages of Hiphop therefore, can be seen in the evolution of its forms, impact on society and influence of its diverse moral messages but also through the lens of the values they promote. For many years I’ve contemplated the lineages of Hiphop and have identified at least three:

1. The Party and Entertainment Lineage Started by Kool Herc:

DJ Kool Herc, born Clive Campbell, is often credited as the "father of Hiphop." In the early 1970s, he began hosting back-to-school parties in the Bronx, New York, where he developed the technique of extending the breaks of funk records to create a continuous dance rhythm. This innovation laid the foundation for breakdancing and emceeing (rapping), thus birthing Hiphop as a distinct musical genre. The lineage that Kool Herc started is characterized by the party and entertainment aspect of Hiphop, focusing on DJing, breakdancing, and the celebratory nature of the culture.

2. The Sociopolitical Lineage Started by the Ghetto Brothers and the Death of Black Benji:

The Ghetto Brothers, a gang turned music group from the Bronx, played a significant role in the early days of Hiphop by promoting peace and unity in the community. The tragic death of their peacekeeper, Black Benji, led to a historic peace meeting among rival gangs, significantly reducing gang violence in the Bronx. This event marked the beginning of a sociopolitical lineage in Hiphop, where the culture became a platform for addressing social issues, advocating for peace, and bringing about community change. This lineage is characterized by Hiphop's role in social activism, political commentary, and its ability to mobilize and empower marginalized communities.

3. The Lineage of Hiphop as a Tool of Spiritual Awakening, Self Awareness, Peace, Love, and Unity Started by Afrika Bambaataa:

Afrika Bambaataa, a DJ and community leader, founded the Universal Zulu Nation, an organization that used Hiphop as a tool for social change, spiritual awakening, and the promotion of peace, love, and unity. Bambaataa's vision for Hiphop was as a "culture of peace" that could transcend racial and social barriers and bring people together. This lineage emphasizes Hiphop's potential for personal and collective transformation, spiritual growth, and the fostering of a global community based on mutual respect and understanding.

Just as in Tibetan Buddhism where lineage ensures the transmission of authentic teachings and connects practitioners across generations, the lineages in Hiphop culture preserve the essence, values, and innovations of its pioneers. These lineages—whether focused on entertainment, social activism, or spiritual awakening—highlight the multifaceted nature of Hiphop and its enduring impact on individuals and societies worldwide.

The three lineages of Hiphop can also be correlated with the moral development theories of Harvard psychologist Lawrence Kohlberg by examining how each lineage embodies the principles and values at different levels of moral reasoning. Kohlberg's theory posits that moral development progresses through a series of stages, from pre-conventional to conventional and finally to post-conventional morality, each with its own focus on the basis for moral decisions. 

Preconventional morality is based on rewards and punishments, while conventional morality focuses on adhering to societal norms and expectations. Postconventional morality involves abstract ethical principles that may transcend societal norms and laws.

Examining one's stage of moral development or the moral stage of a society is crucial for understanding how individuals and societies make moral judgments and decisions. 

Understanding one's moral development stage can help individuals recognize their thought processes and decision-making patterns, allowing for personal growth and development. For societies, examining moral development stages can lead to a better understanding of societal values, norms, and ethical principles, which can inform policy-making and social change efforts.

Examining the moral development of the Hiphop world as well as our own moral development within the context of Hiphop’s 50 year influence through images, music, values and marketing education, messaging, sound and look can help us to clarify how we and the society of Hiphoppers are making decisions around how we care for ourselves, each other and our planet.  

Let's look at how the lineages of Hiphop may align with Kohlberg's moral stages of development.

1. The Party Entertainment Lineage Started by Kool Herc: Pre-Conventional Level (Stages 1 and 2)

This lineage can be associated with Kohlberg's preconventional level of moral development, particularly stage two, which is characterized by self-interest and the pursuit of rewards. Kool Herc's innovation in extending breaks in funk records to keep the party going can be seen as a pursuit of personal enjoyment and the immediate reward of an engaged and entertained audience. This stage is about direct consequences and benefits, much like the early Hiphop scene was about creating an enjoyable atmosphere for parties and gaining recognition and status within the community.

At this level, individuals act primarily out of self-interest and to avoid punishment. Early Hiphop, emerging from the economically disadvantaged neighborhoods of the South Bronx, often reflected the harsh realities of street life (as in the cultures of gang involvement and drug dealing) including themes of survival and immediate gratification. Lyrics from this era might align with Stage 1, where the focus is on avoiding the negative consequences of the streets, or Stage 2, where the pursuit of personal gain (such as respect, money, or power) is paramount.

2. The Sociopolitical Lineage Started by the Ghetto Brothers and the Death of Black Benji: Conventional Level (Stages 3 and 4)

 The sociopolitical lineage reflects Kohlberg's conventional level of moral reasoning, particularly stage four, which is focused on law and order morality. The Ghetto Brothers' transformation from a gang to a group advocating for peace and the reduction of violence in the Bronx demonstrates a shift towards maintaining social order and a concern for the wider community. This stage of moral development is about upholding laws and societal norms, which in the context of Hiphop, translates to using the culture as a means to address social issues and advocate for community change.

As Hiphop matured, it began to reflect a more conventional level of moral reasoning. Stage 3 involves good interpersonal relationships and gaining approval from others. Hiphop artists like MC Lyte and Queen Latifah, for example, began to use their platform to address issues like gender equality and social justice, reflecting a concern for societal norms and the well-being of the community.

Stage 4 is characterized by a respect for authority, maintaining social order, and upholding laws. Hiphop's engagement with sociopolitical issues, as seen in the works of Public Enemy and KRS-One, demonstrates a shift towards this stage. These artists used their music to critique social and political systems, advocating for change within the existing social structures.

3. The Lineage of Hiphop as a Tool of Spiritual Awakening, Self Awareness, Peace, Love, and Unity Started by Afrika Bambaataa: Post-Conventional Level (Stages 5 and 6)

 Afrika Bambaataa's vision for Hiphop aligns with Kohlberg's post-conventional level of moral development, particularly stage six, which is characterized by universal ethical principles and justice. Bambaataa's use of Hiphop to promote spiritual awakening and unity transcends conventional societal norms and laws, focusing instead on universal principles of peace, love, and social justice. This stage of moral reasoning is about ethical principles that apply to all humans and the belief in a shared humanity, which is reflected in the use of Hiphop as a tool for global connection and transformation.

The post-conventional level, which includes Stages 5 and 6, is marked by a more abstract approach to moral reasoning, guided by principles that transcend specific laws or social agreements. Stage 5 involves a recognition of the variability of personal values and opinions, and a concern for the welfare of others on a societal level. Hiphop artists who focus on global issues, human rights, and activism, such as Talib Kweli and Common, exhibit this level of moral reasoning.

Stage 6, the highest level, is characterized by universal ethical principles and the commitment to justice. While Kohlberg believed that few individuals reach this stage, Hiphop artists who promote messages of peace, unity, and universal human rights, such as Afrika Bambaataa with his vision for the Zulu Nation, could be seen as operating within this realm.

In summary, the party entertainment lineage of Hiphop corresponds to Kohlberg's preconventional stage of moral development, where actions are driven by self-interest and immediate rewards. The sociopolitical lineage correlates with the conventional stage, where the focus is on maintaining social order and fulfilling societal roles. Lastly, the spiritual awakening lineage aligns with the postconventional stage, where actions are guided by universal ethical principles and a vision of global unity and peace. Each lineage of Hiphop culture thus embodies different aspects of moral reasoning as described by Kohlberg's stages of moral development.

Discussion

Far from being an exercise in intellectual masturbation, analyzing, understanding and contributing to Hiphop’s moral sense is important . When you take into account the prevalence of those who experience suffering -- from violence, physical and mental health issues, substance use disorders, and other personal and public health concerns -- as a result of modern Hiphop-centered values; and that those suffering range anywhere from emcees to producers, fans of Hiphop to its contributors, it becomes clear that a discussion around morality in Hiphop is warranted. Hiphop's moral evolution can be seen as a reflection of the broader societal changes and the individual development of artists within the culture but hindrances to intentional moral development within Hiphop should be discussed as well.

Association with lineage informs Hiphoppers of the values they align themselves with and informs their perspective and behavior. Although lineage is no determinant of a person’s genuine values or how they display them, maintaining an awareness of one’s Hiphop lineage can serve as guideposts for how one shows up in one’s everyday life.

In many ways I will always belong to the lineage of Kool Herc. However, its the lineages of Black Benji and the disgraced and dethroned Bambaataa - that emphasized Hiphop being a means of organizing, educating and mobilizing poor and disaffected people of color and Hiphop being another name for and experience of our innate Being - that I follow, because they are the lineages that I feel focus the most on how to use our relationship with Hiphop to benefit humanity.

When I contemplate Black Benji (who I never met ) I think about the power of one person dedicated to not giving up on others who even at the cost of his life attempted to bring peace to his community.

When I contemplate the contributions of the Zulu Nation I think about how liberating a people starts with freeing oneself from the tyranny of another’s epistemology, cosmology and ontology.

When I contemplate the lineage of Kool Herc I think about how Hiphop used to feel fun, safe (in that the message to harm others or oneself in the music was a rarity) and connective and how I only have that feeling now if i’m around people my age and listening to music of the 80’s and 90’s. I also think about the number of people attached to Hiphop at its morally lowest expressions who are no longer aware of Hiphop being a party because the concern is no longer to have fun but to wilfully engage in harmful thinking, speaking and behaving while ignoring the responsibility for scrutinizing the morality of our music and cultural values.

In many ways Hiphop appears to have regressed morally. It’s hard to look at Kohlberg’s early stages and not see 80-90% of mainstream Hiphop’s values. Whether through intentional moral development through using Hiphop centered methodologies or just plain old moral development through examination and change of one’s values, those that align themselves with the lineage of Herc would benefit from a revisiting of the healthiness (or lack thereof) of their affiliation with their entertainment-centric lineage. There are healthy egocentric values; self awareness, confidence and humility all come from having a healthy relationship with our egos AND that can come from one’s relationship with Hiphop. It is never that our ego must die or be wilfully mistreated in favor of a “higher self”. Our responsibility is to never forget that it’s ok to have fun but never ok to get so lost in it that we forget why were there in the first place.

As there are healthy and unhealthy aspects of the preconventional stage, there are also healthy and unhealthy expressions of Kohlber’s stages of conventional and post conventional moral development. Far too many at the Conventional stage of development are caught up in group think, unhealthy cultural nationalism, group ego, ostracization of racial or ethnic groups and other behaviors that don't contribute to a healthy ethnocentrism. Similarly those with worldcentric values are prone to overgeneralization, idealism over pragmatism and neglect of individual needs in favor of the needs of the all.

Reviewing one’s relationship with their lineage can help to realign them with their current values, explore former or new values and change behavior to respond to present centered needs. Bringing awareness to what informs our values through the lens of HIphop is one way we use Hiphop to promote purpose, meaning and a well lived life.

Hiphop Alive

Hiphop Alive

Justin F. Miles is the founder of Hiphop Alive and pioneering practitioner, theorist and educator at the intersection of Hiphop culture, mindfulness and contemplative studies. He is the leading voice championing the use of Hiphop infused contemplative modalities to foster resilience, emotional intelligence, and community empowerment. 

Void School Rules Vol. 2: The Cypher

Please feel free to listen to my music while you read. Thanks and I hope you enjoy!

What is the Void School?

The Void School is the body of teachings and practices utilized by the lineage of researchers, pandits and teachers of what could be called Hiphop mysticism or contemplative Hiphop. This aspect of Hiphop is primarily concerned with experiencing and actualizing the qualities of Hiphop as an embodied and shared experience. How do we make peace and wisdom real, embodied experiences instead of concepts? This is brought about through a reevaluation of my motivation for my involvement with the four elements (emceeing, djing/producing, bboying and graffiti writing) and dedicating to use them as tools of self awareness. The Void School teaches seekers how to use the four elements skillfully as a means of realizing personal and social enlightenment, and also utilizes efficacious healing modalities such as contemplation, meditation, therapy and community bonding.

The Void School can be thought of as another expression of the understanding of the value of Hiphop. As a culture, Hiphop’s values have shifted over time and although on the surface Hiphop music seems to get more and more self centered, in truth Hiphop in all its available areas of growth has evolved to be more embracing of perspectives and values that transcend the ego. However, because Hiphop is (incorrectly) often thought of as being music, looking at the history of Hiphop values in the music industry may help us to understand how our values have evolved and how a Void School is a natural emergent.

In what’s often referred to as the “Old School”, the period between 73’ and 85’ was a time when Hiphop was trying to figure out who it was. In that attempt its primary focus was on either the healthy or unhealthy aspects of the ego; either way the intent was to be dope, have fun, be original, put on a good show, make money and get high. The debate about how healthy the old school was in comparison to artists today is a fair one to have but for the purposes of this text my point was to point out that at the beginning of Hiphop’s musical development the focus was on the needs of the individual, not the collective. .

The second stage of Hiphop’s value expression, for a lack of a better term I’ll call the “Middle School”, which began in 86’ and ended around 94’. The level of values during this period were ethnocentric. This era focused on the cultural and social concerns and needs of Black people, unity, cultural nationalism, revolutionary nationalism, political awareness, justice, education, independence, adherence to group norms and cultivating healthy group ego. It is also the period when the question arose around what is and what isn’t Hiphop. The concerns of the group were the dominant concern.

Then you have the “New School” which surfaced broadly in 95’ and extends until today (but which arrived on a an underground scale at least by 91’) which on the surface embraced money, power, violence, misogyny etc. and regressed to the ego neurotic tendencies of the old school but multiplied by a thousand, but a closer examination of evolving Hiphop values at that time show that practitioners were more concerned with not just how to be original but how to play with words and sounds in a way that reflected a greater subtlety and subjectivity. I used to call underground Hiphop, subjective Hiphop. Despite mainstream values moving closer to the get money, get high aesthetic of the 80’s, underground Hiphop created a lane for those concerned with mental depth and using that depth to see and explain a wider view of the world. The New School transcended the egocentric and ethnocentric focus and began to ask the questions such as: what is the depth of my perception? How far can I see? How can I see different? What can I feel into? Who can I feel into? What is Hiphop? What are the limits and how do I break them? The human centered level of creativity around the world during this era was overwhelmingly about how to use my mind “deeper”. Don’t get me wrong, some underground Hiphop lyricism at this time were little more than word salad attempts at being deep, or lyrically intricate ego fueled rants, but regardless of the values expressed By the mainstream, the values of Hiphop grew wide enough to embrace the depth of the subject and led to wider perspective taking and space for practitioners from all over the world to connect and express themselves.

Lastly you have the Void School which actually began with the founding of the Zulu Nation and the creation of the Infinity Lessons. I also refer to the Void School as the 4th Spinning, borrowing the teaching from the Buddhist tradition that says that the Buddha gave three turnings or cycles of teachings that correspond to how to view and experience three different yet connected levels of reality. These levels of reality are not confined to or created by Buddhism and are found in every major world religion. The 4th turning or spinning of Hiphop is an attempt to look at Hiphop from an Integral perspective which simply means exploring the inside and outside of individuals (behavior, psychology and spirituality) and the inside and outside of groups (culture and society) to not only understand but to manifest Hiphop in all of its fullness. That also means not leaving out Hiphop's relationship with other lines of development such as religion, medicine, psychology, politics, philosophy, activism etc. For Hiphop to truly be of benefit to itself and to the world it must see its connection and place among the myriad paths of growth.

The Infinity Lessons are a body of teachings assembled by the Zulu Nation and compiled into a text titled “The Green Book”, that helps potential and current adherents to understand the history and the philosophy of the Zulu Nation and Hiphop. It also presents the Infinity Lessons as a pro-peace life guide applicable to anyone seeking to become more realized as a human being. Other early presentations of Hiphop consciousness can be found in the art of pioneers such as Rammellzee and Basquiat, middle school artists such as Myka 9 from Freestyle Fellowship and the Good Life Cafe in LA and new school artist, scholar and teacher Toni Blackman, the founder of the Freestyle Union in Washington DC. Since the beginning of Hiphop history, our community has been concerned with expressing the depth and potential of the heart and mind.

KRS-ONE is undoubtedly most responsible for the promotion of Hiphop’s causal existence. When he began saying “You are Hiphop” and Hiphop not being something you do but being something you live, he clarified the difference between an experience that’s created versus an experience that’s inherent. He was saying that in all of our attempts to create Hiphop we were missing the point; you are that which you seek. The qualities and experience of Hiphop are our innate qualities which is why you know it when you feel it. It doesn’t enter you and never did; you woke up to it and found that it was already there. KRS was also pointing to Hiphop existing as a “do”, Japanese for way, path or lifestyle. In the mid nineties, KRS-ONE would create the Temple of Hiphop a self described “pop up school” where people can hear KRS share about the use of the elements of Hiphop as tools for actualizing Hiphop itself (peace, love, unity and having fun).

What the Zulu Nation and the Temple of Hiphop have done is to lay the foundation of a presentation of Hiphop that exists on multiple levels of the human cosmology. That is to say, that what is more important than how we behave i.e. rhyme, dance, paint, mix etc., is why we do it, what we feel when we do it and what the outcome is when we do it. Being concerned with the why and what expands the cosmology of Hiphop beyond the gross, objective realm of form (behavior) and into the subtle and causal realms of emotion, energy and awareness. To date, what most people consider to be Hiphop is what they can see; the music, art, dance etc. What has been overlooked by most fans and adherents are the cultural, psychological and spiritual aspects of Hiphop; those aspects that lie on the inside of the artist and fan. The individual and collective minds that utilize the elements of Hiphop determine both how it manifests and how its used which means that if we desire what we call Hiphop to be of benefit beyond entertainment, education and sociopolitical awareness, we need to not only take into account but realize and cultivate a more intimate relationship with our individual and collective minds and hearts. The Zulu Nation and Temple of Hiphop present ways of looking at ones world differently. Integral Philosopher Ken Wilber calls this translation, or facilitating a new understanding or perspective. Both organizations utilize knowledge from various world religions and ways of life to help others to recognize the importance of understanding the usefulness of Hiphop as a tool of enlightenment. In KRS’s text The Gospel of Hiphop, he exhaustively fleshes out ways of seeing oneself, others and the world through the lens of a “higher self” and in many ways The Green Book does the same. The goal is to help others recognize the ubiquitous sacredness in our everyday lives. Translation is important because change begins with evaluating my view of reality, my beliefs and the way my mind works and instead adopting an outlook more in alignment with how things are versus how I wish that they were. However, as useful as translation is, understanding only implies change and doesn’t explicitly challenge the mechanisms that produce irrational thoughts, unhealthy living and spiritual disconnection. In the Tibetan Buddhist tradition, translation or study is concerned with increasing knowledge about the truth of the self, others and fundamental reality and practice is concerned with how to actualize that understanding into a life lived in accordance with those levels of reality (self, other, nature). It is said when one studies it is like having eyes; one can see where to go as well as avoid pitfalls. But a body with eyes that lacks legs can see all it wants to but it doesn’t matter because it can’t travel anywhere; at least not quickly. Conversely, having legs with no eyes, or practice without study allows one to engage in the behavior of a Buddhist but without discernment or understanding which produces unskillful behavior and unwanted consequences. The challenge of both schools of thought has been presenting an injunctive path of translation and transformation that allows adherents to both understand and use Hiphop in a way that creates psychological, cultural and spiritual development. Because the lessons taught by both schools are more descriptive than prescriptive they are less useful as methods of change but are very useful in helping others adopt a healthier view of reality. The Void School serves to fill that vacuum with transformative practices based in the world’s religious/spiritual wisdom traditions, psychological therapeutic orientations, indigenous rituals, values assessments and methods of social organization. It is the attempt to move from a loose translational model to an integrated translational and transformational model. It is the world’s first organization to integrate the teachings of Hiphop with the best practices outlined by developmental theorists from physical, mental and spiritual disciplines.

The elements of Hiphop are the vehicles of transportation and transformation that introduce us to the qualities of peace, unity, knowledge, wisdom, fun, understanding and compassion but they also can introduce us to what it means to think clearly, have a healthy ego and body, make better choices, cultivate values that embrace those that are different than us, develop social institutions that function to express care and concern for the diverse needs of the populous and to experience spirit rather than just believe in spirit. The elements point to what is inherent in ourselves and our society that we only need to uncover, not create. Hiphop is the basis of our journey, the energy of the vehicles or elements of Hiphop and the fruition of the path. After first experiencing ourselves as Hiphop, the practice is trusting in living that experience in order to uncover the peace, wisdom, understanding etc. self existing in every moment. It is nothing more than a question of dedication to resting attentively in the nature of the mind.

The word “Void” refers to the unobstructed boundless awareness that exists as the nature of all humans and indeed all beings, as well as the spacious experience of no longer projecting onto the world a sense that “I know!” when indeed you don’t. The truth is that reality (and what we commonly think of and label Hiphop) is more vast than my quickly labeled and shortsighted version of it. Myself, people and things are more than they appear, and a more fair way of speaking about how the world exists is as a Void or a great openness that both permeates and makes space for our entire human experience. The Void allows for all external and internal experience and reveals the truth of how things truly exist, instead of seeing the world through my own individual remix of things. The Void is not mine or anyone’s or anything. It is an experience that is naturally revealed when the self contraction of the ego has subsided enough to recognize the spaciousness and stark reality present, when the ego/egos present aren’t filling the space with themselves. The Void is similar to the Buddhist experience of emptiness in that it is not empty in the sense of existing purely as space, but is also full of appearance and intelligence. Through the elements of Hiphop we return again and again clarifying our relationship with reality. The Void School asks the questions: what is the nature of Hiphop, how do we experience it, how do we use it and what do we use it for? For void school adherents, entertainment is no longer a priority; Intentionally cultivating being, growth, feeling, community and authenticity is the new entertainment.

I began exploring the benefit of freestyle cyphers in the mid-nineties based on the experience of cyphering with my friends. We never battled each other, instead freestyling was about letting go and being as creative and genuine as possible. One night in 1996, I attended a cypher with the Freestyle Union in DC and was blown away at not only the level of skill of the emcees, but also the collective zone that everyone appeared to be in. All the participants were feeding off of each other and deeply in tune with themselves at the same time. It was full of movement, clarity and unbridled confidence. Most of all it was organized. Before it started, Toni Blackman outlined the rules that were to be followed for the evening; something I had never seen before. During the cyphers, participants were given instructions as to the type of freestyling the’d be engaging in. Some of the forms I remember were alliteration, proverbs, creating and coming back to a hook and telling a story. When the energy got stale, emcees were asked to be honest with themselves and pass the mic. I was stunned at how the structure corralled the mind and gathered the awareness in a way that allowed the natural wisdom of the emcee to become the central operating system and didn’t allow the wastefulness of ego centered rhymes, useless battling and unnecessary cursing. I don’t know another human being that’s done more than Toni Blackman to promote what she calls “The Wisdom of the Cypher” around the world, and I eternally thank her for the constant unpacking of new insights based on her international travels teaching and sharing the gift of cyphering with anyone willing to listen and participate. After that event in 96’, how I practiced rhyming changed and I began to research the experience of freestyling for its ability to transform the mind and society. It wasn’t until 2003 that I began writing about my experience of freestyling in a published essay titled “Freestyle: Gateway to the Beyond Within”. In it I wrote:

Cipher: 1. Code, hidden meaning. 2. Nobody, a non-entity. 3. An enclosed circle of hip-hop practitioners and listeners, engaging in authentic discourse (Freestyling) with the aim of A) strengthening self-awareness, self-worth, knowledge of other practitioners and their styles, lyrical skill, or ones connection to a creationary force through offering words of harmony (verbalizing a connection with group and creator), awareness (verbalization of issues which cause difficulty within ones life or issues that bring joy into ones life), alignment (verbalized understanding of ones issues as being their own), actualization (verbalized plan of change or continuance) and synthesis (verbalized unity with creationary forces of change and continuance as to actualize new behavior or continue old behaviors). B) Sharing a message of personal importance with the congregation in order to increase another’s self-awareness, self worth, knowledge of one’s self and style to another practitioner, and the collective’s ability to connect to a creationary force by maintaining harmony, balance, interconnectedness and authenticity.

To a hiphopper, the cipher (or cypher) represents a womb that gives birth to emcees and beatboxers through the sharing of spiritual energies, transferred around and through a cosmic circle of combined rhythms. It is the training ground for those who aspire to reach the heights of the greatest emcees, a soapbox for the believers in a higher mode of expression and communication, a forum for those who wish to just enjoy in an individual-collective experience, or a combination of all three. The cipher embodies the sacred principles and dynamics of relationship found in and between all things, even if the practitioner is not cognizant of the subtle events taking place.

Think of Hiphop as being the binding energy of the cypher, existing between things and individuals. It is what helps Hiphoppers acknowledge each other and distinguish between authenticity and falseness of an individual, group, or their beliefs. It is important to note that the description of this energy or force is not done for convention, but to describe an existing non-entity that would be associated or equitable with chi, prana, spirit, essence, the All, Ultimate Reality, Truth, etc. These words are used to describe an ever-present Reality that pervades all substance, but which could never be fully described. To practitioners and listeners, Hiphop is the force which allows one to create, provides the atmosphere for creation to exist, and is the foundation for all creation. It can be described as a feeling of elation, bliss, ecstasy, etc. that one feels when one is in the environment that Hip-Hop is played, cultivated, or demonstrated. This bliss is associated with the connection between one and the creative force itself, the same connection described in Buddhism, Hinduism, Christianity, Judaism, and Islam, all of which describe an ethereal feeling of oneness, once one is connected to the All. It is also important to note that this feeling or experience is just as subjective as the experiences found in the ways of life described above, but can all be validated in the same way, through the prophets, saviors, avatars, sages, seers, and masters that act as archetypes of those who experience the Ultimate Reality respective of their belief systems. It is in this same way that we begin to assemble a spectrum of consciousness that acts as a pathway toward the experiencing of the Reality of Hiphop; a reality that the prophets of Hip-Hop have achieved, and in the same way as the ancients, predict and influence the current and future culture towards greater actualization, liberation, and freedom from oppressive agents and forces external and internal of the people.”

My theory was that freestyle cyphers are one of Hiphop’s gateless gateways or entry points to experiencing the Void, and when used intentionally along with gentleness, patience, compassion and discipline can reveal the true usefulness and experience of Hiphop. The ultimate benefit of engaging in cyphers is the experience of relaxed presence which has the qualities of spaciousness and attentiveness. The practitioner is calm but highly aware. There is an intense trust in the minds natural peacefulness as well as its active ability to allow words, ideas, topics or feelings to arise when needed, and an attentiveness to what themselves and others are feeling, thinking or doing. In other words it possesses the qualities of the Void that I spoke about earlier.

These days I primarily cypher with myself as its gotten harder to find others who understand freestyling as something other than entertainment and see the word “free” as permission to not be responsible to any form. Those types of practitioners tend to cultivate ego and care little about what’s to be gained from cyphers aside from props. That isn’t to say that cyphers where written rhymes are performed are wack or undesireable; even in those cyphers there can be an energetic exchange and authentic expression. However it is most common these days that rhyming with structure is antiquated, rhyming “off the top” is less preferable to written freestyles and feel constrained by the request to rest naturally and allow whatever that arises to arise. When it comes to growth, none of it happens on accident. It must be intentional and it must have rules. Just like your body, values, cognition, identity and ability to take perspectives involve following an injunctive path of development, so to must cyphering have rules if one wishes to do more than just sound impressive.

Below are fifty Void School Cypher “rules”. These rules aren’t to be taken as dogma but they are to be studied, contemplated and placed in the mind of meditation. Although they are more translative than transformative, they should be studied and reinforced through practice. The Void School has developed the “how” or methodology and trains participants to actualize these rules through practice alone or in community. Overall the rules themselves are less important than what they point to. The symbol is not the symbolized, no more than the menu is the meal.

Void School Rules

Cypher/Freestyling

• Freestyle everyday regardless of what comes up. The point of the practice is learning how to rest and trust in spaciousness and presence, not entertaining yourself or anyone else.

• Cyphers are sacred ceremonies and we are to treat ourselves, each other and “It” in a sacred way.

• Foundationally speaking, in cyphers we are cultivating two characteristics; relaxation of body and mind and attentiveness of body and mind. Relaxation leads to gentleness. Attentiveness leads to precision. What arises is less important than these two. When these two are completely present, what will naturally manifest is stability, clarity, strength, insight, and direct knowing.

• Morality, discipline and wisdom are the guiding principles of a freestyle adherent.

• Cyphers can facilitate measurable cognitive, emotional and social growth.

• Cyphers are non dual affairs; the dance of the one emcee and the many cultivates harmony with the Way. When the one does not see the many and the many not the one, clouds obscure the sun of Hiphop. 

• Hiphop is what is being experienced and what is not being experienced in a cypher.

• The zone or flow state existed before you entered it. You didn’t create it, you aligned yourself with it.

• Ego driven battles are entertaining but only cultivate ego. Very little interpersonal growth takes place then. Those who have transcended the need for ego driven battles should only battle “down” to clarify and adjust perspective, history, level of development, etc.

• Cyphering involves sending and receiving what is easy and what is difficult.

• Cultivate the awareness to know when you are hiding vs taking up too much space. 

• Know when to “pass the mic”

• Cyphers require etiquette regardless of their purpose.

• Hiphop is both the ground, path and the fruition of cyphering.

• When you freestyle, four areas of your lived reality simultaneously arise; psycho-spiritual, cultural, behavioral and social. Your developmental altitude in these areas influences your perception, and these four areas can be directly influenced when you learn to inhabit and explore them.

• Study basic human cognitive development.

• When done intentionally, cyphers can serve as therapy, healing circle, channeling, restorative justice, support group or spiritual ceremony.

• Cyphers are sanghas

• Bboys, BGirls and BThems are bodhisattva warriors

• All Hiphoppers are Buddhas

• Freedom in cyphers has much more to do with learning to play in space than it does with finding a stable ground. There is no ground.

• Never feel that you have to entertain or perform a freestyle for someone. Spontaneity should be natural and arise from stillness not urgency.

• Free styling can mean different things to different people but the definition that produces the most growth is “an unrehearsed, unwritten, spontaneous display”, the other definitions cultivate ego and very often harmful qualities.

• Psychologically speaking, when free styling one can: explore archetypes (none of which hold more value than another), explore perspectives or realms of reality and explore levels of development from the past present or future. 

• Intentionally cultivate kindness. Look for love and opportunities to expose it.

• Sometimes the best cyphers you’ve ever had are because “you” weren’t there.

• Hiphop is inherent and has no origin: you cannot get, obtain, hold, manipulate, buy, sell, kill, create, make or become Hiphop. It was never not there. Cyphers are gateways to that understanding.

• Cyphers move, YOU do not.  

• Dive in to the experience of others. Wordlessly watch.

• Bring your fear to the cypher.

• Be kind to your mind. Give it the sky until it realizes it doesn’t have to learn to fly to experience openness.

• All cyphers ain’t the same.

• The gold of the cypher is found in authenticity. The dirt is found in disownership.

• What witnesses who’s doing the emceeing?

• The seed of dope freestyling sprouts when the fear of being wack dies.

• Cyphers are great opportunities to make friends with yourself.

• You are the code of the cypher.

• Live the cypher.

• You can be lyrically nice but psychologically and spiritually wack.

• No Self to Know self

• Your simple presence is enough

• To cultivate an open heart in a cypher let it first be broken

• Learn to bear bare witness

• There is no one better than you in a cypher. The best you is you fully present which no one can do but you. Can you be free or in other words, be freedom instead of trying to achieve it? What is mind of freedom like? Unobstructed awake and open.

• Trying to be dope will end in exhaustion and failure. Being is dope.

• Cyphers last a lifetime.

• Hiphop is the binding energy of the cypher.

• To cypher is natural

• Invite your ancestors to the cypher. They’re there anyway.

• Feeling together is the unspoken cypher.

• In cyphers, to make a rule break a rule; to break a rule make a rule.

• Before cyphering, contemplate “what would you do, if you knew that all you had to do is what you can”.

Hiphop Alive

Justin F. Miles is the founder of Hiphop Alive and pioneering practitioner, theorist and educator at the intersection of Hiphop culture, mindfulness and contemplative studies. He is the leading voice championing the use of Hiphop infused contemplative modalities to foster resilience, emotional intelligence, and community empowerment. 

Contemplation # 12

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I'm kind, friendly, your worst enemy.

Charming, crass, and potentially.

Dangerous, have you ever heard of such?

I'm invisible and impossible to touch. - Mr. Lif:

Phantom

This paradoxical line from Mr. Lif’s 2002 album Emergency Rations leaves a lot of space for exploration.

If there were a person who could hold all of the qualities that Lif lists (kind, friendly, charming but also crass, your worst enemy and potentially dangerous) what would be the use of such a person? Who would even want to hang around someone so unsure of themselves? They don’t even seem to know who they are, AND they’re outwardly telling me that they may be bad for my health? Nah B, i’m good.

However, as bad as that person may be I have to ask myself what’s the healthiness of seeing that person as undesirable, an enemy or as dangerous? What does it do to me when I freeze my perception of others or quickly label them? Does it improve or hurt how I think? Does it help me to see others and the world with more clarity or more confusion? And who is it that’s doing all this “perceiving” and how much have I evaluated that? Much of my time has been spent trying to answer this question.

We live in an age where kindness and friendliness are not only undervalued but threatening. When we don’t trust in our own goodness we become enemies to ourselves. When we don’t trust in the goodness of others we become enemies in our society. When and how did we develop this allergy to our goodness and how can we experience it again? We are not confined to being enemies to ourselves or others. It is a matter of mistaken perception. We have forgotten the feeling of the experience of well being and because we are not relaxed within ourselves we are not relaxed with others and are constantly identifying threats to our egos. We don’t have to do that. We can make a different choice and practice being through meditation and contemplation.

Being charming, crass and potentially dangerous are the means which if used wisely can help to forge relationships, resolve conflict, illuminate hidden resources and destroy unnecessary obstacles to success. When used unskillfully they bring personal and societal defeat and foster division. May we practice resting our bodies and mind in order to naturally bring about skillful action.

When we rest in the invisible (that which is impossible to touch) we find that which is impossible to die, be defiled, be removed or to change. We find what is ultimately reliable, safe and trustworthy. It has been with you since before you were aware of a “you”. It is the ground of our kindness, friendliness towards ourselves and others, wise action and mystery. It is the source of our power and locus of our liberation.

May we contemplate Mr. Lif’s lyrics through the eyes of our nature and afterwards, practice formless meditation resting in the felt meaning of the words.

Hiphop Alive

Justin F. Miles is the founder of Hiphop Alive and pioneering practitioner, theorist and educator at the intersection of Hiphop culture, mindfulness and contemplative studies. He is the leading voice championing the use of Hiphop infused contemplative modalities to foster resilience, emotional intelligence, and community empowerment. 

Void School Rules Vol. 1

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Void School Rules

The end to a new beginning of Top 5 Conversations in Hiphop

1. If you haven’t studied how something grows you have a severely limited ability to fully understand it. It doesn’t matter if you’re DJ Kool Herc or Lil Durk, if you don’t study how things evolve you will express confusion about development. Learning more about growth hierarchies and holarchies will provide insights into the reality of things.

2. Evaluating growth should be done for the purpose of self, other and global improvement not ego building. If you have yet to learn how to experience Hiphop as more than egoic enjoyment you will only evaluate Hiphop from the perspective of the ego which is what makes ego work a necessity for any practitioner or fan of Hiphop.

3. The word “best” is now to be replaced with the word “developed” and what is of upmost importance is the potential to produce growth in oneself, others, communities and nature. That is not to dismiss the enjoyment of the full range of expression of Hiphop and how it makes you feel (even if it makes you feel grimy it feels good and grimy), just that that feeling when put in action may not be beneficial to the personal or greater good. Focusing on how Hiphop is expressed to produce growth reveals its greatest potential.

4. Conversations involving who the “best” emcee, producer etc. cannot be judged by mere opinion or feeling and must include measurable levels of development such self awareness, cognition, morals, perspective taking, values, societal influence, linear vs non liner thinking and complexity of writing. Those aforementioned areas are objective, can be measured, peer reviewed and researched and in fact many of these areas of development already have validated assessment tools.

5. Judging expressions of Hiphop can be based on internal and external factors: When judging based on internal factors, three perspectives must be taken into account. 1.) If the expression makes you feel anything at all, what does it make YOU feel, 2.) What does it make US feel (those of us in the “US” of Hiphop membership) and 3.) how does it make All Of US feel? Determining what feelings are beneficial to humanity will help to determine when an expression is used wisely. External factors include: experienced, objective expressions such as those listed under Rule 1. Judgement based on feelings can illuminate new found insights but will yield NO VALUE or determine who is more developed.

6. Judgements based on feelings are expressed horizontally and correspond with archetypes or styles: No style is better or more developed than another, however the individual or group expressing that style can be more developed along measurable lines of growth. Archetypes in Hiphop such as those expressed by Carl Jung can include hero, mother/father, villain, healer, outlaw, ruler, explorer, lover, jester, artist, sage, innocent, everyman and magician and have no value greater than the others. The truth is that each archetype can be expressed along measurable areas of growth. For example: The developmental theorist Lawrence Kohlberg who studied moral development found that there were three distinct expressions of morality; pre conventional (what’s in it for me?), conventional (what’s in it for us?) and post conventional (what’s in it for all of us). These three stages of morality can be found within any of the archetypes. Kodak Black, 2 PAC and MF DOOM are all outlaws but there is a difference between the moral expression of each. We aren’t evaluating the archetype, we’re evaluating the level of moral development within the person inhabiting that archetype.

7. Exploration of archetypes fosters horizontal growth i.e. span or the ability to feel into and experience the many expressions of humanity.

8. Exploration of stages of development fosters vertical growth i.e. depth or the ability to experience the varying levels of potential of a given line of development. Where we find development in view and praxis we should unearth lessons and share them with others.

9. Stop elevating ego to enlightenment and reducing enlightenment to ego: It is common for an egocentric expression of Hiphop (anti intellectual, misogynistic, violent, materialist, inhumane, narcissistic) to be taken as deep, mystical, advanced, next level or even “evolved” (which we will touch on again soon) because there is confusion about the difference between what are called pre rational and post rational levels of development.

   The word rational has to do with the relationship with ones own mind. Pre rational means with little thought or regard or an inability to see beyond ones ego or take the perspective of the other. Rational means seeing into the perspective of others (usually others like myself) and post rational means beyond thought/mind, interconnectedness with others, oneness etc.

   An example of elevating ego to enlightenment could be artists who “name drop” as a way of pulling you into the world that they want YOU to perceive that they inhabit, when in truth pulling you in is self serving because not only have they not given you a way to experience what they’re describing for yourself, they’ve done nothing to prove that they actually DO inhabit this world (ahem...Jay Elec, Wu Tang...). It’s what the great Tibetan Buddhist teacher Chogyam Trungpa Rinpoche called “spiritual materialism”. They name drop enlightening words hoping that you’ll think they’re enlightened too but in essence its all just words. They don’t abide by a spiritual tradition or help the listener directly experience that which they’re expressing, but they’re treated as enlightened.

   Another example is complexity for the sake of complexity. It’s one thing to judge art on its own terms and artists such as Ramellzee, Aesop Rock, Freestyle Fellowship, Busdriver, Company Flow and Anticon have challenged listeners for decades to accept both abstract artistry and that their lyrics are guideposts to a greater reality. Other emcee are intellectual simply in order to be. They want to attract you to their ability to use words without concern for what you take from those words. It’s just as common these days to elevate 2 bar couplet murder rap music that sounds real pretty but is ultimately as hollow as the points they’re attempting to make.

   The reverse is true as well. Very often genuine expressions of ethnocentric and worldcentric values are reduced to egocentric expressions simply because trans egoic expressions are misunderstood. Expressions of spirituality are dismissed by intellectuals and reduced to childish thinking and often intellectualism is thought to really just be you thinking you’re better than others instead of respected as the ability to see from multiple perspectives.

   Misevaluations of expressions within Hiphop happen very often due to a misunderstanding of pre and post rational expression.

10. No one is smart enough to be wrong 100% of the time: Everyone contains a kernel of truth and it is your job to find it. Every person who feels that their Top 5 is the best around is part right and wrong. Your job is to identify both but never let go of the fact that they are not totally wrong. It is fair to point out where you think they need some work but also point out the areas that are true. The more you study how emcees, bboys, djs and graf writers grow the more you’ll be able to point out areas of consensus and disagreement.

Hiphop Alive

Justin F. Miles is the founder of Hiphop Alive and pioneering practitioner, theorist and educator at the intersection of Hiphop culture, mindfulness and contemplative studies. He is the leading voice championing the use of Hiphop infused contemplative modalities to foster resilience, emotional intelligence, and community empowerment. 

An Old Man Rapper Rant

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I don't write rhymes much anymore for recording because I stopped being willing to say meaningful things to people who don't care and non-meaningful things to people that do. Sometimes I think about picking up a pen again until I remember that things are even worse now than they were 25 years ago when purposeful, sincere lyrics first began to disappear from mainstream Hiphop. Now people care even less about quality and the trend is to emotionally say nothing words over sparse beats to people who really don't care about what you're saying anyway.

About 20 years ago I realized that my purpose in Hiphop was to explore its nature, its true usefulness beyond ego, fame, props etc. I started interviewing emcees, dj's and producers and trying to flesh out how their art contributed to their psychospiritual growth; that way at the very least I could expose its true benefit to the practitioner and fan alike and hopefully intentionally contribute to someone's personal development.

I'm consistently disappointed with 2 bar/switch topic rhymes that try to sound witty that don't amount to anything by the end of the track. I think most fans are dupes who care little about the process or the origins of the music they're listening to and that even some of the people we call "legends" know very little about what Hiphop is or isn't. They tell the public under analyzed ideas like "Migos is the next evolution in Hiphop" without understanding the difference between newness and development. They rationalize spreading ignorance. They reduce the magic and influence of music on the impressionable. They chastise Trump, racism and the poverty in their communities while selling conspicuous consumption, materialism and substance abuse.

Cultivating the energy of Hiphop has become restricted to going to shows, battles and performances that even when put on by artists I love, come off as dry reminders of a time when people were less interested in partying and more interested in gathering and sharing who they were in order to feel felt and learn from each other. Now it seems like its all for money, fame, props etc.; entry level values that Hiphoppers have sought since 73'. Freestyling aka spontaneous authentic discourse hardly exists anymore and when it does its treated as a joke. People don't see the value of relaxing in groundlessness anymore. Being on the spot with nothing but the naked mind has been replaced with needing to not appear vulnerable and weak so a written rhyme takes the place of trusting innate awareness. Hiphop is referred to as "the game" and everyone wants to play because anyone can now emcee, dj and produce and seemingly make money at it.

How have we grown in terms of our cultural values, embrace of feminine energy, emotional expression, social and spiritual interconnectedness in the last 46 years? Have we learned to go beyond the ego or have mainstream and underground artists (including dj's and bboys…graf writers have always been at the vanguard in my opinion) just found new ways of ego validation through materialism, intellect and faux spiritual transcendence? How are we cultivating love? This is not to take away from the necessity of allowing the natural journey that artists and humans go through in finding themselves, nor to dismiss the artists and fans that clearly are using their gifts in the best way that they know how. They exist and should be lauded for their genuine contributions whether or not they manifest pain or enlightenment. My issue is with those that propagate mindlessness year after year and find pleasure in their gains on the backs of those that suffer, as well as those of us with life experience who do little to advance the cause of humanity by directly challenging themselves and others to do better.

The silver lining in everything that Iv'e said is that Hiphop isn't something that can be manipulated, controlled, co-opted, made better or made worse. Hiphop is not a thing. It has no real existence anywhere. The truth is that how we manifest the experience of Hiphop comes from how we directly or indirectly experience our bodies and minds. When we cultivate ego we will express through the 4 elements self-centeredness, aggression, impulsivity and ignorance. When we transcend ego we cultivate compassion, genuineness, fearlessness, gentleness, insight and wisdom.

As Mos Def said in the intro to 1999's Black on Both Sides, "Listen—people be askin' me all the time

"Yo Mos, what's gettin' ready to happen with hip-hop?"

(Where do you think hip-hop is goin'?)

I tell em, "You know what's gonna happen with hip-hop?

Whatever's happening with us"

If we smoked out, hip-hop is gonna be smoked out

If we doin' alright, hip-hop is gonna be doin' alright

People talk about hip-hop like it's some giant livin' in the hillside

Comin' down to visit the townspeople

We are hip-hop

Me, you, everybody, we are hip-hop

So hip-hop is going where we going

So the next time you ask yourself where hip-hop is going

Ask yourself: where am I going? How am I doing?

Till you get a clear idea".

When you rest deeply within your own being and contemplate your motivation for what you're doing in life you'll find your relationship with Hiphop and manifest it accordingly.

May we all treat this sacred way as such.

Contemplations # 11

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True essence lives behind the mind of the seeker. Curiosity’s great, but effort makes you weaker. Relax, just be what’s coming out the freakin’ speaker.

- MF DOOM

Hiphop does not need improvement. Yeah I said it. Why do I say that? Because Hiphop is not a thing that can be manipulated. It’s not a “thing” at all. You can’t touch it or bend it to your will. Hiphop is not a form of music, a culture, a style of dance, way of playing music or creating art; it is a word that we use to try and understand and live according to the formless and groundless nature of reality. The elements are merely the way that we attempt to experience what we call Hiphop.

Underlying all of our efforts at emceeing, making beats, recording songs, writing graffiti, b-boying, collecting and spinning records is what DOOM called the true essence. How can you and I come to understand and experience this? Maybe we could start by looking deeply with intention and without bias at the origins of my behaviors, feelings and thoughts.

Behind the mind: behind the everyday active mind that comes and goes that labels our experience through the sense organs and perceptions is the nature of all internal and external phenomena. When I sit still and allow my body and mind to relax into each other until there is no difference between outside and inside, I experience a calm yet alive essence that is true because it does not come and go. It is steady, is not created by my own doing, is always there and is therefore reliable; more reliable than the comings and goings that I usually associate as me. In fact it IS the only thing that I could relate to as a “me” simply because it does not change despite the fact that my body, my address, my friends, family, schools, likes, dislikes etc., all the things that I consider that make “me” a “me” have all changed.

The great Persian love poet Rumi said, “whatever anyone is seeking, that is seeking the seeker”. No matter our vocation or activity, whether moving or still we are unintentionally trying to identify with what is doing the seeking within us. Why is that? Why are we always looking for what is passively witnessing our everyday life and why don’t we seek this witness on purpose? We are always seeking the seeker through all activity (including the 4 elements of Hiphop) because it is our only source of true happiness, contentment and well-being. What are the qualities of Hiphop? Knowledge, wisdom, understanding, love, peace, unity, justice, equality and having fun. Resting as the seeker exposes these same qualities. The world’s great wisdom traditions of Taoism, Buddhism, Christianity, Judaism, Islam and Hinduism all describe similar qualities when describing the direct experience of God, spirit, Tao, Buddha Nature, Brahman Atman etc. It is no mistake that although the world religious traditions differ in form and practice, that they all agree that the essence of their respective path is an end to personal suffering and fullness of personal well being that if we share with our world manifests as compassion. As Hiphop practitioners this is the basis of all that we do knowingly or unknowingly because as humans it is the basis of all that we do knowingly or unknowingly, skillfully or unskillfully, enlightened or neurotic, dope or wack.

Curiosity is great because more often than not were not paying attention to the intention with which we engage in most activities, including Hiphop centered activity. The ego is usually in charge and the ego says pay attention to me; a plan which usually results in temporary moments of glory but never permanent happiness. When we increase our curiosity about what were doing with a mic, a pen, our bodies, a turntable or can of paint we illuminate hidden motivations and desires that maybe we would like to ignore. Or maybe when we see our underlying motivations we can rationalize it as the need for money, to get out the hood, to get props or even to elevate the culture. Becoming even more curious we may see that we don’t truly have a stable sense of reasoning behind what we do or at least maybe we don’t know it. That’s great news! Maybe the result of our curiosity doesn’t have to be definite knowing of something solid but instead could be knowing that the unknown is good enough, for whatever could be known is like all knowledge; temporal, fleeting and always changing. Remember when people thought they “knew” that the pinnacle of turntablism was what DJ Cash Money did at the first DMC in 1988? Despite how dope his set was, we all know now that that’s not true. If we keep looking we may find greater and greater realms of potential and possibility.

However DOOM says that “effort makes you weaker”. How can effort make one weaker and how can you be curious without effort? Effort makes you weaker because the harder you try to look for something very often the more unstable the mind becomes. You ever lost your keys? The harder you look, very often the more frantic you get which makes the search harder. The key is to relax. Relax both your body and your mind, allowing both to be as they are without trying to change anything. Without trying to change things will naturally reveal themselves; mental stability and clarity naturally arise. As the old Zen saying goes, “muddy water let stand will clear”. When rhyming, writing, tagging, cutting records, making beats or dancing relaxation is the key to experiencing what underlies those behaviors and (if you’re interested) being good at those behaviors. Relaxation always exposes things as they are.

As DOOM says just “be what’s coming out the freakin’ speaker”. The definition of the word being finds its roots in old English words that mean existence, presence or consciousness. Being means resting in a state of fullness as you are to experience what you are, and as a Hiphop fan or practitioner to explore and find out what and who you are you need go no further than where you are right now. Just be, watch without words or discrimination, don’t try and make anything happen and don’t get pulled away by an inner dialog about what you’re experiencing. Just dispassionately be without trying to get away from or move towards anything. The world’s contemplative traditions give similar instructions for advanced meditation practices such as the Tibetan Buddhist practice of Mahamudra or the Taoist practice of Zuowang. Just be.

Let's contemplate this: Sit in an upright and comfortable position (on a cushion or chair) with your hands in the meditation posture (place the back of your left hand on the palm of your right hand and let your thumbs touch lightly). Let your eyes rest, half closed and focused on nothing in particular. Let everything in your field of vision just be, without labelling it or judging it. Just let your eyes relax. Sit for five minutes and focus all of your attention on breathing. Feel the complete in and out breath and when your mind wanders, bring your attention back to your breath.

After five minutes, allow a word, a sentence, or the entire phrase to arise in your mind and when the word, sentence, or phrase fades, say it gently again. Allow whatever arises to arise without judgement and when something feels real, when there's some spark of insight, rest in your mind and place your attention on it. When your mind starts to wander, bring your attention back to what arose for you. Practice contemplation for ten minutes and then return to focusing on your breath for five more minutes. Focus only on the most subtle of experience. Afterwards, carry whatever arose for you in contemplation practice into your everyday life.

Check this previous post for an explanation of contemplation practice. http://www.hiphopalive.org/mind-spray/2016/12/7/4p2lnb8omwoc5dc5uznhcxii002b89

If there is a verse you think should be contemplated or think I should discuss, let me know in the comment section below. 

Hiphop Alive

Justin F. Miles is the founder of Hiphop Alive and pioneering practitioner, theorist and educator at the intersection of Hiphop culture, mindfulness and contemplative studies. He is the leading voice championing the use of Hiphop infused contemplative modalities to foster resilience, emotional intelligence, and community empowerment. 

Contemplation # 10

Please feel free to listen to my music while you read. Thanks and I hope you enjoy!

To revolve, to evolve with self-respect, cause we got to keep ourselves in check, or else it’s...self-destruction.

- Chuck D, Self Destruction

One way to identify suffering, whether as an individual, community, or society, is by paying attention to cycles of behavior and thinking which never seems to amount to an improvement in our lives. Just when we think we've created the perfect situation by obtaining the perfect car, relationship, job, home, etc., we soon realize how imperfect the situation is: the car gets a blemish that can't be removed, we have the first big argument with our partners, our job becomes stale and full of rote activity, and our homes need repair, new furnishings and cleaning. Indeed, when we are always on the search for something new it is like a revolving door that never grants us entry into the palace of permanent happiness. This hunt for satisfaction also extends itself into psychological and spiritual realms. Very often we feel that if we obtain the right insights, ideas, intellectual pursuits, college degrees, or transcendent experiences through drugs, spiritual trinkets and texts, retreats and even meditation practices, then that will bring the happiness that we are searching for into our lives. Unfortunately, even when we run after these symbols of education and enlightenment we are still disappointed. When our search extends so far beyond oneself that we forget that WE are our most inherent resource, we lose our connection with the power that produces growth without need for supplement or appropriation. 

If we want to evolve or "develop and grow to another level" as Ms. Melodie says earlier in the song Self Destruction, we must first start with self respect, but what is self respect? We could debate the idea of "a self" all day long and it is not my intention to do that here. However, to simplify things I'll relatively define the self as that which we seem to carry with us throughout the duration of our lives. If we search our bodies and minds we will find no "self" (trust me, I've looked), but our physical and mental experience is often as real as it gets. Treating our bodies and minds with respect means appreciating and regarding them as precious gifts we did little to obtain. We have no greater friends than this body that supports us and mind that guides us, but how are we displaying this admiration for our most intimate companions? Are we involved in self creation or self destruction? Do we spend time with these mates focusing our awareness on them in order to deeply know them, feel them, bond with them, and even feel ourselves AS them, or do we place our awareness on the external world, hoping that somewhere out there is something better than this? How can we display a greater respect for ourselves? What is the impact of self respect on family, community, society and our world? What do I have that I ignore and why? What is the connection between self respect and my own self destructive tendencies?

Let's contemplate this: Sit in an upright and comfortable position (on a cushion or chair) with your hands in the meditation posture (place the back of your left hand on the palm of your right hand and let your thumbs touch lightly). Let your eyes rest, half closed and focused on nothing in particular. Let everything in your field of vision just be, without labelling it or judging it. Just let your eyes relax. Sit for five minutes and focus all of your attention on breathing. Feel the complete in and out breath and when your mind wanders, bring your attention back to your breath.

After five minutes, allow a word, a sentence, or the entire phrase to arise in your mind and when the word, sentence, or phrase fades, say it gently again. Allow whatever arises to arise without judgement and when something feels real, when there's some spark of insight, rest in your mind and place your attention on it. When your mind starts to wander, bring your attention back to what arose for you. Practice contemplation for ten minutes and then return to focusing on your breath for five more minutes. Focus only on the most subtle of experience. Afterwards, carry whatever arose for you in contemplation practice into your everyday life.

Check this previous post for an explanation of contemplation practice. http://www.hiphopalive.org/mind-spray/2016/12/7/4p2lnb8omwoc5dc5uznhcxii002b89

If there is a verse you think should be contemplated or think I should discuss, let me know in the comment section below. 

Hiphop Alive

Justin F. Miles is the founder of Hiphop Alive and pioneering practitioner, theorist and educator at the intersection of Hiphop culture, mindfulness and contemplative studies. He is the leading voice championing the use of Hiphop infused contemplative modalities to foster resilience, emotional intelligence, and community empowerment.  

Contemplation # 9

Please feel free to listen to my music while you read. Thanks and I hope you enjoy!

“To know everything is to know nothing.

Nothing is zero, so zero's my hero.”

- D'Ranged and Damaged, Yaggfu Front

In 1999, while riding in a car with my friends Ryan and Jeremy, listening to Ras Kass's second album Rassassination, someone raised the question: If you could know the future, would you want to know? Ryan and Jeremy wisely answered no; I answered yes. I think I wanted to know so that hopefully, I could live my life differently or at the very least, enjoy it to the fullest. But, did I need to how my life would unfold in order to genuinely appreciate life more? Why did I really want to know? I think I really wanted to know because I was afraid (and to a certain extent still am) to live without knowing the direction my life would take. I realized I would love to defer the responsibility of the direction of my life to someone or something else. I don't want to live in the unknown and I don't want to be caught off guard by the unexpected, yet inevitable forces of aging, sickness, and death.

D'Ranged's verse raises the question: What if I could know everything? What if I were omniscient? If one could know everything, perhaps one would gain power over ones destiny or even better, over the destiny of others. We could control and determine history. We could avoid pain and maximize pleasure. We could waste time living it up like it's Friday night and in the 4th quarter of our lives try to turn it all around. But the truth is, even with knowledge of everything, that knowledge would expand, change and be replaced with new knowledge. Looking deeply into the structure of an atom initially reveals protons, neutrons and electrons, but with increased magnification reveals gluons, bosons, tachyons and quarks. If we could squint with God's eyes, maybe we could see the proposed quantum existence of superstrings and singularities. At a certain point reality starts to fall apart and we begin to see that what we considered to be real is in fact just a collection of momentary data which, under increased scrutiny, falls apart. Eventually we may arrive at something or maybe nothing at all. The same may be true of our thoughts and feelings. The more we look the more we may find an intangibility that defies our ability to label it. 

But if everything is nothing, then what is that nothing and does that mean that we are nothing? D'Ranged and Damaged ends his verse with the line "so zero's my hero". Zero becomes not a point of despair, but a savior and harbinger of hope. There is an implicit statement of optimism; the possibility that knowing nothing could reveal freedom. If one could trust in that nothingness, in the zero, one could be liberated from the need to rely strictly on knowing as the sole source of information regarding reality. Maybe the lyrics to the Schoolhouse Rock song by Bob Dorough, My Hero Zero, could provide us with some insight into the importance of zero: 

What's so wonderful about a zero?
It's nothing, isn't it?

Sure, it represents nothing alone

But place a zero after 1
And you've got yourself a 10
See how important that is?
When you run out of digits
You can start all over again
See how convenient that is?

That's why with only ten digits including zero
You can count as high as you could ever go...
Forever, towards infinity
No one ever gets there, but you could try

With 10 billion zeros
From the cavemen till the heroes
Who invented you
They counted on their fingers and toes
And maybe some sticks and stones, or rocks and bones
And their neighbors' toes
You're here
And nobody really knows
How wonderful you are
Why we could never reach the star
Without you, Zero, my hero
Zero, how wonderful you are

Place one zero after any number
And you've multiplied that number by 10
See how easy that is
Place two zeros after any number
And you've multiplied that number by 100
See how simple that is
Place three zeros after any number
And you've multiplied that number by 1,000

Et cetera, et cetera, ad infinitum, ad astra, forever and ever
With zero, my hero, how wonderful you are.

From this perspective, the nothingness of zero doesn't remove us from knowing but instead allows us to procreate, adding to what was previously experienced as a singular known. 

Let's contemplate this: Sit in an upright and comfortable position (on a cushion or chair) with your hands in the meditation posture (place the back of your left hand on the palm of your right hand and let your thumbs touch lightly). Let your eyes rest, half closed and focused on nothing in particular. Let everything in your field of vision just be, without labelling it or judging it. Just let your eyes relax. Sit for five minutes and focus all of your attention on breathing. Feel the complete in and out breath and when your mind wanders, bring your attention back to your breath.

After five minutes, allow a word, a sentence or the entire phrase to arise in your mind and when the word, sentence, or phrase fades, say it gently again. Allow whatever arises to arise without judgement and when something feels real, when there's some spark of insight, rest in your mind and place your attention on it. When your mind starts to wander, bring your attention back to what arose for you. Practice contemplation for ten minutes and then return to focusing on your breath for five more minutes. Focus only on the most subtle of experience. Afterwards, carry whatever arose for you in contemplation practice into your everyday life.

Check this previous post for an explanation of contemplation practice. http://www.hiphopalive.org/mind-spray/2016/12/7/4p2lnb8omwoc5dc5uznhcxii002b89

If there is a verse you think should be contemplated or think I should discuss, let me know in the comment section below. 

Hiphop Alive

Justin F. Miles is the founder of Hiphop Alive and pioneering practitioner, theorist and educator at the intersection of Hiphop culture, mindfulness and contemplative studies. He is the leading voice championing the use of Hiphop infused contemplative modalities to foster resilience, emotional intelligence, and community empowerment. 

Contemplation # 8

Please feel free to listen to my music while you read. Thanks and I hope you enjoy!

We are always trying to remember what we choose to forget.

- Saul Williams

When I'm not making beats or teaching a class on Buddhism, I am a full time psychotherapist. With my clients I've noticed a phenomena regardless of race, class, sexual orientation, or socioeconomic status that shows up in the experience of everyone I see. When the mind encounters thoughts or feelings that are threatening to the individuals sense of self, it attempts to push the idea, memory, association, etc. out of its awareness. The mind attempts to disown the phenomena. Sometimes the disowning is about difficult events or emotions such as trauma, helplessness, guilt or worry, but often times the events are based on positive experiences such as a recent success or a new relationship. Regardless of the quality of the phenomena, it gets pushed into an area of the psyche sometimes referred to as the shadow. It's a zone where anything threatening to the self sense gets placed. I like to think of it as the hallway closet of the mind where we toss the things we can't find any other place for. Eventually, either through intentional spring cleaning or through reaching maximum capacity and exploding, this storehouse of rejected experiences will eventually be revisited. But why do we do this and is this a conscious or unconscious event?

The truth is that we are choosing to forget, choosing to not hold thoughts, feelings and events positive and negative that we find difficult to reconcile within our awareness. We do this because seeing situations as they are is threatening to us. Instead of experiencing the truth of our lives, we defer to illusions and the accompanying behaviors of addiction, mindlessness and pretending as if we are not in as much pain as we're truly in. If we faced this pain it may feel as if we will die or succumb to the intensity of how we feel; however, the real threat of our pain is what we do to avoid it, not the pain itself. The pain of the phenomena rarely matches the pain of the avoidance. The real threat of our truth is the responsibility our truth asks us to acknowledge. Whether pain or pleasure, the truth of things calls to us to be faced and embraced or we will be haunted until we do. By remembering or recalling our place as participants in the natural human experience of feeling and being as we are, in all of of our torment and triumphs, we can give ourselves permission to hold whatever may arise in our minds as worthy of consideration and contemplation.

What are you always choosing to forget? Why? What would happen if you allowed it to hold space in your awareness? Are the pain and consequences of avoiding things you would like to forget, greater than the pain of the things you're avoiding? How do you know?

Let's contemplate this: Sit in an upright and comfortable position (on a cushion or chair) with your hands in the meditation posture (place the back of your left hand on the palm of your right hand and let your thumbs touch lightly). Let your eyes rest, half closed and focused on nothing in particular. Let everything in your field of vision just be, without labelling or judging it. Just let your eyes relax. Sit for five minutes and focus all of your attention on breathing. Feel the complete in and out breath and when your mind wanders, bring your attention back to your breath.

After five minutes, allow a word, a sentence or the entire phrase to arise in your mind and when the word, sentence or phrase fades, say it gently again. Allow whatever arises to arise without judgement and when something feels real, when there's some spark of insight, rest in your mind and place your attention on it. When your mind starts to wander, bring your attention back to what arose for you. Practice contemplation for ten minutes and then return to focusing on your breath for five more minutes. Focus only on the most subtle of experience. Afterwards, carry whatever arose for you in contemplation practice into your everyday life.

Check this previous post for an explanation of contemplation practice. http://www.hiphopalive.org/mind-spray/2016/12/7/4p2lnb8omwoc5dc5uznhcxii002b89

If there is a verse you think should be contemplated or think I should discuss, let me know in the comment section below. 

Hiphop Alive

Justin F. Miles is the founder of Hiphop Alive and pioneering practitioner, theorist and educator at the intersection of Hiphop culture, mindfulness and contemplative studies. He is the leading voice championing the use of Hiphop infused contemplative modalities to foster resilience, emotional intelligence, and community empowerment.  

Contemplation # 7

Please feel free to listen to my music while you read. Thanks and I hope you enjoy!

WISDOM IS BETTER THAN RUBIES, SILVER, OR GOLD. IT'S HIGHER IN VALUE PLUS MORE DURABLE

- LMNO

This line is a reworking of a verse from the Christian Book of Wisdom, The Bible; Proverbs 8:10-11 to be exact. The verse reads:  "Take my instruction and not silver, And knowledge rather than choicest gold." "For wisdom is better than jewels; And all desirable things cannot compare with her."

Most of us are probably familiar with the phrase, "knowledge is power". When I was a young man, my father used to tell me I should get an education because once you get it, no one can take it away from you. It's yours. Getting a degree allowed me to better determine my financial future, where and how I wanted to live. It's provided me the ability to find employment with ease and raise a family. It also widened my perspective of the world by deepening my understanding of race, class, politics, social welfare, philosophy, and religion. Sometimes I say to myself, "I don't know where I'd be if I hadn't gone to college", because most of my friends and social resources are an extension of higher education; theirs or mine. School helped me control the destiny and direction of my everyday life; to a large extent, knowledge gives us power and rulership over our relative existence.

But there was a problem. Even though I did well at regurgitating the information my professors threw at me, passed all the tests, and received a couple degrees, it wasn't enough. Soon I was told the things I learned were being replaced with new insights in the field of psychology. I got jobs I was happy with and who were happy with me, but was told I needed more education, training, certifications, and licenses if I wanted to keep it. This tendency wasn't limited to employment either. When I was a kid we learned there were 9 planets. In my lifetime Pluto was kicked to the curb and is now considered a dwarf planet, so now there are 8 planets. Oddly enough, Pluto was discovered in 1930 which means in my grandfather's lifetime there were 8 planets, and when Pluto was added as a 9th, his understanding of cosmology changed like mine did. This is because knowledge changes and is only as powerful as our limitations to see beyond it. Once we gain the ability to explore phenomena in a more exacting way, our knowledge of it changes. This means knowledge will always be changing and will continue to build on itself ad infinitum. Accepting that experience as an indelible fact is wisdom.

What is the value of wisdom? Both the Bible and LMNO say it's more valuable than precious minerals and jewels, but how? Value is often related to usefulness. What's the usefulness of jewels or money? Well in some sense money has similar characteristics to knowledge. I can use it intelligently to shape my world, to help others and if invested correctly, can watch it build on itself and multiply. The value of wisdom is different. It's ultimate usefulness is its capacity to grant access to absolute truth and therefore rulership over the trappings of the world of relative truth. Desiring wisdom more than rubies, silver, and gold means you genuinely want to see through the illusion that objects of temporary value, which provide temporary moments of joy (rubies, etc.), will ever result in a lasting happiness. In stillness and focused awareness, wisdom informs us there is a reality of peace, contentment, love, and compassion which underlies our everyday experience. It is the way out of the suffering that comes from living disharmoniously with nature. The etymology of the word knowledge is derived from the word gnosis (where we get words like hypnosis, gnostic, acknowledge, agnostic, cognitive and diagnosis) which is in turn derived from the Sanskrit word jnana which means "knowledge inseparable from the direct experience of reality itself". Why do we suffer? Because we do not live in accordance with reality, or how things genuinely are. In a sense because of our attachments to the world of form (the world of knowledge) we turn our awareness away from the search for inherent wisdom. 

Why did LMNO say that wisdom is more durable that jewels? Wisdom is durable because it is not subject to the laws of the conditioned world. Wisdom is neither created nor destroyed, neither comes nor goes, is neither obtained or lost, never given or received, is self-existing, and lasts forever. It knows no race and has no friends or enemies. The best part about wisdom is that it is inherent. You're born with it. It's the unconditioned experience of resting in your own indwelling awareness, and in quietude, wisdom is discovered as what lies beneath the usual torrent of thoughts and feelings. You carry it around with you wherever you go and if you're really paying attention, you can see it in others as well. It's our collective birthright. Sages, seers, prophets, mystics, clerics and avatars the world over have all said the same thing; cultivating a relationship with wisdom is the way to see through the confusion that obscures genuine happiness, freedom, growth, and power.

Let's contemplate LMNO's verse: Sit in an upright and comfortable position (on a cushion or chair) with your hands in the meditation posture (place the back of your left hand on the palm of your right hand and let your thumbs touch lightly). Let your eyes rest, half closed and focused on nothing in particular. Let everything in your field of vision just be, without labelling or judging it. Just let your eyes relax. Sit for five minutes and focus all of your attention on breathing. Feel the complete in and out breath and when your mind wanders, bring your attention back to your breath.

After five minutes, allow a word, a sentence, or the entire phrase to arise in your mind and when the word, sentence, or phrase fades, say it gently again. Allow whatever arises to arise without judgement and when something feels real, when there's some spark of insight, rest in your mind and place your attention on it. When your mind starts to wander, bring your attention back to what arose for you. Practice contemplation for ten minutes and then return to focusing on your breath for five more minutes. Focus only on the most subtle of experience. Afterwards, carry whatever arose for you in contemplation practice into your everyday life.

Check this previous post for an explanation of contemplation practice. http://www.hiphopalive.org/mind-spray/2016/12/7/4p2lnb8omwoc5dc5uznhcxii002b89

If there is a verse you think should be contemplated or think I should discuss, let me know in the comment section below. 

Hiphop Alive

Justin F. Miles is the founder of Hiphop Alive and pioneering practitioner, theorist and educator at the intersection of Hiphop culture, mindfulness and contemplative studies. He is the leading voice championing the use of Hiphop infused contemplative modalities to foster resilience, emotional intelligence, and community empowerment. 

Contemplation # 6

Please feel free to listen to my music while you read. Thanks and I hope you enjoy!

They pray four times per day, they pray five. Who ways is strange when its time to survive?

–MF DOOM

The spiritual practice that one chooses is often a matter of survival. Sometimes its an attempt to answer the question, "what can I do to ease/stop my suffering"? The efficacy of ones practice is never found in the viewer and always in the practitioner themselves. My teacher once told me, "you are your own bullshit meter", meaning I am the only one that could truly determine if my claims of fruition were true. Was my meditation and contemplation practice having the desired effect or was I making it all up?

In today's political and social climate, religious and spiritual practice are more necessary than ever. We can either dive into our paths, allowing ourselves to evaluate and experience the fruit of our practice in our relationships, workplaces, with loved ones and strangers or we can spend time doing what's been described as "counting cows". Being a successful cowherd is not based on being the smartest or spending time evaluating how others raise their herd. Success comes from diligent practice without all the hangups.

So DOOM makes a good point: who cares, who prays how many times per day or who comes off as strange when the real benefit of prayer, meditation and contemplation is only found in the direct experience of our natures and how we allow that realization to show up in our everyday lives. When we find ourselves causing us and others harm, who cares about what anyone else is doing. At that point i'm my own worst enemy and my only true savior.

Let's contemplate DOOM's line: Sit in an upright and comfortable position (on a cushion or chair) with your hands in the meditation posture (place the back of your left hand on the palm of your right hand and let your thumbs touch lightly). Let your eyes rest, half closed and focused on nothing in particular. Let everything in your field of vision just be, without labelling it or judging it. Just let your eyes relax. Sit for five minutes and focus all of your attention on breathing. Feel the complete in and out breath and when your mind wanders, bring your attention back to your breath.

After five minutes, allow a word, a sentence or the entire phrase to arise in your mind and when the word, sentence or phrase fades, say it gently again. Allow whatever arises to arise without judgement and when something feels real, when there's some spark of insight rest in your mind and place your attention on it. When your mind starts to wander, bring your attention back to what arose for you. Practice contemplation for ten minutes and then return to focusing on your breath for five more minutes. Focus only on the most subtle of experience. Afterwards, carry whatever arose for you in contemplation practice into your everyday life.

Check this previous post for an explanation of contemplation practice. http://www.hiphopalive.org/mind-spray/2016/12/7/4p2lnb8omwoc5dc5uznhcxii002b89

If there is a verse you think should be contemplated or think I should discuss, let me know in the comment section below. 

Hiphop Alive

Justin F. Miles is the founder of Hiphop Alive and pioneering practitioner, theorist and educator at the intersection of Hiphop culture, mindfulness and contemplative studies. He is the leading voice championing the use of Hiphop infused contemplative modalities to foster resilience, emotional intelligence, and community empowerment.