Author: Dr Adam de Paor-Evans

Publisher: Squagle House/Rhythm Obscura

Published: 2021-04-10

Total Pages: 181

ISBN-13: 1399906534

HEADZ-zINe is a periodical output of the HEADZ Project. Taking the form of the fanzine with a critical edge, it challenges the convention of academic knowledge production and dissemination. HEADZ-zINe seeks to capture the personal, local, and communal histories of hip hop. HEADZ-zINe is foremost interested in the stories of its participants, and through a series of in-depth interviews and complimentary analysis of the artefacts and archives of hip hop, reveals a set of previously untold stories. HEADZ-zINe is created with much the same immediacy as a zine. It is produced within a period of weeks, is self-published and designed using standard domestic hardware and software. Although the topic addressed is historical, participants’ reflections illustrate the immediacy and closeness of this material to their current lives. True to the aims of the fanzine, HEADZ-zINe illuminates the histories of music culture which have previously been largely un-documented. These histories are told through the personal and collective stories of their participants. HEADZ-zINe is freely distributed, and the inaugural issue has been manufactured with a print-run of only 200 copies, in addition to being available in an expanded edition online. The zine presents a continued engagement with questions of knowledge production and dissemination. HEADZ-zINe has been developed in collaboration with practitioners and seeks to foreground their histories, thoughts, and ideas. We are interested in how hip hop offers practitioners a way of engaging with and knowing the world through music, artistic and dance practices. In this, we take hip hop seriously as a cultural form through which practitioners and fans learn, share and archive knowledge. Hip hop practitioners are both the creators of and thinkers about hip hop, they are local intellectuals. The principal focus of this zine is on the voices of hip hop practitioners themselves as they not only tell but theorise hip hop history. As accumulators of vinyl records, flyers, posters, photographs, and magazines ourselves we are interested in what these artefacts and archives can reveal to us about the creative acts of curating and remembering cultural history. We are interested in exploring how involvement in hip hop culture shaped the lives of practitioners and provided a space for creatively, imaginatively, and intellectually engaging with the world around them.