Music: D-Nice/ Club Quarantine
nat rosasco • March 27, 2020
Nearly two decades ago, Derrick Jones’ career as a recording artist ended in unceremonious fashion: the record industry dumped him.
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Jones, a Bronx-born DJ, producer, and rapper better known as D-Nice, started in music as a teenager in the mid-1980s as a member of Boogie Down Productions, the legendary hip-hop group. At 20, he embarked on a solo career, releasing two albums for Jive Records, “Call Me D-Nice” (1990) and “To tha Rescue” (1991). They were good records, full of slick rapping and gruff beats, produced by Nice himself; the debut album sold half a million copies and a single, “Call Me D-Nice,” reached No. 1 on Billboard’s Hot Rap Tracks chart.
But at a time when hit albums sold millions of copies and record executives viewed rappers as artists with unusually short shelf lives, those numbers didn’t cut it. Jive neglected to renew D-Nice’s contract and he was unable to find a deal with another label.
La CASA (Center for Arts, Self-determination, and Activism) is a transformative $33 million initiative by Inquilinos Boricuas en Acción (IBA) in Boston's South End.This four-story facility will consolidate IBA's diverse programs—including affordable housing, education, financial empowerment, and arts—under one roof, enhancing access and community outreach.Supported by a $20 million New Markets Tax Credits allocation and $12 million in tax-exempt bond financing led by TD Bank, La CASA exemplifies a strategic partnership aimed at fostering socio-economic mobility.Upon its anticipated completion in 2026, La CASA is projected to serve over 2,500 individuals annually through resident services and youth development, with an additional 5,000 benefiting from its arts programming, reinforcing its role as a beacon for Latino culture and community empowerment in Boston.
The Welman Project aims to support educators by making the reuse of materials a resource for creativity in the classroom, and to increase arts participation in underserved groups. They serve educators, artists, makers, and families through three main programs: the Educator Resource Program, the Curiosity Shop, and their Creative Reuse Education Program. They are dedicated to using the arts as a space for healing and confronting social injustice.
Art Against Racism is a virtual arts exhibition which aims to lift up the tremendous array of creative works made in support of the Black Lives Matter movement. In doing so, project organizers hope that the exhibition will serve as an archive of the national artistic response to this historic moment.
La Raza Youth Leadership Institute hosted an art contest for youth ages 12-19 with the goal of motivating Latinx youth to get vaccinated. Three winners were chosen, and the first place winner's artwork was displayed on buses and in bus stop shelters near a number of schools. A phone number is included with the artwork for youth to call to receive more information about vaccines.
Saint Louis Story Stitchers Artists Collective's Perception Isn't Always Reality engages BIPOC (Black, Indigenous, People of Color) teen and young adult artists to reevaluate messages they may have received about Covid-19 and vaccinations and to reevaluate the sources of the information. Through their own brand of urban storytelling that involves collaborative work in hip hop music and krump dance, spoken word, videography, photography, and podcasting, the artists will produce a challenging body of work for the public to experience on urban canvases such as the sides of city buses and on air waves.
Based in St. Louis, Missouri and incorporated in 2014, the Story Stitchers Artists Collective uses a collaborative model to create social justice art. The mission of Story Stitchers is to document St. Louis through art and word and to promote understanding, civic pride, intergenerational relationships, and literacy. Story Stitchers works to promote a better educated, more peaceful, and caring region through the creation and dissemination of original art.
