Brown vs. The Bored of Education (Chapbook) – New Poetry by Christopher K.P. Brown


Brown vs. The Bored of Education (New Chapbook) by Christopher K.P. Brown
Copies available for $8.00.
Order Your Copy Here OR Numerous Copies Here!
Orders will be shipped out starting on Friday, August 30.
Here’s the list of pieces included in this project.

I’m extremely excited to be releasing new material. While I’ve released some audio within the last two years I haven’t released any written work since 2010 (In My Lifetime). I’m really proud of this project and I think it really represents who I am at the age of 29. Much of this project evolves around the poem #LINEAGE. Once you receive the chapbook you’ll see how and you’ll see how the title of the book plays into that theme. I cover some things in this chapbook that I think we don’t address much in our society. For instance, What Doesn’t Kill You is a poem written about depression among Black men. It’s an issue we rarely discuss but it’s an issue that needs to be discussed. Numerous famous African-American males have committed suicide within the last couple of years. It seems to be a new epidemic not only among celebrities but among Black men in general.

This project will also mark the first time I truly discuss love and relationships in my poetry. It’s a topic I’ve avoided talking about for probably ten years as far as poetry I’ve released to the public. My life over the last year however centered around being in a relationship so it only feels right to be transparent in my poetry regarding love and relationships.

I plan on adding quite a few of these poems to my performance catalog so if you catch me at a show anytime over the next few years you’ll probably have a chance to hear some of the poems that are included in this chapbook.

I look forward to your purchase of this chapbook and thank you for the continued support. Peace.

-Christopher K.P. Brown

Oh, what is a chapbook you’re asking? Well, it’s a small book of poetry, roughly 5 inches by 8 inches. Most importantly it is worth your hard earned $8. If you’re not satisfied with the product once you’ve received it and dissected it then simply mail it back and we’ll issue you a refund. No problem. I stand by my work and quality is key.

Order Your Copy Here OR Numerous Copies Here!

Preview of Death vs. Destiny which is also included in Brown vs. The Bored of Education:

Christopher K.P. Brown – Since 1984 (New Album)


Release Date: March 19, 2013

PRICE: $9.95 – Click  HERE to Purchase.
(Includes download code + hard copy that
will be shipped out within 24 hours).

Since 1984 (Tracklist):

1. Strange Game (ft. E The Poet-Emcee)
2. Harlem 2 Haiti
3. I’m Already Home
4. I Still Love H.E.R.
5. Death Vs. Destiny
6. Don Cornelius (aka What Doesn’t Kill You?)
7. Whole Foods
8. Crucial Conflict
9. Mahogany
10. Remember Me

PRICE: $9.95 – Click HERE to Purchase.
(Includes download code + hard copy that
will be shipped out within 24 hours).

Wrapping Hot Dogs & Writing Poems

I used to wrap hot dogs for a living. From 2007 to 2011 I woke up everyday and went to work at a Food Court where I put on a hairnet to wrap hot dogs and cook pizzas for five to eight hours at a time. At the end of the night I’d wash four huge sinks full of dishes, mop the floor, and hope to get home by midnight. I graduated from college during the middle of a recession so even though I had a college degree my best option at the time was to take a job in a local food court. With my paycheck I would pay my rent, other bills, and always put a significant portion in a separate bank account to go towards my poetry. I’d work 40 hours a week at my job and at least 20 hours a week on poetry. I actually enjoyed my job but I knew I wasn’t suppose to spend the rest of my life in that food court. A year ago today, on July 27 the bosses brought me into the upstairs office. They sat me down and told me I was fired. That day I told myself I’d never work a 9 to 5 again. I’ve been paying all of my bills with poetry since then. No unemployment checks, no assistance. All poetry.

I started that job in October of 2007. A month before I’d released a spoken word CD titled POETRY: a hip hop album. I’d spent two years (2005-2007) working on the project and I was really pleased with the outcome. I’ve always felt that it was my best album. Unfortunately, because I had to go to work everyday and I was working on applying to grad school I never had a chance to properly promote that album. I’ve always regretted not being able to give that album the attention it deserved. I’ve always felt that it’s important that poets spend just as much time promoting their project as it took them to complete project. With that being said, we’ve decided to re-release POETRY: a hip hop album. We chose today to re-release album since today marks a year since I’ve been paying my bills solely from poetry.

The album has 14 tracks. We spent two years working on the album. The first half of the album focuses on Black male identity. The second half of the album is a tribute to Black women. We’ve sold over 500 copies since it’s release in 2007. We look forward to your support of this project. To purchase your copy simply visit and click on the album cover near the top of the page. The album only costs $9.95. That includes a hard copy of the album AND the download code. Thank you in advance for your continued support and we hope you enjoy the album.

10 Hip Hop Artists Who Influenced This Album


PRICE: $9.95 – Click HERE to Purchase.
(Includes download code + hard copy that will be shipped out within 24 hours).

Order before Wednesday, August 1 and you’ll also receive a free copy of the Straight, No Chaser: Volume 2 mixtape by Christopher K.P. Brown.

For those who have purchased or will be purchasing this will be sort of a scavenger hunt for you guys. The album has a heavy hip hop influence. Below, is a list of some of the particular artists who influenced certain tracks.

1. Jay-Z – The beginning of Forever was sort of a remake of 22 2’s from Reasonable Doubt. Okenna came up with the idea on the spot. We knew we wanted the live feel because we needed to create an open mic setting since it was the only joint on the album that was strictly poetry. It turned out pretty dope. Recording it was dope. Everybody recorded their audience member ad libs separately after I recorded the actual poem then we put everybody’s recordings together so it seemed like a huge room full of people. Really, it was four of us.

2. Talib Kweli – Listen to the Eternal Reflection album, I think it’s the last track. That’s where the idea came from to have different voices on the track for Mahagony. I really didn’t have that in mind when I was writing it but it’s longer than most of the other tracks so I felt it needed something extra. Mahagony was actually the first poem written for the album. Each character was based on somebody I knew personally. Almost every event in that poem actually happen to somebody close to me.

3. Outkast – There’s a break at the end of Still Tippin. I was listening to the break down on Ghetto Musick off Big Boi’s Speakerboxx. I thought it would be dope to have a similar break on Still Tippin so people knew from the start the album was going to focus on the music just as much as it did the poetry.

4. Nelly – Looking 4 Love, me and Okenna are kinda singing on the hook. The song Nelly had with Tim McGraw had just came out. That’s the feel I was going for with this track. Looking 4 Love is still one of my favorites off of this CD. It was written specifically for a close friend of mine. As I’m typing this I’m realizing I never told her it was written for her. Maybe I’ll tell her soon.

5. Project Pat – I’m a huge Project Pat fan. Huge fan. Layin Da Smack Down is one of my favorite albums. It starts off with a track called Still Ridin Clean. I wanted Still Tippin to be the poetry version of Still Ridin Clean. So that’s where the hook comes from. Still Tippin by Mike Jones was one of my favorite songs at the time but I wanted to flip the meaning. So I wrote to where still tippin was like I’m about to release this album are you still willing to support financially. It had been a couple of years since I’d put out a project and there’s always the issue of is anybody going to buy your cd. I wanted the first track to focus on that feeling.

6. DJ Screw – Houston music always made it’s way through my hometown. Screwed and Chopped music was pretty big back home. So though I definitely can’t do it like the pros we had a few snippets that were influenced by screw music. The end of Losing Isaiah and the beginning of (WE)alth Part 2 are two examples.

7. Goodie Mob – Though the track was on an Outkast album it always felt like a Goodie Mob idea to me. At the end of Slump on Aquemini there’s this break down at the end where they’re just snapping and humming. I wanted something similar at the end of Losing Isaiah. It turned into sort of a chant with myself, NoTiQ, b.ware, and CDA.

8. N.W.A. – The album cover of course, N.W.A. Greatest Hits. This was important to me because I wanted people to know from the first glance that they weren’t about to hear Langston Hughes do poetry. I wanted them to know they were about to hear something a little more aggressive.

9. Ghost & Rae – The interlude was influenced by the beginning of Only Built 4 Cuban Linx. It’s just the conversation of yo, something’s gotta give. That was a pretty honest conversation for me at the time. As we were finishing up the album I really had no idea of what direction my life was about to head in. I’d just gotten my degree but at the same time every option was an option. You can hear the Three Six Mafia influence in this as well.

10. Kanye West – My verse on (WE)alth Part 2 had numerous Kanye references throughout. The summer when we were finishing up the album Kanye had just released Can’t Tell Me Nothing. That song was just crazy. I still listen to it today and think it’s ahead of it’s time. But I knew that particular track on my album was going to deal with college and difficulties that some Black males face in college. I felt it was only right to acknowledge the college dropout and go from there.

The Queens of Poetry – Sonia Sanchez, Nikki Giovanni, and Maya Angelou (Notes on S.G.A.)

This Friday we’ll be re-releasing POETRY: a hip hop album. S.G.A (Sanchez, Giovanni, Angelou) is one of the tracks featured on the album.

One day around 2PM or so I found myself sitting at a table across from one of my favorite poets, Sonia Sanchez. It was 2007 (possibly 2008) and I was attending my first poetry festival (Split This Rock Poetry Festival in Washington, DC). Sonia Sanchez was opening up the festival and I was really just looking for somewhere to sit down in the venue before the events got started for the day. To my surprise, when I walked into the back seating area I saw Sonia Sanchez sitting there by herself. I sat down and spoke to her for about five to ten minutes. I’d finished recording POETRY: a hip hop album a year earlier. I told her I had a poem on my album that focused on contributions that she, Nikki Giovanni, and Maya Angelou had made towards the world of poetry. Before I left the room I gave her a copy of the CD and left the room to prepare for her performance. I’d tried my best to play it cool. It was the equivalent of high school basketball player being in the presence of Michael Jordan. You just try to stay calm and say something intelligent. I don’t really remember much of what I said but I do remember that she made the point that while she appreciated people acknowledging her older works, she also wanted people to give that same attention to the work she was creating at the time. Her point: she’s not an artifact, she’s still writing. She’s still active. I would later find out that she’d just been arrested a couple of weeks before at a protesting for better schools in Black communities. 

A couple of years earlier I had a chance to meet Nikki Giovanni at a reading she was doing in Milledgeville, GA. I was attending college 30 minutes away in Macon, Georgia at the time. In the middle of the reading she announced that she had a tattoo that said Thug Life. She really respected Tupac and understood how important his voice was in hip hop and in the Black community in general. Her recognition of Tupac helped me understand that there wasn’t such a huge gap between her generation and mine.

Something I think about pretty often is the fact that my mother owned a cassette tape of Maya Angelou’s reading at the inauguration of President Clinton. I’m not sure how many people remember that. Being from Arkansas, that inauguration was a big deal. I think seeing that cassette tape in my home on a regular basis gave me an idea of how far someone (specifically, someone from Arkansas) could go with their poetry. Of course it would be another eight years or so before I actually wrote a poem myself but the possibilities of poetry were already expanding somewhere in my mind.

S.G.A. (Sanchez, Giovanni, and Angelou) is one my favorite tracks from this CD simply because it shows the lineage that I come from as a poet. As a teenager, I spent hours and hours reading the works of African-American poets. My writing style was built on the art that I was taking in at the time. Because there weren’t any open mic poetry spots back home in Pine Bluff, Arkansas my writing influences were the rappers I was listening to and the poets whose works I was reading at the time. Cotton Candy On A Rainy Day was a book that happened to be on my mother’s bookshelf. One day, I just picked it up and read it without knowing much about the author, Nikki Giovanni. Within a year or two, the same would happen for works by Sonia Sanchez. Maya Angelou I purposely checked from the local library because I’d heard her name quite a bit growing up.

It may seem odd to some that I chose three women but at the time I was working on an album completed dedicated to women. I felt that it was only right to acknowledge the main three women who had influenced me when it came to poetry. This poem is dedicated to all three of these women: Sonia Sanchez, Nikki Giovanni, and Maya Angelou. Every poet should know who these three ladies are and I’m still learning more about them myself. All three are still active and what I like most is that they put forth strong work early in their careers and they’ve continued to build on that work, make a living through their work, and become icons in modern day society for being remarkable poets.

Listen to S.G.A. below: