This is a story about an elderly couple named Mr. and Mrs. Sneakerhead who dreamed to have their own shoe store. Find out how they were able to accomplish their dream store named Sneaker Headz.

HEADZ-zINe is a periodical output of the HEADZ Project. Taking the approach of a 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 co-authors and through a series of in-depth discussions and complimentary analysis of the artefacts and archives of hip hop, HEADZ-zINe reveals a set of previously untold stories. When we talk about hip hop culture and hip hop history, we rarely talk about 50-year-olds from the far-flung corners of the UK – predominantly corners constructed of white majority space – where hip hop culture would never have been thought to have existed in the 1980s. However, as hip hop culture exploded across the globe it infiltrated the remotest inhabited parts of the world. This second issue in Volume 1 of HEADz-zINe focuses on pioneering hip hop practitioners and adopters from Devon and Cornwall. Much like the personal histories shared in issue 1 by those that grew up in the North-West of England, there are stories here of limited access to hip hop, and a shared sense of desire for fully absorbing the culture – or as much as could be absorbed – considering communication and societal practices of the era and the region’s cultural context. The hunger for knowing about hip hop and knowing hip hop became paramount in the lives of some young Westcountry people, and in this issue, the personal histories of twelve hip hop practitioners and adopters growing up in the provincial cities of Exeter and Plymouth, the local towns of Bradninch, Camborne, and Sidmouth, and the villages of Newton Poppleford and Buckland Monachorum are presented. This issue focuses on the formative and arguably most important decade for the evolution of provincial hip hop in Devon and Cornwall, 1983-1992. However, not all co-authors discuss this period, but rather have focused on specific periods of time within this developmental decade. Almost 40 years on from its arrival in Britain, this issue presents twelve conversations with its co-authors to demonstrate hip hop’s girth, reach and power. Furthermore, the narratives here also attest to hip hop’s influence on how it has shaped the lives of this issue’s co-authors, by equipping them with a creative and technological skillset, how to approach everyday life, or understanding their own personal histories and cultural identities – from The Westcountry to London to Tanzania to India to Pakistan – questioning forms of Englishness and Britishness.

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.

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.

Fiction. Thelonious Horowitz is the next big thing, the Bob Dylan of his times, and he's feeling uninspired. In the past, traveling to music festivals always lifted his spirits. With his band playing a gig in a few days, he decides to leave New York to venture to Oracledang, the biggest and baddest musical festival of the summer. A diverse cast of ten characters, living in New York, Miami, and San Francisco, round out the novel. In HEADZ, everyone comes together at the music festival in Chicago, where paths converge for a summer event none of the characters will soon forget, and a show few will get to see.

an interdisciplinary counter-narrative to that of hip hop as a strictly urban phenomenon; providing an insight into the relocation of hip hop culture from its inception in New York ghettos to its practices in provincial and rural Britain.