Carl Hancock Rux

Carl Hancock Rux 2009

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Carl Hancock Rux (b. March 24th, 1974 Harlem, New York) is an award winning poet, playwright , novelist, essayist and recording artist; former Head of the MFA Writing for Performance Program at the California Institute of the Arts (2006-09) and has taught or been in residence at University of California–San Diego,University of Massachusetts at Amherst, Hollins University and the the University of Iowa.

Biography

Born Carl Stephen Hancock in Harlem, New York,^[1] Rux's biological mother (Carol Jean Hancock) suffered from schizophrenia and was institutionalized shortly after his birth. The identity of his biological father is unknown. ^[2]. After the death of his maternal grandmother Geneva Hancock (née Rux) ^[3] he entered the New York City foster care system at the age of four years old. ^[4]. He was legally adopted at the age of fifteen by his great aunt,Arsula (née Cottrell) and uncle James Henry Rux ^[5] and the surname "Rux"was added to his name ^[6](the name Rux is of German derivation. It is also a city near Wroclaw, Poland situated on the Oder river in Lower Silesia, formerly a jurisdiction of Bohemia, Austria and Prussia.) Carl Hancock Rux has stated his mother, maternal grandmother and great uncle are African American descendents of French Hugenots of German descent. He is a graduate of the Fiorello H. LaGuardia High School of Music & Art and Performing Arts^[7] where he studied both visual art and voice^[7], Columbia University, and also studied at the American University of Paris as well as the University of Ghana at Legon.^[8]

Literature

As a teenager, Rux was a member of the Harlem Writers Workshop, a summer journalism training program for inner city youth founded by African American journalists and sponsored by Columbia University and The Xerox Corporation. After graduating high school and while attending Columbia University he wrote theater, film and music criticism for several magazines and publications before turning his interest to poetry and theater. Siting the literary influences of Julio Cortázar, Ernesto Sabato, Julio Llamazares, and Gayl Jones, he eventually became one of several writers (including Paul Beatty, Tracie Morris, Dael Orlandersmith, Willie Perdomo, Kevin Powell, Maggie Estep, Reg E. Gaines, Edwin Torres and Saul Williams) to emerge from the Nuyorican Poets Cafe, most of whom were included in the poetry anthology Aloud, Voices From the Nuyorican Poets Cafe, winner of the 1994 American Book Award. ^[9] . ^[9] Rux's performance style was significant for incorporating a gospel influenced Sprechgesang and Vocalese style in his recitation of poetry and prose. His first book of poetry, Pagan Operetta received the Village Voice Literary prize and was featured on the weekly's cover story: Eight Writers on the Verge of (Impacting) the Literary Landscape. He is also the author of the novel Asphalt (see Asphalt (novel)) and the OBIE Award winning play Talk^[10].

Music

Carl Hancock Rux and friend at Afro-Punk festival, CBGBs, 2006

As a teenager Carl Hancock Rux sang with the Boys Choir of Harlem and Hezekiah Walker's Love Fellowship gospel choir and grew up with hip-hop as well as the jazz music of his adoptive parents. Incorporating those influences into a poetic half spoken, half sung vocal style, Rux's career as singer/songwriter began in the spoken word era of the early 90s but is often associated with the experimental sound of the anti-folk scene of New York City's East Village or the eclectic electronica sound pioneered by Beck and Stereopathetic Soulmanure. Mixing soul, gospel, blues, rock, classical and hip-hop into an earnest and politically charged collage of postmodern arrangements of samples, drum machines, live instrumentation and sound effects, his baritone gospel tinged voice is often described as a cross between Jimi Hendrix and Jim Morrison with influences of Nick Cave, Bill Withers and Lou Reed. Having recorded on spoken word artist/Tony award winning playwright Reg E. Gaines (Bring In Da Noise, Bring In Da Funk) sophmore cd Sweeper Dont Clean My Streets (Polygram), Rux was discovered by singer/songwriter Nona Hendryx while performing at a Toshi Reagon concert at CBGB's in New York City. Managed by Hendryx and Vicki Wickham and signed to Hendryx's independent label, Free Records, his debut cd, Cornbread, Cognac & Collard Green Revolution (unreleased) produced by Hendryx and Mark Batson, featured musicians Craig Harris, Ronnie Drayton and Lonnie Plaxico. Polly Anthony, then president of Epic Records, signed Rux to Sony/550 after seeing Rux perform with his band at the Nuyorican Poets Cafe. His cd, Rux Revue, recorded and produced in Los Angeles by the Dust Brothers,Tom Rothrock and Rob Schnapf, featured drummers Joey Waronker (formerly of REM) and James Gadson, bassists Atom Ellis (of Link Wray/The New Cars) and Carol Kaye, keyboardist James Hall, and bass guitarist Wah-Wah Watson. The cd was voted one of the top ten alternative music CDs of 1998 (New York Times/Year in Music). Rux made several appearances in the U.S. and Europe, most notably on stage with Macy Gray, Erykah Badu and The Roots. Though the album received critical acclaim ( "Rolling Stone" hailed Rux as a master storyteller with a voice reminiscent of Jimi Hendrix, the delivery of Lou Reed, the lyrical concerns of Ralph Ellison and the psychological verve of P.J. Harvey in funk-rock meditations) the cd failed to cross over into the mainstream. In 2000 Rux asked to be released from his deal with Sony and recorded a follow up album, "Apothecary Rx", for Giant Step records, an independent label owned by music promoter Maurice Bernstein. The cd, co-produced by Carl Hancock Rux and Stewart Lerman with Rob Hyman (of The Hooters), featured rock musician Vernon Reid , experimental jazz violinist Leroy Jenkins and Brazilian percussionist Venecius Cantuera. Rux toured Europe and recorded songs on the David Holmes cd "Bow Down To The Exit Sign". One of three tracks he co-wrote and recorded for the album, "Living Room", appeared on the second season of C.S.I.. While in Europe Rux also collaborated with Portishead producer Geoff Barrow for Stephanie McKay's debut cd, McKay.His fourth studio cd, Good Bread Alley, released by Thirsty Ear Records, was co-produced by the artist and label owner Peter Gordon and was described by some critics as his "most musical album to date".

Theater/Dance

His first play, Song of Sad Young Men, was written in response to his older brother's death from AIDS and directed by Tony award winning actress Trazana Beverly, starring actor Isaiah Washington^[11] and received eleven AUDELCO nominations. Having continued to work in the theater as a playwright throughout the 90s, his play Talk ( see Talk (play) ) was produced at the Joseph Papp Public Theater in 2002, directed by Marion McClinton and starring actors Anthony Mackie, Karen Kandel, Reg E. Cathy, John Seitz, Maria Tucci and James Himelsbach. Set as a panel discussion structured according to Plato's Socratic Dialogues, the play focused on a (fictional) African-American writer, Archer Aymes who became a controversial overnight sensation for his first book,(an experimental novel inspired by the relationship between Agave and her son Pentheus from Euripedes The Bacchae) only to commit suicide in a prison cell ten years later. The play won seven OBIE awards. As a writer and frequent guest performer in theater and dance, Carl Hancock Rux's collaborators have included Marlies Yearby (choreographer of the Broadway musical Rent), the Urban Bush Women, Jane Comfort & Co., Bill T. Jones/Arnie Zane Dance Company,and the Alvin Ailey American Dance Theater. Rux received a BESSIE© award for his direction of the Lisa Jones/Alva Rogers dance musical, Stained. While in High School, Rux studied acting with actor Robert Earl Jones (father of actor James Earl Jones) and later actress/director Gertrude Jeanette. Rux originated the title role in the folk opera production of The Temptation of St. Anthony, based on the Gustave Flaubert novel, directed by Robert Wilson with book, libretto and music by Bernice Johnson Reagon. The production debuted in June 2003 as part of the RuhrTriennale festival in Duisburg Germany with subsequent performances at the Greek Theater in Siracusa, Italy, the Festival di Peralada in Peralada, Spain, the Palacio de Festivales de Cantabria in Santander, Spain, and Sadler's Wells in London, Great Britain, before making its American premiere at the Brooklyn Academy of Music/ BAM Next Wave Festival in October 2004. Returning to Europe, the production was mounted at the Teatro Piccinni in Bari, Italy, the Het Muziektheater in Amsterdam, Netherlands, the Teatro Arriaga in Bilbao, Spain and the Teatro Espanol in Madrid, Spain. The official "world premiere" was held in 2005 at the Paris Opera becoming the first all African American opera to perform on its stage since the inauguration of the Académie Nationale de Musique - Théâtre de l'Opéra in 1875.

Published works

Elmina Blues

First published as a chap book, Elmina Blues is a semi-autobiographical epic poem that follows its narrator, a young African American male, escaping the devastation of losing a friend to AIDS and taking a trip through Europe eventually winding up in Ghana where he befriends an illiterate teenager who makes money as a tour guide seducing middle aged American women. The narrator grapples with his disillusionment regarding his idealization of Africa, embodied by a sexual ménage à trois gone wrong with a local prostitute. See Pagan Operetta

Pagan Operetta

Collection of poetry and experimental prose loosely inspired by Homer's Odyssey (see Pagan Operetta).Rux begins the first section is structured as a poetic memoir; the first section reflecting on its authors early childhood in foster care after the death of his grandmother ("Blue Candy"); an early experience with sexual abuse ("Red Velvet Dress Lullaby"), his biological mother's schizophrenia and institutionalization, questions regarding the identity of an unknown father ("Wasted Seed"), the jazz music and spousal abuse of his adoptive parents (Living Room) concluding with a surreal short story entitled Asphalt (which would later inspire the novel of the same name) about a boy walking through the ruins of an urban landscape as rose buds blossom from his skin. The second section ("Elmina Blues") details a life changing experience in Ghana, West Africa where the unnamed protagonist goes to avoid a dying childhood friend and discovers Ghana's shanty towns, an illiterate teenager who seduces middle aged tourists and an ill-fated sexual encounter with a prostitute. The third section is a collection of poems positing socio-political questions, among them the commodification of the tragic black male ("No Black Male Show")and the challenge facing young writers looking forward to success ("Miguel"). In these poems, Rux recalls watching a play by Anton Chekhov with Cornel West and attending a party seated next to a dying Allen Ginsberg,realizing something about the performance of African American identity.

Asphalt

Asphalt is a novel of an expatriate DJ who returns from Paris to a post-apocalyptic New York City. See Asphalt (novel)

Talk

Published by TCG, Talk is a play in the form of a panel discussion/academic conference convened by a young scholar on the subject of Archer Aymes, author of an experimental novel titled Mother and Son which catapulted him to stardom in the late 1950s and who ultimately committed suicide in a jail cell ten years later. The play explores the relationship between classical and contemporary art. The characters, (Crito, Ion, Apollodoros, Meno and Phaedo) take their names from Plato's Socratic dialogues and Euripides' The Bacchaecasts its narrative shadow over the action of the play which is held in the ruins of a museum of Greek antiquities. See Talk (play)

Anthologies/Works cited

• Aloud; Voices From the Nuyorican Poets Cafe (Paperback, 1994)^[12][13]
• Words in Your Face: A Guided Tour Through Twenty Years of the New York City Poetry Slam (Paperback)

Cristin O'Keefe Aptowickz, Soft Skull Press

• Konzepte 17 (Paperback, 1994) ^[12]
• Action! Nuyorican Theater Festival Anthology (Paperback, ^[12]
• Soul's Survival; Black Power, Politics and Pleasure (Hardback/Paperback, ^[12]
• Listen Up! Spoken Word Poetry (Paperback, ^[12]
• Bum Rush The Page (Paperback, ^[12]
• Heights Of The Marvelous (Paperback,^[12]
• Open City Literary Journal #13 (Paperback,^[12]
• Juncture (Paperback,^[12]
• Everything But the Burden (Paperback,^[12]
• Absolute Wilson: The Biography

Prestel Publishing/ by Katharina Otto-Bernstein

• Toward 2012: Perspectives on the Next Age
• College Guide for Performing Arts Majors 2009
• Reviews, New York City: Movement Research at the Judson Church

by Rose Anne ThomDance

• All Music Guide to Soul: The Definitive Guide to R&B and Soul
• The African American Writer's Handbook: How to Get in Print and Stay in Print
• We Gotta Have It: Twenty Years of Seeing Black at the Movies, 1986-2006
• Brave New Bass: Interviews and Lessons with the Innovators, Trendsetters and Visionaries
• Rethinking Commodification: Cases and Readings in Law and Culture (Critical America)
• Who Says?: Working-Class Rhetoric, Class Consciousness, and Community

by William DeGenaro/ Pitt Comp Literacy Culture

• Television at the Movies: Cinematic and Critical Responses to American Broadcasting
• All Music Guide to Hip-Hop: The Definitive Guide to Rap and Hip-Hop
• Mother Jones Magazine
• The Great Rock Discography
• Alternative Press Index
• The New York Times Theater Reviews
• The New York Times Theater Reviews 1997-1998

Routledge Press

• Hip, the History
• Rhythm Science
• The Columbia Granger's Index to Poetry in Anthologies
• Frommer's Irreverent Guide to Manhattan
• A Companion to Twentieth-Century American Drama
• An Exaltation of Forms: Contemporary Poets Celebrate the Diversity of Their Art

by Annie Finch, Kathrine Varnes

• All Music Guide to Hip-hop: The Definitive Guide to Rap & Hip-hop

by Vladimir Bogdanov, Chris Woodstra, Stephen Thomas Erlewine, John Bush

• Deconstructing Tyrone: A New Look at Black Masculinity in the Hip-Hop Generation

by Natalie Hopkinson

• The Color Of Theater: Race, Culture, And Contemporary Performance

by Roberta Uno, Lucy Mae San Pablo Burns - Drama

• Butting Out: Reading Resistive Choreographies Through Works by Jawole Willa Jo Zollar

by Ananya Chatterjea

• African-American Literature: Overview and Bibliography

by Paul Q. Tilden

• Why White Stars Are Ripping Off Rap And R&B

Ebony Magazine

• Rethinking Commodification: Cases and Readings in Law and Culture

by Martha M. Ertman, Joan C. Williams

• The Columbia Granger's Index to African-American Poetry

by Nicholas Frankovich, David Larzelere

• Rattapallax 11 / Incluye un CD

Published by Lom Ediciones

• Christgau's Consumer Guide: Albums of the 90's

By Robert Christgau

• The New York Times Dance Reviews 2000

The New York Times Literary Collections

• Blue Grit: Making Impossible, Improbable, and Inspirational Political Change

by Laura Flanders

• The Applause/Best Plays Theater Yearbook

by Otis L. Guernsey, Jeffrey Sweet, Al Hirschfield

• Bulletproof Diva: Tales of Race, Sex, and Hair

by Lisa Jones

• Sounds of Poetry: Contemporary American Performance Poets

by Martina Pfeiler

• The Rise of the Hispanic Market in the United States: Challenges and Dilemmas

M.E. Sharpe/ Louis E. V. Nevaer

• The Best American Poetry 2003
• New York Magazine
• John Willis' Theatre World

edited by John A. Willis

• Historical Dictionary of African American Theater‎ - Page 428

by Anthony Hill, Douglas Q Barnett -The International Review of African American Art

• Contemporary‎

by Keith Patrick – Art Modern

• Museum of African American Art

(Santa Monica, Calif.)/ Hampton University Press

• College Guide for Performing Arts Majors 2009:

Real-World Admission Guide by Carole J. Everett, Peterson Fern Oram

• John Willis' Theatre World‎

edited by John A. Willis Plays

• International Theatre World 1992-1993

by John Willis, Tom Lynch

• Dreamer of the Day: Francis Parker Yockey and the Postwar Fascist International

Autonomedia Press/Kevin Coogan

• Skulls Head Samba

Fly By Night Press/ Eve Packer

• Women Poets on Mentorship: Efforts and Affections

University of Iowa Press/Arielle Greenberg, Rachel Zucker

• Hip-Hop Divas

Plexus Publishing/ Vibe Magazine

• Your Negro Tour Guide: Truths in Black and White

Emmis Books/by Kathy Y. Wilson

• MultiCultural Review: Dedicated to a Better Understanding of Ethnic, Racial and Multicultural Education

Jossey-Bass Publishers/edited by James Banks, Cherry A. McGee

• Listen Again: A Momentary History of Pop Music

Duke University Press/ by Eric Weisbard

• Race Manners for the 21st Century

Arcade Publishers/by Bruce A. Jacobs

• The African American Male, Writing and Difference

State University of New York Press/by Lawrence W. Hogue

• Mother Jones Magazine‎ - Page 85

Magazine - Nov-Dec 1999 - v. 24, no. 6

• The Great Rock Discography

by Martin Charles Strong, John (FRW) Peel – Music

• Alternative Press Index‎

Theater/Dance

• Song of Sad Young Men Producer’s Club Theater/Aaron Davis Hall/National Black Theater Festival
• Geneva Cottrell, Waiting for the Dog to Die Performance Space 122, Penumbra Theater (St. Paul, Minn.)
• Pipe; a Courtroom Drama (with Garland Farwell) Performance Space 122
• Smoke, Lilies & Jade Joseph Papp Public Theater (Next Stages)/ Center for New Performance (Calarts)
• Pork Dream in the American House of Image
• Not the Flesh of Others Dixon Place
• Singing In the Womb of Angels Dixon Place
• Who Dat Who Killed Better Dayz Jones? Aaron Davis Hall
• The (No) Black Male ShowThe Kitchen
• Mycenaean BAM Next Wave
• Asphalt REDCAT
• From An Asphalt Yard Musical Theaterworks/ Apollo Theater/Mind-Builders Creative Arts Center
• Chapter & Verse Nuyorican Poets Café/Minetta Lane Theater
• Jane Comfort's Asphalt (with Toshi Reagon, DJ Spooky) Joyce Theater
• Fast Forward Dreaming In a Two Step(with Marlies Yearby, Jing Jing Luo)American Dance Festival at Jacob’s Pillow Judson Church/Tribeca Performing Arts Center
• Kick The Boot, Raise the Dust An' Fly; A Recipe for Buckin'Maison des arts de Créteil (France)
• Totin' Business & Carryin' Bones Maison des arts de Créteil (France)
• Yanga (with Anita Gonzalez, Cooper-Moore) Tribeca Performing Arts Center/Montclair State College
• The Beautiful (with Marlies Yearby, Laurie Carlos) Judson Church/Tribeca Performing Arts Center
• Soul Deep (with Jawole Willa Jo Zollar, David Murray) Walker Arts Center,National Tour
• Of Urban Intimacies Lincoln Center Serious Fun!,Central Park Summerstage, National Tour
• That Was Like This and This Was Like That Tribeca Performing Arts Center, Central Park Summerstage, National Tour
• Shelter (with Alvin Ailey American Dance Theater) City Center
• Hair Stories (with Urban Bush Women) BAM Majestic Theater, Esplanade Theater (Singapore), Hong Kong Arts Festival
• Seeds (with Alvin Ailey American Dance Theater) Aaron Davis Hall
• Jubilation! (with Jubilation! dance Company) Apollo Theater
• Certo! Roberta! (with Roberta Garrison) Scuola di Danza Mimma Testa in Trastevere (Rome, Italy) Teatro de natal infantil Raffaelly Beligni (Naples, Italy)
• Seeking Pyramidic Balance(with M'Zwa dance/Maia Claire Garrison) 651 Arts
• Say It Loud (with DJ Spooky, Jane Cortez, Eric Priestley) National Black Arts Festival
• Makandal (with Edouard Duval Carrie) Harlem Stage
• The Blackamoor Angel (with Deidre Murray) Bard Summer Festival/Spiegeltent

Discography

Albums

Cornbread, Cognac, Collard Green Revolution

Free Records (unreleased)

Rux Revue

"Carl Hancock Rux’s debut (Sony 550 Music) is a fully realized effort to present poetry as musical theater. It’s similar in this vein to Charles Mingus’ A Modern Symposium of Jazz and Poetry and The Clown, or Wynton Marsalis’ Blue Interlude and The Majesty of the Blues, or Stevie Wonder’s Living for the City. Backed by a live band and singers, Rux’s sound encompasses rock, blues, jazz, funk, and hip-hop, the words allowed the most fruitful representation in sound. His voice is a rich baritone; he sometimes shouts, sometimes croons, sometimes whispers. At all times he is insistent, a quality we have come to recognize as the hallmark of a performance poet.His work grapples with recalling his past and creating out of it a self-consciousness that is productive, rather than self-pitying.Rux’s poetry draws on the autobiographical, such as being conceived on a rooftop (“Wasted Seed”), thinking that he caused his grandmother’s death (“Blue Candy”), and losing a brother to AIDS (“Gut Bucket Blues”), to explore issues about family life, sexuality, violence, life in the city, and racial identity. Rux explains, “It’s about invading your own privacy, which is an idea that’s definitely not expected from urban black men.” Other tracks recommended highly are “Miguel,” “No Black Male Show,” and “My Coon Gal.” The production quality is excellent, a testament to both the producers (among them Toshi Reagon) and to Rux’s command over his material and his relationship with his band." (POP MATTERS)

Apothecary Rx

"Apothecary Rx (Giant Step Records) the second release from writer/musician Carl Hancock Rux, marks another stellar release from a growing NYC-based boho-soul collective (which includes under-recognized greats such as Chocolate Genius and Me'Shell NdegéOcello). Their provocative, cerebral “soul” music finds its roots and intentions fused with the personal politics of ’70s Motown (a la Marvin Gaye) and the street-grit fire of spoken-word pioneer Gil Scott-Heron. Apothecary casts a sharp eye at the city Rux calls home and his place as a black man it, creating a speculative beat-poem phantasm full of the sound of city breath–sighing subway brakes, murmuring congested streets, and jackhammer punctuation.It’s an album filled with pain, poison, and healing energy (hence the title), propelled by an incredibly layered, textured musical collage. “Trouble Of This World” begins with what sounds like Native American chanting, only to seamlessly transform into dance floor beat verse riding a wave of African rhythm and reaping Rux’s deep gravy vocals. Another example is the soaring, dispossessed anthem “Eleven More Days.” It begins with a Tricky-like industrial beat and mutates into a gorgeous glide upwards. Fueled by a gospel chorus that serves as the metropolitan equivalent of a chain gang, the song addresses the harshness of inner city reality. And on the title track, “Apothecary Song,” the combination of electronic tinkering, mutated acoustic guitar, and deep-groove percussion bears witness to Rux’s amalgamating majesty, creating a mother earth psalm about the soul’s transmigration that doubly serves as a lullaby. With Apothecary Rx, Carl Hancock Rux thrusts himself into the maw of the abyss and comes out converted, creating a minor masterpiece that triggers the synapses and causes the shoulders to shudder. Its mosaic melting pot sounds like nothing else out there." (RHINO)

Good Bread Alley

"Working with a smaller set of musicians -- and for a smaller label -- the multi-disciplinary artist Carl Hancock Rux delivers what is arguably his most musical album to date. There are more "songs" on Good Bread Alley (Thirsty Ear Music) than on the poet/author/vocalist's previous efforts, and Rux also uses his deep baritone singing voice more than usual. Hip-hop and electronica make brief appearances, but most of the sounds here are neo-cabaret, neo-classical, or downtown loft blues, played naked and live enough to suggest what a one-man show from Rux might sound like. On the opening title track, Rux drags behind him the faux synthesized orchestra that appears throughout the album. Decidedly fake horns and strings plod out the tune, denying their leader's Gil Scott-Heron-styled tale of "why didn't we see it coming" which fades in and out like a radio station on the edge of reception. From here, Good Bread Alley becomes more approachable, more warm, less produced, but no less evocative. The tales of "wine and war" mentioned on "Thadius Star" -- a song originally written for former Brooklyn Funk Essentials member Stephanie McKay's solo debut -- contrast wealth and poverty, success and failure, hope and disappointment. Rux has a firm grip on his art but he's humbled by the complexity of modern life and doesn't offer answers as much as advocate awareness. He recites his prose if need be, but more often sings his message with the earthy tone that has earned him the experimental blues tag he's been pigeonholed with. The desolate "Thadius Star" adds Brecht and Weill to the jumble of influences, along with Massive Attack, who's spirit is deep in the song's sensual slinking. "Black of My Shadow" puts spirituals and Billie Holiday through William S. Burroughs' cut-up treatment, while the taut "Living Room" unleashes the old-fashioned, straight-ahead R&B, although the "Soul fury!" shouted out in the song speaks to domestic violence instead of Stax. There's also an incredible, heartbreaking cover of Bill Withers' protest song "I Can't Write Left Handed" here to prove Rux is also a gripping performer and interpreter. Still, with all the advancement he has made as a musician, his spellbinding words still offer the richest rewards and are the most responsible element in making Good Bread Alley the potent triumph it is."(ALLMUSIC.COM)

Singles/Featured artist

• Lamentations (You, Son) (12")

Giant Step Records

• Lamentations (You, Son) (12", Promo)

Giant Step Records

• A New Dimension (12") I Am

Forma Recordings

• Abstract Jazz Lounge III (2xLP, Album) I Am (Original Mix)

Nite Grooves

• Bow Down To The Exit Sign/Slip Your Skin/Compared to What/Living Room

Go! Beat 1500 Records

• Optometry (CD, Album) Asphalt (Tome II)

Thirsty Ear

• Deep House Vol. 2 - Harley & Muscle In The Mix (2xCD) Lamentations(You,Son)

Clubstar 2001

• Eclectic Aesthetic (Part 2) (CDr, Mixed) Intro To (R)Evolution

Sound Signature

• Sessions: Volume One (CD, Comp, Mixed) Lamentations (You, Son)

Giant Step Records

• Soul Sessions 2 (2xLP) Protean Character

Giant Step Records

• Soul Sessions 2 (CD, Comp) Protean Character

Giant Step Records

• Fall 2003 Records Sampler (CD, Comp) Lamentations

Giant Step Records

• Loop Select 005 (CD + DVD) Lamentations (You, Son)

LOOP Recordings Aot(ear)oa

• Simply Good Music Vol. 1 (CD, Comp) Lamentations

Giant Step Records

• The Green Room 003:(Ear)th (CD) Protean Character

LOOP Recordings Aot(ear)oa

• Thirsty Ear Blue Series Sampler (CD, Smplr) Thadeus Star

Thirsty Ear

Spoken word

• Rhapsodies in Black: Music and Words from the Harlem Renaissance

Rhino Records

• Our Souls Have Grown Deep Like The Rivers: Black Poets Read Their Work

Rhino Records

• Poetry on Record: 98 Poets Read Their Work 1888-2006

Shout Factory

• Alvin Ailey American Dance Theatre: Revelations A Musical Retrospective...

• The Temptation of Saint Anthony

Producers: Bernice Johnson Reagon/Toshi Reagon

Radio

Carl Hancock Rux was the host and artistic programming director of the WBAI radio show, Live from The Nuyorican Poets Cafe, contributing correspondent for XM radio's The Bob Edwards Show and frequent guest host on WNYC's Soundcheck.^[14] Rux co-wrote and narrated the radio documentary, Walt Whitman; Songs of Myself, awarded the 2006 New York Press Club Journalism Award for Entertainment News (Elena Park/Curtis Fox producers).

Film/Television

Rux is the subject of the Voices of America television documentary, Carl Hancock Rux, Coming of Age, recipient of the CINE Golden Eagle Award (Larry Clamage/Richard Maniscalo producers);appeared in the film, The Grand Inquisitor (as The One) directed by Tony Torn, screenplay by Ruth Margraff; the documentary The Revolution Will Not Be Televised: a Film About Gil Scott-Heron (as “Carl Hancock Rux”) and in the feature film The Bratz (as music teacher Mr. Whitman).

References

External links

• www.CarlHancockRux.com Official Website