Flava Flav is back at VH1 - don't set your Tivo

I was going to write about Tiger Woods and his yet again record breaking feat, when I ran across a bit of news that stopped me in my tracks. It's news that I am sure Sumner Redstone felt was groundbreaking. hundreds of fans will be elated to know that... Flava Flav has a new reality television show.

Yet the king of VH1 "reality" programming will be back. But sadly this time there will not be a slew of morally corrupt, attention starved, stereotypical women or men on the program. That's right, instead of highlighting grown adults (particularly of color I'm sad to say) acting like complete fools for 15 minutes of fame the show will instead highlight kids in high school - likely also acting like fools hoping to gain 15 minutes of fame.

Of course the program is not focused on presenting the kids as buffoons. That's just the general way that people on reality programming wind up being portrayed. The goal is

"I just want to show the world it's never too late to get your diploma, and show kids they should stay in school and not wait until you're old to get it," Flav said. "Everybody sees me as this big love mogul. Now I got a baby girl, I've been there and done that and now it's time for the next episode."

Don't get me wrong, I commend most things that seek to highlight the importance of education. I want to emphasize that knowledge is the key to improving your life. But I neither believe nor trust Flava Flav, Sumner Redstone, and Viacom in getting that message out.

If this were an attempt to seriously promote education, especially to children of color, why is this not being presented on BET (which Viacom owns and Sumner Redstone controls)? If this were only about a positive message why not put it on broadcast television in primetime - because even with the lower viewership of broadcast TV it would still be available to a larger audience than VH1 will get.

Do I trust Viacom? Why should I. They took BET and removed all of its best features. They promoted the worst of music videos, of insanely stupid programming (remember Hot Ghetto Mess was their surefire hit idea), of the very least worth of movies (unless you think Soul Plane was unfairly overlooked by the Oscars). Viacom promoted Flava of Love at VH1, for multiple seasons, and then spun off even more brain-numbing spin-offs of the program. And let's not forget the decade+ long exclusion of music videos featuring African American entertainers - except Michael Jackson - at MTV.

As for Flava Flav, he has sold out in the worst way. Many younger readers may be completely unaware of how Flav got to become a celebrity. They likely have no idea what his enourmous clock is meant to represent.

Flav was a member of Public Enemy, a rap group that existed before gangsta rap was promoted as the only form of rap by music executives. Back when rap music was diversified, and positive political messages were empowering listeners - back when the music industry was calling rap a fad - Public Enemy was huge.

The rap group was controversial, but overall spread a message of empowerment and power of the people. They were political in a way similar to Malcolm X as compared to Dr. Martin Luther King. And at that time, the clock was meant to signify that time was running out. That people of color has to wake up and realize that they were becoming pawns in the political and societal goals of people that didn't care about issues in our communities.

Flav has gone a long way since those days. From protesting the minstrel show, to hosting it.

So given these facts about the key people involved in this "reality" program, do I think anyone will realize that Flava Flav is trying to promote education? I doubt it. But it does give me one more program, timeslot, and channel I don't have to consider in my choices of entertainment.

Hip Hop and Washington DC – going back to the beginning

Rap and Hip Hop today has taken a huge leap backwards, which is actually a great thing to happen. When I say backwards I mean to the beginning of the entire genre of music. Back before there was the current mainstream of gangsta rap there were the diversified and influential styles of rap music.

From Grand Master Flash introducing the first serious rap song in 1982, The Message, there was a growth in the music that spoke to serious issues. This culminated in perhaps the strongest voice for political involvement and criticism from the rap hip-hop industry ever: Public Enemy.

They might not have been the most loved rap group among White America, or even people of color, but they were vocal. They took the entrenched political status quo and shouted for them to be accountable. They looked at African Americans and demanded we do better. That we become involved rather than be directed. And they had an effect.

In fact Public Enemy, along with serveral other rappers and groups, became such a force for change that the music industry stood up and paid attention. Their reaction has been denied for decades, excused and deflected. They found, pushed, and manipulated gangsta rap.

In the over a decade since 1992, gangsta rap has become the standard rather than a sub-genre it started as. It has almost entirely avoided any serious involvement in politics or political action. It has promoted violence, drug use, abuse of women, and crime. It has distracted the masses with illusions of wealth and giggling of female anatomy. The music executives did their job so well that even when leaders in the rap and hip hop industry tried to get serious about politics (2004) no one listened. And they were undercut from within with actions like that of Kanye West during the Hurricane Katrina Fund Raising efforts.

But then came President Obama. And the rap and hip hop industry rallied. Because President Obama is relatively young, a Democrat, full of promises, and most importantly (if we are honest) he is Black. And they jumped in with both feet, in an election more defined by a national breaking of the ultimate glass ceiling than most anything else.

Now I do not fault rappers or hip hop for this. I in fact am happy to see they have finally gone back to their roots and suddenly realized the power that was thrown away (or bought off) 17 years ago. The latest attempt to regain the past impact on politics is the Hip Hop Caucus.

The Hip Hop Caucus is a lobby group made up of rap artists, guided by the Congressional Black Caucus and supported in some issues by members of Congress. As of this moment they are seeking to have a bill introduced, with the support of Sen. Barbara Boxer and Rep. Ed Markey. Their goals – green reform, education, re-entry legislation for prisoners, lessons on the Constitution in schools and funding for voter registration.

These are all good ideas (to varying degrees). The big question though is if Hip Hop is capable of making the transition back to where it started. Especially as the music genre continues on its path of glorification of violence, drugs, and abuse of women. Can it make money for music executives focused squarely on distraction of the masses, while encouraging the youth to become involved in the politics that shapes their lives?

I think not. To me only one master can be served at a time. Which means either Rap cleans up, potentially causing another backlash from the music industry, or the Hip Hop Caucus and other such groups fail.

“The decisions that we make now politically will affect the next generation and the generation after that. So we have to be involved. By speaking out, I end up speaking for poor people and a larger group all over the country.” – David Banner, rapper

The quote is a true statement. But as long as we affect the next generations with thoughts and images of exclusion from the mainstream of America, of living in a manner that is counterproductive to society in this nation, then all of the speaking out will be little more than static in the air.

Kings of Rap hosted by DMC of Run-DMC

The world of rap music originally had a diversity that matched the diversity of African Americans across the nation. That diversity contained in almost equal parts positive messages of empowerment and self-responsibility, fun, sex appeal, and the gritty reality of life some experience. That diversity lasted from 1978 until 1992.

In 1992 the thought of gangsta rap was created, and the music industry jumped on it like a crackhead on a rock. Within 2 years of its start gangsta rap had become the rap industry instead of just a part of the many genres within it. Along with this infection of rap came an acceptance of rap that had been denied since its inception. With that acceptance came large contracts, music videos, Grammy Awards, and inclusion by the media.

In effect the rap industry was commoditized, selling a corporate image of what was and was not Black culture. This image was plastered onto movies, television, music videos, and entertainment news. I will note that the number of African Americans dropping out of high school, and becoming single parents, skyrocketed at the same time that gangsta rappers (now just called rappers) were being lauded for arrests based on violence, drugs, and misogynistic acts.

But not everyone has agreed with the corporate view of rap, or African Americans.

It's taken some time, but now the potential return to the roots of rap music is in the works. DMC (Darryl McDaniels of Run-DMC) is to be the host of The Kings Of Rap. This is a new reality television program. Unlike most reality shows featuring a rapper, this program is not to create more fortune for the rapper, or laud their questionable skills, or even reinforce their bloated self-image. Nor is it an attempt to find a way to scour the nation for moldable individuals that can easily be disgraced and discarded.

DMC states the idea as this

"There are so many talented kids out there who don't get heard or don't get signed because they're not controversial enough, or they're too positive. That amazes me. The spirit of hip-hop was always about changing the world or yourself, not with a gun or with denigrating or offensive words, but by being effective with your mind. This is a time when everyone is talking about change, and we as a country have the opportunity to make a difference."

That's powerful, because it's honest. This is one of the few rappers I've ever heard address the sell-out mentality that has become rap. What else can anyone call gangsta rap, when the industry refuses to allow non-controversial (ie. entertainers that are not ex-convicts, and are not being arrested for violence, drugs and so on) positive (ie. individuals that are educated, finished high school, and/or religious maybe even politically aware) influences in the music?

Do I like reality television programs? No. I find them to be insipid at the very best. But the prospect of a program that will help return the rap music genre to the diversity and richness that is the Black community intrigues me.

Do I find rap music worth listening to? Not since maybe 1994, likely earlier. Because not everyone enjoyed KRS-1, Public Enemy, Heavy D, LL Cool J, Will Smith, Kurtis Blow, Doug E. Fresh, The Beastie Boys, De La Soul, Erik B & Rahkim, Ice-T, Sir Mix A Lot, and the multitude of other rappers but they did have a choice. And there were more than enough styles to match the people out there.

The Kings of Rap may be more important for what it re-introduces than what it's ratings might be. Likely there will be little media coverage, and corporate promotion will be minor compared to that of Sean Combs, 50 cent, Snoop Dogg and other malcontents. Yet if it achieves what it proposes, reawakening the spirit that created rap and hip hop, then none of that matters.

I may not be a big fan, I may hate reality television, but I think I will check out Kings Of Rap on occasion just because I believe in its ultimate goal. How about you?

VH1’s Top 100 of rap music celebrates the positives of the genre

I just noticed something that really caught my attention. VH1 has compiled a list of the top 100 rap music songs. Now that is something that I am sure will create huge debate.

The main question is the importance of groups at the start of rap, the empowerment movement in rap (which was sadly short lived), and the gangsta rap genre that has now become the redundant and endless form that dominates music videos and radio. I for one have no love of gangsta rap, nor the performers that populate the genre.

In it’s birth rap was a celebration of joy. The earliest songs, which I recall from my youth, were not that long ago, just about 29 years now. They were about enjoying friends and good times. The groove was infectious and lead to the growth of the fledgling music format.

But like all things rap grew up. In fact it did so with a speed and determination. By the mid 1980’s until 1992 rap had a meaning. Not all rap, but a good portion of it. There was a pride in the Black community and it was reflected in the music. The music was an oral declaration of unity and progress. This too was reflected in the music videos of the art form, if you were lucky enough to spot one on television.

The first 13 years that rap music existed it was called a fad by mainstream music. It was viewed as a joke. It was diminished and tossed aside by the entire music industry, even though music executives would not dare to stop making the highly lucrative music. But throughout this time rap music was also something that the White masses of the nation neither understood nor craved.

Then there was N.W.A. and the music industry executives found what they had been waiting for. A guttural base expression of African Americans as impoverished, uneducated, violent criminals waiting to be unleashed upon the nation.

I realize, now and then, that N.W.A. was expressing yet another face of what many African Americans experience everyday in America. I understand that they were crying out about the less than American Dream life that was being shoveled into their lives. And there is no doubt in my mind that the intention was never to glorify violence and drugs, or women as sexual gratification objects. But I am equally sure that the music industry sought only that aspect of the sub-genre.

So in looking at the top songs in this sect of music, what should take prominience. The songs that have made the most money, the artists that were promoted most by greedy executives, the songs that hoped to unify and empower African Americans, or those that just celebrated life?

It seems that VH1 considered all these things in making their list.

The number 1 songs was found to be Public Enemy’s Fight The Power.



This song was the pinnacle of the empowerment genre of rap. It was the rally cry for involvement in voting, being active in the community, and making Government accountable to the people. It was just after this song came out that music executive ran to find a distraction, and flooded the airwaves with anything but another rap song of this nature and message.

Second on the list was the Sugar Hill Gang’s Rapper’s Delight



This is the song and group that started the entire music genre. It was the first rap song to burst forth from the nightclubs and basements of the Bronx out to the mainstream of the national airwaves.

Third on the list was the crossover hit by Run DMC Walk This Way.

[The video is blocked from being embedded on a site. Aerosmith has great lawyers it seems.]

So in the first 3 songs we see that the expressions of fun, respect, pride, and ability are the foremost examples of what all rap music really is. And I can agree with these choices.

The top 20 is rounded out by a mix of predominately these themes, with a sprinkle of the more modern, repulsive, generic, pedantic, and demeaning gangsta rap songs that have infected the airwaves since 1992. In fact going through the list you will see that the entire list is filled with mostly artists that ceased being played on the air the day that gangsta rap was born. That’s a statement indeed.

Now I’m sure some will argue this. They will note that Tupac, or Eminem, or Snoop Dogg, and others had meaningful and powerful songs. Some of them are on the list too. But like the law of averages, or probability, even the worst entertainers will eventually get it right once or twice. I mean even William Hung got to make 2 albums and stardom.

The list will be shown on VH1. I’m sure many will have different opinions. But I say that Public Enemy was the greatest rap group ever – both for what they said and what they tried to do. But Heavy D, Sugar Hill Gang, Erik B. and Rahkim, Digital Underground and a few others still make my favorites list too.

Rene Marie: An anthem by any other name

Ok, I admit that I had no clue that there was a Black national anthem. Never heard of it, never heard anyone speak about it. IF I had $1 million dollars on the line I would have guessed it’d be a song by James Brown, probably Say It Loud - I'm Black and I'm Proud

Of course I would be wrong. But at least I have an idea of a pro-Black song it could have been. All of this comes from a news story that I literally skipped over in my email. [I have various newsgroups that send me information on events] I didn’t read anything in the titles that sounded worthy of noting.

I was corrected on that today. A friend of mine informed me that a Jazz singer, Rene Marie, decided to make a personal statement by not singing the national anthem, but instead substituting the Black anthem. My friend, of similar age to me, was taught the song in elementary school in Philadelphia. That was news to me.

But to the controversy. On its face I think Rene Marie insulted everyone with her uncalled for, underhanded substitution of words.

There is a time for artistic expression, or to make a voice for an unheard cause. I may not always agree, but it can be done. Like with Kanye West. I disagreed with his use of national airtime dedicated to raising money for Hurricane Katrina relief for his personal political preferences, but I understand his motivation and outrage. For those that can’t just call a press conference [which West should have done after helping those in need] I understand the need to use their time in the limelight wisely.

Here is the video of the event. Watch all the faces during and after the event carefully.



Now you notice that everyone is confused. Even the casual listener noticed the song was paced right, but it sounded wrong. There were some applause but that was being polite.

So what did Rene Marie say?

“I am an artist. As such, if I wait until I am asked to express myself artistically, or if I must ask permission to do it, it would never get done. I wanted to tell them what I was going to do, but I couldn’t because I knew the answer would be ‘no’. I knew that, even if I asked to do my version of the national anthem, the answer would be ‘no’. There are times, artistically speaking, when an event chooses us, a door is opened to heal ourselves and others through our artistic expression, so to speak. When that happens we can trust our instincts and walk through it or we can shrink back in fear. It is my firm belief that artists have the responsibility and privilege to walk through that door every single time it opens to them.”

Bullshit.

This wasn’t a performance; it was an honor that was given to her just as it is for anyone singing the anthem at an event. Her artistic expression wasn’t asked for, nor needed beyond singing the proper words. That’s why she didn’t ask, because she knew this was not about expression or art, but honor.

If she wanted to make a statement, then make one. But don’t use those that are helping you out (I think most would agree that she is a relative unknown) by slapping their face. Her actions have hurt the political aspirations of those around that event. She has created divisiveness where there was none. She has impeded any positive progress that was proposed that day. I mean you’ll find a lot of news and blogging about her, but what was the speech made that day? Did anyone pay attention?

“I viewed the invitation to be a door opened to me to sing this version of the Star Spangled Banner”

Hello, this wasn’t the Star Spangled Banner. That’s the American national anthem. What she sang is another song, and might as well have been James Brown’s Say It Loud. Or anything by Snoop Dogg. Because what isn’t the anthem just isn’t.

“As for offending others with my music, I cannot apologize for that. It goes with the risky territory of being an artist.”

That’s just a rude cop out. Being an artist is no excuse for bad taste.

“Sometimes, the simple act of ‘doing’ is accomplishment enough.”

That can be true, if you truly do something. When people march to a Government office and burn a flag that is a statement. When Americans rally that is a statement. When Americans were attacked by police in the South, or students were shot by the National Guard in Kent State they made statements. All of these things were “doing” something.

The Black Panthers, the Guardian Angels, Public Enemy, the cable television show Black.White, all of that and more ‘did’ something. They all accomplished something. And of course the 1968 Olympics did and said a lot!

All Rene Marie did was embarrass everyone that was connected to her. She benefited no one. She improved nothing. She promoted no cause. In fact she did NOTHING.

Actually she did do something. She made problems for the Mayor, the city, and probably the next dozen Black artists and entertainers that may not get work or recognition after her stunt. She has placed a wall up and hindered progress of all forms, because she wanted to make an artistic expression at everyone else’s expense.

Do I think Rene Marie will get more work because of this? I hope not. I hope she has a great day job, as I would be shocked to see her career as an entertainer take a single step forward after this. She did it to herself. I have neither pity nor remorse.

There’s my opinion. Sorry for being late.

Review of Jeff Johnson speech at Ithaca College - 2.28.2008.2

When I first noticed a piece of news about Jeff Johnson speaking at Ithaca College I honestly didn’t think much of it. I had never heard of the man. But after reflecting on the college, which was a mere hour or so away from me, I decided to really read the announcement. From that I learned that Mr. Johnson was more than just some entertainer but was a recognized influence on hip hop and youth activism.

I also found out that he had worked with Black Entertainment Television, on the program Rap City as Cousin Jeff, and then later in the Jeff Johnson Chronicles. In all honesty that lowered my still unclear opinion of the man, and drove me to go to the event in hopes of discussing the actions of BET with Hot Ghetto Mess (now called We Got To Do Better) and the less than positive representations of Blacks by the cable network (owned by Viacom) with him.

Prior to going to the event, I read through the biography of Jeff Johnson via the website of his management team. Again, in all honesty as an opponent of gangsta rap, I was not encouraged by the endorsement of Source Magazine or the BET collaboration. At the same time I was interested by the fact he had been the only American reporter to interview Africa’s first female head of state, Ellen Johnson-Sirleaf in Liberia. Add to that the fact that he was a former National Youth Director for the NAACP and appointed by Russell Simmons as the Vice-President of the Hip Hop Summit Action Network.

There was more to the man than what the association with rap and BET may make some 40 year olds conclude. And I’m happy to say that I miserably under-estimated the ability, sincerity, intelligence, and communication skills of this man. I was impressed not just because I had foolishly almost closed my mind to what he could be and was awoken to the fact that I nearly allowed my own prejudices to miss this event, but because of what he was imbuing the students at Ithaca with. He gave them more than hope or polispeak; he gave them a motivation to seek out their own purpose and the drive to make a difference.

I have already spoken about the students at this event. Let me tell you about Jeff Johnson’s speech.

First of all, Mr. Johnson is an excellent orator. He has a command of the stage that few I have heard have. And he isn’t shy. Not in the subjects he discusses, the message he wants to convey, the examples and images he draws upon, nor in the desire to get feedback from his audience as he talks to them. I want to be clear; he doesn’t talk at the audience but speaks to them.

The first clue to that came when Mr. Johnson bypassed the podium and stood before his audience and asked if we could all hear his voice. While the room was of decent size (easily holding over 200 people at a guess) there was no question that his voice filled the room. A good sign and more comforting than watching someone shielded by a podium.

Mr. Johnson started off with the Black community’s struggle with Black History Month. The fact that there are too few programs on people of color (the preference of Mr. Johnson when referring to Black Americans, being inclusive to all the heritages that make up what is the Black community but also used to include all non-whites) and noting that Black History Month currently exists on a superficial level, ignoring it’s inception as Negro History Week, why it was created and what it has evolved into.

As Mr. Johnson stated

“Blacks have been patriots longer than citizens.”

And that the Civil Rights Movement was ‘gangsta’ because never had so much changed without violence and revolution, and Civil Rights purpose was the change of Laws and Policy in this nation. Only a true gangster could effect so much change without rising up arms to do so. And they raised a generation of children that couldn’t fight.

Yet one of the problems in 2008 was that the children of the Civil Rights Movement have an identity crisis that is separate of civil rights or BET. It was because of 2 things, the ending messages of Civil Rights. I will try to paraphrase it

“First, I don’t want you to fight like I did – go to school, get an education (and lose your minds).

Second – [in a whisper] If you don’t tell people you are Black they might not know.

Both of these things can be found in the personifying an image of Blackness connected to hip hop rooted to Africa that doesn’t reflect Africa and has nothing to do with being Black.”

Read that again. It’s very powerful, and I fully admit I do not give justice to the way and full scope of what Mr. Johnson said on this. I’m giving you a paltry couple of seconds’ summary of at least 10 minutes of conversation that was far more intense. But the point is there I believe.

From this point the speech went on to discuss the split that occurred in hip hop and the emergence of rap. Like many recognize, prior to 1992 the rap industry was about social commentary. That not only included groups like Public Enemy but also much of the tracks from N.W.A. Right up until the album, The Chronic.

At that point a new model for rap was created, funded by White people while Black people (or people of color) danced to it, and had record companies saying ‘Pimp stuff sells thus we sell it’. And that was the first time, after the last track of the Chronic album was out, that people started to say ‘I don’t listen to what they say, I listen to the beat.’

Jumping forward a bit Mr. Johnson then went on to discuss how the grandchildren of Civil Rights Movement have less power than the parents of the Civil Rights Movements (meaning slaves) and how we buy into the lie that Dr. Marin Luther King would have had the same dream from 1965 to 2008.

Another point that I agreed with and struck the audience was the thought that there is $100 million dollars being spent on a statue of Dr. King that ½ of Black America can’t afford to go see. Or that less could be spent, or a matching funds campaign could be made, to fund schools across America.

At a later point Mr. Johnson stated

“Black History is a time where our obligation is to share with the world our history. And if we don’t know it, it’s just a party celebrating our ignorance.”

As I mentioned Mr. Johnson is hardly reserved in the points he makes. And that is a good thing as the comments are needed. The impact and repercussions of what he is discussing are real events and inaction that is in the Black community today.

By confronting the youth of today, especially those that are people of color, with these realities, and reminding them of the ability and power they have to change the world around them he helps to improve America for us all. We can play chess as if it were checker and wonder at our repeated losses, or we can plan and act and win. And often those that are just entering the adult world can have the biggest and longest lasting impact. Because they shape the future and present, and live with the consequences.

I will not claim to do justice for the speech of Jeff Johnson. There are many elements that I have not covered, and others I have paraphrased, perhaps poorly. But I will say that my understanding of his message, and the ability that he has to positively impact the youth of the nation is more than just a pleasant surprise.

I may not agree with every aspect of what he said, that is not important. But I will say that many would find benefit in hearing or reading a speech by him. Even better to be there as he give his words the power of his voice.

I look forward to speaking with Jeff Johnson in the future, if possible, and passing that conversation on to you. But until that time I suggest that you look into him via his website at jeffsnation.com

Does rap / Hip Hop sellout the Black Community? - 9.14.2007.1

Yes men. Uncle Toms. Sellouts. What do all these have in common? In the case of Hip-hop and rap music, the argument can be made that they all refer to the artists and entertainers that perform in this genre. Perhaps not all of them, nor all that they perform/produce but enough to be somewhat generalized.

Why might this be said? Well there are a couple of reasons. First there is the weakest reason, sometimes said as ‘I think you protest too much’. Basically the more defensive an individual is, especially when faced with a simple question, the guiltier they seem. How this might apply to gangsta rap (the near exclusive format of modern rap and hip-hop) would be in the responses various performers have made to the question of the lyrics used in their songs. A recent case in point is Ja Rule,

"And if it is, then we need to go step to Paramount, and f--king MGM, and all of these other motherf--kers that's making all of these movies and we need to go step to MTV and Viacom, and lets talk about all these f--king shows that they have on MTV that is promoting homosexuality, that my kids can't watch this sh-t," he continued. "Dating shows that's showing two guys or two girls in mid-afternoon. Let's talk about s--t like that! If that's not f--king up America, I don't know what is."

The defense seems to be, ‘It’s not my fault, blame someone else. They are worse.’ The protest ignores the question of what Ja Rule has done, and thus his responsibility, and tries to blame others. Now I agree that the media does have culpability. I’ve long said that executives are laughing as they go to the bank to deposit the money accumulated from the work of Ja Rule and other rappers. They are making boatloads of money (literally) for words they would never use in public (as Don Imus learned) by having rappers say it for them. And all it costs them are pennies paid out to the performers. That by definition sounds like a sell-out to me.

But that is not the only reasoning given by rappers and hip hop artists these days. There are also those, such as the ever quotable and ‘high’-ly educated Snoop Dogg and Fatman Scoop, who seek to redefine the terms they are using. Creating a lexicon much like the one used by Don King, they claim that they have redefined the meaning of words that have existed for decades and centuries before they were ever born.

In essence the argument made by Scoop was that the meaning of the words used by rappers and the youth of the nation today [I believe he means specifically African American youth but that is a guess] is separate of the meaning that has endured for centuries of use and is still maintained today.

If we were to follow this logic, the world-wide meaning of words are all incorrect, and their barely educated ‘I think it means this, and you are stupid if you disagree’ mindset is the only answer. Take Snoop Dogg’s definition of ho –

"It's a completely different scenario," said Snoop, barking over the phone from a hotel room in L.A. "[Rappers] are not talking about no collegiate basketball girls who have made it to the next level in education and sports. We're talking about ho's that's in the 'hood that ain't doing sh--, that's trying to get a n---a for his money. These are two separate things. First of all, we ain't no old-ass white men that sit up on MSNBC [which announced Wednesday it would drop its simulcast of Imus' radio show] going hard on black girls. We are rappers that have these songs coming from our minds and our souls that are relevant to what we feel. I will not let them mutha----as say we in the same league as him."

If his comment makes little sense I interpeted it as

But in looking at the comment made by Mr. Broadus I come to understand that he states that any Black woman that is not in or graduated from college, that is living in a predominantly African American neighborhood, that is not earning a middle class income is a ho. If these same African American (actually he does not limit this to only African Americans) women seek a successful Black man [though he does indicate their search is based solely on the economic status of the Black man] and have not achieved equal status on their own, then these women are ho’s.

Defending the livelihood of his superiors, the executives that run the record companies and pay him a portion of the money that his sales gererates, and following the path their corporate ad designers have laid out in the face of community disagreement likens itself to a Yes man to me.

In the cases I have pointed out, and many others, we see a systematic response. The medium that once held massive diversity (there were songs by Run-DMC out at the same time as Public Enemy, N.W.A., and Da La Soul) is focused on a highly destructive and profitable genre. A new crop of entertainers are ‘found’ and promoted heavily (read solely) in this format. When the genre is accused of inciting harm to the community it is targeted to, those same entertainers are used to defend it. What does that sound like to you?

I will not say that gangsta rap cannot be made. The First Amendment guarantees that. But I will say that the exclusion of any other stylesis wrong. I will say that those defending this music genre, denying any responsibility for what they have put out on the airwaves and how it will affect the children and community, are at the least short-sighted. They are making money off the backs of the community and that is wrong. Much like a drug dealer I see it as inflicting harm just to make some money for themselves and 10x as much for the big bosses. I feel its just not worth it.

Before Ja started talking out the left side of his mouth, he might have taken some time to come up with a better argument. Perhaps focusing on the film studios for the limited roles available to Black women, as in, why do Black female actors always end up playing roles of prostitutes, drug addicts, welfare mothers, etc?

Gays aren't the reason that many Black families live below the poverty line. Lesbians aren't the reason that our prisons are overflowing with young Black men and women. Can't blame gays for the senseless gang violence in the our neighborhoods that is and continues to take the lives of many Black men. And it's unfair to blame gays for the number of Blacks that are unemployed in America. Oh, and gays weren't the reason that in 2003, he punched a man in Toronto for shouting at him in a crowd because of the 50 Cent feud. Nor were they the reason that in 2004, police investigated whether a feud involving The Inc. led to fatal shooting outside a nightclub party hosted by Ja Rule. Now were they?

And I can’t lay all the blame on the entertainers. The harm being inflicted is partially their responsibility, but also that of the parents that allow their kids to be immersed in this cultural addiction. This auditory crack reaches children in part because, as Jasmyne Cannick correctly states:

Now if you ask me, that's what's contributing to bringing down Black America. Our kids are being taught from a young age, by the lyrics of rappers like Ja Rule and by parents who care more about bumpin' their song, than the effects that hearing those lyrics day after day have on their children.

Sellouts, Yes men, and Uncle Toms. Perhaps they are not the well spoken, well dressed, hard working people that are often persecuted by some in the Black community. Perhaps their individual voices are not the ones we should be concerned about but the ones that are promoted, televised in music videos, and propped up like minstrels before us.

This is what I think, what do you think?

Conservatives vs Rap, maybe Part 3 - 9.7.2007.3

Concluded from Conservatives vs Rap, maybe Part 2 - 9.7.2007.2

I think it's quite clear that the difference between the two is explicit. To try and justify a subgenre that promotes the very things that Malcolm X spent his life fighting against is unfathomable to me. To say that the difference between these two individuals is nearly misplaced rage and content is like saying the difference between oil and water is only the color of the liquids. I am angered and mystified how anyone could compare the civil rights leaders of the 60s (that actually lead the people) to the spoiled, materialistic, and predominantly convicted felons that comprise rap music today. I further believe that it doesn't take someone that has conservative or right-leaning political feelings to realize this conclusion.

Rap music is under attack today. There is no question on that. But to oversimplify the case by saying that it is merely the efforts of the conservative right to remove this form of music is to belittle the reason why rap, and by its connection hip-hop, is under attack. It is not only the conservative right that feel that the use, or perhaps I should say overuse and in some cases exclusive use, of four letter words in songs is inappropriate. It does not take someone right of center politically to recognize that lyrics supporting drug use and dealing, violent crime, disrespect of women, and lack of education are not something good for children to hear. It may be a fantastic marketing tool to have scantily clad women bouncing their rump, but it's far from fantastic to make it a common cultural activity to do such.

Min. Paul Scott ends his post with the thought that he hopes to give Mr. Bill O'Reilly nightmares of being abducted by gangsta rappers and being forced to watch BET continuously for two days. Perhaps it's my age, but I too would find such a situation a nightmare. I have to believe that it's the prevalence of music videos, and the marketing techniques of Viacom that make anyone find such an event troubling.

Rap music has long had the potential to be a positive force in the black community and the nation as a whole. Hip-hop has had the opportunity to allow young people, especially those that are African-American, to express themselves and take pride in their community. These are not new ideas. Conservatives did not try to stop that. The fact is rap music sold out; the cost was the improvement of the black community. The result is gangsta rap. If you disagree with that listen to any song by Public Enemy and tell me where they promote crime, degradation of women, or wasting money on frivolous baubles. Also consider this, how much money were Grandmaster Flash and Kurtis Blow and Public Enemy paid combined. Take that total, and compare it to how much Kanye West, 50 cent, NAS, or virtually any other top gangsta rapper makes today individually. Consider how much higher the dropout rate for African-Americans have become and how many more young black women become single parents.

Maybe it is conservative or right-leaning to not want children to grow up with a value system that places platinum teeth, above being a father. Perhaps it's unrealistic to expect kids to grow up without trying every drug they've seen in a music video. It may be non-liberal and anti-left to think that the children of today will go farther in their lives with a solid education than if they spend their time locked up in jail.

Perhaps.

This is what I think, what do you think?

Conservatives vs Rap, maybe - 9.7.2007.1

I recently read a post by Min. Paul Scott that deals with the conservative right and their reaction to hip-hop culture. There are parts of this post that I agree with, but there is far more that I disagree with. I agree that overall, there is a feeling in the conservative right that hip-hop is equivalent to gangsta rap. Such equivalence is unfair to some degree, as everything that is considered hip hop is not in fact gangsta rap, though everything that is gangsta rap is hip-hop. The difference is subtle, especially when considering the nature of mainstream rap today is so prevalent and so violent.

While I agree that at its best rap has had the potential to give a voice from the Black community to the world. Perhaps one of the best examples of that voice would be Chuck D. and Public Enemy. Political rap was a powerful genre of rap music that came onto the scene at the end of the 1980s and was quickly extinguished by 1992 with the birth of gangsta rap. The loss of such a powerful medium has never truly been addressed by the mainstream, and I believe not fully understood by most of the Black community.

Something that is to be understood is what happened from approximately 1992 forward as opposed to what happened prior. Prior to the birth of gangsta rap, the entire rap industry was considered to be a fad, though it had existed at that point for roughly 10 years. The influence, diversity, and attention being given to rap and its subgenres had been growing continuously, which bewildered many while it was described consistently as being a false form of music. This denial of what is now considered a valid music format, ended very shortly after the appearance of NWA and other similar groups. At the same time, corporations invested heavily in marketing, music videos and distribution for this new music format. As gangsta rap grew, all other forms of rap were minimized. Few groups of any other style were signed by the music corporations and existing artists were weeded out. With the recognition of gangsta rap as a form of music enormous amounts of money were made from the commercialization of this genre.

[It is my long-held and absolute belief that for all the comments people may make about what is selling out and "keeping it real," gangsta rap does not keep it real and is the most explicit form of selling out I have ever seen in four decades of life. Some may disagree, but that's what I feel.]

The post mentions the greatest fear of Senator Robert Wentworth being his young son getting in trouble for threatening to bust a cap in another student. I would have to believe that for every parent this would be a great fear. That is unless I missed the time when threatening to kill a person became a positive statement. That's not conservative thing, it is a human being thing. Anything that promotes such extreme violence is something that I would expect every parent would be against. I submit that only through the excellence of various corporations and their marketing programs, has such a concept become considered anything besides undesirable in any community of people.

Of course that isn't hip-hop. That's gangsta rap. But at the same time, the elements and identifiers of gangsta rap are hip-hop. The baggy clothing, baseball caps, gold chains, platinum teeth, overpriced speakers, and other forms of crunk or ghetto fabulous attire are part and parcel hip-hop and gangsta rap. It may be to the detriment of hip-hop that it is almost impossible for someone to not associate one with the other. I have yet to hear a solid explanation of where the line between one and the other exist. But given the fact that there is some fuzzy gray area dividing the two, I am not surprised that a parent seeing their child dressed in this manner and espouses such commentary would be concerned to say the least.

Continued in part 2...

Should this be in USAToday's list? - 4.2.2007.1

So USAToday has come out with a list of the top 25 quotes from the last 25 years. Several of the quotes that made their list are quite good and memorable. Of course there are a good number that just shouldn’t have made the cut. Rather than take apart each of their choices I will just mention a couple of items I think should have been in there instead.

This is your brain on drugs – Widely used as a joke rather than the serious public announcement against taking drugs, popular in the early ‘80’s

I’ve fallen and I can’t get up! – It’s sad in a way that this is an even bigger joke than the previous quote. Part of an ad meant to sell a device to aid the elderly and disabled this was keyed upon by teens and 20-somethings across the nation. Even today it holds the ability to get a laugh, especially when matched with a pratfall. Cruel but funny.

Hi, I’m Joe Isuzu – Yes another commercial. What can I say we are a consumer society. This introduction was the hallmark of the most honest advertising campaign ever. Joe just blatantly lied to you. Seriously. He was just openly honest about what most people feel advertisers are doing anyway.

Fight the Power – The theme of many of the songs (and featured prominently in more than one) by the political rap group Public Enemy. Headed by Chuck D, this group was the spearhead of rap music with a plan of the late 80’s early 90’s. Controversial for their views and lyrics, they were a massive influence in rap hip-hop until the emergence of ‘gansta’ rap. Very motivational or intimidating depending on your view.

President Bush hates black people – Inflammatory without question, and inappropriate as it was spontaneously spoken by entertainer Kayne West during a live televised Hurricane relief concert. Still millions shared the same view, especially after seeing the complete failure of the government on all levels in protecting the mostly poor Black American populace of New Orleans.

What if this is as good as it gets – another quote from the highly talented Mr. Jack Nicholson in a film (As Good As It Gets) addressing the awkwardness of not fitting in and the need for love.

Good Night and Good Luck – The signature saying, and title of a film, by renowned and respected broadcaster Edward R. Morrow. The film is a sobering reminder of the responsibility that the news media has to inform the public and the potential for abuse by the government.

Duoh! – The ever so eloquent Homer Simpson’s catchphrase. Not only one of the longest running programs on television ever, but also the first non-children oriented animation program to gain wide acceptance in the United States. Stoners, and regular families alike, have grown up with this family that eerily seems too close to our own.

Take the Blue pill and you wake up and believe what ever you want, take the red pill and see how far the rabbit hole goes – And down the rabbit hole we all went. The first Matrix film did for this generation what Star Wars did for the prior. It set up a new wave of innovation in the film industry and the sci-fi genre that hasn’t been matched since.

While this list isn’t extensive, and mostly limited to entertainment venues, I think it captures more memories in the last couple of decades than most of the list in USAToday.

This is what I think, what do you think?