Tag Archives: Chuck D

‘Crazy as Cat Shit’: How Milwaukee County Sheriff David Clarke has Definitively Proven that he is Crazy as Hell

One of the most commonly used terms is the word crazy. The vast majority of the time, the term is incorrectly used to describe someone that we may consider to be eccentric, CLARKE3peculiar, or even illogical. However, there is a population of individuals who may not be clinically diagnosed; however, they are undoubtedly ‘crazy as cat shit.’ Milwaukee County Sheriff David A. Clarke Jr., a regular Fox News correspondent, is the latest Negro to definitively prove that he is ‘crazy as cat shit.’

In case you missed it, Sheriff Clarke Jr., has managed to maneuver himself into being the favored Negro of the Fox News Channel for his unshakable support of this nation’s police officers and opposition to any activities aimed at loosening the politico economic chains binding African-Americans. If one were to listen to this Negro, they would believe that Eric Garner caused his own death, Michael Brown’s death was justifiable, and Tamir Rice was little more than a future gang banger that the world is better without. Such sentiments are understandable when one hears Sheriff Clarke’s assertion on “Fox & Friends” that racism and police brutality are both relics of the past.

According to Clarke, “…there is no police brutality in America. We ended that back in the ‘60s.” The Sheriff must be given credit for his determination to prove his point. Not CLARKEmany people would sit on national television and cite a non-existent academic article to bolster their position. According to ‘crazy as cat shit’ Clarke “there’s a new Harvard study out that show that there is no racism in the hearts of police officers. They go about their daily duty, if you will, to keep communities safe.” Harvard University has denied the presence of any such article.

It is most certainly difficult to select the most absurd statement that ‘crazy as cat shit’ Clarke has made, as not even his unwarranted criticism of President Barack Hussein Obama of playing race politics fits the bill. Sheriff Clarke recently stated the following in reference to President Obama. “He has been a nightmare, and I cannot wait until January 2017 so that America’s nightmare can be over.”

Although the aforementioned criticism of President Obama displays an uncommon level of nuttiness, ‘crazy as cat shit’ Clarke’s view of the Black Lives Matter movement is quite possibly his most over-the-top CLARKE1commentary. According to Sheriff Clarke, the nation had better work to end the ‘Black Lives Matter’ movement immediately as it holds the potential to become a significant threat to America’s internal security. Unbelievably, Clarke’s position is almost verbatim the exact same language that J. Edgar Hoover, the Director of the Federal Bureau of Investigation used to alter the national climate in regards to the storied Black Panther Party for Self-Defense.

Clarke tweeted the following message, “Before long, Black Lives Matter will join forces with ISIS to (bring) down our legal (sic) constituted republic. You heard it first here.” This message was followed up with another tweet that fashions Clarke as a modern-day soothsayer that can tell the future. According to the second tweet, Clarke relates that “I have been right on every call I have made about these subversives. I will be right again.”

I have always made it a rule not to attack African-Americans in public as it usually does irreparable harm to our opponents delight. However, there are exceptions to every rule. This is most certainly one of those moments. Individuals such as Sheriff David A. Clarke Jr. should be totally ostracized by the entire African-American community and labeled the traitor that he is. Only in America could such a fool have a national platform and use it to make illogical, unsupported, and polarizing statements that would make Bull Connor blush while maintaining his position as an elected official. Our community needs to develop mechanisms to take such individuals to task for the evil that they do; an evil that damages the entire community.

In the immortal words of Public Enemy’s Chuck D, “Every brother ain’t a brother.” There is quite simply no better characterization of ‘crazy as cat shit’ David A. Clarke being one of the greatest traitors we have ever had in our midst.

James Thomas Jones III, Ph. D.

#ManhoodRaceCulture

©Manhood, Race, Culture 2015

Love of My Life: How a Decline in Rap Lyrics Threatens Black America’s Existence

For those of us who either currently love or have at some point in our lives loved Hip-Hop Culture, there is an unspoken issue marring contemporary manifestations of what can be best termed the nuclear bomb of American pop culture. The issue that I refer to is the steep decline in all manner of lyricism from content to word choice that we are witnessing today. Lyricism is the very pivot that controls the contemporary and future direction of Rap Music and by extension the minds of those so deeply steeped in this culture that they could not extricate themselves if they tried.

Such matters are particularly important when one considers that Rap Music has served as the soundtrack for the lives of at least the past five generations of African-Americans. Rap Music has been so central to our lives that it serves as a veritable bookmark for our existence. For instance, many of us remember exactly where we were when we heard our favorite rap song for the first time.

Personally, I remember hearing Eric B. & Rakim’s Paid in Full moments after I quit my summer job in what could have been Rakimconsidered the coolest way possible. When I reached my vehicle preparing to drive off in a blaze of glory, I heard Rakim spit into the mic, “I dig into my pocket and all my money is spent, so I dig deeper and still coming up with lint.” I simply mused that it was going to be a long summer because I knew that I had no money coming in at all.

Considering that rap music serves as the soundtrack for many important moments in most people fifty years old and below, the lyrics found in these recordings have most certainly helped shape ygour belief systems and worldview like none other. The reality that rap lyrics have impacted such a wide-swath of African-Americans, one must cringe at the ascension of contemporary expressions of Black culture found in today’s rap lyrics by today’s rap superstars such as: Young Thug, Rich Homie Quan, Young Jeezy, YG, Nicki Minaj, Rick Ross, Drake, and a host of others.

As a person who loves Hip-Hop Culture in general and Rap Music specifically, I involuntarily whence when I hear the diction of homie quanYoung Thug and Rich Homie Quan, the metaphors flowing from YG’s recording “My Nigga”, and the hyper-sexualized image of Nicki Minaj. Not to mention the rampant promotion of immorality, drug trafficking, and dysfunctional behavior that flows from all of the aforementioned artists. In the words of The Notorious B.I.G., “Damn, things done changed.”

It appears that the racial uplift messages that supported the race for so long from artists such as Chuck D., KRS-ONE, Rakim, and Nas NAShave receded into a never to be revisited cultural cavern. Today, one is hard-pressed to find politicized artists taking a public stance against state repression like Paris, Ice-Cube, or Dead Prez.

The absence of politicized artists committed to uplifting the race from a poignant informed position weakens both Hip-Hop Culture and the African-American community. Unfortunately, politicized KRITartists such as Kendrick Lamar, Lupe Fiasco, and Big K.R.I.T. are rarely reaching national airwaves; and the Hip-Hop community is much the worse for it. One thing is for certain, the longer that the politicized lyricist is muted by radio stations the worse it will get for the Hip-Hop community because they will have nothing other than a consistent stream of non-sense and materialism spewed at them from emcees who apparently do not know any better.

Unfortunately, such drivel will serve as the soundtrack for the next generation of Hip-Hop culture adherents. Such a prospect is grand verbalizerfrightening if we are to believe X-Clan’s Grand Verbalizer Funkin Lesson Brother J when he remarked that “ignorance is not a trend.” The failure to re-situate the politicized emcee at the apex of Hip-Hop culture will invariably lead to our race spiraling into further ignorance; and that is a scenario that should never serve as the soundtrack for anyone’s life.

Dr. James Thomas Jones III

#ManhoodRaceCulture

* Please join Manhood, Race, and Culture on Nu Power Radio from 6:00 – 8:00 PM EST (November 4, 2014) at 917-889-8059 for an exhilarating discussion over this post.

Because I Still Love Her: An Ode to Hip-Hop

I met this girl, when I was ten years old
And what I loved most she had so much soul
She was old school, when I was just a shorty
Never knew throughout my life she would be there for me
ont he regular, not a church girl she was secular
Not about the money, no studs was mic checkin her
But I respected her, she hit me in the heart
A few New York niggaz, had did her in the park
But she was there for me, and I was there for her…

Now she be in the burbs lickin rock and dressin hip
And on some dumb shit, when she comes to the city
Talkin about poppin glocks servin rocks and hittin switches
Now she’s a gangsta rollin with gangsta bitches
Always smokin blunts and gettin drunk
Tellin me sad stories, now she only fucks with the funk
Stressin how hardcore and real she is
She was really the realest, before she got into showbiz
I did her, not just to say that I did it
But I’m committed, but so many niggaz hit it
That she’s just not the same lettin all these groupies do her
I see niggaz slammin her, and takin her to the sewer
But I’ma take her back hopin that the shit stop
Cause who I’m talkin bout y’all is hip-hop

 Common (1994)

In 1994, the rapper Common Sense gifted hip-hop culture with a track that was simultaneously poignant and an immediate classic. The song I refer to is I Used to Love Her. A track that shows us not only the Chicago based rapper at his absolute lyrical best, but also caused the entire Hip-Hop community to reflect for a moment KRS ONEabout what we had done to her; the her that Common was metaphorically referring to was an entity that my generation thought would never leave us, would never betray us, would never age, and Lord knows she would never lose that enchanting allure that kept us coming back for more of what she had, and truthfully she turned out every male, and more than a few females in her day as well; the female that I, and Common, are talking about is Hip-Hop.

Man, were we wrong. Although the shell of what we remember about her still remains, she in no way resembles that beautiful, politicized, cultured, and articulate siren of yesterday. If it did nothing else, last night’s Black Entertainment Television Hip-Hop Awards show definitively proved such. So it is out of pure love that I issue a rallying call to all of those who still have some affinity in ygtheir heart for Hip-Hop Culture to rally and make a concerted effort to stop this criminal exploitation of something that we all loved at one point in our lives. We need a direct intervention that calls for us to do more than merely taping the on-going crime with a cell phone camera; we are, and have been for some time, within a cultural crisis and we must take her back ‘By Any Means Necessary’.

My natural reaction to the question of ‘what should be done?’ is to rhetorically state any and everything. However, rhetoric will do little to get her back into the arms of those who love her. Considering the obvious utility of mentorship, it may be time for the luminaries of the Hip-Hop community to intercede and begin an extreme mentoring program for emcees that teach them the rules homie quanto this game; obviously, today’s emcees ‘are not ‘bout that life’. A mentorship and education that would hopefully lift those who represent the Hip-Hop community on stages throughout the world, a privilege earned by the legends of Hip-Hop, despite they not having anything to say beyond myopic misogynistic half-witted, darn near indecipherable guttural moans and unarticulated words that place an exclamation point upon their obvious cultural illiteracy and lack of any form of education. Not to mention the fumbling away of an incredible opportunity to issue a message to 20,000 people sitting in an arena listening to your every word. Quite possibly the most powerful position that today’s African-American youth could ever hope to occupy.

Considering that the most likely place to find today’s disciples of what is being termed Hip-Hop culture today is in front of a Young Thugtelevision watching ‘reality television’, I have a proposal that will satisfy their desperate desire to live life vicariously through others while also saving Hip-Hop culture.

What I believe that we need is our own, much larger and extended version of The Voice; unfortunately, I think that it would take a rap luminary like Chuck D darn near a decade to explain to YG why standing on a stage and repeatedly stating ‘nigga’ is not a good Rakimthing for the African-American community, I could see Rakim physically striking Rich Homie Quan as he grows increasingly frustrated with his inability/refusal to enunciate his words, heck, it may take a century for KRS-ONE and Grandmaster Melle Mel to explain to Young Thug the underlying issues surrounding gender dynamics, racial discord, and imagery; not to mention the process to break Nicki Minaj’s steadfast commitment to present Black women as the modern-day Venus Hottentot for anyone with a dollar in their hand would take every bit of energy that Missy Elliott, Da Brat, MC Lyte, nickithe Real Roxanne, Salt ‘n Pepa, and Queen Latifah have collectively. Heck, I would even argue that Snoop should be on someone’s team as he seems to be totally confused regarding the issues of imagery, language, and how to “be” as a middle-aged man.

So I am placing a call to Public Enemy, KRS-ONE, Paris, X-Clan, Brand Nubian, NWA, Scarface, Dead Prez, Mos Def, Rakim, De La Soul, Missy Elliott, Da Brat, MC Lyte, the Real Roxanne, A Tribe Chuck dCalled Quest, and anyone else, including contemporary emcees who understand the culture like Big K.R.I.T., that is willing to dedicate the rest of their life, because that is what it is going to take, to helping us recapture her from those who have exploited her economically, disrespected her at a moments notice, needlessly cursed at her, and forced her to dress like a common hoe, and pursue the mighty dollar like a THOT, to aid us in this process; she certainly deserves better.

‘Cause who I’m talkin’ about y’all is Hip-Hop’.

Dr. James Thomas Jones III

#MRC

 

The Black CNN: Breaking News from the frontline

Public Enemy’s Chuck D once remarked that Hip-Hop culture is Black America’s CNN. Although many considered this keen observation little more than a flippant comment by a rapper seeking attention and increased record sales, when viewed through an appropriate prism, Chuck D’s observation is quite profound. When Chuck D made this statement during what we now term the Golden Age of Hip-Hop, Black America, particularly its youth, was being led through phenomenal changes by a relatively knew youth culture; today it is called Hip-Hop. Above and beyond anything else, Hip-Hop Culture, particularly Rap Music, allowed for these young African-American men and women to define who they were and thereby forced the world to deal with them and their vision of how the world should be.

Larger society was predictably against this change that they did not generate and could neither understand nor control. The politicized youth of the day apparently believed that they had something to say and created a vehicle from which it would be heard. They were pointing their race, and by extension the entire world, in a new direction. It was against the backdrop of voluminous criticism against rap music, the musical arm of Hip-Hop culture, that Chuck D posited that the musical genre was Black America’s CNN.

Chuck D., Public Enemy’s lead emcee, explained that if you wanted to know what was going on in South Central, Los Angeles, all you needed to do was listen to N.W.A. If you wanted to know what was occurring in Houston, Texas, one only needed to listen to the Geto Boys, or if the urban environs of New York piqued your interest, Rakim and Brand Nubian were more than capable of sharing contemporary occurrences; this list goes on and on. The emcee is analogous to a news reporter issuing dispatches regarding African-Americans and a fortune teller accurately depicting, or quite possibly shaping, the future.

During the Golden Age of Hip-Hop, Rap Music, despite its exponentially increasing, seemingly inherent, lyrical and visual contradictions, was painting a picture, one that was not always beautiful nor in focus, for the world to see. However, one could never deny that it was simultaneously bold and politicized. Although there was much to criticize about that generation of emcees’ and those adherents that followed their lead with a nearly cult-like obsession; there was little doubt that they were proud and determined youth supported by an unending political consciousness and esteem level that facilitated their ascension to the vanguard position of American, and global, popular culture.

‘Oh, to long for the days of yesterday.’ Little did we know that a mere twenty-years after Public Enemy advised African-Americans to Fight The Power! and the Honorable Minister Louis Farrakhan detailed to the Black nation their duties as a righteous people and their duty to teach to others what they do not know, that Hip-Hop Culture would not only transform into the most powerful cultural force the world has ever known, but also even greater ability to offer vivid, high definition, portraits. Portraits that depict the contemporary state of African-Americans. It is not the clarity of the picture that is causing unprecedented consternation, it is the grotesque and disfigured portrait of Black youth that frightens previous generations of African-Americans .

Considering that Chuck D’s construct that Hip-Hop Culture is Black America’s CNN has stood the test of time, let’s take a quick look at one of the most recent news dispatches flowing from the front line of Hip-Hop culture offered by Rich Homie Quan. This report is particularly meaningful for what it conveys regarding the terms by which young African-Americans are defining themselves. One must remember that an individual’s personal reflection reveals so much about how they view themselves, others, and the world around them. For instance, emcees from New York during the Golden Age of Hip-Hop, particularly those who were members of the 5% Nation of Gods and Earths, referred to themselves as God’s. Although we can contest the basis for such a designation, one is hard pressed to charge such individuals with anything less than an overabundance of self-esteem and love for their people.

Quite possibly the most succinct articulation of contemporary emcee’s and their cult-like followers who allow contemporary lyrics to disproportionately influence their thoughts, dreams, and goals in much the same way as my generation did, is Rich Homie Quan’s ode to ‘bromance’ — meaning an unusual romance between at least two men —My Nigga; an articulation of pervasive ignorance that became even more disturbing when it was revisited with a remixed version involving the female emcee Nicki Minaj.

Although many wish to excuse away such recordings as being merely for entertainment purposes, such individuals are in error. Human beings are social beings, meaning that they have learned everything that they know. It is the culmination of these external stimuli that provides human’s with an understanding of their environment. It is not strange, it is actually predictable that individuals from my generation who had Black Nationalist messages drilled in their heads by rap emcees’ often adopted some variant of Black Nationalist politics. Considering such, it is likewise reasonable that African-American youth after hearing recordings like Rich Homie Quan’s My Nigga, over an extended period of time will begin to integrate its tenets into their lives and thereby become for lack of a better term, Niggers.

Unfortunately, it appears that the current state of Hip-Hop culture, if we are to believe the Black CNN, has turned into a manufacturing plant for the production of socially unacceptable, morally deficient, low self-esteem having, materialistic, ends-justify-the-means avaricious Capitalists, hyper-sexual, drug abusing, illiterate, and inarticulate beings. If that is too difficult to remember, just call them Niggers, that is what everyone, including themselves, calls them.