Who’s Your Hero? … The VIBE Mag Rebuttal.
by Chuck D

…. When I was first asked to do an interview answering to VIBE’s concern about reality shows and the mismanagement of female images in media, I straight out flatly refused. I’m neither arrogant, elitist, nor bitter, its just that the problems with the topic are beyond articles, sound bites, and special one off tele, broad, or even webcasts. It’s worthy of dissertation, educational curriculum, and books of new social science containing cultural analysis yet to be published and exposed. Quite frankly I had my reservations until Danyel Smith took over the magazine (one which to me has had the tendency of coming off like a cultural coloring book). I wish the mag and VIXEN a testosterone-less good look and luck. And it’s the main reason agreeing to the issue here at hand.

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Mike Believe of exittheapple re-visions Fat Albert footage as a video for Biggie’s “Things Done Changed.” In its time, Bill Cosby’s “Fat Albert & the Cosby Kids” addressed a lot of often serious issues faced by inner city youth. In Biggie’s time, it could be argued he did much the same, although perhaps with a different perspective. The goal of this piece was to find common ground between the two icons from different eras. click here to view … (more)

excerpted from No Money Down, a collection of Cobb’s essays forthcoming from Thunder’s Mouth Press in April 07. You can read more of his work at www.jelanicobb.com

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We could have known that it would come to this way back in 1896. That was the year that Paul Lawrence Dunbar dropped a jewel for the ages, telling the world that “we wear the mask that grins and lies.” The poet’s point was that beneath the camouflage of subservient smiles, black folks of the Jim Crow era were hiding a powder keg of other emotions, waiting patiently for the chance to detonate. The thing is, Dunbar never got the chance to spit bars with 50 Cent or throw in a guest collabo on a Mobb Deep album. If he had, then he would’ve known that grins and lies were only half the story.

These days, camouflage is the new black. Glance at hip hop for less than a second and it becomes clear that the music operates on a single hope: that if the world mistakes kindness for weakness it can also be led to confuse meanness with strength. That principle explains why there is a permanent reverence for the thug within the music; it is why there is a murderer’s grit and a jailhouse tat peering back at you from the cover of damn near any CD you picked up in the last five years. But what hip hop can’t tell you, the secret that it would just as soon take to its deathbed is that it this urban bravado is a guise, a mask, a head-fake to shake the reality of fear and powerlessness in America. Hip hop will never admit that our assorted thugs and gangstas are not the unbowed symbol of resistance to marginalization, but the most complacent and passive products of it.

We wear the mask that scowls and lies.

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An Uptown Cultural Landmark Explores New Dimensions in Sound

It would seem that a sensory environment drenched in sampled blackness is once again rewiring the aesthetic sensibilities of the general populace. Even the spin-talk of government officials makes use of rhythm, rhyme and meter in ways directly borrowed from black vernacular as filtered through commercialized hip-hop music (small ‘h’ intentional). Catch phrases like ‘24/7’ now grace tv spots for Citibank. Diagonal lines mimic spray-can scrawl in animated advertisements for cartoons and clothing. If the Smithsonian Institution’s recent inauguration of its Hip-Hop collection and the past decade’s experience of Hip-Hop as a growth industry within academia offer any indication, perhaps it is this: the time has come to recognize Hip-Hop as a culture whose apex during our era has transformed nearly every arena of public discourse, just as black cultural developments have done in every epoch of our history. (more…)