Honoring Living Legends     

By Khalid Corney

April 18, 2012

All too often we wait until it’s too late to honor those who have made a deep impression on our lives. Once we forgo the opportunity to pay homage to those who we love and respect you may never get another chance. When this happens all we are left with is regret and regret can be hard to live with. This past weekend community activist and talk radio show host Derrick Boazman and WAOK took the time out to bestow accolades upon nine legends of radio, eight of whom are still among us.

(From left to right Duane Jones, Hal Lamar, Bob Lee, Paul Burke Johnson, Jill Gibson, Larry Tinsley, James "Alley Pat" Patrick, Doug Steele, Derrick Boazman)

The 1^st Annual Truthy Awards and Radio Legends Ball kicked off on Saturday April, 14^th and attracted a capacity crowd to Murrell’s Café, located on the campus of Morris Brown College. In addition to honoring the radio legends of the past and present, the inaugural Truthy awards were also part of the festivities. Attendees were greeted by the melodic sounds of the Stillwater Youth Sin-fonia of Atlanta. Guests were then served up some of the best southern cooking this side of the Mason-Dixon line - Fried fish, baked chicken, collard greens, green beans and mashed potatoes topped off with a bowl of peach cobbler. Surprisingly no one fell asleep after the meal!

One by one Derrick Boazman called up the legends and let them tell their stories and recollect special moments of their careers. Radio legend James “Alley Pat” Patrick began his career in 1947. Another radio giant, Larry Tinsley, began working at WAOK in 1971. Tinsley also served as WAOK’s program director beginning in 1981 and won a Stellar Award in 1997 for “Gospel Announcer of the Year”. Famed radio personality Jack “The Rapper” Gibson was honored posthumously, his award being accepted graciously by his daughter Jill Gibson. Each honoree received a beautiful plaque commemorating their status as a legend in the field of radio; however, they were also acknowledged as great men in general.

                 (James “Alley Pat” Patrick)                                                   (Larry Tinsley)                                                (Jill Gibson)

To cap off the ceremony WAOK honored their listeners and revealed the winners of the 1^st Annual Truthy Awards. Listeners were nominated in categories such as Most Serious Caller, Most Conservative Caller, Most Knowledgeable Caller and The Listener’s Choice Award. WAOK faithful Nicole and Jihad both swept the night with four awards a piece. Also, Wayne won the award for Most Humorous Caller and for Perfect Attendance for not missing a day calling in.

                                   (Jihad and Nicole)                                                                                                  (Wayne AKA “Candy Man”)

It was indeed a special night and gave those in attendance a chance to acknowledge The Legends of Radio while they were still around to appreciate it. Also, we had an opportunity to meet many of WAOK’s wonderful staff and faithful listeners up close and personally.

At the end of the evening all were well fed, thoroughly entertained and stimulated by the fellowship which was shared amongst all. Next year’s Truthy Awards promises to be even bigger and better as the city is still buzzing four days after the event. Thanks to Derrick Boazman for coming up with such great idea and WAOK for all of their support in putting together the event.

               (WAOK’S Lorraine Jacques White, Derrick Boazman)                                                      ( Jeanne Ross)

Saturday, 03 March 2012

Rap mogul Russell Simmons and spiritual guru Deepak Chopra have helped to raise $5 million for President Barack Obama's re-election campaign after co-hosting a fundraiser in New York.

Simmons and Chopra teamed up to throw a big party at ABC Carpet & Home on Thursday (01Mar12) to lend their support to the Democrat, who is hoping to win a second term in office in the election later this year (12).

Guests were treated to a performance by acclaimed hip-hop group The Roots, while comedian Aziz Ansari served as presenter.

Taking to Twitter.com on Friday (02Mar12), Simmons writes, "can't believe how much money we raised last night for Barack's re-election efforts... wowowowowo".

The Power Mixer  10.27.2011

Where business, politics, and community meet

The Time is Now! Nov.8, 2011 Atlanta will be holding special elections for the Board of Education seat for District 2. What does this mean to you?

The Board of Education is responsible, essentially, for the progress and advancement of our children. Recently there has been much controversy surrounding malpractice on behalf of the Atlanta Public School Administration, most notably, the cheating scandal of 2011. On many occasions, citizens are not able to meet and discuss issues with their representatives.

The Power Mixer is bringing the candidates to your footstep so that we, as concerned citizens, can take responsibility. Join us for a powerful night of networking and fellowship!

The power mixers take place the second Thursday of every month from 7-9 PM at the Shrine Cultural Center and Bookstore.

946 Ralph D Abernathy Blvd SW, Atlanta, GA 30310

Artists today are looking for and experimenting with alternative ways to diversify their income. Most of these ideas fall under the umbrella of what is called “branding”. This word means different things to different people depending on who you ask in the industry. To me, it’s simply expanding your influence by becoming a symbol of an idea or movement, and nothing bonds fans together with this idea better than a logo.

Artists who have successfully accomplished this, benefit greatly when attaching their logo to their own merchandise. Sometimes a logo can become more symbolic and recognizable than the artists themselves. The thought of this came to mind when I discovered that Wu Tang t-shirts were now being sold at the Gap. In fact, as far as hip hop acts go, Wu Tang is the greatest example of how logo branding can not only become a lucrative source of income, but also a means to further increase awareness about the artists associated with it.

Fans often love to display logo-branded merchandise because it communicates their loyalty to the artist. These symbols, can over time, have an emotional value to fans just as potent as your music. And they can sometimes become recognizable to those who are not even fans of that artist.

Among some of the more popular logos, some appear to be complex in design and some work by just being simple. Whatever the case, make sure that the logo you choose to represent your label or group, is one that you’ll be fine with years from now. When or if you decide to change it up in the future, getting fans to adopt a new image, after they have  already have one embedded in their mind, may be difficult and confusing. In conclusion, artists should not underestimate the power of creating and implementing a graphic logo as an important part of their marketing plans.

by FuNkwoRm

by Slav Kandyba

With anecdotes about "Retrospect For Life" and working and living with J Dilla, Common's memoir has some intimate moments, but sheds light on an emcee/actor with an unblemished reputation.

As far as rappers with unblemished reputations go, Common is right up there at the top. No baby-mama drama playing out on the gossip blogs, no tax liens (at least that we know of). About the only recent controversy (the beef with Ice Cube is older than the average Odd Future fan) that the man born Lonnie Rashid Lynn was involved in, wasn't even his fault at all. Fox News has an anti-rap tendency, so for Com to be invited to the White House to perform in front of the First Family in May didn't sit too well.  

Perhaps it was the infamy that publicity from the Fox News episode generated in the mainstream, or just coincidence, but a division of Harper Collins, a major publishing house, green-lighted Common's autobiography, the aptly titled One Day It'll All Make Sense. The tome reaches stores this week and sheds more light into the Chicago emcee-turned-actor who is quintessentially the definition of “conscious rapper.”

The book is relatively safe reading material – it's not exactly a tell-all along the lines of Superhead's – but it has its moments that capture Common's essence and voice. That essence is genuine – this writer can attest, having had the pleasure of interacting with Common on several occasions. Few celebrities, much less rappers, carry themselves with as much humility and genuineness as Rashid, or “Rash,” as you will be able to call him if your read his memoir, co-written by writer Adam Bradley.

The book begins a little slow, with Common in full "positive rapper" mode, using the word “love” seemingly in every other sentence, even while describing interaction with an absentee father, a 6'8" “Chicago hoop legend” with NBA aspirations. Family is at the center of Common's life and art – that's established early. Him mom, who appeared on the cover of the acclaimed One Day It'll All Make Sense album, appears in the book more extensively in the form of passages that intercede with Common's narrative. They offer a unique perspective, a different point-of-view, one that sometimes contradicts Com's.  

Common takes the reader into the streets and landmarks across Chicago's South Side with vivid detail, and provides ample anecdotes of his pre-stardom days, making music as part of CDR, a group he formed with a friend from middle school introduced as Dion – whose name Hip Hop fans know backwards, No I.D. We find out exactly how he landed his first deal at Relativity Records and how his pops had to intervene in order to get him out of it. He tells the story of how “Retrospect For Life,” a haunting masterpiece about abortion that features a chorus from Lauryn Hill, came to be. If that doesn't move a reader emotionally, Com's poignant words about the late Jay Dee certainly will (J Dilla came to live with Common in L.A. before Lupus took his life).

The deeper you delve into the book, the more you will feel that Common doesn't mind shattering the “conscious artist” stereotype that has shadowed his career. He is so candid at times it's refreshingly hilarious, with perhaps no better example of that as to when he describes the women that he began attracting as his fame grew. “They'd want to talk about spirituality and politics and literature,” Com writes. “We'd talk, but they'd still end up with their legs over their head.”

There isn't much to knock about One Day It'll All Makes Sense. It's a well-written narrative about an unassuming Hip Hop icon who has managed to keep a relatively low profile. Even for it's at-times saccharine positivity, it offers up juicy anecdotes and stories that will be of interest even to the Basketball Wives set.

HipHopDx

by hiphopwired September 2011

So you've decided to join the thousands of rappers who release music independently?

Your friends and family told you that you sounded good and that you should put out your own music?

Hopefully, they know what they're talking about.  But chances are they don't!  It's not that they're lying to you.

They just don't really know what it takes to compete in this business.  And having an MPC, Fruity Loops, Reason, Logic, Pro Tools, or any other hardware/software doesn't necessarily make you a pro.

Just because you can spit a hot 16 doesn't automatically make you the next big thing.  Sorry to break it to you but rappers come a dime a dozen!

1. Unrealistic Expectations

“We're about to blow up, son!  We're taking this to the next level!”  If I only had a dollar for every time I've heard some aspiring rapper say that! I don't mean to rain on your parade but you probably won't “make it” the way you imagine it to be. It's like sports.  Millions want to play pro ball but how many actually do?

Just like the athlete who never went pro but managed to make a good living off his abilities, you may not become a star but might find a way to maintain a following that allows you to make music, pay your bills, and live comfortably.

Regardless of your definition of success, without hard work, you won't make it, plain and simple.  Don't think for a minute that the successful artists you look up to are doing nothing but chillin' 24/7, countin' their paper, and hookin' up with groupies.

A lot of hard work goes into making this look easy to you.  Are you willing to invest hours and hours of blood, sweat, and tears into this business? If not, stop right now, get yourself a 9 to 5, and make music as a hobby.  You're either built for this…or not!

2. Lack of Creativity

Just because you rap and make beats doesn't mean you're actually good at it, no matter how many yes men and women you have around you! Be honest with yourself.

Does anything about your music make you stand out or are you just copying what everyone else is doing?  Will you be the next Lil' this or Young that like so many others who seem unable to come up with an original name?

Did you start rapping or producing to become the next Drake or DJ Premier or are you truly developing a sound of your own?  So many questions!

I recently came across a rapper on the internet who invited people to watch his new YouTube video by posting the following on his Facebook page: “I know that there are hundreds of thousands of rappers in the world but my style is truly different than anyone else and I know you'll really love my video!”

I gave the cat a chance and checked out the video. First, he was rapping over Kreayshawn's “Gucci,Gucci” instrumental, he flowed like Gucci Mane, and he talked about his crisp white Tee, cars, money, and women.

I shut him down about a minute into it. Is he likely to make it in this game? You tell me.

In a world full of biters and copy cats, those who have something truly unique to offer are the ones who stand out.  Love her or not, there's only one Nicki Minaj. Like him or not, there's just one Kanye.

However, being unique isn't the only thing needed to be successful. Genuine talent and creativity are key. That's what will ultimately separate one-hit wonders from timeless acts.  Which one will you be?

(Read The Full Story)

Following two years of extensive collection and categorization, the Atlanta University Center (AUC) Robert W. Woodruff Library announced the opening of the Tupac Amaru Shakur Collection on the fifteenth anniversary of the death of the platinum recording artist, actor and poet who remains one of the most influential writers and performers in Hip-Hop.

Spanning a period from 1969 to 2008, this remarkable collection includes song lyrics, poems, track lists and video treatments, as well as manuscripts by Shakur family members and members of the rap groups Dramacydal and the Outlawz.

Memorabilia, correspondence to and from Shakur, fan mail, media clippings and publicity materials are also included.

Particularly noteworthy items within the collection are a handwritten video treatment for “Dear Mama,” his song that was inducted into the Library of Congress collection; a notebook of songs eventually recorded for Shakur's immensely successful 2Pacalypse Now album; and handwritten drafts of poems included in The Rose That Grew from Concrete.

The Shakur Collection represents a partnership between the AUC Woodruff Library and the Tupac Amaru Shakur Foundation to make available for scholarly research the manuscript writings and other papers of Shakur.

The collection is extensive and comprises approximately 11 linear feet, with 30 boxes of materials, and has the distinction of being one of the few publicly available research collections of an individual Hip-Hop  artist.

“We're honored to have partnered with the Tupac Amaru Shakur Foundation to preserve the artistic legacy of Tupac Shakur through this collection,” said Loretta Parham, CEO and Library Director. “He transformed the landscape of hip hop culture and was one of the most compelling voices and talents of his generation. As an academic library, we feel privileged to be the stewards of the Shakur Collection and to promote for scholarly research.”

Vernal Cambridge, Executive Director of the Tupac Amaru Shakur Foundation adds,

"We are excited about the centralization of Tupac's massive body of work and materials. The Tupac estate has done a great job at preserving his history. Similar to his albums, and documentary film, Tupac: Resurrection, this unique collection gives Tupac another opportunity to tell his story in his own words. The lessons that students, researchers, and fans can learn from this close and personal look at his writings are invaluable."

The collection is available for research in digital and original formats in the AUC Woodruff Library's Archives Research Center Reading Room. For inquiries about researching the collection, e-mail the Archives Research Center at archives@auctr.edu or call 404-978-2052.

by Michael "Ice-Blue" Harris September 15, 2011, 9:09am

Oshy Covers Dreaming With a Broken Heart by John Mayer

Oshy Byrd (pronounced ah-shee)

24 year old Thomas "Oshy" Byrd was quite literally born with music running through his veins. His father was an R&B singer and at a very young age Oshy knew he wanted to be like him. By the time he was in high school, Oshy had lost much of his interest in school but music was a constant. He became affiliated with gangs for the protection they offered him in school, and he started skipping class to serenade young ladies, a habit that got him the nickname "R&B." He was kicked out of school by the end of his tenth grade year and finished a few years later with his GED.

The reality of the world outside of school was harsh. Oshy took it upon himself to enter the workforce working at McDonalds for a short stint and then stocking shelves at Rite Aid to make ends meet. Work was difficult. Oshy had to deal with the frustration of disrespectful customers and demanding management-- but it was his music that got him through. He would sing as he walked down the street and put on "performances" by himself late night in Morningside Park. Looking back, Oshy had this to say of his time out of school "school is a priority. It's like a job. Once you have one you have to take care of it. You need to take care of it…music will be there when you're done." At the time, he had no idea just how right he was. One day as he was singing on the street, he was befriended by a man named T.Rex (a rap artist who can be heard on DJ Webstar's Album "Webstar Presents…Caught in the Web") who introduced him to music producer Ron Browz, a man who quickly pushed Oshy into the studio to start recording...(Read The Full Article Here)

Article by Michelle Destruge
Photographs by June Urueta

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Some refer to Jersey City, NJ as "Wall Street West" because of its industrial areas. To Nina Foxx its simply home. Born Felicia Pryer, Nina Foxx grew up on the harder side of JC. Being an only child can be pleasurable for some, but for a young Felicia it had its flaws, the biggest being not having anyone to share life's ups and downs. For therapy, she started to amass her thoughts and daily life activities in a journal. This played a major role in what would later make her the H.B.I.C.

At the young age of 11 years old, Felicia relocated to Florida forcing her to start over leaving Jersey City a distant memory...for now. Unaware that she was about to uncover one of the biggest pieces to her life's puzzle, Nina adapted to her surroundings swiftly. At 13 years of age, not only did she learn to play various instruments but also how to read music, another crucial piece to her puzzle. This would teach her how to transform her daily entries in her journal into a melodic flow.

For Nina Foxx, High school was where she could showcase her talent. Instead of eating food at lunch time, Nina would get full off of the energy of her classmates who would double as her audience. It was in the cafeteria that she and a few friends would spit bars back and forth, entertaining the crowd until the bell sounded off. Her love for music also influenced her to join the varsity marching band for the Dillard High School Panthers as well. As thing were going good, December 1997 would find Nina and her family back in Jersey City. This would open her eyes to a whole new world. The daily entries in her journal would become more candid and vivid. By age 15 the streets would become Nina's new BFF, labeling her not only a bona fide hustler but also a Gangstress.
Now in her twenties Nina Foxx has accumulated knowledge from both the streets and the industry. She has taken what she's learned from both to overcome many obstacles. Graduating at the top of her class for Audio Engineering and Production, she not only has the biggest buzz from a female artist in Jersey City which is rapidly spreading across the tri-state, but she continues to make herself relevant through not only her own music but through the music of those she mentors.

Nina Foxx released her long awaited mix tape, New Breed Of Female: 16 Bars and Hooks!, which is now available on itunes.com and datpiff.com. She has been featured in the 13th issue of Grindahz Magazine www.Grindahz.com and is featured as the only female rap artist on Big 7, one of Jersey's Elite exec's, mixtape titled Time2Grind hosted by DJ Kay Slay, which was released in March 2011. Tune in every Wednesday, on BKS1radio.com where Nina Foxx is a co-host of the Hip Hop segment, Live in the Cipher, reviewing the latest hip hop releases as well as covering hip-hop news and related topics.
For bookings, features, media, music links and audio engineering contact HBICmusic@gmail.com. follow on twitter @DAREALHBIC201

Eminem is named the most successful rapper by Rolling Stone. While the Slim Shady beats Kanye West and Jay-Z on the list, he fell short on Forbes' Hip-Hop "Cash Kings" list as Kanye occupies the third spot and Jigga sits at the first place.

In deciding the King of Hip-Hop, Rolling Stone gathered data from 2009 through the first seven months of 2011. They ranked 20 solo rappers who have dropped an album during the period of time, and looked at their album sales, R&B/hip-hop and rap charts, popularity in social media, concert grosses, awards and critics' ratings.

In alphabetical order, the contenders are Big Boi, B.o.B, P. Diddy, Drake, Eminem, Fabolous, Lupe Fiasco, Gucci Mane, Jay-Z, Kid Cudi, Lil Wayne, Ludacris, Pitbull, Rick Ross, Snoop Dogg, T.I., Waka Flocka Flame, Kanye West and Wiz Khalifa. Describing the word "King" as a gender-neutral term, they also include femcee Nicki Minaj on the list.

The survey shows that the Bad Meets Evil rapper rules in multiple categories including album sales and social media ranking. He sold 7.5 million copies album from his two efforts; 2009's "Relapse" and 2010's "Recovery". He was ranked the first in social networking with almost 5 million Twitter followers, 43 million "likes" on Facebook, and 1 billion views on YouTube.

A couple place lower, there are Kanye and Jay-Z who sit at No. 4 and 5 respectively. The former got the most awards during the period of 2009 and mid 2011 by bagging a total of 65 trophies. The latter, meanwhile, received the best rating in album reviews from the critics.

Ahead of the two rappers, Lil Wayne and Drake round up the top 3 by occupying the second and third place respectively. Weezy earned more cash from his tour than any other MCs by grossing $51 million. Drizzy, meanwhile, was the king of the single chart.

Aces Show Biz

My music is a combo of hip hop w/reggaeton over salsa inspired beats. Influences range from Big Pun to Young Geezy toKRS1 and Criminal Minded. Rappin' since the age of 13, I want to break down barriers musically. God has helped me to choose my path.

My name is Pedro. I was born in Cambridge, MA in 1975. My mother and father met in New York. We were raised partly in Lawrence where I was introduced to Hip Hop and broke into rapping, while living in the Hancock Projects and going to the Hennessy School.

My mother is a hairdresser, and my father was an entrepreneur. I have three brothers and three sisters from different mothers. Pops died in 1994 from HIV. God bless him. He definitely was an influence in my life. I will never forget him and the lessons that he taught me, from working hard to being able to manage my own construction company.

My music is a combination of hip hop with reggaeton over salsa inspired beats. My influences range from Big Pun to Young Geezy to late eighties KRS1 and Criminal Minded. Rappin' since the age of 13 made me realize that i want to break down barriers musically and constantly challenge myself to only get better.

I have so many endeavors to explore in the field of music, inspiration to create, and music to perform. From performing in front of local high school students to shows in NYC, Miami, and Puerto Rico, I've garnered a crowd of followers who have made me realize that my music has turned into a career. God has helped me to choose my path.

Follow Pedro on Facebook

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Artist: Tic Tac
Song: "Feel The Heat" feat. The Canz, Myshel
Album: Ghana For You
Director: Pascal Aka (Breakthrough Media Productions)
(c) 2011 TN Records

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The funny thing about the much ballyhooed and ridiculed Tavis Smiley/Cornel West joint production poverty tour is how the tables are turned. In the tag team summer wrestling rift between Smiley/West and Sharpton/Joyner – which seemed more like salty long-nailed high school girls scratching it up over the basketball team captain that is President Obama – there were some very distinct class conflicts playing itself out.

Smiley and West were characterized as part of the “Ivory Tower” elite, that Black “Bougie” Jack-and-Jill-like crowd of pretentious and highly educated “middle-class” African Americans that had much to say about the struggle but had never really struggled; in the case of these two, they were bohemian intelligentsia accused of fighting the fight from the comfort of marbled institutions and never really being “on the street.”

Sharpton – with Joyner and then others like Steve Harvey now joining in for fun and ad revenue – represented that “street cred” that Smiley and West never had, highly stylized, sophisticated and very loud “ghetto” activism that spoke to the everyday worries and hardships of the “working class.” If something goes down or pops off “in the community” in any location that is Black USA, you’d find Sharpton replete with entourage, banner signs, megaphone and trademark perm.

For the most part, the distinctions are stylistic (and somewhat demeaning) more than philosophical. Lecture halls versus talk show radio, essentially. Soft versus hard. One “N.I.C.” versus the other “N.I.C.” Mainstream versus fringe. You see where this is headed.

Now, with the Smiley/West co-produced poverty tour, we find an unusual and somewhat silly reversal of roles. The reasons for both men embarking on this multi-city tour are varied and complex. Both need a way to reconnect and remain relevant as they are sensing a loss of audience share; a quarter of the professional, middle-class black population has evaporated with recession, therefore cutting into their earnings of everything from book sales to speaking engagements. Hence, it’s time to find new audience and, possibly, reach out to the old now relegated to poverty and unemployment benefits (or just ran out). Hit the streets, so to speak. In the process, both might discover the “street cred” they either lost or just didn’t know.

Sharpton, on the other hand, enjoys unparalleled access to the White House and with it the perks of visible “power” and celebrity. His stock is rising and the perms are looking less mangled since he combined shrewd visionary street politics with a refined spectacle that is neo-Sharpton. National Action Network is no longer viewed as second-tier or on the margins; its gala dinner in New York earlier in the year enjoyed the presence of the Leader of the Free World, who actually stalled negotiations with Congressional Republicans at the White House just so he could make the trip. And, membership – plus aggressive lobbying of Comcast and NBC – has its rewards.

Surely, Smiley is fuming with apoplectic rage that he’s still hustling on PBS while Sharpton now enjoys national notoriety as MSNBC’s new host. Sharpton is getting showered with much more corporate love than Smiley. So, Smiley and West are on the fringe. Sharpton, with a wide range of popular urban talk show hosts complimented by the mindless and rather incessant rotation of the same Top 40 hits, is now in the mainstream.

The point is that, well, the point is not really about poverty or unemployment or a nation in double-dipping economic meltdown. In the case of these players, everyone is looking for rank and position. Smiley/West are not so much interested in “poverty” as they are in reversing the poverty of their newly found status in the political conversation. It’s interesting how Steve Harvey would refer to both men as “Uncle Toms” for attempting a veiled shot at the Obama Administration with a “poverty tour.” There’s lack of logic in the statement; but, then again, is there anything ever logical emanating from the mind of Steve Harvey? Even if that is their plan – don’t disagree with the premise – it’s not certain if it rises to the level of racial sell-out if the focus is on the poor. In a sense, Harvey is lashing out at Smiley/West for brining attention to the struggles of a large share of his mostly urban audience. He’s acting as if black folks are not struggling when, clearly, they are.

There’s a lot of that going on. It’s a hot mess. But, ultimately, at least someone is bringing up the term “poor” in multiple sentences. Politicians, obviously, are too afraid to do it, mired in their love affair with “the middle class.” There is much discourse on the “recession,” but few – including the President – dare to acknowledge that it has, in fact, made people poor and the poor poorer. There was surreal contrast during the President’s State of the Union earlier in the year when he made no mention of the “poor,” yet House Budget Committee Chairman Paul Ryan (R-WI) actually said “the poor” in his GOP response. There might be something to that as corporate-backed Republicans continue enjoying electoral success from the mobilization of poor, working class whites eagerly identifying with tea party picket signs.

In the recession, it might seem like common sense to offer some reflection on the 40 million Americans feeling their way in the dark of poverty. But, apparently not, since most politicians assume poor folks don’t vote or cut checks to their campaigns, anyway. It is what it is.

Charles D. Ellison is Chief Political Correspondent for The Philadelphia Tribune, author of the critically-acclaimed urban political thriller TANTRUM and a nationally recognized, frequently featured expert on politics.

by Dr. Boyce Watkins, Syracuse University –

I met the rapper Chuck D at the Measuring the Movement forum, hosted by Rev. Al Sharpton.  I sat next to Chuck for a good 30 minutes during the panel discussion and got to appreciate his humility and intelligence as it pertains to the plight of black people.  What I also noticed was that Chuck stands a far cry away from his peers regarding whether or not they give a damn about the people who are buying their albums.

In a spin-off to the new song, "Otis," written by Kanye West and Jay-Z, Chuck engages in a lyrical assault like no other, highlighting the fact that it’s not cool for West and Jay-Z to brag about how much money they waste when African Americans are in the middle of one of the most devastating periods in economic history.  With 16 percent unemployment and the near complete decimation of black wealth, Chuck speaks directly to the public backlash toward artists who remain ignorant enough to believe that rapping about private jets and half-million dollar cars is preferable to discussing our collective plight.  In fact, I’ll never forget when the artist Diddy gave his 16-year old son a half-million dollar car, and then turned around and gave a mere $10,000 to the entire country of Haiti.

Chuck also speaks on the prison industrial complex, which is something that neither Kanye nor Jay-Z seems to have noticed.  I met another (nameless) artist who works with West on a regular basis.  I asked him if Kanye is in tune with the social issues that plague the black community.  To my disappointment, the artist simply said, "Kanye’s on some other sh*t."   I would hate to believe that the man who had the courage to speak up on behalf of the victims of Hurricane Katrina has turned himself into just another highly talented corporate monkey.

Hip-hop obviously needs to turn the corner.  Using the guidance and inspiration from empowered and progressive artists like Chuck D, one would hope that the creative fire of hip-hop music can be harnessed for progressive change.  The time is ripe for a major political movement:  Economic times are worse than they’ve been in decades, the Internet allows people to come together like never before, and the disapproval rating of political leaders in Washington is at an all-time low.  Chuck is onto something, and I hope that his speaking up against "The Throne" (Jay-Z and Kanye’s latest exercise in self-absorption) is the first of many steps toward giving our community the vision that it needs to create a better life.

Real hope and change lies in the streets, not on Capital Hill and not at Def Jam Records.  All of us have to speak up, stand up and make our world into what it needs to be.

Scholarship in Action

Dr. Boyce Watkins is a Professor at Syracuse University and founder of the Your Black World Coalition.  To have Dr. Boyce commentary delivered to your email, please click here.

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Check out the audio to one of the many “Otis” freestyles below

Latest visual from Black Rob’s Game Tested, Streets Approved album out now. Video directed by Todd Angkasuwan.

(Huffington Post) — Social media events — from live chats to product unveilings to webinars — are a fun way to engage customers. By leveraging social media, you can create an experience for your existing customers and connect with new customers as well.  But there are some best practices to ensure that you are hosting beneficial events that are worthwhile investments of time and resources for both you and your customers. Below are five tips for hosting an effective social media event:  

Give it a reason to exist: If you are going to have an event, give your customers something really exciting to participate in that they care about. Maybe it’s a chat with your product designers or top executives. Maybe it’s a chance for them to give feedback and access to limited edition products. Maybe it’s information from a respected industry authority. There isn’t a secret formula, other than that it needs to be valuable and relevant to your customers. If you (or your competitors) host a lot of events, keep it fresh and change up the formula.

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