Re- All That Crack I Sold, I Lied.

Incarcerated Scarfaces Part 1 Of 6The funniest movie is here. Find it

“Can you just imagine going to jail in 1989 and them
telling you you
release date is February 2004? Its crazy.”

Malice Video Blog 1 from Malice of the Clipse on Vimeo.

It has certainly been a week.

Saturday, I finally realized that I was going to have to publish
my work myself. Don’t get it twisted, I am still going to pursue
other avenues, but the resistance that I received with regard to
criticizing art and capitalism confirmed that I was on to something,
and that I needed to create my own lane(s) instead of asking
for someone to let me ride in theirs.

Having had such a writing heavy load the last two
weeks, Gentrification
and Asher Roth I am both tired
and reinvigorated.

Asher Roth has provided a kind of needed fodder for me
to talk about race, capitalism and gender
Saturday, and I started talking about the resistance to my
critique of the white
consumption of black death and
corporate rap.
Like me, she is a survivor. The South
Bronx’s Finest. She was like “Yo, peep Sylvia Rhone,
he came in with a Black face and changed the
the game with regard to boom bap. Oh and peep
Universals assets, Jay Z wasn’t endorsing that Darfur
water for nothing.” She went on to tell me that Universal’s
parent company
has other holdings related to water and
I was like word are you trying to get me got“?
I dug around
on Wikipedia, and Rhone did play a role in
the elimination of Boom Bap from Elektra.
Then I turned
around and Robbie at
Unkut posted an interview with
Dante Ross, former A & R at Elektra. I felt like the arch of this

story was pulling me along.

When I received Gordon Gartrell’s terse comments
I was like,
uhhh, why the anger?
I just couldn’t figure out why folks were so resistant
to accepting the fact that corporations play a material role
in shaping our music. They play a material role in shaping
just about everything else in our culture, why should rap music
be exempt?

I asked, “Am I going to have to make a United Corporations
of Hip Hop chart?” She responded, you can but you might
wanna do it under your pseudonym. I got shook. You know
I’m paranoid. You can’t be from Oakland and not be a little ‘noid.
We got cointelproed in the 70’s. Don’t ever underestimate the
power of the Black communities historical memory.
Its our survival 101.

As I contemplated doing a Hip Hop Corporations chart
and essay, I was like, dude, is this gonna be my Jim
Webb moment
? then reminded me of the Incarcerated Scarface’s video.
And we began to talk about
how when people get a taste
of violence, they develop a bloodthirst,
like bleeding in

It’s almost like the kids are running towards a fight.

Given the fact that both and I have lived on blocks that
had Black blood running running the street, the conversation
was both intense, intimate and informative.

After I got off the phone with her, I thought about how
many of the images in hip hop are rooted

in early American stereotypes that are extremely racist.
Black men as thugs, beasts, rapists, animals.

So I sat back and watched all of the Incarcerated Scarface’s
videos on Saturday. And I came away thinking,
what do these men, these men who have been stabbed up,
wounded and shot at, these men who have spent , 10, 15,
20 years in prison, I wonder what they think about the
Thug/Pimp/Ho corporate rap music and how it may
influence the young bucks coming up behind them?

I told Birkhold about the resistance to my critique, he read the
comments and was like “yo Ne, you know
what you can do, you
can do a historical piece on Rap and Corporations.

Read Jeff Chang’s Can’t Stop Won’t Stop and S. Craig Watkin’s
Hip Hop Matters.”

I was like “dude first of all I am reading three books
for a post already.I have like four other pieces in the pipeline. A ‘Lil Kim

piece I have been itchin’ to write, this sustainable green economies
piece, a piece on my problem with white privilege, I’m backed up.

But see, that’s the beauty of writing online, the feedback loop
has the capacity to force you to change your game up and be nimble.
The writing, the work, becomes a living breathing animal.

But back to Incarcerated Scarfaces. You see. I am a huge Clipse fan.
I like the Clipse as much as I like Mobb Deep. In my Asher Roth post
I wrote about how things haven’t been the same since the “Tree huggin’
bitch” skit on their last mix tape.

Well, this past weekend the Clipse’s former manager turned himself in
after having been charged with leading a 10 million dollar drug ring.

Malice of the Clipse, went on to make a video announcing that
how “he has been part of the problem [in rap], but he likes the
foolishness in his rhymes and his music.”

Given my corporate rap/Asher Roth last week, I was
curious about how folks wold receive Malice’s
statements about not having sold crack in a very long time.

Many people thought that he was coming clean.
Others felt that he was admitting to being a liar.

Personally, I was intrigued by the Don’t Trust my Crack Raps
PSA tone
of the video. I was kind of ironic. Like an SNL skit.

“Hey kids. Do as I say. Wait, don’t do as I say, do as I do. Wait,
just figure out how to separate the fact from fiction.”

With the Clipse, Black male masculinity and questions of
humanity on my mind, I had an epiphany today.

I realized that the reason why I write about hip hop the way
that I do, is because I see the people behind the music.

A former supervisor, a lawyer from legal internship that
I had 3 years ago
,wrote me a recommendation recently.
He mentioned
that one of the reasons why he knew
that I would not be happy with “the law”
is that it would
require that I see people only as abstractions, and that
I have
a propensity to see the human dimension of
relationships, especially as it pertains to power,
addiction and violence.

I think this is an issue at hand when I write about
hip hop, the
white and Black consumption of Black death,
street harassment and Black men
and prison.

Where many folks see rappers, victims, kids and race,
I see human beings, humans with agency, humans who will
need to be accountable to one another,
if we are to live in
a sustainable

So yeah. I am tired yet, I have a new perspective. Here’s
to embracing
independence. Salud.


How you been?

Why is it so hard to accept that our music thuggin’
and mean muggin’ faux & real
for profit?

Do I have to do a corporations chart to make
this ‘ish real? If so, imma need an intern or
some help.

The Clipse Called Me a Tree-Hugging-Ass-B*tch.

I am a really big Clipse fan. Naturally, I have been listening
We Got it for Cheap Vol 4.

Last week, I had a moment where where I asked myself, did Pusha just
call me a “Tree Hugging Assed B-tch”?

At 13:58 Pusha says,

“Tree Hugging Assed Bitch came up to me the other day on some
Yo, yall nice and all but, how come yall only talk about
dope? How come you only write about street shit?
Come on?

I was like Tree Hugging ass bitch please! I rhyme for
my niggas on the corner, all 20,000 of them. 20 thousand
money making brothers on the corner. Lets go.

It reminded me of the blog post on where we discussed
what it means to be a feminist who sing’s “Ain’t no Fun”
in the club.

Brandon Soderberg brings some in analysis about
the skit as well. He writes,

This kind of defense or half-defense met with an angry assertion about ?street niggas? or ?niggas on the corner? isn?t new to rappers? attempts at sounding ?real? but it seems more glaring because well, the Clipse simply aren?t rapping for those ?street niggas?. Maybe they are in the sense that that?s their intended audience, or maybe they mean it in some instructive way, but in terms of whose ears are open to Clipse, it is not who they claim to be rapping for; if this were true, Pusha wouldn’t even be confronted with a woman offended by their crack rap, you know?

Now, I firmly believe that contradictions are make people interesting.

If you have no contradictions you are either lying to yourself
or you have a pleasantly sheltered life.

Remember when Pac was on some Dear Momma and
Wonder Why They Call You B-tch.

I mean here was a dude that had so much love for Black women
but talked a whole lot of sh-t about us as well.

I mentioned the idea for this post to Jase last Friday because I
was so conflicted on writing. My rationale was that
so many other people trash hip hop, why should I add to the chorus.
At the same time, we criticize what we art. Thats part of the process.

I know that The Clipse aren’t the only cats that rap about
being street dudes. Jay, like The Clipse, talks about hustling as well.
But, part of Jay’s appeal has been his remorse, ambivalence,
certainty about the both up and downsides to hustling.

In fact, there is a element of remorse and self awareness
on Hell Hath No Fury, such as “Momma I’m So Sorry”
that flies in the face of “I rap for my twenty thousand n-ggas
on the block”.

And the fact that 1 in 100 Americans are in the prison system
and approximately a million of the people in the prison system
are Brown and Black, I can’t help but think of the REAL lives of these
20 thousand
n-ggas on the block. It ain’t sweet.

In many ways, is WGFT Pt 4 is JUST music, but it is also crazy
real in the same way The Wire is just entertainment,
but also borderlines on a documentary for me. I haven’t watched
it past the first episode this season.

In a lot of ways The Clipse music is a soundtrack for The Wire.


Art is Reality. Reality is Art.


The Clipse Don’t Agree with Nas.

Member when Nas said “Sometimes the Rap Game Remind me of the Crack Game”. The Clipse ain’t feelin’ that sh*t tho.

Pusha T, however, is still griping about his current workplace. “No ethics, no code, no morals,” he says. “It’s worse than drug dealing. No one works on principles. At least in the crack trade, there’s a code of honour. The music business is the worst. You turn into a number as soon as you sign the papers.”

You have to have a code or you have nothing.

Clipse find Oprah’s campaign self-serving. It is illogical, they say, to treat them the same as a highly paid, loud-mouth white radio shock jock. Unlike Imus, they say, they don’t use those words to describe women who are seeking an education, like the basketball players, but about the people who would buy the crack from them. [ NICE!!! B/C only crack heads are nappy headed hoes.]

This has been a refrain that I have heard from cats in the hood. This was the Snoop defense too. Watchall think?

Sometimes the rap game remind me of the crack game.

When I tell people I want to do Merger’s and Acquistions.

They ask why.

And I say, honestly, that sh*t reminds me of the 80’s crack game.

You can imagine white peoples faces, when I say THAT sh*t.

Think about it.

a. You have “You either run with me, or imma put you outta business, take your customers AND your real estate”.

b. Oh. You THOUGHT this sh*t was YOUR Block. Naw. Homie. This my sh*t now. You can work for me though.
c. X and Y are getting macked by Z, so they formulate like Voltron to avoid the take over.


Now that. Is a code.

Bjork likes Tha Clipse?

Bj?rk says …

I’ve always listened to hip-hop. Not tons, it’s not been a way of life for me, but I’m of a generation where Public Enemy changed my life. What I like most is the love of rhythm; though I don’t think I’ve ever used those rhythms, I think it would just be wrong. Right now, Clipse have some freshness. It’s the emotional aspect that attracts me.


May is here.

Half the year is gone.

How are your goals doing?



All I wanna do is just ride around shinin’..


Go head and LEARN UP on the mexican Bill Gates.


When I see sh*t like this, first thing I say, is I hope it ain’t in Oakland, then I say, I hope it ain’t Black people. You know how you be holding yo breath and sh*t.


Why in the hell is this Bullsh*t on instead of my Simpsons.
Don’t Fox KNOW that this is how I get my head right for FOUR hours straight of
class on Mondays.

F*cking F*ckwads.


Subway hero dude learns. Mo Money, Mo Prollems.

Those are the happy aftereffects of overnight megastardom. Then there are the crushing demands on his time, the friends and family looking for handouts, the money problems, the identity questions, and the lawsuit.

Wesley became exhausted. He told Linda he lacked time to savor even a little of his good fortune. His new life was cutting into his weekends with the girls. ?They don?t like that,? he says. ?I don?t either. I try to explain, ?Daddy?s got kind of a new job, and I?m trying to make things happen and maybe get a house and a better way of life.? But they don?t understand.?

At the end of February, Wesley heard from Robert Autrey Sr. for the first time in three decades. His father had been living in Pensacola, in sporadic touch with Wesley?s mother but never with him.

?He had a mild heart attack,? Wesley says. ?He ended up in the hospital, and his sister called my mom?s house, and I picked up the phone.?

Wesley called his father at the hospital. ?I don?t hold no grudges.?

What did his father say?

?That he was happy for me doing what I?d done, you know?? Wesley pauses. ?Then him, like everybody else, ?I need, I want, give me.'”


“Unfortunately, it doesn’t fully surprise me. The perception that the Bronx is some lawless place that you have to be fearful of is just not true.”

I heart the Bronx.


Obama is getting that hip hop scrill and n*ggas is trippin.

Dear Helen Kennedy,

Democrats ANNNNNNNND Republicans get that Hip Hop cake.

Everytime a corporation, that has a label that employs a gangster rapper,
donates to the Dems/Repubs, the Corporations, the dems, the repubs, benefit.

It isn’t a democratic thang.

Its a power thang.


German dudes wanna shoot @ n*ggas in the Bronx. Nice!


How Imus know n*ggas call women ho’s in rap music?

He lissen’ to Snoop?