All Articles Tagged "Talib Kweli"
As we evolve, there are certain things our parents did in raising us, that we realize might not be the best modus operandi in raising our own children. You already know, I’m talking about spanking. The debate around the subject has been going strong for years. In the Black community there’s a long history of spanking or even beating our children. Some tie it back to the Bible’s “Spare the rod, spoil the child” philosophy. Some believe that if we don’t beat our children, he or she will be beaten and maybe even killed by the White man. While others believe our tendency to spank and even beat our children is directly linked to the treatment we received when we were enslaved, throughout the diaspora. The traditions have merely been passed down from generation to generation.
In recent years though, people, even those in the Black community have spoken out against corporal punishment for children.
Recently rapper Talib Kweli spoke out about his abhorrence of disciplining children in this way.
Spanking is hitting. Hitting is violence. If you can't parent w/o violence, spank your fucking self. You failed. https://t.co/KNJd6URCGx
— Talib Kweli Greene (@TalibKweli) March 9, 2016
He went on to talk about the topic for days, calling spanking lazy, representing a loss of patience with their children, un-nurturing etc. At one point, he called it domestic violence. For people to hit a defenseless child, is to him, akin to a partner hitting another in a romantic relationship. Essentially, his philosophy is if you love your children, violence should never be a part of the way you raise or discipline them. This discussion went on for a while, with plenty of back and forth from followers, most of whom were spanking advocates.
And while people might not have expected to hear this viewpoint from Kweli, it’s not too far from anything we’ve heard from others who are anti-spanking.
But today, writer and correspondent Stacey Patton, who is working on a book called “Spare The Kids: Why Whooping Children Won’t Save Black America,” shared her thoughts on spanking and why it’s particularly dangerous to spank girl children. In addition to the emotional and psychological damage people have claimed it causes, Patton suggests that it also presents a psychosexual threat.
Here’s what she posted on her Facebook page.
It’s an interesting concept to say the least. As someone who was spanked as a child, only by my mother, I can’t say that I ever felt sexually stimulated in the process; but I do agree that the behind is so close to the clitoris and vagina that it can work as a sexual stimulant. Some would argue that those organs only come into play once puberty sets in; but how can we really be sure? If children start exploring their genitals for pleasure, as early as toddlerhood, who’s to say what they’re feeling. Most of us aren’t asking our children what sensations they experience as they’re being spanked. And even if we were, many children might not have the language to accurately express that.
I don’t have children; and while I would like to think that I won’t hit my future kids, I can’t say what type of challenges parenting may present. And while I’ve always felt like hitting children who are virtually defenseless is hypocritical, especially when you teach your children not to be violent; there’s also something about this theory that makes a lot of sense to me. And serves as yet another, very logical case against hitting children, especially as many of us were hit.
What do you think about Patton’s post? Does the theory make sense to you? Does it change or reaffirm your thoughts about corporeal punishment for children?
Some celebrities understand the power they wield, using their celebrity status as a platform to discuss social issues such as racism, police brutality and injustice. These famous people weren’t afraid to talk about political or social issues in public, and we salute them.
Janelle Monae’s appearance on “The Today Show” last week double as a public confessional as she expressed her views on the ongoing issue of police brutality in the country. Monae, who was joined by her artist Jidenna, performed “Hell You Talmbout,” a song that pays homage to several victims of police and racially motivated violence. She concluded the performance with a message about police brutality, but producers of the show weren’t having it and pulled the plug on her performance. Viewers at home watched as the camera panned to one of the show’s anchors in the middle of Monae’s message.
“Bernie Sanders is not a racist, Bernie Sanders is not the problem,” said Bill Maher in his conversation with noted rapper Talib Kweli. On Friday the two discussed what many are calling the “controversial” actions of Black Lives Matter activists who interrupted one of the candidates’ recent campaign events and On Real Time With Bill Maher, Kweli supported such disruptions.
Said activists have been both criticized and supported by the the Black community, but Talib noted Sanders was simply an easy target because he is more directly in front of the people instead of Hillary Clinton or Jeb Bush. However, it wasn’t just his easy access that activists gravitated towards. Sanders has received much pressure to present a more aggressive plan for police reform in light of the rampant police brutality spreading across America.
“Bernie Sanders is somebody who — just because someone has a record of civil rights doesn’t mean they are automatically entitled to the Black vote,” said Kweli.
Maher lightly joked that even the NAACP has had no qualms with the presidential candidate, but the organization has also been criticized for being out-of-date in its tactics and leadership, as Kweli noted the “NAACP liked Donald Sterling, too.”
While Sanders may not be a “racist”candidate, that does not mean he shouldn’t be held accountable by all the voters to whom he hopes to appeal.
“Me personally, I’m friends with some of the people that started Black Lives Matter… when I first saw what happened to Bernie in Seattle I went ‘maybe, you know, that’s not right.’ But, I was corrected…the job of activists is not to be liked, or not to be polite.”
Kweli also noted the power of Black women’s voices in America leading the work to hold future leaders responsible.
“Black women vote more than anybody in this country. And you have young Black women who started Black Lives Matter and they are forcing this discussion,” said Kweli.”You’re not gonna be a progressive and say that just because you’re progressive that you have a grasp of racial issues,” he continued.
Black Lives Matter protests are erupting all across America making sure the lives and liberties of black people are not forgotten.
“Since they’ve used protests – which Martin Luther King did, and Nelson Mandela did, and Ghandi did – they’ve forced a dialogue, they’ve forced O’Malley (candidate Martin O’Malley) to come up with a platform and for Bernie Sanders to deal with this and that’s positive and beautiful and I love them for it.”
What do you think of Kweli’s comments?
Writer Stefan Schumacher is so over Lauryn Hill, he had to write an essay about it.
More specifically, in the essay aptly entitled, “It’s Finally Time To Stop Caring About Lauryn Hill,” Schumacher talks about being a lifelong fan of the former Fugees member and falling out of love with her, particularly over her inability to appreciate the fans, especially those who pay to see her in concert.
He writes in part:
I wanted to see Ms. Hill, but something just didn’t sit right with me about paying that much for an artist who hasn’t produced anything of relevance in almost two decades. Not to mention her reputation for being an inconsistent and unreliable performer—canceling shows, coming on stage hours late, passing out.
It occurred to me that, as great as Miseducation and The Fugees’ The Score are, they’re part of a distant past. Lauryn Hill was a great artist. She’s not anymore and it’s time we stop holding her in that regard, waiting for her to pay off on a promise that’s long since expired.
In addition to her poor showmanship at shows, Schumacher isn’t much of a fan of her recent releases either. In fact, he hated her new song, “Black Rage,” which was a formerly unreleased song Hill shared with fans to speak on the happenings in Ferguson, Missouri. He said of the track, “Her singing is thin and uneven and the recording is of poor quality.” You can listen to it here, but personally I don’t think it’s that bad. In fact, it’s probably the best Lauryn Hill we have heard since her debut album. And I mean that sincerely.
Nevertheless, Hill’s inability to duplicate or even maintain any semblance of mainstream success has left Schumacher with questions. Lots of them. An article filled with them in fact:
“What is she doing with her time? How many kids does she have? Is she broke? Will she return to her former glory? What was with that strange acoustic set she did for MTV back in… whenever that was, 2002?”
“Who does one album that sells six million copies in the U.S. alone and another that sells eight million, and then just stops?”
“Remember when Lauryn was winning all those Grammys that year in that white pant suit (1999)?”
“Do we long for DMX’s return to glory? Are we desperate for reunions of Outkast and Black Star, neither of which have made albums in years?”
“Making obligatory appearances for your charitable organization is equivalent to slavery?”
“Did you forget about me?”
Honestly, his inquiry into why Hill has become such a musical disappointment to him (and other tangents) are boundless and apparently unanswerable.
Despite that, he vows:
So I’m leaving Ms. Hill alone. Not because I’m hoping she’ll be back, but because she’s no longer worth waiting on. She has two classic albums under her belt, but she’s more of a memorable flash in the pan than a legend. She used to be great. I used to love her. But not anymore.
Poor Schumacher. And not because he has lost his musical muse, but because, as they say, he done stepped in it now. So much so that rapper Talib Kweli decided to spit some wax poetry of his own in an equally long and flowery piece entitled In Defense of Ms. Hill, in which he argues that Hill is an artist, and as an artist, her first obligation is to deliver an honest expression of her art – despite the desires of her fans.
More specifically he writes:
The great thing about making art for yourself is that if you do it well, millions of people will relate to it and embrace it. They will support you and make it possible for you to have a career and feed your family, all with your art. These are your fans, and their passion, dedication and contribution to your life are to be cherished and respected.
However fans are not your boss, and listening to them when it comes to creative decisions is a slippery slope. I am not obligated to make the same album over and over again just because fans demand it. I am allowed to try new things, succeed at them or fail at them. I am allowed to not make music anymore ever, if that’s what I choose to do. I am allowed to give a sh**ty show or not even show up if I feel like it. Hopefully that will never happen, but if it does, it will never take away from the quality of the work I’ve already put out into the world.
Interesting debate here. And as always, I implore you to read both essays – in addition to this one – to get a clearer understanding of the debate. I will say that I am personally least interested in both of their arguments when it comes to the validity of calling Hill a legend. Like many “great” lists beforehand, this conversation is subjective and not very interesting. And while Kweli might personally still see value in Hill as an artist, Schumacher is well within his right as the receiver of an art to make the determination based on personal appeal.
However, I believe that both sides do raise some interesting and valid points about the responsibility an artist has to his or her fans. As Kweli rightly noted, an artist’s first responsibility is to their art. Period. As a daily columnist, I fully understand the necessity of having the space to explore topics and opinions, which sometimes are contrary to long ingrained public beliefs and thoughts of both society as well as my personal identities as a black woman. I also see the necessity in exploring topics and expressing opinions in places folks feel I am not entitled to. Sometimes the reactions I get bother me, but regardless of how ridiculous they are at times, I still can’t allow the negative responses to sway the way the ball of my pen swerves.
Besides, who wants to read an inauthentic writer?
I am a firm believer that within those spaces of great debate and uncertainty is where innovation happens. And I am quite comfortable with the fact that even if folks don’t agree with me, I like to think that I at least made folks think and challenged a few perceptions of things in the process. That’s what I strive for anyway. And that is what I truly believe makes one a good writer and artist in general. So if Schumacher doesn’t like her new stuff, well, that’s too bad for him, but not necessarily for her or for music in general. I mean, we all know the music scene has changed significantly since Hill first arrived on the scene, so who is to say how another Miseducation of Lauryn Hill album would be received right now? And wouldn’t that be much worse than her putting out new, albeit, different music? Since Schumacher likes ruminating so much, let him answer those questions.
With that said, if I don’t turn in these little trinkets of innovation in some semblance of “on-time,” I’m not going to get published and paid for my work. And rightfully so. I mean, I would love it if folks would just hand me money because they thought I was great and all, but I also understand that those who pay me for my craft want me to actually deliver something. And that is where I believe Schumacher has a major point.
If it is truly about the art for some artists, then they should host free shows and performances where they are free to come at whatever time and junction they want. However, thanks to capitalism, not too many artists can afford to live like that. That’s why we sell our work. And while the act of selling ourselves and our talent does not entitle people to shape who you are, it does carry with it some responsibilities – one of them being to be considerate enough of the people who are making it possible for you to eat and pay off some bills. I’m just saying….
A Ferguson police officer who was in charge of crowd control earlier this week has been relieved of duty after an hour-long video of him ranting against the President, affirmative action, women, the LGBTQ community and more was uncovered.
Officer Don Page made his remarks to the Oath Keepers, a group that says it’s a “non-partisan association of current and formerly serving military, police and first responders” dedicated to defending the Constitution. In his comments, Page warns women against calling the police against their husbands in domestic violence cases. Instead they should “just shoot each other and get it over with.”
Earlier this week, Page was caught on camera pushing CNN anchor Don Lemon as he tried to report the goings-on from the protests in Ferguson. Lemon called out the “gray-haired officer” for physically pushing people who were peacefully exercising their rights. After asking a number of officers why people were being moved, Lemon was given a cryptic answer about traffic concerns and the need to move to an empty parking lot. During his coverage, Lemon notes that there were no traffic concerns until the police got involved and seemingly caused one.
This was just one confrontation that Lemon was involved with this week. At this point, you’ve seen the on-camera skirmish that happened between him and rapper Talib Kweli. Knowing Don Lemon’s history of questionable comments, the first reaction, even before watching the clip is likely to be, “Oh, here he goes again.” But, in our opinion, it looks like here, Lemon wasn’t all wrong.
To be sure, Don Lemon is condescending. That attitude makes a conversation with him exceedingly difficult. Judging by the response on Twitter, that’s why most people sided with Kweli.
Add to that, Kweli makes a point about the media that has even been made by members of the media themselves; media coverage isn’t as fair or as deep as it should be at times. Ryan Schuessler, a freelance reporter who was in Ferguson for Al Jazeera took to his personal blog to explain why he wouldn’t be returning to continue his work. He says he heard journalists yelling at residents to get out of the way, saw reporters being disrespectful to Ferguson businesses and on the spot where Mike Brown was killed, and got the sense that many reporters were there for self-promotional purposes.
Here, the confrontation between the two starts with Kweli singling out CNN for its coverage, which is fine, but then he takes too long to illustrate his point. He says later in the argument that he knows during TV interviews that he has 90 seconds. But it feels like he took license to go on and on because, as he says, he didn’t trust that he would get a chance to speak his mind. If that’s your approach, it stands to reason that you’ll get cut off.
That devolves into complaints from Kweli about the way Lemon greeted him and who technically invited him to be on the broadcast. Who cares? It’s off topic and petty.
They ended by going back to the most important matter at hand — the shooting death of Mike Brown, so that’s a positive. The conversation continued on Twitter, where Lemon says he actually pressed for Kweli’s appearance on the show though he didn’t know who he was (condescending again!). Kweli answers by saying he doesn’t care if Lemon knows who he is, then lumping him into the group of “mainstream negroes” who “blame victims of brutality for their brutalization.”
Don Lemon needs to get his ego in check, but a live interview from Ferguson at that moment wasn’t the time for anyone to do it. Kweli’s subsequent tweets show how angry he was — rightfully so, given what we’re talking about — but also how personally dissed he felt. Now’s when everyone, not just Don Lemon, needs to put their pride aside to address the matter at hand.
At the beginning of the new Millennium, not many people knew who the hell Kanye West was. Though he had been concocting cold beats for folks since the mid ’90s, his hopes and dreams of becoming a major producer in hip-hop and even having the chance to rap didn’t happen overnight. But fast forward to 2013, and he’s one of the biggest artists in the world. Sure, he’s a complete arse at times, but everybody has a Kanye song, or a Kanye-produced song that their iPod can’t live without (just think of the joy you felt when you discovered Bey’s “Party” for the first time…he’s a genius!), and many of the samples he’s used over the years helped bring major musicians and songs from the past back into the forefront. While you know most of his contributions to music, here are a few bangers that you might not have realized he was behind (unless you are a major hip-hop head or stan).
A new storytelling series detailing the African-American experience from the 1600s to the present has launched on YouTube. With the collaborative efforts of Wells Fargo and The Kinsey Collection — an exhibit that features artifacts chronicling Black life — a documentary-style campaign named “Untold Stories: Our Inspired History” was born, reports The Wall Street Journal.
Hollywood stars such as Jordin Sparks, Lance Gross, Lauren London, and Talib Kweli will serve as hosts of this new Black storytelling experience. “The series is designed to educate viewers about the historical impact of African American history on modern life using the perspective of each celebrity curator,” adds WSJ.
In one video, Lauren London explains how Carrie Kinsey unknowingly began the The Kinsey Collection. In 1903, she wrote a letter to President Theodore Roosevelt asking for his help to find her missing brother. She describes how one man approached her saying that he would take care of her brother and pay her $5 a month. “But I heard of him no more,” Carrie wrote in the letter.
“Carrie Kinsey had no idea this letter was one of the things that inspired Bernard and Shirley Kinsey, her direct descendants, to start their exhibit, the Kinsey Collection,” London added in the video.
The Kinsey Collection is filled with souvenirs of the African-American past that has been on display in eight museums including the Smithsonian National Museum of American History. “The Kinsey Collections strives to give our ancestors a voice […] enabling the viewer to understand the challenges, triumphs, and extraordinary sacrifice of African-Americans…” said Bernard Kinsey in a statement.
In another video vignette, Jordin Sparks highlights the accomplishments of Phyllis Wheatley, the first female Black poet to be published. Lance Gross “describes the trials faced by Josiah Walls, an African American statesmen in the 41st and 42nd Congress,” adds WSJ. Lastly, Talib Kweli delves into a 113-year-old letter granting Henry Butler, a Black Man, the ability to buy his family freedom.
The storytelling campaign was created to not only honor our African-American ancestors, but to celebrate the 150th anniversary of the Emancipation Proclamation.
The video collection can be viewed on YouTube where fans are welcome to join in on the conversation and share the stories by using the #KinseyUntold hashtag on Twitter.
We’ve got Lance Gross’ clip below and Lauren London’s after the jump.
In a world full of Lil Waynes, Chief Keefs and Nicki Minajs, it’s not often we hear rap music that isn’t laced with expletives and sexually charged, violent lyrics. So those rappers who make it a point to produce clean music are like a breath of fresh air. Which artists fall in this category? Click on to find out.
Back when Will Smith was The Fresh Prince, he secured his place in music history by releasing songs with PG lyrics and wholesome themes. Though other artists have adopted a similar strategy, Will Smith has always been considered one of the cleanest overall.
From Black Voices
“I don’t care if Rick Ross is 40 years old — he’s a misguided 40-year-old person.”
Strong words from Talib Kweli Monday as he addressed the recent controversy over Rick Ross’ rap verse on the song U.O.E.N.O., in a HuffPost Live segment hosted by Marc Lamont Hill.
While Ross seems to have chalked the controversy surrounding his lyrics up to some unspecified “misunderstanding,” many are not buying his explanation.
“Rick Ross condoned rape in that song … and he should apologize, and his apology that he offered was unacceptable.” Kweli continued.
Read more at BlackVoices.com.
For people like myself who really love music debates, the “conscious rapper” topic is one that tends to get people all riled up. More often than not, someone’s favorite rapper will get talked about in a negative light and come under fire for their actions not always living up to their words. I’ve learned to not have any real beliefs in the idea of the “conscious” rapper because when you do, you’re also going to get that human side that you only thought belongs to the “gangsta” rapper. I don’t believe many of the complaints about the “high and mighty conscious rappers” are warranted. I don’t think it’s right to expect them to ALWAYS talk about the plight of black people or to be positive every second of the day. Then again, in life you’re often forced to take sides. Anyway, enough rambling – just take a look at a few of the conscious rappers and feel free to let me know what you think (I’m also on Twitter…DrennaB).