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Black Narcissism, Nigga Behaviour and Hip Hop
06-17-2013, 04:33 PM, (This post was last modified: 06-17-2013, 04:35 PM by R.R.)
Black Narcissism, Nigga Behaviour and Hip Hop
Inspired by Lenon Honor's Hip Hop, The Hidden Hand and the Degredation of Black Masculinity, this thread on Black People vs Niggaz - mainly with psilocybin's comments about white people not being able to speak out against bad black behaviour, observing hip hop's negative influence on the masses, observation of the increase in narcissistic traits within the urban black community and FastTadpole's rap/poetry thread, I thought it would be a good idea to create a thread to discuss and research all these themes. Its also further inspired me to have fun beatmaking again.

To kick off, here's the Lenon Honor lecture:

06-17-2013, 06:14 PM,
RE: Black Narcissism, Nigga Behaviour and Hip Hop
Quote:Dr. Boyce: Does Hip Hop Influence Young People? Just Ask Adolph Hitler or any Good Psychologist

by Dr. Boyce Watkins,

Today I did an appearance on Hot 97 in New York City with Lisa Evers, Dr. Christopher Emdin and a few other people. The conversation centered around whether hip hop has any impact on what our kids are doing with their lives. The question is simple for anyone who’s spent any time around teenagers and noticed how their manner of speech, dress and the like instantly shifts based on what their favorite hip hop artist is doing.

Some say that hip hop music is as harmless as a Robert Deniro gangster film or something that you see on TV. The problem with this analogy is that hip-hop is fueled by a type of authenticity that you don’t need in Hollywood. Deniro will gladly tell you “I’m not a real gangster, I just play one in the movies.” Lil Wayne can’t pretend to be a gangster; he’s expected to be a real one. This enhances hip-hop’s ability to promote an entire lifestyle that goes deeper than simply producing songs that you want to shake your b**t to. Every teenager wants to be cool, and an easy way to be cool is to emulate cool people. There is no one cooler in high school than your favorite hip-hop artist: If the rapper Drake and Barack Obama appeared at the same high school on the same day, the president would have no audience.

Someone during our Hot 97 conversation asked “given that most of the consumers of hip hop are white suburban kids, why are they not impacted by the images?” I’ve taught on majority white college campuses for the last 20 years, and I’ve noticed the fascination that many white students have with black men from “the hood.” It’s not that they want to be like them (they would never trade their suburban lifestyles for life in the hood), but they see them as cool, exotic African creatures that they will gladly pay money to see, but never bring home to daddy, recommend for a job or respect as an intelligent human being. To some extent, rappers are like musical call-girls…..a man might really enjoy his time with a prostitute and show loyal patronage for her services. But he never truly respects her as anything other than a way to fulfill a specific set of desires.

Non-black kids are simply being ENTERTAINED by images of blackness being presented by the hip hop artist. The white kids are not always interested in trying to be black, they just enjoy the excitement of hearing the stories and seeing the images (they want to know what it’s like to be a “n***a in Paris” and are fascinated by black men with big chains and tattoos). The black kids are the ones who look at the black artist and are tempted to say, “That’s the kind of person I am supposed to be” (even when their parents tell them otherwise). The image is one that is built off the authenticity granted by “the hood,” sold to white Americans and often emulated by black youth either seeking to themselves make money by selling their blackness to white people or to gain the same kind of hood respect that the artist gets for being the alpha male.

Some say that good parenting can easily overcome the impact of negative hip hop. That’s an insult to good parents everywhere whose kids are being heavily influenced by this music. Their child might not go out and kill anyone, but they certainly gain a distorted perception of alcohol/drug use, s****l decisions and the necessity to run to the club every weekend, with much of this influence coming from the cultural norms being created around them.
I knew a teen who loved to listen to the Gucci Mane song “Wasted,” (which boasts about waking up with a liquor bottle in your hand) who then went to college and nearly died of alcohol poisoning before dropping out. It was by watching this child’s influences all through high school that I could clearly see that her perception of college life as a big party was heavily impacted by the music that she and her friends listened to.

The bottom line is that negative commercialized hip hop is not harmless. That’s like saying that Adolph Hitler’s Mein Kampf was just a harmless little book or that the Bible and gospel music have no impact on Christianity. There is a reason that whenever a country invades another one, one of the first things they do is destroy radio and TV stations. It’s because when you control the minds of a group of people, you are controlling the people themselves. When corporate behemoths are flooding urban airwaves with messages that serve as a blueprint for black male self-destruction, they are not creating an army of strong black fathers, husbands and scholars. Instead, they are creating an even larger army of pants-sagging, blunt-smoking, tattooed-up, uneducated, STD-infected, impoverished thugs who partner with an already oppressive system to destroy themselves and their families (don’t even pretend that you don’t know a brother who’s chosen this to be his identity, even when he had other options).

Yes, there is much accountability to spread around as politicians maintain inferior schools, fuel the prison industrial complex, turn a blind eye to rampant urban violence and ignore black unemployment (I write on these issues regularly). You can also hold that same system accountable for funding the music that encourages these men to give up on their lives and seek to either kill one another or kill themselves via s****l irresponsibility and drug/alcohol abuse.

But when the oppression gets this deep and insidious, it always takes two to tango. The system is the pimp and our community is the ho, and these relationships don’t work unless both parties are playing their role.
06-17-2013, 07:45 PM,
RE: Black Narcissism, Nigga Behaviour and Hip Hop
Interesting quotes from Dr. Boyce:

''The black kids are the ones who look at the black artist and are tempted to say, “That’s the kind of person I am supposed to be” (even when their parents tell them otherwise). The image is one that is built off the authenticity granted by “the hood,” sold to white Americans and often emulated by black youth either seeking to themselves make money by selling their blackness to white people or to gain the same kind of hood respect that the artist gets for being the alpha male.''

''But when the oppression gets this deep and insidious, it always takes two to tango. The system is the pimp and our community is the ho, and these relationships don’t work unless both parties are playing their role.''

Which manifests as this in Britain:

06-17-2013, 09:27 PM,
RE: Black Narcissism, Nigga Behaviour and Hip Hop
Somewhat tongue in cheek but a good read none the less:


Through clinical observation and case studies, these are the different stages of aggravation we have observed in people affected by the contagious mental illness known as Hip Hop. They are listed from the least severe category to the most severe one.


Maggots are mostly middle class suburban kids or teenagers (and sometimes adults) who just want to be cool.

Social description

Maggots mimic only the visually obvious symptoms of Hip Hop, such as clothing and hand gestures. They are slowly assimilating the body language of Hip Hop, but their mimicking is characterized by a naive form of clumsiness. Maggots don’t tend to surround themselves much with other Maggots. Their apprehension of Hip Hop is superficial at best, and its psychological affects have yet to develop. They are not contagious.

Clinical description

- First stage (not yet a mental illness)
- Mimicking of symptoms has not caused syndrome to develop yet
- Not contagious, socially non dangerous

- Subject may be ridiculed by peers
- Easily reversible: replace Hip Hop with other fad

- Symptoms include: contempt for pragmatic clothing; language and speech deformity; distorted body language

Notable examples: Bow Wow (as a child), Justin Bieber, Kriss Kross, Lil’ Mama, Scumbag Steve, Nick Cannon, Justin Timberlake


Vipers are everyday people who have a hard time perceiving reality outside of Hip Hop.

Social description

Vipers come from all walks of life. Often their interests have been gravitating around Hip Hop since a young age. Vipers see Hip Hop as a milestone of their identity. They tend to model their behavior and aspirations on role models which are accepted and promoted in Hip Hop. Their apprehension of Hip Hop has developed into a value-based system in which the worth of things, ideas and persons depends on standards prevalent in Hip Hop. This can make Vipers contagious if certain people around them are seeking their social approval. Vipers cultivate a tribal herd mentality and therefore often surround themselves with other Vipers.

Clinical description

- Second stage (most widespread stage of the mental illness)
- Mimicking of symptoms has caused syndrome to develop
- Potentially contagious, socially non dangerous yet bothersome

- Subject likely to be ridiculed by peers and excluded from certain social circles
- Reversible: develop deeper sense of self (at need, consult a psychologist)

- Symptoms include: contempt for pragmatic clothing; language and speech deformity; distorted body language; defamation of law and order; hedonism; sexism; egocentrism; narcissism; boastfulness; depreciation of emotivity; self-indulgence; extreme materialism; promotion of self-destructive habits and lifestyles; exultation of egotistical manners; glorification of violence and sexual utilitarianism; vilification of responsible and orderly adult conduct; idolization of [ignorance, misdemeanor, vandalism, weaponry, felony, drug use, drug trafficking, gangsterism, pimping, organized crime, lavish opulence, jail time and murder]

Notable examples: Keith Murray, U-God, Mike Jones, Everlast, Spliff Star, Sean Price, Cappadonna, Flava Flav, Jin (from Ruff Ryderz), Warren G, R.A. The Rugged Man, Pharoahe Monch, Del Tha Funkee Homosapien, Rampage, Fred Durst


Skunks are what Hip Hop refers to as “bitches and hoes.”

Social description

Skunks are the feminine equivalent of Vipers (see above). Skunks exhibit the same type of behavior Vipers do, although through feminine means of expression. Skunks are prone to adopt sexually promiscuous attitudes and styles. In terms of relationships, Skunks will often only see/date Vipers, Scorpions, Cobras or Dragons. Skunks cultivate a tribal herd mentality and therefore often surround themselves with other Skunks.

Clinical description

- Second stage (most widespread stage of the mental illness)
- Mimicking of symptoms has caused syndrome to develop
- Potentially contagious, socially non dangerous yet bothersome

- Subject likely to be ridiculed by peers and excluded from certain social circles
- Reversible: develop deeper sense of self (at need, consult a psychologist)

- Symptoms include: contempt for pragmatic clothing; language and speech deformity; distorted body language; defamation of law and order; hedonism; sexism; egocentrism; narcissism; boastfulness; depreciation of emotivity; self-indulgence; sexual promiscuity; extreme materialism; promotion of self-destructive habits and lifestyles; exultation of egotistical manners; glorification of violence and sexual utilitarianism; vilification of responsible and orderly adult conduct; idolization of [ignorance, misdemeanor, vandalism, weaponry, felony, drug use, drug trafficking, gangsterism, pimping, organized crime, lavish opulence, jail time and murder]

Notable examples: Salt-N-Pepa, Eve, Lisa “Left-Eye” Lopes, Rah Diggah, Lady of Rage, Fergie


Scorpions are gangsters, pimps, drug dealers, thugs and criminals who can’t perceive reality outside of Hip Hop.

Social description

Scorpions actively try to impose their way of seeing life upon other people. They usually do this by disregarding the consequences of their actions upon the lives of others, and this makes them contagious. Scorpions feel they should only make a living with activities promoted in Hip Hop, and by any means necessary. This is why they are most of the time implicated in illegal activities (at best they can be members of legal businesses which offer Hip Hop related goods and services). Scorpions are usually physically violent and proud of it. They model their aspirations on rich criminals and rap stars. Scorpions cultivate a tribal herd mentality and thus often surround themselves with other Scorpions.

Clinical description

- Third stage (advanced stage of the mental illness)
- Mimicking of symptoms has caused syndrome to develop and crystallize
- Contagious, socially dangerous, possibly physically dangerous

- Subject likely to be socially marginalized
- Laboriously reversible: reconstruct sense of self (consult a psychologist)

- Symptoms include: contempt for pragmatic clothing; language and speech deformity; distorted body language; defamation of law and order; hedonism; sexism; egocentrism; narcissism; boastfulness; depreciation of emotivity; self-indulgence; extreme materialism; devaluation of education and family values; promotion of self-destructive habits and lifestyles; exultation of egotistical manners; glorification of violence and sexual utilitarianism; criminal activity; violent attitude; vilification of responsible and orderly adult conduct; idolization of [ignorance, misdemeanor, vandalism, weaponry, felony, drug use, drug trafficking, gangsterism, pimping, organized crime, lavish opulence, jail time and murder]

Notable examples: Necro & Ill Bill, Heenok, Immortal Technique, Big L, Bone Thugs-n-Harmony, Prodigy, Akon, Stack Bundles, La Chat, Mystikal, Messy Marv, Roc Marciano, Three 6 Mafia, Freddie Gibbs, Waka Flocka Flame


Spiders are people who see Hip Hop as something fundamentally positive, moral and intellectual.

Social description

Spiders discredit, negate and deny important tendencies in Hip Hop which are not concerned with intellectual or moral issues, labeling them as corrupted or fallacious forms of Hip Hop. Spiders see the other taxonomy categories as victims of these supposedly corrupted forms of Hip Hop. But they also criticize the other taxonomy categories for not recognizing the real value of Hip Hop, which for Spiders is the ultimate method of propagating knowledge, love, wisdom and understanding. Spiders actively strive to impose their intellectual and moral perception of Hip Hop upon other people, and this makes them contagious. They very often indulge in egotrips in which they portray themselves as brave revolutionaries, fighters of injustice, popular enlighteners, cultural saviors, bringers of social progress and disseminators of secret or sacred knowledge. Spiders cultivate a tribal herd mentality and therefore often surround themselves with other Spiders.

Clinical description

- Third stage (advanced stage of the mental illness)
- Mimicking of symptoms has caused syndrome to develop and crystallize
- Contagious, socially insidious, intellectually harmful

- Subject likely to be socially and intellectually marginalized
- Laboriously reversible: reconstruct sense of self and cognitive patterns (consult a psychologist)

- Symptoms include: contempt for pragmatic clothing; language and speech deformity; distorted body language; unwarranted or hypocritical moral and/or intellectual self-righteousness; defamation of law and order; idolization of marijuana; promotion of self-destructive habits and lifestyles; narcissism; boastfulness; self-indulgence; egocentrism

Notable examples: Common, Lauryn Hill, Guru, Jeru the Damaja, Erykah Badu, KRS-One, Chuck D, Talib Kweli, Queen Latifah, k-os, Slug, Afrika Bambaataa


Cockroaches are Hip Hop social debris.

Social description

Cockroaches are hard drug abusers who exhibit a strong attachment to Hip Hop. Generally poor or even homeless, Cockroaches are usually rambling crackheads deliriously obsessed with Hip Hop. They are often criminally violent, but rarely in premeditated ways. They mostly commit crimes on the go to gain a bit of money to buy their next fix. Although not very contagious, their severe drug addiction can entice them to hook up other people in order to rob them while they are unconscious, or simply in order to gain crack buddies with whom to freestyle.

Clinical descritpion

- Fourth stage (very advanced stage of the mental illness)
- Syndrome fully crystallized
- Contagious, socially disruptive, extremely unhealthy

- Subject lives in the marginal extremes of society
- Almost irreversible: temporary isolation and full-fledged therapy required

- Symptoms include: contempt for pragmatic clothing; language and speech deformity; distorted body language; defamation of law and order; hedonism; sexism; egocentrism; narcissism; boastfulness; depreciation of emotivity; overt celebration of savage capitalism; devaluation of education and family values; promotion of self-destructive habits and lifestyles; exultation of egotistical manners; glorification of violence and sexual utilitarianism; criminal activity; violent attitude; drug abuse; self-deprivation; vilification of responsible and orderly adult conduct; idolization of [ignorance, misdemeanor, vandalism, weaponry, felony, drug use, drug trafficking, gangsterism, pimping, organized crime, jail time and murder]

Notable examples: Ol’ Dirty Bastard, J Swift


Cobras are rap artists who have attained high levels of social and economic success through Hip Hop.

Social description

Cobras receive important popular attention for their work as artists and businessmen and they see other victims of Hip Hop as potential clients. In fact, one of their main objectives is to gain as many admirers/followers as possible, because it ensures their economic well-being. This makes Cobras highly contagious, because they purposefully aim to make people idolize and imitate them. Cobras are often present in the media, and their social and economic success makes them dangerously influential role models and idols for Maggots, Vipers, Skunks, Scorpions and Cockroaches alike. Especially with the help of new media and the Web 2.0, many Cobras are on the road to becoming Dragons.

Clinical description

- Fourth stage (very advanced stage of the mental illness)
- Syndrome fully crystallized
- Highly contagious, socially disruptive and dangerous

- Subject benefits materially and socially from contaminating others
- Almost irreversible: temporary isolation and full-fledged therapy required

- Symptoms include: contempt for pragmatic clothing; language and speech deformity; distorted body language; unwarranted or hypocritical moral and/or intellectual self-righteousness; defamation of law and order; hedonism; sexism; egocentrism; narcissism; boastfulness; depreciation of emotivity; self-indulgence; extreme materialism; overt celebration of savage capitalism; devaluation of education and family values; promotion of self-destructive habits and lifestyles; exultation of egotistical manners; glorification of violence and sexual utilitarianism; criminal activity; violent attitude; vilification of responsible and orderly adult conduct; idolization of [ignorance, misdemeanor, vandalism, weaponry, felony, drug use, drug trafficking, gangsterism, pimping, organized crime, lavish opulence, secret societies, demon worship, jail time and murder]

Notable examples: A$AP Rocky, T.I., Lil’ Kim, DMX, Booba, Lil Jon, Redman, Ghostface, Eazy E, Big Daddy Kane, French Montana, Drake, Missy Elliott, Ja Rule, Ludacris, Wiz Khalifa, Soulja Boy Tell ‘Em, Nicki Minaj, Rakim, Rick Ross, 2 Chainz


Dragons are rap superstars who have attained the highest possible levels of social and economic success through Hip Hop.

Social description

Dragons are considered “legends” in terms of Hip Hop references. But their fame is not limited only to Hip Hop, because everybody knows who they are. Indeed, Dragons receive massive amounts of popular attention for their work as artists and businessmen, and they literally enjoy cult followings. Moreover, they see other victims of Hip Hop as potential clients. In fact, one of their main objectives is to gain as many admirers/followers as possible, because it ensures their economic well-being and stardom. This makes Dragons exceedingly contagious, because they purposefully aim to make millions of people idolize and imitate them. They are often viewed as respectable self-actualized individuals by many members of society from various backgrounds. Dragons are present in the media on a daily basis, and the immense scale of their social and economic success makes them dangerously influential role models and idols not only for all Maggots, Vipers, Skunks, Scorpions, Cockroaches and Cobras, but also for the vast majority of everyday normal people.

Clinical description

- Fifth stage (final stage of the mental illness)
- Syndrome fully crystallized
- Exceedingly contagious, massively socially disruptive and dangerous

- Subject greatly benefits materially and socially from contaminating others and is viewed as a mainstream model of success
- Irreversible: lifelong isolation required

- Symptoms include: contempt for pragmatic clothing; language and speech deformity; distorted body language; unwarranted or hypocritical moral and/or intellectual self-righteousness; defamation of law and order; hedonism; sexism; egocentrism; narcissism; boastfulness; depreciation of emotivity; self-indulgence; extreme materialism; overt celebration of savage capitalism; devaluation of education and family values; promotion of self-destructive habits and lifestyles; exultation of egotistical manners; glorification of violence and sexual utilitarianism; criminal activity; vilification of responsible and orderly adult conduct; idolization of [ignorance, misdemeanor, vandalism, weaponry, felony, drug use, drug trafficking, gangsterism, pimping, organized crime, lavish opulence, secret societies, demon worship, jail time and murder]

Notable examples: Eminem, Snoop Dogg, 50 Cent, Sean “Puffy” Combs, Tupac Shakur, The Notorious B.I.G., Dr. Dre, Kanye West, Lil Wayne, Jay-Z
06-19-2013, 03:00 PM,
RE: Black Narcissism, Nigga Behaviour and Hip Hop
This next article implicitly touches on themes of culture creation and predictive programming:

Quote:Rapper Attitude in Designer Diamonds and Furs : Ghetto Fabulous Goes Global

By Robin Givhan

Published: October 9, 1999

The origins of the phrase "ghetto fabulous" are murky at best. Some suggest that its roots reach back to the first time the term ghetto was used to describe downtrodden communities populated by a single ethnic group. But the notion of ghetto fabulous did not become a popular one, did not enter the phrase book of cultural slang, until the hip-hop generation left its apartments, tenements and track houses and headed straight for designer boutiques.

Ghetto fabulous now refers to a style that merges ethnic eccentricities with runway chic. It is inner-city attitude mixed with Milanese glamour. Chanel meets Kangol. Thugs in platinum and diamond rings sipping Cristal champagne. Three-inch-long fingernails painted to match the latest offerings from Dolce & Gabbana.

To say that ghetto fabulous is the equivalent of nouveau riche tackiness would be too simplistic. It is far more complicated than that and not quite in such bad taste. To be sure, there is a certain amount of label worship involved, whether it is the rapper Foxy Brown in a Chanel bikini or the hip-hop entrepreneur Sean (Puffy) Combs in a Versace suit.

But just slipping into designer duds does not make one ghetto fabulous. The clothes must be accompanied by an "I'm-gettin'-paid" attitude. One must have arrived at an impressive level of wealth and prestige, but memories of the old neighborhood and the old struggles must linger vividly.

Some have equated ghetto fabulous with the moniker "Euro-trash." As with the stereotype of the aggressively hip, cigarette-smoking, laconic European, to be called ghetto fabulous is at once denigrating and desirable. Both connote an enviable, indulgent glamour accompanied by exoticism, leisure and don't-mess-with-me-attitude.

After bubbling up for the better part of this decade, ghetto fabulous has hit the mainstream. The phrase is spoken knowingly in the suburbs, and the style — or at least a valiant facsimile of it — can be found at the local mall. And it's on the runways, influencing designers and helping to drive sales up.

THE best example of ghetto fabulous can be found in the aggressively hyped lifestyle of Combs, who brags of polishing his Bentley to a blinding gleam, poses for fashion spreads in purple-dipped mink coats and has been accused of cracking a nemesis over the head with a bottle of pricey champagne. That is ghetto fabulous taken to the extreme.

The artist Mary J. Blige dresses in Dolce & Gabbana and knows her way around the Fendi accessories department, but she also can sing about the woes of being a single black woman trying to make ends meet and put her life in order. And there is, of course, the rapper Foxy Brown, who has made a name for herself with raunchy lyrics that refer to men and to women by all manner of obscene slang. But she does so while decked out in the best that Gucci has to offer.

Being ghetto fabulous can also exact a high price. Consider this: After laying claim to two top-selling albums, Foxy Brown told the African-American women's magazine Essence that she has become ambivalent about her image. Her ghetto fabulous style, colored by an arguably vulgar sexuality, has taken on a life of its own. Foxy's record label, Def Jam, turned her into a "ghetto glamour girl" — hard-talking attitude draped in a mink coat, and nothing more.

The young performer's style is a direct offshoot of another hip-hop dictum: anything and everything for the money. "When you're 15, have stars in your eyes, and are kicked back one day in a high school science class, and the next in a limo while sportin' Gucci, diamonds and low self-esteem, you may not realize the kind of exploitation bandwagon you're hitching your soul to — or what it might take to get it unhitched," Essence wrote.

Ghetto fabulous, the newest form of conspicuous consumption, has begun to trickle down to the fans of the music and to influence the designers themselves. The work of less culturally edgy labels such as Christian Lacroix and Via Spiga have entered the vernacular of young folks far removed from the labels' assumed audience.

Youths don't aspire to the hottest new $150 sneakers, but the new pair of $3,000 Gucci jeans. Kids can talk knowingly about Chanel accessories, the new Prada shoe and a host of other products by designers whose names they can't even pronounce. The more expensive and flashy, the better. Is there any reason the girl group Destiny's Child sings, "Can you pay my bills?"

Ghetto fabulous has changed the look of fashion. Hip-hop artists were among the first to validate a renewed emphasis on designer labels. It was no accident that the leather goods firm Louis Vuitton recruited the rapper Grandmaster Flash a few years ago for an advertising campaign aimed at freshening up the company's image.

It is no coincidence that with the rise of ghetto fabulous came a return to Las Vegas glitz and the resurrection of designer initials dancing across handbags, belt buckles, shoes, trousers and blouses. Guaranteed, it was not the ladies of Palm Beach who were begging for a pair of leather jeans covered in the Fendi logo. It's tough to image anyone other than a swaggering ghetto glamour queen sporting one of Gucci's big yellow fox chubbies from several seasons ago. And Versace glitz is best suited for a champagne-swigging rapper loaded down with cell phones and diamond pendants and an entourage that hits the double digits and, of course, includes a masseuse.

Ghetto fabulous began as simply a celebration of success, the realization of childish dreams of fur coats, big cars and sparkling diamonds that were born in some of the most deprived U.S communities. That giddiness has transformed into an almost drunken indulgence in expensive toys by the newly rich.

One suspects that the label lust of today's artists is not so far removed from the desire for prestige felt by artists who came of age during other decades. And just as those decades spawned a host of styles, the hip-hop artists of the '90s who have embraced ghetto fabulous — and not all of them have gone this route — have taken much of fashion with them.

As the performers increasingly become icons of style, any alliance with them can prove lucrative for a designer. Is it any wonder that names such as Combs, Mary J. Blige and Lil' Kim are regularly taped to the back of a front-row fashion show seat? They have the ability, just by slipping on a designer jacket, to bestow it with instant cool. And smart designers not only vie for that honor but would do well to make sure their labels are visible enough so that there is no mistaking precisely who the big winner is.
06-25-2013, 11:38 AM,
RE: Black Narcissism, Nigga Behaviour and Hip Hop
Quote:Man tries to rob people in line for LeBron James sneakers, is shot and killed

Atlanta (CNN) -- A man, who tried to rob a group of people waiting in line to buy the new $180 LeBron James sneakers, was shot and killed when one of the customers pulled out a gun, Atlanta police said.

The incident took place before dawn Saturday outside a shoe store in Atlanta's Little Five Points area.

The group was waiting for the store to open for the day so they could buy the LeBron X Denim on its first day of release.

Police said the man approached the group with a gun in hand and tried to rob them.

One of the men in the group took out his own handgun and fired, said Atlanta police spokesman Carlos Campos.

"A number of witnesses were interviewed and this appears to be self-defense," he said.

Campos said the customer was not charged.

Another customer in line, Taylor White, told CNN affiliate WSB-TV that the would-be robber should have thought twice.

"I didn't even expect him to come up here, thinking it was that sweet. Thinking it's that candy land like that," White said. "He wanted to pickpocket everybody. But people out here, they weren't going for none of that."

Where Piers Morgan at?
08-05-2013, 02:38 AM,
RE: Black Narcissism, Nigga Behaviour and Hip Hop
Quote:Capitalist Nigger: The Road to Success - A Spider Web Doctrine

June 18, 2004


The Road To Success

by Chika Onyeani

Review by David Greaves


Our Times Press, New York

(PRWEB) June 15, 2004 -- Proudly declaring himself a "Capitalist Nigger", Chika Onyeani is sick and tired of black people being sick and tired. In chapter after chapter of his book, "Capitalist Nigger," he looks at black people and finds them wanting.

In this no-holds-barred book, which excels as an explosive and jarring indictment of the Black race, Onyeani asserts that the Negroid race, as naturally endowed as any other, is culpably a non-productive race. "The Black race," the book charges, "is a consumer race and depends on other communities for its culture, its language, its feeding, and its clothing. Despite enormous natural resources, Blacks are economic slaves because they lack the "devil-may-care" attitude and the "killer-instinct" of the Caucasian, as well as the spider web economic mentality of the Asian."

At a time when Indians and the Pakistanis have both detonated the atom bomb, when China is providing the technology for quick acceleration of launching satellites into orbit, Africans still don't have the capacity even to refine their oil for themselves."

Dr. Onyeani is equally disdainful of blacks on this continent, noting, "In Black America today, the situation is the same as in Africa. Blacks make up the second-largest group of Americans. Economically, Black American communities are under occupation by others.

I have been spending a lot of time lately in Harlem - the so-called capital of Black America. Boasting about such a place as a capital of Black America is one of the greatest insults that could be bestowed on African-Americans. It is an insult. From the hub of Harlem, 125th Street, you can understand what I am saying. Here is a so-called capital of 36 million people. Going from one establishment to another in Harlem, all the people I saw behind the counter were not people of my color. Approximately 95% of the people who live in Harlem are Blacks. Conversely, only 10% of the buildings in Harlem are owned by Blacks." He is aghast at how other races and nationalities can pull themselves up by economic bootstraps, while black people remain consumers and not producers.

He finds that coming from the continent richest in natural resources, Africans cannot convert these resources into products. In fact, the Africans themselves are used simply as another tool in extracting the raw materials and shipping them overseas where they are converted into products and devices that blacks buy, but do not make.

Using at times overly broad strokes, Dr. Onyeani excoriates the Black race, declaring it stupid, saying that it needs to change or forever be condemned to a life of servitude and to eventually watching the race fade away

"The collective irresponsibility of a race is what is so astonishing. Europeans came to Africa in the 1600s. They had already possessed the gun. Black people were still using the bow and arrow. Millions of Black people were killed and millions more were taken as prisoners. They were brought as slaves to the shores of America.

We have just entered the 21st century. The intelligence of a race comes into question when, after more than 500 years, the descendants of the people who were conquered still rely on the same enemy who killed millions of their people and took millions prisoners and slaves….If I were a Caucasian, I would find it quite comical that these dumb-assed idiots are incapable of learning a lesson or two since the first Spanish armada landed in Africa."

"The authentic education of the African will start not just with changing the historical, cultural, political and economic history books of our schools…. Our authentic education will start when we endeavor to produce the goods we consume; our authentic education will start when we start parallel organizations to the Europeans, Japanese and Caucasian Americans and stop the dependency mentality."
The subtitle of the book is The Road to Success - The Spider Web Doctrine. This is the notion that when money enters the community's economic web, it does not leave.

Onyeani puts the responsibility for the change on the man in the mirror and slaps him around enough to shake him out of it and make him think, which is always a good start.

Thanks, I needed that.

Dr. Chika Onyeani is an acclaimed writer and author, whose no-holds barred controversial book, "Capitalist Nigger: The Road to Success - A Spider Web Doctrine," has sold more than 25,000 copies, and is in its third printing, soon to go into its fourth printing. "Capitalist Nigger" is already being used in more than 15 colleges as an required reading. Born in Nigeria, Onyeani is the publisher of the successful and only weekly African newspaper, "The African Sun Times." Onyeani recently became the first ever Nigerian in the history of the NAACP in America to receive the Black Heritage Award during a ceremony of the Black History Month on February 22, 2004, for his lifetime devotion to the cause of freedom, justice, equality and the personal dignity of humankind.
08-05-2013, 02:38 PM,
RE: Black Narcissism, Nigga Behaviour and Hip Hop
Quote:Hip-hop’s dangerous values

The Washington Times

Saturday, March 27, 2004

Black teen girls don’t get much respect, not even from each other. That’s just one of the startling findings of a recent study of the sex and gender attitudes of low-income black teenagers. It offers new evidence, as if we needed it, to me and to other parents of black teenagers that the standards of “black authenticity” promulgated in hip-hop culture are not only too narrow but downright dangerous.

With funding from the Ford Foundation and the California Endowment, MEE (Motivational Educational Entertainment) Productions Inc., a marketing firm that specializes in the buying patterns of urban youths, conducted a 10-city research study of teens aged 16 to 20 years old.

The study found black urban youth from households earning under $25,000 a year to be remarkably untouched by positive messages from schools, parents, the media and health-care providers about responsible sexual behavior.

But the teens did display attitudes consistent with the cool macho pose of hip-hop rappers. Their mottoes: “Use or be used,” among others, and “Get it while you can.”

And, consistent with a culture that uses “bitches” and “ho’s” as labels for every woman but one’s mama, the study reveals, “Black females are dissed by almost everyone,” including other black females.

Compare, for example the half-dozen slang nouns in the study’s glossary that are used to describe males (“Dog… homeboy… playa… lame… sugar daddy… payload”) with some of the words used by both teen boys and teen girls in the survey to describe women: “skeezer… ‘hood rat… ‘ho… trick… freak… bitch… gold digger… hoochie mama.”

The study of the “hip-hop generation” fails to pin down the big question: Does rap music and other hip-hop culture influence teens or merely mirror the culture that teens already have created? The answer is probably both.

Born since the mid-1980s, today’s teens grew up awash in hip-hop and so did their parents. The sad consequences have been a narrow and distorted view among many black youngsters, among others, of what it means to be black.

It was back in the 1960s, I painfully recall, that “authenticity” began to replace the more generalized “cool” as the standard for acceptable tastes and behavior among black youths. It was a period marked by big Afros, dashikis, bib overalls, jungle combat boots and a propensity for greeting each other with defiantly raised fists. Ah, youth.

Such was the “authentic” look among black college students, of which I was fortunate enough to be one in the late ‘60s. The “authentic black” came to define a person who did not “sell out” to bourgeois middle-class standards, the same values that enabled our families to prepare us for college in the first place.

Even if we aging black Baby Boomers no longer buy that narrow notion of blackness, a lot of our kids and grandkids do. In 1986, Signithia Fordham and the late John Ogbu shocked many with a landmark study of “oppositional cultural identity” in black teens who derogate academic achievement by their peers as “acting white.”

Still, there are signs of hope. Among those who expressed some pretty raunchy attitudes in the MEE study, some also praised certain hip-hop artists as more “positive” and called for more “message” in pop music.

And in another section headlined, “Wish I woulda waited: The secret allure of virgins,” many sexually active youths said sex wasn’t all they had hoped and that they wish they had waited until they were married or at least older.

And many of the young men, in a reflection of times past, in the study still showed significant respect for virginity they would not express outside the group. Girls who don’t “give it up” are males’ top choices for long-term partners.

What is to be done? Pardon my dangling prepositions, but like other generations, today’s youths probably are just looking for someone to look up to and something to believe in.

We, their elders need to provide it. We need not only to reach out and show the world a broader vision of what black culture is all about, but also to reach back and mentor our least-privileged youngsters. They’re not going to learn life’s valuable lessons from CDs alone.
08-05-2013, 03:39 PM, (This post was last modified: 08-05-2013, 03:53 PM by R.R.)
RE: Black Narcissism, Nigga Behaviour and Hip Hop

08-10-2013, 11:07 PM,
RE: Black Narcissism, Nigga Behaviour and Hip Hop
Reposted from the Consumer Behaviour thread

Quote:Inconspicuous Consumption

Virginia Postrel Jul 1 2008, 12:00 PM ET

About seven years ago, University of Chicago economists Kerwin Kofi Charles and Erik Hurst were researching the “wealth gap” between black and white Americans when they noticed something striking. African Americans not only had less wealth than whites with similar incomes, they also had significantly more of their assets tied up in cars. The statistic fit a stereotype reinforced by countless bling-filled hip-hop videos: that African Americans spend a lot on cars, clothes, and jewelry—highly visible goods that tell the world the owner has money.

But do they really? And, if so, why?

The two economists, along with Nikolai Roussanov of the University of Pennsylvania, have now attacked those questions. What they found not only provides insight into the economic differences between racial groups, it challenges common assumptions about luxury. Conspicuous consumption, this research suggests, is not an unambiguous signal of personal affluence. It’s a sign of belonging to a relatively poor group. Visible luxury thus serves less to establish the owner’s positive status as affluent than to fend off the negative perception that the owner is poor. The richer a society or peer group, the less important visible spending becomes.

On race, the folk wisdom turns out to be true. An African American family with the same income, family size, and other demographics as a white family will spend about 25 percent more of its income on jewelry, cars, personal care, and apparel. For the average black family, making about $40,000 a year, that amounts to $1,900 more a year than for a comparable white family. To make up the difference, African Americans spend much less on education, health care, entertainment, and home furnishings. (The same is true of Latinos.)

Of course, different ethnic groups could simply have different tastes. Maybe blacks just enjoy jewelry more than whites do. Maybe they buy costlier clothes to deter slights from racist salesclerks. Maybe they spend more on cars for historical reasons, because of the freedom auto travel gave African Americans during the days of segregated trains and buses. Maybe they just aren’t that interested in private colleges or big-screen TVs. Or maybe not. Economists hate unfalsifiable tautologies about differing tastes. They want stories that could apply to anyone.

So the researchers went back to Thorstein Veblen, who coined the term conspicuous consumption. Writing in the much poorer world of 1899, Veblen argued that people spent lavishly on visible goods to prove that they were prosperous. “The motive is emulation—the stimulus of an invidious comparison which prompts us to outdo those with whom we are in the habit of classing ourselves,” he wrote. Along these lines, the economists hypothesized that visible consumption lets individuals show strangers they aren’t poor. Since strangers tend to lump people together by race, the lower your racial group’s income, the more valuable it is to demonstrate your personal buying power.

To test this idea, the economists compared the spending patterns of people of the same race in different states—say, blacks in Alabama versus blacks in Massachusetts, or whites in South Carolina versus whites in California. Sure enough, all else being equal (including one’s own income), an individual spent more of his income on visible goods as his racial group’s income went down. African Americans don’t necessarily have different tastes from whites. They’re just poorer, on average. In places where blacks in general have more money, individual black people feel less pressure to prove their wealth.

The same is true for whites. Controlling for differences in housing costs, an increase of $10,000 in the mean income for white households—about like going from South Carolina to California—leads to a 13 percent decrease in spending on visible goods. “Take a $100,000-a-year person in Alabama and a $100,000 person in Boston,” says Hurst. “The $100,000 person in Alabama does more visible consumption than the $100,000 person in Massachusetts.” That’s why a diamond-crusted Rolex screams “nouveau riche.” It signals that the owner came from a poor group and has something to prove.

So this research has implications beyond race. It ought to apply to any peer group perceived by strangers. It suggests why emerging economies like Russia and China, despite their low average incomes, are such hot luxury markets today—and why 20th-century Texas, a relatively poor state, provided so many eager customers for Neiman Marcus. Rich people in poor places want to show off their wealth. And their less affluent counterparts feel pressure to fake it, at least in public. Nobody wants the stigma of being thought poor. Veblen was right.

But he was also wrong. Or at least his theory is out of date. Given that the richer your group, the less flashy spending you’ll do, conspicuous consumption isn’t a universal phenomenon. It’s a development phase.
It declines as countries, regions, or distinct groups get richer. “Bling rules in emerging economies still eager to travel the status-through-product consumption road,” the market-research group Euromonitor recently noted, but luxury businesses “are becoming aware that bling isn’t enough for growing numbers of consumers in developed economies.” At some point, luxury becomes less a tool of public status competition and more a means to private pleasure.


Quote:Who Likes Bling? The Answer Relates to Social Status

Dec. 17, 2012

A desire for expensive, high-status goods is related to feelings of social status -- which helps explain why minorities are often attracted to bling, a new study suggests.

Previous research had shown that racial minorities spend a larger portion of their incomes than do whites on conspicuous consumption -- buying products that suggest high status.

But a new study showed that whites could be induced to crave expensive, high-status products if they imagined themselves in a low-status position.

These findings cast doubt on the notion that urban minorities have developed a corrosive "bling culture" that is unique to them, said Philip Mazzocco, lead author of the study and assistant professor of psychology at Ohio State University's Mansfield campus.

"Minorities don't buy high-status products because of some 'bling culture.' It is a basic psychological tendency that we all share when we're feeling inferior in some part of our life," Mazzocco said.

"Anyone who is feeling low in status is going to try to compensate. And in our capitalistic, consumption-oriented society, one way to compensate is to buy high-status products."

Mazzocco conducted the study with Derek Rucker, Adam Galinsky and Eric Anderson of Northwestern University. The findings appear in a recent issue of the Journal of Consumer Psychology.

For the study, the researchers conducted several related experiments.

In the first experiment, 146 American adults -- about half white and half black -- were told they would be participating in a study of consumer preferences. They were asked to rate how positively or negatively they viewed 10 products on a nine-point scale from "extremely negative" to "extremely positive."

Five of the products had been rated by a separate group of people as high in status (fur coat, cuff links, caviar, an Italian suit and Italian loafers), while five were rated as relatively low in status (vacuum cleaner, sofa, refrigerator, washing machine and an unbranded shirt).

The study found that, overall, blacks had more positive evaluations of the high-status products than did whites. But more importantly, blacks who considered their race to be an important part of their identity rated high-status goods higher than did blacks who had lower racial identification.

There was no such difference among whites in the study.

"Because African Americans are seen as lower in status in our society, those who identify more strongly with being black are more likely to compensate by seeking high-status goods," Mazzocco said.

A second study provided more evidence of the role that status plays in conspicuous consumption. In this experiment, 117 white college students were asked to write a story in which they imagined themselves as a character with certain demographic characteristics.

In all cases, the demographic characteristics -- including income -- remained the same. But half of the students were asked to imagine their character was white, and half were told their character was black.

Afterward, the participants were asked to rate the desirability of high-status and low-status products. Findings showed that the white students who imagined themselves as a black character rated the high-status products as more desirable than did the white students who imagined themselves as white characters.

"We called this vicarious conspicuous consumption. White students who temporarily identified with a low-status racial group showed an increased desire for high-status products," Mazzocco said.

The findings don't relate only to race, he said. Another study showed that other situations involving status can affect how people feel about conspicuous consumption.

In this experiment, 50 white adults were again asked to write a story imagining themselves as a specific character. In this case, the character was always described as being white. But in half the cases the character was a janitor (a low-status job) and in the other half the character was a brain surgeon (a high-status job).

The findings were clear. Participants who imagined themselves as a janitor had more positive evaluations of high-status products than did the participants who imagined themselves as brain surgeons.

In a final experiment, 69 white adults wrote a story in which they imagined themselves as a white or black character. In this case, they rated their desire to own or purchase specific high- and low-status products. They were then asked to rate the level of social status of the character they wrote about, on a scale of 1 to 10.

In this case, the participants who wrote about the black character were more likely to say they wanted to purchase the high-status products, similar to findings in the earlier studies. And they also rated their character as having lower social status than did the participants who wrote about a white character.

"This provides additional evidence that it is a perception of having low status that is driving the increased preference for high-status products," Mazzocco said.

"It suggests that people don't like being in a low-status situation, and they compensate for that by trying to acquire high-status products."

Mazzocco said having this knowledge may help people as they're shopping.

"If you're in a store and find yourself craving an expensive 60-inch flat-screen TV, think about why you want it. It may not be because of the positive attributes of the TV, but because you have a feeling of low status in some part of your life at that time.

"Think about parts of your identity where you excel. Maybe you're a good father or mother, or a good student or a good friend. There are many parts to our identity, and it may help to call to mind parts where we feel we have higher status when we're shopping."

Mazzocco said future studies will examine whether people can resist conspicuous consumption when they call to mind parts of their lives where they feel they have high status.
08-11-2013, 04:38 AM,
RE: Black Narcissism, Nigga Behaviour and Hip Hop
Reposted from the narcissism thread:

Quote:Racial differences in narcissistic tendencies


Black individuals have been found to report the highest levels of self-esteem of any racial group in the United States. The purpose of the present research was to examine whether Black individuals also report higher levels of narcissism than White individuals. Study 1 (N = 367) found that Black individuals reported higher levels of narcissism than White individuals even when controlling for gender, self-esteem level, and socially desirable response tendencies. Study 2 (N = 967) and Study 3 (N = 315) found similar results such that Black individuals reported higher levels of narcissism than White individuals on the narcissism measures that captured less pathological facets of this construct. Study 3 also included indicators of psychological adjustment and found that the pathological aspects of narcissism were more strongly associated with maladjustment for Black individuals than for White individuals. The implications of these results for understanding the Black self-esteem advantage are discussed.

Quote:Race and self-esteem: meta-analyses comparing whites, blacks, Hispanics, Asians, and American Indians and comment on Gray-Little and Hafdahl (2000)


These meta-analyses examine race differences in self-esteem among 712 datapoints. Blacks scored higher than Whites on self-esteem measures (d = 0.19), but Whites scored higher than other racial minority groups, including Hispanics (d = -0.09), Asians (d = -0.30), and American Indians (d = -0.21). Most of these differences were smallest in childhood and grew larger with age. Blacks' self-esteem increased over time relative to Whites', with the Black advantage not appearing until the 1980s. Black and Hispanic samples scored higher on measures without an academic self-esteem subscale. Relative to Whites, minority males had lower self-esteem than did minority females, and Black and Hispanic self-esteem was higher in groups with high socioeconomic status. The results are most consistent with a cultural interpretation of racial differences in self-esteem.
08-13-2013, 09:06 PM,
RE: Black Narcissism, Nigga Behaviour and Hip Hop
Quote:Illegal buttocks injections kill, maim women

August 06, 2013 12:15AM

WOMEN across the US are risking their lives for black-market procedures to make their buttocks bigger, often involving home-improvement materials such as silicone injected by people with no medical training.

Some want to fill out a bikini or a pair of jeans. Others believe a bigger bottom will bring them work as music video models or adult entertainers. Whatever the reason, they are seeking cheaper alternatives to plastic surgery — sometimes with deadly or disfiguring results.

Deaths from black market buttocks injections have been reported in Alabama, Georgia, Florida, Pennsylvania, Nevada and New York. An interior decorator in Mississippi faces trial in the deaths of two women who were injected at her house.

Though there is little data on the procedures or injuries they cause, doctors and authorities say they are seeing them more often. Online forums used to set up the illegal procedures have attracted thousands of responses. Some men also seek out buttocks enhancements, but the procedures are much more popular among women.

Very big buttocks have been popular in hip-hop videos for years, celebrated by songs like the 1990s hit Baby Got Back by Sir Mix-a-Lot, with lyrics declaring, "I like big butts and I cannot lie."

But Dionne Stephens, an assistant professor of psychology at Florida International University who studies race, gender and sexuality in hip-hop culture, said celebrities such as Jennifer Lopez, Beyonce and Kim Kardashian have made the shapely body part popular among an increasing number of women of all races and ethnicities.

The problem is that some of them toss caution aside when black market procedures are the only ones they can afford.

"It is very scary that this is happening," Ms Stephens said.

For 46-year-old Apryl Michelle Brown, the path to a black-market injection started with people teasing her as a child about having a "pancake butt."

Years later, a woman walked in Brown's beauty salon in California and told her she could make her butt bigger with injections. It seemed like "divine intervention," Ms Brown recalls.

"It was just something I felt inside of me, that I felt would make me better. I just didn't want the pancake booty anymore," she said.

The following week, she was at the woman's house getting injections and followed up later with more.

It wasn't long before the injection sites got hard and excruciatingly painful. Ms Brown eventually began looking for doctors to remove the material, which she learned was an industrial silicone available at a home improvement store.

After surgery in 2011, a staph infection left her near death. Both hands and feet were amputated.

Today, Ms Brown has a website and speaks on the topic, trying to convince others that they are beautiful the way they are.

"I would never want anybody else to go through this, not even lose one finger, much less all their limbs," she said.

Despite a lack of hard numbers, there's anecdotal evidence that the illegal procedures are becoming more common.

In April 2007, someone posted this question on the website "is there any truth to this madness about some type of butt injections to make your butt bigger someone enlighten me."

There have been more than 14,000 responses, with new ones almost every day. Some of the responses are horror stories. More of them go like this one, posted recently: "Does anyone know of a good injector in Los Angeles County?"

Or this one on July 10, "Safe reliable injector will be in NJ the week of the 15th. Booking appointments now."

Investigators say Karima Gordon, a Georgia woman who died after getting injections in Mississippi in 2012, used the internet to find someone to inject her.

First, she connected with an adult entertainer and hip hop model named Natasha Stewart, who goes by the moniker Pebbelz Da Model. The two met in New York and Gordon paid Stewart $US200 ($224) for a referral, prosecutors say. Authorities say Gordon was told the injections would be performed by a trained medical professional.

In March 2012, Gordon drove with a friend from Atlanta to Jackson, Mississippi, to the home of 53-year-old Tracey Lynn Garner, also known as Morris Garner, a floral and interior decorator with no medical training. The cost was $US1,500. Early in the case, authorities referred to Garner as a man, but her attorney says she had surgery to change gender.

Gordon died of blood clots in her lungs a few days later. There was so much of a "silicone-like" substance in her buttocks that it spilled onto the floor and "all over the place" when a medical examiner cut into her during the autopsy, according to an investigator's testimony from September.

Garner and Stewart, 40, are currently charged in Hinds County, Mississippi, with depraved-heart murder. They have pleaded not guilty. They are scheduled for trial next year.

A gag order in the case prohibits attorneys from commenting.

Garner was later charged in the 2010 death of an Alabama woman and also pleaded not guilty to that charge.

Authorities haven't said what substance Garner used, though industrial silicone has been used in other cases.

Dr John Martin, a plastic surgeon in Coral Gables, Florida, said illicit cosmetic procedures have become common. Sometimes multiple people are injected in hotel rooms in "pumping parties."

Some people have silicone injected in their faces, where it can cause protruding, rock-hard nodules, but it's easier to treat than the large amounts injected into the buttocks. It's so difficult to remove very large amounts of silicone from the buttocks that many doctors, including Dr Martin, won't even try.

"When you put in a large amount of silicone, it can drift. If I fill your butt with this huge amount of silicone, it can run down your leg and you have to get your leg amputated," Dr Martin said.

It can also cause infections and blood clots. If the needles hit a blood vessel, the silicone can enter the blood stream and work its way to the lungs, Dr Martin said.

Doctors won't perform buttocks injections, but they do offer lifts and buttocks implants. Doctors performed more than 3,700 of those legal procedures last year, generating more than $US17 million, according to the American Society of Plastic Surgeons.

The average fee for a legal buttocks implant is $US4,670, according the organization.

In a Florida criminal case, Shatarka Nuby paid $US2,000 for injections at people's homes, according to police reports.

Nuby died on March 17, 2012, while serving a prison sentence for using fraudulent credit cards, including for professionally done breast implants.

She had gotten the illegal buttocks injection numerous times from 2007 to 2011, authorities say, and died from acute and chronic respiratory failure from the silicone.

Oneal Ron Morris — who was born a man, identifies as a woman, and goes by the name of Duchess — is charged with Nuby's death. Nuby's aunt told investigators that she watched some of the injections. Morris' lawyer didn't respond to a message.

Morris told Nuby's aunt at one time that she was using silicone from Home Depot, according to a police affidavit that charged Morris with manslaughter in July 2012.

The aunt said she could "see the butt rise" when the substance was injected. It was sealed with cotton balls and superglue.

Morris, according to the affidavit, assured the women "that the substances she was injecting into Shatarka Nuby would not hurt her."
08-28-2013, 11:13 PM,
RE: Black Narcissism, Nigga Behaviour and Hip Hop

Published on May 10 2011

Interview with: Thomas Chatterton Williams

Interview by: Marc Smirnoff

Thirty-year-old Thomas Chatterton Williams makes so many important arguments in his memoir/social critique, Losing My Cool: How a Father's Love and 15,000 Books Beat Hip-Hop Culture, and makes them so eloquently, that he should be familiar to us through spunky interviews on Oprah, Charlie Rose, and The Colbert Report. That his cool, icy analysis is, for some, too hot to handle might be one reason we don't hear more talk of him. Certainly, it would be very tricky to argue that his theme—the crisis with black youth—is not worth our attention.

Important or not, criticizing the culture of hip-hop is a quick way to get yourself slammed and even labeled as racist. But Williams comes honestly to his criticism. Unlike Bill Cosby—or me, for that matter—he grew up in a hip-hop neighborhood and experienced firsthand the lifestyle and thinking promulgated by it. Also, he actually loves the music. It's merely the genre's verbal messages—its over-the-top secular preaching—that he asks us to consider. The thesis of Losing My Cool is simply that by hyping up hip-hop to the exclusion of all else, you rob black youth (and all shades of youth) of the ability to experience other mindsets, other possibilities—other career choices.

Williams contends that thug-life fantasies are sold because they are profitable commodities—follow the money, follow the money—not because they capture the totality of the black experience. These fantasies distort reality in order to confuse children and get their money—in so doing, hip-hop is toying with heavy consequences.

Williams's critique is melded with his story of growing up in a fairly tough New Jersey neighborhood. His progression beyond hip-hop was not merely an intellectual accomplishment but a personal one as well.

Thrilled by the piercing insights of Losing My Cool (which Penguin has just released in paperback), I couldn't resist throwing around some ideas from the book with the author. Below is our discussion.

—Marc Smirnoff

THE OXFORD AMERICAN: Please define "hip-hop culture," and tell us what you like about it.

THOMAS CHATTERTON WILLIAMS: Hip-hop culture is the way you reach for a bottle of water; it's the way you stand, how you walk, what you wear. It has a lot to do with how you speak. As I see it, it's a secular religion for which rap and hip-hop music and a lot of r&b these days provide the incessant soundtrack. Through this secular religion and culture, many of us are socialized into the world at large and we develop our ideas of what is real and authentic, interesting or irrelevant, important or trivial, accordingly. It's important to note that hip-hop culture is youth-driven and intensely adolescent by nature.

What I've always liked about hip-hop is the vividness of expression and inventiveness of the language. The wordplay that people like Black Thought or Redman excel at. I love the beats of a Dr. Dre, a DJ Premier or a Kanye West. When I was younger, of course, I loved the gaudy clothes. Now that I'm an adult, though, I think there is something truly disturbing about 25, 30, 35, 40-year-old men and women dressing by the standards and tastes of 15-year-olds. But when I was 15, that looked cool to me.

THE OA: If hip-hop is a "secular religion," what are its Top Commandments?

TCW: The number one commandment is that you have to be cool. This isn't a bad thing in itself. It all depends on how the group perceives and defines what is "cool." Way too often being cool is equivalent to being anti-intellectual, misogynistic, homophobic, hyper-materialistic, and even criminal.

What I dislike more than anything, though, is an idea that is often promoted through hip-hop music and culture, which is the idea of "keeping it real." Keeping it real often means, both implicitly and explicitly, that the degree to which one may be considered to be authentically black is the degree to which one can convincingly display some form of street credibility. I am extremely bothered by the self-hatred that hip-hop often emphasizes.

THE OA: Thomas, this is fascinating stuff and I want to make sure I completely understand your analysis. Are you saying that it is possible to be a black person and NOT "display some form of street credibility"? Isn't it written down somewhere that all black people must "display some form of street credibility"?

TCW: Yes, in the guidebook you get at birth that instructs you in how to be black it explicitly states that the possession and exposition of street credibility is obligatory. In all seriousness, though, as crazy as it seems, this really is a kind of unwritten stricture that informs the behavior and attitudes of far too many of us in the hip-hop generation. This is how you end up with kids like my classmate at Georgetown, a prep-school kid who was toting a gun. This is how you have the prep-school girl from Harlem, who made all the headlines and is facing jail time right now for running drugs.

THE OA: We all know about the misogyny that's inside of hip-hop, but let's please examine some other aspects of its content. What's wrong with preaching about materialism?

TCW: Nothing when done in moderation. The truth is that we all like and need material things. I like financial security, beautiful clothing, well-engineered vehicles, etc. When it comes to hip-hop, the problem is one of proportion. The material side of life has been so overemphasized, so glorified over the intangible, over the intellectual, over the spiritual, even over the artistic. This is a shame. This is why Jay-Z can say: "I dumb down for my audience and double my dollars" and his listeners, far from being offended, actually respect him all the more for it!

THE OA: How do you see "self-hatred" played out or conveyed in hip-hop?

TCW: Start with the way so many have been taught to define themselves and one another as niggas and bitches, thugs, goons, hustlers, pimps, dealers, gangstas, hoodlums, and move on from there. If you believe, as I do, that how you describe and present yourself has any correlation with how you feel about yourself, then it's hard not to see some self-hatred going on here.

Beyond that, if you think your life is worth a car or a chain, you don't have a full understanding of your own worth. And if you hate women—as hip-hop teaches so many of us to do—then you really hate yourself because women are the foundation of everything.

THE OA: Can you please tell us about some of the strongest reactions you've gotten to your book at public events? It seems to me that some people in the audience that I saw were getting testy at the Arkansas Literary Festival, which you recently attended.

TCW: Well, I often get a lot of pushback in Q&As from fans of the music or from people who think I am blaming the victim. In the case of the former, what I realize is we're usually talking about hip-hop in two different ways. They think I'm bashing a genre of music or an art form, and take exception. They might say something like, "Well, what about rock & roll, do you ever listen to those lyrics?" But I'm not critiquing hip-hop as a musical form. I think it has a lot of value by that measure. What I am talking about are the ideas and values the music and culture promote and distribute and—this is crucial—conflate with blackness. And it's my position that even if other forms of music and culture are equally destructive that does not mean that we cannot or should not have an honest discussion of the particular problems with hip-hop.

THE OA: Another clichéd response is: "Have you ever heard naughty blues lyrics?" And the answer is, Yes. But surely blues music was not central to the life of America's youth in the way that hip-hop culture is today—plus it's in the past, out of our reach. Is the current impact of hip-hop culture deeper than the impact of rock & roll (or blues) culture?

TCW: By my lights, the impact of hip-hop is far, far deeper than that of rock & roll or any other genre of music. Hip-hop really is the lingua franca of contemporary black—and increasingly, contemporary American—life.

Usually, with that second group of people, the ones who see me as blaming the victim, the problem is different. Someone might say, "Well, what if this culture does promote violence and anti-intellectualism? That's the world these kids have to live in, after all." Now, that may or may not be true, but I don't think it's an excuse. You don't get carte blanche because you were born into less than ideal circumstances. Being born into a bad situation and glorifying it are two very different things. And that is why I speak a lot about the horrific circumstances previous generations of blacks were born into and I contrast their representation of themselves with the hip-hop generation's representation of itself. There's a disingenuousness that borders on out-and-out lying in saying that a Jay-Z or a Notorious B.I.G. or a 50 Cent is simply "reporting" his reality. These guys all have sold poison to their own communities and are profiting off of glamorizing a lifestyle and worldview that is killing black America.

And, yes, we can't go back in time, we're stuck dealing with the present and trying to make the future better.

THE OA: The idea that all blacks are victims of "less than ideal circumstances" is, to me, very condescending—it negates the experiences of many honorable African Americans who lived or live in "less than ideal circumstances" and didn't choose the thug life or victimhood. Is it possible that the cliché of hip-hop as the "black CNN" is inaccurate?

TCW: Hip-hop as "Black People CNN" is the most ridiculous trope. And that's because black people like anyone else can just watch regular CNN. What I mean by that is that the ghetto (or harsh circumstances) is not the exclusive black reality, nor should it be assumed to be the normative setting for contemporary black life. That's not to say that this reality doesn't exist or doesn't deserve a voice, or that these less than ideal circumstances don't need to be addressed. They do. But the idea that hip-hop artists are merely "reporting" what's going on in their communities is wrong. Oftentimes, they're romanticizing the worst aspects of that reality. They're distorting that reality. They're editorializing. If anything, hip-hop is "Black People Fox News"!

THE OA: The powerful example of your father conveys that violence and anti-intellectualism are not the only possible environmental/societal options for black youths. Such examples prove simply that (some) hip-hoppers CHOOSE to act as if violence and anti-intellectualism are the main elements of black life. Then they hype it.

I'm mostly white and I don't live in a black neighborhood. I am, in fact, the opposite of an expert on black communities. So, Thomas, would you please tell me if there's more to black life than what is conveyed in a lot of hip-hop?

TCW: I operate off the premise that black life, like Chinese life or white life is, in fact, human life. Therefore, nothing human can be off limits to it. The truth is that hip-hop often fails to convey this truth.

THE OA: You also mentioned that white, young hip-hop fans tend to get testier than blacks about your criticism of hip-hop culture. Can you explain why this might be the case?

TCW: There's nothing like the fervency of the convert.

THE OA: Some white, thug-lovin', hip-hop hipsters seem to believe the only way whites can appreciate black life is through the prism of hip-hop. And if you don't like hip-hop, it can only mean one thing: you're racist. These dudes, of course, are ignoring all the spirit- and mind-work of people like Albert Murray, Sonia Sanchez, James Baldwin, Martin Luther King, Jr., Barack Obama, Louis Armstrong, Stanley Crouch, Juan Williams, et al. Bravehearts who happened to find non-hip-hop routes of not only expressing themselves but of excelling.

Sometimes I just wanna shout: All right, you doggone white hipster you, why merely taste-test hip-hop life from the fleetingness of a downtown party scene or your computer? If you're so down with and into street cred and thug life, why don't you actually move yourself and your wife and kiddies into the most downtrodden, thuggie part of an inner-city hood and live out a romanticized life there?

TCW: Well, that would kill the fantasy!

THE OA: I am ranting. Please let me catch my e-mail breath. [PAUSE] I can see why we should admire white hip-hoppers if their interest in black culture—if only, again, from a remove—but isn't their admiration easy and without risk?

TCW: Easy and without risk for sure, and often condescending. If there are elements of hip-hop music and culture that are dehumanizing to black people, then what does it mean for so many white people to like this so much? That's one of the things James Baldwin was getting at when he wrote "The Black Boy Looks at the White Boy" in response to Norman Mailer's "The White Negro."

THE OA: Liberals seem to have a real fear of criticizing any aspect of black culture for fear of being labeled racist and because conservatives spend so much time being shrill about black culture. But are those good enough reasons for silence? Isn't there an element of condescension in this liberal fear? I mean, obviously no culture—black, white, or green—is perfect, so recognizing a culture's imperfections is nothing but being accurate. In any case, have you detected this white liberal fear of criticizing black culture and what is behind it?

TCW: Part of it has to do with the misguided compassion of political correctness. The unmeaning racism that is inherent in thinking that one group of people ought to be held to different (lower) standards than one would hold oneself or one's own children to. This is what George W. Bush called "the soft bigotry of low expectations." That was one of the only things he ever said that struck me as insightful.

This is also the reason many well-educated blacks are loath to criticize black street culture. And I can certainly understand the discomfort. But problems don't go away by pretending they don't exist.

THE OA: I agree; Bush's ghostwriter was definitely insightful, if not poetic, in that instance. Who are important critics of black culture that we should be listening to more and why? And by critics, I don't just mean people who find flaw with things, but people who are perceptive and honest....

TCW: I think many more young people should be paying attention to Stanley Crouch. He's a very penetrating thinker who has written about the black experience as well as anyone has. He connects the blackness to the larger American and human experience in ways that might surprise a generation raised to believe that Kanye West is a genius.

Byron Hurt made a very good and honest documentary called Hip-Hop: Beyond Beats and Rhymes, which explored his own efforts to reconcile his love of the art form with the very real problems the culture poses.

I think we should all be reading and rereading Ralph Ellison's and James Baldwin's essays.

THE OA: Your book focuses on how you slowly but surely came around to sharing your father's overt love for reading and education in the face of a black community that at times was downright antagonist to those very same interests. How bad is the stigma against education and book-learning in black life?

TCW: Depending on where you grow up, I think it's either a problem or a huge problem. But even in the upper-middle classes, it's amazing the degree to which blacks buy into an idea that intellectual development is not cool. Now I know that is an American problem in general, but it is disproportionately a problem in black society. And that is why Barack Obama said we must "eradicate the slander that says a black youth with a book is acting white." It was incredible that the President had the bravery to address the issue, but he can't do it alone. Too many of our black academics—and white academics—today are content to spend their time making the case on television that rappers are really our modern day philosophers and bards. What I wish they would do instead is make the case that all of us should be reading more philosophy and literature.

THE OA: There is a lot of honesty in your book, including the dark moment that you tell honestly about when hitting your girlfriend. Discuss please why this was something of a watershed moment in your life.

TCW: The thing is that at the time it really wasn't a watershed moment for me. It was normal enough behavior in my immediate social circle. I had other friends who had done similar things. The saddest part perhaps is that many of the girls we knew half-expected and even respected that kind of masculine aggression from us. Still, it was a turning point for me because it was one of those moments where you think to yourself "this isn't me." I realized that I wasn't that real, and that was an important realization for me to come to. It was a delayed watershed moment, though, because it took several years for that realization to bear any fruit.

THE OA: Was that the hardest truth you had to grapple with in your book?

TCW: The hardest truth to write about in the book was the racism my father encountered growing up in the ’40s and ’50s under segregation and before Civil Rights. I don't think many in my generation grasp how truly lucky we are.

THE OA: Any other way that hip-hop culture made you go against another principle that you now advocate?

TCW: The culture of keeping it real the hip-hop way made me hide my academic achievement from my peers. I did not want them to know that I had done well on my SATs. I did not want them to see the amount of time I spent studying. My girlfriend did not take the SATs and when I told her I got an 800 on a section, she asked me if that was good or not. Instead of trying to help her see the importance of it all or trying to lead my peers by example, I downplayed the value and importance of academic success in order to conform to what I believed they wanted me to be. Looking back, I wish I had had the courage to try to change their minds.

THE OA: Realistically, what can be done to decrease the influence of hip-hop culture on black youths and give them other things/options as well to think about?

TCW: I think there have to be a lot more black voices out there. There have to be many more narratives and images of blackness in the media. This is why I was so thrilled by the election of President Obama. That's a tremendous start.

THE OA: Why should people care about your book?

TCW: Well, I hope people would care about the book because it deals with a universal human problem: the individual's struggle to create and define himself in the face of tremendous pressure to conform. Ultimately, this is not just a black problem or a hip-hop problem.
11-22-2013, 09:19 PM,
RE: Black Narcissism, Nigga Behaviour and Hip Hop
Quote:Myth Of The Ghetto Alpha Male

Dec 11th, 2007 @ 08:36 am › T. AKA Ricky Raw

Ghetto men have a reputation for being tough guys. To the untrained eye it may seem the problems many ghetto guys have with violence and the legal system are a result of them being textbook alpha males. But that’s only partly to blame. These problems actually come about not totally because of manhood run wild but because a combination of testosterone running wild and the feminine side running wild.

The black community in general has a high illegitimacy rate. And if you isolated the illegitimacy rates to just the ghetto, the percentage of single mother homes would be even higher. Thus, the ghetto tends to be a very matriarchal community. There aren’t many men, and most of the men you do find tend to be young. As Tariq Nasheed says in his book The Mack Within, you hardly see older men in the hood. This is because when most guys get past a certain age in the hood, they have either worked their way out, gone to jail, entered the military or died from violence or drugs. The few old men you do still see in the hood tend to be burnouts. So not only do young ghetto guys lack fathers to instruct them in how to be men, but they also lack older male authority figures outside their family to look up to (most teachers are female too) in their neighborhood.

Like all young men of all races, they have testosterone surges making them aggressive and competitive. However they don’t have reliable older men to teach them how to channel this testosterone-fueled aggression positively, and this creates an insecurity in their male identity causing them to create their own hyperexaggerated ideal of what a man should be. Supermacho, obnoxious, fearless to the point of knuckleheaded, overaggressive…basically the parody of manhood we see in gangster rap. It’s overcompensation to the worst degree.

But even though they are doing their best to be superthug, they still end up doing things in a subtly feminine (not effeminate) way because feminine influences are most of what they know. Most of their role models and involved family members are women, and the few men in their lives were likely raised by only women too. And it shows in how they handle conflict: grudges are held forever, they never know how to let anything slide, they think primarily with emotion and are prone to outbursts, drama and confrontation and most importantly, they don’t know how to choose their battles.

True male behavior isn’t being a drama queen, emotional outbursts and holding onto grudges; true male behavior is picking your battles, knowing when to fight and when to let things slide, analyzing things calmly and logically and having discipline over your moods and emotions and exercising emotional restraint. There are times when it’s acceptable to lose your shit and times when it’s not. These are things that a true mature male influence teaches you, and such influences have almost disappeared completely from the hood.

A chick in the hood can get away with all the drama queen meltdowns and public displays of emotion and confrontation because most people, guys and girls, don’t feel as threatened by a woman and are more likely to let her just yap without serious repercussions. Or at worst just argue back and never let it escalate to a physical level (although it does happen on occasion). When guys are the ones getting overly emotional and confrontational, it’s a lot scarier and it invites a much more serious retaliation, because now the behavior’s coming from a man, which means possible escalation into serious, possibly fatal, violence. That’s why a society of men learning to manage conflict and emotions from women is a disaster waiting to happen, because what’s an acceptable conflict resolution style for a woman can get a young man arrested or killed.

Sure a lot of male tendencies are going to show on the surface. These guys are young and are bursting with testosterone after all. But look at a lot of the other behaviors that are there also.
11-23-2013, 12:18 AM,
RE: Black Narcissism, Nigga Behaviour and Hip Hop
Quote:How Hip-Hop Was Neutered

By Athlone McGinnis

I like hip-hop. Contrary to the beliefs of some of the more conservative among us, I think the form has some artistic value and can certainly be enjoyable to listen to.

I am finding it increasingly more difficult, however, to overlook some of the disturbing trends I’ve seen growing in modern hip-hop culture. In many ways, I shouldn’t be surprised-these trends often parallel some of the general cultural developments I’ve outlined before, which are spreading more widely in America.

Regardless, the growing emasculation of hip hop and the devolution of some of its leading figures into insecure, gaudy, feminized, and at times frankly absurd caricatures of men (and women) has gotten me thinking lately.

Hip-hop, as we know it today, is becoming an increasingly feminine culture.

Behind all the posturing you see from these men is a tremendous amount of insecurity about themselves, their status, and their own masculinity, as well as quite a bit of feminine style and energy.

This is part of why they promote such exaggerated, dysfunctional caricatures of what it means to be a man (ex: urban gang culture). They have no model for real masculinity because, in the matriarchies they come from, there simply are no fathers or other stable male authority figures to show them what that looks like. So, since they’ve got no template to go on, they simply make it up and try to derive new ways of “proving” their manhood.

“Taking yo’ bitch” is one way to prove maturity. In order to make this work, you must be sure to let everyone know you banged that other dude’s girl via music or social media. Be sure to rap or instagram about it. Simply having sex with her isn’t enough. Rather, it is the fact that everyone else knows you had sex with her that marks your manhood. So make sure they find out-attention whoring is your friend.

Snagging “the bad bitch” is another way to show one’s manhood. Again, you can’t just bang her. You gotta talk about it, rap about it, or tape it if you can. The world needs to know that you have the girl they want. Not necessarily the girl you want, but the one that they want.

This is similar in some ways to how women often choose men based in large part on their status or ability to impress her peers. This growing internalization of female attraction cues is leading to a larger number of male groupies in the world of hip-hop, men who (like women) prioritize status and peer approval over raw physical attraction.

“Shinin” is another way to prove to the hip-hop world that you’re a man. To do this, you’ve gotta have the biggest chains, shiniest/newest cars, flash the most money, roll on the biggest rims, and just generally spend like money is not an obstacle.

The key is not merely for you to enjoy your cash or the objects it can buy, but rather to make sure that everyone knows you’ve got that cash and how much it cost you to get those objects. If nobody knows, then it is really not worthwhile.

Oh, and forget about building wealth—this isn’t how you prove your manhood. You’ve got to spend as much as possible, so don’t bother with things like home ownership. Lease and rent everything you can if it makes folks think you’ve got more cash.

Attention whoring via social media is another key to establishing your manhood. Instagram, Facebook and Twitter offer worthy platforms for you to prove your achievement of the many “manly goals” listed above. You can show off your bad bitch/other-dude’s girl, let the world see your new ride, and even show off your cash flow directly.

We’re used to social media attention whoring being a predominantly female phenomenon, but in hip-hop culture it is just as much a male one. Just as teenaged girls have to document every little socially relevant step they take, these men must do the same.

For all the posturing and attempted maintenance of an outwardly sexual, hyper-masculine frame, these men seem largely incapable of showing the independent spirit that is so often the essence of masculinity, the spirit that allows a man to go his own way even without extensive peer approval or adulation. Instead, like women, they are slaves the collective and have always got to prove themselves to everyone else-what the world thinks ALWAYS matters.

It isn’t just about getting yours, its about making sure everyone else knows you got yours.

It is in this way that the culture reveals its growing femininity as it directly parallels female social structures. Just as girls work tirelessly to secure peer approval and conform to group social norms while rarely deviating from them, male adherents to the hip-hop culture and their deities in the entertainment industry work tirelessly to win the praise of their peers and posture to look as integrated with the culture as they can.

Like women, they rely heavily on fashion trends and attention whoring to aid them in these endeavors. Like women, they gossip and feud (or “beef”) over trivial things. Like women, they’re obsessed with brand names and jewelry. Like women, they love bright jewelry created by females, skinny jeans originally designed for feminine forms, Birkin bags and even skirts.

Truly masculine men once ruled the world of hip-hop. Much of the foundation for what we now know as game came from within the urban communities that birthed this culture, and we who benefit from the growth of a community surrounding game (which ultimately gave rise to sites like this) owe a lot to that. Increasingly, I fear that this legacy is being left behind, another victim of the west’s seemingly unending bid to neuter the remnants of its masculinity.

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