No Trivia

Archive for the ‘David Banner’ Category

Independent Weekly: 9th Wonder & David Banner – Death Of A Pop Star


So yeah, this 9th and David Banner album is pretty incredible. Neither artist really sounds hedged here or like, leaning too heavily into the others’ milieu, and they’re both are a little out of their comfort zones, which is a good thing. “Slow Down” is my favorite right now. 9th’s secret weapon: his basslines.

“The Light,” the angriest track on the debut collaboration between Mississippi rapper David Banner and Durham producer 9th Wonder, uses this disdain-filled couplet as its hook: “Started livin’ for money, yeah most of us did/ Rappers turned into singers, preachers touching the kids.” For David Banner, there’s no difference between priests abusing the authority of the church and rappers abandoning hip-hop to sing some R&B (Rap & Bullshit?) to get the wonderbread. The Mississippi rapper doesn’t believe in gray areas…

Written by Brandon

January 13th, 2011 at 4:36 pm

Tha Carter 3 REDUX

one comment

So, ‘Carter 3’s neither a classic nor a total disaster. It’s like most of the stuff Lil Wayne’s released since he was a Hot Boy. The biggest concern for those obsessing over his mixtapes of the past few years was that he just couldn’t find a way to balance his increasingly off-kilter raps with something resembling a conventional song structure. His most out-there freestyles abruptly stopped with the beat falling-off or Wayne announcing “I’m gone!” and his more conventional songs awkwardly tumbled from crazy space-shit that don’t make no sense into a typical chorus or hook. ‘Tha Carter 3′ does a fairly good job of precariously balancing Wayne’s faults with musical convention–why he doesn’t just have a CD of batshit crazy raps that don’t adhere to musical standards, I’m not sure– but that also makes it feel like more of the same. I didn’t buy into the whole Wayne’s going to rap his way into overkill theory, but it’s true. Skeptics won’t be won over by anything on ‘Tha Carter 3′ and will find plenty more to make fun of, converts get more of the same at best, and at worse, some songs that almost give you the feeling of his mixtape highlights.

Almost everything great on ‘Carter 3′ can be found on a mixtape or guest verse somewhere else and on a few songs, he even seems to have made the decision to make a new song that sounds like one of his mixtape classics rather than just stick the original song on there. Intro track ‘3 Peat’ is just a slightly less exciting version of ‘I’m Me’ off ‘The Leak EP’, the unfortunate ‘Tie My Hands’ is sonically, a second attempt at the already pretty-bad ‘Shooter’ off ‘Carter 2′, and lyrically aims for the poignancy of ‘Georgia…Bush’ and would get there if ‘George…Bush’ didn’t already exist, the Rolling Stones interpolating ‘Playin’ With Fire’ sounds like the Franz-Ferdinand sampling ‘Burn This City’ meets the Heart-sampling ‘Something You Forgot’ with some like queerby ‘American Idol’ understanding of “rock” vocals, and ‘La La’ (not to be confused with the really good ‘Haters (La La La)’) is a beat that thinks it sounds like the weirdo Wayne-ness of ‘I Feel like Dying’ but is just annoying.

Only ‘Dr. Carter’ works in referencing another Wayne song (‘Gossip’) and improving upon or matching it, by extending the concept of Wayne being able to kill and/or revive rappers and signifying it through life-support beeps. The concept’s pretty well-delivered, features one of his best weirdo punchlines (“Fly, go hard/Like a geese erection”) and the Swizz Beat production is perfect and on the same simple soul-loop shit as Busta Rhymes’ ‘Don’t Touch Me’ (Swizz Beatz is pretty much keeping old-style soul-rap beats alive in the mainstream, weird…).

It’s interesting that the only total layover from his mixtapes is the great and very affecting ‘Comfortable’, a track that has Wayne going away from his typical oscillation between tough-talk and space-shit and into like nerdy, seasoned relationship raps. Along with ‘Shoot Me Down’, a track that really shouldn’t work but is one of the album’s best (and on some like actually emotional indie rock type shit), ‘Comfortable’ is the only song where we get of Wayne in total confessional mode- something ‘Tha Carter 3′ needs more of to work.

There’s plenty of good weird tracks, a few total misfires (especially ‘Tie My Hands’ and ‘La La’), and the expected ones where Wayne raps his ass off over spastic electronic beats, but as an album, it has no trajectory, either sonically or thematically. ‘Got Money’s the kind of song that destroys everything before or after it with thick buzz-synths but it’s followed by the downbeat ‘Comfortable’. The sinister ‘Nothin On Me’ is sandwiched between the Oompa-Loompa retardation of ‘La La’ and the mournful Kanye-produced ‘Let the Beat Build’ (Kanye’s beats here, really kill and don’t sound much like other shit he’s done). Every song feels like it should be the bad-ass track that starts the album, the regret-filled track that closes the album, or some piece of shit that should’ve never made it on the album and just flutters around. Weezy still hasn’t found a way to properly navigate his varied personae and since this is an album, he’s mostly doing tough-talk, punctuated with some honest stuff and some really out-there stuff, but it never gels or works even as complex contrast. It’s just this style or that style for a song and that’s awesome but it makes a pretty-good album that’s at times, frustrating.

Wayne’s talents are ever-growing and his frame of reference and ability to pull from any and everywhere remains, but as an artist, ‘Tha Carter 3′ hardly improves on ‘Carter 2′, is nowhere near the first ‘Carter’, and shares all of the sloppy indulgence of his mixtapes, which I guess is all we should have expected anyway.

Tha Carter 3 Redux…
My immediate thoughts upon hearing ‘Tha Carter 3′ is how buried in poor sequencing and a couple of really poor decisions, there’s a really good album there and I’d try to make it. I did this with another album that was half-great and half boner kill, Kanye West’s ‘Late Registration’, and it was pretty fun, so I’d thought I’d try it again. If you took all of the tracks Wayne’s dropped in the past few years, you could make an absolutely killer album or “mix”, so I tried to stick to two main rules when making my version of ‘Tha Carter 3′:

Rule 1. It had to use tracks that were commercially released. This meant tracks on ‘Tha Carter III’ and on ‘The Leak EP’. Additionally, I allowed for the use of ‘Haters (La, La, La)’ because it got some radio play and a lot of Satellite radio play like, six months ago. The same would apply for ‘I Feel Like Dying’–which I could’ve found a place for undoubtedly– but the recent lawsuit disqualified it and since I’m sort of playing make-believe mountain-man with an electric guitar here…

Rule 2. No matter the hype or “artistry” found or supposedly found on ‘Tha Carter 3′, this is still a CASH-MONEY record which makes this shit over 70 minutes no matter what. There’s a really good 40 or 50 minute album in here but that’s just not how Birdman and company roll, right? I could’ve stuck one more song on here to max-out the running-time (probably would’ve gone with ‘Talkin’ About It’ off ‘The Leak EP’) but ‘Carter 3′ only moves into that CD max-out time because of the long-ass ramble that takes up most of ‘Misunderstood’ anyway.

Here’s my version:
1. I’m Me [off The Leak EP]
2. 3 Peat
3. A Milli
4. Got Money
5. Nothin’ On Me
6. Playin’ With Fire
7. Gossip [off The Leak EP]
8. Dr. Carter
9. Phone Home
10. Lollipop
11. Mr. Carter
12. Haters (La La La) [from numerous mixtapes]
13. Comfortable
14. Mrs. Officer
15. Shoot Me Down
16. Love Me or Hate Me [off The Leak EP]
17. Let the Beat Build

Tracks I Removed
8. ‘Tie My Hands’ featuring Robin Thicke
What is it with vaguely soulful white guys and political apathy masquerading as being like, worldy wise? File Thicke’s parts of this song right next to John Mayer’s ‘Waitin’ On the World to Change’. His first part about how “we’re at war…with the universe” is ridiculous and his later addition of “I work at the corner store” is as generic and silly as Wayne’s politicism is impassioned and personal. Wayne does the confessional thing pretty well, especially the “deny being down low” line and skillyfully moves into the political, but Thicke’s singing is just too absurd. But a lot of people like ‘Shooter’ so, who knows. This will probably be the next single and it shouldn’t even be on the album.

12. ‘La La’ featuring Brisco & Busta Rhymes
Again, Wayne kills this track just like he kills every other track but this beat is just inexcusably retarded. And coming after ‘Lollipop’, the album needs something a little more real. ‘Lollipop’ is this not very good but also sort of great song that albums like ‘Carter 3’ need and it’s positioning on the album is right before essentially the home-stretch where the album needs to regain its focus and instead you get this, the hard-ass ‘Nothing On Me’, the soul-loops of ‘Let the Beat Build’, the for-the-ladies ‘Mrs. Officer’ and then the outro track, ‘Misunderstood’. The album just really doesn’t need a song like this at this point and it only adds to the messy back-end (no homo) of ‘Carter 3’.

17. ‘Misunderstood’
Again, nothing wrong with this track but it’s fairly underwhelming, is based on a played-out Nina Simone sample—why not sample the Santa Esmeralda version, that’s more Wayne’s style—and isn’t the message song Wayne thinks it is. The discrepancies between crack and other drug convictions and the “reasoning” for busting the black community are worth noting–as is Wayne mentioning that it’s a “white guy’ he heard saying this– is all poignant, but I’d rather hear a verse about it than a rant. When he discusses how they should leave dealers alone and deal with actual criminals, I was waiting for a discussion of corporate fucks and politicians and instead it’s a weird rant against sex offenders, which is just kind of dumb and obvious. ‘Misunderstood’ is a pretty typical “outro” track but ‘Carter 3’ isn’t really a typical album and, as I explain below, there’s already a perfect final track.

The Final Tracklisting
1. I’m Me
2. 3 Peat
Both of these songs are purposefully similar and it almost feels like ‘3 Peat’ only exists because ‘I’m Me’ has been out for awhile now and Wayne’s afraid of being accused of recycling, especially because his bit is that he’s this endlessly inspired rapper. The songs complement one another enough that having them open the album one after another still works. ‘I’m Me’ sounds like the perfect intro track, especially because of those clips at the beginning and end of older Wayne songs. ‘3 Peat’s essentially an even higher-energy version and that energy’s upped even further when ‘A Milli’ follows, so the album starts-out right.

3. A Milli
4. Got Money
Basically, ‘Carter 3’ doesn’t really start to fall apart until ‘Tie My Hands’ but the rest of it is such a mess that dividing up the early tracks is the only way to save the album. Still, I had to cheat with these two because they work perfectly together and maintain the energy level of ‘I’m Me’ and ‘3 Peat’. The placement of ‘Mr. Carter’ at track two on the real album is confusing because it’s this traditionalist chipmunk soul sandwiched between the insane strings of ‘3 Peat’ and the all-out weirdness of ‘A Milli’. Also, if Wayne’s going to claim legendary status, he shouldn’t need a Jay-Z appearance at track two, even if it’s a song connecting the two and one where the legendary Carter apes the younger Carter’s flow. Sticking it late in the album is a kind of subtle suggestion of Wayne’s importance.

5. Nothin’ On Me
‘Mr. Carter’ is a song that should be towards the end of the album and this is a song that should show up way sooner. The best albums are sequenced like a good mix, with mini-movements or even “suites” of sonically or thematically (or both) similar songs and so ‘Nothin On Me’ fits right in with all of these high-energy, booming electro beats, most of which are essentially shit-talking, hard-ass rap songs. The album will move further and further away from shit-talking and more towards introspection.

6. Playin’ With Fire
The terrible chorus of this song makes it a sore-thumb no matter where it falls, but putting it early in the album actually makes it way more digestable. If I had real power I’d totally remove it or at least cut down the 40-second intro, but it still works as is here. At track 6, you haven’t lost your listeners yet, so some weird-ass or even kinda terrible shit doesn’t feel as heavy on listeners’ ears as it will later in the album. Think of Outkast’s ‘Aquemini’ which is all over the place and doesn’t really gel into a solid sound until like, track 8. Also, the transition from ‘Nothin’ On Me’ to the next track ‘Gossip’ just doesn’t sound right but the transition between ‘Fire’ and ‘Gossip’ works well.

7. Gossip
8. Dr. Carter
This is sort of the second “movement” of the album. A brief dive into overt conceptual rap, with Weezy “killing” other rappers on ‘Gossip’ and then “reviving” them on ‘Dr. Carter’. The failing life support sound that ends ‘Gossip’ transitions well enough into the hospital dialogue of ‘Dr. Carter’. These songs also introduce some beats that are outside of the electronic stomp of the first six. There’s also some obvious but fun parallelism between the flatlining at the end of ‘Gossip’ and the revived heart at the end of ‘Dr. Carter’.

9. Phone Home
This song’s really crazy and would probably be my second choice for an ‘Intro’ track if the rest of ‘Tha Carter 3′ were a little more insane. I put it here because it has this ‘General Hospital’-style theme music that introduces the track which connects to the corny like, Rex Morgan M.D stuff on ‘Dr. Carter’ and there’s some subtle sonic connections between the pumping heartbeat that ends ‘Dr. Carter’ and the drums on this song. Also, a return to the shit-talking, self-asserting tracks that started the album, but a little stranger.

10. Lollipop
The spaceship taking-off sound that ends ‘Phone Home’ transitions well into the space beep-bloops of ‘Lollipop’ and both songs are sort of these mid-tempo weirdo party tracks. This is also the last of the electronics you’ll hear on the album, as I’ve made the final bunch of tracks some relationship/sensitive-guy raps mainly supported by more soul-oriented beats.

11. Mr. Carter
12. Haters (La La La)
This is kind of the final movement of the album and it’s a little more sophisticated or conventional than the rest and so, it’s a good place to stick the collabo with Jay-Z. As I said, burying this pretty great track late in the album makes Jay-Z more like another guest than some event rapper. The pianos that play-out at the end of ‘Mr. Carter’ almost sounds like they fade-out and fade back-in on ‘Haters (La La La),’ a song that’s kind of on some ‘Hard Knock Life’ shit and so there’s that Jay-Z connection too.

13. Comfortable
14. Mrs. Officer
15. Shoot Me Down
16. Love Me or Hate Me
Wayne’s good at weaving introspective rhymes in songs that don’t immediately appear introspective, but I think it would actually be a good look for him to focus on this side of his raps more explicitly. ‘Comfortable’s a great song and maintains the momentum of ‘Mr. Carter’ and ‘Haters’ and adds the smart, nice guy part of his persona that can get outshined by all the pussy -eating talk. ‘Mrs. Officer’ doesn’t really fit but is a song for the ladies that’s actually really good and albums like ‘Tha Carter 3′ always have songs like ‘Mrs. Officer’ on them. It complements Wayne’s emotional honesty with the woman in ‘Comfortable, well. We then move from these sensitive songs to outwardly vulnerable songs from Wayne. ‘Shoot Me Down’ is essentially a reaction to all the people who apparently want him to fail and ‘Love Me or Hate Me’ is a confident but still upset address of his own hype and ability or inability to live up to it.

17. Let the Beat Build
When this song came on the first time I heard the album, I really wanted it to the end the album because it’s so perfect. It’s like the end of ‘Good Times’ or something. Ending the album on a soulful, uplifting note puts a finality to the album that the rambling ‘Misunderstood’ does not and it just feels more hopeful and excited than a depressed, half-right rant. This is like ‘Dipset Forever’ at the end of ‘Purple Haze’ or ‘Love’ on ‘Pretty Toney’ or ‘13th Floor/Growing Old’ on ‘ATLiens’…you get the picture.

Written by Brandon

June 3rd, 2008 at 8:26 am

David Banner at University of Delaware 2/26/08

one comment

The Black American Studies Participatory Action Research Team presents ‘Cope, Conform, or Resist?: A Lecture on Double Consciousness of Young African-Americans’. Lecturer: David Banner. February 26, 2008, Clayton Hall, University of Delaware.

-Opening Remarks by Carl Suddler & Introduction by Yassar Arafat Payne (13:06)
-Banner’s Lecture (57:42)
-Question & Answer After the Lecture(58:49)

Right after saying something genuinely controversial, David Banner would punctuate his speech to students and faculty of University of Delaware with references to how a lot of people at the school didn’t want him there. He probably employed some rapper-like hyperbole about university opposition, but the mildly nervous looks professors and participating students would shoot to one another when he’d veer off his “Lecture on the Double Consciousness of Young African-Americans” and directly engage the crowd, were pretty real. That’s not to say all involved didn’t want him there- otherwise you know, he wouldn’t have been- but there was a sense that some faculty and students weren’t into the idea and those that were, wanted him there enough to kinda sorta put their asses on the line.

Opening remarks by student Carl Suddler mentioned the way many, especially in the academic world, develop “patchwork theories” based on pieces of information and rarely the entire thing: “Just because you’ve heard one or two lyrics and watched the Youtube clip, doesn’t mean you understand the man speaking tonight.” It was a polite but firm attack on the all-theory aspect of academia from a member of PARS- the Participatory Action Team- and presumably, a comment on those who don’t know shit about dick when it comes to hip-hop, but critique it anyway.

There’s no point in giving you a bunch of quotables because the (decent but not great) audio’s above, but without visuals, something’s lost. Not only because Banner was a lively speaker who took over UD’s Clayton Hall and directly engaged his audience–direct engagement is an academic no-no–but because it was more like a performance than a lecture. That performative tone was set by Suddler when he walked up to the podium in a button-up, sweater, and a fresh baseball cap, and it was continued when Banner approached the podium in a suit and bowtie and sunglasses even though it was 7:30 in the evening; The audience witnessed double-consciousness instead of simply hearing about it.

Throughout his lecture, Banner would bounce between an eloquent and easy-to-follow speech and a seemingly on-the-fly improvisational discussion. A word or phrase would send him away from his podium and towards the crowd to speak from the heart instead of his paper. The lecture and performance would always complement and occasionally contrast one another and what many saw as a lack of discipline or organization was in fact, double-consciousness made manifest, which is appropriate for a guy that is, at least equal parts action and words.

Banner’s controlled chaos was effective in making no member of the audience complicit and as he gained momentum, the context of the event itself seemed to change. Clayton Hall’s muted colors and high ceilings began to recall a bizarro late-night TV mega-church with David Banner speaking the Truth and not your usual nonsense-spitting waxy-looking pastor. When Banner removed his suit jacket for questions and revealed some monster pit-stains, it had the same overly dramatic effect of say, 50 Cent revealing a bullet-proof vest but Banner wasn’t saying anything about being hard, it was his way of showing the audience how hard he was working. And during the Q & A, a busted-looking white girl in some lame boots who sorta missed the point of Banner’s half-facetious advice to the fairer sex, ended up representing some minor but awful form of white privilege when she ignored the line of others yet to ask a question and asked her third leading question in a row…

I left invigorated, but a little depressed because I knew a lot of people in attendance really didn’t get it and would cite Banner’s constant deviations from his lecture as an example of it being “sloppy” or “ineffective” without realizing that was Banner’s desired effect. His lecture was a performance of double-consciousness and in that sense, way more effective than a well-researched lecture.

*Photos by Monique Rivera

Written by Brandon

March 8th, 2008 at 8:57 am

Posted in David Banner

leave a comment

Disrespect Your Elders!

While so many others are thinking it or hold back out of “respect” for these out-of-their-fucking-minds black “leaders” David Banner comes out swinging. Banner refers to Sharpton as a “permed-out pimp” and makes the inarguable point that, there’s a lot more important shit to worry about than rap lyrics. His comparing them to crappy parents is very apt: “Fuck that about they’re our elders and we gotta respect them. I’m tired of this. They’re like the parents, but the parents are crucifying the kids.” In the same article, Talib Kweli is predictably pseudo-diplomatic. For being such a “revolutionary” he sure does play it safe. The South wins again.

The problem with Kweli’s argument is not his sentiment, for political discussion certainly needs more “respectful disagreement” but there are points when this rule should be eschewed. Just as divisive arguing and name-calling is a bad idea, taking the supposedly “mature” way out every time is equally simple-minded. Banner isn’t just venting; he weaves valid points throughout his name-calling, alluding to more relevant problems, and subtly invoking his own political street cred. It is brave and backed by action, which as many readers suggested after reading this, Kanye’s anti-homophobia remarks were not. The South wins again.

In contrast to the leaders he calls-out for being fake and money-motivated, Banner presents himself as upfront and honest even if it makes him come off as angry. Banner’s comments highlight a rather unfortunate trend of duplicity among certain black intellectuals and leaders of the left. Certainly, many politicians and intellectuals of both sides and all races are duplicitous, but what is particularly disturbing about Sharpton or Jackson and many others is that it downgrades their otherwise valid viewpoints. When the President struts across an aircraft carrier in costume, I feel his sickening want to perform victory and the way he confuses that for actual victory. While I might agree with certain points made my Sharpton or Jackson, I find their actions similar.

If the recent, opportunistic attacks on rap don’t convince you, think of Sharpton’s recent grandstanding during the Duke rape case or go real far back to Jesse Jackson’s infamous bloody collar. Too much is made of Jackson’s supposed smearing of Martin Luther King’s blood upon his collar and then going on television, but it is problematic. I say too much is made of it because it is consistently used as ammunition for the right as evidence of Jackson being a liar and opportunist and while it does prove both of those things, plenty of people are liars and opportunists but also do a lot of good. At the same time, it is Exhibit A of a certain kind of political performance that believes that the means justify the end. It’s a pretty sick twist on American Pragmatism and is not any different than our current President’s lies that led us into Iraq.

The President thought he was doing good or planned to do good by invading Iraq and created a reality because one did not exist. I do not think he was evil, I think his own, hyper-idealistic want to do right motivates him to lie. The same motivation probably affected Jesse Jackson when Martin Luther King was murdered. Whether Jackson used blood that spilled out of Dr. King’s head or used chicken blood, the fake aspects of the action came out of a genuine but monomaniacal want to do right.

In rap, the understandable but no less retarded wish for the golden-age of political rap has made many blind to the more pragmatic politics found in recent rap, particularly that of the South or in a way, non-coastal rap in general. David Banner’s comments or Kanye’s coming-out against homophobia represents a shift in how rappers choose to get political. When someone says “no one is political anymore”, I respond by suggesting that how and why people become political has changed. They implicate themselves in the political issue at hand and through that, move away from the “preaching to the converted” problems of most political art.

David Banner comes out against Sharpton the same way he would on a beef record. He throws down his own political record instead of floating around in the high-fallutin’ world of political ideals. Banner’s anger and Kanye’s gay jokes even as he decries homophobia allows these rappers to maintain their humanity when they engage in political discussions. This makes them appear a great deal more honest and more digestible to average people. Who would listen to Public Enemy but those that already agree? Can you expect regular people to respond with anything other than fear when a band comes off militant and has a logo featuring the symbolic “the man” between cross-hairs? Paradoxically, David Banner, the creator of a song like ‘Play’ has more political pull than more “serious” political rappers.

Michael Eric Dyson and KRS-One appear in contrast to Banner and Kanye’s political sincerity and that makes sense, because they are closely connected to the old-guard of political rap I mentioned before. Although a great deal more “with it” than Jackson or Sharpton, they are equally insincere when talking about hip-hop.

I’ve discussed Dyson’s disingenuous argument here but what really troubled me about Dyson’s book was his introductory “prelude” ‘Hip Hop and Its Critics’ read it here). In it, Dyson recounts the story of being checked by an airport security guard who, between pat-downs, praises Dyson’s book and requests an autograph of the book. See, the guy loves Tupac and Dyson’s book on ‘Pac so much, he carries it around!

The introductory is wonderful on an emotional and political level. Dyson cleverly points out the way the guy navigates between his security guard voice and a moves into vernacular when discussing Tupac. It subtly says a lot about hip-hop and black culture’s occupation between worlds and impressive ability to navigate those worlds but…I don’t think it ever fucking happened. As I said, that doesn’t lessen the power of the story nor does it negate its points, but it does make Dyson’s writing questionable. I know I’m a cynic but if you really like Tupac, why would you carry around a book about him? If I was a big William Blake fan, I wouldn’t carry around Northrup Frye!

The anecdote just leaves a sour taste in my mouth and even if it did happen, it stops being relevant as it becomes more of a story about Michael Eric Dyson’s influence on one security guard than “eloquent proof that not everyone in his generation is illiterate, destructive, and materialistic”. All the Security Guard says in the Prelude is praise for Dyson. The story feels the same as when our President recalls some, probably fictional mother of a dead soldier who thanked him or said something about how proud she is of her son’s duty.

Jay Smooth recently posted this video of KRS-One playing Prospect Park and giving the audience a speech on “creative visualization”, relating a story of how years ago, homeless, he told himself that “one day [he] was going to rock” Prospect Park. With respect to Jay (not as an elder but as an accomplished, good guy), I see why the sentiment is moving but I find it a bit suspect. Even if it did happen and KRS did think that, it didn’t play-out as he presents it in that video. The world and especially one’s own life is so much more complicated than this affecting but pithy anecdote.

Just as Sharpton and Jackson and even Dyson are working on the same level of bullshit as the president, does KRS’s speech give me the same icky feeling as a Tony Robbins seminar. Just because it’s a rap legend and not a creep with big teeth doesn’t mean you shouldn’t be suspect. What is so refreshing about Banner’s sentiment is he isn’t interested in who Al Sharpton is, only what he says. It’s funny that the only time one is told “respect your elders” is when those elders are talking out of their ass and need to be disrespected.

Written by Brandon

August 13th, 2007 at 4:04 am