I wrote this piece for The Atlantic and it went live yesterday afternoon.  Unlike many of my other articles, this is one that asks as many questions as it answers.  In particular, I am interested in whether the decline of sample-based hip hop, which was weakened by ridiculous copyright rules, was at least partly responsible for the concomitant decline in socially conscious mainstream rap. (Not dealing with the “underground” here, where artists like Immortal Technique, dead prez, Jasiri X, Rebel Diaz, Brother Ali, and others are clearly doing political work with their music.)  My idea is that sampling provided a crucial connection to a musical and political past, reminding rappers and audiences alike that they were part of a broader creative tradition.  Without this mindset–the sense that you’re part of something bigger than yourself–I wonder if it’s easier to revel in mindless self-aggrandizement the way many mainstream rappers do.

I’ve already gotten a lot of feedback on this, almost all positive.  However, some people have accused me of trashing today’s music based on my old-person nostalgia for “golden age” rap.  There might be a grain (just one) of truth to that.  But at least I’ve got good people backing me up–I interviewed legendary producers Hank Shocklee (of the Bomb Squad) and Pete Rock for this.

I just did this interview with Sean Moncrieff at Dublin, Ireland’s Newstalk Radio about graffiti culture, politics, and contemporary rap music. I enjoyed the interview and was grateful for the chance to continue to draw attention to the 30-year-old murder of artist Michael Stewart.

I just wrote this piece for NPR on the murder of Michael Stewart, an aspiring artist and model who was beaten to death by NY Transit Police exactly 30 years ago.  His crime? He was supposedly tagging a subway station wall.  The story includes the horrific details of his death, the injustice that followed, and a broader discussion of hip hop and policing.  I end with the words of his mother, whom I reluctantly contacted (afraid I’d stir up emotions she wanted left alone).  I promised her I’d do my best to get her son’s story out there, and this is the beginning…

I just did this segment on HuffPost Live related to the Pledge of Allegiance, which I’ve railed against in the past.  (See, for example, an article I did several months back for Huffington Post.)  As I noted during the interview, the “under God” part, which wasn’t added until 1954, isn’t even the most disturbing aspect of the Pledge.  Its history is at least as unsettling.

In any case, the Pledge is in the news because the Supreme Judicial Court of Massachusetts is considering whether a Pledge with “under God” discriminates against atheists (which of course it does, as well as against anyone who isn’t a Christian).  If the court finds it discriminatory, the flood gates will certainly open for similar suits elsewhere across the country.

Unfortunately, the more important issue–whether we want our children being compelled to endure a state-mandated affirmation of loyalty to their country–will not be addressed by this case.  Neither will the irony of people of color across the country affirming “liberty and justice for all” when that’s never characterized the U.S.  To quote Lupe Fiasco in “Strange Fruition” (a title that echoes Billie Holiday’s song “Strange Fruit”): “Now I can’t pledge allegiance to your flag / ’cause I can’t find no reconciliation with your past, / when there was nothing equal for my people in your math.”

And now, with a little infusion of Lupe, this is a legitimately hip-hop-related blog post as well!