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Ralph Bakshi’s animated assault on racism in America is still an uncompromising gut punch
11:37 am


Ralph Bakshi

A subversive and satirical re-imagining of Disney’s Song Of The South transplanted to Harlem, Ralph Bakshi’s incendiary masterpiece Coonskin exploits and eviscerates grotesque American racial stereotypes with a politically incorrect, profane and vicious sense of humor. The film’s hyper energy is emphasized by Chico Hamilton’s percussive score and the mix of animation and live action set the tone for films like Who Framed Roger Rabbit. Despite its innovative visuals, there’s nothing slick about Coonskin. The movie has the perfect low-budget skeeziness of a Dolemite flick. And casting Barry White as Brother Bear/Samson and Scatman Crothers as Papa Bone adds layers of pop cultural resonance that continue to reverberate even today. (Did Rick Ross cop his fashion sense from Samson?)

Released in 1975 to a firestorm of controversy, it took Coonskin several years before the film found an audience that could appreciate it as an edgy aesthetic experiment and a powerful social statement. Wu Tang Clan had plans to re-make it and Spike Lee’s Bamboozled, released 25 years after Coonskin, echoes Bakshi’s brutal take on the pervasive, ages-old racism that permeates American popular culture. Al Sharpton and the Congress of Racial Equality (CORE) went apeshit and picketed Coonskin before anyone in the organization had even seen the film. (Sharpton quipped “I don’t need to see shit to smell shit.”) Bakshi had hired a number of black animators to work on the film and the NAACP felt it was an important work but still Sharpton couldn’t resist the opportunity for some press. New York City theaters were smoke-bombed during screenings of Coonskin. Nationwide theaters panicked and cancelled bookings.The film’s distributor Paramount Pictures eventually freaked and pulled it from circulation. The positive reception from critics didn’t make up for the fact that most audiences, both black and white, just didn’t get it.

Quentin Tarantino has championed Coonskin over the years and provided some critical insight into Bakshi’s methods. Tarantino describes the film as…

... hands down the most incendiary piece of work in the entire (blaxploitation) genre. Using negro folklore and slave tales of nonviolent resistance, along with the White American/European media’s racist caricatures of the past (i.e., Disney’s Black Crows, Warner Brothers’ Coal Black, every James River pickaninny that smilingly stared back from grocery shelves, the spaghetti benders of Lady and the Tramp, and the Jews of the Nazi Party-produced The Eternal Jew), Bakshi, with zero timidity, challenged his audiences’ sensibilities in ways that made all the other blaxploitation titles seem like the wish-fulfillment fantasies they were.

In fact, the only voice of the time that had a symbiotic relationship to Bakshi’s work could be found in Richard Pryor’s monologues. To discover that the two gentlemen were friends, and Pryor was a huge fan of Coonskin, comes as no surprise. An America that considers Blazing Saddles and All In The Family stinging racial satire is an America not ready for Coonskin.

Keep reading after the jump…

Posted by Marc Campbell | Leave a comment
Kill the f*ckers: ‘White Man,’ Suicide’s BRUTAL sonic attack on white supremacy
10:17 am


Alan Vega
Martin Rev

Alan Vega, 70s, photo by Paul Zone

I plan to stand behind my front door clutching a baseball bat for the duration of this year’s Republican National Convention, but if I were headed to one of the “First Amendment zones” in Cleveland next month, I would carry a ghetto blaster that played nothing but Suicide’s “White Man.”

Born Boruch Alan Bermowitz in 1938 and married to a Holocaust survivor during the sixties, Alan Vega knows whereof he sings on “White Man,” an obscure late-period Suicide track that deserves a wider hearing. While Vega denounces the legacy of white supremacy in the barest language there is, Martin Rev’s music—drums, a single guitar chord through a tremolo effect and a three-note bassline, punctuated by keyboard noises—corresponds to an inner state between trance and fury.

So far, “White Man” has only been officially released on the DVD One Day + Live at La Loco / Paris, a pro-shot live show from January 2005 supplemented with interviews. (A used copy from Amazon will set you back about $5.) Though Suicide has been playing the song since ‘98 (according to this fan’s timeline), they left it off their last album to date, 2002’s merciless post-9/11 nightmare American Supreme.

It just so happens there’s video of Suicide playing “White Man” in Manhattan right after the 2004 RNC. The performance falls flat, but Vega’s ad-libbed tirade is much clearer than on the Paris tape:

White man
Goin’ ‘round the world
Killin’ everybody with a different color skin
Yeah, it’s the American race
Yeah, kill the fuckers

White man
You’re a fucking diseased fucker
You’re a fucking cancer
White man

More after the jump…

Posted by Oliver Hall | Leave a comment
This may be the most racist, sexist, violent video game EVER (and it’s almost 35 years old)
11:51 am


Video games
Custer's Revenge

Despite exaggerations to the contrary, very few video games actually portray sexual assault. Sure, there’s a ton of murder, and definitely lots of gendered violence, but games that write in actual sexual violence are quite rare, which is actually sort of surprising when you learn about Custer’s Revenge.

The game, which came in in 1982 for the Atari 2600 and cost a whopping $49.95 (making it the priciest of Atari games then on the market), had a very simple premise: you are a naked, erection-wielding General Custer and you must avoid a volley of arrows in order to to rape a Native American who is—as indicated by the cover art—tied to a pole. Yeah, that’s it.

Custer’s Revenge was an early attempt to create and market “adult” video games, but promotion was difficult, especially since Mystique, the publishers and developers of the game, made it very clear that the game was “NOT FOR SALE TO MINORS.” In order to drum up publicity, Mystique actually showed the game to women’s and Native American groups, who were quick to give them free press with outraged protests. Feminist Andrea Dworkin even argued that Custer’s Revenge “generated many gang rapes of Native American women,” a claim that is difficult to prove, to say the least. Compared to say Pac-Man, the best-selling Atari 2600 game of all time, which sold 7 million, Custer’s Revenge was small potatoes, only selling 80,000 total. Regardless, the backlash most certainly helped move copies that might have otherwise simply collected dust on the shelf.

So how does Custer’s Revenge hold up nowadays? Despite the stomach-turning “plot,” the game actually manages to be so very comically low-rent that it falls very short of anything that is actually visually lurid. I mean you really have to use your imagination to connect those abrupt little pixels to the historic atrocities of the sexual violence and genocide exacted against Native Americans. They just didn’t quite have the technology to really depict any detail at the time, a fact which allowed game designer Joel Miller to maintain plausible deniability, claiming that the woman was a “willing participant” (this despite the game’s title and cover art). Nonetheless, Mystique later released a companion game, General Retreat, featuring the Native American woman attempting to rape Custer under cannonball fire, which, I guess, was an attempt at equality?

Ah, such innocent times! When the libidinal horrors of entertainment were technologically limited to blocky little boners and booties!
It’s possible that protests eventually staved off sales of the game, but what’s more likely is that no one really wanted to play it. PC World magazine named it the third worst game of all time, adding to the obvious objections that it was extremely difficult to play and it just looked terrible. The underground infamy of of Custer’s Revenge outlasted the game itself, inspiring a much more graphic remake in 2008, which was notably protested by a indigenous activists, including a female game designer and a video game journalist. Eventually pressure from activists got the game removed from the internet in 2014 (though I doubt too many people felt its loss).

More after the jump…

Posted by Amber Frost | Leave a comment
‘Movin’ On Up’: How the Black Panthers invented ‘The Jeffersons’

Somewhat like top basketballers before Michael Jordan (thinking of you, Dr. J….) the reputation of Norman Lear’s sitcom The Jeffersons suffered somewhat by poor timing and the shows that came after it. Cheers and Seinfeld are regularly lauded as among the greatest sitcoms of all time, but The Jeffersons, whose impressive 253 episodes were spread across a whopping 11 seasons (1975-1985), never seems to get mentioned with the same respect.

If you eliminate animated series and long-running staples from the dawn of TV history, the longevity of The Jeffersons puts it in a special category with Two and a Half Men (262 episodes), Cheers (275), M*A*S*H (256), Frasier (264), Married ... with Children (258), and Happy Days (255).

At a minimum, The Jeffersons is arguably the greatest put-down show of all time!

And it never would have happened but for an intervention by the Black Panthers.

Norman Lear, creator of a fair portion of the most successful sitcoms of the 1970s, including All in the Family, Sanford and Son, One Day at a Time, and Maude, is the subject of an upcoming PBS American Masters telecast under the title “Just Another Version of You,” which is expected to get a theatrical run in the summer before appearing on PBS affiliates in the autumn. Since the 1970s Lear has become more or less synonymous with the introduction of ethnic diversity in American TV as well as the foregrounding of what might be termed a liberal consciousness in televised comedy.

Remarkably, the creation of The Jeffersons was a direct outgrowth of an intervention staged by three members of the Black Panthers political organization at some point during 1974. A trio of pissed-off revolutionaries went to Lear’s office to complain about the “garbage” they were seeing on TV, specifically Lear’s show Good Times, which ran from 1974 to 1979 and focused on a black family in the projects of Chicago. You wouldn’t think that the Black Panthers would object to a popular sitcom calling attention to poverty in urban America, but they wanted to see a broader palette of Black America on TV.

Last weekend Lear visited Dan Harmon’s weekly podcast Harmontown, which is taped live every Sunday at the Nerdmelt Showroom in Hollywood, to promote the American Masters documentary and shoot the shit with a well-known showrunner (Community) from a more splintered era of TV programming, namely, ours. Harmontown tapings are usually attended by GenXers and Millennials, so the appearance of the 93-year-old (!) legend of TV was an unusual event.

‘Good Times’ aired on CBS from 1974 to 1979
At about 42 minutes in, Harmon and his sidekick Jeff Davis engaged Lear on the subject of the beginnings of The Jeffersons:

Harmon: There’s this anecdote, about ... three Black Panthers show up, and come to your office and say, “We want to talk to the garbageman! I wanna talk to Norman Lear, the garbageman!” And they storm into your office, and say, “Good Times is bullshit” ... They read you the riot act ... You credit that moment as starting us down the road towards The Jeffersons. ...

You’re still listening! You’ve already proven that you’re the king of television at that point, and people are barging into your office to call you a garbageman, and you listen to them! And took their feedback and made another great television show, that was great from another perspective.

Davis: What was the Black Panthers’ [complaint]? ... Because they were living in the projects, because they were downtrodden?

Lear: Their big bellyache was, why does the guy have to hold down three jobs and occasionally—in an episode, it almost seems like he’s looking for a fourth—he’s so hungry to make some money to support his family and why can’t there be an affluent black family on television? ... They were pissed off that the only family that existed, the guy had to hold down three jobs.

More after the jump…

Posted by Martin Schneider | Leave a comment
Does Your Mama Know About Me: Diana Ross sings Tommy Chong’s Motown hit about interracial love, 1968
10:19 am


Cheech & Chong
Diana Ross

Can you find Tommy Chong in this group shot of Bobby Taylor & the Vancouvers?
During the musical section of their set at LA’s Novo on Wednesday, Cheech and Chong played a song called “Does Your Mama Know About Me.” Chong wrote the lyrics for the number, which was a hit Motown single in 1968, and which Cheech says he adored before he ever met Chong. YouTube has fuzzy smartphone video of the duo performing it at a 2011 show.

As Cheech tells the story, he moved to Canada in ‘68—not to evade the draft, of course, but to protect Canada from a Vietnamese invasion—and when he was introduced to his future partner in Vancouver the following year, he immediately recognized him as the “T. Chong” credited on the label of that Motown record about an interracial couple he’d spun so many times.

Chong was one of the guitarists in Bobby Taylor & the Vancouvers, itself an interracial group which got some press by changing its name to “Four N*ggers and a Chink” during an engagement at Dante’s Inferno; lead singer Taylor is often credited with discovering the Jackson 5. Berry Gordy signed Bobby Taylor & the Vancouvers to the Motown subsidiary Gordy Records in 1967. Their recording of “Does Your Mama Know About Me” peaked at number 29 on the Billboard chart in May, 1968, and the Supremes’ version appeared on their Love Child LP, released later that year. This post from Night Flight goes into Chong’s musical career in some detail, but the best source is Cheech & Chong: The Unauthorized Autobiography:

...just before we were discovered by the Supremes and Berry Gordy, I wrote a poem that started our songwriting career. Tom Baird, who was a talented keyboardist and composer, read my poem and put music to it. It was a poem about a black guy asking his girlfriend if her mama knew about him. The song was also about my own experiences with white women. Being half Chinese, there had been times—actually, many of them—when I had to drop a girl off at the end of the block so her parents wouldn’t see who she was dating. That experience saddened me. It hurt to know that my race was a deciding factor for white people.


Soon the Harlettes discovered the song. They were the all-girl group that sang backup for Bette Midler, Diana Ross, and Jermaine Jackson, and they actually recorded it. The lyrics also changed the way Motown songwriters wrote. Until “Does Your Mama Know About Me?” came along, R & B music had always consisted of love songs. Now songwriters started exploring the color barrier with their songs. “Papa Was a Rolling Stone” and “Love Child” come to mind as examples of this shift.

Berry Gordy loved our song, and after it hit the charts, he put us on the road with Diana Ross and the Supremes. We opened the show and performed part of our club routine, which eventually pissed off Diana Ross so much that she had the tour manager tell us to stop doing it. The part Diana took offense to was a Parliament song whose lyrics we changed to say “Oh, white girls, you sure been delicious to me.” Our song pissed off the promoters, who were unprepared for an outrageous performance from the “opening act.” They had hired Diana Ross and the Supremes, who had become a “white act.” The promoters did not appreciate this unknown band from Canada singing about white girls’ being “delicious,” especially with so many white girls in the audience.

Listen to “Does Your Mama Know About Me” after the jump…

Posted by Oliver Hall | Leave a comment
‘The Art of the Black Panthers’: Revolutionary designer Emory Douglas
04:12 pm


Black Panthers
Emory Douglas

Emory Douglas served as Minister of Culture for the Black Panther Party and artistic director of The Black Panther newspaper from its inception in 1967. Douglas is unquestionably one of the most important artists and designers working in the political realm in the last several decades, and his work is a necessary component of anyone’s understanding of the lived experience of activism, advocacy, and resistance.

If you are trying to push an issue forward on the grass-roots level, whether it’s women’s health issues, the crimes of the 1%, or the candidacy of Bernie Sanders, the work of Emory Douglas is relevant to you.

Douglas was a native of the Bay Area; as a “guest” of the California Youth Authority (today it’s called the California Division of Juvenile Justice)—basically prison for teenage offenders—he was told to work in the print shop, which he called “my first introduction to graphic design.”

Huey P. Newton asked Douglas to provide the Black Panther newspaper with an effective visual style. Douglas and Eldridge Cleaver did many of the early issues pretty much by themselves.

One inspiration Douglas had was to mimic woodcuts for their ability to communicate ideas very clearly in a simple and stark visual style, an approach that proved very effective for his entire career. One factor that influenced Douglas’ style was that the Panthers could only afford one other color (aside from black and white), most of the time. So the picture would be conceived in a powerful black-and-white way and then the single color would be used to highlight some portion of the picture. In a way, it helped that the pictures weren’t too complex in terms of the color palette.

Continues after the jump…

Posted by Martin Schneider | Leave a comment
Human Zoos: Europe’s dirty racist secret
11:50 am

Stupid or Evil?

human zoo

Brussels is the capital of Belgium. It is the major city within the nineteen municipalities that make up the Brussels-Capital Region.

Since the end of the Second World War, Brussels has been home to a large population of politicians, diplomats, civil servants, businesses and industrialists. It is closely tied to the European Union and has been dubbed the “de facto capital” of the European Union since the 1970s. It’s Europe’s Washington. DC.

Brussels is where the European Commission (that august government branch of the EU) and the Council of the European Union (the well-respected legislative body made up of those jolly executives of member states) are based. It is city that represents the humanitarian values of a civilized and prosperous Europe.

But wait.

Not so long ago, indeed within living memory, Brussels was the last bastion of a racist sideshow called the “human zoo.”

In 1958 Brussels held the first World’s Fair since the end of the Second World War. Between April and October of that year, the Exposition Universelle et Internationale de Bruxelles gave testament to the shared ideals of equality and fraternity, the innovation of industry and a very real humanitarian hope for a peaceful and prosperous future.

Among the many major exhibits at Expo 58 that celebrated this hope for a better world were the massive building-cum-sculpture the Atomium—or “load of balls” as some have since described it—designed by engineer André Waterkeyn and architects André & Jean Polak; and the Philips Pavilion where composer Edgard Varèse premiered his seminal eight minute work Poème électronique—which followed a naive and simplistic narrative of the development of life and civilization towards a universal “harmony.”

In amongst all these space age wonders and exhibits from countries across the world was the Belgian Pavilion. Here visitors could find all that was best about Belgium including one small enclosure where the public flocked to pet and feed the exhibits.

Look here comes one now. A middle-aged matron in finely cut dress, coat and hat, wearing early designer sunglasses. Doesn’t she look chic? Let’s watch as this no doubt charming woman leans over the fence that surrounds the enclosure to feed one of the humans inside—a small black girl.
Horrendous isn’t it? Shocking. Horrific. Unbelievable. Like some dystopian sci-fi movie.

But to the 41 million people who visited Expo 58 this scene of unbridled racism caused little concern to the public—no upset, and no fury. No nothing.

You’d think after the racist atrocities of the Second World War that maybe, just maybe, Europeans might have developed a little more respect for their fellow man. But no, apparently not.

Human zoos, where white Europeans could go and see people from other ethnic backgrounds exhibited in cages, or in specially built villages for entertainment purposes is one of the biggest, dirtiest, and most shameful racist “secrets” of European history. Which no amount of saying “the past is a different country, they did things differently there” will ever excuse.
A poster advertising a ‘human zoo’ in Paris.
This wasn’t the Middle Ages. This was 1958. The year NASA was formed. The year the microchip was invented. The year the American Express card was introduced. When the hula-hoop was the #1 toy. When Elvis Presley joined the US Army. When Marilyn Monroe and Jayne Mansfield were the world’s pinups. When The Bridge on the River Kwai cleaned up at the Oscars and Steve McQueen terrified audience in his fight with The Blob. When the Yankees won the World Series and Brazil took the World Cup. The year the forerunner of the EU, the European Economic Community (EEC) was formed. This is within our pop culture timeline of rock ‘n’ roll, drugs and teenage rebellion. Your parents, grandparents, great-grandparents and great-great grandparents might even have attended themselves.
Keep reading after the jump…

Posted by Paul Gallagher | Leave a comment
Pretend to be a drug dealer from Mexico with ‘Beat the Border,’ an actual 70s board game!
10:23 am


board games
Beat the Border

Beat the Border board game, 1971
“Beat the Border” board game, 1971
I’ve written about vintage board games in the past here in DM, but here’s one that I’m pretty sure didn’t sell very well back in the early 1970s, and for good reason. I mean, can you imagine sitting down on game night with your kids and playing a game that was based on the Mexican drug cartel and their mission to bring drugs into the US of A?

Now? Sure. Back then, not very likely. Still that didn’t stop a company called Border House Inc. (for which I can find absolutely no reputable online reference for) from making Beat the Border.

The handy “kilo” buying and selling chart from ‘Beat the Border’

The cover of the
The box cover of the ‘Beat the Border’ board game (1972 edition). Text reads: Warning: “Your friendly local neighborhood Pusher warns that Marijuana Smoking is against the Law and may be Hazardous to your Freedom.”
Unlike the actual task of bringing drugs to the U.S., game play in Beat the Border is pretty simple—players start with $1000 and attempt to cross the border from Mexico into the U.S. to buy “kilos” of marijuana from their contacts named “Edwardo,” “Renaldo,” “Papas”, “Pepe” and “Jose.” Players then try to broker a sale in major cities like Tucson and New York, and for some reason Muskogee, Oklahoma.

To help your cause, players have access to “dope lawyers,” “phoney identification” (as it is spelled in the game), and “guns,” (affectionately referred to as “heaters” here). There’s even a handy chart telling you how much the going price for a “kilo” of grass was back in 1971. For instance, according to the handy “kilo buying and selling chart” (pictured above), a kilo of pot was worth $350 in 1971. Quite the bargain compared to today’s prices!. Much like its elusive creator Border House Inc., I wasn’t able to track down a physical copy of “Beat the Border” anywhere, just in case you were thinking about picking one up for your upcoming Election Day “apocalypse party” this November.

Posted by Cherrybomb | Leave a comment
Is this footage of a 21-year-old Bernie Sanders getting arrested in 1963?

This sure looks like my Bernie to me.

Yesterday on the In These Times website, Miles Kampf-Lassin alerted readers to a newly posted video that purports to be of a young Bernie Sanders getting arrested at a civil rights protest against school segregation in Chicago in 1963. The future Vermont Senator and Democratic Presidential candidate was then just a 21-year-old student at the University of Chicago.

Clearly—if this footage is indeed Bernie Sanders and it sure looks like him to me, he was rather a distinctive-looking fellow even in his younger years—then this is visual proof positive that Sanders has been consistent in his beliefs—and fighting the good fight—for his entire adult life. And yes, this was back when a young Hillary Clinton was a confirmed “Goldwater girl.” Feel the burn?

The footage was taken from Kartemquin Film’s ‘63 Boycott project, which chronicles the Chicago Public School Boycott of 1963, and was filmed by Kartemquin co-founder Jerry Temaner.

The protest on Chicago’s South Side took aim at racist education and housing policies being carried out in Englewood—namely the proposed construction of a new school for black students made up of aluminum trailers known as “Willis Wagons,” named after the Chicago Public Schools Superintendent Benjamin Willis who first ordered them. These trailers were used by the city to deal with overcrowding in black schools, thereby preventing integration of black students into less-densely populated white schools.


Sanders was arrested for his civil disobedience—specifically resisting arrest—and fined $25.

Look at the glasses. Also, compare the big chunky watch in the clip below with the big chunky watch the young Sanders is seen sporting in the photo below:

I wouldn’t bet my life on it that it’s a young Bernie Sanders in this footage, but I’d surely wager a pinky or a toe…

Posted by Richard Metzger | Leave a comment
‘Nappy Happy’: Radical thinker Angela Davis interviews Ice Cube, 1991
09:12 am


Angela Davis
Ice Cube

Before the release of Ice Cube’s Death Certificate, renowned black radical Angela Y. Davis interviewed him for Transition Magazine. It’s probably the first and last time a magazine has used a Gramsci quotation to introduce its readers to Ice Cube.

Davis, a former student of Herbert Marcuse, had been targeted by Governor Ronald Reagan in 1969 and 1970, when she was an assistant professor in UCLA’s Philosophy Department. At the governor’s urging, she was fired (twice), and Reagan vowed that she would never teach at the University of California again. Because who was better qualified to evaluate the work of philosophy professors than like Ronald Reagan? (Today, Davis is Distinguished Professor Emerita in the History of Consciousness and Feminist Studies Departments at UC Santa Cruz, and “Reagan” is a pair of syllables that stands for mental decay.) In ‘80, a decade after she was arrested because of her association with the Soledad Brothers, and again in ‘84, she was the vice-presidential candidate on the Communist Party USA ticket.

Ice Cube was coming from a different place. You couldn’t call his analysis Marxist, and “feminist” would have been a real stretch: he was reading The Final Call, not People’s World. This was during the period of Cube’s loudest advocacy for the Nation of Islam—before Friday, long before Are We There Yet?—when he was advocating black self-reliance (“We’ve got to start policing and patrolling our own neighborhoods,” he told Davis), endorsing an anti semitic NOI book called The Secret Relationship Between Blacks and Jews, and arguing that the Hon. Elijah Muhammad was more important than Malcolm X. He and Davis had plenty to talk about.

Angela Davis and Ice Cube in Transition #58
Hip-hop historian Jeff Chang, who thinks this meeting likely took place in July of ‘91, writes in Can’t Stop Won’t Stop that publicist Leyla Turkkan set up the interview, hoping it would position Ice Cube as “an inheritor of the Black radical tradition.” Chang continues:

The interview was a provocative idea—one that both Davis and Cube welcomed. But none of them had any idea how the conversation would turn when they got together in Cube’s Street Knowledge business offices.

To begin with, Davis only heard a few tracks from the still unfinished album [Death Certificate], including “My Summer Vacation,” “Us” and a track called “Lord Have Mercy,” which never made it to the album. She did not hear the song that would become most controversial—a rap entitled “Black Korea.” In another way, she was at a more fundamental disadvantage in the conversation.

Like Davis, Cube’s mother had grown up in the South. After moving to Watts, she had come of age as a participant in the 1965 riots. While Cube and his mother were close, they often argued about politics and his lyrics. Now it was like Cube was sitting down to talk with his mother. Davis was at a loss the way any parent is with her child at the moment he’s in the fullest agitation of his becoming.

Cube sat back behind his glass desk in a black leather chair, the walls covered with framed gold records and posters for Boyz N The Hood and his albums. Copies of URB, The Source and The Final Call were laid out in front of him. Davis asked Cube how he felt about the older generation.

“When I look at older people, I don’t think they feel that they can learn from the younger generation. I try and tell my mother things that she just doesn’t want to hear sometimes,” he answered.

There’s more, after the jump…

Posted by Oliver Hall | Leave a comment
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