The Bronx is Burning: Fire on Crotona Ave & 182nd Street

Recent Fires in the Bronx: Echoes of a Troubled Past

Just before midnight on Thursday, April 23, 2026, a three-alarm fire broke out at a home on Crotona Avenue between East 181st and 182nd Streets in the Belmont/Tremont/West Farms section of the Bronx (my old stomping grounds). The blaze spread to an adjacent structure, prompting a strong FDNY response with nearly 200 firefighters and EMS personnel on scene. Fortunately, no serious injuries were reported, and the fire was brought under control early Friday morning. An investigation into the cause is ongoing.

This incident comes just days after a devastating five-alarm fire on East 187th Street in the Belmont section (Little Italy), roughly a half-mile away. That earlier blaze killed two people—including a 17-year-old girl— injured 11 others (including five firefighters), and displaced dozens of residents. It tore through a mixed-use building, highlighting ongoing vulnerabilities in the area's aging housing stock.

The proximity of these fires raises eyebrows among longtime Bronx residents. While isolated incidents can happen anywhere, the frequency of significant blazes in recent years feels suspicious to many, stirring painful memories of the 1970s and 1980s. During that era, the South Bronx became infamous for rampant fires—often arsons orchestrated by landlords seeking insurance payouts on unprofitable buildings amid economic decline, redlining, and city neglect. An estimated 20% of the borough's housing stock was lost, displacing hundreds of thousands and leaving entire blocks looking like a war zone. Historians now emphasize systemic factors like slashed fire services, absentee landlords, and urban policy failures over simplistic narratives blaming residents.

 A Neighborhood Rich in History and Resilience

The Belmont and West Farms areas, where these fires occurred, sit in a part of the Bronx with deep roots. Belmont, often called the Bronx's "Little Italy," has long been a vibrant Italian-American enclave with strong ties to broader immigrant communities. Nearby Crotona Park and surrounding streets have witnessed both hardship and cultural rebirth.

This is ground zero for hip-hop culture. In the 1970s, amid the decay, young people in the Bronx channeled energy into creative expression. The Rock Steady Crew, founded in 1977 by Jimmy Dee and Jo Jo (with early members like Crazy Legs, Mr. Freeze, and Baby Love), emerged as one of the most iconic b-boy crews. They battled and practiced in parks and playgrounds, preserving and innovating breakdancing amid disco's rise. Belmont Park and nearby spots became hubs for these gatherings.

Local crews like the 692 B Boys carried that spirit forward, with fierce footwork and power moves that defined the era. My cousins danced with them, spinning and popping in the streets and schoolyards. The B-boy dances at P.S. 57 (CS 57) were legendary community events—energetic circles where talent shone and rivalries turned into respect through dance rather than violence. These moments turned abandoned lots and concrete playgrounds into stages of resilience.

Even cinema royalty has ties here. Stanley Kubrick, the legendary director of 2001: A Space Odyssey and The Shining, was born in Manhattan but grew up in the Bronx, living on Clinton Avenue as a child. His early photography captured the borough's streets, reflecting the raw energy and grit that shaped so many creative souls from the area.

I went on our Tiktok @Sacerdotus account live stream after our Instagram account was prevented from using their live feature due to a lack of 1000 followers.  Shame on Instagram for increasing the threshold of followers to enable the live feature!

 

 Looking Forward

The Bronx has come a long way since the "Bronx is Burning" days, with hip-hop now a global force born from these very streets. Yet fires like these remind us that challenges persist—aging infrastructure, housing pressures, and the need for vigilance. Communities here have always bounced back through culture, family, and determination. As investigations continue, let's hope for answers, prevention, and the same creative spirit that turned past ashes into art.

Stay safe, Bronx. Keep dancing through the smoke.

Sources:  

- CBS News, PIX11, ABC7NY, Bronx Times (fire reports)  

- Wikipedia & historical accounts on 1970s Bronx fires  

- Hip Hop History resources on Rock Steady Crew  

- Biographies and local histories on Stanley Kubrick and Bronx neighborhoods  

Afrika Bambaataa has died at 68

Afrika Bambaataa, born Lance Taylor on April 17, 1957, in the South Bronx, New York, passed away on April 9, 2026, at the age of 68 from complications of prostate cancer in Pennsylvania. Often hailed as one of the "godfathers" of hip-hop alongside DJ Kool Herc and Grandmaster Flash, Bambaataa played a pivotal role in transforming a local Bronx street culture into a global movement. His death comes just days after his 68th birthday, prompting reflections on both his groundbreaking contributions to music and culture and the serious allegations that later overshadowed his legacy.

 Early Life and Rise in Hip-Hop

Growing up in the Bronx River Houses amid poverty, violence, and gang activity, Taylor was initially involved with the Black Spades, one of the most notorious street gangs in the area. A transformative trip to Africa, inspired by an essay contest win, led him to adopt the name Afrika Bambaataa (Zulu for "Chief Affection" or similar, honoring Zulu warriors). Upon returning, he channeled his energies away from gang life toward music and community organizing.

In the early 1970s, Bambaataa began DJing at block parties, pioneering the art of breakbeat DJing—extending the instrumental "breaks" in funk, soul, and rock records to create endless dance grooves. He is widely credited with coining or popularizing the term "hip-hop" to encompass the four elements: DJing, MCing (rapping), b-boying (breakdancing), and graffiti writing. In 1973, he founded the Universal Zulu Nation, transforming former gang members into a positive force promoting peace, unity, love, and having fun through hip-hop culture. The organization spread globally, emphasizing knowledge, community, and social awareness over violence.

Bambaataa's parties and crews, including the Jazzy 5 and Soulsonic Force, helped elevate hip-hop from underground block parties to a cultural phenomenon. His influence extended far beyond the Bronx, inspiring youth worldwide to use hip-hop as a tool for empowerment.

 Musical Contributions to Hip-Hop

Bambaataa's most enduring musical legacy is his innovation in blending genres. In 1982, he released "Planet Rock" with Soulsonic Force, a groundbreaking track that fused hip-hop beats with Kraftwerk's electronic sounds, creating the electro-funk subgenre. The song, built around the iconic "Planet Rock" beat, became a massive hit and influenced everything from freestyle, Miami bass, and early techno to house music. It helped take hip-hop mainstream and demonstrated its potential as a global, futuristic sound.

Other key releases include "Looking for the Perfect Beat," "Renegades of Funk," and collaborations that bridged hip-hop with rock, funk, and electronic music. Bambaataa was known as the "Master of Records" for his vast, eclectic vinyl collection and innovative sampling techniques. His work laid the foundation for electro, influenced artists like A Tribe Called Quest, the Beastie Boys, and countless producers, and helped hip-hop evolve from a party soundtrack into a powerful cultural and political force.

Through Zulu Nation and his music, Bambaataa promoted hip-hop as more than entertainment—it was a movement for social change, education, and unity.

 Allegations of Sexual Abuse

Bambaataa's later years were marred by multiple accusations of child sexual abuse spanning decades. Allegations first gained widespread attention in 2016 when Ronald Savage, a former Zulu Nation associate and Bronx activist, publicly claimed that Bambaataa had molested him in the late 1970s when Savage was around 15 years old. Several other men came forward with similar claims, alleging abuse dating back to the 1970s and 1980s, often involving minors associated with Zulu Nation events or as "crate boys" (young assistants carrying records).

In 2021, an anonymous plaintiff (John Doe) filed a civil lawsuit under New York's Child Victims Act, accusing Bambaataa of repeatedly sexually abusing and sex trafficking him from 1991 to 1995, starting when the plaintiff was just 12 years old. Bambaataa consistently denied all allegations, calling them "crazy" in interviews and asserting that no one around him had ever reported such issues at the time.

The Universal Zulu Nation initially distanced itself from the claims but faced criticism for its response. In May 2016, Bambaataa resigned as leader of the organization. The Zulu Nation later issued an open letter apologizing to the accusers and acknowledging the group's inadequate handling of the situation, signed by dozens of members.

One accuser, Ronald Savage, later walked back aspects of his claims in 2024, stating that Bambaataa was "not a pedophile" and describing past interactions as consensual in his view at the time. However, other allegations persisted.

 Outcome of the Allegations and Consequences

No criminal charges were ever filed against Bambaataa. However, in May 2025, he lost the 2021 civil lawsuit by default judgment. The plaintiff was granted the judgment "without opposition" after Bambaataa failed to respond to the suit or appear in court before New York State's Supreme Court. Judge Alexander M. Tisch ruled in favor of the accuser, and the case proceeded to an assessment of damages. This default judgment effectively meant Bambaataa did not contest the claims in court, though it does not equate to a criminal conviction or a full admission of guilt in the legal sense.

Consequences included significant damage to his reputation and legacy. He was removed from leadership in the Zulu Nation, and the organization underwent restructuring. Publicly, many in the hip-hop community grappled with how to reconcile his foundational role with the accusations. Bambaataa continued performing internationally in his later years, but his presence in U.S. hip-hop events became more controversial and limited. The allegations cast a long shadow, leading to discussions about accountability in hip-hop's history and the protection of young people in cultural movements.

 A Complicated Legacy

Afrika Bambaataa leaves behind a dual legacy. On one hand, he was a visionary who helped birth and globalize hip-hop, using it to steer youth away from gangs toward creativity, knowledge, and unity. Tracks like "Planet Rock" remain anthems, and the Zulu Nation continues its work in communities worldwide. His innovations in breakbeats, electro, and cultural organizing influenced generations of artists and fans.

On the other, the serious allegations of sexual abuse—particularly involving minors—and the civil default judgment have tarnished that legacy for many. His death prompts a nuanced conversation: celebrating artistic and cultural contributions while confronting uncomfortable truths about personal conduct and institutional failures.

Hip-hop, as a culture, has always been about truth-telling and evolution. Bambaataa's passing invites reflection on its origins, its growth, and the ongoing need for accountability, healing, and protection within its communities. Rest in power to the man who helped name and shape the movement—may his positive impact endure while lessons from his controversies guide the future.

Hate, Xenophobia, Envy & Fake News is Behind Attacks Against Bad Bunny

The Pushback and Boycott Against Bad Bunny: A Reflection of Historical Prejudice, Cultural Envy, and Political Hypocrisy

Bad Bunny, born Benito Antonio Martínez Ocasio in 1994 in Puerto Rico, has emerged as one of the most influential and successful artists in contemporary music. His rise to global stardom is marked by unprecedented achievements, including becoming the first artist to win a Grammy for Album of the Year with a Spanish-language album, "Debí Tirar Más Fotos," in 2026. He has amassed over 100 million equivalent album sales, surpassed 100 billion streams on Spotify, and been named Spotify's most-streamed artist globally four times, with 19.8 billion streams in 2025 alone. 

His music, blending reggaeton, Latin trap, and other genres, has not only dominated charts but also elevated the Spanish language and Puerto Rican culture on the world stage. Yet, this success has been met with significant pushback and calls for boycotts, particularly surrounding his selection as the headliner for the Super Bowl LX halftime show in 2026. This backlash is not isolated; it echoes deep-seated historical prejudices against Puerto Ricans in the United States, intertwined with racism, xenophobia, cultural envy, and political hypocrisy.

The controversy intensified when the NFL announced Bad Bunny's performance in late September 2025. Conservative figures, including President Donald Trump, House Speaker Mike Johnson, and commentators like Tomi Lahren, lambasted the choice. Trump called it "absolutely ridiculous" and a "terrible decision," while Johnson echoed similar sentiments. Right-wing organization Turning Point USA (TPUSA) responded by organizing an "All-American Halftime Show" featuring Kid Rock, billed as a celebration of "American faith, family, and freedom." Social media erupted with calls to boycott the NFL's halftime, with users citing Bad Bunny's criticism of U.S. immigration policies, his "ICE out" statement at the 2026 Grammys, and false claims that he is not American or is illegal. This reaction highlights a broader pattern of exclusion, where Bad Bunny's Puerto Rican identity and advocacy for immigrants are weaponized against him.

 Historical Context: Hate Against Puerto Ricans in the United States

The animosity toward Bad Bunny cannot be understood without examining the long history of discrimination against Puerto Ricans in the U.S. Puerto Rico became a U.S. territory in 1898 following the Spanish-American War, and its residents were granted U.S. citizenship in 1917 via the Jones Act. However, this citizenship has often been second-class, with Puerto Ricans facing systemic racism and exclusion on the mainland. Migration to the U.S. surged in the mid-20th century, driven by economic hardship on the island, leading to large communities in cities like New York and Chicago. These migrants encountered poverty, unemployment, and racial discrimination, particularly darker-skinned Puerto Ricans who were often treated as outsiders despite their citizenship.

Non-Hispanic Caucasians have historically viewed Puerto Ricans through a lens of racial inferiority. In the 1940s and 1950s, organizations like the New York State Commission Against Discrimination (SCAD) documented workplace bias, where Puerto Ricans filed complaints about unequal treatment compared to Italian Americans. Housing discrimination was rampant; Puerto Ricans paid higher rents and were rejected based on their ethnicity. This "redlining" extended to government policies, excluding Puerto Rican and Black neighborhoods from subsidies and improvements. Scholar Alejandro L. Madrid notes that this treatment stems from U.S. imperialism, which deformed Puerto Rico's economy and fostered dependency, blaming Puerto Ricans for their own poverty.

Even among some African Americans, tensions exist. While Puerto Ricans and Blacks collaborated in urban struggles, including the creation of hip-hop, disputes over cultural ownership persist. Some African American figures, like Lord Jamar and Tariq Nasheed, deny Puerto Ricans' co-creator role in hip-hop, claiming it as exclusively Black American. This overlooks historical facts: Puerto Ricans were instrumental in breakdancing (e.g., Rock Steady Crew), DJing (e.g., DJ Charlie Chase), and graffiti. KRS-One counters this, stating that Puerto Ricans, Jamaicans, and Black Americans collectively birthed hip-hop in the Bronx. Such claims reflect internalized divisions, where shared oppression is overshadowed by competition for cultural credit.  

Nevermind that Black history was preserved and promoted not by an African American, but by an Afro Latino Puerto Rican named Arturo Alfonso Schomburg born in Santurce, Puerto Rico who was a historian, writer, bibliophile and philomath.  Puerto Ricans are part of the African/Black diaspora. 

This history of hate manifests in modern xenophobia, where Puerto Ricans are still seen as "not real Americans." Bad Bunny, a U.S. citizen by birth, is falsely labeled "illegal" or "alien," echoing the colonial subjugation that treats Puerto Rico as a possession rather than an equal part of the nation.

See more on these topics here:

https://www.sacerdotus.com/2024/02/erasure-of-puerto-ricans.html

https://www.sacerdotus.com/2013/10/puerto-ricans-forgotten-citizens.html

https://www.sacerdotus.com/2023/08/puerto-ricans-co-creators-of-hip-hop.html

https://www.sacerdotus.com/2023/06/forget-puerto-ricans-pride-is-better.html

https://www.sacerdotus.com/2025/10/eric-dickersons-ignorant-rant-telling.html

https://www.sacerdotus.com/2024/06/microphone-check-mockumentary-that.html

https://www.sacerdotus.com/2025/06/the-forgotten-puerto-rican-parade.html

 Racism and Xenophobia from MAGA and Right-Wingers

The boycott against Bad Bunny is steeped in MAGA-driven racism and xenophobia. Critics spread misinformation, calling him "not American," "illegal," "gay," or "communist," despite his Puerto Rican birthright citizenship. Bad Bunny's advocacy against ICE raids and for immigrant rights, including his "ICE out" Grammy speech—"We're not savage, we're not animals, we're not aliens. We are humans and we are Americans"—has fueled this ire. He canceled U.S. tour dates in 2025 fearing fan deportations, yet made an exception for the Super Bowl.

MAGA figures like Kristi Noem threatened ICE presence at the show, and Lahren claimed he's "not an American artist." Social media posts from users like @Chicago1Ray and @ACTBrigitte amplify this, calling for boycotts and labeling him anti-American. This rhetoric polices "Americanness," excluding non-English speakers or those challenging policies. The alternative show with Kid Rock is coded as "All-American," implying "All white," reinforcing exclusion.

Bad Bunny's gender-nonconforming style—wearing dresses, advocating for women's rights—draws homophobic attacks, labeled "gay" derogatorily. This intersects with xenophobia, portraying him as a threat to "traditional" values.

 Parallels with Jose Feliciano

Bad Bunny's experience mirrors Jose Feliciano's 1968 World Series national anthem performance. The blind Puerto Rican singer's Latin jazz-infused rendition was booed and called "unpatriotic" and a "travesty." Amid Vietnam War tensions, it was seen as protest, damaging his career temporarily. Feliciano intended appreciation for America, but his cultural twist was rejected, highlighting intolerance for non-traditional expressions from minorities. Similarly, Bad Bunny's Spanish-language performance and activism are deemed un-American.

 Internal Hate from Hispanics: Envy and Jealousy

Surprisingly, some Hispanics criticize Bad Bunny, despite his advocacy for Latinos and immigrants. This stems from envy, as no artist from Mexico, Argentina, Central/South America, Dominican Republic, or Cuba matches his success. Bad Bunny's achievements—first Latin male Super Bowl headliner, multiple Grammys—highlight Puerto Rico's disproportionate cultural impact.

Eduardo Verastegui exemplifies this. The Mexican actor criticized Bad Bunny's Grammy win, calling his music "toxic noise" and hypocritical for promoting "savage instincts" while advocating humanity. As a devout Catholic, Verastegui's attacks lack humility, crossing into incivility. Raúl de Molina rebuked him, reminding Verastegui of his immigrant roots and urging support for a fellow Latino elevating the community. This internal trashing ignores Bad Bunny's role in representing Hispanics globally.  Kudos to long-time Spanish television personality Raul De Molina of "El Gordo y la Flaca," who spoke out in defense of Bad Bunny calling out Verastegui's narrow view and hypocrisy.  

Many prominent figures have stepped forward to defend Bad Bunny amid widespread criticism, highlighting his cultural impact, advocacy for immigrants and Puerto Rican identity, and role in fostering global respect for Puerto Ricans. Television host Raúl de Molina, on El Gordo y La Flaca, forcefully rebuked Mexican actor Eduardo Verástegui's attacks on Bad Bunny following his 2026 Grammy win and pro-immigrant speech, reminding Verástegui of his own immigrant roots from Mexico and condemning the hypocrisy of an immigrant opposing others' defense of vulnerable communities. De Molina passionately argued that Bad Bunny is simply standing up for immigrants—calling out the sadness of those who forget their origins and turn against their own—and urged greater empathy and solidarity among Latinos. 

In a similar vein, Archbishop Roberto Octavio González Nieves of San Juan, Puerto Rico, previously praised Bad Bunny as a modern "phenomenon" and "troubadour of our time," describing his personal life as "impeccable" up to that point and celebrating the pride he inspires among thousands of young Catholic Puerto Ricans, even as the archbishop later apologized for the phrasing amid conservative backlash to underscore the artist's widespread following and positive cultural resonance(El arzobispo de San Juan pide perdón por sus expresiones sobre Bad Bunny | Otros | elvocero.com). 

Echoing this spirit of appreciation, another Puerto Rican bishop—Ángel Luis Ríos Matos of Aguadilla—has highlighted Bad Bunny's emotional, heartfelt expressions of love for the island, noting how the artist brings dignity and worldwide recognition to Puerto Rican culture and identity through his music and public stands ((8) Video | Facebook). These voices align with Bad Bunny's own lyrics in tracks like "Lo Que Le Pasó a Hawai'i," where he warns against Puerto Rico losing its essence to external exploitation and overdevelopment, much like Hawaii's experience, emphasizing the need to hold onto cultural roots, the flag, and traditions to prevent the island from becoming a diluted paradise for outsiders rather than a thriving home for its people; supporters see this as a powerful call for preservation that elevates Puerto Rican pride on the global stage.

 Attacks on His Voice and Cultural Narcissism

Critics dismiss Bad Bunny's voice as "trash," failing to appreciate reggaeton's unique intonation. This mirrors unfamiliarity with opera, which some find "annoying" due to cultural exposure gaps. Such judgments reveal racism and cultural narcissism, where non-white, non-English expressions are deemed inferior. Bad Bunny's success forces recognition of diverse aesthetics, challenging supremacy narratives.

Puerto Ricans have upheld the Latino banner, from hip-hop contributions to modern icons like Bad Bunny, where other groups lag.

 Conservative Hypocrisy and Double Standards

MAGA supporters attack Bad Bunny's "morally questionable" lyrics but endorse Kid Rock, whose songs are vulgar and controversial. Kid Rock's "Cool, Daddy Cool" references underage girls—"Young ladies, young ladies, I like ’em underage"—endorsing pedophilia. His explicit rants, like against Oprah, include slurs and misogyny. Yet, he's hailed as an "alternative" to Bad Bunny. This double standard is rooted in racism: they tolerate vulgarity from white artists but condemn it from non-white ones, hating anything not "white, boring, and bland."

The "All-American" counter-show is exclusionary code, ignoring America's diversity.

 Celebrating Bad Bunny's Achievements

No artist has achieved as much in such a short time as Bad Bunny. His albums top charts, tours gross billions, and he promotes Spanish variations globally. As Americans, we must value the First Amendment without attacking minorities exercising it. Other Hispanics should cease envy and celebrate; Bad Bunny voices their cultures too.

In conclusion, the boycott against Bad Bunny is a microcosm of enduring prejudices. It underscores the need for unity, rejecting jealousy and hypocrisy to appreciate his contributions.

 Sources

- Rutgers University: Puerto Rican New Yorkers and Anti-Discrimination.

- Bad Bunny's defense of Puerto Rico takes a prayerful turn

- Library of Congress: In Spanish Harlem.

- Stony Brook University: Puerto Rican Experience in the South Bronx.

- Hispanic Federation: Puerto Rico History 101.

- History.com: Anti-Latino Discrimination.

- ScienceDirect: Internalized Racism in Puerto Rican Diaspora.

- Foreign Affairs: Race Relations in Puerto Rico.

- Raúl de Molina responds to Eduardo Verástegui's Bad Bunny criticism: 'You’re Latino. You’re Mexican'

- USCCR: Puerto Ricans in the Continental US.

- Wikipedia: Racism in Puerto Rico.

- Albany Scholars Archive: Puerto Ricans as Contingent Citizens.

- PMC: Experiences of Ethnic Discrimination Among US Hispanics.

- Sage Knowledge: Puerto Rican Americans.

- Rise Up Newark: Puerto Ricans in the North.

- JSTOR: Puerto Rican Segregation.

- Minority Rights Group: Afro-Puerto Ricans.

- BBC: Bad Bunny at Super Bowl.

- ESPN: NFL Stands by Bad Bunny.

- ABC4 Utah: Utah Likely to Boycott.

- Reddit: Backlash to Bad Bunny.

- CBC: Opinion on Bad Bunny.

- YouTube: Backlash to Bad Bunny.

- Reddit: Boycott Super Bowl.

- The Conversation: Backlash Reveals MAGA Views.

- Facebook: Bad Bunny Boycotts America.

- MSN: Halftime Sparks Boycott.

- Instagram: TPUSA Counter-Program.

- Times of India: Prominent Reverend Boycotts.

- New York Magazine: Controversy Explained.

- The Fulcrum: Clash Deepens Divide.

- Twitter: Conservatives Boycott.

- MLB: Jose Feliciano's Anthem.

- Reddit: Feliciano's Performance.

- Facebook: 55 Years Ago.

- Cuba on Record: Interview with Feliciano.

- NPR: Different Anthem.

- YouTube: Feliciano at World Series.

- Medium: Bombs Bursting.

- WBUR: Performance Changed Life.

- Instagram: Great Moments.

- WGCU: Song of the Day.

- BBC: Political Fireworks.

- Facebook: Bad Bunny's Citizenship.

- Washington Post: Enthusiasm and Scorn.

- WEAR-TV: Leavitt on Trump.

- Reddit: Bad Bunny Sticks It.

- Waging Nonviolence: Stakes in Performance.

- Instagram: Is Bad Bunny American? 

- The Athletic: Bad Bunny Isn't Touring.

- Facebook: Bad Bunny's Stand.

- YouTube: Grammys 2026.

- Facebook: Turning Point USA.

- Reddit: NFL Boss Stands By.

- WSJ Podcasts: MAGA Fuming.

- Facebook: Celebration of American.

- Sacerdotus: Echoes of Exclusion.

- Facebook: Bad Bunny to Headline.

- Vox: Trump Racist Post.

- Congress.gov: House Record.

- Hollywood Reporter: Carpenter on Trump.

- NPR: Harris Calls Trump Fascist.

- Archives West: Seattle Women's March.

- Euronews: Trump Refuses Apology.

- Reddit: MAGA Allies Repulsed.

- Springer Link: Sexualised Citizenship.

- UNESCO: Memory Lane.

- Reddit: Latinos Worked Up.

- Facebook: Class Discussion.

- Instagram: Reaching Him.

- Instagram: Proud to Join.

- The iNews Network: Bad Bunny Controversial.

- HOLA: SNL Skit Explained.

- Instagram: Halftime Controversy.

- Facebook: Latinos Stand Up.

- TikTok: Bad Bunny's Performance.

- YouTube: Akademiks & Vlad.

- HOLA: Raúl Responds.

- Hungama Express: Verástegui Criticises.

- Instagram: Raúl Responded.

- Daily Jang: Verastegui Targets.

- YouTube: Verastegui Slams.

- Instagram: Mexican Actor.

- YouTube: Raúl Rejects.

- Threads: Verástegui Blasted.

- MundoNow: Blasts Bad Bunny.

- Yahoo: Arremete Contra.

- Billboard: Kid Rock Controversies.

- Metal Anarchy: Kid Rock Backlash.

- Instagram: Kid Rock Talks.

- Consequence: 10 Times Worst.

- Georgia Straight: Politically Incorrect.

- Variety: Sexual Slurs.

- NewsNation: Special Olympics Condemns.

- Substack: Statement from TBN.

- Facebook: Strange Times.

- Wikipedia: Grits Sandwiches.

- Wikipedia: Bad Bunny.

- Billboard: History-Making.

- UC San Diego: Global Force.

- Biography: Bad Bunny.

- Spotify Newsroom: Crown Bad Bunny.

- Chartmasters: Surpasses 100m.

- Prestige Online: Net Worth.

- Harvard Gazette: Rocketed to Stardom.

- Reuters: Rewriting Rules.

- Wikipedia: Awards Received.

- Facebook: Achievements.

- HOT 97: On Pace to Billion.

- SiriusXM: Phenomenal Year.

- Reddit: Biggest Artist.

- Billboard: Biography.

- X: Bad Bunny Hate.[post:110]

- X: Boycott.[post:148]

- X: Fraudulent Sales.[post:149]

- X: Hate Americans.[post:150]

- X: Chose Bad Bunny.[post:151]

- X: Boycott Started.[post:152]

- X: Bad Bunny Anti-ICE.[post:153]

- X: Boycotting.[post:155]

Underground Rapper 'Ka' Dead at 52: Rest In Peace Knight Alarmed

The Hip-Hop Community Remembers Kaseem "Ka" Ryan: A Tribute to a Legendary Wordsmith and Hero

The world of hip-hop is in mourning following the unexpected passing of Kaseem "Ka" Ryan, a revered New York rapper and former firefighter, known for his profound lyrics and dedication to his community. Ka's death at the age of 52 has left fans and fellow artists alike reflecting on the indelible mark he left on the genre and the city he loved.

Ka's journey was as unique as his lyrical prowess. Born and raised in the tough streets of Brownsville, Brooklyn, he lived a life of service, not only through his music but also through his 20-year career with the New York City Fire Department. His bravery shone brightly as a first responder during the tragic events of 9/11, and he rose to the rank of FDNY captain, earning the respect and admiration of all who knew him.

His music career was marked by a fierce independence and a commitment to authenticity. Ka first dipped his toes into the music industry in the 1990s but took a step back to focus on his firefighting career. He returned with a vengeance, releasing his first solo album in 2007 and continuing to self-produce and release music on his own label. His approach was a breath of fresh air in an industry often dominated by commercial interests.

Ka's lyrics were a reflection of his life experiences, filled with wisdom, pain, and a quiet rage that resonated with listeners. His 2016 album, "Honor Killed the Samurai," is often cited as a masterpiece, showcasing his ability to weave complex narratives with a minimalist style that captivated the underground hip-hop scene.

The news of Ka's passing was met with an outpouring of tributes from across the hip-hop community. Fans and fellow artists shared how his music touched their lives, helped them through tough times, and inspired them to think more deeply about the world around them. His legacy as a wordsmith is cemented in tracks like "$," where he challenged mainstream hip-hop's materialism with sharp, thought-provoking lyrics.

Ka's impact extended beyond the microphone. His life as a firefighter and his contributions to his neighborhood of Brownsville highlighted his unwavering commitment to service. He was a hero in every sense of the word, and his loss is felt deeply by those who knew him and those who were moved by his music.

Kaseem "Ka" Ryan, the Brooklyn-born rapper, has left behind a rich legacy of music that is celebrated for its lyrical depth and storytelling prowess. His discography is a testament to his skill as a wordsmith and his dedication to the craft of hip-hop. Here are some of Ka's most acclaimed songs that have defined his legacy:

1. "Cold Facts" - A standout track from his album "Grief Pedigree," this song showcases Ka's ability to deliver powerful narratives with a minimalist approach. His storytelling is vivid and compelling, painting a picture of life's harsh realities through his eyes.

2. "Up Against Goliath" - This track is another example of Ka's lyrical genius. The David and Goliath metaphor is used to describe the struggles of overcoming life's obstacles, resonating with many who face their own giants.

3. "Iron Age" featuring Roc Marciano - A collaboration with fellow New York rapper Roc Marciano, "Iron Age" is a gritty, hard-hitting track that exemplifies the raw and unfiltered style of both artists.

4. "30 Pieces of Silver" - Known for its haunting instrumental and introspective lyrics, this song delves into themes of betrayal and the price of loyalty, drawing parallels to the biblical story of Judas Iscariot.

5. "The Night's Gambit" - The title track of his 2013 album, "The Night's Gambit," is a lyrical masterpiece that explores the complexities of life's chess game, with Ka maneuvering through the challenges with wisdom and grace.

6. "Jungle" - A song that stands out for its raw emotion and stark portrayal of the urban landscape, "Jungle" is a reflection of Ka's environment and the survival instincts it instills.

7. "Knighthood" - As the name suggests, this track is a nod to Ka's status as a knight in the hip-hop realm, with lyrics that demonstrate his honor and commitment to his art.

These songs are just a glimpse into the profound impact Ka had on the hip-hop community. His music continues to inspire and influence artists and fans alike, ensuring that his voice and message will endure for generations to come. For those looking to dive deeper into his discography, albums like "Grief Pedigree" and "The Night's Gambit" are essential listening to fully appreciate the artistry of Kaseem "Ka" Ryan.

The Lyrical Genius of Kaseem "Ka" Ryan: A Fusion of Life and Philosophy

Kaseem "Ka" Ryan's lyrical style was a unique blend of personal experience, philosophical depth, and a profound reflection on the human condition. His inspiration came from a life lived in the heart of Brooklyn's Brownsville, where the realities of street life, survival, and loss were daily encounters. Ka's music was not just about creating art; it was about storytelling, conveying messages, and sharing wisdom gleaned from a life of complexity and service.

Ka's early life in the crack era of the 1980s in New York City exposed him to the harsh realities of drug addiction within his own family and community. These experiences shaped his worldview and later found expression in his music, which often touched on themes of struggle, resilience, and the search for meaning amidst chaos.

His career as a firefighter, including his heroic efforts during 9/11, further influenced his music, infusing it with a sense of duty, sacrifice, and the value of life. Ka's dual identity as a rapper and a first responder created a rich tapestry of experiences that he wove into his lyrics, making his songs resonate with authenticity and gravitas.

Musically, Ka was known for his minimalist approach, often characterized by sparse, drumless beats that allowed his words to take center stage. This style demanded close attention from listeners and created a space for contemplation and reflection. It was a deliberate choice that set him apart in a genre often dominated by fast-paced rhythms and bombastic production.

Ka's albums, such as "Grief Pedigree" and "Honor Killed the Samurai," showcased his ability to draw parallels between his life experiences and broader themes. For instance, on "Honor Killed the Samurai," he likened the street code to the ancient samurai code, blending historical philosophy with the gritty realism of modern urban life. This bridging of disparate worlds through history, mythology, and religion became one of Ka's trademarks.

His 2020 album "Descendants of Cain" took this approach further, framing the struggles of life in Brownsville through the biblical story of Cain and Abel. The album spoke to the cycles of violence, poverty, and survival, with Ka's delivery lending a meditative quality to the harsh realities he depicted.

Ka's lyrical style was a slow burn, each line meticulously crafted, each narrative rich with metaphor and allusion. His music was a meditation on life, a poetic exploration of its depths, and a testament to the power of words to inspire, challenge, and heal. Ka's legacy as a lyrical genius remains a beacon for those who seek meaning in music and life. His voice, though silent now, continues to speak volumes to those who listen carefully to the stories woven into his rhymes. Rest in peace, Ka. Your artistry and insight continue to inspire.

Kaseem "Ka" Ryan's Collaborative Spirit in Hip-Hop

Kaseem "Ka" Ryan, known for his profound and introspective lyrical style, was not only a solo artist but also a collaborator who worked with a variety of artists sharing his vision and approach to hip-hop. His collaborations were selective and meaningful, often with artists who resonated with his ethos of deep lyricism and storytelling.

One of the most notable collaborations was with Roc Marciano, a fellow New York rapper and producer known for his vivid storytelling and intricate rhymes. The two artists shared a similar minimalist and contemplative approach to music, which made their collaborations stand out in the hip-hop scene. They frequently appeared on each other's work, and there was even talk of a joint album, which unfortunately never materialized.

Ka's partnership with Roc Marciano was a meeting of minds, where both artists complemented each other's styles. Tracks like "Iron Age" from Ka's album "Grief Pedigree" and "Marksmen" from Roc Marciano's album "Rosebudd's Revenge" are testaments to their synergy. Their work together showcased a blend of Ka's reflective and philosophical lyrics with Roc Marciano's detailed and cinematic narratives, creating a rich tapestry of urban storytelling.

Another significant collaboration was with GZA of the Wu-Tang Clan, a group renowned for their lyrical prowess and influence on hip-hop. Ka's work with GZA further cemented his reputation as a rapper whose style was cerebral and thought-provoking. Their collaboration highlighted Ka's ability to hold his own with established figures in the industry while bringing his unique voice to the table.

Ka's collaborative efforts extended beyond these notable names. He was part of the '90s underground rap group Natural Elements and later worked with various artists who shared his passion for authentic and uncompromising hip-hop. His collaborations were not just musical partnerships but also a reflection of his commitment to the craft and his respect for the art form.

The legacy of Kaseem "Ka" Ryan is not only found in his solo work but also in the connections he made with like-minded artists. These collaborations enriched the hip-hop landscape and provided listeners with a deeper understanding of the genre's potential for introspection and commentary. Ka's collaborative tracks remain a vital part of his discography, offering a window into the collective spirit of a subculture within hip-hop that values lyricism and authenticity above all else. Rest in peace, Ka. Your collaborative spirit and your profound contributions to hip-hop will continue to inspire and influence future generations of artists and fans alike.

I remember KA when I was a teenager entering my 20s. We debated religion on his website forum. This was in the early 2000's when forums were a thing. There was no Twitter (x now), Facebook, Myspace, Instagram or even Google or Disqus. We also discussed Hip Hop. At the time, I was working on a "rap thing" at St. Thomas Aquinas and St. Dominic with the youth groups there. I was also helping my friend Jose with his rap aspirations and was looking for a studio. 

KA sent me a mix CD, a black bandana with red KA logos, and other items along with a handwritten note.  He was down to earth, very intelligent and focused.  We see now from the outpouring of love and sadness how much he meant to everyone, especially those of us in the Rap game and those of us who are fans of Hip Hop. I appreciated him engaging me back then and for sending me the CD and other things.  As you can see, I have not forgotten!  He was a true rapper and did not sell out to commercialized Hip Hop which has robbed the genre from its history and grassroots.  We pray for his soul and for those he left behind.  May KA rest in peace.  

As we remember Kaseem "Ka" Ryan, we celebrate a man who embodied the true spirit of hip-hop: raw, real, and resonant. His music and his actions spoke volumes, and he will be remembered as a legendary wordsmith and a true knight of New York, whose alarmingly powerful voice will continue to echo through the streets he once protected and the verses he so skillfully crafted. Rest in peace, Ka. Your legacy will live on. Until we meet again bro! 

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The FADER | Kaseem Ryan, the beloved Brooklyn rapper and producer better known as Ka, has passed away. ⁠ ⁠ He “died unexpectedly in New York City on... | Instagram

Underground Brooklyn rapper Kaseem "Ka" Ryan dead at 52 - CBS New York (cbsnews.com)

Ka, Monumental Brooklyn Rapper, Producer Dead At 52 (vibe.com)

Rapper Ka of the Brooklyn Underground dead at 52 just weeks after latest album release as fans left in 'utter disbelief' | The US Sun (the-sun.com)

Ka, New York rapper celebrated as legendary wordsmith, dead at 52 (nbcnews.com)

Ka, Acclaimed Rapper & Roc Marciano Collaborator, Dead At 52 (allhiphop.com)

Ka Dead: Brooklyn Rapper, 9/11 First Responder Was 52 (variety.com)

NYC rapper and 9/11 first responder Ka dead at 52 (nypost.com)

NYC rapper and 9/11 first responder Ka dead at 52 (nypost.com)

Ka, Lone Soldier of New York’s Underground Rap Scene, Dies at 52 - The New York Times (nytimes.com)

'Badboy' Sean 'Diddy' Combs Arrested

The recent news of Sean 'Diddy' Combs' arrest has sent shockwaves through the entertainment industry and among fans worldwide. The hip-hop mogul, known for his influential role in the music scene, was arrested in New York City following a grand jury indictment related to serious allegations. This development comes after a series of accusations and legal challenges that have been mounting over the past year.

The charges against Combs include sex trafficking and racketeering, which are extremely grave and carry significant legal consequences. The arrest is the culmination of a federal investigation that has been in the public eye, with various reports detailing the allegations and the legal proceedings that have unfolded. Combs has pleaded not guilty to the charges and a bail appeal hearing is set to take place.

The specific allegations against Sean "Diddy" Combs are indeed serious and have prompted widespread attention. According to various sources, Combs has been charged with sex trafficking, racketeering conspiracy, and transportation to engage in prostitution following a months-long federal investigation. The indictment details that Combs allegedly manipulated women into engaging in "highly orchestrated performances," referred to as "freak offs," which also purportedly involved paid male sex workers.

Furthermore, the indictment alleges that Combs paid for the travel of these individuals to locations where he was present and supplied drugs to coerce participants into sex. Additional claims include kidnapping, forced labor, bribery, and other crimes as part of the racketeering charges. These allegations paint a picture of a complex and grave situation that has significant legal and societal implications.

It is crucial to remember that these are allegations, and Combs has pleaded not guilty to the charges. The legal process will thoroughly examine the evidence and arguments from both sides before reaching a verdict. Until then, Combs, like any other individual in such a situation, is presumed innocent until proven guilty in a court of law. The case continues to unfold, and it will be followed closely by the media and the public for its eventual resolution and the broader issues it raises about conduct in the entertainment industry.

It's important to note that an arrest is not an indication of guilt, and the legal process must be allowed to take its course. In the United States, the principle of 'innocent until proven guilty' is a cornerstone of the justice system. As such, Combs is entitled to a fair trial and due process, which will involve the examination of evidence, witness testimonies, and the legal arguments presented by both the defense and the prosecution.

The case against Sean "Diddy" Combs has garnered significant media attention due to the nature of the allegations and the evidence presented. The federal investigation has reportedly amassed a substantial amount of evidence, including over 90 electronic devices containing videos and photos that are critical to the case. These devices were seized during raids and are believed to contain material that supports the allegations of sex trafficking and other serious offenses.

Witness testimonies form another crucial part of the evidence, with over 50 individuals reporting abuse, which adds a human element to the prosecution's case. This testimony is expected to provide firsthand accounts of the alleged crimes and could be pivotal in the trial.

Additionally, Combs has been accused of using narcotics as a means to coerce participants into sex, with the indictment alleging the distribution of drugs like cocaine, methamphetamine, and oxycodone during the events in question. The prosecution also claims that Combs was involved in kidnapping, forced labor, bribery, and other crimes as part of the racketeering charges.

In a twist to the case, Combs has accused one of the alleged victims of attempting to extort him for $30 million, and his defense team has revealed an 8-minute audio tape as evidence to support this claim. This development suggests that the defense will challenge the credibility of at least one accuser, which could impact the overall strength of the prosecution's case.

The evidence presented in such cases is typically subject to rigorous examination during the trial, where both the prosecution and defense will have the opportunity to argue its relevance and veracity. As the legal proceedings continue, more details about the evidence and its implications are likely to emerge, shaping the narrative of the trial and its outcome.

The situation has sparked a broader conversation about accountability and justice in the entertainment industry, as well as the impact of such high-profile cases on public perception. It also raises questions about the support systems in place for the alleged victims and the scrutiny faced by public figures.

As the case progresses, it will undoubtedly remain a focal point of media coverage and public discussion. It serves as a reminder of the complexities and responsibilities that come with fame, and the importance of a legal system that seeks to uphold justice for all parties involved.  Moreover, Combs has always been suspected of being involved in the killing of Tupac Shakur and Biggie Smallz.  Time will tell if during the legal discovery, we learn if he was truly responsible for their deaths.  

Combs is also a product of the Catholic school system.  

 

Questions For Tariq Nasheed & the FBA (Foundational Black American)

1. You claim Puerto Ricans had nothing to do with Hip Hop, so explain the many Puerto Ricans who were there during its creation and their evidence. How is this possible?
2. Why bring up all these claims about Blacks creating Hip Hop now after 50 years?
3. Why did you not bring this content up 50 years ago if it is true?
4. Why did it take 50 years to discover all of these "facts?"
5. On what authority can you dismiss the experiences and lives of both Blacks and Puerto Ricans during the 1970s who lived Hip Hop?
6. How can you reconcile your claim that Puerto Ricans have nothing to do with Black people when they are culturally, genetically, and ethically black and part of the African/Black diaspora?
7. On what grounds can you call a Puerto Rican a "colonizer" when Puerto Rico was founded by colonizers?
8. Who is the "creator" of Hip Hop?
9. Where is your evidence that this one Black creator created Hip Hop?
10. Why did you choose to create this film during the 50th anniversary of Hip Hop and never presented it in the 1970s, 80s, or 90s?  

51st Anniversary of Hip Hop

The 51st Anniversary of Hip Hop: Celebrating Diversity and Addressing Challenges

Hip-hop culture, which emerged from the streets of New York in the early 1970s, has reached its 51st anniversary. This genre, more than just music, represents a powerful form of expression encompassing dance, art, and a unique linguistic style. It has given a voice to marginalized communities and has been a platform for social commentary, activism, and cultural exchange.

One of the pivotal figures in hip-hop is KRS-One, who has been instrumental in the "Walk This Way" march, an event that celebrates hip-hop's legacy while promoting peace and health within urban communities. This march not only commemorates the genre's rich history but also emphasizes the importance of unity and well-being among its practitioners and fans.  On Sunday, August 11, 2024, KRS-One led the march with several other iconic Hip Hop figures including Fat Joe through the streets of the Bronx. 

Another key contributor to hip-hop is the aforementioned Fat Joe, who has openly discussed the foundational role of Latinos in the history of hip-hop and has received hate for keeping it real. His career and influence highlight the contributions of Puerto Rican artists to the genre, from its inception to the present day. Fat Joe's work underscores the diversity within hip hop and the need to recognize the contributions of all ethnic groups that have shaped it.

However, the journey of hip-hop has not been without its challenges. There have been concerns about the erasure of Puerto Ricans and other Latino influences from the narrative of hip-hop history as well as the erasure of the Bronx as the originating birthplace of Hip Hop. This erasure is part of a broader issue of anti-Latino rhetoric that can be found in various aspects of society, including the arts fueled by race-baiter Tariq Nasheed and others on social media. Addressing this issue is crucial for the integrity and inclusivity of hip-hop culture.  You can read more about this in previous posts here:

Sacerdotus: 'Busta Rhymes' Says Puerto Ricans & Blacks Created Hip Hop

Sacerdotus: Puerto Ricans Co-Creators of Hip Hop

Sacerdotus: Erasure of Puerto Ricans

Sacerdotus: DJ Rob Swift Goes After Tariq Nasheed

Sacerdotus: Microphone Check: A Mockumentary That Resonates with Hip Hop Fiction & Racial Revisionism

As hip-hop continues to evolve, it is essential to remember and celebrate the contributions of Puerto Rican and Latino artists. Their influence is evident in the sounds, styles, and stories that are integral to the genre. Acknowledging and respecting this diversity is key to preserving hip-hop's ethos of community, resilience, and creativity.

On this 51st anniversary, let us reflect on hip hop's journey and recommit to a culture that respects and amplifies all voices. Let's continue to walk this way, together, towards a future where hip-hop remains a vibrant and inclusive art form for generations to come. Let us know the history and not let people push alternative facts, alternative realities and false narratives to the Hip Hop Culture. 

Break Dancing: From Da Bronx to the Olympics

Breakdancing, or breaking, has long been a symbol of the vibrant street culture that emerged from the Bronx in the 1970s from Puerto Rican and African American youth. It's a dance form that combines creativity, athleticism, and rhythm in a way that captivates audiences worldwide. Now, this dynamic expression of urban art is taking a monumental leap from the streets to the grand stage of the 2024 Paris Olympics, marking its debut as an official Olympic sport.

The inclusion of breaking in the Olympics is a testament to the evolution of the art form and its global appeal. The decision to introduce breaking to the Olympics followed its successful showcase at the 2018 Youth Olympic Games in Buenos Aires, which resonated with both participants and spectators, showcasing the sport's potential for even greater international recognition.

At the Paris 2024 Olympics, breaking will feature two medal events, one for men (B-Boys) and one for women (B-Girls), with 16 competitors in each category. These athletes will engage in solo battles, demonstrating a blend of power moves, footwork, and freezes, all while adapting their performances to the beats spun by live DJs. The competition promises to be a display of not just physical prowess but also artistic expression, as breakers improvise and showcase their unique styles.

The scoring system for breaking at the Olympics is designed to capture the essence of what makes a breaker outstanding. Judges will evaluate competitors based on musicality, vocabulary, originality, technique, and execution, with each category contributing equally to the final score. The battles will be intense, as each breaker has just 60 seconds to impress the judges in a series of best-of-three rounds.

Qualifying for the Olympics is a rigorous process, reflecting the high standards of the competition. Breakers have earned their spots through world championships, continental games, and the Olympic Qualifier Series, ensuring that only the best of the best will compete for Olympic glory.

The Olympic breaking events are scheduled for August 9 and 10 at Place de la Concorde, a historic location in Paris that will add to the grandeur of the occasion. This venue, known for its cultural significance, will now also be remembered as the birthplace of Olympic breaking.

The introduction of breaking to the Olympics is more than just the addition of a new sport; it's a recognition of the cultural significance of urban art forms and their ability to bring people together. It's a celebration of the spirit of innovation and inclusivity that the Olympic movement embodies. As the world's top breakers prepare to take the stage in Paris, they carry with them the hopes and dreams of a community that has long sought a platform to showcase their artistry to the world.

For more information on the breaking events at the Paris 2024 Olympics, including the schedule and athlete profiles, visit the official Olympic website.

DJ Rob Swift Goes After Tariq Nasheed

Exploring the Dynamic World of Hip-Hop: DJ Rob Swift and the Cultural Discourse

Hip-hop culture is a vibrant and ever-evolving art form, encompassing various elements such as DJing, rapping, breakdancing, and graffiti. At the heart of this culture lies the ongoing dialogue about its origins, influences, and the contributions of diverse communities. Recently, a fascinating exchange unfolded between DJ Rob Swift, a veteran turntablist and member of the X-ecutioners, and Tariq Nasheed, a filmmaker and internet personality known for his documentary and race-baiting work.

The discourse centered around the historical narrative of hip-hop's birth and the roles played by different ethnic groups in its development. DJ Rob Swift, in a series of tweets, challenged the notion that hip-hop was exclusively a Black American creation, highlighting the contributions of Latino artists in the early days of the movement. He cited figures like Trac 2 (Luis Angel Mateo) and Spy (Lein Figueroa), who were instrumental in shaping the breakdancing element of hip-hop.

Tariq Nasheed, known for his documentary "Microphone Check: The Hidden History of Hip-Hop," (see: https://www.sacerdotus.com/2024/06/microphone-check-mockumentary-that.html) engaged in this dialogue, questioning the claims about the ethnic diversity of hip-hop's pioneers. The exchange reflects a broader conversation within the hip-hop community about representation, acknowledgment, and the importance of recognizing the multifaceted roots of this global phenomenon.

DJ Rob Swift's journey in hip-hop is marked by significant achievements, including his participation in the 1992 American DMC Finals, his showcase at the 2017 DMC USA Finals, and his educational efforts in sharing the cardinal rules of DJing through various platforms. His commitment to the craft and his advocacy for a comprehensive understanding of hip-hop's history underscores the complexity and richness of the culture.

Both went at it on X (formerly Twitter) with DJ Rob Swift correcting Taqir Nasheed's anti-Puerto Rican rhetoric which attempts to erase Puerto Ricans from Hip Hop and its creation.  Puerto Ricans are co-creators of Hip Hop. There is no denying this (see: https://www.sacerdotus.com/2023/08/puerto-ricans-co-creators-of-hip-hop.html). Nasheed's work attempts to use sophism and revisionism in order to rewrite Hip Hop history erasing Puerto Ricans and even the Bronx from the equations.  Pioneers like Dj Rob Swift and others are not having it and have countered Nasheed's lies and fabrications rooted in race-baiting and anti-Latino rhetoric.  

See the exchange on X (formerly Twitter):

Not all of the founders of Hip Hop say it was “100% Black”. Some first generation Writers were White. Some first generation B Boys were Latino. Felipe Luciano (member of the Last Poets) is Puerto Rican. The founders who say it was “100% Black” are victims of the Mandela Effect. pic.twitter.com/l4snam0YJw

— BROLICARM (@DJROBSWIFT) May 27, 2024

what first generation B Boy was Latino? What's his name ?

— Tariq Nasheed 🇺🇸 (@tariqnasheed) May 27, 2024

In Hip-Hop, no element was "invented" by a single individual. In the case of Breaking specifically, the dance was codified by a community of dancers over a period of time. The Zulu Kings might have laid the first cornerstones, yes. Still, B-Boys like Trac 2 (Luis Angel Mateo) and… pic.twitter.com/K5qAIRLmhB

— BROLICARM (@DJROBSWIFT) May 31, 2024

As hip-hop continues to influence and be influenced by artists and enthusiasts worldwide, conversations like the one between DJ Rob Swift and Tariq Nasheed serve as a reminder of the genre's dynamic nature. They invite fans and practitioners alike to delve deeper into the narratives that have shaped hip-hop and to appreciate the diverse contributions that have made it the powerful and unifying art form it is today.

For those interested in exploring the technical skills and artistic expressions within hip-hop, DJ Rob Swift's insights and performances offer a window into the dedication and creativity required to excel in this field. His work, along with the ongoing debates about hip-hop's history, provides valuable perspectives for anyone looking to understand or participate in the culture.

As hip-hop approaches its fifth decade, the dialogue about its origins and evolution remains as relevant as ever. It is a conversation that not only celebrates the past but also shapes the future of this influential cultural movement. Whether through documentaries, social media exchanges, or live performances, the stories of hip-hop continue to inspire and challenge us, reflecting the diverse voices that have contributed to its enduring legacy.

Source:

DJ Rob Swift Slams Tariq Nasheed's "Hidden History Of Hip-Hop" Claims (allhiphop.com)

DJ Rob Swift Slams Tariq Nasheed's "Hidden History Of Hip-Hop" Claims (allhiphop.com)

Microphone Check: A Mockumentary That Resonates with Hip Hop Fiction & Racial Revisionism

The world of hip-hop is vast and vibrant, filled with stories that are waiting to be told. "Microphone Check" is a "documentary" that attempts to dive deep into this culture, exploring its history and the profound impact it has had on society. However, it created something different and fictional. 

Directed by Tariq Nasheed a known race-baiter, this film has garnered attention for its pretense as an authentic portrayal and energetic storytelling, earning a high rating on Rotten Tomatoes clearly from bots and fake reviews.

The documentary has been praised for its insightful interviews with hip-hop legends, archival footage that brings the past to life, and a narrative that captures the essence of hip-hop's influence. It's not just a film; it's a journey through the evolution of a genre that has shaped music, fashion, language, and lifestyle.  This is what some claim. However, those of us who are Hip Hop culture born and raised in the culture in the Bronx are disgusted at it. It is disrespectful. It is a mockumentary.  

The documentary "Microphone Check" has garnered a mix of reviews, with some critics offering high praise for its exploration of hip-hop's origins and others expressing disappointment. One particularly critical review highlighted several areas where the documentary fell short.

Firstly, the critic pointed out that while the documentary aimed to uncover the true history of hip-hop, it may have missed the mark in delivering a comprehensive narrative. The film was criticized for its narrow focus, which seemed to overlook the broader cultural and social influences that shaped the genre. The critic argued that hip-hop's evolution is a complex tapestry woven from various threads, including African, Caribbean, and Puerto Rican Latino cultures, and the documentary's failure to acknowledge this diversity was a significant oversight.  It attempts to erase Puerto Ricans and other Latinos from Hip Hop. Puerto Ricans are co-creators of Hip-hop (see: Sacerdotus: Puerto Ricans Co-Creators of Hip Hop). 

Another point of contention was the documentary's pacing and structure. The critic felt that the film's flow was disjointed, making it challenging for viewers to follow the storyline. The transitions between interviews and historical footage were described as abrupt, which detracted from the overall viewing experience. This makes sense because the director specifically edited comments to make it support his narrative. Things were edited and spliced in a way to present a message the person being interviewed did not mean to convey. Context is missing.

Furthermore, the review criticized the documentary for not providing enough context for the pioneers' contributions to hip-hop. While the film featured interviews with several key figures, the critic argued that it did not delve deeply enough into their stories or the impact of their work on the genre's development.  It has no sources, no evidence is provided, just strategic editing.  

Lastly, the review took issue with the documentary's production values. The critic described the sound editing as subpar, which was particularly disappointing given the subject matter's reliance on music. The visual elements were also called into question, with the critic suggesting that the graphics and archival footage could have been integrated more seamlessly.

In conclusion, the critical review expressed that "Microphone Check" had the potential to be a groundbreaking documentary but was ultimately let down by its execution, content, and politics. The critic emphasized that while the film's intent to honor hip-hop's roots was commendable, it needed a more polished, historically accurate, and inclusive approach to truly do justice to the genre's rich history.   Nasheed failed as a storyteller and armchair historian.  The "documentary" is propagandist revisionist material meant to erase Puerto Ricans and the Bronx from Hip-Hop. Puerto Ricans are described as "guests" in Hip-Hop when in reality this documentary is a squatter in the House of Hip-Hop attempting to claim ownership of it.  It is content similar to that of Black Supremacists who claim Jesus is black and that everyone owes everything to black people. 

Historians will be quick to dismiss this documentary as rubbish. Despite these criticisms, the documentary has sparked conversations and debates, underscoring the ongoing relevance and complexity of hip-hop's narrative in contemporary culture.  Luckily we have Derrick Colon, a self-proclaimed Hip Hop historian and Puerto Rican from the Bronx who is countering Nasheed's claims with evidence and facts even winning a debate against him. It is no surprise that Nasheed's team had Colon's YouTube video critiquing the documentary removed.  What is Nasheed afraid of? 

Those of us who are from the Bronx and grew up in the borough with its hip-hop know the truth. Hip Hop comes from the Bronx. It was co-created by Blacks and Puerto Ricans.  KRS-One and several other pioneers made this clear on several occasions and publicly. It is confirmed by historians and academia. This attempt to divorce Puerto Ricans from Hip-Hop is ridiculous and shows Nasheed's and those who support him in an anti-Latino stance. For some reason, they have a dislike of Puerto Ricans and Latinos in general.  Puerto Ricans are part of the Black Diaspora, to begin with.  Hip-hop just celebrated its 50th anniversary and all scholarships point to the Bronx at Sedgewick Avenue as its birthplace where young blacks and Puerto Ricans gathered at a party to raise money for school supplies.  To state that Hip-Hop originated else where or even in the 1900s or 1950s is laughable. 

"Microphone Check" is a proper title for this clumsy documentary. It is focused on the microphone echoing false narratives and echo chambers from race baiters looking to rewrite history to compensate for their racial insecurities. Only the microphone was checked in order to record and promote nonsense, the opinions presented were not.  

Off the bat, we can logically dismiss this mockumentary at face value. Let us suppose what Nasheed claims is true. Why is he and the FBA only informing the world now in 2024? Why did he take 50 years to tell us "the truth?"  Why were these questions and "evidence" not presented in the 1970s, 80s, or 90s?  Why now all-of-a-sudden?  In light of this critical thinking, we can see that this mockumentary by Nasheed and the rhetoric from the FBA is completely a fabrication.  

If you are a fan of Hip-Hop or grew up in the Bronx or both, you will be truly disgusted and offended by this documentary. It is just a disaster full of lies and alternative facts.  

Dj Flame - The Anointed Mic Check Host & Hip-Hop Female Pioneer

DJ La Spank, whose real name is Gail Hall, is a figure of monumental importance in the history of hip-hop. As one of the original DJs for the Mercedes Ladies, the first all-female rap group, she helped pave the way for women in a genre that was, and often still is, dominated by men. Her contributions to hip-hop are significant not only because of her pioneering role but also because of her talent and dedication to the craft of DJing.

The Mercedes Ladies, formed in the late 1970s, were trailblazers who challenged the status quo by stepping into the spotlight in a male-dominated scene. They were known for carrying their own equipment and records, setting up for shows, and delivering performances that stood toe-to-toe with their male counterparts. DJ La Spank, as a part of this group, showcased her skills on the turntables, contributing to the group's success and influence.

In 2014, the Mercedes Ladies were inducted into the Hip Hop Hall of Fame, a testament to their impact on the culture and recognition of their place in hip-hop history. DJ La Spank, also known as DJ Flame, has been involved with the New York hip-hop community since its early days, working with other legendary artists such as Grandmaster Flash and The Furious Five, The Cold Crush Brothers, and DJ Kool Herc.

Despite her significant role, information about DJ La Spank's early life and the specifics of her music career are scarce. This lack of documentation highlights a broader issue within the music industry and society at large—the underrepresentation and undervaluing of women's contributions, particularly in hip-hop. However, the legacy of DJ La Spank and the Mercedes Ladies lives on, inspiring new generations of female artists to pursue their dreams in the music industry.

DJ La Spank's impact extends beyond her musical achievements. She represents the spirit of hip-hop itself—innovative, resilient, and defiant. Her story is a reminder that hip-hop is not just a genre of music but a cultural movement that has provided a voice for the marginalized and a platform for self-expression. As we continue to celebrate the evolution of hip-hop, it is crucial to remember and honor pioneers like DJ La Spank, who have helped shape the genre into what it is today.

She now hosts the Anointed Mic Check on WHCR, a show about Christian music, particularly, Hip-Hop, R&B and the "carribean flavor."  She offers news, interviews and the latest music and oldies in the Christian music genre.  DJ Flame has hosted this program since the early 2000's in the early morning hours. 

For those interested in delving deeper into the history and contributions of DJ La Spank and the Mercedes Ladies, their stories are an essential chapter in the narrative of hip-hop and a beacon for aspiring artists everywhere.

Celebrating 50 Years of Hip Hop: From NYC Voices to Cultural Force | The City College of New York (cuny.edu)

Erasure of Puerto Ricans

Some of you may wonder when reading the title of this post why I am calling saying that there is an "Erasure of Puerto Ricans."  Well, there are many reasons why and I will try to go through them briefly in this writing.

Who Are Puerto Ricans?

Puerto Ricans are people who are either born on the island of Puerto Rico or come from parents who were born on the island.  They are mostly a mix of European, Taino Indian, African, and sometimes even Asian races.  All Puerto Ricans are natural citizens of the United States of America whether born on the island of Puerto Rico or on the mainland 50 states.    

Puerto Ricans are indeed American citizens. Being born in Puerto Rico is tantamount to being born in the United States. However, this wasn't always the case, and some ambiguity remains.

Contrary to what many people believe, the Jones Act of 1917, which Congress passed over 100 years ago, was neither the first nor last citizenship statute for Puerto Ricans. Since 1898, Congress has debated more than 100 bills containing citizenship provisions for Puerto Rico and enacted 11 overlapping citizenship laws. Over time, these laws have conferred three different types of citizenship to people born in Puerto Rico.

The United States annexed Puerto Rico during the Spanish-American War of 1898. Between 1898 and 1901, U.S. academics, lawmakers, and other government officials began to invent a new tradition of territorial expansionism. This enabled them to strategically annex territories like Guam, American Samoa, the U.S. Virgin Islands, and the Commonwealth of the Northern Mariana Islands for military and economic purposes without binding Congress to grant them statehood. To support this effort, they also created interpretations of the Constitution that allowed them to govern Puerto Rico and other territories annexed during the Spanish-American War.

In summary, being born in Puerto Rico grants automatic American citizenship, but historical complexities have led to ongoing debates about Puerto Rico's status as an unincorporated territory.

Puerto Ricans as "Black, White, Brown"

Puerto Ricans are hard to classify racially speaking. They come in all colors.  One can meet a Puerto Rican as white as Casper the friendly ghost with blue, hazel, or green eyes; or even a Puerto Rican as black as coal with features found among Africans born in Africa. Puerto Ricans are part of the African/Black diaspora!  Furthermore, there are Puerto Ricans who look Indian, Arab, or Asian with their particular eyes, skin tones, and bone structures.  Because of this, there can be great confusion on the part of non-Puerto Ricans who mistake them for other races. This also creates a problem on census forms where Puerto Ricans have trouble identifying with a particular race.  Scientists have recently claimed that the Puerto Rican is the "perfect human" or perfect genetic specimen. This is because of their richer genetic background with the mixtures that took place since Columbus landed on the island of Puerto Rico.  However, Puerto Ricans have always found it difficult to "fit in."  Despite some being white, non-Hispanic whites do not always accept them. The same with Puerto Ricans who are black or brown. They are often treated as a "sub-species" among those who share similar physical/racial characteristics but are not Puerto Rican or Hispanic.  However, regardless of how Puerto Ricans are treated, they have prospered immensely and have created their own way which many Latinos have followed. 

Discrimination in America and Religion
Puerto Ricans are culturally proud people who love to display their music, food, and flag publicly without shame.  They are festive and it is rare to find an anti-social Puerto Rican. Unfortunately, the history between the United States of America and Puerto Ricans has not been so tidy.  

Puerto Ricans were often mistreated by non-Puerto Ricans in mainland America.  Some in the Catholic Church even gave Puerto Ricans a hard time by making them pay a quarter to sit at Mass or were forced to attend Mass in a basement or lower church.  Because of this, many Puerto Ricans left and are part of Evangelical or Pentecostal sects.  With the onset of the internet, some have even stopped believing and have become atheists or agnostic. This has created conflict among families and identifying as Puerto Rican.  Many cultural elements in Puerto Rico have Catholic ties. Puerto Ricans who subscribe to atheism or agnosticism often have a hard time identifying as Puerto Rican because atheism and agnosticism are primarily non-Hispanic white liberal ideologies and unrelated to being Latino or Hispanic.  So in effect, these atheist and agnostic Puerto Ricans have an identity crisis and are slaves of neocolonialism with the adoptance of atheism and agnosticism.

They were originally under Spanish rule until the United States took the island over and Spain eventually gave it away completely to alleviate its debts.  It wasn't until 1917 that Puerto Ricans became official citizens in the United States of America.  In 1948, Congress broadened the citizenship to include all Puerto Ricans born in the States or the Island of Puerto Rico.  Over 75% of Puerto Ricans speak English fluently.  This allows them great flexibility in American life.  However, they are a forgotten people in America.

Puerto Ricans Treated Like Second-Class Citizens
Democrats and others who identify themselves as "liberals" or "progressives" often push for "immigrant rights" and so on. They feel that immigrants who came here illegally should be allowed to stay.  A form of amnesty is often proposed in Congress allowing them to stay with full rights and protection under US law.  We are seeing this now with the invasion of illegal migrants and how so-called sanctuary cities are now complaining about their existence in their territories.  

Naturally, many Americans oppose this because it is not fair for people to come illegally to the nation and then get a free pass to become citizens.  These critics are often the descendants of immigrants themselves who came from Europe but argue that their ancestors earned their citizenship and did not enter the nation illegally.

Those in favor of illegal immigrants try hard to pass laws to allow them to have licenses, better job opportunities, welfare assistance, earn college degrees, and so forth.  However, not much is said of Hispanics who are already citizens, namely Puerto Ricans.  Only about 14% of Puerto Ricans earn a bachelor's degree.  This is not good.  Despite having Supreme Court Justice Sonia Sotomayor, Dr. Neil Degrasse Tyson, AOC, Ritchie Torres, Ruben Diaz, Jennifer Lopez, Marc Anthony, Bernie Williams, Jorge Posada, Joaquin Phoenix, and a few others, more needs to be done to bring Puerto Ricans out there in American society.  Leaders in the Puerto Rican community often forget their own people and do not encourage education nor advocate for their fellow Puerto Ricans.  Puerto Ricans have suffered discrimination, poverty, and other social issues for no reason.  They are American citizens and deserve to be treated as such and not forgotten.

In many instances, illegal immigrants are given priority over Puerto Ricans!  This is absurd and a

complete betrayal of the Puerto Rican people and their status as citizens of the United States of America.  Archbishop of San Juan, Roberto Gonzalez was under fire from Vatican officials years ago for speaking a little more on Puerto Rican rights than he should; however, I don't blame him. Gonzalez was born in the States and probably knows well the hardships that his people have endured and still endure.  To be a citizen, yet not be; is not something that lifts the morale of any people.  For a Puerto Rican to be wrapped up in red tape when trying to get assistance or an opportunity to live the American dream while an illegal immigrant can easily get help is unfair. 

Puerto Ricans have much to contribute to American society as a whole.  Supreme Court Justice Sonia Sotomayor is an example of what a Puerto Rican can become if he/she is given equal treatment and not treated like a second-class citizen while others who are not citizens are put ahead. The Puerto Rican people need a Dr. King figure who will bring about change and respect.  It is disturbing to see Al Sharpton show his face when a controversial issue involves Puerto Ricans and no other Puerto Rican leader is present.

Puerto Rican Falsely Identified, LatinX, Prejudice & Stereotype Placement

African Americans are not the only group who are harassed and profiled.  Many times, when a Hispanic commits a crime, he is automatically labeled a Puerto Rican despite being Mexican, Dominican, Cuban, or whatnot.  Take Salsa singer Marc Anthony for example who was harassed for singing the anthem at the All-Star game.  Legendary singer Jose Feliciano faced a similar situation when he sang his own rendition of the National Anthem.  Despite being American, they faced prejudice and were treated like they were non-Americans. Moreover, other Latinos often mock Puerto Ricans by calling them "whites" or non-Latinos.  Others mock the fact that Puerto Rico is not independent non-Latinos

In some instances, members of other groups purposely pretend to be Puerto Rican to fit in society or get opportunities.  They have even stolen the identities of Puerto Ricans which forced Puerto Rico to reissue birth certificates.  Only those who can distinguish between dialects, accents, and body language can truly tell who is Puerto Rican and who is not.  Shouting 'wepa' or dancing Salsa does not make one Puerto Rican.   Puerto Rican food and music is often misappropriated by other Latinos.  We can see on social media outlets such as Instagram and Tiktok where Latinos adopt Puerto Rican slang words as their own or claim Puerto Rican cuisine like acapurrias or pasteles are their culture when it is not.

Now with the popularity of the LGTBQIA agenda, Puerto Ricans and other Latinos are being called "LatinX" by non-Hispanic whites, particularly liberals or progressives. The term is extremely disrespectful to not only Puerto Ricans but all Latinos and Hispanics; in a word, the Spanish culture and language. LatinX is a very offensive term showing neocolonialism at work. Non-Hispanic whites are trying to force change in Hispanic culture and language. Spanish is a gender-specific language. This must be respected. Latinx is a racist slur.

Moreover, many Puerto Rican elected officials sell out their own people by adopting the "white man's" rhetoric.  This rhetoric includes the Americanization of Puerto Ricans by forcing them to erase their cultural ties and become part of the American collective, so to speak.  It also includes adopting liberal ideologies such as abortion, contraception, gay rights, atheism, and other agendas that were never part of the Puerto Rican people's philosophy who value life, family, and tradition.  Being American doesn't mean one must forget where one came from, nor replace one's values and morals.  Let us not forget how Planned Parenthood and other organizations forcefully sterilized Puerto Rican women and men.  Puerto Ricans were often experimented on by the US government as well. 

June used to be the National Puerto Rican Day Parade month. Millions of Puerto Ricans and non-Puerto Ricans would flock to New York City's 5th Avenue to view or participate in the National Puerto Rican Day parade. The entire month was celebrated with displays of Puerto Ricanism. However, we now have "Pride Month." Puerto Ricans are again pushed aside. Their erasure takes new forms every couple of years.  The Puerto Rican Parade is hardly promoted now. It is all about Pride. Even social media, websites, and companies mark the colors of Pride. They never did this for Puerto Ricans.  We can see the discrimination and bias here. The LGBTQIA community does not care either despite Puerto Ricans being at the forefront of gay rights in the 60s and 70s.  

Erasure From Hip Hop

Furthermore, even some American Americans or Blacks are attempting to erase Puerto Ricans from Hip Hop. We celebrated the 50th anniversary of the genre in August of 2023. Before this race-baiter, Tariq Nasheed and others have been promoting misinforming disingenuous content claiming Puerto Ricans were not involved in the creation of Hip Hop. They even claim, it did not originate in the Bronx despite the evidence and living pioneers.  This came after legendary Rapper Busta Rhymes and Fat Joe made comments that Puerto Ricans were co-creators of Hip Hop.  Some in the Black community took offense to this believing it to be misappropriation or an attempt to push Blacks away from Hip Hop.  The claims are all ridiculous and uneducated. They are meant to create division. As stated, Puerto Ricans are part of the African/Black diaspora.  They are genetically hardwired in it! There is no way to divorce this fact.  Using Spanish to claim Puerto Ricans are not black is ridiculous. What of Haitians who speak French but are Black?  Since when is English the requirement to be African American or Black?  Moreover, we have clear evidence that Puerto Ricans are co-creators of Hip Hop.  This does not take away from Blacks because Puerto Ricans are also Black!  Again, the whole thing is just nonsensical an an attempt to push Puerto Ricans aside; to erase or cancel them and their involvement in Hip Hop and the Black diaspora.  

Conclusion
Puerto Ricans are being erased from Americanism.  Even some African American brothers and sisters are trying to erase their fellow brothers and sisters in the Puerto Rican ethnicity. Non-Hispanic whites are attempting to rewrite Puerto Rican identity with their "Latinx" constructs and homosexual scripts that were never part of Puerto Ricanism.  They are doing this to the point of using the word in the media to refer to Latinos and Hispanics and by making June "Pride Month" when it was always the month of the Puerto Ricans.  

We need to stop this.  Puerto Ricans need to stand up and represent themselves and demand respect dignity and acknowledgment required.  They need to be proud and push back against the agenda to erase Puerto Ricans.  They tried to physically sterilize Puerto Ricans out of existence and now are idealogically sterilizing them through education, culture, atheism, and divide-and-conquer tactics; neocolonialism.  I hope the Puerto Rican people are treated better and that they wake up and demand respect. Their needs have to be met and put before those of others who clearly broke laws by entering our nation.

To my knowledge, the breaking of a law means one is a law-breaker or criminal.  Why give preference to law-breakers when you have citizens here who are in need of many things and want to achieve the American dream without being discriminated against or assimilated into another ethnicity?

Puerto Ricans wake up and stand up!

What do you think? Post your comments below on Disqus. Remember to follow the rules so your comment can be posted.  

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