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V Exclusive: Chuck D Says 'F--k Donald Trump!' + Challenges Rappers To Diss The Donald

Purported presidential hopeful Donald Trump has yet to officially throw his hat in the ring. But the omnipresent business mogul continues to make the most noise out of his Republican peers with eyes for the White House due to his controversial persistence in raising doubt over the authenticity of President Barack Obama’s birth certificate. Now following the President’s public release of his official document in response to what many critics have labeled as ugly and racist behavior by Trump and others labeled “birthers,” legendary Public Enemy frontman and political commentator Chuck D says the disgraceful reality show host is getting a free ride from the hip-hop community. And it all comes down to dollars and cents.

“If rappers are so bold like they used to be there would be like 10 diss records for Donald Trump right now,” insist Chuck. “But the average rapper is afraid because they don’t know if Trump will have money for them one day. Money has brought their fear out. There are supposed to be 20 cats lined up cursing Trump the fuck out. This is supposed to be hip-hop, right?”

Chuck D, who has had his own criticism of President Obama, believes that when it comes to the blatant racism of demanding birth certificates and college transcripts from the first black President (Trump has said on several occasions that Obama was not qualified to attend Ivy League institution Harvard), rappers need to stand up.

“President Obama is going to make a lot of moves that will make you go OMG and WTF, but this is the President of the United States,” Chuck explains. “So whatever little move that he can make for you, you got to fight for it. This whole thing with Donald Trump…he’s on some bullshit. Someone needs to say, ‘Yo, Donald Trump…you full of shit and I’m going to seriously fuck you up.’ That’s what the rap community used to do, but now nobody can make that statement because everybody feels politically in debt.”

When asked if the past outspoken likes of Jay-Z, Lil Wayne and 50 Cent will speak up and call out Trump, Chuck D says don’t count on it.  “You are not going to get it from them,” he says. “You will be waiting until the cows come home. People that say something are the people that have nothing to lose. If you go inside of a jail and ask a prisoner what they think about Trump they will be like, ‘Man, fuck that bitch.’ They don’t have anything to lose from speaking from their hearts and minds. A lot of the rappers today are too worried about their brand. Trump is full of it. Fuck him.”

Chuck D is no stranger to making waves. The influential leader of Public Enemy led the progressive group to create some of hip-hop’s most greatest and thought-provoking works that includes It Takes A Nation of Million to Hold Us Back (1988), Fear of a Black Planet (1990) and Apocalypse 91...The Enemy Strikes Black (1991). P.E. is currently working on a new studio album set for release late next year.—Keith Murphy

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Terry Crews Believes 'White Chicks 2' Will "Happen One Day"

Terry Crews is eager to breathe life back into his controversial White Chicks character Latrell Spencer. During an interview with Us Weekly, the famed actor expressed his elation behind a possible sequel to the aforementioned film.

"I would love one! I'm staying in shape for White Chicks 2! I will never get out of shape—you know that, right?" Crews said. "I will be 75 and say, 'Here we go, I'm ready to go!' I will never, ever get out of shape because that movie's going to happen one day."

In 2004, Marlon and Shawn Wayans starred as two rich white women as they went undercover to apprehend a suspect in a kidnapping scheme. The film was also written by their older brother Keenen Ivory Wayans, and starred John Heard, Rochelle Aytes, Faune A. Chambers, and Drew Sidora. During the course of its debut, the reel raked in over $113 million a the box office.

In a 2018 interview with The Chicago Tribune, Marlon Wayans discussed the impact of his film. "White Chicks, to me, is one of the most underrated comedies ever. That's one where I have to say '(Forget) critics,'" he said. "You have to have no sense of humor to not like that movie — two black guys dressed up as white women. Anybody who hates White Chicks, something is wrong with them. They had a bad childhood."

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'Black Monday' Explores Mo's Backstory With Narration Of '60s Soul Music: Episode 8 Recap

For seven episodes, we got glimpses into the past that molded Mo into the savage trader he is. Episode “7042” finally takes us closer to his origin, and apparently, that leads us to Los Angeles in 1968. The Jheri curl is now a blown-out afro, and his ruthless mercantilism on Wall Street is replaced by altruism for underserved communities, as a member of the Black Panther Party. The glimpses into his past — the Church’s Chicken on his birthday, his visit with Jammer — all begin to congeal into one vision of a misguided man.

The domineering Xosha Roquemore plays the role of Candance, the woman who Jammer intimated broke Mo’s heart. Roquemore’s last recurring role was as comedian Dawn Lima on Showtime’s I’m Dying Up Here, a short-lived series about the seedy side of stand-up comedy in the early 1970s. Her as Candace is another stellar casting choice. Roquemore was able to speak honey-coated bullets that can pierce any man’s ego in a way that’s both comforting and impactful as a Black woman comic in the 1970s. It’s just as mesmerizing to watch on Black Monday as a Black Panther member in the 1960s.

This arc, while entertaining, seemed to continue an awkward trend in Black Monday: the Black woman bears the weight of the man’s faults. Candace is portrayed as the person who took Mo from thinking of others and drug-free to a staunch individualist who probably has cocaine residue in his DNA. Similarly, it’s Dawn who is the cause of Mo’s Jammer Group being partly owned by the Lehman Brothers in the episode “243,” and the one who feels the obligation to blow up her marriage and future love life to save a risky Georgina Play that Mo involved her in without her say. But, then again, Regina Hall and Roquemore deliver two of the most emotionally jarring performances of the episode and demonstrate two separate, but equally as profound, ways of Black women releasing themselves from the control of men.

Taking Black Monday to the 1960s accomplishes a number of worthwhile feats otherwise unlikely in the 1980s Wall Street timeline. For one, the first 90 seconds of this episode features a wider variety of Black faces than the last seven episodes had, combined. But, more than anything, the new timeline allows for the soul music of the ‘60s to narrate the story.

Music Narrator

Music has always played a noticeable part in the show, but more so as a reinforcement of the time period. In this episode, the sounds of the time guide the audience and take them deeper into the character than what they see on the screen.

In the episode’s opening, soul singer Harry Krapsho lets us know “I don’t care about money too much” and “I don’t have a dollar to my name, and if you don’t mind I’d like to keep it the same” on his song “Don’t Worry.” Those sentiments play as a Black man, whom we don’t realize is Mo, exits a bus in Los Angeles, California. Before we find out Mo wasn’t money-hungry in his past — and formerly known as Roland — the sweet sounds of Harry Krapsho let us know.

Candace deceptively persuades Mo to abandon his principles by smoking weed and going against the Black Panther Party’s wishes, as Sandy Szigeti’s “Make Believe World” scores the scene. After, the plot twist minutes later, the song is a shrewd act of foreshadowing by the showrunners. But, It’s the late, great Nina Simone’s rendition of the 1967 song “I Shall Be Released,” written by Bob Dylan, that expands the Black Monday world.

 

Near the end of the episode, Candace’s true identity is revealed while she’s looking into the eyes of the men and women who seem to have put her in such a position. When Nina’s voice wails out “I remember every face of every man who put me here,” Candace’s motives become more complex. Black Monday lets the music leave you with the thought that Candace may have been compromised by the FBI, and in order to avoid jail time, she would have to turn in her fellow Black people. The steely resolve in her final words to Mo — “I told you, ‘I got you.’”— further complicates that theory and adds an engrossing richness to Candace’s character.

Black Monday could’ve left Nina Simone’s rendition for the climax of the flashback arc and the episode would still be great. But, Nina returns for one last “I shall be released” after Mo sends Dawn packing following her revelation to Mo about who she really loves. The image of Dawn piercing her lips and steadying her gaze on the countryside instead of being shocked into submission by Mo’s thoughtless decision, while Nina belts out her hope for release, is a moment of Black perseverance we would’ve never thought a show like Black Monday would make a focal point in such an important episode.

The episode also ends with an uncharacteristically sentimental Mo reverting back to his selfish ways at the same time Ms. Simone sings about “release.” And just like that, one four-minute song helps set up the emotional stakes at hand in the final two episodes of Black Monday’s first season.

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Amar'e Stoudemire Wanted To Sign J. Cole To His Hypocalypto Label

In a cover story for GQ, J. Cole opened up about his views on peeling back the layers of wanting to stay out of the spotlight, changing his life in order to be ready to raise his firstborn, and the importance of his fans. While those topics were addressed, a revelation that speaks to Cole's beginnings was also shared.

When the 34-year-old artist promoted his first mixtape The Come-Up, his manager and longtime friend Ibrahim "Ib" Hamad helped to get the 2007 project in the minds of music labels, writers, and other tastemakers throughout the industry. Hamad's cousin, Amin El-Hassan, also extended a helping hand. He worked for the Phoenix Suns at the time and assisted with introducing Cole's music to the NBA players.

Now-retired, one of those athletes that wanted to take Cole's career a step further was Amar'e Stoudemire. The 36-year-old planned to sign the Fayetteville native to his record label Hypocalyto, a feat El-Hassan believed was great news, but, "Ib said, 'Oh, thanks, man, but we've got some bigger fish to fry.'" What they had cooking was a deal with Jay-Z's Roc Nation and the rest is history.

Another revelation concerning music and the accolades that an artist can receive, Cole mentioned that not winning 2012's Best New Artist award at the Grammys was actually a blessing. "It would've been disastrous for me, because subconsciously it would've been sending me a signal of like 'Okay, I am supposed to be this guy,'" he said. "But I would've been the dude that had that one great album and then fizzled out."

The "Love Yourz" rapper continued to state that if it's meant to be, he will one day win a gramophone. "I'm not supposed to have a Grammy, you know what I mean. At least not right now, and maybe never," he said. "And if that happens, then that's just how it was supposed to be."

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