"When the Allure of the Game, Keeps Calling Your Name..."

In the world of sports, an athlete retires when they lose the passion for the game, or when they become physically unable to perform. Year after year, the pain and stress of the season will eventually take a toll on the mind, body and spirit. While the decision for an athlete retiring is almost concrete (i.e. Michael Jordan, Brett Favre), the line gets blurred when it comes to artistry; music to be specific. In reiterating a previous statement, athletes leave their respective sport “when they become physically unable to perform”; which makes sense, but these same rules do not apply when it comes to music. Barring a vocal disability, a musician’s career can extend for as long as they desire; which brings us to the question: “How long is too long?”

Two of the most popular artists of the millennium are that of Eminem and Lil’ Wayne. Both of their careers have spanned over 20 years, and their impact has not been restricted to America; their influence is on a global scale. Not only have they been able to set the bar when it comes to record sales, but their level of talent and consistency of their releases throughout the years have pushed the envelope for the culture of hip-hop. In recent years many people believe that they have regressed in terms of their output, quality and overall drive. Although these things may be true, they can also be subjective.

Marshall Mathers (p.k.a. Eminem) burst onto the national music scene in 1999 with the release of The Slim Shady LP. The album was met with both critical and commercial success, debuting in the top 10 on the Billboard charts. What separated Eminem from the rest of the pack wasn’t totally dependent on his skin complexion, but lyrically, he was just better than everyone else. Since then, he has become the highest selling artist of the 2000’s in America, with ten #1 albums and five #1 singles. His most recent album, Revival, has been panned by critics and fans alike. The consensus has been that Eminem, being the introvert that he is, has become out of touch with the current climate in music. The public has always linked him to his contemporary, Jay-Z, who has maintained his relevancy due to his uncanny ability to reinvent himself and adapt to the times. Em’s talent level is still there, but his music has failed to translate in the modern-day music scene that has become dominated by streaming.

A native of New Orleans, Louisiana, Dwayne Carter’s trajectory was perhaps the most atypical we’ve ever seen. Initially a member of the southern supergroup The Hot Boys, Lil’ Wayne was a rising star on a label full of superstars. As time progressed, business matters caused the core of the Cash Money Records label to disband, leaving Carter as it’s lone breadwinner. The demise of the CMR imprint seemed imminent, but while pressure makes some people fold, it turned Lil’ Wayne into a diamond. In 2004, with the release of Tha Carter, Weezy released a dizzying flurry of albums, mixtapes and features in the subsequent years. The culmination of all his hard work and sleepless nights was that of his seventh studio album, Tha Carter III, which became the highest selling album of the year, in any genre. His chokehold on the music industry lasted for about three more summers, with projects like Rebirth, I Am Not A Human Being and The Carter IV all topping the Billboard charts. Since 2011, legal troubles and disputes with label head, Bryan “Baby” Williams have affected Lil’ Wayne’s music. His fans attribute him taking a step back semantically to an apparent lack of focus, not a lack of talent.

Both of the aforementioned rappers have been a staple in hip-hop culture for quite some time, and they’ve reached heights that some of us can only imagine. With their careers on a steady decline, when would be the opportune moment to call it quits, if ever? With such polarizing music being released recently, we can still see those flashes of brilliance every now and again. It is obvious to many that these two artists still have a lot more to give before they officially “hang it up”, they just may need to re-adjust their focus and dedicate the time needed to mesh with the current state of music. Regardless of how far many feel they have fallen, they will always possess the ability that made them legends in the first place.

Honestly, it may be time for Eminem and Lil’ Wayne to move on from music, but who is really to say when the time is right? What many people fail to realize is that music isn’t necessarily for the audience, it can sometimes be for the artist; and an artist can make music for as long as they deem fit.

So, to Eminem, Lil’ Wayne, and any other musician that may have lost that fire, that passion for the art that has made them great at what they do; never stop searching for it… because when you find it, your true fans will always be waiting.

– Okla

"2017: Oh, What A Year..."

Via: The RapFest; Jan. 2018

Celebrate what you want to see more of…” – Thomas Peters

With the turn of new year now in full affect, the affirmation is that there are many things to look forward to in 2018. 2017 was a great one for hip-hop; from the quality of music that was released, to the many highlights that were produced in media. We saw a few of the artists we were familiar with solidify their place in mainstream culture, while also seeing some of the newer musicians come of age. Due to its massive streaming numbers in 2017, hip-hop “officially” became the most popular music genre in the world. While one should marvel at the promise that this new year holds, we should also reflect on the amazing year that was, 2017.

There were many highs, lows and everything in between throughout 2017 in media. We saw the unlikely emergence of the rapper Joe Budden as a exceptional media personality; his podcast as well as the popular Everyday Struggle show achieved much success in 2017.

Unfortunately, one of the hottest names in the lane of podcasting, Taxstone  was sentenced to prison; and we also lost the legendary Combat Jack to cancer during the final days of the fourth quarter. We all enjoyed some of the interviews that Charlamagne Tha God, N.O.R.E., and Angie Martinez conducted, while Everyday Struggle provided us with a multitude of viral moments for the public’s consumption. The digital age is the best time in history for a media personality to flourish. Social media, as well as sites like YouTube (and many others…) have given DIY’ers the platform to create, produce and release content without being restricted to the conventional ways of thinking.

Musically, it has been quite some time since hip-hop had an output of albums and mixtapes with this level of quality and consistency. Rap heavyweights such as Jay-Z and Kendrick Lamar released amazing projects, while the raw, new acts like J.I.D. and Belly provided a refreshing reminder that the culture will remain in good hands for years to come. In 2017, some of those highly-anticipated albums that have evaded us for so long finally came to fruition. CyHi The Prynce and Big K.R.I.T both dropped bodies of work that were well worth the wait, and hopefully they will be able to release on a more frequent basis for the time being. Meek Mill, Big Sean, 2Chainz, Future, Tyler The Creator along with a bevy of others made their presence felt last year; and with Nas, Drake and Pusha T all slated for new music, 2018 will be an amazing year for any hip-hop enthusiast.

Hip-Hop also garnered heavy attention in television and film during 2017 as Donald Glover p.k.a. Childish Gambino received awards for his work on the unforeseen hit show Atlanta, while Lena Waithe was heralded for her performance on the Netflix original, Master of None. Lena and the incomparable Issa Rae and her unprecedented Insecure HBO series aren’t tied to hip-hop in the traditional sense, but they exude the culture and let that fact be known with every given opportunity. With all the accolades that the hit show Atlanta received during awards season, the anticipation of it’s second season has reached a fever pitch.

The year 2017 truly proved to be a roller coaster in every sense of the word. We all experienced the tragedies and triumphs associated with life as the top of 2017 rang in a new POTUS that we still disapprove of, but what this year showed was that regardless of how bad something seems, you can always get through it if you possess a positive mindset. Hip-hop reigned supreme in 2017 through it’s innovation in media, it’s content in film and television, along with its variety in music. With that being said, if this year is anything like the last, then we have plenty to look forward to in 2018.

With claiming week two to be in the bag, as such the other 50, as always, continue to assist in pushing the culture forward.

Have an amazing new year, folks.

- Okla

"Are Music Genres Disappearing?"

Since its inception during the early 1970’s, hip-hop has grown into the most popular form of music in the world. Its influence reaches every walk of life, regardless of race, gender, or ethnicity. Traditionally, the musicians involved with the genre of hip-hop maintained a certain style, or sound that was unique, and completely different from any other art form. The practice of reciting spoken word over an instrumental (whether it be electronic, acoustic or otherwise), is how many would describe conventional hip-hop. However, as a result of the genre’s progression, its sound has evolved as well.

In recent years, the line between traditional hip-hop and other forms of music has been blurred to a certain extent. Artists such as Bryson Tiller, Raury, 6lack and Post Malone can be considered members of hip-hop, but they tend to incorporate a heavy dose of R&B and Alternative Rock into the music that they record. The aforementioned artists’ popularity with the general public continues to increase, thus creating a shift in the sound of hip-hop that we are accustomed to, and it eventually led us to the question:

“Are music genres disappearing?”

Initially, hip-hop music was predominantly practiced and accepted by minorities, specifically people of African-American or Hispanic ethnicity. But throughout the years, the diversity of both the genre’s musicians as well as its fan base has expanded. The culture was once exclusive to the people who embodied the struggle of growing up in impoverished, urban areas of America have now included an audience that varies in age and social class. For the young, Caucasian male musician who may have been exposed to the alternative rock bands of the 1980’s by their parents but has a passion for hip-hop; it is only natural that the music they produce could possibly be a mesh between the two.

Hip-Hop is an ever changing culture that has always moved the meter when it came to societal and musical norms. It is common belief that B.o.B., Kid Cudi and Andre 300 (just to name a few) have heavily influenced the new generation. Creatively, they have pushed the boundaries of what traditional hip-hop is supposed to sound like, and challenged the normal process of how artists record music. On the other hand, rappers like Kendrick Lamar and J. Cole continue to stay true to the pure essence of the art form by placing emphasis on lyricism.

The up-and-coming artists of the future are expressing themselves in innovative ways that will force us to alter the way that we view and listen to music, and instead of thinking that music genres are disappearing; let’s focus on the fact that new genres are being created. As long as it maintains its quality and consistency, the future of hip-hop is promising, regardless of the change.

Regards,

    - Okla

The Future of Mixtape Hosting: Does It Have A Place In Hip-Hop?

A3C Festival and Conference
August, 2017

The traditional “mixtape” has been responsible for building the careers of many of hip-hop’s biggest stars. Since the turn of the century, artists like 50 Cent, Fabolous and Lil’ Wayne (just to name a few…) have all benefited tremendously from the mixtape circuit. Initially, these tapes were distributed by hand-to-hand transactions in the form of cassettes, which eventually led to CD’s, and ultimately MP3 streams & downloads. The way that the public consumes music will continue to evolve; and the digital age forever changed the culture of not only hip-hop, but music in general.

When the progression of music consumption shifted from physical copies to streaming and downloading services, websites like DatPiff, LiveMixtapes and Spinrilla  emerged to the forefront. During a time in hip-hop when the importance of the DJ seemed to fade, mixtape hosting gave DJs all across America a platform to showcase established artists and break new talent. During the early to mid-2000’s, having famous DJ’s such as Drama, Scream, Whoo Kid and Khaled to put their name on your project would ensure a listening audience in the thousands, and if it's a high-quality tape, it could even reach millions.

The aforementioned sites that offered free downloads has definitely had its time, but the light has seemed to dim in recent years. Streaming services like Spotify, Apple Music and Tidal offer unlimited plays for certain artists for a monthly subscription fee, and also free plays with limited access. A new trend for these services has been not only to add official albums to their database, but a musician’s mixtape as well.

The amount of uncertainty for the future of mixtape hosting websites has risen throughout the years. With the distribution of music moving from physical copies (Records, 8-tracks, cassette tapes, CD’s...) to downloads (.WAVs, MP3s, etc.), and now streaming; it is unclear on how long the new phase will last, and if a new method will emerge. Technology continues to change the way that we live our lives, and music is no exception.

With tapes being added to the catalog, Spotify, Apple Music and Tidal are rendering downloading sites almost obsolete. Popular artists such as Chance The Rapper have spearheaded the movement for mixtapes to be considered for Grammy nominations, therefore pushing for the addition of these projects to streaming services.

The digital age has given us access to millions of songs, albums and mixtapes with a level of convenience that increases on a daily basis, and creates new and innovation ways to market, promote, produce and consume our tunes. Whether it be a shift toward YouTube, Pandora or Spotify, it will be interesting to see what’s in store for the next decade.

Until then, just enjoy the music.

- Okla

Bryson Tiller - True To Self [Review]

“Live your truth, that way no one can use it against you...”

— Charlamagne Tha God

In today's world, honesty has always been hard to come by. Due to the influences of television, radio and social media, our culture has forced most to portray something that isn't necessarily true, just to create the narrative of success. Too often we live beyond our means, hide our feelings, and shield our true selves from the rest of the world; because to many, there is no greater fear than that of rejection. The greater crime, however, is the risk of acceptance on the basis of a lie; which ultimately goes back to not being accepted in the first place. Ironically, people find it difficult to live their truth, but make it a requirement for the artists, musicians and celebrities that intrigue them on a daily basis.

Late last month, the Louisville native Bryson Tiller dropped his sophomore project True To Self, almost a month before it's slated release date. 5-tracks longer than it's predecessor, this album focuses on the experiences that a young, black male goes through in terms of love, life and maturity. The LP's introductory cut "Rain On Me", sets the tone for the rest of the album. With production from NES, !LLmind, Boi-1da, T-Minus and Wondagurl, the self-proclaimed Pen Griffey remains true to the nostalgic, 90's-driven sound that propelled him to stardom in 2015. Songs like "No Longer Friends" and "Don't Get Too High" are accounts the resonate with many when it comes to emotional interactions with the opposite sex; while "Blowing Smoke" and "Self-Made" showcases the artist's confident, braggadocious side, in contrast to the album's overall vulnerability.

Towards the middle of True to Self, the album at points feels lengthy due to the similarity in some of it's melodies. Uptempo tracks like "High Stakes" and "Before You Judge", breaks the monotony of this project during it's low points. The album's final cut "Always" is the perfect antithesis to "Rain On Me", which focuses on positivity and hope for the future as opposed to the introduction's feel of uncertainty and indecisiveness. Sometimes the cohesion gets lost in translation throughout its 19-tracks, but it's opening and closing surely will provide clarity.

Bryson's introspective songwriting ability has always proved to be his strong suit. Although the lyrics, along with this album's amazing production makes it a good listen; where True To Self falls short is the lack of the artist's progression from his previous album, Trapsoul. His sound is unique, and he has created his own lane in this ever-changing music industry, but the "if it isn't broke, don't fix it", repetitive-feel of this album sometimes takes away from the big picture.

If you haven't already, take a listen to the album below.

Regards,

      - Okla (@coolhandoak)

"The Monuments Men..."

“Those who fail to learn from history are condemned to repeat it.”

— George Santayana

Throughout my life, I've always felt that our experiences in the past give us the knowledge to proceed towards the future. One's past molds them into the person that they are, and also lays the foundation for the person they are to become. With all this being said, it should not be an "end all to be all" judgment on a person's character; because while change isn't always definite, it's still a possibility. Although a man/woman can shift their personality as they grow both older and wiser, the same doesn't apply when dealing with material items. For example; your mother's necklace that you wore to your senior prom may hold a positive place in your heart, but the t-shirt that your ex-boyfriend bought for you a couple of years ago may dig up some not-so-pleasant memories. The previous sentence brings me to my larger point, the confederate statues in my hometown of New Orleans, it's significance, as well as the backlash provided by people who both support and oppose their removal.

During my childhood (a time in my life where my comprehension of emotions and life in general were limited..) objects meant a great deal to me. Whether it be toys, a television, a car, etc.; the significance of a physical item was much easier to process then say, someone's feelings towards something, or why a person would cry after losing a loved one. As you age and become more in touch with your emotions; experiences tend to gain more importance. That, along with the events surrounding Hurricane Katrina, taught me never to deify material items because they are temporary; and more times than not it isn't the item you cherish, it's the memories attached to it. Now, with all these things being considered, it's difficult for me to understand why anyone would be against the elimination of statues in the likeness of Confederate leaders, a constant reminder of a time in American history that will always stand as it's moral low point.

Here's a quick history lesson and the Confederacy - it was originally formed by seven states – South Carolina, Mississippi, Florida, Alabama, Georgia, Louisiana, and Texas – whose regional economy was mostly dependent upon agriculture, particularly cotton, and a plantation system that relied upon the labor of African-American slaves. So, in part, slavery was the engine of the South during this time, and the statues of Generals Robert E. Lee and P.G.T. Beauregard, as well as Confederate president Jefferson Davis and the obelisk dedicated to the Battle of Liberty Place at the foot of Iberville Street were all physical representations of this era in the United States. For many, their ousting was a win for equality and a step in the right direction towards calming the turbulent state of race relations in this country.

Although many people were in support of the decision to take down the confederate statues in New Orleans; there were almost as many that were against. In analyzing the responses on both sides, a common theme I've noticed from the apologists of the confederacy was that of "historical preservation" - which to me is just an excuse to hide blatant hatred and racism. Even though the statues have been taken out of the public eye, the feelings that have allowed them to stand strong for so many years still remain. Below, is some footage of New Orleans' Mayor Mitch Landrieu's address on the removal of the Confederate monuments.

As always, I appreciate your time.

Regards,

    - Okla (@coolhandoak)

"Awaken! My Love" [Review]

Childish Gambino - "Awaken, My Love!" [Review]

In order to stay relevant in this ever-changing music industry, an artist must always be willing to reinvent themselves. Those who have achieved longevity in their respective genres have remained consistent in the quality of work that they release, and were able to adapt to the new styles and trends that develop over time. The musicians that have truly been great, however, tend to be innovative and manage to create a body of work that moves ahead of the curve. What is most difficult, is being able to stay in tune with the times, while in the same breath not stray away from who they are as an artist.

My official introduction to Donald Glover was in November of 2011, via his Comedy Central stand-up special, Weirdo; since then, my perception of him hasn't changed, only increased. I was familiar with the work he had done on 30 Rock, as well as Community, but completely unaware of the amazing potential that he had as an artist. He's been able to balance his career both as an actor and musician, while still maintaining his artistic integrity. From his first album Camp, all the way to STN MTN/Kauai, Donald Glover has continuously pushed the envelope, and given his listeners something to look forward to with each passing project. His most recent body of work, remained true to my aforementioned statement focusing on growth and progression.

On December 2, 2016 Mr. Glover (also known as Childish Gambino), released his third studio album Awaken, My Love!. Though the substance and content remained, sonically he went in an entirely different direction. This project exuded the feel of the late-70s funk era, channeling the sounds of artists such as George Clinton and even some remnants of Isaac Hayes. Only 48 minutes long, AML is an ode to the time in America when the genre of Soul reigned supreme. This album is more of a musical if anything; with Gambino focusing less on vocals in some instances while he lets the instrumentation speak to the listener. The introductory track "Me and Your Mama", is a perfect example of the contrasting extremes on the LP. The mellow beat remains at the forefront until about the 2:00 mark, then it switches to a more aggressive pitch while Gambino provides scathing lyrics. Even yhough it is only 11 tracks, what AML doesn't give you in quantity it makes up for in quality.

The album's stand-out song "Redbone", sounds as if the legendary Bootsy Collins was present in the studio during it's recording; that, along with Childish Gambino's Prince-like vocal tone on the track, makes for a very good listen. "Boogieman" is reminiscent of the intro, with the varying pitches during the verse and the bridge, and "Baby Boy" gives that smooth vibe of a warm summer day amidst the company of loved ones. The album's only low point is that of "California"; it's upbeat tempo and pop-like melody seems out of place in comparison to the rest of the project.

In retrospect, Awaken, My Love! is refreshing, and a break from the norm. Even though it's primary goal is to pay homage to the legendary Funk/Soul era of the 70s, Gambino still manages to make to the total feel of the album modern. It maintains it's cohesion from the first track, all the way to the last. Though I do enjoy hearing Gambino showcase his lyricism from time to time, I had no problem with him exploring different terrain, artistically. If you haven't already, check out the album on iTunes.

Happy Friday, and enjoy your weekend.

Regards,

      - Okla (@coolhandoak)

#HomeWhereIsHeartIs

-An art exhbit by Caren Stansell

“The idea of home is repeated throughout our lives as an innate instinct that dwells in us all. As an adult, home is a daily sought shelter and a place of ritual. It also becomes an arcane instinct to recreate the nostalgia of the first home experienced as a child. With that in mind, the definition of home has evolved as my path has led me back full circle; no longer a child but as a mother. The dichotomy that once existed for me is still present. The precarious nature of the family dynamic holds inherent qualities of deteriorating health, habits, and strained lines of communication.

This body of work explores ever evolving relationships that occur within a home. I have incorporated images of dwellings in various states of disrepair that convey the rebuilding of breakdown of these familial relationships. The deteriorating nature of these man-made structures symbolizes the nostalgic need to recreate a place to which one can never return; our first home. Printed matter and sculptural forms cohabitate the gallery space to bring confluence to my perception of house and home.”

— Caren Stansell

On August 25th, 2016, I had both the pleasure and opportunity of attending "Home Is Where The Heart Is..." a provocative art exhibit showcasing some of the pieces constructed by the talented Caren Stansell; an artist that works, lives and creates in upstate South Carolina. This particular body of work focused on almost every facet of home life; whether it be positive or negative. Smoking was a destructive habit that seems to be prevalent in her childhood, because the majority the pieces featured in #HomeIsWhereTheHeartIs were created with tobacco and cigarette butts, as opposed to paint and brush... genius, in my opinion. In my discussion with Ms. Stansell, it was very intriguing to learn what her process was in the creation of this exhibit. Everything that was used, from the portraits to the actual medium had something to do with home life; her home life to be specific. Each piece exuded a certain amount of pain and struggle, which to me, made it that much more beautiful.

Caren Stansell, speaking on her artwork; titled "Lung".

Many of the distorted photographs of destructive memories and strained relationships truly resonated with me. In experiencing the devastation of Hurricane Katrina, I understand the toll that stress can take on one both physically and mentally. Paper Plane Gallery, a new art gallery located in the heart of historic College Park, served as the primary lodging. It is an exhibition space focusing on new American works on paper, printmaking, and artists' books. The intimate space was the perfect setting for an exhibit that held so much emotion. This exhibit was very diverse in the turnout, with people from all ages and walks of life in attendance.

All in all, it was a very enjoyable and educational experience, and I would recommend anyone to attend. If you haven't already, check out Ms. Stansell's "Home Is Where The Heart Is" art exhibit at the Paper Plane Gallery in College Park, GA. The exhibit will be on display until October 6, so you all still have a little bit of time to view. You can get more information on this at www.paperplaneatl.com. Below are some of the pieces on display from the exhibit.

Be safe, and enjoy your weekend.

- Oak (@coolhandoak)

The recently opened Paper Plane Gallery, located in College Park; a subdivision of Atlanta.

If you want to find more of Caren Stansell's work, check out her website, Facebook, or Instagram.

"...And Another One: The Murder of Black America" (Copy)

"...And Another One: The Murder of Black America"

“When I was old enough to drive
I would escape to the neighborhood
on the other side of the city.
The one with the oak trees
and fresh concrete.
Donny would point to the houses
that we would buy in 10 years.
We had no fear,
why should we?

It wasn’t a crime to want what they had.

Just don’t drive too fast.
Don’t stay too long.
Use your blinker.
This is America.
Red white and blue
lights in the rearview mirror.
Slow down.
Pull over.
Get out the car.
Do you know who you are?

German Shepherds
walk city streets
with officers on leashes.
Some neighborhoods get patrolled
others get policed.
How can you protect and serve
the same people you fear?
Make sure you take at least
one picture smiling
so your momma can have
something decent
to send to the news
just in case.”

                                           — Nik Richard, The Policed (2016)

As I opened my eyes today, and went through the motions of preparing for the work week ahead; I kept thinking "What should I do? What can I do?". On the morning of July 5, 2016, Alton Sterling, a resident of Baton Rouge, Louisiana, was murdered by local police officers in cold blood. Personally, I don't believe in deja vu, but the redundancy of this situation has brought me to the point of disgust. It seems as if we as a people continue to relive the same nightmare, with no legal repercussions for the oppressor at hand. Ever since I was a child, my mother would always tell me "Son, be safe and aware of your surroundings. Regardless if it's your fault or not, being in the wrong place at the wrong time can turn your bright future into a headline. And that, would break my heart." In a few weeks, I will have celebrated another year on this earth, and I consider myself one of the lucky ones. So many African-American mothers and fathers have had to bury their sons; they receive no compensation, no proper explanation, and no closure. It is truly sad when a black male has to proceed with caution when he only wants to go the the grocery store to provide for his family. Whether it's 1920 or 2016, it's evident that nothing really has changed.

Growing up in New Orleans, at a young age I became somewhat desensitized to the loss of young life. However, I as got older and was exposed to new experiences, locations and people, I realized that the social climate in which I was raised was not normal. Normalcy is not being shot in the street like an animal before the age of 25; normalcy is living a full, healthy life, and being able to watch your grandchildren grow into model citizens in today's society. I want my generation to understand that our lives do matter. I want us to understand that we are more than a #hashtag; and that we have the ability and potential to grow beyond that of a statistic. The murders of Trayvon Martin, Freddie Gray, Philando Castile, along with countless others, are testaments that even in the 21st century, our lives are not equivalent to our racial counterparts, for better or worse.

As the legendary Billie Holiday once told us, "Southern trees bear strange fruit; blood on the leaves and blood at the root.." If you haven't already, I've included watchable footage of the moment in question. It's been a couple of days since this incident, and I've yet to view the video in it's entirety; I just can't bring myself to do so. The racial double standard in America has existed since the day that "we" declared our independence in 1776... it's crazy that the aforementioned situation occurred on the night after our nation's date of birth. Typically, I would dismiss this as coincidence, but this has happened so many times, it's almost to be expected. In getting back to double-standards, my grandparents would always tell me about  the United States in the 1960s; how it was a beautiful time, but how it also was a time of great turmoil for the African-American race. Another landmark in American history during that period was the Vietnam War. I was told that the nation as a whole didn't truly care about the unnecessary loss of life (outside of the families and friends affected..) that was taking place in Vietnam until they received ocular evidence. When the news media began to show what was going on overseas, every decent, sensitive and compassionate citizen of the U.S. demanded the recall of the all the young soldiers; yet the killing, hosing and dog attacks on their African-American counterparts did nothing to their pysche. Sadly, the previous statement remains true even today.

There once was a time when we had leaders; real leaders. Men and women that were not worried about their well-being, but the well-being of future generations. Unlike some of the celebrities of color that we cherish today; whom of which treat fame like a drug and are willing to sell their souls to stay in the spotlight, these heroes of the Civil Rights era were beaten, hosed and even killed for the common rights that most of us take for granted every day. The majority of my peers have only voted once in their lives; some not at all. It's one thing when society tells you: "You don't have to vote", it's another when they tell you: "You can't vote." ...and I truly hope that resonates. Some people feel that we live in a time where leaders like Martin or Malcolm aren't needed; that the social climate has progressed in such a positive way, that a call to have a "civil rights" leader would be too extreme; I agree with that statement, but for an entirely different reason. I believe that we don't need a singular leader, I believe that we need unity. Unity amongst ourselves, unity amongst our respective communities, and unity amongst our race. As the old saying goes: "A house divided cannot stand."

Is this editorial a call to action? Well, whomever reads this can interpret it how they want. What I'm saying is, we have to to something. Too many times have we tried to resolve racial issues with words and not action. Everyone wants to talk, but no one wants to do. "Do", does not necessarily mean violence, because by no means do I promote that... but something different needs to be done. We need to let the powers that be know that we are human beings and deserve to be treated as such. I know that Dr. King is still waiting on the day where we can be judged not by the color of our skin but by the content of our character; trust, I'm still dreaming too, Martin. So, with that being said, always stay focused and aware of every decision; remember, our future depends on it.

Take care,

       - Okla (@coolhandoak)