As predicted by hip-hop Axis of PC ringleader Jay Smooth, it didn't take too long after the New York Times published its recent article on the sad state of black men before someone came along and blamed it all on hip-hop.
In an op-ed item in the Times this past weekend, a fellow named Orlando Patterson makes the case that the crisis facing young black men today is a cultural problem more so than anything else. In other words, it's all hip-hop's fault. And he's probably right.
To be sure, black kids today are born into some pretty fucked up situations; but, as mentioned in the op-ed piece, youth in other communities who are born into similar situations don't turn to crime and violence at nearly the same rate as black men in the US.
The difference is hip-hop. Given the choice, a lot of these jigs would rather live the lifestyle glorified in your average rap video - dealing drugs, shooting at people, making it with fat women - than go to school and make something of themselves.
As Orlando Patterson himself put it:
SO why were they flunking out? Their candid answer was that what sociologists call the "cool-pose culture" of young black men was simply too gratifying to give up. For these young men, it was almost like a drug, hanging out on the street after school, shopping and dressing sharply, sexual conquests, party drugs, hip-hop music and culture, the fact that almost all the superstar athletes and a great many of the nation’s best entertainers were black.
That said, it should be noted that hip-hop in its essence, as defined by psychopath KRS-One, doesn't necessarily advocate dropping out of school, selling crack, and littering the ghetto with illegitimate future convicts. But since when has KRS-One defined hip-hop?
To find the real source of this problem, one need look no further than the likes of Lyor Cohen and Jimmy "Double Fantasy" Iovine. Hip-hop, which is primarily produced and foisted upon the black community by corporations like Time Warner and Interscope, has become the true scourge of the black community.