The gospel of white fascism (Part 9)...christelyn karazin, a foolish 'Logic' and a 'swirling' Black self-hatred...

First off, I’d like to apologize about the long-windedness of this post. But once the subject of the ‘swirling Black woman’ was broached, I felt obligated to expound on how white fascists created her. So for the intrepid Black man and woman reading this, I applaud your indulging my attempt(s) to put this syndrome/dysfunction into some kind of historical context. And please understand this was done so this post could be a bit more edifying than entertaining. With that said, I’ll thank you once again for allowing me this bit of indulgence.
--MontUHURU Mimia

In the early 1900’s, Black americans created a thriving economic center in Tulsa, Oklahoma called the ‘Black Wall Street’. There were groups of Black millionaires in this community, and our people there owned and operated grocery stores, libraries, hospitals, movie theaters, an airport and a bus line.

Mind you, Black people in america created several areas similar to the Black Wall Street. And these communities had businesses that performed just as well, or in some cases better, than their white competitors. Needless to say, this didn’t go over too well with america’s white fascists.

So, in 1921, the american government bombed the Black Wall Street.

Now, most Black americans know about the Black Wall Street’s bombing, but what we usually don’t know is how our people built those businesses back up five years later.

And when whitey saw this, he came to the conclusion that continuing to bomb areas like the Black Wall Street would be pointless, since we’d just do more of the same rebuilding. So white fascists running this government asked themselves, how can we get these people’s money into our pockets on a more permanent basis?

Then, one of them raised a finger and said: “Ah—we’ll allow them to integrate into our communities.”

Enter Martin Luther King Jr. and the ‘Civil Rights movement’…

So integration was nothing but a trick played on Black people to get our money into white fascist pockets.

Now, you might be saying, what the hell does this have to do with Christelyn Karazin? I’m gonna’ get to her in a sec’. But I can’t talk about the ‘swirling Black woman’ phenomenon/dysfunction without explaining what caused it and where it came from—so again, please indulge me.

With that said, every Black man and woman reading this should know that after integration, our people walked away from our businesses, and we’ve been beggin’ whitey for our economic sustenance ever since. And the next question you’d probably want to ask is: Why did our people voluntarily leave the economies we built up?

Here’s the answer: The reason whitey allowed us to read the ‘Bible’ before any other book and gave us christianity before any other religion, was so we’d always believe that god was white. Thus, we’d have to believe that every white person is god-like as well.

Since birth, white fascists have conditioned us to believe whites, and their ingenuity, ruled over and created everything, while teaching us that we created nothing. So what wouldn’t our people do to get closer to our ‘gods’?

Mind you, this was just the first phase of the integration trick. So let’s examine this trick’s secondary phases…

And before I go any further, I think I’d be remiss again if I didn’t point out the reason whitey has done/is doing this to our people. It’s because we have the most genetic power to breed them out of existence. So a Black person, especially a Black man, existing anywhere is a threat to whites everywhere. We also need to know that for more than a quarter century, white birth rates have been falling below replacement levels, and this is why we’re seeing an increasing number of police murdering our people…just like sista Korryn Gaines.

Now, if you’ve read the ‘Willie Lynch Letter’ (if you don’t know what this is, google it) its main message is: We (white fascists) MUST get the Black woman away from the Black man. So let me tell you how whitey facilitated doing that…

After integration was written into american law, white fascists said, here’s how we’ll destroy the Black ‘nuclear’ family—what we’ll do is disenfranchise the Black man and keep him out of a job, and this will include excluding him from our labor unions. Then we’ll say to Black women, we’ve got government programs that will pay for your food, clothing and shelter…and we’ll offer this to you under one condition: You HAVE to get rid of your man.

This more than any other initiative fractured the Black nuclear family, and drove a deep wedge between america’s Black men and women.

Now, fast forward to the 70’s. Even though Black american families had been decimated by these white fascist initiatives, there was still a sliver of cohesion between Black men and women. And even while we toiled within the white fascist trick(s) of integration, we once again started owning businesses, and collectively, our community’s economic base was beginning to stabilize. Needless to say, whitey couldn’t have that.

So in response to our communities beginning to recover from the integration trick, whitey would throw three more of his dirtiest tricks at us in the 80’s.

Enter ‘Reganomics’, crack and AIDS…

Long story short, ‘Reaganomics’ would take away nearly all social safety nets from our communities like ‘Community centers’, Summer Job programs, ‘Fresh Air Funds’ (which provided access to summer camps for underprivileged children), adult job placement initiatives, etc. The CIA’s funneling of crack cocaine into Black communities would turn law-abiding citizens into drug addicts overnight, and the white fascist invention of AIDS turned sex into a biological weapon.

It was a nightmare unlike any the Black community had seen in decades.

This troika struck a near-fatal blow to the Black nuclear family, and it all but severed any ties existing between america’s Black men and women.

And while america’s Black communities were reeling from the blows of these initiatives, white fascists continued favoring Black women in the workforce. On top of that, mainstream america was telling Black women that one of the best ways to gain more acceptance into the white fascist status quo was by completely rejecting Black men. And with Black women’s adoption of white feminism, they were further indoctrinated into the “I don’t need no man” mantra and mindset.

Thus, Black women saw how much they’d benefit from being as condescending, combative and disrespectful towards Black men as they could be. And this is ultimately what produced the ‘swirling/angry Black woman’ syndrome in america.

And, let me follow that info. up with this fact: The ‘swirling/angry’ Black woman in america was NOT born that way. This was an attitude that was bred into her, and one she’s adopted as a means of staying in the good graces of the white fascist social mainstream. Now, if you’re a Black man reading this, you may ask yourself these questions: Will knowing this help if one of these offensive and combative types of Black women is in my face? And: Are you saying I should still endeavor to be in a relationship with this type of woman, regardless of her attitude?

HELL NO!

But, it’s imperative that we do know this, lest we think disparagingly about ALL Black women, which will ultimately lead to us not only hating every Black woman, but to hating ourselves for being Black as well (Tommy Sotomayor).

Another caveat of the ‘swirling/angry’ Black woman syndrome, especially for Black women, is how it’s engineered to keep them in three states of being, which are: well-paid, oversexed and alone. Now, let me expound on that further…

Black women who indulge in rejecting Black men, especially when we talk about overt rejections of Black men, aren’t aware of two vital facts—first of which is: When Black women go about being argumentative and abrasive around Black men, they don’t realize white and non-Black men see this and automatically think to themselves: I’ll never get into a relationship with one of those women—I’ll have sex with them, but judging by the way they conduct themselves around their own men, they’re just not relationship material. Now, while this kind of abrasive behavior keeps Black women in good standing when it comes to jobs (well-paid), this also keeps them hopping from bed to bed with an assortment of non-Black men (oversexed), and it keeps them outside of long-term relationships and traditional marriages (alone).

One more caveat for Black women who have these kinds of belligerent attitudes towards Black men, especially for Black female ‘swirlrs’, is a lot of Black women are so used to being abrasive around Black men, that a good number of them can’t break out of their ‘attitudes’ when they get around white and non-Black ones. Which also kills off their chances of being married to any kind of man, Black, white or otherwise.

Now we can talk about Christelyn Karazin.

On May 15^th, 2012, Christelyn co-authored a non-fiction tome called: ‘Swirling: How to date, mate, and relate mixing race, culture and creed’. This book was basically a manifesto on how Black women can win the hearts of white men.

And let me say this, there’s one more thing Black women don’t get about asian, latino and american indian men, and that’s how the overwhelming majority of them won’t even have sex with a Black woman. And if they do, none of their friends know about it. And here’s why...asian, latino and american indian men have a ‘non-white’ complex. Meaning, they know they’re not white, but they want to show caucasians that they’re just as ‘european’ as they are. Thus, many of them won’t be seen in public with a Black woman, who might ‘darken’ their image. Now, there are exceptions to this and any every rule, but they’re few and far between.

Conversely, white men know they’re white, so they understand nothing, not even dating a Black woman, will take away their social status.

Now, Christelyn recently invited a white man calling himself the ‘VeGAINator’ on a show she hosts on her YouTube channel. And this man clearly stated when Christelyn contacted him that he used to date Black women, but for various reasons, he’d stopped. So Christelyn invited him on thinking she could persuade him to continue dating Black women. And the VeGAINator agreed to be on her show. While on the show, he told Christelyn, very cordially, what she wanted to hear about Black women. But afterwards, he made videos and posted them on his YouTube channel about how Black women, even educated ones, were trampy, morally obtuse, obese and predisposed to having STDs.

Now, when Christelyn got wind of this, she made a video apologizing for giving this man her platform to ‘pile on’ more hatred towards Black women. In other words, Christelyn GOT PLAYED! Not only that, but on this video, she basically had an emotional break-down where she started crying her eyes out.

After laughing at her for a day or two, I found out Christelyn was married to a white man. Then I thought, if she’s married to a white guy, then why is she getting all bent outta’ shape over one white dude who doesn’t want to date Black women?

Here’s why…

Christelyn had a child before she married this white guy. Now, to any man who knows his worth, she was considered ‘damaged goods’. And the reason Christelyn fell to pieces behind the VeGAINator’s rejection(s), was because in some way, shape or form, her husband’s shown her that he really doesn’t love her. And, she knows that having another man’s kid before her husband met her, means he's got less reasons to stay married to her. Cause a woman in a rock-solid marriage, doesn’t get this upset over any one man who doesn’t want to date Black women.

Now, there’s another psychological/social component to Christelyn’s fiasco. The reason she had an emotional breakdown over the VeGAINator, is cause she realizes he represents a growing demographic of white men who are vocal about not dating Black women for various reasons. And what she was thinking is, if this becomes a trend amongst the majority of white men, when and if my husband leaves me, who’s gonna’ love me? Cause quiet as it’s kept, Christelyn, and the majority of america’s Black women, hate being Black women.

america’s white fascist status quo has told the Black woman that she’s the least attractive female on earth, even as white women are injecting silicone into their lips and butts trying to look like them.

Black men especially need to understand, that even as reviled as we are, the world’s women still view us as highly attractive. And I don’t have to tell you about the sexual stereotype given to Black men about our phallus size(s). This stems from the fact that we have the most genetic power to breed every other man out of existence. So even with the whole world against us, we can still feel pride in being Black men. Unfortunately, Black women don't carry this kind of pride about themselves. Also, Black men understand that even though we get taught to hate ourselves, we recognize how everyone appropriates the cultures we create. Especially when it comes to music. Cause I can’t tell you how many times I’ve heard Hip-Hop vernacular in TV commercials for Walmart, Target, Macy’s, etc.

So Christelyn knows that Black men have more opposite-gendered options than Black women. And behind her insulting tirades against us, she knows that no self-respecting Black man will ever want anything to do with her again.

So again, Christelyn GOT PLAYED!! Just like the overwhelming majority of today’s Black women.

Case in point, I was looking in the comment section of a video talking about Christelyn’s swirling misadventures, when I came across a comment by a Black girl who calls herself ‘7og1c’ (Logic). Now, ‘Logic’ said about Christelyn’s recent imbroglio that: ‘niggas are ass hurt lmaooooo, these niggas are horrible.’

So what Logic was trying to say was Black men didn’t like Christelyn, or were laughing at her cause we can't stand the idea of Black women swirling. Now, right beneath this comment, a white guy using the handle ‘Arthur Wall’ calls her a N@GGER. Then after she insults him back, he says she eats ‘chicken, watermelon, and drinks Kool-Aid and uses cocoa butter’.

So, the white man she and her swirling pals are doting on, told her in no uncertain way, how they really feel about Black women. See, Logic’s in the same trick bag that Christelyn's in. They think by insulting Black men they’re going to curry the favor of white ones.

And again, behind this, yet another Black woman got PLAYED!

But wait, it gets worse. When I elucidated this fact beneath Logic’s comment, she said this was only the opinion of one white guy. Then she said Arthur only did that for ‘subs and views’. Then she said Arthur only insulted her, cause he knew Black men would throw her and Black women in general, under the bus. So in Logic’s mind, the Black man is still her main enemy, even after a white man called her a n@gger.

This is the insane mentality of the majority of today’s Black women.

So my message to Black men is this: We are going to have to be extremely selective about the Black women we date and possibly marry. Cause truthfully, 9 out of 10 Black women think just like ‘Logic’ and Christelyn do. Irony is, Logic isn’t operating with what she’s named for. And, Logic’s avatar is one of a young Black woman with an ‘ankh’ tattoo on her chest and locks in her hair. So to all the brothas thinking that you’re not gonna’ deal with this kind of Black woman in the Black ‘conscious’ community, you’re gonna’ have to think again.

Black men, it’s gonna’ be a ‘needle-in-a-haystack’ search to find a Black woman who isn’t conditioned to hate you. And if you’re a Black man reading this, it’s up to you to decide whether or not you want to invest your precious time searching for that rare sista. Forewarned is forearmed. So be mindful that if you pursue a relationship with today’s Black woman, you just mind wind up with a skirted Klansman disguised as a sista instead.

And like Samuel L. Jackson declared in Spike Lee’s movie, ‘Do The Right Thing’: “That’s the double truth, Ruth.”

Later…

MontUHURU Mimia

P.S.

If you want to see my exchanges with ‘Logic’, you can look in this vid's comment section for my name here.

The legend of Public Enemy...

In 2018, Public Enemy’s classic Hip-Hop album, ‘It Takes A Nation of Millions to Hold Us Back’ (pictured right), will celebrate its 30^th anniversary. And this fact not only made me reminisce over this album’s individual tracks, but in light of the societal strife that Black americans continue to face in 2016, it took me right back to the decade that gave birth to this masterwork.

When this record was released in 1988, Black americans were still suffering the ravages of ‘Reganomics’, crack and AIDS. And white fascists had one goal in mind with these initiatives, and that was to destroy ANY cohesion that might still exist between Black men and women, so the final nail could be put in the coffin of the Black ‘nuclear’ family.

Now, at the time, there were other ‘conscious’ rap groups/artists like X-Clan and KRS-ONE who spoke truth to powers that be regarding the catastrophic effects of white fascism on the Black family, but in the 80’s, no group spoke this truth quite as effectively as Public Enemy.

So I’d like to tell y’all about the individual components that made this Hip-Hop cadre so necessary to the times.

James Henry Boxley III, better known as Hank Shocklee, was born on May 15^th, 1967 in Long Island, New York. He and his brother Keith (pictured left), started their musical careers as the DJ group, ‘Spectrum City’. As Spectrum City DJ’s, the brothers threw parties and hosted radio shows at Long Island’s Adelphi University campus. Eventually, the brothers sought out to create music that incorporated their ‘DJing’ sound into actual rap songs. This endeavor turned them into the Hip-Hop production team known as the ‘Bomb Squad’. And after they polished their sound with multi-instrumentalist Eric Sandler, Hank sought out an emcee that could complement their sonic bombast.

Carlton Douglas Ridenhour, better known as Chuck D., was born on August 1^st, 1960 in Queens, New York. After Chuck graduated from Roosevelt Junior-Senior High School, he attended Adelphi University where he earned a Bachelor’s of Fine Arts degree in graphic design. It was also at Adelphi that Chuck became a fan of the Spectrum City parties. And at those parties, one of Chuck’s more irksome memories were third rate rappers who would emcee over Spectrum City’s music. According to Chuck, none of them rhymed well enough with the music and it always destroyed the party’s flow. So, Chuck set out to rhyme over Spectrum City’s beats so well, that he’d intimidate any wack emcees who dared challenge him. Needless to say, Hank and his brother took notice.

Hank said of Chuck’s emceeing: “He sounded clearer, more succinct and better than any of the 30 other rappers that were there. And he (and his rhymes) had some wit and intelligence too. So I said…I need that kind of emcee to take my situation to another level.”

After Hank and Keith pitched their idea for a Hip-Hop ‘band’ to Chuck, and after he agreed to join them, the Shocklee brothers devoted more and more time to producing tracks instead of DJing. So they looked for another member who could commandeer the ‘wheels of steel’ in their quest to create a Hip-Hop group rather than a partying sound system.

Norman Rogers, better known as ‘Terminator X’, was born on August 25^th, 1966 in New York. Being a friend of the Shocklee brothers, Terminator was well acquainted with their newly formed sound and knew how to mix and scratch their brand of Hip-Hop beats to make them flow seamlessly at shows. And added bonus, was his taking on the moniker of ‘Terminator X’ which made his assimilation with the militant stance of the evolving Spectrum City line-up complete. On top of all this, his ominous presence with the dark shades and the huge, glowing ‘X’ in front of his DJing table, added to the band’s mythological militancy.

So with the newly formed Spectrum City ‘band’ members in place, they began playing larger venues. And soon, the brothers realized they needed some security to handle the larger crowds their parties were attracting.

Richard Griffin, better known as Professor Griff, was born on August 1^st, 1960 in Roosevelt, New York. After returning from the Army, Griff started a security company that worked Long Island’s local party circuit called ‘Unity Force’. Griff’s security force and Spectrum City would constantly run into each other at shows, and eventually the Shocklee brothers asked him if he and his team would want to become part of their group. Also, Griff being well versed in several styles of martial arts and his belonging to the Nation of Islam, fit well within Spectrum City’s political views. Additionally, Griff would infuse Spectrum City with an even more militaristic sense of urgency and discipline that they’d lacked previously. After Griff and his team agreed to join Spectrum City, his cohorts changed their names to the ‘Security of the First World’, or the ‘S1W’s’.

James Bomb, Roger Chillous and John ‘Pop’ Oliver (pictured right) were the three brothas who made up the newly-formed S1W’s. Now, many articles I’ve read on Public Enemy called the S1W’s ‘back-up dancers’, but they were anything but. Not only did they combine choreographed military drills with Black fraternity style ‘stepping’ routines on stage, but they were also an ever-present security force that would literally pull audience members off the group when they’d jump on stage, and they'd also pull members of Spectrum City out of large capacity crowds if the audience happened to pull them in and got a bit too rough. Additionally, the S1W’s represented the ‘muscle’ needed to back up Chuck D.’s shouting down of white fascism. With their Black Panther-like regalia and rugged demeanor, it made the band’s message even harder to dismiss.

One afternoon while DMC and Jam Master Jay of the iconic group ‘RUN-DMC’ were interviewing at Adelphi University, they listened to the Shocklee brothers DJing records on the school’s radio show. One of the tracks Hank played was his single, ‘Public Enemy#1’. DMC and Jay were so impressed by Chuck’s emceeing that they went to Rick Rubin, who at that time was the co-creator of ‘Def Jam’ records, and they told Rick about Chuck's emceeing: “God has come down to earth to rock the mic.”

Shortly thereafter, the Spectrum City crew were signing a contract with Def Jam records. There was only one catch. Chuck D. had a friend who he insisted was so musically talented, that Def Jam had to include him in the band’s signing, or he would not sign the contract himself.

William Johnathan Drayton Jr., better known as ‘Flavor Flav’, was born on March 16^th, 1959 in Roosevelt, New York. Considered a musical prodigy, Flav sang in his church’s choir as a pre-teen and was proficient in playing piano, drums and guitar at an early age. Chuck says Flav can actually play 15 instruments. Flav graduated from culinary school in 1978 and then attended Adelphi University where he met Chuck. Flav took his stage name after his ‘bombing’ or graffiti tag, and he called himself ‘Flavor Flav’ because of his love for the culinary arts. Unbeknownst to his band mates, Flav would not only go on to define the job of a Hip-Hop ‘hype man’, but he would revolutionize the title and take it to whole new levels.

So Def Jam relented and signed Chuck and Flav.

After the Spectrum City crew finalized their contracts with Def Jam, they picked the title of their first single, Public Enemy#1, as the band’s new name. And from that day forward, they were officially Public Enemy.

Fast forward to June 28^th, 1988, and the release of the band’s magnum opus, ‘It Takes A Nation of Millions To Hold Us Back’.

Now, Bill Adler, a white ‘Hip-Hopper’ who was Public Enemy’s publicist for Def Jam, said of Flav’s being in the group: “…it made no sense. It’s never made sense.”

For every Black man and woman reading this post, I want you to take notice of Bill’s statement. This is basically the opinion of someone who’s in the Hip-Hop culture, but not of it. Which constitutes about 99.9% of white people in our culture…Eminem included. No matter how ‘down’ a white boy seems to be with any of our culture(s), he’s still gonna’ think he’s biologically superior to us. So let me fill you in on why Bill’s statement was completely anglophilic and stupidly wrong-headed.

A wise brotha once said: “Flav is the spoonful of sugar that made Public Enemy’s bitter medicine go down a little easier.” Meaning, Public Enemy’s (P.E.'s) message, especially when it came to ‘It Takes a Nation of Millions to Hold Us Back’ was so steroidal and revolutionary, that it needed an element to make it more accessibly palatable…and that’s what Flav did, masterfully.

This album took on the white fascist imposed societal ills of Reganomics, crack and AIDS, head on. Straight, with Flav as the chaser.

In regards to the CIA’s importation of crack cocaine into Black communities, P.E.’s song, ‘Night of the Living Baseheads’ speaks to the effects of this plaque directly.

But the most effectively socio-political of all this album’s songs, in my opinion, is ‘Black Steel in the Hour of Chaos’. This song not only speaks to Black men being unjustly incarcerated, but it tells the story of a brotha in the Vietnam War era, who's drafted and sees how absurd it is to fight for a country that’s constantly trying to destroy his community. Additionally, it takes us on a journey of the nascent, organizing and execution phases of a jail break.

Chuck D. starts out this track by saying: “I gotta’ letter from the government the other day, I opened and read it, it said they were suckas. They wanted me for their army or whatever, picture me givin’ a damn I said never.” This speaks directly to what happened to millions of Black men who received draft notices from 1965-1972, and how many flat-out refused to fight for a country that was hell-bent on seeing them dead or in jail.

After this we see the same brotha locked up for not complying with the draft, when Chuck says: “Cold sweatin’ as I dwell in my cell, how long has it been? They got me sittin’ in the State Pen. I gotta’ get out but that thought’s been thought before, I contemplated the plan on the cell floor.”

Then comes the rationalizing refrain that gets him to go ahead with his plan: “…nevertheless they could not understand that I’m a Black man, and I could never be a veteran. On the strength the situation’s unreal, I got a raw deal…So I’m lookin’ for the steel.”

Then the start of the revolt: “You know I caught a C.O. (Corrections Officer) fallin’ asleep on Death Row, I grabbed his gun, and he did what I said so. An everyman got served, along with the time they served, decency was deserved…”

Then two ingenious lines: “This is what it takes for peace, so I just took a piece (gun)…” And: “A cell is hell, I’m a rebel, so I re-bel. Behind bars got me thinkin’ like an animal.”

And then we go further into the jail break: “...but I’m still a captive, I gotta’ rap this. Time to break as time grows intense, I got my steel in my right hand, now I’m lookin’ for the fence…”

And finally, the jail breaks conclusion: “…they saw it was rougher than the average bluffer, ‘cause the steel was Black, the attitude exact. Now the chase is on, tellin’ you to c’mon, 53 brothas on the run…and we are gone.”

Now, beyond the brilliance of these tracks and P.E.’s legacy, let me tell you the real, real reason that P.E. is and was so legendary. And I’ll have to reiterate the sentiment of Ossie Davis at the end of Spike Lee’s movie 'Malcolm X' and say, in an era where there was a complete dearth of visible leadership in the Black community, P.E. represented our living Black manhood. It proved to Black men young and old, and to the world, that our internal and testicular fortitude was still intact, regardless of the myriad travails we faced in the 80’s.

And what it tells us now is, no matter how insurmountable the odds are for the Black Diaspora, and for Black men especially, we will prevail, no matter what white fascists set about doing to destroy and get rid of us.

So to Chuck, Flav, Griff, Terminator X, the S1W’s, and the Shocklee brothas, I give you all the ‘props’ and respect that you as BLACK MEN so rightfully deserve. You guys were not only right on time, but you are literally living legends. AND EVERY BLACK MAN IS BETTER OFF FOR HAVING KNOWN YOU OR KNOWN ABOUT YOU.

And if Flav were reading this, I’m sure he’d break out and say: “Yeahhhh Boyyyy!!”

Later…

MontuHURU Mimia

P.S.

The video below is a taping of Public Enemy’s 1987 appearance on ‘Soul Train’. The song they’re performing is ‘Rebel Without A Pause’ off ‘It Takes A Nation of Millions To Hold Us Back’.

Now, what’s so stellar about this track is it's sampling of a teapot's high whistle. And this sound not only complements the track, but it invokes the societal pressures of the 80’s boiling over to the point where Public Enemy's saying to white fascists who created these problems that, if you don’t help solve these problems you started, you’re in for a karmic-asskicking, post-haste. And you could also see that teapot whistle’s sentiment in the revolts of Ferguson, Missouri. Those ingenious young Black men and women said, enough is enough, consequences be damned.

Also, in this P.E. performance, you’ll see that the audience is entirely with Flav. Mind you, they’re getting Chuck D.’s message, but it’s almost being delivered to them in a subliminal way, as the crowd is totally rockin’ out with Flavor. Now, this vid was recorded on a 'VCR' so it's clarity isn't the best, but P.E.'s energy definitely comes through clearly. Classic stuff. Enjoy.