Business Communications Lessons

I am currently taking an MBA class in Business Communications. One of our assignments is to create a blog, a twitter account, and a LinkedIn account. Then we have to write a blog post and share some professional insights and lessons learned in business communications.

Since the first day of class, I've been able to check most of these boxes. A welcome respite from classes where had to put a lot more work in, such as in Finance, where I was in the library three hours a night every other night. Some things come easier to some people than to others.

(To be honest, that's something I have become very conscious about since I started my MBA work. Nothing bothers me more than when a Finance professor or classmates says "this is easy" when discussing a math problem I am struggling with. I have worked hard to get my math skills up to par. Saying something is easy while I struggle with it is insulting. So with that in mind, I definitely watch when talking about writing, communications, and social media with people who don't have those experiences. What is almost second nature to me might not be to others. I guess that's a communication lesson learned, right?)

But on to actual lessons I have learned from years in the workplace. As mentioned in my Professional Highlights tab on my site, most of my experiences have been in a military environment. But as you can see from my blog, I don't exactly fit the military mold. So that leads me to my first lesson learned:

Know your people

I've worked in Bosnia, Qatar, and Afghanistan. I've worked for senior military people and in military command centers. But I've also done stand-up comedy, posed for pictures with pro wrestlers, and done freelance writing on local DJs. Although I am successful in the environment, my mind doesn't fit the military mold. To reference Gordon MacKenzie, I tend to "orbit the hairball". And few hairballs are denser than the military-industrial complex.

I have been a challenge to many managers. I have worked for a few that tried to keep me in a box. I worked for an older manager whose attempt led to my departure. I worked for a younger manager who was in charge only because he worked for the government and I was a contractor. Our differences led to me moving to a night shift where our only interaction was when we passed notes on our respective shifts. It was a happy compromise.

But a few managers recognized my thought process and let me run. One of my managers in Afghanistan compared me to Michael Jordan and said "I'm going to give you the ball. If you miss too often, I am changing the game plan. But as long as you succeed, you can run how you want."

That's knowing your people. It takes effort and it takes talking with your people and understanding their thought process and creating an environment where they can do their best. If I had that support in the high-pressure environment of Afghanistan, it is possible everywhere.

Establish Credibility

Credibility is incredibly important. More time than not, no one listens to the new guy. So the faster you can establish credibility, the easier communicating will be. Credibility can be established by mentioning experiences and relating with people. Be sure to be likeable, and do not come off as a braggart. Don't claim your experiences, education, or skills make you better than anyone else. Just mention how they can help the situation.

Sometimes appearance helps to establish credibility. In Afghanistan, for example, I grew a long beard. Not only did the locals admire the beard, as beards are looked at positively in their culture, but US military members also recognized the beard as a symbol of my tenure in Afghanistan. It established immediate credibility as a veteran of the environment.

Understand Resistance

As important as it to communicate, sometimes even your best efforts fall on deaf ears. Or ears with fingers in them. Even if your credibility is recognized.


One of the most important communications lesson to learn is when people don't want to cooperate, especially if you want them to. Some managers might not feel it is their best interest to work with you. Or they feel you are giving them unnecessary work to do. The difficult solution is to try to see things from their perspective. Are they busy? Are they being stubborn to make a point? Are they just being lazy? Is your request ruining what they think is a good thing?

It is best to try to talk people and gauge their concerns when faced with resistance. People usually push back for a reason. The goal is to prevent them from doubling down. Once they are entrenched in their position, there is little you can do except bring in someone with more credibility or authority.

Know when to call in the Big Guns

One of the underrated skills in Business Communications is when to call in the big guns. No manager likes when subordinates can't solve their own problems. But some problems require more power than a subordinate is able to muster. Especially if there is resistance.

Knowing how to tell your manager you are facing a problem is also a skill. You don't want to sound like you didn't try or give your best effort. You want to tell your manager your attempts and the result. Then you want to ask them for help. Sometimes you receive that help. Sometimes all it requires is for them to send an email or make a phone call to grease the wheels of progress. Sometimes they have to fight the battle at their level. And sometimes they determine the juice isn't worth the squeeze.

Granted, most of my experience has been in a conservative-minded military environment, where information is held close and sharing isn't a priority unless it has to be. I am sure there are environments with less difficulties. On the other hand, I am sure there are companies with more communication complications.

But these are my experiences. With any luck, they will come in handy when I move into a position in the corporate world.

AfroSquad on AFN Europe

When I was in Afghanistan, I had the privilege of watching hours upon hours of the Armed Forces Network. This staple of deployed broadcasting isn't terrible, but it has its peculiarities. A big difference between AFN and American television is the lack of commercials. That's right, for nearly a year I did not see one commercial shilling a product.

Instead of commercials, AFN airs hundreds of public service announcements. They range from instructions on when to salute to history of the military to proclamations denouncing sexual harassment. They are all good things and I wish American TV had a few of them on cable television.

But there was one AFN commercial that was absolutely ironic to me. In order to capitalize on the "Party Rock" craze that was popular at the time, a few military actors donned afro wigs and glasses and the attire of the band LMFAO. While there is nothing intrinsically ironic about that, the subject of their commercial is what makes it my absolute favorite.

They made a commercial about speeding.

Meanwhile, sitting in Afghanistan watching their commercial was a member of the Afro-Squad who was the unfortunate recipient of nearly 10 speeding tickets in eight Florida counties. That's a ticket every two years I've been driving in over 10% of the 72 counties in Florida. I'm not exactly proud of that, but I think being that I have never been in an accident, I don't think I am a bad driver, just a little fast on the gas.

But perhaps if I listened to my European Afro-Squad friends.

Applying to be on The Bachelor and past beauty contests

After seeing pro wrestling friend CJ O'Doyle on Stone Cold Steve Austin's Broken Skull reality show, hip-hop friend Paradox on a tattoo contest reality show, and Miki Wingle on Survivor, I've decided the time is right for me to make my reality show debut.

I'm going to apply to be on The Bachelor.

I thought about doing this a few years ago, but didn't. Since not doing so, I was laid off twice, went to Afghanistan, and have been searching for stability since. I've also been looking for work. Maybe my life would be vastly different had I put my application in back in 2010.

But now it is 2015 and I am going to do it.

Of course, if I get selected to the show, I will have to put my 2016 US Presidential run off until 2020. According to the Bachelor eligibility rules:

Applicants may not presently be a candidate for any type of political office ("Candidate") and may not become a Candidate from the time the application is submitted until one (1) year after first broadcast of the last episode of the Program in which they appear.

But the popularity I might get for being on The Bachelor could help my presidential run. All a means to an end.

Putting together an application to be on The Bachelor reminded me of a completely informal "Hottest Blogger" contest I was part of in 2007. I don't remember too many of the details, but I submitted a pic and my blog name to a female-run blog. I ended up a 13 seed of 22 in our "bracket". Out of 572 votes, I received 216, or 38%. A blogger from a now-defunct blog called "Sunday Morning QB" beat me.

Best part of that contest was that it was first time I revealed my picture to my reading audience. During this time, I was still exclusively writing under the name "Jordi Scrubbings". And when my picture was shown, responses were interesting.

I took advantage to throw quite a few votes the way of Extrapolater, DHeitner (even though a possible 2nd round match looms), McBias, Jordi (who for some reason I thought was black?), Pyle, The If I Ran...dude, Price above Bip, and the guy holding the cat.

and

Holy sh*t, I thought Jordi was black, too! In fact, that's exactly what I told my GF when we saw the pics yesterday!

Have you been fronting all this time or something, Jordi?

And my classic response:

Well, I did attend a few classes at FAMU.

That was eight years ago. I like to think I am a much better catch now.

Hopefully, the casting folks at The Bachelor think so as well.

God Loves the Westside

Today NASA published new Hubble Telescope pictures of the Eagle Nebula's "Pillars of Creation". NASA originally captured the phenomenon in 1989 and the image became one of the most popular space pictures ever.

Today, it is evidence God represents the Westside.

FSU Marching Chiefs perform Star Wars

There are millions of videos on YouTube. Thousands, if not tens of thousands, are uploaded every day. But here are two of my favorite videos.

Yes, they are even slightly better than anything I have ever created.

The Florida State University Marching Chiefs perform Star Wars - Part 1





The Florida State University Marching Chiefs perform Star Wars - Part 2 (with live lightsaber battle)




Even better, there is a chance I am in the crowd somewhere, as that was my freshman year at FSU.

Quick explanation on how I found these amazing videos: I simply typed in "FSU Star Wars" in YouTube. I was thinking perhaps someone had Star Wars uniforms with FSU colors or created some other type of mashup, but instead I found these videos. The Force was definitely with me.

Listening to Jay-Z's Reasonable Doubt for the first time

Despite being a hip-hop fan, I’ve never been able to get into Jay-Z. I’m not sure why. Most people have him in their top 5 rap artists of all-time. He is also one of the biggest hip-hop performers ever.

I think my inability to rock with Jay-Z is due to a few reasons.

One, I didn’t listen to much new hip-hop from 1997 to 2002. I bought some Wu-Tang, Def Squad, and Duck Down and a few other random albums, but hip-hop really didn’t appeal to me much during that time. I was in my rock phase.

Two, in the late 90s, hip-hop became really materialistic. It was no longer about being hungry, it was about cars, wine, and the finer things in life. The songs about living in the ghetto were gone, at least from mainstream rap. The conscious rap had taken a backseat to the bling. Although Puff Daddy was the top dog of this movement, I considered Jay-Z part as well.

Three, Mafioso rap didn’t appeal to me. Even as a big Wu-Tang fan, Raekwon and Ghostface Killah’s crime raps weren’t my favorites. Sure, they were good stories, but they told the wrong message. I couldn’t relate to a drug dealer carrying keys from Colombia. Although I couldn’t really relate to someone from the ghetto either, I could relate to being broke or being hungry for success.

Four, I thought if Biggie was still alive, Jay-Z wouldn’t have been as big. The first time I heard Jay-Z he was a gimmicky fast-rhyming rapper on Big Daddy Kane’s “Show and Prove”. Then after Biggie died, Jay-Z took his spot as a “King of New York”. The shift seemed too fake for me.

Now, nearly 20 years after its release, I bought Jay-Z’s debut album “Reasonable Doubt”. A few factors are behind me finally giving Jay-Z a try. One, too many hip-hop friends have questioned my disinterest and I respect their views. Second, I am a big Skyzoo fan. Skyzoo claims to be heavily influenced by Jay-Z. It only stands to reason then that I should hear artists who influenced artists I like.

Of course, some songs on “Reasonable Doubt” I have heard before. But I am listening to the entire album from beginning to end. Something I have never done.

Keep in mind, what I liked in 1997 is different than what I like in 2015. I didn’t vary my hip-hop production back then. I liked sparse, gloomy, boom-bap type beats. I liked early Wu-Tang, the dark funk of Def Squad, and the murkiness of Duck Down Records. Now, I am a little more open-minded.

With that, let’s press play:

1) Can’t Knock the Hustle – Ten seconds in, already starts with the cocaine/Columbia references. Not a good sign. I have heard this song before. Plenty of times. First verse, so many high-life references, but at least he says his cup runneth over with hundreds, not grands. Although the Mary J. Blige chorus is very nice. I feel like the chorus is about trying to come up, but the verses are about having made it. That’s kinda confusing. Or is Jay-Z fantasizing in his verses?

2) Politics as Usual – Never heard this before. This beat is super nice. More bling raps. Jay-Z’s flow is as smooth as wine, but once again am I supposed to believe he is rapping about himself, or a Walter Mitty fantasy?

3) Brooklyn’s Finest (w/ Notorious BIG) – Same pre-song voice as the first song, so there is a theme going on here. First verse by Jay-Z felt rushed and way too fast. Notorious BIG’s first was nice. Nice back and forth on the second verses. Really like Jay-Z’s third verse. Both rappers sound really nice on the Clark Kent beat. Some have called this a “passing of the torch song”; I can see that. A little too heavy on the materialistic clichés, but definitely a celebration of two of the best Brooklyn rhymers.

4) Dead Presidents II – First thing is the Nas sample. I’ve liked Nas since day 1. When Nas stays away from materialism, he one of the best in the business. There a few lines in here Skyzoo uses in his verses. Is Jay-Z talking about slinging drugs or his rhymes? This song I can get into. Definitely a braggadocio song. And the beat is very nice. Almost an answer to a Nas song.

5) Feelin’ It – “I’m keeping it realer than most.” – No. Just no. Nothing about Jay-Z seems real. That’s my biggest problem with Jay-Z. But back to the song. This song is very smooth. Jay-Z’s ability to speed up and slow down is impressive. Like he learned Biggie’s slow cadence and Jay-Z’s own former fast flow and incorporated the two.

6) D’Evils – Produced by DJ Premier. This beat! First verse is super. No mention of diamonds, just getting up. Second verse, a crime story. I can get into that in a Raekwon sort of way. But while Raekwon makes it clear the pusher in his songs is not himself, Jay-Z makes it seem like he is talking about himself. Which is confusing. Third verse, another coming up tale. Overall, one of the best songs so far.

7) 22 Two’s – Jay-Z shouting out Tribe Called Quest. I like the wordplay of two, too, and to. The beat is very nice. Gloomy and dark. Casket and sarcastic? Very nice. This track shows Jay-Z’s ability as a rhymer. Which I definitely don’t argue.

8) Can I Live – Another very smooth beat and a nice monologue by Jay-Z in the intro. Jay-Z goes very slow and precise on this song. I would compare this song to an AZ song. Although I don’t have a lot of recent AZ, Doe or Die is a classic.

9) Ain’t No Nigga (with Foxy Brown) – I had this song off the Nutty Professor soundtrack. Jay-Z goes materialistic verse for materialistic verse with Foxy Brown, one of the best name-brand materialistic spitters of the late 90s. Materialistic rhymes and steroid home run hitters were one-dimensional fads of the late 90s. This beat has been used by a few others throughout the years.

10) Friend or Foe – Another DJ Premier beat. So nice. Jay-Z putting his claim on the game. The horns have a very jazzy, Harlem Renaissance flow. Almost classical. Jay-Z’s reference to Chris Tucker’s “ever, ever, ever come around here no more” Friday quote makes me think this is a denouncement of West Coast rappers coming to NY.

11) Coming of Age (w/ Memphis Bleek) – Fast Jay-Z rhyme style. There is a Big Daddy Kane feeling to this song. Memphis Bleek doesn’t sound bad, but you can tell he is trying to be on Jay-Z’s level. But it’s not working. But maybe the protégé/ teacher is the theme of the song. But what happened to Memphis Bleek? Did he learn?

12) Cashmere Thoughts – “Talk jewels and spit diamonds.” – Nice, but not jewels in the Wu-Tang sense. Not jewels I can grow with. Hey, a Return of the Jedi reference. Always worth a point or two. This beat is super nice. Sort of something I can see Snoop Dogg rhyming on. That sing-song cadence is also almost NY Snoop-like.

13) Bring It On (ft Big Jaz and Sauce Money) – A third DJ Premier song. Slower than the other two. Again jazzy in a Sinatra, big band way. A Fat Joe sample – which is interesting as Joe is from the Bronx, like the Nas sample from Queens. The Brooklynite Jay-Z nodding to the other boroughs. “Posts like Hakeem”, Skyzoo claims to drop "Olajuwon posts". Nice catch there. There is a subtle, relaxed tone to this song. Almost an end of the night feel. Verses about confidence and running the game. Nothing too special here, verse-wise.

14) Regrets – Closing the album with another slow sampled beat. “Third person flows so I don’t have to” – maybe that’s the whole theme of the album? This song songs a lot like a Fat Joe song – another late 90s rhymer whose struggle songs are much better than his “we made it” songs. There is a hunger to this song that I like. An “I am in the game, so here goes nothing” vibe. I can relate to that, not so much from rap, but from my own career.

15) Can I Live II (Bonus Track w/ Memphis Bleek) – Very jazzy flow. “The percentage of those who understand is lower than the percentage that don’t” – is that a 5% reference? Not sure Memphis Bleek needs to be on this song. He sounds like the high pitched little puppy in the old Warner Brothers cartoons – “Hey Spike, how about we chase cats? Hey Spike, hey Spike.”.

Overall, there is a classical jazzy flow to the whole album. The musical tone of the whole album is fantastic. I loved DJ Premier’s beats on “Reasonable Doubt”, but then again, he is one of the best hip-hop producers ever. Every song sounds like a classic.

There is also an intelligence to Jay-Z’s verses that I like. They are above the gutter and the ghetto. Only “Regrets” has a tone of humbleness. That brings to mind sort of a Malcolm X vs Detroit Red drive to be better. Like if you talk better and carry yourself better, you will be better. The Sinatra style is also very apparent. Whereas Raekwon and Ghostface wrote hustler stories of slinging rocks on the corner as a metaphor for the rap game, Jay-Z shot for the stars. Unfortunately, too many rappers followed suit. And did so poorly.

I do think Jay-Z leans too heavy on materialist tropes. I would have liked to see more verbal dexterity such as “22 Two’s” and more rhymes about the actual streets than Columbian drug lords, ice, or cars. That disconnect is something I still have trouble getting beyond. And by meeting with world leaders and attempting to make money off the Occupy Movement, Jay-Z has done little to bridge that gap.

Listening to Jay-Z’s “Reasonable Doubt” is like listening to Duke Ellington or Sinatra. It's hip-hop, but it has as much relation to hip-hop’s “CNN of the streets” as W.C. Handy’s “St. Louis Blues” has to the blues of the Mississippi Delta or Muddy Waters’s Chicago blues. The root is still there, but they are vastly different.

This was definitely an interesting experiment. Now I understand Jay-Z a little better. And I better understand those he influenced as well. That’s a good thing.

And now I can buy Skyzoo’s “Ode to Reasonable Doubt” and not feel weird.

The Unpalatable Molly Knight

Before its first issue in 1998, ESPN Magazine was introduced in a commercial starring NBA players Kevin Garnett and Stephon Marbury. In this commercial, the then-Timberwolves claimed the magazine wouldn't have "swimsuits, thongs, or bikinis", but instead would be "all nude", albeit "tastefully done". Because that's important.



In its history, ESPN Magazine has not only gone "all nude", but also maintained a high level of professionalism and taste in its pages. Unfortunately, the same cannot be said for a recent tweet from one of its writers.

Yesterday, writer Molly Knight caused a social media splash when she tweeted the following:

We, as a nation, might disagree on politics and Love Actually-- but we can all agree Oregon needs to clobber Florida State.

— Molly Knight (@molly_knight) December 29, 2014

For what it's worth, I am an occasional reader of ESPN Magazine. Although I do not have a subscription, I get handed issues from family members, see the magazine in doctors' offices, or might even pick one up at random at a newsstand. So there is a chance I have read Molly Knight's work. There is a chance I haven't, but a chance I have.

That said, I will definitely look at her work with a different eye in the future. Am I supposed to believe she is unbiased in anything she writes from here on out?

I will admit, I am a bit old school when it comes to sports writing. I don't believe sports writers should have favorite teams. They can have favorite subjects, but they should leave their biases at the door when it comes to their published work. And contrary to what most people think, tweets are published materials, just as articles, stories, or blog posts. They are, by definition, micro-blogs.

Unfortunately, in recent years ESPN has thrown the "writers shouldn't have favorite teams" idea out the window. They want their personalities to be opinionated. They want to generate argument and debate. For better or for worse, it's their business model.

With that background, let's return to Ms. Knight's tweet. When asked in a reply why she would be rooting for Oregon over Florida State, she replied:

@onerealchris @ravnole I went to stanford, am a football season ticket holder, and despise Oregon. This trumps that: http://t.co/tX0xX0o2vr — Molly Knight (@molly_knight) December 29, 2014

So this is not a case of a writer rooting for a team as much as it is a writer rooting against a team. FSU could be playing the Alaskan State College of Auto Repair and Ms. Knight would have written the same thing.

What is particularly galling about Ms. Knight's tweet is not that she is rooting against the FSU football team because of any on-the-field bias, but strictly because of her thoughts on the off-the-field situations involving the Florida State University football team, the FSU administration, and local authorities. Ms. Knight has taken a moral stand and expanded it to her sports opinions. I don't think that is professional at all, especially for a nationally published sports writer.

If Ms. Knight was against the decisions of the Tallahassee police department, the FSU police force, and other powers that be, those are who she should be commenting about. Or if she is against the coaching staff, than she should express her displeasure with them. She would still be biased, but at least it would be against the right target. The score of the football game is irrelevant to the existence of those entities. Win or lose, none of those organizations will change. Unless she wants to dig in, double down, and hope FSU goes winless until such time Jimbo Fisher is fired. Which has about zero chance of happening anytime soon.

But an FSU loss in the Rose Bowl will make Ms. Knight feel better. Not sure how, but it will.

What Ms. Knight should be doing, instead of writing how she wants the football team to lose, is to use her platform as a national writer to make the changes she wants to see in the world. It is easy to be emotional and reactionary. It is much harder to take action, put your ideas on the line, and push for change.

I would respect Ms. Knight much more if she wrote an editorial either in ESPN Magazine or on her own website calling for the resignation of FSU officials and Tallahassee police officials who she feels are at fault. She could also create a 10-point plan that in theory might solve what she feels is a problem. She could even write how she wants the university to do away with football and for the state to create a "North Florida Football Academy" where athletes get trained under a more competent staff. Whether or not she is right and whether or not I agree or anyone agrees is irrelevant. What is important is that she use her leverage for more than "I hope they lose".

(If she has written this, please point me to a link. Thanks.)

A few days ago, Will Leitch, one of the most level-headed sports writers in the business, wrote an editorial about modern media. In this editorial, Leitch wrote that the goal isn't to be smart, it is to be "loud".

The entire strategy for succeeding at anything, whether it's winning elections, selling a product or attracting visitors for your Website, revolves around pitching yourself as loudly as you can to those people on your side and turning those who disagree with you into the worst version of themselves, demonizing them into something subhuman and venal.

Molly Knight's tweet about how she hopes FSU will lose received over 700 re-tweets and 800 favorites. Her words reached a lot of people. Many of whom probably agree with her, for one reason or another. Would a more nuanced tweet promoting a 10-point plan of action be shared as much? Highly doubtful. But as Leitch said, "Nuance is tossed out, even if you know a situation is desperately nuanced, in favor of quick points and splash".

Quick points and splash. To hell with tasteful.

Two final points:

1) This post is not to excuse any lowlife scumbag who belittles a writer because of her gender. Everyone has the right to work in a harassment-free environment. And if tweets are publications, then twitter is where Ms. Knight "works", and she should be treated with respect by other "publishers", i.e. everyone else on twitter.

2) Before I get accused of being an FSU homer, I've had my own objections with the way FSU does business.

Iggy Azalea, Rod Stewart, and the railroad track of credibility

I consider myself a blues fan. I've visited the Crossroads, stayed in historic blues hotels, been to classic juke joints, and have a pretty decent collection of blues albums. But I think white people ruined the blues.

Maybe it was Stevie Ray Vaughn. Maybe it was Eric Clapton. Maybe it was the Yardbirds or the Rolling Stones. Somewhere along the way, the blues was appropriated by white musicians. They played the licks. Some played them very well. Some even had feeling. But through no fault of their own, these musicians inspired scores of imitators, some who made it big and some who only play for fun.

None who can really play the blues, despite their mechanical prowess.

Although buried in the archives now, fifty years ago there was a debate on who can sing the blues. In 1964, a young Rod Stewart was criticized for his cover of Sonny Boy Williamson's 1937 blues song "Good Morning Little Schoolgirl". Not coincidentally, this song also features future Led Zeppelin members Jimmy Page and John Paul Jones.



Although the critiques aren't easily found, Stewart's response to his critics is. According to a 2005 biography on Stewart, he claimed:

"A white person can sing the blues with just as much conviction as a Negro. All these coloured singers singing about 'Walking Down The Railroad Track'...they've never walked down a railroad track in their lives. Nor have I. You've got more to sing the blues about in the Archway Road, near my home, than on any railroad track I know."

(Click here for a great article on the role and importance of the railroad in the Mississippi Blues. In short, the rail was the lifeline between the cotton fields of the Delta and Memphis, its closest city.)

Despite his attempts at establishing his credibility, Stewart still had the fear of rejection. In a 2012 NPR interview, Stewart says:

Because I was a white boy from North London trying to sing rhythm & blues and soul music, I was paranoid that the curtain would go back and it would be all full of black people, and they'd yell, 'Fraud! Fraud!'

While Stewart's early blues career wouldn't amount to much, he continued in music and became one of the most respected singers in American history, selling over 100 million records.

But recent issues in a more contemporary genre forced me to look up Stewart, Clapton, Stevie Ray Vaughn, and white men who ventured into traditionally African-American music.

Over the last week, Australian rapper Iggy Azalea has attempted to defend herself from a barrage of critics who claim she does not have the credibility to be a respected hip-hop performer. The critics charge that she doesn't understand the roots of the culture she is making a very good living on.

To recycle the Stewart criticism, they claim Azalea has never "walked down the railroad track".

According to her bio, Azalea came to the US when she was 16 in 2006 with the intention of getting into music. After several years in the underground scene, she finally released her first major album in 2014 and has since been nominated for several Grammy awards. Her videos have over 400 million views on YouTube and some have even claimed she "runs hip-hop".

That is much further than Stewart got in his blues career. But Stewart never changed his voice to sound like a black farmer from Mississippi as Azalea as changed her accent to sound more "hip-hop" on her songs.

In response to a back and forth between Azalea and New York-born rapper Azealia Banks, one of Azalea's most recent critics, long-time New York rapper and producer Q-Tip released a long diatribe on twitter about hip-hop, its roots, and why there is defensiveness when outsiders attempt to work their way into the scene. The whole speech is worth the read.

"HipHop is a artistic and socio-political movement/culture that sprang from the disparate ghettos of NY in the early 70's Coming off the heels of the CIVIL RIGHTS MOVEMENT and approaching the end of the Vietnam war it was a crossroads 4 America specially for blacks in the US our neighborhoods were PROLIFERATED w/a rush of HEROINE."

"Our school systems here in NY dungeon traps with light for learning… blk men some of whom didn't return from tours of duty n the ones who did came w/war baggage (agent orange, addiction, ect..)… these men had families but due to these events and throw into the mix the public emasculation… they proved to be handicapped parents. The surrogate parents? The STREETS… the streets of gangs, crimes, and the hustlers coddled us and swept us up."

"But! Being a spirited, rhythmic & expressive people music art dance outlined our existence… it proved a way for us to exhault to scream to dance to laugh and find OUR VOICE… we weren't at the time skilled musicians as kids. We had records, turntables, ideas and INGENUITY being natural chemist we took from whatever was availed to us and we created something mighty and special."

"We cut breakbeats back n forth we took a hybrid of Jamaican toasting along w/ radio jock rap( hank Spann, Gary Byrd, ect.) and we put our rap down.. it was a neighborhood thing really. Black and Latino Kids were carving out their space and it became infectious… eventually Keith Cowboy coined the phrase hiphop . Yrs later the first rap record was recorded and now we r moving."

"But during these strides this country still had the monster of racism and racial insensitivity breathing and ruling… believe it or not young black n Latino lives specifically weren't acknowledged in mainstream American culture unless Of course.. the convo was abt gangs , being criminals or uneducated. And hey! Like I stated early our families were rushed our schools sucked and we were left to put devices to survive… but HIPHOP showed that we had DEPTH, fire, and BRILLANCE… the music was undeniable! It moved from NY N became national and even GLOBAL."

Hiphop now was FOR EVERYBODY!! All of those who cld relate to the roots, the spirit, the history, the energy.. It reached YOU… it touched your spirit n took u up. We magnetized you! That's what BRILLANCE does… now u are fulfilling your dreams … BUT! you have to take into account the HISTORY as you move underneath the banner of hiphop. As I said before… hiphop is fun it's vile it's dance it's traditional it's light hearted but 1 thing it can never detach itself from is being a SOCIO-Political movement."

"U may ask why … Well once you are born black your existence I believe is joined with socio-political epitaph and philos based on the tangled and treacherous history SLAVERY alone this is the case it never leaves our conversation… Ever. WeAther in our universities our dinner tables our studios or jail cells… the effects still resononates with us. It hurts… We get emotional and angry and melancholy… did u know president Clinton was the ONLY PRESIDENT to apologize for it? did u know that remnants of slavery exist today thru white privilege? When certain "niceties" r extended your way because of how u look? Isn't that crazy?"

"I say this 2 say u are a hiphop artist who has the right 2 express herself however she wishes… this is not a chastisement this is not admonishment at ALL this is just one artist reaching to another hoping to spark insight into the field you r in. I say this in the spirit of a hopeful healthy dialogue that maybe one day we can continue… I've been on twitter a long time and this will probably be my last series of tweets pretty much but I'm Kool with it as long as I got to share this w u. Zzzzzzz's up! Peace!"

The biggest take-away in the long speech is how Q-Tip labels hip-hop as a sociopolitical movement. In a 1998 essay, writer Bari Lehrman describes the Blues in similar terms.

During slavery, secular music was considered blasphemy and forced underground. What emerged from this was the blues, as a"form of art, modern mythology, and a secular religion"(Spencer 55).

According to author Larry Neal, the blues represents"the essential vector of Afro- American sensibility and identity", and represents the"ex slaves' confrontation with a more secular evaluation of the world"( Spencer 36). It was shaped by social and political oppression and it reflects a defiant attitude toward life. The blues represents survival during hard times and it tells the basic facts of life. As can be seen in the music, there is an emphasis on the"immediacy of life, the nature of man, and human survival..."formed from a history of mental and physical hardships (Spencer 39). It is a direct expression of the post-slavery world view, linked to freeing the individual spirit.

The 'old blues' redefined America's traditional values, and led to the"vision of a new establishment"(Spencer 56). It directly spoke out against white America and the Puritan ethos that was forced upon the slaves for centuries. The lyrics helped release America from the"moral prison"of this Puritanism, and questioned the morality of Christianity and white society. In the music, there is an emphasis on unity, with the joining of man and woman together, and their ultimate triumph over the machine (Spencer 57).

Despite the obvious separation between the blues and the church, the blues is often seen as a"secular religion", as well as a form of art and modern mythology (Spencer 55). In comparing the blues singer to a preacher, Charles Keil states,"Blues singers and preachers both provide models and orientations, both give public expression to deeply felt private emotions, both promote catharsis- the blues singer through dance, the preacher through trance; both increase feelings of solidarity, boost morale, and strengthen the consensus"(Spencer 64).

Despite his claim otherwise, there is no way Rod Stewart could have had the same feeling in his blues as an African-American from the Mississippi Delta. Likewise for Iggy Azalea in hip-hop. Both could understand the mechanics of their genre and perform them perfectly, but the heart of the music - that indescribable credibility that underlies every song - will be missing.

Because neither could ever "walk down the railroad track".

Which brings me back to my problem with many contemporary white blues players. While their life might have problems, and they might have the blues, the depth and historical context is not there.

This is not to say people of European descent can't have sociopolitical music. There are generations of Irish protest songs, hundreds of anti-government punk rock songs, and even country music was born from the bluegrass tunes of the Appalachian coal workers.

There would also be no problem if Iggy Azalea went back to Australia and used hip-hop as a medium to communicate local sociopolitical ideas. Socially conscious hip-hop is heard all over the globe, from Soosan Firooz in Afghanistan to Thufail al Ghifari in Indonesia to Turkish rappers in Germany.

But someone who comes to America and celebrates their mastery of an art form without tipping their cap to the heart of the music should be criticized.

Now if Iggy Azalea covered Florence Reece, we might be having a totally different conversation.

Coastal Hyundai, Bad Customer Service, doing social media wrong

I am the proud owner of a 2013 Hyundai Elantra. I bought it new, and love it. It's great on gas, comfortable, and everything I need for where I am in life.

But while Hyundai has a great warranty, the one thing I don't like is how they constantly send me emails about their newest models and deals. I have tried to unsubscribe, but that never seems to work. They are automated and will probably never go away.

However, I do expect to be removed from a specific Hyundai dealership's mailing list. Especially if I ask them to remove me. Especially if that request is reiterated every month.

Somehow, Coastal Hyundai of Melbourne, Florida received my contact information and will not leave me alone. I have never dealt with Coastal Hyundai and I doubt I have will. I bought my vehicle at an Ocala, Florida, Hyundai location. The Ocala dealership called me once and I told the gentleman on the line I was not interested. He was very nice, understood, and then asked how I liked the car I did buy. I would do business with them again.

Unfortunately, despite my pleas, Coastal Hyundai will not stop. This despite the fact that I did not buy my vehicle there.

Yet they badger me. I have spoken with their general managers. I have spoken with other managers. I have talked to whoever answers their phone. All claim to remove me from their mailing and email lists. I still get emails and unwanted literature.

This has gone on for over 6 months.

So with personal contact not working, I decided to look up Coastal Hyundai on social media. Perhaps a well-placed complaint could get done what monthly calls could not.

For a well-established car dealership, Coastal Hyundai's social media presence is pathetic. It is obvious they created twitter and Facebook accounts because they either had to or felt it would be "the cool thing to do". They don't interact with customers on either. Even worse, their twitter account is only forwarded Facebook posts.

That's not how you "do" twitter.

Can I expect a response if I reach out on twitter? Why have an account customers can use if you don't interact on it? That's bad social media 101. Customers will have to find an avenue in which to get a response. How long should customers wait to get a response? Just terrible.

If you are not going interact on a social media platform, don't create an account. Keep announcements and pushed media on your website.

With a twitter response unlikely, I went to Coastal Hyundai's Facebook page. This isn't much better than their twitter account. They do have 661 followers and a post every few days, but interactions are nearly nil. Their most recent posts are only "liked" by the dealership general manager and earlier posts are only "liked" by another employees. That's not good.

It is obvious Coastal Hyundai is not connecting to their customers via Facebook or twitter. And with their constant disregard of my requests to be removed from their mail and email list, it is obvious they don't listen to customers over the phone either. Worse, I was never a customer.

I don't know what else I have to do to in order to have Coastal Hyundai remove me from their marketing lists. I want nothing to do with them. Maybe I should contact Hyundai's corporate offices? Maybe I should file a complaint with the Melbourne Chamber of Commerce? Maybe the Better Business Bureau?

Maybe this post will work.

Dear Coastal Hyundai, leave me alone.

The value of an Uncle

A few years ago, my nephew gave me a funny birthday card.

So apparently my value as an uncle is worth more than the aforementioned $1,000,000. That's good to know, especially if I ever decide to put my uncle skills on the open market.

But what if I valued myself for over a million dollars? What if I was a professional baseball player and made $20 million dollars a year? My uncle value, if exactly $1 million, would only be 5% of my professional value. I'm not sure that would be something to brag about.

Being that I am not a professional baseball player, and my salary is not yet anywhere near $1 million, could I use the perceived value of my uncle skills to answer the dreaded "salary requirements" question employers often ask?

Q: "What are your salary requirements?"

A: Well, being that my uncle skills are valued at over $1 million, and then adding my education and experience, I don't think I could settle for anything less than $1.23 million.

I'm sure recruiters would be cool with that.

What this card does not make clear, unfortunately, is the amount of time the value is spread over. Is it annually? Or is it over the lifetime of the uncle relationship? Since I am 30 years older than my nephew, there is a good chance I will be his uncle for 50 years. If my uncle purchase price is $1,000,0001.00 - a value $1 over $1 million - then my annual uncle value is only $20,000 per year. That's not bad, but not something to brag about.

"I'm a $20,000 a year uncle."

Sure, some uncles are worth less than that. Some uncles don't even know their nephews. But they don't get birthday cards with their value. So they must live in ignorance, if they care.

But I consider myself a kick-ass uncle. I have value. And that value is over a million dollars.