The Far Left

CA, all day, reppin’ it/party time, excellent (c) Evidence

The past month or so, I have been bumping Left Coast hip-hop as if I was from Oxnard.  I don’t know what it is, but lately, and by lately I mean, years, the hip-hop scene in California has usurped the power from New York City(east coast, period).  You might ask, how is this possible?  Well here is your answer.  New York City is New York City, it always has been and always will be, meaning that when you are great, you don’t consider anything less than great.  By this definition the world has always looked to New York City to be that, because that’s what New York gives off.  If New York was a person, they would be that jerk that everybody hates, but what to be cool with because of his connections, but New York would play you and string you along until he could take credit for your talents or creditability.  Then use your talents as his own, to make himself seem more gifted.

How does this pertain to hip-hop music?

Hip-hop music is the most evolving entity in the world, it strives off of being cutting edge and brand spanking new, whether for the good or the bad; lately more bad than good.  For such a evolution to take place, you would need a successful underground scene that promises a ticket to the mainstream, if artist wants the mainstream limelight.  This upper mobility should also afford the underground artist the chance to remain themselves and not have to conform to the music that is popular in the mainstream, unless the artist has a sound similar to the popular music, which in return would not be conforming.  Because of the success that the underground artist as being underground, proves that he could reach people, the mainstream would just give them a better chance at that reaching.  New York City doesn’t have an underground with that type of system, anymore.  If we were talking about this in the mid-late 90s/early 00, then yes, NYC had the underground on lock, but as time when on and underground artist from NYC became mainstream(with the collapse of certain labels), it became harder to be the artist you choose and be mainstream.  Those in the power look towards what made one artist successful and use that mode for every artist, which is a defeatist attitude.

Is it the fault of the labels, artist, or location?

The answer is all the above, not to mention timing, but the concept of time goes further into the artist and even deeply into society.  Sometimes as we know, the people aren’t necessarily ready for what a certain sound. I have to say when it comes to location NYC seem to be one of the only places where their sound is the upper echelon of music, so everyone that is an artist copies that sound, which harked on previously about labels and radio looking only for the next artist that sounds equivalent.  The problem with radio is a whole different bag of inopportune/idiotic goings on in music, LA plays West Coast artist only on Wednesday…bugged out, right?  But what the Left has that the East doesn’t is underground artist that are known as if they were mainstream.  What I am saying is that NYC underground artist are popular here in NYC, but an underground artist on the Left is known all over.  The “melting pot” that is New York City can be a very close minded place, where, as aforementioned the “monkey see, monkey do” ideology rules.  You don’t get that feeling any other place that has a had a hold on hip-hop. New Orleans, Atlanta, Miami, Chicago, Detroit, etc have all held the hip-hop title, and have all displayed diversity within their sound; always.

Can these issues be changed?

I would like to believe so, but music on the mainstream seem to be happy with its current position and the people themselves aren’t very much upset with the fact that he aren’t getting a high quality as well as variety.  This is more than a eastcoast problem, because I am very much sure that a lot of the aforementioned westcoast artist aren’t being celebrated in there own backyards either.  But until that day happens, Left Coast I got your back!

Welcome to the glories of a Post Racial Society

“Walmart is a wonderland” (c) Close Friend of mine

http://finance.yahoo.com/news/Black-people-must-leave-NJ-apf-1749619349.html?x=0

Bruce Shipkowski, Associated Press Writer, On Thursday March 18, 2010, 1:07 am EDT

WASHINGTON TOWNSHIP, N.J. (AP) — A Walmart store announcement ordering black people to leave brought chagrin and apologies Wednesday from leaders of the company, which has built a fragile trust among minority communities.

A male voice came over the public-address system Sunday evening at a store in Washington Township, in southern New Jersey, and calmly announced: “Attention, Walmart customers: All black people, leave the store now.”

Shoppers in the store at the time said a manager quickly got on the public-address system and apologized for the remark. And while it was unclear whether a rogue patron or an employee was responsible for the comment, many customers expressed their anger to store management.

“I want to know why such statements are being made, because it flies in the face of what we teach our children about tolerance for all,” said Sheila Ellington, who was in the store at the time with a friend. “If this was meant to be a prank, there’s only one person laughing, and it’s not either one of us.”

Ellington, of Monroe, and her friend Patricia Covington said they plan to boycott the retailer until they’re assured the issue has been addressed so it doesn’t happen again.

The pair said they were stunned when they heard the announcement and initially believed they had misheard it. But once the words sank in, they grew angry.

“I depended on Walmart for all my needs, because the store has pretty much everything you could want,” Covington said. “But until this issue is addressed in a way I’m comfortable with, I can’t walk through those doors again.”

Officials with Wal-Mart Stores Inc., based in Bentonville, Ark., said that the announcement was “unacceptable” and that they’re trying to determine who made it and how it happened.

“We are just as appalled by this incident as our customers,” the company said in a statement. “Whoever did this is just wrong and acted in an inappropriate manner. Clearly, this is completely unacceptable to us and to our customers.”

This is not the first time the retailer has faced such problems.

There have been several past instances of black customers claiming they were treated unfairly at Walmartstores, and the company faced lawsuits alleging that women were passed over in favor of men for pay raises and promotions.

In February 2009, the retailer paid $17.5 million to settle a class action lawsuit alleging racial discrimination in its hiring of truck drivers.

And the U.S. Equal Employment Opportunity Commission sued the company in May 2009, claiming some Hispanic employees at a Sam’s Club subsidiary in California were subjected to a hostile work environment. That suit alleges managers failed to stop repeated verbal harassment, including the use of derogatory words, against employees of Mexican descent.

However, the National Association for the Advancement of Colored People has said the company has worked hard in recent years to show it cares about diversity.

Bill Mitchell, a former Walmart employee who was shopping Wednesday at the store, said that he was saddened to hear about the announcement but that “as a black man, I’ve heard worse things.”

As customer Sharon Osbourne, of Williamstown, left the store Wednesday, she called the announcement “appalling, stupid and sad.”

Industry Rule #4080, record companies are shady

“So kids watch ya back/cause I think they sell crack/ I don’t doubt it, look at how they act” (c) Q-Tip

I was on twitter a few days ago and I read this article on the dealings of the record labels, by http://www.wendyday.com/ via http://thediggersunion.com/?p=8249, in regards to the artist.  I have to say that it has on my mind sense then, so I decided to share this information to you all.  Enjoy.

Dropping Jewels: 360 Deals are Today’s “Record Deals”, By Wendy Day

I gotta state right upfront that I am biased against 360 Deals. I understand WHY they exist, I just find them unfairly oppressive in the label’s favor in an industry with a draconic history of jerking artists out of money. I stopped negotiating deals for artists in 2005 because I refuse to do a 360 Deal for any artist! How strongly do you have to hate something to stop your own income over it?

In the early 2000s, the music industry went through a severe change. Music sales plummeted, the importance of the internet reigned supreme, and there was an influx of artists into the industry causing an over saturation never seen before. It’s gotten worse, not better, for the major record labels.

Once used to a healthy profit margin that afforded grand lifestyles for those at the top of the food chain, the major labels became disgruntled as sales dropped while they missed the boat on less profitable digital sales. Taking on the role of dinosaurs fighting for survival, they tried everything from stopping the new digital revolution, to fighting it, to suing it, to band wagon jumping too late. Nothing worked for them. And they still haven’t learned from their mistakes—they still continue to fight the ways the consumers want to receive their music.

So to justify their continuing existence, they decided to take an even larger share of the pie from the ONLY aspect of the equation that they controlled—the artist (or the “content” provided for digital download). Back in the day, labels took roughly 87% of the pie while giving the artists 12% of the money AFTER the artist paid back everything spent on them from that 12% share. This means that if the artist sold $500,000 worth of CDs, and it cost $50,000 to market and promote that CD (a very low example), the artist share of $60,000 (12% of $500k) would be divided between paying the label back that $50,000 and a check for the remaining $10,000. The label would receive $490,000 for its investment and belief in that artist while the artist made $10,000. In exchange for giving up the lion’s share of the sales, the labels always told the artists that they’d make 100% of the touring. Any show money, was the artist’s to keep!

When the shit hit the fan financially for the labels, they decided to tap into the show money, and all other streams of income for the artists, as well. After all, if your profit margin is made smaller, you need to eat more of everyone’s income to keep the fat cats at the top, and the stock holders, happy. Most 360 Deals share in endorsement income (15% to 30% depending on the artist), performance income (10% to 30% depending on the artist), merchandising income (20% to 50%) and Film/TV money (15% to 40%). Before I go any further, I have to thank Bob Celestin (Law Offices of Robert A Celestin http://www.raclawfirm.com) for supplying me a 360 Deal contract for an indie label and the good folks at Warner Bros Records for leaking me a major label contract for an artist’s 360 Deal. This enabled me to write about REAL contracts instead of just what I’d heard from lawyers, artists, and label folks.

How do labels justify taking an even BIGGER share of the pie from artists? They complain that they are doing all of the developing, investing, marketing, and promoting. Their argument is that they believe in the artist when the artist has nothing, and they feel that assuming the lion’s share of the risk should result in sharing in a lion’s share of the profit. If the label is developing and building the artist to a level of super stardom, they feel they have the right to share in a percentage of everything that super stardom affords the artist. So if they drive the artist platinum, they feel they should get a piece of the tour that came from the fame the label helped the artist build, and a piece of the endorsement deal or film income that came from the fame that the label helped build. I guess I could see this argument better, if I actually agreed that the labels did their jobs well of building artists.

I have a different vantage point of record labels. I see major labels based in tall glass buildings in NY and L.A. that have little interaction with the streets, fans, or the artists. I see them sign artists that have already started to build a buzz or sell music themselves, and then I see them sit back and let the artists’ teams continue to do much of the work themselves. I don’t see major labels taking much risk with their artists, but do continue to put them through a system that is almost an outdated cookie cutter version of how to sell CDs. The labels rarely interact with the fans and are quite out of touch about what the fans want or are willing to buy. They seem to create this assembly line of artists who all sound similar and fit a certain format at radio. They seem to throw a lot of music into the marketplace and work whatever catches on quickly and easily. Most labels do what’s best and easiest for the label, not what’s in the best interest of the artist. Now, in a way, it’s very unfair of me to make this sweeping generalization, because there are some amazing people who work inside of major labels and really go all out for the artists. But I find these people to be the exception, not the norm, and I also find them to be frustrated most of the time because they constantly have to fight with their bosses and the status quo to succeed on a project.

I also find that competitor labels usually hire the best people away from the labels who are experiencing some success, thereby breaking up the synergy within a team once they all learn to work well together. This is why a label like Def Jam or Universal could be so strong in the late 90s and yet be struggling to succeed today. I find that artists rarely look at the teams working at labels and just fiend for a record deal no matter the success of the label or who’s at the label (staff or other artists).

So labels got further away from the fans, the staffs got lazier or more frustrated (perhaps more work for less pay?), the artists took less risk because there were more of them and they were just happy to have a record deal, and the fans started expecting music for free because they could just download it if they didn’t feel like paying for it. Major labels continued reducing spending, slashing budgets, cutting pay, and signing “sure things” (whatever that means). And to justify the spending they were still doing, they decided to offer deals that cut into more of the artists’ income. The argument was that out of 50 artists signed to their label, only one was successful and funding the 49 losses. No other business on earth has such a backwards business model. Imagine if Ford built cars and accepted the fact that every model but the Taurus was meant to be a loss leader, and that the Taurus sales had to make up the loss of every other brand under their umbrella. Huh?

Or imagine if banks lent money for mortgages expecting 99% of the mortgages to default, and 1% of the mortgages were expected to make up the bank’s profits that year. Further imagine if each homeowner paying back their mortgage didn’t actually get to keep ownership of the house after their mortgage was paid back! The bank’s argument would be that they took all the risk on the house, so they should get to retain ownership. The people that lived in the house would still have to pay for all the repairs and upkeep, but the bank would own the house. That’s how the music industry is built. And the folks at the top with the most to lose are the ones fighting to keep this backwards system alive.

People ask me all the time what I think is wrong with the music business. I would like to blame our troubles on the greed of major labels, the proliferation of bad music that the fans don’t seem to want, or the free downloading of (stolen) music. But the truth is that if the artists didn’t agree to these incredibly bad deals, there would not be incredibly bad deals. If a bank existed that kept ownership of your house after you paid back your mortgage, you would never do business with that bank. Yet all day, every day, there is a long line of artists willing to sign their lives away to record labels because they don’t understand, or possibly don’t know about, the consequences. Or maybe they just don’t care. Maybe the need for fame overpowers the need for money…until they realize they aren’t making money but someone else is. I find that it takes artists 3 to 5 years to realize they are getting jerked. In that time, a lot of money is lost and one or two things happens: either the artist is replaced with a new artist willing to make less money, or the artist has enough value to renegotiate their deal and share a larger piece of the pie. Sometimes, they even start their own labels and repeat this onerous process with their own new, unknowing artist! They got jerked, so they turn around and jerk someone else.

But back to 360 Deals. This new model will exist until artists are willing to say “no!” and I don’t see any signs of that happening. What I do see happening are artists becoming more entrepreneurial, and instead of signing to major labels, I see them finding their own investors and building their own teams who can help them succeed. There are enough laid off employees of record labels who’ve experienced some success out here to hire to run and work at indie labels. There’s a huge void in the marketplace to deliver the kinds of music fans want…and that’s not just one kind of music.

What I learned from both the buzzes of Drake (lyrical mainstream artist who’ll succeed at radio) and Gucci Mane (not-so-lyrical street artist with gutter stories and experiences to share) is that fans still want music. Major labels are still slow to respond to the needs of the streets and the internet is only speeding up and splintering demand further. There’s still a market for good music that the fans want. Our job is to give it to them. And if we do so with a fair and equitable split of the profits, the artists can build lifetime careers and we can all make money!

I hear the artists who sign 360 Deals say that they feel they have to sign these deals because the label won’t work their projects if they don’t give up a bigger split. I hear the artists say they want the labels to help them land endorsement deals, major tours, and TV Shows and film roles—but I’ve yet to see a major label do this. Let’s be realistic, these major opportunities go to the biggest stars and the ones who apply themselves directly in those alternate areas. If you hire a film agent, and take acting lessons, you may get increased roles in film and TV. If you increase your fame through music sales, your endorsement opportunities increase. Beyonce landed a Revlon contract because she was a star, Revlon did not make her a star. How many new artists are the major labels building to be stars? In 2009, it was Taylor Swift and Susan Boyle out of all of the releases that came and went. And neither of them were developed by the major label system—one was a product of an indie label and the other a product of a TV show. The majors had access because they did deals with middlemen and then applied their systems behind those movements that were already happening. Maybe that really is the job of a major label in today’s environment.

In my opinion, a 360 Deal is an excuse for a major label to take a bigger piece of the pie without doing any additional work. It’s insurance on their part. If the artist does blow up by chance, it gives them more opportunity to make a bigger cut. And that’s just smart business. I guess if they called it what it really is, I’d be less annoyed by it: the price of doing business with a major label. If they played a bigger role in building overall success, I’d be happy to see them share in a bigger piece of the pie at the end of the day.

Example of a “360 Deal” Artist (this is not an actual artist example):

Male rapper based in Atlanta with a strong following. He has his own team of inexperienced friends and family around him and a very strong street following. The DJs, fans, other artists and industry are supporting him and propelling him forward. With no real single or CD in the marketplace, demand is high—he’s getting $30,000 a show and performing three or four times a week for the past few months. This will last about 6 months, approximately. He’s put out a series of mixed CDs, for free, over the past year. The label signed him a year ago to a 360 Deal but hadn’t begun to promote him yet because their roster was full. The artist got tired of waiting and began putting out a new mixed CD every month to build his buzz.

Advance: $75,000
Album Budget once popularity increased: $350,000
Recoupable Marketing and Promotions: $750,000
Monthly Show Income: $420,000
Endorsement Deal: $50,000

Album comes out and sells a total of 350,000 copies (it was a very commercial album but the artist had been very street, almost gutter, up to the point of his album release so fans didn’t really embrace the album as expected).

Album income for label: $3.5 million
Artists’ Share after Recouping: negative balance of $405,000
$750,000 + $75,000 = $825,000
12% of $3.5 mill = $420,000
$825,000 – $420,000 = $405,000
Artist’s endorsement Deal Share: $37,500
75% of $50,000
Artists Share of Touring Income: $1,764,000
70% of $420,000 x 6 months
Artists Share of Publishing Income (50%): $100,000 (estimate of mechanicals and ASCAP/BMI royalties)

Income for Label: $4,773,500 gross income on an investment of $825,000
$3,500,000 sales
$405,000 recoupment
$12,500 endorsement income
$756,000 tour/show income
+ $100,000 publishing income
$4,773,500 gross income
Less Staff costs
Less Day to Day operating expenses
Less Taxes

Income For Artist: $1,122,375 income
$37,500 endorsement income
$1,764,000 tour income
+$100,000 publishing income
$1,901,500 sub total
-$405,000 recoupment
$1,496,500 gross income
Less 20% management fee
Less 5% Business Manager fee (Accountant)
Less Tour costs/legal costs/tour manager/DJ/Operating expenses/taxes

Let’s compare gross incomes…
Artist made 1.5 million while label made 4.7 million
Artist share: 24%
Label share: 76%

Let’s compare Net incomes before taxes…
Artist made approximately $1 million while the label made approximately $4.5 million
Artist share: 18%
Label share: 82%

If the label is taking all of the risk (they are not), putting up all of the money in all of the right places (they are not), devoting all of their attention to this one artist (they are not), and doing most of the work (they are not), then this business model makes sense for everyone involved. But if the artist is doing the bulk of the work, risking their career in the hands of the label, and coming out of their own pocket for many expenses, then this business model is hugely skewed in favor of the major label.

I’m Just Trying To Win

“Refuse to lose” (c) Chuck D

Yeah so its been a long troublesome road, and I’t still traveling on it.  Everything around me feels like this:  it is as if everything is backwards and crazy.  Everything that seem right is wrong , every vice is a virtue.   Though I refuse to lose, it seems as if winning and losing aren’t choices you are able to make on your own.  Because every time you are up in points the rules change.  Hard work and being smart doesn’t mean anything if you don’t know anybody.  I blame Bush! 

Happy Black History Month from the good folks at Nike.

Well for the last few years Nike has stepped up and put out sneakers for Black History Month, and I have to say that they never dissappoint.  When I first heard about Nike putting out a pair of Air Force Ones to represent this wonderful/meaningful event, I thought that “uh oh” and “please don’t slander the culture”; but I have to say kudos.  See for yourself, below:

For more information:http://www.highsnobiety.com/news/2010/02/05/nike-sportswear-air-force-1-black-history-month-2010/

Donuts Are Forever

Whole body blinging like  P3O N**** (c) James “Jay Dee” Yancy

Yo last Saturday evening I attended the www.donutsareforever.com/ and it was as I expected it to be; DOPE.  I have been trying to get to this celebration for the past two years, and even though this year I almost didn’t make it because of MAD folks opting out, but I carried on.  I met up with http://twitter.com/MPmakesmusic and enjoyed ourselves.  I met a few people and it was all love.  Drinks and women serving donuts all night, in one word; Vanglorious. 

The highlight of the night was most assuredly Maureen “Ma Dukes” Yancey being there.  Seeing Ma Dukes was amazing, it made you feel like this tribute was supposed to happen.  The expression of pride, humility and hurt, it was tear jerkingly beautiful.  She was there not only for the tribute to her son, but to gain support for thehttp://www.jdillafoundation.org/, this foundation is a must in our inner cities.  Music is not a luxury, it is a necessity.

Now lets talk about the music! 

My GOD, DJ Brainchild opened up the show/party and he was definitely rocking it.  Playing everything Dilla(as expected), from actual Dilla songs, Dilla produced tracks, and actual songs sampled by Dilla.  Dancing ensued and the crowd was from all sorts of backgrounds…hip-hop is beautiful like that.  Dj Brainchild most definitely got the party started, and QuestLove finished it.  QuestLove gets on stage and everybody is like “ohh Shh its Quest”, then the floor gets dumb crowded; and at this point he was just setting up.  Finally he gets on and he explains how hard it was to do this tribute and he turned down, so many other asking him to do a tribute.  He further goes on to say that him and the roots went into the studio and remade over 70 Dilla tracks, and could have done more(the video below explains).  It was magical, I can’t even front I almost passed out.  Needless to say, I enjoyed myself and I’m sure everyone else there did. I can’t wait until next years.

P.S. Thank you to www.rareformnyc.com for putting this together and http://www.brooklynbodega.com/ for everything  and everyone else involved.

Black History Month

There is no better than adversity. Every defeat, every heartbreak, every loss, contains its own seed, its own lesson on how to improve your performance the next time. (c) Malcolm X

Today is February 5, 2010, it is the 5th day in the first week of the first Black History Month of the new decade, and to state how important this month is; even in this new era of equality,  is almost impossible.  Black History Month, is one of the single most important acts in placed for all peoples regardless of hues, genders or ethnicities; aside from those Government Legislations i.e. the 13-15 Amendments and the Bill Of Rights. I say this because of what this month embodies for those people of African descent(Blacks and Latinos alike), it embodies truths not get neglected.

I use the word neglect, because how else would you explain the way that America treats Black History.  As children we are taught all sorts of history but OUR history, until February, then we got to learn about Slavery, Martin Luther King Jr, Rosa Parks and Abraham Lincoln.  It wasn’t until we got older, that we experience; in-depth Malcolm X, William Edward Burghardt Du Bois, Marcus Garvey and Ida B Wells.  How is it that year after year can one still only learn about the same acts in history? Black History is important for all, just like Latino history Asian history and Native American history, in a country that prides itself on diversity, we all need to know and understand our respective paths to our current statuses.

Black History Month like the legislations previously mention is that it keeps the United States of America honest.  Honesty is always the best policy, and there is no better honesty than the truth about self.  And let’s be perfectly honest, when it comes to Black history(which is America’s history), we are not as honest as we should.  Being honest about the past can do wonders for the future. And now, the truth is that, some folks think that there is no need for Black History month, and that ideology couldn’t be wrong.  We need Black History month now more than ever, because there is a lot of what happened in the past that we can learn from, especially in this time of “utopia” that we are living in.  There are many of people who have died and struggled for ALL of us to live in the prosperous state we are in.  Barack Obama Presidency is just the middle of the story, not the end, and absolutely not the only thing we have to gain.

In conclusion, this blog post was not to rant about the ills of America treatment to the Black community throughout history, and it was not angst.  This blog posting was to express the need to fully embrace the history, to effectively teach the history, because it is important for people to know their history, because it is what shapes and modes the future.

Dilla didn’t change my life, but he helped shape it.

And who said producers ain’t supposed to rap/if you don’t want the ruger to bang then shut ya trap (c) James “Jay Dee” Yancy

www.donutsareforever.com/  Come one come all.

Peace

Its been a long time

Follow procedures the crowd couldn’t wait to see this/no body been this long awaited since Jesus (c) Rakim

I would like to say hello, and welcome back to the show.  I do not by no means, mean to be a dead beat blogger, Im sure most of those who read this have seen their fathers more than new blog posts.  Its a new year and always a new day, and with these abundance of newness, is always the chance of greatness.  Greatness; define your own level of greatness not basis on of another person’s.  This greatness can be physical, spiritual, economic, social, personal, based on health, etc.  This year I am striving for greatness and once I achieve this greatness it will be great.  This is going to be personally greatness, I’m striving for all new levels of Moeknowledge; spiritual, educational, economic, health wise and more.  I want to become the Black version of Steve Austin(6 Million Dollar Man).  With that being said, I urge all folks reading this(all 1 of you), to go out and relish in the fact that you are great and will be greater…eventually.

P.S. I AM BACK!

Happy Holidays

“What do you mean there isn’t any more pumpkin?” (c) A thankful and joyous customer shopping the day of Thanksgiving

It is that wonderful time of the year as well as the most festive time of the year, which is oddly enough is the most annoying time of year…for me.  As soon as Halloween is over, and I mean literally 12:01am November 1st, you can instantly feel the eager, anxious, and the incumbent stress of what I call the “real” holidays, creates in the people.  Working in retail, allows you to really feel and see this up close.  It is as if, the actual kindness that people have within them is thrown out of the window.  Even though folks aren’t so gracious in everyday life, but when it is the holiday time, it seems as if everybody becomes ruder.  Holidays are supposed to bring out the humanity in people, especially the holidays within this time and season.  Thanksgiving, in its exact definition is: Giving Thanks, yet people seem to act counter to the definition.  If you have ever been in a grocery store during the week of Thanksgiving, you would see some of the most impatient, self-righteous, and self oriented people ever; all for the well-being for their thanksgiving dinner. I often wonder if they remember their actions once the meal is done and they are preparing to say grace and give thanks.  They have to understand that the person that they are complaining to, also has a family and celebrate the same holiday, don’t they? 

Christmas, not here yet, but my God it is on its way.  This holiday more than others are supposed to be centered around gratefulness, but alas it isn’t.  Christmas is a “me, Me, ME” holiday, no matter how modest people try to make it seem, it isn’t.  There is absolutely nothing wrong with the celebration of the holiday, but it is the way it is celebrated.  The idea that Christ was born on this date, is arguable, but just because there is no definite, doesn’t mean that we can not honor it as such.  But the violence that occurs because of savings or early bird shopping for Christmas gifts via Black Friday, is disgusting.  I know this might seem cliché to say this, but “what would Jesus do?”

I understand that the very few people who will read this, might see this post as a lesson in ethics, or a “Holier Than Thou” speech, but it is not meant to be that.  This is just the written words of what everybody is feeling/seeing in this world during this time of year.  It really ruins the holiday spirit, that I used to have.  Working in retail, have almost made me jaded.  But once I look around and all the things I have and have been through, I begin to appreciate the holidays more.  It is always the trails you go through that produces a more responsive outlook on current situations, no matter how small the trail.  So a note to the people out there, be grateful and joyous, but most of all be respectful to those around you also.  So Happy Holidays to all, celebrate responsible.