After having the plug pulled prematurely on the concert he was a part of last Saturday at the Bayou Boogaloo & Cajun Food Festival in Norfolk VA where authorities charged him with "abusive language" (apparently for uttering the lyrics "What the fuck" during one of his songs),  Boots Riley of The Coup has issued a statement saying that the local authorities' charges against him are "racially motivated."

The obscure local Virginia law, on the books as # 18.2-416, has never before now been applied to a performer, nor has it been enforced against anyone in over 25 years.   But yet the city of Norfok is determined in pressing forward with the charges against the visiting Oakland emcee.

"City Officials claim that they are making the statement that profanity will not be tolerated," said Boots Riley in a prepared statement sent out yesterday by his label. "Obviously, since no one has been charged with this in 26 years, profanity IS tolerated. The statement they are making is that the culture and the people they feel I represent won't be tolerated. I was already off stage; the man they asked to leave the stage was Trombone Shorty, another Black man who looks nothing like me."

"This happened at 10PM, and it was far from a 'family' atmosphere, most of the audience was intoxicated after drinking at the festival's bar -- 'The Missing Kidney.' There was also a VIP section where free alcohol was distributed by the keg. Anyone who has been to a music festival on a Saturday night understands the scene. I did not leave the park afterward, as was claimed by FestEvents, the organizers of the Bayou Boogaloo Festival. I stayed and debated the validity of the charge with police and festival promoters. It is clear that this is part of a larger debate that has nothing to do with profanity, one that is being dealt with nationwide. That debate is about racism, gentrification and the ownership of public space."

Here above and below are previews from a couple of new DVD documentaries on the topic of Bay Area street culture with an emphasis on rap music (namely hyphy), cars, dance, drugs, fashion etc..  Above is a clip from the forthcoming ILL Trendz production The Un-Told Story which focuses on Oakland, CA and features interviews with the likes of Too $hort, Richie Rich, E40, and Davey D.  Meanwhile below is a clip from the new Ghostride The Whip: The Story of the Hyphy Movement which features many of the major playas from the Bay and is directed by DJ Vlad (Bay Area mixtape master who moved to NYC few years ago) and is executive produced by Peter Spirer (Rhyme & Reason, Tupac Shakur: Thug Angel).

As proven by the entries on the new Top Five Hip-Hop Charts from each of the three Amoeba Music locations (Berkeley, SF, Hollywood -- charts below by Tunde, Jason Chavez, & Marques Newson) hip-hop is very much alive and well. 

Not only that, but hip-hop, a genre known for its high turnover and tendency for chewing up and spitting out artists after a short shelf life, is instead demonstrating love for several longtime hip-hoppers with new releases. 

These include Prodigy, who started out rapping with Mobb Deep potna Havoc two long decades ago, The Roots, who've just dropped their ninth album, and E40 who is celebrating twenty years as a rap recording artist and just released the new Sick Wid It Umbrella: The Complete Second Season rap compilation with its appropriate Sopranos styled cover.

The Roots, who just get better and better as time evolves, have just released their ninth album Rising    Down. It's their eight studio album and second for Def Jam, and it's in big demand with music fans. The  Philadelphia based hip-hop band, who tore shit up September '06 at their Amoeba Hollywood instore, is the number one seller at both the LA Amoeba and at Berkeley, while in SF it is a close second to Atmosphere (another longtime hip-hop artist).  Following The Roots' Game Theory album in 2006, the new album culls its title, presumably, from the William T. Vollmann's book Rising Up and Rising Down: Some Thoughts on Violence, Freedom and Urgent Means, published in 2004. Rising Down features numerous cameos and guest shots ,including Mos Def, Styles P, Talib Kweli, and Common.

What makes the still popular US pastime of ghost riding the whip so adaptable is that it is the ultimate all-American type past-time that everyone can do, or at least relate to; one that is based around the automobile. The auto, the car, the ride, the whip - which since the 1950's when young rebellious Americans first started getting their own wheels and the automatic freedom that came with it, has become its own subculture. And this auto subculture has been closely linked with music, sex, alcohol, drugs, and (of course) driving stunts. 

And ghost riding the whip, which has been extremely popular the past two years, is the current offshoot of this ever evolving auto American pop culture.  Since last year it has gotten a lot of sensationalist mainstream coverage which has only fueled its popularity and as a result flooded YouTube with lots of "ghost riding the whip" video clips being posted daily.

How to ghost ride the whip:   "the whip" is the car, the ride, and "ghost ride" is how it is driven - by the ghost meaning that the car drives itself and the driver hops out of the driver seat to sit on the hood or run around the car and try not to crash,  and  if so try to remember what type of auto insurance he (a predominantly male pastime) has. He may also need medical insurance.

The soundtrack to ghost riding is Bay Area hyphy rap, which directly helped fuel its current popularity, including such faves as Mista F.A.B.'s "Ghost Ride It" (video below) and of course E40 and the Federation as  featured in the ebaum's world video clip below with the crashes (when ghost riders attack).  These ghost-ridin' songs are the latest in a long tradition of Bay rap that celebrates illegal car activity and is rooted in  the beloved but outlawed tradition of sideshows,  long an ingrained part of underground urban Bay Area culture. with songs such as  415's  single "Sideshow"  (featuring Richie Rich and from the album 41Fiven) reflecting the illegal car activities back in the late eighties.