Month: July 2007

Less known from the mainstream public, he is nevertheless a valuable and talented artist, a poet who will allow the listener to enjoy the sunny tone of his voice.
I will review his album, Le Sacre Des Lemmings, very soon…stay tuned:)

read the original Kon Artis interview here.
By Antonio Sams & Dynasty Williams
Is Denaun Porter mentally balanced? If you peruse the production credits on notable singles like 50 Cent’s “P.I.M.P,” Pharoahe Monch’s “Body Baby,” and multiple D-12 records, the answer must be yes. But some of Mr. Porter’s actions tread closely along the lines of insanity. After reaching multi- platinum status as a producer and a rapper, the man with multiple personalities has officially crossed the line. His new website MrPorterBeats.com has stacks of beats for sale with starting prices of $25. Drastically reducing the price tag on his creations has some people thinking he has lost his marbles entirely. But, Mr. Porter’s level headed movement is creating opportunities for street level artists, pushing him to accomplish goals as an executive, and allowing him to contribute production to the much anticipated Dr. Dre album Detox. Mr. Porter took time out with AllHipHop.com to clarify his state of mind and connect the dots on his journey to prominence.
AllHipHop.com: How did you get started in music production?
Mr. Porter: It was actually in ‘94. I was in a local group, this guy was one of my group members, he did beats. He introduced me to Proof, and Proof introduced me to J Dilla. And that was pretty much how I got into it. And then from there, I hooked up with Dre, after Eminem got signed.
AllHipHop.com: Being both a producer and rapper, which art form do you tend to enjoy the most?
Mr. Porter: As of late, I’ve been enjoying the producing end a lot more. Being able to executive produce and becoming more involved in the whole process of the record, it’s made me so much more serious about it. I like the fact that I can work with the artists from the top and the bottom. Being a rapper is one thing, and being on stage is one thing, but the producing end of it is kind of like being able to do everything, because I might write the hook, I might write the song, and I might come up with the whole concept of the song. It’s really one in the same for me.
AllHipHop.com: How did you end up executive producing Pharoahe Monch’s Desire?
Mr. Porter: Me and Pharoahe basically met, and we worked on this song called “Peppermint Creeps.” Once we met and we started talking, I’m already tripping because it was Pharoahe, but we started talking and got cool. We had an understanding; it was just easy from that point. His situation with Rawkus was over with, and I took him to Shady [Records], and I was gon’ executive produce it and actually do an imprint under Shady, which is my imprint Runyon Ave. The process took so long, and we just ended up not doing the deal. Everywhere he went, I was just involved in the project, because we were constantly doing songs and constantly working. You know how a manager might want you to do things a certain kind of way as far as business, like, “Make sure you get paid first,” but when you got a love for music and you got an understanding with somebody, we ain’t give a s**t about that, we just kept on working.
AllHipHop.com: What are your final thoughts about the album?
Mr. Porter: I would have to say that it became more complicated. I don’t feel like it was a full executive production. It was my first taste of doing it, but I know that it’s a lot more to it. But I wasn’t able to really get all of that done, because they wanted certain records and I think it became a rush thing for the label [SRC/Universal Motown]. It kind of got out of my control. I didn’t have that full control. Had I had full control, it might have been different things that happened. Different songs would have made it, some would have made it, but other songs wouldn’t have made it. But as far as being involved, I did like five or six songs on it, I executive produced it, I co-produced songs. So I’m deeply involved.
AllHipHop.com: 2006 was a rough year for Detroit Hiphop. Within two months of each other, both J Dilla and Proof passed away. You worked closely with both of them, how has that affected you personally?
Mr. Porter: You gotta understand, that’s the reason that I got into the game. Proof introduced me to J Dilla. I introduced J Dilla to Dre, and just having that feeling of being able to have Dre, J Dilla, and myself in the same room, both of my teachers, was the greatest feeling on Earth. And plus, this dude [J. Dilla] allowed me to come over his house late night when he was doing sessions with Pete Rock. And Proof, me and Proof, we had the relationship where I didn’t know how proud of me he was until I he was gone. Me and him would fight. We’re one in the same, I feel like, because he taught me so much about just being able to stand on my own, and not wait on one person to do anything. That’s why I’m kind of like out ahead and not waiting on Eminem to do anything, because he told me don’t do that, that’s not the move. He helped create who I am, and J Dilla helped create who I am. I got Guilty Simpson, who me and J Dilla was gon’ do his project together. That was the last artist he planned on working with, as far as his own artists. And now that I have to finish that record, it’s tough, every time I hear a song that J Dilla did. That whole year was the worst year of my life. They’re the reason that I’m in the game, because if Proof never introduced me to Jay Dee, I never would have got that serious about producing.
AllHipHop.com: Proof was the founding member of D12. As far as recording your current album, how has the chemistry been affected by Proof not being there for this D12 album?
Mr. Porter: I’ll tell you the truth, man: it’s affected to me, a 100,000%. I don’t even know how I’m recording a record without Proof. The whole relationship with this group and Em [Eminem] and everything is affected. You feel the difference. I know Proof wouldn’t tolerate a lot of s**t, man. I’m not trying to take Proof’s place as the person that just takes over the group. I can’t do that. I can’t front like that’s what’s up, ’cause that’s not what’s up. Music wise, I think we can manage as far as doing certain things, because a lot of times Proof would come to the studio, sometimes he wouldn’t come to the studio. But he was the boss, man, so he ain’t have to.
AllHipHop.com: So he was like that voice that everybody listened to?
Mr. Porter: Oh yeah. He was the leader, period. He put Eminem’s stage shows together. The way people saw Em, Proof had a lot to do with that. Proof put those songs together and how the stage show went. It was for Em to perform those songs a certain kind of way and make people feel it. Because the way he put that show together, he put it together so people could feel it. Those things are so important, and we’re missing all that now. That’s all gone.
It’s hard, number one, to do a record without everybody there that originally started something. Em is busy doing his album. Like I think sometimes, that I hear that people think that I’m too busy to do this. And it’s not that I’m too busy to do anything. I’m just trying to get to the point where we get the record done, and everybody’s focused on the same thing. I can be focused on doing a record, but I don’t want to do the record we did for the last record [2004’s D12 World]. It’s a lot of different feelings and emotions. And sometimes we can be angry and say a lot of stuff out of anger and do a lot of stuff out of anger. And I just want everybody to be in the same room – not a whole bunch of other people that we don’t know – the group, us, who we are. That’s what I’m looking for and that’s when I feel like we’ll be able to come back to it. I’m not having fun with the music that we make, bottom line. It could be that void, but in the same breath, it’s gotta be how things are being handled. I’m not currently happy with my situation. If people at the label are looking for me to lie about being happy, nah, I’m not happy. Nobody’s happy with the fact that we lost Proof.
AllHipHop.com: Your website Mrporterbeats.com launched on June 15, 2007. What can we expect from this site?
Mr. Porter: Basically, beats with hooks. They will be top quality, all of the beats I’ve mixed. These beats can be used for people that are working on demos to shop music, and that are working on mixtapes, things of that nature. You got the RIAA taking people down for using other people’s music. I don’t sample. I make up all of those melodies myself, and when I do sample, I do it in light of what I’ve learned from Dilla and all of those people. Expect everything that you would want to buy from me if you saw me. Like, “Okay, I can’t afford to pay for this kind of beat, but yo, why don’t you hook me up with something?” People that really know my production and know me, they know that every time I come with something, I’m gon’ try to my best to make sure it’s the best thing as possible. Basically, it’s for people that want to do different music.
AllHipHop.com: Is it true that you’re selling these beats for $25 dollars and up?
Mr. Porter: The beats with the hooks are $150.00, the beats without the hooks are $50.00, and you have prices in between according to the music. That’s because it’s not a concern of trying to sell the beats. I’m basically trying to be able to reach a lot of people that I’ve never been able to reach, like people overseas. If they want that beat for themselves, and they want the Pro Tools session, they can get the Pro Tools session and they can post their songs. I’m going to listen to their song, and let people vote on the best version of that song. And then they’ll be able to get that beat, and they will have to go through the proper channels to be able to put that song on their album.
AllHipHop.com:. Dr. Dre is using a team of producers to craft his much-anticipated Detox album. What role are you playing on this team?
Mr. Porter: It’s just a team of dudes who have a respect for each other. It’s the hardest thing to explain, ‘cause it’s really like, he has a job to do, he has a record that he’s ready to put out, and I’m there to help that process. Whatever that means. If that means writing a hook, if I that means doing a beat, and I have a beat that’s a skeleton that’s a great idea of a beat, he’ll make that idea better. Dre, he’s a visionary. He’s Quincy Jones, he’s one of those real dudes. He’s the real thing. My part is just to help the creative process, however that is, because I don’t wear one hat. It’s really hard to explain, but it’s important to me that it comes out, because it’s so important to Hip-Hop. And to be a part of that means everything to me.
AllHipHop.com: Have any of your beats or ideas made the album, from what you know?
Mr. Porter: I don’t of know what I’ve done that’s going on it. I don’t know what direction it’s going, only Dre knows that. Only he knows where it’s going. I’ll tell you what, it’s gon’ change Hip-Hop again.
AllHipHop.com: Aside from the music, who is Mr. Porter the individual?
Mr. Porter: A person that’s always thinking. An emotionally unbalanced character, I would say. Because I don’t deal with some issues very well. Emotionally, it’s hard to deal with those things sometimes. And just a visionary, I want to be considered, when I leave here, the guy that brought Hip-Hop to a different level as far as artist that come about. I want to be the artist, the producer, and the executive. I want to be the next Russell [Simmons] and the next Quincy Jones of rap. A cross between Quincy, Russell, and Dre that’s what I want to be. That’s my whole purpose, to figure out how to combine those three and make those moves that way, however long it takes me.

With his raw Detroit hood spirit, Kuniva comes at his listeners in a very offensive and confident way. You d rather be a veggie if you wanna avoid beef with the gifted emcee. Well armed, incredible lyrical soldier, Kuniva is ready to merk his enemies in no time with his killa flow. Trumpets in the background, flute notes and catchy beats enhance the theater to a dark Runyon Ave drama. Feeling The Rush is written in a beautiful Big Pun style that Kuniva intelligently adapts to the 313 spirit. The track is truly a must hear, don ‘t sleep on it!
Soft violin sounds introduce Kuniva’s talk about the current spirit of hip hop and of the hood in general: everybody claims to be a gangsta, everybody carries guns on his way, so many people claim to be tough in the rap game. Kuniva, the Murder Mitten Rider is angered by the numerous wannabes. With a pinch of his subtle sense of humor, Kuniva will draw a realistic picture of the hood he grew up in. Enjoy the 7 Miler’s competence. Piano sounds reinforce the daily battling spirit of the skilled emcee.
Rhythmic as hell, based on soft female vocals and some incive lyrics, Bad Intentions enhances Kuniva s stormy flow delivery. Meet a bad intentioned boy taking pleasure at doing forbidden things. Crunk ain t dead!
D12 and hip hop lovers, open your ears widely: Kuniva s reps probably won t leave you indifferent.
Listen to Van Carlisle here.
Copyright2007 by Isabelle Esling
All Rights Reserved

D12 s more discrete, but nevertheless lyrical member has a mixtape in preparation. It is entitled Runyon mixtape 2007.
Discover Feeling The Rush, Hard As Mine and Bad Intentions here.
I will review them tracks for you. Stay tuned!

Warpath is the kind of emcee that will always leave the listener hungry for more. Rich of an incredible flow delivery, a confident prophetic attitude, Warpath’ brillance shines like gold among the masses of mediocre and untalented rappers.
I reviewed the talented emcee a while ago.
Today the catalyst of Elohim is back, stronger and better than ever, representing the Detroit scene. Warpath will allow you to discover some other aspects of his very well handled Armaggedon CD. If you ever thought that hip hop was totally dead, Warpath will introduce you to hip hop ‘s shiny resurrection.
The Pinnacle is fulfilled with the emcee s conquerror spirit. Vocals sounding like intense prayers, an strong instrumental background that symbolizes faith in action, an offensive well weaponed emcee is taking over with some erosive lyrics. Warpath is taking over by authority, leaving no place for the cowards and fakes.
Experience has some beautiful soul sonorities. It is built on very dynamic trumpet sounds that are enhanced by Warpath euphoric attitude. The lyrical soldier will take you away within his avanlanche of words and guide you like Moses used to take care of his folks in the desert.
Feel the hardcore atmosphere of the streets and the definitely gifted emcee s spirit.
Soft piano sounds, oppressing vocals, a battling emcee who is caught between good and evil, heaven and hell- all those elements will give your attentive ears an idea about what Amaggedon, the final biblical battle is all about. Never afraid to call Elohim, the Almighty, Warpath steps out victorious from this lyrical battle during which we are invited to appreciate and live out hip hop to the fullest.
In Growing Old, Warpath blesses the mic again. Oboe, rapid drum beats, violins are here to empower and enhance the audacious emcee s words.
Warpath is excellent in each song he does. I strongly recommend this highly skilled emcee to all of you.
Check out more of his music here.
Copyright 2007 by Isabelle Esling
All Rights Reserved

Eminem stays shady as €1.5m legal row is settled
Rap superstar Eminem who had been due to appear at Slane Castle
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Go By Ann O’Loughlin
Tuesday June 26 2007
US RAP superstar Eminem will not have to reveal why he withdrew from an Irish gig, after a legal row over €1.5m in compensation for the cancellation was settled.
The High Court had ordered he give evidence on oath before a US court about the circumstances of his withdrawal from the Slane Castle gig, planned for September 17, 2005.
The settlement of the action brought by concert promoter MCD was announced to Justice Mary Finlay Geoghegan at the Commercial Court yesterday. The judge made orders striking out the case and all court orders made within it. No details of the settlement were disclosed.
Last March, Justice Peter Kelly directed that a letter be issued to the US District Court of the Eastern District of Michigan requesting them to direct Eminem, real name Marshall Mathers III, to give evidence on oath about the circumstances of the pull-out of the Slane gig. He made the order after saying it appeared Eminem was not prepared to come to Ireland or to give evidence by video link.
Refusing an additional application to direct that Eminem’s testimony about his state of health would be in private, the judge said Eminem’s testimony would be read into the record when it was opened in the proceedings. It was clear Eminem’s testimony was possibly crucial to the litigation, he added.
In the proceedings by MCD against three UK insurance companies, the Irish promoter was seeking €1.5m over the companies’ failure to pay it over the cancellation of Eminem’s planned gig, scheduled for September 17, 2005, as part of Eminem’s ‘Anger Management’ European tour.
MCD said €1.5m was the maximum amount it could pursue the insurance companies for under the terms of an insurance contract of June 29, 2005. Alternatively, it sought damages for alleged breach of contract.
The action was against three London-based insurance companies – Liberty Syndicate Management Ltd, trading as Liberty Syndicates LIB44722 at Lloyds, Brit Insurance Ltd and Markel International Ltd.
MCD had claimed it had entered into an insurance contract with the defendant companies on June 29, 2005, under which the companies agreed to indemnify it up to a stated limit should the Eminem gig be necessarily cancelled or relocated.
On August 18, 2005, the gig was cancelled “due to the illness of Eminem, namely exhaustion, which entirely prevented Eminem from appearing,” MCD said.
It appeared Eminem was not prepared to come to Ireland
In an affidavit, Mr Denis Desmond of MCD said Eminmen’s ‘Anger Management’ tour was due to begin in Germany on September 1, 2005, but his manager, Paul Rosenberg, announced in August 2005 that Eminem was cancelling the tour.
Mr Desmond said subsequent media reports suggested that Eminem was shortly thereafter in hospital under doctors’ care being treated for dependency on sleep medication, according to his record company, Interscope Records.
MCD contended that the cancellation was due to the illness of Eminem “which entirely prevented him from appearing” and, accordingly, the defendant companies were required to indemnify MCD.
Because of the cancellation, MCD claimed it incurred losses of some €2,114,313, including €260,000 for a ten per cent share of gross profits and €915,000 in other profits.
– Ann O’Loughlin

Imagine a world without music, deprived of any bird song, a world in which sounds would be forbidden for good…I know I can t.
As far as I can look back, music has always been part of my life. Very early I have been taught how to discriminate between different instruments and to make real differences between different notes and sounds.
Having a good general musical culture, I am much more attracted to black music. Hip hop in particular plays a major role in my life.
I think that each of us has his/ her favorite instruments. Here are the ones that really know how to please my ears:
– the oboe: its very subtle, fine sound often opens the prelude to intense dramas. This instrument speaks directly to the heart and will transport you into the musician or composer s universe. Maybe Wagner s Tristan shaped my ear and increased my interest for this particular instrument.
– the violin is maybe one of the most emotional instruments. From slow to rapid, soft to darker tones, the violin deeply touches the human soul and beautifully describes its changing moods.
Essential component in a consistent symphonic work, violins totally fit into gipsy music. You can find them in any musical genres, as a major element of many compositions. It offers many artists the possibility to marry them violins with a rougher instrumental background in order to offer the listener a mental opposition between soft and raw. This is very likely to happen within many hip hop tracks.
-the saxophone has inspired many musicians. Also very popular in Jewish culture, the saxophone is almost human in its way of drawing human states of mind, from laughter to darker moods. It has a wonderful, sensual resonance in jazzy or soul tracks. I’d recommend any of you saxophone lovers Eric Daniel s Old Sax Nu Soul album. It is maybe one of the best worked on contemporary work on the sensual instrument.
– Cypress Hill’s drummer, Eric Bobo made me appreciate the art of drumming to the fullest. The artist s incredible sense of rhythm and undeniable gift left some unforgettable memories of his Latino flavored drum sounds at the Anger Management Tour 2003.
– I also love the nearly mystical yet with an erotic connotation beautiful violoncello. Built like a woman’s curvy body, its profound sound will probably move many of your hearts. It can be the theater of dramatic events.
Music can be viewed as a whole…however, the instruments mentioned above will always have a special place in my heart.
Copyright 2007 by Isabelle Esling
All Rights Reserved

Lil E Interview for MySpace.com
ViseVersa of Deux Process had a chance to exclusively ask
Lil E questions before his album is released on Virgin Records in 2006.
1. With the fact that your father was a pioneering force in west coast hip hop scene, as well as one of its first businessmen, what inspirations do you draw from his life and career and how do you plan to carve your own legacy in hip hop?
I inherited street knowledge and a strong business mind. I plan to carve my own legacy by picking up where my father left off. I plan to keep his legacy alive for years to come.
2. The Album, “The Prince of Compton” is your introduction to the mainstream audience, though your mixtapes have been circulating in the streets for the past couple years, how long have you been working on the album? What songs are your favorite, and do you have any memorable stories from creating your debut album?
I’ve been working on “Prince of Compton” for a little over a year and a half.
I have a lot of favorites for different reasons. “Shot Gun” is kind of like Cube’s ‘Good Day’ meanwhile, ‘They Know Me” is an in depth look at my life, my experiences growing up in the streets of Compton. ‘This Ain’t A Game’ featuring Bone Thugs is taking you back to Ruthless…hadda connect with them.
“Drive By Music” which cameo’s Ice Cube is another one. The list goes on but I want the fans to listen to ‘Prince of Compton’ and choose their favorites.
Memorable moments in the studio with D.O.C, Bone Thugs, working with cube and all the talented producers that did their thing.
3. What was the pivotal moment in your life that made you decide to pursue music? How long have you been writing, and recording music?
Pivotal moment was about 4 1/2 years ago. I just got fed up with the lack of respect my pops got as well as others trying to exploit his legacy.
I’ve been writing and recording a little over 4 years.
4. Do you think west coast artists feel more pressure now to live up to and carry the torch of the previous generation of artists? People alwayssay they are “bringing the west coast back”, do you feel pressure to represent the N.W.As and Eazy-Es of this new generation?
I think most west coast artist are aware of how N.W.A changed the face and history of hip hop so the pressure is definitely there.
I don’t feel the pressure because it’s part of who am, how I was raised and basically inherited the throne to represent like my father did.
5. How did you first hear about Myspace? What can people expect from you in the future?
I heard about myspace threw word of mouth.
What can be expected… PROPER representation of my father’s legacy and west coast with a Lil Eazy-E twist.

Global rating of the product: 4,5 stars
Here is a rhythmic, less known old Eminem song that will probably raise some enthusiasm about some original Eminem fans. Typical of the former D12 instrumental background made of dark bass sounds with a definite jazzy soul note in it, Dumpin will certainly remind you of the beautifully handled D12 Underground EP.
Not only does this song have this unique old school D12 flavor, it is also spiced up with Eminem ‘s obvious lyrical wordplays. Feel the tension of some dark accords based on catchy drum beats that will introduce you into the wordsmith s very astute plays.
Here goes the first verse, let’s observe how the brilliant emcees smashes words together with his incredible and unique know how:
Ayo, I’ma pit-bull terrier, triple darin’ ya, scarin’ ya with a derringer
ready to make you wet like a Submariner, tearin’ ya frame out with homicidal lines
Bringin’ the drama an the trauma to ya mama’s vital signs (Blaw!)
A verbal shot fired, this mic’s been hot wired, uppercuts to your chin knockin’ your snot skyward
Rappers wanna be screenplay actors, so I’m givin’ them spine fractures
like linebackers on the Green Bay Packers, an roll over ’em backwards
Dirty Dozen, I’m someone you just don’t wanna see like a nerdy cousin
So keep your distance when I get this tense, you see my fist clench
It’s gonna be some bullets dispensed, you besta keep yo premescence fixed
Your mistense, any resistance, get you voided like mis-prints
You’ll end up with no teeth left makin’ a beef threat
When I look up on your set, don’t get it twisted like Keith Sweat
Gifted emcee and best friend to Marshall Mathers, Deshaun Holton goes on, breaking words like fragile pieces of chalk, with his typical, raspy voice:
A proven fact my pact got your whole team movin’ back
We never losin’ slack, I paid dues in rap
I’m runnin’ crews my shoes are tapped
My right is choosin’ gats, my thugs ?-use ?-acks
Relax an catch a contact, to an amusin’ track, slugs dispatched
On any street risen? mismatched
My team’ll get busy like rednecks on some 6 packs
My fist crack the featherweight, my word’s’ll never break
A clever snake’ll be forever fake, let me get this cheddar straight
Makin’ dough is a part, so is the heart, my flow is the art
Me an the mic Gomez like Lois & Clark
Weapons concealed until death, now see ’em, my chrome shatter bones that lack calcium,
Knockin’ domes out the ballpark, your dawgs is all bark, plus you got a small heart
Now save them corny lines for Hallmark
I wanna the sunny days & money paid in they figures
A microphone fiend an on my own team there’s fake niggas
Mum’s they rocked the cradle, I spot the fable
They made the shop an stable, with grass top the table
The glock enable when I pop the fatal, phonies that I plot pre-natal wax
The player haters never make it back
I’m dumpin
Eye Kyu is also known as a key collaborator of Em’s beginning work. The emcee manages to play the second part with an amazing verbal facility. The song also features a less known emcee named B-Flat.
Sit back and relax while enjoying both emcee s astute street poetry. The former song is certainly worth your attention. Keep it in your library.
Copyright 2007© by Isabelle Esling
All Rights Reserved

This subject is probably going to raise some controversy among my readers. Please remember that your criticism is welcome, as long as your comments remain respectful. You are entitled to your opinion, but insults and demeaning comments will be erased from this website. Thank you.
It is quite shocking to an accurate observer that a wealthy country such as Britain seems to totally let its youngsters down.
The British press often seems to complain about the knife related culture that prevails in the country and about the many murders committed by teenagers. While the press seems outraged by what it calls  youth gangs , yobs ,  Asbos  or whatsoever, it is yet encouraging bad behaviors from kids as little as 6, while depicting them as gangs .
I could observe that many young people in the UK seem to be obsessed by a US hip hop culture most of them are totally ignorant of. In their minds, wearing a hoodie, smoking a joint, carrying knifes and guns, makes real gangstas (or what they call Chav in British slang) of them.
Most of them (with maybe an exception for those who come from poor places such as Brixton) are in fact horrible spoilt kids from the London or other UK suburbs, whose parents are comfortable enough to rent a dwelling or detached house with a garden in a soft, residential area. Most of them don t really lack any material comfort.
Most of those kids are also let down by their parents, whether they are too busy with their jobs or do have very poor parenting skills.
I have seen kids as little as 10 hang out with other kids after 10 pm in the streets, carrying knives with a stupid sense of pride, claiming to be gangstas. The UK cops would probably have called them a gang.
Come on, you all need to put those stupid kids in place! Don’t call them gangs, because they really have no idea about what a real gang actually is.
Calling them gangstas will only increase their pride and make them feel important.
You need to be more severe with parents allowing their underage kids (especially below 14) to hang out in the streets with some knives. Parents have legal obligation to watch their kids. You also need to sanction parents allowing their kids to get drunk during the weekend!
If parents don’t comply with their legal obligations, then their kids should be placed in a foster home and educated the right way.
School should also play a major role in terms of education and behavior. What do you think? If primary school teachers are too much afraid to punish 7 year olds who spit on them, what do you expect from high school teachers to do?
If parents don’t master their 6 year old and if they actually grant him everything he wants, how do they really expect their kid to behave a decade later?
The British society created little monsters. But it is never to late to re educate a generation of spoilt kids. Maybe some of them wealthy British kids need to understand that they are in no way superior to other people because their parents can afford to buy them Dior clothes or Louis Vuitton bags. They definitely need to be re- taught respect towards adults in general and school staff in particular.
It is utterly shocking (and scary as well) to see kids like Stuart Hartling-a teenager described by a psychiatrist as Britain s most dangerous teenager- kill a 33 year old woman out of boredom and fantasize about murder at the same time. Such apprentice murderers usually develop their psycho behavior when left without any adult supervision.
The justice also seems resign from its original power. See, a young man like Stuart Harling will be able to walk free after a few years while he really deserved a life sentence! Such monsters think they have the right to act the way they act, because everybody ( the press, the Court, the contemporary society) increases their feelings of power.
Honestly, something needs to be done about the kids that spoil whole neighborhoods by committing crimes deliberately without knowing any limits. It is worthless to show some teenagers from Essex wearing bandanas, throwing snowballs in winter against car drivers on TV and to call them gang members. Those are far from being gang members. They are just a bunch of bored kids who need to find an interesting occupation instead of becoming a neighborhood nuisance.
Parents and schools need to work together, if we really want things to change. Maybe different associations could offer bored kids more interesting activities such as basket ball, computing, theater, etc.
Don’t forget that today’s youths will shape tomorrow s adults. We don t want generations of spoilt and insensitive knife related idiotic murderers, do we?
Copyright 2007 by Isabelle Esling
All Rights Reserved