Louisville Metro Police has seen a big drop in applicants, but why?

When does the Chief's "operation" begin in the west end? How come only homicide is making arrests down there? If this keeps up, the Chief will have to seriously consider holding a few more community meetings hosted by his Gentry since he's too busy.

"His bond is too dàmn high!"

This article sums up one of the problems, which is a culture of violence being pushed by the billion dollar hip hop industry on young fools in the hood like this kid, who grow up to be psychopathic killers.

"The rise of nihilistic rap has mirrored the breakdown of community norms among inner-city youth over the last couple of decades. It was just as gangsta rap hit its stride that neighborhood elders began really to notice that they’d lost control of young black men, who were frequently drifting into lives of gang violence and drug dealing. Well into the seventies, the ghetto was a shabby part of town, where, despite unemployment and rising illegitimacy, a healthy number of people were doing their best to “keep their heads above water,” as the theme song of the old black sitcom Good Times put it.

By the eighties, the ghetto had become a ruleless war zone, where black people were their own worst enemies. It would be silly, of course, to blame hip-hop for this sad downward spiral, but by glamorizing life in the “war zone,” it has made it harder for many of the kids stuck there to extricate themselves. Seeing a privileged star like Sean Combs behave like a street thug tells those kids that there’s nothing more authentic than ghetto pathology, even when you’ve got wealth beyond imagining.

The attitude and style expressed in the hip-hop “identity” keeps blacks down. Almost all hip-hop, gangsta or not, is delivered with a cocky, confrontational cadence that is fast becoming—as attested to by the rowdies at KFC—a common speech style among young black males. Similarly, the arm-slinging, hand-hurling gestures of rap performers have made their way into many young blacks’ casual gesticulations, becoming integral to their self-expression. The problem with such speech and mannerisms is that they make potential employers wary of young black men and can impede a young black’s ability to interact comfortably with co-workers and customers. The black community has gone through too much to sacrifice upward mobility to the passing kick of an adversarial hip-hop “identity.”

On a deeper level, there is something truly unsettling and tragic about the fact that blacks have become the main agents in disseminating debilitating—dare I say racist—images of themselves. Rap guru Russell Simmons claims that “the coolest stuff about American culture—be it language, dress, or attitude—comes from the underclass. Always has and always will.” Yet back in the bad old days, blacks often complained—with some justification—that the media too often depicted blacks simply as uncivilized. Today, even as television and films depict blacks at all levels of success, hip-hop sends the message that blacks are . . . uncivilized. I find it striking that the cry-racism crowd doesn’t condemn it."