The central point of LM’s critique is contained here. He claims that WSHH’s videos serve no purpose other than to show outrageous, stereotyped behavior of blacks. Watermelon and fried chicken are, of course, stereotypically identified with African-Americans, usually to racist effect

While again nodding to the original song, LockNess questions the “Hip Hop” in the site’s name, wondering what videos of street fights, etc., has to do with the culture he loves so much

Lockness sets a confrontational tone immediately by using the term “house nigga”, a term for a black person who will sell out his or her race in order to please whites. As Malcolm X famously explained:

There was two kind of slaves. There was the house negro and the field negro. The house negro, they lived in the house, with master. They dressed pretty good. They ate good, cause they ate his food, what he left. They lived in the attic or the basement, but still they lived near their master, and they loved their master, more than their master loved himself..

In those days, he was called a house nigger. And that’s what we call him today, because we still got some house niggers runnin around here. This modern house negro loves his master. He wants to live near him. He’ll pay three times as much as the house is worth just to live near his master, and then brag about “I’m the only negro out here. I’m the only one on my job. I’m the only one in this school.”

Lock here nods to the opening words of the song he is rapping over. PE’s “Rebel Without a Pause” begins with the words “Yes, the rhythm, the rebel”

As this article confirms, WSHH charges unsigned artists $600 a day to feature a song in the site’s “Unsigned Hype” section. This fee is, unsurprisingly, one of WSHH’s biggest moneymakers

Season 4 of the 1970s sitcom Good Times began with the two-part episode “The Big Move.” The Evans family is preparing to move down south to join the head of the household, James Evans, Sr., but they receive news that he died in an accident. His wife, Florida, was putting on a front after the funeral as if she wasn’t affected by the loss—however, in a solitary moment, she hits a breaking point when she realizes that James is truly gone. “Damn, damn, DAMN!” is the resulting quote. The scene has been cited as one of the realest moments in the series. This is reflected in the song, which speaks on real-life stories.

Whatever else one can say about James Brown, you can never accuse him of being someone who forgets about his people. Three decades after this song’s release, he was still helping the people, giving out free food in his hometown of Augusta, GA

See this note for an explanation of James' political attitudes during this period, which mixed black pride with a Horatio Alger-like belief in hard work and free enterprise

Soul and jazz guitarist Grant Green performed a funky instrumental version of this tune:

http://www.youtube.com/watch?v=yjiRki6flZc