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Flavor Flav: Why the People’s Timekeeper Should Get TIME Magazine’s Biggest Honor

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Flavor Flav

By Stacy M. Brown
Black Press USA Senior National Correspondent

There comes a time when a nation needs reminding that joy is not the enemy of justice, that laughter and love can exist alongside the deepest wounds of history. In this fractured America, this cold, suspicious place where one man’s color still shapes another man’s fear, there walks a small man with a giant clock. Flavor Flav, the timekeeper of hip-hop, the eternal hype man of Public Enemy, is now the hype man of the world.

He’s not Roosevelt, nor Eisenhower, nor Clinton, Bush, or Obama. He’s not Churchill or Gandhi or Malcolm or Martin. But perhaps that’s the point. In a world oversaturated with icons and polished politicians, the truest reflection of our times might just be a man whose greatest weapon is joy. Public Enemy’s “The Hits Just Keep on Comin’” dropped recently, a rhythmic reminder that history, like that beat, never really stops. But Flavor Flav doesn’t just echo history; he bends it toward light. In 2025, while much of the world wrestles with hatred, division, and the ugly decay of empathy, Flav stands as a bridge linking people not by politics but by pulse, by laughter, by love.

He helped raise funds for Black families devastated by the Los Angeles fires, working with GoFundMeand the Black Music Action Coalition to bring relief to Pasadena and Altadena. He reminded a weary world that the struggle of one community belongs to us all. Then, he turned around and rescued Red Lobster, not for fame or fortune, but because it’s a place where Black folks have celebrated birthdays, graduations, and Sunday dinners for generations. “You gotta get to Red Lobster and give it a try,” he said, “because this signature meal is hype, boy!” It’s easy to laugh, but that’s precisely the miracle of Flavor Flav. He gives the world permission to smile again. He doesn’t greet you with a handshake. He embraces you. He doesn’t perform joy; he lives it.

When others hoard wealth, Flav gives himself. He became the official hype man for the U.S. women’s water polo team, then extended that love to the bobsleigh and skeleton teams ahead of the 2026 Winter Olympics. There he was in Utah, stars-and-stripes helmet gleaming, hurling down the track at sixty-seven miles per hour, shouting, “I did it! This was so awesome!” Athletes who had nothing in common but the ice beneath them left that track with high-fives and hugs, all because of his spirit. He’s funded athletes, cheered for them, and even helped connect Taylor Swift fans and Olympians through kindness and curiosity. He calls himself “King Swiftie,” insisting that Taylor Swift “causes earthquakes” with her music. And who can deny it? If there’s a natural phenomenon to describe the magnitude of unity, perhaps it is an earthquake—shaking, breaking, reshaping the ground beneath us.

When most of America scrolls through hate, Flav’s Twitter timeline is an oasis of kindness. Trolls call him names, and his answer is simple: “I’m just a nice guy.” It’s that humility, that quiet insistence on decency, that makes him not just relevant but revolutionary. He’s served pretzels on a plane, lifted strangers in airports, reminded us to turn our clocks back, and proved that celebrity doesn’t have to mean separation. The world Flav inhabits isn’t divided by race or class or creed. It’s stitched together by rhythm and generosity. He’s the unlikely statesman of this broken union, uniting Black and white, young and old, the fans of Chuck D and the disciples of Taylor Swift.

So when TIME Magazine sits to decide who among us defines this year, and selects their Person of the Year, they would do well to remember that power doesn’t always wear a tie. Sometimes, it wears a clock. Sometimes, it walks with a bounce, speaks in exclamation points, and loves with no preconditions. Flavor Flav isn’t just the ultimate hype man. He’s the people’s timekeeper, a man reminding us that joy, in times like these, is an act of resistance. As one fan wrote, “Flavor Flav is a national treasure.” And maybe, just maybe, the treasure we’ve been waiting for has been keeping time all along.

IN MEMORIAM: Legendary Funk Pioneer Sly Stone Dies at 82

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Sly Stone, Keystone Berkeley, CA, April 16, 1982 (Wikimedia Commons)

IN MEMORIAM: Legendary Funk Pioneer Sly Stone Dies at 82

By Stacy M. Brown
Black Press USA Senior National Correspondent

Sylvester “Sly” Stewart—known to the world as Sly Stone, frontman of the groundbreaking band Sly and the Family Stone—has died at the age of 82. His family confirmed that he passed away peacefully at his Los Angeles home, surrounded by loved ones, after battling chronic obstructive pulmonary disease (COPD) and other health complications. Born March 15, 1943, in Denton, Texas, Stone moved with his family to Vallejo, California, as a child. He began recording gospel music at age eight with his siblings in a group called the Stewart Four. By his teenage years, he had mastered multiple instruments and was already pioneering racial integration in music—an ethos that would define his career.

In 1966, Sly and his brother Freddie merged their bands to form Sly and the Family Stone, complete with a revolutionary interracial, mixed-gender lineup. The band quickly became a commercial and cultural force with hits such as “Dance to the Music,” “Everyday People,” and “Thank You (Falettinme Be Mice Elf Agin)”—all penned by Stone himself. Their album Stand! (1969) and live performances—most notably at Woodstock—cemented their reputation, blending soul, funk, rock, gospel, and psychedelia to reflect the optimism and turmoil of their era. Sly Stone’s musical approach radically reshaped popular music. He transcended genre boundaries and empowered a new generation of artists. The band’s socially conscious message and infectious rhythms sparked a wave of influence, reaching artists as diverse as Miles Davis, George Clinton, Prince, Dr. Dre, and the Roots.

As the 1970s progressed, Stone confronted personal demons. His desire to use music as a response to war, racism, and societal change culminated in the intense album “There’s a Riot Goin’ On” (1971). But drug dependency began to undermine both his health and professional life, leading to erratic behavior and band decline through the early 1980s. Withdrawn from the public eye for much of the 1990s and early 2000s, Stone staged occasional comebacks. He was inducted into the Rock & Roll Hall of Fame in 1993, received a Lifetime Achievement Award from the Grammys in 2017, and captured public attention following the 2023 release of his memoir Thank You (Falettinme Be Mice Elf Agin)—published under Questlove’s imprint. He also completed a biographical screenplay and was featured in Questlove’s documentary Sly Lives! earlier this year.

His influence endured across generations. Critics and historians repeatedly credit him with perfecting funk and creating a “progressive soul,” shaping a path for racial integration both onstage and in the broader culture. “Rest in beats Sly Stone,” legendary Public Enemy frontman Chuck D posted on social media with an illustrative drawing of the artist. “We should thank Questlove of the Roots for keeping his fire blazing in this century.” Emmy-winning entertainment publicist Danny Deraney also paid homage. “Rest easy Sly Stone,” Deraney posted. “You changed music (and me) forever. The time he won over Ed Sullivan’s audience in 1968. Simply magical. Freelance music publicist and Sirius XM host Eric Alper also offered a tribute. “The funk pioneer who made the world dance, think, and get higher,” Alper wrote of Sly Stone. “His music changed everything—and it still does.”

Sly Stone is survived by three children.

‘Burn Hollywood Burn’ Trends During L.A. Wildfires, Chuck D Responds with a Plea for Understanding

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WI Senior Writer

@StacyBrownMedia

Chuck D, the legendary frontman of Public Enemy, has long emphasized the power of visuals in shaping understanding. “People listen with their eyes; they don’t really listen with their ears,” he has said, noting the weight of images emanating from the Los Angeles County wildfires. That perspective has taken on new significance as Public Enemy’s protest anthem, “Burn Hollywood Burn,” trends again during one of the worst wildfire disasters in Southern California history.

The song, released over three decades ago on the group’s iconic album “Fear of a Black Planet,” features Ice Cube and Big Daddy Kane and critiques systemic racism, exploitation, and the lack of authentic Black representation in Hollywood. Lyrics such as “Make our own movies like Spike Lee / ‘Cause the roles being offered don’t strike me / As nothing that the black man could use to earn / Burn Hollywood, burn,” were intended as a call for empowerment, not destruction.

With wildfires devastating Los Angeles, some social media users have appropriated the song, misusing it in reels and videos depicting the destruction. Chuck D has spoken out, urging fans to respect the song’s original intent and avoid connecting it to the ongoing tragedy.

In a statement and in previous interviews, Chuck explained, “‘Burn Hollywood Burn’ is a protest song,” referencing its roots in the Watts Rebellion of 1965. He credited DJ Magnificent Montague’s famous phrase “burn, baby, burn” as inspiration, noting its origin as a rallying cry against inequality. He added, “We made mind revolution songs aimed at a one-sided exploitation by [an] industry. The song has nothing to do with families losing everything they have in a natural disaster.” Chuck concluded with, “Learn the history. Godspeed to those in loss.”

Fans in the comments supported his plea. According to The Root, one commenter wrote, “I don’t know how anyone that listens to your music could have misconstrued that.” Another added, “As an L.A. native, we know that song wasn’t a literal desire to burn Hollywood down. You were expressing disdain for Hollywood elites. We gotcha back.” Chuck reiterated his request, writing, “Please don’t use our song on your reels and pictures of this horrifying natural disaster.”

The wind-fed wildfires have already killed at least 24 people, burned through 40,000 acres, and destroyed over 12,300 structures. The largest fire, the Palisades Fire, is only 14 percent contained and continues to threaten neighborhoods like Brentwood, Encino, and Westwood. Evacuation orders cover 105,000 residents, with an additional 87,000 in warning zones prepared to leave immediately. Entire communities have been reduced to ash as firefighters work tirelessly to contain the destruction.

Chuck D’s ability to recall moments in vivid detail has shaped much of his work, including his book, “The Moments That Met Me.” In a recent interview, he shared how he captures and documents history. “I take moments that I was in the middle of, and I draw everything out how I visualize it,” Chuck said in a published interview. “That goes back 62 years. I shocked my mom and said this is our apartment when I was 1 year old, and she’s like, ‘Well, that is it!’”

As “Burn Hollywood Burn” trends, Chuck D reminded everyone of its purpose as a protest anthem. “The images, the words—they carry weight. Let’s honor them appropriately.”

Flavor Flav’s Viral National Anthem Performance Shakes the Internet

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Flavor Flav, known for his signature clock necklace, sunglasses, and larger-than-life persona, stepped onto the court in a Bucks jersey, fulfilling a lifelong dream by singing the national anthem.

By Stacy M. Brown
NNPA Newswire Senior National Correspondent
@StacyBrownMedia

It’s not every day that a rap icon takes center stage to perform the national anthem at an NBA game, but Flavor Flav, whose real name is William Drayton, Jr., did just that, and he’s gone viral for it. The 64-year-old rapper and media personality delivered an unforgettable rendition of “The Star-Spangled Banner” at the Milwaukee Bucks game against the Atlanta Hawks on October 29, and the internet is still buzzing.
Flavor Flav, known for his signature clock necklace, sunglasses, and larger-than-life persona, stepped onto the court in a Bucks jersey, fulfilling a lifelong dream by singing the national anthem. “It’s been on my bucket list for a while,” Flavor Flav shared. “I’ve always wanted to do it, and I’m so glad I got the chance.”
The rapper’s appearance at the Bucks game was another milestone in his remarkable journey of redemption and resurgence. Flavor Flav has faced personal challenges and substance abuse battles in the past, but he’s come back stronger and more determined than ever. Even a public feud with Public Enemy’s Chuck D a few years ago couldn’t keep him down. The iconic duo, rap music’s quintessential Batman and Robin, have since quashed any perceived beef and continue to make music history.
Flavor Flav’s recent appearances have showcased his newfound positivity and love for life. He wowed audiences at a star-studded event in Los Angeles last week honoring Lyor Cohen and delighted fans and fellow passengers by passing out snacks and goodies on a recent airline flight. His presence at Taylor Swift concerts and the premiere of her latest movie have brought a smile to many faces, with Flavor proudly declaring himself a “Swiftie.”
For his performance in Milwaukee, Flavor belted out the national anthem with his trademark energy and style, his clock necklace swinging as he sang. His performance took the internet by storm, with fans and viewers sharing their thoughts on X (formerly known as Twitter).
One user marveled at the unconventional choice of having Flavor Flav sing the national anthem, writing, “Flava Flav singing the national anthem at an NBA game just definitely convinced me I’m not dreaming big enough.” Another user playfully questioned the decision, asking, “I just wanna know, who in the meeting raised their hand and said, ‘let’s book Flava Flav.’”
Former football player turned sports journalist Shannon Sharpe offered a critical opinion of the performance, but fans rallied to support him. Rapper and podcaster Memphis Jelks fired back with, “Flav has more talent in his pinky toe than Shannon has in his entire being!! Keep up the greatness Flav!!”
Flavor Flav’s performance even made its way to the National Newspaper Publishers Association’s morning show, “Let It Be Known,” where the rapper’s national anthem rendition received a dedicated segment alongside a 1983 clip of soul legend Marvin Gaye’s performance of the song at the NBA All-Star game. Flavor Flav gave Let It Be Known a thumbs up.
Flavor Flav’s journey of redemption and his viral national anthem performance have proven that it’s never too late for a comeback. His larger-than-life personality, unique style, and undying passion for music continue to captivate audiences, and he remains a beloved figure in the entertainment world.

Chuck D on Death of Takeoff: ‘When Corporations Show Up God Leaves the Room’

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Chuck said the life artists today lead today, compared to earlier hip-hop stars, is different.
By Stacy M. Brown, NNPA Newswire Senior National Correspondent

@StacyBrownMedia

As family, friends, and fans, continue to mourn the death of Migos member Takeoff, the demand for hip-hop to take a stand against gun violence has grown.
While many have expressed disbelief and anger that the shooting death of the 28-year-old, whose real name is Kirshnik Khari Ball, took place allegedly because of an argument over a dice game.

Fans on social media and the mainstream press have quickly tossed blame at everyone from Takeoff’s bandmate Quavo to clothing boss J. Prince Jr. and even to the slain rap star himself.

And as always, hip-hop has come under fire.

That’s no surprise to legendary Public Enemy frontman Chuck D, whom most recognize as hip-hop’s voice of reason.

In putting in a perspective as perhaps only the “Fight the Power” artist can, Chuck noted that any other industry that has seen as many fatalities as hip-hop would have addressed that issue long ago.

And Chuck doesn’t put the blame entirely on the artists.

“This curiosity of what is this hip-hop thing, what is this Black thing. The world always seems to want to know and mimic our greatness,” Chuck asserted in a 30-minute interview with the Black Press of America’s live morning news program, “Let It Be Known.

“And if they can find a way to finance and have our people mimic us at our worst – the stereotype that generalizes us as a bunch of murderous thugs and metastasize that over a 10-15-20-year period as being normal, then we got a problem.”

He continued:

“I don’t blame the youth. You’ve got to blame some adults hiding behind the scenes, pied piping and pied papering all of this madness and making this kind of thing seem normal. Was there a shootout at a dice game? Yes. Were Black men involved in that circle? Yes. But it’s somebody pushing buttons and pulling levers and not only doing so but they have been greatly enriched financially by these incidents.”

Takeoff’s death counts among a string of murders in the hip-hop community over the past several years.

Other high-profile murders include PnB Rock, Pop Smoke, XXXTentacion, Nipsey Hustle, King Von, and Young Dolph.

“I was in college when Biggie and ‘Pac was killed and thought there was no way we’d ever experience anything remotely close to that again,” media personality Jemele Hill tweeted following Takeoff’s death.

“Now,” Hill continued. “It’s happening so frequently that you barely have time to recover before someone else is killed.”

Chuck noted that a large part of the argument about hip-hop deaths and violence comes from many who don’t consider all available facts.

“There are hundreds of thousands of artists out there,” he said when asked whether the younger artists pay attention to the old heads.

“Who do you count? Do you count the more successful ones because more people like them? When we start getting into followers and likes, those algorithms don’t add up to who we are as a people,” Chuck insisted.

He explained:

“I have ten stations on Rap Station (Radio). We play artists from the underground and under-found. We play artists with a 10-15-year career, women worldwide and in more abundance than in the United States.”

Chuck continued:

“If you only pay attention to what’s being washed up on your shores, you’re going to get a limited view of what it really is. There is really no kind of educational forum that people can go to like in other aspects of life. Our arts and culture should be taught to us. If we don’t control our educational curriculum, we’re going to let corporations teach us. And, whenever corporations show up, God walks out the door.”

In a recent podcast, Takeoff spoke about receiving his flowers before he died.

“It’s time to pop it,” Takeoff said on “Drink Champs.”

“It’s time to give me my flowers. I don’t want them later when I’m not here. I want them right now.”

Chuck said the life artists today lead today, compared to earlier hip-hop stars, is different.

“At the beginning of hip-hop, especially in the real beginning, cats wanted to get away from that,” Chuck recounted.

“They didn’t want to be in the Bronx. New York City had been deemphasized and abandoned by the U.S.A. during a tough fiscal time post-Nixon. Cats saw the emergence of hard drugs coming in out of nowhere. Guns coming out of nowhere, and cats wanted to get away from that, and they didn’t want to [rhyme] about that in the 1980s.

He concluded:

“You had MCs and rappers who adhered to those values and qualities. We could have “The Message” by Grandmaster Flash and the Furious Five that talked about what’s going on, but they also made party records to not talk about things people saw every day.

“There was a balance to at least try to bring good times into the picture. People often said Public Enemy bought a political message, but we came from the 1960s, so we remember a time of being broke but not broken.

“Many cats came from the 1970s doing hip hop in the 1980s and 1990s.

“We came from the Black Panther Party doing lunch programs, the Nation of Islam doing things in the neighborhood. We remember Dr. Martin Luther King and Malcolm X being assassinated when they were living people to us.

“On my birth certificate, it says ‘Negro.’ I remember being ‘Colored’ and ‘Black is Beautiful.’ That’s a different period that has been kind of pushed under the rug in Americana.”