Jah forbid that the social structure changes and no longer unfairly supports the wasps. Billy is just reminding of his ties to the KKK, yall must have forgot.
Monday, June 4, 2007
Friday, May 11, 2007
Hip-Hop and the Corporate Function of Colonization
Having elsewhere looked at the function of mass media as primary mechanisms of the maintenance of colony, recent events have again emerged requiring further investigation into the function of corporate control over the cultural expression of colonized populations. Though not specific to hip-hop the example as explored through that most popular of cultural expressions may help to make more clear the imperative of organization and political struggle in 2007. Within the last few weeks alone we have seen recent decisions and trends evolve demonstrating the intent and need among those in power to further ensure that mass media will perform its primary (only?) function of manipulating popular consciousness for the purpose of manipulating behavior of the audience (victims). These developments can only be understood in the context of a continuing process of subjugation in which media play a primary role in suppressing dissent.
Most recently examples of this include the successful lobbying (legal bribery) of congress by Time Warner to increase postal rates for magazines making new or small magazines unable to start or compete for national distribution. There are the continuing efforts of EMI to sell itself off to either Warner Music Group or the newest media trend of a private equity firm. And then there was the Copyright Royalty Board issuing its new policy of charging commercial and non-commercial terrestrial and internet broadcasters per-song royalty fees which have been estimated to mean that 85% of internet broadcasters will fold unable to afford the cost of operation. This decision, it must be noted, also affects my own beloved Washington, DC Pacifica Radio affiliate WPFW whose song royalties fees, based on this decision, will no longer be covered by the right-wing-led Corporation for Public Broadcasting meaning further economic hardship for the network.
To this must be added the recent exposure of Interscope Records' "lyrics committee," who have determined that the recently released album from Young Buck would not include a track called Fuck tha Police due to its "violent content." These examples form a segment of what is the need of those in power to maintain intellectual boundaries established for their own protection. This elite uses the structure of corporate governance to maintain this control in relative anonymity where CEOs and commercial spokespeople become mere illusions masking their position as modern-day colonial administrators. At times called the petit-bourgeoisie, or even the Black bourgeoisie, they are simply that group which, as administrators, administer to society that which limits or confounds ranges of thought so as to keep people from stepping – intellectually or literally – beyond acceptable parameters. In this case these administrators become the intellectual equivalent of the guard at the gate telling you beyond this line you may not cross, that is, not without serious repercussion.
Continued references to Frantz Fanon, too often made with no equal reference or focus on what prompted his brilliant analyses, ignore the fundamental colonizing process still underway. This corporate-led lockdown of mass media and popular culture is part of a long historical process to maintain "order" over populations whose ability to produce and popularize a revolutionary culture and, therefore, conscious behavior would mean the end of established power. This threat, one that is and should be feared, is mitigated by a corporate structure designed, as Fanon explained, to not "destroy the culture of the colonized" but to instead allow certain forms to be carefully selected for promotion and popularity. This popularity then encourages perceptions of the colonized that support their colonization and, in fact, encourage a behavior among the colonized which produces self-inflicted wounds that while in reality result from externally-based oppression are justified via perception. Here, again, is how a Viacom-owned radio station would broadcast Don Imus while also broadcasting the very hip-hop later blamed for his remarks on BET, MTV, and here in Washington, DC on WPGC 95.5 FM, the city's leading Black-targeted radio station. "We play what the people want and produce" is their claim. Yet when DC-area artists, such as Head-Roc, DJ EuRok, Pookanu, Asheru to name too few, produce high quality hip-hop critical of our colonial status, police brutality, impoverished schools, etc. or even make music that is just fun-loving and brilliantly worded they are suppressed. Censorship is political not linguistic. It's not the "fuck" in Young Buck's Fuck da Police that was censored.
The sociology of a corporation demonstrates its function. Boards of directors with interlocks that extend the influence of this tiny collective, themselves selected by controlling holders of stock, elect Chief Executive Officers (CEOs) who – as employees of those stockholders – work at the bidding of their further removed and mostly anonymous (certainly to us) bosses. What those bosses want is well beyond money, which itself exists only to manage/manipulate the behavior of the majority who have none, they want security and safety. Both require a popular consciousness or "manufactured" opinion which supports this by preventing even the idea of the righteous – even if forceful – redistribution of wealth and service. This is why songs saying "fuck the police" must be censored, attacked, omitted or demonized even if, as is the case with Young Buck, a video may picture Huey Newton but is actually more about an individual self-defense of selling dope than a collective self-defense in the furtherance of revolutionary intercommunalism or Black nationalism.
Corporate lockdown of popular media is a political necessity and scientific inevitability requiring further description of this process, along with suggested avenues of resistance, which will be the focus of subsequent columns. Our approach to the study of and response to media must be akin to that of Huey P. Newton who said he "studied law to become a better burglar."
Jared A. Ball, Ph.D. is an assistant professor of communication studies at Morgan State University. He is editor-at- large of the Journal of Hip-Hop and Global Culture from Words, Beats and Life and hosts Jazz & Justice Mondays 1-3p EST on DC's WPFW 89.3 FM Pacifica Radio. Ball is also the founder and creator of FreeMix Radio: The Original Mixtape Radio Show, a hip-hop mixtape committed to the practice of underground emancipatory journalism. Ball is also a board member of the International Association for Hip-Hop Education and a Communications Fellow with the Green Institute. He is currently working on his first book Hip-Hop as Mass Media: The Mixtape and Emancipatory Journalism and can be found online at voxunion.com.
Most recently examples of this include the successful lobbying (legal bribery) of congress by Time Warner to increase postal rates for magazines making new or small magazines unable to start or compete for national distribution. There are the continuing efforts of EMI to sell itself off to either Warner Music Group or the newest media trend of a private equity firm. And then there was the Copyright Royalty Board issuing its new policy of charging commercial and non-commercial terrestrial and internet broadcasters per-song royalty fees which have been estimated to mean that 85% of internet broadcasters will fold unable to afford the cost of operation. This decision, it must be noted, also affects my own beloved Washington, DC Pacifica Radio affiliate WPFW whose song royalties fees, based on this decision, will no longer be covered by the right-wing-led Corporation for Public Broadcasting meaning further economic hardship for the network.
To this must be added the recent exposure of Interscope Records' "lyrics committee," who have determined that the recently released album from Young Buck would not include a track called Fuck tha Police due to its "violent content." These examples form a segment of what is the need of those in power to maintain intellectual boundaries established for their own protection. This elite uses the structure of corporate governance to maintain this control in relative anonymity where CEOs and commercial spokespeople become mere illusions masking their position as modern-day colonial administrators. At times called the petit-bourgeoisie, or even the Black bourgeoisie, they are simply that group which, as administrators, administer to society that which limits or confounds ranges of thought so as to keep people from stepping – intellectually or literally – beyond acceptable parameters. In this case these administrators become the intellectual equivalent of the guard at the gate telling you beyond this line you may not cross, that is, not without serious repercussion.
Continued references to Frantz Fanon, too often made with no equal reference or focus on what prompted his brilliant analyses, ignore the fundamental colonizing process still underway. This corporate-led lockdown of mass media and popular culture is part of a long historical process to maintain "order" over populations whose ability to produce and popularize a revolutionary culture and, therefore, conscious behavior would mean the end of established power. This threat, one that is and should be feared, is mitigated by a corporate structure designed, as Fanon explained, to not "destroy the culture of the colonized" but to instead allow certain forms to be carefully selected for promotion and popularity. This popularity then encourages perceptions of the colonized that support their colonization and, in fact, encourage a behavior among the colonized which produces self-inflicted wounds that while in reality result from externally-based oppression are justified via perception. Here, again, is how a Viacom-owned radio station would broadcast Don Imus while also broadcasting the very hip-hop later blamed for his remarks on BET, MTV, and here in Washington, DC on WPGC 95.5 FM, the city's leading Black-targeted radio station. "We play what the people want and produce" is their claim. Yet when DC-area artists, such as Head-Roc, DJ EuRok, Pookanu, Asheru to name too few, produce high quality hip-hop critical of our colonial status, police brutality, impoverished schools, etc. or even make music that is just fun-loving and brilliantly worded they are suppressed. Censorship is political not linguistic. It's not the "fuck" in Young Buck's Fuck da Police that was censored.
The sociology of a corporation demonstrates its function. Boards of directors with interlocks that extend the influence of this tiny collective, themselves selected by controlling holders of stock, elect Chief Executive Officers (CEOs) who – as employees of those stockholders – work at the bidding of their further removed and mostly anonymous (certainly to us) bosses. What those bosses want is well beyond money, which itself exists only to manage/manipulate the behavior of the majority who have none, they want security and safety. Both require a popular consciousness or "manufactured" opinion which supports this by preventing even the idea of the righteous – even if forceful – redistribution of wealth and service. This is why songs saying "fuck the police" must be censored, attacked, omitted or demonized even if, as is the case with Young Buck, a video may picture Huey Newton but is actually more about an individual self-defense of selling dope than a collective self-defense in the furtherance of revolutionary intercommunalism or Black nationalism.
Corporate lockdown of popular media is a political necessity and scientific inevitability requiring further description of this process, along with suggested avenues of resistance, which will be the focus of subsequent columns. Our approach to the study of and response to media must be akin to that of Huey P. Newton who said he "studied law to become a better burglar."
Jared A. Ball, Ph.D. is an assistant professor of communication studies at Morgan State University. He is editor-at- large of the Journal of Hip-Hop and Global Culture from Words, Beats and Life and hosts Jazz & Justice Mondays 1-3p EST on DC's WPFW 89.3 FM Pacifica Radio. Ball is also the founder and creator of FreeMix Radio: The Original Mixtape Radio Show, a hip-hop mixtape committed to the practice of underground emancipatory journalism. Ball is also a board member of the International Association for Hip-Hop Education and a Communications Fellow with the Green Institute. He is currently working on his first book Hip-Hop as Mass Media: The Mixtape and Emancipatory Journalism and can be found online at voxunion.com.
Saturday, March 24, 2007
Brownskin, you know I love your brownskin.
First, here is an article by Dr. Jared Ball about Hip Hop as mass media in context to modern day society. http://www.greeninstitute.net/subpages/ball_hh_pt1.asp
Given the societal need and function of mass media and popular culture, all that is popular is fraudulent. Popularity is in almost every case an intentionally constructed fabrication of what it claims to represent. Too few who comment on the lamentable condition of today’s popular hip-hop seem to grasp this, the political nature of the nation’s media system, nor the political function that system serves. Hip-hop is often taken out of the existing context of political struggle, repression, or the primacy of a domestic/neo-colonialism in the service of which mass media play a (the?) leading role. Media, often incorrectly defined by their technologies, are the primary conduits of ideology or worldview and must be seen as such. Therefore, their highly consolidated ownership and content management structure (corporate interlocking boards of directors, advertisers, stockholders, etc.) cannot be understood absent their ability to disseminate a consciousness they themselves sanction and mass produce. Nowhere is this more clearly demonstrable than in hip-hop.
Like mass media and popular culture, hip-hop too is often removed from its proper context as the cultural expression of a domestically-held internal colony otherwise known as Black America. The colonialism that prefigures its creation and subsequent popularity is too often absent from popular discussion of hip-hop and as such leads to confused analyses and a tremendous amount of inaction surrounding the issues involved. I use the term colonialism simply to draw attention to the systemic (i.e. intentional) maltreatment of a majority of those considered “citizens,” and to the particular form that this maltreatment takes regarding North America’s Black/African internal colony. By this I mean that the basic tenets of a colonial relationship remain intact for Black people in the United States. That is: 1) Black people remain held in spatially distinct communities, neighborhoods, projects, etc. where they, 2) form the basis of this country’s source of cheap labor and, 3) raw materials – which include cultural expression and, specifically, hip-hop. That is, held intentionally in poverty so as to create conditions of desperation, Black people must then sell their labor cheaply and/or be willing to conform themselves to the needs and will of an elite in order to “succeed.” Hip-hop, like every other cultural expression generated from this community, has over the last twenty years been grafted to this structural need to systematically produce what is conducive to this system’s survival. This is quite natural and understandable and would only be confusing were this not the case.
The pervasiveness of self/community-directed violence, misogyny, conspicuous consumption, product placement promotion, and general lack of ingenuity in popular hip-hop is the aforementioned specific systemic need produced systematically via its media representative, in this case, the music industry. Understood properly we would note that corporations are themselves legal entities that give sanction and anonymity to those involved in the process of protecting the ruling elite. Therefore, their ability to sign (via contract), promote, disseminate, etc. the cultural expression of the colonized allows them to determine the direction or content in most popular hip-hop.
The tremendous amount of hip-hop created that does not suit this political need, which again is primary, is simply omitted. And without this current analysis, even our brightest thinkers ignorantly suggest, as did Michael Eric Dyson recently on Paula Zahn’s CNN special on the subject, that to be successful (i.e. “popular”) politically conscious artists need “better beats.” This precludes the continuing power struggle which necessitates both the maintenance of the Black colony, but also a specific image of that colony to be imposed on the country and world. In other words, there can be no popular representation of the colonized that does not reflect a justification or omission of their colonized status. It is the status of a neo-colony that needs changing, not the beats used by those expressing a desire for something different.
Zbigniew Brzezinski, in defense of this system, explained this reality quite clearly when writing in The Grand Chessboard (1997) that what will separate the United States as an empire from those of the past is this nation’s control over “international communication and popular entertainment.” Media today are more pervasive, powerful, and capable of the maintenance of colonialism than at any other time in world history. This is the result of the intentional and concomitant rise of both mass media technology and their consolidated ownership in the hands of the world’s only true “minority” elite: white men. Fewer people, almost all exclusively within the same self-identified racial, class, and gendered interest group, have a greater ability today than at any other time to produce a global consciousness conducive to their interests. Hence my earlier statement about the inherent fraudulence of popular culture. In a society where culture is used as a primary component or mechanism of social control, that which becomes “pop culture” is fraudulent in that it is forced, as Fanon has explained, to “testify against” its creators and to serve those able to determine its reach or societal penetration. Rarely is what we know of as “popular” the initial intention of the culture or individual from which that expression comes. Most often what is the final product is what is decidedly different than what its creator initially set out to make and is more than likely no longer in their own best interest.
While much of what is made popular in hip-hop glorifies the impoverished conditions out of which the cultural expression emerges, little has changed regarding those fundamental colonial conditions. In the thirty years of hip-hop’s ascendance and its annual generation of billions of dollars, the fundamental relationship between that population and the greater society remains intact. Hip-hop’s popularity has done nothing to improve Black America’s overall wealth, education, health-care, or certainly rates of imprisonment. In fact, the popularity of hip-hop is used to deny these conditions or explain them as natural to the conditions of African America. It is not to the people that these conditions are natural but, instead, to the condition of being colonized. Popular media and, therefore, hip-hop cannot be changed prior to a societal shift (revolution) in who holds power and how that power is to be wielded.
In future columns I will detail the historical shift in hip-hop, the corporate/industrial mechanism, detailing how the final product is shaped to these political needs and offer detailed strategies and current movements/artists whose work is in assertive resistance to this neocolonial condition.
Dr. Jared A. Ball is an assistant professor of communication studies at Morgan State University. He is editor-at- large of the Journal of Hip-Hop and Global Culture from Words, Beats and Life and hosts Jazz & Justice Mondays 1-3p EST on DC's WPFW 89.3 FM Pacifica Radio. Ball is also the founder and creator of FreeMix Radio: The Original Mixtape Radio Show, a hip-hop mixtape committed to the practice of underground emancipatory journalism. He is currently working on his first book Hip-Hop as Mass Media: The Mixtape and Emancipatory Journalism and can be found online at voxunion.com.
I have had the pleasure and privilege to be a student of Dr. Ball before and I have decided to spread the knowledge.
Given the societal need and function of mass media and popular culture, all that is popular is fraudulent. Popularity is in almost every case an intentionally constructed fabrication of what it claims to represent. Too few who comment on the lamentable condition of today’s popular hip-hop seem to grasp this, the political nature of the nation’s media system, nor the political function that system serves. Hip-hop is often taken out of the existing context of political struggle, repression, or the primacy of a domestic/neo-colonialism in the service of which mass media play a (the?) leading role. Media, often incorrectly defined by their technologies, are the primary conduits of ideology or worldview and must be seen as such. Therefore, their highly consolidated ownership and content management structure (corporate interlocking boards of directors, advertisers, stockholders, etc.) cannot be understood absent their ability to disseminate a consciousness they themselves sanction and mass produce. Nowhere is this more clearly demonstrable than in hip-hop.
Like mass media and popular culture, hip-hop too is often removed from its proper context as the cultural expression of a domestically-held internal colony otherwise known as Black America. The colonialism that prefigures its creation and subsequent popularity is too often absent from popular discussion of hip-hop and as such leads to confused analyses and a tremendous amount of inaction surrounding the issues involved. I use the term colonialism simply to draw attention to the systemic (i.e. intentional) maltreatment of a majority of those considered “citizens,” and to the particular form that this maltreatment takes regarding North America’s Black/African internal colony. By this I mean that the basic tenets of a colonial relationship remain intact for Black people in the United States. That is: 1) Black people remain held in spatially distinct communities, neighborhoods, projects, etc. where they, 2) form the basis of this country’s source of cheap labor and, 3) raw materials – which include cultural expression and, specifically, hip-hop. That is, held intentionally in poverty so as to create conditions of desperation, Black people must then sell their labor cheaply and/or be willing to conform themselves to the needs and will of an elite in order to “succeed.” Hip-hop, like every other cultural expression generated from this community, has over the last twenty years been grafted to this structural need to systematically produce what is conducive to this system’s survival. This is quite natural and understandable and would only be confusing were this not the case.
The pervasiveness of self/community-directed violence, misogyny, conspicuous consumption, product placement promotion, and general lack of ingenuity in popular hip-hop is the aforementioned specific systemic need produced systematically via its media representative, in this case, the music industry. Understood properly we would note that corporations are themselves legal entities that give sanction and anonymity to those involved in the process of protecting the ruling elite. Therefore, their ability to sign (via contract), promote, disseminate, etc. the cultural expression of the colonized allows them to determine the direction or content in most popular hip-hop.
The tremendous amount of hip-hop created that does not suit this political need, which again is primary, is simply omitted. And without this current analysis, even our brightest thinkers ignorantly suggest, as did Michael Eric Dyson recently on Paula Zahn’s CNN special on the subject, that to be successful (i.e. “popular”) politically conscious artists need “better beats.” This precludes the continuing power struggle which necessitates both the maintenance of the Black colony, but also a specific image of that colony to be imposed on the country and world. In other words, there can be no popular representation of the colonized that does not reflect a justification or omission of their colonized status. It is the status of a neo-colony that needs changing, not the beats used by those expressing a desire for something different.
Zbigniew Brzezinski, in defense of this system, explained this reality quite clearly when writing in The Grand Chessboard (1997) that what will separate the United States as an empire from those of the past is this nation’s control over “international communication and popular entertainment.” Media today are more pervasive, powerful, and capable of the maintenance of colonialism than at any other time in world history. This is the result of the intentional and concomitant rise of both mass media technology and their consolidated ownership in the hands of the world’s only true “minority” elite: white men. Fewer people, almost all exclusively within the same self-identified racial, class, and gendered interest group, have a greater ability today than at any other time to produce a global consciousness conducive to their interests. Hence my earlier statement about the inherent fraudulence of popular culture. In a society where culture is used as a primary component or mechanism of social control, that which becomes “pop culture” is fraudulent in that it is forced, as Fanon has explained, to “testify against” its creators and to serve those able to determine its reach or societal penetration. Rarely is what we know of as “popular” the initial intention of the culture or individual from which that expression comes. Most often what is the final product is what is decidedly different than what its creator initially set out to make and is more than likely no longer in their own best interest.
While much of what is made popular in hip-hop glorifies the impoverished conditions out of which the cultural expression emerges, little has changed regarding those fundamental colonial conditions. In the thirty years of hip-hop’s ascendance and its annual generation of billions of dollars, the fundamental relationship between that population and the greater society remains intact. Hip-hop’s popularity has done nothing to improve Black America’s overall wealth, education, health-care, or certainly rates of imprisonment. In fact, the popularity of hip-hop is used to deny these conditions or explain them as natural to the conditions of African America. It is not to the people that these conditions are natural but, instead, to the condition of being colonized. Popular media and, therefore, hip-hop cannot be changed prior to a societal shift (revolution) in who holds power and how that power is to be wielded.
In future columns I will detail the historical shift in hip-hop, the corporate/industrial mechanism, detailing how the final product is shaped to these political needs and offer detailed strategies and current movements/artists whose work is in assertive resistance to this neocolonial condition.
Dr. Jared A. Ball is an assistant professor of communication studies at Morgan State University. He is editor-at- large of the Journal of Hip-Hop and Global Culture from Words, Beats and Life and hosts Jazz & Justice Mondays 1-3p EST on DC's WPFW 89.3 FM Pacifica Radio. Ball is also the founder and creator of FreeMix Radio: The Original Mixtape Radio Show, a hip-hop mixtape committed to the practice of underground emancipatory journalism. He is currently working on his first book Hip-Hop as Mass Media: The Mixtape and Emancipatory Journalism and can be found online at voxunion.com.
I have had the pleasure and privilege to be a student of Dr. Ball before and I have decided to spread the knowledge.
Friday, March 23, 2007
Monday, March 12, 2007
Aye Preme!
Why is Rattin At an All Time High?
"Like Cain and Abel, Caesar and Brutus, Jesus and Judas, back stabbers do this".
-Lauryn Hill
Life in prison because 50 Cent spelled out too much info on his mixtape. Its a damn shame. Why? Its yet another reason for black people to oppose each other. Crabs in a barrel huh man? And dont take this as no black bashing. Im just sayin I wish it was different. I got no time to hate on no other brother's grind. But sellin out your people is nit good regardless of race. Be a man.
Wednesday, March 7, 2007
Mental Slavery
Bob had it rite since back then. We gotta wake up and shake the shackles off of our minds. Only then will we rise up and become the nation we claim to be. The sheep must remove the wool from their eyes. If you dont know what I am talking about, chances are, you are one of the sheep.
Check out the Mind Deprogramming Videos below.
Spread it around and lets get everybody cleaning parts of their mind like a baby nine.
Check out the Mind Deprogramming Videos below.
Spread it around and lets get everybody cleaning parts of their mind like a baby nine.
Tuesday, March 6, 2007
Negroid!
"Rather than love, than money, than fame, give me truth"
Henry D. Thoreau
"A right is not what someone gives you; it's what no one can take from you."
Ramsey Clark - U. S. Attorney General: Source: New York Times, 2 October 1977
"There is, however, a somber point in the social outlook of Americans.
Their sense of equality and human dignity is mainly limited to men of
white skins. Even among these there are prejudices of which I as a Jew am
clearly conscious; but they are unimportant in comparison with the
attitude of the 'Whites' toward their fellow-citizens of darker
complexion, particularly toward Negroes. The more I feel an American, the
more this situation pains me. I can escape the feeling of complicity in it
only by speaking out.
"Many a sincere person will answer: 'Our attitude towards Negroes is the
result of unfavorable experiences which we have had by living side by side
with Negroes in this country. They are not our equals in intelligence,
sense of responsibility, reliability.'
"I am firmly convinced that whoever believes this suffers from a fatal
misconception. Your ancestors dragged these black people from their homes
by force; and in the white man's quest for wealth and an easy life they
have been ruthlessly suppressed and exploited, degraded into slavery. The
modern prejudice against Negroes is the result of the desire to maintain
this unworthy condition."
Albert Einstein
"The Negro Question"
1946
Tell the children the truth! Why lie to us sayin racism ended. Why lie to us saying that slavery ended? Why tell us that we have a chance to make it out the hood knowing those chances are slim to none for most of us. This is not a meritocracy or black people would be some of the richest people in the nation. This is not saying white people are lazy. But I can definitely show you more minorities who are busting their asses working two jobs just to survive.
And slavery ended? When? I guess all my people in these concentration camps can leave now right? Free these prisoners of this race war. Im not saying every prisoner is innocent or deserves to be free. But the Rockefeller Drug Laws are ridiculous. Why are most of our jails filled with those who have been convicted of non violent drug charges? Why not be out there catching rapists, murderers, and other types of people who perform such heinous acts.?
Alot of these questions will never be answered. Or at least not by the powers that be. Have them tell the story and everything is just how its supposed to be. Until the story of the hunt is told by the wolf, it will always glorify the hunter.
We behind enemy lines son. Squad Up and organize! Before its too late.
Where are our so called leaders?
Henry D. Thoreau
"A right is not what someone gives you; it's what no one can take from you."
Ramsey Clark - U. S. Attorney General: Source: New York Times, 2 October 1977
"There is, however, a somber point in the social outlook of Americans.
Their sense of equality and human dignity is mainly limited to men of
white skins. Even among these there are prejudices of which I as a Jew am
clearly conscious; but they are unimportant in comparison with the
attitude of the 'Whites' toward their fellow-citizens of darker
complexion, particularly toward Negroes. The more I feel an American, the
more this situation pains me. I can escape the feeling of complicity in it
only by speaking out.
"Many a sincere person will answer: 'Our attitude towards Negroes is the
result of unfavorable experiences which we have had by living side by side
with Negroes in this country. They are not our equals in intelligence,
sense of responsibility, reliability.'
"I am firmly convinced that whoever believes this suffers from a fatal
misconception. Your ancestors dragged these black people from their homes
by force; and in the white man's quest for wealth and an easy life they
have been ruthlessly suppressed and exploited, degraded into slavery. The
modern prejudice against Negroes is the result of the desire to maintain
this unworthy condition."
Albert Einstein
"The Negro Question"
1946
Tell the children the truth! Why lie to us sayin racism ended. Why lie to us saying that slavery ended? Why tell us that we have a chance to make it out the hood knowing those chances are slim to none for most of us. This is not a meritocracy or black people would be some of the richest people in the nation. This is not saying white people are lazy. But I can definitely show you more minorities who are busting their asses working two jobs just to survive.
And slavery ended? When? I guess all my people in these concentration camps can leave now right? Free these prisoners of this race war. Im not saying every prisoner is innocent or deserves to be free. But the Rockefeller Drug Laws are ridiculous. Why are most of our jails filled with those who have been convicted of non violent drug charges? Why not be out there catching rapists, murderers, and other types of people who perform such heinous acts.?
Alot of these questions will never be answered. Or at least not by the powers that be. Have them tell the story and everything is just how its supposed to be. Until the story of the hunt is told by the wolf, it will always glorify the hunter.
We behind enemy lines son. Squad Up and organize! Before its too late.
Where are our so called leaders?
Monday, March 5, 2007
Afrika Unite!
Cuz we're movin rite out of Babylon!
Greetings Idren & Isistren! Eternal blessings in the name of the most high!
This blog will be my spot for clearing my mind, and speaking on behalf of the citizens of the world. The poor people, the black people, the latinos, the women, etc all oppressed people of all races. I know that speaking your mind could get you killed. But like Peter Tosh said " Jah will protect I". Nuh true?
Yeah I know it aint black history month anymore. Sue me.
Anyway with this being my first post, Imma leave it short. I need to learn how to fix this thing up ya dig. Big ups to all the Rastas, hippies, anarchists, independants, and anyone else down for freedom.
Emancipate yourself from mental slavery, None but ourseleves can free our mind.
Amos 9:11: In that day will I raise up the tabernacle of David that is fallen, and close up the breaches thereof; and I will raise up his ruins, and I will build it as in the days of old
Greetings Idren & Isistren! Eternal blessings in the name of the most high!
This blog will be my spot for clearing my mind, and speaking on behalf of the citizens of the world. The poor people, the black people, the latinos, the women, etc all oppressed people of all races. I know that speaking your mind could get you killed. But like Peter Tosh said " Jah will protect I". Nuh true?
Yeah I know it aint black history month anymore. Sue me.
Anyway with this being my first post, Imma leave it short. I need to learn how to fix this thing up ya dig. Big ups to all the Rastas, hippies, anarchists, independants, and anyone else down for freedom.
Emancipate yourself from mental slavery, None but ourseleves can free our mind.
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