Missing Malcolm X:
Are Rappers Scared of Revolution?
TRUTH Minista Paul Scott
"How long shall they kill our prophets, while we stand aside and look ?"
Redemption Song- Bob Marley
February 21, 1965 at the Audubon Ballroom in NYC, Malcolm X was gunned down just before he was about to put America on blast for dissin' Black people. On that same date almost 50 years later, aspiring rapper, Murda U was shot in that same spot for dissin' another rapper on a Youtube video. Although, there were several witnesses, because of the "no snitchin' " code of the streets, the shooter remains at large...
One of the best known icons in African American history is Malcolm X. Although he started off hustlin' in the streets as Detroit Red, while in prison he accepted the teachings of the Nation of Islam and devoted the rest of his life to the liberation of Black people.
What is most important about Malcolm X was not the man, himself, but his eternal symbol as the epitome of uncompromising, Black manhood. Part of his popularity was being the antithesis of the nonviolence of Dr. Martin Luther King, giving America the old school Hip Hop duo Black Sheep's option "you can get with this or you can get with that."
Of course, Malcolm was not the first advocate of Black Power. During the 1830's, according to Vincent Harding in "There is a River," Martin Delany was already advocating Black Nationalism. Nor was he the only one during his time rejecting the idea of nonviolence. In his book "Negroes With Guns," Robert F. Williams said that as early as 1957, he was strappin' Black people in Monroe NC, to protect themselves from the Ku Klux Klan. However, Malcolm X still holds a special spot in the Black psyche.
The spirit of Malcolm X has long been present in Hip Hop. In 1983, Keith LeBlanc sampled his speeches on "No Sell Out" and Afrika Bambaataa and the Soul Sonic Force shouted him out on "Renegades of Funk." However, it was during the late 80's when Hip Hop became infused with the ideology of Malcolm X courtesy of groups like Public Enemy ,so much so that by the early 90's the X caps had replaced Kangols as the official Hip Hop head gear.
So the question in 2012 becomes, why is Hip Hop producing so many Meek Mills and so few Malcolm Xs ?
Back in the 1970, the forefathers of rap, "The Last Poets," released "Niggers Are Scared of Revolution" a song that proclaimed that some Black folks will do everything under the sun except engage in rebellion against the system. So, in 2012, are rappers scared of revolution, too?
In his 1963, "Message to the Grassroots," Malcolm said that "revolution is bloody, revolution is hostile, revolution knows no compromise, revolution overturns and destroys everything that gets in its way..."
For many rappers that may sound like a hot lyric but in reality, that ain't happenin'. Although many of them claim to love the 'hood, they ain't givin' up their Maybachs for none of ya'll. Despite all the tough talk and street swagga few are really willing to commit what Huey P Newton would have called career "revolutionary suicide."
And on some level, who could blame them?
In the mythos of Hip Hop culture, if you go out in a blaze of glory like Pac and Biggie you wind up in some Ghetto Heaven and the homies in the 'hood will be forever pourin' out liquor and sportin' T-shirts in your memory. But if you go out fighting the power like Lil Bobby Hutton or Fred Hampton you will be forgotten a week after the funeral.
After all, although, members of the Nation of Islam were convicted for the murder of Malcolm, almost 50 years later we are still no closer to solving the mystery of who really gave the order for the hit than we are solving who killed Pac, Biggie or Lil Pookie from down the block. However, we are left with some clues that have been rarely discussed.
In his book "To Kill a Black Man, " Louis Lomax points out how ,before his death, "Malcolm X was becoming a major threat to American foreign policy. " He alleged that "the American government, particular the CIA was deeply involved in Malcolm's death."
Researcher Steve Cokley has long suggested that we reread the often overlooked page 418 of Alex Haley's "Autobiography of Malcolm X" where Haley revealed that an unnamed "close friend" arranged a meeting with the president of a still unnamed " large private foundation" and the head of the Justice Department's Civil Right's section, Burke Marshall shortly before Malcolm's death. According to Haley, he was grilled over Malcolm's "finances" and how his recent trip to Africa had been funded.
Of course there are some underground Hip Hop artists today who are spittin' truth to power like Immortal Technique, New Orleans' Dee1 and NC's Homebase but they are few and far between.
Some have suggested that the responsibility of Hip Hop artists is to make music, not lead movements. Perhaps they are right.
Maybe the revolution won't come from the rappers but from the writers. What good is a "revolution" if there is no one to explain to the masses who they are revolting against and why they need a "revolution" in the first place. This is especially critical when, since the end of the Civil War, the masses have been continually duped into believing that "we have overcome" and "there is nothing left to fight for. "
After all it was the "militant minded" journalists who were the original Black freedom fighters in this country. Remember early revolutionists such as Martin Delany and David Walker were writers. It has even been rumored that Nat Turner might have been influenced by "David Walker's Appeal." Walker posed such a threat to white supremacy that ,according to Dr. James Turner, around 1830 there was a $10,000 bounty placed on his head by a group of wealthy white planters.
Whether it be a rapper or a writer, the world needs another Malcolm.
Someone who is not afraid to grab the mic or the pen and tell the world, that we demand Freedom, Justice and Equality and we intend to bring it into existence.
"By any means necessary."
TRUTH Minista Paul Scott's weekly column is "This Ain't Hip Hop" a column for intelligent Hip Hop headz. He can be reached at info@nowarningshotsfired.com His website is NoWarningShotsFired.com Follow on Twitter @truthminista
Showing posts with label black women hip hop. Show all posts
Showing posts with label black women hip hop. Show all posts
Tuesday, February 21, 2012
Tuesday, February 14, 2012
Sex and Hip Hop
Sex and Hip Hop:
The Unreal Reality Show
TRUTH Minista Paul Scott
"It's too many Black women who can say they are mothers but can't say that they're wives"
Retrospect for Life- Common Lauryn Hill
The hottest new show on cable is "Sex and Hip Hop." If you haven't peeped it yet, it's about the daily drama of Brooklyn rapper, "Charlie Manson," his two baby mamas, Latoya and Patrona and his label mate, the first openly gay rapper, "Flamboyance." Originally, the cast included the stable, loving, hardworking Black family next door, the Moores, but they were dropped after the first episode because of low ratings....
Without a doubt, the most watched programs on television are the reality shows. With the popularity of shows such as "Love and Hip Hop" and "Housewives of... wherever," it is apparent that Americans can't get enough of seeing dysfunctional Black folks and dysfunctional Black families doing funky, dysfunctional things. But the question that should be asked is, are these shows really, reality or just the Hip Hop version of "The Big Lie Theory," tell a lie long enough and people will eventually accept it as truth?
It's a little bit of both. However, we cannot confuse the effect with the cause.
The depiction of African people as sex starved savages goes back hundreds of years. According to James Jones in "Bad Blood," it was once believed by physicians that Black people were more sexually promiscuous than whites because " Blacks had originated in a warm, tropical climate and were ,therefore, closer on the evolutionary scale to man's bestial ancestors."
These myths have constantly been dis-proven by scholars.
Michael Bradley in his book "The Ice Man Inheritance" wrote that "love" was such a natural process for ancient civilizations such as the Egyptians that they did not even need a word for it. However it was the Western Man's (European) "sexual reproduction aggression and frustration" that made their use of the word necessary as it served as a temporary "truce" between men and women just long enough to make a babies.
Even with evidence to the contrary, the stereotype of Black sexual deviancy has remained.
During the early 20th century, according to Dr. Harriett Washington in her book "Medical Apartheid, the early eugenics theorists believed that Black women were "sexually indiscriminate and, as bad mothers, were constrained by biology to give birth to defective children." She also wrote that scientists once believed that Black men were more likely than White men to spread vd because of "the Negro's well-known sexual impetuosity."
This stereotype of Black hyper-sexuality was reflected in the music industry, as white teens both embraced Black sexuality and rejected it, simultaneously. Even as far back as the jazz era, Brain Ward wrote in "Just My Soul Responding" the white audience "romanticized its alleged primitivism... sensual rather than mental properties ...and it's supposed lack of sexual inhibition," parroting the wide spread belief that Black people think with their sex organs instead of their brains.
This idea has dominated Hip Hop since its origins. Twenty years before Big Sean was telling women to "bounce it and make it boomerang," Luke "Skywalker " Campbell and the 2 Live Crew were yellin' "Me So Horny." And decades before Niki Minaj dropped that "Super Bass," Salt and Pepa were demanding that dudes "push it real good."
Perhaps the most destructive idea pushed in Hip Hop is that Black men really don't even need women, as many are still following the Snoop Dog mantra "we don't love them hoes" This can be attributed to an entertainment industry that consciously or unconsciously supports the prison industrial complex by propagating the "jail house mentality." Because many young Black men spend 5-10 years in prison without the pleasure of women, the "thug luv," "money over hoes" and other ideologies serve as coping mechanisms. Unfortunately, as Dr. Frances Cress Welsing wrote in "The Isis Papers, "young males only become more alienated from their manhood and feminized in such settings."
One of the most spirited discussions in Hip Hop over the last few years is over the issue of homosexuality/homophobia. The word "homophobia" can be deceiving, in itself, as "phobia" means "fear", which you rarely hear expressed in rap music. Outside of a handful of songs such as Brand Nubian's "Punks Jump up to Get Beat Down" you can hardly find any evidence of "gay bashing." However you can find plenty of examples of "black on black blastin'" So, what you have is not fear or hate but a culture clash between an art form based on an African cultural heritage where homosexuality was never the norm and a "Western" culture where it was practiced freely. (Noted historian J.A. Rogers wrote in "Sex and Race" Vol III that the practice was "rampant in ancient Greece and Rome." )
The over emphasis on homophobia is problematic because it overshadows real pathologies facing the Black community.
Although Black celebrities such as Magic Johnson should be commended for trying to rally rappers against "homophobia" and AIDS, this should not take the place of the more specific problems facing Black folks such as the physical abuse of Black women and the disproportionate rate of heterosexual HIV infection among them.
Also, while rappers such as Waka Flocka Flame have co-signed the "anti-bullying" call for tolerance of those who are "different" this must not overshadow Hip Hop's responsibility to address the much more prevalant violence between Black males who are basically the same. Also, we cannot ask young Black men to accept men wearing dresses before we even teach them about Black men wearing shirts and ties.
Our main challenge today must be to address the dysfunction of the Black family and the conflict between Black men and women. whether real or imagined and repair the damage that has been done. And just buying a box of over priced chocolate covered cherries or rushing out to grab some last minute Valentine bling, won't solve the problem.
As Dr. Cress Welsing wrote " if we are successful in finding the true cause of the alienation and neutralizing that cause, then Black male /Black female alienation will yield to true harmony."
And we must begin begin by teaching Black children to accept and respect themselves.
If not ,we will forever be trying to correct the behavior of people who, as Lil Wayne would say never learned "how to love."
TRUTH Minista Paul Scott's weekly column is "This Ain't Hip Hop," a column for intelligent Hip Hop headz. His website is NoWarningShotsFired.com He can be reached at info@nowarningshotsfired.com or on Twitter @truthminista
The Unreal Reality Show
TRUTH Minista Paul Scott
"It's too many Black women who can say they are mothers but can't say that they're wives"
Retrospect for Life- Common Lauryn Hill
The hottest new show on cable is "Sex and Hip Hop." If you haven't peeped it yet, it's about the daily drama of Brooklyn rapper, "Charlie Manson," his two baby mamas, Latoya and Patrona and his label mate, the first openly gay rapper, "Flamboyance." Originally, the cast included the stable, loving, hardworking Black family next door, the Moores, but they were dropped after the first episode because of low ratings....
Without a doubt, the most watched programs on television are the reality shows. With the popularity of shows such as "Love and Hip Hop" and "Housewives of... wherever," it is apparent that Americans can't get enough of seeing dysfunctional Black folks and dysfunctional Black families doing funky, dysfunctional things. But the question that should be asked is, are these shows really, reality or just the Hip Hop version of "The Big Lie Theory," tell a lie long enough and people will eventually accept it as truth?
It's a little bit of both. However, we cannot confuse the effect with the cause.
The depiction of African people as sex starved savages goes back hundreds of years. According to James Jones in "Bad Blood," it was once believed by physicians that Black people were more sexually promiscuous than whites because " Blacks had originated in a warm, tropical climate and were ,therefore, closer on the evolutionary scale to man's bestial ancestors."
These myths have constantly been dis-proven by scholars.
Michael Bradley in his book "The Ice Man Inheritance" wrote that "love" was such a natural process for ancient civilizations such as the Egyptians that they did not even need a word for it. However it was the Western Man's (European) "sexual reproduction aggression and frustration" that made their use of the word necessary as it served as a temporary "truce" between men and women just long enough to make a babies.
Even with evidence to the contrary, the stereotype of Black sexual deviancy has remained.
During the early 20th century, according to Dr. Harriett Washington in her book "Medical Apartheid, the early eugenics theorists believed that Black women were "sexually indiscriminate and, as bad mothers, were constrained by biology to give birth to defective children." She also wrote that scientists once believed that Black men were more likely than White men to spread vd because of "the Negro's well-known sexual impetuosity."
This stereotype of Black hyper-sexuality was reflected in the music industry, as white teens both embraced Black sexuality and rejected it, simultaneously. Even as far back as the jazz era, Brain Ward wrote in "Just My Soul Responding" the white audience "romanticized its alleged primitivism... sensual rather than mental properties ...and it's supposed lack of sexual inhibition," parroting the wide spread belief that Black people think with their sex organs instead of their brains.
This idea has dominated Hip Hop since its origins. Twenty years before Big Sean was telling women to "bounce it and make it boomerang," Luke "Skywalker " Campbell and the 2 Live Crew were yellin' "Me So Horny." And decades before Niki Minaj dropped that "Super Bass," Salt and Pepa were demanding that dudes "push it real good."
Perhaps the most destructive idea pushed in Hip Hop is that Black men really don't even need women, as many are still following the Snoop Dog mantra "we don't love them hoes" This can be attributed to an entertainment industry that consciously or unconsciously supports the prison industrial complex by propagating the "jail house mentality." Because many young Black men spend 5-10 years in prison without the pleasure of women, the "thug luv," "money over hoes" and other ideologies serve as coping mechanisms. Unfortunately, as Dr. Frances Cress Welsing wrote in "The Isis Papers, "young males only become more alienated from their manhood and feminized in such settings."
One of the most spirited discussions in Hip Hop over the last few years is over the issue of homosexuality/homophobia. The word "homophobia" can be deceiving, in itself, as "phobia" means "fear", which you rarely hear expressed in rap music. Outside of a handful of songs such as Brand Nubian's "Punks Jump up to Get Beat Down" you can hardly find any evidence of "gay bashing." However you can find plenty of examples of "black on black blastin'" So, what you have is not fear or hate but a culture clash between an art form based on an African cultural heritage where homosexuality was never the norm and a "Western" culture where it was practiced freely. (Noted historian J.A. Rogers wrote in "Sex and Race" Vol III that the practice was "rampant in ancient Greece and Rome." )
The over emphasis on homophobia is problematic because it overshadows real pathologies facing the Black community.
Although Black celebrities such as Magic Johnson should be commended for trying to rally rappers against "homophobia" and AIDS, this should not take the place of the more specific problems facing Black folks such as the physical abuse of Black women and the disproportionate rate of heterosexual HIV infection among them.
Also, while rappers such as Waka Flocka Flame have co-signed the "anti-bullying" call for tolerance of those who are "different" this must not overshadow Hip Hop's responsibility to address the much more prevalant violence between Black males who are basically the same. Also, we cannot ask young Black men to accept men wearing dresses before we even teach them about Black men wearing shirts and ties.
Our main challenge today must be to address the dysfunction of the Black family and the conflict between Black men and women. whether real or imagined and repair the damage that has been done. And just buying a box of over priced chocolate covered cherries or rushing out to grab some last minute Valentine bling, won't solve the problem.
As Dr. Cress Welsing wrote " if we are successful in finding the true cause of the alienation and neutralizing that cause, then Black male /Black female alienation will yield to true harmony."
And we must begin begin by teaching Black children to accept and respect themselves.
If not ,we will forever be trying to correct the behavior of people who, as Lil Wayne would say never learned "how to love."
TRUTH Minista Paul Scott's weekly column is "This Ain't Hip Hop," a column for intelligent Hip Hop headz. His website is NoWarningShotsFired.com He can be reached at info@nowarningshotsfired.com or on Twitter @truthminista
Wednesday, February 1, 2012
Black History Month Message to Radio Stations
Dear Radio Personality,
As you know, we have entered into another Black History Month, a month set aside to honor the contributions of African Americans. One thing that I would like to point out is that Hip Hop is part of Black History, too. Therefore, we are asking that you add music to your playlist that reflects the richness of Black culture. Our children need to know that there is more to Black music than Lil Wayne, Rick Ross and Niki Minaj. What about Public Enemy, Rakim and the X-Clan? Not to mention local underground acts with a socially relevant message.
Our children are in desperate need of knowledge about their history and culture. Also, with the current political climate in this country, they must become more politically aware. It is difficult to try to convince our children to strive for educational excellence when they are being "dumbed down" everyday by the music that they hear on the radio. This month, your station can help change the mind state of thousands of young people by just adding some Hip Hop with substance to your rotation.
Please choose to be part of the solution rather than part of the problem.
Thank you,
TRUTH Minista Paul Scott
No Warning Shots Fired.com
Durham NC
(919) 451-8283
As you know, we have entered into another Black History Month, a month set aside to honor the contributions of African Americans. One thing that I would like to point out is that Hip Hop is part of Black History, too. Therefore, we are asking that you add music to your playlist that reflects the richness of Black culture. Our children need to know that there is more to Black music than Lil Wayne, Rick Ross and Niki Minaj. What about Public Enemy, Rakim and the X-Clan? Not to mention local underground acts with a socially relevant message.
Our children are in desperate need of knowledge about their history and culture. Also, with the current political climate in this country, they must become more politically aware. It is difficult to try to convince our children to strive for educational excellence when they are being "dumbed down" everyday by the music that they hear on the radio. This month, your station can help change the mind state of thousands of young people by just adding some Hip Hop with substance to your rotation.
Please choose to be part of the solution rather than part of the problem.
Thank you,
TRUTH Minista Paul Scott
No Warning Shots Fired.com
Durham NC
(919) 451-8283
Sunday, January 29, 2012
Black History Month Radio Rebellion
There was a time during the 80's when rap music had a strong political message. It was not unusual to hear groups such as Public Enemy on the radio with empowering messages to inspire the youth and teach them about Black culture. However, during the 90's that begin to change. Now mostly what you hear on the radio are songs about violence, misogyny and lifestyles that 99% of the listeners can't afford.
This Black History Month a Durham NC activist is trying to change that tune. Minister Paul Scott of Durham NC has launched the Black History Month Radio Rebellion where he is asking Hip Hop fans to contact local radio stations to demand that they play more politically and socially conscious music.
Contrary to popular belief, there are Hip Hop groups that talk about more than misogyny, murder and mayhem, such as NC's own political Hip Hop group, Homebase
http://www.homebaseMG.com
Unfortunately, messages like this are drowned out by the heavy rotation of Lil Wayne, Rick Ross and Niki Minaj.
This Black History month, Scott is hoping to put the positive aspects of Black culture back into Hip Hop. After all, Hip Hop is part part of Black History, too.
Paul Scott (TRUTH Minista) is an activist and writer based in Durham NC. His weekly, nationally syndicated column is "This Ain't Hip Hop: a column for intelligent Hip Hop headz." He is also a contributing writer for the recently released anthology "The Black Church and Hip Hop Culture: Towards Bridging the Generational Divide." (Scarecrow Press)
Scott can be reached at (919) 451-8283 or info@nowarningshotsfired.com
website http://www.nowarningshotsfired.com
This Black History Month a Durham NC activist is trying to change that tune. Minister Paul Scott of Durham NC has launched the Black History Month Radio Rebellion where he is asking Hip Hop fans to contact local radio stations to demand that they play more politically and socially conscious music.
Contrary to popular belief, there are Hip Hop groups that talk about more than misogyny, murder and mayhem, such as NC's own political Hip Hop group, Homebase
http://www.homebaseMG.com
Unfortunately, messages like this are drowned out by the heavy rotation of Lil Wayne, Rick Ross and Niki Minaj.
This Black History month, Scott is hoping to put the positive aspects of Black culture back into Hip Hop. After all, Hip Hop is part part of Black History, too.
Paul Scott (TRUTH Minista) is an activist and writer based in Durham NC. His weekly, nationally syndicated column is "This Ain't Hip Hop: a column for intelligent Hip Hop headz." He is also a contributing writer for the recently released anthology "The Black Church and Hip Hop Culture: Towards Bridging the Generational Divide." (Scarecrow Press)
Scott can be reached at (919) 451-8283 or info@nowarningshotsfired.com
website http://www.nowarningshotsfired.com
Sunday, October 31, 2010
Why Hip Hop Must Return to Rap
Why Hip Hop Must Return to Rap:
Lyrics of Fury
TRUTH Minista Paul Scott
Last week , Hip Hop headz gathered for the 20th annual, "Emergency Meeting to Save Hip Hop" Conference to discuss, once again, ways to save the dying art form. All was going well until underground emcee "Intellect" suggested that the lack of lyricism was destroying Hip Hop culture. Outraged, platinum selling artist, " Mo' Ron Nik," busted him upside the head with a bottle of Rose' and left the building with his gangsta goons as the crowd applauded his "reppin' real Hip Hop." Not realizing that they were part of the problem....
The debate over Hip Hop vs Rap has been a source of heated arguments for almost a generation. However, most of these arguments never rise above the level of semantics or someone quoting KRS's oft used line "Hip Hop is what you live, rap is what you do."
However when Hip Hop artists stop "doing rap" we are stuck with a bunch of knucklheadz promoting swagga over substance. What we have seen over the last decade is a steady decrease in lyricism, which is why Hip Hop has ceased to be a source of social change and is now just a weak marketing tool used to pimp ignorance, death and destruction. In essence, we have lost respect for the power of the spoken word.
Respect for "the word" goes back thousands of years. The scriptures teach us that "in the beginning was the word." Also in his book , "The Afrocentric Idea" Dr. Molefi Asante discusses the concept of nommo in traditional African societies which he defines as, "the generative and productive power of the spoken word."
Although the power of the word has been traditionally revered by civilized societies, it has also been feared by those who seek to exploit the masses of the people. The goal of the oppressor has always been to control "rapping" or the transmission of thoughts and ideas that challenge their rule.
Kwame Nkruimah said in his book "Consciencism ," "social revolution must, therefore, have standing firmly behind it , an intellectual revolution; a revolution in which our thinking and philosophy are directed towards the redemption or our society" which is in sharp contrast to the Hip Hop artists of today who are determined to put us back on the plantation.
While some may argue that Rap is just one of the elements of Hip Hop which also, includes "B-Boying, Graffiti and DeeJaying," it must be noted that break-dancing never sparked a social revolution, graffiti on a subway has never challenged the socio-political domination of the world elite and neither has deejaying ever contributed to the protracted struggle against Imperialism. However, rapping in the form of words of power that "moved the crowd" (to borrow from Eric B and Rakim) has done all the above.
We must be clear, it was not Hip Hop "swagga" that sent shock waves throughout America during the late 80's-early 90's but the rap analyses of artists such as Professor Griff and Sister Souljah. Also, the mixing of rap lyrics with the speeches of Malcolm X, Dr. Khalid Muhammad and Minister Louis Farrakhan during that period, blurred the line between where rap ended and revolution began. Not to mention that many artists of the period were, merely , doing rhythmic versions of the information of black scholars and researchers such as George GM James, Steve Cokely and Dr. Frances Cress Welsing, making it more palatable to the masses.
It is for this reason that the industry has waged war against lyrics , with MTV even elevating self- proclaimed ,non-lyrical Hip Hopper Waka Flocka Flame to one of the top 10 artists of 2010.
One must remember that back in 2002, the same company censored Public Enemy's video "Gotta Give the Peeps" which included the lyrics "Free Mumia (Abu-Jamal) and H. Rap Brown (Jamil Al Amin)." Although, members of Public Enemy were know for their intellectual statements, perhaps the greatest fear of the industry is that on any given day, even a dumb rapper might say something smart.
We must remember that back in 2007, it was alleged that a certain "Lyric Committee" at Interscope records prevented the release of an anti-police brutality song by former G Unit member, Young Buck.
In our current political climate, it is more important now than ever to hear strong black voices. It is doubtful that Hip Hop can be that instrument, as commercialism has rendered it impotent. According to activist, Sham Pu Keilyn, "Rap is the art form not Hip Hop." He argues that while anybody can claim Hip Hop, only a "highly skilled melanated being can truly rap."
This is why we are advocating that members of the "conscious" Hip Hop community reclaim the term RAP, which, in this case, could stand for "Revelation And Power." We are calling for a "conscious coup;" an overthrowing of the Hip Hop oligarchy.
Karl Marx once suggested that the seed of the destruction of Capitalism lies within its own contradictions, so it is with Hip Hop, as it strives to be simultaneously, the voice of the oppressed and the tool of the oppressor.
Although some Hip Hop purists will consider tampering with Hip Hop, sacrilege, it must be done. While, some my feel that they have an inherent right to define Hip Hop, no man has a monopoly on Rap ( nommo, the spoken word) as it originates from the Creator and has been passed down through the ancestors. It is on this principle that we take our uncompromising stand.
Even the most dogmatic defenders of Hip Hop will have to admit that it is time for a change. We can no longer engage in what Dr. Frances Cress Welsing ,in her essay "Black Fear and the Failure of Black Analytical Commitment'" calls "circular thought: moving from problem perception, away from problem solution and back to problem perception." She argues that " there is never constant motion towards problem solution because to do so would " challenge and alter the power dynamic of oppression. "
So, as they say, "it's been real" but this is where we part ways. Those who want to use music to elevate the consciousness of the people rollin' with RAP and those who want to keep the masses deaf, dumb and blind going down with the sinking ship of Hip Hop.
Unless we reclaim Rap we will be still complaining about "what's wrong with Hip Hop" 20 years from now and even then, as Fred Hampton once said, still "coming up with answers that don't answer, explanations that don't explain and conclusions that don't conclude."
TRUTH Minista Paul Scott can be reached at info@nowarningshotsfired.com or (919) 451-8283 For more information on the Intelligence Over Ignorance lecture series contact info@nowarningshotsfired.com
Lyrics of Fury
TRUTH Minista Paul Scott
Last week , Hip Hop headz gathered for the 20th annual, "Emergency Meeting to Save Hip Hop" Conference to discuss, once again, ways to save the dying art form. All was going well until underground emcee "Intellect" suggested that the lack of lyricism was destroying Hip Hop culture. Outraged, platinum selling artist, " Mo' Ron Nik," busted him upside the head with a bottle of Rose' and left the building with his gangsta goons as the crowd applauded his "reppin' real Hip Hop." Not realizing that they were part of the problem....
The debate over Hip Hop vs Rap has been a source of heated arguments for almost a generation. However, most of these arguments never rise above the level of semantics or someone quoting KRS's oft used line "Hip Hop is what you live, rap is what you do."
However when Hip Hop artists stop "doing rap" we are stuck with a bunch of knucklheadz promoting swagga over substance. What we have seen over the last decade is a steady decrease in lyricism, which is why Hip Hop has ceased to be a source of social change and is now just a weak marketing tool used to pimp ignorance, death and destruction. In essence, we have lost respect for the power of the spoken word.
Respect for "the word" goes back thousands of years. The scriptures teach us that "in the beginning was the word." Also in his book , "The Afrocentric Idea" Dr. Molefi Asante discusses the concept of nommo in traditional African societies which he defines as, "the generative and productive power of the spoken word."
Although the power of the word has been traditionally revered by civilized societies, it has also been feared by those who seek to exploit the masses of the people. The goal of the oppressor has always been to control "rapping" or the transmission of thoughts and ideas that challenge their rule.
Kwame Nkruimah said in his book "Consciencism ," "social revolution must, therefore, have standing firmly behind it , an intellectual revolution; a revolution in which our thinking and philosophy are directed towards the redemption or our society" which is in sharp contrast to the Hip Hop artists of today who are determined to put us back on the plantation.
While some may argue that Rap is just one of the elements of Hip Hop which also, includes "B-Boying, Graffiti and DeeJaying," it must be noted that break-dancing never sparked a social revolution, graffiti on a subway has never challenged the socio-political domination of the world elite and neither has deejaying ever contributed to the protracted struggle against Imperialism. However, rapping in the form of words of power that "moved the crowd" (to borrow from Eric B and Rakim) has done all the above.
We must be clear, it was not Hip Hop "swagga" that sent shock waves throughout America during the late 80's-early 90's but the rap analyses of artists such as Professor Griff and Sister Souljah. Also, the mixing of rap lyrics with the speeches of Malcolm X, Dr. Khalid Muhammad and Minister Louis Farrakhan during that period, blurred the line between where rap ended and revolution began. Not to mention that many artists of the period were, merely , doing rhythmic versions of the information of black scholars and researchers such as George GM James, Steve Cokely and Dr. Frances Cress Welsing, making it more palatable to the masses.
It is for this reason that the industry has waged war against lyrics , with MTV even elevating self- proclaimed ,non-lyrical Hip Hopper Waka Flocka Flame to one of the top 10 artists of 2010.
One must remember that back in 2002, the same company censored Public Enemy's video "Gotta Give the Peeps" which included the lyrics "Free Mumia (Abu-Jamal) and H. Rap Brown (Jamil Al Amin)." Although, members of Public Enemy were know for their intellectual statements, perhaps the greatest fear of the industry is that on any given day, even a dumb rapper might say something smart.
We must remember that back in 2007, it was alleged that a certain "Lyric Committee" at Interscope records prevented the release of an anti-police brutality song by former G Unit member, Young Buck.
In our current political climate, it is more important now than ever to hear strong black voices. It is doubtful that Hip Hop can be that instrument, as commercialism has rendered it impotent. According to activist, Sham Pu Keilyn, "Rap is the art form not Hip Hop." He argues that while anybody can claim Hip Hop, only a "highly skilled melanated being can truly rap."
This is why we are advocating that members of the "conscious" Hip Hop community reclaim the term RAP, which, in this case, could stand for "Revelation And Power." We are calling for a "conscious coup;" an overthrowing of the Hip Hop oligarchy.
Karl Marx once suggested that the seed of the destruction of Capitalism lies within its own contradictions, so it is with Hip Hop, as it strives to be simultaneously, the voice of the oppressed and the tool of the oppressor.
Although some Hip Hop purists will consider tampering with Hip Hop, sacrilege, it must be done. While, some my feel that they have an inherent right to define Hip Hop, no man has a monopoly on Rap ( nommo, the spoken word) as it originates from the Creator and has been passed down through the ancestors. It is on this principle that we take our uncompromising stand.
Even the most dogmatic defenders of Hip Hop will have to admit that it is time for a change. We can no longer engage in what Dr. Frances Cress Welsing ,in her essay "Black Fear and the Failure of Black Analytical Commitment'" calls "circular thought: moving from problem perception, away from problem solution and back to problem perception." She argues that " there is never constant motion towards problem solution because to do so would " challenge and alter the power dynamic of oppression. "
So, as they say, "it's been real" but this is where we part ways. Those who want to use music to elevate the consciousness of the people rollin' with RAP and those who want to keep the masses deaf, dumb and blind going down with the sinking ship of Hip Hop.
Unless we reclaim Rap we will be still complaining about "what's wrong with Hip Hop" 20 years from now and even then, as Fred Hampton once said, still "coming up with answers that don't answer, explanations that don't explain and conclusions that don't conclude."
TRUTH Minista Paul Scott can be reached at info@nowarningshotsfired.com or (919) 451-8283 For more information on the Intelligence Over Ignorance lecture series contact info@nowarningshotsfired.com
Friday, June 11, 2010
How the South Destroyed Rap
How the South Destroyed Rap:
Time to Stop Hee Haw Hip Hop
Paul Scott
"All my brothas eatin' chicken and watermelon
Talk broken English and drug sellin'"
My Philosophy- Boogie Down Productions
Hip Hop is many things to many people depending on which side of the planet you rest your head. New York is honored for being the birth place of the genre. Cali is known as being the place that capitalized off of gangsta-ism (for better or worst.) And the South is known for what can best be described as "Hee Haw Hip Hop"; that throw back to the era when people lived in the land of cotton, old times there are not forgotten.
Welcome to Dixie Land.
While many Hip Hop headz will, vehemently, argue against criticizing any one region for the demise of the genre, it must be admitted that the worst form of Hip Hop for the last decade has originated below the Mason Dixon line. While other forms of Hip Hop have at least tried to convey some sort of message, Southern Hip Hop is as devoid of style as it is substance, that is, unless you consider dudes with gold teeth rappin' like they have a mouth full of snuff some sort of swagga chic.
The rappers of the South Coast seem to go out of their way to rep the stereotype of country folks having the intelligence level of a watermelon to the fullest. Every time, I hear a Gucci Mayne or Plies song on the radio, I think that my IQ drops a couple of levels.
It must be noted that this has not always been the case.
The history of southern Hip Hop can be traced back as far as the early 80's with an artist named Shy D and his Planet Rock type rhythms. He was followed by Luke "Skywalker" Campbell and the 2 Live Crew who gained world wide fame for their mixture of Hip Hop and hedonism and their attempts to push the 1st Amendment to the limit by claiming that they could be "as nasty as they wanna be."
Like NY Hip Hop, the South also had a brief conscious era ushered in by the Dungeon Family (Outkast, Goodie MOB) in the mid 90's. However, just as gangsta rap replaced East Coast conscious Hip Hop in the early 90's, "Crunk Music" replaced the socially conscious rap of the South by the late 90's.
Much of the credit for this can be attributed to the mastermind Steve Gottlieb, at the time, owner of TVT records, a company that started off selling TV show themes but found out that they could make a whole lot more money popularizing retarded rap (Ying Yang Twins) and making, otherwise, intelligent black men (Lil Jon, reportedly has a Masters Degree) sound mentally challenged.
The question we should ask ourselves is how can an area with more than its share of black institutions of higher learning (especially the ATL) now be famous for producing music only suitable to step and fetch to?
Historically, perhaps, it has something to do with the post Civil War Era as many black folks left the South to go North where getting an industrial job required a higher level of education than it took to pick tobacco.
Also, according to Dr. Noliwe Rooks in her book, "White Money, Black Power," "southern whites feared that education for blacks would provide African Americans with the means to, eventually, upset white supremacy."
Dr. Claude Anderson in his book "Black Labor, White Wealth" argues that after slavery, "cultural customs and laws forced the newly emancipated blacks to conform to the historical image of blacks as common labors."
So the plot was clear, keep black folks deaf, dumb and blind to preserve white socio-economic hegemony. We see the same method of operation today with "Operation Dumb Down," today. This is why most commercially successful southern rappers sound like they are just two feet off the plantation.
In an effort to preserve the status quo, the powers that be are determined to destroy Hip Hop and take the minds of black children down with it.
If the rationale for "Operation Dumb Down," is, indeed economic, then the counter solution must also be economically based.
As Jay Z said, "men lie, women lie, numbers don't."
Instead of buying music to put us to sleep, we must support artists that are trying to wake us up, whether it be internationally known Hip Hop pioneers like Rakim or up and coming MC's like Pittsburgh's Jasiri X. With the educational challenges that our young people face, we must also start buying more books and less video games. This makes a whole lot more sense in tough economic times than spending what's left of our hard earned cash on bamboozled bammas who happen to have hot beats.
Now we are aware that some folks are going to miss the point of this call to action and dismiss this as a case of "hatin' on Hip Hop" as that is what they have been programmed to do. Some will even argue that we are in control of the images of us that are projected around the world.
Dr. Bobby Wright put it best in his book, "The Psychopathic Racial Personality," where he discussed "behavior modification" by quoting psychologist Dr. BF Skinner who wrote "it is possible to delude people into believing that they have the essence of life-Freedom and dignity-and still control them."
So, as in the days of Harriet Tubman the condition of our people remains the same.
Some folks just don't want to be emancipated from mental slavery.
As the great heroine once said.
"I freed a thousand slaves..I could have freed a thousand more if only they knew they were slaves."
TRUTH Minista Paul Scott writes for No Warning Shots Fired.com. He can be reached at (919) 451-8283 or info@nowarningshotsfired.com
Check Out these videos by Pittsburgh rapper Jasiri X discussing the issue of "minstrel" Hip Hop
Just a Minstrel
Jasiri X speaks onthe video controversy
Time to Stop Hee Haw Hip Hop
Paul Scott
"All my brothas eatin' chicken and watermelon
Talk broken English and drug sellin'"
My Philosophy- Boogie Down Productions
Hip Hop is many things to many people depending on which side of the planet you rest your head. New York is honored for being the birth place of the genre. Cali is known as being the place that capitalized off of gangsta-ism (for better or worst.) And the South is known for what can best be described as "Hee Haw Hip Hop"; that throw back to the era when people lived in the land of cotton, old times there are not forgotten.
Welcome to Dixie Land.
While many Hip Hop headz will, vehemently, argue against criticizing any one region for the demise of the genre, it must be admitted that the worst form of Hip Hop for the last decade has originated below the Mason Dixon line. While other forms of Hip Hop have at least tried to convey some sort of message, Southern Hip Hop is as devoid of style as it is substance, that is, unless you consider dudes with gold teeth rappin' like they have a mouth full of snuff some sort of swagga chic.
The rappers of the South Coast seem to go out of their way to rep the stereotype of country folks having the intelligence level of a watermelon to the fullest. Every time, I hear a Gucci Mayne or Plies song on the radio, I think that my IQ drops a couple of levels.
It must be noted that this has not always been the case.
The history of southern Hip Hop can be traced back as far as the early 80's with an artist named Shy D and his Planet Rock type rhythms. He was followed by Luke "Skywalker" Campbell and the 2 Live Crew who gained world wide fame for their mixture of Hip Hop and hedonism and their attempts to push the 1st Amendment to the limit by claiming that they could be "as nasty as they wanna be."
Like NY Hip Hop, the South also had a brief conscious era ushered in by the Dungeon Family (Outkast, Goodie MOB) in the mid 90's. However, just as gangsta rap replaced East Coast conscious Hip Hop in the early 90's, "Crunk Music" replaced the socially conscious rap of the South by the late 90's.
Much of the credit for this can be attributed to the mastermind Steve Gottlieb, at the time, owner of TVT records, a company that started off selling TV show themes but found out that they could make a whole lot more money popularizing retarded rap (Ying Yang Twins) and making, otherwise, intelligent black men (Lil Jon, reportedly has a Masters Degree) sound mentally challenged.
The question we should ask ourselves is how can an area with more than its share of black institutions of higher learning (especially the ATL) now be famous for producing music only suitable to step and fetch to?
Historically, perhaps, it has something to do with the post Civil War Era as many black folks left the South to go North where getting an industrial job required a higher level of education than it took to pick tobacco.
Also, according to Dr. Noliwe Rooks in her book, "White Money, Black Power," "southern whites feared that education for blacks would provide African Americans with the means to, eventually, upset white supremacy."
Dr. Claude Anderson in his book "Black Labor, White Wealth" argues that after slavery, "cultural customs and laws forced the newly emancipated blacks to conform to the historical image of blacks as common labors."
So the plot was clear, keep black folks deaf, dumb and blind to preserve white socio-economic hegemony. We see the same method of operation today with "Operation Dumb Down," today. This is why most commercially successful southern rappers sound like they are just two feet off the plantation.
In an effort to preserve the status quo, the powers that be are determined to destroy Hip Hop and take the minds of black children down with it.
If the rationale for "Operation Dumb Down," is, indeed economic, then the counter solution must also be economically based.
As Jay Z said, "men lie, women lie, numbers don't."
Instead of buying music to put us to sleep, we must support artists that are trying to wake us up, whether it be internationally known Hip Hop pioneers like Rakim or up and coming MC's like Pittsburgh's Jasiri X. With the educational challenges that our young people face, we must also start buying more books and less video games. This makes a whole lot more sense in tough economic times than spending what's left of our hard earned cash on bamboozled bammas who happen to have hot beats.
Now we are aware that some folks are going to miss the point of this call to action and dismiss this as a case of "hatin' on Hip Hop" as that is what they have been programmed to do. Some will even argue that we are in control of the images of us that are projected around the world.
Dr. Bobby Wright put it best in his book, "The Psychopathic Racial Personality," where he discussed "behavior modification" by quoting psychologist Dr. BF Skinner who wrote "it is possible to delude people into believing that they have the essence of life-Freedom and dignity-and still control them."
So, as in the days of Harriet Tubman the condition of our people remains the same.
Some folks just don't want to be emancipated from mental slavery.
As the great heroine once said.
"I freed a thousand slaves..I could have freed a thousand more if only they knew they were slaves."
TRUTH Minista Paul Scott writes for No Warning Shots Fired.com. He can be reached at (919) 451-8283 or info@nowarningshotsfired.com
Check Out these videos by Pittsburgh rapper Jasiri X discussing the issue of "minstrel" Hip Hop
Just a Minstrel
Jasiri X speaks onthe video controversy
Saturday, May 8, 2010
The Promise of Hip Hop
The Promise of Hip Hop
Paul Scott
In a Hip Hop world full of testosterone, it is rare to find a female rapper, especially one with her head on straight. One such artist is New York's Promise.
Originally born in the Sunshine State, Promise, who also goes by the stage name "Pretty Beast" (because when it comes to rhymin', she's a beast on the mic) moved to the Big Apple at the age of three. Like many youngsters, she fell in love with Hip Hop in junior high school. She names Queen Latifah, MC Lyte and Lauren Hill as her major influences.
"I started off with poetry but I love music, says Promise. "There was no other way to get my feelings out."
Although, the artist would not go into detail about the feelings that she needed to express she says that she has been "through a lot of things" dealing with "abuse in some way."
One thing that she would open up about was the issue of the adoption of African American children. As an adopted child, herself, she weighed in on the current trend of white entertainers like Angelina Jolie, Madonna and now, Sandra Bullock adopting black babies.
"All people should be allowed to adopt black babies, " says Promise. "Love is love."
The "twenty something" emcee also spoke about the few female rappers that are currently receiving radio play. Although Hip Hop legends such as Queen Latifah, rapped about respect, the raunchy subject matter of artists such as Nicki Minaj is the polar opposite. However, Promise says that she's not gonna knock their hustle.
"Art is art and everyone has a different perspective, she says. "Personally, I wouldn't do it. I'm different."
Even socially conscious rapper, Erykah Badu, recently raised some eyebrows when she sang semi-nude in her latest video, "Window seat."
"I know what her vision was; expression of her self expression," says Promise. "But am I going to let my five year old cousin watch it?"
The artist's sense of social responsibility goes way beyond rap music, as she is also head of an organization called "Promise Makes a Difference Through Music."
Promise says that she formed the organization because of her experience working at a group home for six years.
The owner of a production company says that she teaches young women how to produce music and has taken her program from Long Island to other parts of New York. This is her way of teaching young girls to express themselves in a positive manner.
"Sometimes we don't take time to tune in to what young people want, feel and need," she says.
Promise personifies the classic line from Hip Hop group, Dead Prez, "It's bigger than Hip hop."
"Music is just a tool. Behind it is education."
To reach Promise, contact promiseworld@hotmail.com http://www.myspace.com/ladypromise or 877-352-4842 ext 125.
Paul Scott writes for No Warning Shots Fired.com
Paul Scott
In a Hip Hop world full of testosterone, it is rare to find a female rapper, especially one with her head on straight. One such artist is New York's Promise.
Originally born in the Sunshine State, Promise, who also goes by the stage name "Pretty Beast" (because when it comes to rhymin', she's a beast on the mic) moved to the Big Apple at the age of three. Like many youngsters, she fell in love with Hip Hop in junior high school. She names Queen Latifah, MC Lyte and Lauren Hill as her major influences.
"I started off with poetry but I love music, says Promise. "There was no other way to get my feelings out."
Although, the artist would not go into detail about the feelings that she needed to express she says that she has been "through a lot of things" dealing with "abuse in some way."
One thing that she would open up about was the issue of the adoption of African American children. As an adopted child, herself, she weighed in on the current trend of white entertainers like Angelina Jolie, Madonna and now, Sandra Bullock adopting black babies.
"All people should be allowed to adopt black babies, " says Promise. "Love is love."
The "twenty something" emcee also spoke about the few female rappers that are currently receiving radio play. Although Hip Hop legends such as Queen Latifah, rapped about respect, the raunchy subject matter of artists such as Nicki Minaj is the polar opposite. However, Promise says that she's not gonna knock their hustle.
"Art is art and everyone has a different perspective, she says. "Personally, I wouldn't do it. I'm different."
Even socially conscious rapper, Erykah Badu, recently raised some eyebrows when she sang semi-nude in her latest video, "Window seat."
"I know what her vision was; expression of her self expression," says Promise. "But am I going to let my five year old cousin watch it?"
The artist's sense of social responsibility goes way beyond rap music, as she is also head of an organization called "Promise Makes a Difference Through Music."
Promise says that she formed the organization because of her experience working at a group home for six years.
The owner of a production company says that she teaches young women how to produce music and has taken her program from Long Island to other parts of New York. This is her way of teaching young girls to express themselves in a positive manner.
"Sometimes we don't take time to tune in to what young people want, feel and need," she says.
Promise personifies the classic line from Hip Hop group, Dead Prez, "It's bigger than Hip hop."
"Music is just a tool. Behind it is education."
To reach Promise, contact promiseworld@hotmail.com http://www.myspace.com/ladypromise or 877-352-4842 ext 125.
Paul Scott writes for No Warning Shots Fired.com
Thursday, April 15, 2010
Is Hip Hop Scared of the Tea Party?
Open Challenge to Hip Hop regarding the lack of attention to the Tea Party
Sunday, December 6, 2009
What's Good About Gucci Mane?
What's Good About Gucci Mane ?:
Music, Marketing and Mind Control
Paul Scott
"It's all a part of fightin' devil state mind control
And all about the battle for your mind, body and soul."
"What Would You Do?" Paris
Meet Radric Davis aka Gucci Mane, a rapper with mediocre talent who is poised to become rap's next superstar. All over the Hip Hop universe, hypnotized fans scream "Gucci!," every time his song comes on the radio. How can this man go from mix tape rags to mega-stardom riches? Only in the Hip Hop Twilight Zone...
On December 8th, Gucci Mane will drop his latest CD, "The State vs Radric Davis." While arguably, not as "street" as his mix tape offerings, the content doesn't differ much from the same ol' Hee Haw Hip Hop coming out of the South dealing with money, drugs and hyper- sexuality.
This bring us to the fundamental question that few have had the guts to ask.
What's so good about Gucci Mane?
It must be noted that not everyone is sippin' on the Gucci Grape Kool Aid. A few months ago students at NC A@T and Florida A@M objected to their tuition money being used to fund the physical and mental genocide of black children by protesting Gucci's inclusion in their homecoming concerts.
But besides a few rebellions on college campuses, it seems that most Hip Hop heads are ready to crown Davis the new ruler of rap.
While most of the mentally dead will credit the popularity of Gucci as just good promotion by Warner Brothers, there is a thin line between marketing and mind control, as they both seek to influence human behavior.
One of the most diabolical masters of mental manipulation was Adolf Hitler's minister of propaganda, Paul Joseph Goebbels, who perfected the idea of the "Big Lie;" a falsehood told enough times will eventually be accepted by the masses as the truth. So if you tell a person that a rapper is hot enough times, (especially the weak minded) he will eventually go out and by the cd.
Why do we not believe that the Nazi's who own the major record labels have a stable of their own ministers of propaganda hard at work marketing madness to the masses under the guise of music?
Mental manipulation has also been used as an agent of social control by the US government. Although unknown by most Americans, the CIA has conducted many psychological experiments under their chemical and biological warfare research programs.
In her book, "Medical Apartheid," Dr. Harriet Washington, quotes the research of Allen Hornblum , who stated that between the 1950's and 70's, Dr. Albert Klingman conducted chemical warfare tests on predominantly black inmates in Philadelphia's Holmesburg Prison as part of the CIA's MK-ULTRA program.
Could this be part of the reason that the Fed's are giving out so many 12 month sentences to rappers, including Gucci Mane, in an effort to convince black youth that spending time in prison is part of a rites of passage ? Or the reason that Davis is on the front of his CD cover dressed in a prison uniform with a handcuff (shackle) on his wrist?
It must be also noted that under MK-Ultra, drugs such as LSD were used as part of the experiments.
In his book, "Behold a Pale Horse," William Cooper alleges that during the height of activist mobilization against the Vietnam War, " Dr. Timothy Leary introduced drug culture to American youth under the CIA project, MK-Ultra."
This allegation is also echoed by Peter Doggett in his book "There's a Riot Going On: Revolutionaries, Rock Stars and the Rise and Fall of the '60's "where he writes " there are conspiracy theories that Leary, himself, was a CIA agent."
Doggett also records Kwame Ture's (Stokely Carmichael) attempts to keep drugs out of the Black community and the Black Power Movement when he warned, " The reason why drug use has reached the proportion that it has today in our communities is that the political consciousness of our people is rising and in order to dull the political consciousness of our people, the oppressor always sends more drugs into the community."
Today, LSD and heroin have been replaced by malt liquor, blunts and crack as the opiates of the people, which is possibly why artists like Davis propagate the idea of getting "wasted." This is an especially crucial point to consider when the racist right wing are in the process of organizing their forces for the 2010 and 2012 election cycles.
In 2009, we are facing what rap researcher Professor Griff calls "the covert psychological war on Hip Hop."
So what do we do?
Can we continue to allow peer pressure from 13 year olds and those with teeny bopper mentalities prevent us from raising the tough questions ?
I say no!
The more you know the more you owe the younger generation an explanation for why the various pathologies from which we suffer exist and the role that the entertainment industry plays in our destruction.
The point of this article is not to offer ,indisputable, proof that Gucci Mane's music is part of some vast conspiratorial plot to destroy black people. (Though it does not refute the idea, either.)
But it is foolish not to consider, as a possibility, that mind control techniques could be used by the music industry to sell CD's and, also, by those who wish to keep black people disenfranchised.
We must, continuously, remind our people of the words of the great funk philosopher, George Clinton,
"Mind your wants because there's someone who wants your mind."
TRUTH Minista Paul Scott writes for No Warning Shots Fired.com. He can be reached at (919) 451-8283 or info@nowarningshotsfired.com
For information about the Intelligence Over Ignorance Campaign go to http://www.ioimovement.com
Music, Marketing and Mind Control
Paul Scott
"It's all a part of fightin' devil state mind control
And all about the battle for your mind, body and soul."
"What Would You Do?" Paris
Meet Radric Davis aka Gucci Mane, a rapper with mediocre talent who is poised to become rap's next superstar. All over the Hip Hop universe, hypnotized fans scream "Gucci!," every time his song comes on the radio. How can this man go from mix tape rags to mega-stardom riches? Only in the Hip Hop Twilight Zone...
On December 8th, Gucci Mane will drop his latest CD, "The State vs Radric Davis." While arguably, not as "street" as his mix tape offerings, the content doesn't differ much from the same ol' Hee Haw Hip Hop coming out of the South dealing with money, drugs and hyper- sexuality.
This bring us to the fundamental question that few have had the guts to ask.
What's so good about Gucci Mane?
It must be noted that not everyone is sippin' on the Gucci Grape Kool Aid. A few months ago students at NC A@T and Florida A@M objected to their tuition money being used to fund the physical and mental genocide of black children by protesting Gucci's inclusion in their homecoming concerts.
But besides a few rebellions on college campuses, it seems that most Hip Hop heads are ready to crown Davis the new ruler of rap.
While most of the mentally dead will credit the popularity of Gucci as just good promotion by Warner Brothers, there is a thin line between marketing and mind control, as they both seek to influence human behavior.
One of the most diabolical masters of mental manipulation was Adolf Hitler's minister of propaganda, Paul Joseph Goebbels, who perfected the idea of the "Big Lie;" a falsehood told enough times will eventually be accepted by the masses as the truth. So if you tell a person that a rapper is hot enough times, (especially the weak minded) he will eventually go out and by the cd.
Why do we not believe that the Nazi's who own the major record labels have a stable of their own ministers of propaganda hard at work marketing madness to the masses under the guise of music?
Mental manipulation has also been used as an agent of social control by the US government. Although unknown by most Americans, the CIA has conducted many psychological experiments under their chemical and biological warfare research programs.
In her book, "Medical Apartheid," Dr. Harriet Washington, quotes the research of Allen Hornblum , who stated that between the 1950's and 70's, Dr. Albert Klingman conducted chemical warfare tests on predominantly black inmates in Philadelphia's Holmesburg Prison as part of the CIA's MK-ULTRA program.
Could this be part of the reason that the Fed's are giving out so many 12 month sentences to rappers, including Gucci Mane, in an effort to convince black youth that spending time in prison is part of a rites of passage ? Or the reason that Davis is on the front of his CD cover dressed in a prison uniform with a handcuff (shackle) on his wrist?
It must be also noted that under MK-Ultra, drugs such as LSD were used as part of the experiments.
In his book, "Behold a Pale Horse," William Cooper alleges that during the height of activist mobilization against the Vietnam War, " Dr. Timothy Leary introduced drug culture to American youth under the CIA project, MK-Ultra."
This allegation is also echoed by Peter Doggett in his book "There's a Riot Going On: Revolutionaries, Rock Stars and the Rise and Fall of the '60's "where he writes " there are conspiracy theories that Leary, himself, was a CIA agent."
Doggett also records Kwame Ture's (Stokely Carmichael) attempts to keep drugs out of the Black community and the Black Power Movement when he warned, " The reason why drug use has reached the proportion that it has today in our communities is that the political consciousness of our people is rising and in order to dull the political consciousness of our people, the oppressor always sends more drugs into the community."
Today, LSD and heroin have been replaced by malt liquor, blunts and crack as the opiates of the people, which is possibly why artists like Davis propagate the idea of getting "wasted." This is an especially crucial point to consider when the racist right wing are in the process of organizing their forces for the 2010 and 2012 election cycles.
In 2009, we are facing what rap researcher Professor Griff calls "the covert psychological war on Hip Hop."
So what do we do?
Can we continue to allow peer pressure from 13 year olds and those with teeny bopper mentalities prevent us from raising the tough questions ?
I say no!
The more you know the more you owe the younger generation an explanation for why the various pathologies from which we suffer exist and the role that the entertainment industry plays in our destruction.
The point of this article is not to offer ,indisputable, proof that Gucci Mane's music is part of some vast conspiratorial plot to destroy black people. (Though it does not refute the idea, either.)
But it is foolish not to consider, as a possibility, that mind control techniques could be used by the music industry to sell CD's and, also, by those who wish to keep black people disenfranchised.
We must, continuously, remind our people of the words of the great funk philosopher, George Clinton,
"Mind your wants because there's someone who wants your mind."
TRUTH Minista Paul Scott writes for No Warning Shots Fired.com. He can be reached at (919) 451-8283 or info@nowarningshotsfired.com
For information about the Intelligence Over Ignorance Campaign go to http://www.ioimovement.com
Thursday, December 3, 2009
The Intelligence Over Ignorance Tour Comes to llinois
A part of the Intelligence Over Ignorance Tour, TRUTH Minista Paul Scott will be giving a lecture titled "The Truth About Hip Hop" on December 3 at Illinois Wesleyan University. He will also be the keynote speaker at the Kwanzaa event later that night.
http://www.iwu.edu/CurrentNews/newsreleases09/evt_KwanzaaCelebration_01109.shtml
http://www.iwu.edu/CurrentNews/newsreleases09/evt_KwanzaaCelebration_01109.shtml
Sunday, September 20, 2009
Intelligence Over Ignorance Interviews the Hip Hop Educator
Rappin' With the Hip Hop Educator
To many people, the terms "Hip Hop" and "education" are polar opposites. However, Miami's, Tony Muhammad thinks differently. Known as the "Hip Hop Educator" Muhammad has been successful at using the art form to educate the children of Florida.
For the full article visit the Intelligence Over Ignorance Website:
http://ioverimovement.blogspot.com/2009/09/rappin-with-hip-hop-educator.html
To many people, the terms "Hip Hop" and "education" are polar opposites. However, Miami's, Tony Muhammad thinks differently. Known as the "Hip Hop Educator" Muhammad has been successful at using the art form to educate the children of Florida.
For the full article visit the Intelligence Over Ignorance Website:
http://ioverimovement.blogspot.com/2009/09/rappin-with-hip-hop-educator.html
Tuesday, September 15, 2009
Will the Real Jackass Please Stand up
In the news tonight, President Barack Obama called someone out today in a major way. No, it wasn't Rush Limbaugh and the rest of the talking heads that have been criticizing his every move. It wasn't the radio show hosts who have been taking turns dissin' the First Family since they stepped into the White House. It wasn't even Rep. Joe Wilson, the dude who yelled out "You Lie!" during Obama's health care speech. No, the target of the president's sharp silver tongue was the real major threat to his health care agenda; Kanye West.
The Hip Hop world is buzzin' about President Obama dissin' West by calling him a jackass via an "off the record remark."
(Word of advice Mr. President, in the cut throat world of journalism, there are no "off the record remarks.")
Now I don't think what Kanye did to Little Taylor Swift was cool at all. Seems that every since West made his infamous "George Bush Doesn't like black people" remark a few years back there has been an attempt to dumb him down. I bet one of the industry big wigs and his goons pulled him into a back room and "strongly" suggested that he kill the political commentary and stick to rapping about money and hos.
So, no excuses for Kanye's behavior.
But that's beside the point.
If the president can brush off talking heads calling the mother of his children a female dog and a preacher saying that he hopes that he dies, why did he feel compelled to call out a rapper?
Well, rappers are easy targets. For most white folks a rapper is synonymous with a young black male who needs to be disciplined. Remember, after the Don Imus "nappy headed ho" scandal, the conversation switched from white male bigotry to a conversation about Hip Hop lyrics almost overnight.
Also, the picture of Kanye West on the cover of today's USA Today over the caption 'What Happened to Civility" could easily be seen as a not -so- veiled attempt to portray young black men as "uncivilized.
Perhaps the worst thing that will come out of the whole West/Swift ordeal is the next time some right wing kook decides to yell "you suck!" at an Obama press conference the good ol' boys will brush away all criticisms with "well, what about when Kanye West...."
I just think that if President Obama wanted to call someone a jackass, he had a whole staff of commentators at Fox News that would have fit the description better than a confused rapper....
Paul Scott writes for No Warning Shots Fired.com. He can be reached at info@nowarningshotsfired.com
The Hip Hop world is buzzin' about President Obama dissin' West by calling him a jackass via an "off the record remark."
(Word of advice Mr. President, in the cut throat world of journalism, there are no "off the record remarks.")
Now I don't think what Kanye did to Little Taylor Swift was cool at all. Seems that every since West made his infamous "George Bush Doesn't like black people" remark a few years back there has been an attempt to dumb him down. I bet one of the industry big wigs and his goons pulled him into a back room and "strongly" suggested that he kill the political commentary and stick to rapping about money and hos.
So, no excuses for Kanye's behavior.
But that's beside the point.
If the president can brush off talking heads calling the mother of his children a female dog and a preacher saying that he hopes that he dies, why did he feel compelled to call out a rapper?
Well, rappers are easy targets. For most white folks a rapper is synonymous with a young black male who needs to be disciplined. Remember, after the Don Imus "nappy headed ho" scandal, the conversation switched from white male bigotry to a conversation about Hip Hop lyrics almost overnight.
Also, the picture of Kanye West on the cover of today's USA Today over the caption 'What Happened to Civility" could easily be seen as a not -so- veiled attempt to portray young black men as "uncivilized.
Perhaps the worst thing that will come out of the whole West/Swift ordeal is the next time some right wing kook decides to yell "you suck!" at an Obama press conference the good ol' boys will brush away all criticisms with "well, what about when Kanye West...."
I just think that if President Obama wanted to call someone a jackass, he had a whole staff of commentators at Fox News that would have fit the description better than a confused rapper....
Paul Scott writes for No Warning Shots Fired.com. He can be reached at info@nowarningshotsfired.com
Tuesday, March 24, 2009
The Rock&Rape of Black Women
The Rock & Rape of Black Women
Min. Paul Scott
"Brown Sugar, how come you taste so good..like a black girl should."
The Rolling Stones
During my morning commute, I usually station surf to pass the time. As much as I like black radio, when I find myself deciphering Lil Wayne lyrics, it's time to turn the dial. Most of the time I'll luck up on an old Earth Wind and Fire jam to put me in a mellow mood, but yesterday, I heard something that made me throw on my breaks in the middle of a busy intersection; an oldies rock station was blasting a song that celebrated the rape of black girls...
Back in '71, Mick Jagger and the Rolling Stones released a hit record called "Brown Sugar." The song begins with a lyric about a slave owner getting his thrills off of beating black women and raping them. He goes on to rejoice over how good sex with black women is.
http://www.youtube.com/watch?v=v4O80NpnpHw&feature=related
I guess the blacker the berry, the sweeter the juice.
Years later, since the black militants didn't snatch him off stage and beat his behind, he felt it safe to record "Some Girls" in which he, after talking about the materialistic attitudes of women of other nationalities, proudly proclaimed that "black girls just want to f*** all night."
The reason why a discussion over old Rock and Roll lyrics is relevant in 2009 is quite simple.
Although we have discussed the misogynistic lyrics of Hip Hop artists , for well over a decade, we have left rockers such as Mick Jagger out of the conversation. We call it disgraceful when a black male rapper makes a record calling a black woman a "ho" but when Lou Reed refers to black women as "colored girls" on "Walk on the Wild Side," we call that a classic.
http://www.youtube.com/watch?v=4pAE5G5OBzw
Does this mean that sistas shouldn't get upset when rappers see them only as "Ho's ?"
Of course they should.
But The Stones and 'em were dissin' sistas long before the Bad Boys made "Veronica" or Slick Rick first performed "Treat em Like a Prostitute."
Also, as social scientists such as Dr. Amos Wilson and Bobby Wright have taught us, we must trace the historical roots of the pathological behavior exhibited by some black men.
If we are to stop the misogynistic lyrics in Hip Hop, we must admit that the rappers are mimicking white men who have abused black women for hundreds of years with impunity.
The relationship between white men and black women has always been a taboo subject in the African America community.
Many in my generation never dared ask great grandma how she wound up with those green eyes and that buttermilk complexion as we sat around the Sunday dinner table. So, we just wrote it off as having some "Indian" in our family tree and continued grubbin'.
In reality, during slavery and into the early 20th century, many black women were raped by white men while their husbands cowered in corners. This feeling of helplessness resulted in misplaced aggression in black men in which they began to blame black women for being raped. This disorder has now manifested itself in the actions of their great, great grandsons.
While many of the relationships between white men and black women were forced, that was not always the case.
According to historian E. Franklin Frazier, in his book, "Black Bourgeoisie,"
"In giving themselves to their white masters, there were certain concrete advantages to be gained." These advantages ranged from better food and clothing to the possibility that their mulatto children would enjoy special privileges or even be emancipated.
So, maybe some black women actually felt honored that Jagger thought enough of them to shout them out on a record. Perhaps that is why, more recently, there was little fallout when a lost tape (Oh, Foolish Pride) by white rapper, Eminem, on which he disrespected black women, was discovered.
http://www.youtube.com/watch?v=UDJDhVkRhtQ
What is most disturbing is that songs such as "Brown Sugar" are still played on the radio, today, without protest, while Hip Hop is under constant scrutiny.
Even though some may say that this is a case of digging up ancient history, there is no statute of limitations on the degradation of black women and Mick Jagger and the rest should be held accountable in the same manner as those wrinkled, old Nazi war criminals.
Most importantly, we, as black men, must fight against the abuse of black women in honor of our ancestors who couldn't.
We must never forget the horrors of that period of our history no matter how it is celebrated in song.
We must always remember, as Styles P once rapped,
"Even though my skin's kinda light that means my ancestors were raped by somebody white."
Min. Paul Scott is founder of the Messianic Afrikan Nation ministry in Durham NC. He can be reached at (919) 972-8305
info@nowarningshotsfired.com
Min. Paul Scott
"Brown Sugar, how come you taste so good..like a black girl should."
The Rolling Stones
During my morning commute, I usually station surf to pass the time. As much as I like black radio, when I find myself deciphering Lil Wayne lyrics, it's time to turn the dial. Most of the time I'll luck up on an old Earth Wind and Fire jam to put me in a mellow mood, but yesterday, I heard something that made me throw on my breaks in the middle of a busy intersection; an oldies rock station was blasting a song that celebrated the rape of black girls...
Back in '71, Mick Jagger and the Rolling Stones released a hit record called "Brown Sugar." The song begins with a lyric about a slave owner getting his thrills off of beating black women and raping them. He goes on to rejoice over how good sex with black women is.
http://www.youtube.com/watch?v=v4O80NpnpHw&feature=related
I guess the blacker the berry, the sweeter the juice.
Years later, since the black militants didn't snatch him off stage and beat his behind, he felt it safe to record "Some Girls" in which he, after talking about the materialistic attitudes of women of other nationalities, proudly proclaimed that "black girls just want to f*** all night."
The reason why a discussion over old Rock and Roll lyrics is relevant in 2009 is quite simple.
Although we have discussed the misogynistic lyrics of Hip Hop artists , for well over a decade, we have left rockers such as Mick Jagger out of the conversation. We call it disgraceful when a black male rapper makes a record calling a black woman a "ho" but when Lou Reed refers to black women as "colored girls" on "Walk on the Wild Side," we call that a classic.
http://www.youtube.com/watch?v=4pAE5G5OBzw
Does this mean that sistas shouldn't get upset when rappers see them only as "Ho's ?"
Of course they should.
But The Stones and 'em were dissin' sistas long before the Bad Boys made "Veronica" or Slick Rick first performed "Treat em Like a Prostitute."
Also, as social scientists such as Dr. Amos Wilson and Bobby Wright have taught us, we must trace the historical roots of the pathological behavior exhibited by some black men.
If we are to stop the misogynistic lyrics in Hip Hop, we must admit that the rappers are mimicking white men who have abused black women for hundreds of years with impunity.
The relationship between white men and black women has always been a taboo subject in the African America community.
Many in my generation never dared ask great grandma how she wound up with those green eyes and that buttermilk complexion as we sat around the Sunday dinner table. So, we just wrote it off as having some "Indian" in our family tree and continued grubbin'.
In reality, during slavery and into the early 20th century, many black women were raped by white men while their husbands cowered in corners. This feeling of helplessness resulted in misplaced aggression in black men in which they began to blame black women for being raped. This disorder has now manifested itself in the actions of their great, great grandsons.
While many of the relationships between white men and black women were forced, that was not always the case.
According to historian E. Franklin Frazier, in his book, "Black Bourgeoisie,"
"In giving themselves to their white masters, there were certain concrete advantages to be gained." These advantages ranged from better food and clothing to the possibility that their mulatto children would enjoy special privileges or even be emancipated.
So, maybe some black women actually felt honored that Jagger thought enough of them to shout them out on a record. Perhaps that is why, more recently, there was little fallout when a lost tape (Oh, Foolish Pride) by white rapper, Eminem, on which he disrespected black women, was discovered.
http://www.youtube.com/watch?v=UDJDhVkRhtQ
What is most disturbing is that songs such as "Brown Sugar" are still played on the radio, today, without protest, while Hip Hop is under constant scrutiny.
Even though some may say that this is a case of digging up ancient history, there is no statute of limitations on the degradation of black women and Mick Jagger and the rest should be held accountable in the same manner as those wrinkled, old Nazi war criminals.
Most importantly, we, as black men, must fight against the abuse of black women in honor of our ancestors who couldn't.
We must never forget the horrors of that period of our history no matter how it is celebrated in song.
We must always remember, as Styles P once rapped,
"Even though my skin's kinda light that means my ancestors were raped by somebody white."
Min. Paul Scott is founder of the Messianic Afrikan Nation ministry in Durham NC. He can be reached at (919) 972-8305
info@nowarningshotsfired.com
Subscribe to:
Posts (Atom)
