Culture Bandits II

CULTURE BANDITS II (THE ANNIHILATION OF AFRIKAN IMAGES)

Copyright 1993 by Del Jones Produced by Del Jones Communications Unlimited All rights reserved, printed in the United States Cover Design by: Del Jones Cover Layout by: Elimisha Jalawi Cover Art & All Art Work by: Brother Luke

Research by Del and Robin Jones of the Hikeka Research Unit and “The Eye of the Storm Newspaper.” Copy Editor: Pat Jacobs There is a difference between a “war correspondent” and a reporter, a journalist, an author. A war correspondent goes into the eye of the storm and views all 360 degrees of our struggle. A war correspondent is not a hired gun or a propagandist for white supremacy. Nor is he or she a wordsmith for the great white lie, negro foolishness, or a wishful thinker. A war correspondent is an Afrikan freedom fighter who has chosen the foxhole of truth and pumps the truth to his people, indeed the world, at all cost. It is not a gig that is assigned but an accepted righteous duty. No applause is sought, no thanks necessary, it is a task though critical, that offers just one reward...Victory! ISBN 0-9639995-7-5

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DEDICATION In the name of Kwame Nkrumah brothers I dedicate this work to you. My people, in his name this is dedicated to you. In the name of Marcus Garvey I send this humble offering to you. Dedan Kimathi and Brother Malcolm in their behalf it is all for you. In the name of Nzinga, my sisters, I dedicate these truths to you. In the name of Ida B. Wells this song I sing to you. In the names of the raped and murdered, yes this offering is for you. In the names of Ellen my beloved mother and Robin my super queen, it is all for you. And in the names of Hector Peterson and Emmett Till, this my children travels from my heart to you...Ah, in the name of Chanceller Williams, my elders this is for you. Take it all, why don’t cha?

Brother Del Jones W.C. (From the Belly of the Beast 1994)

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“THE GREAT WHITE LIE” By: Robin Jones

We have been beholden to a venomous fabrication of our embellished lives that has started with those little unscrupulous lies that drip dry droppings of seeded untruths while planting those in between lies lined and covered with a stale stench of muck and manure leaving open the cracks and crevices for those oppressive lies that we keep slipping and sliding in while continuing to fertilize all other lies that create the great white lie that strong ascending lie that consciously rises itself above the lowly field from which it sprang leaping high

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into the mouths of fevered mountains bursting its malevolent manifestation into an explosion of bubbling hot lava on a meandrous path saturating its infernal roots by slowly and skillfully penetrating and piercing burning and blistering the souls of Black folk killing our kindred spirits as we lay buried beneath its blanket of boiling devastation amidst the hidden identity of its bottomless base that already powerful lie that has muscled its way into the center core of our condensed celestrial region causing clouds shaped like mushrooms to materialize into a deformed seething steam of angry vapors spawning hot acidic rains descending pure hellish pain while scalding and searing singeing and scorching the souls of Black folks

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eliminating the true essence of our existence as we continuously disappear into its whirlpool and are immersed in the turbulent clutches of its eternal deception And as it beckons to you to lay your mind gently upon its lore remember its only purpose is to perpetrate the growth of itself while stripping you of your solidity bleaching the bareness of your being and dissolving you into its damnation for it truly fears that those among us who have escaped its wrath and are free from its falseness will one day filter the fertility of veracity unleasing unspoken tremors of truth steadily freeing its prisoners from their bondage and releasing those unknowing of The Great White Lie!

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...SINCERE INTENT... This work is designed to end the development of people like W. Wilson Goode, Colin Powell, Ralph Bunche, Joseph Mubutu, Jonas Savimbi, Roy Ennis, Carl T. Rowan, Tom Adams, Eric Williams, Gene Roberts, Anwar Sadat, Sammy Davis, Jr., Eugenia Charles, and Thomas Hayer, among us. It is designed to decrease the possibility of collaborators infiltrating our just struggle for liberation and the unification of our people under revolutionary Pan-Afrikanism!

THE WAR CORRESPONDENT ‘94

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INTRODUCTION In Culture Bandits Vol. 1 we journeyed into the white supremacists rape of our musical culture. We also explained how they have to subvert our culture to continue to subjugate us. I also, explained that these interruptions damage our progress, confuse our direction and destroy our mental and social equilibrium. They have an excellent understanding of our culture and how it impacts on our attempts to rebuild our Afrikan minds. Even after their enslavement and terrorism created a mental mutant called “Nigger,” we have always battled back to achieve our natural status as the srcinal man...the Afrikan. It is a race against time, it is, and we must collect ourselves and put our consciousness at the foundation of our efforts to fend off the genocidal programs of our enemies. Culture is the mother’s milk of this growth, this development, and this re-birth of our strong race. That makes culture a critical war zone where the life and death struggle of our race will be played out. In this corner armed with economic and political power which includes: a. Print (the colonization of scholarship) b. Radio (electronic propaganda) c. Television (image enslavement) d. Movies (revisionist historical distortions & image manufacturing) e. Satellite communication (global information control) f. Educational institutions (Negro creating factories) g. Military terrorism (domestic big stickism) h. Employment coercion (neo-slavery) i. Prisons (concentration camps for male youth ‘n adults) j. Police culture (the pig is your friend propaganda) k. Hunger (homelessness and food stamp life line)

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Facing all of this “and In this corner” is the champion, the Afrikan: bloody, beaten, raped and terrorized. Historically, more than a survivor, a proud veteran with a Pan-Afrikan knockout punch he refuses to use. We areand armed withdisorganized only a minority of AfrikanOur centered brothers sisters we are and disjointed. biggest weapon‘n is the will to be free, yet we carry the repressed hatred of our tormentors so deep in our bosoms, we can’t reach the needed adrenaline producing documentation of why we hate them. And we do hate them, even if only a few will admit their powerless hatred. The common dominator is not truth and justice, it is sheer power... political, military and global economic power that can only be delivered, to us, through Pan-Afrikanism. The total liberation and unification of Afrika and Afrikan people globally is the only solution to international white supremacy. One global configuration against another will be the final comedown... it is unavoidable. “Culture Bandits II: The Annihilation of Afrikan Images” is designed to clarify the mass media’s role inimage developing in us a an political backwardness, internal and external assassination, artificial affection for our enemies and a self-hatred of our own race, as these white supremacist tools drown our aspirat ion in a foul fiction designed to continue our victimization and final destruction. This is the first book that requires a VCR to travel through it thoroughly as we cut through the readers’ resistance to the damning truth about our relationship with our captors . I intend to leave doubters no where to run and no where to hide as I strike down the white lies that traps our tomorrows in its filthy bowels. The Black Holocaust Final Phase: Clinton and Pacification is now in effect and his Negro allies are lined up to serve in the death of the Afrikan race. The need to understand “Culture Bandits Vol. I,” “The Black Holocaust: Global Genocide” and “Culture Bandits II: Annihilation of Afrikan Images” is ever present.

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Lack of understanding of our Afrikan reality will leave usdefenseless as the Afrikan Holocaust continues unchecked and misunderstood. Pan-Afrikanism vs. Global White Supremacy, these two configurations are headed for the Final Comedown... It is unavoidable. We must nourish our minds and aim all our energies at the liquidation of our enemies’ power bases for good. This is not the time for half stepping, punkish liberalism, or fear... Our battle cry should be... “Race First!”

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RADIO (MUSIC ‘N TALK ‘N REVOLUTION) In dealing with Black imagery and stereotyping, it is interesting to note, you must deal with radio before film and television. Because the ground work for what the other two media do was established by audio broadcasting. In fact, I believe the audio images were even more pronounced because the expertise of the propagandist was challenged more. To slap the resistance of Afrikan people down, the audio assholes had to deliver tighter scripts, more pronounced stereotyped language and deeper racist rantings. The development of radio was a boom to global white supremacy. It was more than a method of communication or an entertainment toy. It became an excellent propaganda tool; One that would advance the exportation of their decadent culture, and at the same time they could misrepresent themselves to the world. Faking a projected higher form of civilization, religious superiority, and the self-proclaimed “white man’s burden,” they hid the viciousness and anti-human instrument of imperialism from view. They stereotyped people of color and their culture, thus excusing themselves for their excesses. They sold the notion that the worst of white society was better than the best of any other. In short, their print propaganda got a pitiful partner as the lying machine spit nonsense onto the world. Also, locked intoand entertainment radiothat broadcasts backwards cultural, moral, religious ideas crippledwere the their listeners and poisoned their minds for under-development. In addition, their racist one sided news broadcasts delivered the white supremacist perspective as the norm. All of these components trapped our people’s consciousness in a vice of ignorance and sent their energies and aspirations off into the wrong

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direction. We went tramping off after anintegrated reality, even though all the evidence shouted loudly thatsomeday we would have to rumble these people to cool them out. The death blow to our intellectual development was delivered by their educational institutions which legitimatized the lie. Radio allowed them to zero in on our musical culture as the filthy “Culture Bandits” decided that they could not let us use our culture as a liberating tool. They understood that controlling the musical component of our culture was of life and death importance. Further, they thought it would deliver pleasure to them and they also knew it would be extremely profitable. They were right. It’s called cultural imperialism, it was executed with ruthlessness and demonic glee. Earlier, they segregated the music hoping our music wouldn’t influence their tired sounds, but their people were slipping uptown and across the tracks to take Afrikan musical baths. From the blues, to gospel, and through jazz their music rotted in this Black sunshine. In the forties and early fifties they use to sell our music under the counter, in plain wrappers like bootlegged culture coming from the heavens, but illegal because of its potency. In different locations across this country, Black music was played on the radio at certain times in a block of Black sound. Finally, the development of radio stations that played Blac k oriented music sprang up. None owned by Black people. Still it pushed into the corners of Babylon, our culture began to bleed into the simple-minded vulture like mainstream. The real thing, the srcinal people’s products were alive, organic, reeking with reality, not some malt shop vanilla porridge of the rhythmless ones. Radio communications was a great advancement in western society, it also has always been a deadly weapon against people of color. It gave this society socialization consistency and a broad reach. Everyone could now be reached as the propaganda climbed on polluted winds.

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Connecting the dots, the white supremacist culture now rode on the shameless currents reaching villages, hamlets, mountains and into the deep forest planting hatred deeper into their own social fabric. Programming beamed from slimy studios of racist stupidity as the information diet of the people was now in the firm grip of the “mind managers.” Corporate ownership and sponsorship blew open untouched markets for exploitation. Dallas Smyte calls the mass media “The Consciousness Industry.” They now had the tool to attack and identify new markets, propagate old racist ideas, and perpetuate the socially backward system of capitalism. Smyte, the Canadian media critic, also defines the mass media’s role correctly when he proclaims that they “deliver audiences to advertisers.” I will add from an Afrikan perspective, that the mass media in general and radio in particular also brainwashes its consumers, perpetuates stereotypes, assassinates Black peoples’ culture, misrepresents issues, manages, and dominates the information we digest. Historically, white culture was the only product shipped through the air into our living spaces. At the same time, it reinforced racial oppression, Afrikan lynchings, forced segregation, economic and academic terrorism. We must always remember the largest Afrikan movement developed was by the Universal Negro Improvement Association (UNIA). The modern of the enemyonly wassnip radio could not stop communication the formation ofweapon the UNIA. It could atand theirit Black heels and counter attack from pitiful vestibules of hate. On the other hand, Marcus Garvey the UNIA leader, did not have the advantage of radio. He fought them off with his journalistic skills, oral dynamics and with a generation of brothers and sisters who were ready to rumble. They were ready for a positive program, a

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revolutionary program, a program that was both the salvation and the weapon. The will of a people to be free will always override whatever mechanism is put in the way of their righteous goal. History teaches us that technology is annoying, but it can be dealt with if the mental chains of slavery are broken. This is not to under estimate the technology of the enemy but to put it in its proper perspective. They hurt the UNIA with their anti-Afrikan and anti-UNIA propaganda. Had it not been for their vicious attack on the unconscious minds of the masses, millions more would have joined the legions of Black folk who were on the move. In any case, Garvey was kicking ass and only with cowardly infiltration, governmental frame-ups, economic revenge and traitorous opportunism was victory stolen from us. And yes, it was the radio and print media that preached the lies, that justified governmental oppression and covered up truth with the drippy sores of white lies and the scabby terror of cowardly lynchings. The role of radio hasn’t changed, only now many Black radio personalities have joined the lynch mob. Radio for revolutionary purposes doesn’t exist. There are individuals who contribute to our informational diet in a positive way, but they are few and far between. Among them are charlatans hiding under the cover of nationalism, but they are mere buffers for white supremacy. We must understand that most are audio Ebony/Jet Magazine like reactionary fluff. Packaged illusions dripping with misrepresented reality designed to tunnel our dreams and aspiration under white supremacy’s faggity diseased ass. Like Ebony/Jet, Black Enterprise and Essence Magazine, they participate in camouflaging our collective misery as they front legitimacy. They are the bridge for the Culture Bandits, they flop down in the mud and allow the enemy to travel across their backs to steal our culture and misrepresent reality.

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In that position the collaborators can only get screwed, a lesson they will learn before the year 2,000. Yeah, these broadcasters must control the people’s thoughts and information, they must perpetuate a false leadership, misrepresent issues and deliver us to the enemy naked and afraid. The new key in every city now is Talk Radio, which is more their vehicle then ours. Daily the most reactionary garbage is kicked out to a frustrated people who are attempting to become informed. Most of the time the host is a manager and legitimatizer of middle class values that are not only unrealistic but a close kin to white supremacy and culture. We must realize that information is the key ingredient to progress as we struggle to develop the strategy and tactics to dismantle their evil hold on our vision. There are three levels of information presently: First: There is the great white liethat attacks from white media strongholds with a demonic energy that is slapped into our consciousness the real truth, whole truthupand nothing but theastruth. On shit, this the level the the lie is dressed in suits and ties, gowns and phony made up smiles tumbling out of the communication caves of the damned. Thus, the legitimatizing agents of society’s truth, “political correctness” and healthy lies work from golden arches across Black aspirations. Spinning from the centers of hell they manufacture, hide, destroy, andwork the color out of truth. Holding it hostage, they damage all who hear their talethe s. They fracture our direction, they embellish the lie and assassinate any who dare counter their shameless falsehoods. Information delivery is not their gig, they sell perspective, culture, and a multitude of misery destined to travel into our reality replacing it with a Disney fantasy that we will never

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survive. Local, regional and national professional liars that are so good at their craft that they fool themselves into believing they are not the snow demons from the land of the mutated misfits. Their works circle the globe and imprison it as their military moves in for the slaughter. That first tier of lies has become the world’s truth and almost every educational system, communication system, religious group and political/economic configuration must deal with their shitty lies. They beam their falsehoods across the galaxies and amongstthe stars, they bounce them off satellites and into our brains while articulating in every language. The message? White supremacy is the only game in town, whites are Gods and the rest of the world (people of color) aint shit, never done shit and will never be shit! Their code word is democracy. Nigerian musician Fela Anikulapo Kuti breaks the word down and says what they really mean is “dem-are-crazy” or demonstration of craze. The second level is a tricky one: This includes campusOn radio, socalledlevel Black Talk Radio. this alternative level thoseradio, who and slipped through the trap of stage one land here thinking their consciousness is safe as they nestle under the mostly useless conversations of confusion. 95% of the endlesschatter is more confusing than the focused racist information slipping out of the slimy mouths of our enemies. Aint no joke! Those who are growing free thought escapebecause to this level. However, they soontoward find this is not a sanctuary it is the same garbage packaged in loonie liberalism and rolled toward the people like a green hot dog. You know, red dye #2 creates the illusion that the meat is less than foul. But we know it will kill whether it is red or green. In fact, if you escape the rotten meat the red dye will deliver a deadly cancerous blow.

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Some alternative stations are the only place you can find liberating information. Alternative views and news are propagated, however much of it is snowed under mounds of interest group banter that turns off many listeners. Black talk shows are usually soap boxes for traitorous politicians, backward entertainers, and assorted religious sell outs. They also serve as an open microphone for the community; giving the impression that a village meeting is taking place when in fact its a controlled situation faking free speech just to cool us out. For example, establishment types like Mary Mason in Philadelphia openly cried for racist former Police Chief and Mayor Frank Rizzo on the air after he was snatched from this earth from under a toilet where his racist ass fell and died. Nobody said nothing! He was an enemy, who had sent many of us packing off to the prisons of just-us. In addition, many were blown off the face of the earth by his goons in blue. He was a barbarian who fronted official terrorism and was proud of it. She is the kind of person who raps to our people daily via talk in radio. Mason is not Negroes a dinosaur, is reproducing herself young ambitious whoshe want to continue the circus. Consequently, life enhancing and life saving information is still absent from our people. Colored Flunkies, Negro fossils and some house Niggers control the talk, thus nothing is accomplished. If anything, they reinforce the white lie. Confusion is the enemy of revolution and this is the strong suit of Black Talk. It confuses, alters and manages information to keep the people wandering and cooled out. In this mixture across this country, a few positive Black communicators operate in their respective foxholes. We must multiply their numbers. In addition, we must expose the clowns, charlatans and agents of white supremacy.

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The third level is the clear cut minority and exists only as a product of the overall struggle: It’s the struggling media of the progressive sub-culture, it is under wraps, pushed away from the masses. It is fragmented, disjointed, trying to breathe free air, trying to serve, trying to strike back at the other two carnivorous level s. However, weak it is, weak it has always been. An example of the resilience is Black Liberation Radio (BLR) in Springfield, Illinois, which is a small station that serves the public housing projects there. Even though it is a one watt station, the Federal Communication Commission (FCC) has attempted to move on it several times. Run by Mbanna Kantako and his posse, he is a young blind man committed to informing his people. More small underground stations are popping up across the nation. Brother Mbanna has been aiding in this growth. He educates those who are interested in this economical and effective weapon against the great white lie. Those stations that are community stations and alternative stations havefolks beenare a reservoir community unawareofofinformation. where they However, are on themost dial and what they offer. In addition, the onslaught of anti-Afrikan propaganda and the white supremacist education systems have damaged the appetite of the people for anything but entertainment junk food. More importantly, the alternative stations, some campus radio stations independent revolutionary stations like BLR training and grounds for the type of War Correspondents we are will have to develop to make progress in communications. Meanwhile, at some established stations there is also a rumble. These are mostly individuals that holdenough check to survive at stations as an oddity, an aside, that the station can glean some legitimacy from. Even though most of them have lines

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they will not cross, they will not deal with subjects that will upset powerful people or white power configurations such as: so-called Jews, secret orders and their Black flunkies. Yet, these areas are where many progressive thinkers, activists, researchers, and authors can expose the people to information that goes ignored everywhere else. However, there is little or no coordination between progressive forces. Here is where we must develop, this is where the struggle lies, we must create ways of getting unmolested information to our people.

MUSICAL IMAGES When we discuss the “Annihilation of Afrikan Images” most will think of photos, movies, television and video. However, we must realize that some of the crisp images we latch on to come through the music we listen to. That is why so much energy and trickyology is used to control the musical images that dance in our heads. Young people are the first victims. Their sexual values are not adopted from family systems any longer, but from the top twenty songs pumped out by sexist backward recording artists. These songs are brought to you by folk, Black or white, who don’t even consider what is good for Afrikan people. It is a profit industry, simply put, any other illusion will only confuse. Those who want to slip past the hundreds of others who record and release records weekly must please white folks’ stereotypical image of Afrikan sexuality. It is a racket, a corrupt business run by master Culture Bandits! That is the easiest way to get a record deal, that is the easiest way to get on the radio and that is the easiest way to get print coverage. Sex sells because that is all that is allowed to sell. It is the rule that all our young would-be artists know, it is a rule the Dance Hall artists know in the teeming ghettos of Jamaica. The ticket out is to sing about being “Extra Naked,” like Shabba Ranks or about “Murder She

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Wrote” or maybe something about being some kind of Daddy.”

“Mack

Why even unisexed Michael Jackson, who plays meek and mild and soft spoken when he is not performing, grabs his crotch, grinds his butt and comes off with machoism to be included in his rhythms. Program directors and radio consultants and others control the sounds we listen to and they are directly responsible for what we hear. A classic example is Hip Hop artists Naughty by Nature, who I feel are one of the most talented groups to appear in sometime. However, their hit tune “OPP” was the rage, but the tune was so sexually backward and childishly negative that you had to try to suppress its notions that help manufacture negative behavior in the heads of our youth. The point is, the vamp was so down that any decent rhyme would have caught on and delivered a hit. Their talent blew through on a master rap called Ghetto Bastard (also called Everything is Gonna Be Alright), which held more truth and attitude then ten thousand sociology studies, ten million social worker reports and a bagful of parole officer lies. Thisart. master piece didn’t get the attention it deserved but it was pure Black It alerted me to the fact that many of our youth have the talent to make dynamic contributions to our understanding of their reality. Yet, we all know the big money is in the sexploitation music that is cheap and artless. We also know, that our young people are exploited. After they are used to project what our enemies need to perpetuate, the great white lie, they usually end up penniless and abandoned. Even if they are enriched, to sell your people for a dollar is treason. Yeah, I understand some of us don’t know any better. Consequently, its time we pull their coats, and if they continue to function with the genocidal programs of the enemy, they must be exposed and their careers destroyed. Our culture belongs to the collective and not to individual clowns and clownettes.

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Queen Latifah who discovered Naughty By Nature knows better. However, the money meant more to her than honor, dignity and service. Therefore, I was not surprised when she took off the crowns she was wearing and shifted to mini-skirted immaturity. It is important to state, it is our fault as the adults, that the young folk don’t know the time. When they go wrong we won’t step to them and drop the vibe to keep them positive. Our lives are at stake and the bastardizing of our culture, the watering down of our thing and the death of our way will lead to the destruction of this mighty race....the srcinal race, the Afrikan Race! Again radio and music rides with us in our cars, accompanies our children while they’re doing their homework, pump out of our boom boxes while we’re walking and plug directly into our ears as we attempt to escape our environment and the hellos from friendly faces. The crying love tunes, sexploitation songs, infidelity moanings, harmonizing sexual begging drifts into our consciousness daily. Creating a sexually backward people who can not maintain a decent relationship without it crumbling in egos delivered by macho men notions soap opera queen ideas.people Ya see, media produced morons and are created out of Afrikan likemass clowns outta Mr. & Mrs. Potato Head. This is not to say music for fun and music for romance don’t have its place, but it is to say that 99% of the music we hear don’t deal with the real deal. That is of course, the struggle for our liberation against those who are committing genocide against our people globally. Manufactured foolishness can only create manufactured fools. Our culture has taken a beating and one dimensional musical products dominate the air time and our people’s reality. As of now, our music is compartmentalized like Afrika, carved up by the same people who are depopulating the earth of people of color. Most are down with “OPP”, and few are down with liberation.

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In our heads the music helps to draw images for us. Women, develop a stereotype image of men and men buy into the projected illusions of our women. And we function on theseexternally developed images as if they are real. Our values are scarred, because many of us want to be into what the majority is into and the image of what the majority is dealing with most times Is misrepresented. If you don’t think our teenage boys and girls don’t get hot listing to sexual moaning and groaning, you’ve been old too long. If you don’t think Black adults don’t get dozens of sexual reminders a day, while they are being influenced to slip out on their mate, you are really functioning on a Sesame Street level. I wonder do we critically review the things that affect our lives or are we pushed along by other people’s hypes, public relations and misinformation. If we did check things out deeper, I’m sure we would organize to clean up the musical diet fed to us by radio. In addition, we would protect those who are loyal to us and punish those who damage our positive thrust for freedom. In Culture Bandits Vol.1, I praisedPublic Enemy. I still feel that the

Boogie Down Productions (under the work done that groupwill andgo direction ofby KRS-ONE) down in history as a dynamic use of culture to uplift the consciousness of our people. They should be respected for what they achieved in bringing nationalism to the front and exalting Malcolm X as the revolutionary icon needed to help our people outta this “Dope Jam.” Any historian who over looks their contribution has no idea what has transpired. They deserve credit, they earned it. However, the update is not positive. Several developments have decreased their impact and sent their contributions in reverse: 1. After an interview with Public Enemy’s Minister of Information, Professor Griff, a small-time reporter captured what he thought was career building quotes. Griff spoke on

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the so-called Jews with the reporter as an aside. The reporter pumped the story up and soon there was an attack on Griff by the powerful Zionists. What happened next caught the community by surprise. uPblic Enemy, who used a lot of revolutionary theatre in their act, twirling uzis, high stepping military precision, and martial arts demonstrates, backed down. More importantly, after the artificial controversy continued leader Chuck D laid these lines “I got so much trouble on my mind, refuse to lose, here’s your ticket, let the drummer get wicked.” And just like that Griff was gone, set-a drift as the so-called Jews dogged his trail. There is a difference between revolutionary theatre and the real deal. Griff is strong and back recording and making videos, that is a brother we need to support because of his loyalty to the race and principled stance against our enemies. 2. The dismissal of Professor Griff made many wonder was Public Enemy for real? They had earned the love of the people, were they now back peddling? Yes, they were! Next, they recorded with anasty looking whiterock group called Anthrax. They toured with them, which meantfor that Black youth had toeven be exposed to Anthrax as a reward their loyalty to P.E. 3. The final diss hurt most of all when members of the Bomb Squad, P.E.’s production team,recorded and promoted a group call “Young Black Teenagers.” The problemwas that the group was white with one pale member wearing dreadlocks down his face. Tell struggie me, howto dothe yourole get of from a leadership in the Black a bridge for theposition filthy Culture Bandits and their carnivorous children? ...Money? Obviously, we should support Professor Griff and turn away from Public Enemy until they return to the party. They may never return if they continue to work as a tool of white supremacy. This criticism is with affection, because we love all of our people. They are young

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and have a track record that has been helpful. However, it seems that once they became manipulated to attempt to destroy their Homeboy, Professor Griff, they have been tumbling down-hill ever since. Yeah, rolling down-hill with pockets full. Meanwhile KRS-ONE has a good mind and has also been an important player in the political and culture development of some of our young people. But again, not understanding “Race First,” he has integrated his shit. The impact is gone. Malcolm X taught us that “If you take Black coffee and lighten it up with white cream, what kept you awake will now lull you to sleep.” At the end of his excellent live video KRS-ONE told the world he was leader of the revolution in Japanese. Look, revolution is not a word to play with as Public Enemy witnessed. Our young people can be daring, they can be fearless and they also can be silly and reactionary. We must keep the lines of communication open and help them back on the right track. Malcolm said, “if you knew the definition of revolution, you’d crawl back into the alley and get outta the way, you wouldn’t use that word.” Well white It folk whatfor thethe realyouth definition is and theyestablished come at us hard core. is know necessary to work with brothers and sisters in the community to drive the race forward. No, not the so-called national establishment flunkies like Carl Rowan, Jesse Jackson, Colin Powell, Vernon Jordan, Roy Innis, Wilson Goode, Coretta Scott King, assorted religious types and other tools of white supremacy. I’m talking about the names brothers who work the people everyday and whose areand notsisters promoted in thefor media. We all need to come together and work to solve the problems of our people. Revolution is not child’s play, but our only hope. Outta Georgia, Arrested Development came kicking “rural rap.” This earthiness worked as they rap/sang about things important to us. With Baba (father) in the middle of the group, healthy ancestor worship,

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an Afrikan cultural base and spirituality, they forced their way into our lives. Their musical offering“Revolution” was the highlight of the Malcolm X movie. Let us hope they remain loyal to our people and their struggles. themand from ourdeadly historical thatPlease poor whites are Iascaution dangerous more thanexperiences, their brothers. do not take our love and throw it back in our faces for money as others have done. Let us all collectively manufacture the environment for the struggle we have ahead of us. The enemy will come at you with money, opportunity, ego tripping exposure and coercion to misdirect your youthful energy. Stay loyal to us, all we have for you is love and a positive position in our illustrious history. Peter Tosh sang “live clean let your works be seen, stand firm or you gonna fever.” Listen, I can hear the echoes of our enemies laughter bouncing off the insides of their empty heads. Letthem relax and miss the gathering storm. Let us keep moving and growing at the pace that we are now and one day [soon] they will lean their heads back to cackle and lose them. We must organize our information to produce consciousness in our people. We must research and find out how to establish our own radio counter-attack. Cost effective methods of radio communications are critical, let us put together radio co-operatives to establish what we need. Also, it is critical to learn and then teach our people how to useshortwave radios to round out our global information diet. Newsfrom around the world is managed to keep us unaware, backward and apathetic toward our people globally. Students of communications must rally around the community, provide expertise and creativity to our problem. How can we measure the global effectiveness of the Black Holocaust without a communication arsenal to strike back!

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MICHAEL JACKSON ‘N THE NEW WORLD ORDER The two greatest Black stars of the decade, Michael Jackson and Prince, ran fast and far both from Blackness and conventional images of male sexuality (and their videos got played on MTV). Michael’s nose job, often ill-conceived makeup, and artificially curled hair is, in the eyes of many Blacks, a denial of his color that constitutes an act of treason. Add to that a disquieting androgyny and you have an alarmingly un-Black, unmasculine figure as the most popular Black man in America...All major decisions, and even a great many minor ones, involvingbytheir money and artistic direction are determined personally these performers. In Jackson’s case this has meant, most significantly,the multimillion-dollar acquisition of the song catalogues of Sly Stone and the Beatles, two of his major influences, and the willingness to pay major directors like John Landis and Martin Scorsese big budget money to expand the scope of music videos. “The Death of Rhythm & Blues” by: Nelson George It is said that if you want to hide something from the people, the best place is right in front of their eyes. It is time to put childish things aside, it is time to look maturely at our global position as Afrikan people, it is time to lay everything on the table and think for ourselves. All of us are victims of Madison Avenue’s commericialization. Yes, all of us have been trained to follow the leaders who create a public relations invented reality, all buried under the lies of our oppressors. As we enter what white supremacy feels is the final phase of the Black Holocaust: Clinton and Pacification, everything must be put under the microscope.

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The haves and the have nots are in a royal rumble that is registering all over the globe. The middle ground is no more, moderation has become capitulation and the seams of white supremacy are about to snap from the sheer weight of its greed. Afrikan people are in full effect only when they grasp a hold of their culture and protect it. It is critical that we understand that physical and cultural liberation are forever inter-connected. One can not exist without the other. Culture gives us definition, it articulates our moral code, our aspirations, our objectives, our standards of beauty, our social and economic system, our norms, spirituality, comfort zones and the total Afrikan personality. Some things other cultures and people make fun of are precious to us. They are dear to us, things others envy and poke fun of. The fullness of my woman’s lips, the dance of her hips, the rhythm in her song, the broadness of her smile, her melodic use of language, the intellect mirrored in her eyes, the cuteness of her nose all reflect Afrikan beauty. It does not matter whether anyone else uses these characteristics as standards of beauty. We must because our wives, daughters and mothers arethe yardstick of beauty not Elizabeth Taylor or Brooke Shields. We must understand that everything falls under the realm of culture. Everything we do, how we do it, why we do it, when we do it, how often and for how long comes under the heading of culture. It is not merely, dances and dolls, clothing and cloth. Culture is everything. Our enemies have a clear understanding of what culture really is and have understood since they first rolled out of their carnivorous condo caves to conquer the world. They weren’t just being mean when they snatched our drums outta our hands, nor were they just being evil when they cut our tongues out for speaking our native languages after we were defeated, stolen, brutalized, and shipped from our Motherland.

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Whites understood clearly that culture was a unifier, a weapon, a necessary component for our continued self-definition and mental health. After the final shots were fired, the struggles between us and our captors continued in culturalarenas. Consequently, we had to develop what I call “Culture on the Run.” What I mean by that is this: Because of the nature of our captivity as prisoners of war, who were enslaved, whites controlled every aspect of our life but portions of our culture. They impacted on our culture in a negative way. And like vultures they always approached our cultural products from a search and destroy perspective, that was acted out in various ways. It was more than our languages that were destroyed in our consciousness, our drums were also destroyed. Then they put into effect a carnivorous system to absorb, re-work, redefine and isolate our other cultural products such as: our multitude of musical expressions, use of their languages, Afrikan adornment and fashions, accents, dances etc. Therefore, our culture is always on the run seeking just to serve us, seeking a warm place to grow, seeking an existence within our reality while locked in our freedom song. Our use of slang is a preservative for private inner-racial communications. Another on-the-run cultural product born out of survival’s necessity. Trapped here in Amerikkka, we have gotten use to their control over our culture. Their mass media has been defining our culture for years. Their mass media has been the secret agent that pretends to befriend our culture when all along they are the pale coldblooded assassins that murder our way at will. Our captors stay in a position of control of both the mass propagation of our culture and the anthropological study of us as a people. Injury

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really sets in when we realize that all the above is true. In addition, they are economically enriched by everything we develop, no matter how small. For example: the development of Gospel Music as created by our people was seized and re-worked. The Blues has been stolen and reworked, jazz has been co-opted and re-worked. R&B was crossed over to flow smoothly into pale ears and retarded into simple sexual foolishness. Today, Hip Hop is under a vicious continual attack. It is important to note that our enemies control all venues and avenues of profit from the marketing of our musical culture. In his Autobiography “Miles” with brother Quincy Troupe, Miles Davis put it this way: “I got into some controversy with the Grammy Awards people in 1971 by saying that most of the awards went to whit e people copying Black people’s shit, sorry assed imitations rather than real music. I said we ought to give out Mammy Awards to Black artists. Give the musicians their awards and then have them tear them up on television. Live. I hated the way they were treating Black musicians by giving all the Grammys to white guys. That shit is tired and sickening, but they get mad if you sayshit, something suppose tojust let bear them take your grit yourabout teeth, it. butYou’re don’t get mad and the pain while they make all the money and all the glory. It’s strange the way manywhite people think.Strange and deadly.” I loved Miles’ music, all of it, but hisstrange relationship with Culture Bandits such as his white musicians, white producers and arrangers, kept him in self-contradiction. Such a strong contradiction can keep you flirting with madness. He was clear on the exploitation, the control and the theft that went on, yet he was always involved with them. We must look at this critically. Sanity is maintained by decreasing the contradictions in our lives as we use culture to balance our worldview. Trying to have things both ways is the major ingredient in our development of addictions. Do you understand what I’m saying?

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Since our enslavement, white people have always taken everything we produced, developed and srcinated. Consequently, the thought of us controlling our own culture is unthinkable to them and it seems that we don’t seriously consider it a possibility either. It is important for us to realize that they have a thorough understanding of the dynamics of culture. They are aware that it is a very important liberating agent. They know that if the people are to be controlled the imprisonment of our culture is crucial. There is no doubt in my mind that after watching Bob Marley rise from the teeming ghettos of Jamaica into international stardom and riches, that it became clearer thanever why they must hold our culture in check. It was not just the success of Bob Marley that frightened them, but the respect he received for his ability to articulate the suffering, pain and aspirations of the Afrikan race. He was catapulted into the consciousness of the world because of the Afrikan musical cultural vehicle called Reggae that he helped establish as a lyrical weapon against ignorance, fear and the naked exploitation of our people. His pounding political pronouncements slammed on the world stage reeking with reality. Garveyism was resurrected in the anthems that pounded from the bottom heavy cousin of Rhythm and Blues. And the world has not been the same! Watched, he was. Stalked and trapped by the deadly CIA and the Jamaican ruling class. Cornered and shot in an assassination attempt that thegunsights progressive on notice that Jamaica’s national hero was set in the of world the enemies of Afrikan redemption. In 1976 they decided it was time to strike atMarley because he agreed to perform at the National Stadium in an attempt to bring peace between the feuding political parties (Jamaica Labour Party of the right and the People’s National Party of the so-called left).

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Jamaica was edging toward a bloody civil war and the body count was stacking up. The East-West Cold War was blazing on the island and the results were staggering Jamaican society. Marley was affected by it all as pain ripped through him as he watched his brethren rumbling, his brethren slaughtering each other as a result of politricks. Therefore, there was no question that the Wailers would do the “Smile Jamaica Peace Concert.” The people was aware of the power of the world’s most powerful Dread and only he could attempt to chill out the political warfare raging in every corner of the island. The CIA hated and feared Marley’s popularity. Only the revolutionary musician stood in their way as they laid plans to steal the former British Colony with thehelp of Harvard trained Lebanese super-flunky Eddie Seaga. The old Jamaican establishment were down with the idea of removing the musician, who was legitimatizing what they considered to be the backward rantings of their indigenous cult and the suffering masses, who they exploited ruthlessly. These two forces would glory in the death of Bob Marley and continue on the path of raping the island. Assassins were sent, assassins failed. Marley’s enemies didn’t care if they had to kill all of the Wailers, Rita and the children, plus friends surrounding the Reggae King. Bullets flew. Rita Marley was hit in the scalp as she attempted to get the children out of the house. Marley’s manager was riddled with bullets because he stepped in front of the Reggae King accidentally before the assassins hit. Marley and his entourage was moved up into the hills to a secret location. In the book “Catch a Fire” Timothy White revealed that: “One of the “Smile Jamaica” film crew had also found his way up to the camp - minus his camera. The Rastas had no

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inkling of it, but the cameraman was Carl Colby, son of CIA Director William Colby.” Everyone tip-toes around CIA activity on the island. And to this day, few realize the role of this government in the stalking of the world’s biggest international star of the time. Biographers reduce Marley’s life to his religious role, while at the same time pushing his politics into the background. Marley had received many threats through those close to him, that warned him that he was a CIA target. In addition to that, the local neo-colonial forces would have loved to take him out for a few pieces of silver. After standing up to the violent bigotry of the traitors and playing the Smile Jamaica Peace Concert for the people, Marley had to pack up and leave home. His home had become a battleground between the white left and right and as usual Afrikans were not only caught in the squeeze but smashed in the middle of white power. Marley went on to grow and grow. He became firmly established on the world stage asof the musical super star hisgreatest time. and the most popular international The problem white supremacy had with that was clear, Marley knew how to use his fame for the common good of Afrikan liberation. A simple man, with few material needs, he freely supported causes that impacted on the quality of Black life globally. In addition, white audiences were in concert a tranceand and merchandising supported Marley economically through their record, purchases. To be a professional thief you have to be a great student, a keen observer and know what should be stolen and what should be passed up. Our enemies understood the appetite their own people had for the spiritual social commentary found in reggae at that time.

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Their people are always searching for their souls in the wrong places. So completely are they out of touch with nature that they search deep in our breasts for their souls, feelings and humanity. That is why they are always up under people like Fela Anikulapo Kuti, Sonny Okshun, Peter Tosh, Steel Pulse, The Last Poets, Gil Scott Heron, Ziggy Marley and Arrested Development. Even though, they know they are the producers of our pain, they huddle underneath our musical culture like snuggling canines cooing as we express truth musically. They consume more records fromthese artists than we do. They attempt to control the radio programming to keep this music away from the Afrikan masses, yet tucked away on campuses and alternative small stations to be studied for co-optation, sampling and destruction in its pure form you can find our sounds. Marley was the biggest Afrikan music star in the world, yet Black people in Amerikkka were kept from his musical messages, while whites bathed in Reggae in their condo caves. Ithe remember how they use toexcluding sneak Reggae artists by into town and fill joints with pale demons our people not advertising or promoting the coming of performers in any Black avenues of information. Once Peter Tosh was brought in for a major concert in Philly by the University of Penn and appeared at Irvine Auditorium and no one knew but the white students of Penn. While my Homies and I were down with Tosh, we couldn’t stand the sea of white halfAfrikan drunk honkies andThe theirsame presence culture executed with precision. trap as hasour been laidwas for Ziggy Marley and it is swallowing him up whole. Please note, that after Marley and Tosh were removed (I believe they were both assassinated), they rolled out the white carpet for “Dance Hall” Reggae; mainly because it is not only harmless politically, but at times can be backward socially. That is not to say “Dance Hall”

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Reggae doesn’t have it’s place, but it is to say that its anti-sexual banter falls right in with the dick grabbing Rappers and R&B singers who are yet to be politicized. Consequently, everything that was withheld from Marley has been blown wide open for Shabba Ranks and other artists who don’t attack them with this powerful cultural weapon. Obviously, Marley’s victories around the globe scared them as much as Malcolm X’s worldwide popularity...seen? The king of Reggae skanked to Rasta Ridims in front of 100,000 people in Italy, and broke attendance records wherever he went. Yet, in the states only those politically and culturally aware brothers ‘n sisters jammed with Marley in their daily lives of struggle. None of this went unnoticed by the enemies of freedom as they shadowed Marley all around the globe. Marley got instant cancer and died before anyone knew what happened. He was gone before anyone realized he was ill. Many feel that it was a covert action hit that eliminated the King of Reggae and one day the truth will be known. His final message to us was simple “I’m not the angel of death, I’m a child of life.” And his music lives on as he still sells millions of records to new converts and old friends who need to bind with the struggle music and upliftment in the Afrikan Ridims. Afrikan patriots and heroes live forever in the betrayed hearts of our folk. It is there Bob Marley is nestled in our courage reservoir. Our enemies but are they socially andstupid. politically barbaric when and cannibalistic, are not In factbackward, they are ingenious it comes to using other people’s shit against them. Consequently, they did not miss Bob Marley’s global popularity and they viewed it as a dodged bullet aimed at their global hold on Afrikan people. A mighty weapon had been avoided and their analysis was correct “he was louder than a bomb!”

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As I said, they are not stupid, they dealt with the notion that they could create a Black superstar who instead of pushing the PanAfrikan Revolutionary philosophy, would champion the multicultural mindless smoke screen of integration “New World Order” style. Now let’s see. Motown was dead as an enriching export, Ray Charles was too old, though fiercely loyal to whitey. His gigs in Sun City in Southern Afrika that attempted to smash the cultural boycott against the Apartheid Regime of the racist cavemen were to his credit. However, his wide appeal was gone. He now only sings the upper crust blues, soda commercials and is as irrelevant as man tan lotion. Stevie Wonder had appeal but was not as visually exciting as Michael Jackson and he had a tendency to try and play both sides of the fence. His hit “Master Blaster,” a tribute to Bob Marley, and his recording with King Sunny Adé of Nigeria demonstrated that he had some nationalistism (though he was some what confused). In addition, he might be difficult to control. Listen, Sammy Davis, jr. is in that old plantation in the sky with Louis Armstrong. Run D MC was too corny, plus Rap music dealt in another they could mainstream. not understand and was difficult to export tolanguage the rest that of the world’s Meanwhile, servants like the backwards Stephanie Mills and Millie Jackson could only serve to embarrass us but could not sustain the huge following required to take both economic and politi cal advantage of a global hype. Even though, both broke the cultural boycott in South Afrika many times, their appeal and talent was limited. Yeah, they the right measure of self-hatred anduseless. lack of loyalty to their own had people, however for this job they were Who could be their reactionary mega-star, who would be their total pawn, who would allow himself to be re-packaged in the image of his white masters and was so full of self-hatred he could stand up to the inevitable criticism that would fly in his reconstructed pale face.

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In addition, he had to be one of the best talents we produced. He had to have the soul of James Brown and the mind of Steppin Fetchit. There was only one candidate, Michael Jackson. Anthony Browder in his popular book “From the Browder iFle,” offers this: “Michael Jackson has literally gone “Bad.” Anyone who sells 40 million copies of a single album is definitely communicating with an awful lot of people. Michael’s desire to become white is not an accident, it is part of a promotional strategy to market him to a predominantly non Black audience... Images are shaped, molded and created by public relations experts.” It’s all packaging for a grand purpose, for the purpose of exporting Black music for huge profits and at the same time distorting the image of the Blackman abroad. The elimination of Bob Marley and his “Redemption Songs,” and replacing him with Jackson with all the power, influence and marketing white got the job done. And they thought weskills didn’tofdig it. Allsupremacy over the world Jackson is promoted as the best of Black musical culture. Recently, the backlash from Black people became so great that an Internal public relation attack had to be devised to stop Blacks in the states from totally rejecting Jackson. Our rejection would have exposed Jackson as a fraud, a misrepresentation of Blackmanhood, and a lackey involved in the development of “The New World Order.” Therefore, a massive public relations program had to be devised to attempt to Blacken Michael Jackson’s image. The crazy little punk that had been beyond the reach of his own people had to be sent back to mop up his image. Even though, we were staring the epitome of self-hatred dead in the face, he still had the nerve to talk about how he was proud of being an “Afro-Amerikkkan.”

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In short, the system threw everything at us to neutralize the jokes, the snickers, and the hatred for the artificial cracker who hated us, even though we had loved him so much. Blacks in the media and the so-called Black media swung into action. Jet Magazine outwardly lied about the events that dealt with his Afrikan trip. They kicked out “positive” lies about his wellpublicized aborted trip to Afrika. Yes, the trip where he dissed one village, turned his artificial dog-like nose up in the air in another and rolled out of there before the tour was over. In the early months of 1993 the assault began, Jackson was everywhere, our mad son had come home. His goal, to re-establish himself in ourthat lovewas vaults at least his confuse neutralize the wave of disrespect tidalorwaving way, and because he rejected his own people. Talk show host Oprah Winfrey, infamous for her role and defense of “The Color Purple” man-bashing, image destroying vehicle pumped out by Black front man Quincy Jones for white supremacy, was a prime time stop. Millions watched Jackson blame his father for his race retardation, claimed some skin disorder as an excuse for his pale-ness and rapped about the white women in his life: Elizabeth Taylor and Brooke Shields. Yuk! Every story invented about the Jacksons zeros in on Joe Jackson as the villain and erases everyone else from blame for the troubles in that billion dollar insane asylum called the Jackson Family. No one gets with Berry Gordy, because he is rich and powerful. He slips away clean with blood on his hands, almost all the money and broken hearts on his key chains. Again Nelson George from “The Death of Rhythm & Blues:” “As all fans of American pop know, Motown promoted Gordy as an affirmative, unthreatening symbol of Black capitalism,

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one as acceptable in the New York Times as on the cover of Ebony. In his rare public statements and in all Motown promotional materials, Gordy clearly stated that his goal was to buy into mainstream standards. He was amassing wealth and expanding his operations - a sure threat to insecure whites - but his message was, “Don’t worry. I just want to be just like you.” That’s what his dreams of acceptance in Hollywood and Las Vegas, and the slogan, “The Sound of Young America” were meant to communicate.” Gordy was watering down Black musical culture before Disco was thought up by like thinking white businessmen. He was giving it away to line his own pockets and his disputes with some of his performers are alegend. unresponsiveness to heart performers and experformers tell tale of His a Wannabe with a colder than his white mentors. Tony Turner in his book “Deliver Us from Temptation” offered this about Berry Gordy: “I thought about the old Motown “family,” with Big Daddy Berry Gordy sheltering his stable from all outside influences - including outside lawyers, outside accountants, outside lovers - and controlling every move... With its atmosphere of secrecy and its encouragement of dependency, Motown was almost a cult. Performers like the Temptations were programmed by the company to look good, sing well, say the right things, take what is offered, and ask no questions... Then they started to see that Berry Gordy was no daddy, this was no fatherly love, that the man was treating them like so many other managers and promoters and record company bosses might. When they started to see that, they found out that they were powerless to change the course of their lives because Berry Gordy controlled them...Victims of the cult mentality on which Gordy had bred them... But very few of them, after being integral parts of Gordy’s dream, and then being exiled from it in one way or another, learned how to reproduce the dream for themselves.”

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Michael Jackson was that exception. Gordy had more impact on the young singer than his father. Like Berry Gordy he is obsessed with white people. Their acceptance, their approval, and their love means more to him then that of his own people. This mentality allows him to deliver our culture to them for money. Naturally a heavy price is paid to establish such a relationship. For example, he has to talk of some vague notion of a universal fantasy, he has to support white causes and he must strip himself of all his Afrikan handsomeness and replace it with a character that is pale and ball-less. In short, there will be no Malcolm X photos,sound bites or quotations in hisevaporated videos. Hewith can only drone on about Mart Lutherface. King’s dream that a governmental bullet toinKing’s In addition, he emulates Gordy’s greed, his “For the Love of Money” approach to life has delivered him into the penis hardened lap of the “New World Order” perverts. To not speak of greedy cultural sell out Berry Gordy as a dynamic influence on Michael Jackson is to tell less than half of the story. Jackson by his own admission says he idolized Gordy as a father figure, even though his father was standing right next to him every step of the way. No one adds this to the list of forces and influences that would mold Michael into the freakish clown he is today. For example, in the socalled Jackson Five miniseries, revisionist history at best, they attempted to rinse the clan clean of greed and madness. Michael had a hell of a lot of say about how be was portrayed including picking the actors who would play him at different stages of underdevelopment. In addition, his brother Jermaine and wife put the project together. Not surprisingly,the lack of objectivity was staggering and criminal. It is all PR, little and no truth to almost everything people in the entertainment industry drop on you. Like politicians they no longer

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are real truthful folk, they are images, hype, monster creators and walking fabrications. Imagery is everything and Michael Jackson took it all to the highest degree of perversion. He was born into the entertainment industry and knows nothing else, consequently the real Michael was easily erased and replaced with this pale ego that would do anything to getartificial love and affection from white folk. Almost every artist reveals him or herself within their work and Jackson is no exception. In fact, his work is a weapon against those he hates as well as a glorification of those he loves. Songs and videos like “Leave Me Alone,” and “The Man in the Mirror” are obvious cases. However, it is important to peer into his other work to corner his brain apparatus’ malfunctioning. It is important to dissect Michael Jackson’s videos to understand him. Interviews and writings consist of layers of lies to hide his demonic intentions. Also, his loyalties and allegiances must be exposed if we are truly to understand this singing and dancing weapon of the socalled “New World Order.” The key to the whole con game can be found in his video “Thriller.” This classic video was more than a mini-movie, more than frightening fun, more than devil worshipping horror, it was a personality marker. First we must consider that Jackson had a disclaimer in the beginning and theendorsement end of the video stating thatAfter this video must not he be drove construed as his of the occult. that statement our guard down, then he could work on our collective consciousness.

Thriller the Video Let’s cut to the chase, Michael jackson’s development into a megastar is not something he could do alone. Everything was open to him

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by the system, there was no resistance. They dug early that he had embedded in him the Berry Gordy crossover motives. He allowed whites into all levels of his production and management. He was ripe for the picking. He was a long way from Gary, Indiana. He was socialized by the Gordy “Sound of Young America” logo and he was as much in awe of whites as they were of him. To the white supremacist he was a dream come true. He was a weapon ready to be used and aimed at their “Culture Bandit” intention. Not since they arrested Jazz, invaded it, controlled it and got it under control, did they have Afrikan culture available as an export under the title Amerikkkan culture. Again they could mesmerize the world with our culture, and obtain billions of dollars in revenue and tons of goodwill toward this hell hole called Amerikkka.

Thriller was the album,Thriller was the video, it was the global money maker, it was the export that raked in the goodwill for Amerikkkan culture throughout the world. This included the Soviet Union, they hungered for the United States abundance, decadence and Michael Jackson was the pied piper. But Thriller was more than that, it was a tattle tale video that gave us a look at the artist’s self portrait and had we read it right he could have been exposed before he took off from the dingy chambers of Dr. Frankenstein where he was voluntarily recreated. Again the occult disclaimer is unnecessary if the jam was made in fun, they knew likereveal me would andthings read their intentions, their someone scheme and it all.come Therealong are four you must pay attention to when viewing that video: 1. The presentation develops Jackson as a some-what typical Black teenager trying to hook up with a sister. He even has a ring to help the consolidation, the relationship. He is flirting and is over joyed at her acceptance. She’s down with

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beginning a serious relationship. Black man, Black woman, healthy, wholesome and natural. It isn’t long before he turns on her and joins the society of the dead ni attempting to destroy the Black woman. Of course, his childish smile turns to a demonic grin when he tracks her down for her blood. And in real life the shy Michael Jackson who hides his aggression behind a timid facade is extremely violent and savage when traveling thru Afrikan Rhythms. 2. The hostility against the sister in the video is real, his standard of beauty is Elizabeth Taylor, an imitation Cleopatra, and Brooke Shields. Thus, the aggression and false image as a laid back cool brother is merely a game to get closer to her and destroy the Black woman. 3. The zombie chorus line demonstrates his oneness with evil, devil worship and their collective purpose. Destroy the Black woman and you destroy the race. The relentless pursuit reveals that there is nowhere to run, no where to hide from the forces of evil. Evil is symbolized by European vision of the living dead. 4. The most revealing shot took place after the sisterscreamed and popped out of a dream-like state to find Michael there returned to his friendly posture. And after reassuring her everything was cool, he took her by the arm and escorted her toward the door and behind the door were those forces who would destroy her. The most revealing part was the last shot when he turned away from her and to the camera and revealed he was still indeed the devilish beast. He smiled his childish smile to let you know there are two Michael Jacksons. One to pacify and cool us out, while the other agent of evil is prepared to deliver the people he hates to the forces of evil. Finally, in Thriller you will see the darkest Michael Jackson you will ever see. The darker he got the more demonic he behaved. Don’t think that message is lost on our children’s consciousness and is that not whites world view that propagates “Black as evil?”

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These things may behard for many of uswho are not Afrikan Centered and functioning from a liberating Pan-Afrikan ideological base to understand. You must travel deeper with me if Michael Jackson is to be revealed as more than a crazy boy reeling from a bad childhood. More than a self-hating punk, more than a brother with weird idiosyncrasies, more than a child-like artist, Jackson seems to be a willing agent of “The New World Order.” There is no need to go into “Billie jean.” It’s merely another case of a brother issuing adisclaimer saying “that baby ain’t mine!” Politically, things got tough for white supremacy and because they seen the possibility of the fall of all of Southern Afrika where the strategic materials come from that fuel their space programs, military industrial nuclear capability and the gold and diamonds that enrichcomplex, their bloody treasuries. This development led to the melting of white supremacy from its socalled cold war form into the “New World Order” or more clearly stated “international white power.” The Soviet Union was disbanded to be more helpful to white survival and control of people of color and their resources. Western Europe is scheduled to come under one currency and one flag, which is a major configuration change. This shows how desperate they are. Review the historical struggles and tribal hatreds whites have for one another and you will understand the state of panic they are in (read The Black Holocaust). All through their history it was thought impossible that they would ever move in a unified fashion. On our side of the tracks, we again resurrected our culture with the Hip Hop Artists leading the way. Our youth is moving closer to reclaim their cultural heritage. In addition, the Blacks Books Revolution and information explosion is feeding a hunger for knowledge of self all over the world. Not just an ego trip, Afrikan people are about the business of correcting false information, claiming everything that was/is ours and warring against anyone who stands in our way.

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The difference between the Blacks Books Revoluti on and The Harlem Renaissance was the control we seized over our scholarship. Not only are there Black writers, artists and poets, but we developed a multitude of Black publishers and distributors. Couple this with the development of Desktop Publishing and we moved to liberate our scholarship striking a deadly blow to the great white lie and establishing a beachhead for total liberation. Consequently, information that never would have been published by the enemies’ clearing houses, was on the shelves of the hundreds of Black Bookstores that sprang up to supply the new demands for information developed for and by Afrikan people globally. No longer could Dr. Frances Cress Welsing’s “Cress Theory of Color Confrontation” be ignored. In the popular book “ISIS PAPERS” she got into white people’s fear of genetic annihilation and explained how this fear is manifestedin their radically irrationalbehavior. Thusly inspired, they have unleashed upon the world a genocidal program that is an act of war against Afrikan people. In this environment Michael Jackson operates and it is no accident that his actions beneflts and are aimed athide our existence. Just all as of Thriller lets us peek whites into the double-faced and seek mentality of Michael Jackson, his popular video Black or White clarifies his intentions and political loyalties.

Black or White This is the most damaging video product ever devised against our aspirations for freedom. It is both clever and yet, not so clever. It is both crude, but at the same time sophisticated. It worked, but at the same time backfired. It damaged us but could clarify if we look below the surface. “Black or White” was the multi-cultural blues designed to stop or slow down our people’s appetite to find themselves in the Raps, songs, fashions and on the book shelves in our Black

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bookstores. It was developed to bolster integration at the expense of the developing Pan-Afrikanism. The bright song with the happy rhythms, dancing rainbow of people were all being brought together by the colorless Michael Jackson. Hethis jammed with EastonIndians, theStatue indigenous people of land, Afrikans, top of the of Liberty, with the Eiffel Tower of France, Big Ben of Britain and other images from the “New World Order.” The video even reflected the new attitude toward Russia as Jackson also jammed with them, for they are also part of the New World Order. There is also a shot of a white baby and a Black baby on top of the world and the white baby has a miniature globe in hisFive handyears and the Afrikan child ishave attempting get strange it from him. ago, they would accusedtothe singer of being a communist. From atop of the Statue of Liberty Jackson sings “I aint scared of your guns, I aint scared of your sheets” to the KKK and others who would attempt to stop multiculturalism from integrating us all. And as part one of the videos draws to a close, to illustrate his point graphically as the music vamps out, the close up images of people from different races melt into each other in a demonic fashion. Black, white, Mexican, Indian, women to men, men to women, straight hair to jeri curl, jeri curl to straight, dreadlock to straight and on and on and on. And as all are electronically mixed from one to another the bright happy textured chorusof “It’s Black, it’s white yeah yeah yeah” is sung over and over. And as the vamp ends with the glee of mankind, the music changes and a Black panther appears and separates from the happiness of multicultural glee. He descends down some stairs as if he is separating from integration. He emerges out of a cage or prison cell represented by the bars. And uprights himself. This all represents Black separatism (PanAfrikanism). The panther is used so we don’t miss the point. The stairs are used to represent a downward journey to hell.

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Once separated from the happiness of multiculturalism the panther uprights himself and turns into Jackson, but again the aggressive Jackson, the violent dick grabbing Jackson, who begins to destroy the Black community for no reason at all. In a burst of unprovoked violence, this different Jackson, unleashes the forces of evil against the Hood. He jumps on top of a car and began to destroy it with a sledge hammer for no reason at all. He smashes the windows and disfigures the car in berserk savagery. He burns down the hotel and like a mad man destroys everything in sight. He grabs his crotch and masturbates on a swirling heat vent and climaxes sexually. This was to demonstrate that we are savage and sexually out of control when separated from whites. With animal roaring in the background and his screams of savage ex-ta-see and under dark lighting in the dank streets of the inner-city Jaekson is tripping. Finally, he drops to his knees and reverts to a black panther and disappears slowly into the ghetto with the music fading up into Black or white. Completed, it is one of the most violent, backward, cowardly attacks by an Afrikan person against his own kind. This was showed as a premier video all over the world. Yes, all over the world they saw their hero indict the Afrikans in the states for being the cause of their own problems, thus Amerikkka’s problem. He propagates theattitudes of the “New World Order” to the planet. De-humanizing us, relieving Amerikkka of any blame for our deprivation, miseducation and violence in He laid thepolice seed, the point of reference to our helpcommunities. the world understand brutality, babies having babies, the welfare state and police brutality. It was a violent conscious act of treason against his own people, that was more effective than any governmental propaganda. It showed that he doesn’t have allegiance to the Afrikan population from which he sprung.

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It was no accident that part two of the video was surgically removed. Subliminal messages are not effective if they are seen too many times. He had hoped he could go undetected. The Black community complained about the violence and sexual behavior, but never dug the political ramification of the video and its effect on our global image. Why it might as well have been Amos ‘n Andy, Tarzan or Mantan Moreland. The only difference was that its propaganda was covert not overt. After Jackson executed this task, he was given a potential billion-dollar contract to continue his anti-Afrikan propaganda, exportation of Afrikan culture as Amerikkkan Pop culture and integration campaign, plus more, much more.

Remember the Time The change of our people’s attitudes about themselves and their culture has traumatized the “Culture Bandits.” Consequently they had to adjust their approach to our collective brain washing. This forced Eddie Murphy to move from Beverly Hills Cop to Coming to America. Capitalism is both carniverous and flexible. It will adjust to exploit and for co-optation and destruction. Murphy was sensitive to the criticism he was getting from the streets and his Black peers about his Illy white movies with their lily white casts. His reaction was reactionary. You can’t teach what you do not know. His movie Coming to Amerikkka was a backward, feudal, disgraceful portrayal of Contemporary Afrikan society. Michael Jackson has felt that same tidal wave of dissent moving powerfully to expose and destroy his white supremacist marriage to our enemies. One main reaction was to create something that had the overt look of being AfrikanCentered, while at the same time damage the Pan-Afrikanist movement. That vehicle was the video “Remember the Time.”

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“Remember the Time” played on the aggressive Pan-Afrikan Movement and the seizure of Egyptian History by its true owners... Afrikan people.After losing the rumble in academia on the basis of the overwhelming evidence that we the people darker than blue were the srcinal men and women of this planet. In addition, our glorious past is the basis of everything happening now. They were pissed that we knew and were convincing the rest of mankind. We were equipped with the physical evidence left by our ancestors all over this globe. As usual, when whites are cornered and exposed as the “Culture Bandits,” they really are, they manufacture truth. This is merely a snooty fiction that their mass media and educational institutions try to pawn off as fact. In this environment Michael Jackson chose to use our Egyptian past to infiltrate our consciousness, while clogging the unaware with emotional a-historical biblical garbage. In “Remember the Time” Jackson sets the stage in ancient Egypt in the court of Pharoah Ramses II and Queen Nefatari. Bored, Nefatari requests some The first brother displeases her and she had himentertainment. executed “off with his head.” That’s Rome/Greece notEgypt! The next dude dealtwith some sticks ‘n shit and she had him fed to the lions. Again, that is Rome/Greece not Egypt! Then Michael appears in a European Monk’s robe, representing European Christianity. Never mind, neither Europeans or and Christianity existed then. He throws down some goo-bee dust his synthetic high yellow ass comes out of the dust. He begins to sing to the queen, and of course, she is excited by his non-melanin appearance. Singing some stupid crap about the telephone, he jams in that off-time way he has. As he musically attempts to seduce thequeen in Ramses’ court, the king gets a case of the Black ass at the disrespect of the whole thing [this is the only video in history to have an all jet

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Black cast (all dark skinned folk including Magic “can I screw all the women” Johnson). Ramses II (this is Eddie Murphy, who was clean as the board of health, but of course he’s got a doo job under his fancy king’s hat), he gets pissed and sics his soldiers on the artificial cracker and Michael hauls ass outta there. The chase represents the so-called chase of Ramses II of Moses and the “let my people go” story from the bible. The reason this scenario is so deadly is clear. To reclaim our Afrikan identity we must return to the source. We must bathe in the Nile Valley, andthe thenpower come out to facefundamentally our contemporary realities armed with of truth, grounded in our true identity. We must learn what has been re-packaged, claimed, hidden and stolen. Only then can we push ahead to liberation from the beast of the field. Knowing that Christianity is packaged and sold by white supremacy, a prejudice is laid in there to stop too many of our people from being resurrected out of slavery’s insanity. Feeding on this contradiction “Remember the Time” became a vehicle to slow our collective roll toward a healthy PanAfrikan sanity. It had nothing to do with Michael Jackson relating to his ancestors, in fact as usual he was desecrating them. Since the backlash from the Black community against the antiBlack appearance and behavior of Michael Jackson, the power of the mass media to sway opinion has been demonstrated. To save their Amerikkkan Pop icon one of the most far reaching well coordinated image campaigns was executed. Not since the “Free Nelson Mandela campaign” to save South Afrika for white supremacy was unleashed on a worldwide teary eyed populace had a Blackman been used globally to sure-up our captivity. I seen people crying who never had a political thought in their life, I

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saw a bum rush of imagery and imaginary achievement sold to buy time for the Apartheid regime, and I saw Black people duped again. Mandela is/was and always will be an idealistic integrationist, not a revolutionary. I have been saying this for years. Steve Biko of the Black Consciousness Movement was not put on ice to be used as a future trump card. He was slaughtered immedia tely, because the white supremacist knew he could not be used against Afrikan people. Mandela and the Afrikan Nationalist Congress (ANC) want to come to power so bad that they have lost sight of the goals of the masses of people. And that is to re-claim the land, control the resources for the enrichment of the masses of Afrikan people at home and abroad. Also, to build a just Afrikan society, to insure the future of Afrikan people, to upgrade all components of life for the people. The ANC is not a Pan-Afrikan party, it is an integrated political machine with the cream (whites) at the top. People like Joseph Slovo pull the strings and the Afrikans dance. Left wing white supremacists are in control, therefore white bodies have yet to litter the streets for their foul racist deeds. Some of us remember well how Yomo Kenyatta was supposed to be the leader of the Kenya revolution, the symbol, the “Burning Spear.” After being released from prison he went to the head of the struggle against the deadly British and became the leader of the so-called new nation. And freedom, three decades later, has never come to our people in Kenya. Kenyatta became thesquatters neo-colonial puppet that shot Afrikans on white people’s land (?) as and poachers. The land never changed hands, the people were and are still oppressed and now the same trick is being played in Azania (SouthAfrika). History does not repeat its self, we repeat history. That all may seem to be an aside, but it is also the point. The Mandela public relation coup bought them time and they are still using him

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but many Afrikans across the globe are wising up. Our emotionalism is always used against us, more about that later. In the case of Michael Jackson and the New World Order, we emotionally want to believe the boy is cool. Even though our eyes, ears, nose tells us that he is more than a crazy punk, he is also an agent against our aspirations. First they attacked our clear perception with Michael in Afrika. Next, came the Jackson mini-series which was a fabrication of huge proportions. Add his high visibility at the Inauguration of Amerikkka’s new front man Bill Clinton. The powers-that-be went on to tip their hand by using the Super Bowl as a venue to invade people’s home and take advantage of the largest television audience they could find. Review the tape of his performance. It was nothing but a multicu ltural commercial set to music. Check the images. Did you ever think how outta the way that was? Did you ever think how weird that macho hook up with the soft punk image of Jackson swam in incompatibility? Did you see him singing the integration blues on a stage that sat on an X, to show the multicultural triumph over Black nationalism...Naw? You mean you didn’t notice the white and Black hands shaking on the streamers that they ran across the X? Well, tell me you saw the X on his chest that was removed as he kicked into “Billie Jean” and “Black or White.” Please tell me you saw Michael Jordan and Larry Bird’s Super Bowl commercial with them playing a super game of horse. At the end they appeared on top of a building preparing to settle the game, look it is there, three X’s as the integrated duo stood on our highest symbol of Black nationalism, Separatism, Race First, Malcolm X. Get the video tapes, I know most of ya got’ em, then check me out! Let’s talk about his appearance to scoop up three awards including an award for something called “The International Artist Award for his Humanitarian Efforts.” Yeah, but for whom? Of course, the Negro print media was there to buy into the charade along with radio stations

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which celebrated by giving us an overdose of his music. He so dominated the airways that this exposure resurrected the 18 month old album “Dangerous,” which brought it back to the music charts...part of the payoff. Now lets add simple ass Oprah Winfrey, of “Color Purple” infamy, into the mix and we find that the system gives her prime time to promote Jackson for 90 minutes including plugs for his new video, amazing. Yes amazing that few of us did not question these events as strange and demonically motivated. Jackson used this opportunity to talk vaguely about being proud of being “Afro-American,” and his dating of some paleface named Brooke Shields. Also, he claimed a skin disease as the culprit for his super white skin and said Dr. Frankenstein only chopped his nose twice... unbelievable! 90 million people saw and heard, during the Super Bowl hundreds of millions saw and heard, they saw and heard lies. I have to admit the boy and his promoters gave me some laughs like I hadn’t experienced in years. When he appeared on television to receive theofNAACP Image for Award I was good. Sure, that’sa their idea a good image us all. Thatnoofmore an imitation Honky, raceless, sexless brother who deals with washed up white women like Elizabeth Taylor and melaninless actresses like Brooke Shields. That’s just one of the many reasons most Blacks don’t take the NAACP serious, Ben Chavis notwithstanding. Ya know, I hadn’t laughed that hard since the NAACP, same people, gave Sammy Davis, the Image Award filmlips. footage of him coon dancing asJr. a child in black faceand withshowed big white I mean them Negroes would be side splitting funny if they weren’t so deadly. In Jet Magazine March 8th, 1993 they had the nerve to report that Jackson’s Publicist Leo Solters said that the media blitz was “just a happy coincidence.” He had the nerve to go on “We did not set the inauguration date. We did not set the Super Bowl date. We did not set

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the NAACP (date). We did not set the Amerikkkan Music Awards date.” He went on say~ “It happened that he was in town, not on the road and not recording an album.” YEEEEEEAAAAAH RIIIGGGHHHTTT! Publicists are hired liars and this one aint even good at his craft. But I’m not finished. It was at the Soul Train Awards program where Michael Jackson’s performance should have gotten him an Oscar. He received several awards, another for just loving humanity, one was delivered by Eddie Murphy. On crutches, he hobbled to the podium and through pain thanked Blacks for the first time, especially Black radio personalities and program directors. The show’s format called for several people to announce and hand out the awards. However, Murphy alone gave him the Humanitarian awa rd. Naturally, he alone gave Murphy an award for something or other. Now, Michael was supposed to have injured himself rehearsing for the show. He hobbled around and was also pushed about in a wheel chair, however this great trooper had to perform for his fans. So he drew up in his Egyptian garb and did his little Sissy dance from a wheel chair to wrench sympathy from the audience. So, like the rest of Black promotional tour, he when appealed to the softer sidehis of“I’m us. And liketoo” his character in “Thriller” we looked away you could see the demon reflected on his face and in his diseased pale soul. The covert marriage between Jackson and the “New World Order,” has become overt in 1993 when it was announced that Jackson would work with Trilateral Commission’s ex-President Jimmy Carter inoculating vaccinations.our people with so-called anti-childhood disease It was under Carter’s presidency that the Global 2000 paper was researched and completed. The Global 2000 was a report justifying the hoarding of the land and resources of this planet as it loudly proclaimed a scarcity in resources because the earth is over-populated. White supremacy and their internationalists are controlled by people

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like David Rockefeller. They are the perpetrators of the so-called “New World Order,” which is a restructuring of global white supremacy and the final solution to the race problem. The methods they intend to use to decrease the population are clear. Drugs, Crack, AIDS, famine, war, homelessness, police brutality, pollution, toxic waste, vaccines, weather sabotage and crime. It is important to note that many experts from our side of the tracks accuse the World Health Organization with inoculating most of Afrika with the mv virus under the guise that they were attempting to eradicate smallpox. President Clinton is not to be trusted, and the whole inoculation issue must be reviewed by an informed people. Consistent with the aspiration of the Global 2000 report to reduce the global population inoculation is a key tool to this end. Early in 1993 the Amerikkkan Government has begun a vaccine program to shoot up the populace, even though there is no plague and no reason to spend billions to invade people’s bodies. Michael Jackson with Jimmy Carter were dispatched to Atlanta to test the mass inoculation program. People who registered and cooperated with the effort were given free concert tickets to see... Michael Jackson. The pale pied piper not only attracted people to the program, but also other entertainers to drink up some of the publicity for their assorted careers. In addition, Lee Brown former commissioner duringformer the slaughter of young men and boyspolice in Atlanta, the ineffective police commissioner of New York City is now the new Drug Czar of this nation. Everywhere he has been at the helm young Blacks died like flies, now he oversees our death and controls the system’s socalled counter attack on drugs the system produces. The trap closes and genocidal programs are encircling our fragile reality.

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Just to make sure you know who we are talking about, we are talking about white supremacy: a. The race that literally erased the indigenous people of the so-called Caribbean off the face of the earth and imported Afrikan prisoners of war as slaves to work the land. b. The race that produced the British/French 100 years war. Obviously, peace is abnormal to them. c. The race that used opium as a weapon just to open up China as a market for capitalist exploitation. d. The race that gave us the German Kaiser who had 16 million slaughtered in Namibia alone... Who gave us the Belgium King Leopold who slaughtered, butchered and raped millions in the Kongo... Who gave us Cecil Rhodes, Apartheid, imperialism, colonialism and neo-colonialism all over the globe. e. The race that enslaved us and brought us to this country to suffer and serve their greedy ends. f. The race that have given to the world two genocidal world wars, that seen white on white crime in full effect. Both the 20 million Russians who were slaughtered on the Russian front during World War 1 and the 6 million whites who converted to the jewish religion were white victims of genocide. g. The race that has steadily slaughtered our leaders globally to remain supreme. Yes, the assassinations and coupsthat have delivered our resources to them. The trail of blood is knee high and its established pattern continues as the norm for race relations. And Michael Jackson is their agent, pied piper who rocks us closer to the open grave that has been freshly dug.

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Many of us don’t want to face the obvious, Michael Jackson hates us. He’d rather hang with others who have been executing genocide against us for centuries rather than deal with his own people. It is all a game for him and his tricked up mind swims in self hating madness beyond description. As they always say, “if ya wanna hide something from the people keep it right in front of them,” so obvious that they can’t see it.

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T.V. PROGRAMMING (A DIET OF GARNISHED GARBAGE) On the plate it looks good, it’s laid out in a false wholesomeness. The lighting makes it look appetizing as a nourishing meal cooked by loving hands. Even the plate looks digestible. In Amerikkka, we must realize all that glitters is not gold. As a matter of fact there is no gold in Amerikkka and the dollar aint got nuthin’ behind it but a go-rilla suit and a barbaric military. Television used articulate a fantasy world thattimes travels on sex and violenceisinto thetoviewer’s behavior pattern. Many the Victim (viewer) is so tangled in the synthetic reality that responses to real life stimuli leads to a learned media response. Tragically, many times it is violence that erupts and the explosion disrupts and destroys life. If television becomes your reality, it would be easy to view crime as the number one human activity. Cameras in the courtroom scan the sweating faces in a dull real life drone. Court TV, Sports Stations, Cartoon Network, Disney Station, All News Formats, Home Shopping Network, Entertainment Station, Nostalgia Television, The Learning Channel, Sci-Fi Channel, VHT/BET/MTV music stations, and more litter the airwaves via cable. Old, new and useless programs are beamed in an unhealthy abundance, clogging the thought patterns, attempting to exist unmolested. Because the old programming proved itself capable to brainwash the last generation, it is allowed to survive to reinforce past lies. Many of the crippled robot-like victims seek out old movies and television fare like an image junkie searching for a fix to reestablish ignorance as their norm. The old heads and new viewers can catch John Wayne, Leave it to Beaver, The Jetsons, Dennis the Menace, The Flintstones, The

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Untouchables, Star Trek, The Bill Cosby Show, Honeymooners, Rocky and his Friends, The Smothers Brothers etc. It’s like an image nightmare with reactionary audio playing endlessly like a propaganda rerun because the creators are on vacation. I have a brother with a massive satellite dish and he told me he was on the road for a few weeks, came home, flipped on the tube that can give him any station in the nation. I asked him “so what didja watch?” He looked at me and said “wasn’t nuthin on!” I mean, they’ll even run old sports games, fights and other athletic events and somebody will be checking it out like it was happening on the spot. Never mind, that thistime could be used reading, studying and expanding the mind, upgrading skills, or used to deal with the family. It’s dead air y’all, dead as hell! On the economic tip, old TV products have been revived to create more money, pick up new sponsors and enrich those who would drive us all insane. Now listen, whites are also victims but in a different way. They benefit from the white supremacist propaganda only in a backward egotistical way.AsOn a practical tip, they area set up to be economically exploited. they watch Blacks with developed hatred, their own brothers and sisters (ruling elite) rip their guts out. They are pushed into wars they die in as they fatten the pockets of their rulers, while their children die racistly wrong, arrogantly sold on white supremacy and hated by all people of color. War andthey television shows set them like pale bowling pins to diemovies for wealth will never share. Worldup War movies, the “Green Berets” with John Wayne, “Combat” with Vic Morrow, and funny war programming like “M*A*S*H” and “Hogan’s Heroes,” pasteurize the hell that is war. They love to show war documentaries as they study the science of war, as they hunger for the next throw down. And the beat goes on.

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Military madness is produced for young minds as recruitment tools. Children defending an invaded Amerikkka creates a beaming patriotism that can only be proved with blood. Gallantry is made to look easy and the die-ing made to look less deadly as the action spins from the television screen to the video games. Death is digestible, socialization to kill is a slow process, but the best option to contradictions we are all taught. Pain is down played from “Tom and Jerry” cartoons to “Contra” (a Nintendo game). Remember Contra stands for counter-revolutionary. Obviously, they are teaching our children that revolution, liberation and freedom are evil pursuits. Moreover, separation from them is taught to be a crime. Our little people are to sobeimpressed, they ape the behavior the barbarians and grow more heroic and patriotic than theofwhite child. They turn out to be police, SWAT experts, Seals, Special Forces, CIA agents, FBI agents, presidential bodyguards and other assortments of flunkies protecting the enemies of their own people from harm and removal. They are produced in young minds and climb into the consciousness as career goals. Rarely are the political ramifications dealt with, it’s a career and an economic question and the race be damned! For women you add “Soaps” to the media diet and madness is not far away. They carry a warped value system, depraved sensuality, a bourgeois value system, a selfish worldview, and a lack of fidelity to anything or anybody. Their target is the family relationships and they attack from all angles: lust, violence, greed and arrogance. They reinforce the anti-family songs played on the radio. It develops an unprincipled norm in the victim, that allows for the most selfish acts. It keeps a wedge between mates as it opens up life for unwholesome and lustful possibilities. It signifies in good people with healthy relationships that they are abnormal. It promotes infidelity as an option to boredom, it is as European as the decadence of Greece and Rome.

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This damages Black women’s perspective on their particular reality and their own cultural norms. The professional women who have been touched by the white women’s “liberation movement” grow closer to their white counterpart. Once they are seduced by white life styles, values and incredible individualism, they are damaged as mothers, lovers and wives. Soaps are the dagger in the heart, the knock out punch used to direct the victim away from obtaining an Afrikan consciousness. In fact, there is no way you can become Afrikan centered and digest the ideas and imagery planted in soap operas. That’s why the first thing a developing sister loses is her appetite for thedirty “soaps” that pollute the mind as they promote that the “behind” should run amok. The major media attack against the men is sports. Many men buy into the macho backward image of a would-be jock. Just as “Soaps” deliver an alien culture to the sisters, sports delivers a culture to the bloods. Packaged with the game, and even more important than the game, is the European culture, values and patriotism served up with the action. All sporting eventsisare wrapped inAfter the flag and can’t evenand start until white nationalism recognized. everyone stands salutes the enemies of people of color, the games begin. Military fireworks displays almost always bring sell out crowds to the games to see “the rockets red glare, the bombs bursting in air.” The stadiums are adorned with commercial billboards exhibiting products of capitalism. The massive screen television monitor hovering over almost major was saidot be forscreens reviewing instant replays. Whenevery in fact, theystadium are mere commercial to deliver audio-less commercials to the captured audiences. In the stands, salesmen are yelling about cold beer, ice cream, hot dogs, sodas, cotton candy, souvenirs and anything else they can hawk. Human traffic and the passing of these items make it almost impossible to concentrate on the game.

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It is more than a game, it is a white cultural event encased in a white supremacist garment of out of control commercialism. The stadium or arena rocks and rolls from the sheer weight of the money changing hands. The true fan of the sport is washed away as the masses have a cultural ejaculating experience and they don’t mind the cost of celebrating their culture. When things slow down the “Culture Bandits” will play some stolen Black culture to awaken the crowd, which by now is crashing off of a collective sugar high. “You know, Ya make me want ta shout” the Isley Brothers record screams as pale barbarians awaken for the last half of the game. “Celebrate good times come on” Kool and the Gang sing later to inject life into the lifeless. Yet, it all goes deeper than that. Men study the lifestyles, haircuts, wardrobe, habits and sneakers of their idols. They pour their money into obtaining the products the athletes endorse and they read about their lives as if they are saints. The mind managers understand this and use them for economic, political and cultural purposes. Athletes are well paid whores and they know it. They also knowthey a trick is a trick andshort getting screwed is getting screwed. Therefore, approach their lived fame as small businesses like hookers trying to get more per trick from their pale pimps. To do this, they must get more involved with white supremacy’s goals and objectives of fleecing the world. They must support, monetarily and through endorsements, the charities the white boys choose,which of course is their always themselves. must party, play golf, and at times screw masters as they They attempt to maximize profits. The rawness of it all is as ugly as a white women in a shower. Yet, the so-called super stars, or indentured servants, grin and bear it as the plantation controls almost every aspect of their lives. Meanwhile, the fans miss all of this because they buy into the unholy propaganda that project these gladiators as independent brokers.

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Meanwhile, the pro athletes must side step drugs, alcohol, gambling, sexual whoring, and political suicide. Like a dressed up monkey with an organ grinder, they must say only what is allowed, what the society needs and stay away from the Black community. Many talk about giving something back, which means they rolled, “Say no to drugs, use a condom, don’t drink and drive and stay in school.” Anyone who deviates from this line of accepted bull-shit can be destroyed as fast as they were created by the same media that developed them as an entity. It is important to note, that young boys watch these multimillionaire whores bow down to white control over every aspect of their lives. They watch as whites control their Black puppets. They start developing in young athletes an ego so big that they can’t dig the deal that is going down. After high school, the potential professional products practice making money for whitey. Colleges make millions off Black athletes in return for a white supremacist brainwashing education. If they take a dime, they are punished. It is naked exploitation, slave labor and a backward system. The institutions of higher learning should not be allowed to charge, profit, and exploit the talents of their athletes if they can’t share profits with the producers of the wealth [the athletes]. Even though they are mere pied pipers for capitalism, they remain heroes to their race because of the political immaturity of the people. You would figure that after Joe Louis recruited soldiers for this country, raisedWorld millions ofTwo, dollars andwould outwardl y supported the United States during War they have cut him some slack. To the contrary, the Internal Revenue Service (IRS) took him down after the nation raped him of his pride and honor. Muhammad Ali, was the ultimate rebel for refusing the draft, he was a member of the Nation of Islam. Recruited by Malcolm X, he later became a stooge of this government. Supporting Nixon in a

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presidential election, becoming an Amerikkkan Goodwill Ambassador and raising money for Amerikkkan soldiers missing in action and prisoners of war. I mean, that is like traveling backward at the speed of light. You can’t trust politicians, athletes and entertainers when it comes to our struggle for liberation. They are the ones our people love the most, they are the ones they emulate the most, they are the ones who betray the people the most. Only those with extremely low consciousness would ever trust these clowns, sell outs and opportunists. The persecution of Black athletes who attempted to be their own men litter sports history. The number of ball players who get caught up with drugs, womanizing include the majority. entertainers, allgambling, is forgiven because you are special. InsteadBut of like us holding them more accountable, we relieve them of their responsibility of being Black. They’re allowed to become an assortment of freaks, faggots, lesbians, male and female whores. They seem toget a “special privilege badge” to embarrass the race like Vanessa Williams former “Miss Amerikkka,” Michael Jackson, Prince, Wilt Chamberlain, Magic Johnson, Carl Lewis, Whitney Houston, Millie Jackson, Chuck Berry, Denzel Washington and legions of others. As you can see, the soaps have special roles to play in underdeveloping women socially and fragmenting the family. By digesting the white women’s world-view and moral code Afrikan, women whoare carriers of the culture, are damaged. Soaps are a satanic product that is effective. Soaps do not just exist on its own steam. Many popular radio stations spend more time on “Updating Soaps” than they spend on the news. In addition, most newspapers keep their readership abreast of the decadence daily. The same is for sports stars, whose lives are constantly under the microscope as men and some women hang on every word spoken or

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printed. And of course, the endless gossip about entertainers and other known figures in politics, soaps and sports is an industry of its own. The trap is set and sprung and it produces backward, childish people who are politically apathetic, ignorant and uninterested in breaking with Amerikkkan pop culture. The leisure industry of this nation is a drug, a powerful opium. The smoke creates a dizziness that sinks the victim deeper into an existence as sad Black crackers destined to self destruct.

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TELEVISION: WHITE SUPREMACY’S LETHAL WEAPON “We begin conditioning our children to war at very tender ages. When we put our children in front of the television and turn it on so we can go wash the dishes or take a break, and they watch the same show,with different characters, 10 or 15 times a day - that’s when it begins. I have a young child, so I’m aware that He-man, Sheena, the Thundercats, the Transformers and the Decepticons, Mr. T, and even ScoobyDoo all have the same plot: nice, handsome, light skinned people are put upon by ugly evil forces. The Good guys always say “Please be nice.” The bad guys - like Skeletor who is dark, ugly and evil - insist on attacking, and at the last minute the Good Guys rise up and blow them away. Cut, commercial, and they move on to the next show, until we graduate from high school, when it is estimated that we have literally spent more time watching violence on television than wehave spent in the classrooms. I call this view our children are given of ourselves as the Good Guys of the world “The American Syndrome.” From the powerful book “”The Praetorian Guard: The U.S. Role in the New World Order” by John Stockwell, former Director of the CIA’s Angola Task Force in the 1970’s. John Stockwell, from inside the Amerikkkan family, speaks clearly of the racism and militarism that runs through the entertainment, information and imagery diets delivered by the mass media. He understands how they keep the people prepared for war, racism and white supremacy. Television is a lethal weapon because it is free, cheap and always there. It is a deadly companion. Behind the friendly mask is a perpetuated hatred for people of color and a manufactured supremacy

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acted out in scripts from the damned. Located inthese fantasy passages is a hatred so deep that the viewer drowns in its tidal wave of demonic venom. Re-arranged forever, the viewer digests the negativisms into a remolded consciousness that develops a self-hatred in Blacks. In addition, fear of white power is manifested as the flood creates layers of confusion, lost identity and an awe of all things white. The mere abundance of the pale foolishness effectively transforms perceptions, philosophies and ideologies into reactionary pablum. It is difficult to grow anything else in the polluted consciousness of the victims. Self doubt, fear, awe, hopelessness and a caste-like negative self image is created in all the spaces. We must travel through television if we are to understand its importance in distorting reality, misrepresenting people and cultures. At the same time, it’s landing a knockout blow to the consciousness and motivates the victim to self destruct..

THE GOALS OF TELEVISION From cradle to grave television, since its appearance in Amerikkkan society, has been a weapon of mass destruction, a vehicle of filthy fabrications, an escape from reality that is a one way journey. It is also a lying machine for economic and political coverups that keeps the victims always running down the wrong road looking for truth. Yet, almost every viewer relaxes in front of the tube, shoes off, refreshments within reach, guard down, mind open and prepared for another shot of brainwashing Amerikkkan style. Simply put, these are the objectives of television: 1. To maintain a white supremacist mentality in its white citizens, while keeping the rest of the world, especially people of color, in awe of white culture, military might, a pale God, and the whiteness of their skin.

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2. To define every phenomenon, historical event and accomplishment as the result of western civilization. It claims everything useful and attributes everything negative to people of color. 3. To deliver a white form of reference to everybody, caging dissent, evaporating anti-white aggression while establishing a fantasy of a multicultural nation with “liberty and justice for all.” 4. Artificially, they control their syntheticculture for economic and political purposes, at the same time destroying anything outside of their understanding, and anything that counters the exploitation of the people by the system. 5. To psychologically breakdown theviewers and rebuildthem to fit in a neat already defined bag for control. All Blacks must be made into Niggers, house Niggers. Progressive, revolutionary and free thinkers can not be controlled. Therefore, they are misrepresented for isolation and destruction to retard race development. 6. Television is used to define norms, goals, objectives, and in doing so it keeps the viewers mind prisoner of unobtainable goals or goals that will not effect the relationship between victim and controller. 7. It delivers an escapism, but only to places and situations that reinforce white supremacy and its aspirations. Places that don’t threaten the continued existence of their global dominance. 8. Television also pacifies and helps to expel aggression from the victim as he or she shouts at the screen for a touchdown, or “kill him” or even “slap her.” It’s a demonic catharsis that washes away the society induced stress and cools you out to return to work tomorrow as a productive neo-slave existing in modern sharecropping for them.

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9. As a producer of synthetic values and morals, it guides the brain into a manic metaphysical approach to life. Their scheme hides the shackles safely out of sight, and with the whip wounds bleeding just enough to act as a reminder of how nasty and blood thirsty they can get when mental-control no longer works, they act as the thought police. As Afrikan people, we find ourselves mostly observers of white life and as we begin to acquire the same appetites, the same view point, the same filthy moral codes and the same loyalty to white supremacy. We become what Franz Fanon called people with “Black Skin with White Masks.” Let us take a look at this process at work and breakdown the components that create Black people in white masks. We must also rummage around inside their methods to truly understand what is being done.

“NEWS PROGRAMMING” Anytime someone approaches me and tries to defend the local, regional, national and international news apparatus of white supremacy, I merely point them to old man W alter Cronkite. His racist propaganda laden broadcasts was one continuous obvious distortion concerning events unfolding during the war in Vietnam. In no communications arena is white supremacy’s propaganda more overt, yet people buy into it. For example, we use to laugh at their broadcasts during the war, especially their casualty count. It went something like this: “Today the Pentagon said 750 North Vietnamese regulars and 230 Viet Cong were killed by Amerikkkan troops, who suffered 10 accidental deaths, four headaches, three hangnails and five chafings from severe masturbation burns.” Seriously, the numbers didn’t jive. There was always massive casualties by Vietnamese forces and light casualties by Amerikkkans. They were always close to a break-through or at the turning point.

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When all along they were hiding the fact that the first televised war for the United States was going to go into the loss column. The consequence of all of this was devastating on the homefront. It kept the anti-war movement from truly articulating reality to the over all masses, who were brainwashed into thinking John Wayne and the Green Berets were just mopping up some shit. Therefore, most of this nation was caught by surprise as their army collapsed in front of the whole world and had to haul ass outta Saigon in a pathetic panic. Instead of the news media gathering the correct data and pumping back to the citizens of this nation the truth, it was the vanguard lying machine that hid the brutality, rape, murder and plundering of Vietnam by Amerikkka’s war machine. The white bully could was instop for that a royal ass kicking and no lie, film or fraudulent reporting reality. Why, I even remember when Walter Conkrite use to get up from his desk with a map and a pointer and lie in front of the whole country. Yeah, don’t cha recall all the generals and military experts who sold the lie that victory was at hand. The broadcast news apparatus is a glittery low life lying machine, with no conscience and charged with the righteous responsibility to mis-inform, confuse and destroy information under the weight of their legitimized propaganda. When I was younger they lied about the struggles of our people in Afrika and the so-called Caribbean to de-colonize their nations. They lied about the just struggle of Lumumba against their corporate exploitation. They lied about Kenya and the so-called Mau-Mau, as the British went berserk and bankrupt fighting the liberation efforts of our people. How many times have they reported that Black revolutionaries slaughtered Nuns and “humanitarian” workers and later it was revealed it was white troops in Black face? How many times have they painted us as savages just because we wanted to rid our countries of the white menace?

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Meanwhile, in the national arena, the broadcast news teams spat out anti-Afrikan propaganda, attacking our just struggles for civil and human rights. They both created and destroyed Black leaders, they attempted to defend non-violence as the only legitimate tactic to be used against them. And too many went for it, while vast numbers still buy into non-violence as the only way. In fact, they have institutionalized non-violence. Most Blacks here in Babylon can’t even think outside of this synthetic norm. The broadcast media’s main task, concerning us, is to project a leadership for us that is accountable to them. They’ll even pretend to be at odds with white supremacy’s established flunkies. The tired Carl Rowan, Jesse Jackson, Coretta Scott King, Vernon Jordan and other “colored” civil rights icons can snatch air time anytime. As they shuffle down that tired road of pale legitimacy. Their following is dwindling as the antiquated path is worn and sinking from the shear weight of its backwardness. History would have claimed them for its museum a long time ago if it were not for television. The objective reality has changed, rapid transit and communications have changed, fashions have changed, and thestapled methods used by our oppressors have changed. Yet, they remain to the past. Meanwhile, lynching is too slow to decrease the Black population and they feel that Afrikan people are reproducing too fast. Crack and AIDS are now the weapons of choice by the enemy. Biochemical warfare is being slipped into the mix. Also, Police brutality has increased to beat us back into our ghetto concentration camps. Everything but the tired Negro leadership that marches on with littlehas or changed no following. The KING ALFRED PLAN that was drawn up decades ago to deal with Black rebellion has been replaced by the “REX 84 PLAN” drawn up by Oliver North. Yet, none of the established leaders speak on this. They just sing a simple song about race relations. Meanwhile, everything has been put into place to accelerate the genocidal

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programs against our people. That’s why young people can’t use them, why they don’t respect them, and why they are ignored in this epoch of horror. It is televisions news’ job to make writers like me outlaws, our historians clowns, our researchers’ works ignored and the New Jack political movement kept under wraps. That’s cool. The development of our people is escalating, so don’t expect the enemy to propagate true progress. Did they tell the truth about: the Vietnam War, the coup of JFK, the slaughter in Jonestown, the Atlanta Child Murders, Wars of Liberation in Afrika, their Assassination of Lumumba, their coup of Nkrumah, the Assassinations of Malcolm X, Dr. King, Fred Hampton and Mark Clark and on and on? Now locally, the news is mere porridge, public relations reporting, human interest stories with inner-city death and fires. Add in a dash of sports, celebrity gossip and some laughing weatherman and your daily information diet is there rotting on your screen. In addition, sports snatches a block of time and delivers the male escapism needed to prepare the viewer for a peaceful sleep in their comforting bosom of ignorance. The laughing faces with the dancing eyebrows are ugly westernized talking heads, spitting out lies manufactured by writers and editors who never contradict the white supremacists’ ideological line. They giggle, they wiggle, they seduce as the truth is hidden in the painful reality that they help perpetuate. Most of us can’t go to bed without an unhealthy dose of their fiction. We feel ill-informed if we can’t gossip the information our enemies produced for ustomorrow to increaseabout our madness. And at work, on the block, in the laundermat, the beauty parlors and barbershops, we discuss their information as if it was real, as if it were truth. We praise who they praise, we condemn who they condemn, we parrot their rotting perspective as wetravel further from reality into their ideological chambers of horror.

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I don’t want to be abstract here, so let me say, we must travel far beyond their offerings if we are going to be informed citizens of this planet. As we swim in their confusion, we come up with silly positions on important issues. Equipped with half the facts, we arrive at conclusions that we feel are on tight foundations, when in reality they are as faulty as the lies they are based on. Fluttering throughout the news is their integration themes and multicultural do-do, which is produced by the people who make living together impossible. Laced with: the president said today, the Pentagon revealed, the FBI spokesman said,... the police reported... prefixes that demonstrate bias and srcin, television is a bastion of our enemies perspectives and worldview. Then obviously, we are always discussing the world according to white folks. They decide what are the important issues to deal with. For example, most people had never heard of Grenada before the pre-invasion propaganda and the managed information after the invasion. Even broadcasters were calling the small island Grenada. The 1983 invasion was a classic case of what television, the Pentagon and enemies learned from notby totally controlling Imperialist the news. The our press was nothave allowed on the island theAmerikkkan Military Machine until the island was secured, the fighting was over, and all imperialistic crimes were covered up. Consequently, the Amerikkkan Military had its way with the island, the islanders, and the revolutionary forces that were captured and tortured. In that aftermath, they tried and convicted political targets with importedimperialism judges paidand by the States to convict those who had opposed the United cowardly invasion. The trial of the Grenada twenty-one got little or no coverage. Likewis e, the invasion of Panama and the kidnapping of the head of state, Manual Noriega, was never approached from any real angle. The television coverage dealt with ht e impact of drugs from Latin America. Sweeping the Bush-Noriega relationship under the rug, it dealt with

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Bush as he was not possibly the world’s most notorious drug dealer, but Crusader Rabbit. In 1992 the U.S. Federal Court would rule that Noriega was a prisoner of war. However, no one heard or understood as the sand of the filthy cover up buried truth under its waste. In addition, they played down the relationship between Bush and Sadaam Hussein of Iraq. Another former friend of white supremacy that the United States has turned on and attempted to destroy. The violence unleashed on Iraq demonstrated that those who work with white supremacy always wind up in their gunsights sooner of later. However, what is important here is that we understand that no one is on the white agenda but whites who work for and support the ruling powers within the white collective. The news reports have most whites fooled into believing that they are a part of the party, when it is apparent that they are merely victims of the greed of those who rule. And now they have begun to feel the bite of the reconfiguration of Amerikkkanism into an internationalistoperation (Trilateralism). The white poor whites suffocate from powermiddle venue class from and Amerikkka to anwill international front.the change of The control of the news is in the hands of the power elite. The important feature of this is that too many of our people receive their view of the world from manufactured propaganda. Distortions that are created and spit out in reactionary sound bites and visual images to attempt to legitimize “the great white lie.” News now runs 24 hours a day on all so-called information stations like CNN, CNBC, C-SPAN 1 and 2. They clog the air waves with the same song sung in a different key. While, “FACE THE NATION, FIRING LINE and MEET THE PRESS,” intellectualize about things and dig deeper into the global impact of events, the intricacies of electoral politics and economic

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jockeying, they still serve to promote the capitalist world view with its layers of racism, sexism, anti-humanism, and propaganda. “Nightline” was born outta the Iran Hostage Incident in the 70’s. Ted Kopple’s Nightline evolved from “America Held Hostage.” It is now a current events program that claims to go deeper into chosen important issues. It fakes it as if it is presenting both sides of the issue, when in fact, it usually chooses a rightwing guest and a moderate guest. This insures that the issue or event isn’t truly explored outta the realm of white supremacy. For example, on several complex issues, Kopple invited guests from their academic community, politicians and governmental officials. His Blackand guest occasions was Spike Lee, whodug washe overmatched outon ofseveral his area of expertise. Finally, Spike was being used and began to decline invitations to be the Negro spokesman on important political issues. According to recent reports, Kopple is a member of the deadly Trilateral Commission. Understanding this, you can clearly see the bias in his reporting. Not only on white/Black issues but also in his contradictions with the white enemies of Trilateralism. Kopple is in position to dissect events ashey t are happening delivering the “New World Order” worldview and propaganda to the negative global changes they are spearheading. Consequently, agents of David Rockefeller and his posse have a national platform where they can legitimatize “the great white lie.” This results in people like Rockefeller flunky Henry Kissinger running down their sad political policies as objective observers, when in fact he is one of the perpetrators. Horrible hawks like Alexander Haig and George Shultz are paraded in front of the people as if they are no longer in the mix as they verbally back up the imperialist policies of the United States Government. The program usually begins with a reactionary a-historical look at how a situation developed. The information community are well aware

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that there is little knowledge on most areas of the world because they develop this vacuum. Meanwhile, network “Special Reports” on places like Grenada, Panama, Somalia, Azania (South Afrika) and other points on the compass deliver little useful information. For example, none of the network “news specials” dealt with how Somalia got squeezed in the white vice that led to de-population, lost of sovereignty and occupation. None of them dealt with the revolutionary forces that finally chased the Amerikkkan backed dictator out. The same type of scenario, minus the drought, that Liberia wascaught in that led to the overthrow of dictator Samuel Doe. In that case, Doe was brutally killed in the fighting that left a void that several opportunist forces are still fighting over. Somehow, the progressive forces are no longer being identified so that Afrikans in the States don’t really know who to support. The educational systems, radio broadcast and printed lies are reinforced by T.V. news and collectively they serve as a knock-out punch. This K 0 of our consciousness leaves the victims reeling in white supremacy’s ideals, andlaid appetites. Negro leadership only functions in notions, the domain down byThe the dominating culture of the slavemaster. Consequently, so-called Black Talk radio, the Black print and broadcast mediums reflect their masters’ list of concerns and issues as they perpetuate “the great white lie.” We must be terrorized by things untried and unconforming possibilities. It seems to me that if we have the same set of issues, points of interest, dialogues as our enemy, we could be receiving liberating information. For example, if our not leadpossibly stories are the same as theirs something is wrong. If our editorial commentaries are captive by white propaganda, how useful can they be? There are very few places where I see a consistent struggle against this sameness or a different plate of information set up for Afrikan consumption. Nor do we have a marketing program for manufacturing

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the information we need and a method of local, national and global propagation that could help even out our political development worldwide. There is no way we can develop the political maturity our people need without correct information, a consistent diet, a mass distribut ion apparatus and a global network of “Afrikan Conscious War Correspondents,” who will feed the machine. On the other hand, almost all cable laws have community access codes written in, yet we are not using them or we are under-using them. We have three areas of struggle we must activate now or all will be lost: 1. We must declare a global state of emergency. Because, we are in the final phase of the Black Holocaust: Clinton and Pacification. We must begin to build organizations to problemsolve. As long as we are unorganized we can’t build shit! We can not take advantage of our collective intellect, funds, people power, and resolve in our present disorganized state. Our search for a national personality to be our Jesus and sacrificial lamb shouldbackward be abandoned. That approach is obsolete, unhealthy, and reactionary. Let us start by organizing small local groups to address problems that are obvious and can be solved through positive action. Later, we will link all groups together, but first we must get use to problem solving where we live, then we can expand. 2. I refuse to believe the Afrikans in the United States can not accelerate andhistory, build schools for their Institutions based on our our struggles, ourchildren. aspirations must be built. We only lack the will, the determination, the foresight to see the extreme importance of it all. Our lack of action in this important arena is a barometer that our people stillbelieve they are Amerikkkan, still believe Amerikkkka will absorb them, and still have an Afrikan identity crisis. I’m begging for us to mature and understand that we will never win

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liberation, that is at our fingertips, without developing our own educational systems to educate our young. In addition, we must first support in every way those gallant struggling institutions that have been serving the race almost unnoticed for years. Then, we must structure new institutions with a liberating curriculum based in science and culture not religion and backward western thought. 3. Through our new organizations based on action, we should work to confront the existing racist media to elevate the contradictions into full view. Simultaneously, we must create small radio and television outlets that serve us.I’m not talking about private bourgeois domains that hide their linkages to the enemy, we need communal media outlets that run on people power, resources and creativity. All three of these things are designed to inform, educate and collectively impact on our problems. When these things are done to counter and then eliminate our lack of critical information, we will find that our mental health problems will decrease. Remember, our most serious battle is to resurrect our sanity. This will allow us to purge our consciousness and that culture of our the natural cancerous white supremacist induced self-hatred retards growth and development. The current trend of receiving all our information, priorities, and images from the enemy will strap us to their genocidal aspirations and deliver a death blow to the Afrikan race.

T.V. NEWS EVENTS Television news departments are the first line of defense against the truth reaching the people. They slyly convict people who are yet to be tried in a court of law, they wield their power over information and can do more with a ten second sound bite than Nazi Goebbles could do with a feature film. Why? Because they are students of propaganda and the world’s greatest propagandists.

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Their editorial departments deal with video imagery, lighting, sound selection, writes and re-writes and the packaging of images to tilt the viewer into the white supremacist mode of thought. This expertise is an important staple in information control as the world shrinks and global events explode from white covert stimulation. Yet, it is not only how they present the information that is important, it is also the exclusion of important data nece ssary for us to understand any event. They did not always understand this. It was the television coverage during the Vietnam war that helped to produce antiwar sentiment that became a thorn in Presidents Lyndon Johnson and later Richard Nixon’s sides. The images of reality, death, and suffering countered the interest of the Amerikkkan war machine. Don’t look for this to ever happen again. War and war crimes danced across the screen and was served with dinner. This sunshine turned the stomachs of the public. Not because they didn’t appreciate war, they could almost smell the defeat and humiliation that was soon to come. The dying with dessert got caught in Amerikkka’s colon, it poisoned the war effort. All of this was duly noted by the Amerikkkan elite and they have adjusted to it. Controlling the war images has been a priority. The images in Grenada, Panama, the Persian Gulf and Somalia have been controlled by the Pentagon. Consequently, the Pentagon, Department of Defense, the Army Psychological Unit and the CIA control the information and images that are delivered to represent reality. Needless to say, the truth is locked away as the pain and the suffering rides on the winds of a silent scream. As the news travels further and further away from what is real, it becomes useless to us, illegitimate to history and a propaganda victory for the enemies of humanity. With day break comes “Good Morning America, This Morning and The Today Show.” They present news features, hard news, and

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interviews riddled with Amerikkkan pop culture. This collage greets the country’s work force with its coffee. King of this genre is Bryant Gumbel of the Today Show. He is an Afrikan tragedy who is whiter than his masters. His reporting on Grenada, Panama, Somalia and other points in Afrika was a naked embarrassment. He looks like a white boy, dresses like a white boy, talks like a white boy, and is a professional propagandist for the white boy. The perfect tool of white supremacy, his brainwashing is complete. A hopeless flunky, he must be dismissed as the Michael Jackson of the information industry. Besides television’s use inVietnam, there were several other instances which triggered the new policies that keep viewers further from the truth than they ever have been. In the 70’s in New Orleans, a young Black former member of the U.S. Navy by the name of Mark Essex began firing from a high rise hotel roof. He killed several and wounded many. However, it is the reaction of television that we are concerned with here. Convinced that they had a Black guerrilla force trapped on the roof of the hotel, the networks decided to broadcast by their police and military might the live.capture and white punishment For hours cameras traveled through the operation. Puff The Magic Dragon machinegun helicopter was employed and killed one man on the roof. And as the time dragged on and firing on the hotel roof continued, shooting into the air-conditioning ducts erupted. The viewers were told that in the exchange of gunfire on the roof several policemen were Injured. The real life T.V. drama dragged on for several more hours and not until the next day did they announce that Mark Essex was the lone gunman. They went on to announce that the reactionary forces on top of the hotel were actually firing on each other. Obviously, Essex had been dead for hours and the police bullets ricocheted and they were wounded by their own men.

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The system learned from this embarrassment. It learned that the success of Essex had thrown them into havoc. It learned that the televised revenge never happened and they looked foolish and reactionary not like the hero image they perpetuate. They also learned that they can not manage the news when it is happening, that it is easier to lie with no witnesses, no video and no one to contradict their fantasy version of events. Similarly, on August 8th, 1978 theshoot-in at the MOVEheadquarters where the reactionary Philadelphia Police opened fire on a house full of women, children and men, they obviously caught several firemen and policemen inside and outside the house in a crude crossfire, viewers caught the action live on T.V. After one officer was killed and many other firemen and police officers were wounded it occurred to the city government that they had committed a crime. Super racist Mayor Frank Rizzo would have the evidence destroyed when he ordered the MOVE house, the crime scene, bulldozed. His ass should have been locked up and charged with destroying evidence and rearranging a crime scene. Needless to say, he committed a crime. He knew that if the house was allowed to stand MOVE could prove that they did not tire the shots that killed, injured and maimed. Just as the police had gone berserk on the roof in New Orleans, they had also shot up themselves in Philly. Rizzo knew that he would not be charged with or convicted of destroying evidence. He knew that MOVE would be convicted of murder and given maximum sentences for a crime they did not commit. More importantly, he knew that the television medium, which had it all on tape would not produce the truth. They were not interested in truth, because they were a functioning component of the system of oppression. Injustice for Blacks, cover-up for the real criminals, this is the Amerikkkan just-us system in full effect!

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Wait a minute there is more. The classic example of collusion is the massive attack, again on the MOVE family in May of 1985. However, in this case Philly had a Black mayor, the infamous Wilson Goode, fronting the terroristic Philadelphia Police. Thousands of rounds of ammunition from everything from handguns, uzis, high powered rifles, M-16, M-60’s were fired into the house to kill the small family huddled there. All of this was captured live and on video tape. After frustration set in because their firepower had not killed all the inhabitants, along with several bombs placed against the fortified structure, they dropped a bomb on our people from a helicopter. The power of the C-4 plastic explosive shook all of West Philly and the roof caved in as an inferno raged. Sure that all the members were not dead they let the fire burn, with the fire department standing by drinking coffee. They let the building burn as the neighborhood caught on fire, they let the buildings burn as the last living members were attempting to escape out the back of the burning building. On television, live television, again Black people were being assaulted. Onlyand Ramona and Birdie Out of all the children adultsAfrika who ran outta thatAfrika house survived. they are the only ones still alive. Amazing enough, it seems that some of the bodies had to be thrown back into the fire. They have been shot down in the back alley. They may have ran the wrong way, and snipers slaughtered them. They were last seen attempting to exit the house and flee the fire. Yet, their bodies found in the house it will always be were and the people know it.later. Murder it was, murder Now Wilson Goode swears to his God that he didn’t know what was going down. But it was the live press conference he had while a standoff was going down that he boasted “We will evict from the house by any means necessary.” They thought it was necessary to use a bomb.

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In the aftermath, again live television captures the Mayor who should be in jail now proudly proclaiming “let that be a lesson.” Live television had captured societal murder, terror, hate and suffering of Black people in Amerikkka. While in the back alley the finishing touches was added by police sharp shooters, some with silencers on their weapons. Over a decade earlier in California, live television had captured live official murder of the SLA (Symbionese Liberation Army). We still don’t know who was in that house and how they were killed. Also, at Attica Prison live murder was captured on T.V. The death total was 43 and 83 severely injured. The official lies about guards with throats cut were proven to be false. And in the case of Rodney King attempted murder had been captured. Yet, they tell us we are so backward, so ignorant that our eyes lie. Their Just-us departments ten us, our eyes lie and the television news reporters tell us their own cameras lied! It is also the media’s job to cover up fascism. In the case of Rodney King they could not explain away their transgressions. What really made the people mad was the insult that was being played onsavage their intelligence. The more the media attempted to explain way a the ass kicking they whipped on Rodney King the angrier the people became. In addition, like the Governmental Bomb, the C-4 plastic explosives were illegally supplied to the Philly hit squad in blue, dropped on MOVE, the photo of Rodney being beaten was used to terrorize the people. We must remember the T.V. New’s programming role is to cover up official terror while promoting it. This includes murder and oppression. In addition, they successfully hide the freedom road and replace it with road maps that lead back to their laps of racist subjugation.

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The daily morning, noon, evening and nightly news broadcasts are as rightwing as William F. Buckley Jr’s “Firing Line,” Tom Synder’s view into the warped white mind or Rush Limbaugh’s angry arrogant reactionary clown show. Make no mistake about it, television news broadcasts accounts for the major portion of our people’s information diet. These criminals capture the truth, and as their hostages, truth becomes unavailable to us. Obviously, we then function on their prefabricated reality and not what is genuinely real. Our perceptions of the world and of ourselves lay in the corridors of their fantasy... decaying. Thus, our strategies and tactics get moldy and lay in rancid confusion, useless and decomposed.

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T.V. SHIT-COMS Shit-uation Comedies or what they call sitcoms is a major staple in the Amerikkkan TV diet. Humor is a good tool to balance your life with. It can help a person’s equilibrium, mental stability and manufacture enjoyment out of almost any situation. A sense of humor, in most people, is seen as a major asset in dealing with peers, children and at the work place. Everyone likes to laugh, smile and enjoy pleasant interactions. Our people have always used humor and song to get us through some very difficult times. Each culture has a different form of humor that produces laughter. Because of our forced captivity we have lived among Europeans and their sense of humor is... different. It is a physical sense of humor, not an oral one. Consequently, we have been exposed to the ugly side of humor. The side that delivers pain... and to most white folk pain is funny. The three Stooges smacking each other in the face violently, kicking each other in the ass and smashing things over each others’ heads grabs the chuckles. Jerry Lewis devilishly making fun of the handicapped, Mel Brooks shooting peasants like clay ducks and the senseless violence laced throughout their cartoons are indicators. When the “FAT BOYS,” a rap group, made a slapstick film in the three stooges mold, they found out that culturally slapstick is not transferrable to Afrikan Culture. The thing that we must remember is that everything they produce has a political purpose. Their Sitcoms are designed to; perpetuate white values, celebrate white culture, express middle class lifestyles, create synthetic norms, misrepresent racial harmony and create a new wave of Uncle Toms.

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Sitcoms are also used as attack dogs against our people’s healthy aspirations. They establish in us a “Sesame Street” mentality where all race, colors, creeds, animals and thingsare equal under the heavens. This faulty view delivers unrealistic goals and objectives to the race, families and individuals. Those who do not protect their consciousness from the sitcoms drift further and further away from their Black reality. Obvious remedies are lost in the sauce as their worldview becomes tainted and trapped in fantasy land. Sitcoms is a sneaky way to sell white supremacy, an underhanded attack that is lethal. At the same time it is a sales weapon for an integration they really don’t want. However,they promote it because it is an unrealistic goal. What they really want is assimilation, cooptation and the disappearance of the Afrikan. Yet, they want slices of Black culture to be at their disposal to supplement theirs. The problems of “Roseanne, Cheers, The Fresh Prince of Bel Air, Designing Women, Murphy Brown, The Cosby Show, Mr. Cooper, Family Matters, Three is Company” and others have no relationship with being Black in Amerikkka. Yet, our people spend valuable time with these TV families whitewashing their minds and they stumble away intoxicated with a false vision of what Amerikkka really is. In many instances,we know more about these television characters than we know about our neighbors and family members. Poor trashbroke shows are patterned after the “Honeymooners.” “All in thewhite Family” down the middle Amerikkka role for a reason. Amerikkka was headed for a race war in the 70’s and they used Archie Bunker as a catharsis. The shock of a racist spitting hatred each week became an attraction. It’s called reinforcing the negative. It is important to realize that they took the viewer into the home of a bigot weekly pasteurizing the

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damage racists do to a society, a people, and every individual they come in contact with. Again, humor was used to cool out the tension and for political purposes this pig slandered everyone equally. “All in the Family” delivered in onego family; rightfilthy wingpatronizing reactionary, middle of the and road Edith she could eitheraway, liberal children some integrating negro neighbors. With this character composition they could attack the Vietnam War, race relations, culture, bi-racial relationships, the welfare state, racist employment practices and violence from a white perspective. There were episodes when they actually had the Black audiences soften and cry for Archie Bunker! A clear example of that was the episode that showed Archie the backward Daddy crying because his “baby girl” had miscarried. In short, they attempted to, and did humanize a racist, even though he remained a reactionary slob to the bitter end. The spin off was even more dangerous. “The Jeffersons,” delivered the same social-economic garbage that “All in the Family” delivered. Their main goal was trying to reinforce the false notion that Black racism exists. Therefore, George Jefferson made many anti-white statements but was really pro-white. His hunger to meet the banker upstairs, Mr. Charlie above him, his lip service against but tolerance of the black/white marriage of his good friends, and his bourgeois attitude toward Harlem made him backward, stupid, insensitive and of course an Uncle Tom. But he was not a racist. To be a racist, you must have power over the critical functions of another people’s life and opportunities and use that power against them. “Taxi” was another case of working stiffs with big dreams and aspirations locked in a cab driver’s profession. Again, we got to know these people and identified with their struggles, social situations and career goals. The days of “Father Knows Best, Leave it to Beaver,

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Mayberry RFD and Desi and Lucy” were gone. The system felt they needed to upgrade the sitcom programming. But don’t be fooled, they deliver the same damaging messages. In addition, ethnic programing was necessary. Racist products like “Chico and the Man and Sanford and Son,” led the way. New ways to approach the same tired stereotypes were developed and flushed onto the Black community’s attempts to define itself. The Afrikan Cultural Movement with its political component was always under siege. Red Foxx at his reactionary worse would bellow out “I aint from no Afrika, I’m from St. Louis” and the crowd would roar with piped artificial laughter. And you could smell the damage being done to a people without their own mass media. They play in people’s minds like it’s kitty-litter and you know what kitties bury in their litter. Somewhere along the line our people must be made aware that TV is not their friend, and could never be a friend of our drive for freedom. It’s important to note that Black programs create the most confusion, distort reality and deliver new stereo-types. FOX’s “Martin” is a classic example of misuse of communications. Its “star” Martin Lawrence proved to white supremacy that he will do or say anything to get paid! That is all they need to know. He first appeared on “Russell Simmons Def Jam Comedy Hour” as the host. This HBO show broke all the barriers of good taste and negativity. Once you got past thepenis cussing, on oral sex,people’ sexist material on relationships, plus sizecrude jokes jokes and cracks about s Mom (the dozens), you were left with the feeling you just took a shower in sewer water. Russell Simmons who has always been in the bed with the “Culture Bandits” tops his own sleazy record by promoting filth as Black humor. The same Russell Simmons who tied his brother’s Rap Group

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Run D MC to a white group and damn near ruined their career. He also led them into a movie that landed them all in bed with a white whore. It was called “Tougher Than Leather.” Oh yeah, he used some of their bread on that bomb. The same Russell Simmons who Enemy” fronts Def Jam Record label that paired progressive group “Public with a white group called “Anthrax.” This after Public Enemy iced Professor Griff, their former minister of information, for statements he made to the press dealing with so-called white Jews. Yeah, the same Russell Simmons whose influence on the young talented rappers and production teams always sends them off in the wrong direction. Now Hank Shocklee, of the Bomb Squad that produces Public Enemy, has a group called “The Young Black Teenagers” on his Soul label. They are a white rap group of “Culture Bandits.” Further, Terminator X is also down with the group as Hip Hop is not as hip as it use to be because of businessmen like Simmons and unprincipled Black artists. Getting back to television, the foulness of “The Def Jam Comedy Hour” is shameful as our people are projected all over the world at their worse. Simmons’ anti-Black use of communication will continue to open doors for him, but we as a people will be destroyed if people like him continue to infect our young people with his ignorant decadence. Martin Lawrence’s show Martin continues in the demonic tradition of Def Jam Comedy. Lawrence plays several characters among them his “Mom” with a mustache and a woman he calls “Shanehneh.” Of course, he disses our women as he hops into dresses and swings his butt like a $5.00 hooker or a free fag. Following the tradition of “In Living Color” he destroys the fragile image of our women. The trend of Black men to get in front of the world and act like Black women out of control has always been popular to the white executives of power at the television networks. Flip Wilson’s loud mouth character Geraldine blazed this trail. Now Jamie Fox plays a Black woman with social problems.

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He seems to enjoy his role. He has been seen massaging men, sticking his tongue in their ears, stripping them and climbing on their behinds as they lay before him/her. The more negative you are, the moreexposure you will get, obviously you will betray your race and help our enemies destroy our people’s esteem. To find Geraldine, Shanehneh, or Jamie Fox funny indicates that your self-image is low, your self-esteem is tired and you have no understanding of white supremacy’s continuous attack on the Afrikan Image. Yet, from coast to coast and around the world the laughter rings out as the ancestors see our shame. Martin Lawrence aint through. All the characters on his show are tired, worn out stereotypes from other shows. His relationship with his queen, “Gina” played by Tisha Campbell, is insecure and he represents Black manhood as a crying wimp. In one scene when the selfish character was ill and his woman (Tisha Campbell) was going to take his temperature, he rolled over on his stomach and pushed his ass in the air for her to insert the thermometer there. The joke is on us, but this boy is paid to make us look bad and as if we can’t create humor with-out making our people the butt of the joke. We must talk to our people and we must collectively teach them to make the analysis of this programming and then move to isolate and reject the shows and participants. This would be the sign of political maturity and consciousness. At one time “In Living Color” had potential but that was just a smoke screen of things to come. David Alan Grier and Damon Wayans humor is cheap and degenerate. Their portrayal of the two homosexuals was a boomerang that slapped our people dead in the face. They have traveled from alley jokes to physical humor with them bending over, grinding on the floor and getting fouler and fouler. They both seemed to love the hell out of their roles, it makes you wonder. Wayans, in a cowboy skit, made sexual references to a white

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cowboy’s organ size then jumped into his arms and was carried away like a faggity Scarlett O’Hara. In another infamous scene bent on destroying our male image, he laid down with his head between the legs of a white weight lifter to “pump some iron” and commented on the beautiful view of the pale man’s organ. I wonder do [his] children watch his performances? These guys are scum and their work is impacting on our youth in a negative way. Their work is dragging our race pride down as they skip off to the bank. Damon tried to be hip and “In Living Color” made fun of “salt and pepper” police teams. However, when we looked up, there he was in the movies getting paid to make a punk, a fool and a clown outta himself as a white boy’s sidekick. Damon Wayans also is an expert at misrepresenting the homeless as drunks, degenerate, rude and dishonest. When most are mere victims of economic despair, mental illness or addiction. Many families are homeless due to no fault of their own. Tell me, how can the children from shelters hold their heads up high through tuff times if most of their peers are sold the images this rich creep creates. Afrikan Patriot X Damon began to recapture mindofbyinmates memorizing the Malcolm dictionary. cheapens thehis efforts working on their intellect with his character Oswald Bates. While “Homey De’ Clown” exploits children, abuses them, cops out and is also a thief. Where the hell is the humor in his work? He is young, talented and useless. He is mentally warped and politically backward and history will throw him in the “new jack” Mantan Moreland bag. He is“The an enemy ouraspirations for liberation and a tool used to continue Black of Holocaust.” Now back to his partner. David Alan Grier was a Shakespearean actor before he found out the riches he could make for degrading his own people and his own “true” culture. He needs to go back to Shakespear, back across the tracks, back to Ivy League training he loves so much. It is a shame a punk like this has more influence over our people than

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the organizers and revolutionaries who would die for their progress and freedom. The sitcom “A Different World” is also a clever tool of our enemies. The mixture of Bill Cosby and Harvard trained psychiatrist Alvin Pousaint is too much. Their portrayal of Black college life beams into millions of living rooms. Whitley the southern belle sister (Jasmine Guy) is impossible to take and Glynn Thurman as an ROTC Rep on campus is an insult. Many young people and their elders who must be suffering from amnesia pretend not to remember the struggles on campuses across this nation against ROTC on campus. Tack on the struggle against recruiting for the C.I.A. on campus and a clear picture of what this show is propagating is formed. Our children need college de-mystified for them, “ADifferent World” won’t and can’t do it. Consequently, this show delivers a different expectation. It is all so Amerikkkan, so ugly and so negative. “The Fresh Prince of Bel-Air” rides on the ridiculous. It keeps poor people yearning thedrenched good lifewith of chocolate white people. Like “A Different World”forit’s class conscious backwardness. It’s as luke-warm as pasteurized rap music. While “Erkel” the Black nerd offers nothing but textured foolishness. Yeah, the joke is on us and we laugh from deep inside the trap of Amerikkka’s cesspool. No matter what their educational back ground, no matter what class they sprang from, white supremacy rewards its Negro couldof not them. The workdistorts of the clownsclowns. dulls theItsenses thesurvive people,without dims their perspective, the trail to freedom and slaughters Afrikan culture. On the other hand, FOX’s “Roc” is border-line. The family composition is interesting and realistic. Roc’s goals (semi-detached house and a baby) are common and the acting is high quality.

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The writing goes from interesting to reacti onary. Family conflict deals with real issues and none of the characters are perfect people who are always in the right. Issues dealing with; family relationships, affairs of the heart, drug infestation, career frustration, hustling and bourgeois politics delivers a mixed bag of substance. It is important to note how “Roc” was used during the last presidential election. Clinton, Perot and Bush were debated within the entertainment show. It was obvious that theshow favored the Arkansas Rhodes Scholar. The choiceless election wasgiven the royal treatment. Yet no show deals with the politics of Black Nationalism. Looking for Sitcoms to reflect reality in any real sense is naive. My purpose here is to create, at the very least a thinking viewer. An awakened mind that breaks down all the information and images produced for the Black viewer’s destruction. Once the viewer’s mind is relaxed, it is undefended. In this condition the architects of the great white lie can go to work rearranging the consciousness of the viewer. It is here that the battle for the minds of the people is waged. Because of the low political development of their work, it develops a childish mentality in the people. Consequently, most of white supremacy’s clowns go undetected, some are even worshipped by their victims. Televisions clowns, you will not go unexposed, you will be written into our-story like Step-n-fetchit. In the hall of shame you will land. The Black bourgeois of approval will of be“Traitor.” along side of you in the Afrikan historyelements book under the heading

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TALK SHOWS: PUBLIC RELATIONS, PROMO AND PROPAGANDA Talk shows are mere tools for promoting products which include: new films, current plays, individual vocal groups/movie stars/authors and politicans, new recordings and other ventures for profit. Without the star mentality of the consumers, no one would look at individuals chat about themselves and their activities. Yes, a star is a creation of a classist society which means what they do and how they do it is more important than the activities of the rest of us. Once a nighttime activity for night owls, the talk shows now litter the airwaves with childish, backward garbage that reeks from its soaking of white supremacist perspective. Once Johnny Carson and a few imitators were the only practitioners of this solid time-wasting activity. Everyone isn’t trusted to push the sorry Amerikkkan culture. You must function as a care-taker of foolishness and establish small talk as an art form. When Johnny Carson was the only game in town and booked a Black act or personality, you took what you got. He may agree to have you on, if you were a Black entertainer, but for years, only as a performer. His class and race status did not allow for small talk with people of color. Whether James Brown, Gladys Knight and the Pips or young Black comics were booked, they rarely were asked over to the couch to small talk with Johnny in front of his millions of viewers. I n fact, they knew a large portion of their audience was waiting for the scheduled performer, consequently they appeared late in the program to keep his or her fans watching the other offerings. We’ve come a long way baby. Now we can act as stupid and as arrogant as the white talking heads.

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Now, the format of talk shows has been expanded to include programming that does not include entertainment. Many times now it is propagating ideas, not products or individuals. The day time Talk Show deals with other information. Itwas established as a kooky televised gossip-filled National Inquirer. This approach appeals to the bored, exploited and politically backward populous that has been developed in this country. Irrelevant topics are covers for high dosesof confusion being peddled. As Oprah Winfrey, Maury Povich, Sally Jesse Raphael, Montel Williams, Joan Rivers and other less knowns send their staff out looking for the unusual, weird and off beat; millions tune in. Like a sin-sational magazine, they trot out all kinds of off beat kooks, social deviates, and current affairs participants. Subjectsdealing from the seedy side of the tracks such as: sex changes, abusive behavior, cults, cross dressers etc. As the important news and incidents drift away, the peoples’ heads are filled with useless patter that is only good for gossip or developing another negative option. Time that could have been used by Blackpeople for reading, studying audio and video lectures that deal with our history, our plight and our options is given away. Time that could have been used exploring our vast culture, working with others to problem-solve in our community dissipates into yesterday’s lost opportunity. Moreover, filling our people’s heads with useless information clogs the perspective needed to develop a hunger for information on our struggles as a people. Like a flushed toilet we travel down into a wasteland with our enemies, which increases the hold the exploiters have on us all. From the socalled professional class to the unemployed in the ‘Hood, we are strangled on useless, senseless and managed information that is designed to keep us from ever clearly viewing our shit-uation. Who screwed whom is a favorite past-time of the mass media. From the so-called lofty heights of their royal families, to corporate

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capitalists like Donald Trump, Hollywood bedrooms, to hotel rooms of so-called star athletes on the road, they keep the people concerned with who is screwing whom. From “Peyton Place” to “Knots Landing,” the appetitefor this useless information is developed in the people. From films like “Porky’s, The Nerds” and other coming of age flicks, information about sex is important no matter how useless it is. At times, Arsenio Hall seemed obsessed with finding out from his guests who was laying Madonna. It’s funny, but it seems those who profess to be great and wonderful Christians are preoccupied with sex. Madonna is one. Aretha Franklin will belt out the most soul touching Gospel tune with her tits and ass hanging out like a cheap French whore. Michael Jackson will scream, grab his penis and grind in the audience’s face one minute and the next, he’s thanking God for giving him the talent to do so. Amazing! However, one Talk Show host is used to the max against the Pan Afrikan His nameHe is is Arsenio He us is used as aMovement player by for the liberation. “Culture Bandits.” used toHall. smack economically, culturally, morally as he tells his backward jokes about us. I will never forget his using starving Ethiopian people, victims of white supremacy, in a joke. Then the chump came on a few days later and in his monologue told his audience that some sister came at him forHave it. He told herseen “I’m a comic that’s so-called what I do, it wascomics only a joke.” you ever one of the many jewish joke about the holocaust? Have you, tell me, have you? And you won’t, because of their nationalism and their reward and punishment system that keeps them on the same page. Hall is important, because he is an usher for white supremacy. He legitimitizes those who steal our culture. The Rolling Stones, Eric

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Clapton, Marky Mark, Beastie Boys, Kenny G,David Koz, Madonna, New Kids on the Block and a host of others lining up to dine on our culture... and get paid! Hall was born February 12, 1955, he is the lone child of Annie and Fred Hall. His father waswe a Baptist preacher entertainer and he waswho raised in Cleveland, Ohio. Again, have a Christian can’t keep his mind, actions and public image outta the gutter. All of them are aware that they must sell sex and project sex to their audiences. Hall has cooled out some, but early on he promoted the party animal image to increase popularity. More importantly, he has an open turnstile for whites copping our music. Even his band, that he attempts to sell as a funky posse. Most of us cringed when he used our slang and applied it to whites. He did successfully change the talk format by using the high energy, imitate hip hop style. Unlike others who used Johnny Carson as their model, he dealt like Carson on speed. Working the crowd and drawing them into the mess, his different dynamic made him look like a New Jack. But it’s all a front, he is a salesman for so-called “Amerikkkan Pop Culture,” which is an integrated mixture of the performing artists with an Afrikan base. “We be havin’ a ball,” he use to announce like a white boy trying to talk Black. Early on, he leaned on personal friends like Robert Townsend, Eddie Murphy, and Spike Lee, who were all hot at the time. Playing one-on-one basketball with Elliott Gould, on his show, got the attention of whites. Stunts like that helped young whites find a comfort zone with Hall. After a 13-week test hosting following Joan Rivers’ failure at FOX Network, the ratings and reactions of the viewers were favorable. However, he decided to sign with Paramount who gave him a two year deal worth almost $3 million. After making some movies that only delivered small parts to him, he hooked up with his boy Eddie Murphy to make the awful film “Coming to America.” It grossed $128 million.

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Murphy, John Landis and screenwriters David Sheffield and Barry Blaustein were rightfully railed for the effort. Yet, the money rolled in. Murphy had the name, the audience to pull it off. It was a damaging piece of slop, that misrepresented Afrika, embarrassed the race, but served the interest of anti-Afrikan propaganda. They always promote that we can not govern ourselves. This fed into our peoples’ ignorance of the Motherland, fed whites feelings of superiority and operated in poor taste. In one scene the King, played by James Earl Jones (who you’d never expect to take part in this shit), turned to the Prince (Murphy) and asked him “did the maidens wash your royal penis?” He went on to tell him whenever he was unhappy he should get “the royal penis washed.” In addition, the image of Black women throwing petals at the feet of royalty and bowing and scraping is a product of racist minds. Even within the body of the work old stereotypes rode. For example the “good girl” and the apple of the Prince’s (Murphy’s) eye was a light skin sister from the states. While, the arranged wife who the Prince refused to marry dark skinned and and the sister Eddie’s dream girl in the Unitedwas States was also dark a goldofdigging whore. She dug the Prince and while double dating with her sister and her fiance she could not keep from in between his legs in a crowd of thousands. Naturally, when Hall’s character told her he was a Prince and not a servant she laid him. It’s hard to believe Murphy and Hall read the script and didn’t dig the negative imagery, racist story line, and anti-Afrikan propaganda value for our enemies. They dug it! They just don’t care cause they wanna get paid! Very few people can be used to that degree and miss the point. A decision had to be made, as a matter of fact performing Toms have to

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make choices everyday. Don’t ever believe whites don’t let them know what they gotta do to get paid. People like Hall and Murphy from our community, they know what time it is. Like the creepy crew of “In Living Color” who gotta know half the shit they do aint cool,low, but profitable, they work for the enemy to keep our people’s esteem violence up and anti-sexual behavior at an apex. While promoting the anti-Afrikan film starri ng two renegadeAfrikans, Hall said he was a guest on the Tonight Show. “I sat there watching Carson do his show,” he explained to Alan Mirabella of the New York Daily News, “and I realized how much I missed it, how for the rest of my life I’d dream of being Johnny.” I think it’s safe to say he has become Johnny and Johnny and his program was white nationalist. In addition, Hall negotiated for creative control and was made executive producer. O.K? This means he is ultimately responsible for what we see. Hall told Andy Meisler of the New York Times that his guest list would “reflect the Black-white breakdown in America. It’s not fiftyfifty. Blacks make up a certain percentage, and they’ll make up that percentage on my show.” He felt it was necessary to let whites know he was not pro-Black and that they could get a play on his show. Even though, he is projected as the hip party animal, many inner-city folk cringe when he is confronted with a popular white entertainer. When white women are being interviewed he looks like he is getting ready to jump in their mouth, likewise for his “white homeboys.” This duality delivers a strange image across the screen. Rick Kogan of the Chicago Tribune said it best when he wrote “At one moment he can sound like a graduate of Choate, athe t next like a street hustler.” Brooke Shields, Madonna, Nancy Kulp, Roseanne Barr and others trade small talk with Hall, while Arnold Schwarzenegger, Sylvester Stallone and an assortment of whites parade and hack their wears to our people.

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He has exposed many Rap Artists and for that they are grateful. Like “In Living Color” Rap Artists find few venues fortelevision exposure. At the same time this is the audience that is under attack by television to continue to influence them negatively. The sexual values, violence, disrespect for Black people are cornerstones of what this programming is designed to deliver on this age group. As a result of this and their total media diet of more of the same, our young people are driven insane and the end result is death. Red Foxx begat Richard Pryor, who begat Eddie Murphy, who begat Martin Lawrence. Thus, whites have been able to assign the logo “Black” to gutter humor. People like Arsenio Hall deliver big time. Witness him and Will Smith, from the Fresh Prince of Bel Air, playing the dozens on the air as whites gleefully lap it up, you Black kids have this negative behavior reinforced, as Black women are disgraced by their seeds in front of the world. “Your mother is so Black that.... Your mother is so fat that... your mother’s lips are so big that...” This attack on the mothers of humanity, our women, went on uncriticized, so Hall went through thesechanges more thangiving once. that ThisImage is the Award stuff Emmys are made of. It’s the NAACP to Michael Jackson, or like Eddie Murphy getting an award. It’s a case of the Black upper class rewarding each other, even though we are all still neo-slaves. Essence Awards, Soul Train Awards, it’s all managed public relations. No one has polled Black people to see who should get what, it is all so damn white! It is easy toand seeBlack Hall’sactors job isand to actresses steer advertisers, sports, records, films, white into the lucrative Afrikan Market. This he does. If the conversation gets political he will always issue a punk’s disclaimer “Ah, she said that not me... You gonna get me in trouble.” As a public relations ploy he moves on safe issues like anti-drug and anti-AIDS activities. Yet, his program does such damage to the young

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minds attempting to deal with drugs and sex that he is part of the problem that doesn’t want to be detected. “Just Say No! and use a condom on her” is not enough to remedy the damage this clown and others do to annihilate Afrikan images. Finally, Ice-T was recently on Hall’s Show and defended the boy against the criticism. He said that critics were unfair and that Arsenio had put more Hip Hop on the air than anyone else and if he see the critic he was going to “Give him one of those ghetto ass whippings.” In the background Hall giggled like a little girl who got her brother on someone. Ice-T’s threats won’t make the truth go away, most of y’all are destroying us for chump change and can’t see beyond your own interest. That capitalistic worldview is old, tired and backward as athletes, entertainers and politicians continue to enrich themselves by making themselves useful to white supremacy. In the main, Talk Shows were not designed to inform, stimulate or arouse Black consciousness. They were designed to add another junction of confusion as our people try to find their sanity in the mass synthetic reality. it isthat a weapon. for those media’s of you who will tell me “IRemember don’t believe stuff,” itAnd is the time wasted that damages our collective growth and development as a people. If you continued to eat garbage and drink polluted water, the end result would be death. It is the same with a foul media diet of junk, no substance, just filler.

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THE COWBOY MENTALITY The old TV Western is gone for the most part, however it is important to realize its impact on the previous generation. In the 5O’s and the 60’s most of television programming centered around the cowboy flicks and shows. This was necessary to hide Amerikkkan imperialism and genocide. In fact, couple the western action on the screen and the tube with the printed lies (history and comic books) and this deadly duo slaughtered the truth. It made the whole society believe that their imperialistic genocidal program against the indigenous people of this land was in self defense. Action taken against the Redman was because of the uncivilized nature of “those people.” The ever charging savages had to be dealt with because; they broke treaties, loved white women, sold land and attempted to take it back, and they had no claim to the land they had resided on for centuries. In addition, they massacred women and children because they hated the whiteman, his culture and peaceful nature. White history and comic books supported this image all the way. Why, even squaw killing Colonel George Armstrong Custer was a hero if you listened to them. Ever since the propaganda of the 1800’s in Amerikkkan and European periodicals promoting western expansionism as a new opportunity, the truth of the exploitation and genocide was hidden. Also hidden was the fact that Afrikans and the indigenous people many times got along well as run-a-way slaves joined the tribes of the Redmen. We should never be confused about the whiteman’s ability to slaughter people of color as he executes genocidal programs of mass annihilation. My point here should be clear, our overdose of cowboy

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films, songs, square dancing, comics, toy guns, cowboy garb, ropes, miniature figures, hats and amusement parks was to hide the truth. Just a few years ago, most Black boys would have been depressed if cowboy cap guns were not under their Christmas tree. Within all of this were imperialistic values, a European worldview and a devaluation of the lives and cultures of people of color. As a people, we swallowed it all. Never mind the facts that; we had been stolen from our land, our culture was destroyed, our children were killed, our women raped, our story was distorted, and the same genocide had undermined our civilization. It is an amazing achievement, one that demonstrates the power of communications. It demonstrates the power in controlling the school curriculums and the economics to punish those who dare to challenge “The Great White Lie.” This combination developed in us a cowboy mentality. In our community, we were quick at the draw and could spill Black blood at the drop of a hat. And just like in the cowboy flicks, for little or no reason at all, we could steal life. The quick draw, cool, fast talking, fancy dressed westerner was a fabrication. In reality, they were backward barbarians, unwashed, no shooting, starving people attempting to scratch out a living on unfriendly land. But reality never had anything to do with Amerikkka. It has always been a mirage, insatiable thirst aforghost, blood.a lying notion, covering barbarism and an Yes, we as a people were brainwashed. John Wayne, Roy Rogers, Hoot Gibson, The Lone Ranger, Hopalong Cassidy, Gunsmoke, Bonanza, Have Gun Will Travel, Wagon Train, Kung Fu and others were heroes until the mid 60’s and Black Power washed all that away.

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They countered with spaghetti westerns led by Clint Eastwood and Lee Van Cleef. Their urban cool,unrealistic ability to slaughter masses of people attracted the new generation. The Cowboy myth rode again, dead into our mentality as young people in the inner-city became enchanted with guns. Spaghetti westerns coupled with “The Untouchables” gangster show and the influence can not be denied. The impact of the western movies on Jamaican society has been deadly. Fast gun play in the teeming ghettos is prevalent due to media exposure to cowboy flicks. No other island has such a problem. Remember these are the same Afrikans, they were just dropped in Jamaica rather than Trinidad, Bahamas, Virgin Islands or Cuba. Cowboy shows have been replaced by police drama. As a matter of fact, most of TV programming and feature films revol ve around police work. Crimes of all sorts populate the daily diet of Amerikkkan viewers. Detectives, beat cops, undercover cops, drugs and vice are sprinkled in liberally. Police investigations and who-done-its run end to end and on and on. It’s exhausted. amazing anyone still watches after every possible situation has been Programs like Dragnet, Hill Street Blues, Naked City, Columbo, Untouchables, Mod Squad, Murder She Wrote, I Spy, Perry Mason, Mission Impossible, Matlock, L.A. Law have fantasized police work. These programs and more have given citizens of this country the notion that everything is cool and under control. When in reality,it is law enforcement and the justice system that is out of control. Curbside justice, police brutality, forced confessions, political railroading, one-sided plea bargaining, corruption, collusion and collaboration is a reality that just gets a fleeting look. Executions of innocent people, incarceration of innocent men and women are the norm. Shows glorifying lawyers pin halos on folk

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who should have tails and large forks in their greedy hands. Shows like Perry Mason, The Defenders, Matlock and L.A. Law present the minority of hard working honest lawyers as the norm and the norm of corrupt double dealing agents abnormal. It is all supposed to be about justice. From the wild,wild, west frontier justice through the courtrooms of shame it all looks clean. Yet, the cowboy mentality exist in the very fabric of the nation. Young Blacks even call their groupings posses after the term coined for a gathering of mad white men looking for a neck and a tree. Emmett Till, like a multitude of others, ran into a posse that took his life. Rodney King ran into a posse. And daily throughout this land black men run into posses that are collectively foaming at the mouth for some Black blood. In Bensonhurst the cowboy mentality was in full effect and Tawana Brawley was a victim of a savage white posse. When this country invaded Vietnam, Grenada, Panama, Somalia and in Desert Storm, it is always with a cowboy mentality. Let’s be clear, a cowboy mentality is an attitude. It is a racist, arrogant, white supremacist attitude that the world knows as “The UglyAmerikkkan.” Interesting enough, other ethnic groups especially Blacks, are brainwashed in boot camp and like trained pitbulls they become attack dogs. In many instances, Black law enforcement personnel on all levels incorporate the cowboy mentality when patrolling their own communities. Just as Elvis Presley is their “Culture Bandit” icon that they will not let rest, John Wayne represents the cowboy mentality. Whether he was leading a wagon train across the Redman’s land or filming Green Beret fantasies to support a war effort, he was the embodiment of the cowboy mentality. His macho attitude traveled in that jive walking style he exhibited. John Wayne was J.Edgar Hoover’s and Frank Rizzo’s hero. His image danced in the mentally warped heads of propaganda victims and some

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carried that mentality to an early grave in inner city streets and in strange lands. Presley and Wayne are important icons in the white supremacist minds. Public Enemy put it best in their Hip Hop classic “Fight The Power:” “Elvis was a hero to most, but he never meant shit to me. He was straight out racist the sucker was simple ‘n plain. Motherhim and John Wayne.” The insight of some rap/poetry is overshadowed many times by the commercial garbage propagated by those who control the game. Record labels, radio stations, video networks, television, cable TV, fan magazines, print media and marketing outfits have infected the art form. Naturally, those with cultural/political messages have very few opportunities open to them. Consequently, those who expose the arch enemies of Black people can forget any cooperation getting exposure for themselves or their work. It is critical that the cowboy mentality is perpetuated. Exploitation relies on ignorance, blind loyalty, macho maniacs and knee jerk barbarism. Take away the cowboy mentality and who would control the hood and police the world? Take away their racist false insecure swagger and their insecurity would be exposed. Their major agent of oppression is fear. When ever their fear and uncertainty has been exposed and they have been challenged, revolutionary forces have driven a stake into their imperialist hearts. Understanding this is key. Knowledge of the enemy is critical, their psychological make up determines their temperament, tactics, tolerance, tenacity. Several filmmakers have attempted to reflect the true picture of the so-called Wild, Wild, West. In other words, they attempted to

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demonstrate the racial composition of the west and involvement of Afrikan people. Involvement is a tricky word. Some were running from the hell holes in the south and northern regions of this country. They were looking for new opportunities, freedom from slavery and that mentality. In addition, they were looking for self-determination. Some had found and hooked up with the indigenous tribes that would have them. There are those who married and interlocked the races. Some became chiefs and prominent members of the group. While others fought with the white army to destroy the Redman’s civilization and hold over the land. Check out the buffalo soldiers who fought in these race wars on the side of white supremacy. Several films attempted to show Afrikan people in the west. “Buck and the Preacher” with Sidney Portier and Harry Belafonte is a good example of the European, Afrikan and Indigenous people’s struggles, relationships and interactions. The “taming of the wild, wild, west” in itself is a racist approach to history and it is definitely his-story. To be accurate we must point out that it was the coming of the imperialistic whiteman that made that region wild. The European need and greed delivered a destabilizing chaos that would bring any civilization down. The intensity of the racist greed, the disregard for a people, religion and culture is classic white supremacy in full effect. The capacity to kill slaughter and rape is a methodology that help them conquer all peoples and other lands. Therefore, the glorification of their demonic accomplishments is riddled with an arrogance western movies and television are designed to perpetuate. Deeper still, if we look at history through pale eyes instead of clear focused Afrikan eyes and perspectives, we will find that we will wallow in the pitiful anti-human cesspool of hatred as our dreaded enemies. They also victimized us using many of the same tactics. We must study the expansion into the west as a whi te genocidal machinery run amok, not as ideological midgets wanting to be included in the crimes of our former slavemasters.

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Recently, Mario Van Peebles released “Posse,” an attempt to provide a clearer view of Amerikkkan western expansionism. Van Peebles had this to say about the venture: “America made more westerns than any other genre of film. And although it took Americans of all races to tame the Wild West, minorities - not just Blacks - were consistently left out of Hollywood’s ‘decolorized’ version of history.While brutal at times, the early west was also a land of opportunity, luring frontiersmen, settlers, and yes outlaws, of all races with the promise of the American dream. “ Van Peebles also explained how difficult it was to raise the money for the film even after grossing $57 million on his first film “New Jack City.” Finally, it is important to realize that the cowboy mentality is the key to their aggression. It is nurtured in their white supremacist attitudes, actions, and crimes against mankind. It is the attitude they staple on the consciousness of their troops while they are in training. It is the stuff their imperialistic persona is built on.

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THE LIES OF LAW ENFORCEMENT Today’s cowboy flicks and TV programs are rare, however their most important component, the “cowboy mentality,” is alive and traveling throughout so-called police drama. The inner-city streets have become the new frontier.Their propaganda machinery, all of it, have transformed the Wild, Wild, West genre into the so-called mean streets of this nation. Then obviously, the new cowboy hero is the inner-city law enforcement personnel. Consequently, the cowboy flick is no longer needed in this space and in this time. Transforming the cop, detective, highway patrol officer, bounty hunter (for bail jumpers) and private detective, into today’s cowboy was easy. Just like the image of the Wild, Wild, West inhabitants they are rough riders, exercise curbside justice and they shoot to kill. More lethal than the cowboys from back in the day, this group have badges, judges, mass communications for massive reinforcements, rapid transit, and virtually an unarmed public. And like the cowboy programming that washed away reality for us in our childhood, the Support Your Local Police programming seeps into the mentality of the people and they are duped into a false since of security. Meanwhile, Blacks, in many cases, know what time it really is. In the inner-city, in the main, the people see the police as a necessary occupying army. Occupying army because they are correct when they conclude that the presence of the police is really to see that crime does not spill out. What I mean by that is this, they just want to manage crime within the Black inner-city. They know crime is inevitable when you have large numbers of people jammed into a small place with less than enough resources to take care of the needs of the people. In many

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instances they take part in criminal behavior. In fact, most criminal behavior in the inner-city could not be executed without the aid of the police (numbers, auto chop shops, drugs, prostitution, fencing operations, loan sharking etc.). Moreover, largeinnumbers of policeor pers onnel supplement their income by taking part these activities covering them up. Participants range from the top to the bottom. Because the United States is a criminal nation, built on local and international crime its very fabric is warped. Its economic system of capitalism is criminal by nature and grows on the continuation of local and international rime. c The establishment of this nation on genocidal programs against the Blackman, Redman, Yellow and Brown man punctuates reality with blood and deceit. Having said all of that, we are now prepared to look at the misrepresentation of law enforcement by the propaganda machinery of white supremacy. The mass media now days is more concerned with image control over its law enforcement establishment than cleaning up its cowboy mentality that delivered our backward perspective on Amerikkka’s development. Cowboy programming acted as the set up man for their lies about law enforcement. Even though everything is still in place like days of old, we believe that there has been a change in their “cowboy mentality.” As we check out Rodney King almost beat to death by the Sheriff’s posse, nationwide Blacks are still found hung in their cells, hanging judges hand out life sentences to represent the noose around our collective necks and capital punishment is back in action. Just as the corrupt sheriff ran the town, Frank Rizzo ran Philly with an iron hand, agreements with the white underworld, protection for whites, brutal repression of Blacks and outright racist sentiments spitting outta his mouth every time he opened it. As police chief, then mayor, he was last ofthe outward police fascists. Darren Gates, former head of police power in Los Angeles during

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the Rodney King incident, soon would follow Rizzo out of practice. The new police chiefs are more dangerous. They are more sophisticated and public relations orientated. Sociologically trained in trickyology, they execute the same task with smiles on their faces and a false front. Many now are Black, like Willie Williams former chief of Philly police now dealing in Los Angeles as Gates’ successor. Bill Clinton’s new nomination for “Drug Czar,” whatever that is supposed to be, is Lee Brown who is infamous for his lack of skill and action in Atlanta during the “Atlanta Male Killings.” Also, he is the former Black chief of police in New York where he was also ineffective. Now he gets to fail as the so-called “drug czar.” The establishment knows that the sheet has been pulled off the government’s involvement in the “drug war” being waged against Black people. They also realize that we now understand how and who is laundering drug money to profit off of our victimization. So it seemed about time to use a Black face and say, “see one of y’all is the drug czar,” to blame us for the drug carnage.” It is all a con game done by history’s greatest con artists... the white boy. Those operating of us who because are downofwith are mere pawns, and fronts ourthem traitorish hatred of allflunkies things Black. From this foundation we will travel on. We were raised watching the Los Angles Police Force portrayed as the spit and polish wholesomeness of justice. From Sergeant Friday on “Dragnet” to “Adam 12.” Why even the L.A. cops on “Sanford and Son” were cute, funny and serious about crime. The “FBI” was another exciting courageous portrayal of crime bus ting in the name of the Amerikkkan way. Even after Watts burned in August of 1965 and the police and state and federal troops rioted, television was able to convince the world that Los Angles police procedures were not racist, class conscious and down right reactionary.

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Hidden from us was the fact that J. Edgar Hoover, the sissy barbarian who ran the FBI, had to approve every script to be used on Television and film dealing with the FBI. The same J. Edgar Hoover who hounded and brought down Marcus Garvey and the Universal Negro Improvement Association, the man who issued a manhunt for Paul Robeson, the same man who dogged King, set up Malcolm X and may have got himself a presidential notch on his gun, along with a United States senator. Both went by the name Kennedy. Karl Evanzz in his book “The Judas Factor: The Plot to Kill Malcolm X” pointed out that Jet Magazine reported on December 5, 1980 that: “Declassified FBI memos from the late 60’s and early 70’s reveal then-Director J. Edgar Hoover offered a $500 bonus to the officer who killed Black Panther leader Fred Hampton.” It was the Black Panther Party which organized and zeroed in on the actual activities of the police in containing and oppressing the Black, minority and poor populations. Somehow the television, print and movie propaganda had overshadowed the reality . Folks were living local police forces. In addition, we had an “oh that’s justdaily how with it is”the attitude about the excesses perpetrated against us. What we need to understand here is that their mass media eclipse reality and have us functioning on an invented reality that damages any strategies and tactics we develop to deliver freedom to us. We swept with dramatic propaganda washes the dirtyare clean as it away cripples thethe viewers. There has been anthat endless parade of Cop Shows inflicted upon us all. They are dripping with the “cowboy mentality.” A large amount of television programming deals with police work, crime, investigation, court drama and undercover police work. Consequently, crime becomes entertainment. This produces a large

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dose of violence in the image diet of the viewer. To the young minds this is dangerous. The youth of this nation watch more television as an activity, therefore television becomes a socializing tool... the main socializing tool. As they view any the shows they areinprogrammed to react violentlyare to solve almost contradiction life. Historically, Europeans different creatures. Their violent history created in them a violent approach to life. Television is their coliseum, and even though the television violence is simulated, it serves the same purpose. We are in a hostile environment created by others for themselves. They control the media programming and it reflects their needs. For example; boxing, football and hockey are violent activities. American Gladiators and other like programs serve to feed their need for blood. And like their ancestors they wallow in the decadence of it all. Horror, vampire and mass murder films clog VHF, UHF and Cable television. Rape, beheadings, torture, assault, mutilation and all sorts of violence you would never see, without these broadcasts, are produced to be served up to our consciousness. In short, death is served up with dinner, snacks and pop corn. It is the norm. Like sex it develops a reoccurring urge that can be played with by their propagandists. Moreover, the casual viewing of wanton violence damages the humanity that is layered on our existence. This is replaced with an apathy that stifles our organizing efforts to deliver a new day. In addition, the outrage for internal and external violence is smothered in this apathy. For example, the shooting deaths of children caught in a crossfire between gangs or drug dealers are not dealt with outrage and horror, but with a genocide producing apathy that is media induced. While “Murder She Wrote” and “Columbo” representhigh brow upper class violence, shows like “Hill Street Blues” and “In the Heat of the Night” are pegged to deliver blue collar criminal entertainment.

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Now if that’s not enough, you can see real police and rescue work on: Rescue 911, America’s Most Wanted, Unsolved Mysteries, Top Cops, Real Stories of the Highway Patrol and “Files of the FBI.” Many of these programs deal with real life situations from the police point of view of course. Some are filmed as production crews travel with the police and the perspectives of the police is the only perspective allowed. This approach is faulty because the suspects arrested are presumed guilty, dealt with as if they are and there is no follow-up to document the findings of the legal establishment. These programs are designed to gain sympathy for the police and create a fear of the community of itself. It is also a hedge against police brutality being viewed as a danger. As a matter of fact, police brutality isn’t dealt with and a prejudice is built against suspects. This is all proof positive that the propaganda dealing with promoting the police cleaning up their image as they run amok in Black communities across this nation is working. As long as the viewer believes that the purpose of such programming is entertainment, they will fall into the trapas from which thegive onlyyour escape is personal development. Now long as you mind to thempolitical to play with like silly putty, as long as you rest your ass on a couch snacking, your mind will be under-developed and like Mr. & Mrs. Potato head you will be what they want you to be... Nothing!

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LAST SHOT AT TELEVISION From the disguised propaganda dressed as entertainment, thru the pre-fabricated news presented as information, plus the politics of sports, television surrounds and captures reality in a search ‘n destroy mission. The target is truth and as long as they can delay it there is nothing to fuel progress. They know this, that is why they will later reveal the truth after history has digested the lie. It is important to know, they make an industry out of anything. Consequently, you have a delayed truth industry. Whether it’s Assassination revelations, industry fraud, medical establishment malpractice or malfunction, the system has time to fake as if it is self cleansing. It is important that they propagate that the system is self-policing. Therefore, shows like 60 minutes, 20/20 and others deliver the illus ion of an independent press and mass electronic media. The mass media is not society’s political policeman but a collaborator that covers up, misdirects, fakes out and destroys truth. Everything is wrapped in a raggedy white supremacist perspective which is warped to the core. Yet, we are taught to think and react to their bullshit and any measure of critical thinking is stomped by an overwhelming chorus of the great white lie. From the steps of public education, from the classrooms of private institutions, and from the grassy campuses of this nation, the great white lie is a collective harmonized chord blasting off key. The print media is a hardcore followup to steer thought in a backward direction as it leaps over the pitfalls of logic. Add television and it is easy to see why critical thinking can’t take place. This total whirlwind of the great white lie paralyzes the victim and infiltrates his or her cultural base replacing it with a white supremacist worldview.

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All Afrikans must go through remedial work to develop the ability to see the world through Afrikan eyes. Everything mustbe cleared away, dismantled and stomped on as new information, new standards and new appetites are developed to replace the corroded cavities of the mind. Washing away the filth is a chore. It documents our need for Independent Afrikan institutions for educating our own. Our struggle demands that we develop our own massmedia to carry our true images and culture to the world. I’m not talking about Negroes fronting whites, but a true media dedicated to our liberation. We have the talent, the money but not the will. So we are victimized by others’ visions of us and the world’s people. Victimized and bleeding from the mind we stumble around in hell searching for a cool place to watch life pass us by. Overwhelmed we are, because we attempt to put individual brilliance against a systematic global system of pale hatred. If a Black person can win a game show like “Jeopardy,” that is an indication that he or she is as well versed in white supremacy as a white Amerikkkan. That alone is a nightmare. Many thought the introduction ofthe Video Cassette Recorder (VCR) would liberate the enemy’s control over the tube and that we could revolutionize the tool like a captured gun off the body of a dead enemy soldier. However, what many failed to realize is clear, you need a new perspective, value system and sense of purpose to transform anything. It seemed all so easy. The VCR would allow us to show historical documentaries like: Malcolm X, Marcus Garvey, Kwame Nkrumah, Black Panther Party, Attica, etc. This would bring history alive for young people and help the continuing analysis of our-story by our people. At the same time cultural performing artists like: Bob Marley, Last Poets, Sunny Adé, Fela Anikulapo Kuti, Peter Tosh, Mutabaruka, Linto Kwesi Johnson, Olatunji, and many others can be injected into our cultural diet.

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The VCR could bring the Pan-Afrikan world closer, within understanding, within reach, within our consciousness. In addition, as many are doing now, tapes could be studied of lectures and programs. Families and friends could spend an evening studying and reasoning over the programs. This, of course, would accelerate our political development as a people. Moreover, populations in remote areas would have access to the same information even though the event under study may have happened a month or so before in an urban setting. As long as our people don’t see the study of our-story, cultural and political shit-uations as important, neglect will deliver continued enslavement. Even though the tool, (the VCR) is in almost every home, we are still crawling along. In fact, we use the tool to increase our exposure to the same shit. We must do better, we will do better, each one... teach one. Therefore, movies we would not have normally seen can be viewed via cable or VCR. In other words, the increased access to thei r polluted mass media has dug the hole deeper and we must emerge soon or all is lost. The deregulation of the media by the Reagan Administration has stained us all. It kicked the mass media from a situation of little control to one with no control of substance. There is even talk about the government allowing industry to use the sky as an advertising board to beam their commercials down on us invading the environment. There will come a time when you and your lover will look up for the stars, thewill moon andsee theblocks Big Dipper tomarry your romancelittering with nature and you only of commercial billboards the sky. Don’t believe it? Never thought you’d be buying water, or purchasing air from a “service station” now did ya? Did you ever think you could turn on your television and see them peddling sex like the dial 900-Pervert numbers beamed to our people via television advertising. “Hi are you lonely or too busy to meet

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new people? Call me Cindy and we can discuss your wildest fantasies and I aim to please.” This is an example of how they seduce dollars outta the pockets of our youth, the infirmed and tragically lonely. We must control the mass media messages beamed into our homes. Everything is at our disposal to do so, yet we lack the will to stop these media agents of white supremacy. We lack the resolve and we are convinced that we are part of this country and its people. And as the trap closes slowly on our consciousness, we are reduced to laughing lunatics, brainwashed copy cats, backward soap opera queens, mindless macho men and culturally rinsed barbarians in the image of our enemies.

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SCRAPING DECADENCE OFF OUR CULTURE This is a very important issue. First we must define what is in our

culture dealing with every human activity. Like a battery post under the hood of a car, corrosion attacks and strangles the power from serving the vehicle. Even though the car seems dead, once you pull off the cables, clean them and allow contact to be made cable to post, the engine roars to life ready to serve again. We must open ourselves up to Afrikan culture in a real sense. After contact is made, liberation is not far behind. There is no other way. Afrikan culture is as vast as the universe, it is easier to define those things that are not Afrikan for there are less of them. A wholesome culture is necessary to ground this mighty race in. We can not be vague here, nor abstract. Culture is living tissue that is propelled by love. This waters our culture gently allowing it to grow in the bosom of the children. This process must be disturbed by the enemy and the water must be polluted so the socialization of the Afrikan can be retarded. Stretched wide legged we can then be raped by white supremacist backwardness and barbarism. We can not deny that other cultures that captured ours have impacted on our culture. We must return to the source. To clarify the decadence that is stuck to our culture strangling it and keeping it from growing and serving the race. On the contrary, it is used as a weapon to keep us imprisoned in the guts of insanity. We are involved with idol worship of people in the performing arts as if they are the true carriers of culture. Even those who demonstrate some consciousness lap up madness. It is even believed by old and young alike that involvement in the performing arts has allowances for decadence.

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Managers, agents, record company executives, movie and television casting units, talk show hosts and the news media create, perpetuate and maintain this myth. Western thought deals with individualism and where is this more pronounced than the performing arts. Let us peek into the lives of a loose variety of public figures who serve or have served as role models for a race starving for healthy images.

Sammy Davis, Jr. (World’s Greatest Entertainer?) The older generation consideredSammy Davis, Jr. the world’s greatest entertainer. They were proud of his success as an entertainer; they were proud of his reputation as a swinger, they were proud of the classy way he carried himself, and some may not admit it, but they were envious of his access to white women. He ran with those who ran with Frank Sinatra, he rolled with the hierarchy of the civil rights movement and he had been a guest of a few presidents, and he knew the power brokers who were running this country straight into the ground. He appeared on many of the top television programs, starred in a few movies, won awards for Broadway performances and had some gold records hung neatly on his wall. He was the complete entertainer. He had the perfect front. He was crazy as hell and as far from Afrikan centered as you can get without falling of the end of the earth. I’m not talking about his love of white women, I’m talking about answering every time Frank Sinatra called him “Smokey,” nah I’m not talking about his belief in this system and his hugging President Richard Milhouse Nixon. I’m talking about the real Sammy Davis, Jr. who was not the fun loving Uncle Tom, but the warped demented male whore who killed himself with drugs and hard alcohol. The media win have you love people you don’t even know, they will have you sending your love and affection to illusions. They have us

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hungry for hypes as we dance away from reality, because reality is as ugly as Jimmy Carter’s smile. In his autobiography “Why Me” written with Jane & Burt Boyar Davis had this to say: “Deep Throat” had just been released and was playing at the Pussycat Theater on Santa Monica. People were talking about it, they wanted to see it, but the Pussycat was not a place you went to. And a porn film like Deep Throat was not something you could order from the studios. I told Altovise, “let’s rent the Pussycat for a few hours one night, have it cleaned up, keep the popcorn stand open and invite all these straight people here to go see “Deep Throat. “ It would be marvelously decadent to have them all sitting there seeing that big thing on the screen... I took them over in limos, which was safer than leaving your expensive paint job parked in that neighborhood. I was intrigued by the porn world and wanted to meet Linda Lovelace, so I called her and got became friendly close with her and her husband, Chuck Traynor. I also to Marilyn Chambers... I met most of the kids who were making porn films in L.A. This is the real Sammy Davis speaking, not the created image that people loved. A man so into pornography and decadence that he spent big money to spread his joy. Yet, he would rent limos because the neighborhood was not good enough for this elite posse of barbarians. Sammy Davis, the man who hit the airwaves to tell Blacks in this country to be cool after Martin Luther King was slaughtered by white supremacy’s executive action. Upper class Negro flunky who was not half as good as us in captivity of pale poverty and rampaging racism.

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Yeah, he was a party animal who acquired the appetites of the enemy that had his brainwashed ass in awe of them. He traveled even deeper into their world and their culture. Again from his 1989 autobiography “Why Me” he revealed: Evil fascinated me. I felt it lying in wait for me. And I wanted to taste it. I was ready to accept the wildness, the rolling in the gutter, and having to get up the next morning and wash myself clean... The party was in a large, old house up in the hilIs and they were all wearing hoods and masks. They had a naked girl stretched out and chained to a red-velvet-covered alter chair... I’d read enough about it to know that they weren’t satanists, they were bullshit artists and they’d found anexotic way they could ball each other and have an orgy. And get stoned. It was all fun and games and dungeons and dragons and debauchery and as long as the chick was hap py and wasn’t really going to get anything sharper than a dildo stuck into her, I wasn’t going to walk away from it. Sammy was enjoying the most barbaric aspects of European culture. He demonstrates sexist cruelness you never heard before. It matched his tired Negro ideology and cultural system which made up his backward anti- Afrikan character. Many may wonder how multi-talented super rich Blacks get into this gutter life style. Ya see, its not healthy to have a class mentality, it delivers only super exploitation. We have a class and race problem. While most of us understand the race half, the white Black contradiction, we do not understand the class aspects. For example, Wilt Chamberlain brags about having sex with 20,000 women or having oral sex on an airplane. His lifestyle, value system and white supremacist view of his own people reels out of a class consciousness. Never mind, him and Davis were poor as church mice growing up, he now identifies with the enemies and sees the world through distorted class eyes.

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As long as our people have little understanding of our class problems Negro fiends like Wilson Goode, former Black mayor in Philly, can bomb the Black community, slaughter 11 children, women and men and boogie away clean. Never mind he promised “We will evict them from the house by any means necessary.” Well any means necessary was a bomb. Never mind he said “I did it and I will do it again,” right after the inferno killed, destroyed and documented how warped our reality is due to class and race problems. Davis’ world was a white one, he was involved in all aspects of that world: politics, entertainment, sports, the underworld, Jewishreligion (European), satanism etc. Again he speaks from his autobiography “Why Me:” The following week I was playing San Francisco and I met Anton LaVey, the head of the Church of Satan, who warned me, “Don’t get involved with this unless you really want to commit yourself to something... One morning after a “coven” that wasn’t quite fun and games, without anyone telling me to, I got some nail polish remover and took off the red fingernail. The red fingernail was the mark of a Satanist, which Davis wore for a while. He claims he wore it on national television and everywhere else until he experienced a coven (ritual) that scared him off. What happened, we will never know. What from Davis’ own account missed death by white we evildobyknow not being in the states instead ishehewas in London performing. From “Why Me:” The massacre happened three days later. The killers had tortured Sharon [Tate], then hung her upside down and cut the baby out of her womb. The London newspapers were full with the devastation at her house in L.A., the slaughter of

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her, Jay Sebring, Abigail Folger, and others I use to run with. Everyone there had at one time or another been into Satanism or, like myself, had dabbled around the edges of it for sexual kicks. Hanging Sharon upside down to torture and kill her was highly ritualistic. Two nights later the Libiancas were wiped out. Nobody in Beverly Hills or Hollywood felt safe, and again it had the markings of the occult... That was our crowd. I knew had I been in L.A. and there was a party at Sharon’s I’d have been there. But something had saved me. But how close I’d come. What did it all mean? Davis had strayed far from the Black reality, he thought white folks shit didn’t stink. And there he was floating in the toilet stuck to him. intoaevery opening in his body was anwith evilitcult of death forSeeping death sake, culture that is still holding us captive in this the world’s greatest struggle. Finally Davis left us this: I knew I had been pushing my luck at everything, stretching the rubber band financially, drugs, debauchery. Ten million dollars after I’d become a star I was deeply in debt... I was almost forty-five years old. I had more clothes than I had closets, more cars than garage space, more jewelry, more everything if it could be bought on credit... but no money. All of those millions of folks that cheer his performances, all of those women who longed for their men to be like him and all of those performers who idolized him never really knew him. But, all of this is bigger than Sammy Davis, Jr. it’s about culture, values, morals and contributions. The older generation thought he was the embodiment of what they would have liked to be, when in effect he was a 24 hour party, who did not qualify as a role model just because he had talent. And if our culture is to survive, we better understand this. He left this record for us, some how deep inside he knew that life was more than booze, sex, barbaric excitement and material things.

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However, he could not obtain the Afrikan sanity necessary to live a productive life for his family, community and race. We must reject class, European culture, religions and value systems. The only thing Sammy Davis, Jr. left was footsteps of confusion and a massive debt for his surviving family and no party is worth making others pick up the tab.

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MILES AND THE CULTURE BANDITS I got into some controversy with the Grammy Awards people in 1971 by saying that most of the awards went to whit e people copying Black people’s shit, sorry-assed imitations rather than the real music. I said we ought to give out Mammy Awards to Black artists. Give the musicians their awards and then have them tear them up right on television. Live. I hated the way they were treating Black musicians by giving all the Grammys to white guys. That shit is tired and sickening, but they get mad if you say something about it. You’re suppose to let them take your shit, grit your teeth, but don’t get mad and just bear the pain while they make all the money and all the glory. It’s strange the way many white people think. Strange and deadly. [I had to repeat this for you!] From: Miles (The Autobiography) by: Miles Davis with Quincy Troupe Spoken like a life-long victim of white cultural imperialism (Culture Bandits), that Miles knew up close and personal. The exploitation of Afrikan music is executed the samethe people whohas, enslaved us and still believe to this day that by everything Afrikan produces and creates is their property developed by their property (us). We know this is not true on a gut level, but we never reach down deep into our insides, because we have been victimized so often and for so long, we accept it as some kind of perverted norm. Just as white imperialist stormed over Afrika stealing our people and our land, like diseased social locuststhey covered our culture sucking the life out of it. It’s a bad habit that is embedded in their consciousness. But more importantly, we accept their behavior as the way things have always been and always will be. I offered this in my book “Culture Bandits Volume 1:” Our song is a strong versatile collage of rhythm and melody spinning out of the diversity of the global Afrikan experience.

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It is attached to every sphere of our existence mingling wit reality, fantasyland and artificial cultural manipulation by our deadly enemies... the Culture Bandits. Controlis the operative word here. Ever since we were observed by the flesh thieves and beaten off the boats of captivity, our enemies checked out our affinity with musical language. Knowing all of this, Miles had the strangest relationship with the Culture Bandits of anyone I can recall. Most understood that white folks exercise control over their creative juices, they have control over the market place (airplay, critics, television exposure, bogus hit lists, reactionary trade papers and sorry puppet disc jockeys). Therefore, we suffer in silence. Miles was as much outspoken as be was a blazing contradiction. He danced between genius and utter madness. All of that being a biproduct of growing up jet black in a white invented reality that eats Black manhood to fertilize their hatred of the very people they sample. Yes that is true, they do drive us into madness forcing us to join them in their synthetic reality of social/political/cultural backwardness. All of this retards our culture, perverts our existence and manufactures inside our heart and soul a self-hatred that then allows them to rape us at will. Afterward, we pop out of society’s bed reconstructed, maimed, confused and self-destructive. Progress, true progress, is impossible while a person is locked in a state of radical contradiction. Even though, Miles knew the control and greed whites had over the music, he still included them in his intimate life. Sleeping with them in his crib and in his craft, be was as attracted to them as they were to him. White women, producers, musicians and composers all waffled through his life as he fought with the demons of stagnation that attached themselves to every crack and corner of his total being. Somehow he did not understand that he was creating, legitimatizing, and even manufacturing the Culture Bandits who were and are now

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stealing our art forms. In his attempt to keep elements separate, he found they were stilI always closing in on him. Depression, drug addiction and alcoholism allowed his contradictions to grow in him as a base to destroy the man and his horn. Miles was an adventurer and the very notion that others thought something couldn’t or shouldn’t be done increased his commitment to break new ground. Whether it was trendsetti ng or marrying different forms of Black music to create fusion, Miles lived to travel in uncharted waters. On one hand, this allowed him to see the artistry of James Brown and Jimi Hendrix while incorporating elements to broaden his sound within our cultural base. The idea that different forms of Black music should stay locked on separate reservations never blending, never bleeding together was a notion he enjoyed blowing wide apart. As a creative force he didn’t possess the arrogance some Jazz purists developed toward other forms of Afrikan music. This was more of a social class position rather than a musical posture, he felt their higher education (victimization), monetary position and lifestyle was divorced from the blueThis collar Blues, Rhythm Blues,of Reggae and Hip Hop expressions. always played intoand the hands the “divide and conquer” driven Culture Bandits making their job of cultural imperialism much easier. Consequently, I traveled with Miles in whatever musical direction he wanted to take me and his work was always fresh, inventive and so damn soulful. Reading through his autobiography Miles written with Brother Quincy was a hell of an journey conflict throughand the consciousness of an Afrikan genius in historical constant turmoil, at war with himself. The chapter about him and his former wife Cicely Tyson at the White House is some of the funniest shit I’ve ever read. It sparkled, it exploded and came alive. It was straight up and you could hear Miles’ gravelly yet, quiet voice running down the shituation.

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Environmentally speaking as a writer I know I can write anywhere, but your external and inner space affects what you lay down and how it is laid down. Miles goes through his fist fights over money, depression, rumbles with recording executives, and you got to like his “fuck ‘em” attitude toward the so-called critics. As a matter of fact, if he had ever listened to them, there would never have been a creative force called Miles Davis. Managing creative juices in this cesspool called Amerikkka is a balancing act that can lead to madness if you are not Afrikan centered. Being Black is not enough. As Miles revealed, his father loved and appreciated the works of Marcus Garvey and some of that rubbed off on him in a positive way. However, it was his liberalism with whites that chained Miles to confusion in the deep recesses of his own mind. White folk bring cultural baggage with them and like Malcolm said “put a little cream in your coffee and what kept you awake will now lull you to sleep.” Miles was definitely Black coffee and the cream was Josef Zawinul, Gerry Mulligan, Teo Macero and people like John McLaughlin. All students of Black culture; all deadly “Culture Bandits.” Recently, I heard Josef Zawinul say on a WRTI-FM, Temple University’s so-called Jazz station, that he hated classical music. This Austrian hates the music of his people, of his ancestors, but he loves the freedom of ours. I believe we all should read “Miles: The Autobiography.” Quincy Troupe “Miles” to us, the real Miles. He are opened up a study that we delivered must pursue. In those lines, he laid down, the lessons for future musicians, consumers and political minded folk to understand the maze our creative forces must move through. As big as Miles was, he could not have it both ways. Asked on 60 minutes by one of those white reporters “Do you hate white people?” Miles looked him dead in the eye and said “Not all

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the time.” The stunned reporter was floored after which he joined Miles uneasily in the laugh Miles was enjoying. The pleasure, the pain, the destruction, the exploitation, is all there, now the waters have been charted, the next generation now have a map to navigate through and deliver a liberating musical culture. But first we all must know Miles!

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NINA SIMONE The further I got into the business side of the music industry, the less I liked it. Record companies were bad enough, but it was only a matter of luck that clubs were not a problem for me; I did my shows, got my money and left. I was fortunate not to have trouble from club owners but I always drew a crowd so it made no sense to rip me off if that happened I’d never play a particular club again. Unlike most artists I didn’t care that much about a career as a popular singer. I was different - I was going to be a classical musician. Even after “Porgy” hit, even after I signed to Colpix, it was all to raise money for proper tuition. So I played what I wanted and nothing else.Hell, they weren’t paying to tell me what to play... If someone had walked up to me in the street and given me $100,000 I would have given up popular music and enrolled at Juilliard and never played a club again. And I wouldn’t have missed the life because I hated it anyway; the cheap crooks, the disrespectful audiences, the way most people were so easily satisfied by dumb, stupid tunes. by: Nina Simone, from her book: “I Put A Spell On You” Just as Aretha Franklin was the Queen of Soul, Nina Simone was the High Priestess. Aside from the fact that both women are piano playing vocalists, there are some similarities between them. Both had parents who were ministers, they have suffered the tragedy from losing loved ones, they areglobal icons of Black culture, they’ve both had their ups and downs, and they are fiercely independent. However, Nina Simone is a study of contradictions battling in her reality, draining her for all to see. On one hand, she has been our foremost artist dealing with musical political weapons. Compositions

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like: To be Young Gifted and Black, Mississippi Goddam, Four Women, West Wind, Baltimore etc. have documented the Afrikan struggles for freedom here in the Belly of the Beast. We tend to think of her as a rebel, that she is, banging the system on behalf of her people. Wetotend to think herBlack, as ourproud spiritual leader in the struggle. We tend think of herofas and uncompromising. All of these things are true, yet what about the half that hasn’t been told? I feel that young Blacks who are buried in white culture at an early age are damaged for life. Nina Simone’s European classical Musical upbringing stayed in contradiction with the blues song of her people. Two things can not occupy the same space at the same time. This Euro-Afrikan cultural dichotomy creates a social/cultural/ political madness that can not be totally overcome by the victim. European musical culture delivers an arrogance to the Afrikan and a lack of tolerance for anything but the European approach. So Nina had to deal with being a musical elitist while attempting to be an Afrikan nationalist. That is a major contradiction to attemptto resolve. In her book, she also speaks of the frustration of not being able to get deeper into the Black Power Movement. As a symbol of the movement, a musical icon for Black Nationalism, but like many she could not absorb nationalism in her daily life. Our culture is more than dances and dolls, Afrikan garb and power shakes. It is a way of life, a way of looking at the world. On this end Nina came up short. There is no place in Afrikan culture for European lovers. It is advisable to pretend to be an Amerikkkan citizen, because that posture allows you to do anything to anybody for your own personal satisfaction. She dealt with Barbados’ Prime Minister Earl Barrow as his mistress with no shame. She wrote:I didn’t mind being his mistress; the novelty excited me, and if you’re the mistress of a PM it’s aluxurious position, decadent almost. I was his courtesan and he my pasha.

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Again, it is important to realize that our culture must be freed from willful reactionary behavior. The custodians of our culture are ill equipped for the task. It is drowning in their unwholesome behavior. When it came to music Nina had a clear view of what was happening to Black Music. Again from her book: The protest years were over not just for me but for a whole generation and in music, just like in politics, many of the greatest talents were dead or in exile and their place was filled by third-rate imitators. All record companies prefer third-rate talents to true genius because they can push them around more easily, make them change their clothes or politics just to sell more records. My record deals expired along with my marriage and I became one more Blackartist ‘difficult to place’ in the neat world the labels created. For Black musicians the result of the sixties was exileto dance music and the old Black ghettos of jazz and blues. The only Black artists that record companies liked were those who crossed over by playing music for the white mass market, music scared of itslike ownMotown, colour. What had Atlantic? happened to greatwhich Blackran record labels Stax and Where was James Brown in the mass market? Where was Aretha Franklin? Where was Nina Simone? Nina Simone was walking away from an industry with no place for her, an industry which had been happy to sell millions of her records through the sixties and then turn around and say they didn’t think people wanted to listen to those kind of records anymore. She had an understanding of what was happening to our musical culture, even though I can’t pretend to know what she meant by “old Black ghettoes of jazz and blues.” Again it seems we run into that class attitude and elitism against our own music. Nina Simone had a lot of problems and all seem to stem from her class attitude. In Barbados she ran with the Prime Minister, in Liberia

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she ran with the deadly ruling class that exploited the people. Some of the people she partied with were killed in the Samuel Doe coup in 1980. After going to Liberia to find herself, she windsup in a club populated by the ruling dancing and drinking. that “Istarted started stripping my class, clothes off while 1 danced,She andreveals everybody clapping, hooting, feeding me champagne. I got down to nothing at all and danced naked for at least two hours, having the time of my life. Later I wrote a song about it, Liberian Calypso.” Somehow the High Priestess of Soul did not see the suffering of the people of Liberia caused by her new friends, nor did she understand that class and race are locked around Afrikan people’s existence globally. Until we understand our problems are class and race and both must be dealt with, we will forever be chasing our true Afrikan identity. Simone was chased by demons, many of her own making. Her ability to sing and play exceptionally well could not heal her. We all need to be culturally and ideologically grounded to bring definition and sanity to our existence. Her jumping from Europe, to Barbados, to Liberia and back to different cities in Europe help ruin any perspective she once had. It rattled her daughter Lisa so badly she landed in the Amerikkkan military. Listen, the High Priestess of Soul’s daughter in the Amerikkkan military. Like all the figures in our musical history, she is a mere icon, an illusion for in reality confusion was her companion and contradictions in her life were never resolved. We seen her from the outside looking in. “We pointed to our queens and said “look at her regal Blackness, she is the High Priestess.” On the surface yeah, underneath she traveled in near madness. Alone, in the shadows of history in political backwardness. The struggle brothers ‘n sisters of the period loved her and still do. She aided us through the struggle, encouraging us as only she could. We knew only her music, her stage attitude and her outspoken roar.

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It was good we didn’t know her well, that she dealt with white men and neo-colonial lackeys of white supremacy. That she slept with the married head of state before the whole nation of Barbados in total disrespect of another sister. Cold! Yet, her book pleaded for you to understand and sympathize with her and her plight. We must scrape the decadence off our culture and prepare it to be our strongest liberating tool. As long as we develop generation after generation of performing artists who think they are above the people, not responsible to the people, we will continue to produce egotistical idiots for our people to look up to. By the way, on the last page of Simone’s book “I Put A Spell On You,” it gives you an address to join Nina Simone’s Fan Club. Check it, you’ve got to write to them in Belgium!

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TEMPTATIONS Unlike many in my generation, I have no fond memories of Motown and its “Sound of Young America” logo. Even in my early teens I could see Berry Gordy’s dream as an intrusion on R&B music. It stuck in my ears like a lie to be analyzed, dissected, categorized and eliminated like reeking solid waste. Its commercial sound droned on to the elementary handclapped syncopation of a toddler. It carried a tone that beamed “sell out” in every bar. But in truth, I was the only one in the Hood who didn’t dig the new sound traveling in from Motown. My box thundered the deadly R&B of James Brown and the Famous Flames, Hank Ballard and the Midnighters, Ike and Tina Turner, B.B. King and his Band, Ray Charles and the Raelettes, the Isley Brothers, Gladys Knight and the Pips, Bo Diddley, Jerry Butler and the Impressions, Shep and the Limelights and others. In the beginning the music was true to its R&B roots and it appeared to be sweet soul music. However, Gordy was purposely pushing the music toward a white reference point to get paid. The Tempts sang “I want a Love I can See,” in rich tones. The Miracles with Smokey Robinson with that sweet crooning never appealed to me. It all seemed so insincere, it was pimp music to me with no gut, a manicured approach to Afrikan emotions that seemed to belong to white wig wearing, ruined European men... I hated the shit. Yet, the talents of the artists could not be questioned and the recording techniques were excellent. This is , of course, before multi-track recording which allowed for surgery to be performed to make the artist sound better than they were. Again, everybody else was into the music. The Tempts were on Motown and so was a traditional R&B group, later, called Gladys

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Knight and the Pips. Anyone who ever saw these two groups square off in the battle of the groups never forgot the event. “The Motown Revue” was tired. It lacked the spontaneous explosions of R&B shows on the chitterlin’ circuit. It was pasty and thick. The band always seemed to lack that gritty bottom funk. The music was top heavy, like white stuff, and only the top acts shone through. The Temptations featured four main leads, with David Ruffin and Eddie Kendricks sharing most of them. Eddie had another one of those high girl like voices, while David had that Sunday go-to-meeting voice which kept any song in the R&B fold. However, it was their legitimate five-part harmony that was featured with the bass holding it all together like an organ in a rhythm section. Melvin Franklin was the real deal, no baritone covering for a bass, he had that rich Black voice which put a signature on their records. Rounding the group out was Otis Williams and Paul Williams. To this day they are considered the greatest singing group. Personally, I believe the Dells were their equals. All of this is subjective. But it is our culture so we must have fun with it. I had an appreciation for the Tempts I didn’t have for other Motown acts. Some of their B-Side records were masterpieces. “Lose a Precious Love,” to me was one of the greatest recordings I have ever heard. It was classic R&B, and I believe that Gordy suppressed it because it was too deep for whites who were just getting use to digesting our musical emotions. The Temptations was the number one male singing group just as the Supremes was the number one female group. The only difference was clear, whites loved the Supremes across the board while the Tempts’ white following was not as large. Nor could they ever be due to the composition of the group, they were mostly traditional Soul singers and they were threatening Black men. Ya see, whites don’t mind getting a hard watching our women, butthey had problems

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with white teenage girls drooling over five tall, dark and handsome Afrikan men. For some reason, Gordy didn’t seem to think success in the Black market meant much, just an indicator that the white market might pick up on it. It was an obsession, a dream, a pot of gold at the end of the rainbow, Black culture be damned. It pisses me off to see Black people celebrate this sell out, it demonstrates that we are still politically immature. Motown was a family business developed by a well to do Black family to exploit the talent of poor Blacks for their own enrichment. A member of the family controlled almost every aspect of theoperation, therefore the money stayed in the family. Aretha Franklin, who is also from Detroit, was said to have wanted to record for Motown. It is also said that her music was too Black for Berry Gordy. I don’t know about all of that, it is my opinion that Gordy stayed away from Aretha because her family was a powerho use in Detroit. There is no way Gordy could have abused her in anyway. The thought of her royalties coming up short would have caused a major war in Motown. Some interesting observations on the Queen of Soul comes from Nelson George’s book “The Death of Rhythm & Blues” “Intangible” is a word that music critics overuse daily, but listen to Franklin on “Dr. Feelgood” or “Ain’t No Way” or “Say A little Prayer” or “Think.” One discovers not one Aretha but a cast hundreds of women: somea great sweet,many someplayful mad, some cool,of some sad, some angry, and and sexy. Franklin expressed all a Black woman could be, while her contemporaries (Diana Ross, Tina Turner, Dionne Warwick, Martha Reeves, even underrated Gladys Knight) seemed trapped in one persona by the artistic decisions of male producers as well as their own vocal limitations.

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Given her talent and the tenor of the times, it wasn’t surprising that Franklin became a prime example of “natural crossover.” Compared to Motown, Franklin’s music made few concessions to “white” sensibilities. She and Atlantic found that white America was, at this point, more willing to accept “real” Black music by Blacks than at anytime since World War II...” Gordy was an excellent judge of talent, but he knew Lady Soul would be impossible to control and that was important to him. We know now that Aretha would go on to become the greatest female soul singer (R&B) artist the world has ever seen. At the same time, we as a people, are involved in our music culture and have no clue of its importance to our existence. Consequently, we deal with it as if it is a personal thing, a product, only an enriching tool dealt with for profit. Because many are given the star label they take it as an open check cut loose as elitist. Their attitudes seem to suggest thattheir “stardom” makes them positive role models. Many realize they influence fashions, attitudes, taste and direction for some members of this besieged race. Aretha, though promoted as a nice church girl, physically presented herself exposed for the viewer. Her favorite is to let her sizable breasts hang out. Singers like she and Patti Labelle can sing some of the most dynamic gospel tunes while adorned like a nomad from the red light district. Again, artists like Prince and others can jam with a cross around their necks as they sing some of the most sexually backward lyrics permitted to be broadcasted. It always made me wonder. Some will even go cop their music awards and first thank God that they were able to get over with their filth. When you accept the title of queen or king a certain responsibility should be assumed. Of course, we know many times record

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companies, public relations firms and trade papers crown some artists. It is still painful to see some so-called superstars, female vocalists in particular, dressed like teenagers or sluts of the night. In addition Aretha, like most others, perpetuates and gives life and legitimacy to theSmokey “Culture Bandits.”Elton Her television Gloria Estafan, Robinson, John and aspecial host offeaturing horrible sounding honkies demonstrates her disconnection from our struggle for cultural survival. Anyway, the rise of the Temptations grew with the company, a company built by hard work, business skill, clever planning, New Jack marketing and the energy of the Gordy Clan. While fame and fortune was the Gordy destiny, heart break, tragedy, addiction and death haunted the true creators of the wealth, the artists. Many who cry today about manipulation, career sabotage and down right robbery by Berry Gordy. The former Temptations were no exception. They started leaving the srcinal Tempts one by one, David, Eddie and Paul. Later, even replacement Dennis Edwards would leave. In August of 1973, Paul Williams was found in his automobile with a bullet in the brain. It was ruled suicide. Hardly anyone believed Paul had killed himself, From Tony Turner’s book “Deliver us from Temptation,” we get this: Eddie certainly had his doubts. He had seen Paul just a couple of days earlier and had found him to be in a relatively positive mood. Besides, as David said, why would anyone get into his car with only his underwear on, drive to within a few blocks of Motown and, using his right hand, shoot himself in the left side of his head? It didn’t make sense. Naturally the rumors flew once again. Did Paul have something on somebody? Was he threatening to run and tell? Nobody will ever know. Paul had a drinking problem that helped destroy his career as a Temptation, however his death shocked the stable of artists and the

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entertainment industry and they are not easily shocked. The recording industry is a wide open industry where vast amounts of money fly over and under the table with little or no regulations. By the mid-70’s Florence Ballard was on welfare, once a member of the srcinal Supremes, she upon was broke withof norecords. royalty checks in from selling millions millions Marthacoming Reeves from Martha and the Vandellas was gone. After suffering a series of nervous breakdowns, she was released by Motown in 1972. Gordy was a control freak. In some situations this is necessary to build. In others it’s naked exploitation of your own people. We can fall out at times, we can go in another direction. But, when I see Blacks vindictive, sabotaging careers and go-rillaing folk, it is an indicator that the person is out of control. Needless to say, class played a very important part in all of this. Eddie Kendricks, who had several hits as a single artist, after leaving the Temptations, fell out with Berry Gordyand was punished by not having his records promoted and his career began to die. Like Martha Reeves, Kendricks had to see psychiatrists to help him through this struggle with his exploiter. To get released from his contract he had to sign an agreement that dropped his claim to all royalties. This is plantation stuff and Black people were left in the corporate tracks as if Motown was a large white firm that hated Blacks. The talk of Motown and the mob still persists after all of these years, but no one has established the linkage. Tucker in his book wrote that: despite the ultra-wholesome image of Motown concocted by Berry Gordy, sometimes it seemed as if the company was just one big bed, which naturally led to quite a few fights... Gordy has been accused of making superstars and destroying them as people. It is important to note that most artists are weak, easily addicted to drugs, women, consumer excesses and synthetic created egos. Usually they are plucked from the underclass and controlled.

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Many record companies have used drugs, women and violence to rape the performing artists of their portion of the wealth. The thought of sharing even the tiniest portion of income with the artists seem to be beyond most record companies. See: “Culture Bandits Vol.I” the chapter: To a Slave, Payday Never Comes. Those two elements are deadly when you are attempting to “Scrape the Decadence off your Culture.” The greedy businessman and capitalism maintain an environment that is polluted and stifles true cultural development. Only the culture of exploitation can grow in this filth. In addition, performing artists, who should perpetuate positi ve culture, are too many times morally bankrupt, run-a-way egos, attracted to excess and addictions. They have very little knowledge of the inner workings of the industry that they are in. Consequently, negative culture is developed in this environment. The years rob the artist as it does us all, the aging former Temptations (David, Eddie & Dennis) were performing and surviving together. Tony Turner adds this from “Deliver us from Temptation:” While Berry Gordy had looked to the long term, to business, to his own future, David, Eddie, and Dennis had looked no further than to the night, the show, the drugs, the fuck. And nobody who saw the show could tell that they were singing for their financial lives, that they were struggling, doing it because it was the only thing they were trained to do, because it was the only thing that kept them from being just ordinary, everyday, middle aged men with grandchildren and nopension plan. Taken as young men into a world they were unprepared for, the Temptations serve as an example of what happens to our talented young people in the bowels of the recording industry. To protect the culture and nurture it, performing artists must be prepared to deal with their art’s business side. Just as other artists in

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other disciplines must learn the ins and outs of their business, we must protect our people from exploitation. The young artists in Motown’s beginnings ran wild, Gordy along with them, screwing one another, partying, drinking, drugs and living it up. They helped develop the crusty decadence that now surrounds our culture. It existed before they were discovered, they fell into it as if it were part of their reward for being talented. Diving into an elitist synthetic class, people like Diana Ross forget those days and now travel with their collective nose up in the air. When in fact, many are the scum of the earth unworthy of having our people and other races look up to them as role models. That is the problem. They are role models, they did not earn that post, nor did they travel through an Afrikan rites of passage. Because they are in a position to be exploited, they qualify for role models by our enemies and our people follow them into European decadence and as a race we are dying. Paul Williams died from a bullet in the brain delivered, apparently, by someone and in thea system covered it up. wasin murdered andelse robbed crack house around theDavid cornerRuffin from me Philly. Eddie would die soon after of natural causes and the beat goes on. From youngsters to glory, back to poverty with death waiting in the wings. It is all too neat, it happens too often. People like OtisRedding, Sam Cooke, Jimi Hendrix, Bob Marley, Jackie Wilson, Shorty Long, Florence Ballard, Mary Wells and others met death too soon. The performing arts should not be a curse, should not bea punishment on all of these levels. However, it is important to note that we must seize our culture, develop a reward and punishment system as we clean it up to serve our liberating needs.

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THE POLITICS OF SPORTS Little Black boys get most of their attitudes toward life, and towards their gender expressions from Amerikkkan sports, sports figures and the neo-gladiator arenas that socialize them. Inside sports activities lay the maintenance for male supremacy, white supremacy, class consciousness, exploitation and the only the strong survive rule over society. In many cases, sports fans view their athletes as objects to rent (ticket/ cable/betting) to help them act out their aggression, which is pent up in powerlessness in and the real world. thistheir clearly and promote exploit thisThose need. in power understand Let us first look at the role sports plays in the lives of our young Afrikan children. The educational system, mass media, pop culture, and the Amerikkkan economic environment staggers the Black community with anti-Afrikan aggression. The relentless attack against Black stability (cultural, mental and economic) wears down its victims. Tearing at the self-esteem of Black men, a cadence for destruction is counted off and carried on the winds of white hatred. Every vestibule is a dead end, every alley limited and every avenue cut off. Therefore, achieving an Afrikan centered identity and worldview is almost impossible. Yet, it is necessary for the mental health of Black men to arrive at their Black manhood intact, not just a mere imitation of what could have been. Why? Because only as true Afrikan men can we be of service to our families, our communities, our race. The enemy is clear on this point. Consequently, they chip away, redesign, falsify, misrepresent and destroy the image of the Blackman. We spend most of our lives searching and debating who the elusive Blackman really is.

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The definition of Black manhood is in the hands of the enemy and they put in motion a moving maze of hide and seek. Knowing full well that the discovery and acquiring of Afrikan manhood by the Blackman would end white supremacy’s hold on the world. With the stakes that high, they are committed to the snow job of covering Black in an avalanche of pale lies. This task is not easy for we are forever searching, struggling, researching while re-inventing ourselves as the contradiction between whites and Blacksfesters. We are kept disjointed from our past leaving us without a foundation to build on. It is here where they supply us with their fantasy foundation built on lies, myths and racist rantings. All of us who attempt to build on their falsehoods turn our lives into emotional quicksand. Legal madness is delivered as we work against our own self-interest for our enemies. Self hatred drenches our world perspective and revolutionary notions terrorize us into docile toys demonically doomed. Yet, we still run on top of the quicksand refusing to sink. Never slowing down, we race toward sanity bleeding from the total physical and mental whipping dealt out by our enemies. This slippery dance makes our journey look perverted to others, who never traveled in our muddy shoes. Nowhere can we find advice that can clarify the path because no other man has experienced such an experience inside the belly of this evil European beast. So we rumble forward as the chameleon devildrone adapts to our blows. Insanity reigns hidden in legality as a social norm, we try to figure out which way is up. Our manhood captured in confusion can not serve us as a liberating tool. We struggle on, attempting to put the right combination together to solve the puzzle that will slay the beast. Its web never allows more than two limbs free at a time. We struggle on! Our warrior spirit is mis-used in the service of the very system that keeps us in bondage. Our warrior spirit must be expressed and in our

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madness it is expressed against each other with swift violence. We are outta control! Our toes are tenderer when another Afrikan steps on them. Our patience is shorter when dealing with another blood. Our word is not as good as the pledges we give to their military, police and private industry. Our blood seldom spins for Afrikan causes, but runs freely for their maintenance of global white supremacy. We are indeed insane. That is not to say we are the only people who suffer from this malady as white supremacy perverts life. I just want us to realize that we still have a long journey if we are to return to our warrior self. Our resilience beenthey amazing for us and frightening for them. times theyhas thought had us buried under their bullshit. TheyMany were/ are wrong. Let me point out here that we are captured in a shit-uation that creates madness and keeps us insane. However, they are insane, always were insane and always will be insane. They are as good as they are ever gonna be. Their history is a damning agent that demonstrates no period of hue-man behavior. War-like they are and war-like they will always be. It is important for the reader to understand, that I’m not concerned with the enemy. As an Afrikan, I must be only concerned with our righteous struggle for Afrikan Redemption. Nothing less is acceptable. The goal is a Pan-Afrikan reality that will destroy white supremacy. We are the only ones who can bring them down. It is important, that we realize that better awaits us on the horizon after this horror is past like a constipated epoch in our illustrious history. We must make it past. Then we must bury the results of that bowel movement under the exploding pain that will deliver freedom. Their foundation of falsehood has two major center-pieces in the mass media diet of the oppressed; the politics of sports for men and soap opera fantasies for our women.

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Naturally confusion is the enemy of revolution and they are experts at baffling the hell outta the rest of the world. How they play and organize themselves says a whole lot about them and their culture. In the case of the Amerikkkan psyche, their games are more than a clue to their thinking, appetites and hostile nature. When we think of sports here in the United States we tend to think of the major events like football, basketball, baseball, golf, hockey, boxing, wrestling, tennis and track & field. These sports and their “star” athletes are woven deep into the cultural fabric of this nation. In fact, the politics of this nation and sports are inseparable components of white supremacy. Before every sporting event, it is no accident that they play the national anthem. They play it because it is clear to them that sports is linked to politics, tightly linked. Stripping Muhammad Ali of the heavyweight crown because he refused the Amerikkkan military draft during the Vietnam war punctuates my point. The whole white world rode down on him because dissed as U.S. imperialism. Aliforlost millions tostruggling make his point andhe emerged a political symbol young Blacks against the system several decades ago. Unlike Joe Louis, heavyweight champ during World War II, who raised millions for the war effort, Ali refused to be used during this point in his career. Louis’ loyalty was repaid with the Internal Revenue Service (IRS) hounding him for back taxes as they destroyed his retirement. All pro athletes know they must at least appear patriotic if they want to be allowed a professional career. They are clear that they belong to this nation as living icons of Amerikkkanism. If they play the game right they get paid, if they don’t, there are many waiting in the wings for their gigs.

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They got their revenge on Ali later in hislife when they seized control of his image. Once the most recognized face in the world and the most popular athlete, he has spent more than the last decade undoing his militant stance for profit. He has campaigned for rightwing barbarian former President Ronald Reagan, raised money for Vietnam missing in action committees and even was dispatched to Afrika as a representative of Amerikkkan imperialism. Of course, he was made a fool of and sent back to the U.S. with his tail between his legs. In return he received mostly favorable pressand lucrative commercial endorsements. He is more popular than ever with whit es, but estranged from young Blacks. In other words, he now is more useful for their evil designs than he is for our liberation. The danger of sports figures as heroes and sheroes aremany for young impressionable minds. It is also important to note that most grown men get child-like over their sports heroes. These breathing icons are mine-fields set to explode in the face of those who adore them. For example,Aliformer football Jim brown reveals the real Muhammad in his book Outgreat of Bounds : When Cassius Clay got tossed onto the fast track, he saw only green lights. It happens all the time, it happened with Ali. He had always liked women, but being heavyweight champion of the world allows a man to do certain things. Once Ali became champ, women knew he was champ, AIi went wild. Thisbill, kid would givefun, a girlhe’d whobuy wasreal notprostitutes, a hooker a hundred dollar have some he’d pretty much do anything. And the whole time he was lying to the public and his friends, saying he was pure. Pure? Ali was a superfreak. Ali’s greatest fascination in life was with gangsters and pimps, and other men who could control women. He always wanted to be known as a Mac Man, a bad brother who could rap to any chick.

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The picture Jim Brown draws of his “friend” Muhammad Ali is one that many know, but one that is globally unknown. Brown discusses how Ali would sleep with white women and make up crude excuses of how he could ball a “devil.” He also tells how Ali had a bad habit of attempting to lay his friends’ women. Jim says Ali would get them alone and start to feel all over them. Funny, sounds a lot like Mike Tyson. Yet, the press, that was supposed to be Ali’s enemy never played up his obvious sexual backwardness. Ali’s orgies were legend, AIi’s lies revealed his real activities. Lies that misrepresented this individual as a role model, a Nation of Islam minister and Blackman who was down with the struggle. Now let’s review the real image of this so-called superstar, role model, down brother. What we have is a liar, an ambassador for our enemies, a campaign flunky for white wing racist politicians like Ronald “Bonzo” Reagan and a fund raiser for their mercenaries. If he still looks like a role model for you and your children than I can’t help your ass. But let us stay with the jock ‘n sex issue. Our children, young people and grownThe menyoung idolize athletes and almost all emulate some without of their behavior. are socialized to believe that winning honor is as acceptable as winning with dignity. Therefore, principley we are damaged. For example, Charles Barkley smashing his elbow into an Angolan basketball player’s face while the U.S. team was up by over 5O points was embarrassing. As a matter of fact, the notion of sending pro basketball players against small countries because of a loss in the Olympics years ago demonstrates white arrogance. Yeah, white arrogance with Black attack dogs. They had to force Michael Jordan and a few others into the activity. Threatening his lucrative commercial endorsement success, he had to go or miss out on their goodies. The same people who made the commercial “If I could just be like Mike,” can turn on you the next day with “he aint shit” sound bites on the evening news. Ask Mike Tyson can they turn on you?

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Let’s drift back onto the point. We are taught to believe that success on the ball field or in the ring entitles jocks to sexual excesses. Wilt Chamberlain will brag about banging 20,000 women. MagicJohnson will graphically document his sexual backwardness as most men listen in envy. Consequently, the youth believe that any measure of success allows them to behave in like manner. With a “woody in their sweats” they tramp off into a life of decadence masquerading as party animals. Football players like Jim Brown will expose the youth to their backward sexual habits and they are driven further away from mentally salvaging their consciousness to get into the posture of struggle. Brown got points for honesty from most, I think he’s just a crazy man with access to the media because of his unwholesomeness. In his book “Out of Bounds.” he spends most of his time telling you of the sexual practices of the rich and infamous. Jocks can’t help but brag about their sexual habits as if it has relevancy beyond their tired world view. Brown didn’t count like Wilt did, but his revelations document how important a nut is to him. His passages on his love for partying at Playboy Magazine Porno King Hugh Hefner’s mansion turns the stomach. In the next breath he is proclaiming he is in the struggle and a down brother. It is this kind of mentality that needs to bekept from our impressionable youth. Listen to this big dumb jock suck up to white culture and decadence in his book: Once through stop, gaze up at order the castle-like home,I’m park, go in the the gate, frontI door, sit down, the finest food, some drinks, unwind, let it hit me: I am at the mansion. The mansion is paradise. Beautiful trees, beautiful animals, beautiful gymnasium, beautiful Jacuzzi (beneath the side of a mountain), beautiful bath house (showers, sauna, giant pillows, classical music), long, deep, beautiful pool, in which you can wear a suit, or not, and beautiful girls, eighteen to

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twenty-four, tanning around that pool, only in tops, only in bottoms, or neither. Sigh. Hef used to throw his Midsummer’s Night Dream parties. He’d enclose the entire yard with a tent, install two outdoor discos, serve shrimp, lobster, crab. The Manhattan Transfer would sing, Clint Eastwood would be there, Steve McQueen, all the Hollywood power hitters, and there would be one guy to every three girls. Keeping with the evening’s theme, the girls would wear negligees, shorty underwear, exotic garters, and even if you were a shy unit, didn’t want to see their exquisite gifts, you had no choice. It was all right in front of you. Sounds like hell to me. White women tanning by the pool, naked whores walking around, male whores scoping them, while classical music played in the background. Now that’s gotta be hell. More importantly, here is another jock talking “Black Capitalism” and living like a barbaric cave dwelling mutant. Meanwhile, he is kicking this nonsense out to our young people. Partying with Hollywood’s propagandists, time white stars, savages walking upright consistent with their big Roman-Greco backwardness. This Afrikan asshole is in awe of their decadence, poor bastard, brain dead! But he ain’t through, check it: The mansion is a white dominated world, celebrity-dominated world, and when certain people get access to it, they get pompous, even more puffed up than they were to begin with. Sometimes I’ll turn, catch a pseudo blood down his needle nose at me, thinking, whyblue is this big, looking Black football player here with us? They can kiss my populist ass. As long as I’m honest and loyal with Hef, carry myself properly, I know I’ll always be OK. Brown tells you he knows he is hanging in a white dominated world while he is at the mansion, yet that doesn’t bother him. To party at

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the mansion he only has to be “honest and loyal” to the white man (Hefner). Yeah, this boy would do anything to party with whites. Now, I’m damn sure not promoting his book, I just wanted you to deal in the mind of a brainwashed jock who is lost forever. No matter; how many players he ran over, no matter how much ass he can kick now, he was never a Black man and never will acquire his Afrikan manhood because they have washed his consciousness clean. I have heard many young people say Jim Brown is the only progressive athlete out there. Yeah, he is progressively insane and a pitiful representative of what they can do to us. I pity the fool. George Foreman is another example of a pitiful creature. During the 1968 Olympics while John Carlos and Tommy Smith and other Black athletes were making political statements on Amerikkka’s racism, Foreman was waving a tiny U.S. flag. The usual opportunist statement meaning “I’m cool boss, I’m not like those other Niggers, let me get paid please.” Big George made a caricature outta himself in his later years after his come-back has made millions.his HeUncle was always a salesman forwhat the Amerikkkanand dream as he allowed Tom-ing to override little dignity he had. Athletes and entertainers are the worse role models for our young. We must resist the mass media’s salesmanship of these elements as wholesome examples. Whites have created a whole industry of following their exploits, who is sleeping with whom, where they live and what they’re up to. Sports is of critical importance to them. All time homerun champ Hank Aaron received thousands of threatening letters when he was in the process of stamping out Babe Ruth’s career homerun record. In comparison Roger Maris, a white player, received much less hate mail when he was wiping out Ruth’s single season homerun record.

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Sports has a whole culture surrounding it, it isan attitude, a worldview which is consistent for a war-like nation. Check out the commercials for sporting events and you’ll see macho jock images traveling through the video. Beer, broads, cars, competition, violence, leisure time and a “it don’t get better than this attitude.” The politics of sports makes simpletons outta men, it drives them back into the stone age. Meanwhile, young Black men view sports as another avenue outta the ‘Hood. Continuing the brain drain outta the ‘Hood like those of small islands and some Afrikan states. We are always running from ourselves, we want to delve in the environment others created for their own comfort and cultural continuity. Consequently, those of us who achieve a measure of success in what ever endeavor we undertake become Nomads, wondering away from our own people, our own culture, our beautiful Afrikaness. Insane, disjointed and full of excuses, our contributions are absorbed by another community, our wealth is lapped up by another neighborhood as the ‘Hood lay dying before our very eyes. The politics of sports does not allow Black athletes to create or support Black nationalistic programs for a community that needs them. They are allowed only to support white charities or multiracial projects, while their community drowns in neglect. Don’t think our young don’t see that, consequently they believe that this is how things should be. Do you see whites athletes flooding money causes, issues ts toclowns increase the common good ofinto our Black race? Than why the and hell projec are these ignoring their own Black community while it deteriorates in front of their cowardly eyes. The community where they learned their skills, the community where their families live, the community facing genocide executed by the white community they now adopt and love is dying. These strong

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powerfully built jocks are political nutty/putty molded into fake role models, charlatans and soft punks. Society laughs at their trained monkeys and are ruthless to those who demonstrate any hint of Black nationalism. We a communal people, aout collective that will never return to our pastare glory without stamping naked opportunistic individualism. That’s a fact! 1968 was an important year in a critical decade for our people. The civil rights struggle, the cultural revival, Black nationalism and a new political energy was sparking our lives. We had not been as politically awake since the days of Marcus Garvey and the dynamic Universal Negro Improvement Association (UNIA). Urban rebellion had torched several cities and a new respect was enjoyed by the people. At the same time, whites had developed a legitimate fear of Black people. Fear is a necessary ingredient. Your enemies must fear you and respect your ability to strike back or strike first. Urban insurrection was spontaneous and laced with despair. Obviously, it wouldn’t be long before the rebellion would be organized. In addition, the protest against the imperialistic Vietnam war had the nation in an uproar. You had to live through this period to understand the intensity of it all. White supremacy had its hands full managing all of this. The society was headed for a transition, but to what? The ability to adapt, transform itself, negate and co-opt is the strong suit of capitalism. Stir in a healthy dosage of street violence and assassination with social trickyology (Job Corp, Model Cities, Great Society etc.) and we were wounded by their governmental counterattack. Their mass media swung into action managing images, perspective and criticisms. Black exploitation films, Black situation comedies and drama fed the community heavy doses of anti-Afrikan propaganda as our image was further distorted.

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The real war was heating up in the sports world as pro athletes were sporting Afro hairstyles and reading political books. The Olympics was to be the battle ground where Black Nationalism was going to run head on into white supremacy on the world’s stage. Lew Alcindor (now Kareem Abdul-Jabbar), Wes Unseld, Elvin Hayes and others boycotted the games. Kareem would later say” I found it hard to understand why I should mess up my school year and lose my whole summer for the purpose of going all the way to Mexico City to win a gold medal for the United States in a basketball tournament.” Attempting to organize the Olympic Boycott was Harry Edwards, who was a part-time instructor at San Jose State. He was only 24 years old but he was committed to making a statement against racism in Amerikkka. “It’s time for Black people to stand up as men and women and refuse to be utilized as performing animals for a little extra dog food. You see, this may be our last opportunity to settle this mess short of violence,” was how Edwards put it. Edwards had called a meeting at the end of 1967 with some of the top Black athletes to organize a boycott of book the ’68 Olympics. Former basketball great Spencer Haywood in his “Spencer Haywood: The Rise, The Fall, The Recovery” had this to say about that period in our-story: I respected Kareem’s position, and I understood why some of the others stayed away from the tryouts. But for me, there was never a question which way I would go: I wanted to play. In one respect, Edwards was right: The Olympics represented the worst of American society - Blacks exploited for the glory of a country in which they were not accord equality. But the Olympics also represent the best of America - achance for a nobody, with hard work and talent, to become a hero; and a chance for a Black man or woman to demonstrate the

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worth and quality of the African-American race. Blac k people, kids and adults, desperately need Black heroes and role models, and every Black sports superstar contributes to selfworth of every Black citizen. Remember what Joe Louis had done, decades earlier, for Black esteem? The civil rights movement was about fighting for equality, so why should we give up equality in one of the few areas where we had battled for it and earned it? Not that I did a lot of this kind of philosophizing at that particular time. I got the invitation and had my bags packed in a half hour. World’s greatest basketball tournament and athletic spectacle? And you want me to play, represent my country? Yes, I believe I’m free for the next six months. Haywood’s statements explains why we are still neo-slaves of the white beast. We can not divorce ourselves from his bondage. In addition, the notion that athletes give our people esteem and role models is true. Yeah, the wrong type of role models, negative role models. Our people know who got the juice, they know who got the power over us and that we serve in these capacities only with their permission. Our biggest athletes are employed by solid racists and they can be taken down as fast as Mike Tyson, Joe Louis, Muhammad Ali or Paul Robeson and others who make white boys unhappy. Our people know this shit, we need to stop bullshitting ourselves. The role models they promote are those of glorified employees, who still don’t ownhave anything. even thoughnever Harry Edward’s boycott would helpedIn theaddition, collective, Haywood considered helping his people by sacrificing. No one wants to sacrifice! We cowardly pass that on to the next generation and that generation passes it on and the shackles get tighter and tighter. Haywood explains that he had trouble getting a passport because Mississippi didn’t give rural Blacks birth certificates. Dig it, he’s

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happy to play for a country that didn’t even supply him with a birth certificate to acknowledge that he existed. Listen, we have no equality in basketball or anything close to it. We are performing acts that they build their fortunes on. If the Black collective is left behind what was gained by Black participation? Pacification and false hope leaks into reality and the trap snaps closed cutting us off at the neck. The proposed boycott didn’t really consolidate but the rumors of demonstrations by Black athletes had white folknervous. The famous Tommie Smith and John Carlos demonstration on the victory platform electrified the world. This is how Spencer Haywood described it in his book: Tommie and John climbed onto the victory stand barefoot, and when the National Anthem played they bowed theirheads and each raised one black-gloved fist into the air. Afterward they explained that the Black gloves and clenched fists symbolized Black strength and unity and the bare feet were a reminder of Black poverty. They said they bowed their heads because the words National Anthem (Land of the free...”) applied onlyof to the white Americans. Old hanky heads like Jesse Owens were brought in to speak to the Black athletes and convince them not to get political, to not demonstrate and embarrass the United States. Imagine that? A Blackman or any man attempting to sell young people on the notion that the Olympics was not political. Here you have nation against nation in athletic warfare for flag and country, yet the only ones who were supposed to be nonpolitical were Blacks from Amerikkka. These “games” punctuated with flags and anthems were as political as you can get, but Afrikan captives in Amerikkka were supposed to suffer in silence, behave and compete for the enemies of their freedom.

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After Jesse Owens’ pitch for the white boys, Lee Evans was next to be thrust onto the world’s stage. Lee and two other brothers wore black berets on the victory stand and gave the Black Power salute when they were leaving the stand. We must remember the young Black men strong enough to face the wrath of the whole white world to express the plight of their race. Young Black men, who left others behind to defy their former masters and struggle righteously for their people. This type of fire that must always be present in our young people. Today, as a result of the progressive athletes taking a stand, only Black conservative athletes are allowed at the party. Powerful athletes, but stinking soft punks in the face of white supremacy. No heroes or sheroes are to be found and our people sputter in confusion. Athletes and entertainers are the poorest role models because they are controlled like house Niggers. They exist only through the permission of the very people who are holding our race in bondage. It even goes further than that, athletes and entertainers think its part of job description to be used pacification of the enemy. Fortheir example, Louis Armstrong, theasjazz musician,tools was appointed an American Goodwill Ambassador by President Eisenhower in 1959. Interestingly enough, Armstrong was accused of being a member of the Israeli espionage network. He was later banned from Lebanon, again accused of spying. Karl Evanzz in his powerful book “The Judas Factor: The Plot to Kill Malcolm X”, pointed this out. Evanzz further revealed that: The State Department requested Armstrong to make Leopoldville (Congo) the last stop of his eight-week-long overseas tour. What Armstrong may have realized later, but certainly did not at the time, was that the Eisenhower Administration was

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using him as a trojan Horse: the main purpose was to conceal Henderson’s presence. In addition, Armstrong was used as a distraction. The international star was a demi-god in the Congo. The Congolese were so stunned by his unexpected arrival that many of them temporarily forgot about Lumumba’s plight, which is exactly what theState Department anticipated. While [Henderson] was conferring with Tshombe, Armstrong was hoisted on a chair and paraded around like a king. The Henderson Evanzz is speaking of was Loy W. Henderson a high ranking State Department official who was sent to set up the assassination of Patrice Lumumba with traitors of the Congo and Belgium mercenaries. Afrikans in the states are not the only Afrikans who are faked out by athletes and entertainers. Evanzz goes on: In the years following the assassination of Patrice Lumumba, jazz impresario Louis Armstrong spoke with Ghana’s Kwame Nkrumah on any number of occasions. One of Armstrong’s most enthusiastic fans, Nkrumah extendeduniversities, an invitationjust to the jazz legend to teach music at Ghanaian as he had earlier rolled out the red carpet for William E.B. Du Bois... Armstrong accepted Nkrumah’s offer, effectively renouncing his American citizenship. He had been unhappy with America for years, and had probably been convinced by Nkrumah that the U.S. Government had murdered Lumumba. On March 16, 1965, while visiting Vienna, Armstrong announced that the he country would live in ancestors Ghana upon his pending retirement. “It’s of my ,” Armstrong said, “And I like it there.” Of course, Armstrong later changed his mind about moving. Undoubtably, he died clear on the fact that he had been used against Afrika and was an unwitting tool in the assassination of our Afrikan Patriot Patrice Lumumba. I’m sure this pained the legendary musician.

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In 1993 former world champion Muhammad Ali, also a flunky for the U.S. State Department, landed in South Afrika about the same time as 51 year old Chris Bani was assassinated by white gunmen. At a press conference reported in Jet Magazine Ali said “Democracy is too important and your future too precious to allow the violent actions of one man to interfere with destiny. Chris Hani would not want that.” Here is a man who made a fortune violently, who caned other brothers gorillas, bears, rabbits and ugly. But when there is something real to fight for, when a violent political point has to be made, he attempts to cool the victims out for white supremacy. Ali, who people always called courageous in the ring, has always been a punk in the street. When friend and neighbor, street hustler Major Coxsone, was assassinated with most of his family Ali hauled ass from their Cherry Hill, New Jersey neighborhood. When Malcolm X needed Ali, he turned his back and split. He even denounced his own Press Secretary Leon 4X Ameer, who was beaten savagely twice and later assassinated after speaking to the FBI about the assassination of Malcolm X in March of 1965. Now Ali was on the international scene giving Afrikans reactionary advice on their struggle in South Afrika. Pushing the Amerikkkan theme of non-violence, he just happened to in the right place at the right time... don’t bet on it. This is not to say that you should not enjoy sports and entertainment, but it is to say that these leisure pursuits are deadly when we buy into the participants as special people. Most of what is presented in Amerikkkan culture, and like everything in a society, is used to perpetuate the social order that produces it. We need to apply critical thinking to every human endeavor and always keep our guard up. We must take for granted that they are involved with our brainwashing at all times. Only a few of us slipped through the cracks, we must alert the others. They are masters at brainwashing and manipulation and Afrikans in the States should know this better than anyone.

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The use of athletes and entertainers on the global landscape to support imperialism is an art form. Since neither group has any concrete loyalty to Afrikan people, they are easily bought and sold. People like Millie Jackson and Ray Charles never gave a damn about any cultural boycott against South Afrika. They used the struggles as their opportunities to enrich themselves at the expense of our people and should be locked in our-story as collaborators with the most racist regime the world has ever known, that is, outside of the United States of Amerikkka. Role models and mentors are not titles we should bestow on athletes and entertainers. They are powerful weapons manipulated to capture the imagination of the people and lock it safely away in the vaults of white supremacy.

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GRAFFITI PEOPLE Capitalism must always expand or die. Consequently, there are no accommodations that can be made with it. Its blood sucking nature fuels an appetite that can not be satisfied, it is an ideology developed by the greed of Europeans to own and control the wealth, power and culture of the world’s people. Understanding this is the key to dealing with their backward motivation of classic greed. Obviously, those who subscribe to their ideology exist in a culture of death. Now, we should be able to understand devil worship, their uncompromising nature and their inability to keep treaties, contracts and their word. Any culture built on the exploitation of hue-man kind is anticivilization. Their expressions of culture and civilization are as backward as a cave dweller trying to create fire. Therefore, technology in their hands becomes an arsenal producing storage of knowledge used against the world’s people. Their technology is built onhue-man our foundations, legacies creates only tragedies.however usage of the stolen Our stolen technology became war toys in their hands. It developed into nuclear power and bio-chemical warfare (drugs ‘n Aids etc.). Mathematics, astronomy, astrology, medicine, herbology, navigation and military sciences such as; Shaka Zulu and Hannibal’s military tactics, the European has built an edifice of horror on our achievements. The difference is clear, they steered all of science into their aspirations for world conquest and domination. As we can see, their backward culture gave birth to an economic system that locked them in an uncivilized mode. Capitalism! The world view of a capitalist is clear, everything must and should be produced for profit. It is the celebration of the individual over the

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group. But what is an ideology? Osagyefo Kwame Nkrumah taught us in his book “Consciencism:” I have said an ideology seeks to bring a specific order into the total life of its society. To achieve this, it needs to employ a number of instruments. The ideology of a society displays itself in political theory, social theory and moral theory, and uses these as instruments. It establishes a particular range of political, social, and moral behaviour... The ideology of a society is total. It embraces the whole life of a people, and manifests itself in their total class-structure, history, literature, art, religion. It also requires a philosophical statement. As a people, we have been socialized (brainwashed) in this society to think of the individual first (or what I call the Super Star or Most Valuable Player Syndrome). We are taught to view every human endeavor as a lesson in the group being controlled by the individual, who is always considered bigger than the group. Once this worldview is established in our consciousness, we are hopelessly locked in a maze of confusion. We find it difficult to organize to anything. Therefore,can weonly develop “lottery” collective mentality responses and can not see that liberation comea through collective organizing and struggle. In addition, we develop the ideology of not having an ideology. In this posture we are ripe for continued exploitation. And of course, we attempt to function without an understanding of culture and the “Culture Bandits” have a field day picking our carcasses. Naturally, their ideology prepares them to continue to suck the life bloodcapitalistic outta our existence. The notion of building your well-being at the expense of your fellow man instead of in concert with him is fundamental to capitalist mentality. Therefore, the main component of their ideology is what I call “Trickyology.” Tricks, lies, false treaties and divide and rule provide the infrastructure they operate off of.

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The mass media of this country is at the center of their propaganda and international brainwashing activities. Every second of everyday the “Great White Lie” gets bigger and bigger as it surrounds reality. The mass media runs a “search and destroy” operation against truth and now days nowhere can truth be propagated to the people. In Jamaica they say “What about the half that hasn’t been told.” The greatest barometer of the effectiveness of their theft of truth lies in the behavior of their victims. We must remember, their people are also a primary target. Developed in them is an arrogant white supremacist worldview that locks them in social stagnation and victimization. It’s an easy sell, because internally most of their people understand their limitations and over compensated with racism. But let us get back to our people’s behavior as a barometer of the systematic effectiveness of the enemy’s mass media that keeps us locked in a self-destructive insanity. I’m talking about an insanity that creates illogical behavior and a lack of critical thinking even on basic levels. After we were stolen from our civilized villages of home, we were sold deeper intosociety, our newwhile existence cruelty. We were under the feet of their beingofused to build it intoburied the richest nation on earth. We were treated as property and to prove white ownership we were painfully branded. Just as Somalian model Iman recently voluntarily had a Bowie knife branded on her ankle to announce to the world that she was the white singer, David Bowie’s, property. We now brand ourselves! As a testimony to ourwe new madness,our we adorn ourselves with corporate names. Expensively, document own insanity. Products, sports franchises, amusement parks, athletes, entertainers, cartoon characters, soft drinks, cars, and rich white people’s names appear on our bodies proudly. Because, we have purposely forgotten and in some cases forgiven those who caused our slavery. Our behavior is illogical.

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Physically powerful Black men with Mickey Mouse sweatshirts on must give our enemies a chuckle. Physically beautiful Afrikan women with Cocoa Cola written across their tits and white men and women’s names on everything from their underwear to their jeans must crack them up! Assorted black behinds jiggling down the street with “Calvin Klein” decorate the community. And in each case, the graffiti represents the degree of brainwashing the wearer has suffered. Any Black man with Mickey Mouse on his chest has a Mickey Mouse ideology in his head sharing space with self-hatred. These products are not cheap! Angry political rappers denouncing the system behind baseball caps of rich white supremacists sports organizations with sports gear on their bodies and funky honkey Timberland Boots, images contradict their poetry. T-Shirts that promote racist institutions like Disney World spread benign messages on the front, back and sides of our people. Cartoon characters like Bart Simpson and red, white and blue children’s gear are plastered on our children’s beautiful bodies. Ninja Turtles, X-Men, Muppets, E-T, Jurassic Park, Tiny Toons, Flintstones and Mario Brothers are just a few examples of how we adorn our children. It all demonstrates that Amerikkkan Pop Culture holds us captive in their spell. Michael Jackson, Bo Jackson, Prince, Michael Jordan and Shaq are just a few examples of athletes and entertainers we promote. They are representatives Pop Culture and institutions. This opens the door for of theAmerikkkan promotion of racist institutions that teach an anti-Afrikan curriculum. Schools like Georgetown, UNLV, North Carolina, Penn State, Nebraska and Temple University are attractive because of their successful sports programs. Black youth from the ‘Hood who can’t get into these schools because they can’t survive the miseducation in the public school system, yet

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they wear collegiate gear as if it’s some kind of badge of honor. We have become “Graffiti People.” If I wanted to promote this book on billboards or through broadcast advertisements it would cost money. Yet, we promote their products, their institutions and their culture for free on our bodies. Like sheep, we cop these goods because some Negro athlete or entertainer was [Paid] big bucks for promoting them. Meanwhile, we pay through the nose to imitate them. It is important to note that the wearing of Malcolm X gear, political and cultural (Afrikan) attire is important to offset the anti-Afrikan garments of the enemy. It demonstrates some race pride. Yes, many times the enemy moves in to economically take advantage of our hunger for our own culture, but careful buying can help support Black businesses. Political slogans and race pride reflected on some of us can also be used as a barometer of a developing race consciousness. Five years ago few wanted to hear about our politicalissues, celebrate our Afrikan Patriot Malcolm X, show off our mud and kente cloth. Our heroes and were left behind.our This can only become a fadfor if we allow themsheroes to continue to exploit cultural manifestations profit as they “Annihilate the Afrikan Image” of our people. We will put designer labels on our cars saying: FORD, CHEVY, MUSTANG, BRONCO etc. We paste our attitude on them with stickers and plates saying things like: “I Love New York, Make My Day, Magnum Force, Single and Horny, If you don’t like how I drive call1-800-Eat Shit.” We’ve changed from “Baby Aboard” to “Jesus is my Co-pilot, Enter at Your Own Risk, etc.” We are Graffiti People! We are so divorced from our people and our community that many travel through it with graffiti messages from head to toe with a walkman plugged directly into their brain. So divorced from the

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community that we don’t want to speak or recognize others who inhabit the ‘Hood with us. You could scream over a ghetto blaster, but you might as well hold your breathe when you see a walkman tuning you out. Too many of us hate our environment, yet refuse toorganize and struggle to change it. Instead, we just attempt to tune it out. Our bodies have become signposts for capitalism. It started with promotional give away T-Shirts and accelerated into a billion dollar industry. Soft drink product Cocoa Cola was shocked that its customers would pay top dollar to promote their battery acid [soft drink?] on their chest, back, legs and ass. It’s a capitalist’s dream. We don’t question these things. Most of us are just along for the ride. We have been brainwashed to see-but-not-to-see the advertisements. For example, they found a way to even attack us with commercial messages at the stadium or in the arena. Not only are these places plastered with commercial messages, they also lied when they said they were going to put in large video screens for instant replays. Not only do these massive T.V. monitors promote upcoming events, they also play continuous commercial messages. For capitalism to continue to expand they must continue to market their products, ideas, morales, attitudes and culture in a quest for higher profits. Understanding this will give coherency to their imperialistic foreign policy. They always viewed the Soviet Union, China and the rest of the world as vast for Coke, McDonald’s and every other product theyuntapped produce markets or sell. They have always seen the world’s poor, their creation, as pools of cheap labor. You must understand your relationship with corporate Amerikkka to begin to clarify your relationship with “The New World Order.” You must understand how capitalism arrived at this juncture to understand tomorrows struggles.

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Their media is designed to make sure you never get those answers, as a matter of fact if their brainwashing is done right they know you’ll never ask those questions. You will look for an individual relationship with capitalism. The will to personally survive becomes the goal, not understanding that no individual can survive what they have in store for us. [READ “BLACK HOLOCAUST: GLOBAL GENOCIDE”] Every message and image they produce means something and is designed to further victimize the people. Look around you! Check the bus stops, train stations, bill-boards, stadiums, arenas, doctors offices, hospitals, garments, sneakers etc. Soon they will project billboards from satellites in mid air over the earth. Lovers won’t be able to look up at the stars and moon, because they will be whited out by their demonic commercial and political messages. “Aw honey, look up, aren’t the billboards in the heavens especially beautiful tonight?” We have become graffiti people!

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ANTI-AFRIKAN ANIMATION (CARTOONS) During slavery after we executed some major uprisings, after joining the Redman in warfare against the European imperialist and after busting some head and kicking some ass, it occurred to them that if they didn’t stop importing adult Afrikan men and woman they would be destroyed. After the Maroons of Jamaica, the Haitian victory, Nat Turner, Denmark Vessey among others, they decided to end the forced importation of Afrikans. Britain dug it first and later the United States would stop importing us. They said “why not grow our Afrikans locally and socialize them to slavery from cradle to grave? In addition, the pleasure of increasing the rapes of their women will deliver amusement and escape from the cold things we sleep with.” It is not often said, but they had one hell of a time attempting to make slaves outta Afrikans from our Motherland. Those who knew freedom never gave it up as their natural state and struggle to return to their culture by liberating themselves by any means necessary. Finally, whites found out that slavery must exist in the mind of the victim as the norms, it must be their only frame of reference, it must be a caste system with no possible upward mobility. It must be accepted by the victim as the way things were, the way they were supposed to be and always will be. Of course, this is all nonsense that denies our ability to reason, to observe and create better for ourselves. However, it does make it more difficult for the victimized child to develop the philosophy of liberation. Also, it makes it harder to organize and develop the unity necessary for progress and victory. Controlling the children, while supplying the care and food to sustain life delivers an attachment to the enemy, that is why they maintain a

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welfare state. The psychological benefits can not be ignored. In addition, controlling the parents and supplying them with their only means of survival makes a dynamic impression on young brains. And finally, add the power of life and death including the terror of brutal violence creates some social control. United Afrikan Movement (UAM) Chairman Alton Maddox while lecturing in Philly pointed out that it was never the intention of whites to free Afrikans fromslavery. The dynamic Afrikan organizer revealed that the word “emancipate” means “to transfer ownership.” Consequently, Abraham Lincoln’s Emancipation Proclamation had nothing to do with free-ing Afrikans, but was a mere capitalist transaction. Yes, a change of ownership of their private property. Amerikkka went from individual ownership, of our people and our labor, to governmental ownership. Consequently, we always require special rights, programs and amendments to their constitution. This has been one of the missing keys to understanding how they deal with us. It is important to understand that they maintain our neoslavery by using the mass their educational systems,that pluskeeps the military and police. Yet, media, it is their demonic mind mugging us from breaking down their strategies and tactics and organizing an effective counter-attack. The resistance placed inside us against maturing into conscious nationalistic folk begins before birth. Once the parents are crippled and unable to decode the environment how could they possibly teach the In fact, once the parents and community totally absorb the child. programming, de-programming is the difficult. Anti-Afrikan notions than bleed into the culture and cultural products of the people is difficult. Thus, we reinforce the negative and defend it as if it were the blackest truth. Their religious institutions lock us into a fidelity they don’t possess. Afrikan teachers teach western thought as if it was possible to use it to navigate ourselves out of our

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condition. When in fact, it drives us deeper into this metro madness as mindless zombies. None of this would be possible without anti-Afrikan animation (cartoons) to saturate our children with their values. They brainwash our young, while they aretoatthe play. Thisasbrainwashing lasts a life-time. Black parents pass them young if they were powerful Afrikan fables to teach positive philosophical principles. Ever since animation was used to bring humor and fun (?) into their lives, it has been used to stamp “born the U.S.A.” on the brains of all viewers. Laced with racist inventions like Sambo, savage Redmen and buck toothed orientals, it has been a weapon of hate. Walt Disney said he would never employ Black people. He used his art to propagate that we were inferior. In “Dumbo” created in 1941 he beat up on Afrikan people fiercely, yet to our people it goes largely undetected. Check it out: How can you tell an Afrikan elephant from one from India? The ears! Well Dumbo was born to a mother with small ears named Mrs. Jumbo (meaning huge). The other female elephants all had distinct European middle class voices. The stork drops the baby and splits and everyone enjoys the cuteness of the new little elephant... Until he sneezes and his extra large ears pop out, all of a sudden because he is different, Afrikan, his name is changed from Jumbo Jr. to Dumbo. What had the little fella done to prove to be dumb in his first 60 seconds of life, nothing. He was Afrikan andAfrikans were propagated to be dumb. The family was ostracized and tormented. Finally, the crows showed up and the stereotyping became more obvious as they sung “I be done seen ‘bout everything when I see an elephant fly... ah, wit da wind!” In short, it was his homies who talked their brother into flying. And during the final scenes after Dumbo became the hot attraction for the circus, making lots of money for the white

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owners, you will see his mother in the caboose, the back of the train, and he is flying behind that with the crows. In short, they have enriched whites and found their place in the back of the damn train! This is why they bring back likethe “Dumbo” every year. it worked on the parents, it willmovies work on new generation. It’sIfthe same with “The Wizard of Oz” (1939) laced with scenes of little Black monkeys with tails singing Afrikan choruses and controlled by the wicked witch of the east. “Ro de oh de oh!” Spike Lee and E.U. used in “School Daze,” and that was embarrassing. Disney gave us the racist cartoon “Jungle Book.” Also the now popular “Duck Tales,” which trash all other cultures while supporting capitalistic exploitation of the have nots. Scrooge McDuck is the greedy ultra-rich man who will do anything to add to his fortune. Children root for him and his nephews to get the riches out of other nations and get home safely. It is their first lesson in capitalism and produces pro-capitalism attitudes in our young. This is reinforced in imperialistic gold digging mercenaries like “Indiana Jones.” In addition, products like “Peter Pan,” and Captain Hook should not be viewed without explaining to our children what a pirate really was. To not tell them the relationship between pirates and slavery produces a victim swimming in ignorance. Meanwhile, Warner Brothers was giving us “Bugs Bunny” the intelligent white rabbit with the Brooklyn accent that could out smart anybody or anything. Meanwhile, his counterpart “Daffy Duck” was Black, reactionary, crooked, greedy and outta control. Even when he was winning he would lose because he was so backward. And just in case you missed the point that he was supposed to be a brother, he would get his Black slapped off or turn white with fear. In Casper the friendly ghost they cleverly teach young people it is alright to go against your own kind. It is alright to ignore tradition, culture and history and go over to the other side. That’s very “white” of ya!

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On the other hand, “Charlie Brown” is used to sell white values and the suburban worldview. The children with adult motivations guides you along. “Sesame Street” follows this line producing for children a false view of the world. It delivers a world where there are no contradictions between the races and between animals and humans. To not teach a child the truth about the environment is to betray that child. Delaying exposing them to the dangers in a society is like sending them buck naked into the jungle to crawl around and expecting them to come home whole. The “Simpsons” using the anti-hero approach in Bart & Homer Simpson still manages to push white values and Amerikkkan Pop Culture. As a matter of fact, Michael Jackson, another Amerikkkan Pop Culture Icon, used Bart Simpson and that “Home Alone” nonanimated white child Macaulay Culkin to introduce his new videos. Culkin was the child star in Jackson’s “Black or White” video not some cute Black child. Jackson knew Blacks would also see his video because they watch these white products righteously. “Rocky and Bullwinkle” was used to make young people hate Eastern Europeans during the so-called cold war. Natasha and Boris were obvious evil Russian spies from the evil empire. Laying this ground work made it easier to recruit and program children to fight in Vietnam and other places. To demonstrate the political purpose of cartoons is easy. They played serious east-west games with “Rocky,” and shows like “James Bond, Jr.” But to clock them moving on the highest level, “Teenage Mutant Ninja Turtles” is the one to check. At first glance you kind of think some white boy on LSD came up with this idea during a bad trip. However, after you read Dr. Frances Cress Welsing’s “Cress Theory of Color Confrontation,” found in her book “The Isis Papers” you must look deeper. In her theory she deals with whites as mutant genes scared of genetic annihilation. For some strange reason, after Dr. Welsing’s theory got popular many cartoons started dealing with mutants.

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The “Teenage Mutant Ninja Turtles” are designed as positive. They are named after European classical artists Michaelangelo, Raphael, Leonardo and Donatelo. While, the bad guy’ s flunkies are RockSteady and Bebop. These are two of our important musical artistic cultural expressions. Rock Steady is from Jamaica it is now called Reggae and Bebop is an important form of jazz. Consequently, every time the Ninja Turtles defeat the bad guys it is symbolic of their culture being victorious over ours... they are sick. That aside, did they or did they not have our parents buying white culture icons for Black children? Were they not enriched asthey dissed us and our culture? And tell the truth, did you dig the racist scam or were you fooled by their mass media? Now days, the first thing children wake up to in the morning are cartoons. Later, after school cartoons are waiting for them, while all morning on Saturdays the tube has a host of animated products for viewing. Along with this comes the commercial marketing to children. From junk food cereals to toys, the major manufacturers try to get the children’s attention. There is also a “Cartoon Network.” You see, many adults never stopped watching. Therefore, some of these shows run into the early a.m. The vivid violence in some cartoons have alarmed many in this society and the networks have been under fire. Now you have the daffy “I can’t be killed” violence of “The Road Runner, Tom & Jerry and Popeye.” But you also have the deadly serious violence in “X-Men, Mutant Ninja Turtles and Knights & Warriors. In either case, the child viewing the violence usually begins to respond to all contradictions with his peers violently. They, of course, began to respond this way in their school-yard and neighborhoods. Couple this with their daily diet of violence viewed during other television programming and movie watching and you can see they are producing violent people. Out of all of this comes a violent society.

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You would only produce these types of products if you desire a violent society and it’s your cultural norm. There is no other answer for it. Remember they conquered through violence and savagery. In addition, you will now see in cartoons like “Duck Tales, Thunder Cats, Tiny Toons and Tail Spin” references to our ancestors’ Egypt. Pyramids and the Sphinx seem to be more than a passing fascination with the creators of these and other shows. Again, until Dr. Welsing’s theory was popularized “Teenage Mutant Ninja Turtles” was not needed. Similarly, until the debate over our ancestors’ Egypt and white sinister scholarship over who were the dynamic people of the Nile Valley, there was little references to these places. It is important to realize, nothing is left to chance, the war begins when our babies are born. Immediately, the struggle for the minds of our children begin. Crib toys and mobile images are as important as the color of the dolls we give our daughters. Children can be taught to make the analysis from an Afrikan point of view. My shows. childrenThey can pick out racism in cartoons, moviesour and television can debate teachers who lie about illustrious past. Remember, we must prepare our children not only to survive their environment, but to liberate it and defend it as they build tomorrow.

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MOVIES: THE MANIPULATION OF MADNESS The silent pain of madness mingles with muttering confusion as life drifts away because of the decay of Amerikkkan culture. Between the ears lies the target of white supremacy’s lies that set us up for the vulture of insanity that delivers a servitude that further enriches our enemies. We are the victims, yet we feel no pain, we don’t feel the dampness of the brainwashing, we think we are the coolest of the cool. We begin our journey in the nursery rhymes designed to ease us down the tracks of self-destruction. The results of their interception of a basic Afrikan consciousness lies before us in our destructive behavior. They seized the God head and tacked their faces on with a bloody vengeance. We became creations of demonic intent, a purposely layered madness that is mapless. We wander around in the bosom of white supremacy trained not to see it. Blinding fantasies flash by on screens of all sizes blasting away normalcy and replacing it with hyped expectations, bewildering borders that create barriers containing the ‘Hood. We peer out at the world afraid of the outside and terrified of the environment in which we dwell. Images are scrambled. Cops become goodies and we become the baddies as anti-art imitates culture. It creates in us so much fear of our own people, that our only plan is to get outta the ‘Hood as fast as we can, as the multitude that can not flee remain in a state of hopeless depression. As individuals are scrambling to jump ship, the collective will is never let loose on the problems and the unorganized remain unorganized victims of white supremacy’s invented reality. Like junkies we flock to movies, video shops and television sets searching for a fresh fix to mainline to our brain. And boy has

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Hollywood got some shit for us. Terminating the notions of race pride amongst us, these propaganda tools tidal wave into our collective consciousness and leaves us dazed until the next fix of self-hatred is sought and acquired. The movies fit neatly into a few different bags: 1. The Horrors of the ‘Hood 2. The Jokes on Us (Comedy Flicks) 3. Plenty Action No Plot Movies 4. Salt & Pepper Pigs 5. Blood ‘N Gore 6. Integration Cinema. There are some positive films around but they are few. a. South Central b. Boyz in the Hood c. Daughters of the Dust And two foreign offerings: Sugar Cane Alley and Quilumbo. Independent filmmakers like Haile Gerima of Howard University don’t have access to our people, who really need to be exposed to his work. A master instructor anda devoted artist,he and other filmmakers can’t get their products to you because we don’t control any screening rooms. We don’t see the importance, the relevance, therefore our creative geniuses wind up in the camp of the enemy, who like puppeteers control them. Or, they are shut out of the mainstream! What are our plans for the future, we can’t go on this way. Our collective consciousness is being poisoned by their mass media and our victimization is fatal to our hopes of reacquiring our Afrikan identity. We must understand our victimization and “Culture Bandits One and Two” are designed to be tools to enable us to reclaim our minds, culture and image. Our image and culture has been absorbed into

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Amerikkkan Pop Culture as a side bar, a colorful additive under their direction... Stop!

HOLLYWOOD BLEEDS INTO REALITY D. W. Griffith proved the power of film when he produced the racist film “Birth of a Nation.” Historians credit the film with resurgence of white supremacist organizations like the KKK. This film set a fire under whites who went on a lynching rampage. They soaked the grass with our blood all over this nation. Yet, in every school of communications across this country Griffith is touted as a genius and the father of talking films. It is important to understand that the justice system pretends to not understand the impact of the mass media on the population. Liability for brainwashing and crimes would be used, sometimes justifiably so, as the defense in many cases now in the courts. All those cases against the mass media organs have been thrown outta court. Those dealing with imagery, devil worship music and horror flicks have all been dismissed. However, it is important that we understand that our minds arealways under siege by the mass media. Brainwashing, political salesmanship, consumer persuasion and terrorizing the population is the goal. Believe it or not we have been affected more by major white films than their Black counterparts. In every instance, we have digested their offerings until we believed in their superiority and their Gods. We have been seduced by their presentations in film, print, broadcast and academia. Ever since we were whipped off of their vessels of hate, they have been trying to convince us that they are civilized. Those who have forgotten the suffering of our ancestors are the only ones who buy into their lies and that is the majority.

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In the case of film, they have used it as an instrument to perpetuate their society and culture. Naturally, they praise the virtues of western civilization. The problem is that they do this at the expense of every other race, every other culture. Traditionally, they have several different kinds of films to present: a. [Cowboy movies or Westerns] are at the hub of their culture. All the spokes fit in here creating a cowboy mentality. Their urban centers are like the wild, wild, west in many instances. Lawlessness is allowed to fester because where there is no rule of law exploitation of man by man is at its zenith. Car chases replace horse chases, guns are used for the slightest arguments and bars and churches litter the landscape. In addition, is a earlier small town andbook, people violently every every neighborhood night. As I said in this mydie generation was socialized by these films and television shows. b. [Gangster or Mob movies] are used to socialize this generation and create an appetite for blood and gore as a daily staple in our entertainment diet. Witness the “Godfather Series,” and movies like “Scarface,” and you can’t deny the impact these flicks have had on our youth. Television shows like “The Untouchables,” promote and demonstrate the driveby shooting. Scarface’s rise to riches as a drug dealer and the exciting way he lived and went out don’t scare urban youth. On the contrary, it attracts many who are trapped in poverty and many who are just greedy. The more graphic the violence the more satisfying the movie is to Amerikkkan consumers. Young Black tuffs grab hold of these images for role models. c. [Horror Movies] are also a staple. Frankenstein and Dracula movies have been done over, revised and updated so many times it becomes obvious that they are cornerstone’s of European culture. In real life they continue to attempt to create life. Transplants, heart surgery, brain surgery, behavior modification and drugs document their hunger to totally control life. Dracula documents their fascination with sex and violence. you must add devil worship with the blood sucking

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nature of their relationships and include their economic system of capitalism. The vampire represents the power to feed on humans for survival. Of course, we must deal with “Wolfman.” The struggle for Europeans to civilize themselves and repress the beast within is one that they have always lost. One just has to observe their vampire-like economic systems, their Frankenstein-like medical barbarism and their Wolfman sexual savagery to illustrate their backwardness. Finally, their “Mummy” horror films continues thedesecration of our ancestors, culture and civilization. In addition, it attributes our achievements to whites, while poking fun at our Gods. The “Mummy” films demonstrate the guilt and fear of punishment they have for stealing our legacies, claiming them and building their western civilization and culture upon them. These pronouncements and guilt now ride through their animated propaganda aimed at the children. However, todays horror films deal more with gore, pain and cave dweller-like debauchery. These that images establishes our people a de-sensitized hue-manity creates an apathyin to the suffering of fellow hue-man beings. “Nightmare on Elm Street, Friday the 13th” and “The Invasion of the Body Snatchers” come to mind. d. [Science Fiction Movies] are approached in such a way as to mystify science. It is important that this society produce a population that deals solelywith from a metaphysical they can control the people organized religion.base, Theythen also want to induce fear of the unknown throughout the universe so that we are blinded to their obvious space imperialism. Check the story lines in the “Star Wars” series. Movies like “The Aliens” series is a clear example. A lot of tricky stuff is going on in this flick. For example, if you check

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the movie “Aliens” from the point near the end when Sigourney Weaver strips down to her underwear. Slow mo’ your VCR, you will see another movie going on within the movie. What you will see you will not like. It is a technique called “subliminal seduction.” Let the tape run to the end and what you see will shock you. Black phallic (penises) symbols in abundance threatening the white heroine. The use of white panties, a white space suit to symbolize European purity and the use of a Black monster with a tail that ends up lynched outside the ship will be clear to you. Subliminal seduction deals with your subconscious, yet it registers deep within you delivering unwholesome racist messages. Check it out! e. [War Movies] are produced to create and reinforce patriotism and loyalty. They also revise history, fabricate and deliver a biased point of view. War movies are also recruitment tools for the military. Movies like “Tora, Tora, Tora” dealing with Pearl Harbor, “Sands of lwo Jima” with John Wayne and even “M*A*S*H” and “Platoon” fill all the above. Rarely, will you see a movie of the quality of “Apocalypse Now.” The new war movies usually deal with current prisoner-ofwar or missing-in-action issues. on Entebee” dealtdealt with the Israeli raid in Uganda, while“Raid “Heartbreak Ridge” with re-writing the cowardly attack on tiny Grenada. It’s all propaganda. f. [White Supremacist Character Builders] like the “Rocky” (Sylvester Stallone) series serve important functions for bruised white male egos. We talked earlier about the importance sports Amerikkkan culture. When they can’t obtain their of goals in in reality, they will invent reality through movies to take care of the psychotic needs of their people. Just like they can not come to grips with the fact that racists Elvis Presley and Babe Ruth are dead, and were pretenders to the thrones, their frustration with not producing a white heavyweight champion since Marciano drives them outta their minds.

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Consequently, this character was developed to deliver comfort to their mental needs. Like Marciano he was Italian, but more importantly, he kicked Black butt. Smashing both Mr. T and Carl Weathers, Rocky delivered big... In the movies. Weathers in one picture dressed up like Uncle Sam, while James Brown screams at the top of his Amerikkkan lungs some crap about “Living in America.” After which some big Russian beat Weathers to death... man I was in stitches. But in reality, our children digest these images and even root for Rocky to beat the brothers bad, because no one tells them of the political significance of all this. Also, baseball movies like “Babe Ruth,” his second, “Lou Gehrig” and “Field of Dreams” carry baseball fantasy as they promote the sport as “Amerikkka’s National Pastime.” In football “Dallas North Forty” realistically dealt with the game from a professional athlete’s perspective, but of course, the Afrikan athlete was buried deep in the story. There have not been many sports stories and “Dallas North Forty” was the only one worth anything at all. g. [Salt and of Pepper Pigs] I think we spent enoughand time on these types movies. Remember Eddie Murphy Nick Nolte in “48 Hour” movies. Murphy and assorted whites in the “Beverly Hills Cop” series,Danny Glover and Mel Gibson in their “Lethal Weapon” series are just a few Salt & Pepper teams saving the streets for us all. What Blacks really liked was the “Death Wish” series with Charles Bronson. The action drew a lot of our people to the movies. These movies are high on action low plot,Cheap they are used wild as escapism and are mere waste of on time. women, destructive car a chases, graphic violence and some character getting kicked in the testicles is the formula. h. [White Super Heroes] Because the image of Amerikkkan males, white men, were suffering several things had to be done filmatically to up-lift their bruised egos. In the real world,

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Grenada and Panama were invaded, like a fighter on the comeback trail, they beat up a fewmis-matches. In the movies “Rambo,” brought to you by Sylvester Stallone the white nationalist, slapped around some people of color. More Importantly, they dug up white super heroes “Superman” and “Batman” for a new generation, who only saw them in cartoons. They then hyped the hell outta this garbage and raked in millions. Black children led by their parents bought into the white supremacist fantasies and helped enrich their enemies as their parents bought up anything that had these super heroes logo on them. Earlier, we dealt with Richard Pryor allowing himself to be used on the Superman ad. Imagine our children viewing a Blackman flying in the arms of some red, white and blue honky. Damage, damage, damage. Batman dropped Robin and was upgraded. Eartha Kitt is no longer Cat woman. Propaganda wise these tactics were winners, monetarily, it was a bonanza and our communities reflected the effects. Even Black adults adorned themselves in T-Shirts, watches, car emblems, sun glasses, plates, costumes, party favors and pale values. My point is that white films are more effective than films about Blacks in terms of propaganda. First, there are many more of them and second, we let down our guard totally when viewing a Black film. We want our people to do well so badly, that we are victimized by our love, once again.

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COUNTER REVOLUTIONARY FILMS In truth, all of their filmatic works are counter-revolutionary. We need not expect anything else. However, for our purposes here let us describe counter-revolutionary films as those dealing with overt political themes. We understand that everything is political but we will look at these works that are supposed to stimulate political thought. To jump right into it, the biggest counter-revolutionary film since “Birth of A Nation” by D. W. Griffith, about the birth and need for the KKK, is “Sarafina.” The reason I point this out is because “Sarafina” was a powerful revolutionary play created outta the struggles of our people in Azania (South Afrika). It was built on the actual murder and suffering of our children, who were waging a righteous struggle against the South Afrikan Regime. It was one of the purest vehicles of communications devised as the participants of the struggle came to tell their story unmolested by the lying western news apparatus. They came to act out and sing about their tragedy, their suffering, their pain and their powerful will as they fought back against all odds. They sang about the torture, the rape, the murder. They sang about the South Afrikan just-us system and our own heroes and sheroes, which included Patrice Lumumba, Kwame Nkrumah and Malcolm X. They sung about how they organized and fought back. Further, they sang as children, universal children who laughed, played and fought as they grew to adulthood. They sang in English, they sang in Zulu, they sang in Xhosa. Voices heavy with sadness, powerful with pride and beautiful as the dancing hips of our women... they sang. People flocked to Broadway to taste the reality, drown in the rhythms and get uplifted with the youthful hope for tomorrow.

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This was “Sarafina.” This was the pride of a people who were sent to tell the tale of the whitesupremacist misery that smothered their future. They came to tell us it had to be moved, it would be moved and soon! As you sat in the Broadway theatre you were awe struck by the tale unfolding Afrikan style. As you listened you could only feel pride in the young people who worked so hard in this foreign land to communicate that “Freedom is Coming Tomorrow.” Tears were produced in even the most heartened eyes during the scene where Sarafina was welcomed back to class after a brutal police detention. She slowly raised her blouse to show her school teacher her wounds and as the cast and the audience wept together, Sarafina’s voice boomed “It is alright mistress we can go back to class.” In that one line she demonstrated the strength and determination of the Afrikan youth. The only stars that were in focus was the Azanian youth, who we have seen on the evening news fighting automatic weapons and military transports with stones. The power of theyoung! Such a powerful revolutionary weapon against global white supremacy to exist here in the the beast. The enemy could movednot in be byallowed buying the “play” from its belly writer,ofproducer, director, songwriter and creator Mbongeni Ngema. This brilliant Afrikan man can’t tell me that when he sold “Sarafina” to whites, he didn’t know they were going to radically alter the property. Nah, he is too politically astute to make any excuses for the butchering of his own work. Not only did he sell probably the greatest play writtenwith concerning our struggle, he helped write the movie screenplay William Nicholson. Furthermore, he acted in the movie as a brutal Black cop who was killed by the children because of his brutal acts against them. That part was written in for the movie. Furtherstill, the play’s focus on Sarafina was shifted to a political non-violent focus on Nelson Mandela.

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Sarafina speaking to an invisible Nelson Mandela as if he were a God did not exist in the play. Her romanticizing and reducing the struggle to mere idol worship was ugly. In addition, once Whoopi Goldberg was added to the mix you could only expect a pro-white, non-violent unrealistic swan song. She was brought in to play the dynamic patriotic school teacher from the play, reduced to an advocate of non-violence in the film. It’s as if Coretta Scott King or Harry Belafonte wrote this crap. In the end, Sarafina returns from prison, after being tortured, a frightened broken little girl. Her last act was to get an automatic rifle she was hiding for her teacher’s lover and throw it away. That is a long way from “Its alright mistress we can go back to class.” The symbolism of this staggered the audience that had celebrated the play. Only some of the music was used and no song was sung completely through, no dance was followed to its logical conclusion, no idea of struggle was left to exist in the heads of the viewers. But more importantly, it was a cold-blooded sell-out and a misrepresentation of the children who struggled and died in 1976. And also to the youth who stillland rumbling theancestors. hated whites, who have used and abused them,are their and their Leleti Khumalo starred as Sarafina, she is now the young wife of Ngema, in the play and the movie. Songs like “Mama” about the murder of a dynamic Afrikan woman lawyer were notused or needed. Is there nothing we produce that our enemies can’t buy? “Sarafina” is no more, it is now the toy of the whiteman and he uses it skillfully to counter the Pan-Afrikan Revolution! ***** Unlike the trickyology used to transform an Afrikan work of art into a weapon of reaction quietly when we weren’t looking, “X” by Spike Lee was developed under the communities’ microscope. It is the movie that should never have been made. The seriousness of this act probably can only be appreciated by another revolutionary.It

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is a classic example of the media presenting history as entertainment and entertainment as history. First of all, Lee was in over his head. He is a clever businessman not a historian. Consequently, he approached his project as entertainment that would produce millions of dollars in revenue. Once you are locked into that mode, the project is in trouble. This requires that you have a soap opera story line, inter-racial love themes sell, graphic violence and you must create people and situations that never existed or happened. Spike dealt with all of that. He could not resist playing up Malcolm and a white woman, he showed more of her than of Malcolm’s wife, Betty Shabazz. He invented Malcolm’s roadie Shorty, but couldn’t find time or space for Malcolm’s sister Ella. She wasone of his greatest supporters, also a great story of a positive sister/brother relationship was passed up. The story of Malcolm’s conversion was fabricated. In addition, the character in jail who worked on Malcolm’s head was also invented. I mean, how much license can you take with a man’s life and ourstory? Obviously any distortion throws the filmmaker whole projectnto i a fiction bag, the creation, of the imagination of the . I know, whites do this all the time with Elvis, Marilyn Monroe, John Kennedy, Jack Ruby, Hoffa and others. But I’m glad to say we aint white and should not follow their demonic lead. They have a reason to distort, the Afrikan artist must clarify at all costs. Spike Lee presented a Malcolm that didn’t exist in order to get paid. Ourstory must record this! He is an excellent filmmaker, a skillful artist who delivered us to a different time and space. He made us feel we were there, that is where most of us got lost. Too many of us don’t know the true story of Malcolm X, what that period in our-story meant to us and what we lost on the stage of that dirty ballroom. Lee decided what these people should know and therein lies the danger.

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Not only did he not think Ella’s role in Malcolm’s life was important, he didn’t think Malcolm’s international political activities were important. Amerikkka thought they were. They sent assassins to poison him, Negro flunkies like Carl T. Rowan, then of the United States Information Agency, to lie on him and track his every step, every phone call. Lee only showed agents listening in on Malcolm’s telephone calls. Furthermore, he never mentioned GeneRoberts, the police infiltrator, who was Malcolm’s head of security. How can he not be used in the film if it is a sincere effort to tell the truth? Roberts was later to turn in the so-called Panther 21 after infiltrating the Black Panthers years later. Why, Roberts could be sitting right next to you right now! In any event, that is a major story right there, not a side-bar but a major story, Spike was too cowardly to tell. Now he graphically show Blacks gearing up to kill Malcolm and they did, but as usual Negroes pretend not to see the invisible white hand, the master puppeteer. Then what story did Spike tell? His-story! Either the one he was told to tell or the one he conjured up in that a-political head of his. In either case he misrepresented Malcolm... our-story will document that for the coming generations. What harm if any was done you might ask? Our people have been molded into vidiots, who watch more than they read. A people who rely on moving pictures to deliver unto them; the news, their entertainment, history, analysis of all social phenomena, sex education and child care. Consequently, Lee’s “X” will be seen as history to many and has been exported to the world as the definitive work on our Afrikan Patriot Malcolm X. It will go from the movies to video stores, to cable television and then it will travel to network television and than on to UHF. In short, it will be around forever! The only positive side to all of this is that after Hollywood seized upon the image of Malcolm X, because he had been resurrected by

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the young rappers like “Public Enemy” and “Boogie Down Productions” among others, they decided he must be defined from a white supremacist view. Malcolm had to be distorted to send our searching youth off in the wrong direction. His Pan- Afrikan trail had to be covered and hidden with fabrications, dogma and a hint of integration. Lee fell right in here. He claims that he could not tell the whole story, that people must read and this disclaimer proves he is a mere soft punk playing in a game over his head. I’ve been around long enough to remember that this film was supposed to be made starring James Earl Jones. However, the loud protest about Jones playing Malcolm and him having a white wife was too much of a contradiction. At about the same time Anthony Quinn was attempting to play Muhammad in a movie and he was shot down. Therefore, it was necessary to have a Negro front the action, a neocolonialist, a lackey, because our people still have trouble understanding domestic neo-colonialism. They don’t understand even though they are sold out by religious ministers and politicians every single Spike the job, Spike got paid and Malcolm X, our Afrikanday. Patriot, gotgot tarnished. Finally, Spike’s choice of Denzel Washington to play our patriot was a solid one in terms of acting skills. Quite the craftsman, Washington got his reputation playing Malcolm off Broadway. He lent believability to Spike’s lie, he brought his Clark Gable image to increase receipts and made it all effective propaganda. Washington, about as jive a Negro as you can find, told a talk show audience that he added a little smile on Malcolm’s face just before the burst of gunfire killed him. He said it represented a feeling of relief that it is all over. He never understood, this wasn’t some shit from Shakespeare. A real revolutionary has work to do and being cut down before his work was completed must have pissed Malcolm off...Revolution is about life.

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Denzel Washington’s next movie after “X”, is “Much Ado About Nothing,” a Shakespearean play put to film with an all white cast and that includes matinee idol Denzel Washington. What better way to say to whites “I’m cool, I was just play acting in “X” y’all.”?

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SEND AWAY THEIR CLOWNS The people needed a champion, Richard Pryor had failed them. He was a foul mouthed clown that they loved to laugh with as he traveled over and stomped the line of decency. But he was an ugly man, attitude wise, and his humor though innercity tough, traveled in the red light district of shame. Everybody knew he was down with drugs ‘n white women, a deadly combination of living death. But most of all he was frail, weak and punkish. Soft punks were out and only the old heads remained loyal. Pryor got into the habit of making bad movies with whitesand carrying the bad scripts to pay dirt. However, the weight of carrying people like Gene Wilder all the time made the bottom fall out of his own career. His career all but ended in a mysterious blaze that engulfed his body and tragically ended his box office success. It was reported that; he accidentally set himself on fire with a Bic lighter, he went up in flames free-basting drugs, he attempted mob. Pick one, for we will never suicide, know. he was set on fire by the It is clear to me that after his 1976 hit album “The Bicentennial Nigger,” his career went down, down, down. It seems to me that after his final statements on that LP he traveled the route of Billie Holiday after recording “Strange Fruits,” an anti-lynching song. He went from the This basicmovie militancy of Jackie “Bicentennial the movie “The Toy.” starred Gleason Nigger” and sometolittle white boy. Pryor played a neo-slave who was hired to be this white kid’s human toy. It is important to note that the print ad for this movie appeared all over the world with Pryor sitting on fat ass Jackie Gleason’s lap, talking about on someone’s jock! It is truly one of the most degrading images in the modern era.

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Pryor wasn’t through, he also appeared in a “Superman” flick. The print ad of this movie showed the white muscular blue eyed white man flying through the air holding Richard Pryor in his arms. It was also so degrading that it shamed Black men, subjugated Black boys and made some sisters look past Black men to whites as their mates. Pryor’s career and his riches helped “Annihilate Afrikan Images,” only a true punk would take such roles. This shit gotta be said, we gotta make it plain, we gotta set standards. Blacks will forgive anything if it leads to an individual’s riches. I call it treason and standards must be set to stomp it out. Naw, I don’t wanna hear no shit about he’s sick now, or Muhammad AIi is sick now, they both still serve white supremacy. Liberalism is gonna be our downfall. The youth need standards, “Rites of Passage” and guidance from us. Bob Marley sang “Tell the children the truth.” The generation before that laughed at Flip Wilson whose humor was cleaner and his writing was even clever. However, Wilson didn’t get big until he added the character “Geraldine” to his act. It started with a mimic and ended with this brother dressed completely as a Black woman. This reinforced the mass media’s stereo-type of our woman so avenues were open to him to exploit the character. Just another example of the mass media jumping on the negative keeping the jokes of the Black comic inverted and aimed at Black people. Now Black men dressed as women are all over the screen. Athletes in dresses their mothers mothers, Martin Lawrence making fundissing of Black women andand hisgrand mother on his show and on and on. This insulting humor serves the system and its image factory of lies. Those brothers who are down with the joke get paid! Amos and Andy, Step ‘n Fetchit, Redd Foxx, Flip Wilson, Richard Pryor begot Eddie Murphy. Only now the packaging is different, but the results are the same... anti-Afrikan propaganda.

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None of these people are without talent. Their number one task is to make the producers, directors, television networks and filmmakers laugh. If “they” do not laugh you will never see these clowns. Obviously, the best way to make racists laugh is to make fun of your own people and build your career at their expense. Dick Gregory made a career telling jokes dealing with social commentary. Jokes dealing with the tragedy of racism, but with a white liberal integrationist slant. One that doesn’t attack whites but appeals to them and dismisses the racist as a social deviate instead of exposing them as the norm. His class conscious humor lifted him above the plain average Black clown to that of a moral humanist social critic. This of course was nothing but a “We shall overcome” approach to humor. Only whites and bourgeois Blacks were down with it. The “New Jack Comedy” of Keenan Ivory Wayans had great potential, but “ya can’t teach what ya don’t know.” As “In Living Color” went on it became evident that the jokes became more and more negative toward Wayans’ own people. By the time Wayans and his masters at FOX Network fell out, it was all negative. Their humor was demeaning and the social commentary that had been there dried up. After Wayans left it was gone altogether. The most popular Black comic is Eddie Murphy, a young multitalented brother who carried the “Saturday Night Live” television show for years. On the show he exposed the wide range of his talents and his creative versatility. It was the right place for him to tighten his skills, build a very loyal following and prepare for a tremendously successful movie career. With a series of block buster movies that catapulted him into the seat of the world’s number one box office attraction, Murphy was on top of the world. After the “Beverly Hills Cop” seriesit became obvious that his people enjoyed his success, but were moving closer to Black films. Up to

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that time he was usually the only Black character in his films and Beverly Hills is a long, long, long way from the “Hood. He countered with the ultra-reactionary film “Coming to America.” This celebration of feudalism and cowardly monarchs that used to have some in Afrika, stunk to land high of heaven. He demonstrated clearly that juice he knew nothing of the his ancestors. However, he did get paid as he perpetuated the same reactionary image ofAfrika that our enemies deliver daily. In his most recent film “Distinguished Gentleman,” a Leonard Goldman Production with a screenplay by Marty Kaplan, Murphy deals with national politics. Naturally, it’s dealt with as if a few corrupt individuals ruin this country for all because of their greed. It also sells the notion that the bureaucracy is in the way of getting things done. We are in the hands of super con-men who have us trapped. This is not a new idea that they are reinforcing here, this is the only line allowed to be propagated about the failure of the capitalist system and its so-called democracy. Tactically, it keeps most people in this ball game, it keeps them always attempting to clean out the system and it hides the one great truth. It is the system that is corrupt and it is designed that way. As long as people believe that a fewgood men can turn things around, they won’t look for another system to deliver their needs. “Ya can’t fight city hall” is what they taught us to keep us from moving to destroy the whole demonic edifice. From infrastructure to the surface, it is all laced with decay as it threatens to take mother earth down with it. It will fall soon! But for now, it is important that its existence is supported by all Amerikkan Pop Culture icons and Eddie Murphy is one of its biggest. Also, in “Boomerang”, co-produced by Barry W. Blaustein and David Sheffield, Murphy functions with a Black cast. Robin Givens, Halle

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Berry, David Alan Grier, Grace Jones, Martin Lawrence, Geoffery Holder, Eartha Kitt, Tisha Campbell among others. This movie is about a “mack daddy” who gets a taste of his own medicine. It is about the only Murphy movie that wasn’t completely harmful to our people. It dealt positively with man/female relationships and came at a time when Murphy had a positive relationship in his life which led to his marriage. By the way, he wrote the story and co-wrote the screenplay. Meanwhile, queen of the Black clowns Whoopi Goldberg proves the joke’s on us by her mere existence. Like Murphy, she became popular telling rank jokes in white comedy clubs. The foul cursing tumbled outta her mouth like a nickle whore trying to communicate with a sailor. She was/is embarrassing to any conscious Afrikan. Her most recent films are “Sarafina,” we must talk about later, “Sister Act” and “Made in America. “ They all “Annihilate Afrikan Images” and are laced with anti-Afrika Propaganda. In all but “Sarafina,” she has a white lover. In “Sister Act,”She check that title, she plays a night clubCatholic singer hiding from the mob. finds a hiding place among some Nuns and of course the contradictions are supposed to give up the laughs, yuk, yuk! In “Made in America,” she plays an Afrikan “cultural sister” who owns a Black bookstore. She copped some sperm from a sperm bank to have a child, don’t sound like an Afrikan thing to do! However, she outformerly later thatofthe spermand she he bought wasfather fromof a white Ted finds Danson Cheers, was the her 18man, year old daughter...ugh! The daughter, played by Nia Long, is a brilliant student preparing for college. Could it have been that white gene that delivered her brightness? The daughter tracks her father and there he is, Ted Danson, a white car salesman.

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After what they call laughs about the shit-uation, Goldberg and Danson become lovers and the beat goes on. Will Smith, the rapper turned awful soft punk actor on “Fresh Prince of Belair,” plays a youth called Tea Cake for some reason. All of these clowns should be sent away for the damage they do to our confused youth, who are suffering from an identity crisis already. Any thing that does not help our people clarify their identity, project a positive image to the world and abandon our historical struggle against our enemies is a victory for the other side. These clowns are not mere jokesters trying to make a buck, but negative icons and workers in the factories of hate. We can never take the individual’s personal enrichment over what is good for our race. The clowns use their talents to perpetuate shit that we could have pushed behind us. Wesley Snipes is the new king of “Salt ‘n Pepper Pig Movies.” I’m telling ya there is a lot of money in it. He played a clown role in “White Men Can’t Jump” and it made him a little bread. However, he is the new “Shaft” only he rolls with white boys and is always some kind of agent or Los Angeles cop. Damon Wayans attempted to graduate from television, from “In Living Color,” to the movies and bumped his head. His film “Mo’ Money” had potential, however he decided to use it as a vehicle to reprise his characters from “In Living Color.” It tied the films hands, which dealt with petty hustlers who run into major white criminals dealing with multi-million dollar credit card fraud. Like “Distinguished Gentleman,” the moral of the filmin Mo’ Money is clear. White collar crime puts brothers’ hustles to shame. It’s a tired theme, but point well taken. Our people must learn to make theanalysis of what isgood and healthy for our people. As we drive toward a clarified and proud Afrikan identity, the enemy’s mass media works hard on the minds of our

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people. If Afrika is to again become important to us, people like Eddie Murphy will be rejected outright. Remember, In “Coming to America” he rejected his culture and women and traveled to New York to find a light skinned sister. In addition, the promo picture of dreadlocked Whoopi Goldberg and cowboy clad Ted Danson on the Cover of Jet dated June 14, 1993 was designed to cause confusion. Yes, it was designed to attack race pride, it was designed to confuse our children and it was designed to have us look to Amerikkka as our salvation. Yeah, “The joke is on us, all the time!”

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PERSONALITIES: SELLING THE ILLUSION We buy into the illusions they package on film and the price for that mistake is high. Generally, white society is projected as; the most wholesome, the most democratic, its institutions invincible and their military might (police/military) undefeatable. The “movie star” is the salesperson for these notions. They, are styled, packaged, controlled and mere pieces of their marketing people’s imagination. Consequently, public relations from the so- called “legit” media to the gossip papers and magazines is used to define an aura of specialness about these very ordinary folks. We need to look at a few of them and their work to clarify what we are saying here: a. [Arnold Schwarzenegger] the former body builder was important to sell to our people. Even though, he could hardly deliver his lines in understandable English in the beginning of his career, he survived because they wantedhim to survive. His super-violent films were grisly reminders of their violent past, present and future. Yet, he could be viewed as a foreigner and his violent work passed on as a European product not Amerikkkan. Films like: the “Conan” series, “Predator” the sci-fi commando film,and the super violent “Terminator 1&2” movies are examples. These actions films are super-hero in nature. In “Conan the Destroyer,” Grace Jones and Wilt Chamberlain appeared. The racism flowed through this film as Chamberlain wasused to guard the blonde blue eyed princess with his life. While, Grace Jones’ character adorned in very little animal skinswith a tail attached pledged her loyalty to the whiteman, Conan. This was done after she defeated dozens of whitemen in battle smashing their heads, crushing their testicles and gorilla-ing them in a burst of “Black savagery.” Chamberlain who wore a long wig for the part attempted to chase the only Black woman on set away from the white posse he was riding with. Grace attacked Wilt and he struck her down and was about to

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cut her up when Conan, the whiteman, stopped him. Translation: it is the whiteman’s burden to save us from ourselves, while saving the overly aggressive Black woman from the ultra-violent Blackman. Both Grace Jones and Wilt Chamberlain read the script before signing to do the picture. It didn’t bother them at all that their character and the portrayal of Afrikan people was sexist, racist and white supremacist propaganda. Why? Because they both are anti-Afrikan and live anti-Afrikan lifestyles. And for the money, they would do anything. They have no race. Both sleep proudly with the enemy. We don’t want or need these traitorous imitation crackers (and whites damn sure don’t want to do anything but use them against us). But tha t’s Hollywood. b. [Clint Eastwood] Is and was a B-Actor, who had to go to Italy to make cowboy flicks to make a living. His timing was perfect because Hollywood was in transition from westerns to urban westerns (police movies) because of the social need to cover up for law enforcement. He became so big and successful dealing with these low budget super-violent shoot ‘em ups, “The that heMan laterWith was able to graduate to urban westerns. Playing No Name” in Sergio Leone’s socalled “Spaghetti Westerns,” he became one of the most recognized faces throughout the world. This violent no-plot slop was to have a major effect on people all over the world and was one of the causes of the increase in violence in places like Jamaica. He returned to the star in the DirtyThe Harry Callahan films like:United “DirtyStates Harry,toMagnum Force, Enforcer, Sudden Impact, The Dead Pool.” In between those movies he also starred in others not as popular. “Heart Break Ridge” a fabrication about the invasion of Grenada was one. An important aside was the disrespect the film propagated about the patriotism of the Grenadian people who fought gallantly. In the picture they only showed Cubans fighting

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and dying against Amerikkkan imperialist troops, an ahistorical filmatic statement. The image of the tough cop was so strong and so violent that many Black men were attracted to it. You could hear lines from the movies like “Go ahead make my day,” seep into every day inner-city language. Lines from Schwarzenegger’s film also became popular in street talk and rap songs. c. [Steven Spielberg] work is known for its off beatness and high budget. He is known for films like: Jaws, Close Encounters of the Third Kind, Raiders of the Lost Ark, E. T. ExtraTerrestrial, Twilight Zone: The Movie, Indiana Jones and the Temple of Doom, Indiana Jones and the Last Crusade. Most of his work has dealt with monsters bigger than life and Indiana Jones’ greedy grave-robbing imperialism. Known for these types of flicks, he was hired to make a monster outta Black men in the infamous “Color Purple.” In this film Black men were from outta space in their behavior toward our women. Black men’s jaws were locked tightly and negatively around our women’s existence. It was us who kept ourofown women the twilight zone, we Third were Kind. their Temple Doom, theirinClose Encounter of the Spielberg was the one, the professional monster maker had Alice Walker’s novel, plus Quincy jones’ legitimacy and he ran dead into our male/female relationships with his creation causing maximum damage. Walker’s book was another product that the screen play, which she helped with, didn’t resemble. Like “Sarafina,” it was now a weapon to destroy us with. Gone were the important passages about her sister in Liberia and how the weight of United States mperialism i and corporate greed uprooted and displaced the people and their culture. Gone was a positive man fighting with the villagers to save their land, homes and culture. All that was left was the negative images of Black men riding their women like mules,

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insensitive beasts controlling their own child bearers in naked self-hatred. Finally, it is no accident that many who starred in this flick got seriously paid afterward with more opportunities. Oprah Winfrey, Danny Glover and Whoopi proved to their masters that they could be trusted to work and support the unwholesome for career upward mobility. They are no better than Grace Jones and Wilt Chamberlain. There has gotta be a pay day for us to repay those who sell us out! d. [Charles Bronson] It is important to understand that Bronson’s four “Death Wish” movies, which began in 1974, aided the growth of reactionary para-military training by white supremacist groups. It promoted vigilanteism, Black stereo types and ultra-violence. All these well constructed formula films always began with a vicious violent crime, usually mass murder and rape, of family and friends. After the viewer was exposed to such savage imagery, it served as the justification for the curb-side slaughter of alleged savages to the wild cheers of the viewers. This was borrowed from a lot of Clint Eastwood’s work in his cowboy movies. It helped develop in the nation a mood promoted by rightwing politicians that set the theirinner-city own ills. Blacks up as the cause of the country’s and These are mere examples of Hollywood’s speciality, the “Annihilation of Afrikan Images.” The movies help sway opinion, reinforce foreign policy, continue stereotypes and confusion of the population. Today, as always, it has its neo-colonial aspectsof its apparatus.People like Richard serves Pryor, these Eddieends Murphy, Wesley Snipes Denzel Washington with their talents. It isand up to you to review their work and decide if it serves our development as a race or the continued dismantling of our esteem? Do they play in vehicles designed to uplift our race or demonstrate that our lives should be in the service of our cruel enemies?

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MIND MUGGING MOVIES While they were mythologizing America on the screen, the Hollywood Jews also set of about redesigning themselves... Their own lives became a kind art, and the process affected every aspect of Hollywood... They became members of a lavish new country club called Hillcrest that mimicked the gentile clubs that barred them. They subscribed to a cultural life, centered around the Hollywood Bowl, that simulated the cultural life of the eastern aristocracy... Guilt ran too deep for them to disavow Judaism entirely, but the religious community to which came awfully its guided lights, Jews werethey to becontributed seen and not heard. As theclose; Rabbiby who Hollywood Jews put it, “For God’s sakes, I’m living in America. I have to be part of my environment. I don’t want any ghettos here for myself.” The Hollywood Jews would cope through “a sustained attempt to live a fiction, and to cast its spell over the minds of others.” What is amazing is the extent to which they succeeded in promulgating this fiction throughout the world. By making a “shadow” America, one which idealized every glorifying bromide about the country, the Hollywood Jews created a powerful cluster of images and ideas - so powerful that, in a sense, they colonized the American imagination. No one could think about the country without thinking about the movies... Ultimately, American values came to be defined largely by the movies the Jews made. Ultimately, by creating their idealized America on the screen, the Jews reinvented the country in the image of their fiction. Neal Gabler, from his book An Empire of Their Own: How the Jews Invented Hollywood

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And the movie image created of Afrikan people was misleading, cruel and a conscious attack on our race. At the same time the racist fabric of this backward society was hidden in fantasy. This allowed white Amerikkka opportunities to avoid looking at herself as the world viewed her. White people, are white people and collectively, no matter what their contradictions, they travel an anti-Afrikan path. Blacks fear whites who classify themselves as Jews more than they fear other white folk. It is no accident that the number one box office attraction, Black or white, Eddie Murphy pays homage to so-called Jews in “Coming to America and Distinguished Gentlemen.” Not only does heshow them in a friendly light, but he speaks Yiddish and befriends a flock of them in “Distinguished Gentlemen.” Murphy does not just smooch the hand that feeds him, but he also kisses the rear cheeks. We never had any friends in Hollywood and we have less today. Yet as you can see, what Hollywood produces affects the way people view the world. Obviously, after the working over we have received from the motion picture industry over the years, the world view of us is negative and in most cases our view of ourselves is tired. I’m not going to use this space to just condemn movies for their constant misrepresentation of Black people, their racist imagery and their anti- Afrikan stereotyping. Nah, what we need you to do is learn to apply our intellect and critical thinking to our movie viewing. Instead of relaxing and chilling out, I would prefer that you make a game of viewing. Your task is to find the negative images, political propaganda, stereotypes, subliminal seduction, historical distortions and general unwholesomeness. It is critical that we don’t allow Hollywood to play in our minds and make silly putty out of our consciousness. I’m convinced most of us will continue to deal with movies no matter what the negative effects could be. It is important that we use our analytical ability.

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The reading of a book requires that we use our minds to get at the message, intent, and hidden information the author laid down. Conversely, we must react the same way to audio and video products. As a matter of fact, our minds should be sharper because the images and sounds dash past so fast that unless we are watching a Video cassette we can’t slow down and repeat the sound and images. Every communicated message or image has a motive, a target, a perspective. They are created by people who come from a culture, possess an ideology and are discriminating. Therefore, you can throw “objectivity” out of the window. For example, this book was written to demonstrate certain things, convince you of others and perpetuate progressive Afrikan thought. It swims in grassroot scholarship and don’t give a damn about who knows it. It makes no effort to hide the fact that it spins out of a revolutionary Pan-Afrikanist ideology. Anyone reading this book who is not of the Afrikan family is merely over-hearing our conversation. Consequently, it is written in our cultural cadence, rhythm and language. Those outside the family might have to struggle with the language like we have to rumble with Shakespeare to cop his meaning... seen? It was developed as a tool of liberation, understanding the reduction of mass media victimization of our collective consciousness and culture is the target. Some may feel this; limits possible sales, use by white academia, and produces scorn by Black intellectuals. It stands only as a tool for liberation. If it comes under attack by outsiders, that is documentation that it struck its target. No pretense here. Movies pretend to be general entertainment, a product for broadbased consumption by the worldwide market. Globally, the audiences relax and are infiltrated by white supremacy’s notions, value system, philosophies and warped worldview. “The Horrors of the ‘Hood Flicks,” while accurately portraying some happenings in the ‘Hood, they do more harm than good. Remember

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these films are exported allover the world as Amerikkkan Pop Culture. Obviously, movie audiences around the world get to see only our worse side and since they know no Black people, these products become anti- Afrikan propaganda. It has been this way for years. Films like Mario Van Peebles’ “New Jack City” is as dangerous as his father’s reactionary “Sweet, Sweetback’s Bad Ass Song.” And just like dad he raked in the dough as our communities were projected as out of control cesspools of vice, crime and early death. Films like “Juice” reinforce the negative and its negative imagery helps “New Jack City and Trespass” convince our young people and the world that nothing positive is in the ‘Hood and we must either adapt and join the party or flee. Both choices equally destroy our communities. “New Jack City” is an updated “Superfly” and “Trespass” is an updated “Cotton Comes to Harlem.” Anti-Afrikan propaganda can get funded by white sources, and it can be written and directed by Blacks who swim in self-hatred. It’s the easy way to get paid! To illustrate this point we must dissect some movies to cut to the core of the propaganda. This is an exercise in protecting our consciousness against the mind managers. I picked some popular movies and want to help you get inside their messages, madness and manipulations.

Trespass With: Ice-T, Ice Cube, Art Evans and Bill Paxton Plot: Buried treasure hidden in a dilapidated building in the inner city ghetto of East St. Louis. Two white firemen, while attempting to save a life in a burning building in Arkansas, are given a treasure map by a guilt ridden thief, who had stolen gold religious items from a church. He burns up after handing the map to the firemen. They keep the map and set out to find the treasure... Stop!

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This is a raw Black exploitation film. The idea of taking a “cowboy” theme and dropping it in the inner-city to take advantage of the lucrative Black movie market demonstrates the lengths they will go to turn a buck. The old gold fever theme is worn out as every character’s greed is magnified the closer they get to the precious metal...Stop! The “honest” firemen are seduced by the metal away from their jobs. The Black characters are seduced from their work, as drug dealers/ murderers and thugs, by the gold. Art Evans, plays an old homeless man who lives in the condemned building. Even he gets gold fever. Then Ice-T and Ice-Cube are busy drug dealing, murdering and conducting business as usual when they find the white boys, who saw them kill another brother. Instead of fleeing, they go after the firemen who were getting closer to the treasure. Ice-T’s brother is taken hostage and the fun begins. Naturally, there is gun fighting galore, as Ice-T sends for reinforcements. The dialogue must have been written by a young child. Almost every question or command given is greeted by a “Fuck You” reply. Gun fire and death is offered up and things like loyalty to the gang are non-existent. In the end, everybody is killed but one fireman and the old man, Art Evans, and like Redd Foxx in “Cotton Comes to Harlem,” the old man got away with the sack of gold. The flick is a waste of time, but not talent, there is none to waste. The script is so bad that it got stale 15 minutes into the movie.

Imagery This is where theymusic got slick, the movie videos is shotthat in aare dark building:recreating the Rap “underground” so negative. You know the ones with brothers standing in the shadows trying to look dangerous. Many times they are holding a chainsaw, a machete, baseball bat or an uzi. These images are projected to create fear and hatred. It is easy to continue to undermine the rights of our young if Amerikkka sees our youth represented as a barbaric threat. Images of Blacks with machetes and chain saws are media products

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to keep whites in fear of a people they definitely have under control from mind to body. Exported to Afrika, Europe and Asia, these images make it easier to reinforce global racism against the Afrikan. In “Trespass,” even the white firemen who went bad once did have a job and were members of society. While the Blacks, were dealing drugs out of a ghetto building with one body rotting as they murdered another Black rival. In addition, it was like the whites were magically transformed into greedy murderers after they arrive in the ghetto. The movie also reinforced the theme that “Black life is cheap,” especially to Blacks. Was it an action thriller? No! It was a racist concoction to justify police brutality as necessary for containment... Stop!

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THE HORRORS OF THE HOOD FLICKS John Singleton is a young filmmaker who came out of nowhere with a flick called “ Boyz ‘n the Hood.” For a young man in his early twenties this film exploded with vitality and graphic necessities. Not just a senseless piece, it had a reason to exist. It had some things to expose, some to explore and a finger to point outside of the victims trapped in a fierce concentration camp of contradictions. I believe all conscious parents should view the film with their youngsters and breakdown the images, causes and complexities of this offering.

Boyz ‘n the Hood WITH: Ice Cube, Cuba Gooding, Laurence Fishburne, Morris Chestnut, Tyra Ferrell PLOT: This is a Black coming of age in the ‘Hood flick. Singleton dealt with this movie from the inside of his characters and the run-a-way environment they had the misfortune to be born into. For a young filmmaker he artfully traveled deep into his central characters and delivered a motivation for their actions. Instead of the usual ‘Horrors of the ‘Hood” stuff he journeyed into theBlack family. On one end you had a father raising his son by himself, consequently the son, Trey, played by Cuba Gooding, had the advantage over his fatherless buddies. He was fortunate enough to have discipline, a guiding hand, he was taught his father’s philosophical base and taught to navigate his way through life’s important issues like dealing with the police and the “whiteman’s military” were issues his father reviewed with him. Meanwhile, his friends, especially two brothers (Ice Cube & Morris Chestnut), were running outta control not only because they had no pop or man on set, but because their mother was dysfunctional.

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Singleton did his best work here developing the brothers images as separate and distinct. One, Doughboy (Ice Cube), was criminal minded, street tough, a born leader and unloved by his mother. While the other brother, Morris Chestnut, was a star football player attempting to win a football scholarship. He wasn’t outta high school but he had a child and his queen and their son lived with his Mom and his brother. Mom loved him and seemed to hitch her star to his. The athlete was naive to the ways of the street. He worried about passing his college entry test, pondered the army and dreamed of hitting the lottery. He died in the streets from a shotgun blast from gang bangers. His brother would avenge his brother’s death by killing the three gang members who took part in the hit. He also would later die in the streets. Both brothers dead and a male child left behind. Yet, it was how Singleton dealt with the double standard of Mom that taught volumes. At the same time, Trey (Cuba Gooding) side-stepped the violence and the revenge by being both street-wise and principled. His father had taught him that they (whites) wanted Black on Black crime. Also, that their military was no place for a Blackman. He also stressed birth control and revealed urban imperialism and the Asians as one source of external incursions in our community. The mere existence of the story pointed to the difficulty of the Black family to grow in such an environment. It is a piece well worth seeing again and breaking it down. Finally, Singleton exposed the leadership qualities in Doughboy (Ice Cube), a courageous and dynamic youth on the wrong track with no one to help him to find the right one. His relationship with his mother was so strained that he had a backward attitude toward women. He could not get himself to call them anything but “bitches and ‘Hoes.” The mother, played by Tyra Ferrell, saw nothing positive in this child, from a different father than his brother. Always spitting negative

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venom at him, she slapped him when his brother and he were rumbling. Later she blamed him for thedeath of his brother, the brother he loved so much. This all punctuated the family dysfunction that ended in multiple tragedies. IMAGES: The ‘Hood was presented as a self-destructive violent concentration camp that was held together with police power including spotlight producing police helicopters. Gunfire in the background and the sound of aircraft bled into video images of the doomed. Effectively put together Singleton will have a hell of a time topping this offering, his first.

Poetic Justice WITH: Janet Jackson, Tupac Shakur, Tyra Ferrell, Regina King, Poetry by: Maya Angelou PLOT: A ghetto love story... This movie is as bad as “Boyz ‘n The ‘Hood” is good. It’s funny but it fails in every area in which Singleton’s first movie succeeded. His first movie was polished, complex, well acted, had good continuity and a great story line. “Poetic Justice” was amateuris h, childish, poorly written and conceived, lacked character development and stunk to high heaven. This one qualifies as a Black-exploitation film. Held together with random cursing, endless close ups sitting in for good dialogue and story line development. It was as though Singleton was hoping music artists Jackson and Shakur’s popularity would get him over. It seems like he got lazy! The story dealt with two couples. One, Regina King and Joe Torry, who are on their last leg because she says he can’t screw and Jackson and Shakur who have to learn to love each other. I mean this flick was bad, real bad.

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I’m not loosely using the term “Black-exploitation.” To me you have to have certain elements in the movie to qualify for that hall of shame: a. Unlimited cursing, with almost everyquestion asked ending in a “Fuck You!” retort (“Trespass” is another good example of lazy writing). This propagates the notion that we as apeople don’t know how to use the language, when in fact we use it more creatively than anyone. b. It supports the propagated idea that we loosely call each other “bitches, whores, bastards, ‘ho and motherfucker as a matter of common everyday language. c. Singleton used the same stereotypes as whites (the sister with loose morals is always dark skinned and the lighter one always has more virtue and intelligence. It was probably out of the question to have an experienced actress like Regina King as the lead female role (Justice). In addition, Tyra Ferrell’s character, another darker sister, hated and used men. What good is a Black director who is going to perpetuate the same myths? d. The verbal castration Regina King’s character laid on Joe Torry was humiliating to hear or view. She attacked everything about him from his penis size, screwing longevity to her need to keep a man on the side for satisfaction. Her body language all in his face, stepping to him like she was a man led to a rumble where, of course, Justice came to her girlfriend’s aid by kicking him in the testicles. Verbally, physically castrated by womenkicking after striking in anger, he deserted ends up with his the homeboy his assKing and leaving him on a road 15 miles from Oakland. I think Homey had a bad day! e. Justice’s boyfriend is killed while they’re sitting in a car in a drive-in movie and everyone acts asthough this is so normal they can’t understand why she aint dating yet. Later Tupac’s cousin is killed in the street.

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f. What makes this flick so sad is that these youths are all working. Tupac and his boy with the post office and the sisters are in to hairstyling. A couple of them are driving and these are supposed to be the good young people from the ‘Hood. g. Finally, you know Singleton had to throw drugs in somewhere. In an ugly scene Tupac goes to see his daughter who lives with her Mom and a drug dealer who she has also had a child by. Now as the two men talk in her apartment, the mother of Tupac’s child is caught screwing another man(that’s three brothers in the house with the same woman... come on). Naturally, a fight breaks out and both fathers stomp the new lover... please. Tupac snatches his daughter and rolls leaving the drug dealing man with the drug using woman and the knocked out ex-boyfriend on the floor. John Singleton has proven that he can do better, that he is an artist and can deliver concrete imagery and quality story lines, but will they let him? I doubt it! And he is too young to have the juice and ingenuity. Motion pictures like this only reinforce the negative useles s imagery they love to perpetuate. In this film he helped “Annihilate the Afrikan Image!”... Stop!

Candyman WITH: This film was brought to you by Propaganda Films. PLOT: A brother killed by whites returns to slaughter Black women and children in a barbaric way. It seems that a brother, over a century and a half ago, was teaching a young white girl art and they developed a sexual relationship. When her Pop found out he hired a crew to torture and kill the young Black man. He was captured and horribly lynched. They beat him brutally, cut off his hand, tortured him, stripped him naked covered him with honey and allowed the bees to sting him to death.

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The opening scene shows hordes of bees all over each other representing the inner-city density. The next shot cuts to a white woman as the voice over speaks of Candyman killing a woman and her baby. She is a white college graduate student working with a sister on a dissertation on an inner-city serial killer known as Candyman. The students track Candyman to a rough ghetto housing project where he killed a Black woman by ripping her from her ass to the top of her spine. The white student is obsessed with tracking Candyman and finds his base next door to the apartment of his latest victim. Talking a little Black boy into accompanying her, she continued to track the feared legend. Later she would enter a public bathroom in the housing project where she is confronted by a Black gang who kick her ass and they are arrested. From then on she is haunted by Candyman who appears and disappears framing her for murder as he butchered Black people, dogs and kidnaps a child. “Helen I come for you. You doubted me, be my victim. I am the writing on the wall... I must shed innocent blood.” Helen, the white student, is framed by the ghost for murder and kidnapping. The sound track is classical and European choral arrangements which promotes an eerie illusion as the film tumbles forward with its racist intent. Crane shots from over-head produce the old “entrapment” cliche Hollywood is known for. Candyman brutally slaughters the Black graduate student and frames her white partner. She is arrested and put under observat ion. He begins to call for the white woman to join him in death. “Your death will frighten children, make lovers cling together in their rapture... come with me and be immortal” Candyman offered in his lust for the white woman.

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In an unbelievable scene, she saves the Black baby by sacrificing her life in a roaring fire after stabbing Candyman in the heart with a burning stake. “Our bones will soon be ashes, we shall never be separated again,” he proclaimed before she popped him in the heart with the stake. Candyman disappears screaming in the fire as the white heroine crawls from the fire and delivers the Black baby to the mother as her head and body is burning with fire. She dies. At her funeral the Black community from the projects quietly joins the services. The little boy from the projects that she used to track Candyman throws Candyman’s hook on top of her coffin. Later she appears in the bathroom of her two-timing husband and splits him from his asshole to the top of the spine with a hook. Music mixed up, credits appear and I hope there is no Candyman Two.

Imagery: This film is a powerful weapon, it is weighed down with anti-Afrikan propaganda. Its target, as usual, is the Afrikan race. Its particular target is the Blackman. Its lack of logic strips the motives of the film. Candyman, the Black brothers in the project and even the little boy (Jake) are portrayed as negative representatives of our community. The Blackmen and teens were presented as parasites of their own community, dangerous shadowy figures to be avoided. In addition, Candyman’s domination of the Hood didn’t make sense. If in fact he wanted revenge, his targets should have been whites, especially males, who brutally destroyed him. Yet, his targets were Black women. Further, he killed Black children and their mothers. This of course, promotes conflict between the sexes and continues the onslaught against the Blackman. Furtherstill, his obsession with white women promotes rejection of the sisters and continues the myth that Black men prefer white women. I mean this clown was chasing white flesh through eternity!

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We must not forget that this propaganda reinforces fear in white men that we want their women. Whites fear of genetic annihilation, lost of global control over the land labor and resources of people of color, and fear of retribution is real. Movies like Candyman keeps their unnatural hatred alive. It is important to note that Candyman represented the Ike Turner image, the brutal Black male who hates his own seed. The murder of children and the kidnapping of the Black child represented how outta control they say we are. Instead of us protecting the village, they promote the notion that our communities victimization is due to the savage male of our race. Attempting to replace the Black woman as the giver of life on this earth, they used the white woman to distort that truth. The scene dealing with Helen, the white woman, giving up her life to deliver the baby to the community was dripping with racist imagery. Her pain and moans represented child birth and her sacrifice to save the child showed Godly love. “The whiteman’s burden” is to save us from ourselves. They still propagateStrokes this so and thatWebster we can television look to them for sold solutions. Different shows many Just of uslike on the notion that Black children were better off in white homes, Candyman relied on the same theme. Of course, in the real world the struggle against whites adopting our children is still being played out. Candyman came from a racist mind and its intent is clear, anti-Afrikan propaganda slowand our movement toward an Afrikan-Centered reality. Thesetoaudio video images are designed to destroy esteem, heighten the contradictions between Black and white, promote fear of the Blackman and distort reality. White women will ingest these images and develop a strong fear of or attraction to the Blackman. In any case they are presented with the material to feel superior to the Afrikan woman.And the sin of a sexual

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relationship with an Afrikan male is presented as punishable by an eternity of fear and barbarism. There is no such thing as an a-political movie. This piece produced by Propaganda Films is just that: naked anti-Afrikan propaganda... Stop!

South Central WITH: Glenn Plummer, Byron Keith Minns, Christian Colomn, Carl Lumbly PLOT: A Blackman grows into fatherhood in prison and upon release returns to the community to get his son. One of the better films dealing with the ‘Horrors of the ‘Hood. Strongly acted by a veteran but unknown cast, it is rich in substance and character development. Another film about South Central, it is dense in gang environment and attempts to deal straight up. It was directed by Steve Anderson and unlike ‘Poetic Justice,” it has a believable cast. It is important to note that the excellent leading character was played by Glenn Plummer who has strong Afrikan features and black skin. Plummer played Bobby a hardened gang member. After his infant son was born he killed a man dealing in gang related activities. He was caught and imprisoned. In prison, the only back up he had was his gang affiliation and when he denounced this he was fair game. After kicking a white prisoner’s butt who was told to jump him, he was marked for physical and sexual abuse. When the white gang corners him, (they were called the Aryans), an older brother steps in to cool things out. The brother named Ali was portrayed by Carl Lumbly, he went to work on Jimmy’s mind to rehabilitate him. The goal, save Bobby’s

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son who was shot, almost fatally, attempting to steal a car stereo for Bobby’s former partner Ray-Ray played by Byron Keith Minns. Little Jimmy was only ten at the time, his mother was a drug addict and she issued no love, no care, no guidance. His Black nurse at the hospital nursed him back to health and supplied him with the first love he ever had known. However, he had to leave and was placed in a home for troubled children. Little Jimmy was street hard, gang orientated, and lived off the reputation of his jailed father’s murder conviction. After Bobby’s parole, he goes to the home to see his child for the first time in nine years and is rejected by him. Due to his renouncing his former gang and their activities, the removal of the “black heart” branded on his face that he acquired for killing for the gang, Jimmy said “You aint my father.” Soon after Jimmy runs away from the home to Ray-Ray and the gang hide out. Bobby tracks him down there. Upon entering he finds the man who shot little Jimmy as he was fleeing after stealing his car stereo tiedasup. orders the ten year old childfortothe shoot man, just he Ray-Ray had instigated Bobby into murdering gangthe a decade earlier. In a powerful scene Bobby disarms Ray-Ray’s bodyguard and there is a stand off between Bobby and Ray-Ray with the latter holding Bobby’s son as a shield. Ray-Ray holding the gun with little Jimmy tells him “come on get your black heart.” And as the father with his weapon,taken from the bodyguard, pointed at Ray-Ray who is shielded by little Jimmy attempts to stop his son from killing the man who shot him, he says: “Jimmy! Son! If you hit a man in his face in time his wounds will heal. Later on you can apologize to that man... If you steal his goods, later on you can return those goods or you

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can return him goods of equal value... But if you kill there is no later on. There is no way to repair it with that man. No way to make it right with him or his family. His life is gone forever. You never come back from that.” In onethe of the best andimagery most meaningful of any of the “Hood films, crisp vivid of two menscenes and a man-child struggling, Bobby’s goal; to break the cycle. As the tension mountains, Bobby says “I’m willing to die for him, because I love him that much.” Ray-Ray softens and his resistance was destroyed when Bobby tells him “I want to give him something you, nor I never had... a father.” The child is released into a new reality and hugs his father and they leave to break the cycle of crime, jail, the cycle of death. A simple formula to a complicated problem, but a major beginning. Black men must be involved with the development of their biological and non-biological children. Our women must back away from drugs and the traps of this barbaric society that is designed to destroy Black life and the Black family. Hand in hand we must repair the damage caused by our captivity, together we must remold ourselves and stand before our children ready to help them deal. “South Central” supplied a micro look at the task before us. We must deal with that important minority in our community, those who feed on their own people, destroy their own children and enact the selfdestruction of their own race. Unlike “Straight Out of Brooklyn,” another ‘Hood film dealing with the dysfunctional aspects of some Black families, the positive ending of “South Central” supplied hope, direction and non-sensationalism. Don’t get me wrong, I thought “Straight Out of Brooklyn” was an excellent film stuffed with some people’s reality, it examined the inner-city blues and some of its causes. Both films are important. Both need to be seen with your children and discussed. Both are more than entertainment, they are relevant art placed on a canvass to be broken down and defined.

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The powerful ending in “South Central” is reminiscent of “The River Niger,” whose power and majesty didn’t transfer to the screen well. However, the ending scenes with James Earl Jones, Lou Gossett, Cicely Tyson and Glynn Thurman demonstrated what a powerful tool film can be. In the case of “The River Niger,”the portrayal of the Black Nationalist group made it unacceptable for viewing. It’s laced with anti-Afrikan propaganda, consequently even the power of its final moments can’t erase the damage done in the rest of the movie. Until we control our film products, I mean culturally, economically and artistically, we will suffer damage from ingesting the images designed to keep us locked in confusion... Stop!

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REVOLUTIONARY RECAPITULATION It’s sad how we are not able to adjust, consequently we fail to develop the strategies and tactics needed to dismantle their brainwashing apparatus. There is no doubtthat we have been altered mentally, underdeveloped and brainwashed. To stop the foreign invasion of our community economically, we need not demonstrate and picket to shut em’ down. Naw, we don’t need to attack the people nor burn them out, all we have to do is stop patronizing their businesses and remove the opportunity for them to exploit us. Yet, we can’t get our people to do that. This one simple task for our common good has little support. Our enemies know this, because they created our mode of thought. We are anti-Afrikan! Similarly, we don’t need to boycott movies, protest television shows and their sponsors. We have simply, to ignore them and they will go away. However, we are mass media junkies who must get a daily jolt of their mayhem, murder, sexual backwardness and anti-Afrikan propaganda. We have had most of our culture stolen by the “Culture Bandits” and the other part is under their control. In pockets and vestibules of our communities, our true artists are still creating, but they are starving. We do not seek them out, we wait until the mass media brings something to our attention and hypes it, then we jump on it and it becomes the “new thing!” It is all so synthetic. We must never underestimate the enemy, nor should we ever down play the negative impact their mass media has on our struggle. As long as they can define everything in society, expose or suppress information as they create stereotypes, we will be forever fighting shadows while substance is protected by the confusion they cause. The battle is for the mind, if we lose in our quest to re-discover Afrika and free our culture from their grip, the “Black Holocaust” will end

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tragically. With the srcinal man giving way to the barbarian and his culture, hue-man kind would have lost to the colorless ones. We move ever closer to this possibility as they further consolidate white nationalism under “The New World Order.” They’re talented in disrupting, destroying and dismantling other cultures. This fact has never been truly dealt with. In fact, they propagate that the highest achievement to reach for is global integration, while making it impossible to obtain. Using other people’s hunger for peace, they zero In for the kill like the bloodsucking vampires they love so. Nowhere are our people taught the real deal, so we stumble toward the 21st century politically immature. Their use of the mass media and information control as weapons puts them in the drivers seat. I feel I need to give you the ultimate example of their skill and our political under-development. For twenty-seven years Nelson Mandela was in jail in Azania (South Afrika). He had become a major leon for the revolution. Children sang his praises, children who weren’t even born when he was put in jail loved him. The South Afrlkan Regime never had any respect for Black life. They took life as easily as inhaling and exhaling. Yet, the feared Nelson Mandela was kept alive, while many others like Steve Biko were tortured to death because of their uncompromising stance against white supremacy. Mandela, who was controlled by the Communist Party of South Afrika, was then and always has been an integrationist. His political party, the Afrikan Nationalist Congress (ANC), has always had white members. In addition, for years the ANC military wing was run by Joseph Slovo, a white man. The struggles of other Afrikan organizations, like the PanAfrikanist Congress of Azanla (PAC) and the Black Consciousness Movement,

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continue. Yet, you rarely hear their names called. The white mass media conspired to “white” them outta the news. They focus all their energy, time and support to propagating the ANC as the one and only legitimate group fighting for freedom in South Afrika. Let us stop here and explain that the natural resources In South Afrika are critical. If whites want to remain in power globally they must control Southern Afrika. The resources essential for their space programs, industry and nuclear capability are in abundance there. In addition, remove the gold, diamonds and mineral wealth from white supremacy’s control and the world economic order would radically change. That is as simply put as I can make it. We must understand what is at stake. Mandela, is merely a trump card for whites. They realize that they are going to lose overt power, however they don’t intend for true freedom to ever come to the Afrikan majority. Consequently, they would rather see someone like Nelson Mandela and to power instead of ameans Pan-Afrikanist that is clearthe onANC what come revolution is. Revolution to revolveParty 360 degrees from exploitation and subjugation to self-determination and liberation. In order for this to occur, the land must change hands. Mandela already stated, this won’t happen, that the whiteman will be included in the “new South Afrika.” As I said, it was the western mass media that promoted Mandela. They of Nelson from prison as a media event staged bigger the thanrelease the Super Bowl.Mandela “Lights cameras action!” What revolutionary that you know has ever been afforded access to their mass media... none! Hand in hand, he walked with his former wife Winnie Mandela into the focus of the world. All over the world Afrikan people wept and slipped into the pre-fabricated soap opera, brought to you by

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capitalism. His Amerikkkan tour,television and print exposure stapled him into our consciousness as the legitimate leader of the Azanian people. Tell me, what happens when we allow whites to pick our leaders here in the belly of the beast. Right! They serve European interests and not ours. Check your local politicians as a barometer of the success of this tactic. Mandela was chosen to usher in neo-colonialism in South Afrika, so that whites can continue to control all our land, labor and resources. The only thing the Afrikans can get in this scenario is araise, integrated toilets and a deadly rising middle class to buffer the haves from the have nots. Think about it! Rev. Butts of New York asked Mandela if he really thought that the United States would help him in light of Tawana Brawley, Bensonhurst, Eleanor Bumpus and other examples of racism. In front of the world, on Ted Kopple’s “Nightline” television show Mandela answered “I do not dabble in the internal affairs of another country.” That was like saying “f- y’all!” Now correct me if I’m wrong, Mandela was over here raising money to impact on the internal affairs’ of his country, but he didn’t give a damn about us. That is a counter-revolutionary position, not a revolutionary one. On July 4th, 1993 Mandela came to Philadelphia to pick up the “We the People’” Peace Medal along with his buddy South Afrikan Prime Minister De’ Klerk. Black people were protesting De Klerk’s medal, but not Mandela’s. That is political immaturity, stupid emotionalism created by mass media trickyology. Mandela also went on a tour of this nation again to raise funds. He announced he wanted to raise $43 minion in a few days. During the last days of his stay he met with Jewish organizations and even had a private meeting with David Rockefeller head of the deadly Trilateral Commission. Nelson got paid!

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Meanwhile, the PAC and other revolutionary groups have stepped up military action against whites and have been attacking their institutions, social clubs and restaurants. To add insult to injury Mandela and De’ Klerk have claimed to be negotiating a transition of power. Now why would whites negotiate with an organization, the ANC, that don’t have any troops in the field, it’s more like a partnership. Nowhere in their mass media are these issues raised, because it’s a done deal. The only one who can stop it is the revolutionary people of Azania. Is there a historical precedent for such a tactic? Yes! In Kenya during the uprising that was bankrupting the British colony, the English were brutal. Murder, torture and concentration camps were used in an attempt to slow the people’s revolution. The great General Dedan Kimathi and his troops fought gallantly against the British. The colony was falling. Kimathi was caught and hung, blood was running outta the nation and staining hue-manity. The clever British decided to free one of the Afrikan icons of the struggle Jomo himcontrolled as head ofby state. He supremacy, was freed. He became theKenyatta father ofand hispush nation, white and freedom still has never visited Kenya. It is still controlled by white capitalist and is a mere playground for safari seeking Europeans. One of Kenyatta’s first acts was to shoot Afrikans as poachers and squatters on “white lands.” He became an autocratic despot, who exploited his people. The historical chance to cleanse was gone, instead used the opportunity to acquire and wealth. I betchahethe Afrikans cried when he was personal released power from prison too, but later they would hate and fear him. First from cradle to grave we were crippled and it’s difficult to teach critical thinking. Even some so-called Ph.d’s are locked in white supremacy’s boundaries. In addition, since our enemies control information, it is hard to come up with the correct analysis with

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missing data. Add the lack of our knowledge of our-story and it’s almost impossible to see the naked truth dancing before us. What is important to whites is what gets played up on their news broadcasts. Mandela is important to their very survival. How he can collaborate with such vicious racists like the Boers of South Afrika and their white brothers ‘n sisters across the globe is something you have to be programed to do. How can men like Martin Luther King, Jr. scream at the top of their lungs for us to love those who lynch us is something they had to be trained to do. Harry Belafonte told Charlie Rose how proud he was to see Mandela, after all he’s been through, stand before the world hateless. Now that is something we must be trained to see as courage, when in fact it is anti-human to celebrate those who commit genocide against your own people. Hate is the opposite to love. To declare you love your people and also love those who rape and murder them locks you into insanity. From this position, you will forever be victimized by your enemies. This is a learned behavior, taught by those who have amassed enough weaponry to slaughter us all. More importantly, it is illogical! Now do you see our problem? Whites live inside our heads, our skin, our actions. We must rid ourselves of the brainwashing that has taken place if we are ever to find our way home. Our youth awaits our guidance, but we move away from them in fear. This fear is created by the mass media. Obviously, we no longer control village, our youngon isthis losing respect fortion, us. When inthe reality theyconsequently need us. They brought cultural revolu let us ride it to its logical political conclusion, to Revolutionary PanAfrikanism. Either we will use our culture to liberate or corporate Amerikkka will use it to further enslave.

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We must look at things for what they are, not what we want them to be. Struggling against brainwashing is fighting against Amerikkkan synthetic culture. We must have the courage to criticize anyone and anything we find unwholesome. We must be able to principly fight for correctness even when it is unpopular. For those who don’t politically understand, I use criticism with affection because we must expose, analyze and correct. For those who are committing treason, we must attack with all our energy. Their white masters purposely created these contradictions in our community and they must be moved to clarify the enemy. If we can counter attack, our peoplecould then see the need to organize and defend those things that are Afrikan. Then and only then will they see the need to build an infrastructure of life. The rug must be pulled, completely pulled from under them. Then shinning Black structures can be built to save our race and punish those who would attempt genocide on the beautiful people darker than blue... forward!

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EPILOGUE Leaking madness filters into our behavior aswe view the mass media’s invented reality. Fumbling through life as other people’s victims, too many resist the truth because it reveals our childlike mentality. I can’t help those who evade reality and continue their journey deeper into the “great white lie.” In the decay of it’s bosom most of us nestle shooting for a foul longevity at the cost of life itself. Avoiding the challenges of our time, we destroy our children’s future. Yet, the madness calls for correction as it unravels around us causing death and destruction for the enrichment of our enemies. The “Annihilation of Afrikan Images” is key as they continue our subjugation. Our self perception and how others view us is media manufactured madness aimed at our existence. Genocide must be preceded by pitiful propaganda producing a dehumanizing image that creates a fear in others to join or allow our demise. The management of everything in a given society by the Status quo only delivers more of the same. And in our case the continuing drama unfolds as this book was written and is being read. For example, Michael Jordan, Michael Jackson, Mike Tyson and Whoopi Goldberg’s sagas continue. Jordan has retired after being forced to join the Amerikkkan “Dream Team” for the Olympics, being labeled as a habitual gambler and the brutal murder of his pop. Publicly he still their products but has mysteriously moved away from thepromotes public eye. Why? Michael Jackson, a creation of white supremacy, is now being destroyed by the very people who exulted him to the top position as the “Amerikkkan Pop Culture” icon. No longer useful to them because of the disrespect Afrikan People have for him, he will now be discarded by those who used him to help maintain their evil empire (New World Order).

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Whites may down play or forgive him for the alleged sexual abuses of children, however Black people draw the line there culturally, our enemies know that. Consequently, the mere charge will destroy what little respect and love he had left in our population stations. A product of dysfunction, he is proof that money heals nothing in white supremacist world. It’s tragic, but he can’t come home. At the same time, Whoopi Goldberg has gone too far in her pursuit of a white existence. Her infamous Roast at the racist Friars Club exposed a Black woman so submerged in self-hatred that racist/sexist jokes aimed at her seemed funny to her. She views the world through the eyes of the white woman she pretends to be. Consequently, Ted Danson’s aboutand her“Nigger performing oral sex, the width of her vagina, analremarks intercourse lipping” his penis was an insult to all Afrikan people. Whoopi is so stark raving mad she will pay any price to suck up to Whitey! And finally, the problems of Tupac Shakur may be deeper than many may understand. His father was a Black Panther freedom fighte r killed by police. His mother was in a concentration camp (prison) when he was growing inside her belly. In addition, his Godfather is Afrikan Revolutionary Geronimo Pratt who has been a political prisoner of this racist system for well over two decades. Could it be that they want to destroy the son who may want to avenge the father? Whenever charge after charge is leveled on one person we must watch the situation closely reserving our opinion until all the facts are known. “The Annihilation of Afrikan Images” is a continuous tactic of white supremacy and we must develop our minds and culture. Only then will we be able to view the world through an Afrikan perspective. As things unfold we must be able to breakdown phenomena to establish truth from fiction. Finally, we must began to organize and produce our own mass media designed to deal Afrikan style. This is the information era, yet it is

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not too late to learn how to manage our image and informational diets. Our collective intellect has demonstrated our ability to rally against the “Culture Bandits” to stop the “Black Holocaust” in its tracks, when we knew what time it really was. See Ya! Del Jones, War Correspondent From The Belly of the Beast January ’94

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