African American males in Detroit between the ages of 15 and 24 are dying at a rate that is roughly seven times higher than the rest of the Detroit population. If they were dying at the same rate as everyone else, there would be one death every three weeks. Instead, there are two black men dying every single week. This has set off alarm bells within the Detroit Police Department, which has taken heavy criticism for its policing of the black community. Their most recent embarrassment was the shooting of seven-year old Aiyana Jones during a police raid. But the Chief of Police, Ralph Godbee Jr., is concerned about black men killing one another.
It is being reported that law enforcement officials in Washington DC plan to use a new computer program that claims to be able to predict which citizens are most likely to commit crime. The concept conjures up images of the Tom Cruise film, "Minority Report," in which agents were able to predict "pre-crime": Crime that hasn't happened yet, and is set to occur. But far from science fiction, this program is based on reality. The program was developed by Richard Berk, a professor at The University of Pennsylvania. The first version of the program was used to predict future murders among parolees, but it is being argued that the software can be used for all kinds of crime. "When a person goes on probation or parole they are supervised by an officer. The question that officer has to answer is 'what level of supervision do you provide?'" Berk told ABC News. The program could have real implications, including determining the amount of a person's bail or how long they are to remain in a halfway house upon their release from prison. The program works by using a large database of crimes and other factors, including geographic location, age, prior offenses and the criminal record of the person being considered.
The Associated Press is reporting that the Drug Enforcement Agency (DEA) is considering hiring translators to help agents understand the language of drug dealers. Apparently, the agents are having trouble interpreting the words and sentences being used by suspects during wiretaps. The agency reached out to some translation services companies to find someone to help them with the problem. No, this is not a joke. "They saw a need for this in a couple of their investigations," Special Agent Michael Sanders said. "And when you see a need - it may not be needed now - but we want the contractors to provide us with nine people just in case." Yes, this story is making me laugh as much as you are. When I heard that the DEA was considering such a move, I could almost appreciate their intentions, but I think they might be a bit misguided. The first thought that came to mind was whether or not they are presuming that drug dealers speak a dialect of English which matches that of the rest of urban black America? Sure, there are going to be similarities, but most of my urban friends don't understand drug dealers either. Dealers don't just sound like rappers, but actually structure a variation of language and sophisticated codes that nearly anyone would have trouble translating. Rather than hiring an ebonics expert to understand the lingo of drug dealers, they'd be better off hiring a former drug dealer.
Bill O’Reilly and the Fox Network continues to look terrible as they refuse to accept the petition to stop their racist ways, signed by over 600.000 people, and presented by rapper Nas. On Wednesday’s episode of “The O’Reilly Factor,” the host called MoveOn.org, which partnered with Color of Change for the march, “the new Klan” during his “Talking Points” segment.
“The Move On organization espouses a radical left agenda and attacks those who oppose that nonsense,” O’Reilly said. “The latest smear from Move On is telling their Kool-Aid-drinking zombie followers that Fox News is smearing Barack Obama and is a racist concern. Of course, that’s a lie. This broadcast and FNC in general have been exceedingly fair to Senator Obama. … But in order to intimidate anyone from criticizing Obama in any way, Move On is playing the race card.”
O’Reilly made the above statement during an interview with MTV News, while Nas told MTV that he does not plan to stop fighting yet. The rapper would like to have an open debate with O’Reilly face to face, stating that O’Reilly’s and FOX News’ statements about the Obamas and Black people are “worse than the worst rap lyrics I’ve ever heard.”
Interview with Spoken Word Artist and Activist, Amir Sulaiman, by Tolu Olorunda.
Amir Sulaiman is a renowned poet, activist, recording artist, and a 2 time HBO Def Poet. Sulaiman is a household name in the world of Spoken Word Poetry. His brand of poetry has garnered him much adulation from those who have come across his unmitigated-ingenuity. Amir has performed – and still performs - at countless colleges, universities, high schools and community centers. He has shared the stage alongside such artists as, Talib Kweli, Mos Def, Lauryn Hill, KRS-One, Pharoah Monch, Floetry, The Roots, Goapele, Stevie Wonder, The Last Poets and Dead Prez. As a member of “Youth Speaks” in the Bay Area, California, Amir works in mentoring and teaching kids, by way of spoken word, and a focus on the union of art and education. He is a visionary and a monument of inspiration, who believes that the power of love can disempower the stranglehold of narcissism in our society. With a passion comparable to none, Amir Sulaiman has managed to prolong the legacy of such trail-blazers as “The Last Poets.” I had the pleasure of speaking extensively with him on issues of direct relevance to our society, and the world at large:
Thanks for joining us, Bro. Sulaiman; can you start by informing us of your musical background, and the pathway leading up to “Cornerstone Folklore” – the album?
Well, Cornerstone Folklore was my very first album – which very few people have. It was composed of just acappella poems, and these poems were a collection of everything I had done up to that point. I started writing around the age of 12, and continued through Junior High and High School, but I got a lot more intense with it in college. Cornerstone Folklore in some ways is my origin and my favorite album. Cornerstone Folklore has a double meaning. The “Cornerstone” aspect of it is, giving honor to the ancient tradition that we have – involving the didactic stories, inspirational stories and cautionary tales that we have in our tradition -- as black people in America, and also as Africans. And, the Folklore element of it is the urban element – particularly the Hip-Hop era – from the ‘80s, ‘90s and present.
Now, it was in 2006 when you stormed the stage of HBO’s Def Poetry Jam, and delivered the mind-gripping poem “Danger.” Can you dissect Danger and explain its symbolism?
Well, Danger is what most of my poetry is about – expressing for those who can’t express for themselves. So, there are people who don’t have a voice – whether it’s because they are disenfranchised, impoverished, their economical status, their age, or incarcerated – but need their stories told. Danger was meant to facilitate their voices to be heard, and give them a platform to be noticed. So, I started off saying, “I am not angry, I am anger;” and that was meant to show that this wasn’t just about me, but about the collective membership that I represent. And, most people have informed me that the poem inspired and motivated them when they first heard it.
Following up the “Danger” performance, the ACLU and Amnesty International broke reports of you being questioned by FBI Agents; can you enlighten us on that exchange?
Six days after the poem on HBO, the FBI came to my house and followed me around. They did it in a fashion that alerted me -- so it wasn’t clandestine. They also came to the school where I was teaching, and got the names and personal addresses of my students. So, that process showed me the power of the word, and reminded me that most of my heroes we’re in like-manner, known for the power of their words and brought into questioning by the same organization. After that encounter, I wrote an op-ed about it, called “The High Cost of Freedom of Speech.”
Your classic album, “Like a Thief in the Night,” was released in May last year. Pls. explain the process of creating that project, and your motivation during production?
Well, the project artistically went in a new direction for me, because I was inspired to blend poetry and instrumentals on it. On the album, I was craving poetry songs, and so the format was different from my earlier projects. It was also different because it was my first album to have a major distribution, which opened me up to an international audience. It was more so different, because this was the first time that I had featured multiple guests and producers on my album. I consider poetry a solo enterprise -- where one writes the poems and recites the poems. So, cooperating with other artists brought something out of me that I couldn’t bring out on my own. In that sense, Like a Thief in the Night was very influential to me as an artist. I chose that title, because I believe the purpose of life is to stay awake; and if we could stay awake to witness our honor, beauty and miracles, it would inspire us with the power to achieve whatever we were designed to achieve. But, if we fall asleep to depression or a victim-mentality, we won’t be effective; so our spirit has to be awake to witness God.
I want to move on to politics and then back to music in a second. As an outspoken Muslim, what is your assessment of the rise of Islamic consciousness -- following Senator Obama’s announcement of his presidential-run, and how do you gauge the Obama campaign’s response towards it?
Well, the question of Obama for me is two-sided – as I have to look at it from a Black Man’s perspective and a Muslim’s perspective. It is hard for me to put a finger on it, because he represents a symbol of hope, and appeals more as a person than as a politician; but, with the two incidents involving the Muslim Women wearing Hijabs, and Rep. Keith Ellison, it is a definite blow. It is unfortunate that Barack Obama has a problem with the Muslim community – which overwhelmingly loves and supports him. Also, his defense to the controversy surrounding him being an alleged Muslim, insinuates something fundamentally wrong with being Muslim. He treats it as though it’s an insult, and being a Muslim is problematic. So, I want to observe how he navigates this moment, and see if he lives up to the expectations; also, I’m aware that the pressure of the presidential office sort of bends candidates against their will.
Now, if you don’t mind, I would like to select certain songs from Like a Thief in the Night and have you deconstruct the science behind them. On “They don’t know,” you speak of our past – comprising of victories and losses – having an impact on our present state; can you explain that dynamic, and how we can draw both correction and inspiration from our history?
Well, generally for anything, the past always impacts the present, and the present is a product of the past. So that, in one way, for Black people in America, we have this idea that our home is Africa, and in other way, we say our home is in America; and I think both of those things are true. We are an indigenous people, and we had a pre-Columbus presence here. We are as indigenous as the Bush and Cheney family – and probably even more so. So, with that, one half wants to leave this land, and the other half says, ‘This is my house -- which my grandmothers and grandfathers built.’ Now, with that comes a certain responsibility and mental-determination to fix the problems we are experiencing, and “They don’t know” explains that reality. So, I want us to think for a moment, on topics such as, the history of crack, and if indeed it originated from some random person in L.A playing around with baking soda and cocaine; and, I want us to think beyond the present to find the answers from the past.
“How beautiful” was a soul-stirring ballad, where you lamented the degenerating self-esteem of Black Women; please elaborate on that?
It is a well-known fact that our women are treated most poorly than any other demographic in America – which is a shame on us. So, out of that shame, I wrote the poem expressing the beauty of Black Women -- in hope that they recognize it.
On the closing theme, “Killers,” you presented a different context to homicide within our community -- nevertheless pointing out the ramifications of such atrocities; can you break down the line of “Most killers don’t want to kill,” and “most of the dead don’t want to die?”
Well, “Killers” was one of my favorite songs when creating the album. But, if you can imagine in your mind, a young man killing another young man - with the realization that the killer doesn’t really want to commit the murder, and the victim certainly not wanting to die - you start asking certain questions like, “why is this happening?” Most of the time, both parties more than likely don’t want to be involved in that situation; so they become “Gladiators” -- even without the will-power to act in such manner. And I was pondering with that idea, that thousands of homicidal victims have been killed, without the desire for it -- which is a very peculiar and strange circumstance.
Lastly, on “I love you” – an emotional tribute to black heritage – you wanted to stress the importance of caring and selflessness. As a messenger of love – with the understanding that most black people are suffering severely from self hatred – how can love heal the wounds that have scarred our community, and what are effectual means of injecting that ‘serum’ back into our communities?
Yes; this question is ‘the question’ – as love is the cure of all ailments. All the cooperation that goes on between elements of the universe is a manifestation of love. Without love, there is no life, and if you find hatred, you find death. Hatred cannot generate life, and you cannot live simultaneously with hatred in your heart. Every time you hate, something in you has to die. So, love and selflessness necessitates surrendering one’s ego. Ego feeds off hate, and has the need to defend itself. Our level of love therefore has to transcend our ego. If our love transcends our ego, we will remain infinite, but if our love fails to transcend our ego, our life will only be as big as an ego – and an ego is only an illusion, in and of itself – which would make us meaningless; and only when we achieve selflessness, can we expect the Kingdom of God on Earth.
On the subject of your ministry through music, Abi Odun from “The Last Poets” joined you on the track, “We Are the Revolution.” Do you consider your musical-style more in tune with the legacy of the last poets?
Very much; they are my fathers – without a doubt, and they invite me into their house, to counsel me and advise me. I consider myself in their tradition, and find my music in line with them. I also want to be an inspiration to the up-and-coming generation of poets -- so “The Last Poets” are very essential to my music.
Finally, what are your upcoming projects and ventures?
Well, one of my projects is the Cornerstone Folklore tour – which is a very important venture for me. We did the tour in Atlanta and Sweden, and we’re looking to perform in Africa very soon. I try to present new artists and showcase new talents with the tour. Also, I’m working on my next project, which is called “The Meccan Opening.” I’m almost done with it, and it is expected to be released early next year or later this year.
Thanks for the time, Bro Amir.
This interview was conducted by Tolu Olorunda, Staff Writer for YourBlackWorld.com
Interview with Public Enemy Artist and Lecturer, Prof. Griff, by Tolu Olorunda.
“Prof. Griff” is a Hip-Hop artist, community activist, lecturer and so much more. He has accumulated enormous knowledge, over the years, in his struggle for the liberation of young black and brown minds. Prof. Griff is a member of the legendary group, Public Enemy, but he has also branched-out and pursued solo projects, in his musical career. He is a vociferous lecturer, who has taught at Colleges and High Schools for some time, while trying to stress the importance of understanding the texture of the new wave of Hip-Hop in the 21st century. Along with fellow lecturer, known as “The Black Dot,” he has spoken extensively on the “vibratory frequencies” and “chakras” that influence the majority of music, news and entertainment packages -- which dominate the mainstream-channels today. In 2007, he was featured in an underground documentary, entitled, “Turn off Channel Zero.” The documentary was constructed for some candid-analysis of the dynamic effects of Media Empires – such as Viacom – on the minds, hearts and souls of young black and brown youth. Professor Griff is a dedicated and relentless fighter for Truth and Justice, who has steadfastly criticized the Hip-Hop Industry for its opulence, materialistic-obsession, misogyny and destructive-content. I had the opportunity to speak with him on issues pertinent to Black America – focusing on three pivotal pillars – with regards to the incivility of today’s young folks, the responsibility of the adults, and the complicity of commercial Hip-Hop in the destruction of black heritage:
YOUNG FOLKS
Thanks for joining us, Professor Griff. I want to go right-off-the-bat to an issue that is deeply pressing: Teenage Pregnancy. Psychologist, Frances Cress Welsing, speaks of teenage-pregnancy -- being as a result of an emotional-overdose in young black girls? Do you agree with that inference, and what are effectual means of combating it?
I agree with it wholeheartedly, and in order to combat it – just as the great philosophers and teachers who came before us advocated – we need to “know thyself.” And in order to know thyself, we need to know our open enemy also. There’s a DVD out now titled, “Medical Apartheid;” it explains in detail the experimentation on young black girls during slavery. When you look at how the black woman was used in slavery – to produce multiple slave children – and you put it under a microscope, you then incorporate it into the education of young children in the home. We can also ‘offset’ teenage pregnancy (in our community) by changing certain behaviors.
TV and Radio seem to be the primary sources of entertainment and stimulation for young black/brown kids. How does one utilize those channels in order to reach them?
You don’t; you turn them off. There’s nothing that our open enemy would put on his major networks – as far as entertainment – that would educate our children. We need to stop thinking that way; that’s absolutely ridiculous. Several years ago, investigative researcher, Cory Johnson, put certain cartoons under the microscope. He talked about the perversion of subliminal suggestions and advertising that goes on in the context of three-minute cartoons. Furthermore, most of our actresses and actors are not concerned with what goes on in the lives of the younger ones.
It’s no secret that the majority of Black and Brown kids are dying mentally, morally and spiritually. What is your diagnosis of the state of the young community, and what are the prescriptions that you offer?
You have to primarily put those dynamics under the microscope. If we’re dying spiritually, we’re dying simply because there are no diets -- as far as the educational element is concerned. If what Dr. Cress Welsing said in “The Isis Papers” is correct – with regards to Racism and White Supremacy being both local and global -- we need to take this issue more seriously. We are letting our open enemy destroy the minds of our young people in the third and fourth grade. If our kids are spiritually-educated in religious institutions on Sunday Mornings, what do we expect at the end of the day? And to write a prescription for that, the hearts, minds and souls of our young people’s destiny must be put back into our own hands; and until we take the daunting task of educating our young people, we’re going to remain in this position.
ADULTS
What’s your overall-assessment of African Americans in the mainstream of the media beltway?
Well, that’s a very political-oriented question, and in most cases, the average-person answering it would tend to be more politically-correct. But, if the belt tightens within the beltway; what do you think would happen to Black people attempting to be more politically-correct in the arena of politics. First of all, let’s define politics: Politics is the science of governing people. If black people can’t govern themselves, then who are we governing? We presently have a fundamental disconnect with our young people. I sat on a panel at Martin Luther King Library, in Washington D.C - where the focus was “Bridging the Gap: The Civil Rights movement vs. Hip-Hop community” - and we couldn’t even come to amicable terms. So, we need to bridge the gap, and work on those agendas that never reach the news stations and TV networks.
In the documentary “Turn Off Channel Zero,” you spoke of “raising the dead;” can you elaborate on that?
What I mean by raising the dead is, raising the mentally and spiritually dead, from the grave of ignorance. And, ignorance is bliss; a lot of people just want to remain deaf, blind and dumb. We also have to understand that it is not going to be an easy task; to tell someone that ‘Lil Wayne’ is not “the best rapper” of all time, provokes a fight. And, we need to understand that dynamic.
As an historian, what role did slavery play vis-à-vis the present crisis of Black and Brown disunity?
Well, slavery was three-fold, and it depends on how you view it. The way I view it, nothing good came out of it; and those in the struggle for liberation and mind-revolution feel the same way too. So, as far as I’m concerned, slavery did nothing good for black people, and that’s the bottom-line.
HIP-HOP
Moving on to Hip-Hop; how destructive is - that element of what you coined “disposable music” in - Hip-Hop today?
Well, we’re talking of Hip-Hop being co-opted; i.e. the upper/middle-echelons of the music industry having the ability to market and develop the new Hip-hop sound. Also, N.W.A (Niggaz with Attitude) was used sort of as a template for every other Hip-Hop act that came after it. And then the movies that came out such as, Boyz n the Hood, and Menace II Society, set the template and frequency for what the future Hip-Hop sound would be. Prior to Hip-Hop being “niggerized,” we put out images that uplifted the people, but now Hip-Hop has grown to be very destructive. I’m doing a lecture-series now, called “Destroying Hip-Hop’s Appetite of Self-Destruction,” because unfortunately, all we’re deriving right now from Hip-Hop is low-vibratory frequency. Hip-Hop was once the voice of the voiceless, and a sub-culture of our ultimate/grand culture, and those are some of the things we need to understand.
In the late 1980’s Public Enemy emerged and changed the industry and culture of Hip-Hop forever. But, can you rewind and take us back to the beginning -- and how oblivious you might have been to the significance of what you we’re doing at the time?
It was definitely one of those things that we didn’t initially recognize, but was guided by the spirit. We didn’t know that what we we’re doing – in the context of those 4 or 5 albums - was going to change the course. But, most important was what we we’re doing outside of the music – such as, the prisons we visited, the hospitals we visited, and the projects we visited – that made the larger difference. Of course, we we’re blinded in hindsight, because we didn’t know that we we’re going to raise a nation of millions or 5,000 leaders. Stevie Wonder said that, “when you believe in things that you don't understand you will suffer.” We we’re trying to resurrect and reflect back on the “Black Panther Party.” We didn’t know that we we’re going to start a mind-revolution, but we knew that we we’re going to start something, so we had a goal.
Public Enemy gaining access to Def Jam is still looked upon as a phenomenon today – as many ‘conscious-artists’ lament their inability to get ‘looked upon’ by a mainstream/major record-label. How did the Def Jam thing happen; and being that your message was black-nationalistic in nature, how come no one saw the threat you we’re posing?
They trivialized what we we’re doing. They thought it was cute; and just innocent kids with Malcolm X key chains. No one saw it coming, and they didn’t think that Public Enemy would hit that hard. They heard our music on a College radio station, and automatically assumed that we we’re clawless. Also, initially, they just wanted to sign Chuck D – not the other 6 guys. And then, Chuck D incorporated “The Bomb Squad,” my community activism and Flavor Flav. More so, with Flavor Flav, because they assumed that we couldn’t be dangerous with a ‘clown’ on the stage with us. So, when we stepped up to the plate, and they found out that we we’re raising the conscience-level of black people, we caught them by surprise. By the time they found out our true objective, it was too late. It was too late, because by that time, we had thousands of white kids devoted to our music. And, we incorporated those white kids into our thrust of revolution. Those white kids came to our concerts and carried the messages back to the suburbs. Finally, Def Jam tried to regurgitate our music, and slowly tried to chip away Public Enemy by eliminating its members, one by one – such as giving Flavor-Flav a reality show. From the looks of it today, they might have successfully neutralized Public enemy – and it was by design.
Lastly, what are your upcoming projects – both musical and social?
I can’t give my personal plans up - on an open-interview - but we plan on uniting the political-action networks. What’s wrong with Talib Kweli, Mos-Def, Common, Public Enemy and KRS-One sitting down together to put forth a 4-point agenda to be adhered to? Such as: NO more disrespect of our women in Hip-Hop videos; and NO more ‘bling-blinging’ of Diamonds out of South Africa, Sierra Leone and The Congo; and NO more ‘big I’ and ‘little u’; and NO more signing of contracts with Beer and Liquor companies – which inversely further the destruction of our communities. If we can put forth this platform out, and the artists give their words, things will certainly change.
