(THE ANNIHILATION OF AFRIKAN IMAGES

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CULTURE BANDITS II

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 2

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 original 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) 8

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 are armed with only a minority of Afrikan centered brothers ‘n sisters and we are disorganized and disjointed. Our biggest weapon 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 in developing in us a political backwardness, internal and external image assassination, an artificial affection for our enemies and a self-hatred of our own race, as these white supremacist tools drown our aspiration 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. 9

Lack of understanding of our Afrikan reality will leave us defenseless 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 into entertainment radio broadcasts were their backwards cultural, moral, and religious ideas that crippled the listeners and poisoned their minds for under-development. In addition, their racist one sided news broadcasts delivered the white supremacist perspective as the norm. 12

All of these components trapped our people’s consciousness in a vice of ignorance and sent their energies and aspirations off into the wrong

direction. We went tramping off after an integrated reality, even though all the evidence shouted loudly that someday 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 Black 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 original 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. 13

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 communication weapon of the enemy was radio and it could not stop the formation of the UNIA. It could only snip at their 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 14

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. 15

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 lie that attacks from white media strongholds with a demonic energy that is slapped into our consciousness as the real shit, the truth, the whole truth and nothing but the truth. On this level the lie is dressed up 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, and work the color out of the truth. Holding it hostage, they damage all who hear their tales. 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 16

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.

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.

They beam their falsehoods across the galaxies and amongst the 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 level includes campus radio, alternative radio, and socalled Black Talk Radio. On this level those who 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 endless chatter is more confusing than the focused racist information slipping out of the slimy mouths of our enemies. Aint no joke!

Those who are growing toward free thought escape to this level. However, they soon find this is not a sanctuary because 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. 17

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 radio. Mason is not a dinosaur, she is reproducing herself in young ambitious Negroes who 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. 18

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 levels. 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 have been a reservoir of information. However, most community folks are unaware of where they are on the 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 and independent revolutionary stations like BLR are training grounds for the type of War Correspondents we will have to develop to make progress in communications.

Meanwhile, at some established stations there is also a rumble. These are mostly individuals that hold enough 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 19

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. 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.

MUSICAL IMAGES

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 20

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

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.

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. This master piece didn’t get the attention it deserved but it was pure Black art.

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.

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. 21

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 original 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 and soap opera queen ideas. Ya see, mass media produced morons are created out of Afrikan people like 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. 22

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 these externally 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 praised Public Enemy. I still feel that the work done by that group and Boogie Down Productions (under the direction of KRS-ONE) will go 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 23

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. Public 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 a nasty looking white rock group called Anthrax. They even toured with them, which meant that Black youth had to be exposed to Anthrax as a reward for their loyalty to P.E.

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 24

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 problem was that the group was white with one pale member wearing dreadlocks down his face. Tell me, how do you get from a leadership position in the Black struggie to the role of a bridge for the filthy Culture Bandits and their carnivorous children? ...Money?

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 folk know what the real definition is and they come at us hard core. It is necessary for the youth to work with established 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 brothers and sisters who work for the people everyday and whose names are not promoted in the 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, 25

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. I caution them from our historical experiences, that poor whites are as dangerous and more deadly than their brothers. Please 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. Let them 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 use shortwave radios to round out our global information diet. News from 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! 26

It is said that if you want to hide something from the people, the best place is right in front of their eyes.

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, involving their money and artistic direction are determined personally by 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

MICHAEL JACKSON ‘N THE NEW WORLD ORDER

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. 27

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 are the 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. 28

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 cultural arenas. 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 29

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 A wards people in 1971 by saying that most of the awards went to white 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 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 loved Miles’ music, all of it, but his strange 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? 30

Since our enslavement, white people have always taken everything we produced, developed and originated. 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 than ever 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 set the progressive world on notice that Jamaica’s national hero was in the gunsights of the enemies of Afrikan redemption.

In 1976 they decided it was time to strike at Marley 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). 31

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 the help 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. 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 32

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.

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.

inkling of it, but the cameraman was Carl Colby, son of CIA Director William Colby.”

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 as the greatest and the most popular international musical super star of his time. 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 a trance and supported Marley economically through their record, concert and merchandising 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. 33

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 from these 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.

I remember how they use to sneak Reggae artists into town and fill the joints with pale demons excluding our people by 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 half drunk honkies and their presence as our culture was executed with Afrikan precision. The same trap has been laid 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” 34

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 are socially and politically backward, barbaric and cannibalistic, but they are not stupid. In fact they are ingenious when 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!” 35

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 language that they could not understand and was difficult to export to the rest of the world’s mainstream.

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 political 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 had the right measure of self-hatred and lack of loyalty to their own people, however for this job they were useless.

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. 36

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 File,” 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 skills of white supremacy got the job done. And they thought we didn’t dig it. All 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.” 37

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 well publicized 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 our love vaults or at least confuse and neutralize the wave of disrespect that was tidal waving his way, 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, 38

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 legend. His unresponsiveness to performers and experformers tell a tale of a Wannabe with a colder heart than his white mentors. “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.” 39

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.”

Tony Turner in his book “Deliver Us from Temptation” offered this about Berry Gordy:

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 his videos. He can only drone on about Martin Luther King’s dream that evaporated with a governmental bullet to King’s face.

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 40

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 get artificial 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 the end of the video stating that this video must not be construed as his endorsement of the occult. After that statement he drove our guard down, then he could work on our collective consciousness.

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 41

Thriller the Video

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 someone like me would come along and read their intentions, their scheme and reveal it all. There are four things 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 42

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 in 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 sister screamed 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?” 43

These things may be hard for many of us who 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 a disclaimer 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 complex, nuclear capability and the gold and diamonds that enrich 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. 44

The difference between the Blacks Books Revolution 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 manifested in their radically irrational behavior. 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 all of his actions beneflts whites and are aimed at our existence. Just as Thriller lets us peek into the double-faced hide and seek mentality of Michael Jackson, his popular video Black or White clarifies his intentions and political loyalties. 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 45

Black or White

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. He jammed with East Indians, the indigenous people of this land, Afrikans, on top of the Statue 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 his hand and the Afrikan child is attempting to get it from him. Five years ago, they would have accused the strange 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 chorus of “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. 46

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.

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. 47

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 the attitudes of the “New World Order” to the planet. De-humanizing us, relieving Amerikkka of any blame for our deprivation, miseducation and violence in our communities. He laid the seed, the point of reference to help the world understand police brutality, babies having babies, the welfare state and police brutality.

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. 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.

Remember the Time

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.” 48

“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 original 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 entertainment. The first brother displeases her and she had him executed “off with his head.” That’s Rome/Greece not Egypt! The next dude dealt with 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 Christianity existed then. He throws down some goo-bee dust and 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 the queen 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 49

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