Culture Bandits I8

1
CULTURE BANDITS VOL. 1

(CULTURAL GENOCIDE IN AMERIKKKA)
COPYRIGHT 1990 BY: DEL JONES

Produced by Del Jones Communications Unlimited
All Rights Reserved, printed in the United States
About Author: Del Jones is a journalist from Philly. He has studied
and covered the violent elections in Jamaica, worked and was part of
a fact finding mission weeks before the cowardly invasion of Grenada,
and also traveled and studied the situation in Southern Afrika.
He earned his associates degree from the school of Hard Knocks, his
B.S. is in organizing in the streets and on the campuses of Philadelphia,
his masters is in dissecting the medias: distortions, lies, half truths,
and kicking it out to the people. And his Ph.D. is for surviving to run
it down another day. As a result of all of this, he has been rewarded
his War Correspondent credentials by Revolutionary Pan-Afrikanism
(Black Power to you) and henceforth a W.C. will appear after his
name.
ISBN 0-9639995-9-1
2
AS A CHILD I WONDERED.....
As A child I wondered, As a man I knew
As A Child I wondered, As a man I knew
Broken dreams and promises
bad news with postage due
Nostril-aching smells of sadness,

embryos try-ing to dodge the knife
Were all spattered, with the urban-blues
As a child I wondered, as a man I knew
Death on a shingle, cold ground call nothing to lose
Multi-hues robots accustomed to being used
Powdered face gun toters, grab a straw for the booze
As a child I wondered, As a man I knew
Del Jones, W.C.
DEDICATION
I dedicate this work to all of those who believed in me and
my tortured War Corresponding efforts in our struggle: To
Mylo, also to my Mother & Father Ellen & Simeon Jones,
and my family the Philly crew (Sim, Ben, Snookie, Bob, Deke,
Wayman, and their beautiful families). I appreciated your
help through the years. To my children Dawn n her husband
Kenny, Dale n her husband Norman, Del Nyerere, Nia Njeri
and little Dedan Sekou Kimathi. Also my grandchildren
Malcolm, Benita, little Kenny and the lost one. Never
forgetting my total family, including the Miami connection,
and my main man Uncle Herbie Jones of New York. In
addition, to my Afrikan extended family, which includes all
of you. To Mr. Keels the super elder, who kept my old bomb
running. And then there is: Scoop U.S.A. the home of my
column for over a decade, Westside Weekly, First World
Forum, Philadelphia New Observer all in Philly. Also
including, The Frontline Network that was born out of the
struggles of Temple Universitys campus. Special mention
to AFRIKAN EYES the Newsletter of the Committee for
Pan Afrikanist Development, the organization that has been
my home base for political growth and clarity, of which I
am a founding member.
Most of all, to my Brother and cadre in arms Brother Deke
and his Know Thyself Bookstore and Culture Development
Center located at 528 S. 52nd Street in Philly 215-748-2278,
that is the oasis for the upliftment of the consciousness of
our people. This is where you can always track me down....
Del Jones
(Your War Corrsepondent)
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Special thanks to my copy editor Pat Jacobs, who put

up with me and worked long hours with a commitment
to the truth.
Also, thanks to Robin Bright-Jones (my beautiful SisterIn-Law, a Howard University Art Grad) for her creative
art work and design of the front cover. Thanks for your
unique creativity and belief in this project.
In addition, Id like to thank John Martin for his art
work on the Pharoah, Ive admired his work for years.
A special thanks to Civilized Publications.

Also thanks and appreciation to Harry Allen of Public
Enemy for his time and energy, Tyree Johnson and the
Westside Weekly in Philly for layout skills and
professional kindness.
DEL JONES, W. C.
INTRODUCTION
Dont let them fool you, it is not the gun that keeps the
have nots of the world in bondage to white supremacys
economic system of capitalism, it is the mass media
component of this system of exploitation that
perpetuates the confusion of the oppressed.
Confusion is the enemy of revolution and the western
media are experts in causing confusion and perpetuating
lies, stereotypes, and his-torical distortion, as they play
with our appetite for a better life.
Anti-Afrikan Propaganda is a vital key to the survival of
white supremacy. Any error in this area of the great white
lie would certainly lead to the destruction of the world
economic and communications order. In short, this is the
heart we are attempting to strike at to deal this evil force
a death blow. A blow that would breathe life into PanAfrikanism in particular, and the exploited in general.
Consequently, it is vital that all mediums of their mass
media reinforce one another. In other words, they must
articulate the same lie in every media product. And what
are these media products that we ingest and digest daily
on the road to further servitude:
Music:
(records, videos, songwriting, musical awards, classical
European, traditional Afrikan, blues, gospel, r&b, jazz, rock,
Reggae, rap, afro-pop, etc.)
Print Medium
(which includes text books, newspapers, novels, comic
books, print advertisements, magazines, newsletters,
cereal boxes, bill boards, posters, graffiti etc.)
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WAR CORRESPONDENT
Radio:
(talk programs, music programming, sports programming,
public broadcasting, all news formats, religious
programming, campus radio, etc.)
Film:
(Hollywood, documentaries, educational films, cartoons,
training films, his-torical teaching tools, etc.)
Television:
(support your local police shows cop shows, sitcoms,
soap operas, cartoons, t. v. news, docu-dramas, sports,
award programs grammy/Tony/Emmy, educational t.v.,
Cable t.v. syndicated reruns, news specials etc.)
Telephone:
(telephone commercials, tele-marketing of sex, products,
exploitation of the lonely, intelligence gathering etc.)
Fashions:
(European fashion crazes, official business uniforms,
Afrikan cultural attire, hairstyles, gold craze, graffiti
people, peer pressure and sewing machines etc.)
Scholarship:
(colonization of scholarship, stolen legacies, his-torical
banditry, perpetuation of academic superiority,
technological ownership, control of degrees, educational
institutions etc.)
Satellite Communications:
(Invading the borders of other nations, broadcasting in
other nations air space, promotion of western values
and products, spying on other countries, etc.)
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DEL JONES, W. C.
This work was designed as a community working paper
and survival kit for establishing a beachhead against the
invasions of our minds, and destruction of our culture.
Also to further document things this author may have
missed that you think are important and must be shared
with the community.
It is also designed to set up a coherent counter attack to
drive back the invaders of our collective consciousness
that are in pursuit of our purchasing power as it
simultaneously attempts to destroy us.
In addition, it serves as documentation of Amerikkkas
program of genocide and menta-cide against Afrikan
people. The burden of understanding these things
demands us to act to slap back the aggression and put
forward individual and mass programs of both
rehabilitation and culture maintenance.
It should be understood that the scope of this subject is
vast and can not be adequately covered in one volume.
However, the broad brush is necessary to define the
methods of the enemy, the maladies they cause and some
of the options that are available to us.
Culture Bandits Vol.l (which covers music) is a liberating

tool and should not be confused with any reformist
products put out by many other media critics. It was
developed to heighten the awareness of the victims (us)
and act as just one of the deprogramming agents
necessary for the development of our just struggle against
domination by the white collective.
What you must bring to this work is an open mind and an
inquiring spirit. It was written for mass consumption, not
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WAR CORRESPONDENT
just as an exercise in intellectualizing the struggles of
Afrikan people. It is the goal of this book to aid the
community in being ever vigilant to the deadly demonic
forces that cloud reality to control every sphere of our
lives.
No mass media product should go unquestioned by the
brain computer. We must shed the passive approach to
the media. We then will enter a tug-a-war for our
consciousness, our culture, and . . our very hue-manity.
The element of trust must be excluded when dealing with
the mass media, because when we begin to identify with
the media messages on a personal tip, we are in grave
danger of being used against our own interest.
Every media message has a reason for being created and
none of these creations are designed to deliver freedom
to Afrikan people. On the contrary, all of their products
are produced to increase control and exploitation. It is
the goal of the mass media to sell the Amerikkkan way
as the superior system, yes that bastard Amerikkkan
culture is projected as the beginning and the end. Finally,
two things can not occupy the same space at the same
time, consequently our freedom can not be created as
long as their exploitation is intact and in control of our
present and our childrens future.
Leave all you know and believe behind the cover of this
book and travel with me into dimensions untouched as
we continue our search for the liberation of our own minds.
Then and only then will we be free to develop the
strategies and tactics necessary to turn the tables on
the Culture Bandits and undo their lie that has captured
the world and its resources.
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GLOSSARY OF TERMS
Every society has its own culture and every

culture its own values of civilization. Thus, we
easily understand that every act, every
objective to be achieved should necessarily be
within the scope of culture; for culture embraces
the entire physical and moral being of a society
whose whole thought and action underlies in
the various manifestations of its existence.
Sekou Tur
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GLOSSARY OF TERMS
GLOSSARY OF TERMS
CULTURE
Culture is everything a people do, why they do it, when they do it
and how it is done. Everything falls in the realm of culture.
COLONIALISM
The system of governing a people in their own land by a foreign
power. It has social, economic components and its chief activity is to
rob the indigenous people of their resources, self determination, culture, labor and basic freedom.
MASS MEDIA
Broadcast and print mediums that disseminate information locally,
nationally or internationally. Its role is to control the flow of
information, ideas and culture. Its primary objective is to distort, lie,
rename, confuse and destroy all truths that could be used for liberating
purposes by those subjugated by white supremacy.
RADIO
The broadcast system used to reach audiences using the radio
spectrum. Audio programming used to sell ideas, lifestyles, and
products to the world. Also, it is used to control thought and dissent.
Its largest product is music, a vital tool of the Culture Bandits. The
first truly effective mass vehicle for exportation of alien culture.
TELEVISION
The broadcasting of audio and visual images. A medium that is popular
and used to define reality, influence opinion, and redefine information
and situations. Used for the propagation of Amerikkkanism and
western values. A manager of news and views, greatest salesman of
products as it brings what Dallas Smyte calls advertisers to
audiences. Supplies visual images for the populous to emulate.
Socializing agent for morales, mores and culture. Redefines reality
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GLOSSARY OF TERMS
and delivers a fantasy perspective in its place. Creates only confusion
to set viewer up for economic, cultural and social exploitation.
FILM
Valuable tool of promoting Amerikkkan culture, historical
inaccuracies, selling fashions and abnormal perspectives. A racist
tool for redefining people and stereotyping outsiders and justifying
genocidal programs, past & present, against people of color.
VIDEO
The new kid on the block, a great tool to quickly overtly and covertly
define anything effectively. Example, music videos have become a
powerful promotion tool for the recording (audio) industry. However,
like the rest of the mass media, it is a powerful weapon in the hands
of the Culture Bandits. Consequently, music videos are trapped in
the foul waters of racism/sexism/soap opera/violence. Its violent
counterpart, the video games, are trapped in the quicksand of its own
unwholesome world-view of war, sex and racism. Most of the minds
dealing with this medium are demented, and in a powerful position
of sabotaging any attempts at developing a healthy consciousness.
Even the pinball machines that preceded video games were violent/
racist/sexist.
PRINT
The oldest and the most abusive. Under the logo of free flow of
information the most racist/reactionary garbage has been produced.
While at the same time, the effective control over the distribution of
newspapers, books, magazines, periodicals, journals etc. has limited
Afrikan peoples access to each other. This book is evidence that
now there is no excuse for us to lay silent. The advancements in
computerization and desk top publishing and the establishment of
Black distributors has begun to chip away at the concrete barrier
between the writers, publishers, and their Black audiences.
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GLOSSARY OF TERMS
COLONIZED SCHOLARSHIP
The colonization of scholarship is the control over our research and
information by and about us. Keeping it captive and away from the
people who need it to develop a clear view of our-story and our present
direction. The mere fact of keeping the work of our researchers in all
areas of scholarship unpublished or under-published, extracts our
scholarship from the body of knowledge. Even though, we are the
founders of all the disciplines they now claim. While at the same
time, they promote and present anti-Afrikan propaganda that was/is
unfounded, untrue and destructive to the collective intellect of our
people and how others view the Afrikan.
ACADEMIC TERRORISM
Is a critical activity of controlling the thoughts of our people. The
discrimination against our educators, who challenge the lies that they
perpetuated by denying tenure, employment and advance degrees.
All the way down to the elementary school student who is punished
for presenting George Washington as the slave holder he was, or
pointing out the Afrikan lineage of Beethoven, Pushkin, Aesop etc.
Designed to make the Black students and educators consciousness
prisoners of white supremacy.
CULTURAL GENOCIDE
Cultural Genocide is the goal of the Culture Bandits in all phases of
society. It is their goal to destroy the culture of our people, claim all
they can accept as their creation, while destroying those elements
that are undigestible by the European. Another goal is to confuse the
people as they attempt to apply another races morals, mores and
norms to themselves. The death of the culture would lead to the death
of the people they hate and fear.
CULTURAL IMPERIALISM
The invasion of another culture (collective & individual consciousness
of a people) by outsiders (enemies) in order to rearrange and control
the victims for the purpose of subjugation.
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GLOSSARY OF TERMS
AUDIENCES TO ADVERTISERS
The major role of radio, newspapers, t.v., etc. is to bring audiences to
advertisers for the purpose of selling products. For example, sports
is used to sell: beer, sneakers, cars and other so-called male products.
Even when attending a sporting event live, the printed programs, and
scoreboard are littered with commercial messages. Soap Operas are
used to push: home products, laundry products, feminine napkins,
fashions, cosmetics, etc. Ratings are based on how many people a
program can deliver to a sponsor. Proven winners like the Super Bowl
can command almost a million dollars per 60 second spot.
SUBLIMINAL MESSAGES
Hidden messages and images using air brush techniques, words and
images embedded in frames of film or photos that only the
unconscious eye can see or subconscious ear can hear. It is an illegal
and unethical approach to propaganda. Yet, it is a skillful part of their
communications arsenal.
SUBLIMINAL SEDUCTION
The process of using the speed of the mind against the consciousness
of the individual for the purpose of seducing the individual into a
pleasant response for the products of the advertiser. It employs sexual
references for the purpose of establishing a favorable feeling in the
mind of the viewer. We must side step intellectualizing here and state
it is a vicious rape of the mind and a criminal act. Playing with the
reoccurring sexual urges of human beings is reflected in the rape of
men, women and children and the unhealthy unnatural sexual abuse
seen in many relationships.
GOSPEL MUSIC
Our musical response to the religion of our captors, that was used for
political purposes. Wade In the Water, and Follow The Drinking
Gourd are just two examples of gospel songs that passed on political
and escape route messages within the worship space that was allowed.
Many times only for worship could prisoners of war (slaves) be
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GLOSSARY OF TERMS
allowed to gather. Later many of us were to adopt the Christian religion
seriously.
THE BLUES
A musical form that grew out of gospel expressions and the objective
conditions of Afrikan people here in the states. Like every form of
our rich, musical culture, there are different kinds of expressions that
make up the blues. Many came from different objective realities in
various locations throughout this country. Whether it was Chicago,
New Orleans, Memphis or St. Louis, we sang the blues all over
because conditions required a musical articulation of reality.
RHYTHM & BLUES (SOUL, URBAN CONTEMPORARY)
The expanding of the blues toward more complicated instrumentation
and arrangements increasing the complexity, which was an out growth
of the urban or city experiences. Environmental factors impact on
the type of musical products we will produce. The tone and pace of
life will always affect the music. R&B is also what some considered
at the time to be the unholy alliance between Gospel & Blues. Which
gave us another term for R&B, which is also called Soul Music. Now
the music business apparatus is calling R&B (Soul Music) Urban
Contemporary, which would include all kinds of people, who live in
an urban setting. This attempt to take away the ethnic identity of the
music and drop it in the lap of the exploiters has drawn criticism
from many Black recording executives, artists and consumers. Polish,
Irish, Asian, so-called Jewish and many other peoples live in what is
called contemporary society. They would be apart of such a logo
(Urban contemporary). Like Malcolm X taught us, Black coffee
keeps us awake, but put in a little cream and what kept you awake
will then lull you to sleep.
JAZZ
Is the total exploration of all music to infinity. A collage of textures
and tempos, it is a highly sophisticated tapestry of all that has come
before and all that will emerge in the future. It is an intellectualizing
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GLOSSARY OF TERMS
of the blues and definitely indigenous to our people. You see, the call
and response, crisscross rhythms and poly rhythms are locked in just
as they are in all forms of Afrikan music. It is feared by our enemies,
because it is harder to digest by those outside our culture.
Consequently, there has been more aggression against jazz than any
other form of music with the exception of music dealing with
revolutionary lyric lines (Billie Holidays Strange Fruit, The Last
Poets This is Madness, Oscar Brown, Jr.s Brother Where Are
You, and Public Enemies Welcome To The Terrordome are just a
few examples).
ROCK N ROLL
Is the bastard child of R&B, which was created to invade our musical
culture by the Culture Bandits. Before this music, the music was as
segregated as the society. Our musical culture advanced at a steady
pace. The Culture Bandits decided to run a frontal assault on R&B
for both economic and political reasons. Our music, which was called
race music, was separated by stations or blocks of time on white
broadcasting outlets. Neatly pushed aside, so they thought. However,
crude demographics and documented observations of whites sneaking
uptown and across the tracks to partake of our musical culture
screamed for an economic and political solution. Elvis Presley, Bill
Haley and the Comets, and people like Jerry Lee Lewis were projected
as the alternative to the real thing. In short, they muscled their way
into our music with these pale, soulless imitators of our song. They
are unashamed, as they propagate themselves as the originators and
have our youths thinking Sha Na Na were the creators of Do Wop
music, which was born under street lamps in the Black neighborhoods
in Urban centers.
POP MUSIC
Soulless music, white-like for consumption by the dominate culture,
broken down Black music into patterns and melodies that dont
confuse whites. Blacks who slip into this category sell their soul for
a few (really a lot of) pieces of silver and usually can never come
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GLOSSARY OF TERMS
home again. Sammy Davis, Joe Williams, Diana Ross and Lou Rawls
are clear examples of singers with proven talent content to drone
sounds in mikes for the consumption of whites.
REGGAE
Reggae is a dynamic music that spun out of the reality of the Jamaican
experience and is locked into the suffering of the Jamaican people
and the religion of Rastafari. Its foundation is grounded in basic
Rhythm and Blues and, of course, has all the elements of Afrikan
music in it. Recently, the Culture Bandits have been struggling to
destroy the music. The attempts on the life of Bob Marley and his
questionable death, the death of Peter Tosh, the deaths of several
other key exponents of the art form cleared the way for
commercializing the form and removing the nationalism from it. This
was done by:
a. controlling the economic base of the music
b. controlling radio airplay across the globe
c. isolating the political (culture) portion of the music and exploiting
the party music (dance hall)
d. controlling the artists by making them subscribe to the acceptable
standards set by the deadly enemies of the music.
e. overexposing the sound through commercials, while attempting
to shorten the life of the uniqueness of Reggae.
f. Finally, developing in the young artists a carrot on the stick control
of the music. In other words, do it this way or starve.
RAP MUSIC (HIP HOP)
The music of the streets forced out of the urban decay we are captured
by in the inner-city. It was born out of the response of the youth from
the control of our music by the enemy. The businessmen creation
and perpetuation of the music under the logo of Disco and the
development of the male images of soft-punks like: Michael Jackson,
Prince, Babyface and assorted non-threatening images that developed
in little girls the wrong image of Afrikan manhood, and in little boys
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GLOSSARY OF TERMS
soft non-threatening characteristics, that would never confront our
enemies on behalf of our people. Music that is now struggling with
the same forces who control Reggae and for all the same reasons.
However, the nature of the promotion of the music (on the streets
and in the clubs rather then radio air-play) and the fiercely loyal
audience has led to the growth of Hip Hop. And it is growing because
of the reactionary backlash of the Culture Bandits. Nationalism is
the ingredient that will never be washed out, but the struggle continues.
ROCK N HEAVY METAL
Attempts of white music to explore sound, space and time. Fathered
and given definition by Jimi Hendrix. Grafted from the Blues and
R&B, British attempts to create off of a Black base failed until the
arrival of Hendrix. Interesting enough, they have never surpassed
his work and still fumble around in the musical state of creative
confusion lost and alien. Heavy marketing and the creation of a culture
around these sounds have created a planet for exploitation. Fashions
and products surround the white youthful sounds and a necessary
loyalty keeps it afloat. It is important to note that, this music only
exists as a vehicle for young whites to attempt to get in touch with
their feelings and in touch with the environment that is being destroyed
by their mothers and fathers. The Chicago Transit Authority, Blood
Sweat and Tears, the British rock acts, and the million white vocalists
that tried to sound like Ray Charles, cut Rock out as a beachhead for
further invasion of Black music. After all Bruce Springsteen, George
Michael and others had to have a fort to attack from and
reinforcements to prevail. However, stealing is their only form of
originality. Culture Bandits will steal from Jazz, Reggae, Blues,
Gospel and R&B (naturally groups like Guns N Roses and the Rolling
Stones music are racist products from those who disrespect the
victims of their larceny). But in the final analysis, its an innovationless
music because its mother, Black Music, ignores it as a child of a
raped parent.
CALYPSO (SOCA)
Music of the Eastern Islands of the so-called Caribbean. A local folk
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GLOSSARY OF TERMS
music with a carnival vibe, but also cuts with necessary political knife
in the hands of some of its creative artisans. Mostly uptempo, it
provides a pulse all of its own, a life of bright sounds, unique rhythms
and cultural compatibility with all other Afrikan forms of music.
MUSIC FROM THE AFRIKAN CONTINENT
Afro-pop, Juju, Mbaqanga, Highlife and other contemporary sounds
from the homeland mix comfortably with the traditional rhythms that
gave birth to music of the world. Heavily influenced by imported
R&B and Jazz, they all demonstrate the creativity of the Afrikan with
word, sound, and power. In addition, it also speaks to environmental
factors that are tied to all Afrikan expressions. More importantly,
like Reggae it is a music that is kept from the Afrikan in the States at
all costs. When all of these sounds marry, the earth will shake and
the Culture Bandits will be on their way out as controllers of our
culture.
AFRIKAN CONTEMPORARY MUSIC
(Afro-Pop, Juju Music, Mbaqanga, Highlife etc.) Afrikan
contemporary music is a diverse as the many languages on the
continent. Flavored from ethnic tradition and culture, it is married
with the musical approach of the Afrikan taken to the states. Therefore,
the R&B flavor and jazz riffs identify us all as the same people using
the same elements of sound to articulate our environmental and social
experiences. Fela, Franco, Sonny Okshun, Sonny Ade, Hugh
Masekela and thousands of others create the Afrikan jam from their
reality. And we all benefit. Culture Bandits like Ginger Baker, Eric
Burdon and Paul Simon, travel the globe looking for a sound to steal
and rework through Copyright Offices unashamed. They think they
are undetected Culture Bandits masquerading under the title of
liberals.
CROSSOVER MUSIC
Music purposely designed to appeal to both Black and white
audiences. Disco is a perfect example of how economics can affect
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GLOSSARY OF TERMS
the culture of our people. Pop music was the first crossover music
design to redefine Black music to be digested by mass white
audiences, who were economically and culturally out of touch with
the developers of the real music.
POP MUSIC
Attempts by whites to interpret the foreign musical products of Black
folk for exploitation.
FUSION
Fusion is the use of all kinds of Black music to create a new sound. R
& B bass runs, complex chord changes, different meters and melody
lines proves the relativity of our sounds. Miles Davis Bitches Brew
was a hallmark, yet so-called jazz purists (whatever that might be)
criticized Miles as a sell out. Even though, he never left home, because
all these textures and sounds are our creations, many have locked
their ears to Miles constantly evolving sounds. A foreign artist, like
Chuck Corea, known for his work in fusion, demonstrated contempt
for the creators of the music by recording the so-called JoBurg sessions
in South Afrika. Thats his thanks to Miles people after playing with
Davis. They dont get no respect!
MUSICAL SOAP OPERAS
The constant diet of love songs, relationship situations and sexual
banter that is both childish and out of step with reality, are nothing
but musical soap operas (most music has been reduced to soap operas,
clowns and all). The effects of this music is left unmeasured, yet
society has to be the barometer of truth. Teen pregnancies, adultery,
loose sexual activity, emotional irresponsibility, sexual exploitation
by males and females, family decapitations with more attention paid
to sexual activity than any other part of the human domain, leaves
many confused about the meaning of life. R & B has been reduced to
a one dimensional output of sexual material drowning in its own
childishness. Controlled from the outside, it is!
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WHAT THE MASS MEDIA IS & AINT

We are brought up with the enemies media surrounding our existence

capturing reality, bottling it up from eye sight, and replacing it with
fantasy images pale and dead.
Timely patterns of death are a daily diet pushed down with polluted
water. We eat, we drink and our consciousness is dulled by the cloning
repetition of the white lie.
Our history is locked away in colonial museums and the names, origin
and race are changed to destroy the innocent. This critical component
of the systematic destruction of Black folk is of life and death
importance to the Culture Bandits.
By allowing them to define the storm a weary truth is buried as a
people is lost in confusion, self-hatred, and future-less-ness. Disjointed
from the continuity of history with no defined role to continue, we
can only subscribe to the agenda of the slave master or at least within
the confines of acceptable struggle for acceptable goals.
Confusion destroys progress and those who lose direction stop short
to avoid stumbling into the future like hidden furniture in dark rooms
in a land that is not ours.
To create this reinforced confusion, one must be a professional liar.
A liar so dedicated that they must subscribe to the lie as if it was the
truth. Consequently, discussion with the enemy is hopeless, they know
only one language, the language of force.
For example, if you view Dr. Frances Welsing or any other Afrikan
intellectual putting forth a clear, well researched position to an enemy
commentator, talk show host, or news reporter, you will find that,
they are never convinced of the truth.
21

They will evade, lie, confuse, dodge, get angry, cry about antiSemitism, reverse racism, or some other escapist tactic. Never, I repeat
never, will you hear them admit they are wrong, that his-story is
wrong and that they have done a job on us. Naw, the lie must
continue... Why?
Because, their fragile synthetic reality is based on well constructed
lies and phenomenal Culture Banditry. They stole our achievements,
claimed our discoveries, said they were people they were not, seized
civilizations that were not theirs, philosophies that belonged to others,
religions that were not their creations and denied us the truth of our
noble, dynamic ancestors. George G.M. James called it Stolen
Legacies and his book should be sought out and read by every Afrikan
person who now populates this earth.
It would take volumes just to list the banditry of these barbarians.
But my point is that discussion with them is as useless as talking to a
white wall. They are locked in and will defend to the death their right
to use us, abuse us. The mere notion of us collectively finding out the
truth and moving on that truth sends chills up their collective spine.
Understand, just existing equally with other peoples of the world is a
reality they will resist to the last man. The Martin Luther King scenario
of happy integration is a goal they want us to reach for knowing that
it is unobtainable.
Violently frightening to them, is a cohesive Afrikan global population.
You see, they are aware of what they have stolen, who developed
civilization and everything that word implies. Consequently, equal
opportunity could never happen. They hold tight to discrimination as
a cooling out tool over our creative genius.
The key to keeping the lid on our quest to liberate ourselves from our
captors is their mass media. It not only reinforces the lie but brings it
to life through music, print, documentaries, film, situation comedies
(sitcoms), broadcast journalism, videos etc.
22

All of that is a mere support system to their system of education that
bleeds the Black out of us and sends us into the world distorted,
confused and in love with them... while hating ourselves!
Yes, they have colonized scholarship. Their education system is a lie
machine that pumps up the chest of their children, while deflating
ours in an externally developed adulation for them. Consequently,
the mass media is the stake through the heart, the convincing agent
that seizes our consciousness, still undeveloped, and delivers it to
the system of white supremacy.
The results are devastating. Worse than death is the process of creating,
within hue-mans, self-hatred, measured inferiority, and a damaged
consciousness that effects reasoning, logic, and self-perception...damn
Culture Bandits!
Then they feed on the carcass of the dead consciousness in fear of

the resurrection that always comes through the power of our genetic
make up. Never dead, they continue their attack through the mass
media, using it as a secret agent inside our heads that overthrows all
our thoughts on pride, progress and liberation.
They have wanted to bury us for a long time, cover us up with the
soil they captured from others and ruined in the name of profits. Or
theyd love to drown us in polluted waters that they have infiltrated
with their death in the name of ye ole bottom line. They would like
to send us up in space through the hole in the ozone layer that they
created with their madness. Out of synch with nature they are, and
always were. In conflict with all life forms around them...they must
be stopped.
Enemies of man, beast, the land and seas, they must believe their lies
of superiority. It is not in them to take the lead from others, even
though they are unqualified to lead, they must be in control. Yet, the
only thing they are really qualified to control is destruction, death
and their lying machine of backward justification... their mass media.
23

Having said all of that, and it had to be said, we can now go on in our
quest to understand the Culture Bandits who even control the ideas
in our heads.
Any thinking Afrikan person must have a global perspective to
understand the simplest local problem. We must also understand that
the solutions to our dilemma should be a global response to their
oppression and subjugation of our collective song.
Music is so critically important to us, that they have always sought to
control it ever since they first came into contact with us. They
understand that it floats through the whole of our culture and binds
each component together in a unity of purpose.
For example, during one day of grieving over the death of a loved
one you will hear the sound of gospel music, a touch of the blues,
some jazz melodies of easy listening and the tight funk after all is
said and done as the party begins to wash away the pain.
Globally, Amerikkka exports our music as a chief seller for their
products, culture and way of life. Our music splits the airways all
over the world, because Afrikan music is from an advanced cultural
form even when controlled by the Culture Bandits.
All over the world, they dance to our song, they imitate our dances,
way of dress, and slang. During all my trips abroad, the more I attempt
to escape the controlled musical products of Amerikkka, the more I
ran into them. In Jamaica, Grenada, Zimbabwe, our jams dominated
their airwaves. For example, in Jamaica you hear more Black music
from the states than Reggae.
Encased in the songs that the mass media allows to be played, is the
Amerikkkan way of life and the values found in this culture. Most of
the material is the usual musical soap operas complete with
Amerikkkas childish approach to relationships and the exploitive
nature of these musical images.
24

Hardly any social comment is allowed unless it is the universal
messages of a Tracy Chapman. We gotta live together themes are
as far as this form is allowed to travel. Attempts to sabotage groups
like Public Enemy is a daily activity, a never ending quest to expunge
all that has not been sanctioned by the Culture Bandits.
Internationally, Amerikkkan music (our song) is considered whats
happening, and the world plugs into the scene from Asia throughout
Europe, and other points on the compass.
We must realize the importance of our musical culture and seize it to
liberate or it will be used to further subjugate our dreams, drown our
reality and destroy our childrens tomorrows. Beware and be aware
of the deadly Culture Bandits!
25
PRE-COMMUNICATIONS STUDY
PRE-COMMUNICATIONS STUDY GUIDE
Before we even begin to study the work of the mass medias Culture
Bandits, we must first look into our-story to set up the infrastructure
for research, discussion and documentation.
To pretend we all bring to the party the same basic knowledge,
sensitivity and perspective, would be a waste of energy. We dont!
We know we dont; that point we must be very clear on. Consequently,
it is my responsibility to guide us into a posture for study as we focus
in on what I present as the vanguard of their system of
oppression...their mass media!
Many offer that the Black experience is vast and diverse and one
solution does not fit all Blacks. It is a cowardly backing down from
the powerful mechanism of the enemys communications empire.
We all experience their mass media the same, victimized Afrikans
whose consciousness is stolen. After which, the powerful culture of
our people is chewed and mutilated, then spit back at us as poisonous
venom of artificial enslaving garbage.
In other words, what was developed out of the daily reality of our
people in response to their interaction with this society on different
levels of intensity is perverted. The mold with our historical approach
to culture is attacked and warded off. Reworked, remodeled, redefined
into harmless co-optative, profit making porridge, toothless and very
exploitable. We are then naked with no cohesive definition and no
tool of perpetuation.
Let us be clear on this, the mass media is not an entertainment/news/
educational series of apparatuses for the betterment of the society, or
the world that they beam their anti-Afrikan Propaganda to. Media
critic Dallas W. Smythe points out in his book Dependency Road:
27
The mass media of communications were systematic
inventions of monopoly capitalism. The purpose is to set a
daily agenda of issues, problems, values, and policies for the
guidance of other institutions and the whole population.
We must blow away the myth that the mass media in this country is
either a friend, a comfortable companion against loneliness, an
information carrier of truth, a documenter of history, or a provider of
information needed to intelligently govern our struggle for liberation.
It is the purpose of this Pre-Communications Study guide to wash
clean some society given concepts, that would lead us all back into
their clutches of subjugation, stereotyping, and utter confusion. Logic
is the key that must be found to unlock our minds and that is our goal
here.
Smythe goes on to explain the capitalistic complex of industries
which he says are led by the mass media which he correctly termed
The Consciousness Industry.
The Consciousness Industry is just that, an apparatus to scramble
our consciousness so that we act against our own interest and in theirs.
It also establishes itself as the authority, experts in everything and its
function is to guide Amerikkka and western society through any
troubled waters.
He goes further to note that:
In a real sense every politico-economic system rests on the
power to control information. Mature industrial countries had
the advantage of being first to develop electronic
communications using the radio spectrum. This use became
the indispensable foundation of the capitalist politicoeconomic system.
28
We must understand this if nothing else: the media is their tool
designed to perpetuate their society and the control over the world
by the white collective (white supremacy/capitalism/racism).
This is basic and must be digested, the alternative is to relax and
believe that the so-called entertainment industry is just Amerikkkas
cultural way to pursue leisure time activity and disseminate
information. This is a dangerous notion. Following this path will
guarantee that your consciousness will remain underdeveloped or
completely stolen. The result is a world of illusion, a fantasy existence
divorced from perspectives, information, and true cultural
development, while putting you back into the cages of bondage with
its invisible bars. Thus, developing in you, a victim for its traps of
drugs, AIDS, religious escapism, and rampant consumerism for the
goods produced by our enemies for their enrichment.
In addition, their media is a deadly socializing tool that establishes
the norms for us and as you know, to them, normal is aping and
parroting their decadent alien morals, mores and values along with a
distorted self-serving world view.
Children are enslaved by media products of glittery, violent, white
value filled cartoons, fantasies, music video programs, childrens cable
networks, and consumer gripping commercialism that keeps the
appetite for products out of line with income realities.
The attack on the family is never ending. The development of machomen images for the men, and soap opera queens for the women deliver
in us anti-family sentiments that destroy the very same institution
that could and would save us.
The promotion of anti-sexual behavior (homosexuality), male studs
motivated by their penis and loose whores that are all body and no
mind, leads to the destruction of good men and women. Once this
unprincipled behavior is digested as normal and acted out, the family
erodes and disintegrates before our very eyes.
29
It is the theme encased in the music, the videos, movies, cartoons,
novels, history books and in the newspapers If loving you is wrong
I dont want to do right. Each betrayal sends a death blow to the
family and extended family. As they work on our basic reoccurring
urges (sexual) and play with our minds, they drape unhealthy sexual
attitudes on every media product, and we accept the unwholesome
as the acceptable norm.
Completing the trap is an environment of drugs, AIDS, consumerism,
classism, anti-Afrikan sentiment, religious intoxication, externally
developed inferiority complexes, academic terrorism and, of course,
free access to our minds for the Culture Bandits.
But who the hell are we and why should we resist the Consciousness
Industry? How do we differ from other peoples? And what is our
historical role? In other words, what are we attempting to protect,
obtain and perpetuate?
Great Afrikan historian Chancellor Williams wrote in his classic The
Destruction of Black Civilization:
The land of the Blacks was not only the Cradle of
Civilization itself but that the Blacks were once the leading
people on earth; that Egypt was not only once all Black, but
the very name Egypt was derived from the Blacks; and that
the Blacks were the pioneers in the sciences, medicine,
architecture, writing, and were the first builders in stone, etc.
We must take time before we journey on into the study of the Culture
Bandits, and how and why they work our culture over so thoroughly.
We must establish firmly who we are and our relationship to the white
collective (European enslavers).
To say we are Afrikan people, is not enough, we know that to be a
fact, and those of us who dont know it, will be reminded by our
enemies. But who were/are the Afrikans?
30
The physical evidence being unearthed daily proves beyond a shadow
of a doubt that we are the original people and all others sprung from
us. L.S. B. Leaky and others have documented for those doubters of
all hues that we were/are the beginning.
Dr. Frances L. Cress Welsing, M.D. laid out her interesting view,
Cress Theory of Color Confrontation, dealing with the behavior of
the white collective against people of color and especially against
Afrikan people. To loosely run it down, she agrees that Black people
are the beginning and her dynamic explanation of what she perceived
as the white collectives irrational/hostile/violent behavior toward
the 90% of the worlds people (people of color) is in fact a reaction
to the fear of genetic annihilation.
Her research in the behavior of whites toward Blacks, in particular,
should clarify to us all, the phenomena of racism, practiced to deadly
precision by our enemies. On this our Elder Neely Fuller writes in
his Textbook for Victims of White Supremacy:
Most white people hate Black people. The reason that most
white people hate Black people is because whites are not Black
people. If you know this about white people, you need to
know little else. If you do not know this about white people,
virtually all else that you know about them will only confuse
you.
Dr. Welsing, in her famous paper, travels through the white psyche
with a laser focus on answering the question of the ages. Why are
these people so barbaric toward the 90% of the population of this
earth termed people of color?
She feels their fear of genetic annihilation leads them to enact a very
paranoid love/hate relationship with Afrikan people. She views their
castrations of Black men, over-protection of the white female, tanning
of skin to achieve color while risking skin cancer, are just a few of
the symptoms dripping like a sore on hue-manity. She writes:
31
Psychiatrists and other behavioral scientists frequently use
the patterns of overt behavior towards others as an indication
of what is felt fundamentally about self. If hate and lack of
respect are outwardly manifested towards others, hate and
lack of respect are most often found at deeper level toward
the self.
Whites are not at peace with themselves nor comfortable with their
color: they are fearful of extinction which causes them to be Culture
Bandits. This allows them to control the culture they unconsciously
feel they sprang from, while destroying all they dont understand
(which is most). And that portion which could not be used to serve
white supremacy is hidden and destroyed as they attempt to possess
our consciousness as a defense mechanism against our organizing
efforts to perpetuate ourselves.
Therefore, they nestle in our culture like sleepy rapists, they fight
sleep after their foul deeds, huddled with an organic force that is not
theirs, they pretend to not only be the experts and critics, but also
originators. They easily attempt to explain away: Elvis Presley, Tom
Jones, Peggy Lee, Mel Torme, Gerry Mulligan, Josef Zawifnul, The
Beastie Boys (beast indeed), Kenny G, Joe Cocker, George Michael,
Robert Palmer, New Kids on the Block, Rolling Stones, Beatles,
Madonna (super sick) and on and on.
Welsing feels we are at war with the white collective. Because of
their deadly fear, they are constantly struggling to decrease the
populations of people of color, especially Blacks, who produce the
most color producing element; melanin. Thus we are viewed as the
greatest and most feared threat.
Consequently, they arm themselves with tools of genocide: all types
of weaponry, chemical warfare like AIDS etc., birth control, drugs of
all types, and I would add, the Consciousness Industrys process of
Culture Banditry prepares our people for genocide. The very loss of
32
identity through their mass media and institutions set us up to be
victimized by their weaponry. They are so good that their process
even gets the victims actively involved with their own slaughter.
Other opiums used by the Culture Bandits are religion, consumerism,
class consciousness (which means allegiance to them) and confusion,
which is the enemy of progress and revolution.
Have you ever wondered why Amerikkka and indeed the western
world is preoccupied with our culture? It should be understood that
they feel it is a threat because of its binding nature, its global
continuity, and its rich history, that proves it out produces their
backward systems of social formations. They fear and hate our culture,
while at the same time, they are in awe of it and our endless reservoir
of creativity.
The songs, the dances, the language, the clothes and how they are
worn, the hairstyles, the definition of cool, the athletic approach to
games, the philosophies of life, the developments of religion and, in
short, every aspect of life is at their disposal for invasion, destruction
and the development of a caucasianizing captivity... they are: Culture
Bandits!
Another famous Afrikan historian Dr. Yosef ben-Jochannan had this
to say in his classic work Blackman of the Nile and his Family:
The Black man (indigenous Afrikan and his descendants)
must once more write about himself, his culture, and his
continent (Alkebulan, Afrika, Ethiopia, Libya, etc.); for no
one cares about anothers history. Moreover, when a mans
history is written by his enslavers or captors, regardless of
his masters religion or economic philosophy, such a history
is always distorted to suit the master-slave relationship; which
is the only possible result from such an enforced union.
33
Dr. Ben, as he is known to the Afrikan community, goes on to establish
in us the need to study our history from the sources that sprang from
our culture and are linked with us. He continues:
Such paternalism does not have to be vindictive. The mere
fact of the relationships existence forces one to feel in fact
superior to the other. And if the history of such a union is of a
very long duration, many of the captured begin to accept their
status of inferiority. They then allow themselves to be renamed
accordingly. With their new name a new psychology naturally
develops; and with the new mind, a new docility...this was
done to the NEGRO.
Yeah, theyre Culture Bandits and consciousness thieves who redefine
all we do, why, when, and for whom. But as Dr. Ben has noted, they
even redefined us from the Afrikans we were/are into Negroes.
Once trapping us in a state of confusion and disarming us of our
culture, they set up the machinery to keep us in that state of lost huemanity. This was the work of the Culture Bandits.
Malcolm X taught us that:
You know that we have been a people who hated our Afrikan
Characteristics. We hated our heads, we hated the shape of
our nose, we wanted one of those long dog-like noses, you
know; we hated the color of our skin, hated the blood of Afrika
that was in our veins. And in hating our features and our skin
and our blood, why, we had to end up hating ourselves. And
we hated ourselves. Our color became to us a chain - we felt
that it was holding us back; Our color became to us like a
prison which we felt was keeping us confined, not letting us
go this way or that way. We felt that all of these restrictions
were based solely upon our color, and the psychological
reaction to that would be that as long as we felt imprisoned or
chained or trapped by Black skin, Black features and Black
34
blood, that skin and those features and that blood holding us
back automatically had to become hateful to us. And it became
hateful to us.
And Malcolm was correct, it is a point we can not deny. However,
we seem to get lost as we attempt to explain how this hatred came
about. Too many of us do not deal with the theft of our consciousness
through overt oppression and symptomatic institutionalized antiAfrikan propaganda. It was and always has been the work of the
Culture Bandits to dislodge us from our culture.
Whether it was the overseers whip, or a Walt Disney cartoon, we
must admit they have been successful. The confusion of our people
as to their basic identity supplies the evidence that the process worked
and continues to work, as a large portion of our people still deny
Afrika. Without truly understanding what Afrika was/is, and its role
as the foundation of mankind, they flee the label of Afrikan.
In an interview with our late genius, Cheikh Anta Diop of Senegal,
which was published in Black Books Bulletin and later put in that
great time capsule called Great Afrikan Thinkers edited by Ivan Van
Sertima and published by Transaction Books, Shawna Moores
interview with Diop gave up this gem:
When we talk of racism in antiquity, it is important to
understand that racism as we know it, could not have been
expressed in the same way vis-a-vis Blacks, for the simple
reason that it was Blacks who had monopolized technical,
cultural and industrial know-how. The other races had to
pattern their technological, cultural and religious
developments after the accomplishments of Egyptian
technology, science, culture and arts. The Greeks were forced
to come humbly and drink at the fountain of Egyptian culture.
35
In the famous interview Diop goes on to explain how Alexander the
so-called great was in awe of the Egypt he came upon. Even that
barbarian knew the value of this Afrikan nation as it surpassed all
that he had seen and known.
After conquering the entire eastern Mediterranean basin,
Alexander went as far as to set up the capital of the empire in
Egypt, not in continental Greece or Macedonia. Dont you
find that strange? It would be like France setting up its capital
in Dakar, rather then Paris, after having achieved a colonial
empire. Alexanders decision is indicative of the cultural
ascendancy exercised by Egypt over non-Black peoples, even
at a time when she had already lost her national sovereignty.
Helenas civilization was indebted to Egypt beyond measure.
It was to Egypt that all of the Greek scientists of the Helenas
period came in search of knowledge. Hence, racism in the
modern sense of the word could not have been exercised by
whites against Blacks in the same way during antiquity.
These things are not common knowledge to our people. Consequently,

as Dr. Ben has said, the loss of our identity makes us view others as
superior and we taught them. Couple this with what Dr. Welsing views
as their fear of genetic annihilation, and we began to get a feel for the
reason they developed into Culture Bandits. It was through
psychological, economic, and political necessity.
In short, they had conquered, through unprecedented barbarism, the
Afrikan, his land and his culture. But what they had captured was far
superior to anything they could have ever developed. To justify the
captivity and exploitation of our people and settle the struggle within
themselves over the fear of becoming extinct, they perpetuated a fraud
and claimed all that we had developed as theirs. They are murdering,
lying Culture Bandits!
To portray the victim as the criminal, is a basic tenet of the Culture

Bandits. Even though they stole everything they could understand
36
from our societies, wherever they came upon us, they also destroyed
more and that which they tried to build upon, they claimed as their
creation.
Let me make one more point here: In Stolen Legacy, by George G.M.
James, he speaks of the Greeks you and I were taught were the basis
of everything that the White man is supposed to be. Everything that
we must look up to and emulate. But let us listen to what James has
uncovered and you will hear this theme over and over throughout the
work of our historians, who are telling our-story through dynamic
research. James wrote:
After nearly five thousand years of prohibition against the
Greeks, they were permitted to enter Egypt for the purpose
of their education. First through the Persian invasion and
second through the invasion of Alexander the Great. From
the sixth century B.C. therefore to the death of Aristotle (322
B.C.) the Greeks made the best of their chance to learn all
they could about Egyptian culture; most students received
instruction directly from Egyptian Priests, but after the
invasion by Alexander the Great, the Royal temples and
libraries were plundered and pillaged, and Aristotles school
converted the library at Alexandria into a research centre.
There is no wonder then, that the production of the unusually
large number of books ascribed to Aristotle has proven a
physical impossibility, for any single man within a life time.
Is this not a Culture Bandit of the highest order? Yet, our children
and the youth of the world are taught to look up to this pale plagiarizer,
who stole and claimed our wisdom. Further, what if we had institutions
that taught the true story of the Afrikan to our people? Not one of us,
not one, I repeat, would want to claim to be, someone or something
else.
37
Armed with our collective wisdom, achievements and glory, we would
have a built-in vaccine against their genocidal programs and their
major components of drugs, AIDS, alcoholism, anti-sexual behavior,
consumerism, classism, physical mutilation, and the phenomena of
dealing against our interests.
We traveled that far back for a reason. It is important that we all
realize that we are now dealing with the sons and daughters of the
original Culture Bandits, and they have done their parents proud.
Their ability to steal the culture from under our noses goes undetected,
in the main, because we have no functioning definition of culture,
nor do we identify with anything or anyone but them...the Culture
Bandits.
In the Philosophy and Opinions of Marcus Garvey he explains
education in a new light, one that would disarm the Culture Bandits
and place them exposed naked before you:
You can be educated in soul, vision and feeling, as well as in
the mind. To see your enemy and know him is a part of the
complete education of man; to spiritually regulate ones self
is another form of the higher education that fits man for a
nobler place in life, and still, to approach your brother by the
feeling of your own humanity, is an education that softens
the ills of the world and makes us kind indeed.
Garvey made it plain and digestible, but lets look deeper at the words
of this renown Afrikan Patriot. He goes beyond many who have an
unnatural love for those who have inflicted on us, for centuries, the
type of murder, brutality, physical and consciousness castration,
slavery, neo-slavery and every other form of degradation a people
can suffer.
He says, to see your enemy and know him is a part of the complete
education of man. And so it is! However, the mass media machine
38
of the Culture Bandits bombards our people with the notion of
submission to their tyranny because it is in the interest of their
genocidal agenda.
Reverse the message, and beam to them, that they should put down
their arms, love all people and study war no more, why, they would
kill you.
Samuel F. Yette in his famous contribution The Choice dealt with the
final solution component of Amerikkkas plans for its prisoners of
war (slaves):
The obsolescence of Blacks in America and their will to
survive nobly - demand and fight for their rights - provide
some with an adequate rationale for Black extinction. Legal
sanctions for systematic invasion of Black sanctuaries homes, schools, and establishments - were signed into law
before Congress adjourned for the fall, 1970, elections. But,
in America, as in Asia, these essentially military measures
bespoke the failure of insincere or basic unsound efforts to
help Black people.
Obviously, this is the reason this work, Culture Bandits, was brought
into existence. This is not a mere intellectual exercise, but a critical
Working Paper that is organic in nature and will change with the
tactical developments of the Culture Bandits.
Yet, it is not just about survival, it is all about reclaiming what is our
heritage and gleaning that which is applicable with this contemporary
world and building a new reality from there.
This piece is a frontal assault on our enemies and their methodology
of confusion. This Pre-Study was necessary if we are all going to
start together to seriously deal with their vanguard in their system of
oppression... their mass media.
39
Welded to it is our destruction wrapped in glittery Hollywood like
packaging, subliminal subjugation, and anti-Afrikan propaganda. The
purpose of this book is to make you sensitive to their advances on
your consciousness.
Their military power is useless against us and any other people who
have a strong will and dedication to their own liberation. Witness
Vietnam and all the violence heaped on their small backs, yet they
chased the Amerikkkan military machine out of there with its drawers
on fire. It is clear that when the firing stops, white people are in their
most deadly state.
For example, after the death dealing slave and colonial systems with
the documentation of the brutal deaths of tens of millions of our
people, not one, I repeat, not one white person did a minute of time
in jail, nor have any been executed for war crimes against our people.
Furthermore, as the revolution in Southern Afrika continues, whites
of the region who are guilty of the daily murder of our people, dont
even fear retribution, justice, or prosecution for their war crimes.
Why then, should whites stop the genocidal machinery when there is
no punishment for the crime? The mass media will steer all toward
the notion of living together as the goal and their approach to education
the ideal. They cleverly mask the crimes and never, I repeat never,
even consider that Black justice is duty bound to punish those who
committed war crimes against our people.
Integration is supposed to be our reward for centuries of suffering.
Living with them and civilizing them should be our goal. However
our true goal has to be justice and it is a betrayal of our ancestors to
let them get away with crimes against hue-manity.
Many Blacks and whites will move uneasily in their chairs at these
sentiments, however, none can deny that justice must be served before
40
the eyes of our children and theirs. Why, 90 year old so-called Jews
are still chasing feeble Nazis across the stars for war crimes. What
the hell is the difference? Consciousness!
Their trickyology at the negotiating table is legend. Their mass media

and its development of a consciousness that drones us into neoservitude is more deadly then any fire power we could imagine. For
example, most of us dont see the invisible hand controlling and
dealing the drug war that is ravaging our community.
What we see is television and movies defining reality for us and their
images project local problems, community and internal inferiority.
And we function on this as if it were proven fact. We organize to
solve the problem as if they are not the problem. We invite the local
police, who protect the drug trade and make profits from the carnage.
We then allow them to organize Town Watch sentries pushing 911 to
summon our enemy to document the damage.
That is the result of effective Culture Bandit work, that masks their
deeds as they pretend to be part of the solution to the problems they
perpetuate.
After the cries of off the pigs and control your community in the
60s and 70s the mass media swung into gear to suppress the
movement of our people toward liberation. Necessity gave birth to
Black exploitation movies, we gotta live together songs, Spy flicks
and liberal created films and t.v. sitcoms that nailed us further down
under the ladder of disrespect. We will deal with all of this in volume
two of Culture Bandits.
For now, let us come together on the fact that we are the original
people of this planet and we were a scientific people whose great
works were indeed the total knowledge of mankind. Our use of
knowledge gave birth to the disciplines of science, mathematics,
medicine, astronomy, astrology, engineering, architecture and every
other building block to the advancement of civilization.
41
We should now be prepared to dissect the workings of the mass media
of our enemies as it takes the vanguard in our destruction. Meanwhile,
it hides information, distorts facts, and down right lies to us as we die
globally from its effective poisoning of the consciousness.
Electronically speaking, we are being whipped down to mere shadows
of ourselves. Once down, we are spread open and violently raped of
all things Afrikan, planting a seed of self hatred in our bodies and
child-like love and obedience to the rapists in our consciousness. As
Afrikans we are all but dead and we respond as they respond,
consequently, they are never confronted with the terror we could bring
if we truly knew this was all about the death of the first race...The
Afrikans!
42
THEY HAVE STOLEN OUR SONG
43

(HISTORICAL OVERVIEW)
Our song is a strong versatile collage of rhythm and melody spinning
out of the diversity of the global Afrikan experience. It is attached to
every sphere of our existence mingling with reality, fantasy and
artificial cultural manipulation by our deadly enemies... The Culture
Bandits.
Control is the operative word here. Ever since we were observed by
the flesh thieves and beaten off the boats of captivity, our enemies
checked out our affinity with musical language.
It did not take a genius to understand that our music was a binding
with nature, a consistent interaction with the environment and our
fellow man. Our musical messages rode the currents of nature that
articulated all the corridors of life we experienced.
A comfort zone it was, tied to the efforts of the continuity that we
struggled to deliver. Yet, to the outside observer, it was clear, that the
enslavement and continued subjugation of our culture depended not
on just a remote appreciation for the song, but the destruction of it.
Thereafter, they could call the tune, a tune that aided them, not the
originators.
For example, it did not take the Arabs and Caucasians long to realize
that music was the bedrock of our culture. This infrastructure supplied
the platform to accomplish all that we had since we brought mankind
into being.
Outta da drum we come! So consequently, the drums were outlawed
as deadly communication tools of unity, whose messages could not
be decoded by the Culture Bandits. They were preparing to steal all
and reclaim it as their own.
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If you understand clearly what we had developed in the early days of
civilization, before whites can prove they even existed, you will realize
the impact of the Culture Bandits on the continuation of hue-man
progress.
If you do not understand these things, I urge you to back track into
the works of Cheikh Anta Diop, Dr. Yosef ben-Jochannan, Ivan Van
Sertima, George G.M. James, Chancellor Williams among others.
This study will document for you, as it resurrects our true story not
his-story. It was through our schools of life that we gave birth to
scholarship, humanistic societies, all the disciplines of life... and also
the Gods.
After saying all of that, and with the fullest of confidence, I know
you will do your research in the continuation of our studies for
liberation.
Let us also understand that for the celebration of life, death, birth,
religious ceremony, work, fertility, rituals, partying, war, marriage,
education among others, music was/is the key ingredient. And since
the music was a language in itself, the destruction or redefinition
was always a goal of those who conquered us and wished to keep us
enslaved.
Therefore, when the Europeans made their moves against our people
they specifically targeted music as a cultural fortress that had to be
overtaken and redefined at all cost.
WHY THEY COLONIZED THE MUSIC
Many of us look at music as something that just exists, something
that is there and will always be around because it is an exercise that
humans will always be involved in. We look at the categories (Gospel,
Blues, Rhythm & Blues, Rock n Roll, Rock, Heavy Metal, Pop,
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Jazz, Reggae, Afro-Pop, Ju-Ju, etc.) of music as separate creations of
our people. This is an over-simplification and what they want us to
believe.
These categories were not created by the originators of the music...us,
but by the businessmen to not only exploit our music for profit, but
control our musical creation for political reasons.
We may have come up with the names of the forms but not for the
purpose of balkanization. These logos were to identify notes in the
chord of our song not to segregate them. In other words, they insulated,
their system of oppression (white supremacy) from the natural attack
of our music as we responded to an environment that holds our dreams
and aspirations hostage.
Also, as they destroy/control/redefine our music for us, they isolate
the songs/dances/poems that threaten their control and destroy them.
How? By making the creation of such work unprofitable, because
they control the other mediums of communications such as: record
companies, radio stations, television broadcasting, schools, music
publishing and all other methods of mass communications.
Most Black artists dream of million sellers, fast cars, and quicker
women, and the development of their work has nothing to do with
the struggle or cultural maintenance. Many only want to try to find
out whats happening and plug into it for profit. Consequently, the
development of our musical culture is stagnated by profit motive.
Therefore, the political products of our real creative forces are forced
away from public eye and earshot. Also on an unconscious level,
young Black artists stray away from the type of music that aids in
clarifying our shit-uation in this genocidal war against white
supremacy. I repeat, on a conscious level they are not into creating
anything that can not make riches. Money is the goal, not cultural
maintenance. And who has the money, then who must you please?...
The enemy.
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Furthermore, the Culture Bandits win by delivering to the people a
backward notion that music is solely for profit and has no other reason
for existing for the young artist. At the same time, it is made clear
that the silly sex orientated songs have a shot at turning poor
songwriter, singer, publisher, producer or record companies into
millionaires.
The rags to riches, carrot on the stick leads many to develop music
against the needs of the Black community. And in many cases
perpetuate negativity to gain access to the airways for 10 pieces of
silver. Earlier I mentioned the promotion of infidelity records, or what
I call musical soap operas.
If loving you is wrong I dont want to do right
Me and Mrs. Jones
Slip Away
If Only for One Night
Nowhere in Amerikkka or western society is music discussed as
culture. The only music discussed as culture is their creations from
Europe. Yes, their classical music which is called, serious music
(?)
Obviously, those in control have our culture captive and because they
control the other mediums of propagation, they become the sole
experts of our culture. The result is clear, our music, which is encased
in all we say and do, is held hostage as it is used against us to
perpetuate backward sexual behavior, negative stereotypes and
political childishness all wrapped in a love your enemy coating of
decay.
In other words, our dynamic musical culture so versatile and rich in
all textures and colors is now a weapon of the Culture Bandits. And
as they use the carrot on the stick techniques on poor rural and innercity kids, we unconsciously churn out all the musical products they
47

use against our struggle to create healthy families, progressive
communities and our march to true freedom.
Rags to riches stories by B.B. King, James Brown and a host of innercity street Rappers and jazz musicians produce a false path out of
poverty and servitude. In fact, it digs a deeper hole for the people as
a whole, while a few rats are allowed to jump ship.
Interesting enough, those who get out are viewed as he-roes and sheroes as they climb into another class, they produce negative
stereotypical images of the community from which they sprang and
also use the music created by the people to desert them.
Let us stop here and reflect on our musical culture. Let it be understood
that no one person makes history or creates in isolation from the
people he or she is linked to. Therefore, the Blues was not the invention
of one man but the method our people used to musically articulate
their emotions. Similarly, it was not one person who started using
street poetry and called it Rap.
Naw, it is the historical and cultural continuum that bled into the
youth of today. When responding to their environment in this day
and time, they unconsciously returned to what they knew. Their
connection to our oral historians, griots (Afrikan storytellers), and
the Claude McKays, Phyllis Wheatlys, Langston Hughes, the Last
Poets and on and on is undeniable.
This continuation must be known to be felt, but not knowing it does
not mean it doesnt exist. The prophets of rage, Public Enemy, are in
synch with their people and their culture. Somehow they squeaked
through and they are being dealt with by our enemies. Many times,
we have seen powerful forces of white supremacy attempt to destroy
them...why?
This is not to say they appeared from out of space, but it is to say that
they constantly study our history to uplift their knowledge. This
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delivers to them a view of their art as a cultural weapon to strike at
our genocidal enemies.
Each of their albums has shown cultural development as it also
demonstrates that there is plenty of room for more growth. Their
study of the life work of Dr. Frances Cress Welsing, Dr. benJochannan, Diop, Van Sertima and others earlier mentioned gave birth
to their progressive raps.
Their impact on the youth of today will be written on historical tablets
for generations to know.
Yet, Michael Jackson, Prince, Baby Face and others with the soft
punk non-aggressive image have the doors of financial opportunity
open to them. The system does not attack, but promotes songs of sex,
infidelity and sexual backwardness. However, it clearly attacks any
performer who uses music for political purposes that does not fit the
we gotta live together theme of the people who make living together
impossible.
But the greatest danger is trapped in the fact that we believe that the
compartmentalization of our music is the natural order of things.
Despite the fact that the same ingredients are in almost all of our
creations, the commonality still goes unnoticed. The criss cross
rhythms, poly-rhythms and call and response elements travel through
it all in proud ships of cultural identification.
Ahh, but even the so-called Afrikan intellectual drinks from the cup
of colonization. For example, many jazz fans wont even consider
listening to Rap Music and many Rap fans wont bend an ear toward
what is called jazz. Some Gospel purists down other forms of Black
Music, while the Blues and Reggae is generally shunned by all...get
my point?
Meanwhile, radio and television commercials and even film sound
tracks clog the ears with our music while selling their products to
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Black and white markets. The Culture Bandits promote music
separatism for another critical reason. As long as we allow Afrika to
be divided in balkanized states developed out of the imperialist Berlin
Conference of 1884-85, we will forever be controlled by external
united powers, who consolidated and still consolidate to control our
people, resources and culture. Afrika was a mere pie for European
colonialism and so is the music developed by Afrikan people all over
the globe.
Likewise, as long as our people in this country allow the Culture
Bandits to isolate our music in segregated patches of exploitation,
we will never understand each other. Nowhere in Afrika, will you
see a music for the youth and one for the parents and one for the
elders. They collectivity drink from the culture cup in a unity of
purpose.
In other words, our creativity is used against us, instead of it bringing
us together, its colonization drives us into different camps of
understanding. Indicative of our class and religious separations, we
no longer sing the same song. The Culture Bandits would have us
believe that its musical taste, class or maturity, when all along they
know that all the forms of Afrikan music are not allowed to sing the
same song at the same time...politically.
In its reactionary stance, they allow us to sing one basic theme, what
Public Enemy calls sex for profit.
If the song was of liberation, it would not matter in what voice,
cadence, tempo or key we sang it. The arrangement and vehicle would
not be important, the content would rule the day. If Luther Vandross/
Al B. Sure/Jeffrey Osborne also used their skills to put forth ideas of
Afrikan unity, economic collaboration, social comfort and political
agitation... what would you classify their music, as?
Yes...revolutionary!
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If Wynton Marsalis dropped his musical arrogance and understood
clearly that there is a place for all if the message is Afrikan Liberation,
he would stop causing critical confusion by railing against any music
that was not white classical music or his definition of jazz. He claims
that Rap Music is illegitimate. This claim is as worthless as his praise
and glorification of his enemys musical culture (classical music).
I watched as a great Blues singer appeared on a talk show years ago
celebrating that he had finally made it. He went on to say he had
finally left the Chittlin Circuit (which was the Black circuit of clubs
and theatres like the Uptown in Phiily, Apollo in New York, The
Regal in Chicago, The Howard in D.C. etc.).
In my thinking, that is where he served his apprenticeship, applied
his trade, made a living, performed for his people and kept the culture
alive. But in his thinking, it was more about money and fame, which
required leaving home and playing for audiences of strangers and
young aspiring Culture Bandit musicians, who later stole the Blues.
But there were other opinions.
This is how Billie Holiday put it affectionately in her book, Lady
Sings the Blues with William Dufty:
There is nothing like an audience at the Apollo. They were
wide awake early in the morning. They didnt ask me what
my style was, who I was, how I had evolved, wheres I come
from, who influenced me, or anything. They just broke the
house up. And they kept right on doing it. I played the Apollo
for the second week. This is one of the few times it happened
there, if I do say so myself. And I damn well do.
All of this does not negate the positive contributions the popular Blues
singer has made to our culture, it just clarifies the reality that culture
maintenance is not on our conscious or unconscious agenda.
Consequently, the Culture Bandits run continuous raids on our culture
extracting big chunks like gold from a South Afrikan mine.
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Millie Jackson, who is known for her raunchy shows and records,
was picketed from coast to coast for her continued appearances in
Sun City, South Afrikas playground. Jackson had no respect for the
worldwide boycott of the racist country. She resisted the pickets, lied
to get by them on many occasions, and then condemned them from
the stage and on the radio. No consciousness, politically brain dead.
Many activists have dubbed her the Boer Whore. Sometimes
acceptance by whites is more important then honor, dignity and
fidelity to our people.
You may want to counter by saying Blacks were ashamed of the
blues and thus neglected them after the large migration to the cities,
where the key to employment opportunities during World War II were
at the time. All the parts of any culture must have a maintenance
component. If a people is swallowed by a dominate culture that
projects only their culture on the screen of life, any culture would
diminish.
In addition, just because Im not using a portion of my land, or singing
a particular musical creation during a period of time, does not open
up justification for thievery by external forces.
Without the ownership of any methods of mass communications, it

is almost impossible to perpetuate the culture of our people here in
Amerikkka. Needless to say, even today many radio stations have a
Black format but are white owned or have Blacks fronting as if they
own these arteries, however, they are really the property of the Culture
Bandits. And those stations in the hands of most Blacks are in the
clutches of someone whose loyalty to the people is questionable.
Therefore, the people have to choose to buy from the selections they
hear. If they are not exposed to progressive uplifting music, they can
not make a conscious choice. If the Blues is nowhere to be found,
they can not chose the Blues. If Reggae is not to be found, or Ju-Ju or
Afro Pop is not played, how could they know of the existence of
these other Afrikan art forms, if never exposed?
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Unless they want our children to hear white boys playing the Blues
or Paul Simon exposing the music from Azania (South Afrika), our
artists are tucked away in the folds of Amerikkkas diseased culturalcolon. Simons Graceland smash was a perfect example of what will
sell. It was like Tarzan leading an Afrikan band and the exploitation
continues. Well Tarzan made a fortune off of the hype and it saved
his career as a practicing Culture Bandit.
Think back, and you will remember that he recorded and claimed to
pen that old Black Gospel tune Bridge Over Troubled Waters. And
its sad to say, many Blacks who wouldnt have been caught dead
listening to music from Afrika, purchased his infiltrated music on his
album Graceland with all Afrikan musicians and the singing group
Ladysmith Black Mambazo. Remember, Graceland was Elvis home,
now you should understand the inside joke of the Culture Bandits.
Another Blues singer (Joe Williams) never appears on Johnny Carson,
or any other talk show, without a golf club in his hands to demonstrate
he has made it. The timber of the Blues has changed as sung by Joe
Williams and B.B. King, since they have ascended to the upper class.
Now whites can relate to their songs about problems with the horny
or ornery Black woman. That is the extent of the projection of our
Afrikan woman, mere objects of lust in red light district songs or
dancing on decadent videos. No more songs about poverty and despair
brought on by the enemy. Now the blues they sing has an affinity
with their masters as opposed to a relationship to our people, whose
suffering has continued. Uniting Afrika under one flag, currency and
destiny is the goal and an important tool to be used to that end is our
musical culture. It must be seized from the Culture Bandits of the
white death.
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AWARDS FROM THE CULTURE BANDITS
(OR HOW TO STEAL LEGITIMACY)
When the control of a cultural form is in the hands of the enemies of
the people who produce that culture, the only result that can be
obtained is retardation. Whenever, outside forces attempt to guide a
culture and artificially manufacture its products through commerce,
that culture will spring backward or get locked in a time warp, only a
mirror of itself or what it could have been.
For example, the great Afrikan patriot Seku Tur of Guinea, while
alive and at the helm of the revolutionary PDG (Peoples Democratic
Government), did not allow tourism in his country. He understood
that the impact of tourists on the culture of the people was negative.
Further, he was clear on the fact that culture is not a commodity for
sale, but a living organic expression of a people. Tur wrote:
Every society has its own culture and every culture its own
values of civilization. Thus, we easily understand that every
act, every objective to be achieved should necessarily be
within the scope of culture; for culture embraces the entire
physical and moral being of a society whose whole thought
and action it underlies in the various manifestations of its
existence.
Under tourism, the impact on the economy (foreign capital) begins
to be the primary objective. Consequently, the people begin to develop
cultural products in its simplicity so that the buyer could relate to the
doll, drum, painting, dress, shirt etc. It is then easy for the culture to
be slipping backward, because we know if you are not progressing,
you are deteriorating.
The Culture Bandits understand this, therefore they are very
aggressive at seizing the culture of others, controlling it, then replacing
it with their cultural norms (cultural imperialism). They know if they
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can redefine the norms of the people/society, theyll have those people
(the victims) worshipping them (the criminals).
The notion is to let the other cultures exist but subordinate to the
white culture and its norms. Then they market their culture all over
the world as dominant, civilized and pure. When all along, it is a
bastard culture that samples (imitates) other cultures, and more
importantly, steals the products of Afrikan society. And while running
away with the achievements of the Afrikan, they claim loudly to be
the real originators of things they cant even understand.
Whether it is the story of the Black Madonna and child, mathematics,
religions, astronomy, astrology, mythology or music, they steal while
proclaiming to the world that they did this, they did that.
The evidence that Afrikan civilization is the basis for everything they
claim except their appetite for war, murder and sexual perversion,
one need only to read the startling work of our masters (Dr. benJochannan, Diop, Van Sertima, John Henrik Clarke, Frances Cress
Welsing among others).
For our study, we have to look historically at how they dealt with our
musical culture with the understanding that they crippled our progress
and made great profits at the same time.
Basically, the story of Elvis Presleys attempts to imitate Black music
should be clear even to the most casual observer. We should also
understand that Pat Boone rode to success singing Little Richards
Tootie Fruity, also work of Culture Bandits. But it goes much further
then that, in other words they are not exceptions but the rule.
The white torch singers stole unashamed from Billie Holiday, Ella
Fitzgerald, Dakota Staton, Sarah Vaughn among others.
Remember the British Invasion? That was a perfect name for the
cultural genocidal program the system of white supremacy pulled
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off, while the victims (us), many times, didnt dig what was going
down, what our cultural lost would be, and what the economic
ramifications were.
Howard A. Dewitt, in his book, Chuck Berry (Rock n Roll Music)
revealed the following:
In Liverpool, John Lennon and Paul McCartney listened to
Back in the U.S.A. on a portable stereo. After repeatedly
listening to Back in the U.S.A., a number of ideas germinated
in Lennon and McCartneys minds. In later years, Chuck
Berrys song was McCartneys inspiration for the White
Album Beatie song, Back in the USSR.
It was also Dewitts opinion that Berry had trail blazed and those
influenced are considered the cream of the crop of what I call the
Culture Bandits.
In later years song-poets like Van Morrison, Joni Mitchell
and Bob Dylan would follow Chuck Berrys lead of the 1960s,
1970s owed much in the way of expanded musical horizons
to ground breaking efforts made by Chuck Berry in the
1950s.
The Beatles, Rolling Stones, Hermans Hermits, Tom Jones, Joe
Cocker and other shameless imitators rode to glory in our cultural
vehicles. Their timing was great, for the system of White Supremacy
understood too well that their children were being turned inside-out
by the emotional Soul music of the 60s.
With James Brown and Aretha Franklin at the helm the powerful
Soul machine was light years away from the backward droning of
their white contemporary counterparts. Wilson Pickett, Otis Redding,
Carla Thomas, Chuck Jackson, Tommy Hunt, the Dells and others
were dripping soul music all over the world and our music superiority
56

was unquestioned as world tours opened up the universe to the music
of our people.
In her book, The Otis Redding Story, Jane Schiesel passed this tidbit
along from the mouth of Phil Walden, manager and white business
partner of Otis Redding.
Man I practiced and practiced . Phil went on but no matter
how hard I tried, I couldnt even stay on pitch, much less
sound anything like James Brown.
The intent is clear and can not be denied, that whites were going to
invade our culture and exploit it, either by attempting to perform
themselves or control the business end. In both cases they would
profit. Schiesel went on to write that Walden wanted to be in Soul
Music so bad, he ended up managing Black groups.
Needless to say, even with this set up, all but a small amount of the
profits landed in white pockets. The record companies, publishing
houses, tour promoters, artist managers, agents, performance rights
groups, club and auditorium sites were in the main controlled by
whites.
Left out, we were, and cut out of the glory. In front of the audiences
and cameras was our domain. Consequently, even though, all we were
left with was the adulation, and even this was too much. Racism
requires a maintenance. Obviously, white teens yelling at the creativity
and the sexuality of Black performers would not do. A cultural counter
attack was necessary to stem the tide and reverse the fabulous exposure
we were getting to the outside world. For it is a contradiction to say
we are savage, genetically backward, and uncivilized when it is clear
that we can articulate through music what other people have a hard
time feeling internally.
In touch with our feelings is one thing, but the ability to make those
feelings felt in colder hearts reflect a closer relationship with nature
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and man. Our singers could make them cry, make them happy, make
them mad, make them hate us and make them love us...music in our
hands is a dangerous weapon to be used in the struggles for our rightful
place as the original man and creators of what all the worlds
civilizations are based on.
The birth of Motown Records was more of a curse than a blessing.
Even though we are emotionally tied to Motown, because most of us
grew up on their music, we must be clear that Berry Gordys approach
to our music was always with an eye toward the white market. And
just as Seku Tur taught us, if we adjust our culture to accommodate
others, we will retard it.
Gordy wanted the white market bad, consequently he pushed his artist
development (A&R) departments to create music for the whole of
Amerikkkan society. Unlike James Brown, the hard Stax/Volt Sound
out of Memphis, the Chess/Checker sound out of Chicago and the
gutty Blues of the Southern regions, who just created the music of
the people that sprang from the reality of the lives of the people,
Gordy wanted to clone a sound that sugar coated reality and made
villain the raw Black vibe.
Gordy sent sisters from the inner-city housing projects, like Diana
Ross and the Supremes, to finishing school to whiten up their
approaches to life, culture and their community. The poetry of Smoky
Robinson was digestible to all because it had no particular linkage to
the reality of the streets. The excuse was that, Motown had a universal
appeal. All things spring from people and one cultural system or
another.
Since we have yet to make contact with any nomads of the universal
culture, we find that universal is another way of saying that the product
was produced to crossover, in other words, appeal to Blacks and
whites. This takes a watering down of our musical approach and drives
us backward, all in the name of profits.
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Also, remember the word control is operative here. Since whites
controlled all mediums of communications and all other things
involved with exposure of the music, most artists began to play to
them hoping for a monetary gain, while giving up the ethnic identity
of the music.
What is soul? Johnny Carson would ask Aretha Franklin.
What is soul? He would ask James Brown as they try to define,
dissect and possibly reproduce the music. Soul is like a comfortable
pair of shoes after a hard days work, Aretha answered the question
mark on Carsons face.
However, we can not blame the artists alone. All of us, or practically
all of us, believed that attention and approval from whites was making
it. Thus, it became the goal rather then just a coincidence.
The hard kicking group, the Temptations had the raw edge of
Blackness in their pure five-part harmony and legitimately became
the flag ship of all vocal groups. But even they were later co-opted to
sing psychedelic pro-drug songs like Psychedelic Shack and the
infamous Cloud Nine. All of this after personnel changes and a
hard rush at the white market leaving behind millions of loyal Black
fans that worshipped them. They left and were never to be let back in
the door of Black fame.
The arrangements and material the Four Tops used were digestible
by both the Black and white market as they sold records in the
millions. The Culture Bandits enjoyed Gordys approach to the music
and knew with this approach, they could catch up and take over as
controllers of the song.
Invade they had! The Beatle hype crashed on the scene and the white
mothers and fathers were relieved to see their little girls with the hots
for white flesh rather than the sweating dynamic powerful soul
59

merchants. In addition, white boys could avoid their feelings of
inferiority to the gravel voiced high stepping Brothers, who graced
the stage half naked in their various envied hues. White musicianship
was locked away in classical formalities and their inability to feel,
much less make others feel, was a handicap they could not overcome
without the help of the system.
And the system responded again as it had when they needed an EIvis
Presley, Jerry Lee Lewis or a Buddy Holly. But because Soul Music
had gone international, the hype had to be to the max. Even
establishment forms like the Ed Sullivan Show had to be used to
increase the exposure of the four, no-singing strange looking youths
from England.
To clarify my point, have you ever noticed that the Beatles, Rolling
Stones, Joe Cocker and Tom Jones sing as though theyre from down
South here in Amerikkka, but as soon as they start taIking you cant
understand a word they say?...Why? Because theyre Culture Bandits
and they practiced night and day to sing as though they are Afrikans
from the United States.
The Beatles swept through the country on the steam of the Culture
Bandits, who were winning in the war to wash Black music away,
even as they sampled it to the best of their ability. Motown had
prepared the way for the transition in its greed and lack of fidelity to
the necessary practice of culture maintenance.
The so-called biggest show on earth called The TAMI Show was
formed, filmed and executed as a marketing strategy. Coupling the
best in Black music with the British and other white acts was a
synthetic platform for the co-optation of Black music and the
legitimatizing of the Culture Bandits. In short, all the Black acts like
Chuck Berry, Supremes, Marvin Gaye and James Brown brought
with them Black integrity as the best of us. Just appearing with these
top acts put the Culture Bandits over (like Bruce Springsteen opening
for Bob Marley).
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With all the players in place, the bloody coup was ready to come off.
They informed James Brown that Mick Jagger and the Rolling Stones
would close the show. Everyone was shocked. No one, but no one,
could follow James Brown, who was legitimately Soul Brother
Number One in the Rhythm and Blues component of Afrikan Music.
Jagger was shaken when told he was to follow the King. And like a
Rocky Movie the stage was set. Brown with the Famous Flames (his
back up group) and his dynamic band kicked it out and did three
encores. Jagger knew he was right, that he could not follow James
Brown. In an historic performance, that left Afrikan people across
the world in stitches, Jagger went out and attempted to imitate James
Brown.
With no rhythm, no coordination, and no voice, (in addition he is
ugly as hell) he stumbled and fumbled from one edge of the stage to
the other. Dancing like a gorilla with his stuff caught in a vine, in the
movie houses across the nation in the Black community, the collective
laughter crescendoed, but it was shut out by the Culture Bandits.
Swinging into action the Culture Bandits mass media from their
discriminating chairs praised James Brown but chorused the lie that
Mick Jagger had taken the show. The unmentioned result would be
that he was now the king of soul...get it? If you dont understand run
down to the video store and cop a copy of the TAMI Show (now
called Ready Steady Go) and watch it, and then think again.
Because the whites wanted to believe the lie, the British invasion
now swept them away from the Soul singers. Not to mention their
psychological need to believe that they are the originators of
everything. Even though they knew the origins of Elvis, they dubbed
him the king, just as they dubbed Mick Jagger the king, and Bruce
Springsteen was the boss and George Michael and on and on. Culture
Bandits all, none could be crowned for they are aliens from without
who seized the culture through trickyology and greed.
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This competition between the originator of the music, us, and the
Bandits (them) is a reoccurring theme throughout the struggle here.
Again, in Howard Dewitts book he weaves a tale of the hatred Chuck
Berry and Jerry Lee Lewis shared for one another.
In 1959, Jerry Lee Lewis mother, Mamie, asked Myra Gail
Lewis to write Jerry Lee for a copy of Chuck Berrys Little
Queenie. Myra recalled: I suppose that next to Jerry, Chuck
Berry is her very favorite. Jerry Lee reacted in rage...After
hearing Chucks version two or three hours at his parents
home, Jerry Lee called a session at Sun studios solely for the
purpose of recording Little Queenie....Jerry traveled back to
Ferriday with a sample record, and promptly broke the Chuck
Berry version into a number of little pieces. Jerry Lee Lewis
was infuriated that his mother preferred Chuck Berrys Music
to his own.
Needless to say Mom dug the real thing. And even though Lewis was
the Culture Bandit, he hated any reminder that he was, in fact aping
the culture of another. In addition he went on to record more of Berrys
Music including the classic Sweet Little Sixteen. Yeah, he was insulted
by his Moms preference, but he couldnt stop stealing. Why, because
he could not build on a culture that was not his own.
In the video documentary Jimi Hendrix, Rock guitarist, Eric Clapton
reveals how he and Hendrix argued back stage over who would close
a show. We are not gonna follow you, he told Hendrix. Clapton
went on to say He (Hendrix) got on the chair and played some
amazing guitar. Of course, that settled it, Hendrix closed the show.
The conquerors want us to believe they are the originators, we know
better, they are mere Culture Bandits.
Some even attempt to discredit Hendrix, saying he copied the musical
theatrics of Jeff Beck, but Little Richard, in a filmed interview, let
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people know Hendrix was always bad. At times he made my big toe
shoot up through my boot was how the R&B legend put it. Even
during his days with the Isley Brothers, theyd cut the guitarist loose
during their show and the crowds would go wild.
Also included in the documentary, Eric Barret, former Hendrix roadie
would say It went in a weird way...Black groups with a conga player
...At the house was all these colored guys, it was a really strange
atmosphere.
Now pick up on that, it wasnt strange when Hendrix was surrounded
by the noplaying white musicians, but Barret thought it was strange
when Jimi tried to come back home.
Band of Gypsies, which included Billy Cox on bass and Buddy Miles
on drums, two Brothers, made just one album with Hendrix before
his management dissolved the all Black group. Hendrix, left with no
musicians who could culturally understand him and push him higher,
was never the same after that.
Buddy Miles says that they were writing together, jamming together
and having a good time.
If you ever see the final scenes from the Video, Jimi Hendrix, you
will see a frustrated Hendrix unable to communicate with the
unimaginative white musicians, who were lost throughout the jam.
After ending the vamp, Hendrix is shown throwing down his ax and
apologizing to the audience for the poor performance.
Let us be clear, if James Brown, the king of R&B Music, had been
satisfied with his crown, he could not have been used. This poor
country boy thought it was appropriate to put on a white glove to
shake the hands of white fans in the Vegas Casinos, so that they would
not be offended by his sweaty palm. Nor did Berry Gordy have to see
the white market as the goal and the Black market as the stepping
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stone. These thought patterns demonstrate a mentality that could never
think in the realm of culture or cultural maintenance. These are the
types of slave mentalities that the Culture Bandits feed on.
Just as western society (white folk) had stolen almost everything that
their society is based on from us, and claimed them as their creations,
our music was lifted from our culture, reworded and sold back to us.
Since we dont have a functioning definition of culture or culture
maintenance, we are left out of the game, confused, thinking of only
money and personal success. However, the Culture Bandits
understand clearly what is at stake and their necessity to claim what
they can use and destroy the rest.
CULTURE BANDITS AWARDS AND CRITICS
We take for granted the social and cultural milieu and
philosophy that produced Mozart. As western people, the
socio-cultural thinking of eighteenth century Europe comes
to us as a history legacy that is continuous and organic part of
the twentieth-century West. The socio-cultural philosophy of
the Negro in America (as a continuous historical phenomenon)
is no less important for any intelligent critical speculation
about the music that came out of it. And again, this is not a
plea for narrow sociological analysis of jazz, but rather that
this music can not be completely understood (in critical terms)
without some attention to the attitudes which produced it. It
is the philosophy of the Negro music that is most important,
and this philosophy is only partially the result of the
sociological disposition of Negroes in America. There is of
course, much more to it then that.
From Black Music by Amiri Baraka
(jazz & the white critic 1963)
In dealing with the critics of our music, it is important to understand
that the Culture Bandits must first set themselves up as the experts.
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They must be the judge and jury over the evaluation of a culture they
truly could never understand. Both for economic and political reasons,
this is done. And it is easy to accomplish this as long as they control
the record industry, the radio broadcasting medium, the print media
and every other mass communication organ to propagate their
structured lies.
But being the experts, and sending alien gossip through their mass
media is, in itself, not enough. They must go further, they must be
the voice of the people, the experts in another persons culture, and
ascend to the position of singling out those who they feel suit their
interests and is non-threatening as the best in the field. Needless to
say, many times, they crown their own and sanction them as the best
of another peoples culture, when in fact, they are, and can only be,
mere imitators; aping the work of the masters of our musical creativity.
The Grammy Awards and Amerikkkan Music Awards are just two
examples of the Culture Bandits work on controlling the music of
Afrikan people. With these vehicles the Culture Bandits can perpetuate
the myth of music categories and continue to colonize all of the music.
In no component of Afrikan music are some fans and some participants
so arrogantly elitist as the so-called jazz component. Sometimes it
takes on a dangerous class character and is as ugly as anything in the
class conscious European world. Class conscious reactionaries like
Wynton Marsalis attack other forms of Afrikan music for the Culture
Bandits, causing confusion and dis-unity between artists and among
the people.
After all the history that weve been through this is where
we are at? He asked after mouthing a repetitive disco-based
beat. When you get to rap music, you cant reduce anymore.
When you get past that, its not music anymore.
Wynton Marsalis speaking to students at
Marshall University in West Virginia
from Jet Magazine 1/16/89 page 22
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First lets look past the inter-cultural arrogance he must have picked
up during his classical music lessons. His comments demonstrate a
polished white ideological view of our musical culture. Instead of
understanding that music of the Afrikan is as diverse as our
experiences and responses to the oppression that has been whipped
on us, he nestles in his form (called jazz) and spits down from lofty
towers at the other components of our musical quilt.
It amazes me that we can appreciate the creativity of the brothers and
sisters from the islands that turned filthy polluting oil drums into
melodic beautiful instruments called steel drums. Why? Because oil
drums were newly introduced to the scene and were in the
environment and all environments are our playthings for our basic
creative genius.
What did our inner-city youth have around them, but some turn tables
and old records to play with. Yes, electric toys, that they turned into
scratching instruments of rhythm. And to come down on Rappers is
to be ignorant of our oral historians, griots (story tellers), Harlem
Renaissance and the revolutionary poets of the 60s. Marsalis needs
to be taught by us to understand his place and be reminded that he is
being used as a tool of the Culture Bandits.
Many jazz purists reject Miles Davis in an attempt to limit his musical
travels throughout space and time. The former Jazz Crusaders are
railed for their musical journey into other forms of Afrlkan music. If
this were coercion for cohesion I could understand the criticism, but
it seems to be that the hardliners fear extinction and lash out at those
who stray from the desired form. But wasnt jazz created to be
formless or limitless in its exploration?
Even though John Coltrane is now considered the beginning and the
end of jazz greatness, during the final years of his life he was heavily
criticized for his adventures away from established form.
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It is true that jazz is under siege, it has always been so. However, its
survival will not come from isolation from the Afrikan body of music
from which it sprang, but enhancement and promotion within the
familys musical diet is the key. This is where it will find the safety
to continue a fascinating journey to infinity. Anything short of this,
will find it more aligned with the Culture Bandits, whose goal is not
the preservation of the music, but the destruction through slow cooptation.
No Im not attempting to say Wynton Marsalis remarks are the norm
for jazz enthusiasts, but in the main, many will repeat this elitism
without realizing the class connotation that is married with this thought
process.
We produce all kinds of music, all kinds of sounds and approaches,
and jazz has always been under siege because it is the most difficult
to reproduce by the Culture Bandits. However, the trickyology used
to sabotage the music has always been a deadly source of co-optation.
The battle for the survival and promotion of jazz is indicative of how
the Culture Bandits love to isolate elements of the whole that is
targeted for destruction or co-optation. Dangerous internal reactions
will only lead to divide and rule success for our enemies. All forms
influence each other, however all the others are the chosen music of
Amerikkkan business interests. Consequently, this unnatural over
exposure of what is called Soul/Rhythm & Blues/Urban
Contemporary is the working of the system of exploitation for
financial and political reasons. It is not the work of the people and
the other artists who dont play jazz.
Obviously, balkanizing the music is the work of the enemies of our
people. This makes it clear that the target of the counter attack should
be those Culture Bandits (whites). The Mel Tormes, Tony Bennetts,
Stan Kenton, Peggy Lee, Kenny Gees, David Sanborn are mere
imitators of our culture not originators.
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Understand clearly the role of white critics. They set themselves up
as the experts of the music and the sole legitimatizers of musicians.
Further, I repeat, it is the whites who own the clubs, record companies
and mass media that takes the product to market. It goes beyond
blatant Cultural imperialism and into deadly cultural genocide. Our
culture, because it is organic, faces the same attack as we do physically.
We as a people are engaged in a war against the genocidal forces of
race hatred.
Just as we dont see the methods of the Culture Bandits, because we
truly love white people in an insane fashion, we are only now
beginning to see their total genocidal program with its tools of Crack
and AIDS.
A starving Fats Waller use to have to sell his genius for a few dollars.
White publishers then would buy outright compositions from writers
like Waller and copyright them in their own names and place them in
their musical catalogues. They are still making money from
performance rights, licensing and record royalties from songs
purchased for ten, twenty, thirty dollars....Culture Bandits.
Because they owned the recording companies, for years, they forced
talented jazz musicians to record jazz versions of their so-called
popular music or show tunes.
Jazz greats like Louis Armstrong, Duke Ellington and Count Basie
found great acceptance from the white audiences and soon became
almost the exclusive property of the Culture Bandits. They all made
good money, but due to the simple fact that the individual is
unimportant, our genius was captured and taken away. The money
they were paid was peanuts when you consider the co-optation of the
music slowed its roll, kept it digestible to white audiences, and made
the greedy businessmen a fortune.
For example, early in his career, Louis Armstrong was considered
the most progressive trumpet player of his time. It is no accident that
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after acquiring success with the white patrons that he found his sound
locked in a time warp of the St. Louis Blues and When the Saints
Go Marching In. To continue to explore and stretch out would lose
his white following.
Without a doubt, almost all artists lose their mass Afrikan following
when they slow down to keep whites on the measure. In the case of
Louie Armstrong, even though he became rich and famous among
the Europeans for slow walking the music, his big rolling eyes and
Satchel mouth smile eased him into the bag of the systems Uncle
Toms in the eyes of many Blacks.
The same song and dance we do among ourselves can be used for
negative political purposes by our enemies. Armstrongs last hit was,
of course, a cover of a white show tune about some white broad
called Dolly...Hello Dolly. Get my point?
Its important for you to know these facts about the music publishing
business in order to understand what I am saying here. Music
publishers exploit the compositions in their song catalogue by their
writers.
It is their job to:
a. Get their music recorded by as many different artists as
possible.
b. Get as many record labels involved as they can.
c. Print sheet music for sale.
d. Get music performed on radio/t.v./Broadway etc.
e. Promote their music for radio/television commercials.
f. Get mechanical license (first release authorization of a song).
g Oversee collecting of performance rights revenue.
In other words, you must look at a song as a living piece of commercial
property to be rented over and over to as many tenants as possible.
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As a matter of fact, a popular song is better then a piece of real estate
because it cost no capital for up keep, there are no property taxes, but
at the same time you can rent it (license it) to as many people at a
time as possible.
The mere policy that jazz A&R men (Artist & Repertoire) forced
musicians to cover commercial or Broadway material and so-called
standards, demonstrates the economic exploitation of the artist. More
importantly, while the Black jazz artist was recording and totally rebuilding, re-structuring and re-creating tunes by white writers (My
Favorite Things by John Coltrane is a classic example), their own
music (culture) was left unattended, dusty and abandoned...Culture
Bandits!
Remember, this is not a history lesson on Jazz or other forms of
Afrikan Music, there are others who can do a better job. It is important
to note that this is a dissection of the work of the Culture Bandits. To
this we must be clear.
In silence we have suffered too long at the hands of the enemy, until
we began to accept this perverted relationship as a norm. While in
fact, their relationship to our culture is totally abnormal. And again I
ask, why dont they expend some energy developing their own musical
culture.
Only when the victim (us) realizes the destructiveness of our
relationship with them, will the aggressor (them) move away as we
snatch the reins from the Cultural Imperialist and began to govern
our own cultural expressions.
Let them cry that I am a racist, let bellow from now until the end of
time: the fact remains, that they can not defend their position as
Culture Bandits. Understanding this is key, we are in a deadly battle
for survival and at the core of their attack is the deadly Culture Bandits.
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ISOLATING ELEMENTS
ISOLATING ELEMENTS
If you dont understand anything else about this book, I would like
you to walk away understanding that all our musical creations are
parts of the same body. Just as Afrika was divided up by our enemies
for exploitation, so was/is our culture, especially our musical culture.
And just as our people in the Motherland will fight vicious border
wars, to maintain these divisions, we are chauvinistic toward certain
forms of our own music. You cant afford to hate any of your children,
you must love them all. You must develop them all, and together the
family is whole, strong and invincible...seen?
Just as a doctor can operate on parts of the body for the good of the
whole, Im going to take this opportunity to isolate and dissect some
of the key forms of our music, that have both historical and
contemporary significance. Because, we all dont partake from all
categories of our musical diet doesnt mean we should propagate
against the forms we least enjoy.
At the same time, it is dangerous to not understand the importance
and the development of the music and its role in our culture. Only
then will we understand what has to be maintained, protected,
developed, or what has been stolen, re-labeled, and used against us.
Just as brother, homeboy, blood, dude, main man, my man, roadie,
are all terms for a Brother; traditional, gospel, blues, rhythm & blues,
Rock n roll, jazz, fusion, rock, soul, reggae, juju music, Afro-pop
are all logos for Afrikan music.
It is all connected with a genetic binding that surpasses any notions
of control by white exploitive business forces. Married together, they
are, and tied to each other as the ancestors are tied to us whether we
recognize this fact or not.
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ISOLATING ELEMENTS
The percussion nature of our natural heart beat, outta da drum we
come in total control of sound and power. Bending, blending and
mending sounds together in original, endless, imaginative creations,
we travel throughout the realm of possibility and back, in coherent
fits of exploration.
Our keys to creativity are the environmental factors and the need to
fill in the musical statements to travel with the historical truths of the
day. When I say we, remember, Im talking about alI Afrikan
people, not just those stolen and held in Amerikkka. Afrika, the
Islands, U.S., Europe, Latin America and any other place our people
are domiciled.
OUTTA DA DRUM WE COME
The linkages in the music bleed across the lines drawn by the outslders
to define and control our musical products, and our artists function
with them for profit. Hoping to cross-over is their wet dream, because
it allows them to breakout of their cultural arena (where they should
be happy/comfortable and safe) and into the white world. All for the
love of money.
A white world, while smiling, is hostile, deadly, and an assassination
agent of the overall genocidal program of the Culture Bandits. A world
that will allow one or two Blacks to make dollars from their
community via air play on white stations, gigs at white clubs and
casinos, plus television exposure.
As I isolate some elements in our musical quilt, I will point out samples
of this method of co-optation. Yet, co-optation and piracy is the strong
suit of the white enemy. Just as they stole Afrikan Philosophy and
credited it to the Greeks, they now feast ferally on our musical
products, while almost in full control of them.
George G.M. James writes in his classic, Stolen Legacy that:
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ISOLATING ELEMENTS
The term Greek philosophy, to begin with is a misnomer,
for there is no such philosophy in existence. The ancient
Egyptians had developed a very complex religious system,
called the Mysteries, which was also the first system of
salvation.
It is important to understand not only what we have and will create,
but how to protect and maintain it for the benefit of its creators.
GOSPEL MUSIC IS AT THE BASE
Gospel Music Is a form of music that will always be with us as long
as there are Afrikan Christians. The musical expressions of those
who hold these beliefs are as emotional and spiritual as Afrikans of
any traditional or adopted faith. All jump for joy in their execution of
religious rituals. Since we are the founders of the Gods and also the
one God concept, we worship on a higher level both in ritual and
more importantly in practice. I mean, we get into some Gods.
We are more inclined to become spiritually drunk and blinded, many
times by the religions we embrace.
For this discussion, Im speaking of gospel music and Christianity.
After the enemys version of Christianity was force-fed us, we, at
first, used these rare privileges to gather together to inform each other
of the struggle, escape routes, new families destroyed, violence used
against us, and general local and national news.
Wade in the Water and Follow the Drinking Gourd are two examples
that come to mind: wade in the water to lose the two legged n four
legged dogs tracking ya. And follow the drinking gourd cause the
stars can lead ya north. But the music goes farther then that. It was
used to soothe our aching bodies and souls. It was used to keep us
focused on the hope of tomorrow and the reward of life. It was used
as a binding melody of a people whose diversity had to be eliminated,
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ISOLATING ELEMENTS
whose language barriers had to be conquered, whose religions were
diverse. A people who needed cohesive elements to solidify their
struggle.
We also used Gospel Music for escapism from all that was too real in
an attempt to re-establish with nature after an estrangement produced
by the kidnapping of us from our land, culture, and our traditional
religions.
Keep in mind that a deadly European cultural system comes along
with their version of Christianity, a cultural system that negates what
is needed to deliver freedom. Unless the Bible is reinterpreted by the
victims, as Nat Turner and others did in the face of tyranny, it is used
to sell us hell on earth as an expectation, and a final reward in the
clouds after service to the white ones comforts.
Anyone can or could participate in Gospel Music in an organized
sense, in a congregations joyful noise or a one on one with the God
of their choice. In the fields, the songs could be sung, in the kitchen,
in the praying and kneeling of children close to bedtime, and in the
cells of tormented time in chain gang gray.
As I stated earlier, environmental factors dictate the type of musical
product we will produce. The rural sounds differ from the urban, and
so on. Yet, it all blends into a consistent, Afrikan approach to music,
worship and response to environmental factors.
The Soul Music explosion of the sixties revealed the connection
between the church and our early vocal expressions. Almost all of
the soul singers sang in church, which was amazing to whites, but is
basic to us. Every church sang praises and had its own choir. Then,
obviously, the children would get their formal training there, singing
from the heart, in the bosom of the Community, away from a cruel
reality that stalked them outside the church door.
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ISOLATING ELEMENTS
To us Black people, that is formal training: a training that lasts a
lifetime, but to the outsider, it is viewed as informal; yet very few
outsiders can perform with the youngest of our Gospel choirs and
groups. Anytime a group steps in front of a Black audience to sing,
they are facing a loving but critical audience. Furthermore, a great
singing aggregation is a positive tool of the church for gaining a rep
(a name for itself), recruiting and maintaining its membership.
Where else would Blacks be allowed to sing? Then what was the
point of attempting to make this all so extraordinary? They wanted
us to believe that there was something about the religion that delivered
talented, heart-felt expressions to the captured Afrikan.
Therefore, people like Sam Cooke, Aretha Franklin, Johnny Taylor
and Mavis Staples were all trained in one of our formal schools of
vocalizing... the church.
Today, the art form still continues as strong as ever. Gospel music is
a original product developed out of the oppression and environmental
changes the Afrikan experienced. Whites suppressed our culture,
replacing it with a synthetic slave culture consisting of violence, sexual
abuse, labor piracy and economic oppression.
With all other forms of expression viciously suppressed, religion and
gospel music got the full brunt of our creative and expressive genius.
The slavemaster was well satisfied with the situation, for he was
convinced that the complete adaptation of Christianity was in his
interest.
Pleased with the musical products of his property, the slavemaster
even enjoyed and pressed the converted heathens into performing
for him as they struggled attempting to get him in touch with his
feelings. This journey in search of their feelings continues today.
They still have not shaken the barbaric nature they exhibit at the
drop of a hat.
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ISOLATING ELEMENTS
Of course, they must control everything in order to make it serve as
a tool for their backward ends. Consequently, they dubbed their lifeless
musical approach to worship as Spiritual, while the more expressive
and sincere musical worship was planted with the gospel logo.
In any case, the music was captured, controlled, and used to the
advantage of the slavemaster. However, in spite of this, Gospel Music
has enjoyed growth and development, thus reins supreme as the
mother of all other musical forms developed in the so-called new
world. Just as Afrika is the source of all that the Europeans attempt
to claim, this music, linked with our survival, is the foundation of all
the musical forms that follow. All of them are Afrikan, and none can
be separated from the whole. However, today gospel music is solely
used for religious purposes, a recruiting agent, a musical articulation
of belief, a tranquilizer.
It is the elements of traditional Afrikan music that are not only the
classical music of our people but of all mankind.
THERE WERE NO BLUES IN OUR DRUM
Gospel music was a kind of blues, a wail, not only for the love of
their God, but also a plea for help and an articulation of fidelity. It is
a tight fit of emotional need and tangible help. The Blues is also a
wail, a scream for relief from lifes ills.
Environment is the inspiration. Since everything begins with the
women, givers of life and carriers of the culture, when things are
wrong in a relationship, progress turns to regression as esteem, ego,
and pride take a licking, the Blues is designed to keep us ticking.
Since we were forced onto these shores, servitude has always dug
into our man/woman interactions. Tugging at the family whole,
destruction the goal, we sang to massage the pain, compare notes,
rinse the hurt away as tomorrows sun demanded we journey onward.
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ISOLATING ELEMENTS
But The Blues was/is more then the lament of a lost lover, it always
carried realitys pain in every bar, in every melody, with each lick of
the guitar collective misery rained on us all. It delivered a common
bond, that solidified us with experiences externally produced for our
exploitation.
Whether rural sharecropping or urban unemployment, our cry
collected patches of the suppression and flung it on the table for
dissection. Yeah, ya gonna have woman problems, man problems,
family problems, and personal problems from the posture of a
neoslave in the horn of plenty.
The New Orleans Blues differs from the Mississippi Delta Blues and
the Chicago Blues Texture is different from the St. Louis Blues. It is
the environmental factors that create the differences and the oppressor
that causes the song to be created and sang from the depths of the
soul.
Again, the whites, in an attempt to get in touch with their feelings
attempted to understand and co-opt the Blues into their cultural reality.
Needless to say, it cant fit, because their culture and relationship
with society is different. They close their eyes, scream, ramble through
their being, and come up empty...lost from the art produced by the
oppression they inflict.
Just as they sacked the Grand Lodge of Luxor and raped our Egypt
and other Afrikan civilizations wherever they came across them, they
went after the Blues with a sense of purpose. The Culture Bandits are
obsessed with controlling and destroying anything we produce that
is useful to our peace of mind.
In the 60s, they decided to not just sample the Blues from a distance;
but to get inside it, redefine it, control it, and profit from the rape at
the same time.
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It must be noted that, many of us had let go of the down-home Blues
as we migrated to urban centers in search of jobs. Many Blues purists
point the finger at our people and claim we left the blues because we
no longer wanted to be associated with the music from home. But I
reject that notion, on the basis of the observation that the down home
music and issues no longer addressed the daily problems of the new
New Yorker, Philadelphian, or California resident. Remember, our
music is living; an organic expression of what we are experiencing at
the time.
Therefore, with the jobs being different, mode of transportation, taste,
smell, concrete replacing grass, and row homes replacing shanties, it
would be impossible to produce or appreciate the same music with
the same intensity.
The man who rises at five to a heavy meal and a mule ride to the
fields, has a different reality than the one who rises at seven a.m. and
catches a subway train. This is a critical point if we are to understand
how and why culture is created.
The Culture Bandits decided to move in on the Blues, in the 60s, as
they had moved in on Gospel and Jazz earlier. Record companies
took advantage of the so-called Hippie Era and the attempts of some
young whites to break totally from the culture of their fathers. They
knew instinctively that getting in touch with their feelings and
establishing new attitudes concerning war, sex, economics, fashions,
hairstyles and other cultural under-pinnings of their backward society
was critical.
Somehow, they acquired the notion that instead of developing a
counter-culture, they could steal ours and become imitation Black
folk. Joining hands with the Europeans who were also exploiting our
musical culture for profit, they embraced the so-called British
invasion. The term British invasion pre-supposes that there were no
Britians here and thats a serious laugh...lets go on.
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ISOLATING ELEMENTS
The Beatles and groups like the Rolling Stones were serious in their
attempts to steal Soul music from its creators. The Butterfield Blues
Band, Moody Blues, Righteous Brothers (pick up on that), Blood
Sweat and Tears (check that name) all romped forward with Tom
Jones and a whole crew trying to develop the same success of the
chief bandit, Elvis Presley (yeah he the King, the King of thievery,
and racial hatred as he stole from the people he hated).
The Amerikkkan and its imperialist brother from Europe fought over
the riches of our musical culture in the same fashion they fought
over the riches from the pyramids. Thieving grave robbers were now
ravaging through our living musical forms like Cecil Rhodes after
Afrikan women and children, yes like the KKK fixing for a lynching.
To study the Blues, the enemy had to pull the Blues closer.
Consequently, they opened their record labels, clubs, radio air waves,
films and television time, to a few Black practitioners. From this upclose and personal vantage point, they attempted to dissect the art
form for Dr. Frankensteins duplication.
Just like Milton Berle and other white comics use to sit in the audience
(with pad n pencil in hand) during Moms Mabley and other Afrikan
comedians performances uptown, white so-called artists sat in the
concert halls, smoky clubs and fireside jams for years, listening to
the masters of the Blues.
We know that Dr. Frankensteins monster had to be destroyed, and
so it must be for those who steal our music, re-label it, and attempt to
sell it back to us.
The Blues artists claim it is the white support that keeps them working,
and they reward the whites by letting some of them sit in (which is
really a requirement to get over). It is here that the cultural incursion
begins, for a few (I gotta make a living) pieces of silver.
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Harmless, you say? However, this legitimatizes the imitators and
confuses the next generation who feel it has always been this way.
Some fools even use this as an example of how integration works.
Moreover, those artists who dont understand culture, sprout some
nonsense about music is the universal language. If this was/is true
then why dont the whites further develop their musical voice from
their own cultural base?
Generally, because it is worthless, it is left unattended like a pile of
solid waste reeking in the corner. Meanwhile, the developers of the
dead music are in our culture attempting to convert our musical
articulations into something digestible for their folk as they make a
fortune, because they control the mechanism of marketing,
programming, recording, broadcasting, criticizing and copyrighting.
They must propagate that music is a universal language, or they are
cut out of the game.
I repeat, why is their music left unattended while they invade ours?
For the same reason they went out and conquered the world because
their land was dead and they were too barbaric to develop anything
that was not also lifeless. Of course, we share freely, just as we did
when they rode in on waves of hate in ships for slaves and rich cargo
stolen from those they slaughtered. A mistake we repeat daily.
Some of this is too much for some of you, but that does not make it
untrue. We were brought up to believe in the universality of man,
they use this belief to victimize us and rob us of our intellectual
achievements and capabilities. They also use it to confuse us
concerning the centuries of genocide against Afrikan people.
Therefore, we seriously need to study the importance of cultural
genocide as their weapon in this war being waged against us.
Are you still wrestling with the fact that environmental factors affect
what you deliver culturally, how and why? The Blues will clarify.
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The need to sing this particular brand of Amerikkkan inspired Blues
came from the hard times delivered unto us by the enemy. The Blues
of Ma Rainey, Bessie Smith to Lady Day and Dinah Washington was
grown here in this Babylon. We had no Blues in our drum because
there was no Amerikkkan experience in our drum. We have been
cryin since we reached these shores, and we are still silently moaning
in this strange state in an alien land amazed at their capacity to inflict
physical and psychological pain.
Now, Tracy Chapman and Robert Cray have brought the Blues back
to the center stage, even though it has a new wrinkle, it is still the
Blues. For everything we do must both evolve and remain the same,
if you can dig where Im coming from. Both have sold more records
in their short careers then Blues artists sell in a life time.
Cray, who has two white members in his quartet, has had a dynamic
impact. He possesses a masterful voice, a cry/a wail in the night type
voice and his blues guitar is rich with R&B and Jazz elements. No
doubt the integrated nature of his unit has helped him with broad
acceptance and airplay.
Tracy Chapman is another huge talent. Though many would call her
a folk singer, what ever that may be, basically, she sings the Blues.
She always maintains that she grew up on an R&B diet, no kidding
(?), and explains over and over that she was exposed to folk Music
after receiving a scholarship to Wooster in Connecticut.
In an interview with Cary Darling, Chapman said, Once I got to
high school, it was the first time I heard contemporary folk music.
People like Crosby, Stills Nash & Young, Bob Dylan and Joni Mitchell
- we never had those records at my house growing up. No Shit!
Sounds like a good home to me. More importantly, she slipped into
the white world away from home, Chapman gives credit to the Culture
Bandit instead of the originator of the song, us!
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Whites heaped awards on her head and she sold albums totaling in
the millions. Somehow, her attributing her influences took a slap at
the Black roots of it all, and made her white idols bigger then life.
They are nothing but thieves in the night and you can see that our
young performers believe the bandit is the owner. Dont believe the
hype!
It is refreshing to hear some one singing more than can I screw ya
baby songs, but we dont control the means of broadcasting our
products, and many feel that there really is a thing called Black
radio...lets be real, it really doesnt exist.
Meanwhile, Joe Williams now sings the bourgeois Blues with golf
club in hand, Lou Rawls Chicago Blues, with the biting edge, is
now the establishments boardroom Blues and the list goes on and
on.
Naw, I aint mad that they make a living, but sometimes we give up
too much, too much. We must make a living and maintain and develop
the art form that made it for us. If this means we probably will make
less bread, then we gotta bite the bullet. We know certain things aint
cool, we must draw a line. Success (in the white world) is a dangle of
strings attached to us, a whores role, and that is all that is offered.
Its either be screwed or isolated and limited. As long as we feel our
musical culture is for general consumption, we will forever be used
as a stepping stone for other folks profits. Unless we seize our culture
by developing true Afrikan controlled communications media, (radio
stations, cable networks, record companies, publishing companies,
distribution networks etc.) in music, film, and printed works, we are
doomed to travel the road to nowhere, victims of Cultural Genocide
and its operatives, the Culture Bandits.
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ASS/JASS/JAZZ
Jazz was always the peoples music. It was not just music of Black
intellectuals or the progressive music of the middle class. It sprang
from the people.
It is the music of infinity. It travels light years beyond, into, around
and through all that mankind knows about space and time. It knows
no boundaries and is not intimidated by constrictions.
Jazz is the voice of all that was and will be. Its practitioners are space
travelers inside the human range of emotions and external textures.
Ahhh, it will marry anything with anything to create a new thing. It
can be a single voice through the night or dozens of instruments
blending for a righteous sense of purpose.
It has no king, it has no queen, just explorers of inner-vision. Usage
of everything in life to give an eternity to form and substance. Its
faces are diverse as the avenues from which it came. Jazz is the
ultimate, tidal waving through all areas of life.
Consequently, the enemies of our people, trapped in envious hatred,
have been stealing, destroying, excluding, and abusing our artists
and their music since the creation of it. What could not be understood
was isolated, what could, was co-opted and what was dangerous to
white supremacy was destroyed.
It stands far removed from their common understanding, therefore
its commercial possibilities were limited. Be advised, all our musical
developments were not developed for the purposes of capitalist
exploitation. However, to those who control the mass media (and
us), their economic system does not deal with anything that can not
be transformed into hard cash.
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Obviously, since Jazz is one of our most complex forms, it is also the
most isolated and ignored. The result of this delivers todays current
estrangement of most of our people from this cherished form of
musical adventurism.
However, it is important to point out the diversity in almost all our
musical collections. Check your albums/tapes/cds and note the
different kinds of Black music that grace your collection. In the final
analysis, there is only two kinds of music: the kind you like, and the
kind you dont like.
Yet, we suffer from under-exposure to Jazz because those in control
can not market to their people and are not interested in just
perpetuating our culture, because the majority of their people could
never understand the musical dialogue going on between musician
and musician, musician and the listener, and finally the musician and
nature.
Our musical culture is just another mine field, oil barge, or gold mine
to rape with no regard to the land that created the wealth or the people
on the land. It is clear, they hate and envy the creators and we are not
even considered as they extract all that can be understood.
However, many of their musicians who deal with Jazz come from a
classical base. Therefore, their interpretations of our music is tainted
by both another historical journey, another cultural reality, and the
stiffness of classical training which is the opposite of Jazz.
Yet, the music was too dynamic to be left alone, too inventive to
ignore, and too free of form to not attempt to get close to, inside of
and on it as it soared out into the universe. They felt if it was left
unattended, they would never truly understand its creators.
Historically, they slipped uptown allover this nation, across the tracks
in the midnite hour to partake of the musical gems. Their own
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musicians, lost and caught in the quicksand of yesterdays riffs, knew
the first to copy the Black sound could get seriously paid and may
even acquire credit for the creation of the stolen product. The Benny
Goodmans, Artie Shaws, Mel Tormes, and others took their stolen
cash to the bank.
White, so-called torch singers also cashed in, while the originators
were buried under the weight of media exclusion. Just as Fred Astair
and Gene Kelley were projected as the beginning and the end of
dance, Gene Krupa and Louie Bellson were projected rockers of the
rhythms.
Gil Noble in his book Black is the color of my TV tube, said Willie
the lion Smith and Lucky Roberts, taught Gershwin to play the
style of music he became famous for. Noble also pointed out that
Black records were sold under the counter in the white communities.
Noble went on to reveal the following:
Despite the role of Race records in making Americas big
three radio (and later television) networks possible, they
continued to ban Black music. Even when it was considered
acceptable for radio audiences, this music was performed
only by white musicians, like Paul Whiteman, AI Jolson and
Vincent Lopez (who called his radio broadcast music
decaffeinated jazz.)
By now, you should understand my point, and as denial comes from
white places, historically, the work of the Culture Bandits has distorted
things. In addition, since we dont teach our children the history of
their musical culture, they are left at the mercy of the most fantastic
liars the world has ever seen...the dangerous white supremacist
(Culture Bandits).
One of our greatest, Duke Ellington, had a trick up his sleeve for the
Culture Bandits and any other person who wanted to steal his music.
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Herbie Jones, a former trumpet player, arranger, and music copyist
with Ellington, had this to say, Duke used clusters, not chords.
Clusters are chords with an added note he pointed out. It was Dukes
signature, his identification, and this stopped him from being copied.
When Jones joined Ellington in India in September, for a five year
stay in the 60s, and started jamming, he got a weird sensation and
thought he was playing off key. I started messing with the valves,
when Cat Anderson said leave your horn alone man, youre not outta
tune! The Ellington sound was a different sound indeed.
Those cats could burn, Jones offered. Duke had a magic for looking
at an audience that was completely cold and pick the right tunes from
his repetoire to stop them from dancing and have them listening to
the music.
Jones revealed that Ellington had a Book of 500 songs and in it was
something for everyone. He represented us as a people, he made
you feel he represented us with royalty. We had a wonderful
relationship.
Also adding to the Ellington Strayhorn arrangements were Johnny
Hodges, Harry Carney, Paul Gonzales and Cat Anderson, the famed
trumpet player. Cat Anderson was one of the greatest trumpet players
the world has ever seen Jones pointed out. Man he could play it
higher than a dog could hear. I dont think I will ever again experience
what I experienced playing next to him.
He called Duke a historical figure whose contribution to our music
was a great one. He created music for us, his people. He went on to
inform me that the Smithsonian Institute has a fantastic exhibit in
honor of Ellington. The exhibit includes videos, sheet music, records,
uniforms and other important memorabilia. Herbie Jones has a photo
of Billy Strayhorn as one of his contributions to the legend that was
Duke Ellington at the Smithsonian. Dukes classic work My People,
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My People stands as a testament of his love for his race; the Black
race.
Yes, the Jazz form is a journey all are not able to take. The resistance
is not as strong as it should be because we dont control the means of
production. Consequently, our cultural form remains captive in the
stagnant jails of the Culture Bandits as they continue to attempt to
seize control by propagating their artists while shielding the works
of many of our artists from their own people.
The Kenny Gs, the Sanborns and others are the second and third
wave to wrestle Jazz from the creators. And herein lies the problem,
as with the Blues, R&B and other forms of our music, the business
apparatus locks us in on their soap opera approach to music.
In the book Uplift the Race: The Construction of School Daze by
Spike Lee with Lisa Jones, Bill Lee, jazz musician/composer/artist
had this to say:
Somewhere along the line lyrics have gotten stuck on I love
you baby, and havent gone much further then that. There
are many more words that you can write. Ive written operasnine jazz operas that deal with many other things than I love
you baby. I try to draw on what my experiences have been.
Anita Baker told a reporter that she closes her eyes and thinks about
sex before she sings. Baker believes its a motivating factor behind
her sound. Her comments were shot across the world by the Associated
Press Wire Services. Do you have any idea what people do to my
music...they make babies.
She went on to say that I always compare singing to sex. She
continued to talk about singing as primal as sex but more spiritual. I
use the sex comparison to let the listener grasp how I feel when Im
singing. Sex they can touch. In fact, I used to say singing was better
then sex.
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Baker is an expert on transferring her message from her heart to the
listener and engaging them in her constructed relationship dilemmas.
They travel with her through her moans for a lost lover, situation or
conquest.
What if some of our artists put that much energy into songs of freedom,
and upliftment of consciousness and became salesmen of our historical
greatness and storytellers of our hunger for liberation? Naw, I aint
talking about integrationist safe porridge about we gotta live
together, Im talking about another level of songs about race pride
needed to fuel tomorrows endeavors.
Back to the point, answer me, where would you hear Bill Lees work?
How would you have known about the Jazz operas if Spike had not
put that passage in his book? Other artists are traveling a creative
road, but are shut out of the earshot of their own people. Moreover,
many would have never heard his fine work if his talented son did
not incorporate him in his dynamic film projects.
Therefore, he had to ride to public attention through another
communication medium...film. Shes Gotta Have It, School Daze and
Do The Right Thing are all stamped with his talent. But how many
Black Jazz artists sons are major filmmakers? More importantly,
how come his genius has not been tapped for more recordings of his
talents now that he has name recognition? And who will play his
recordings and where?
From Armstrong to Miles, it has been a struggle for all of them in
between. And the future will bring greater struggles if we dont get
into a culture maintenance mode, which I will elaborate on later in
this book.
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RHYTHM AND BLUES
Like I wanna know who
Picked Wilsons pocket
After he rocked it
Fact, he shocked it
Same kind of thing they threw at James
An what they did to Redd was a shame
The bigger the Black get
The bigger the feds want
a piece of that booty
Intentional rape system...
Who Stole The Soul?
Public Enemy
Funk was born with Rhythm and Blues as the Blues traveled uptempo
and from the south to points east, west, and up north. The expansion
of the small groups to bands with horns rounded out the Blues sound.
Elements of the Blues stayed in place, the soulful Gospel sounds
pounded within the rhythms, and another joyful noise was produced
to further explain the historical period of the day.
The urban Doo Woppers placed harmony at core and stood under
street lamps blending to city tempo and a new reality. However,
hardcore R&B was cultivated by the likes of Fats Domino, Little
Richard, Bo Diddley, Ruth Brown, Big Maybelle with the likes of
Ray Charles, James Brown and Otis Redding following. We cant
forget Hank Ballard and the Midniters, Ike and Tina Turner, The Dells,
Isley Brothers and other pioneers of the form.
Those of us over forty will remember that radio was a very segregated
medium, and most cities had what was called, Colored Stations
that played race music. Small towns had spots on their local or regional
stations, blocks of time when they would play Black music, but never
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did they integrate the music. Therefore, they felt their products
couldnt be measured against the pale, lifeless music of the white
supremacist.
It is important to note here, that this was a dynamite period of growth,
and it is easier to perpetuate your culture when others are absent
from the controls, exploitation and propagation. This is not to say we
still werent exploited, because we were, to the max, however, the
exploitation today takes a more deadly form.
How so, you might ask, when now we have millionaire performers?
We are going to have to let go of the millionaire syndrome and look
at the culture as a product of the whole. An expression of collective
reality, a staple in the total cultural diet of us all. Having said all of
that, it should be clear that if the artist is making more, then the
exploiters are making a killing.
Individually, some artists are richer and the past exploitation was
raw. However, it continues, and those who create the music are under
more controls, restrictions, and boxed into the business apparatus of
the recording industry and other communications organs that used
recorded product.
The de-centralization of the music and the regional appetites helped
many more survive in the music world yesterday. All any labor owes
you is a living. We now subscribe to the white mans definition of
musical success and that is mega-bucks and only mega bucks.
Therefore, the business apparatus can control the trends and the type
of cultural products they will expose the people to. Our artists are no
longer artists, they are small businesses looking for a hit to get
paid.
The difference is clear, the pull of culture in articulating what is going
on and what is being felt by a people is now gone and in its place are
songs written with money in mind. Consequently, elementary songs
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that are no more then musical soap operas are produced in abundance
for personal enrichment. Serious compositions are discouraged
because they cant get played, so the artist cant get paid...understand?
Furthermore, this process retards our art form and keep us locked
into childish laments of a lost love, of the piece that got away, or
someone elses husband/wife: the infidelity music that damages our
relationships.
Instead of hearing thousands of different songs sung in thousands of
different ways, we are locked into twenty R&B records on charts
artificially controlled by the white business hands. The play lists of
radio stations are artificially controlled by white business people...and
our culture dies at the hands of the Culture Bandits.
R&B captured the imagination of whites like all our music has. For
example, whites used to sneak uptown or across the tracks to partake
in the musical culture of our people. Even their culturally elite loved
Pops Armstrong, Ellington, Basie, Ella, Sarah, Lady Day and
Hampton. Why? Because their musical culture was as dead as their
consciousness.
However, the run-of-the mill blue and white collar whites were
captured by the spunk of R&B Music and its earthiness. They latched
on to it and wont let go. Gospel music, though stirring worship into
an open emotional vehicle, and the Blues was too raw and didnt
apply to their situation to be relevant. But R&B was a bridge they
could cross if they could control it and broaden it.
Little Richards wild approach to the music tapped a nerve as his
rebellion struck a chord that they have yet to let go of. Bo Didley
could do things with a guitar they could only dream of. Ray Charles
dripped soul all over big band arrangements and became the
undisputed king of R&B after little Richard found God again and
scampered back to the church to check himself out.
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Like Little Richard and Ray Charles, James Brown hailed from
Georgia and he took over driving R&B into a new definition labelIed
Soul Music. He traveled light years in front of the pack by using his
drive for success, athletic ability, and some of the best young
musicians the South had developed.
James stuff was raw, real funky, innovated and tied in elements of
Gospel, Blues, Jazz and R&B. His sound changed every time he
changed musical directors. Whether it was Nat Jones, Fred Wesley
or others, Brown let them color the band with their distinct style.
He could go up tempo with funky, consistently changing rhythms
with startling quickness; at the same time, he could milk a ballad like
an evangelist could milk a crowd. His showmanship was far superior
to anyone who ever took the stage. And that includes the white icon
of Sammy Davis Jr. Content wise, it was standard R&B that took
political overtones during the early 70s. Say it Loud, Im Black and
Im Proud stayed on the top of R&B Charts for over a year. But the
brother also turned out some lukewarm material on the political front
which was self-serving as the White House set him up to be used. He
left home and was out of his league. When will we learn to leave
their politicians alone? Their experts on screwing ya without the
grease.
They are so slick that they can talk Muhammad AIi, Pearl Bailey and
others into fronting their exploitation machinery in front of Afrika
and the world. Why, they can get Sammy Davis Jr. and athletes to be
ambassadors for their murder machine.
It is important to note, the 60s and 70s was the time R&B (Soul)
Music took off with Otis Redding, Isaac Hayes, Staple Singers, Carla
Thomas, The Dells, Chi-Lites, Hank Ballard and the Midniters. Of
course, there was Motown that started out R&B but was purposely
marketed Pop or (crossover) after a soulful start. Ill deal with that
later.
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R&B got so big that it became an international commodity. One that
grabbed the imagination of the whole world, and Amerikkka wanted
more control of what it saw as its exported culture. Even though
they controlled the monetary end of the product, the music was
creating a feeling of affection for Blacks in this country, who were
trapped in neo-slavery.
Dont be surprised, all nations attempt to control the culture inside
its borders as a tool of self-perpetuation. The difference here is clear,
we are a trapped, enslaved population within the fabric of a hostile
nation and our culture belongs to us as we attempt to develop
independently of them. However, due to the business apparatus,
everything we develop is stolen and claimed by the Culture Bandits.
In short, the Culture Bandits works are necessary for, not only the
perpetuation of this nation, but to vanguard the genocidal machinery
that is poised to take us out. Our enemies know that culture is the
defining agent of a people, their stamp on the world. Erase the culture
and history of a people and they will cease to be independent of their
plotting enemies.
In addition, the enemy could then redefine the victims in a nonthreatening way that leaves them open for total victimization, which
is genocide.
More importantly, the victims will not understand the danger of the
unfolding process, as a matter of fact, they will see themselves as the
problem, and die seeped into externally induced inferiority. Therefore
the maintenance of culture is a primary task of a people, if they are to
survive and perpetuate themselves.
R&B, or Soul music was the pearl they wanted and needed to pluck
from our basket of musical goodies. It was the kind of music that
could be exploited and controlled by outsiders if they could set up
the right mechanism.
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Needed would be, total control of the record industry, radio,
publishing, t.v., management, agents and critics. Also award agencies,
magazine and promotional arenas.
With these controls in place, almost everything had to be screened
through them. Only a few products or small companies slipped
through their hands, but sooner or later they were bought up or dried
up by exclusion.
On the Black Entertainment Network (BET), cable program, Our
Voices Beverly Smith had a lively discussion with Gene Duke of
Earl Chandler, the dynamic Little Anthony, Norman Thrasher of
Hank Ballard and the Midnighters, and the incomparable Jack the
Rapper, famous Black deejay.
With honesty rarely seen on t.v., they discussed the early days of
R&B. They dealt with exploitation by record companies and
promoters, the development of Doo wopping in the hallways of the
projects and in the subways, playola and promotions, sexually explicit
lyrics, plus segregation in the South.
Host, Beverly Smith, guided them through this wealth of insight from
insiders, who had lived history and will always have their places in
the development of R&B, thus Black Culture.
They told how the record companies took advantage of the young,
talented, Black youth and many today still have yet to collect royalties
for their work. I sang for 10 years and never got a dime, was how
Norman Thrasher put it concerning Syd Nathan owner of King
Records, which not only recorded the Midnighters, but also Little
Willie John and James Brown for years.
Little Anthony outlined how traveling through the south, Blacks
would be in the balcony...Blacks would be behind ropes. One time,
he continued, they put Blacks on one side, whites on the other, so
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we sang to the wall in protest. Those days of exploitation, disrespect,
and segregated hatred documented Amerikkkas attitude toward a
culture they loved but a people they hated.
Jack The Rapper explained, that In Miami, you had to have a
card...sounds like South Afrika doesnt it! Jack had driven home a
point that many chose to forget by not reminding the youth of the
struggles of those who came before them and that the oppression has
merely changed forms, it has not disappeared as some would have us
believe.
Smiths guests continued by exposing the sign that hung in Valdosta,
Georgia that read Nigger dont let the sun set on you. They went
on to discuss how Lyon Price got run out of town I because he was
driving a Cadillac.
Little Anthony took us back to the days when the Royals, Crows,
Flamingos sang in the hallways and subways and how impressed the
girls were with the corner boy melodies. He also said laughingly
how he only sang to attract the girls, because that was the thing of the
times.
Jack the Rapper, known for his candor, told how disc jockies took
money to play records, and how they looked on it as a consultant fee.
In all honesty, it seems that it would be hard for a deejay to create
million sellers and be uninvolved in the rewards of the collective
effort. Their wages were slave wages from the radio stations. The
whole process of exploitation excludes the record spinner as the
businessmen attempt to take it all.
This is not to condone playola and plugola, but to understand it and
its development. Less important is the money, more important is the
exclusion suffered by small independent record labels and artists who
would never be heard. Never be heard, not because of their skills, but
because of monopoly capitalism in full effect.
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Therefore, the quality of the music is irrelevant, only the hookup
with the power source can deliver airplay. Consequently, you have
cultural control by the Culture Bandits.
All of Smlths guests complained about the explicit lyrics in todays
music. None, of course, were for censorship, what artist is, what artist
could be, what freedom lover ought to be?
Finally, Little Anthony expressed this sentiment, You are .. planting
a seed... what we were doing, we were subliminal. Yet, the artists of
yesterday can not divorce themselves from their responsibility of using
love songs, as Public Enemy put it, as sex for profit. And so it is/
was. It is natural for things to move from one form to another.
Consequently, they laid the seed for dealing with sex in a promiscuous
way.
Dont get me wrong, I love a good love song. I just balk at the reality
that 99% of our musical diet deals with sex, some in a graphic way.
Then we have the nerve to turn to young girls whose puberty we
have played with for profit and say shame, babies having babies. A
lack of balance it is, a price that is paid and a confusion generated in
young and old who are victims of musical soap operas.
Another job I just cant get
A nice apartment
the landlord just wont rent
I go to bed but the sleep wont come
My belly is empty and my brain numb
Nobody saw me walking and nobody heard me talking
Seems like I gotta do wrong, gotta do wrong, gotta do
wrong...before they notice me
The Whispers
There is so much for the artist to sing about, to explore, to express, to

share. But the Culture Bandits have us locked with a terminal focus
between our legs.
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The only commonalty delivered is that we all screw in one form or
another. Consequently, when we come together, we dont evaluate
the total hue-man being but only the external aspects. Our attraction
is society-developed and a dead end for lasting relationships.
Nor do we feel locked together in a social milieu that is dangerous
and hostile. We listen to these songs like show and tell audio designed
to give us an upper hand in our next relationship or deadly one night
stand. While our reality is stolen, our childrens tomorrows drift away,
we are jerking at our organs trying for sensual gratification.
In the 60s and 70s we rocked to Ship Ahoy, The Love of Money, Say
it Loud Im Black and Proud, Black Pearl, Keep on Pushing, R-E-SP-E-C-T, and on and on. There is no question that we were closer
together, attempting to forge unity. Who decided that era was over?
You and me? Naw, it was the Culture Bandit, who understood clearly
that this music was not lending to exploitation, but could help end it.
Just like the Blues have all flavors from different environmental
backdrop, likewise R&B has different textures and temperatures.
Georgia Men like Little Richard, Ray Charles, James Brown and
Otis Redding drove their big bands with Georgia soul. Urban centers
gave more sugar with their sounds like the Chi-Lites and the Dells.
The Philly sound was even slicker, the closer ya got to the whiteman,
the more his ingredients melted on the soul like white Amerikkkan
cheese on a funky hamburger. The heavily orchestrated sounds
delivered the crossover potential it realized.
In Detroit, Motown began as R&B sound and ended up as Casino
music for the mob. The transformation was not easy or smooth. Shop
Around by The Miracles, I Wanna Love I Can See by the Temptations
and My Guy by Mary Wells are examples of the feel of the music.
However, Berry Gordy Jr., founder of Motown, was not satisfied with
the R&B market; his sights were always set on crossing over, as a
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matter of fact, you could almost say he was the founder of the
crossover product. He geared his music machine toward the white
market, never mind he extracted his talent from the projects and the
inner-city. It is almost as if a white man had set up to transform R&B
or exploit a resource for the benefit of the outside world.
He really zeroed in on the Sisters as described by James Askins in his
book Im Gonna Make You Love Me: The Story of Diana Ross.
Like a very intensive charm school... The girls were taught
how to put on make up and how to do their hair, how to walk
and sit properly and shake hands using a firm grip. By the
time they graduated from the course, the three kids from the
Black bottom were as poised as Park Avenue debutantes.
In short, Gordy took the sisters out of the inner-city and attempted to
turn them into classic white women in appearance, dress, and
mannerism. This pre-supposes something is wrong with being Black,
and from the ghetto. It also carries a dangerous component of Culture
Banditry, which we know destroys lives in pursuit of profit.
Further, the rinsing away of Black Culture leaves the victim
(performer) without a point of reference and in awe of white power,
culture, and white people. Berry found this out when he approached
the newly cloned Diana Ross and found out he was not white enough
for her. For he had replaced her standard of beauty, it was no longer
his people but the enemy.
Ross told a reporter her feelings on white/black romances and
marriages according to Haskins. It was a Negro guy who wasnt the
most attractive thing in the world, married to a white woman who
wasnt attractive at all. Too fat. But they had two beautiful mixed
kids, gorgeous...groovy.
She was later to marry Bob Silberstein and have three daughters. Her
comment It was love at first sight.
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Gordy, known to pay back-up singers $2.50 apiece, had played Dr.
Frankenstein and lost the woman he would later desire...justice.
He is not alone, because we allow athletes and entertainers to be
major role models for our children, 99.9% pied piper them into another
culture and are carrot on the stick for rampant consumerism. Not
only does the enemy set up to rip off our endless reservoir of musical
culture; Black businessmen and entertainers play into their hands,
and for their small cut, deliver our culture to them: yet the populous,
ignorant of culture and its importance, view them as heroes and role
models. That is why we travel in circles of confusion, depression,
high blood pressure and utter confusion as they vampire the culture
from our existence and replace it with foolishness for purposes of
exploitation.
RAP AND REGGAE
Rap and Reggae are fingers of the same hand. It is music that spun
from the objective reality of the suffering of the people who developed
it. It is living tissue, at its core is the people and the lives they are
living. Its practitioners are the same people that had the burden of
societys exploitation on their backs.
Its grassroot music for sure and some who are class conscious, feel
the same way about it as the enemies of our people. Both forms of
Afrikan music are sound n fury, that burst on the scene on several
levels. The same elements that are in all Afrikan music saturate these
outcries of our people.
They face the terror of economic and physical attack by the Culture
Bandits. The development of Reggae upset, first Jamaica, then the
region, and finally, it bolted around the globe on the wings of Bob
Marley and the Wailers.
It was never supposed to survive the island governments repression,
much less internationalize itself in the wake of every possible obstacle.
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Only an indigenous sound, many thought, not understanding that it
was an extension of Afrikan traditional music and R&B, for it exhibits
the tempo of life found on the little tuff island.
The music, like its Rastafarian founders, was oppressed beyond
believability, outlawed in society, and brutalized on sight. Did you
know children were not allowed to attend school with dreadlocks as
their Rasta parents were hunted down by police oppressors? The music
and its originators were attacked with a vengeance.
Here, the brothers in the states who developed Hip Hop (Rap) in
response to oppression and in reaction to the businessmens creation
called Disco, faced most of the same social issues. With Disco, the
Culture Bandits attempted to steal Soul music from us with the heavily
orchestrated bottomless cloned music. The backlash was Hip Hop,
which stripped the tracks all the way down to the naked rhythm and
used our oral skills to control language in the way only we can.
In Jamaica, both political parties (Jamaican Labour Party of the
rightwing and Peoples National Party, social democrats) attempted
to control the music once they knew there was no stopping it.
The war in the streets has always left Brothers and Sisters littering
the landscape and roads with their lifeless bodies, just as gang war
has left many a B-Boy blown apart-gone. Both sets of youths were/
are used as political footballs by the politicians. In each case, dying
young is a norm, yet a tragedy.
In both instances, exploitation of the music by outsiders has been
legend. Only now, is the artist beginning to share in the fruits of his
or her labor. The young Reggae artist used to get a few pounds for
his recording sessions, no royalties, no publishing and no artist support
of any kind.
Change the pounds to a few dollars and you have the same song for
the Rap artist. It is important to understand the commonality of these
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two kinds of music as part of the Afrikan musical patchwork quilt.
Even the reaction of the oppressor is from the same bag.
Reggae evolved from other forms of music such as; Jamaican Ska,
and Rock Steady, but the base is in R&B. In the same vein, Hip Hop
evolved from R&B, traditional Afrikan Griots (storytellers), Harlem
Renaissance, 60s/70s revolutionary black poetry and Jamaican
toasting.
Both sounds had grassroot people as its developers before expanding
to all segments of the community. Amazingly enough; Reggae is still
mostly excluded by Jamaican radio stations. Like Rap, it still enjoys
the loyalty of the people from which the music sprang. In addition,
the Culture Bandits led by so-called radio consultants, here in the
belly of the beast, have targeted Rap for removal from R&B playlists.
Citing economics as their reason, they propagate that the youth market
is not economically viable. This, of course led to a new radio approach,
which is like easy listening R&B under the logo of urban
contemporary music.
But most importantly, Reggae n Rap are under the threat of being
watered down and destroyed or co-opted into pablum filled with
nothingness and only a shell of the original creations.
Let me clarify, they both come from the rawness of real life, no sugar
coating here. Yet, they have grown because of the honesty of the
music and the empathy we can feel with the messages encased in the
rhythm. Consequently, they can not be externally destroyed. As a
matter of fact, the stronger the overt attack is executed, the more
popular and loyal its audiences become.
For example, Reggae has always been a thorn in the side of white
supremacy, always. The more it, and its practitioners were attacked
or excluded, the more the people rallied together, further solidifying
their base.
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It has been the same song with Hip Hop, the attacks on its numberone group Public Enemy by Zionist forces in particular, and the system
in general, has identified them to more Black folk as the group to
listen to.
Yet, the need to destroy the music is even more pronounced. Therefore,
they move to negate the positive element in the form by hyping the
negative or neutral elements. It is a hell of a tactic that has worked
time and time again in other arenas.
Bob Marley, Peter Tosh and other Rasta Rockers creations were
considered too political. Their fame and influence was growing
internationally, with white supremacy their target. They were overtly
and covertly attacked. It is true that in everything there is positive
and negative. The Culture Bandits pin-pointed the negative and the
politically harmless, and pushed it, hyped it, controlled it, promoted
it, and attempted to have it appear to naturally replace the hardliners
with easy listening Reggae.
In Reggaes case, Marley and Tosh wound up dead. Marley from
instant cancer and Tosh from a bullet in the head as he was stretched
out on the floor. Paralleling their passing was the new form of Reggae
called Dance Hall. This musics only concerned with partying,
happy times, and can I screw ya baby, like the R&B that now exists.
It has no social conscious and the Reggae that was uplifting,
educational, and a culture product of the people, is pushed to the
background; out of earshot. Dance Hall with excessive exposure
becomes another opium of the masses. A mere drug to put them to
sleep, with the slogan No Problem.
At the same time, Blacks in the states are singing Dont Worry Be
Happy, while drugs, violence, police brutality, child abuse, and
economic chaos take them under.
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In the case of Rap Music, the system gets behind MC Hammer, Kid
N Play and Jazzy Jeff and the Fresh Prince, opening up movies,
television and other communication vehicles to push them to the front.
Now Im not saying this to categorize them as reactionary, because
fun is part of life, happiness is important and outlets have their
purpose. Im trying to explain why they are given the advantage of
exposure by our enemies. In addition, the Culture Bandits can make
a killing off of the non-political music, because whites can digest it
and deal with it. Crossover baby, crossover!
But let the Black artist beware, when he or she leaves home, it is
almost impossible to get back into the house. For example, the whole
Motown contingent were Hollywood and Casino bound. Now they
cant buy their way back on the charts, even though their talents
havent diminished. Only Stevie Wonder and the post hay day crowd
are selling records over there.
Look at The Fatboys, a creative Hip Hop Group, went Hollyweird
and made a Three Stooges flick called (Disorderly Orderlies) and
havent been taken seriously since. Listen, if the artists dont
understand the difference between so-called Jewish humor and Black
humor they need to hit the unemployment lines anyway.
For example, young Blacks only feel that one man slapping another
man in the face, poking him in the eyes and kicking him the ass is
funny when whites do it. From our cultural perspective, any such
disrespect would lead to a major rumble. Consequently, it is viewed
as soft punk action, unfunny, unfamiliar, unwanted.
Then there is Run-D M.C., they made several records with whiteboys
(plus videos) and a film called Tougher Than Leather. The records
sold and whites loved them, for a minute, now when it was time to
go home, they were viewed as soft punks. In addition, the scene
with two members of the group in the bed with a white whore turned
their Black fans off...gone with the wind they are.
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In the case of Reggae, the tactic has been different, there have been a
few films, but in the main it has been the heavy hype of dance hall,
plus easy listening Reggae consisting of covers of Amerikkkan tunes,
then add a mildly flavored Reggae beat, usually it is the music for
tourists and the deadly Jamaican middle class.
So now the music faces the 1990s with its people suffering worse
than ever, but the artists are mostly concerned with money. The
commitment of the founders (Jimmy Cliff, Bob Marley, Burning
Spear, Peter Tosh, Bunny Wailer and others) is not encased in the
hearts of the new artists. Many see themselves as superstars and they
live that life, which is useless to the people from whom the music
developed.
What was a Black art form is now in the hands of people like
Yellowman dealing raw sex and escapism.
In the belly of the beast, M.C. Hammer is the James Brown of Rap, a
phenomenal talent, so is Kid n Play and Jazzy and the Fresh Prince.
If they marry some social commentary with their jams, they could be
very useful as we fight this Dope Jam. If they dont, what good is
their success to anyone but themselves! In addition, if they do add a
component of substance they can not be used against their peers as
the whitemans alternative.
For example, MC. Hammers video on drugs and gang death is an
important statement. Being from the west coast, the gang problem,
senseless violence and the death of children caught in the crossfire is
real. He used his art to take you inside the misery, becoming more
then just a performer but an agent of positive influence. Thus, this
rounds him out before us and we know he is about more then fun and
games. The need for progressive action in the arts is important.
Everyone can not be KRS-Ones Boogie Down Production, Queen
Latifah and Public Enemy, but we all can lend a hand to save our
people.
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The conditions that developed Rap n Reggae, Reggae n Rap are
still here. Those who now make a living off of the struggles of Black
heroes and she-roes, to perpetuate the music, owe it to us all. They
must advance their skills and talents (gifts from their people) to serve
in this life and death struggle against white supremacy.
There is nothing wrong with Dance Hall Reggae. It is only when it is
the only dish put before us, that it becomes an agent of confusion.
Therefore, it is obvious that Steel Pulse must speak, Dennis Browns
social commentary must be heard with his love tunes and so on.
Reggae N Rap are both international kinds of music that bounce
around the universe and back again. They speak to the whole globe,
but they are in the hands of the enemies of our people...the Culture
Bandits. Consequently, only what they deem as harmless is
propagated. Yet the truth bounds beyond their control. Therefore,
they isolate the progressives for destruction.
No, an artist cant say he is merely an artist, not a politician, because
everything is political. The doctor cant say Im only a doctor, so I
must turn my head to the genocide that is before my very eyes.
Naw, the teacher cant say Im merely a teacher, Ill teach what Im
told to teach. Nor can the trashman say Im merely a trashman,
when he alone can document what is in the waste, and where it is
being dumped. He also protects the interest of the people. Were all
in a war of genocide and only we can dismantle the genocidal
machinery.
Jamaican deejays used to do a thing called toasting, which was an
oral approach, a rap down to funky beats, many say that is where rap
comes from. Influenced maybe, come from, no! The Last Poets and
other revolutionary poets slung down language to alert the people.
Before them there were rappers all the way back to the birth of
civilization in Afrika. Consequently, where-ever we found ourselves
our oral tradition flourished.
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However, you must not forget, we are also the fathers and mothers of
language...check out the pyramids and other evidence found all over
the globe, ahh man we are/were bad.
In the book Don say, no mo wid yo mouf dan yo back kin Stan
The Black Psychology of Black Language authors Jim Haskins and
Hugh F. Butts, M.D. pointed this out:
In learning language, the baby is not only learning to
communicate verbally, but he is also assimilating the cultures
system of meanings and its ways of thinking and reasoning.
It is important to note that the way Afrikans speak this foreign
language (English) has been under attack. They call the Jamaican
dialect and the language of Afrikans in the states (or where ever else
we were disbursed) broken English.
Because we dont speak like the Englishmen. Neither do they. They
attack our language usage as backward. Why? Because of the slave
and colonial experiences, we will mix their languages together and
come up with a new thing that serves us. A little French/ English/
Portuguese/Spanish etc. can be stirred in a pot. They are all leftovers
from our slavery instituted by the very people who criticize our use
of their language.
More importantly, it is/was always important that the barbarians didnt
understand a word we said. We talked around them for the purpose
of liberation. Rap n Reggae continues that tradition, a verbal and
musical communication from our culture. On lookers can look, envy
and attempt to steal. But the true practitioners are historically tied
together genetically and in the people pain inflicted by the enemy.
Again in Haskins and Butts book The Psychology of Black Language,
they state clearly:
One may consider verbal behavior in Blacks as serving
several functions: (1) as a defense against individualized and
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institutionalized racist behavior in whites; (2) as an aspect of
the Black life style reflecting healthy group narcissism,
cohesive bonds, and affection; (3) as an avenue for the release
of rage, fear, guilt and other effects on an individual basis. In
many respects, the development of verbal behavior in Black
Americans parallels the development of their music (another
form of oral expression).
I would broaden that to cover Afrikans all over the globe. Let us be
clear, Reggae n Rap are tremendous contributions to Afrikan Culture
and serve dynamic purposes in the liberation struggle for the minds
of our people. For there will be no real tangible, positive action until
we liberate our minds.
Like all Afrikan music, they are married together in a tight,
unbreakable bond that is a cultural comfort zone. Rap n Reggae are
products of a proud people, a people who continue to create and
struggle in the midst of the dank oppression rained down on us. All
components of Afrikan Music are at the service of Black Redemption
if we use them as liberating agents. Freedom, they will bring!
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MARLEY, FELA & PUBLIC ENEMY

In every struggle there are always those who arise to the occasions
and dedicate their lifes work to the cause with a principled
commitment of the highest order. No matter what the come down,
they are ready to face anything to bring about the reality they believe
in.
In every discipline known, there is a foxhole and Blacks in it, for a
war is waging in every corner of the globe. It is childish to believe
the soldiers of this war are just military types. We suffer in every
area of hue-man endeavor, because of vicious white supremacy.
In the medical profession, education, trade unions, factories, law,
radio, television, film, on stage, on the land, in the religious
communities, and in the music industry, there are foxholes full of
Brothers n Sisters struggling for our liberation. They are our eyes,
ears, and expert consultants against the white silent terror.
In the music industry Bob Marley, an Afrikan from Jamaica, Fela
Anikulapo Kuti from Nigeria and Public Enemy from the belly of
the beast, all have served and are serving the cause of consciousness
upliftment with their best shot.
This trio of freedom fighters have used music to push the struggle
forward, inside our people they have traveled through the musical
culture given them by the very people they serve. Fidelity to the
struggle is a difficult thing to maintain because too many people are
perpetuating a fraud. However, these three musical messengers, are
but a few examples of how explosive our music can be and how
economically and physically violent our enemies react. Nothing is
without cost, but the greatest achievement is honor, loyalty and dignity
before the greatest people, the original people...the Afrikan.
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ROBERT MARLEY, PAN-AFRIKAN REVOLUTIONARY
Out of the teeming poverty of Kingston, Robert Nesta Marley has
made a critical mark on the world as the Blackman continues to
struggle for his rightful place in the sun. Marley had two goals: to
expose the world to his religion (Rastafarianism), and the deliverance
of revolutionary freedom to the Afrikan people on this planet.
Many try to reduce Marley to a mere musician, he was more then
that. He was the wail of the oppressed, the genuine living force of
Black Power. Economically, he liberated himself and used his wealth
for the good of his people. This was a difficult task considering he
was a poor boy from the government yard.
Moving from house to house, bedding down under the stars with a
rock for his pillow, he was ever moving toward his goal of singing
our song in the crosswinds. The currents that would carry the message
around the globe drifting through Afrikan ears, while landing on the
oppressors fears.
Dodging hungers death, police brutality, assassins bullets and the
political confusion that was drowning lesser men, he traveled toward
the worlds stage, because he had a song to sing, an emotion to share
and an observation to point out.
His songs will always be sung as long as truth is alive, his dedication
to his people will be admired and emulated by generations that will
follow.
I know I was born with a price on my head, he said many times and
in many places. But as Kwame Nkrumah taught us the secret of life
is to know no fear. And Marley was fearless. A grassroots warrior
he was, and his bravery is legend to those who can still see and hear.
Ever so humble ya know, not into the super star role and he never
distanced himself from the touch of his people, for their touch made
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him strong. In every city he visited, he walked among the people, in
the neighborhoods, through the villages. He rapped with them and
washed himself in their presence.
In pictures and words, colors n tones, Bob Marley: Reggae King of
the World written by Sister Malika Whitney and Dermott Hussey,
they wrote:
Marley has inspired, awakened and aroused the innate rebel
spirit that has long been dormant in too many of us, and incited
it to fight for survival. His songs point the way out of this
involuntary exile and towards a place where we will be
allowed simply to live.
It was the way he lived his life, how he was viewed and it was the
impact his sincerity had on the people he came into contact with. The
great conspiracy of the Culture Bandits was to keep him out of the
Black consciousness, isolated from the sleeping Afrikan market here
in the states. Needless to say, progressive people dont wait for white
supremacists to make a formal introduction to them with
revolutionaries. Consequently, his work had a tremendous effect on
the Black activist.
This is a point that is ignored by so-called his-storians. Legions of
Blacks here knew and loved him. They could not be kept from him
and they could not keep him from them. We all sought each other out
to compare notes, share strategies and tactics, and sometimes just
reason together.
Therefore, Marley was a great source of upliftment, his music told us
we were all on the right track and that our problem needed a PanAfrikan solution for we are all Afrikan people.
I dont know many people who didnt know Bobs music and who
did not hold him in high revolutionary esteem.
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Now the masses of our people were screened away from him, but he
bled into their world as he eased into the R&B playlist with tunes
like Is It Love, Were Jammin and later Buffalo Soldiers. He could
not have been kept from his people, his song was too strong. It called
them, it appeared in side bars of their outer limits, it drifted over the
oppressive reality we all suffer from globally.
When I last spoke to him, I asked him why he had not released
Blackmans Redemption on his latest album after it was released in
Jamaica with great success. He looked far away, beyond me, in that
way he had of going deep into his consciousness. Also in that hotel
doorway before we parted, I told him if he wrote a song about Malcolm
X, the Black audience would find him without airplay. He smiled
slightly and we shook hands to return to our respective fronts against
the white supremacists.
Ill always remember the first time I met him. Warner Brothers had
staged a major promo party for him at a major hotel. His concert film
was playing for Black deejays and radio folk, most had never seen
him perform or heard anything their program director hadnt approved
of. I sat back and viewed the awe they exhibited at the dynamic figure
on the screen, who was beyond anything they had ever seen. He was
drawing them into the screen as his messages of sufferin by our
people could not be ignored.
In my last interview with him he told me to wail is when one cries
out. And his wail was a collective cry to end the people pain inflicted
by those who hate us. The real people you never see, and some you
see are really obstacles, was how he put into focus his dealings with
those around him. He went on to say they cant take you from
yourself and he is correct. That is why the struggle to Know Thyself
is primary.
When a white writer told Marley he had a greater following in this
country then Afrikan Patriot Marcus Garvey, he replied I dont have
a greater following then Marcus Garvey, he had 20 million Black
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people working. The people will wake up again. We are the children
of Marcus Garvey, we try to carry on his work. He added Garvey
prophesied that some has happened already and some will happen
today.
When asked about the Klan he responded with they have a
constitution, that dem themselves cant live by. He always spoke in
simplicity and in logic concerning the struggles of our people. He
possessed a directness that cut through bullshit with a razor.
Asked by another white, why did he cool out his political message
on the album Kaya he responded in a rare shot of anger Nobody tell
me how to fight my war. The outsider eased back and back into a
posture of fake respect.
Asked why he was one of the few Reggae artists known to the people
at that time, Marley shot a laser beam We come out here and people
met we, the people know us, if the next artist come out here, he should
meet the people. It is obvious, not all artists have the same goals
and objectives as the Rasta Revolutionary. They are taught to distance
themselves from their own people, because they are better, because
they can do this or that. Marley would have none of it.
The more Reggae dem play, the more roots they have...the more
Disco they play the more fantasy you get, was how he responded to
my question dealing with the lack of Reggae Music on The Jamaican
Broadcasting Company (JBC) and station RJR at that time the only
stations on the island.
The truth of the music carries the world philosophy: record
companies dont want to deal with that, they want to deal with charts
and like dat he pointed out stripping fact from fiction. He added
Babylon cant change cause its corrupted itself already. There is no
good that can come out of it. It is corrupted. Never losing sight that
we, Blacks, are all sufferers, he operated from that position and Blacks
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will never know how big of an influence Marley was on the world
stage. Not just the musical stage but the world stage.
I asked him about the packaging of record products by record
companies and pointed out how much I liked the jacket to the Survival
Album. He told me that Rasta independent struggle and stand up by
ourselves. You cant make it work alone. We cant be capitalist and
we cant be communist. We are neither left nor right we are straight
ahead.
Accurately he added Afrika dont have to look outside of Afrika for
nothing...unity means strength. If Afrika was united, think of that
mon, think of dat. And that is the goal, it is what whites fear, it is
what our children need for the future, global Afrikan solidarity and
self-determination. Bob was right, just think of that mon!
After Afrika is united, it will be like a fresh flower, you know bow
it smells after a rain and everything is washed clean...ahhh what a
smell. Marley the poet had spoken.
Bobs children, The Melody Makers, have not been a disappointment.
And the Ziggy fronted collective has kept the message alive and
kicking. From What a Plot thru Dreams of Home, they proudly
continue to serve the race with music of upliftment and vivid reality.
Their work is something to be proud of. Never mind the awards and
the praise from other stations, our diet of struggle music continues to
pump heart into our efforts. Serious music it is.
Musically, Bob has multiplied himself, hopefully they will also
reproduce in their consciousness the oneness he had with our people.
Bob was assessable to us all, he walked among us through our villages
and drank from the same cup. The common brother, the sufferer,
roots, warrior, proud son of Afrika he was.
Sister Malika Whitney and Brother Dermott Hussey speak to us again
through their classic book on the brothers life and times:
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Marleys death signalled the end of an era. It was he more
than any other who pushed Jamaicas music out from cultural
confinement into much vaster dimensions; where he became
the voice of the Third World. His passing also meant that his
kind of Reggae went with him, but the legacy of his albums,
including those as yet released, will ensure that he remains
the undisputed master of Reggae.
Bob is now in the whirlwind with Marcus Garvey and their works
can be found as pillars in our revolutionary infrastructure. A
cornerstone of our-story, a story that lives and breathes in every childs
gaze toward a tomorrow of freedom in Afrikas sun, that will shine
on them wherever they may be.
FELA TOO MUCH FOR U.S. AIRPLAY
Fela Anikulapo Kuti is a musical warrior of the Afrikan oppressed,
thunder and lightening, a power thrown against the political corruption
that has sapped the oppressed of their labor, aspirations and freedom.
Fela, sometimes a lone voice from Nigerias belly, documents through
song, the pain of living under neo-colonialism, the frustrations of
struggling against capitalism and the dignity in the liberation process.
Once just a talented musician in love with R&B and Jazz, he evolved
into a musical power, a rhythmic journalist, a grassroots historian of
the battering of our freedom song.
From good stock he is. His mother was a good friend of Kwame
Nkrumah and her revolutionary qualities are captured in his soulful
genes. She once told him start playing music your people can
understand, not Jazz. Meanwhile, a sister from the states pulled his
coat to the historical and political vibe, that helped unleash his
consciousness to be used as a liberating agent.
Later in an attack against his night club and cultural oasis called the
Kalakuta Republic, by vicious army legions with governmental
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backing, Fela found that reactionaries know no bounds in their hatred
of the truth.
Brother Carlos Moores Fela: This Bitch of a Life is an excellent

piece of journalism and revealing probe of a complex figure in Afrikan
history. Moore let Fela and those involved speak to us directly. Fela
speaks in This Bitch of a Life, on the treatment his elderly mother
received at the hands of Nigerian soldiers:
They beat her, tore her clothes off, naked her ...then they
begin flogging her ...it was too much man. They were flogging
away, beating everybody, cutting, using bayonets, broken
bottles...raping the women. It was terrible! oooooh!! terrible!...
They beat the girls, raped some of them and did horrors to
them, man... They beat my brother, Dr. Beko, who was trying
to protect my mother... Then they grabbed my mother. And
you know what they did to this 77 year old woman, man.
They threw her out the window of the first floor. And me? Oh
man, I could hear my own bones being broken by the blows.
Yet, Fela never backed down from his war against, not only Nigerias
corrupt regime, but also the enemies of Afrikan liberation: both whites
and their Black flunkies. The test of a revolutionary is always soaked
with blood, always a heartbeat away from deaths-head stillness, and
always met with courage to right the wrong and set flight to freedom.
Felas life is no different, it is a collage of pain, imprisonment,

persecution in hatreds storm. But nothing stops his song, a connected
articulation on how rotten shit can get. A stamp of grassroots dignity
keeps his heart open to the suffering of the Black sufferers globally.
He hears the collective wail in the winds of change and that change
must revolve 360 degrees.
Every persecution was captured in song. Sorrow Tears and Blood,
Unknown Soldier and Zombie to name a few. He attacked Afrikas
neo-colonial state in the classic Upside Down sung by Sandra Smith,
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now called Sulillian Smith, a Black Panther supporter in the 70s.
She was the sister that put Fela on the road to using his talents for
liberation. The struggle in the musical arena is no different then any
other sector of our existence. It demands knowledge, courage and
fidelity, yes, loyalty to our people, who have suffered so much.
Felas story is a fascinating one, I will not try to tell it here. Cop
Carlos Moores book, he takes you inside the shit-uation like the
craftsman he is. A valuable study in political development paralleled
with personal musical growth.
Imprisoned many times for political agitation and revealing in song
what people rapped about in the streets of the world, he never backed
down.
Finally, from the book, Fela answers Moore How do I define my
music? People continue to call it Afro-beat. I call it Afrikan Music...but
Afrikan Music is so extensive...lets call it Afrikan music by Fela.
And so it is!
PUBLIC ENEMY: RUMBLING FROM
THE BELLY OF THE BEAST
Amerikkka puts its elders out to pasture like human waste material
and it eats the young. Masters of disguising its genocidal intent, only
the blind cant dig the motion of the maniacs from the west.
In its belly Amerikkka has a serious problem, those who enriched
this country with their free labor, suffering and death, are now obsolete
to this nation. In addition, the Afrikan population is also the sleeping
giant, the avengers of time, the evolving power that looks Amerikkka
in the eyes and says youve done us wrong!
Just as the youth in England, France, Lagos, Jamaica, South Afrika
(Azania) and Brazil are unhappy and moving toward taking positive
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action to accelerate the process of freedom, in the belly of the beast,
Blacks again will rise.
All through this book I have said environmental factors impact on
what cultural products you will produce and perpetuate. In the innercities Rap Music has been the contribution.
The ignorant have said for years that we cant deal with the English
language. Rap slaps that lie down. The masters of hip-hop turn the
English language inside out, upside down and spits life into it. Masters
of the double and triple meaning, its street talk electrified whose shock
opened our eyes.
Raining Black poetry down with machine gun precision, Rap flings
words in creative bursts of communications. It is a musical tool so
rich in practicality, that the advertisers of this nation has seized on
the form to sell their products. So out of one side of its mouth
Amerikkka nakedly criticizes Rap and out the other uses it as a major
tool in reaching the consumers. Thats classic here in the belly of the
beast, the ability to talk out of both sides of their face.
Like anything in life, there is positive and negative inside the Rap
world. Yet, it is vividly clear, that the Rap artists played a key role in
the rebuilding of Black Nationalism among our youth. Couple the
political maturity of the music with the conditions in our community
and you can understand my point.
Rap, in its infancy, had a social commentary that the kids could get
into, however in later years, the gold wearing, Hip Hoppers dominated
the scene. Since the people are the true developers of culture,
community criticism of the perpetuation of the drug dealer image
attacked the gold chain wearing, fast car, fly women thrust.
Children die on the streets from drug war shoot outs. The communitys
frontal attack on drug dealing and the increased knowledge of self by
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our people has led to a new image in the concrete jungles. A pride
has been nurtured in the grooves of Public Enemys work.
Consequently, the sleeping youth are now hungry for knowledge of
self, and in this research lies the answer to all our problems. Unity,
loyalty, fearlessness and Black Pride will umbrella our motion if we
remain on track to liberation. If we allow the youth to feel these
expressions wrapped in kente cloth, Red/Black/Green flags and funky
rhymes is just another fad, we face genocides victory.
Because our children needed to bolster their self-perception that had
been destroyed by the white society, the bragging, individualistic
profiling became a key ingredient dent in the art form. Later, the
need to stop violence in the community, the collective approach to
problem solving, the pride of being Black, and the hunger for
knowledge of self pushed to the front.
Yes, globally young Afrikans are dealing with the plight of their
people. From South Afrika (Azania) we have the musical play
Sarafina whose cast was populated by young people, who through
song/comedy/drama heighten the internal and external awareness of
the struggle. However, the power was the music integrated with
situation raps and dynamic dialogue which clarified real conditions
of the people.
Meanwhile, Ziggy Marley and the Melody Makers continue their
Reggae assault on the collective conditions of Afrikan people. The
writing is mature and from the heart, the music is tight and hypnotic.
It has a dignity, it has. These young peoples commitment is in the
sounds they produce together, their concerns are for righteous
liberation and the end of the suffering of the Afrikan.
Public Enemy is their counterpart from the belly of the beast.
Oppression in the Islands, Afrika and in the belly spells the wasteful
spending of Black lives by our oppressors. These young people are
on the frontline, where they should be.
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Interestingly enough, many will see the work by the cast of Sarafina
and Ziggys Reggae as culture, but view Public Enemys contribution
as less then a joyful noise. And herein lies the pity and documentation
of the brainwashing that has captured our consciousness. Too many
wont even listen to what is being said and why. Consequently, older
adults drift farther away from the youth instead of closer.
I always found this to be amazing since the use of sampling (using
parts of pre-recorded music in their work) should tie one generation
to the other. Most of the basic beats are built on or augmented with
the works of James Brown, Sly Stone and others from yesterday. Yet,
the form and its youthfulness turns many off.
Understand clearly, older Blacks may never feel the music as the
youth and may never use it for pleasure, however, we better
understand. Because understanding the music will help us understand
the youth. The importance of understanding the youth is critical, for
they speak clearly on how they view society, what society has/is doing
to them, and their aspirations. And how can we socialize them if we
dont even understand where they are coming from?
And so it is with Afrikan contemporary music from the continent,
music from the Islands, Latin Amerikkka and where ever else we
find our people.
Our enemies clock our music, before Public Enemy released Fear of
a Black Planet, the media was calling the work anti-Semitic.
Obviously, the so-called Jews were checking them out. See, see,
did you hear that, did you hear what they said, they are anti-Semitic
was the cry before the music hit the record shops. Man, had to listen
to jams several times before I could dig where they were coming
from. How come others are more into what is happening than we
are? Because they understand the power of the music and its role in
our liberation efforts.
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Then obviously, we must understand what is happening in our musical
culture if we are to understand our people. To plug into young minds
and influence them in the right way, ya gotta know whats up! Arrogant
insolation from them cuts them off at the knees and they stray into
the enemys camp never to be recognized again.
It is the rawness of life that they put in the suns glare, the issues of
prison, AIDS, our interpersonal relationships, collective action,
culture, nationalism, police protection, overt n covert CIA/FBI action,
genocide and unity.
Whether the older generations hear them or not they are solidly
plugged into the youth of today. Their voices are accepted as
propagandist for the positive. They avoid the easy way out and have
shown a loyalty to the truth at all costs. It is important that we
understand that their work must continue at all costs.
Our enemies would have all our young men be Michael Jackson,
Prince and Babyface characters, rather than be strong Black images
of independent, culturally connected struggle brothers and sisters.
While in Zimbabwe, on a fact finding mission with the Committee
for Pan-Afrikanist Development, we were the guests of some Afrikans
from the belly of the beast who now live in Afrika. They wanted
news from the states on the progress of the struggle. After we ran it
down, we played some Public Enemy and KRS-One of Boogie Down
Productions. It was a great upliftment to them to hear the work of
these two giants in the industry. Needless to say, word of their works
had not reached Zimbabwe, but was on the way.
Public Enemys Fear of a Black Planet is a song poem that travels
through reality on a high wire. It demonstrates that these artists are
studying our shit-uation, articulating what needs to be told in a
packaging that is digestible to the young. Re-read what I just said,
that is how important it is.
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Earlier in the Book I mentioned Dr. Frances Cress Welsings Cress
Theory of Color Confrontation. It deals with whites fear of genetic
annihilation. To kick that out to millions of our people is no small
task and is of great importance if we are to understand the evil works
of the enemy.
Remember the brutal repression Bob Marley faced from the CIA,
which warned him not to return to the islands during the election in
the late 70s. Never forget the attempt to assassinate him that left him
bloody and wounded, his wife Rita with a bullet wound that grazed
the top of her scalp and the wounding of others during the attack.
Later he would die of instant cancer.
Remember the trials and tribulations of Fela, the violence,
imprisonment against him and his wives, the rapes of his wives, the
wanton brutality against his elderly mother, and the economic attacks
on his music machine.
Remember that the cast of Sarafina come from the war zone of South
Afrika (Azania). They have personally suffered and their relatives
have been oppressed and brutalized under white supremacy there.
They have lost relatives friends and comrades. In short, this is serious
business!
I suggest we all grasp an understanding of Hip-Hop and help
perpetuate the positive. The Public Enemies, KRS-Ones, M.C. Lites
and the Latifahs are young people attempting to be historically
responsible to our needs as a people. They are targets, obvious targets
of the Culture Bandits. If it can be done by isolation, economic
oppression or character assassination, they are the tactics that will be
used. If it has to be done violently, they will not hesitate. They will
and can destroy, can we defend and perpetuate? This is the key
question of the 90s.
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TO A SLAVE, PAYDAY NEVER COMES

THE ECONOMICS OF THE CULTURE BANDITS
The economics of slavery is the economics of the Culture Bandits.
The viciousness of capitalism is played out in a more vivid form in
the recording and entertainment industries. You may wonder, what
do I mean by that? My reply is simple:
The recording industry is one of the few, if not the last,
vestibule of laissez-faire capitalism (meaning every dog for
himself with little or no regulations). On the surface it may
appear to the average fan (consumer) that there are checks
and balances in place, dont believe the hype. Playola and
plugola still exist as main marketing tools. Bootlegging,
corporate raiding, corporate espionage, copyright banditry and
hit men litter the business. Take away the hype of the promoted
glamour and you have an organic, all or nothing game of
monopoly, where the Black artist, creators of the culture, lose
consistently.
Historically, it doesnt matter what occupation an Afrikan man or
woman has, the struggle to get paid is an eternal one. Whites have
yet to release the image of a captured slave, who is destined to be
exploited. Why many behave as if it is their birthright to enrich
themselves at the expense of our creativity, culture, and labor.
Just as they use every part of the pig to make a profit, they also use
every component of our existence to turn a buck. In the 60s and 70s
the governments police would shut down community breakfast
programs and let the food rot, whenever groups like the Black Panther
Party attempted to address hunger in their community.
Eventually, the government would develop a free breakfast and lunch
program in the schools in order to turn a profit on surplus food, while
enriching corporate Amerikkka. Yeah, the Department of Agriculture
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jumped at the chance to help white Amerikkka turn a buck. President
Reagan would go on to make his famous quote when he attempted to
label catsup as a vegetable in defense of the lack of nutrition in the
offerings.
Sam Yette wrote in The Choice, page 100:
There are other ways to kill a people or colonize them, but
none is more certain than denial or control of their food. This
is true whether the colony being controlled is in South Carolina
or in South Korea. Indeed, you are what you eat: if you eat
nothing, you soon are nothing. Hunger kills.
Obviously, if we are also culturally starved or controlled we will
waste away into universal nothingness. A people who founded culture
and civilization is now controlled by those who came after them with
military savagery. This is not only unacceptable, but genocidal.
Starvation is starvation and we must attack all segments of the
genocidal plan.
To labor for free is slavery and to labor and be underpaid is neoslavery. Historically, the entertainment industry has used everything
we developed as they avoid compensating the originators at all cost.
Ever since the slavemaster made his prisoners of war (slaves)
perform for him at any place, anytime, for nothing but the worse
food and housing, whites have felt free to steal our cultural products
plus our labor.
Those Culture Bandits who claimed to be involved in anthropological
studies have recorded and used Afrikan music freely for years. Those
who captured the Blues of Ma Rainey and Bessie Smith, the gospel
harmonies of our people were unashamed of their piracy. Even Black
public domain works were many times copyrighted in pale names
and the money landed in white bank accounts.
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Starving young artists like Fats Waller were caught down and out
and had to sell compositions for five and ten dollars that later became,
not only hits, but classics, perpetual money makers.
In fact the R&B artists who founded what today would be called
Popular music were ripped off as the rule, not the exception. Many
had million sellers but never profited from their work. They were
used like physically destroyed, old punch drunk boxers, they died in
debts gutter, put there by the Culture Bandits.
As a matter of fact, the hardest part of the music industry was the
struggles to get paid. After creating, innovating and capturing the
imagination of millions, many could not find a way to get their money
from the Culture Bandits.
Norman Thrasher, former member of Hank Ballard and the Midniters,
told Bev Smiths audience on BETs Our Voices that Syd Nathan
(owner of King Records) never gave us a dime in ten years. For you
who are too young to remember the Midniters, they recorded such
classics as: Work with me Annie, Annie had a Baby, Lets Go, Lets
Go, Lets Go and of course The Twist.
How does this happen you might ask? Many times the youth who
create the sounds of the day have little or no legal guidance, or their
managers and booking agents are also in on the exploitation of the
artist. Most of the time the artist is seen as a free ride for everyone
and anyone who can latch on and hold tight.
Very few go into the business as if it were a business, they usually
enter with hopes of fame, bright lights, women and an ego trip to
nowhere. Too many times, drugs are used as a controlling agent. Marry
drugs with groupies (women who chase celebrities), and the business
people are left in the store by themselves.
There was a drug epidemic in the music industry long before it hit
the streets. Further, the reasons for the presence of drugs are the same,
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they are there to control people, to offer escapism and for genocidal
purposes.
The artist who uses drugs can not keep up with the business side of
his profession. He or she can not oversee those who can legally
commit him and who have control over the purse strings.
The music business is an elaborate business; full of all kinds of
licenses, contracts, revenue sources, publishing aspects, recording
session cost factors, advances, percentages, promotion/public relations
schemes, money advances of all kinds and personal obligations. It is
one of the most complex businesses there is.
In addition, the inner workings are the best kept secrets in this nations
economic framework. It is important to understand, that most lawyers
are ignorant of the industry and are of no use to the average artist. It
is also important to realize that a personal manager must be well
versed in the industry, plus in other arenas (tax/real estate etc.) to
maximize his or her effectiveness.
Some white man once said ignorance is bliss. Ignorance is ignorant!
Again on BET, Bev Smith was told by Gene Chandler how he always
got his money, but was sure some monies had been stolen from him.
Gene is not only a dynamic entertainer, but he is also an excellent
businessman. I got two publishing companies now...and I just took
control of the Duke of Earl, which of course was the classic R&B
hit that is still selling and creating revenue for Chandler.
Let me stop here and explain something most Blacks in the business
and outsiders dont seem to understand. The most lucrative portion
of the music industry is publishing. Songs are rarely sold, usually
they are licensed (rented for use). But unlike real estate, they can be
rented to as many people as possible at the same time. My favorite
example is Bill Withers Lean On Me, which has to be an all time
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money maker. Not only was it a hit for Withers, but also many other
artists. It has appeared on countless albums, as the title tune to a
movie and it has been used in several commercials.
Withers receives record royalties from every release (big hits or small
album cuts); money from commercial use, performance rights, income
from radio, television, and movie sources, plus sheet music royalties.
Lets look deeper. Very few outside the recording industry understood
the coup Michael Jackson pulled off when he bought up the Beatles
song catalogue. It was even better than dropping a $100,000,000 on
real estate. It is a reversal of the controls we have felt, except for one
thing. They would have found a way to steal the catalogue from us,
never would they have paid that kind of money to be the owners.
Ive wandered around loosely to let ya get a feel for the inner workings
of the glitter machine. Now I want to stop and dissect a situation to
drive home the economic exploitation many experienced in the bowels
of the music industry.
First of all too many people were like Jimi Hendrix, fame caught him
by surprise, he was unaware and totally unprepared to manage his
own affairs. In addition, he wasnt even ready to oversee those who
managed his affairs for him. Ripe for exploitation, he got it with both
barrels.
Juggy Murray, famous Black recording executive, made it clear in
the film documentary Hendrix when he said, signing a contract meant
nothing to Jimmy. That was either a bad habit, a lack of seriousness
about the business, or he was wacked out on drugs, all were poor
choices and we dont know which one is true. None were good.
While he was alive, his affairs were always a mess, and after he died,
the estate was in utter confusion. Hands were grabbing, reaching from
everywhere; some had papers he had signed, therefore, after his death
things truly fell apart.
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In the case of Fats Waller, his surprise death on a cold train car also
stunned the world. He left a will with an appointed trustee for the
estate. After years of exploitation, Waller had gotten smart and was
trying to protect his heirs.
Struggles between lawyers (and the family) over the publishing rights
and royalty income were raging. The family complained that Bernard
and Martin Miller had formed C.R. Publishing and assigned the
compositions to their company as they ran out with their original
publishers. In addition, they claimed that the Miller brothers had given
one-ninth of all royalties to Edith Waller. She was Wallers first wife.
They also alleged that after her death, the balance of her share was
given by the Miller brothers to Ed Kirkeby. They said under the terms
and conditions of the will it should have been given to them. The
justification given was that Kirbeby had written some of the material
with Fats Waller. The family thought the claim was ridiculous.
Wallers son put it this way in his book:
In February of 1950 Bernard Miller stepped down as the
trustee because Ronnie and I were of age, and, under the
conditions of the will, we were to be successors. Unaware of
the actions of Kirkeby and Morton Miller, and the fact that
Miller was a partner of and attorney for Kirkeby, we retained
Miller as the attorney for the estate. My mother, Ronnie, and
I were induced to sign a document ordering RCA to pay
royalties directly to Kirkeby.
As you can see the complex nature of the copyright law, the issues of
ownership and royalties are always in struggle, even when a clear
cut will has been left. The story goes farther:
Ronnie and I eventually became suspicious and, as trustees,
demanded to see a copy of all records, books, and accounts.
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Morton Miller claimed there were no such records, so we
had to bring civil action to the courts. Miller countersued,
claimed we owed him legal fees. It was a mess that dragged
on for years... But the courts ruled that the agreement signed
in 1950 by our family and Kirkeby is null and void. All of his
life my father felt he was cheated by greedy publishers, and
now in death he was being cheated again.
Struggles with the estates of Hendrix, Sam Cooke, Otis Redding etc.
are common occurrences, and the legendary one over Bob Marleys
earnings are war zones as the exploitation reaches far beyond the
grave to continue to use the Black artists.
After the death of an artist, and keep in mind most former stars are
economically worth more dead than alive, a new demand for his or
her work takes place. Very few have quality products in the can. Many
would die all over again if they knew some of their practice tapes,
demonstration records or experimentations were released as finished
product.
And anyone who owns, controls or stole tapes from the departed
performer, can release it with a snappy cover and make a killing. As
a matter-of-fact Elvis Presley is still RCAs meal ticket and how long
has he been dead?
I hope some of this gave you a basic understanding that the business
side of the entertainment industry is complex. This maze is set up,
and to run through it alone is like running the gauntlet. You will be
bloodied, beaten, economically destroyed, and culturally raped.
If that is not enough, who do you trust? Ya gotta get a manager, who
is not only honest, but knows whats happening. You need a lawyer,
who is not only honest (ha,ha,ha), but knows the industry. In addition,
an honest and knowledgeable accountant and booking agent are
needed tools. Now that is asking a lot here in Amerikkka.
Knowledgeable men, plus honesty...good luck!
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Now, here we have some inner-city kids taught that they could sing
their way outta da ghetto. Bright lights, women, cars, weird clothes
and some bread looks so easy to obtain, until reality smashes their
dreams.
Many, many, many doors are slammed in their faces, many small
time gigs end with no payment. Meanwhile, Mom is yelling why
dont ya get a real job. You have very few friends on the way up.
Do you know how many Black people can sing and dance? Then
obviously, having the hookups are more important then naked talent.
Now here we stand with a young vocal group with a dream, a few
tunes, and a backup band kicking the funk out. Their formal training
happens in front of their peers, the roughest training imaginable.
Lets step back to our school days and line up in class with the teacher
leading the way to the auditorium. First of all, we know most children
feel assembly is like a substitute teacher, they take recess...party time!
Secondly, they totally out number the teachers and administrators.
Once seated they are brought under some semblance of control and
the program is about to begin. They all are told to rise and sing the
national anthem, salute the flag, and plop back down into their seats.
Now, in a hostile mood because they had to pledge, sing and salute
the red/white and blue, the program begins.
The principal, Ms. Cracker goes through the good mornings and
threatens those still squirming and complaining. Now its show time.
A more hostile crowd can not be found for the youthful performers
ready to bare it in front of their peers.
Just their appearance before their classmates leads to verbal
harassment, name calling from the crowd, boos and laughter at
anything they say, do, or play. This weeding out process, is the same
coercive measure used at the Apollo Theatre in Harlem. On the other
hand, to remotely quiet and satisfy this crowd is quite an achievement.
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My Brother, Sim, told me stories of a young teen who would always
be playing in front of his classmates. Quiet everyone, shhhh, McCoy
is about to play. Well that real McCoy, was Jazz great McCoy Tyner,
braving it before his peers at Sultzberger Jr. High in Philly. To want
to jam in front of them took heart and a love of music. Marry them
with a dedicated seriousness and a legend was in the making. Those
who laughed now swell with pride whenever their homeboy is
mentioned, plus it costs some good bread to hear him now.
Somewhere between the notes, we must hip our youth to the business
aspects of the music industry. Its almost a given that early in their
careers, they are gonna get screwed without the grease. Those who
survive and stay in the business are rare.
In Philly the former wife of Philadelphia Eagle running back Izzy
Lang, Taz Lang, answered the knock on her door and assassins bullets
took her lite. She died in her doorway because she would not sell the
contract she held on Teddy Pendergrass. It is an unsolved crime. The
music industry is full of crime!
PAY DAY NEVER CAME
I want to take time to give you a classic example of how the Culture
Bandits use, abuse, and exploit our artists, while reaping millions.
This is a classic case of greed, disrespect, and racist ignorance.
In Philly WMOT Records put together a roster of talent that included
Major Harris, Fat Larrys Band, Damon Harris, Booker Newbury,
Brandi Wells, David Simmons and Frankie Double Dutch Bus
Smith, among others.
It was a label run by whites, who had their eyes on the dollar and
were concerned with little else. It was a small label attempting to
cash in on the popular Philly Sound, that was led by Philly
International Records under the guidance of Kenny Gamble and Leon
Huff.
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Philly was popping, and almost everything that came out of there
was taken seriously by the industry. The music business has always
followed hot trends. And if a spot, studio, producer or artist got hot,
they would dogit until it dried up. The Chicago sound of Chess/
Checker, the Memphis Sound of Stax and Volt, the Motown sound of
Detroit, the little studio in Muscle Shoals, Alabama, are just a few
examples.
Out of the pool of talent located in Philly came a young man named
David Simmons. He had a group called the Neo-Experience, that
created tight soul music locally. Somehow, they seemed destined to
breakout locally and travel across country and around the world like
many other Philly groups. I would go into record companies by
myself and sent out plenty of tapes, Simmons told this reporter in
an exclusive interview for this book.
Eventually, the talented group broke up and Simmons tried to go it
alone as a single. He landed with WMOT Records, signing a one
year contract with four one year options. Yet, he was not happy just
being a singer, he wanted to learn the elaborate mystifying business
of music. I used to be there everyday, everyday he said with a
gleam in his eyes.
Simmons saw his chance to be more than a singer; to learn the business
as a whole, the inner workings, how things were done, in the real
music world behind the glitter.
Simmons who possessed a strong voice, and was now a single act,
began to record for WMOT and after several years with the company
he said, I never got a dime for the sessions, I was eager to get my
album together. And after several single releases and album action
Simmons could only say I never got a statement or any type of
accounting.
After WMOT cut a label deal with Fantasy Records, Simmons claims
the lump sum of money that was given the record label never filtered
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down to the artists. He said the deal was either a lump sum that
included money per artist or for the whole stable. In either case,
none of the bread fed any to the Black artists and their families,
Simmons alleges.I never seen a royalty statement... To a slave,
payday never comes!
By this time, Simmons knew what it took to make a hit, he was aware
of the promotional side of the project and had learned by just keeping
his eyes and ears open. Therefore, when his second album came out
he wanted to promote it throughout the country. He went to the record
company for a promotion budget and prepared to hit the road. The
only money they gave me for the promotion tour was $600 or $700,
he claims. Of course, this could not support a promotional tour and
promo aids like: t-shirts, stick cards, posters, pens etc. Consequently,
most of the bread came out of Simmons pocket as he hit the trail up
and down the east coast and as far west as California.
As a recording artist with the now defunct label I always had to
work, I learned, but I was doing it he says proudly. The industry
said that Simmons sounded too much like Teddy Pendergrass,
forgetting conveniently that Teddy sounded just like the powerful
Marvin Junior of the Dells.
In any case, Simmons learned to go to the stores to find out if his
records were moving, checked for in-store play, disco action at the
clubs, and checked out his rotation (how often the record was being
played) at the radio stations. He also checked with distributors.
Clearly, he understood, that he was selling records. So he used what
he called the diplomatic approach in his attempts to get an
accounting from executives at the record label.
Let us stop here to make a point. Most people dont realize that the
recording session is charged to the artist. This includes the cost of
studio rental, musicians, arrangers, background singers, music
copyists, engineers etc. Therefore if a session cost anywhere from
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one dollar to a half million, the artist must make back the recording
costs first before royalties are due. In addition, if the record company
received front money (advances) for the artist, this is also included
in the artists cost. Yet both Simmons and other WMOT artists said
they never received a statement of any kind.
In addition, he says he never received any publishing money that
was due. He had a percentage of the publishing rights of several of
the tunes he recorded under his publishing company AI Hadi Music
Co. (BMI).
Simmons claims, musicians, arrangers, producers got paid, but the
artist didnt get a dime. Now all of these music makers are for
hire and the musicians were unionized. Therefore, they got their
money, but those artists under contract with the label didnt I know
what a statement looked like.
WMOT left Fantasy records and tied into another Philly label, called
TEC Records. This is when Frankee Smith hit it big with Double
Dutch Bus and went platinum. They were taking his money and
cutting (recording) other acts, Simmons revealed. Smith told insiders
that he had received only about $20,000 of the monies due him. Not
only had he recorded the hit tune, but he also wrote it. In short,
hundreds of thousands of dollars disappeared and a true pay day never
came for the artist, but his exploiters lived large off of his bread...you
know what Im sayin?
Sour grapes, you might think, or you may think it is mere poor business
practices that keep us from getting paid. So lets travel a little deeper.
TEC Records was the toy of Mark Stewart, who is now in federal
prison for attempting to launder $40,000,000 in drug money with the
infamous high society dentist/drug runner Dr. Lavin. Oh yeah, his
ass is in jail too. Did ya hear me? And also a couple officials from
Bank Leumi Le-lsrael took falls! I said Mark Stewart, a member of
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the so-called Jewish Mafia, is in jail from now on for attempting to
launder millions. O.k. Now understand that laundering money is an
attempt to hide illegal profits in foreign banks, dummy corporations
and other illegal schemes.
One of his dummy corporations was TEC Records. My point is that
the owner of TEC Records, which controlled WMOT, had more
money than he could hide, more money then he knew what to do
with and still the slaves never got paid. Ya hear me? This is important
if we are to understand the mentality of the Culture Bandits. At all
costs, we, Black people, are not to profit from our labor, our creations,
our culture...To a slave, payday never comes.
If you are still resisting this information, lets travel on. Another
dummy corporation for his money laundering schemes was the Martin
Luther King Arena in Philly. The general manager was NBA Hall of
Fame basketball great Hal Greer. Greer also coached the Continental
Basketball Association team called The Philly Kings (co-owned by
Stewart) in hopes of working his way into a chance to coach in the
NBA. Let me say this, Greer knew nothing of the illegal activities of
Stewart and, as anyone can tell you, is one of the most beautiful cats
you could meet.
In addition, All Pro linebacker for the Philadelphia Eagles at the time,
Jerry Robinson had hired Mark Stewart as his sports agent. Other
Eagles soon signed up, until it became clear Stewart was not to be
trusted. Further, Jerry quietly asked to be traded to get away from the
bandit.
Need more? Former Heavyweight champ Terrible Tim Witherspoon
was managed by Stewart at one time, who at his signing, gave him
an old Cadillac that never ran and not once traveled off of the lot of
the King Arena. Ya see, Stewart had a stable of great fighters he was
exploiting. Again, none knew he was a solid crook and Culture Bandit.
They were brothers and sisters attempting to rise in their respective
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professions and we are taught that a whiteman with money is cool,
instead of the reverse.
To sum up this example of the elusive pay day for a slave, it is clear
that our athletes and entertainers, like the rest of the employment
situations for us here in Amerikkka, still hold the same relationship
as in the days of slavery. No matter what level you may be dealing
on, our labor/culture/skills are stolen for a few pieces of silver. Even
those of us doing well are being taken to Rip City.
Whether in the NBA Hall of Fame, an NFL All Pro, top rated boxer
or Platinum selling recording artist, to a slave, pay day never comes.
In this case no amount of profit by the Culture Bandit could induce
him to share with what he viewed as his slaves. The man had money
falling out of his pockets, tucked in dummy corporations, hidden
under his diseased mattress, and falling out his asshole, but not a
dime a Nigger would get, was his motto put into practice. Now, he
rots in jail, there from now on, but hes probably proud that Black
hands never made a buck from him. And that Black families never
ate or were clothed from the money he stole through the drug trade
and other illegal acts. But when you hear the media speak of the drug
trade, this type of example is tucked away outta sight.
Obviously, TEC Records was having a ball, but David Simmons says
WMOT wasnt doing bad either. When I asked where he thought the
money was going, he said, They were paying themselves big salaries.
One of their mothers owned a shoe store and the other worked in a
factory. They were driving jaguars and big ass cars, that shit cost
money. Plus weekly paychecks for their friends, but the artist didnt
get shit.
Simmons added thats why my shit is set up now, anybodys song I
do Im going to get a piece. Its a business. I used to believe I was
only singing for the people and I enjoyed it. Now I know it is all of
that, but it is a business too. He says he warns all young people
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going into the recording industry You gotta learn the business. And
cover your ass cause they are gonna try and dog you.
Since the turmoil of the 70s and the negative experience with WMOT/
TEC Simmons is still in the business and is now completing a new
album as an independent producer/writer/artist/arranger. He is still
popular with Philly musicians, who love to work with him. Ive
tried a couple other managers but they change up on you...I always
try to deal with my own people.
His voice is as powerful as ever and his writing crisp and mature, he
will be a smash in the 90s. He handles both material on relationships
and social statements with the same funky soul and sincerity. Also,
he now has an arrangement with Philly businessman Jim Wade, former
owner of Wade Cable Company. Wade told him You can sing, maybe
I can do something for you. Wade has been financing his recording
activities. Its been all on a gentlemens agreement, just a handshake
brother to brother, he informed me. This is a first for him. He is
comfortable and in a situation where he can create. Naw, a slave
never gets paid, but an independent Blackman can get paid, one with
an ownership mentality. Remember I said, David Simmons will be a
force in the 90s.
Finally, this extraordinary story is the norm not the exception. We
must develop an ownership mentality and stop preparing our children
to be exploited in the 21st century. The length they will go to exploit
and control us is a warning signal that economic growth and maturity
is needed. But not in the deadly capitalistic mode, the money for the
individual will not solve our collective problems...seen?
Block by block, we need to come together, we need our own
institutional infrastructure to serve the needs of our people. We face
genocide on all levels and those whose only concern is their personal
enrichment are just as bad as the foreign oppressors from the white
side of the tracks. Bleeding from the gums we are, twisting in the
economical winds like a lynched brother, strange fruit.
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Let me caution, there are many Blacks in the industry who possess
that same mentality and they are of no use in this, the final comedown.
As Europe moves toward Pan-Europe-ism under one currency, as
Russia moves closer to its white supremacy partner in crime,
Amerikkka, we are being destabilized by chemical warfare, physical
elimination, educational terrorism, and economic atrocities.
Naw, to a slave pay day never comes! But to a free man everyday is
pay day. Malcolm X taught us that If you are afraid to tell the truth,
why you dont even deserve freedom. I thank all of those who made
this chapter possible and to those who punked out, you deserve the
suffering you refuse to struggle against. We know that a coward dies
many deaths, but a warrior only once, and with dignity and honor!
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CULTURAL MAINTENANCE
In this book we have: briefly journeyed through our history, pointing
out the development of our music, established a common bond with
all Afrikan music, clarified the enemy and his methods, dealt with
exploitation/isolation/destruction of our song, and the economics of
the whole deal.
In other words, I hope I have established with you a clear overview
of our musical genius and what it means to our efforts to deliver a
better day. I hope you also understand the clear control and the
colonization of our music.
Maybe this book will help to bolster your pride in our diverse but
common musical accomplishments under the most perverted
conditions. In addition, develop a reasonable sense of urgency
concerning the genocidal nature of the global system of white
supremacy and the role the Culture Bandits play in this attempt to
destroy us forever.
The reason I put the glossary of terms in the front of the book is so
that you could recognize the importance of understanding these terms
and concepts. Further, I was never clear on how the reader is to
understand what is being said when the key is in the back of the book
somewhere. And because this is my book, I put the glossary where I
believe it would do the most good.
Now I think we are ready to talk about Cultural Maintenance, not in
the abstract but on a real tip. First, we must understand that cultural
maintenance is built in a culture, a people. Naturally, the developers
of a culture would maintain it by practicing it, shielding it from
outsiders, and of course, passing it on to the children as a major
socializing tool. Built in, I say, are the methods of culture maintenance.
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However, in the case of the Afrikan and the type of slavery we suffered
under, the type of colonialism developed to contain us, while we
were raped of everything, plus the neo-colonialism that is inflicted
on us now, we cant maintain anything without a tremendous
conscious effort.
None of this is an excuse, it is a statement of fact. Importantly, we
should be proud of all we were able to retain and develop under the
conditions we have suffered from the enemy. Yet, the contact with
them has let a lot of color out of our song, it has changed what we
would have developed if left unmolested.
We must understand clearly, that our whole existence was under the
control of other people. Everything we produced has been exploited
to enrich the slavemasters, and anything we have received from the
musical culture, we perpetuate, has been by accident. Yeah, some
have made individual wealth, but nothing has been institutionalized.
Under control of the Culture Bandits we are, but we continue to
evolve, but that is not enough.
The pain and the suffering of our artists litter our-story like the bones
of our ancestors under the sea. Rape it was/rape it is/rape it will always
be, unless we get into a posture for aggressive positive action. It is
their communications apparatus that controls our culture, with those
self perpetuating tools in place for others, they are not available to us
at this time. Since we are parked on other folks land, the natural
perpetuation of culture is not gonna happen unassisted.
Their communications system not only defines, exposes, propagates,
excludes and labels our musical cultural products, but it claims them
as white creations. Or they will try to make an off shoot stand up as
a new creation. For example, I used to laugh at the fuss they made
over Charlie Pride, the Black Country and Western singer. Making
him seem like an exception, instead of one of the few remaining
Black practitioners of a music developed out of Black folk music.
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Further, since we raised their babies, they grew up talking like us and
socialized to a music otherwise alien to their culture, ya dig! Again
Haskin and Butts offer from Psychology of Black Language:
Folk music is produced without formal musical training; it
is an emotional creation born out of deep suffering and its
spiritual compensation in intense religious feeling. Black folk
music comprises of spirituals. It evolved on the plantation,
and because the plantation was far from theaters, music halls,
and other sources of entertainment, it was encouraged by
whites. Through their Blacks, whites had entertainment, and
Black folk music thereby seeped into the skins of southern
aristocrats.
After seeping into these folks, to a degree, as always, they decided to
eliminate the creators from the further exploitation of the music, while
claiming to be the orginators...Culture Bandits. Bluegrass, like all
other forms of music that didnt spring from the dirty bowels of
Europe, has been historically claimed by the thieves.
Just like ragtime, big band music, jazz, torch singing and every other
form of music, Afrikans are at the root, the givers of life, the mothers
and fathers of the music. That is why some feel R&B, the Blues and
Country & Western have the same feel. Yeah! Because they are
brothers and sisters.
In the case of Country and Western and some other forms, we moved
on blazing new trails trying to get away from the bandits. But like
any other property, just because we were not using it doesnt mean
some one else can move in and set up shop. In addition, we have
already dealt with the fact that we are a progressive people, and we
travel on in search of new ways and means to express life.
The young must understand their musical heritage on a very basic
level. Rap music more than any other demonstrates the commonality
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of it all. All we need do is nudge the youth into the origin of the
music Rap is based on. In this, they can get the needed lessons on our
culture. Meanwhile, they can school us on where they are going,
their world view and the strategies and tactics they would use to get
there. Since we all travel the same road, we could then school them
and drop some vibes from our experiences. Then we are all dealing
on a higher level.
No matter what brand of Afrikan music we deal with, it should all
make us feel good about ourselves and our culture. Whether it is a
love song about the richness of our relationships, how to put our
house in order, the beauty of the elders, the joy in the childrens eyes,
setting the record straight and avoidance of infidelity (the true enemy
of the family), weve got to come together.
Or maybe through the exploration of our social situation or the
empathy we share in our common struggles across the planet, we can
come to know more about each other by listening to the music we all
develop, rather than a lifetime of watching Dan Rather create news
out of distortions.
We can only love one another in the genuine sense if we know
ourselves. And if we dont truly understand the brutal exploitation
our musical culture has suffered, there is no way we can understand
why we are lost in this hell hole.
We must control the creative environment in order for our artists to
speak, we must control the economics of the music if our communities
are to grow, and we must use coercion for cohesion to stop the abuses
of the culture for a few pennies internally.
Harrison Ridley Jr., the renowned musicologist from Philly, in an
exclusive interview for this book, covered a lot of ground for us in
the area of cultural maintenance for what he calls Afrikan
Amerikkkan Classical Music, or what is known as Jazz.
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The first area he cites is education. We need more institutions to
have serious courses on Jazz not just music appreciation. At the high
school and college level you should get a degree or a certificate.
Students who want to play the music must also be taught the history
of the music. And the music should be a part of the overall curriculum
He went even further when he said at the elementary and middle
school levels, there should be classes on the music.
In addition he feels that we should study the innovators of the music,
scholars like Duke Ellington, Dizzy and Miles and dozens of others
who contributed to the sound. He feels otherwise, white critics will
define everything for history. Artists like Dizzy Gillispie were
important developers of the music which was labeled BeBop, and
artists like Coltrane, Coleman Hawkins, Monk and Fletcher
Henderson are just a few of the people who need to be studied.
He took time to qualify the music of today. The music that is labeled
Jazz has become commercial now, we dont give enough credit to
the people who developed the music. By the year 2,000, if we dont
get serious the music of the people, especially Afrikan Americans
wont survive and because of ignorance it cant.
As I said earlier in this book, the Culture Bandits set themselves up
as critics to control and invade our song, they then are in a position to
define our musical culture even though they are outsiders and poor
imitators. Ridley says To me they have too much power of making
or breaking an artist without a thorough understanding of Afrikan
history. We (Black people) should give more respect to our art, we
must take it very seriously.
Too many of us have a western concept of the music and dont

understand what the music is about, I would say 70 % of what I
know came from the musicians themselves. He says that our musical
greats live right in the community, but we dont seek them out or
hold them in esteem. Consequently, we dont know where the music
came from.
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Jazz is a form of all of it (our music) put together. Did you know
many of our great Jazz pioneers played R&B? For example, the great
drummer Philly Joe Jones played with Bullmoose Jackson. He went
on to say Coltrane and others played dances and cabarets. Plus, he
played with great R&B pioneers like Earl Bostic and the great Big
Mama Thorton as he grew into his Jazz starship for musical
exploration. In terms of Rap, Ridley said that Rap has become a
noun, if we study our language, Rap means to communicate...Its
just another form of folk music that came about because the
instruments became too expensive, he added. Josh White, Odetta
and even Paul Robeson preserved our folk music. And Rap is a
form of urban contemporary folk music and should be seen in that
light. It is not just a bunch of sounds and words thrown together in a
meaningless fashion.
Ridley went further to prove his point about the community aspects
of our musical culture when he spoke about how the musicians used
to go from town to town. Usually, they stayed with community folk
or in community guest houses. The same structure was available for
Black athletes from the old Negro league and others. Consequently,
it was difficult for the artist or athlete to grow away from his people.
White hotels were, in the main, hostile to Blacks or completely
segregated.
I asked Ridley an important question dealing with so-called Jazz purist
attitudes toward Miles Davis transition to an electric sound. I wanted
his opinion straight up. It was always built on exploration. Miles is
still Miles to me, I respect the man, was how he put it. The word
fusion reminds me of the word BeBop. You see, there were men of
different cultures on the slave ships. If you were from West Afrika
you were into heavy rhythm and if you were from Angola, you might
be using more string sounds was how he put it.
He went on to agree with me about the collective nature of the music
and the need to drop compartmentalizing labels. He highlighted his
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point by saying, Coltrane might play Peps (a former famous Jazz
club in Philly) on Friday night and play some Monk and Charlie
Parker, while on Saturday, he may play a cabaret dealing with all
danceable music, while on Sunday he may appear in concert at the
Academy of Music and jam some tight charted big band
arrangements. Do you get the point?
He feels that Amerikkkan society has not accepted our music as an

art form. I would agree in part. They have accepted it as an art form
privately, while publicly they treat it as if it doesnt exist. Knowing
we cant maintain what we dont know exists.
In addition, Ridley feels that we must produce more printed matter
on our music, that the churches have a role to play in our musical
perpetuation and independent schools have a major task in passing
on the culture to their wide-eyed students.
I agree, but let us be clear, most of the weight falls on us and what we
want to retain. Right now our only involvement in our musical culture
is on a consumer level. Very few of us explore the different sounds
and textures of the music we create. In other words, we only hear
what the white boy allows us to hear and we only interact with the
music that he artificially wants you to believe is happening. In
addition, all the money raised dances outta our pockets into theirs,
thus, enriching the system of white supremacy as it moves to destroy
us.
Our musicians and singers grow up in pursuit of gold, riches, not

understanding their role in the perpetuation of culture. Furtherstill,
we are allowing the enemy to choose for us the best of us. No
community forums or formal hunts are conducted to marry qualified
entertainers with the Afrikan audiences. Thus, just as the so-called
Black politicians are loyal to the enemy, the athletes and entertainers
are loyal to the slaveholder. The more bread they make, the further
they move from the community that delivered the talent genetically
to them. Brain drain it is, on a cultural tip.
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Public Enemy says Dont believe the Hype its a sequel as an equal
can I get this through to you! Everything in this Babylon is a hype,
the control of collective thought is an agent of subjugation. The
challenges of the 90s will be to set up apparatuses of communications
and culture that shoot laser beams at the Culture Bandits and their
scheme of cultural genocide. This book is the first shot in that war!
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SOUND AND IMAGES

SOUND AND IMAGES
Our sound, word, and power is manifested in our historical journey
through the belly of the beast as agents of survival, pleasure,
articulation of pain, musical messages of hope, documentation of
faith, and wails for true liberation.
We are musical people, because it is an exact science, a social
mathematics with an organic nature. Our creations are a wonder of
mankind, a practice that strolls through life with us as a friend, a
partner, a pure pleasure.
Even while the pain of the Blues conjures up situations that strike at
the spirit, we know that the pain must be confronted above board if it
is ever to be diminished in intensity.
Just as we have a million ways of walking, talking, inventing,
compromising with nature, we have as many sounds to let loose in
the winds of time.
The environment is ours, we claim it, use it, attempt to control it, and
make peace with it. We are not a destructive people, we lay back in
the folds of life timing everything to the beat of the drum. We salvage
all that can be used and re-work it into something beautiful, kind and
generous.
Therefore, the historical winds blow to the beat of our sounds. We
document everything here on the Mothership Earth. And the decay
of the barbarians is ever closing in to slap us down, destroy our
melody, screw up our harmony and slam at our attempts at unity.
The Culture Bandits learned long ago that they could not silence the
music, that it must be co-opted into their scheme of things, and it can
not be allowed to develop into an agent of freedom.
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SOUND AND IMAGES

It must be fun they are having, but it is also critical to their mechanism
of oppression that the beat be for a different drummer. In this game,
it is important that the victim never realizes that he or she is the
victim. And as a people, as their victims, we must always be made to
look at them through friendship eyes and in parental esteem.
Segregated we were, isolated on islands, away from pale lice, only
invaded for punitive measures. Set aside, out of view, seen only at
work time and invisible to the social order. In this setting, we grew,
culturally, socially, and economically. As an embryo here in the Belly
of the Beast, we had our own school systems, religious community,
land, businesses, social order and musical expressions.
Never but a step away from their wrath, we also, many times,
answered their violence with self-defense and punitive action. In all
cases, as the war raged on, the economic districts of our community
were attacked and destroyed. At the heart they always strike.
Let me point out that the major leagues in baseball did not do us a
favor when they de-segregated with Jackie Robinson. In fact, they
destroyed more careers than they incorporated. Plus, they raided the
opposition, the so-called Negro Leagues, and walked away with the
cream of the crop of our talent pool.
You see, we must read history Thru Afrikan Eyes. This would tell
us that we did not gain but lost. Why, you might ask did they integrate?
Ya see, they had played a number of exhibitions with the Black
leagues and got their butts kicked. And just as their people were
slipping across the tracks, in city after city, to hear our music and
watch us perform, a new trend took form, they traveled to see the
Black ball players.
They had no choice but to invade the Black league and destroy it. Of
course, then as now, we functioned on the myth that white was better.
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SOUND AND IMAGES

Not only did they grab our stars from under us, but also the Black
fans, who then flocked to their stadiums paying through the teeth to
see an inferior product.
This is not a digression, it is on the one. And we still are celebrating
the economic destruction of our cultural product. Why, the whole
vibe was different when you went to see the brothers play. Check out
Motowns film Bingo Longs Traveling All Stars and Motor Kings.
Better yet, check out the Black College football league and compare
it to what is going on in the dead stadiums of the Culture Bandits.
Listen and watch how the music and what is going on in the field,
and in the stands comes together in one experience.
Hey man, a few years ago when Temple University played Florida
A&M here in Philly, Temple put in the contract that Florida A&Ms
fabulous band could not jam as the athletes played. Now that is a
cultural victory, one that gave Temple the edge. Our culture comfort
zone dictated we jam as we ran in a rhythm of excellence. They, of
course, would get confused and the whole natural order of things
would be out of wack.
Just as their orchestrated music is dead with everything neatly put in
the passages, never to be changed after centuries, in all areas of life
they want the applause in the right spot, the cheerleaders dancing
only during the break, and their ugly-ass mascot freaks only farting
around when there is no action.
While organically, we move with the environment, establish a
beachhead with it, and ride it in a collective pleasure, you know what
Im saying. If not, think about it and check it out.
I gotta say one more thing. At half time, which is their acceptable
time to jam, Temple, yes Bill Cosbys Temple, had the nerve to send
the world famous Florida A&Ms Band on first. They, of course,
preceded to get to slamming in a serious get down. Check this out, at
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SOUND AND IMAGES

one point all hundred and something of them did a split at the same
time...awesome.
After they rolled slapping high fives, low fives, and serious tens,
Temples thick legged band stamped out on the field like a hundred
Pete Roses, slow, and betting no one would dig their fraud. Then
look-a-here, they did a tribute to Disney or some shit that came off
like Mickey Mouse... Yeah boy, I was in stitches. Is that not like Eric
Clapton wanting to follow Hendrix or weird Mick Jagger following
James Brown...Culture Bandits!
My point is that they watch us like a hawk to see what they can beg,
borrow and steal. And many times they lose it and begin to believe
their own hype, that they are the originators of this or that when
theyre mere Culture Bandits, just another tribe of thieves.
Up to this point weve just been dealing with the sounds, words and
power we produce, that is called music. Now let us check out how
they attach our sounds to their images and create a new thing.
Hollywood drafted Louis Armstrong, Ellington, Lady Day, Bill
Robinson and others to color their dead racist film products. They
had used white actors in Black face but decided to carry the
humiliation deeper.
Most of this is an area I will cover in Culture Bandits Vol. II. Look,
they wanted musicians and singers not actors, so that we could breathe
some soul into their unimaginative sound tracks. It also helped with
the demographics and aided in getting our people to the movies for
an expensive insult.
Let me get out of this by saying, the funniest movie I ever saw was
called Ski Party. It was about a bunch of whites romping on some
snow, and some silly soap opera nonsense. Well they knew it was a
dog, so in the middle of this silly flick, James Brown yells at the top
of his lungs Wooooooow I feel good. Then the camera cuts to J.B.
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SOUND AND IMAGES

doing the mash-potato at the lodge, performing for the snow
creatures. And soon as his three minutes were up, he was gone!
The use of our music to sell images in Hollywood was also part of
the packaging of Black-exploitation films. For example, Curtis
Mayfields soundtrack for Superfly sold those junk food images to a
whole generation. As a matter of fact, the Culture Bandits knew that,
and released the sound track before the movie.
The same tactics were employed in the Shaft movie (pick up on that
name Shaft for the Black private Dick). Isaac Hayes sound track
was far superior to anything Hollywood ever created. A work of art it
was, but again, it was reduced to a mere tool to sell fantasy images to
a race in need of reality. I just wanted to cite a couple of examples,
you can think of others and jot them down.
However, when we needed a tight, soulful sound track it was not to
be found. Sam Greenlee author and film-maker of the classic The
Spook Who Sat By The Door told me I was disappointed in Herbie
Hancocks sound track...he just re-worked some old tracks.
Wait a minute, I got a couple more, lets reverse it. How about Porgy
n Bess and Carmen Jones, when Black actors lipped synch to the
white voice of opera stars. Sound n images, Images n Sound!
Think about the results of growing up on that stuff. It should clarify
why we must know ourselves and how we roll, so that no one can
make clowns of us again. We are a great people, constantly the butt
of their racist jokes. Now watch how offended they are going to claim
to be about my references to them...ask if I care!
On the stage, Black music has been used for years, both in their
productions and Black productions. But one that I can point to as a
clear example of sound n images used for the benefit of the struggle
is Sarafina.
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SOUND AND IMAGES

It was/is more than a production, more than a collage of sound and
drama, but slices of lifes reality in the cruelty of the South Afrikan
experience. Written by Mbongeni Ngema, music, lyrics and all
embedded in the action, with additional songs by Hugh Masakela, it
stripped the oppressive regime naked before an astonished world.
The artistry of Ngemas work travels through the dialogue, music,
choreography, staging, lyric work and musical arrangements (with
Masakela). It played like living pages from the newspapers, a solid
wall of tragedy, fogging childrens laughter, bleeding tears into the
lives of the oppressed, breathing pictures of sorrow of unbowed heads.
Its strength was in its cast and the unity of purpose that filled our cup
of images from home. It was thunder and lightening, piercing pain,
surrounded by the struggle for normalcy in the abnormal shower of
white cruelty. The youthful message was shouted: it will be alright!
The dialogue and music swam through the pleading voices, which
documented people pain, and the collision course with our freedom
song. It tied us up in darkened theaters where it was chasing the
usual stage fantasies away and replacing it with flood lights of torment
unleashed by the barrel of deaths gun.
As a tool, it smashed illusions door down and the images and music
did the job that newsreels, lectures, speaking engagements, and
government bodies had failed at. It portrayed the misery in South
Afrika in an Afrikan context with drama, song and dance that
described everyday matters for easy digestion. A political tool it was,
a political tool it was designed to be, a mission it soulfully executed
with revolutionary zeal, disciplined professionalism, with 360 degrees
of exposer.
Touching places that have never been touched, teaching lessons that
needed to be taught, and moving people before unmoved. The music
planted joy in tortured creative soil and watered it with tears of the
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suffering and fertilizer of hope. Planted in our bosom, the childrens
voices carried their countrymens wail past the borders of shielded
censorship.
And in every song the message was clear Apartheid is finished.
The youth would never accept inferiority, lack of opportunity, police
brutality, and cultural rape. Their melody predicted the washing of
the pain with the innocence of youth, the cleansing of the body with
the removal of racist waste, and the commitment to see it through the
forest of hatred. They sang out loud and clear Freedom is Coming
Tomorrow and it will be a freedom that their images n sound helped
clear the way for!
Images n sound, is a deadly combo, a strike force for social change
as well as a propaganda tool producing continued servitude. Together
they speak louder than apart. In the hands of political folk they help
the viewer and listener to arrive quicker to realitys door.
For example, the music videos in the hands of most recording
companies and their artists are mere garbage packaged with unrelated
action. Ingredients include, Macho profiling, some tits and ass (T
&A), and a rainbow of colors for no particular reason. Edited scenes
of dancing, and quick cutting to simulate action, means most play
like a 60 second soft drink commercial.
Yet, in the hands of an artist with something to say, they become
torch lights of hope, an upliftment of relevant sounds n images, a
staging arena to develop consciousness. Public Enemys Fight the
Power Video is a classic case of positive production. Boogie Down
ProductionsMy Philosophy is another example. It effects the market,
Cameos Skin Im In is another example of the artists attempting to
travel pass T &A Videos.
Black film-maker Spike Lee understood culturally the need for sound
with his images. In School Daze the soundtrack issued the musical
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SOUND AND IMAGES

transitions from one situation to another. Lee spent as much time
creating the music stimulation as he did the image and dialogue
portions of the total product.
The dance tune Da Butt took off like a rocket, just as Lee knew it
would before it was written. He had only a title and song idea when
he turned them over for creation. In this instance, concept was as
important as the musical substance.
In addition, Lee had solo artists like Phyllis Hyman and also vocal
group work by some of the female actresses. The music was the heartbeat, the tempo that was at the core of the script. Just like the television
show In Living Color, the formula includes music as the transition
force, using a deejay, dancers and some of the freshest Hip-Hop, its
a cultural thing.
Further, Lee used music as the pic he hung everything on in Do the
Right Thing. Again, Public Enemys classic Fight the Power
overwhelmed many in the audience. Whenever, the movie began to
drag, the theme song would jump out of Radio Raheems Ghetto
Blaster. As a matter of fact the opening scenes with the sister jamming
to the theme song delivered a clear double attack using sound n
images.
Movies like Uptight, Sweet Sweet Back used soundtracks that shook
Hollywoods traditional foundation. The industry was lost in its own
shallow creativity when Black films rang its cash register. Hollywood
took the transfusion, while continuing to turn out anti-Afrikan
propaganda. Again, our musical genius was used to tighten the chains
on our minds and behinds.
Crush Groove, the Hip-Hop movie expanded Raps appeal and gave
the youth a image to latch hold of as it exposed artists, who later
became stars like: L.L. Cool J, Heavy D and others.
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It is important to understand that the Culture Bandits used sound n
images to drag their people into the conspiracy to rip-off our music.
It was Amerikkkan Bandstand that announced to white children that
rock n roll, the bastard child of R&B, was created for them to jump
out of the dead sounds of Amerikkkan Hit Parade.
Immediately, they defined the music as their creation, a new thing, a
rebellion against the established musical forms they were bored with,
and a new exciting culture revolved around this music that freed up
their uptight asses. Clothes, sunglasses, cars, fast food, language etc.
all came with the music as a base for it to exist on.
Consequently, they were able to beam, via television, the message to
the teens that Elvis, Buddy Holly, Jerry Lee Lewis, the Big Hooper
(whatever that was) and others were the new wave that delivered a
colorful life to their pale existence.
Understanding that there are contradictions in everything, the white
traditionalist rumbled with the new communication order for old
values, the old way against the Nigger Music. Preachers from the
pulpit condemned the music and those pushing it and the
establishment fought for the great white way. They were to lose,
because everything paled in comparison to the new music.
But it was not until the advertisers found out that the happy music,
the rhythmatic music, sold their products, did the resistance lighten
up. Meanwhile, a brother by the name of Otis Blackwell was still
trying to civilize Elvis Presleys sound, it was then we realized that
their standard for excellence was real low, lower then a snakes belly.
As a matter of fact, whites would get tremendous applause for having
the nerve to act Black in public.
Now, add their media as a cheerleader and the co-optation of our
music is in full effect. Therefore, after the traditionalist caved in and
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SOUND AND IMAGES

opened up established venues and multi-media access, the Culture
Bandits took off and have been flying ever since.
Let me clarify, when Ed Sullivan presented Elvis Presley between
some tumblers, an unfunny comedian, a juggler, and a flat singer,
this was the first major shot in the new war of the cultural imperialist
against us. Years later, he would present the Beatles, opening the
beachhead against Soul Music. Do you understand what Im saying?
Then the Philly whites, where the mafia is strong, started sending
their no singing children out of their South Philly stronghold and
into national attention. Frankie Avalon, Fabian and others rode in
with what some believe were underworld support. Phil Spector ripped
off a piece of the action because he could get the airplay for almost
anything.
Then the South Philly crew came up with a true coup when a fat boy
working in a South Philly butcher shop was pushed to sing, cause
all niggers can sing yall, the results was a copy of Hank Ballard
and the Midnighters tune called The Twist. And they have been
twisting ever since.
Behind him the so-called blue eyed soul brothers (no such thing)
swam ashore and they attacked the coastline of our song and are now
entrenched in the guts of our music just as the whites are entrenched
in South Afrika.
The Righteous Brothers, Everly Brothers, Len Barry, Little Rascals,
Blood Sweat and Tears, Billy Joel, Hall and Oats, Tom Jones, and
legions of others all waddled ashore dragging one leg. Like The Night
of the Living Dead, they just keep coming.
The Philly crew, and Elvis, went to Hollywood and attempted to put
the music with the images, and their product was bad on both levels.
Elvis couldnt sing and couldnt act, Avalon was the same and on and
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SOUND AND IMAGES

on. Since whites are square anyway these wacky efforts made money,
because a white artist doesnt have to accomplish anything.
On the fringe, the Beatniks begot the Hippies and both revolved
around attempting to be the Blackest of the whites. And to this day,
there is an element that will taste anything we do, those who wont
stand for the pale lifeless approach to music, to life.
For instance, the Like a Prayer video by Madonna speaks to the tragic
sickness that traps them in madness. Here is a white woman who
wants to be Black so bad that her music reflects the conflict. Her
name is Madonna but, she views herself as the original Black
Madonna. In her video presentation is Joe Morton, of Brother from
Another Planet fame, who plays Jesus. Madonna, of course, is with
the Black oppressed and against the white establishment that is bent
on crucifying Jesus.
In the end she frees him, kisses his feet, a passionate kiss in the mouth,
and she winds up in a Black church jamming with the all Black
congregation. Since she is still white, everything revolves around
her. She drops to her knees and a sister sings and dances while placing
her Black hand on her blond head to Baptize her, thus making her a
member of the congregation and race...Shes as mad as a hatter!
But then again, remember Neely Fuller who says we must understand
that whites hate us because they are not us and if we dont understand
this, everything else about them will confuse us. Therefore, we should
understand the attack on Black women by the Rolling Stones and the
hatred of Guns and Roses.
Whites both love Madonna for her ability to express her love of the
original people (us), while hating her at the same time for exposing
their true inner feelings. Many Blacks view her appreciation of our
music and hue-manity as a compliment. Always fear the insane, they
are unpredictable, unwholesome, and more importantly, she is merely
a half naked... Culture Bandit!
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SOUND AND IMAGES

Those who are using sound n images to put forth our best foot are
true pioneers, those who attack us with these tools are deadly enemies
and must be exposed. And then there is a third source, those who are
mentally sick: they confuse the whole issue with their sheer madness.
If we are going to be guardians of our culture, we must understand
that everything that is produced is a cultural product. It is important
to note that sound n images are either liberating or enslaving. We
should be aware that our people are victimized by the clever use of
our sound with screwed up images.
Our children are programmed to yearn for the over-priced junk of
the exploiters. Expensive sneakers, clothes, fast food, cars, etc. are
the carrots on the stick that lead our youth into an unnatural material
appetite. But it is the music, the jams, the rapping, fast paced dancing
and revolving foolishness is injected straight to the brain of the
victims.
The music grabs the attention of the viewer to prime them for the
commercial messages. For example, as the break in the action of
most major sporting events approach, live or broadcasted music kicks
you into the commercial break. Or the Isley Brothers sing Shout,
Kool and the Gangs sings Celebrate to wake up the house and on and
on.
A weapon, a tactic, an evil procedure deadly in nature and confusing
to young minds. Our sound n their images is stuff nightmares are
made of and backwardness is fostered in. While Sarafina, Do the
Right Thing and In Living Color are examples of the positive use of
our sound and our images.
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IN SEARCH OF THE MUSIC

There are key artists that I believe we should all know through the
music they have created. Their importance lies in being just a sample
of a brand of Afrikan music they influenced that may soon be locked
away forever, if we allow it to be. There are also some artists here I
feel you should be introduced to because their music is hidden,
awaiting further discovery. Any further journey into the music is a
life long joy ride, a genealogical study for the roots of us all. It is all
encased in the music, in our songs and dances. White anthropological
studies are constantly done on our musical expressions and that
research only serves as a tool for control. In the heart beat of our
rhythm lies our liberation song. Bringing all the forms together and
watching them blend in our consciousness will lead us onto the path
of unity. We just have to bring all our people together globally to
move on white supremacy. Regardless of ethnic, religious, economic,
environmental origins, our musical cultural products are distinctly
Afrikan. And the enemy of our unity is the snake low Culture Bandits!
STAPLE SINGERS
They came forward during the difficult times of the 60s & 70s under
criticism of the Gospel faithful. Their classic Respect Yourself and
others were uplifting during turbulent times.
REV. ISAAC DOUGLAS
His rendition of Peace, Be Still moved many, and along with Nikki
Giovannis poetry, hit a chord in the struggling soul of our people.
Nikki later went mainstream and against the struggle, and also said it
was just the poetry of the times on Phil Donahues show. She later
made statements against the cultural boycott of South Afrika, came
out for the rightwing Black artists to play Sun City. While, Isaac
told me in an interview If I knew Nikki was going to put that Black
poetry to my singing I would have never had recorded for her. The
record was a classic, while the artists were tired and insincere.
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Needless to say, this happens all the time, when they are swept up in
the environment of struggle.
THE WINANS
They are reaching the people through updating their version of Gospel
ala The Staple Singers and Edwin Hawkins.
COUNT BASIE
A study in exciting, crisp, colorful big band arrangements. Musical
Black power machine drove at you with the aggressiveness of a
champion athlete.
JOHN COLTRANE
The beginning and the end of Jazz development. His development in
music is the same kind of political development Malcolm X went
through. A certified genius, but I remember those whose criticism
cut him deeply as he explored sound and power to infinity. My
favorites were the Afrikan Brass Sessions.
SUN RA
Sun Ra is a traveling school, an apprenticeship program for the best,
a journey through the universe in a Black Mothership - stopping here
and there to demonstrate his new discoveries.
LEE MORGAN
Philly trumpet on young lips, a master too soon, a death never digested,
missed forever ...a journey never finished.
HERBIE HANCOCK
A Chameleon, boy wonder, a versatile champion of rhythm and
melody. Too many faces, too many journeys uncharted and some
unnecessary. Yet his recordings and writings, jamming with Miles
made his life meaningful in a musical way. So much on wax, a study
in transitions but to where and why?
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QUlNCY JONES
An arranger supreme, a third eye for untapped talent, a history of
greatness in his arrangements. Lucrative movie scores got in the way
of genius, t.v. arrangements slowed his roll, but Back on the Block
delivered a message only he could. All Black music are branches of
the same tree, a sturdy tree that will live forever...yeah! Check Gula
Matari, a classic in sound.
WES MONTGOMERY
No formal lessons did he have, because he was music. It ran through
his veins and ached to get out. Turning pro late in life, he blazed a
new trail, a new sound, his chords were structured to relax our minds
and slip us away from realitys pain. Check Down Here on the
Ground.
KING SUNNY ADE
Sunnys Aura is yet another Afrika journey, a collage of rhythms
his music is. While his mellow voice travels over the complexity of
his simplicity, the wall of sound smashes joy into your existence.
Study him, listen to them all...a treat for all.
HUGH MASEKELA
Hugh has investigated a lot of approaches to his art. Yet, his classic
albums remain I Am Not Afraid and Hedzola Sound. Every cut
on these two are riddled with musical lessons, those with vocal tracks
teach in a verbal way, hey! The musician from Azania (South Afrika)
is a special talent and his vocals are pure Blues in the currents of the
time.
MIRIAM MAKEBA
What can I say about Mama Afrika! Check her out, classic by classic,
song by song, emotion by emotion. Her voice is that of a veteran of
pain, whose job it is to keep us in touch with our feelings.
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OLATUNJI
As a teen in the early 60s I listened to Olatunjis Drums of Passion
and other albums. Over the years, the master drummer and teacher
has led the way in keeping our traditional music alive. All of his
albums can teach you something, the rhythms find their way into
your consciousness and create an appetite for our sound that will last
forever.
BOB MARLEY
The bottom heavy sound of the king of Reggae destroys our enemies
in a hail of poetic observations graphed from real life. It is the music
of struggle, redemption and pride. It challenges abusive authority,
our brainwashing as it awakens our powers of observation to the
people pain caused by the enemy. One of the greatest writers of all
time, he is/was, was/is.
EXUMA
Exuma is a folk singer from Trinidad, whose music smacks of the
taste of the Eastern so-called Caribbean. Hunt down his classic called
Attica, a tasty treat for the soul. His raw energy voice has familiar
power.
MONGO SANTAMARIA
This Afrikan from Cuba relies on the rhythms of Afrika, some will
call it Latin which is nothing but local interpretations cause outta da
drum we come. Mongo uses big band arrangements, flutes and poly
rhythms to challenge us. My favorite goes way back from his live
album and is called Nothing from Nothing. And of course, there is
the classic Watermelon Man.
FATS DOMINO
He is one of the great R&B pioneers. With little Richard, they served
as examples for Culture Bandits like Jerry Lee Lewis, Bill Haley and
the Comets, Buddy Holly and others. Blueberry Hill, Im Ready
and Blue Monday lead an impressive list of classics by one man.
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Without Fats, Chuck Berry, and Little Richard there would be no
Rock n Roll.
LLOYD PRICE
Prices contributions are sometimes overlooked because its hard to
tie down his influence on the scene. His tunes like Lady Luck and
Personality can be best characterized as upbeat, joyful, and good
natured compositions that traveled on the positive side of
relationships. Never Let Me Go, was a slow tune that dripped with
emotion that exposed another side of the brother.
CHUCK BERRY
Where would the white boys be without Chuck Berry?
LITTLE RICHARD
Little Richard is Rock n Roll, that of course means, Rock n Roll is
really R&B, because he was the king of R&B when he went back to
the church. Tootie Fruitie, the classic, was recorded by Pat Boone
whose stiff, religious background and lack of talent destroyed the
feel of the tune, rhythm, and fun.
RAY CHARLES
The most imitated voice in Amerikkka, whites still believe that
encased in his voice, is vintage raw soul, true R&B and to master the
sound is to obtain the status of blue eyed soul brother (whatever
that might be). Classic Baby Ray is his pre-country n western stuff.
His country n western album sold so much, that he never got back
home again or just dropped in for fleeting visits. Couple this with his
concerts in South Afrika and he lost the respect of many Blacks.
Vintage R&B, Ray dealt with What Id Say, The Night Time is
the Right Time, I Gotta Woman, and Tell the Truth. But, of
course he also had Georgia on My Mind and the complete fantasy
record Amerikkka The Beautiful.
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JAMES BROWN
Truly the greatest entertainer known to mankind. Of course, they
tried to give Sammy Davis Jr. this title because of his white voice
and backward political nature. Not that James was any better, he just
stayed closer to the grassroots, musically. His music was progressive
R&B using elements of Jazz, more then basic chord structure and
solid R&B vamps with quality solos. His vocal work was exciting
and unique: staging-wise no one could stage a show better with all
parts of the whole moving and grooving to the hard sound. As a
performer, his dancing and timing was flawless. Finally, as a total
package no one could follow him on stage then, or now. A hit master
with more gold records personally then most record companies have
by their total roster of talent. Like Duke Ellington the study of Brown
and his musical transitions and era could take a life time.
OTIS REDDING
Like Little Richard, Ray Charles and James Brown, he was another
Georgia boy driven by music to surpass expectations. Same
ingredients: driving R&B band, unique uptempo vocals that pushed
the musicians, soulful balladeer, and great communicator of the spirit
of a song, a master of the lyric, a raw R&B master.
THE DELLS
One of the greatest R&B vocal groups to ever grace the stage. A unit
that has been together since the 60s whose sound is imitated but
never duplicated. Classics like Oh What a Night, Stay in my
Corner, I Can Sing a Rainbow and Freedom Means. The Dells
work is legend. And lead singer Marvin Junior is one of the greatest
vocalists this earth has seen.
JERRY BUTLER
Dubbed the Iceman by famous Philly disc jockey, Georgie Woods,
this Chicago product could produce a Soul communication without
breaking a sweat. For Your Precious Love is said by some to be the
greatest R&B record ever made. He recorded it with the fabulous
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Impressions almost four decades ago and it still stands as a bedrock
of Urban R&B. He Dont Love You and Ive Been Accused are
among his classics.
OSCAR BROWN
One of the greatest pure talents we have produced. Singer, songwriter,
playwright, actor, producer, director and businessman. I contend that
because of our lack of controls in communications, this genius, in
the main, has been successfully kept from his people and the world
stage. Track his records down and cop Bid em In, Brother Where
are You, Tower of Time and The Snake among others.
LAST POETS
There were several groups known as the Last Poets, but all created
classic revolutionary poetry that had to be stopped by exclusion and
isolation. Check Out On the Subway, Wake Up Niggas, This is
Madness, E Pluribus Unum, Whitemans Gotta God Complex
and Blessed are Those Who Struggle and many more that captured
the essence of what came before what is now called Rap.
JOHN LEE HOOKER
The life-time works of John Lee Hooker needs to be checked out to
tap into the origin of most of the music of today. Taste as much as
possible, his work is revealing as it is a pillar of our musical
infrastructure.
HOWLIN WOLF
Another Blues master whose work is a tattle tale of where R&B would
travel. It connects with James Brown, Ike and Tina Turner, Jimi
Hendrix, and others who rode the feel of the music.
B.B. KING
He has preserved most of the vitality of the music and his Blues band
is still one of the greatest. Again, he is another master of the art whose
study would take a life-time of understanding. The Thrill is Gone
must be the top selling Blues tune of all times.
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BESSIE SMITH
The Empress of the Blues followed Raineys reign and wore the crown
well. Her music is captured on record. She must be heard if Billie
Holiday, Aretha, Dinah Washington, Mavis Staples, Betty Carter and
others are to be understood.
THE PLATTERS
What is called Pop music today owes much to the Platters, whose
slick sound laid tracks for the Miracles, Four Tops, Temptations. More
importantly, it set a standard for whites to reach for in orchestrations
they could understand. Along with the Mills Brothers, for years, they
remained popular with white promoters who knew they could draw a
crowd. Twilight Time, Only You, Great Pretender are just a
few classic compositions that will last forever.
THE DRIFTERS
They can boast of great lead singers like Rudy Lewis and Ben E.
King, their sound was crisp and clear. Their legacy includes heavy
orchestrations. Consequently, whites could grasp their musical
offerings comfortably. From their old Atlantic days they created hit
after hit. There Goes my Baby, Dance With Me, True Love,
On Broadway and Under the Boardwalk.
TEMPTATIONS
As originally constituted, they probably were the greatest singing
group of all time. Producing, solid five-part harmonies, with five
lead singers, high stepping like young stallions, their music would
still be busting charts if it were not tampered with. In attempts to find
the white market, which really had already found them, they lost
their base of support. All of their music must be reviewed to drive
my point home.
HANK BALLARD & MIDNIGHTERS
They had a different kind of sound, a sound that was distinctly theirs.
Hank Ballard had the type of voice you could identify as soon as he
165

opened his mouth. Chubby Checker covered The Twist, which
Hank wrote, and he aped Ballards style. They came out of the King
Records stable headed by Syd Nathan, who didnt believe Blacks
should get paid. Work with Me Annie, Annie had a Baby and the
unforgettable Lets Go, Lets Go, Lets Go. At one time King
Records could boast of The Midnighters, James Brown and Little
Willie John, among others.
BO DIDLEY
The rhythms of Bo Diddley not only help set the table for R&B but
also inspired so-called Rock Musicians. Even today his challenging
drive functions as a vehicle that powers lyrics to your attention. A
valuable fore-runner of Jimi Hendrix, his stamp is all over R&B and
almost all other forms of Afrikan Music.
JIMI HENDRIX
Just as John Coltrane played R&B, Hendrix never left the form, they
just gave his exploration a new name. His time, logged with the Isley
Brothers, Ike & Tina Turner and Little Richard, is not a shabby intro
to greatness. He built upon his experiences and was truly married to
his axe. In Europe, he, of course, rode above the mediocre and slid
back into the Belly of the Beast a major force. Had the Brother taken
care of himself and business better his star would still be ascending.
Yet, his work is still unsurpassed and still misunderstood by whites.
Its Afrikan elements sparked most when the Band of Gypsies took
flight. Then is was a collective wall of sound instead of the tug-a-war
he had with inferior whites spanking instruments out of key and time.
EARTH WIND AND FIRE
This tight group of musicians created a sound of the times with
percussion and melodies that married together naturally. These
craftsmen rode the top, but lost their momentum after slipping into a
metaphysical bag and whiteboy theatrics with flying pianos etc. Like
Hendrix, they found out that our people dont like theatrical
distractions. Good music and maybe some high stepping will do.
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Leave the rest to Alice Cooper, Guns n Roses and other weak musical
units.
ODETTA
With dignity and Black pride, this sister has offered the best in folk
music. She is, to us, what Mariam Makeba is to Afrika. And she is
still around cheering for Tracy Chapman and others to carry on the
art form with her.
PUBLIC ENEMY
Doing it by example, for the people, all the time!
BOOGIE DOWN PRODUCTION (KRS-ONE)
KRS-ONE and the Boogie Down Posse deliver meaning in every
line, there is a purpose to their art, their poetry, their videos. Personally,
my favorite is Poetry with the late Scott La Rock. All their music
is crafted to get you locked in on the lyric lines of life. Their lack of
awe with the glitter of the business and sense of purpose does us all
proud. More importantly, from the street culture, the inner-city maze,
nothing gets more respect than an organization that has never-ending
loyalty to its fallen warriors. Consequently, we never lose, just gain
momentum and a stronger sense of purpose. And that is how they
remain with Scott La Rocks family, any of us would be proud to be
from their posse as they struggle to clear the consciousness of our
youth.
LATIFAH
She kicks it hard as the queen that she is. Her focus always clear, she
deserves a listen by ole heads who want to understand the movement
of our positive youth. It is important to note that she carries herself
like Afrikan royalty and we know it rubs off on the young, yanking
them away from Bart Simpson, Teenage Mutant Turtles and Nintendo
fantasies. Hail! the queen!
167

ARETHA FRANKLIN
Her sound was all emotion, it spilled out of her like hot soda out of a
bottle that had been abused. Like Lady Day before her, a tear travels
in every note, a pain punctuated the wrong doing and a scream was
selected by the ecstasy. R-E-S-P-E-C-T, Aint No Way, I Never
Loved A Man the Way I Loved You, Natural Woman and many
more serve as documentation that she is the queen.
ESTHER PHILLIPS
Little Esthers real-life pain made her music too real and many stations
shied away from the articulation of her journey. Jazz, Blues, Pop,
R&B, were all the descriptions that melted off of her name. Her music
was just that, Afrikan music, troubled sounds of a Black caught in
hell. On the same level as Lady Day, Dinah Washington, Ella, Sassy
Sarah Vaughn and others, she never got her due but her talent was
evident to her peers.
BILLIE HOLIDAY
Lady Day was to song what seasoning is to soul food, her juicy
renditions of people pain locked her in the hearts of our historical
journey. Too close to the pain she was, damaged by the storm, she
still cried out the warnings we all need. Her life served as fuel for her
art until life overcame art. Hounded into destruction, her life was
unprotected from the rape of her childhood to exploitation of her
musical products. After recording Strange Fruit, the attack was
relentless until there was no life left in her body...check her music
out.
This is not a complete list of all who have contributed to our musical
creations, you probably can think of your own favorites. My point is
clear, we, all of us, all generations, need to be exposed to the complete
musical diet of our people. We need to taste it all to have at least a
functioning understanding of the depths of our wide range of sound.
If we are clear on what is ours, what we developed and possess, it
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would be difficult for the Culture Bandits to lay claim to something
they can not duplicate or understand.
Music has been our oasis in the cultural desert that is Amerikkka. It
buffers us from complete madness, soothes our wounds so we may
struggle another day. Yet, if applied wrong, it can serve as unneeded
escapism, a fantasy creator, a weapon against each other. More
importantly, in the hands of the enemy our music can be used to
destroy our pride, dignity, sensitivity, compassion, relationships,
image, goals, needs, and our binding that holds us all together.
It is the job of the Culture Bandits to bring about confusion in our
culture, economically exploit us, and isolate and destroy those who
would use our song for liberating purposes.
169
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Culture Bandits I8

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1

CULTURE BANDITS VOL. 1

COPYRIGHT 1990 BY: DEL JONES

Nostril-aching smells of sadness,

Del Jones, W.C.

Special thanks to my copy editor Pat Jacobs, who put

A special thanks to Civilized Publications.

Culture Bandits Vol.l (which covers music) is a liberating

Every society has its own culture and every

WHAT THE MASS MEDIA IS & AINT

We are brought up with the enemies media surrounding our existence

WHAT THE MASS MEDIA IS & AINT

WHAT THE MASS MEDIA IS & AINT

Then they feed on the carcass of the dead consciousness in fear of

WHAT THE MASS MEDIA IS & AINT

WHAT THE MASS MEDIA IS & AINT

These things are not common knowledge to our people. Consequently,

To portray the victim as the criminal, is a basic tenet of the Culture

Their trickyology at the negotiating table is legend. Their mass media

THEY HAVE STOLEN OUR SONG

THEY HAVE STOLEN OUR SONG

THEY HAVE STOLEN OUR SONG

THEY HAVE STOLEN OUR SONG

THEY HAVE STOLEN OUR SONG

THEY HAVE STOLEN OUR SONG

THEY HAVE STOLEN OUR SONG

THEY HAVE STOLEN OUR SONG

THEY HAVE STOLEN OUR SONG

THEY HAVE STOLEN OUR SONG

Without the ownership of any methods of mass communications, it

THEY HAVE STOLEN OUR SONG

THEY HAVE STOLEN OUR SONG

THEY HAVE STOLEN OUR SONG

THEY HAVE STOLEN OUR SONG

THEY HAVE STOLEN OUR SONG

THEY HAVE STOLEN OUR SONG

THEY HAVE STOLEN OUR SONG

THEY HAVE STOLEN OUR SONG

THEY HAVE STOLEN OUR SONG

THEY HAVE STOLEN OUR SONG

THEY HAVE STOLEN OUR SONG

THEY HAVE STOLEN OUR SONG

THEY HAVE STOLEN OUR SONG

THEY HAVE STOLEN OUR SONG

THEY HAVE STOLEN OUR SONG

THEY HAVE STOLEN OUR SONG

THEY HAVE STOLEN OUR SONG

THEY HAVE STOLEN OUR SONG

There is so much for the artist to sing about, to explore, to express, to

MARLEY, FELA & PUBLIC ENEMY

MARLEY, FELA & PUBLIC ENEMY

MARLEY, FELA & PUBLIC ENEMY

MARLEY, FELA & PUBLIC ENEMY

MARLEY, FELA & PUBLIC ENEMY

MARLEY, FELA & PUBLIC ENEMY

MARLEY, FELA & PUBLIC ENEMY

MARLEY, FELA & PUBLIC ENEMY

Brother Carlos Moores Fela: This Bitch of a Life is an excellent

Felas life is no different, it is a collage of pain, imprisonment,

MARLEY, FELA & PUBLIC ENEMY

MARLEY, FELA & PUBLIC ENEMY

MARLEY, FELA & PUBLIC ENEMY

MARLEY, FELA & PUBLIC ENEMY

MARLEY, FELA & PUBLIC ENEMY