I, Barack Hussein Obama, do solemnly swear that I will execute the office of the President of the United States faithfully1, and will to the best of my ability, preserve, protect, and defend the Constitution of the United States, so help me God.
My fellow citizens:
I stand here today humbled by the task before us, grateful for the trust you've bestowed, mindful of the sacrifices borne by our ancestors. I thank President Bush for his service to our nation, as well as the generosity and cooperation he has shown throughout this transition.
Forty-four Americans have now taken the presidential Oath. The words have been spoken during rising tides of prosperity and the still waters of peace. Yet, every so often the Oath is taken amidst gathering clouds and raging storms. At these moments, America has carried on not simply because of the skill or vision of those in high office, but because We the People have remained faithful to the ideals of our forbearers, and true to our founding documents.
So it has been. So it must be with this generation of Americans.
That we are in the midst of crisis is now well understood. Our nation is at war, against a far-reaching network of violence and hatred. Our economy is badly weakened, a consequence of greed and irresponsibility on the part of some, but also our collective failure to make hard choices and prepare the nation for a new age. Homes have been lost; jobs shed; businesses shuttered. Our health care is too costly; our schools fail too many; and each day brings further evidence that the ways we use energy strengthen our adversaries and threaten our planet.
These are the indicators of crisis, subject to data and statistics. Less measurable, but no less profound, is a sapping of confidence across our land -- a nagging fear that America's decline is inevitable, that the next generation must lower its sights.
Today I say to you that the challenges we face are real. They are serious and they are many. They will be met easily or in a short span of time. But know this, America: They will be met.
On this day, we gather because we have chosen hope over fear, unity of purpose over conflict and discord.
On this day, we come to proclaim an end to the petty grievances and false promises, the recriminations and worn out dogmas, that for far too long have strangled our politics.
We remain a young nation, but in the words of Scripture, the time has come to "set aside childish things."2 The time has come to reaffirm our enduring spirit; to choose our better history; to carry forward that precious gift, that noble idea, passed on from generation to generation: the God-given promise that all are equal, all are free, and all deserve a chance to pursue their full measure of happiness.
In reaffirming the greatness of our nation, we understand that greatness is never a given. It must be earned. Our journey has never been one of short-cuts or settling for less. It has not been the path for the faint-hearted -- for those who prefer leisure over work, or seek only the pleasures of riches and fame. Rather, it has been the risk-takers, the doers, the makers of things -- some celebrated but more often men and women obscure in their labor, who have carried us up the long, rugged path towards prosperity and freedom.
For us, they packed up their few worldly possessions and traveled across oceans in search of a new life.
For us, they toiled in sweatshops and settled the West; endured the lash of the whip and plowed the hard earth.
For us, they fought and died, in places like Concord and Gettysburg; Normandy and Khe Sahn.
Time and again these men and women struggled and sacrificed and worked till their hands were raw so that we might live a better life. They saw America as bigger than the sum of our individual ambitions; greater than all the differences of birth or wealth or faction.
This is the journey we continue today. We remain the most prosperous, powerful nation on Earth. Our workers are no less productive than when this crisis began. Our minds are no less inventive, our goods and services no less needed than they were last week or last month or last year. Our capacity remains undiminished. But our time of standing pat, of protecting narrow interests and putting off unpleasant decisions - that time has surely passed. Starting today, we must pick ourselves up, dust ourselves off, and begin again the work of remaking America.
For everywhere we look, there is work to be done. The state of our economy calls for action, bold and swift, and we will act -- not only to create new jobs, but to lay a new foundation for growth. We will build the roads and bridges, the electric grids and digital lines that feed our commerce and bind us together. We will restore science to its rightful place, and wield technology's wonders to raise health care's quality and lower its cost. We will harness the sun and the winds and the soil to fuel our cars and run our factories. And we will transform our schools and colleges and universities to meet the demands of a new age.
All this we can do.
All this we will do.
Now, there are some who question the scale of our ambitions -- who suggest that our system cannot tolerate too many big plans. Their memories are short. For they have forgotten what this country has already done; what free men and women can achieve when imagination is joined to common purpose, and necessity to courage.
What the cynics fail to understand is that the ground has shifted beneath them -- that the stale political arguments that have consumed us for so long no longer apply. The question we ask today is not whether our government is too big or too small, but whether it works -- whether it helps families find jobs at a decent wage, care they can afford, a retirement that is dignified. Where the answer is yes, we intend to move forward. Where the answer is no, programs will end. And those of us who manage the public's dollars will be held to account -- to spend wisely, reform bad habits, and do our business in the light of day -- because only then can we restore the vital trust between a people and their government.
Nor is the question before us whether the market is a force for good or ill. Its power to generate wealth and expand freedom is unmatched, but this crisis has reminded us that without a watchful eye, the market can spin out of control. The nation cannot prosper long when it favors only the prosperous. The success of our economy has always depended not just on the size of our Gross Domestic Product, but on the reach of our prosperity; on the ability to extend opportunity to every willing heart -- not out of charity, but because it is the surest route to our common good.
As for our common defense, we reject as false the choice between our safety and our ideals. Our Founding Fathers -- Our Founding Fathers, faced with perils that we can scarcely imagine, drafted a charter to assure the rule of law and the rights of man, a charter expanded by the blood of generations. Those ideals still light the world, and we will not give them up for expedience'[s] sake. And so to all the other peoples and governments who are watching today, from the grandest capitals to the small village where my father was born: Know that America is a friend of each nation and every man, woman, and child who seeks a future of peace and dignity. And we are ready to lead once more.
Recall that earlier generations faced down fascism and communism not just with missiles and tanks, but with sturdy alliances and enduring convictions. They understood that our power alone cannot protect us, nor does it entitle us to do as we please. Instead, they knew that our power grows through its prudent use; our security emanates from the justness of our cause, the force of our example, the tempering qualities of humility and restraint.
We are the keepers of this legacy. Guided by these principles once more, we can meet those new threats that demand even greater effort - even greater cooperation and understanding between nations. We will begin to responsibly leave Iraq to its people, and forge a hard-earned peace in Afghanistan. With old friends and former foes, we will work tirelessly to lessen the nuclear threat, and roll back the specter of a warming planet. We will not apologize for our way of life, nor will we waver in its defense, and for those who seek to advance their aims by inducing terror and slaughtering innocents, we say to you now that our spirit is stronger and cannot be broken; you cannot outlast us, and we will defeat you.
For we know that our patchwork heritage is a strength, not a weakness. We are a nation of Christians and Muslims, Jews and Hindus - and non-believers. We are shaped by every language and culture, drawn from every end of this Earth; and because we have tasted the bitter swill of civil war and segregation, and emerged from that dark chapter stronger and more united, we cannot help but believe that the old hatreds shall someday pass; that the lines of tribe shall soon dissolve; that as the world grows smaller, our common humanity shall reveal itself; and that America must play its role in ushering in a new era of peace.
To the Muslim world, we seek a new way forward, based on mutual interest and mutual respect. To those leaders around the globe who seek to sow conflict, or blame their society's ills on the West - know that your people will judge you on what you can build, not what you destroy. To those who cling to power through corruption and deceit and the silencing of dissent, know that you are on the wrong side of history; but that we will extend a hand if you are willing to unclench your fist.
To the people of poor nations, we pledge to work alongside you to make your farms flourish and let clean waters flow; to nourish starved bodies and feed hungry minds. And to those nations like ours that enjoy relative plenty, we say we can no longer afford indifference to suffering outside our borders; nor can we consume the world's resources without regard to effect. For the world has changed, and we must change with it.
As we consider the road that unfolds before us, we remember with humble gratitude those brave Americans who, at this very hour, patrol far-off deserts and distant mountains. They have something to tell us today, just as the fallen heroes who lie in Arlington whisper through the ages. We honor them not only because they are guardians of our liberty, but because they embody the spirit of service; a willingness to find meaning in something greater than themselves. And yet, at this moment - a moment that will define a generation - it is precisely this spirit that must inhabit us all.
For as much as government can do and must do, it is ultimately the faith and determination of the American people upon which this nation relies. It is the kindness to take in a stranger when the levees break, the selflessness of workers who would rather cut their hours than see a friend lose their job which sees us through our darkest hours. It is the firefighter's courage to storm a stairway filled with smoke, but also a parent's willingness to nurture a child, that finally decides our fate.
Our challenges may be new. The instruments with which we meet them may be new. But those values upon which our success depends - hard work and honesty, courage and fair play, tolerance and curiosity, loyalty and patriotism - these things are old. These things are true. They have been the quiet force of progress throughout our history. What is demanded then is a return to these truths. What is required of us now is a new era of responsibility - a recognition, on the part of every American, that we have duties to ourselves, our nation, and the world, duties that we do not grudgingly accept but rather seize gladly, firm in the knowledge that there is nothing so satisfying to the spirit, so defining of our character, than giving our all to a difficult task.
This is the price and the promise of citizenship.
This is the source of our confidence - the knowledge that God calls on us to shape an uncertain destiny.
This is the meaning of our liberty and our creed - why men and women and children of every race and every faith can join in celebration across this magnificent mall, and why a man whose father less than sixty years ago might not have been served at a local restaurant can now stand before you to take a most sacred oath.
So let us mark this day with remembrance, of who we are and how far we have traveled. In the year of America's birth, in the coldest of months, a small band of patriots huddled by dying campfires on the shores of an icy river. The capital was abandoned. The enemy was advancing. The snow was stained with blood. At a moment when the outcome of our revolution was most in doubt, the father of our nation ordered these words be read to the people:
"Let it be told to the future world...that in the depth of winter, when nothing but hope and virtue could survive...that the city and the country, alarmed at one common danger, came forth to meet [it]."
America. In the face of our common dangers, in this winter of our hardship, let us remember these timeless words. With hope and virtue, let us brave once more the icy currents, and endure what storms may come. Let it be said by our children's children that when we were tested we refused to let this journey end, that we did not turn back nor did we falter; and with eyes fixed on the horizon and God's grace upon us, we carried forth that great gift of freedom and delivered it safely to future generations.
Thank you, and may God bless the United States of America.
Tuesday, January 20, 2009
Posted by Mr. Ellington at 10:49 AM
Saturday, January 03, 2009
Besides the fact that I think he's an overrated copycat...this is why I'm not an Eric Clapton fan and never will be....
"Do we have any foreigners in the audience tonight? If so, please put up your hands. Wogs I mean, I'm looking at you. Where are you? I'm sorry but some fucking wog...Arab grabbed my wife's bum, you know? Surely got to be said, yeah this is what all the fucking foreigners and wogs over here are like, just disgusting, that's just the truth, yeah. So where are you? Well wherever you all are, I think you should all just leave. Not just leave the hall, leave our country. You fucking (indecipherable). I don't want you here, in the room or in my country. Listen to me, man! I think we should vote for Enoch Powell. Enoch's our man. I think Enoch's right, I think we should send them all back. Stop Britain from becoming a black colony. Get the foreigners out. Get the wogs out. Get the coons out. Keep Britain white. I used to be into dope, now I'm into racism. It's much heavier, man. Fucking wogs, man. Fucking Saudis taking over London. Bastard wogs. Britain is becoming overcrowded and Enoch will stop it and send them all back. The black wogs and coons and Arabs and fucking Jamaicans and fucking (indecipherable) don't belong here, we don't want them here. This is England, this is a white country, we don't want any black wogs and coons living here. We need to make clear to them they are not welcome. England is for white people, man. We are a white country. I don't want fucking wogs living next to me with their standards. This is Great Britain, a white country, what is happening to us, for fuck's sake? We need to vote for Enoch Powell, he's a great man, speaking truth. Vote for Enoch, he's our man, he's on our side, he'll look after us. I want all of you here to vote for Enoch, support him, he's on our side. Enoch for Prime Minister! Throw the wogs out! Keep Britain white!
o Quoted in Rebel Rock by J. Street. First Edition (1986). Oxford: Basil Blackwell. pp. 74-75. Street's sources are editions of the New Musical Express, Melody Maker and the Guardian and Times newspapers from the time.
Other Sources: Virgin Media: Clapton's Shocking Rant Guardian Unlimited: The Ten Right-Wing Rockers.
(These statements were allegedly made on stage by a heavily drunk Clapton during a concert in Birmingham, UK, in 1976. Clapton is referring to British anti-immigration Conservative MP Enoch Powell. Clapton later made similar further comments to the audience later in the evening. Clapton has never denied making these statements and has refused to apologise for his remarks or distance himself from them, although he denies that his views are racist and states that he is merely an opponent of mass immigration. This incident was the main inspiration for the formation of Rock Against Racism).
* Clapton went into a rap about Enoch. His initial line was "Enoch's right - I think we should send them back." I don't think he said "nigger" he said "wogs". He definitely said, "Keep Britain White". Nobody cheered, but after he played another song, he did the same again. It was extraordinary - but he stood there being overtly offensive and racist. I was completely mystified as to why this man playing black music would behave this way."
o Author Caryl Philips, referring to the aforementioned Birmingham concert in 1976, at which Phillips was present. Quoted by author Robin Denselow in When The Music Stopped: The Story of Political Pop, Faber and Faber (1989), pp. 138-139.
Posted by Mr. Ellington at 11:32 AM
Friday, January 02, 2009
On the Socially Unconscious Artist:
An Open Letter and Analysis to All Black Artists
"Socially unconscious men should not be allowed to prosper."
-- The Honorable Dr. Amos Wilson
If you are not a serious student of Black history, from classical Nile valley civilization to the present, I don't want you rapping, singing, or reciting poetry to me. Period. If you are unaware of the trends in Black history, it is scientifically predictable that you will make a fool of yourself, and your people collectively. Since I am part of the collective Black people, I am pre-emptively asking you stop, before you get started with your musings-- today. These are serious times. Clowns and unaware artists are no longer funny. Artists are the primary purveyors of images and thoughts, particularly to the youth. Our youth are mentally dying in the casket of Americanism, and your pitiful existence is not helping to change the tide.
Recently, I was asked to participate in a panel discussion along with other artists of African descent. We were all from different areas of the planet, but what we had in common was our African lineage and collective history of white domination and exploitation. This is the unifying thread of all Black people worldwide, as none of us, from our particular groups, have found an effective program to fully eradicate the manifestations and implications of the ubiquitous plague: white supremacy.
More specifically, there were eight artists on the panel. All of the panelists were Black. Two artists were from the African continent, two were from the Caribbean, and the remaining four were from the U.S. All of the artists were "famous" in some form or another, through television, radio, and/or print media. The topic of the day was the responsibility of artists to their community, entitled, "Art and Social Responsibility." More specifically, can and/or should social responsibility exist within art? It immediately struck me that only in America, the land of the technically free, would this topic be up for debate.
Predictably, the panelists were divided in opinion. All of the artists from the Continent and the Caribbean were of the opinion that the purpose of art was to uplift the minds of the people. Of the Black artists from America, three were proudly, firmly and stubbornly against the notion of art being socially responsible, and one was on the fence.
In this essay, I will summarize and analyze the position of the dissenters. Their position was that artists should be "free" to say whatever they want. They did not want to be "restricted" to only deal with issues of African upliftment. One artist said if he wakes up in the morning and feels like writing about having sex with groupies and smoking (CIA) crack, he would write it and feel "proud" to perform it. After all, that's what freedom of speech was about. A recurring theme was they did not want to be "pigeon-holed" as conscious artists. Another recurring theme was they didn't want to preach to their fans. I informed them that when an artist sings, raps or performs poetry "bragging" about their shopping habits and new acquisitions of illusory splendor, they are in fact preaching about their stance on materialism. They commented that I was reading too much into it. I agreed. I also said that was the purpose of art: to be read too much into.
I informed them that in ancient Egypt, one could not become a musician unless they mastered certain subjects like philosophy, physical sciences, mathematics, history, writing and religion. Our great ancestors were aware of the power of music and would not allow imbeciles to wield a grain of power. Some of my co-panelists were visibly offended, but I believe in equality because their words offended me also. At the very least, our relationship was balanced by my "offensive" remarks.
Besides the disgust I felt towards these artistic mercenaries, I also felt pity for them. It was clear that they had been brainwashed out of caring for or about anyone but themselves, and had embraced certain elusive American catch phrases such as "freedom of speech" and self defeating concepts such as rugged individualism. Mostly, the aroma of laziness permeated their being. For it is laziness, in fact, that causes an artist to be detached from the awareness of historical trends and forces which inform the present day situation of the so-called individual and the people. Because of their laziness, they were oblivious to what history requires of the Global Black Artist.
This writing is not meant to be an exhaustive treatise on the pathology of the aforementioned artists. However, it is meant to highlight some basic themes. Most readers are familiar with the shallowness of their positions just as the seated audience that violently reacted to the dissenting artists. For those of you who agree with the positions of those artists, just remember Dr. John Henrik Clarke's words, "Europeans took what was sacred to us and made us shun it, and eventually laugh at it." That explains what made the dissenting artists not want to be "pigeon-holed" as conscious, but at the same time they don't mind being "pigeon-holed" as so-called gangsta.
They definitely don't mind being pigeon-holed as "Grammy winning artist so and so…" It is clear that pigeon holing was not the real issue. The real issue was being called something- in this case "conscious" -that to sane people would be a sacred compliment, but to insane people it is shunned or even laughable. So in their insanity and disconnection from an awareness of historical forces, they proudly discarded the sacred nature of being referred to as a conscious artist. The dissenters actually laughed at it in accordance with Dr. John Henrik Clarke's quote. These are the types of Black people who say "Black Power" to each other as a running joke of mockery. However, they are the same Black people who love to have power for themselves- individually. The idea of Black Group Power is what they are mocking. Remember, they are short-sighted rugged individualists: true Americans.
I suspect that the main focus of this type of artist is making money and therefore being popular. In his dead-end struggle, he has become the quintessential American. With America as the last superpower, and global representative of white economic and military supremacy, being American is the precise opposite to being African. In turn, to be an African, in the scientific historical sense, is to be the perfect opposite of being an American. To be American- the last bastion of totalitarian world whiteness and domination- in today's terms, is to be hyper-white in your tastes, interests and values. Rugged individualism is the cornerstone theory of whiteness, therefore, when someone says that their personal interests are more important than their community, they are being an American in its most descriptive and ideological sense. Communalism means nothing and is to be avoided in the American reality. This implicit law is witnessed in the phenomenon of neighbors in America not knowing each other- at all. Travel anywhere in the world, and only in European/whiteness based societies will you see this phenomena.
Another benchmark for being an American is to be a proponent of capitalism. The true American will promote it, even if he himself is a victim of it. Capitalism is the academically refined and polite substitute for the word slavery. In slavery, everything created by the slave is property of the slave-master. This is seen in record companies who always own the intellectual property of all of their artists' creations. In fact, the artist's album which belongs to a record company is called a "master". In real contractual language, the record company is free to "exploit" the album in perpetuity (forever). The artist has agreed with this arrangement for a pittance-crumbs-compared to what the slave master record company receives. All of this is done in exchange for fame. In other words, the powers-that-be say, "You are still a slave, based on our relationship, but I will allow you to broadcast the illusion that you are free and have 'freedom of speech'" to the other slaves, from which of course, I rescued you from. That way you can satisfy your empty ego, and I can build my empire. Thanks for the album, nigger. Or nigga, as you like to be called."
The famous slave then goes through an interesting psychological experience. He now has his ego stroked in many ways he never even dreamt about. He feels forever indebted to his slave master for at least making him a slave with privileges. Since he doesn't really own his intellectual property, he is in it for the temporary ride. This poor slave ends up trying to emulate his slave master and ends up giving his money back to the slave master or the slave master's associates and extended global white power family. The slave must have a Mercedes or any other overpriced German, Italian or British car. But to whom does he turn his temporary wealth over for the merchandise? A close or loose business associate of the slave master. Big pimpin' indeed.
The cycle goes on. However, since the slave is American in terms of ideology only, but not an American in terms of ownership rights, he is literally the illusion of a vested, bona fide American. The privileged slave is a sucker. He has no interest in creating his own industry of ownership. So in his frustration, the slave with privileges attempts to compensate for his need for power by becoming not a free man, but a second degree slave master to his own people. He thereby emulates the white slave-master, the savior and simultaneous killer of his dreams. Therefore in his art, there are all types of signs of Black hatred. Here are eleven scientifically observed signs:
(1) There is no sense of Black historical continuity. Veneration of ancestors is missing from their artistic discourse. In fact, they do not glorify their own ancestors, but rather the ancestors of others. Therefore, Italian mafia names are taken. Chinese cultural group names are taken, etc. Anything but Black. The names of authentic Black heroes and sheroes are never uttered.
(2) Any form of commerce that hurts Black people will be promoted relentlessly, ie. the CIA crack trade, referred to as "hustling." In this reality, Black lives mean nothing. Money through poisoning and addicting a vulnerable people is the order of the day. Here, the hustler aligns himself with, Marlboro and Philip Morris, in not so fine American tradition. Because, this hustler is unaware of historical forces, he is unaware of the Opium Wars and his complicity as an agent or asset of the powers that seek to destroy his own family. He is also unaware that during the Opium wars between China and England, where England was pumping opium into China, the Chinese executed all Chinese people who sold opium to their own people and considered them as traitors not heroes.
(3) The pimp is glorified. The pimp is a street way of saying slave-master of women, particularly Black women. The pimp has replaced the white slave master in relation to the life of a Black woman and her sexual powers as a source of wealth. He feels as if he owns her like property, and is the owner of any wealth she may produce. He in turn clothes her, feeds her and consistently brutalizes her based on his fleeting emotions and strategic ideas of implementing discipline. Pimp = Slave master in every sense.
(4) The elevation of Black women is refused. Because this privileged slave is for all intents and purposes an agent, asset or ally of the white supremacists, he focuses on keeping Black women- the bringers of all Black life- marginalized through imagery, lyrics and artistic intent.
(5) The elevation of Black children is refused. Since these artists are hysterical personalities, they have no meditation towards the concept of continuity. They have no foresight, therefore, the well-being of those who would inherit the future are not part of the equation. These socially inept artists are "here and now" people. Their whole life revolves around what feels good "right now." They also feel no sense of responsibility towards the global African community and barely feel a sense of responsibility towards their own children. They are the experiment referred to in the novel, Lord of the Flies: a people who have been cut off from elders and have to improvise throughout life, based on immediate sensations.
(6) His/her art is consistent with Cointelpro directives towards the stagnation and eventual retrogression of any and all Black Power movements, locally, nationally and internationally. S/He is the "breakthrough" artist waiting in the wings, patiently at bay, until Black consciousness becomes a strong part of Black cultural expression.
At the critical juncture where Malcolm X the Black liberation/Pan-African freedom fighter becomes the model to be emulated by the Black masses, the privileged slave is "put on" and subsequently "blows up" by pushing images of Malcolm Little aka Detroit Red, The Pimp and hysterical, hopeless, hapless, helpless negro without a cause, as the figure to be emulated. Through millions of dollars spent on advertising, Malcolm Little aka Detroit Red, the self-styled pimp gains more popularity than Malcolm X the freedom fighter. The privileged slave has served his master well. However, his master will of course charge all advertising money against the slave's royalty account.
(7) His/her art serves the overall purpose of setting the mood of ushering his own people back into slavery. This is seen through the lack of analysis and overall lack of awareness of a very real prison industrial complex, which is updated slavery version 5.0, Crackers Reloaded,the Empire Strikes Back, the Phantom Menace: The Sequel.
Prison is where a branch of particularly virulent unabashed white supremacists realize their pipe dreams. This branch of white supremacists are called conservatives in the pop-culture American political lexicon, but more accurately are cheap labor conservatives or more succinctly, slave masters. They are conservatives, because they wish to conserve the America of old, and therefore slavery. To them, this was America at its best. So they are the architects and executers of a web of entrepreneurial and legislative cooperation where Black people will be enslaved again and will work for free or close to free for $1.25 per hour making diverse products for the real pimp/cheap labor conservative/slave master to sell and thereby strengthen and maintain the white empire.
The socially unconscious artist/privileged slave is but a cog in the wheel of this simple yet elaborate economic machinery. This artist's only job is to make being enslaved/jailed seem cool. The slave master will of course take care of the rest.
(8) Their art is focused on the "bragging" about purchasing overpriced toys, gadgets and shiny things, referred to as "Bling, Bling" manufactured and sold by the slave master.
Due to his newly acquired merchandise (ego), this privileged slave wants to believe that his people love him, but is simultaneously suspicious of them, because deep down inside he is not convinced that he should really be loved by a people whom he vigorously and openly hates.
(9) This slave has no sense of shame in his art and is completely oblivious to the meaning of the word inappropriate. For instance, s/he would perform an explicit song about oral sex to a group of nine year old children and not see anything wrong with it (This is not an exaggeration, I have seen it). S/he will also perform a song/chant whose chorus is "Kill that baby. That baby ain't mine (© Trick Daddy, October, 2004, Howard University Homecoming)." In the same vein, s/he will perform songs about killing random other "niggas" for an audience and a community which is routinely heartbroken by the loss of loved ones due to de-contextualized and niggafide gun activity.
(10) To the trained ear and eye, it is clear that if in the proper historical place and time, this is a person who would have sold his/her own people to slavery to gain favor with the white kidnappers, not knowing s/he would be kidnapped and enslaved very soon by the same savior and simultaneous killer of his/her dreams.
(11) This slave will take credit for being "dope" but will not take credit for being a "dope". Although s/he is the poster child of anti-intellectualism, s/he is angered when called dumb. If you ask him/her what was the last book s/he read, the conversation reaches a rare silence and is followed by anger for even being asked that question. When the slave masters' TV shows broadcast the overpriced lifestyle of the privileged slave to the world, as if to say this should be the implicit goal of the viewers, no books or a library is ever shown at this "great" person's house.
Objectively, this type of slave is so pathetic, if he wasn't so valuable to the empire of slavery, the slave masters would kill him and relieve him of his misery. Even the slave master is embarrassed by this type of slave. Through the public acceptance and popularity of these artistic and general slackers, the powers-that-be have found another ingenious way to make a fortune and engineer their desired social agenda.
Because this type of artist serves no use for the upliftment of our people, his/her portion of the African meal should be death. As Dr. Amos Wilson said, "Socially unconscious men should not be allowed to prosper." Therefore the socially unconscious artists, does not necessarily have to be killed physically, but, s/he must be killedeconomically, socially, and psychologically. In the household of those interested in being African, the socially unconscious artist is considered dead. The fact that s/he even existed is only brought up as traitors and idiots are brought up in conversation to illustrate to others what not to be.
In the African conversation, the shamed dead person's name may not even be uttered for fear of giving him/her renewed life through the power of the word. If the name of the accursed is mentioned, the African will usually spit on the ground immediately thereafter in order to re-bury this wretched person back into the bowels of the earth. In this ritual, we say "poor Earth." We have feelings of compassion for the Earth, whenever it is contaminated with such a foul and malodorous being. However, we suddenly realize that the Earth uses cow dung and other feces as fertilizer. In this case, human waste and a waste of a human are identical. With this meditation, we are celebratory of the Earth's ability and genius to transform even fecal waste, into something useful.
Posted by Mr. Ellington at 2:46 PM