Black women are helping Indians take advantage of Indians, buying hair from a people that would just as soon Black women as Untouchables, all because white supremacy has convinced you that your hair is ugly, bad, or just undesirable. It's time for an Afrikan Beauty Revolution!
Another one bites the dust!
This is not being posted in support of any conspiracy-theory illuminati argument but just to show the pressure and importance hollywood places on emasculating the Afrikan man's image.
The second video at the end, show all the Black men that have wore dresses.
This article is written to answer the above question and put an end to it forever!!! I'll do this by using simple logic, that's all I'm going to use. I am a lover of Reggae music. It is a music that resonates with me. So, when Dancehall began to appear commercially in the U.S. market, it was new to me. So my approach to answering this question is not as a Jamaican but as a lover of the music and a Panaf-America (a Pan Afrikanist born in America) Let's start this discussion by answering some questions and giving a little history, and studying musical structures or genres.
Is Ska R&B music? Ska is a music genre that originated in Jamaica in the late 1950s, and combined elements of Caribbean mento and calypso with American jazz and rhythm and blues. During WWII, the U.S. military negotiated establishing military bases in the British controlled Caribbean (misnomered the West Indies) as part of Destroyers for Bases deal that assisted the United Kingdom's war efforts prior to the U.S.'s actual entry into the war. U.S. soldiers began to play the R&B music known as jump blues, which featured such artist as Fats Domino and Louis Jordan. This musical novelty gained a Jamaican audience who after the war purchased radios and demand more of this type of music. Entrepreneurs like Prince Buster, Clement "Coxsone" Dodd, and Duke Reid formed sound systems to maximize this opportunity. But as jump blues and more traditional R&B began to ebb in popularity in the U.S. and abroad, Jamaican artists began recording their own version of the genres, which lead to the creation of a new musical genre, called Ska. Ska featured a walking bass line accented with rhythms on the upbeat. The style was composed of four triplets bars characterized by a guitar chop on the off beat - known as an upstroke or skank - with horns taking the lead and often following the off beat skank and piano emphasizing the bass line and, again, playing the skank. The drums kept 4/4 time and the bass drum was accented on the 3rd beat of each 4-triplet phrase. The snare would play side stick and accent the third beat of each 4-triplet phrase. The upstroke sound can also be found in other Caribbean forms of music, such as mento and calypso. Therefore Ska which became the precursor to Rocksteady and Reggae, was not simply an American clone but a new genre that drew from its own musical past. So to answer the question, is Ska R&B music, the answer is no.
Is Rocksteady Ska? Rocksteady is a music genre that originated in Jamaica around 1966, which was preceded by Ska and was the precursor to Reggae. It relied on R&B, jazz elements like Ska, but unlike Ska added Afrikan and Latin American drumming, as well as elements from other musical genres. As the tempo slowed from Ska to Rocksteady, musical changes accompanied it. The guitar and piano players began to experiment with occasional accents around the basic offbeat pattern. Chording instruments tended to play repeated rhythmic patterns which led to simpler modal chord progressions. (It had been argued that the development of modal jazz in the late 1950s and early 1960s influenced the choice of Jamaican players to explore simpler modal chord patterns.) Also, the slowing down of the tempo allowed bass players to play more broken, syncopated lines, playing a counterpoint to the repetitive rhythm of the guitar and keyboards, which eventually replaced the walking patterns of Ska. These new patterns fit very well with the simpler modal chord progressions. Another factor that helped to establish Rocksteady as its own genre was the downsizing of bands. Smaller bands led to a much larger focus on the bass line in general, which eventually became one of the most recognizable characteristics of Jamaican music. In Rocksteady, the lead guitar often doubles the bass line. Rocksteady horns favored repeated rhythmic patterns or simply sitting out all together until the lead line, whereas in Ska horns spent much of the song playing the offbeats with the guitar and piano.
But one of the most distinguishing features of Rocksteady was the "one drop" drum beat, characterized by a heavy accent on the second and fourth beat of every bar (or the third beat if you count in double time), played by the bass drum and the snare together. The snare drum often plays a side stick "click" rather that a full snare hit; an influence from Latin music. The one drop drum was a significant break from American style drumming. So to answer the question was Rocksteady Ska, I think we have identified enough unique and distinguishing characteristics that demonstrate its merit as a new genre.
Is Reggae Rocksteady? Reggae is a music genre first developed in Jamaica in the late 1960s. Though today the term Reggae is broadly used to refer to most types of popular Jamaican dance music, it is actually a unique genre that developed from Ska and Rocksteady. The distinction between Reggae and Rocksteady are perhaps the slightest. The major differences being a slower tempo, lyrical content, as Reggae tends to focus more on lyrics based on black consciousness, Rastafari (though some Rocksteady songs did too), and the effects of poverty. Rocksteady still relying on its American influences tended to focus on Love themes.) Musically is where Reggae make its distinguishing contribution. It is the introduction of the "double skank" guitar strokes (sometimes played by piano) on the offbeat and the organ shuffle that establishes Reggae as a genre. I have offered four stylistic changes that establish Reggae as its own genre: slower tempo, lyrical content, the skank, and organ shuffle.
Is Dancehall Reggae? Dancehall is a often considered a sub-genre of Reggae. It started out in the 80s, partly linked to the development of digital music. However, there's a significant difference between the two, enough so, that Dancehall constitutes its own genre. The differences are Dancehall has a faster tempo, is less musical, less melodic, and most important, it lacks the lyrical content of Reggae. Musically, it lacks the structural elements of Reggae as well. Missing in addition to the lyrical content are both the skank and organ shuffle. And how can you have Reggae without the drumming elements, especially the one drop, that Reggae inherited from Rocksteady. I would think, if anything that Dancehall can be considered more a part of Rocksteady than Reggae since it shares some of Rocksteady's affiliation with rude boys/bad boys and lyrically, it has content that can be loosely, via the "Rude boy" songs, be identified with “slackness.” But in truth, Contemporary Dancehall should be identified with Rap music. It shares more with that genre than it does with Reggae. But in the end we have to recognize that Dancehall is different from Rap and Reggae--it is its own genre. And that it is exactly what is says it is– music made for dancing in a club (hall). Like its American cousin or twin, Rap, it is a digitally produced music that is often derogatory, violent, and misogynistic. So to call Dancehall Reggae, is just as ridiculous as calling Rap music R&B. Dancehall like Reggae is Jamaican music, just as Rap like R&B is American music, but to make them one and the same is illogical, idiocy even.
A debate on a holiday tradition exposes racial attitudes Nov 2nd 2013 | AMSTERDAM | From the print edition
EVERY year on December 5th and 6th, tens of thousands of Dutch people paint their faces black, don Renaissance-style jerkins and pantaloons, and assume the persona of Zwarte Piet ("Black Pete"). The comical character plays a vital part in the celebration of the feast day of St Nicholas, known as Sinterklaas, which overshadows Christmas as the most important children’s holiday. According to a custom standardised in the late 1800s, Sinterklaas arrives on a steamboat from Spain, accompanied by a team of his black-faced servants, who distribute presents and ginger biscuits to good children while threatening to scoop up naughty ones in a sack and carry them back to Spain to pick oranges.
With his fantastical role and antique costume, Zwarte Piet seems disconnected from modern racial stereotypes. He made it through the Netherlands’ politically correct 1990s without raising many eyebrows. Yet in recent years Dutch citizens of Caribbean ancestry have begun protesting the portrayal of St Nicholas’s sidekick as a racist caricature. In the increasingly polarised political climate in the Netherlands, the custom was a tinderbox waiting for a match. In October the debate exploded, polarising cultural life and dragging in celebrities, politicians, and even the UN.
In this sectionThe man who lit the tinderbox is Quinsy Gario, a Curaçao-born Dutch performance artist, who began protesting in 2011 when he attended a Sinterklaas parade wearing a T-shirt reading “Zwarte Piet is racism” and was arrested. In early October Mr Gario appeared on the Netherlands’ most popular television talk-show to make his case again. The following week, the mayor of Amsterdam met with dozens of residents who had submitted a complaint asking that Zwarte Piet be removed from the city’s Sinterklaas parade.
Most white Dutch reacted angrily to accusations that the tradition is racist. On social media, many repeated a long-standing claim that Zwarte Piet just appears black because of soot from the chimneys he climbs down to deliver presents. The right-leaning Telegraaf, the country’s largest newspaper, ran articles claiming anti-Piet voices were troublemakers who did not represent black people in the Netherlands. A “Pietition” page on Facebook backing Zwarte Piet gathered over 2m likes within days, a staggering response in a country of 17m.
Many Dutch who have come out against Zwarte Piet have been hounded by the traditionalists. One group in the country’s north who had planned to paint themselves as multicoloured “rainbow-Piets” had to give up after receiving death threats. Anouk, the Dutch representative at this year’s Eurovision contest, was attacked with racial epithets for her opposition to the custom. When a Jamaican researcher for a UN cultural panel said she thought Zwarte Piet was racist, she was overwhelmed with racially offensive e-mails. Geert Wilders, the anti-immigrant populist whose Party for Freedom is currently on top of the Dutch polls, tweeted that he would rather eliminate the UN than Zwarte Piet. A pro-Piet protest in The Hague turned sour when a dark-skinned woman was surrounded by an angry mob and had to be rescued by police.
Mark Rutte, the prime minister from the centre-right Liberal Party, commented simply that “Black Pete is black”. The head of his centre-left coalition partners, Diederik Samsom, belittled the argument as an affair for people with too much time on their hands. But while the symbolism of a children’s holiday may be of limited consequence, the contemptible racial attitudes it has exposed are not. This month’s conflict has changed Zwarte Piet. For many, even if a year ago he was not a symbol of Dutch racism, he is now.
Part 2 of 2: The Illuminati and Rap Music
A million things were going through my mind as I drove away and I eventually decided to pull over and park on a side street in order to collect my thoughts. I replayed everything in my mind repeatedly and it all seemed very surreal to me. I was angry with myself for not having taken a more active role in questioning what had been presented to us. I'd like to believe the shock of it all is what suspended my better nature. After what seemed like an eternity, I was able to calm myself enough to make it home. I didn't talk or call anyone that night. The next day back at the office, I was visibly out of it but blamed it on being under the weather. No one else in my department had been invited to the meeting and I felt a sense of guilt for not being able to share what I had witnessed. I thought about contacting the 3 others who wear kicked out of the house but I didn't remember their names and thought that tracking them down would probably bring unwanted attention. I considered speaking out publicly at the risk of losing my job but I realized I’d probably be jeopardizing more than my job and I wasn't willing to risk anything happening to my family. I thought about those men with guns and wondered who they were? I had been told that this was bigger than the music business and all I could do was let my imagination run free. There were no answers and no one to talk to. I tried to do a little bit of research on private prisons but didn’t uncover anything about the music business’ involvement. However, the information I did find confirmed how dangerous this prison business really was. Days turned into weeks and weeks into months. Eventually, it was as if the meeting had never taken place. It all seemed surreal. I became more reclusive and stopped going to any industry events unless professionally obligated to do so. On two occasions, I found myself attending the same function as my former colleague. Both times, our eyes met but nothing more was exchanged.
As the months passed, rap music had definitely changed direction. I was never a fan of it but even I could tell the difference. Rap acts that talked about politics or harmless fun were quickly fading away as gangster rap started dominating the airwaves. Only a few months had passed since the meeting but I suspect that the ideas presented that day had been successfully implemented. It was as if the order has been given to all major label executives. The music was climbing the charts and most companies when more than happy to capitalize on it. Each one was churning out their very own gangster rap acts on an assembly line. Everyone bought into it, consumers included. Violence and drug use became a central theme in most rap music. I spoke to a few of my peers in the industry to get their opinions on the new trend but was told repeatedly that it was all about supply and demand. Sadly many of them even expressed that the music reinforced their prejudice of minorities.
I officially quit the music business in 1993 but my heart had already left months before. I broke ties with the majority of my peers and removed myself from this thing I had once loved. I took some time off, returned to Europe for a few years, settled out of state, and lived a “quiet” life away from the world of entertainment. As the years passed, I managed to keep my secret, fearful of sharing it with the wrong person but also a little ashamed of not having had the balls to blow the whistle. But as rap got worse, my guilt grew. Fortunately, in the late 90’s, having the internet as a resource which wasn't at my disposal in the early days made it easier for me to investigate what is now labeled the prison industrial complex. Now that I have a greater understanding of how private prisons operate, things make much more sense than they ever have. I see how the criminalization of rap music played a big part in promoting racial stereotypes and misguided so many impressionable young minds into adopting these glorified criminal behaviors which often lead to incarceration. Twenty years of guilt is a heavy load to carry but the least I can do now is to share my story, hoping that fans of rap music realize how they’ve been used for the past 2 decades. Although I plan on remaining anonymous for obvious reasons, my goal now is to get this information out to as many people as possible. Please help me spread the word. Hopefully, others who attended the meeting back in 1991 will be inspired by this and tell their own stories. Most importantly, if only one life has been touched by my story, I pray it makes the weight of my guilt a little more tolerable.
Part 1 of 2: From Public Enemy, KRS-ONE, and others to Ice-T and NWA, "What a journey!"
FROM THAT TO THIS . . . .
I read this article about 6 months ago but was hesitant to blog on it. As a historian, the article is something I wouldn't touch with a ten-foot pole--it is unverifiable, and lacks corroborating sources. However, I have seen the effects on young people that the change in Rap music has had: the music changed from its more positive, Black conscious expressions of the late 1980s, into the more violent Gangsta rap period that followed. And our youth have been influenced by it and have changed as well. Do YOU think this article has any validity or is it just some conspiracy theory fodder?
After more than 20 years, I've finally decided to tell the world what I witnessed in 1991, which I believe was one of the biggest turning point in popular music, and ultimately American society. I have struggled for a long time weighing the pros and cons of making this story public as I was reluctant to implicate the individuals who were present that day. So I've simply decided to leave out names and all the details that may risk my personal well being and that of those who were, like me, dragged into something they weren't ready for.
Between the late 80's and early 90’s, I was what you may call a “decision maker” with one of the more established company in the music industry. I came from Europe in the early 80’s and quickly established myself in the business. The industry was different back then. Since technology and media weren’t accessible to people like they are today, the industry had more control over the public and had the means to influence them anyway it wanted. This may explain why in early 1991, I was invited to attend a closed door meeting with a small group of music business insiders to discuss rap music’s new direction. Little did I know that we would be asked to participate in one of the most unethical and destructive business practice I’ve ever seen.
The meeting was held at a private residence on the outskirts of Los Angeles. I remember about 25 to 30 people being there, most of them familiar faces. Speaking to those I knew, we joked about the theme of the meeting as many of us did not care for rap music and failed to see the purpose of being invited to a private gathering to discuss its future. Among the attendees was a small group of unfamiliar faces who stayed to themselves and made no attempt to socialize beyond their circle. Based on their behavior and formal appearances, they didn't seem to be in our industry. Our casual chatter was interrupted when we were asked to sign a confidentiality agreement preventing us from publicly discussing the information presented during the meeting. Needless to say, this intrigued and in some cases disturbed many of us. The agreement was only a page long but very clear on the matter and consequences which stated that violating the terms would result in job termination. We asked several people what this meeting was about and the reason for such secrecy but couldn't find anyone who had answers for us. A few people refused to sign and walked out. No one stopped them. I was tempted to follow but curiosity got the best of me. A man who was part of the “unfamiliar” group collected the agreements from us.
Quickly after the meeting began, one of my industry colleagues (who shall remain nameless like everyone else) thanked us for attending. He then gave the floor to a man who only introduced himself by first name and gave no further details about his personal background. I think he was the owner of the residence but it was never confirmed. He briefly praised all of us for the success we had achieved in our industry and congratulated us for being selected as part of this small group of “decision makers”. At this point I begin to feel slightly uncomfortable at the strangeness of this gathering. The subject quickly changed as the speaker went on to tell us that the respective companies we represented had invested in a very profitable industry which could become even more rewarding with our active involvement. He explained that the companies we work for had invested millions into the building of privately owned prisons and that our positions of influence in the music industry would actually impact the profitability of these investments.
I remember many of us in the group immediately looking at each other in confusion. At the time, I didn’t know what a private prison was but I wasn't the only one. Sure enough, someone asked what these prisons were and what any of this had to do with us. We were told that these prisons were built by privately owned companies who received funding from the government based on the number of inmates. The more inmates, the more money the government would pay these prisons. It was also made clear to us that since these prisons are privately owned, as they become publicly traded, we’d be able to buy shares. Most of us were taken back by this. Again, a couple of people asked what this had to do with us. At this point, my industry colleague who had first opened the meeting took the floor again and answered our questions. He told us that since our employers had become silent investors in this prison business, it was now in their interest to make sure that these prisons remained filled. Our job would be to help make this happen by marketing music which promotes criminal behavior, rap being the music of choice. He assured us that this would be a great situation for us because rap music was becoming an increasingly profitable market for our companies, and as employee, we’d also be able to buy personal stocks in these prisons. Immediately, silence came over the room. You could have heard a pin drop. I remember looking around to make sure I wasn't dreaming and saw half of the people with dropped jaws. My daze was interrupted when someone shouted, “Is this a f****** joke?” At this point things became chaotic. Two of the men who were part of the “unfamiliar” group grabbed the man who shouted out and attempted to remove him from the house. A few of us, myself included, tried to intervene. One of them pulled out a gun and we all backed off. They separated us from the crowd and all four of us were escorted outside. My industry colleague who had opened the meeting earlier hurried out to meet us and reminded us that we had signed agreement and would suffer the consequences of speaking about this publicly or even with those who attended the meeting. I asked him why he was involved with something this corrupt and he replied that it was bigger than the music business and nothing we’d want to challenge without risking consequences. We all protested and as he walked back into the house I remember word for word the last thing he said, “It’s out of my hands now. Remember you signed an agreement.” He then closed the door behind him. The men rushed us to our cars and actually watched until we drove off.
Another stupid Rap person, LOL!
I remember when I was young, Blacks folks took pride in our belief that we were morality superior to white folks. We talked about their inability to control their children, their casting out of their elders, their mistreatment of their women, their freaky sexual behavior, the fact they produced mass murderers, and a host of other things we deemed undesirable. And of course most of all, their historical treatment of us made it clear that they were morally inferior. On the flip side, we did accepted that they were mental superior.
More recently, many of the things listed above that were once the almost exclusive domain of white cultural behavior, because of our continuing breakdown in our community, we have now wholeheartedly embraced. We do many of those same stupid things. This demonstrates that these behaviors were never racial but cultural. Our issues are cultural. Even in our subordinate economic condition, if we culturally adopted communalism, it would improve our condition considerably. But rather than turn towards each other, which segregation forced us to do (whereas Afrikan culture was base on a sharing and caring motif), integration has made us increasing turn away from each other. Additionally integration has created a class of individuals whose wealth is based upon white folks.
During segregation most wealthy Afrikan Americans' wealth was derive from our community. Integration created a cross-over factor that had the potential of substantially increasing the wealth of an artist or entrepreneur. Oprah Winfrey is an example of this--her wealth is not derived from us. Many in the music industry are the same. Even if initially their wealth was derived from us, it isn't anymore. Hence, these folks are not accountable to us. We cannot boycott them and hit them in their pockets. Consequently these wealthy Black folks do not feel like they have to be accountable to us. This feeling of not having to answer to their folks has created a certain irresponsibility on their part. What Russell Simmons did is irresponsible. Just last week in a weak argument he wrote an Open Letter to CNN's Don Lemon. Granted he made a few good points, his equating of the sagging of pants as an expression on par with the wearing of the Afro hairstyle was ridiculous and an argument not well thought out. (Simmons' image has long been tarnished by his suppose "casting couch" antics.)
Russell Simmons has also been in the new for his recent emphasis on spirituality, especially his new-found love of yoga. However, he cannot be growing very much. If he were, why would he make a sexual parody of the most sacred icon in Afrikan American History--Harriet Tubman. Some things are to remain sacrosanct. Now I know it is common for white folks to do something foolish and apologize, and their community forgives them. But Black folks are smarter than that. Your apology will not get you off the hook; we just don't roll like that. Apology denied!
P.S. Was this one of those situations where his white handlers convinced him this skit would be funny? Otherwise, why would he do it? Even Dave Chappelle, who can be out there, knew better than to touch this.
Somethings is wrong with this picture in post-racial America
What's up with Florida? In Jacksonville, an Afrikan American woman has been sentenced to 20 years in prison for firing warning shots at her husband who had a history of being abusive. Marissa Alexander of Jacksonville had said the state's "Stand Your Ground" law should apply to her because she was defending herself against her husband when she fired warning shots inside her home in August 2010. She told police it was to escape a brutal beating by her husband, against whom she had already taken out a protective order. She was found guilty of attempted murder though she fired in the air. She had been offered a plea deal for a three-year prison sentence but she rejected it believing she did nothing wrong and was well within her "Stand Your Ground" rights.
However, the Circuit Court Judge James Daniel handed down a 20-year sentence. Under Florida's mandatory minimum sentencing requirements Alexander could receive a lesser sentence, even though she has never been in trouble with the law before. Judge Daniel said the law did not allow for extenuating or mitigating circumstances to reduce the sentence below the 20-year minimum.
"I really was crying in there," Marissa's 11-year-old daughter said. "I didn't want to cry in court, but I just really feel hurt. I don't think this should have been happening."
Alexander was recently denied a new trial after appealing to the judge to reconsider her case based on Florida's controversial "Stand Your Ground" law. The law states that the victim of a crime does not have to attempt to run for safety and can immediately retaliate in self-defense. Her attorney said she was clearly defending herself and should not have to spend the next 20 years in prison.
Alexander's case has drawn support from domestic abuse advocates - and comparison to the case of neighborhood watch volunteer George Zimmerman, in his fatal shooting of Florida teenager Trayvon Martin.
Zimmerman who is "white" and male was cleared of all charges, in a case, where Stevie Wonder could see he was guilty, yet Alexander, who is Black and female sits in prison. Justice American style.