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Life of a Brown Person: “You’re not Black”

my coworker doesn’t thing I’m black, actually both of them don’t. 

And they’re both of color. Vocally, physically, apparently they “fit.”

Both of them have acted as if I don’t know what Black Culture is…so in turn I’ll mention some shit like the Wayne Brothers Show, or start singing some damn Jill Scott. 

The point is I haven’t fought them over it and I don’t care to.

Yes there’s a problem within our community with our idea of blackness. 

I get it, I talk different, look different, love all music, can talk about Lord of the Rings to Beloved to Dawn of the Dead. 

But not tell you Future’s new song or the newest dance or twerk-not saying that also defines blackness but we all know it does function in our culture…

Point is: The fact that blackness is defined by style, interests, manners of speech, and etc is REALLY FUCKING ANNOYING.

There ARE black folk that exist that like Rock Music, anime, etc

that does not make one less black. 

WE are unwilling to be open minded to each other in terms of how we define ourselves how can we make it to the open minded of other races if we struggle so much with defining our own?

We have to build our own power. We have to win every single political office we can, where we have a majority of black people… The question for black people is not, when is the white man going to give us our rights, or when is he going to give us good education for our children, or when is he going to give us jobs—if the white man gives you anything—just remember when he gets ready he will take it right back. We have to take for ourselves.
Fannie Lou Hamer, spokeswoman for the Mississippi Freedom Democratic Party

"I’m Black And I’m Proud!" is that still relevant today?

Does that saying still need to be around. 

Someone made an interesting comment in response saying

"I don’t need to constantly state that I am proud that I’m black, it wasn’t an award that I received or something, what my ancestors fought for, the struggle is something taken on. It’s what I am and what my ancestors are. There’s nothing more to it. Simply stating that one is black is pride in itself. Self acceptance." 

All Power to the People (full version)

thank you Youbtube.Lee Lew Lee, producer/director & Kristin Bell & Nico Panigutti, co-producers

Opening with a montage of four hundred years of race injustice in America, this powerful documentary provides the historical context for the establishment of the 60’s civil rights movement. Rare clips of Martin Luther King, Malcolm X, Fred Hampton, mumia abdu jamal, mutula shakur and other activists transport one back to those tumultuous times. Organized by Bobby Seale and Huey P. Newton, the Black Panther Party embodied every major element of the civil rights movement which preceded it and inspired the black, brown, yellow, Native American and women’s power movements which followed

The party struck fear in the hearts of the “establishment” which viewed it as a terrorist group. Interviews with former US Attorney General Ramsey Clark, CIA officer Philip Agee, and FBI agents Wes Swearingen and Bill Turner shockingly detail a “secret domestic war” of assassination, imprisonment and torture as the weapons of repression. Yet, the documentary is not a paean to the Panthers, for while it praises their early courage and moral idealism. it exposes their collapse due to megalomania, corruption, drugs, and narcissism j edgar hoover oliver north cointelpro vietnam war contra affairs george bush kkk

Stokely Carmichael

At the time of the Freedom Rides, Stokely Carmichael was a 19-year-old student at Howard University, the son of West Indian immigrants to New York City. Carmichael made the journey to Jackson, MS from New Orleans, LA on June 4, 1961 by train, along with eight other riders, including Joan Trumpauer. 

The group was ushered by Jackson police to a waiting paddy wagon; all Riders refused bail. Carmichael was transferred to
Parchman State Prison Farm, which proved to be a crucible and testing ground for future Movement leaders. Other Freedom Riders recalled his quick wit and hard-nosed political realism from their shared time at Parchman. 

The acerbic Carmichael would go on to become one of the leading voices of the Black Power Movement. In 1966 Carmichael became Student Nonviolent Coordinating Committee (SNCC) chairman and, in 1967, honorary prime minister of the Black Panther Party. He moved to West Africa in 1969, and changed his name to Kwame Ture in honor of African leaders Kwame Nkruma and Sekou Toure, later traveling the world as a proponent of the All African Peoples Revolutionary Party. He died in Conakry, Guinea in 1998 of prostate cancer at the age of 57. 

In his posthumously published autobiography, Carmichael spoke about the significance of the Freedom Rides: “CORE would be sending an integrated team-black and white together-from the nation’s capital to New Orleans on public transportation. That’s all. Except, of course, that they would sit randomly on the buses in integrated pairs and in the stations they would use waiting room facilities casually, ignoring the white/colored signs. What could be more harmless… in any even marginally healthy society?”

who else is a pilot of Afrofuturism…yeah ya didn’t know did ya.

Well neither did I. I thought Sun Ra was the only mofo who had these incredible theories…

it stretches over to, “Examples of seminal afrofuturistic works include the novels of Samuel R. Delany and Octavia Butler; the canvases of Jean-Michel Basquiat and the photography of Renée Cox; as well as the extraterrestrial mythos of Parliament-Funkadelic and Sun Ra, and the music of DJ Spooky.” And yes I’m quoting wikipedia again…they know things man, so many things.

Anyways, continuing on, “…Afrofuturist ideas were taken up in 1975 by George Clinton and his bands Parliament and Funkadelic with his magnum opus Mothership Connection and the subsequent The Clones of Dr. FunkensteinP Funk Earth TourFunkentelechy Vs. the Placebo Syndrome, and Motor Booty Affair. In the thematic underpinnings to P-Funk mythology (“pure cloned funk”), Clinton in his alter ego Starchild spoke of “certified Afronauts, capable of funkitizing galaxies.”

I have never seen Black to the Future…I didn’t even know it existed…

“…In the late 1990s a number of cultural critics, notably Mark Dery in his 1995 essay Black to the Future, began to write about the features they saw as common in African-American science fiction, music and art. Dery dubbed this phenomenon “afrofuturism”.

In Black to the Future, Dery writes:

“Speculative fiction that treats African-American themes and addresses African-American concerns in the context of 20th century technoculture—and, more generally, African-American signification that appropriates images of technology and a prosthetically enhanced future—might, for want of a better term, be called Afrofuturism.

African-American culture is Afrofuturist at its heart, literalizing [the SF novelist William] Gibson’s cyberpunk axiom, “The street finds its own uses for things.” With trickster elan, it retrofits, refunctions, and willfully misuses the technocommodities and science fictions generated by a dominant culture that has always been not only white but a wielder, as well, of instrumental technologies.

In writing about Sun Ra I’m dipping into the pot of theories and philosophies that he went along with and so I too am discovering… a lot. 

In my eyes, Sun Ra’s idea of living on Saturn is a metaphor; let me explain. We as a colored peoples, as minorities cannot thrive here in America…and if we can’t thrive here or anywhere else we need an entirely different place to go to…Saturn.

So I get it and I like it.  

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