In Defense of Looting: Turning the White-Supremacist Narrative Upside Down

By Willie Osterweil

Originally published at New Inquiry.

As protests in Ferguson continued unabated one week after the police killing of Michael Brown, Jr., zones of Twitter and the left media predominantly sympathetic to the protesters began angrily criticizing looters. Some claimed that white protesters were the ones doing all of the looting and property destruction, while others worried about the stereotypical and damaging media representation that would emerge. It also seems that there were as many protesters (if not more) in the streets of Ferguson working to prevent looting as there were people going about it. While I disagree with this tactic, I understand that they acted out of care for the struggle, and I want to honor all the brave and inspiring actions they've taken over the last weeks.

Some politicians on the ground in Ferguson, like alderman Antonio French and members of the New Black Panther Party, block looting specifically in order to maintain leadership for themselves and dampen resistance, but there are many more who do so out of a commitment to advancing the ethical and politically advantageous position. It is in solidarity with these latter protesters-along with those who loot-and against politicians and de-escalators everywhere that I offer this critique, as a way of invigorating discussion amongst those engaged in anti-oppression struggle, in Ferguson and anywhere else the police violently perpetuate white supremacy and settler colonialism. In other words, anywhere in America.

The dominant media is itself a tool of white supremacy: it repeats what the police deliver nearly verbatim and uncritically, even when the police story changes upwards of nine times, as it has thus far in the Brown killing. The media use phrases like "officer-involved shooting" and will switch to passive voice when a black man is shot by a white vigilante or a police officer ("shots were fired"). Journalists claim that "you have to hear both sides" in order to privilege the obfuscating reports of the state over the clear voices and testimony of an entire community, members of which witnessed the police murder a teenager in cold blood. The media are more respectful to white serial killers and mass murderers than to unarmed black victims of murder.

And yet, many of the people who perform this critique day-in, day-out can get jammed up by media perceptions of protesters. They want to correct the media's assertion that protesters were all looters for good reason: the idea of black people looting a store is one of the most racially charged images in the white imaginary. When protesters proclaim that "not all protesters were looters, in fact, most of the looters weren't part of the protest!" or words to that effect, they are trying to fight a horrifically racist history of black people depicted in American culture as robbers and thieves: Precisely the image that the Ferguson police tried to evoke to assassinate Michael Brown's character and justify his killing post facto. It is a completely righteous and understandable position.

However, in trying to correct this media image-in making a strong division between Good Protesters and Bad Rioters, or between ethical non-violence practitioners and supposedly violent looters-the narrative of the criminalization of black youth is reproduced. This time it delineates certain kinds of black youth-those who loot versus those who protest. The effect of this discourse is hardening a permanent category of criminality on black subjects who produce a supposed crime within the context of a protest. It reproduces racist and white supremacist ideologies (including the tactic of divide-and-conquer), deeming some unworthy of our solidarity and protection, marking them, subtly, as legitimate targets of police violence. These days, the police, whose public-facing racism is much more manicured, if no less virulent, argue that "outside agitators" engage in rioting and looting. Meanwhile, police will consistently praise "non-violent" demonstrators, and claim that they want to keep those demonstrators safe.

In working to correct the white-supremacist media narrative we can end up reproducing police tactics of isolating the individuals who attack property at protests. Despite the fact that if it were not for those individuals the media might pay no attention at all. If protesters hadn't looted and burnt down that QuikTrip on the second day of protests, would Ferguson be a point of worldwide attention? It's impossible to know, but all the non-violent protests against police killings across the country that go unreported seem to indicate the answer is no. It was the looting of a Duane Reade after a vigil that brought widespread attention to the murder of Kimani Gray in New York City. The media's own warped procedure instructs that riots and looting are more effective at attracting attention to a cause.

But of course, the goal is not merely the attention of dominant media. Nor is the goal a certain kind of media attention: no matter how peaceful and well-behaved a protest is, the dominant media will always push the police talking points and the white-supremacist agenda. The goal is justice. Here, we have to briefly grapple with the legacy of social justice being won in America: namely that of non-violence and the civil rights movement. And that means correcting a more pervasive and totalizing media and historical narrative about the civil rights movement: that it was non-violent, that it claimed significant wins because it was non-violent, and that it overcame racial injustice altogether.

In the 400 years of barbaric, white supremacist, colonial and genocidal history known as the United States, the civil rights movement stands out as a bright, beautiful, all-too-brief moment of hope and struggle. We still live in the shadow of the leaders, theory, and images that emerged from those years, and any struggle in America that overlooks the work (both philosophical and organizational) produced in those decades does so at its own peril. However, why is it drilled into our heads, from grade school onward, in every single venue, by presidents, professors and police chiefs alike, that the civil rights movement was victorious because it was non-violent? Surely we should be suspicious of any narrative that the entire white establishment agrees is of the utmost importance.

The civil rights movement was not purely non-violent. Some of its bravest, most inspiring activists worked within the framework of disciplined non-violence. Many of its bravest, most inspiring activists did not. It took months of largely non-violent campaigning in Birmingham, Alabama to force JFK to give his speech calling for a civil rights act. But in the month before he did so, the campaign in Birmingham had become decidedly not-non-violent [1]: protesters had started fighting back against the police and Eugene "Bull" Conner, throwing rocks, and breaking windows. Robert Kennedy, afraid that the increasingly riotous atmosphere in Birmingham would spread across Alabama and the South, convinced John to deliver the famous speech and begin moving towards civil rights legislation.

This would have been impossible without the previous months of courageous and tireless non-violent activism. But it is also the emergent threat of rioting that forced JFK's hand. Both Malcolm X and MLK had armed bodyguards. Throughout the civil rights era, massive non-violent civil disobedience campaigns were matched with massive riots. The most famous of these was the Watts rebellion of 1965 but they occurred in dozens of cities across the country. To argue that the movement achieved what it did in spite of rather than as a result of the mixture of not-non-violent and non-violent action is spurious at best. And, lest we forget, Martin Luther King Jr., the man who embodied the respectable non-violent voice that the white power structure claims they would listen to today, was murdered by that same white power structure anyway.

Though the Civil Rights movement won many battles, it lost the war. Mass incarceration, the fact that black wealth and black-white inequality are at the same place they were at the start of the civil rights movement, that many US cities are more segregated now than they were in the sixties: no matter what "colorblind" liberals would say, racial justice has not been won, white supremacy has not been overturned, racism is not over. In fact, anti-black racism remains the foundational organizing principle of this country. That is because this country is built on the right to property, and there is no property, no wealth in the USA without the exploitation, appropriation, murder, and enslavement of black people.

As Raven Rakia puts it, "In America, property is racial. It always has been." Indeed, the idea of blackness was invented simultaneously with American conceptions of property: via slavery. In the early days of colonial America, chattel slavery was much less common than indentured servitude-though the difference between the two was not always significant-and there were Irish, French, German and English immigrants among these populations. But while there had always been and continued to be some black freedmen, over the course of the 17th century light-skinned European people stopped being indentured servants and slaves. This is partially because production exploded in the colonies much faster than a working population could form to do the work-either from reproduction or voluntary immigration-and so the cost of hired labor went through the roof. Even a very poor and desperate European became much more expensive than an African bought from the increasingly rationalized transatlantic slave trade.

The distinction between white and black was thus eventually forged as a way of distinguishing between who could be enslaved and who could not. The earliest working definition of blackness may well have been "those who could be property". Someone who organized a mob to violently free slaves, then, would surely be considered a looter (had the word come into common usage by then, John Brown and Nat Turner would have been slandered with it). This is not to draw some absurd ethical equivalence between freeing a slave and grabbing a flat screen in a riot. The point, rather, is that for most of America's history, one of the most righteous anti-white supremacist tactics available was looting. The specter of slaves freeing themselves could be seen as American history's first image of black looters.

On Twitter, a tongue-in-cheek political hashtag sprang up, #suspectedlooters, which was filled with images of colonial Europeans, slave owners, cowboys and white cultural appropriators. Similarly, many have pointed out that, had Africa not been looted, there wouldn't even be any black people in America. These are powerful correctives to arguments around looting, and the rhetorical point-that when people of color loot a store, they are taking back a miniscule proportion of what has been historically stolen from them, from their ancestral history and language to the basic safety of their children on the street today-is absolutely essential. But purely for the purposes of this argument-because I agree wholeheartedly with the political project of these campaigns-I want to claim that what white settlers and slave traders did wasn't mere looting.

It was genocide, theft, and barbarism of the lowest order. But part of how slavery and colonialism functioned was to introduce new territories and categories to the purview of ownership, of property. Not only did they steal the land from native peoples, but they also produced a system under which the land itself could be stolen, owned by legal fiat through force of arms. Not only did they take away Africans' lives, history, culture, and freedom, but they also transformed people into property and labor-power into a saleable commodity. Chattel slavery is the most barbaric and violent form of work coercion-but as the last 150 years has shown, you can dominate an entire people through law, violence, and wages pretty well.

Recently an Instagram video circulated of a Ferguson protester discussing the looting and burning of the QuikTrip convenience store. He retorts the all too common accusation thrown at rioters: "People wanna say we destroying our own neighborhoods. We don't own nothing out here!" This is the crux of the matter, and could be said of most majority black neighborhoods in America, which have much higher concentrations of chain stores and fast food restaurants than non-black neighborhoods. The average per capita income in Ferguson, MO is less than $21,000, and that number almost certainly gets lower if you remove the 35% white population of Ferguson from the equation. How could the average Ferguson resident really say it's "our QuikTrip"? Indeed, although you might hang out in it, how can a chain convenience store or corporate restaurant earnestly be part of anyone's neighborhood? The same white liberals who inveigh against corporations for destroying local communities are aghast when rioters take their critique to its actual material conclusion.

The mystifying ideological claim that looting is violent and non-political is one that has been carefully produced by the ruling class because it is precisely the violent maintenance of property which is both the basis and end of their power. Looting is extremely dangerous to the rich (and most white people) because it reveals, with an immediacy that has to be moralized away, that the idea of private property is just that: an idea, a tenuous and contingent structure of consent, backed up by the lethal force of the state. When rioters take territory and loot, they are revealing precisely how, in a space without cops, property relations can be destroyed and things can be had for free.

On a less abstract level there is a practical and tactical benefit to looting. Whenever people worry about looting, there is an implicit sense that the looter must necessarily be acting selfishly, "opportunistically," and in excess. But why is it bad to grab an opportunity to improve well-being, to make life better, easier, or more comfortable? Or, as Hannah Black put it on Twitter: "Cops exist so people can't loot ie have nice things for free so idk why it's so confusing that people loot when they protest against cops" [sic]. Only if you believe that having nice things for free is amoral, if you believe, in short, that the current (white-supremacist, settler-colonialist) regime of property is just, can you believe that looting is amoral in itself.

White people deploy the idea of looting in a way that implies people of color are greedy and lazy, but it is just the opposite: looting is a hard-won and dangerous act with potentially terrible consequences, and looters are only stealing from the rich owners' profit margins. Those owners, meanwhile, especially if they own a chain like QuikTrip, steal forty hours every week from thousands of employees who in return get the privilege of not dying for another seven days.

And the further assumption that the looter isn't sharing her loot is just as racist and ideological. We know that poor communities and communities of color practice more mutual aid and support than do wealthy white communities-partially because they have to. The person looting might be someone who has to hustle everyday to get by, someone who, by grabbing something of value, can afford to spend the rest of the week "non-violently" protesting. They might be feeding their family, or older people in their community who barely survive on Social Security and can't work (or loot) themselves. They might just be expropriating what they would otherwise buy-liquor, for example-but it still represents a material way that riots and protests help the community: by providing a way for people to solve some of the immediate problems of poverty and by creating a space for people to freely reproduce their lives rather than doing so through wage labor.

Modern American police forces evolved out of fugitive slave patrols, working to literally keep property from escaping its owners. The history of the police in America is the history of black people being violently prevented from threatening white people's property rights. When, in the midst of an anti-police protest movement, people loot, they aren't acting non-politically, they aren't distracting from the issue of police violence and domination, nor are they fanning the flames of an always-already racist media discourse. Instead, they are getting straight to the heart of the problem of the police, property, and white supremacy.

Solidarity with all Ferguson rebels! Justice for Mike Brown!

Notes

[1] I use the rather clunky phrase not-non-violent purposely. For some non-violence ideologues breaking windows, lighting trash on fire or even building barricades in the street is "violent". I once watched a group of black teens chanting "Fuck the Police" get shouted at for "being violent" by a white protester. Though there are more forms of violence than just literal physical blows to a human body, I don't believe a conception of "violence" which encompasses both throwing trash in the street and the murder of Michael Brown is remotely helpful. Frustratingly, in protest situations violence tends to be defined as "whatever the nearest cop or non-violence practitioner says it is." Calling breaking a window "violent" reproduces this useless definition and places the whole argument within the rhetorical structure of non-violence ideology. Not-non-violent, then, becomes the more useful term.

Latina Feminism: National and Transnational Perspectives

By Cherise Charleswell

Women's studies and the early waves of feminism were initially dominated by the experiences of white middle-class women, thus leaving Latinas, like other women of color, feeling excluded or not fully represented. Outside of women's studies, ethnic studies also left Latinas feeling the same, in that they focused on issues of racial and ethnic oppression and cultural nationalism, while ignoring the critical issues of sexism and heterosexism. Women and women's issues were only seen as "White," thus denying Latinas and other women of color their full identity. Eventually, Latina women joined other women of color in the introduction of gender issues into ethnic studies and critical race issues in women's studies. Their actions were taking a direct stance against not only the exclusionary practices of white middle-class feminism, but also against those within other social movements. These women helped to ensure that civil rights struggles transcended the US borders, and a number of Latina women have taken on leadership roles in the struggle for human rights. Thus, Latina Feminism, just like the Latino identity, is complex, and is oftentimes transnational in nature. For example, being a Latina means that one has a cultural identity and ethnicity, shared by those from or with origins in Latin America. Latinas can be of any racial group, or more likely a mix of various racial groups.

Origins of Latina Feminism

Latina Feminism in the United States really began to take shape following the Civil Rights and Black Nationalist movements, which saw all oppressed people - Gay, women, other ethnic groups - coming forward and using solidarity to spark social changes during the middle of the 20th century. Although Latina women took leadership roles in the other movements, their contributions have for the most part gone unnoticed or ignored. When scholars and community leaders speak about the legacy of these groups, they continue to excluded Latina women; and even well known iconic images do not include them.

Xicana (Chicana) Feminism

Chicana feminist thought and action really began to take shape during the late 1960s, with an increase in organizing during the 1970s. Chicana feminisms itself was an outgrowth or response to the male-dominated Chicano movements, which demanded access to education, as well as social, political, and economic opportunities and justice for Latino people; and took place primarily in the American South West. Like other women of color, Chicanas realized that discussions of women's issues, such as birth control, were being rejected, ignored, or side-lined; while mainstream White middle class feminism was also unwilling to speak out about the unique oppressions that Chicana women faced; particularly workplace exploitation or discrimination

The Women of the Young Lords

The Young Lords was a mostly Puerto Rican (African Americans and other Latinos were members) organization that was formed in the late 1960s by individuals who were primarily under the age of 20. What was so groundbreaking about this group of young people is that they redefined what is was to be Puerto Rican, openly exclaiming their pride in being Boricuans, not "Spanish", but Afro-Taino; and while fighting for basic human rights - clothing, shelter, food, access to healthcare and justice - they openly challenged machismo, sexism, and patriarchy. Women, such as Connie Cruz, Luisa Capteillo, Denise Oliver, and Bianca Canales, quickly emerged as leaders in the Young Lords. Their Ten-Point Health Program was ahead of its time, and it was clear that they understood early on that factors in one's environment (today referred to as social determinants of health by public health specialist) were important to health and wellbeing. Their Ten-Point Health Program was as follows:

We want total self-determination of all health services in East Harlem (El Barrio) through an incorporated Community-Staff Governing Board for Metropolitan Hospital. (Staff is anyone and everyone working at Metropolitan.)

We want immediate replacement of all Lindsay administrators by community and staff appointed people whose practice has demonstrated their commitment to serve our poor community.

We demand immediate end to construction of the new emergency room until the Metropolitan Hospital Community-Staff Governing Board inspects and approves them or authorizes new plans.

We want employment for our people. All jobs filled in El Barrio must be filled by residents first, using on-the-job training and other educational opportunities as bases for service and promotion.

We want free publicly supported health care for treatment and prevention. We want an end to all fees.

We want total decentralization--block health officers responsible to the community-staff board should be instituted.

We want "door-to-door" preventive health services emphasizing environment and sanitation control, nutrition, drug addiction, maternal and child care, and senior citizen's services.

We want education programs for all the people to expose health problems--sanitation, rats, poor housing, malnutrition, police brutality, pollution, and other forms of oppression.

We want total control by the Metropolitan hospital community-staff governing board of the budge allocations, medical policy along the above points, hiring, firing, and salaries of employees, construction and health code enforcement.

Any community, union, or workers organization must support all the points of this program and work and fight for that or be shown as what they are---enemies of the poor people of East Harlem.

#5 essentially calls for universal healthcare.

#7 focuses on prevention on disease and is forward-thinking in looking at addiction as not a criminal activity, but a disease.

#8 describes the need for programs to address the social determinants of health.

Unfortunately, despite their seemingly Progressive attitudes, the Young Lords was still governed by an all-male central committee and its initial 13-point platform advocated for "revolutionary machismo." The women members turned on the pressure and began to directly address this sexism, which resulted in the "machismo" line being dropped, and a new point was added to the program, stating, "We want equality for women. Down with machismo and male chauvinism"; and more importantly, attention and protest was turned to the issue of sterilization. In short, during the 1960s, Puerto Rican women were used as guinea pigs for the development of the birth control pill and later birth control and sterilization were used in some sort of twisted eugenics campaign as a tool of social policy and as a form of directed population control. Over a third of Puerto Rican women of child-bearing age were sterilized. The Young Lord's fight against this abusive practice inspired Ana Maria Garcia's 1982 documentary, La Operacion. The Young Lord's Women's Caucus was progressive and transformative in other ways: defending a woman's right to abortion and childcare, and establishing a women's union with a publication called La Luchadora; and their efforts helped to ensure that half of the content of the Young Lords' newspaper, Pa'lante, focused on women's issues.

Pioneering Latina Feminists in the US

Although "feminist" is being used to describe these women, we must keep in mind that many of them may have not considered or referred to themselves as feminists. Their actions - advocating for women's equality and challenging patriarchy and systems of oppression - indeed made them feminists.

Nina Otero-Warren was a Chicana educator, politician, suffragist, and first wave feminist. She worked for women's suffrage in New Mexico and, in 1918, became superintendent of public schools in Santa Fe County. Later, in 1923, she became Inspector of Indian Schools in Santa Fe County, where she was able to improve the education of indigenous populations.

Jovita Idar was a pioneering Chicana activist and feminist. As early as 1910 she was writing articles for her father's newspaper, covering stories on discrimination, lynching, and other violence committed by Texas Rangers - all issues that, unfortunately, remain relevant today as we continue to witness the same type of oppression. La Ligua Femenil Mexicanista (The League of Mexican Women), which she formed in 1911, is now recognized as the first attempt in Mexican-American history to organize a feminist social movement. These women formed free schools for Mexican children and provided necessities for the poor.

Maria Rebecca Latigo de Hernandez was not a self-described feminist; however, she was a pioneering Xicana activist, working for the improvement of civic, educational, and economic opportunities for Mexican-Americans. In 1929, she co-founded the Orden Caballeros of America, a civic and civil organization.

Sylvia Rivera was a bisexual trans Latina activist and feminist who advocated for the inclusion of queer and transgender people who were left out of the gay-rights movement. She co-founded the Street Transvestite Action Revolutionaries (S.T.A.R.) in 1970.

Feminist scholar Gloria Anzaldua self-describes as a "Chicana/Tejana/lesbian/dyke/feminist/writer/poet/cultural theorist." Her writing focused on providing representations of women of color. Her 1987 book "Borderlands/La Frontera: The New Mestiza," her most famous work, focuses on overlapping issues of gender, race, sexual orientation, and class (factors which feminist scholar Kimberlee Crenshaw later referred to as intersections when speaking on the theory of intersectionality). Other notable works by Anzaldua include "This Bridge Called My Back: Writings by Radical Women of Color" (co-authored with Cherrie Moraga) and "Making Face Making Soul/Haciendo Caras: Creative and Critical Perspectives by Feminists of Color."

Although Cesar Chavez became the face of the United Farm Workers, has a national holiday in his honor, and was featured in the biographical film Cesar Chavez, much has been known about Dolores Huerta, labor leader, activist, feminist, awardee of the Presidential Medal of Freedom, and co-founder of the United Farm Workers. Her lobbying efforts helped to bring about the Immigration Act of 1985. Her other political achievements include:

In 1961, she succeeded in obtaining the citizenship requirements removed from pension and public assistance programs.

In 1962, she was instrumental in the passage of legislation allowing voters the right to vote in Spanish, and the right of individuals to take the drivers license examination in their native language;

In 1963, she helped secure Aid for Dependent Families ("AFDC") for the unemployed and underemployed, disability insurance for farm workers in the State of California, and unemployment benefits for farm workers.

She continues her activism work as an active board member of the Feminist Majority Foundation.

Chicana second-wave feminist, Cherrie Moraga, began discussing "interlocking" oppressions early on in her activist, academic, and artistic career during the 1970s. She co-authored "This Bridge Called My Back: Writings by Radical Women of Color" with Gloria Anzaldua in 1981, and was a founding member of La Red Xicana Indigena, a network of Chicanas organizing nationally and internationally for social change, indigenous rights, and political education.

Pioneering Latina Feminists in Latin America

Leila Gonzalez was an intellectual involved in the Brazilian Black movement and is credited for being responsible for the development and practice of Black Feminism in Brazil (More to come on the topic of racial identity and Black feminism in Latin America and the US). Leila was born in 1935, just 47 years after the Lei Áurea ("Golden Act") abolished slavery in Brazil, and despite being a Black woman, she went on to earn university degrees in history, geography, philosophy, and a PhD in social anthropology.

Petra Herrera was a Soldadera, a female soldier who fought along the men during the Mexican Revolution. She initially disguised her gender and went by the name "Pedro Herrera." After not being credited for valor in battle and promoted to a General, Petra left Pancho Villa's forces and formed her own all-woman brigade.

In 1946, Felisa Rincon de Gautier was elected mayor of San Juan Puerto Rico, becoming not only the first woman to be elected mayor of San Juan, but of any mayor capital city in the Americas. She held this position from 1948 - 1968. She was an active participant in Puerto Rico's women's suffrage movement (won in 1932) and her efforts on child care programs inspired the United States' Head Start program.

Puerto Rican Nationalist, Blanca Canales, has been conveniently erased from history books, and is not greatly discussed in women's studies courses. She helped organize the Daughters of Freedom, the women's branch of the Puerto Rican Nationalist Party, and is one of the few women in history to have led a revolt against the United States, which was known as the Jayuya Uprising, taking place in 1950. The US government declared martial law to put down the uprising, sentencing the activists to life imprisonment and dismissing their protests as nothing more than an "incident between Puerto Ricans."

Afro-Puerto Rican poet, feminist and activist, Julia de Burgos, used her writings to openly contest the prevailing notion that womanhood and motherhood are synonymous. She courageously began challenging these notions in the 1930s.

Celia Sanchez was the woman at the heart of the Cuban Revolution, and although she was rumored to be the main decision-maker, more is known about her male counterparts Fidel Castro and Che Guevara. She was the founder of the 26th of July Movement and leader of combat squads throughout the Revolution.

Frida Kahlo was a Mexican artist born around the time of the Mexican Revolution. She is best known for her self-portraits filled with pain and passion, which mirrored her own life. She survived polio, a horrific and near-fatal bus accident, an amputation, multiple miscarriages, as well as rampant infidelity. Her work represents a celebration of indigenous traditions, as well as an uncompromising depiction of the female experience and form, the dichotomies, the personal and political, love and loss, physical and emotional pain.

Intersectionality and the Latina in the United States

For the most part, the Latina in the United States is still viewed as "The Other," a racial minority outside of the dominant White society (despite the growing Latino population), and at times as a stereotypical caricature, whether it is the Domestic or the Spicy oversexed Spanish Fly, whose presence is primarily for the pleasure and entertainment of men ( Sophia Vergara's public persona and willingness to be literally put on display during the 2014 Emmy Ward s best exemplifies this caricature). This status as "The Other" has historically left Latinas having to cope with not only gender oppression, but gender and discrimination based on their ethnicity. These are the intersections that impact their lives. Further, one has to understand how these varying intersections drive Latinas to feminism in different ways than their white counterparts. For example, reproductive justice for Latinas, expands beyond the need to control reproduction and ensure that there are no unwanted pregnancies, but includes the need to safeguard the right of women of color to have children.

In a 2013 Ms Magazine interview, Latina feminist blogger, Sara lnes Calderon, explained why feminism or women's issues often go undiscussed or are not viewed as urgent matters to Latinas:

"I find mainstream feminism to often be lacking in substance for myself. I can't relate to it, perhaps because to me feminism is often wrapped up with white privilege. I'm not sure why there aren't more Latinas discussing feminism online. I think one major reason is that, since Latinos are historically not the dominant class and are often immigrants, there are other, more important things that occupy their time. I know that's true for myself; I spend much more time talking about politics and structural issues in my blogging than just pure Latina feminism because I feel like, in the larger sense, it's more important."

Of course, one has to ask, why can't Latina women actively and simultaneously advocate for equality, whether it is racial, gender, or based on sexual orientation? The problem with saying that women's issues are not as important, or can wait, is that they will need to be given an opportunity to be addressed; and thus impeding any form of progress.

On Invisibility: Afro-Latinas in the US

The group often excluded from discussions about the Latina experience in North America are Afro Latinos, whose complex identities, renders them invisible. These women include actresses Rosie Perez, Rosario Dawson, Zoe Saldana, and Gina Torres. While also coping with gender inequality, Afro-Latinas also face discrimination (and racism) from other Latinos, the dominant white society, as well as African-Americans (who are often adamant that Afro-Latinos put their racial identity before their cultural or ethnic). Due to these varying degrees of invisibility and discrimination, alluding to intersectionality is not enough; instead, the experiences of Afro-Latinas can be viewed as a complex spider web.

"The Other": The Indigenous & Afro Latinas in Latin America

"I know that when I was working at the Spanish language television station, there was no one of color on television. And I knew this before, so it wasn't like I got there and I was like 'Whoa, there's nobody on TV.' You just realize that you know, when I go travel, and I go to Cuba, and I go to Puerto Rico, and I go to Peru. You go to these places and you see people who are brown, of indigenous descent. But then you look at the television and you go, 'How come what I see is not what I saw when I visited these places?'"

Kim Haas, founder of the Los Afro-Latinos, shared these sentiments during her interview for Feministing. Her statement speaks to the fact that while Latinos in North America are seen as a monolithic group, indigenous women and those of African descent in Latin America are explicitly seen as "The Other," and are marginalized. While Latinas in the Chicana movement and other Latino social movements in North America advocate for inclusion, fair representation, and civil and human rights, these marginalized groups - indigenous and Afro Latino - in Latin America have historically and continue to have to do the same. When it comes to the media, they remain invisible for the most part, and in comparison to their mestizo or "White" Latino counterparts, these marginalized groups disproportionately have higher rates of poverty and disease. Thus, indigenous and Afro Latina feminists in Latin America have to cope with these deeply rooted intersections - discrimination, racial prejudice, marginalization, poverty, and gender inequality. It is this ironic reality that marks the difference between Latina Feminism in North America and Feminism in Latin America. A mere crossing of the United States border automatically lumps these groups, the marginalized indigenous and Afro-Latino women, with the mestizo/"White" Latinas who represent the dominant society, in the same way that Middle Class, White women in North America were accused of harboring privilege in that they were members of the dominant society.

Acknowledging and addressing this reality has proven to be difficult in Latin America. During the 20th century, Latin American nations were moving towards Democratic forms of governance. By the 1980s, many spaces for debate and political analysis began to open up for different voices from the Latin American civil society; however, these organizations were still not addressing the issue of racism. Thus, during the 5th Latin America and Caribbean Feminist Encuentero taking place in San Bernardo Argentina, different Black women from throughout the region met for the first time and discussed the reality of Black women's lives and the need for their own spaces and having their own voice in Latin America. This initial meeting led to the 1st Latin American and Caribbean Black women's Encuentro in 1992, which took place in Santo Domingo, Dominican Republic. Thus, Afro-Latin American feminism was built on the common experiences of Afro-Latinas who collectively experience gender and racial oppression.

Indigenous women, from various tribes in Latin America (Mayan, Quechuas, Quiche, etc.) have given rise to an indigenous feminism, which really began to take root in the 1990s. The Zapatista National Liberation Army (EZLN) emerged in 1994, serving as a catalyst for indigenous women's organization in Mexico, and an example of indigenous feminism for the rest of Latin America. The Zapatista women created what was called the Women's Revolutionary Law, and made it public on January 1, 1994. The 10 point law called for the following rights for indigenous women: the right to political participation and to hold leadership posts within the political system, to a life free of sexual and domestic violence, to decide how many children they want to have, to a fair wage, to choose a spouse, to an education, and to quality health services. In looking at this law and the declaration of women of the Young Lords (previously discussed), it is clear that Latina women in Latin America and in North America - and of varying racial, ethnic, and economic backgrounds - have been advocating for essentially the same rights. These issues - reproductive health, having to counteract patriarchy, having full representation, and so on, forms the basis of the commonality as feminists.

Indigenous feminists advocate not only for increased political, cultural, and civil rights, but also for a more equal society within their respective tribes. The following provides an overview of how indigenous feminism differs from the mainstream framework of feminism:

"Indigenous feminism differs from the western idea of the movement; indigenous feminist groups consider equality not just as a gender issue but also as an issue of equality between the human race and nature. Whilst the indigenous feminist groups are fighting their own battles regarding their ethnicity, class and gender, and the perceived exclusion they have experienced as both women and indigenous people, they also work within and for their own groups' overall struggles against issues such as climate change and deforestation." (Castillo, 2010)

Ultimately, ethnicity, class, and gender identity have shaped the struggle of indigenous women in Latin America, and they have opted to assert themselves into the broader struggles of their communities (against multinational organizations and the destruction of the environment and their homelands, exploitation by Latina American governments, as well as violence that accompanies the trafficking of narcotics), all while creating specific spaces to reflect on and speak out against their experiences with sexism and exclusion within their own societies.

Mobilization & Organizing

Latin-American and Latina/Chicano feminism organization continues to evolve, as an increasing number of Latinas in Latin America and North America begin to define their own forms of feminism, which are distinctive and complex. Whether it is considering the Afro-Latina in North America, whose ethnic identity is often dismissed, or the Afro-Latina in Latin America who is faced with great racial discrimination despite their ethnic identity as a Latino, or the mestiza or "White" Latina in Latin America who holds a position of privilege in the dominant society, or the mestiza/"White" Latina in North America who is viewed as "The Other" and faces the same types of prejudice and discrimination. Peasant, poor, working-class, or professional Latina women, whether in the West or Latin America, often have a myriad of concerns, those dealing with survival (escaping violence and having ready access to shelter, food, and potable water). They strive for increased political participation, representation, and socioeconomic equality, as well as safeguarding reproductive justice health and rights (including access to contraception and safe abortions, and access to education.

These transnational Latina feminisms involve different methods of women's organization and mobilization. In the 21st century, these efforts highly rely on digital media, which is often touted as the 4th Wave of Feminism. This form of mobilization is carried out through blogs (L atina Feminista, Womanisms, Los Afro Latinos ), journals (Chicana/Latina Studies, Latin American Perspectives), and think tanks, social media group pages, electronic newsletters, discussion boards, and websites. However, grassroots efforts of organizing are still used, particularly in areas where women have greater economic uncertainty and may not readily have access to digital media. There are, of course, the professional conferences, symposiums, and political advocacy which bring together Latina women who engage in discussions that center on how much progress has been made towards gender equality and how much more work has to be done. They call attention to, draft needed policies, and engage legislators.

Here are various Latina Feminist Mobilization Efforts & Organizations:

Chicana por mi Raza : is an online archive project that focuses on recapturing and highlighting the contribution of Mexican American, Chicana, and Hispanic women to vibrant social, political, and economic justice movements in the United States; looking at the development of Chicana feminist thought and action from 1960 to 1990. The website will serve as a digital archive, and is set to launch later this year. Items that will be available in the archive includes: newspapers, reports, leaflets, out-of-print books, correspondence, and oral histories.

Mundo Afro Salto : A regional Black culture group, decided to profile women of African descent in Salto Uruguay, in recognition of the 2011 United Nations International Year for People of African Descent. This was done via video, where these women proclaim not only their black heritage, but touch on gender issues, declaring that house work is not only woman's work.

The Roundtable of Latina Feminism : Is a collective grounding hosted by John Carroll University, which provides a dedicated space to discuss all issues related to Latina and Latin American feminisms. These gatherings are held annually, and they represent a break from academic conferences, which founder Mariana Ortega believed prioritized competitive and agnostic discussions. Instead, the roundtable provides an example of an alternative enuentros, and centers on the idea of transnational coalition building.

Colectivo Feminista Sexualidade Saude (CFSS ): is a feminist health action group based in Brazil that provides health education and training for women and professionals. They encourage self-help and also have a focus on women's mental health, violence against women, and child mortality.

CEFEMINIA : is a non-profit women's organization founded in 1975 in Costa Rica, which focuses in five key areas: violence against women, women's health, women and the legal system, as well as housing and environmental justice. The organization promotes self-help and community-based efforts, including providing needed housing.

California Latinas for Reproductive Justice : is a state-wide organization that focuses on building Latinas' power and cultivating leadership through community education, policy advocacy, and community-informed research, in order to achieve reproductive justice.

Black Women of Brazil : is a website dedicated to Brazilian women of African descent, which features news, essays, reports and interviews spanning an array of topics including race, racism, hair, sexism, sexual objectification and exploitation, affirmative action, socioeconomic inequity, police brutality, etc. intended to give a more complete view of the experiences of black women in particular, and black people in general in Brazil with a goal of provoking discussion through the lens of race.

Conclusion

Despite their distinctive characteristics, Latina Feminisms are quite similar, and this may be due to the transnational interconnections and bidirectional contacts between North America and the countries of Latin America. The greatest similarities is that Latina feminisms all differ from the Western middle-class white construct, and remain deeply rooted in social movements that impact their communities. For this reason, much of Latina Feminist organizing is non-academic, where Latinas in women's movements often do not accept the label feminist. These women are self-taught, and their actions are not shaped by academic theory, but lived experiences with sexism, racism, marginalization, and inequality; which have contributed to their awakening and activism.

Latina feminists have collectively criticized white-dominated Western feminism for being too homogenous, particularly in the blogosphere, where Latina feminist issues are not believed to be discussed in a satisfactory manner on mainstream feminist blogs. However, Latina feminist blogs, websites, publications, and organizations must take their own advice and grow to be more inclusive; and create spaces for the voices of marginalized indigenous and Afro-Latina women.

Ultimately, Latina feminisms advocate for the recognition of the full humanity of women and girls, and the removal of sexism, racism, ableism, classism, and discrimination based on sexual orientation.

References

Castillo, R. A. (2010). The Emergence of Indigenous Feminism in Latin America. Chicago Journals, Vol. 35,(No. 3), 539-545.

Rediscovering Dialogue: An Interview with Son of Baldwin

By Devon Bowers

The following is an interview with the founder and facilitator of Son of Baldwin: "The literary, socio-political, sexual, pop culture blog. Live from Bedford-Stuyvesant."

Why have you named the page Son of Baldwin? What kind of impact has James Baldwin had on you personally?

James Baldwin was the first black gay male intellectual I had ever encountered. His work was really the first time I had seen myself, my identity (as a black gay male), and my point of view represented in art and public discourse in a way that was not meant to be mocked, dismissed, minimized, or dehumanized. His was the first work that started me on the path to thinking critically about myself, the world around me, and my place in it. In tribute to that consciousness raising (which may have come much later, if at all, had it not been for him) and in an effort to answer his final call to dig through the wreckage and use what he left behind to continue the work of trying to make the world a more just, livable, peaceful place, I named the blog "Son of Baldwin." I have been told by friends of Baldwin's family that the family is quite pleased by the work being done and they believe that I am indeed honoring his legacy. That is overwhelming and I am overjoyed.

What made you want to make a Facebook page in the first place?

Son of Baldwin originally started out as a blog via blogspot. But that space wasn't really conducive to conversation. Facebook allows for a kind of direct and extended interaction and dialogue that many other sites, including other social media, don't. And for me, the conversation is the most important part. Despite how I may sometimes come across, this isn't about me. This isn't about being able to proselytize from on high and have everyone applaud the pronouncement. This is about starting conversations and engaging other people in various communities about these causes and concerns in the effort of finding solutions to some of our most pressing social justice issues.

You talk about a number of topics, from LGBTQ rights to racism, through a critical progressive lens. How did you come to this political awakening of sorts?

I think this awakening started in my childhood. I grew up during the 70s, 80s, and 90s-a child of both Black Southern Baptist and Nation of Islam traditions-in a section of Brooklyn called Bensonhurst (infamous for the racist attack against and murder of Yousef Hawkins in 1989).

Bensonhurst, at least at that time I grew up there, was a neighborhood of primarily Italian and Irish first- and second-generation immigrants. In this neighborhood, I lived in a housing project of mostly black and Latin@ peoples right in the middle of things. We were thus surrounded, if you will, in hostile enemy territory. This made everything tenuous.

As a child and a teen, I had to plot routes home from school that would help me avoid running into the mobs of white children, teens, and adults who--with bats in hand, violence in heart, and death in mind--made a regular ritual of chasing kids of color back to the projects.

What was different for me when I got back to the projects, having often but not always escaped the battering from racists, is that the battle didn't end there. I had to then contend with the other black and Latin@ peoples who wanted to pound on my head because they perceived me as gay.

When you are not safe in any of the worlds you inhabit, you sort of don't have a choice but to become politicized. You kind of don't have a choice but to "wake up" because if you don't, you'll be murdered. Reading the works of authors like Baldwin, Toni Morrison, Alice Walker, Ralph Ellison, Zora Neale Hurston, Richard Wright, Octavia Butler, Audre Lorde, and others helped to direct these concerns and grievances, and made me feel less alone and more empowered to do something about my circumstances.

Something that I have noticed about you is that you actively allow yourself to be called out by others and acknowledge when you messed up and allow yourself to be corrected. Why do you think that this does not exist in larger political circles, especially liberal or progressive spheres?

My opinion is that this willingness to be wrong and be corrected doesn't happen in larger political circles and spheres because many of the people working within those areas actually think this work is about them. They believe that in order to be trusted and effective, they have to feign perfection and position themselves as above reproach. Can you imagine?

Many people doing this work think that in order to be trusted they have to lie. The truly sad thing about this contradiction of a strategy is how often it works, and how often complicit audiences are willing to believe the lie if it confirms their system of reality. I guess what I'm saying is that many people doing this work are politicians in the most cynical sense of the word, and that occupation is not something I have any interest in whatsoever. I'm a writer by purpose, training, and profession, and I've never pretended to be anything other than that.

In short, I think ego is at the center of this unwillingness to be incorrect.

You recently made it a requirement that people who post photos on the page to provide a written description. What prompted this?

This comes from a desire to ensure that as many people as possible are able to participate, as fully as they can, in the conversations and discourses happening in the space. Blind and Deaf/Hard of Hearing people are active members of the Son of Baldwin community and this policy makes it possible for them to be even more vibrant participants in discussions. This is one of the ways I'm trying to address my own collusion in institutionalized ableism/disableism.

What are your thoughts on online social justice work? Do you think that it can make a serious difference in people's lives and on a larger scale? (I often hear people saying that tweeting or writing doesn't really do anything.)

For starters, I think online social justice work has been a blessing in the sense that it has given a voice to many peoples and communities whose voices were often missing, excluded, or silenced in sociopolitical discussions. Additionally, the Internet has made it possible for many more people to have access to these debates and discussions, such as disabled people/people with disabilities who are often unable to access on-the-ground events because many organizers are unwilling to make accommodations, or poor peoples who simply cannot afford to travel to these events.

There are many absolutely amazing and brilliant online social justice activists doing work that honestly, truly matters, and are, despite narratives to the contrary, affecting the discourse and changing minds.

But like everything else, there is a deeply disturbing dark side to online social justice work.

One of the things I deeply dislike about much of the social justice activism and social justice spaces I've encountered is how intentionally vicious they are. And I'm not talking about viciousness between social justice activists and trolls. I'm talking about the viciousness between peoples with the same goals, but who might have different strategies for obtaining those goals. I've seen some really hateful, ugly, deeply dishonest and self-serving stuff happening in conversations in these spaces-including my own. I'm not talking about disagreements or even heated disagreements. I'm talking about full-on attempts at destroying each other-from credibility to personhood. I'm talking about people who truly get off on making others feel as small as possible so they can feel big.

I'm talking about intentionally committing violence against and silencing other people. I'm talking about people lying and slandering others with the intent of spiritually murdering them as though they were opposing a concept rather than a person. The Internet often helps with the depersonalization of people.

When you think you're arguing with, and trying to obliterate, digitized images and typed words instead of a living being, it's easier to be joyfully inhumane, spiritually toxic, and intellectually genocidal, then reward yourself by calling it "social justice." It's easy to be gleeful about shitting on an opponent (an opponent that you, yourself, manufactured for your own dubious purposes, by the way) and high-five each other about the havoc you wreaked when you can treat the carnage as a concept rather than reality.

I'm talking about people who wear the cloak of victimhood like a Trojan horse in order to sneak into the village, get close to you and- surprise- become the victimizers you never expected. There are people who use their marginalized identities and communities not for the purposes of liberation, but as a hustle, as masturbation, as a way to elevate themselves to a place where they are above reproach. I'm talking about the people who have the audacity to use "trigger" not as a real expression and sign post of lived trauma, but as a strategic pretense to silence any opinions they don't like.

It's like they play this game where the more marginalized identity boxes they can check off, the more they can't be criticized for any behavior they engage in, no matter how abusive and counterrevolutionary. Therefore, the goal is to check off as many marginalized identity boxes as they can-even if they have to invent them or pretend to belong to them. Whoever has the most, wins.

To me, that's the original pimp strategy and I guess what I'm saying is that I don't like pimps. But I have discovered that there are so many of them in this arena. Some folks are out here big pimpin' and calling it "radical" of all things.

I don't know why, but that shocked me. I did some research to determine whether this was a new phenomenon brought on by the anonymity of the Internet. What I discovered is this behavior pre-dates the Internet. Shirley Chisholm, for example, was the target of disgusting attacks by people who should have been in solidarity with her. Richard Wright and Ralph Ellison said such despicable things about James Baldwin that it would make your skin crawl. Much to my dismay, I learned this in-fighting and hostility isn't novel in any respect.

Sometimes, I've been accused of being egotistical, which, okay, fine if that's your opinion. But the truth of the matter is that I'm not trying to be a pimp at this stuff. Part of why I don't do public speaking gigs, etc. is because I'm not trying to become some kind of object of celebrity or fame. I'm not trying to become some kind of some kind of commercial figure or commodity.

I'm not trying to be that person who maneuvers themselves closer to the president in group photo opportunities because they are trying to climb some political ladder. Those people want to be "The One." Not me, though. I'm not trying to be the "go-to" expert. I'm not trying to be in the spotlight. I'm not trying to be anyone's leader. I'm not trying to make money off of this work. I'm not trying to play like I'm perfect and have all the answers. I'm learning right alongside everyone else. I'm not here to be worshiped like some god-thing, but regarded as a human being who is growing and evolving, falling down and getting back up again with increased knowledge. I'm a participant in this conversation.

But increasingly, these aren't conversations anymore. Increasingly, these are encounters with people with not-always-legit agendas trying to push those agendas as liberation strategies. These people are about switching places with the oppressor and will use whichever of the"master's tools" (as Audre Lorde called them) is necessary to do so. However, I'm not interested in being chained and I'm not interested in chaining anyone else. That, for me, is the politics of inertia and I'm interested in progress. I want everyone to be liberated.

Part of the genius of this violence-strategy that some people who call themselves marginalized employ is that it's difficult for the victim of the violence to discern whether the violence is legitimate or illegitimate. Because many of the people in this work are so committed to justice, they err on the side of it being legitimate even when it isn't. So they endure the emotional, psychic, psychological, spiritual, and sometimes even physical abuse because they're afraid if they don't, they will be labeled as a part of the problem. Speaking for myself, I've allowed people to abuse me, even flat-out lie about me on an ongoing basis, just so I wouldn't be perceived as an oppressor and anti-justice (because of the ways in which my identities intersect, in and out, with privilege and oppression and marginalization). To save my "reputation" among the social justice crowd, I've been a masochist. It's so incredibly complicated. And I do not have the answers for it. But I do have the bruises.

So, I'm no longer engaging the brutality. I'm moving away, not from the difficult and needed conversations, but from the egotistical violence. If your concept of social justice is about amassing power at the expense of other victims of hegemonic abuse, I cannot be down for your cause. And if that makes me "bad" at doing this social justice stuff, then so be it. If you need me to be the villain so you can feel like the hero in your own story, play on playa. But you'll be playing sans me. I won't give you the attention you're seeking. I will absolutely refuse to see you no matter what tricks you employ. I've got other work to do.

You are quite critical of the race and class politics of the mainstream LGBT community. Due to this split on multiple levels, from racism to ignoring transgender people, would you say that there is even a real LGBT community? How can people work towards having more inclusive spaces for marginalized LGBT members?

I would say, currently, that there may be LGTBQIA communities, plural. But the singular community that is commonly addressed in media and conversations is one that is actually serving the needs of one particular subset of the communities-namely, white, middle-to-upper class, cisgender, non-disabled, gender conforming men.

James Baldwin said back in 1984 that the gay movement was really about white people who lost their white privilege struggling and petitioning to get it back. I see no lies in that statement if the national platforms and conversations, if the faces of the movement are any indication.

I witness tons of conversations about why "black people are so homophobic" (which we can actually trace, ironically, to white colonial intervention) but relatively few to none about why "why white gay people are so racist." The answer, as Baldwin surmised, was because white gay people are still, at heart, white and Whiteness, which is inextricably linked to the idea of racial superiority, is at the root of most of our problems.

To get to a more inclusive space, people (of all races and creeds) have to give up their addiction to Whiteness and white supremacy. People (or all genders and sexualities) have to give up their addiction to patriarchy and narrow-minded views of masculinity, femininity, gender identity, and sexuality. People of all physical realities have to give up capitalism and incessant materialism, which are commodifications of humanity, and stop treating human bodies as machines that are valuable only for what they can produce for the State-a deeply ableist point of view.

The problem is convincing people to give up the things that define their current comforts. We have to get people to be willing to be uncomfortable, at least for a while, until we can figure all of this out. This may be a continuous journey, rather than a destination.

At the end of the day, what do you want people to get out of your Facebook page?

My dream for Son of Baldwin is that it serves as a place where we can have uncomfortable conversations about social justice issues without dehumanizing one another. We might occasionally yell at one another. We might occasionally have to be corrected for our errors and apologize for them. But I hope out of the consternation come viable solutions and a greater respect for each other's humanity.

Visit Son of Baldwin and get in the conversation.

An Ideal Blueprint: The Original Black Panther Party Model and Why It Should Be Duplicated

By Colin Jenkins

The rise of the Black Panther Party (BPP) in the late 1960s signified a monumental step toward the development of self-determination in the United States. In a nation that has long suffered a schizophrenic existence, characterized by a grand facade of "freedom, liberty and democracy" hiding what Alexis de Tocqueville once aptly described as "old aristocratic colours breaking through,"[1] the BPP model provided hope to not only Black Americans who had experienced centuries of inhumane treatment, but also to the nation's exploited and oppressed working class majority that had been inherently disregarded by both the founding fathers' framework and the predatory nature of capitalism.

As we grind our way through the tail-end of a neoliberal storm, it has become clear that in an age of extreme inequality, unabated corporate power, and overwhelming government corruption at all levels; we have a war on our hands. Not a war in the traditional international sense, but a domestic class war; one that has decimated our communities, our hopes for a better future, our children's educations, and our collective physical and mental well-being. The aggressors in this war are powerful - so much so that resistance often seems futile, and the opposition insurmountable. Multi-trillion dollar financial institutions and multi-billion dollar corporations pulling the strings of the most powerful politicians - Presidents, Senators, Congress members, and Governors alike - all of whom have at their disposal the abilities to print money at will, control markets through fiscal and monetary policy, deploy powerful militaries anywhere in the world, and unleash militarized police forces to terrorize our neighborhoods.

Despite this juggernaut of an enemy, working-class resistance has not subsided. And although it took a proclaimed "economic crisis" to wake many from their slumber, developments within activist and direct action circles have been positive over the past half-decade. The Occupy movement sparked much-needed discourse on income inequality and corporate/government corruption while setting up the fight for a $15 minimum wage, which has caught on like wildfire throughout the country, and especially among the most vulnerable of the working class - low-wage service sector workers. Anti-war protestors who made their presence felt during the Bush administration - only to disappear after Obama's election - have begun to trickle back with the gradual realization that nothing has changed. And anti-capitalist political parties throughout the Left, though still small and splintered, have gained momentum and membership while successfully plugging into some mainstream working-class consciousness (Kshama Sawant and Socialist Alternative's rise in Seattle; the Black Autonomy Federation's regrouping of grassroots, anti-authoritarian struggle; the International Socialist Organization's ongoing solidarity with folks like Glenn Greenwald, Jeremy Scahill, Ali Abunimah and Amy Goodman; the Socialist Party USA's growing relevance; and the Party for Socialism and Liberation's relentless battle in the trenches of anti-war, anti-police brutality, and anti-racist activism).

These developments, while positive in many respects, have ultimately been limited. Some of these limitations are due to external factors that continue to plague the American public: a general deficit in education and knowledge, a lack of class-conscious analysis, and the inundation of corporate media and propaganda, to name a few - all of which pose elements that are difficult, if not impossible, to control. Other limitations are due to internal factors which are largely controllable, such as organizational structures and approaches. It is regarding these internal shortcomings where the original Black Panther Party model becomes invaluable and should be held as a standard blueprint for all organizations and parties seeking revolutionary change.

The following is a list of attributes, both tangible and conceptual, that made the BPP an effective model for true liberty and self-determination; and, consequently, a substantial threat to the status quo of ever-strangling corporate and governmental power. Organizations and parties of today, whether through piecemeal or wholesale consideration, would do well to take this ideal mix into account.

Theoretical Foundation and Internationalism

Despite constant grumblings regarding the "inundation" and "worthlessness" of theory from within the modern Left, a glance at the operational effectiveness of the original BPP lends credence to its usefulness.

The BPP was firmly rooted in revolutionary political philosophy, most notably that of Marxism - a tool that is needed to understand and properly critique the very system which dominates us - capitalism. "Capitalist exploitation is one of the basic causes of our problem," explained one of the party's founders, Huey P. Newton, and "it is the goal of the BPP to negate capitalism in our communities and in the oppressed communities around the world."[2]

The BPP's ongoing exploration of theory allowed for the development of a crucial class component that perfectly balanced their fight against institutional racism. This helped create the notion that the fight for racial justice could not be won outside the confines of economic justice and class division, something revolutionary counterparts like Martin Luther King, Jr. and Malcolm X would also eventually realize.

Stemming from Marxism was the method of and adherence to "dialectical materialism," which "precluded a static, mechanical application" of theory and allowed the party to adapt to the constantly developing environment while maintaining a mission based in class and racial oppression. "If we are using the method of dialectical materialism," argued Newton, "we don't expect to find anything the same even one minute later because one minute later is history." [3] Regarding the party's embrace of this method, Eldridge Cleaver noted, "we have studied and understand the classical principles of scientific socialism (and) have adapted these principles to our own situation for ourselves. However, we do not move with a closed mind to new ideas or information (and) know that we must rely upon our own brains in solving ideological problems as they relate to us." [4]

The Party's belief in "international working class unity across the spectrum of color and gender" led them to form bonds with various minority and white revolutionary groups. "From the tenets of Maoism they set the role of their Party as the vanguard of the revolution and worked to establish a united front, while from Marxism they addressed the capitalist economic system, embraced the theory of dialectical materialism, and represented the need for all workers to forcefully take over the means of production." This approach was echoed by Fred Hampton, who urged all to resist fighting racism with racism, but rather with (working class) solidarity; and to resist fighting capitalism with "Black capitalism," but rather with socialism.

Through this theoretical base, "Newton and the BPP leadership organized with the intent of empowering the Black community through collective work," Danny Haiphong tells us. "Each concrete medical clinic, free breakfast program, and Panther school were organized to move community to confront the racist, capitalist power structure and embrace revolutionary socialism and communalism."

The Party's Ten-Point Program and platform, which evolved slightly over the course of several years, rested on demands that focused not only on historical roots to the daily injustices faced by Black Americans and oppressed communities, but also took on an international scope that allowed for understanding macro-systemic causes, and particularly those associated with capitalism. As Cornel West explains, "The revolutionary politics of the Black Panther Party linked the catastrophic conditions of local Black communities (with the disgraceful school systems, unavailable health and child care, high levels of unemployment and underemployment, escalating rates of imprisonment, and pervasive forms of self-hatred and self-destruction) to economic inequality in America and colonial or neocolonial realities in the capitalist world-system."[5]

"It was the politics of international radical solidarity ... Because of the tremendous hostility that the Vietnam War was generating, youth organizations in Germany, France and Sweden created solidarity committees for the BPP. We would travel back and forth; and they raised money for us. There were liberation movements in Africa who read our paper and contacted us," says Kathleen Cleaver. The Party even established its own embassy in Algeria, a nation that had no diplomatic ties with the United States at the time. With a firm understanding of political economy and geopolitics, the party possessed a "big picture approach" that has become a necessity, especially in today's world of globalization, neoliberalism, and multinational corporate power.

Praxis and Direct Action

"They (the people) can do anything they desire to do," Newton professed, "but they will only take those actions which are consistent with their level of consciousness and their understanding of the situation. When we raise their consciousness (through education), they will understand even more fully what they in fact can do, and they will move on the situation in a courageous manner. This is merging your theory with your practices." [6]

The BPP didn't just talk about change, they actively pursued it. Their presence was felt in the neighborhoods for which they lived and worked. They walked the streets, talked with folks, broke bread with neighbors, and cultivated a sense of community. Their numerous outreach efforts were well-planned, beautifully strategic, and always multi-pronged - combining basic and pleasant human interaction with education and revolutionary politics. They were the perfect embodiment of solidarity, often times rejecting notions of leadership and superiority to create a radical landscape where all were on equal footing. The sense of empowerment felt by all who came in contact with them was unmistakable.

In an effort to curb police brutality and the indiscriminate murders of black youth at the hands of racist police tactics, the party regularly deployed armed citizen patrols designed to evaluate the behaviors of police officers. They coordinated neighborhood watch programs, performed military-style marching drills, and studied basic protective manuevers to ensure measures of safety and self-preservation for citizens living in oppressed communities.

In January of 1969, in response to the malnutrition that plagued their communities, the party launched a "Free Breakfast for Schoolchildren" program, which was introduced at St. Augustine's church in Oakland, California. In a matter of a few months, the program had spread to other cities across the country. In April, the Black Panther newspaper reported on its progress and effectiveness:

The Free Breakfast for School Children is about to cover the country and be initiated in every chapter and branch of the Black Panther Party… It is a beautiful sight to see our children eat in the mornings after remembering the times when our stomachs were not full, and even the teachers in the schools say that there is a great improvement in the academic skills of the children that do get the breakfast. At one time there were children that passed out in class from hunger, or had to be sent home for something to eat. But our children shall be fed, and the Black Panther Party will not let the malady of hunger keep our children down any longer.

By year's end, the program had blanketed the country, feeding over 10,000 children every day before they went to school. To compliment this, the Party "launched more than 35 Survival Programs and provided community help such as education, tuberculosis testing, legal aid, transportation assistance, ambulance service, and the manufacture and distribution of free shoes to poor people." This type of tangible solidarity and assistance is needed today. Food drives, safety programs, neighborhood watch, and basic accessibility and assistance should not represent things that are beneath revolutionary politicking.

Intersectionality

Due to their solid theoretical framework, the Party was able to deploy a proto-intersectionality that allowed them to go beyond issues of racial oppression and police brutality in order to address broad roots and common causes. In doing so, they were able to redirect the emotional rage brought on by targeted racism and channel it into a far-reaching indictment of the system. This created the potential for broad coalitions and opened up avenues for unity and solidarity with revolutionary counterparts, especially with regards to Black women.

Despite stifling elements of misogyny and sexism, the emergence of women as key figures in the Black Power movement was ironically made possible through the BPP. One of the party's early leaders, Elaine Brown, pointed to a conscious effort on the part of female members to overcome patriarchy from within party lines. "A woman in the Black Power movement was considered, at best, irrelevant," explains Brown. "A woman asserting herself was a pariah… It was a violation of some Black Power principle that was left undefined. If a Black woman assumed a role of leadership, she was said to be eroding Black manhood."[7]

Leaders like Brown, despite carrying this heavy burden of being drawn into a fight within THE fight, were incredibly important to the party's mission and became highly influential members, local leaders, fierce orators, and public representatives for the party-at-large. Brown made impressive runs for Oakland City Council in 1973 and 1975, receiving 30% and 44% of the vote respectively. In 1977, she managed Lionel Wilson's Oakland mayoral campaign which resulted in Wilson becoming the city's first Black mayor.

Regarding the dynamics of sexuality and gender in the party, journalist and activist Annie Brown tells us:

The BPP had an open mind towards sexual expression as well as the roles women could play in social change organizations. The embrace of female empowerment and varied sexual identities within the party allowed for women like Angela Davis, to rise to prominent positions of power within the party while other radical organizations of the time such as Students for a Democratic Society (SDS) and The Student Nonviolent Coordination Committee (SNCC) saved leadership roles for men, and forced women to remain in the background.

After addressing these early pockets of misogyny and hyper-masculinity, the party was shaped heavily by women, to the point where it "transformed gender roles in the Black Power movement," and paved the way for similar developments in other grassroots movements in the U.S. In researching for her forthcoming book, "What You've Got is a Revolution: Black Women's Movements for Black Power," Historian Ashley Farmer found the Party's newspaper regularly "defied gender roles by depicting women as strong, gun-toting revolutionaries," while female party members were heavily involved in setting "a community-focused revolutionary agenda that supported programs for daycare, groceries, and housing."

In addition to celebrating women as "tough revolutionaries," the newspaper included an "explicit focus on women's issues" throughout its publication. For years, Women Panthers assumed leadership roles and " turned toward local-level activism, providing food, housing, and health care in local black communities." The inclusion of women as active participants in the struggle was eventually, if not initially, embraced by founding members. As Historian Robyn Spencer writes, "Seale and Newton didn't exclude African-American women in their rhetoric or in their involvement. The message became: Black brothers and sisters unite for real social action."[8] This development within the party's evolution led to a membership that was majority (roughly two-thirds) female by the early-1970s, a desirable goal for a modern Left that still possesses a troublesome androcratic identity.

Discipline

Despite constant meddling from the FBI and its COINTELPRO program, which sought to "disrupt, confuse and create tension within the organization," the BPP's organizational structure was solidly built, baring a slight resemblance to that of the Nation of Islam. Some BPP chapters operated with military-like discipline, a quality that tends to be lacking on a loose and often times hyper-sensitive Left (even amongst Leninist organizations). This was accomplished with a good mix of horizontal leadership and chapter autonomy, which allowed for creativity, initiatives and actions throughout the organization, while also maintaining the discipline necessary for taking broad action and staying focused on the big picture.

The party recognized the severity of the situation for oppressed and working-class communities within a racist and capitalist system. The system's inherently predatory nature regarding social and economic issues provided a glimpse of a society based in class division, and the daily brutalization of communities of color at the hands of the police confirmed the presence of an all-out class war. In this sense, the party organized for this purpose - equipping themselves with ideological ammo, building poor and working-class armies through community outreach and education, arming themselves for self-defense, and operating their mission with a high degree of strategy and discipline.

Mao Zedong's revolutionary military doctrine, "Three Rules of Discipline and Eight Points for Attention," was highly influential in the party's daily operations. These "rules of engagement" emphasized obedience to the needs of oppressed peoples as well as conducting actions in a respectable and honorable manner (Be polite when speaking; Be honest when buying and selling; Return all borrowed articles; Pay compensation for everything damaged; Do not hit or swear at others; Do not damage crops; Do not harass females; and Do not mistreat prisoners). "There were some aspects of Chairman Mao's thought that had helpful and sensitive application for the life of the Panthers in the ghetto," explained Cleaver.[9]

In addition to Mao's "little red book," the party made Che Guevara's "Guerilla Warfare" required reading in all of its political education classes. Recognizing the similarities between the Black struggle in America and the struggle of the colonized in many parts of the world, party members studied anti-colonial resistance and Regis Debray's foco theory of revolution, which posited the idea that "vanguardism by cadres of small, fast-moving paramilitary groups can provide a focus (in Spanish, foco) for popular discontent against a sitting regime, and thereby lead a general insurrection." While the BPP didn't apply this in the same manner as a revolutionary peasantry would in taking up arms against an imperial force, they were able to use many points as a foundation for unity and self-defense, if not merely for inspiration in battling forces of oppression. Said Newton:

… all the guerilla bands that have been operating in Mozambique and Angola, and the Palestinian guerillas who are fighting for a socialist world. I think they all have been great inspirations for the Black Panther Party… they are examples of guerilla bands. The guerillas who are operating in South Africa (against Apartheid) and numerous other countries all have had great influence on us. We study and follow their example."

This disciplined approach allowed the party to establish clear targets for opposition, while also dissuading reactionary behaviors that were dangerously counterproductive and counter-revolutionary. An example of this came in a message released to members through the organizational newspaper in 1968. The message was in response to news of frequent quarrels with hippies:

"Black brothers stop vamping on the hippies. They are not your enemy. Your enemy, right now, is the white racist pigs who support this corrupt system. Your enemy is the Tom nigger who reports to his white slavemaster every day. Your enemy is the fat capitalist who exploits your people daily. Your enemy is the politician who uses pretty words to deceive you. Your enemy is the racist pigs who use Nazi-type tactics and force to intimidate black expressionism. Your enemy is not the hippies. Your blind reactionary acts endanger THE BLACK PANTHER PARTY members and its revolutionary movements. WE HAVE NO QUARREL WITH THE HIPPIES. LEAVE THEM ALONE. Or - THE BLACK PANTHER PARTY will deal with you."

Such focus is crucial and should be a primary goal for a modern Left that is often intensely and frustratingly sectarian.

An All-Inclusive, Working-Class Orientation

Perhaps the most valuable of the BPP's attributes was its common acceptance and inclusion of the most disenfranchised and oppressed of the working classes - the unemployed, the poor, and those alienated by the criminal justice system through racist and classist laws and law enforcement practices. This approach stood in contrast to the overly-Eurocentric package that housed orthodox Marxism, and openly defied the highly romanticized, lily white version of working-class identity espoused by many Leftist organizations throughout history - often symbolized by the white, chiseled, "blue-collar" man wielding a hammer.

Over the years, Marx's assessment and discarding of the "lumpenproletariat" - a population that he described as "members of the working-class outside of the wage-labor system who gain their livelihoods through crime and other aspects of the underground economy such as prostitutes, thieves, drug dealers, and gamblers" - had been accepted by many on the Left. However, the BPP's familiarity with Zedong and Guevara led them away from this commonly accepted notion, and their philosophy paralleled that of Frantz Fanon, who in his ongoing analysis of neocolonialism, deemed the lumpen to be "one of the most spontaneous and the most radically revolutionary forces of a colonized people."

The BPP recognized similar dynamics within the United States - particularly the relationship between Black, poor, and disenfranchised populations and the power structure - and viewed this as a microcosm of international colonialism. In their eyes, the American "peasantry" wasn't tilling fields and cultivating crops - it was the homeless lying in the streets, the unemployed standing on the corners, the racially disenfranchised left with no options in life, and the unlawfully imprisoned masses behind bars. They saw potential in society's castaways and embraced the idea of a revolutionary class made up of displaced workers who were never given a chance to participate in the labor market.

Newton, particularly, was a firm believer in the revolutionary potential of the 'Black lumpenproletariat' in the United States, and viewed this notion as an important challenge to the "bourgeois nature" of the Southern Civil Rights movement, which he believed had become completely reliant on a reformist-minded, Black middle-class leadership that was too concessionary and did not properly represent a revolutionary working-class orientation.

Today, at a time when over 20 million able-bodied Americans have been forced into the "underground economy," and another 2.5 million are incarcerated, the idea of drawing society's castaways toward class-conscious political movements is ripe. Narratives that focus on the erosion of the "middle class" are not only insufficient, they're irresponsible. Our true struggle lies with the multi-generational poor, the unemployed, and the imprisoned victims of the draconian "Drug War" and prison industrial complex.

A Winning Formula

The BPP model could be summed up with the following formula: (THEORY + INTERSECTIONALITY) + (PRAXIS + EDUCATION) = CLASS CONSCIOUSNESS = REVOLUTIONARY CHANGE. Like no other, the party successfully blended a heavy academic foundation with a non-academic approach, using community outreach programs to serve basic needs while also educating and promoting class consciousness. Their crucial "Survival Programs" sought to satisfy immediate Maslovian needs without losing sight of the ultimate goal of uprooting and transforming society from below.

"All these programs satisfy the deep needs of the community but they are not solutions to our problems," explained Newton. "That is why we call them survival programs, meaning survival pending revolution. We say that the survival program of the Black Panther Party is like the survival kit of a sailor stranded on a raft. It helps him to sustain himself until he can get completely out of that situation. So the survival programs are not answers or solutions, but they will help us to organize the community around a true analysis and understanding of their situation. When consciousness and understanding is raised to a high level then the community will seize the time and deliver themselves from the boot of their oppressors." [10]

The party also wasn't afraid to display physical prowess and utilize the art of intimidation in their struggle. In fact, they saw this as a crucial component necessary to counter reactionary and senseless violence from racist citizens and police officers. They provided security escorts for Betty Shabazz following Malcolm's death, and sent thirty armed members to the California State capitol to protest the Mulford Act. This approach, coupled with similar tactics of self-defense used by the Nation of Islam, proved to be a vital compliment to the non-violent wing of the Civil Rights movement, ultimately allowing its "more palatable elements" to secure legislative victories. Furthermore, it challenged the notion that reactionary and racist conservatives had a monopoly on intimidation and violence - a notion that has gained an increasingly strong foothold over time, and should be challenged again.

The BPP's model is needed today. A firm foundation of knowledge, history, internationalism, and political economy is needed. A concerted effort to bond with and assist our working-class communities and disenfranchised sisters and brothers is needed. An infusion of authentic, working-class politics which shifts the focus from 'middle-class erosion' to 'multi-generational disenfranchisement' is needed. The blueprint is there. Let's use it.

Notes

[1] Alexis de Tocqueville, Democracy in America. Penguin Books edition, 2004: p. 58

[2] The Huey P. Newton Reader, Seven Stories Press, 2002. p 229

[3] Kathleen Cleaver and George Katsiaficas. Liberation, Imagination, and the Black Panther Party: A New Look at the Panthers and Their Legacy. Routledge, 2001, p. 30.

[4] The Huey P. Newton Reader, p 230

[5] The Black Panther Party: Service to the People Programs, the Dr. Huey P. Newton Foundation. Edited and with an afterword by David Hilliard. University of New Mexico Press, 2008

[6] The Huey P. Newton Reader, pp. 228-229.

[7] Johnnetta B. Cole, Beverly Guy-Sheftall, Gender Talk: The Struggle for Women's Equality in African American Communities. Random House, NY: 2003. p 92

[8] Robyn C. Spencer, "Engendering the Black Freedom Struggle: Revolutionary Black Womanhood and the Black Panther Party in the Bay Area, California," Journal of Women's History, 20 no. 1 (2008), 3.

[9] Cleaver and Katsiaficas, p. 30.

[10] To Die for the People: The writings of Huey P. Newton, City Lights Books, 2009.

Now That's a Bad Bitch!: The State of Women in Hip Hop

By Asha Layne

The state of rap music has changed since its creation in the 1970s. Starting in Bronx, New York rap was always seen as an underground subculture that deviated from the social norms and patterns of the dominant culture. It was here that the expressions of young Black and Hispanic men were freely expressed and not criticized. Rap music is a cultural art form that consists of four elements: deejaying, break dancing, rapping, and graffiti. Having its historical roots in ancient African culture traditions, rap music can also be traced to countries that were part of the African diaspora. For example, Lliane Loots indicated that two elements of hip-hop culture have their roots in Brazil and Jamaica (2003, p.67). The art of rhyming culturally stems from West African tradition of the griots or story tellers that were part of the oral tradition of African culture. The Jamaican influence on hip-hop can be located in deejaying practices referred to as dub-mixing, utilized first by Jamaican immigrant Deejay Kool Herc.

Since its inception, rap music has evolved from an underground subcultural movement to a mainstream subcultural expression that profits from the ideology of dominant culture and vice versa. Rap music during the 1970s remained national commodity until the 1980s. During this time participants in this subculture were involved directly in one of the four elements (Hunter, 2011, p.16) in which young men and women of color were rapping at parties, tagging or creating graffiti on subway cars, or breaking (Nelson, 1998). The 1980s ushered in the idea that rap music could not only be popular in the United States but also in other countries. The market for rap music increased as capitalism expanded along with the industry. With the increased popularity of the genre, media sources became the main locus for rap music to not only become more mainstream, but to also increase their purchasing power under capitalism. In order to examine the purchasing power of rap music under capitalism it is important to talk briefly of the underpinnings of capitalism.

Rap and Capitalism

Capitalism can be defined as an economic system based on private ownership with the goal of making capital or profit for the owner. Under capitalism there exists a divergent economic relation between the laboring class (proletariat) and the ruling class (capitalist). Unlike the capitalist, the laborer becomes a commodity as their labor is sold to the purchaser. According to Rousseau, the relationship between the owners of production and the workers is inherently oppressive, as the goal of the capitalist to accrue wealth from the laboring working class (2009, p.20). As the laboring class becomes increasingly objectified in the market, the state represents the instrument of class rule. The state can be seen as an instrument of power because of its production of ideological hegemony of the ruling class, which not only legitimizes exploitation but maintains the ruling class ideals as described by Antonio Gramsci. The state produces ideas that control our behavior through various forms (i.e. the media).

Manning Marable argues that the logic of the ideological apparatuses of the racist/capitalist state leads inextricably to Black accommodation and accommodation into the status quo, a process of cultural genocide which assists the function of ever-expanding capital accumulation (1983, p.9). As capitalism moved from the industrial sector to financial, and from financial/corporate to global, capitalists are continuously seeking cheap labor power and methods of exploitation; and the rap industry is not immune. This buttresses Antonio Gramsci's argument that the capitalists can assert their power and control through the subordination of the working class by means of ideological hegemony. The ideological hegemony of the ruling class, therefore, prolongs the subordination of the working class and also legitimizes the power and control of the capitalist or owner.

As hip hop grew in popularity, capitalists found new ways to assert their control and power over the industry, which became more lucrative with neoliberal policies. According to Derek Ide, rap was born from the ashes of a community devastated by a capitalistic economic system and racist government officials (2013). Ide continues to express that it was not long before corporate capitalism impinged upon the culture's sovereignty and began the historically familiar process of exploitation (2013). As hip-hop transitioned from its unadulterated underground image to mainstream adulteration, the industry began to support the capitalist ideologies which spread rapidly as profits increased with the deregulation of the market.

As the rap industry expanded, many have argued that the image and state of rap worsened as rap became a keen marketing tool for corporations. Corporate giant, Viacom, which owns Black Entertainment Television (BET), VH1, and Music Television (MTV), has been influential in disseminating controversial messages and images to its audience and critics. Felicia Lee asserts that "protestors want media companies like Viacom to develop 'universal creative standards' for video and music including prohibitions on some language and images" (2007). Achieving this level of prohibition has not happened in recent years as images of scantily clad female rappers, misogynistic lyrics, and the negative portrayals of African culture continue to be exploited. The relationship between rap artists and corporations can be paralleled to that of slavery.

Solomon Comissong explained that the 1990s saw a corporate takeover and commodification of rap, which has made the music less diversified in various media forms (2009). This change has led to changes in lyrical content, style, and fashion as artists display themselves in the best way to expand their marketing power, which is directly influenced by capitalism. The hegemonic ideologies of the ruling class have been transferred into the beats, rhymes and imagery in the rap industry as artists continue to exploit themselves and culture for economic gain.

In 2007, Forbes magazine released its first annual "Hip Hop's Wealthiest Artists" list which measured the annual earnings of rappers. As stated by Greenburg, unlike traditional music genres like pop, rock, and country, whose artists generally make their money through touring and album sales, rappers like Jay Z, 50 Cent, Kanye West, and Sean "Diddy" Combs have become entrepreneurs who have parlayed their fame into lucrative entertainment empires (Goldman and Pain, 2007). More recently, Nicki Minaj became the first documented female rapper on Forbes "Hip-Hop's Cash Kings" list since its creation in 2007. Earning an estimated $29 million in 2012, Minaj has successfully beaten many boys at their own game. But at what cost?

This paper explores how the commodification and consumption of the black female body has given rise to the "bad bitch" phenomenon in rap culture. It is argued that the effects of being a bad bitch not only changes the state of rap but also the attitudes and behaviors of young black girls, and their interactions with the opposite sex. Also, the topic of whether or not the bad bitch phenomenon is a form of deviant behavior within African-American culture will be addressed.

Bad Bitch

The word "bitch" has morphed from a term of disrespect to a term of endearment that often takes on the meaning of empowerment. Once viewed as debilitating, the term has appropriated a new perspective within a subcultural context that is perceived as a term of empowerment. In examining this change, Aoron Celious explains that the term "is located in a society where sex and power are interrelated - men afford status and privilege over women because they are men, and women are relegated to a diminished status and restricted access to resources because they are women" (2002, p.91). The change in the meaning of the word thus subverts the tools of oppression used to dominate women to now empower them. This has been seen in the frequent usage of the word by many female rappers as rap music became commercially lucrative.

Although the word historically has been a long-noted negative stereotype against women, it has only added to many stereotypical orientations for women of color. Misogynistic orientations of Black women were not separate from the historical changes in the United States - "the imagery projected in rap has its roots in the development of the capitalistic patriarchal system based on the principles of White supremacy, elitism, racism, and sexism" (Adams and Fuller, 2006, p.942). During slavery - a form of capitalism - Black women were not only exploited for their labor power but also their reproductive power. The location of Black women under capitalism therefore is dually exploitative and profitable. The patriarchal attitudes seen against Black women today can be traced back to oppressive and exploitative control methods of the state and the economy.

The images of Black women historically have served the interests of the ruling class. Adams and Fuller further assert that the images of the "Saphire" are analogous to the "Mammy" image in that they both serve the entertainment needs of Whites (2006, p.944). In rap music, the word "bitch" can be linked to the stereotypical image of the Saphire, as a woman who de-emasculates her man by running the household and being financially independent, or as a woman who simply does not know her place. This sentiment has been shared by radical feminist Jo Freeman. In Freeman's The Bitch Manifesto, the word is used to describe a woman who "rudely violates conceptions of proper sex role behavior" (Buchanan, p.12). Among Generation Y, this word has been enhanced to compliment women who are sexy, smart and independent, thus justifying and perpetuating the commodification of the Black female body.

According to Stephane Dunn, in "Baad Bitches" and Sassy Supermamas: Black Power Action Films," the term "Baad Bitches" began with the sexploitation of Black female actors in the 1970s, as well as being products of contemporary dominant culture (2008). Scallen highlights Dunn's (2010) work by referencing the following:

The "Bad Bitch" suggests a black woman from working-class roots who goes beyond the boundaries of gender in a patriarchal domain and plays the game successfully as the boys by being in charge of her own sexual representation and manipulating it for celebrity and material gain" (2010, p. 27).

The role of black women in film is strikingly similar to the rap industry in that they both lucratively exploit black sexuality in different media outlets. The image of Foxy Brown, Coffy, and Cleopatra Jones by Pam Grier embodies her super-womanhood and sexuality. Gwendolyn Pough (2004) states:

By exploiting Black women's bodies, the blaxploitation movies fall short of offering fulfilling and complete images of empowerment for Black women. However, the films do offer some interesting subversions and complications. If we really begin to critique and explore the genre, we can see the ways Black women such as Pam Grier have participated in the cultural processes of gender construction for Black women and turned some of those processes completely around. We will also be able to explore and critique contemporary reclamation of Grier's characters such as the ones offered by Foxy Brown and Lil Kim. They are bringing the big bad Black supermamas into the new millennium and using them to construct contemporary Black women's gender and sexuality (p. 67-68).

The portrayals of Black women in film, along with the music industry, have either classified Black women as Saphires, Mammys or Jezebels, also known as "hos". These various forms of imagery have continuously been accepted by White America and thus perpetuated into the social interactions and perceptions of Black women and men in the Black community. The depictions mentioned here are increasingly common as more and more consumers are not only buying, but are also emulating these negative stereotyped roles.

Black Feminist Thought

The inclusion of black feminist theory is essential in examining the exploitation of the Black female body in rap. Collins' Black Feminist Thought explains that race, gender, and class are oppressive factors that are bound together. In investigating the placement of the commodified Black female rappers in the industry, the role and location of Black women in the United States has to be examined. Since, central to this analysis, one may ask: Is the emergence of the bad bitch phenomenon foreign to the lives of Black women in this country? Collins highlights how the role of Black women always contradicted the traditional role of women in mainstream society. Collins poses the question, "if women are allegedly passive and fragile, then why are Black women treated as 'mules' and assigned heavy cleaning chores" (2000, p.11)? The placement of Black women as 'objects' and 'tools' for production has been and will always be embedded into American culture.

Black feminist thought places the standpoint of Black women at the forefront, which deviates from the general practices used under conventional feminist theories. According to Collins (2000), Black women in the United States can stimulate a distinctive consciousness concerning our own experiences and society overall (p.23-24). Collins understands this knowledge can be thoroughly attained from both women in academia and outside academia. The lyrics of some female rappers have taken a vocal stance displaying the issues and struggles faced particularly by Black women. These rappers have voiced their opinions on women's oppression in the industry as well as within their communities from the hypermasculinity of their male counterparts. For example, in Queen Latifah's U.N.I.T.Y., she writes:

But I don't want to see my kids getting beat down
By daddy smacking mommy all around
You say I'm nothing without ya, but I'm nothing with ya
This is my notice to the door, I'm not taking it no more
I'm not your personal whore, that's not what I'm here for
And nothing good gonna come to ya til you do right by me
Brother you wait and see, who you calling a bitch (1994)!!

Rap music has been used as a stage for both men and women from disadvantaged neighborhoods to express their experiences with oppression and also serve as a means for coping with that oppression. One main characteristic of oppression is the repressive nature it places on the individual that results in objectification of material wealth. Historically, the Black body has taken the form of material wealth in that it was aggressively commodified during the Trans-Atlantic slave trade, especially for women. The commodification of the Black female body has changed to meet the needs of the political economy in a particular society. The "bitch phenomenon" in rap culture is no different because it has been integrated into forms of the dominant culture to serve the needs of the dominant and ruling class.

Collins argues that the domination always attempts to objectify the subordinate group in which the ideas and one's own reality is not defined by members of the subordinate group (2000, p.71). This was clearly visible in the distinction between the figures of the "Mammy" and the matriarch. The Mammy symbolized something good by the dominant group whereas the matriarchal figure was deemed bad according to the same "standards". Collins references the Patrick Moynihan's report, The Negro Family: The Case for National Action, in locating the thesis for Black matriarchy. She writes:

…the Black matriarchy thesis argued that African-American women failed to fulfill their traditional "womanly" duties at home contributed to the social problems in Black civil society (Moynihan 1965). Spending too much time away from home, these working mothers ostensibly could not properly supervise their children failure at school. As overly aggressive, unfeminine women, Black matriarchs allegedly emasculated their lovers and husbands (2000, p.75).

Black feminist theory reminds us to never forget how race, class, and gender are central in understanding the development of the Mammy, matriarch, and the vast appearance of the "bad bitch" phenomenon.

Data and Methods

The "bad bitch" and Black feminist thought theses could be utilized to explain the manifestation of the "bad bitch" phenomenon. The bad bitch thesis explained by Dunn and Pough is a black woman who can be successful under a patriarchal system of control by defining success for herself and how she will go about achieving it. The limitations of the bad bitch thesis are considered by Collins through the use of Black feminist theory. This expansive theory examines how the intersection of race, class, and gender serves as a form of oppression for Black women under a patriarchal system.

To answer the question of how the bad bitch phenomenon continues to increase the commodification and consumption of the black female body, a content analysis of Nicki Minaj's songs will be reviewed. Nicki Minaj's work was selected because of her being the first female rap artist to make the Forbes list since its creation in 2007. It is argued that the effect of being a "bad bitch" not only affects the state of rap but also the attitudes and behaviors of Blacks. Also, it will be important to examine whether or not the bad bitch phenomenon is a form of deviant behavior within African American culture.

Pink Friday

The mentioning of women in rap music by men has been a largely demoralizing phenomenon, at which women are referred to as "gold-diggers," trifling, bitches, and hos. While it is easy to criticize male rap artists for demoralizing Black women, female rappers have not only participated in the gender politics but have also capitalized from these stereotypes in the rap industry. Born Onika Maraj, Minaj's popularity skyrocketed in 2010, with the releases of several mixtapes: Playtime is Over, Sucka Free, and Beam Me up Scotty, before her first major album Pink Friday in 2010. According to Caulfield, Minaj scored her second number one album on the Billboard 200 Chart in 2012 following the release of Pink Friday: Roman Reloaded with the hit single "Starships" (2012). Upon her growing album sales, Minaj's popularity further increased with various collaborations that widened her notoriety to other areas of music, beyond rap. In analyzing the content of Nicki Minaj's songs, the following themes appeared: reclamation of the words "bitch" and "ho"; female independence; and female masculinity.

Reclamation of the Words Bitch and Ho

One significant difference seen between male and female rappers is the usage of the words "bitch" and "ho". Despite the negative, literal meaning of the words, Minaj has used them to demand attention from her competitors. In her controversial song Stupid Ho, Minaj allegedly addresses fellow female rappers in the same misogynistic form of disrespect typically reserved for male rappers. In the song, she writes:

Bitch talking she the queen, when she looking like a lab rat
I'm Angelina, you Jennifer
Come on bitch, you see where Brad at
Ice my wrists and I piss on bitches
You can suck my diznik if you take this jizzes
You don't like them disses, give my ass some kisses
Yeah they know what this is, giving this the business
Cause I pull up and I'm stuntin' but I ain't a stuntman
Yes I'm rockin' Jordans but I ain't a jumpman
Bitches play the back cause they know I'm the front man
Put me on the dollar cause I'm who they trust in
Ayo SB, what's the fucks good?
We ship platinum, them bitches are shipping wood
Them nappy headed hoes but my kitchen good
I wish, I wish, I wish, I wish, I wish, I wish
A bitch would (2012).

In this example, the word "bitch" is used as: a form of address, form of disrespect; and distinction. Above, the word "bitch" is metaphorically used to address her competitors in a disrespectful manner traditionally used by male rappers to address women. It becomes self-evident that she is not on the same level as her competitors and refers to them in an unattractive manner as, "nappy headed hoes." The labeling of her female competitors as "nappy headed hoes" is even more destructive than the words bitch and ho, in that it brings about a new area of concern, which is beauty.

Female Independence

The establishment of female independence in rap has taken many forms. Black female identity by male rap artists has helped generate negative stereotypes of the Black female body or a male objectifying the female body. Female independence could also be seen as a woman objectifying her own body and image to gain financial independence. In her song Blow Ya Mind, Minaj writes:

She said her name is Nicki
She came to play and her body was sicken
She gets what she wants, so sexy when she talks
Oh, you know she gon' blow your mind
Okay, Nicki
Did these bitches fall and bump their little heads
I got 'em like, oh, which one of them I'ma dead
'Cause when they get sick, they start to cough bread
Body looks right, plus we crop heads
The Rolls Royce Phantom, yeah, the drop head
And that just goes to show I'm that bitch
I 26'inched the rims with black lips
Now this is the anthem, this is the anthem (x2)
In-ear, in-ear, all in your in-ear
Boy, I put this pussy on your chinny, chin, chin hair (2011).

In the above lyrics, Minaj demonstrates that her body allows her to get what she wants, which (according to her) makes her unique. Self-sexual exploitation can be seen here as a method in gaining financial freedom from the traditional methods.

Female Masculinity

The use of masculine rhetoric has been used by rap artists since the days of "battling", or battle rap, to gain popularity and to command respect from their fellow artists. The machismo attitude in rap music has been denoted by images of male rappers "acting hard", and having multiple women and material possessions, which have been expressed through misogynistic imagery and lyrics. However, female rappers have utilized this macho image as a tool of female empowerment despite its negative imagery. Nicki Minaj has continuously utilized masculine rhetoric in her lyrics as an act of empowerment which implies that, just like men, women could also be violent-so don't mess with me or else. In the song, I am your Leader Minaj writes:

Look sucker, this my gun butter
Street fighter bitches, this Is the up cutter
Nunchucka,' no time to ducka'
Sign of the cross, cause this is her last suppa'
Play with me, check who came with me
I brought a couple 9's, plus the k's with me
I breeze through Queens to check some bad bitches
I stunt so hard, assess the damage
Cause this that aw, this is that aw
And yes I body bitches go get the bandages
I hate a phony bitch that front that chunk chummy
I'm the top shotta' drop the top toppa
Big fat pussy with a icy watch (2012).

The aforementioned lyrics demonstrate how female rappers have perpetuated the repressive and oppressive nature of women in hip hop. It is important to note that the usage of negatively degrading words against women by women carries more weight and meaning. Within the subcultural context of rap, women disrespecting other women in the same manner as men solidify their "street" credibility therefore perpetuating the cultural acceptance of misogynistic lyrics, regardless of the gender of the artist.

Justifying the Commodification of a Bad Bitch

The role of female rappers in the rap industry has been manipulated to justify ongoing exploitation and repression of Black women. Examining the lyrical content alone does not clearly illustrate the role the media plays in justifying the commodification of a "bad bitch". Following the lyrical trend and imagery of female rappers in the industry, it is strikingly evident that the sexploitation of women has become more lucrative, thus legitimizing the bad bitch phenomenon. In making this connection, it is imperative to recognize how forms of media serve as tools of oppression by reproducing ideological hegemony. Gramsci saw that the ruling class maintained their power not by coercive actions, but through hegemony at which the ruled would accept the norms, belief systems, and culture of the ruling class without challenge.

The media, like the family, serve as an agent of socialization. Mass media is seen as a powerful agent of socialization in that it has been, and continues to be, used to manipulate the consciousness of others. For example, consumer research has shown that there is a correlation between mass media and the attitudes of consumers. In terms of music, Viacom Inc. owns the controlling interests of MTV, VH1, and BET. As a result, the interests of Viacom are not reflective of the 'ruled' class, but instead of the ruling class; which uses its platform to maintain its hegemonic control. The raunchy lyrics and depiction of female rapper Nick Minaj is largely supported by these capital investors who are benefiting off of an alternate form of labor: self-sexploitation.

The media is a tool of oppression that justifies and perpetuates the negative stereotypes of Black women. Therefore, support and acceptance of these negative stereotypes is measured lucratively by media giants. The three factors discussed: reclamation of the words "bitch" and "ho"; female independence; and female masculinity have been repackaged and sold to consumers in today's market. The popularity of mainstream rapper Nicki Minaj not only demonstrates cultural acceptance of the thesis of a bad bitch but approves of the notion that self exploitation and objectification is justified because women are defining it for themselves within a male-dominated framework.

Conclusion

The placement of Black women in the history of the United States has always deviated from the norms and standards of dominant culture. Black women's bodies have been both criticized and exploited by Whites for economic gains. These stereotypes have created images of Saphires, Jezebels, and the Mammy, which further pushed Black women's intelligence onto the periphery while mass media has largely capitalized on body and cultural images. The mainstream representation of these stereotypes, especially the Saphire or bad bitch, revisits how Black women have always been exploited and oppressed.

Attributes of the bad bitch phenomenon are not exclusive to Generation Y but can be traced back to sassy images and roles Black women coveted. The rap industry has served as a new locus for this type of Black female to dominate in. Adopting the bad bitch persona not only gives Black women the opportunity to survive economically and socially in a Eurocentric male-dominated society, but also provides them the freedom to assert their power under their own rules without apology. This essay indicates that the adoption and commercialization of the bad bitch phenomenon are not foreign to the history of the Black female body. One important difference is the rise in self-exploitation by Black women in the industry to attain money, power, and respect that is indicative of the transferring of a Eurocentric-based ideological hegemony onto an oppressed subcultural group.

References

Buchanan, P. (2011). Radical Feminists: A Guide to an American Subculture. ABC-CLIO. Santa Barbara, California.

Celious, A. (2002). How "bitch" became a good thing-or, at least not that bad." Perspectives. Retrieved November 25, 2013 from http://www.rcgd.isr.umich.edu.

Collins, P. (2000). Black feminist thought: Knowledge, consciousness, and the politics of empowerment. Second edition. Routeledge. New York, New York.

Comissiong, S. (2009, September). Corporate hip hop, white supremacy and capitalism. Black Agenda Report. Retrieved November 25, 2013 from http://www.blackagendareport.com.

Dunn, S. (2008). Baad bitches and sassy supermamas: Black power action films. Urbana. University of Illinois Press.

Fuller, Adams and Fuller, Douglas. (2006). The words have changed but the ideology remains the same: Misogynistic lyrics in rap music. Journal of Black Studies, 36,(6), 938-957.

Goldman, L. and Paine, J. (2007, August). Hip-Hop cash kings. Forbes. Retrieved November 24, 2013 from http://www.forbes.com.

Ide, D. (2013, June). How capitalism underdeveloped hip hop: A people's history of political rap (part 1 of 2). Social Movement Studies Analysis. Retrieved November 24, 2013 from http://www.hamptoninstitution.com.

Lee, Felicia R. (2007, November). Protesting demeaning images in media. New York Times. Retrieved November 24, 2013 from http://www.newyorktimes.com.

Marable, M. (1983). How capitalism underdeveloped black America: Problems in race, political economy, and society. Boston, MA: South End Pres.

Moynihan, P. (1965). The negro family: A case for national action. Office of Policy Planning and Research. United States Department of Labor. Retrieved on November 24, 2013 from http://www.blackpast.com.

Nicki Minaj (2011). Blow ya mind on All Pink Everything [CD]. MTC Records.

Nicki Minaj (2012). Stupid Ho on Pink Friday: Roman Reloaded [CD]. Cash Money, Young Money, and Universal Motown.

Nicki Minaj (2012). I am your leader on Pink Friday: Roman Reloaded [CD]. Cash Money, Young Money, and Universal Motown.

Pough, G. (2004). Check it while I wreck it: Black womanhood, hip-hop culture and the public sphere. Boston, MA: Northeastern University Press.

Queen Latifah (1994). U.N.I.T.Y. on Black Reign [CD]. Motown Records.

Scallen (2010). Bitch thesis. Department of American Studies. Retrieved from http://www.americanstudies.nd.edu.com on November 24, 2013.

http://www.billboard.com . Retrieved on November 25, 2013.

On the Front Lines of Class War: Why the Fight for a Livable Wage is Everyone's Fight

By Colin Jenkins

"There's class warfare, all right, but it's my class - the rich class - that's making war, and we're winning."

- Warren Buffett (2006)

In the spring of 2004, amid the thaw of a frigid New York City winter, a brave group of Starbucks baristas began organizing. Like most service-sector employees in the United States, they were faced with the daunting task of trying to live on less-than-livable wages. Inconsistent hours, inadequate or non-existent health insurance, and less-than-dignified working conditions paled in comparison to their inability to obtain the most basic necessities. Apartment meetings, backroom discussions, and after-hours pep talks - all fueled by a collective angst - culminated into a sense of solidarity, the natural bond that occurs when workers take the time to realize their commonalities and shared struggle. On May 17, 2004, they officially announced their affiliation with the Industrial Workers of the World, an all-encompassing union with an impressive history of labor activity in the US. A petition for unionization followed suit. Their demands were simple: Guaranteed hours with the option for fulltime status, an end to understaffing, a healthier and safer workplace, and increased pay and raises.

"Solidarity Unionism," Grassroots Organizing, and the Formation of a New Front

It is only fitting that such a daring endeavor would fall under the banner of the IWW. Proudly asserting itself as "One Big Union" and "A Union for All Workers," the "Wobblies" shun hierarchical and highly-bureaucratic union models that have dominated the American labor scene for much of the past half-century, instead promoting and utilizing direct action that is member-run and member-driven. Deploying what they refer to as "solidarity unionism," as opposed to "business unionism," the preamble to the IWW's constitution echoes an old-school, militant, trade-union tone, boldly (and correctly) proclaiming, "The working class and the employing class have nothing in common. There can be no peace so long as hunger and want are found among millions of the working people" - a far cry from the timid and capitulating modus operandi of the modern adaptation. However, it is not just a much-needed infusion of labor militancy that makes the IWW attractive, it is its grassroots approach to labor organizing. In a post-industrial landscape that is overrun with underemployment, the IWW's model represents accessibility and a sense of empowerment for disconnected workers who find themselves on virtual islands - outside the potentially radical confines of a traditional shop floor. And when considering that wages have either dropped or remained stagnant in the midst of ever-growing costs of living over the past 30 years, it is no surprise that American workers are reaching their collective breaking point and seeking refuge in the form of a shared struggle.

After decades of a disastrous neoliberal agenda that has placed the American working class in an all-out sprint to the bottom, the growing needs of low-wage workers coupled with the "wobbly way" to create a perfect storm. As such, the Starbucks Union captured a vibe and sparked a movement. 2007 saw the arrival of Brandworkers, "a non-profit organization bringing local food production workers together for good jobs and a sustainable food system." Following a similar grassroots blueprint, the NYC-based organization was founded "by retail and food employees who identified a need for an organization dedicated to protecting and advancing their rights," and stands on "a simple principle: that working people themselves, equipped with powerful social change tools, were uniquely positioned to make positive change on the job and in society." Their direct-action, "Focus on the Food Chain (FOFC)" initiative specifically targets "the rapid proliferation of sweatshops among the food processing factories and distribution warehouses that supply the City's (NYC) grocery stores and restaurants" and that of which "increasingly relies on the exploitation of recent immigrants of color, mostly from Latin America and China." In an unprecedented effort, FOFC "creates space for the immigrant workers of NYC's industrial food sector to build unity with each other, gain proficiency in the use of powerful social change tools, and carry out member-led workplace justice campaigns to transform the industry." Ultimately, "Focus members and their allies are using organizing, grassroots advocacy, and legal actions to build a food system that provides high-quality local food and good local jobs."

Groups like the Starbucks Workers Union and Brandworkers created momentum. In 2010, six years after baristas came together in Manhattan, a band of sandwich makers gathered 1,200 miles westward, in Minneapolis, Minnesota. Thus, the next wave of grassroots, low-wage labor activity - this time stemming from the fast-food industry and, more specifically, the corporate brand of Jimmy John's sandwiches - took hold. Sporting T-shirts that read, "Wages So Low You'll Freak" - a mockery of JJ's corporate slogan, "Subs So Fast You'll Freak" - JJ workers, also under the direction of the IWW, embarked on the first ever unionization drive for fast-food workers. Emily Przybylski, a bike delivery worker at the restaurant chain, captured the spirit of the moment. "A union in fast food is an idea whose time has come," she told reporters. "There are millions of workers in this industry living in poverty, with no consistent scheduling, no job security and no respect. It's time for change." As Labor Day 2010 approached, JJ workers at one Minneapolis store filed for a union election, and actions such as leafleting and picketing were coordinated at stores in 32 states, "from Clovis, California to Miami, Florida."

The embryo created by baristas in NYC, and nurtured over the better part of a decade by the likes of the Brandworkers and Jimmy John's workers in Minneapolis, came to a head in 2012. On Thursday, October 4th, 2012, the spread of low-wage discontent struck the epicenter of corporate exploitation, as "more than 70 Los Angeles Wal-Mart workers from nine stores walked off the job." These walkouts accompanied over "20 charges of unfair labor practices" filed with the National Labor Relation Board. A week later, Wal-Mart workers across 28 stores in 12 states, staged labor protests in the form of strikes and walk-outs. The first workers' strike in the company's 50-year history spread to stores in Los Angeles, San Francisco, Seattle, Chicago, Dallas, Miami, Washington, D.C., and Orlando. This movement, much like its predecessors, was largely formed out of grassroots organizing efforts that were over a year in the making. In June 2011, "OUR Walmart," a workers advocacy organization supported by and coordinated with store associates from across the country, dispatched "nearly 100 Associates representing thousands of OUR Walmart members from across the United States to the Walmart Home Office in Bentonville, Ark., and presented a Declaration of Respect to Walmart executive management." The Declaration included a list of requests: Listen to us, the Associates; Have respect for the individual; Recognize freedom of association and freedom of speech; Fix the Open Door policy; Pay a minimum of $13/hour and make full-time jobs available for Associates who want them; Create dependable, predictable work schedules; Provide affordable healthcare; Provide every Associate with a policy manual, ensure equal enforcement of policy and no discrimination, and give every Associate equal opportunity to succeed and advance in his or her career; and provide wages and benefits that ensure that no Associate has to rely on government assistance.

In November of 2012, merely weeks after Wal-Mart workers took a courageous stand, fast-food workers from McDonald's, Wendy's, Burger King, Taco Bell and KFC staged protests in various locations around New York City, "demanding $15 an hour in pay and the right to form a union." A few months later, in the spring of 2013, fast food strikes gained momentum with numerous walk-outs across the country. In April, NYC workers - backed by labor, community and religious groups - staged protests at more than five dozen restaurants. Over the course of the next month, similar actions were carried out in Pennsylvania and Chicago. In Chicago, the actions spread from the fast-food industry to retail, with low-wage workers from Macy's, Sears, and Victoria's Secret also participating. On Friday, May 10th, "400 workers at more than 60 fast-food restaurants in the Detroit metro area walked off the job" in what may have been "the largest fast food strike in American history." The Detroit event was significantly effective as it "shut down multiple restaurants entirely, including multiple McDonald's outlets, a Long John Silver's, a Burger King, two Popeye's restaurants, and a KFC." "One McDonald's worker, Jay Robinson, told reporters that when he started at McDonald's over two years ago, he was paid $7.40 an hour,"writes Aaron Petkov for Socialistworker.org. "Robinson has gotten raises since then - and now makes $7.48 an hour." In his efforts to care for himself and a 2-year-old daughter, "It's a day-to-day struggle," he told reporters. "And the owners make millions." At another McDonald's restaurant, "management attempted to avert a shutdown by bringing in replacement workers, but those replacement workers (in a moment of incredible solidarity) then promptly joined the strike." This wave of low-wage labor militancy continued through the summer. On Thursday, August 29th, workers at numerous fast-food chains participated in coordinated strikes in nearly 60 cities nationwide. Citing poverty wages and the need for more rights in the workplace, "a dozen workers didn't show up for their shift at a McDonald's on 8 Mile Road (in Detroit), forcing the closure of the dining room." In Raleigh, N.C., about 30 workers picketed outside a Little Caesars location. One employee, Julio Wilson, expressed the discontent of his peers, saying the $9-an-hour he was paid was not nearly enough to support himself and his 5-year-old daughter. "I know I'm risking my job, but it's my right to fight for what I deserve," Wilson said. "Nine dollars an hour is not enough to make ends meet nowadays." In Indianapolis, "several employees walked off the job from a McDonald's outlet at 16th and Meridian streets." "Most people here have a family to support, and most people here barely make enough to make ends meet,'" employee Dwight Murray said. "We're here today because we feel like McDonald's is a $6 billion entity and it's not unfeasible for them to pay $15 an hour.

Corporate Greed, Propaganda, and Union-Busting

Despite the obvious needs for livable wages, there is much opposition. Union-busting has become a staple of employee orientations throughout the corporate landscape, with retail giants like Target and Wal-Mart regularly unleashing "aggressive anti-union push (es), and distributing pamphlets and other propaganda to employees." Corporations like Target have become notorious for making employees watch dramatized "training videos" on the so-called "dangers" of unionization in an attempt to convince workers that higher wages, more benefits, and an overall sense of dignity at the workplace would somehow not be good for them. This concerted effort to maintain a grip on poverty wages has led to the formation of intricate networks of union-busting firms that employ corporate lawyers and "anti-union strategists" to offer "continuing education" for business owners and executives. "At these seminars," writes Kim Phillips-Fein, "lawyers and labor relations consultants from the nation's top union-busting law firms come to speak to rapt, intimate groups of executives, advising them on how to beat union election drives, do end runs around the National Labor Relations Board (NLRB), and decertify unions, all the while hawking their own firms' services." Of course, "union members are expressly banned." To complement this behind-the-scenes movement, corporate mouthpieces like Fox News have taken up the propaganda charge against unions by referring to them as "monopolies" that prevent non-union workers from securing jobs, coining terms like "union thugs" as a fear tactic, displaying video snippets of supposed "union violence," utilizing doublespeak like "right to work" to suggest that accepting low wages is somehow a right that should be fought for, and airing modern-day snake oil salesmen to convince its working class viewers that unions are given extra benefits at their expense. In addition to ideological propaganda, special interest groups, wealthy donors, and Super PACs fueled by the Supreme Court's infamous Citizens United decision - such as Koch Industries PAC - have placed virtual ATMs in Governor's mansions and Congressional offices to ensure political opposition to workers' needs while remaining corporate (and thus profit)-friendly.

Starbucks' corporate response to the organizing efforts made by those fateful NYC workers in 2004 was fierce. "Faced with the first serious effort in decades to unionize one of its stores, Starbucks launched what a former worker called 'a scorched-earth campaign' against pro-union employees," reported Josh Harkinson. "The union busting has just been absolutely relentless," says the worker, Daniel Gross, who was fired in 2006 due to his involvement in the initial organizing efforts at the Manhattan store where he worked. The Minneapolis Jimmy John's workers were met with similar tactics, which included bizarre personal attacks from store owners and management through social media. On March 22, 2011, after lobbying for sick days from the restaurant chain, six workers - all of whom were "key figures" in the union organizing efforts - were fired for "defaming the brand and disloyalty to the company." Shortly thereafter, another "pro-union" employee was berated and humiliated on social media by owners and managers, some of whom went as far as posting the employee's personal telephone number on a public Facebook page and asking people to text the employee to "let him know how they feel." An Assistant Manager then posted disparaging personal comments about the pro-union employee, making fun of his appearance and including a picture of the employee for all to see. In addition to these reactive measures deployed by some companies, corporate behemoths like Wal-Mart have relied on proactive union-busting programs for years. In 2007, Washington-based Human Rights Watch released an extensive report accusing the retail giant of "routinely flouting its workers' human rights through a sophisticated strategy of harassing union organizers, discriminating against long-term staff, and indoctrinating employees with misleading propaganda." The report includes examples of "workers forced into unpaid overtime and an alleged strategy of squeezing out long-serving staff who are more costly than low-wage, temporary, younger workers," highlights "elaborate tactics to stop staff from coming together to fight for better conditions," and even describes detailed measures such as "focusing security cameras on areas where staff congregate and shifting around loyal workers in 'unit packing' tactics to ensure votes for union recognition are defeated." The report also found that each store manager, as a part of their training, receives a "manager's toolbox" manual which instructs them on "how to remain free in the event union organizers choose your facility as their next target," and that managers are also given access to and instructed to call a 'union hotline' if they suspect staff are discussing unionization - an action that would deploy corporate specialists from the company's headquarters to "address the situation."

The reasons for such opposition are clear. Corporate profits remain at an all-time high because companies are able to pay poverty wages to their employees and rely on government welfare programs to cover the rest (ironically, while also enjoying historically low corporate tax rates ). Additionally, the economic storm that has lingered over the heads of the American working class for the past five years has equaled a virtual paradise for corporate America. Three simple facts highlight this current economic landscape:

• Corporate profit margins just hit another all-time high as companies are making more per dollar of sales than they ever have before.

• Wages as a percent of the economy just hit another all-time low as companies are paying employees less than they ever have as a share of GDP.

• Fewer Americans are working than at any time in the past three decades as companies don't employ as many workers as they used to. As a result, the employment-to-population ratio has collapsed.

Maintaining this environment has become a top priority for wealthy investors, the corporations themselves, and the politicians who are funded by both. By gutting the middle class through the destruction of unions (as of 2011, only 11.9% of the American workforce was unionized - a 70-year low) over the past three decades, corporations have enjoyed a relatively clear path towards establishing these beneficial conditions of today - where 20% of the population owns 89% of all "privately held wealth;" and where the top 1% of the population owns 42.1% of all "financial wealth (total net worth minus the value of one's home)." In addition to corporate-friendly policies that became commonplace starting with the Reagan years and continuing through both Bush', Clinton, and now Obama, the emergence of globalization has allowed for the replacement of American workers through the process of offshoring and the subsequent exploitation of extremely impoverished populations of workers abroad. Therefore, this latest surfacing of labor militancy from within the ranks of the domestic, low-wage, service-sector workforce represents the biggest threat - not only in its tangible fight for economic justice in the form of a livable wage, but also in its potentially revolutionary orientation which identifies with the modern working class and, most notably, the working poor - that corporate hegemony has faced within the geographic confines of the U.S. in decades. "If these guys are seen to succeed, it could really light a fire, because the dissatisfaction is unquestionable," labor historian Peter Rachleff explains. "The corporation knows that, and they have a lot of resources [and] plenty of lawyers" to combat these working class movements.

Workers' Victories and Building Momentum

Despite a well-funded and highly-coordinated opposition, there have been many victories and positive developments along the way. The mere emergence of a new labor resistance - let alone the fact that it has developed from within the low-wage service-sector and from one of the most disenfranchised demographics of the working class - is very encouraging. While some have questioned the roots of the movement and the extent of the involvement of more traditional, hierarchical unions like SEIU (Service Employees International), there is no denying the politicization and sense of empowerment that is being internalized by the involved workers themselves. Considering the near-death of working class consciousness in the U.S., this development simply cannot and should not be underestimated. The infusion of a direct-action model that insists on a worker-controlled approach to labor battles (i.e. the IWW) is certainly a leap forward. And this method has proven effective in more ways than one. On Tuesday, December 28, 2008, NYC Starbucks baristas were vindicated by National Labor Relations Board judge, Mindy E. Landow, when she ruled that Starbucks had "illegally fired three workers and otherwise violated federal labor laws in seeking to beat back unionization efforts at several of its Manhattan cafes" and ordered Starbucks "to pledge to end what she said was discriminatory treatment toward workers who supported the union at four of its Manhattan shops: 200 Madison Avenue at 36th Street, 145 Second Avenue at 9th Street, 15 Union Square East and 116 East 57th Street." Two years later, the IWW Starbucks Workers Union, following a "determined campaign of grassroots actions in Starbucks stores and communities all over the country," secured another victory when the company's corporate office gave in to demands for workers to receive time-and-one-half pay for working on Martin Luther King, Jr. Day. "We're deeply moved to have been able in our modest way to increase respect for Dr. King's legacy while ensuring that Starbucks employees who work on his holiday are fairly compensated," said Anja Witek, a Starbucks barista and SWU member in Minnesota. "This is a great example of what baristas and all low-wage workers can achieve by getting organized and taking direct action in support of workplace justice issues." In February of 2012, after a long and drawn-out battle with Jimmy John's, a federal judge ruled the company illegally fired the six employees who had campaigned for sick time, and ordered the company to "reinstate the workers with back pay within 14 days." In a spirited testimony, Erik Forman, one of the fired employees, remarked:

"It has already been over a year since we were illegally fired for telling the truth. For all the hard work and dedication of the NLRB's civil servants, employers like Jimmy John's prefer to break the law and drag cases through the courts for years rather than let workers exercise their right to win fair pay, sick days, and respect through union organization. The dysfunctional U.S. labor law system gives Mike and Rob Mulligan (JJ franchise owners) and their cronies in the 1% carte blanche to trample on workers' rights. Jimmy John's workers, and the rest of the 99%, will only be able to win a better life by taking our fight from the courtroom back to the shop floors and the streets."

The latest low-wage workers strike, which took place on December 5th across "100 cities through the day," signified, according to the Guardian's U.S. affiliate, "a growing clamour for more action on income inequality." In front of a Walgreen's in downtown Chicago, nearly 200 protestors chanted, "We can't survive on eight-twenty-five…Walgreen's, Walgreen's, you can't hide. We can see your greedy side!" In Washington, D.C., dozens of workers carrying signs singing loudly, "Jingle bells, jingle bells, jingle all the way, it's no fun, to survive, on low low low low pay." "In New York City, about 100 protesters blew whistles and beat drums as they marched into a McDonald's chanting "We can't survive on $7.25." This collective outrage has empowered workers while also placing the problem of income inequality back on the public agenda. Major media sources that had barely uttered a word about such inequality in recent decades have now begun to showcase it. The Catholic Church's latest Pope, Francis, has made waves during a near-month-long tirade exposing the flaws of capitalism, recently asking, "How can it be that it is not a news item when an elderly homeless person dies of exposure, but it is news when the stock market drops 2 points?" and referring to the "widening gap between those who have more and those who must be content with the crumbs." And calls for a federal minimum wage increase have gained steam with U.S. Labor Secretary, Thomas Perez, writing on his blog, "To reward work, to grow the middle class and strengthen the economy, to give millions of Americans the respect they deserve - it's time to raise the minimum wage." Though, of course, the Democratic Party's proposal to raise the current rate from $7.25 to $9.00, or even $10.10 in other proposed legislation, would hardly equal a significant change for tens of millions of working poor. Still, despite reformist-based rhetoric from politicians, the agenda is being shaped by the brave workers who have risked all to take a stand.

The battle cry "Fight for $15" has stuck. Numerous small and localized labor organization like Detroit 15 - a group of fast-food and retail workers from the Detroit area fighting "for fair wages and the right to form a union without interference" - and Fast Food Forward - a movement of NYC fast-food workers coming together to "build community engagement, hold corporations and their CEOs accountable, and to raise wages so that all Americans can prosper" - have sprung up amidst the movement-at-large, helping to form collaborative efforts with community and religious organizations which possess built-up social capital to be used, and to make the collective decision-making process more accessible to the workers themselves. Socialist candidate, Kshama Sawant, who made the "Fight for $15" cause a key part of her election campaign, made history by winning a seat on the Seattle City Council in November. Sawant's victory was significant not only for working class interests that have been in dire need of a true "left wing" for decades, but also for the fact that her platform was able to pull local Democrats toward a more authentic (though still reformist), left-wing, working-class agenda. As Seattle Times columnist, Danny Westneat, reported:

"You can't look at the stagnant pay, declining benefits and third-world levels of income disparity in recent years and conclude this system is working. For Millennials as a group, it has been a disaster. Out of the wreckage, left-wing or socialist economic ideas, such as the 'livable wage' movement in which government would seek to mandate a form of economic security, are flowering."

The Future of the American Working Class

If you're reading this article, chances are you are a member of the working class - not because the article specifically pertains to your interests but because, by definition, a large majority of us are compelled to work for a wage or salary to survive. The Occupy slogan which may seem a bit hyperbolic on the surface - breaking society into two camps: the 99% and the 1% - is actually not far off. The 99% essentially refers to the working class - those of us who are underemployed, unemployed, making minimum wage, making an hourly wage, working multiple jobs, earning a salary, working as "salaried professionals," working "under-the-table," etc.. In other words, if you weren't born with enough privilege and generational wealth to carry you through life, you are likely working for a wage in some form or another, or would be compelled to do so if left to your own means.

Jay Robinson, Julio Wilson, Dwight Murray, and their fellow employees are correct in their estimation: Multi-billion dollar corporations can and should pay their workers a livable wage. Considering how far removed we are from the age-old concept of workers "enjoying the fruits of their labor," a seemingly minimal expectation of earning a livable wage for fulltime work has become a revolutionary notion. But it shouldn't be. This issue is not just a low-wage problem - it's a working class problem. It's a middle class problem. It's a societal problem that destroys living standards for everyone outside of elite circles. And, while it is nowhere near the end-all, be-all of solutions to a toxic system, the premise of "a chain being only as strong as its weakest link" is certainly an improvement over the neoliberal, "greed is good" mantra which has dominated monetary and governmental policy over the past thirty years. For low-wage workers themselves, besides allowing the dignity of "earning a living," a livable wage infuses more expendable income into the economy while allowing for the opportunity to live without a chronic reliance on public assistance. "If you earn your money through wages (unlike many of the 1 percent, who earn through things like investments and a tax system biased in favor of capital gains over income) then a higher wage, minimum or otherwise, would mean that you'd spend the additional dollars, creating jobs for other workers," explains market analyst Marshall Auerback. "You'd pay down your mortgages and car loans, getting yourself out of debt. You'd pay more taxes - on sales and property, mostly - thereby relieving the fiscal crises of states and localities. More teachers, police and firefighters would keep their jobs. America would get a virtuous cycle toward higher employment and, more importantly, the cycle would be based on a policy which creates higher incomes, not higher debt via credit expansion." Furthermore, the establishment of livable wages eases the burden placed on the rest of the working class, which has contributed approximately $7 billion per year to fund public assistance programs that serve as a form of subsidization for Fortune 500s. That figure, from an October 2013 report by UC Berkeley's Labor Center, includes four major social benefits programs that low-wage workers are forced to use in order to provide basic necessities for themselves and their families. Specifically, the amount is broken down to Medicaid and the Children's Health Insurance Program ($3.9 billion), the Earned Income Tax Credit ($1.9 billion), food stamps ($1 billion), and Temporary Aid for Needy Families ($200,000), and doesn't include other publicly funded programs like child care assistance, WIC, or section 8 housing, among others.

For those who see low-wage workers protesting for higher pay and think, "why don't they just get a better job" or "why don't they go to college, like I did, and earn a degree?" - think again. In 2012, nearly 300,000 Americans with college degrees were working minimum wage jobs. Furthermore, nearly one-half of all recent college graduates with jobs are underemployed. "Of 41.7 million working college graduates in 2010, about 48 percent of the class of 2010 work jobs that require less than a bachelor's degree, and 38 percent of those polled didn't even need high school diplomas." Even worse yet, 40% of recent college graduates are unemployed. In other words, the idea that earning a degree guarantees a livable wage is exactly that - an idea, no longer based in reality. For those who see low-wage workers striking for a livable wage and think, "what do they expect, they're working at McDonald's" or "these aren't careers we're talking about" - think again. Fact is, since the arrival of globalization, American manufacturing companies - the traditional suppliers of a livable wage - have jumped ship, moving their operations overseas to exploit impoverished workforces that are compelled to labor for next-to-nothing. Since this shift, America's working class has become largely reliant on the service industry. In other words, low-wage, service sector jobs are now careers - not by choice, but by necessity. The 2008 economic crisis and subsequent "recovery" only intensified this shift as "mid-wage occupations ($13.84 to $21.13 per hour) constituted 60 percent" of job losses during the 2008 recession, but only 22 percent of the job gains during the recovery. In contrast, "low-wage occupations ($7.69 to $13.83 per hour) constituted 21 percent" of job losses during the recession, while representing 58 percent of new jobs created during the aftermath. This is a staggering displacement that has seen once-livable employment virtually replaced by now-unlivable wages. As a result, the "characteristics of minimum wage workers" are changing, as 75 percent of them are now adults, many of whom have dependents to care for, and 70 percent of who have at least a high school degree.

The American working class has found itself in a breakneck "race to the bottom" during the corporatist era. However, recent developments stemming from "solidarity unionism," low-wage worker revolts, and a backlash against neoliberal policies and the extreme income inequality which they have bred have shown that American workers are, in fact, beginning to "rise like lions after slumber." If the thundering wave of low-wage labor militancy that has swept the country is any indication, the slumber is officially over. And if the "dramatic actions by and on behalf of workers" in places likes Seattle the past few months - including a "defeat of concessions at major grocery chains, Boeing workers' big 'no' vote on concessions, a $15 minimum wage voted in for airport workers, and election of a socialist (a candidate who made a city-wide $15 minimum wage the centerpiece of her campaign) to city council" -represent a microcosm of things to come, the proverbial race to the bottom - whether it has struck bedrock or not - is over. Because of their emergence as a viable sector of embedded labor, courageous, low-wage workers in the service industry now represent the front lines of an ongoing class war. They represent, as Dave Frieboth notes, "a general uprising of young, displaced workers trapped in low-wage jobs;" people who "looked at the wage disparities and saw that, as a simple matter of fact, the system isn't working." The further they can be kept down in terms of wages, benefits, and overall standards of living, the more effectively their lowly presence may be used as leverage to drive all working Americans' standards down. Thus, their status affects the status of the working class as a whole. They are not only fighting for themselves - they are fighting for all of us. In this sense, "an injury to one" truly is "an injury to all." Their fight is everyone's fight.

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Will Black Nationalism Reemerge?

By Sean Posey

In the summer of 2008, a tidal wave of liberal and youth activists began to carry presidential candidate Barack Obama on a journey leading inexorably to the White House. Town halls and campaign stops attracted droves of admirers-with Obama taking on a persona more akin to a rock star than to a senator from Illinois. However, during a campaign stop in St. Petersburg, something unexpected happened. Obama was greeted during a question and answer session by protesters carrying a sign emblazoned with the question, "What about the Black Community, Obama?"

After attempting to ask Obama questions, and after getting shouted down by the crowd, Diop Olugbala, one of the protesters, confronted Obama asking, "In the face of the numerous attacks that are made against the African community or the black community by the same US government that you aspire to lead. . . why is it that you have not had the ability to not one time speak to the interests and even speak on the behalf of the oppressed and exploited African community or Black community in this country?"[1]

Obama seemed flustered. This was a rare, pointed question about what his campaign would mean for the black community. The young questioner was a member of the Uhuru Movement, a Pan-African organization representing one of the remnants of Black Nationalism in the United States. The incident was laughed off and Uhuru jokingly dismissed. However, as the Obama administration moves through its last term, it's clear the question posed by Uhuru will not go away, especially as the wider black community faces continued socioeconomic problems. This poses a broader question: Is Black Nationalism relevant in the twenty-first century? And as the crisis facing black America builds, will it reemerge?

Origins/Development of Black Nationalism

The origins of Black Nationalism can't be separated from the experience of slavery. Since Africans were first brought to the colonies, a common racial oppression produced calls for not only a release from slavery, but for repatriation to Africa, or to some other place where a black nation might be formed. This ideology also embraced Pan-Africanism, or the idea that black unity must be a worldwide affair. Men and women alike championed early Black Nationalism: Paul Cuffee helped ferry formers slaves to Nova Scotia and then to Sierra Leone; Robert Alexander Young wrote the 1829 "Ethiopian Manifesto," which spoke to the commonality of blacks in the Diaspora; and Maria W. Stewart became the first woman to espouse nationalist ideas in speeches and writings. All of these activists and thinkers represented early yearnings for black autonomy and nation building.

The compromise of 1850 helped reinforce Black Nationalism. This is the beginning of what William Moses-perhaps the foremost scholar on the subject-calls the "Golden Age of Black Nationalism," which lasted until the imprisonment of Marcus Garvey in 1925.[2] During this period people like Martin Delaney, the "Grandfather of Black Nationalism," made plans to relocate African Americans back to the Africa. Nationalism also took hold among very educated "elites." Whereas Black Nationalism in Garvey's time, and later during the 1960s, came primarily from the working class, some of the most bourgeois and formally educated African Americans in the nineteenth century espoused emigration schemes and black self-sufficiency.[3]

The emergence of Marcus Garvey's United Negro Improvement Association and African Communities League in 1914 marked the beginning of the largest movement of blacks in American history. Garvey drew on Pan-Africanism and wanted ultimately to move African Americans back to Africa, but he also advanced the idea of black economic self-sufficiency as a principal part of the UNIA platform.[4] Garveyism specifically represented two of the three main strands of Black Nationalism: cultural and political nationalism. Garvey's Negro Factories Corporation manufactured black dolls, sponsored black beauty contests, and published high-fashion photos of black women.[5] The Negro Factories Corporation also started black-owned neighborhood businesses to provide services to communities like Harlem.

Garvey's enormous popularity drew the wrath of other black intellectuals-especially W.E.B. Du Bois. However, despite their differences, Du Bois and his rival Booker T. Washington also espoused ideas consistent with Black Nationalism. Washington advocated a "technocratic Black Nationalism" that did not call for political or social integration but instead espoused a "do for self" model of black economic empowerment. [6] Du Bois was much more of a cultural nationalist.[7] Though seemingly mutually opposed to each other, both advocated black pride and support for the growth of black-owned businesses. It was only after the jailing of Garvey-on flimsy charges-and the decline of the UNIA that class issues fractured Black Nationalism. The working class would become the center of future nationalist revivals in the 1930s and 1960s.

Nationalism and Religion

The third main strand of Black Nationalism, religious nationalism, flourished in the years after Garvey's fall. The Moorish Science Temple gathered a strong following in the 1920s and 1930s. The founder of the temple, Noble Drew Ali, blended Black Nationalism with mysticism and Islamic thought, prefiguring the most successful of the religious nationalist groups-the Nation of Islam. The NOI formed in Depression-era Detroit. Shrouded in mysticism itself, the organization grew in the poorest and most deprived slums of the industrial cities of the north. The group's leader, Elijah Muhammad, held up blacks as "the original man," and he called for the creation of an independent black state within the borders of the United States. Despite their ideological and cultural differences, the Nation of Islam, and especially Malcolm X, had a large influence on the Black Power movement of the 1960s.

Black Power

The Black Power movement of the 1960s seemed to come out of nowhere for many Americans, but Black Power descends directly from the long history of Black Nationalism. Stokely Carmichael, who coined the term Black Power, stated, "…Before a group can enter the open society, it must first close its ranks."[8] This harkened back to Garveyism, but it opened up the possibility of eventual integration of some kind. Marxism and class analysis also came to influence the Black Power movement. This proved especially true of the Black Panthers, who eschewed nationalism while also representing many of its major strands.

The success of the civil rights movement during the 1960s had little impact on the economic and cultural issues brewing in America's inner cities. Urban riots were the result of complicated problems the mainstream civil rights movement was unable to address: The NAACP and the Urban League represented an emerging black middle class; street level movements represented a discontented working class. The struggle between the civil rights movement and Black Power moved into the culture as well. "New ways of being black" played a huge role in groups like the Black Panthers, whose emphasis on a "revolutionary culture" were explicitly anti-capitalist. That separated them from both mainstream black organizations and previous Black Nationalist groups. [9] The Black Arts movement and cultural movement slogans such as "Black is Beautiful" also came primarily from Black Nationalist groups. Attempts to build economically self-sufficient black communities, calls for black separatism, and explicit rejections of white culture, continued well into the mid-1970s.

Afrocentrism, "Conscious" Hip Hop, and the "Under Class"

Nationalism faded rapidly after the 1970s. Class fissures and emerging opportunities for some African Americans took the wind out of the movement. It was Afrocentrism, a relic of the cultural nationalist movements of the 1960s that remained vital in the 1980s and 1990s. Scholars of Afrocentrism sought to build an epistemology around African ways of thinking. As political scientist Dean Robinson describes it, these scholars tried "…to denote a new African-centered perspective, one shorn of problematic 'Eurocentric' assumptions, and one fashioned to produce more accurate and sympathetic assessments of African life."[10] Maulana Karenga, whose holiday of Kwanzaa emanated from the cultural nationalist ethos of the sixties, remains the most famous of the Afrocentric scholars. The continued popularity in some circles of Afrocentrism in the 1980s and 1990s partially masked the decline of other forms of nationalism and the structural economic and social inequality affecting African Americans.

The promise of the civil rights movement-especially the promise of economic justice-never filtered down to the ghettos of America's cities. In the 1980s, the emerging musical genre of hip-hop came to reflect many of the ideals of Black Nationalism and Afrocentrism. Hip-hop channeled the frustrations of urban youth who found themselves left out of the economic growth of that decade. In 1980, an effort between Brother D and a group called the Collective spawned what was one of the first "conscious" tracts. The song "How We Gonna Make the Black Nation Rise?" represented the beginning of a sub-genre called "conscious hip-hop", which included many strains of Black Nationalism and Afrocentrism. Adherents of the Five-Percent Nation-an offshoot of the Nation of Islam-were and are well represented in conscious hip-hop. Afrika Bambaataa and the Universal Zulu Nation, Paris, Brand Nubian, and especially Public Enemy, represented core groups that formed a culturally and politically nationalist semi-rebirth that in some ways reflected the Black Arts Movement of the 1960s. With the commercialization of hip-hop in the late eighties and early nineties, Black Nationalism and Afrocentrism went underground. Gangsta rap proved more suited to the rampant individualism that pervaded hip-hop and the larger culture in the latter-1990s.

The Working Class and the New Jim Crow

Initiatives taken in the wake of the civil rights movement increased access to jobs in municipal governments and in the public sector for blacks. This formed the backbone of the new black middle class; however, the ghettos that fostered the Black Nationalism of the late sixties remained far behind. America's deindustrialized urban areas continued to collapse during the 1970s and 1980s. Violent crime, the crack cocaine epidemic, gangs, and the spread of jobless neighborhoods have now devastated several generations of the black working class; and though the cycle has diminished in intensity, it remains a central truth. In the 1990s, historian Michael Katz expounded on the structural reality of poverty and blackness in America: "Because racism directed toward African Americans is so powerful, the contemporary fusion of race and poverty remains the most resilient and vicious in American history." [11]

The reality of ghetto poverty today is as powerful a force as ever, and one of the strongest reinforcing mechanisms for it is the prison system. Sociologist Loic Wacquant sees the modern or "hyper ghetto" as part of a symbiotic relationship with the prison system, or a "kinship," as he calls it. [12] Since the 1970s the American prison system has gone from being about 70 percent white to about 70 percent non-white, with blacks making up forty percent of state and federal prisoners.[13] Michelle Alexander succinctly dubs this system the "New Jim Crow."[14]

Wacquant argues the failure of the urban ghetto to contain African Americans in the late 1960s led to, by way of "Law and Order" campaigns and the War on Drugs, the affinity between the hyper ghetto and the prison system. According to Wacquant, "They (whites) extended enthusiastic support for the 'law-and-order' policies that vowed to firmly repress urban disorders connately perceived as racial threats. Such policies pointed to yet another special institution capable of confining and controlling if not the entire African-American community, at least its most disruptive, disreputable and dangerous members: the prison." Black Nationalist groups were firmly among the groups considered most dangerous to the state in this scenario.

Liberalism and the Failure of the Second Reconstruction

The failure of liberalism and the stalled Second Reconstruction leave African Americans in an increasingly precarious position at the beginning of the twenty-first century. The promise of the historic election-and re-election-of Barack Obama has proved illusory. As Obama moves into his second term, black unemployment is actually worse than when he was sworn in. Almost every socioeconomic measure from education to homeownership shows wide disparities between whites and blacks. White median household wealth is 20 times greater than that held by black households.[15] Almost 30 percent of African Americans live below the poverty line, and 40 percent of black children are in poverty. [16] Urban sociologist Patrick Sharkey calls "the failure to complete the progression towards full civil rights" one of the four main trends keeping neighborhood level inequality in place.[17] Yet, no real programs to address urban poverty and disadvantage have existed since the Model Cities initiative of the 1970s. All this leads to the "inheritance of the ghetto" from one generation to the next.

The Remnants of Nationalism

Surviving the decline of Black Power and Black Nationalism in the 1970s, the Nation of Islam continues to be the principle Black Nationalist organization in the country. After the death of Elijah Muhammad, the Nation came under the leadership of his son, Wallace Muhammad, who sought to integrate the organization. The fallout over Wallace's rule split the group. A dynamic speaker named Louis Farrakhan reformed the Nation-bringing it back into line with Elijah Muhammad's original message. Farrakhan entered the national spotlight in the 1980s, becoming primarily known for his often-controversial comments and his efforts to build black economic power. In 1995, Farrakhan and the NOI organized the largest gathering of African Americans in history at the Million Man March.

The Nation thrives working in the most depressed urban areas in the country. Converting ex-convicts and recruiting prisoners was a part of the organization from the very beginning, with Malcolm X being only the most famous of the prisoners turned Muslims. Providing security for troubled public housing projects and policing dangerous streets endeared Farrakhan's organization to residents in areas all but abandoned, or in conflict with, the police. Last summer, as Chicago's homicide rate soared, the Nation organized community patrols and outreach efforts. The well-respected anti-violence organization CeaseFire claims the Nation is becoming intimately involved in combating street violence in Chicago's toughest neighborhoods. [18]

Economic nationalism is also still a crucial part of Farrakhan's plan today. The Nation owns 1,500 acres of farmland in Georgia and is apparently looking to buy thousands of more acres in the Midwest, possibly also including vacant land in places like Detroit. Farrakhan continues to call for blacks to save money, invest in property, and build communal economics. All this comes at a time when median wealth for black families is about $5,600. [19]

Other Black Nationalist movements are either very small or local, or are fractured and ineffectual. The New Black Panther Party, formed in 1989, has garnered major headlines in recent years for its rhetoric and protests at various racial hot spots in the country-including a much ballyhooed voter intimidation case in 2008 that was seized on by the right. The NBP also hosted a "Black Power Convention" in 2010 that attracted ex-politicians like Cynthia McKinney and a variety of entertainers from Erykah Badu to Andre 3000. In September the party will hold a "Million Youth March" in Harlem to address the needs of black youth, especially in the aftermath of Trayvon Martin murder. The party's chairman Malik Shabazz described the effort by saying, "The whole purpose of these events is to establish a strong Black Power Movement across America and the world specifically for the youth." [20] It's unclear, however, how many social programs the NBP has or what level of support it enjoys in the black community.

Black Women and the Middle Class

The patriarchal trappings of the Black Power movement drew a large degree of criticism from black female intellectuals. However, it must be remembered that women from Amy Jacques Garvey to Angela Davis championed key tenants of Black Nationalism. Despite that fact though, black women face an "intersectionality" of both racial and gender oppression.

There has been reluctance by Black Nationalist movements to deal effectively with sexism, misogyny, and homophobia within their own ranks. Historian E. Francis White calls for an expanded and less constrained vision of blackness, one that could accommodate differences of gender and orientation. Sociologist Patricia Hill Collins writes of a nationalism that adapts itself to feminist sensitivities. Strides made by black feminists and the gay rights movements will make problematic the rise of any nationalist movement that discounts the desirability of these groups.

The question of the class divide is one that goes back to the days of Garvey or even further. Capitalism has integrated, to a certain extent, the black middle class. Black political power blossomed in many cities and states after the civil rights era, and much of the black bourgeoisie enjoyed an upward mobility unknown to them in the era of segregation. In 1999, over half of African Americans could fit comfortably into the middle class. [21] Yet at the same time the black middle class was in a precarious position.

In a recent groundbreaking book, sociologist Mary Pattilo shows the black middle class tends to live in neighborhoods with substantially higher poverty rates than middle class whites. They also tend to be spatially closer to, or often adjacent to, ghetto neighborhoods. [22] When the sub-prime mortgage crisis hit, most of the hard won gains of the middle class were wiped out. Now even the white middle class is under siege, which means even more pain for the black middle class. Marian Wright Edelman, co-founder of the Children's Defense Fund and a veteran of the civil rights movement, recently said of the emergency facing all of black America, "We face the worst crisis since slavery."[23]

Returning to Black Power?

Shortly before he died, Kwame Ture (Stokely Carmichael) said in an interview with C-Span, "Black Power has not been arrived at; we don't have Black Power yet."[24] There is no political will to deal with the catastrophe facing black America. The recent bankruptcy of Detroit, the largest majority black city in the nation, is a potent reminder of that. Indeed, black political power is fading, ironically in the age of the first black president.

Liberal electoral politics by themselves cannot and will not solve these problems, As Dr. Brittney Cooper pointed out after the fiftieth anniversary of the March for Jobs and Freedom: "Black liberal advocacy in this country for more jobs, less poverty, more education, less prisons, more life chances and less gun deaths doesn't have a fighting chance without a visible radical alternative."[25] Where will this all lead?

Austerity, continued stagnation, and the refusal to address urban and suburban poverty, puts black America at a crossroads. It's unclear what impact the disappointing Obama legacy will have for the future of black politics. Still, regardless of whether a Democrat or a Republican occupies the White House in 2017, it's doubtful any agenda addressing black communities will be discussed, much less enacted. In the months and years ahead, it is possible that we will see the rebirth of a new, almost certainly unique and unexpected version of Black Nationalism. If so, it will come at the darkest hour, and if it does-look for it in the whirlwind.

References

[1] Greg Wallace, "What about the Black Community, Obama," ABC News, August 1, 2008, under "Politics," http://abcnews.go.com/blogs/politics/2008/08/protesters-what/ (accessed August 20, 2013).

[2] See Wilson Jeremiah Moses, The Golden Age of Black Nationalism, 1850-1925 (North Haven: Archon Books, 1978)

[3] Ibid., 100.

[4] Tony Martin, Race First: the Ideological and Organizational Struggles of Marcus Garvey and the Universal Negro Improvement Association (Westport: Greendwood Press, 1976), 33.

[5] Ibid., 13.

[6] Golden Age, 28.

[7] Theodore Draper, The Rediscovery of Black Nationalism (New York: Viking Press, 1971), 49.

[8] Roderick Bush, We Are Not What We Seem: Black Nationalism and Class Struggle in the American Century (New York: NYU Press, 2000), 10.

[9] Joshua Bloom and Waldo E. Martin Jr., Black Against Empire: The History and Politics of the Black Panther Party (Berkeley: University of California Press, 2013), 270.

[10] Dean E. Robinson, Black Nationalism in American Politics and Thought (Cambridge: Cambridge University Press, 2001), 129.

[11] Michael Katz, "Underclass as Metaphor" in The Underclass Debate: Views from History, edited by Michael Katz, 11. (Princeton: Princeton University Press, 1991.)

[12] Loic Wacquant, "From Slavery to Mass Incarceration," New Left Review 13 (January/February 2002) http://newleftreview.org/II/13/loic-wacquant-from-slavery-to-mass-incarceration (accessed August 21, 2013).

[13] Ibid.,

[14] See Michelle Alexander, The New Jim Crow: Mass Incarceration in the Age of Colorblindness (New York: The New Press, 2010)

[15] Rakesh Kochar, Richard Fry, and Paul Taylor, Wealth Gaps Rise to Record Highs Between Whites, Blacks, Hispanics (Center for American Progress, 2011) http://www.pewsocialtrends.org/2011/07/26/wealth-gaps-rise-to-record-highs-between-whites-blacks-hispanics/ (accessed August 20, 2013).

[16] George E. Condon Jr., "Has Obama Done Enough for Black Americans?" nationaljournal.com, May 30, 2013, http://www.nationaljournal.com/magazine/has-obama-done-enough-for-black-americans-20130404 (Accessed August 20, 2013).

[17] Patrick Sharkey, Stuck in Place: Urban Neighborhoods and the End of Progress Towards Racial Equality (Chicago: University of Chicago Press, 2013), 21.

[18] Sophia Tareen, "Farrakhan Focuses on Economics in Chicago Speech," Associated Press, February 24, 2013. http://bigstory.ap.org/article/farrakhan-focuses-economics-chicago-speech (accessed August 29, 2013).

[19] Thomas Shapiro, Tatjna Meschede, and Sam Osoro, The Roots of the Widening Racial Wealth Gap: Explaining the Black-White Economic Divide (Institute on Assets and Social Policy, 2013).

[20] PR Newswire, "Million Youth March 15th Anniversary, Yahoo Finance, September 6, 2013 http://finance.yahoo.com/news/million-youth-march-15th-anniversary-152400694.html (accessed September 1, 2013)

[21] Steven Gray, "Can the Black Middle Class Survive," Salon.com, September 3, 2012 http://www.salon.com/2012/09/03/can_the_black_middle_class_survive/ (accessed August 30, 2013)

[22] See Mary Pattillo-McCoy, Black Picket Fences: Privilege and Peril Among the Black Middle Class (Chicago: University of Chicago Press, 1999)

[23] ibid.,

[24] C-Span, "The Life and Career of Kwame Ture," April 15, 1998.

[25] Brittney Cooper, "Marches Won't Cut it Anymore: Why This Week's Feels Like a Funeral," Salon.com, August 27, 2013 http://www.salon.com/2013/08/27/marches_wont_cut_it_anymore_why_last_weekend_felt_like_a_funeral/

An Open Letter to My Nephews and Niece on the Day After the Trayvon Martin Verdict

[PHOTO CREDIT: MARIO TAMA/GETTY IMAGES]

By Jonathan Mathias Lassiter

Idealism is for young people. I use to believe that the world operated in a just manner. That if you worked hard against oppression, freedom would indeed ring. I must be getting older because I am no longer idealistic. I no longer believe that with enough hard work, a person, regardless of their skin color can achieve anything they wish. And now, writing this, I don’t know if I ever fully believed that. I think I just wished, prayed, and hoped it was true. It required a lot of hope to resist the truth. The truth that your grandfather told me often during my childhood. “As a Black man, you have to work twice as hard to get half as far.” As a child, I thought I knew better. I always worked hard and I was always rewarded. Teachers praised me for my academic achievement. I won awards and was recognized by adults as a “good boy.” It gave me status to be recognized by the powers that be.

But as I began to mature into a man, my eyes started to be opened. I started to realize that being praised by the powers that be is a hollow achievement-a smoke screen for the injustices perpetrated by those powers. That status only made me docile and content with the status quo. I started to realize what your grandfather was talking about. He was not just an angry Black man. He was angry; but that was not all he was. He was outraged! And justifiably so at a world that degraded him because of his black skin. My father-your grandfather-told me with much fervor, the story of his father-your great grandfather’s-discrimination and cruel treatment at the hands of white people. Your great grandfather was a sharecropper in the 1940s and 1950s Jim Crow Georgia. You are young and may not know what a sharecropper is but it is important that you do because being a sharecropper meant that your great-grandfather was relegated to the bottom of a socioeconomic system that exploited his hard work. This same thing still happens at various levels for many different people regardless of their race across the globe today. Anyway, a sharecropper was a person who leased a plot of land from the owner of the land, planted seeds, harvested the crops, and then sold those crops. After selling the crops from the harvest, the sharecropper then had to pay the landowner a percentage of the earnings to pay the bills of leasing the land and any other expenses that were related to farming. The problem with that business model was that the sharecropper was usually left with more debt than profit and remained in a perpetual cycle of poverty and thus bondage. Your great grandfather was such a man and your grandfather was born into such a cycle. One day as your great grandfather was walking down the street with your grandfather-who was a young boy at the time-a white man “much younger” than your great grandfather referred to him as a “boy.” The social climate of that time was such whereas that type of exchange was commonplace and your great grandfather had no recourse. Your great grandfather-a grown man at the time-was subjected to a dehumanizing assault to his manhood and dignity. That unfair treatment stuck with your grandfather and he carried that with him his entire life. And since being told this story as a young boy myself, it has stayed with me.

That story is testament for the lack of regard for Black life. Black skin has been deemed inferior from the first moment European eyes set upon it. It has continued to be deemed inferior with the enslavement of Africans in the Americas and the Caribbean islands. It was deemed inferior when a young woman named Mira was murdered by her slave master in 1839 North Carolina, when a young boy named Emmett Till was murdered in 1955 Mississippi, when Oscar Grant was murdered in 2009 Oakland, and in the murder of Trayvon Martin in 2012 Florida. None of these victims’ loved ones saw justice for these crimes. And there are countless unnamed victims whose lives were deemed inferior enough to take at various times throughout history and presently. However, Black life is not just deemed inferior, it is deemed dangerous. You, my nephews and my niece, are considered dangerous because you have black skin. Some consider you unintelligent, violent, and inferior. But you are none of those things. Please believe me. Please know that.

The white supremacist society we live in is not a new one. Indeed, the mentality-and it is a mentality that enslaves minds and feeds a system of injustice-that privileges whiteness is a global one. We have brothers and sisters in India and China who bleach their skin so that they may achieve or maintain fair complexions. This is a disastrous mentality to have. A mentality that teaches one to so thoroughly hate herself/himself that she/he makes physical alterations to her/his body. However, at this time, my kinfolk in India and China are not in the forefront of my brain. You are. My biggest fear is that you will believe that you are inferior, unintelligent, violent, and dangerous. I am concerned that white supremacist ideas might colonize your mind, plant poisonous seeds, and sprout strange fruit. So in the same spirit that James Baldwin wrote to his nephew in “My Dungeon Shook-Letter to my Nephew on the One Hundredth Anniversary of Emancipation,” I am writing to you, my nephews and niece. There are many people that will consider and treat you inferior but you must resist this messaging no matter how beautifully packaged it is. Many of these people will have white skin and many will be people of color like you. They will consider you inferior because of their own delusional mental schemas. Their opinions have no real bearing in reality and must be taken for what they are: false. You are not Pecola Breedlove or Bigger Thomas.

Many people that look like you will believe that they are inferior and accept negative descriptions of themselves and because they accept those descriptions of themselves they will try to force-feed them to you. Yet, you must again, resist. You come from great stock. Your biological ancestors and the Black men and women who have come before you are proof of your worth. They are outstanding, so you are outstanding! Your brilliance is right in line with George Washington Carver and Benjamin Banneker’s genius. Your artistry is in the tradition of Lorrain Hansberry, Zora Neale Hurston, and Toni Morrison. Your athletic prowess is the same as Ulysses Dove, Jesse Owens, and Wilma Rudolph. Your vision is as searing as Nat Turner, Fred Hampton, and Cornel West. Those people are the solid foundation that you must build upon.

You have a lot of which to be proud. You must be proud of yourself. If you cannot love yourself and realize your importance, no one else can. You must be proud of each and every achievement no matter how small. Even as you work towards the bigger picture, you must celebrate the little victories. You made the honor roll, celebrate! You moved onto the next grade in school, celebrate! You resisted temptation to give up even when the task was difficult, celebrate! You said no to peer pressure, celebrate! Celebrate your survival. But do not be satisfied with survival. You must thrive. However, you must know that thriving does not mean becoming Beyoncé, Brian Moynihan, or President Barack Obama. You must resist gangster activities, whether in a boardroom or street corner. You have a responsibility to struggle for equality, justice, and a fulfilling life for you and your fellow human beings. Thriving is a life lived with purpose, meaning, and integrity.

I write these things because this is the only way you will survive. You may still be gunned down by an insecure, arrogant vigilante. But your spirit, your actions will live on if they are actions carried forth from your soul. From a place of love and not fear. Fear is what makes an adult stalk and kill an unarmed boy. Fear of changes in the status quo, fear of realization of one’s own insecurities, and the possibility that she/he may indeed be the inferior one and not her/his prey. Fear is what fuels complacency. Fear of losing a house, fear of losing a job, fear of having one’s own life taken and then not avenged. Fear is a weapon of colonization that communicates to a people that “this is just the way things are.” After the Trayvon Martin verdict yesterday, I saw a lot of Black people on Facebook type: “I knew he would get off.” That statement points to a larger problem.

I, too, knew that there was a very small chance that George Zimmerman would serve any time for murdering Trayvon Martin. George Zimmerman is just one more person in America who exerted his white supremacist masculinity through violence. However, I am not satisfied with just saying, “I knew it.” The problem is that I should not know it. It should not be a given that Black lives don’t matter. But in this American society it is and has been a given. And honestly, that makes me scared. Scared for you and scared for me. But I will not just sit and pray to Jesus for “real” justice, again as I saw a lot of Black people on Facebook suggesting. Because Jesus will do nothing. That statement will be hard for some people to believe. It might be hard for you to believe. But believe it. The truth about Jesus, what made Jesus such a great prophet was not any mystical powers or divine lineage. We all are connected to the divine in some way or another. But what made Jesus so remarkable was that he did not let his fear conquer him. He knew that there was something greater than him that needed to be accomplished. He knew that his life had purpose and that purpose was to struggle for the freedom of all people, especially the most vulnerable and oppressed. Jesus was a Jewish man-not some blond haired blue-eyed Abercrombie model, don’t believe the hype-who took the side of prostitutes, people with diseases, and children. He did not care if the people in power during that time agreed with him or not. He would not stay silent. Jesus’ mind was thoroughly liberated. He knew that his power was in his voice. In speaking for those who could not speak for themselves. He knew as one of our great teachers, Audre Lorde, knew that “silence [would] not protect him” and that “when [he] dare[d] to be powerful, to use [his] strength in the service of [his] vision…it [became] less and less important whether [or not he was] afraid. That is the power of Jesus and other great prophets like Malcolm X, Toussaint Louverture, and Shirley Chisholm. So do not give into the complacency of religion. Your higher power is powerful but only as powerful as you are willing to be. You must use your voice. You must speak the truth from a decolonized mind. You must not remain docile in a system that does not value you and will seek to subjugate and/or kill you because of your black skin or any other reason.

I am trying to lead by example. I am trying to speak the truth. This letter does not feel like enough as I write it. But in a world where the dominating systems in operation are designed to stifle growth and maintain the status quo, one’s words and mind are the most powerful tools. If they remain uncolonized and free they are the instruments of creation. A person can create her/his world with her/his ideas and words. Ideas become words, and words become actions. And actions become change. There might be times where you do not know what to say: follow your heart. Listen to the voices within that come from your lived experience. Look at the world around you and know that what you see does not have to be. The status quo is not the best you can do. I am trying to be an example for you. That is why I have been away from home in graduate school for six years now. That is why I have not been able to see you grow up. I am trying to better myself so that I may speak from a place of truth and help others better themselves. I am trying to make the world a little better for you. And you must make the world a little better for others. That is hard work. It requires sacrifice, sitting with ambiguity, tolerating anxiety, failing sometimes, and the ability to move forward in a world in which the ground is constantly moving. It requires for you to be a critical thinker who does not except easy binary solutions or idealized versions of society.

So if you have not been freed from your idealism, you will soon experience such emancipation. The world we live in is a cruel and harsh teacher. This letter is written in hopes that it may inspire you and provide some type of path for you along your journey from children to adults. From complacent citizens to trailblazers for freedom. You, I, your parents, classmates, and fellow human brethren live in difficult times. My heart hurts for Trayvon Martin. I am tempted to fall into cynicism and question all my struggles for justice. But the truth is that all of our time on this earth is limited. Whether we are killed in our own neighborhoods by people who look like us with white supremacist ideas burrowed into their minds, terrorized by people with white skin, or go gently into that good night, we all have a finite amount of time to live our lives with purpose and to struggle against all odds for freedom. The struggle for freedom starts with the individual. It starts in our own minds. You must start with your mind and then spread the message of liberation to others. Once you have decolonized your mind, you will then be able to struggle for the liberation of others-whether you achieve it or not. You may not achieve all of your dreams and you might not change the world but you must continue to struggle to make your dreams your reality and to make the world a little better for your future children and nephews and nieces to live. And as your grandfather told me, you are going to have to work twice as hard to get half as far. And not just because you have black skin but because you are working against a nefarious system. But you must work twice as hard, three times as hard because at least you will have moved at all. And that movement can change a world.

How Capitalism Underdeveloped Hip Hop: A People's History of Political Rap (Part 2 of 2)

By Derek Ide

Disclaimer: The language expressed in this article is an uncensored reflection of the views of the artists as they so chose to speak and express themselves. Censoring their words would do injustice to the freedom of expression and political content this article intends to explore. Therefore, some of the language appearing below may be offensive to personal, cultural, or political sensibilities.

Read Part 1 here.

West Coast Projects, the Rise of Gangsta Rap, and Congress's War on the Youth

Gangsta Rap burst forth in its nascent form in the late 1980's in the heart of Los Angeles. To comprehend how this subgenre of rap developed, however, the ruthless conditions which originally produced the gang epidemic must be recognized. Institutionalized racial segregation, economic deprivation, and social degradation, enforced by hegemonic government and business structures, had historically plagued communities of color in the area and produced a distinct history which would give rise in the 1980's to a prodigious spike in gang activity and violence. Historically marginalized groups would be pitted against one another in despondent economic conditions and forced to compete amongst themselves for the paltry scraps that fell from society's table. Government departments, banking agencies, and the real estate industry would play into the game of get-rich-quick racial segregation. Redlining, the practice of denying or increasing costs of housing and insurance to economically segregate communities along racial lines, played a fundamental role in the homogenous racial composition of west coast urban areas. In 1938, the Federal Housing Administration released an underwriting manual which all lenders were forced to read, explaining that areas should be investigated in order to determine "the probability of the location being invaded" by "incompatible racial and social groups" and, more importantly, that for a "neighborhood is to retain stability" it must "be occupied by the same social and racial classes" because a change in these would lead to "instability and a decline in values." [1] Some entrepreneurs "figured out how to hustle racial fear" [2] by buying at low prices from whites fleeing their homes and selling to blacks at prices significantly higher than market level. This effectively kept blacks and whites segregated into different neighborhoods.

After World War II, public housing projects were constructed, giving Watts the highest concentration of public housing on the West Coast. [3] Combined with this historic segregation, the 1980s brought with it "deindustrialization, devolution, Cold War adventurism, the drug trade, gang structures and rivalries, arms profiteering, and police brutality" which would combine to "destabilize poor communities and alienate massive numbers of youth." [4] In the same decade 131 manufacturing plants closed their doors, Los Angeles's official unemployment was at 11 percent in 1983 and in South Central youth unemployment was over 50 percent, one quarter of Blacks and Latinos lived below the poverty line, and living conditions had drastically declined. [5] Even when gangs attempted to make peace and establish long-standing treaties with one another, no infrastructure was in place to maintain stable communities with jobs and social services. In fact, when the leaders from seven rival gangs called a truce and marched to City Hall to request funding for social services, they were told they could apply for a paltry $500 grant. [6] This denial was on top of the conservative economic agenda dominating the political domain at the time which had already cut spending on subsidized housing by 82 percent, job training and employment by 63 percent, and community service and development programs by 40 percent from post-World War II era progressive spending policies. [7]

It was within these conditions that by the 1980s, after the dismantling of political organizations such as the Black Panthers and Young Lords, 155 gangs would claim over 30,000 members across the city. [8] Gangsta rap, as it was labeled, would attempt to articulate, and in some instances glorify, the street life so common in Los Angeles. Immortal Technique points out that a "factoid of information probably purposely forgotten through the years is that before it was labeled 'Gangsta Rap' by the industry itself it was called 'Reality Rap' by those individuals that created it." [9] Political prisoner and former Black Panther Mumia Abu-Jamal explains that the music was spawned by young people whom felt "that they are at best tolerated in schools, feared on the streets, and almost inevitably destined for the hell holes of prison. They grew up hungry, hated and unloved. And this is the psychic fuel that seems to generate the anger that seems endemic in much of the music and poetry." [10] This anger would shine through on tracks such as "Straight Outta Compton" by N.W.A., where rapper Ice Cube explains that he's "From the gang called Niggaz With Attitudes" and "When I'm called off, I got a sawed off, squeeze the trigger, and bodies are hauled off!" [11]

Their rhymes signified a shift from the revolutionary programs set forth by previous political rappers and instead focused on a complete self-indulgence in instant gratification; drugs, women, the murder of enemies and assassination of police, everything was fair game. It was N.W.A.'s track entitled "Fuck tha Police," released in 1988, which garnered national media attention. The rather prophetic song would become a universal slogan in ghetto communities just four years later with the police beating of Rodney King and subsequent urban uprisings. Disgusted with the police brutality they witnessed regularly, N.W.A. would take up the issue, not politically, but with an individual vengeance and wrath previously unmatched. Beginning with fictitious court hearing in which "Judge Dre" would preside "in the case of NWA versus the police department," the "prosecuting attorneys" MC Ren, Ice Cube, and Eazy E would each lay out their case against the Los Angeles Police Department. Ice Cube's opening lines, brimming with unparalleled virulence, would set the tone: "Fuck the police comin' straight from the underground, young nigga got it bad cuz I'm brown, and not the other color so police think, they have the authority to kill a minority." Reminiscent of Paris's earlier fantastical verbal assassination of President Bush, MC Ren would warn police "not to step in my path" because "Ren's gonna blast," and, turning the tables, he confidently proclaims his hatred towards the police "with authority, because the niggas on the street is a majority." Eazy E finishes the last verse, emphasizing that fact that cops should not be perceived as immune to violent resistance: "Without a gun and a badge, what do ya got? A sucka in a uniform waitin' to get shot." [12] The controversy revolving around this song would push the album it was featured on, Straight Outta Compton, to double platinum status. By June of 1989, the right-wing backlash against N.W.A. would be front page news, an entertainment manifestation of the "War on Gangs" which L.A. Police Chief Darryl Gates had already brought to South Central.

The atmosphere of late 1980's was dictated by punitive measures explicitly directed at youth and relentless attacks on youth culture. The Street Terrorism Enforcement and Prevention Act was passed in 1988 and enhanced punishments for "gang-related offenses," created "new categories of gang crimes," and gave up to three years in state prison for even claiming gang membership. [13] This piece of legislation had profoundly harmful repercussions for youth who identified with, or even may have displayed certain characteristics of, being involved with a gang; police considered any combination of two of the following examples to constitute gang membership: "slang, clothing of a particular color, pagers, hairstyles, or jewelry." [14] Within a decade most major cities and at least nineteen states had similar laws. [15] The crossover into what became a congressional attack on Gangsta rap was facilitated by opportunistic politicians who pounced excitedly on the chance:

Tipper Gore, the wife of former vice president Al Gore, and Susan Baker, the wife of Bush's former campaign manager, James Baker, formed Parents Music Resource Center (PMRC) which called for, and received, a congressional hearing on record labeling. Every song listed by the PMRC and presented at the congressional hearing as being too explicit and obscene and in need of censorship labeling was done by a Black artist. [16]

While politicians and networks of Christian fundamentalist groups had already begun anti-hip-hop campaigns under a guise of protecting morality, what Thompson labeled the "cultural civil war," [17] it was failed liberal politician and head of the National Political Congress of Black Women, C. Delores Tucker, who spearheaded the congressional war on Gangsta rap. Teaming up with cultural conservatives, Tucker, through a façade of feminism and racial pride, organized a concerted campaign against rap in order to push through legislation that strengthened juvenile-crime laws and crackdowns on youth. Inverting cause and effect, she argued that the hip-hop generation would become internalized "with the violence glorified in gangster rap" and that rap music created a "social time bomb" which would "trigger a crime wave of epidemic proportions," only to be stopped by smothering the cultural and musical developments of ghetto youth. [18]

Among some of her chief targets was Tupac Shakur (2Pac), who was not quiet in his opposition to Tucker and her political opportunism. Tupac, staying true to his roots on "Nothin' But Love," outlines the composition of his family tree as one of "Panthers, pimps, pushers, and thugs;" [19] this unique mixture helped him to articulate a conception of the rebellious ghetto lifestyle blended with the legacy of black struggle into what he termed "Thug Life." An acronym, which stood for "The Hate U Gave Little Infants Fucks Everybody," [20] his idea of "Thug Life" was a "new kind of Black Power" [21] that young black males were forced to live through:

These white folks see us as thugs, I don't care if you a lawyer, a man, an 'African-American,' if you whatever…you think you are, we thugs and niggas [to them]…and until we own some shit, I'ma call it like it is. How you gonna be a man when we starving?... How we gonna be African-Americans if we all need a gun? [22]

Tupac, whose mother Afeni Shakur was a prominent Black Panther and political activist, would utilize his connections with the streets and balance his music with historical connections to political organizers such as Huey Newton and chilling urban tales of despondent situations such as the fictitious tale of the teenage mother Brenda and the ever-present black-on-black violence. Through this unification of social commentator and street participant, Tupac would authenticate his image to millions of youth, black and white alike. Tupac's response to Tucker's critique of the lyrical content of his music was redolent of Chuck D's interpretation of rappers as journalists who help to show the world the gruesome reality of urban street life; as he argued, "I have not brought violence to you. I have not brought Thug Life to America. I didn't create Thug Life. I diagnosed it." [23]

Furthermore, according to Dyson, the attempt to suppress "gangsta rap's troubling expressions" is manipulated for "narrow political ends" that fail to "critically engage…artists and the provocative issues they address." [24] While dialogue concerning rampant homophobia, sexism, and other dehumanizing aspects of certain rap artists should be challenged, it should be done so in a way that does not alienate and isolate, but engages and allows for the artist to transcend both actions that reflect the dominant ideology and the use of oppressive language. Rapper and activist Son of Nun summarizes his position:

Some real rappers spit truth every night, but say stupid shit when it comes to gay rights. They talk about the Panthers, but they never knew that Huey woulda' called their asses out for what they do…So, in my music, I try not to call out specific emcees…[because] I realize that I have more in common with them, then I'll ever have in common with the label head or the corporate people putting that music out… [Despite sexist or homophobic remarks] when you read the interview and listen to some lyrics, you'll see that there's a revolutionary consciousness that's there at the same time…and I'd rather see those brothers as my comrades whom I can build with, as opposed to people I need to chop down and diss… [25]

This extension of the right-wing economic attack on working class and poor youth into the cultural realm, as exemplified by politicians like Tucker, should not be viewed in isolation from the larger historical trends occurring at the same time; it operated within a certain political economy and aided the perpetuation the dominant ideology required in order to push through neoliberal economic policies.

The mental framework in which Gangsta rap functions is articulated by Immortal Technique, drawing on the theoretical contributions to education outlined in Paulo Freire's Pedagogy of the Oppressed, he explains, "Our youth and young adults see these gangstas and other ruthless men [famous gangsters, drug kingpins, etc.] as powerful beyond the scope of a government that holds them prisoner. People emulate their oppressor and worship those that defy him openly." [26] This does not, however, mean that Gangsta rap is devoid of a political foundation or that it should be ostracized by the Hip-hop community. As Dyson argues, "While rappers like N.W.A. perform an invaluable service by rapping in poignant and realistic terms about urban underclass existence, they must be challenged…[to understand] that description alone is insufficient to address the crises of black urban life." [27] Thus, this fusion of gangster and rebel, a sort of misguided revolutionary, groping in the darkness of urban decay and abandonment for a way to challenge oppressive, hegemonic institutions, finds its musical expression in the West Coast rap scene. Today, gangsta rap has spread far beyond the streets of L.A. and into every neighborhood, ghetto, suburb, country, to every corner of the world. The rebellious, gangster appeal, devoid of social content and reality, continues to be marketed on every street corner; a sort of "manufactured, corporate bought thug image" is pushed to the youth while "the Revolutionary element is for the most part completely sanitized by the corporate structure."[28]

Corporate Consolidation and the Telecommunications Act

This rejection of the revolutionary and embrace of the thug caricature so common in contemporary hip-hop is, in large part, a result of corporate monopolization of radio airwaves and dismantling of independent record labels. For years, questions concerning rap's viability as a musical genre and it's viability as a pop music sensation surrounded the relatively young art. Industry executives looked upon rap with disdain, viewing it as a niche market unsuitable for broad consumption. This allowed the genre to slip under corporate radar and maintain a sense of independence from major pop labels for a significant period of time. After the innovative development in 1991 of SoundScan that utilized bar-code recording to garner hard data on music sales and replaced the previous "archaic method" which had relied on the retail personnel who compiled weekly, subjective reports of sales trends "open to interpretation," [29] rap was found to have a much broader appeal than originally thought. With this new, more objective methodology of measuring music consumption, rap jumped from the relative obscurity of being a subcultural phenomenon to a major competitor with rock and pop music on the Billboard charts. [30] The "underreporting of rap was a result of long-standing cultural sensibilities and racial assumptions" [31] on the part of retail personnel. Subsequently, industry executives who still may have "harbored ill feelings toward the genre" could no longer "ignore the sales data SoundScan provided…[or] the huge financial payoff it offered." [32] As hip hop observer and critic Craig Watkins explains, "In an industry that had long ago sold its soul to the guardians of capitalism, the commercial compulsions that operate among culture industry executives are a powerful force." [33] The music, however, would have to be tamed considerably.

These commercial compulsions galvanized industry executives to tighten their stranglehold on rap music. In order to protect their status within the capitalist framework and pop music industry, executives were forced to marginalize and reject progressive, dissident, revolutionary, socialist, or any other form of independent and autonomous rap that may present a systemic critique of the established relations of power in society. Corporate hip-hop, as exemplified with the rise of rappers like 50 Cent in 2003, "rested almost entirely on its ability to sell black death" where "guns, gangsterism, and ghetto authenticity brought an aura of celebrity and glamour to the grim yet fabulously hyped portraits of ghetto life." [34] Statistics are not conclusive, but Mediamark Research Inc. estimates that whites constitute around sixty percent of the consumer market for rap in the United States. [35] Other sources, such as Def Jam CEO Russell Simmons, place the number somewhere closer to eighty percent. [36] Regardless, it is obvious that hip-hop is not an exclusively black culture; the composition of the consumer market facilitates a sort of "cultural tourism" where a "staged authenticity" [37] filled with racial stereotypes of black culture can be marketed to white youth.

Corporate consolidation of media outlets has galvanized this process of promoting a certain image of ghetto youth while downplaying the revolutionary or counter-hegemonic sentiments expressed in the music. Major labels and corporate conglomerates have very little interest in promoting artists who question capitalism or the free market fundamentalism. After all, it was that very system which originally granted them the ability to garner the enormous capital required to build their constantly expanding media empire. Immortal Technique articulates this concept:

The hood is not stupid, we know the mathematics / I make double what I would going gold on Atlantic / 'Cause EMI, Sony, BMG, Interscope / Would never sign a rapper with the white house in his scope / They push pop music like a religion / Anorexic celebrity driven / Financial fantasy fiction. [38]

Without an understanding of the significant role that major media outlets play in promoting a specific paradigm, especially in the case of a popular musical juggernaut such as rap, the rise of the glorified, gangster image cannot be concretely analyzed. Chang comments that "a lot of times people will talk about 50 Cent, but they won't talk about the structures that have made a 50 Cent possible." [39] The structures Chang refers to are multifaceted, and include broad neoliberal market deregulations that, since the 1970s, allowed for massive corporate takeovers of independent record labels and a consolidation of radio and other media outlets. For instance, by 2000, five companies - Vivendi Universal, Sony, AOL Time Warner, Bertelsmann, and EMI - dominated eighty percent of the music industry. [40] One act in particular, however, the Telecommunications Act passed by Congress in 1996, presented "a landmark of deregulation," a "legal codification of the pro-media monopoly stance" that allowed the free market to shift power "decisively in the direction of the media monopolies." [41] The passage of this act had a percussive impact on the artists' creative control over their music.

The Telecommunications Act relaxed ownership limits over radio and television for corporate entities, essentially creating fewer corporate conglomerates with concentrated control over various media outlets. Congress ostensibly passed the act under the tenuous postulation that "a deregulated marketplace would best serve the public interest." [42] As to be expected, its passage spurred a rapid absorption of smaller, local radio stations into the hands of large, already established companies such as Clear Channel,[43] Cumulus, Citadel, and Viacom. [44] The result was that hundreds of jobs were decimated, community programming was abandoned, and radio playlists became standardized across the country. [45] For a stations like KMEL-FM in the Bay Area, whom prided themselves on being a "people's station" by engaging in social issues affecting the San Francisco community, this meant being bought out and merged with competing stations; playlists became nearly identical, specialty shows were cut, local personalities were fired, and local or underground artists "unable to compete with six-figure major label marketing budgets" were left without a venue. [46] Artists like Binary Star, who challenged the gangster caricature, would become, even more than before, systematically excluded by these corporate structures. Rhymes, such as those displayed on one of Binary Star's most well-known tracks "Honest Expression," [47] would be consistently ostracized from airplay.

Conglomerates like Clear Channel, unlike locally controlled radio, had no community affairs department to foster dialogue or promote local artists with fresh sounds or unique lyrics. [48] Companies downsized to maximize profits and regional programmers overtook local ones, signifying a further shift from local interests of listeners. [49] The ever-present need to increase profitability also galvanized some stations to replace live disc jockeys with prerecorded announcers who would create localized sound bites and patch together entire shows based upon a master copy that was filtered down through regional and local distributors; [50] radio truly became top-down. Subsequently, the public sphere in which artists could contest the image of the apolitical gangster or socially devoid party-goer shrunk rapidly. Corporate rap became a medium through which content was filtered and sterilized while dissident voices were marginalized or shut out completely. Even political rap was reworked into a specific consumer niche; "defanged as 'conscious rap,' and retooled as an alternative hip-hop lifestyle," the prefix became "industry shorthand for reaching a certain kind of market" instead of an authentic, organic title. [51]

Thus, as is the trend in a capitalist society where the "market...does not assure that all relevant views will be heard, but only those that are advocated by the rich [and can market a product of mass appeal that will attract advertisers, which dominate the programming message]," the Telecommunications Act has had profoundly negative implications upon hip-hop's autonomy and ensured that the media landscape was "dominated by those who are economically powerful."[52] Likewise, the prodigious increase in corporate consolidation facilitated the process by which consumption could be artificially managed and manipulated by the "mass media's capacity to convey imagery and information across vast areas to ensure a production of demand." [53] Therefore, the exclusion of particular forms of musical expression, especially those deemed political or controversial, are replaced with corporate-driven, marketed images of young black males adhering to a socially constructed thug stereotype. Fokami explains:

Corporations which dominate the media, have heavily marketed (to influence consumer demand), produced and perpetuated, the gangsta image by, among other things, playing gangsta rap lyrics, almost to the exclusion of other alternative voices that would contest such lyrics or image... The Act has made it virtually impossible for alternative voices in rap (either by the gangsta rappers themselves through their alternative "positive" tracks or by other "positive" rap artists) to be heard on the radio, since corporate conglomerates are less concerned with diversity in ideas but in meeting market created consumer demand for such lyrics. [54]

Thus, while congressional attacks were pummeling rap music for degrading lyrical content and demeaning music videos, the same politicians were simultaneously passing laws which facilitated the crystallization of apolitical, socially devoid gangsta rap into mainstream pop culture. This apparently blatant contradiction is, when viewed in the context of the capitalist state, much more consistent than at first glance; the political establishment sought to promote corporate consolidation and media monopolization, thus limiting public space for dialogue and debate in the hip-hop community, which, in turn, allowed them to pursue a the preferable path of blaming the victims for society's woes. Avoiding an uncomfortable and possibly incriminating dialectical analysis which would address the root cause, namely the dominant political and economic system, that perpetuates many of the social blights expressed in rap music, politicians attack the youth, and especially Black and Latino youth, for problems that plagued urban communities long before rap music hit the scene.

Bursting Onto the Mainstream Scene and Contemporary Political Rap

Hip-hop stepped forward into the mainstream political establishment in 2004 when it had a brief, rather superficial media campaign targeting youth voters. Rap mogul Sean "Diddy" Combs used hip-hop as a platform to organize a campaign under the sensationalist title "Vote or Die" as an attempt to register younger voters, garner youth participation, and generate excitement about the elections. While registering voters was only a marginal success, [55] it was clear the goals were decidedly apolitical with little actual political motivation for urban youth who, for years, had felt alienated from mainstream political discourse. The two candidates put forward by America's ruling elites, George Bush and John Kerry, had platforms so similar it was challenging to generate enough interest for young people to mobilize within the context of the two-party duopoly. Four years later, however, hip-hop would emerge as an unimaginably powerful advertisement for Barack Obama. His 2008 campaign sparked immense interest within the hip-hop community and debate flourished over whether or not hip-hop should stand behind Obama. It was little more than a decade prior that Tupac hopelessly exclaimed "although it seems heaven sent, we ain't ready, to see a Black president" on the song "Changes." [56] Now, energized by a candidate whom, for the first time, they felt would reach out to the hip-hop generation, many artists, such as Jay-Z, took center stage in fundraising concerts and spoke proudly of their involvement in his campaign. Nas, one of hip-hops "most brilliant orators" [57] whose own political trajectory involved going from conscious gangster with his first album Illmatic (1994) to passionate revolutionary with his latest release Untitled (2008), "captures the gambit of fears, hopes and doubts that swirl together in the consciousness" [58] of the black community on the track "Black President:"

KKK is like "what the fuck," loadin' they guns up / Loadin' mine too, ready to ride / Cause I'm ridin' with my crew / He dies--we die too / But on a positive side / I think Obama provides hope and challenges minds / Of all races and colors to erase the hate / And try and love one another, so many political snakes / We in need of a break / I'm thinkin' I can trust this brotha / But will he keep it way real? / Every innocent nigga in jail gets out on appeal / When he wins--will he really care still? [59]

Nas is not alone in his critical support for Obama; Mary J. Blige and rapper Big Boi from Outkast compose a song of solidarity for the working class and poor in "Something's Gotta Give," which challenges Obama to truly listen to the concerns and pressures of urban communities while earnestly calling for desperately needed social change. Big Boi articulates his working class consciousness when he rhymes, "You know the common folk, blue collar, day-to-day workers that squeeze a dollar / so maybe they can swallow a little, not a lot, just enough to fill that bottle / But it's a million dollars a gallon for gas to get to work tomorrow." [60] Unapologetically political, well-known artists creatively maneuvered political dialogue and discussion into the mainstream discourse.

Still, these odes to Obama were able to push through corporate outlets partly because their content and message remained safely within the established political borders. Obama, after all, garnered large support from many of the capitalist classes ruling elites, whom viewed the Republicans eight-year run as disastrous for the United State's economic power and image abroad. Despite this brief stint within mainstream circles, political hip-hop did not begin, and it will not end, with Obama. Radical hip-hop and revolutionary artists like Immortal Technique, Dead Prez, Paris, Lupe Fiasco, Son of Nun, and an innumerable amount of other artists remain marginalized and embroiled in the struggle to spread their message in the face of a competitive, cut-throat jungle of corporate conglomerates and consolidated, top-down radio. Often, hip-hop artists formulate unique narratives or relay stunningly academic critiques of society that tie together seemingly separate issues and help the listener foster a more critical, holistic analysis of larger societal forces.

On his latest single, "3rd World," Immortal Technique utilizes a percussive, hard-hitting instrumental produced by DJ Green Lantern to expose U.S. imperialism and militarism across the globe, brilliantly explicating on the concept of contemporary war as a natural outgrowth of capitalism. Born in Peru and representing his "Third World" roots, Technique explains that he is:

From where the only place democracy's acceptable, is if America's candidate is electable… from where they overthrow Democratic leaders, not for the people but for the Wall Street journal readers… So I'ma start a global riot, that not even your fake anti-Communist dictators can keep quiet!

On "Ghetto Manifesto," The Coup humorously outline ghetto conditions, sardonically utilizing hip-hop lingo to emphasize their point, "Got a house arrest anklet but it don't bling bling, got a homie with a cell but that shit don't ring!" Later, they put out a call for organization and mobilization, explaining "even renowned historians have found that, the people only bounce back when they pound back." They simultaneously challenge nationalist ideology, "the trees we got lifted by made our feet dangle, so when I say burn one I mean the Star-Spangled." A plethora of underground and independent rap artists express similar themes which address the need for autonomous political organization and present alternative, more humane visions for society.

Hip-Hop at a Crossroads: Conditions Today and Where Do We Go From Here?

Hip-hop was cultivated in the streets as an innovative response of urban minorities, traditionally marginalized by dominant political and economic structures, seeking a voice of their own. Alienated by harsh conditions imposed upon them by an advanced capitalist society, these urban youth sought an outlet where they could foster their own conceptions of identity and challenge institutional oppression, whether individually or collectively. Poverty, unemployment, a decrepit educational system, cuts in social services, and capitalism's inherent need to maintain a permanent underclass blended together to create a matrix in which a new, counter-hegemonic culture would emerge with the dialectically opposed characteristics of both the oppressor and the liberationist. Today, the devastating conditions which birthed hip-hop remain a reality and, in some instances, have intensified. The recent crisis capitalism has found itself in continues the downward spiral and the world economy appears close to collapse. The conditions for the working-class and the poor, however, have only worsened over the thirty years since hip-hop established itself as a cultural entity. Unemployment is skyrocketing nationally across color lines but in many cities, such as Milwaukee, Detroit, and Chicago, black unemployment is at or near 50 percent. [61] Already claiming the highest rates of poverty in the industrial world, U.S. poverty statistics have risen drastically since the onset of the world banking crash, placing both Blacks and Latinos at or above 20 percent; youth minority statistics are often much higher. [62] The loss of jobs, combined with the collapse of the housing market and sub-prime predatory lending, has pushed an immense amount of working-class residents out of their homes[63] and left nearly fifty million people without healthcare. [64] Schools, after a brief glimmer of hope with post-civil rights integration, have become more segregated now than they were thirty years ago with public school systems in Chicago, St. Louis, Los Angeles, Detroit, Philadelphia, Cleveland, and many other urban areas 80-95 percent Black and Hispanic. [65]

Thus, the conditions in which hip-hop originally arose have not improved. Social commentator and activist Keeanga-Yamahtta Taylor postulates these are rational outcomes of the dominant political economy:

The material impact on the lives of Black workers should be clear enough, but ideologically, the systematic and institutional impoverishment of African American communities perpetuates the impression that Blacks are inferior and defective. These perceptions are perpetuated and magnified by the mass media, Hollywood and the general means of ideological and cultural production in bourgeois society. The recurrence and persistence of racism in this economic system is not accidental or arbitrary. American capitalism is intrinsically racist. [66]

Like Taylor, independent hip-hop has, throughout its existence, maintained a critical approach to the capitalist mode of production and the material conditions resulting from it. On "Window to My Soul," Stic.man of Dead Prez painfully professes the emotional trauma he experienced as he watched his older brother develop a serious drug addiction. Rather than blame the individual, an old rhetorical tactic utilized to conceal social inequality and displace blame, even more prevalent now that a Black man occupies the Whitehouse, [67] Stic.man addresses the larger socioeconomic forces which often dictate and limit choices for the urban poor:

The same conditions that first created the drug problems still exist… / And on days off, we blow off them crumbs like nothing / Getting high cause a nigga gotta get into something / But we get trapped in a cycle of pain and addiction / And lose the motivation to change the condition… / How did Black life, my life, end up so hard? [68]

He questions the entire wage system and bourgeois morality with piercing lines such as "got to go to the job or starve, without a gun every day employees get robbed." Questioning whose interests are served in the perpetuation of the current system, he concludes that it's "the police, lawyers, and judges, the private owned prison industry with federal budgets." He ends with an unapologetic proclamation that the oppression of blacks is systemic, but oppressed communities cannot turn to individualized forms of escapism and instead must discuss the organization of society as it currently exists, "I blame it on the system but the problem is ours, it's not a question of religion; it's a question of power." [69] The call to a revolutionary alternative, although not always explicitly detailed, has been a persistent theme in the language of political rap. This, undoubtably, is due to the fact that many within the oppressed communities share Taylor's conviction that the dynamic interrelationship between wealth, power, poverty, and the institutional forms in which oppression is manifested.

The landscape of independent, political hip-hop is constantly changing, progressing, and evolving. In the last few years, the augmentation of revolutionary hip-hop which aims to combat traditionally oppressive societal institutions and entrenched corporate structures provides a glimpse of the potential for the art's future. Hip-hop's place in politics extends far beyond a presidential election or congressional debates on explicit content; hip-hop, in the words of Dead Prez's M-1, "means sayin' what I want, never bitin' my tongue / hip-hop means teachin' the young." [70] Immortal Technique tells it like this, "I live and breathe Revolution, Rebellion is in my blood and Hip Hop is the heart that pumps it." [71] Two decades into the rap game, Paris provides a way forward with the newest single, "Don't Stop the Movement," from his independently owned label Guerrilla Funk:

Givin' power to the people to take back America / Panic in the head of the state, pass the Derringer / Aim and shoot, Beruit to Bay Area… / Panther power, acid showers/ This land is ours, stand and shout it… / Hard truth revolutionary black militant / Death to the Minutemen, checks to the immigrants / Streets still feelin' it, we still killin' it / We still slaughterin' hawks, feed the innocent / Read the imprint / Guerrilla Funk was birthed outta' necessity, collectively / Respectively, to behead the beast / On behalf of the left wing scared to speak, NOW GET UP! [72]

Expressing the need for solidarity between the struggles against militarism in the Middle East, black oppression in the U.S. and dehumanizing anti-immigration policies, the chorus warns activists to not stop the movement for social justice and liberation. It ends with a recording of the common protest chant which proclaims that "the people, united, will never be defeated." KRS-One comments that hip-hop is the only place Dr. Martin Luther Kings dream is visible, "black, white, Asian, Latino, Chicano, everybody. Hip-hop has formed a platform for all people…that, to me, is beyond music." [73] As underground rap artist Macklemore urges his listeners, "to my real hip-hop heads, please stand up, because the only ones who can preserve this art is us." [74]

The battle continues to rage over hip-hop's soul. Two contradictory forces clash to gain dominance: one representing the great wealth and power of the established order, the other struggling for independence, autonomy, and social change. Black intellectual Manning Marable makes the argument that "cultural workers," such as hip-hop artists, "must be able to do more than rhyme about problems: they have got to be able to build organizations as well as harness the necessary monetary resources and political power to do something about them." [75] To answer the question of what role hip-hop will play in the formation of such revolutionary organizations and movements depends on which side wins, the power of profit or the power of the people. For hip-hop activists to rescue the art form from capitalism's corporate clutches it will take dedication, organization, and education; time will tell if the hip-hop generation is up to this onerous task. The very essence of the culture is at stake.

Notes

[1] Keeanga-Yamahtta Taylor, "Origins of Housing Discrimination," International Socialist Review, Issue 59, (May-June 2008), accessed 5 April 2009; available from http://www.isreview.org/issues/59/letters.shtml; Internet.

[2] Chang, 307.

[3] Ibid., 308.

[4] Ibid., 315.

[5] Ibid., 314-5.

[6] Ibid., 367-8.

[7] Ibid., 279.

[8] Ibid., 314.

[9] Immortal Technique, "Gangsta Rap is Hip Hop," HipHopDX.com, accessed 5 April 2008; available from http://www.hiphopdx.com/index/columns-editorials/id.692/title.is-gangsta-rap-hip-hop-by-immortal-technique ; Internet.

[10] Mumia Abu-Jamal recording on Immortal Technique, "Homeland and Hip Hop," Revolutionary Vol. 2, 2003, Viper Records.

[11] N.W.A., "Straight Outta Compton," Straight Outta Compton, 1988, Ruthless/Priority.

[12] N.W.A., "Fuck tha Police," Straight Outta Compton, 1988, Ruthless/Priority.

[13] Chang, 388.

[14] Ibid., 388.

[15] Ibid., 388.

[16] Folami, 263.

[17] Chang, 292.

[18] Ibid., 453.

[19] Tupac Shakur, "Nothin' But Love," R U Still Down? (Remember Me), 1997, Jive.

[20] Urban Dictionary, accessed 5 April 2009; available from http://www.urbandictionary.com/define.php?term=thug+life; Internet.

[21] Shakur, "Tupac Resurrection Script."

[22] Ibid.

[23] Ibid.,

[24] Dyson, 414.

[25] Son of Nun, "Son of Nun - Hip Hop Artist and Activist," SleptOn Magazine, accessed 5 April 2009; available from http://www.slepton.com/slepton/viewcontent.pl?id=1955; Internet.

[26] Immortal Technique, "Gangsta Rap is Hip Hop."

[27] Dyson, 407.

[28] Immortal Technique, "Gangsta Rap is Hip Hop."

[29] Watkins, 36-7.

[30] Ibid., 39.

[31] Ibid., 39.

[32] Watkins, 41-2.

[33] Ibid., 42.

[34] Ibid., 2-3

[35] Manning Marable, "The Politics of Hip Hop," World History Archives, accessed 5 April 2009; available from - http://www.hartford-hwp.com/archives/45a/594.html; Internet.

[36] Carl Bialik, "Is the Conventional Wisdom Correct in Measuring Hip Hop Audience?" The Wall Street Journal, accessed 5 April 2009; available from http://online.wsj.com/public/article/SB111521814339424546.html; Internet.

[37] Dean MacCannell, In The Tourist: A New Theory of the Leisure Class (Schocken Book 1976), 153.

[38] Immortal Technique, "Watch Out," The 3rd World, 2008, Viper Records.

[39] Chang quoted in Jones, "Politics of Hip-Hop."

[40] Chang, 443.

[41] Ibid., 440-1.

[42] Anastasia Bednarski, From Diversity To Duplication Mega-Mergers And The Failure of

the Marketplace Model Under The Telecommunications Act of 1996 , (2003), 273, 275.

[43] Adam J. Van Alystyne, Clear Control: An Antitrust Analysis Of Clear Channel's Radio And Concert Empire, (2004), 627, 640.

[44] Folami, 291-2.

[45] Chang, 441-2.

[46] Folami, 300.

[47] Binary Star, "Honest Expression," Masters of the Universe, 2000, Infinite Rhythm/Subterraneous/L.A. Underground. Lyrics such as these present a challenge to the corporate gangster image: "I ain't hardcore, I don't pack a 9 millimeter / Most of y'all gangster rappers ain't hardcore neither… So what you pack gats and you sell fiend's crack / You ain't big time, my man / You ain't no different from the next cat in my neigberhood who did time."

[48] Chang, 442.

[49] Eric Boehlert, "Radio's Big Bully," Salon.com Arts & Entertainment, accessed April 5 2009; available from http://archive.salon.com/ent/feature/2001/04/30/clear_channel/print.html; Internet.

[50] Van Alystyne, Clear Control, 660.

[51] Chang, 447-8.

[52] Owen Fiss, Free Speech and Social Structure, 71 Iowa L. Rev. 1405 (1986), 340.

[53] Rosemary J. Coombe, Objects Of Property And Subjects Of Politics: Intellectual Property Laws And Democratic Dialogue, 69 Tex. L. Rev. 1853 (1991), 1862-3.

[54] Folami, 301.

[55] Mark Boyer, "What Happened to 'Vote or Die'?" Fresh Cut Media, accessed 5 April 2009; available from http://getfreshcut.com/2008/02/04/what-happened-to-vote-or-die/; Internet.

[56] Tupac Shakur, "Changes," 2Pac's Greatest Hits, 1998, Interscope Records.

[57] Zach Mason, "Hip Hop Speaks Out for Obama," Socialist Worker, accessed 5 April 2009, available from http://socialistworker.org/2008/10/28/hip-hop-speaks-for-obama; Internet.

[58] Mason, "Hip Hop Speaks Out for Obama."

[59] Nas, "Black President," Untitled, 2008, Def Jam.

[60] Lyrics quoted in Mason, "Hip Hop Speaks Out for Obama."

[61] Keeanga-Yamahtta Taylor, "Race in the Obama Era," accessed 5 April 2009; available from http://socialistworker.org/2009/04/03/race-in-the-obama-era; Internet. Taylor cites a study by social scientist Marc Levine from the University of Wisconsin-Milwaukee.

[62] Sylvia A. Allegretto, "U.S. Government Does Relatively Little to Lessen Child Poverty Rates," Economic Policy Institute, accessed 5 April 2009; available from http://www.epi.org/economic_snapshots/entry/webfeatures_snapshots_20060719/ ; Internet. *Research by Rob Gray. After taxes, child poverty rates in the U.S. are 26.6 percent. Black and Latino minor poverty rates are higher.

[63] Taylor, "Race in the Obama Era." Taylor notes that "Black homeownership has dropped from 49 percent to 46 percent… By 2007, 30 percent of Black households had zero net worth, compared to 18 percent of white households… Households of color lost between $164 billion and $213 billion over the past eight years… Combined, this could lead to a one-third reduction in the Black middle class."

[64] "Facts on Health Insurance Coverage," National Coalition on Healthcare, accessed 6 Dec 2008; available from http://www.nchc.org/facts/coverage.shtml; Internet.

[65] Jonathan Kozol, "Still Separate, Still Unequal: America's Educational Apartheid," Harper's Magazine, Vol. 311, September 2005, accessed 5 April 2009; available from http://www.mindfully.org/Reform/2005/American-Apartheid-Education1sep05.htm; Internet.

[66] Taylor, "Race in the Obama Era."

[67] Dinesh D'Souza, "Obama and Post-Racist America," To The Source, accessed 5 April 2009; available from http://www.tothesource.org/1_21_2009/1_21_2009.htm; Internet. Pundits have already used Obama's election as an example that institutional racism does not exist in America. For instance, author Dinesh D'Souza wrote after his victory: "As I watched Obama take the oath of office…I also felt a sense of vindication. In 1995, I published a controversial book The End of Racism. The meaning of the title was not that there was no more racism in America…My argument was that racism, which once used to be systematic, had now become episodic…racism existed, but it no longer controlled the lives of blacks and other minorities. Indeed, racial discrimination could not explain why some groups succeeded in America and why other groups did not...for African Americans, their position near the bottom rung of the ladder could be better explained by cultural factors than by racial victimization."

[68] Dead Prez, "Window to my Soul," Turn off the Radio: The Mixtape, Vol. 2: Get Free or Die Tryin', 2003, Landscape Germany.

[69] Dead Prez, "Window to my Soul."

[70] Dead Prez, "It's Bigger Than Hip Hop," Let's Get Free, 2000, Relativity.

[71] Immortal Technique, "About Immortal Technique," Myspace, accessed 5 April 2009; available from http://www.myspace.com/immortaltechnique; Internet.

[72] Paris, "Don't Stop the Movement," Acid Reflux, 2008, Guerrilla Funk.

[73] Manning Marable, "The Politics of Hip Hop."

[74] Macklemore, "B-Boy," The Language of My World, 2008, Integral Music Group.

[75] Marable, "The Politics of Hip Hop."

How Capitalism Underdeveloped Hip Hop: A People's History of Political Rap (Part 1 of 2)

By Derek Ide

Disclaimer: The language expressed in this article is an uncensored reflection of the views of the artists as they so chose to speak and express themselves. Censoring their words would do injustice to the freedom of expression and political content this article intends to explore. Therefore, some of the language appearing below may be offensive to personal, cultural, or political sensibilities.

Introduction: Historical Phenomena, Hip-Hop Culture, and Rap Music

Historical phenomena never develop in a vacuum, isolated from reality; nor are they mechanistically manifested from the historical material conditions lacking the direction of human agency. Rather, historical phenomena are products of a specific environment at a particular time period that have been molded, processed, and transformed by human beings who attempt to define and control their own destiny. The culture fostered in the grimy streets of the South Bronx during the 1970s is no different. Heavily influenced by the economically and socially oppressed ghettoes, along with the echoes of the last generation's movements for liberation and the street gangs that filled in the void they left, the South Bronx provided the perfect matrix in which marginalized youth could find a way to articulate the story of their own lives and the world around them. In this historically unique context, a culture would be created through an organic explosion of the pent-up, creative energies of America's forgotten youth. It was a culture that would reach every corner of the world in only a couple decades; this is hip-hop.

Many people mistakenly narrowly define hip-hop as a particular style of music. The reality, however, is that Hip-hop is an extremely multifaceted cultural phenomenon. As hip-hop pioneer DJ Kool Herc explains, "People talk about the four hip-hop elements: DJing, B-Boying, MCing, and Graffiti. I think that there are far more than those: the way you walk, the way you talk, the way you look, the way you communicate." [1] Indeed, each component presents its own unique history, heroes, and tales of resistance; each acts as a distinct piece of a larger puzzle. Viewed in its totality, hip-hop is undoubtedly a global phenomenon, reaching across the borders of nation-states and touching entire generations. One integral aspect of this culture, familiarly labeled rap, is the musical element which combines MCing and DJing; it is "is the act of speaking poetically and rhythmically over the beat." As Black intellectual Michael Eric Dyson eloquently explains, "Rap artists explore grammatical creativity, verbal wizardry, and linguistic innovation in refining the art of oral communication." [2] The characteristic east coast sounds of New York City, the intricate Hip-hop scene in France, the nascent grime subgenre in London, and the politically charged rap developing in Cuba demonstrate just how global the influence of rap music truly is.

Hip-hop was born from the ashes of a community devastated by a capitalist economic system and racist government officials. At first independent and autonomous, it would not be long before corporate capitalism impinged upon the culture's sovereignty and began the historically familiar process of exploitation. Within a few years the schism between the dominant, mainstream rap spewed across the synchronized, consolidated radio waves and the dissident, political, and revolutionary lyrics expressed throughout the underground network would develop, separating hip-hop into two worlds. Rapper Immortal Technique frames this dichotomy in a political context emphasizing the opposition between the major label "super powers of the industry" and the "underground third world of the street." [3] Indeed, the stark difference between the commodified songs and albums pumped out by the mainstream rap industry and the creativity and resistance exemplified in the underground movement cannot be overemphasized.

Hip-hop's glamorized, commercialized image, made familiar through every aspect of pop culture and privately centralized radio stations, is viewed by some as a justification for the prevailing "boot strap" ideology derived from thirty years of neoliberal economic policies and the dominant ideological formulations supporting them. Time argues capitalism allowed for "rap music's market strength [to give] its artists permission to say what they pleased." [4] Indeed, some argue that one's ability to market a product in a capitalist society is what has allowed rap music to flourish and become as large of an industry as it is today.[5] This simplistic view, however, ignores one crucial aspect; the culture has been manipulated by a handful of industry executives for capital gain. Meanwhile, hip-hop activists who advocate for social change, formulate political dissent, and fight for economic redistribution have been systematically marginalized and excluded from the mainstream discourse. Corporate capitalism, aided by neoliberal deregulation and privatization, have stolen the culture, sterilized its content, and reformatted its image to reflect the dominant ideology. Independent, political rap containing valuable social commentary has been replaced with shallow, corporate images of thugs, drugs, and racial and gender prejudices filled with both implicitly and explicitly hegemonic undertones and socially constructed stereotypes. Hip-hop has been underdeveloped by the mainstream industry in the same sense that third world countries were underdeveloped by traditionally oppressive first world nations: it has been robbed of its content like a nation is robbed of its resources, its artists exploited like a country's labor is exploited, and its very survival hinged upon complete subservience to an established political, economic, and social institution. The following is an outline of a culture's musical resistance to subjugation by the economic, political, and social authority of American capitalism and its ruling elites.

The South Bronx in the 1970's and Material Conditions in Hip-Hop's Birthplace

Until 1979 with the release of Sugarhill Gang's six minute track titled "Rapper's Delight," hip-hop's musical component, rap, had not spread far beyond the South Bronx where it originated. To highlight 1979 as the year rap music began, however, would be a disservice to not only historical accuracy, but to any serious understanding of the roots through which hip-hop music blossomed. Comprehending the rise of a culture inevitably entails a holistic approach where the political, economic, and social institutions and conditions are analyzed to derive an understanding of their effects on the thoughts, ideas, and actions of the generation who created the culture. Therefore, the rise of hip-hop is inevitably linked with a host of changes during the 1970s to the political economy and the dominant ideology supporting it. These changes include the fading of the nonviolent civil rights movement and the subsequent black power movement, a massive restructuring from the failed Keynesian economic policies of state-interventionism to neoliberal, trickle down economics, the prodigious deindustrialization and the resulting unemployment, and the abandonment of urban spaces by government divestment and white flight. The Bronx of the early 1970s provides a paragon for such conditions and how they impacted the residents of these urban spaces; these conditions, however, were not limited to one area but were widely represented in many urban areas during this decade. Hip-hop culture, springing from such a particular set of conditions, would spread like wildfire into other areas where a similar combination of political and economic changes was rapidly advancing.

As Akilah Folami explains, "Historically, Hip-hop arose out of the ruins of a post-industrial and ravaged South Bronx, as a form of expression of urban Black and Latino youth, who politicians and the dominant public and political discourse had written off, and, for all intent and purposes, abandoned." [6] These youth were alienated from decent employment opportunities and confined to under funded schools with little community resources; New York would suffer immense job losses coupled with decreased local and federal funding for social services. [7] The South Bronx alone would lose:

600,000 manufacturing jobs; 40 percent of the sector disappeared. By the mid-seventies, average per capita income dropped to $2,430, just half of the New York City average and 40 percent of the nationwide average. The official youth unemployment rate hit 60 percent. Youth advocates said that in some neighborhoods the true number was closer to 80 percent.[8]

Such conditions would leave "30 percent of New York's Hispanic households...and 25 percent of black households…at or below the poverty line. [9] This massive loss of employment was not the only contributing factor, however. Urban renewal programs, such as the one directed by elite urban planner Robert Moses, helped fuel white flight and suburban sprawl along with subsequent capital divestment from the city. Moses would go on to plan and build the Cross Bronx Expressway, which would "cut directly through the center of the most heavily populated working class areas in the Bronx," tearing apart the homes of some 60,000 Bronx residents. [10] Utilizing "urban renewal rights of clearance," Moses and local legislators would effectively enforce economic and legal segregation of poor and working-class Blacks and Latinos whom were pushed into "tower-in-a-park" model public housing units where they "got nine or more monotonous slabs of housing rising out of isolating, desolate, soon-to-be crime-ridden 'parks'."[11] Thus, it was deep within these hellholes of poverty, unemployment, segregation, and desperation that hip-hop's first birth pangs would be felt. As hip-hop historian Jeff Chang poignantly explains, it's "not to say that all hip-hop is political, but hip-hop comes out of that particular political context." [12]

The enormous influence of material conditions on hip-hop are lucidly illuminated with the 1982 release of a song titled "The Message" by pioneering rap group Grandmaster Flash and the Furious Five. Hesitant at first to record such a "preachy" rap song by a self-titled "party group," eventually Melle Mel, the lead rapper of the group, decided to give it a try.[13] Thus, the group helped to pioneer "the social awakening of rap into a form combining social protest, musical creation, and cultural expression."[14] Although not the first to provide social commentary on institutional racism and abject living conditions, as evidenced by earlier rappers such as Kurtis Blow, Brother D and the Collective Effort, and Tanya "Sweet Tee Winley,[15] "The Message" would provide the first mainstream, commercial success to speak seriously on these issues. The immense frustration and alienation of being confined to run-down ghettoes presents itself repeatedly throughout the song. Wrapped in each and every line is piercing social commentary on the condition of America's rotting inner city slums. The song opens by describing the horrendous conditions found specifically in the South Bronx during this period but could also be applied most the nation's abandoned urban centers:

Broken glass, everywhere / People pissing on the stairs, you know they just don't care / I can't take the smell, I can't take the noise / Got no money to move out, I guess I got no choice / Rats in the front room, roaches in the back / Junkies in the alley with a baseball bat / I tried to get away, but I couldn't get far / Cause the man with the tow-truck repossessed my car [16]

The sentiment expressed in the last two lines of being unable to escape the projects is one that runs consistently throughout the history of Hip-hop. Tupac, nearly a decade later, would articulate this despair further in his song "Trapped" where he speaks to the agonizing feeling of hopelessness and anger at being segregated into ghettoes and harassed by police.[17]

Dyson notes that as rap evolved it "began to describe and analyze the social, economic, and political factors that led to its emergence and development: drug addiction, police brutality, teen pregnancy, and various forms of material deprivation."[18] The Message takes up many of these issues and more, commenting repeatedly on the terrible state of education children in the projects are confined to. One line provides an explanation of how in the ghetto one rarely gets more than "a bum education" alongside "double-digit inflation." Another verse tells the story of a young boy who exclaims to his father that he feels alienated and dumb at school, due at least in part to his teachers' attitudes towards him; as the child explains, "all the kids smoke reefer, I think it'd be cheaper, if I just got a job, learned to be a street sweeper." In this succinct rhyme, the postulation put forth by educational theorist Jean Anyon that working-class and poor students are pushed into occupations which perpetuate the existing class structure is brilliantly summarized.[19] The despair and bleakness of abject ghetto life is articulated in a rather percussive manner in the last verse, "You grow in the ghetto, living second rate, and your eyes will sing a song of deep hate, the places you play and where you stay, looks like one great big alley way."[20]

Although "The Message" was not the first social commentary on ghetto life to be produced, it was the first mainstream success to reach a broader layer of listeners and proved that socially conscious rap had an audience. By the early 1980's hip-hop had already exploded onto the scene through particular mediums in certain areas. Graffiti had already provided a way in which alienated and seemingly invisible youths could make themselves visible outside the Bronx through creative, counter-hegemonic acts that signaled to the ruling authorities they were claiming their own space. Break dancing, or B-Boying, provided an outlet for youths to engage each other in peaceful competition and while it "did not dissolve the frustrations of being poor, unemployed, and a forgotten youth, it certainly served… as a catalyst to increasing the youth led community based peace effort." [21] However, it was rap music that, arguably, would have the largest impact in the future:

At a time when budget cuts lead to a reduction in school art and music programs, and when vocational training in high schools lead to jobs that had significantly decreased or no longer existed, "inner city youth transformed obsolete vocational skills from marginal occupations into the raw materials for creativity and resistance," with "turntables [becoming] instruments and lyrical acrobatics [becoming] a cultural outlet." [22]

This cultural outlet would not remain isolated in the South Bronx for long. Neither would it be confined to simply describing the harsh reality of living in the projects.

Afrocentricity, Black Power, and Hip-Hop's New School

Hip Hop was originally honed in house parties, parks, community centers, and local clubs by pioneers such as DJ Kool Herc, Afrika Bambaataa, and Grandmaster Flash. Independent record labels were quick to pick up on the enormous buzz generated by this new street sound. Small record executives, with their ears to the street, realized that "there were potentially many more millions of fans out there for the music," but they needed a way to push it from the traditional arenas where spontaneity reigned into the lab where Hip-hop could be researched, developed, and put into radio rotation. [23] Rap had to "fit the standards of the music industry" and labels had to pursue methods which in which they could "rationalize and exploit the new product" to "find, capture, package, and sell its essence…Six-man crews would drop to two. Fifteen-minute party-rocking raps would become three-minute ready-for-radio singles. Hip-hop was refined like sugar."[24] The laws of capitalism dictated that the art form had to be commodified, manufactured, and sold to a market. After the initial commercial success of "Rapper's Delight" and "The Message," corporate encroachment would quickly invade Hip-hop sovereignty. This seminal musical format would act as a medium through which two distinct worlds would mesh; young, black youth who aspired to spit rhymes and find a way out of their seemingly despondent condition would be introduced to nascent white record executives, opening what ostensibly appeared as new, untested feasibilities to previously marginalized artists. As early Hip-hop head and B-boy Richie "Crazy Legs" Colon would comment, "it was getting us into places that we never thought we could get into. So there was an exchange there... [but] that was also the beginning of us getting jerked…that's a reality." [25]

The struggle over control of the culture would be a reminiscent theme for the next decade. Dissident rap presenting a critique of the political economy would briefly touch mainstream society in the early and mid 1980's before being stifled and ostracized. In the next few years, the crossover of rap acts like Run-D.M.C. and the rise of overtly political rap groups such as Public Enemy, along with lesser known but highly controversial artists such as Paris, would trigger intense debate over the nature of Hip-hop and the direction it was headed. Passing from the pioneering old-school, a new era of Hip-hop would develop consisting of a fresh blend of Afrocentricity, cultural nationalism, calls for a neo-Black power, and a focus on the African diaspora. It would delve into the questions of race and racism and the legacy of slavery, along with a critique of institutionalized forms of oppression and ideas of what methods could adequately challenge them. It also presented artists with the first taste of corporate control over creative expression, a tension that would remain a prominent theme throughout the history of rap music. Any definite time frame would only succeed in confining the progression of Hip-hop into arbitrary, categorical stages that lack accurate representation of the often overlapping and dynamic evolutionary process of the art. However, in the mid 1980s it became apparent that rap was burgeoning into uncharted territory.

Afrocentric rap, advocating a unique mix of cultural nationalism and Pan-Africanism, can trace its roots to Afrika Bambaataa and the Zulu Nation, an organization of reformed gang members who attempted to take back their streets through the creation of innovative cultural outlets, many of which would develop into early Hip-hop culture. Bambaataa "started to believe that the energy, loyalty, and passion that defined gang life could be guided toward more socially productive activities…he saw an opportunity to combine his love of music and B-boying with his desire to enhance community life." [26] After some initial musical success, however, tensions began to mount between Bambaataa and the man who signed him, Tom Silverman, founder of the independent label Tommy Boy Records. Bambaataa recounts, "The record companies would try to tell us what we should make, what we should do…We said, 'Listen, we're the renegades, we sing what we want to sing, dress how we want to dress, and say what we want to say."[27] This sort of outright resistance to artist manipulation worked for a time, when artists dealt primarily with small, independent stations during the nascent stages of Hip-hop's development. Later, however, when the corporate structures completely enveloped the art, it would be nearly impossible to individually challenge such enormous institutions.

Queens rap trio Run-D.M.C. "is widely recognized as the progenitor of modern rap's creative integration of social commentary, diverse musical elements, and uncompromising cultural identification"[28] into what would become known as the New School of Hip-hop. [29] Fueled by Jam Master Jay' complex, percussive beats and brilliant lyrical deliverance, Run-D.M.C. would burst into the mainstream by signing a distributing deal with Colombia records.[30] Bridging the gap between rap and rock, Run-D.M.C. appealed to a wide range of audiences from rugged, street hustlers to well-to-do white kids in a desperate search to branch out from the cultural confinement of suburbia. As their album Raising Hell rushed to platinum status, they catapulted rap music into mainstream discourse and charted a new path for commercial success. The group presented an interesting dynamic where, challenging corporate-driven consumerism with lines such as "Calvin Klein's no friend of mine, don't want nobody's name on my behind," [31] they simultaneously promoted a specific style of apparel with tracks such as "My Adidas" that would break with previous, flashily clad rap artists and forever tie Hip-hop's look to the styles of the street. Raising Hell would end with "Proud to Be Black," a track emphasizing African history and the struggle against slavery while documenting the historical progress of black people. Involving themselves in specific struggles or causes, such as doing benefit performances for the anti-Apartheid struggle, [32] they did not shy away from political issues.

On "Wake Up," the trio echoed calls for democratic participation of the masses, full employment, fair wages, and an end to racial prejudice that would be familiar to any socialist activist. They provided a glimpse of the shape a truly humanizing society could take:

There were no guns, no tanks, no atomic bombs / and to be frank homeboy, there were no arms… / Between all countries there were good relations / there finally was a meaning to United Nations / and everybody had an occupation / 'cause we all worked together to fight starvation… / Everyone was treated on an equal basis / No matter what color, religion or races / We weren't afraid to show our faces / It was cool to chill in foreign places… / All cities of the world were renovated / And the people all chilled and celebrated / They were all so happy and elated / To live in the world that they created… / And every single person had a place to be / A job, a home, and the perfect pay…[33]

The song is haunted by the chorus proclaiming that all the hopes and desires for the fanciful world articulated are "just a dream." The group switches gears on "It's Like That," citing unemployment, atrocious wages, ever-increasing bills, and the struggle to survive within the confines of a capitalist political economy. At the end of each verse they communicate their prodigious frustration manifested from the despair and helplessness prevalent in oppressed communities, leaving the listener with little hope for change: "Don't ask me, because I don't know why, but it's like that, and that's the way it is!"[34] Grand ideals aside, Run-D.M.C. ultimately did not pursue a confrontational approach to the dominant institutions in society and, thus, their commercial success in part reflects their desire to integrate into the established system rather than attempt to dismantle the established structures.

Ideas of collective social change would be articulated more thoroughly by artists such as Public Enemy. Coming from a relatively well-to-do, although still highly segregated, post-white flight neighborhood, Public Enemy's ambitions were to "be heard as the expression of a new generation's definition of blackness."[35] As opposed to artists who may record a political song or sneak a witty, politically charged punch line into a mainstream hit, Public Enemy would focus entire albums around counter-hegemonic themes reflecting their constantly evolving political philosophy. Their Black Nationalist ideology did not go unnoticed in their first album, but it would augment over time as the group developed their own conception of a new Black Power. On It Takes a Nation of Millions to Hold Us Back and Fear of a Black Planet they delved deeply into race relations, the oppression of the black community at home and abroad, and brought into question entire institutions of society they viewed as perpetuating racism. The group also spoke openly of their support for Palestinian liberation and against U.S. imperialism. On "Bring the Noise," they challenged black radio to play their music and on "Party for Your Right to Fight" they evoked images of Martin Luther King Jr., Malcolm X, and the Black Panther Party in a "pro-Black radical mix"[36] while aiming verbal invectives at J. Edgar Hoover and the FBI for their historically repressive roles against the black community.

Public Enemy undoubtedly pushed political hip-hop to a new level. Their intense, in-your-face rhymes promoted a historical revival amongst black youth previously separated from prior cultural developments and struggles of the past. However, as Dyson points out, this can lead to rappers hoping to emulate the methods of the past without a critical analysis of its strengths and weaknesses or, worse yet, to promoting vacuous calls to past movements' cultural icons intended to draw reverence without attempting to augment the organizational infrastructure required to proactively challenge oppressive institutions. Still, given the tyrannical nature of the society in which they lived, the group labeled themselves "the Black Panthers of rap" [37] as a symbolic expression of their hostility towards the system. However, the framework within which they operated, borrowing large portions of their theoretical interpretation of society to the Nation of Islam and Louis Farrakhan, did not allow them to adopt the Panthers' revolutionary, socialist critique of the political economy. It was replaced instead with a form of black militancy aligned primarily with a narrow conception of Black Nationalism. Public Enemy would drastically differ from the Panthers who had come to reject Black Nationalism as a racist philosophy, aiming their crosshairs more broadly on capitalism[38] and arguing racism was a byproduct of that particular economic mode of production.[39] Regardless, Public Enemy's prodigious contributions to political hip-hop cannot be ignored. They fostered political discussion and pushed hip-hop to embrace black liberation. Yet, they would fail propose a cohesive, theoretical alternative or method through which this could be achieved.

Other times, political hip-hop took the form of cathartic, impulsive depictions of violence stemming from the wrath manifested within oppressed black communities. One example, Oakland rapper Paris, who adhered early in his career to a form of Black Nationalism similar to Public Enemy's, would seek a sort of lyrical revenge against individuals and institutions he found oppressive and exploitative. Through songs like "Bush Killa," where he fantasized about assassinating then President George H. Bush, he would decisively embrace a black militancy that challenged the past legacy of King's non-violence: "So don't be tellin' me to get the non-violent spirit, 'cause when I'm violent is the only time you devils hear it!" Later in the song he goes on to poignantly express his disgust with the predatory nature of military recruitment while uniquely mimicking the famous line from Muhammad Ali, [40] "Yeah, tolerance is gettin' thinner, 'cause Iraq never called me nigger, so what I wanna go off and fight a war for?" [41] Presumably due to the radical nature of his music, Paris was dropped from his record label, Tommy Boy, after parent company Time Warner reviewed the content of his album.[42] He distanced himself from the Nation of Islam, and thought that they were "more concerned with what was wrong with society than with how to change it." [43] Nearly two decades later, and still rapping under his own label, Paris would go on to develop a political stance that, while still bonded to certain aspects of his previous Black Nationalist thought, would become decidedly more working-class in its orientation, emphasizing class struggle and interracial solidarity rather than a simple black-white dichotomy.

The 1980's were, undoubtedly, a time of creativity, diversity, and cultural exploration within the musical realm of Hip-hop. Artists even tested the waters with politically significant album covers. Paris placed a potent photo of riot police choking a black protestor in his 1989 releaseBreak the Grip of Shame.[44] Rapper KRS-One, paraphrasing Malcolm X on his album title By All Means Neccesary (1988), poses on the front cover in a fashion reminiscent of Malcolm's famous photograph; Malcolm, standing with AK-47 in his right arm and peering out of the drapes with his left, symbolized the vision of armed self-defense and intellectual self-determination. KRS-One, adorned in a fashionable outfit and carrying a more contemporary Uzi, personified these principles Malcolm so vehemently defended throughout his life. [45] Chuck D of Public Enemy explains, given the group's extensive list of politically charged album covers, that sometimes "the covers were thought out more than the songs."[46] Corporate control was illuminated in this artistic arena as well when hip-hop trio KMD attempted to release an album titled Black Bastards which featured a "Little Sambo"[47] character being hung; Elektra, their label, quietly rejected the album and its politically charged album artwork.[48]

Some rappers, such as Rakim, toyed with abstract ideas of personal and spiritual development, meshed with political Islam and the elitist vision of the Five Percenters, a group who believed that a gifted five percent of the world's population was destined to fight against the exploitative ten percent on behalf of the ignorant, backwards eighty-five percent.[49] Others, like rap group Naughty by Nature, found unique ways to tie in urban culture and style to the historic legacies of the past. On one of the group's most political tracks, "Chain Remains," rapper Treach vividly explicates on the cultural significance of the chain commonly worn by black, urban youth, tying it into the past history of slavery and the prison-industrial complex:

Bars and cement instead of help for our people / Jails ain't nothin' but the slave day sequel / Tryin' to flee the trap of this nation / Seein' penitentiary's the plan to plant the new plantation… / Free? Please, nigga, ain't no freedom! / Who's locked up? Who's shot up? Who's strung out? Who's bleeding? Keep reading / I'm here to explain the chain remain the same / Maintain for the brothers and sisters locked / The chain remains…[50]

The last verse ends with an incendiary call to revolution, although the terms for which are not specifically outlined: "the only solutions revolution, know we told ya', the chain remains 'til we uprise, stuck in a land where we ain't meant to survive." Despite calls for racial solidarity and social empowerment, the violence found in poverty-stricken urban areas often followed artists into the realm of entertainment.

When violence broke out at various rap venues in 1987, the hip-hop community was quick to respond with a Stop the Violence Movement. A group of artists organized a project "that would include a benefit record, video, book, and a rally around the theme."[51] On the record "Self Destruction," a wide assortment of rappers came together to urge black youth to "crush the stereotype" and "unite and fight for what's right,"[52] by stopping the senseless violence that plagued the black community. Unfortunately, it was not a sustained political campaign and, as Jeff Chang argues, Stop the Violence "was always less a movement than a media event." [53] KRS-One, re-launching the Stop the Violence 2008 campaign in a similar fashion, disagrees, claiming Chang's interpretation is "inaccurate history and fake scholarship."[54] Regardless, media event or movement, Stop the Violence provided another example of rappers attempting to take control of their communities and control their own destinies.

New School Hip Hop was defined by its seminal, independent spirit of artists' attempts to maneuver within the confines of an ever-increasing hierarchal, corporate, top-down structure. Indeed, as Chang notes, "Rap proved to be the ideal form to commodify the hip-hop culture. It was endlessly novel, reproducible, malleable, and perfectible. Records got shorter, raps more concise, and tailored to pop-song structures." [55] The infrastructure needed to solidify corporate power over the culture was being rapidly built but originality and autonomy would not yet be completely shattered. The day would soon come, however, when creativity and free political expression would be stomped out and replaced with denigrating images of black men, as self-destructive gangsters and intellectually bankrupt drug-pushers, and black women, whose sole contribution is their sexual appeal, vigorously promoted by the dominant ideology. Generally, during this period artists would attempt to hold on "to the Black Panther ethic of remaining true to Blackness… to the people in the lower classes" while, on the other hand, rejecting the Party's anti-capitalist stance; "Rappers wanted a piece of the American pie while staying grounded to the urban culture, and wanted to speak in their own voice and on their own terms."[56] Given the political, social, and economic conditions of the mid-1980s, this was no surprise.

The sort of individualistic response exemplified by New School artists was developed within the context of a detrimental political vacuum left by the simultaneous failure and systematic repression of revolutionary left groups of the 1960s and early 1970s. Instead of political organizers, rappers would view themselves as reporters whose primary vocation was to give the voiceless a form of expression and relay the conditions of ghetto life to the rest of the world. Public Enemy articulated this concept when he explained that rap was "Black America's CNN, an alternative, youth-controlled media network." [57] Tupac would echo this concept, "I just try to speak about things that affect me and our community. Sometimes I'm the watcher, and sometimes the participant," he commented, and likening himself to reporters during the Vietnam War, he explicated on his role, "That's what I'll do as an artist, as a rapper. I'm gonna show the graphic details of what I see in my community and hopefully they'll stop it." [58] Rather than broad-reaching, collective social change achieved through organized resistance, rap music would act as a means to express counter-hegemonic, yet radically individualized forms of resistance that captured the very essence of the urban youth existence. This concept would be carried further into the realm of musical performance:

Rap…found an arena in which to concentrate its subversive cultural didacticism aimed at addressing racism, classism, social neglect, and urban pain: the rap concert, where rappers are allowed to engage in ritualistic refusals of censored speech. The rap concert also creates space for cultural resistance and personal agency, losing the strictures of the tyrannizing surveillance and demoralizing condemnation of mainstream society and encouraging relatively autonomous, often enabling, forms of self-expression and cultural creativity. [59]

It was this anti-authoritarian impulse, fostered in the hard streets of Los Angeles where police brutality was rampant and socioeconomic conditions were dire, that galvanized the next phase of Hip-hop which would take the nation by storm.

How Capitalism Underdeveloped Hip Hop: A People's History of Political Rap (Part 2 of 2)

Notes

[1] DJ Kool Herc quoted in Jeff Chang, Can't Stop Won't Stop, (New York City: St. Martin's Press, 2005), xi.

[2] Michael Eric Dyson, The Michael Eric Dyson Reader, (New York City: Basic Civitas Books, 2004), 408.

[3] Immortal Technique, "Death March" The 3rd World, 2008, Viper Records. DJ Green Lantern makes the opening remarks.

[4] Ta-Nehisi Coates, "Hip-hop's Down Beat," Time, accessed 5 April 2009; available from http://www.time.com/time/magazine/article/0,9171,1653639,00.html; Internet.

[5] David Drake, "The 'Death' of Hip-Hop," Pop Playground, accessed 5 April 2009; available from http://www.stylusmagazine.com/feature.php?ID=1525; Internet. Implicit in Stylus's 2005 article about the "death" of hip-hop is the idea that capitalism allowed for hip-hops growth. They argue the history of hip-hop cannot be separated and "well-behaved politicos with either leftist or moralist agendas" only "imagine a fictional past" since "capitalism was involved from the second it spread, from the moment a rhyme was laid to wax capitalism was there." While this is partly correct, as hip-hop developed within the confines of a capitalist society, and was thus influenced by the dominant ideological forces that perpetuate such a society, the early independence and autonomy from corporate capitalism and the art form that developed without the profit incentive, but instead for reasons of pure enjoyment (Kool Herc house parties) or political and social transformation (Zulus) shows that hip-hop and capitalism can not only be separated, but at it's earliest stages were separate entities.

[6] Akilah N. Folami, "From Habermas to 'Get Rich or Die Trying': Hip Hop, The Telecommunications Act of 1996, and the Black Public Sphere," Michigan Journal of Race and Law, Vol. 12(June 2007) (Queens, NY: St. John's University School of Law, 2007), 240.

[7] Folami, Habermas to "Get Rich or Die Trying," 254.

[8] Chang, Can't Stop Won't Stop, 13.

[9] Tricia Rose, Black Noise: Rap Music and Black Culture in Contemporary America 27 (Middletown, CT: Wesleyan University Press, 1994), 28.

[10] Rose, Black Noise, 31.

[11] Chang, 11-12.

[12] Jeff Chang interviewed by Brian Jones, "Interview with Jeff Chang, Hip Hop Politics," International Socialist Review, Issue 48, (July-August 2006), accessed 5 April 2009; available from http://www.isreview.org/issues/48/changinterview.shtml; Internet.

[13] Craig Watkins, Hip Hop Matters: Politics, Pop Culture, and the Struggle for the Soul of a Movement (Boston: Beacon Press, 2005), 21.

[14] Dyson, Michael Eric Dyson Reader, 402.

[15] Chang, 179.

[16] Grandmaster Flash and the Furious Five, "The Message," The Message, 1982, Sugar Hill.

[17] Tupac Shakur, "Trapped," 2Pacalypse Now, 1991, Jive. Tupac, who, originally just repeating stories from his peers, would have a violent run in with police not long after he released the song. Accused of jaywalking, Tupac would be knocked to the ground and have his face slammed into the concrete, leaving life-long scars across his right cheek bone. After a long court battle, he finally settled with the police department for a small sum. "You know they got me trapped in this prison of seclusion / Happiness, living on tha streets is a delusion… / Tired of being trapped in this vicious cycle / If one more cop harrasses me I just might go psycho / And when I get 'em / I'll hit 'em with the bum rush / Only a lunatic would like to see his skull crushed / Yo, if your smart you'll really let me go 'G' / But keep me cooped up in this ghetto and catch the uzi… / They got me trapped / Can barely walk the city streets / Without a cop harassing me, searching me / Then asking my identity… / Trapped in my own community / One day I'm gonna bust / Blow up on this society / Why did ya' lie to me? / I couldn't find a trace of equality…

[18] Dyson, 402.

[19] Jean Anyon, "Social Class and the Hidden Cirriculum." Journal of Education, 162(1), Fall, 1980. Online version available here http://cuip.uchicago.edu/~cac/nlu/fnd504/anyon.htm; Internet.

[20] Flash, "The Message."

[21] Folami, 258.

[22] Ibid., 257.

[23] Chang, 133.

[24] Ibid., 134

[25] Ibid., 177

[26] Watkins, Hip Hop Matters, 23.

[27] Chang, 190.

[28] Dyson, 402.

[29] Chang, 255.

[30] Ibid., 204.

[31] Run-D.M.C., "Rock Box," Run-D.M.C., 1983, Profile/Arista Records.

[32] Chang, 218.

[33] Run-D.M.C., "Wake Up," Run-D.M.C., 1983, Profile/Arista Records.

[34] Run-D.M.C., "It's Like That," Run-D.M.C., 1983, Profile/Arista Records.

[35] Chang, 249.

[36] Public Enemy, "Party For your Right to Fight," It Takes a Nation of Millions to Hold Us Back, 1988, Def Jam/Columbia/CBS Records.

[37] Chang, 248.

[38] Bobby Seale, Seize the Time (Baltimore: Black Classic Press, 1997), 23, 256, 383.

[39] Fred Hampton, "Murder of Fred Hampton, Reel 1," accessed 5 April 2009; available from http://mediaburn.org/Video-Priview.128.0.html?uid=4192; Internet. In this clip, Hampton is talking to a church crowd about how Blacks and the Black Panther Party should interact with Whites and White radicals.

[40] In 1966 Muhammad Ali, in his denunciation of the Vietnam War and U.S. attempts to draft him, explained "I ain't got no quarrel with the Vietcong… No Vietcong ever called me nigger." For more information, see here: http://www.aavw.org/protest/homepage_ali.html; Internet.

[41] Paris, "Bush Killa," Sleeping With the Enemy, 1992, Scarface.

[42] Peter Byrne, "Capital Rap" San Francisco News, accessed 5 April 2009; available from http://www.sfweekly.com/2003-12-03/news/capital-rap/2; Internet.

[43] Byrne, "Capital Rap," 2.

[44] Andrew Emery, The Book of Hip Hop Cover Art, (Mitchell Beazly, 2004), 95.

[45] Emery, Hip Hop Cover Art, 133.

[46] Ibid., 81.

[47] "Sambo" is a racial slur for African-Americans in the United States but the image of the Little Black Sambo became famous after a children's book by Helen Bannerman was published in London in 1899. The original story can be found here: http://www.sterlingtimes.co.uk/sambo.htm

[48] Emery, 112.

[49] Chang, 258-9.

[50] Naughty by Nature, "Chain Remains," Poverty's Paradise, 1995, Warner.

[51] Chang, 274.

[52] Lyrics for the song can be found here: http://www.lyricsmania.com/lyrics/krs-one_lyrics_3454/other_lyrics_10824/self_destruction_lyrics_125592.html

[53] Chang, 274.

[54] KRS-One interviewed by Brolin Winning, "KRS-One: You Must Learn," MP3.com, accessed 5 April 2008; available from http://www.mp3.com/news/stories/9464.html; Internet.

[55] Chang, 228.

[56] Folami, 263.

[57] Chang, 251.

[58] Tupac Shakur, "Tupac Resurrection Script - The Dialogue," Drew's Script-O-Rama, accessed 5 April 2008; available from http://www.script-o-rama.com/movie_scripts/t/tupac-resurrection-script-2pac-Shakur.html ; Internet.

[59] Dyson, 403.