Wednesday, January 17, 2018

Marvin X new poem, 2018: Divine Discontent

What make god and goddess happy?
Original man/woman
everywhere find us traces
bones in  sand
primitive art Picasso copy
copy cats plagiarists 
original man
mad in babylon
no post traumatic slave syndrome
traumatic in the now
slave now
tech brain only
no original mind
cell phone mind
where you at where you at
Google nigga
white woman tell you where she at
where you at is the question
where you at
2018 in the rain
scared of Trump
Rocket Man #1
you scared of little Kim Rocket Man #2
Who got most rockets
who's finger button always works
Rocket Man #1
Shithole man #1
Last hurrah
savage no civility
discipline Sun Ra said
Space is the Place
party ova here
emergency situation
run faya life
grab children, husband wife
If you resist he will flee from you
You flee in name of Allah
"You shall find many places of escape
abundant resources." Al Qur'an

Tribe of Shabazz Greater Taker
Allahu Akhbar
no more blues man woman
Allahu Akhbar
Flee to Upper Room
escape dungeon mind
be other side of time
everybody star
shine star
little light shine
Mutabaruka say
don't stay white man land too long
African, Kemet, Aboriginal, Crime in street
negro problem no, negro solution
no white man solution Chinese Arab Latin
don't let devil catch ya naked
riddin' dirty
travel light
hide from fools
As-salaam Alaikum fool
Allahu Akhbar fool
Al hamdulilah fool
Aoutho bilahi mina s shaitani r rajim fool.

--Marvin X

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Hold Oakland Whole Foods accountable for racist violence--protest Tuesday, January 23, 3:30-5:30 at Oakland Whole Foods

Whole Foods has been attacking folks of color within the past two years—going as far as attacking and racially profiling two black men, and a young, black teenager in recent reports. Their gentrifying organization must be held accountable for the threat they have posed to our community and it’s time that we make some noise to show resistance and intolerance to racial terror on any and all fronts.

Join us, next Tuesday (1/23) from 3:30-5:30 PM as we hold a noise demo in front of the store to demonstrate our intolerance for racism in our communities. Please bring any safe objects you have to make noise, signs, and bright spirits as we show up for the folks who were affected and targeted by this racist institution. It is imperative that we address racism on all fronts in our communities—especially in recent light of honoring King’s legacy and the path he has helped to pave with his work. We have to continue to take to the streets EVERY day, and address issues as we see them rather than depending on others to do the work first.

When: Tuesday, January 23rd
Time: 3:30-5:30PM
Where: Whole Foods Market 230 Bay Pl, Oakland, CA 94612

Direct all questions, comments, or concerns to:

Hope to see you all there! Love & Solidarity!

Boycott Whole Foods Oakland and its racism!!

Yet another case of blatant racism and racial profiling at another new Oakland establishment has occurred! I’ve witnessed this multiple times at different stores in Oakland, we all know we have and too often I’ve just grit my teeth and accepted that as way it has to be. But this most recent incindent involving a  13 year old child buying gifts for his mother and him being racially profiled twice in the same store over a year apart!!??
That means there’s an issue. I want to force Whole Foods Oakland and board members of Oakland’s developers committee  to sit and have a discussion and be held accountable for this grievance against the black community. Please sign and help move this along, share it wide , give suggestions, I’ve never done something like this before but I couldn’t stay silent any longer , any help from established activists would be appreciated. We need change , I don’t know if it will happen in our lifetime but we have to try.

Monday, January 15, 2018

Janteenth year two (January 19, 2016, BAMBD made official by Oakland City Council) in Oakland's Black Arts Movement Business District

Did you know the City of Oakland established the Black Arts Movement Business District
January 19, 2016?

And two years later you don't know about the BAMBD? Ask your City Councilperson for the area, Lynette McElhaney? Ask why our banners don't fly along the BAMBD, the 14th Street corridor from the lower bottom to Lake Merritt, and four blocks north and south? 

Ask why no budget has been allocated for the BAMBD. Isn't this similar to Juneteenth and post slavery? They said we were free, yes, we learned one year later in Texas, but weren't given the trappings of freedom such as forty acres and a mule. The Black Arts Movement Business District is part of the City of Oakland's Downtown Plan for the next 25 to 50 years, but there is no equity in business development, housing, jobs, cultural and art space and other amenities. 

At the present rate of development and gentrification in the BAMBD, we can only look forward to being museum objects, similar to the Black cultural district in Austin, Texas, i.e., the district has few Black people due to development and gentrification. 

On behalf of the North American African community, the BAMBD CDC or community development corporation has been established as an independent entity from the City of Oakland. If the last two years are an index of Oakland's snail paced bureaucratic process, we clearly don't wish to be caught at the whim of ephemeral regimes. The BAMBD must stand on solid ground for the present and future.

Marvin X co-founder
Black Arts Movement and BAMBD


Saturday, January 13, 2018

America is a Shithole!

You didn't know Trump was a  white nationalist? Now you know! You didn't know he was a devil? Now you know! Did you know Europe and America under developed Africa, Haiti and other "shitholes" around the world, the result of slavery, colonialism, imperialism, neocolonialism and globalism? Don't blame the white man for being white. Do you blame a dog for being a dog? Yes, Trump is the white lash. He's going to whip Toby back to Kunta Kinte, yes, with the black bull whip of white power! Welcome back, Kunta! FYI, America is the biggest shithole on earth, the filthy dungeon of oppressed people suffering wage slavery and mental slavery with full blown addiction to white supremacy type I and II (Dr. Nathan Hare).

Hip Hop's television takeover

"When you listen to Tupac Shakur, E-40, Too Short, Master P or any other rappers out of the Bay Area of Cali, think of Marvin X. He laid the foundation and gave us the language to express black male urban experience in a lyrical way."
--James G. Spady, Philadelphia New Observer
LtoR: BAM founder Amiri Baraka, Black Panther Party co-founder Bobby Seale, BAM babies Dr. Ayodele Nzinga and Ahi Baraka, BAM co-founder Marvin X. This pic was taken in Oakland's Black Arts Movement Business District, 14th and Broadway, downtown Oakland.
photo Gene Hazzard

FYI, The archives of Marvin X and the Black Arts Movement are part of the Respect Hip Hop Exhibit at the Oakland Museum of California, March 2018.
Hip-hop’s television takeover

"Atlanta's" Donald Glover, center; Lakeith Stanfield, left; and Brian Tyree Henry. (Matthias Clamer / FX)

The ceremony for the 60th Grammy Awards is still two weeks away, but already music’s biggest TV night has made history.
For the first time, hip-hop artists comprise the majority of nominees chosen in the academy’s top categories, including record, album and song of the year.
But that sound you’re hearing isn’t champagne corks popping in celebration. It’s exasperated sighs that the Recording Academy only just discovered what the rest of the entertainment industry noticed back in the flip-phone era: Hip-hop, once an outlier, is now the status quo.
From Broadway’s “Hamilton” to Hollywood’s “Straight Outta Compton” to television’s “Atlanta,” hip-hop’s domination of American pop culture has defied countless predictions that a nervous white mainstream would never fully embrace a trend born out of the urban, black experience.
Consider hip-hop’s television takeover. Today, rappers are not only backing films about the black experience, but they are creating, producing and starring in top-rated cable and network series and breaking out of music categories at film and television award shows.
“Atlanta” creator and star Donald Glover — who under his rap name, Childish Gambino, is up for five Grammys — made history when he won a directing Emmy in September for his breakthrough FX comedy, a cable ratings success, about the everyday trials and tribulations of an aspiring hip-hop entrepreneur. No other black director had ever won an Emmy in the comedy category, and Glover was the first director since Alan Alda in 1977 to win for a comedy in which he also starred.
“I wanted to show white people you don’t know everything about black culture,” he told the awards ceremony audience, some of whom had already watched him win two top Golden Globes for the show earlier in 2017.
Lin-Manuel Miranda, who shattered records and expectations when his hip-hop musical “Hamilton” swept the 2016 Tonys, is now executive producing a forthcoming Showtime series, “The Kingkiller Chronicle,” based on characters from the fantasy books by Patrick Rothfuss.
And hitting Showtime this month was the already critically acclaimed “The Chi” from “Master of None’s” Lena Waithe, the first black woman to win an Emmy for comedy writing, and hip-hop star Common, the first rapper to win an Emmy, Oscar, Grammy and Golden Globe. (Before Oprah and Meryl Streep, he gave what had been the Golden Globes’ most inspirational speech — “I am” — delivered with the poetic rhythm of a rap when he and John Legend accepted the 2015 original song award for “Glory” in Ava DuVernay’s civil rights drama “Selma.”)

"The Chi"
The cast of Showtime's "The Chi," which premiered this month and has already garnered critical acclaim. Mathieu Young / Showtime

“I was surprised by it all,” Common said about the accolades.
It was one of many in a string of “crossover surprises”: Fox’s hip-hop themed drama “Empire” became a surprise success with white audiences; soccer moms across America were surprised they couldn’t stop humming Pharrell Williams’ “Happy” in favor of something — anything — else; and a biopic about once-feared gangsta rap pioneers N.W.A, “Straight Outta Compton,” became a surprise hit at the box office.
The surprise, however, is that anyone was surprised.

The Age of Hip-Hop

From the streets to cultural dominance
The 2018 Grammy nominations are overdue acknowledgment that hip-hop has shaped music and culture worldwide for decades. In this ongoing series, we track its rise and future.

“Hip-hop is the soundtrack of at least one, probably two generations now,” says Common (aka Lonny Rashid Lynn Jr.), who is an executive producer on the Waithe-run series about everyday life on the South Side of Chicago. “People used to be afraid of it or consider it the music of gangsters or thugs, or whatever. But now, it’s part of everything … and everyone under the age of 40.”
From the jaunty 1980s McDonald’s jingles that still haunt Gen Xers today to raunchy rapper Method Man’s current role as a congenial TV game show host for the millennial-skewing “Drop the Mic,” hip-hop is now part of our cultural DNA. Tupac Shakur, Lauryn Hill and Eminem are to a generation what the Beatles and Stones were to boomers — the artists of their youth.
And in some cases, the actors of today were the rappers of their parents’ generation.
Ice-T, the once-controversial “Cop Killer” rapper whose breakthrough film role was in 1991’s “New Jack City,” has played a sex crimes detective on NBC’s “Law & Order: Special Victims Unit” since 2000. “If you’re 17 now, that means I started when you were two,” he said in the past. “So you don’t have a reference point for me as a rapper. Your mother does, your father does….”

Ice–T as Odafin "Fin" Tutuola in the long-running NBC series "Law & Order: Special Victims Unit." Paul Drinkwater / NBC

Rap, after all, was the genre that gave us TV and film personalities like Queen Latifah, Will Smith, LL Cool J, Ice Cube, Snoop Dogg, Redman, Method Man and Tupac — and we’re not even into the 2000s yet. Their popularity would eventually give rise to more and more shows about or starring hip-hop figures. When ABC recently canceled “The Mayor,” about an aspiring rapper who becomes mayor of his hometown, there were no outcries over the dearth of black leads on TV — people were too busy looking forward to “The Chi” and the upcoming March premiere of “Atlanta’s” second season.
“When I used to get my Entertainment Weekly and I’d look at the fall TV previews,” said Method Man (aka Clifford Smith), “there was so many years when there weren’t any black shows premiered. I remember one year, there was only like one new fall show premiering that featured people of color: ‘The Cleveland Show’ — and that was animated, and the lead voice was done by a white guy!”
Lee Daniels’ “Empire” was the clearest example of hip-hop as a crossover bridge to break color barriers when it premiered on Fox in 2015 and obliterated conventional wisdom that a “black” drama was for black audiences. After all, why would an entire generation raised on Dr. Dre’s “The Chronic” consider a show about a hip-hop family dynasty as anything but meant for them?

Terrence Howard
Terrence Howard as Lucious Lyon, a hip-hop mogul, in Fox's "Empire." Chuck Hodes / Fox

Instead of waiting for Hollywood and television studios to let them in, many hip-hop artists formed their own multimedia production companies or began crowdsourcing funds to create their own content.
Ice Cube (aka O’Shea Jackson) alone launched an entire genre of black comedies for the post-Run DMC generation in the “Friday” and “Barbershop” series. The stone-cold gangsta who had referred to himself as the “[N-word] you love to hate” reinvented himself as everyone’s dad in the “Are We There Yet?” films.
Taking cues from pioneers like Ice Cube, Pharrell co-executive produced a love letter to 1990s hip-hop, the coming-of-age film “Dope.” Beyond his work with Common, crooner John Legend, who came up in the hip-hop world, co-produced a WGN America series about slavery, “Underground.” Rapper 50 Cent was behind the Starz series “Power.”
Ice Cube and Dr. Dre avoided the curse of the corny rap biopic (e.g., “Notorious”) by co-producing their own story in “Straight Outta Compton.” “NCIS: Los Angeles” star and five-time Grammy host LL Cool J now co-produces his own game show, “Lip Sync Battle.” Clearly his 1990s self was onto something when he rapped about “Rockin’ [his] peers.”
Queen Latifah (aka Dana Owens) and Will Smith also created their own production companies after experiencing success on their respective hit series, “Living Single” and “The Fresh Prince of Bel-Air.” Netflix recently teamed up with Smith for its biggest gamble to date, “Bright,” a streaming version of a Hollywood blockbuster. Though critically panned, the production was streamed an astonishing 11 million times over three days when it was released last month and has been greenlit for a sequel.
Demand is high for the cachet, the perspective and, of course, the money that a rap celebrity and elder statesman like Jay-Z brings to a production. “Selma” and “Wrinkle in Time” director Ava DuVernay recently worked with Mr. Bey for his “Family Feud” music video, a short released exclusively on his streaming service, Tidal.
It’s not just recognizable star power from the music world that’s drawing viewers toward shows and films that take their cues from the rap world. HBO’s “Insecure” and the CW’s “Black Lightning” are heavily steeped in rap references — such cultural shorthand would have been unthinkable 15 years ago beyond BET or MTV.
Reality TV on those Viacom-owned networks has served as a major stepping stone for hip-hop stars transitioning from music to TV — and beyond.
Let’s face it, when “Martha & Snoop’s Potluck Dinner Party” is renewed for a second season (which kicked off last year), a barrier has not only been broken, it’s been entirely erased. “I don’t know who’s going to be more fried by the end of this show,” joked the perfect hostess with the “Gin & Juice” rapper in the first season.
VH1’s reality show “Love & Hip-Hop” gave us Cardi B. “Surreal Life” and “Strange Love” made Public Enemy’s Flavor Flav a household name 20 years after he was last a household name. “Run’s House” and, yes, even “The Vanilla Ice Project,” a home improvement show, were canaries in a coal mine for the acceptance of the brash likes of Nicki Minaj on Middle America’s go-to show, “American Idol.”
Rappers who are used to saying it all — unedited, with abandon and on the fly — make for the best and most unpredictable reality stars. As for scripted television and film, the tradition of storytelling at the base of rap as far back as Kurtis Blow and the Sugarhill Gang is what makes hip-hop so attractive to narrative-hungry mediums.
Says Common, “rappers are storytellers, and that is a timeless tradition no matter who is watching or listening.” And clearly, this year, the Grammys finally are.
The rise of XXXTentacion underscores rap's fraught battle with the law
Pharrell and Chad Hugo redefined hip-hop's sound, now they've put out a N.E.R.D response to Trump
Why hip-hop, once ostracized in clubs, is ruling the festival circuit
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