Talib and Saul Williams Break IT down-regarding Imus, Hip Hop, mysogyny, Oprah,Willie Lynch, etc.

[ I'm back :) ]
Saul Williams:

Saul Williams wrote a letter that was posted on Okayplayer's message board today- not sure if he mailed the letter yet. I haven't seen these town hall meetings Oprah had on her show. I heard she was discussing "where hip hop went wrong." She had notable hip hop insiders like Russell Simmons, Common, and Kevin Lyles (journalist) on the show. They disucssed what the root of the relationship between hip hop and misogyny.

Lots of hip hop heads, mostly on okayplayer.com, were not feelin Oprah's denouncement of hip hop without doing her research. Saul Williams just wants her to aknowledge that "there is nothing more negligent than attempting to address a problem one finds on a branch by censoring the leaves." There is a bigger picture. read this. soak it in. i want to know what you think.

Saul Williams' Letter

Dear Ms. Winfrey,

It is with the greatest respect and adoration of your loving spirit that I write you. As a young child, I would sit beside my mother everyday and watch your program. As a young adult, with children of my own, I spend much less time in front of the television, but I am ever thankful for the positive effect that you continue to have on our nation, history and culture. The example that you have set as someone unafraid to answer their calling, even when the reality of that calling insists that one self-actualize beyond the point of any given example, is humbling, and serves as the cornerstone of the greatest faith. You, love, are a pioneer.

I am a poet.

Growing up in Newburgh, NY, with a father as a minister and a mother as a school teacher, at a time when we fought for our heroes to be nationally recognized, I certainly was exposed to the great names and voices of our past. I took great pride in competing in my churches Black History Quiz Bowl and the countless events my mother organized in hopes of fostering a generation of youth well versed in the greatness as well as the horrors of our history. Yet, even in a household where I had the privilege of personally interacting with some of the most outspoken and courageous luminaries of our times, I must admit that the voices that resonated the most within me and made me want to speak up were those of my peers, and these peers were emcees. Rappers.
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Yes, Ms. Winfrey, I am what my generation would call "a Hip Hop head." Hip Hop has served as one of the greatest aspects of my self-definition. Lucky for me, I grew up in the 80's when groups like Public Enemy, Rakim, The jungle Brothers, Queen Latifah, and many more realized the power of their voices within the artform and chose to create music aimed at the upliftment of our generation.

As a student at Morehouse College where I studied Philosophy and Drama I was forced to venture across the street to Spelman College for all of my Drama classes, since Morehouse had no theater department of its own. I had few complaints. The performing arts scholarship awarded me by Michael Jackson had promised me a practically free ride to my dream school, which now had opened the doors to another campus that could make even the most focused of young boys dreamy, Spelman. One of my first theater professors, Pearle Cleage, shook me from my adolescent dream state. It was the year that Dr. Dre's "The Chronic" was released and our introduction to Snoop Dogg as he sang catchy hooks like "Bitches ain't shit but hoes and tricks..." Although, it was a playwriting class, what seemed to take precedence was Ms. Cleages political ideology, which had recently been pressed and bound in her 1st book, Mad at Miles. As, you know, in this book she spoke of how she could not listen to the music of Miles Davis and his muted trumpet without hearing the muted screams of the women that he was outspoken about "man-handling". It was my first exposure to the idea of an artist being held accountable for their actions outside of their art. It was the first time I had ever heard the word, "misogyny". And as Ms. Cleage would walk into the classroom fuming over the women she would pass on campus, blasting those Snoop lyrics from their cars and jeeps, we, her students, would be privy to many freestyle rants and raves on the dangers of nodding our heads to a music that could serve as our own demise.

Her words, coupled with the words of the young women I found myself interacting with forever changed how I listened to Hip Hop and quite frankly ruined what would have been a number of good songs for me. I had now been burdened with a level of awareness that made it impossible for me to enjoy what the growing masses were ushering into the mainstream. I was now becoming what many Hip Hop heads would call "a Backpacker", a person who chooses to associate themselves with the more "conscious" or politically astute artists of the Hip Hop community. What we termed as "conscious" Hip Hop became our preference for dance and booming systems. Groups like X-Clan, A Tribe Called Quest, Brand Nubian, Arrested Development, Gangstarr and others became the prevailing music of our circle. We also enjoyed the more playful Hip Hop of De La Soul, Heiroglyphics, Das FX, Organized Konfusion. Digable Planets, The Fugees, and more. We had more than enough positivity to fixate on. Hip Hop was diverse.

I had not yet begun writing poetry. Most of my friends hardly knew that I had been an emcee in high school. I no longer cared to identify myself as an emcee and my love of oratory seemed misplaced at Morehouse where most orators were actually preachers in training, speaking with the Southern drawl of Dr. King although they were 19 and from the North. I spent my time doing countless plays and school performances. I was in line to become what I thought would be the next Robeson, Sidney, Ossie, Denzel, Snipes... It wasn't until I was in graduate school for acting at NYU that I was invited to a poetry reading in Manhattan where I heard Asha Bandele, Sapphire, Carl Hancock Rux, Reggie Gaines, Jessica Care Moore, and many others read poems that sometimes felt like monologues that my newly acquired journal started taking the form of a young poets'. Yet, I still noticed that I was a bit different from these poets who listed names like: Audrey Lourde, June Jordan, Sekou Sundiata etc, when asked why they began to write poetry. I knew that I had been inspired to write because of emcees like Rakim, Chuck D, LL, Run DMC... Hip Hop had informed my love of poetry as much or even more than my theater background which had exposed me to Shakespeare, Baraka, Fugard, Genet, Hansberry and countless others. In those days, just a mere decade ago, I started writing to fill the void between what I was hearing and what I wished I was hearing. It was not enough for me to critique the voices I heard blasting through the walls of my Brooklyn brownstone. I needed to create examples of where Hip Hop, particularly its lyricism, could go. I ventured to poetry readings with my friends and neighbors, Dante Smith (now Mos Def), Talib Kwele, Erycka Badu, Jessica Care Moore, Mums the Schemer, Beau Sia, Suheir Hammad...all poets that frequented the open mics and poetry slams that we commonly saw as "the other direction" when Hip hop reached that fork in the road as you discussed on your show this past week. On your show you asked the question, "Are all rappers poets?" Nice. I wanted to take the opportunity to answer this question for you.

The genius, as far as the marketability, of Hip Hop is in its competitiveness. Its roots are as much in the dignified aspects of our oral tradition as it is in the tradition of "the dozens" or "signifying". In Hip Hop, every emcee is automatically pitted against every other emcee, sort of like characters with super powers in comic books. No one wants to listen to a rapper unless they claim to be the best or the greatest. This sort of braggadocio leads to all sorts of tirades, showdowns, battles, and sometimes even deaths. In all cases, confidence is the ruling card. Because of the competitive stance that all emcees are prone to take, they, like soldiers begin to believe that they can show no sign of vulnerability. Thus, the most popular emcees of our age are often those that claim to be heartless or show no feelings or signs of emotion. The poet, on the other hand, is the one who realizes that their vulnerability is their power. Like you, unafraid to shed tears on countless shows, the poet finds strength in exposing their humanity, their vulnerability, thus making it possible for us to find connection and strength through their work. Many emcees have been poets. But, no, Ms. Winfrey, not all emcees are poets. Many choose gangsterism and business over the emotional terrain through which true artistry will lead. But they are not to blame. I would now like to address your question of leadership.

You may recall that in immediate response to the attacks of September 11th, our president took the national stage to say to the American public and the world that we would "...show no sign of vulnerability". Here is the same word that distinguishes poets from rappers, but in its history, more accurately, women from men. To make such a statement is to align oneself with the ideology that instills in us a sense of vulnerability meaning "weakness". And these meanings all take their place under the heading of what we consciously or subconsciously characterize as traits of the feminine. The weapon of mass destruction is the one that asserts that a holy trinity would be a father, a male child, and a ghost when common sense tells us that the holiest of trinities would be a mother, a father, and a child: Family. The vulnerability that we see as weakness is the saving grace of the drunken driver who because of their drunken/vulnerable state survives the fatal accident that kills the passengers in the approaching vehicle who tighten their grip and show no physical vulnerability in the face of their fear. Vulnerability is also the saving grace of the skate boarder who attempts a trick and remembers to stay loose and not tense during their fall. Likewise, vulnerability has been the saving grace of the African American struggle as we have been whipped, jailed, spat upon, called names, and killed, yet continue to strive forward mostly non-violently towards our highest goals. But today we are at a crossroads, because the institutions that have sold us the crosses we wear around our necks are the most overt in the denigration of women and thus humanity. That is why I write you today, Ms. Winfrey. We cannot address the root of what plagues Hip Hop without addressing the root of what plagues today's society and the world.

You see, Ms. Winfrey, at it's worse; Hip Hop is simply a reflection of the society that birthed it. Our love affair with gangsterism and the denigration of women is not rooted in Hip Hop; rather it is rooted in the very core of our personal faith and religions. The gangsters that rule Hip Hop are the same gangsters that rule our nation. 50 Cent and George Bush have the same birthday (July 6th). For a Hip Hop artist to say "I do what I wanna do/Don't care if I get caught/The DA could play this mothaf@kin tape in court/I'll kill you/ I ain't playin'" epitomizes the confidence and braggadocio we expect an admire from a rapper who claims to represent the lowest denominator. When a world leader with the spirit of a cowboy (the true original gangster of the West: raping, stealing land, and pillaging, as we clapped and cheered.) takes the position of doing what he wants to do, regardless of whether the UN or American public would take him to court, then we have witnessed true gangsterism and violent negligence. Yet, there is nothing more negligent than attempting to address a problem one finds on a branch by censoring the leaves.

Name calling, racist generalizations, sexist perceptions, are all rooted in something much deeper than an uncensored music. Like the rest of the world, I watched footage on AOL of you dancing mindlessly to 50 Cent on your fiftieth birthday as he proclaimed, "I got the ex/if you're into taking drugs/ I'm into having sex/ I ain't into making love" and you looked like you were having a great time. No judgment. I like that song too. Just as I do, James Brown's Sex Machine or Grand Master Flashes "White Lines". Sex, drugs, and rock and roll is how the story goes. Censorship will never solve our problems. It will only foster the sub-cultures of the underground, which inevitably inhabit the mainstream. There is nothing more mainstream than the denigration of women as projected through religious doctrine. Please understand, I am by no means opposing the teachings of Jesus, by example (he wasn't Christian), but rather the men that have used his teachings to control and manipulate the masses. Hip Hop, like Rock and Roll, like the media, and the government, all reflect an idea of power that labels vulnerability as weakness. I can only imagine the non-emotive hardness that you have had to show in order to secure your empire from the grips of those that once stood in your way: the old guard. You reflect our changing times. As time progresses we sometimes outgrow what may have served us along the way. This time, what we have outgrown, is not hip hop, rather it is the festering remnants of a God depicted as an angry and jealous male, by men who were angry and jealous over the minute role that they played in the everyday story of creation. I am sure that you have covered ideas such as these on your show, but we must make a connection before our disconnect proves fatal.

We are a nation at war. What we fail to see is that we are fighting ourselves. There is no true hatred of women in Hip Hop. At the root of our nature we inherently worship the feminine. Our overall attention to the nurturing guidance of our mothers and grandmothers as well as our ideas of what is sexy and beautiful all support this. But when the idea of the feminine is taken out of the idea of what is divine or sacred then that worship becomes objectification. When our governed morality asserts that a woman is either a virgin or a whore, then our understanding of sexuality becomes warped. Note the dangling platinum crosses over the bare asses being smacked in the videos. The emcees of my generation are the ministers of my father's generation. They too had a warped perspective of the feminine. Censoring songs, sermons, or the tirades of radio personalities will change nothing except the format of our discussion. If we are to sincerely address the change we are praying for then we must first address to whom we are praying.

Thank you, Ms. Winfrey, for your forum, your heart, and your vision. May you find the strength and support to bring about the changes you wish to see in ways that do more than perpetuate the myth of enmity.

In loving kindness,

Saul Williams
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Talib Kweli:

Talib posted a blog on his myspace page regarding the same issue, but with less metaphors. He kept it plain and simple. He roots the problem with hip hop's misogynists to Willie Lynch and his goal to keep Africans enslaved physically as well as mentally. Read that too. Real stuff. I wish people listened to this dude and other "concious" MC's more. I mean the people we are discussing so often-in the hood.
Talib Lays It Out



The Convenience Of Comedy- Don't Be Fooled By Your TV!!!

For those not familiar with the Willie Lynch letter, it was a business plan drawn up to ensure that blacks would remain in slavery forever. It explained to the slave owner that if you stripped an African of his/her religion and native tongue, made it illegal for an Arican to go to school or learn to read, separate husband from wife, mother from child, and play up differences like light vs. dark, that African would be in a state of mental slavery. There would be no need for chains, the African would have nothing to struggle against. The African would love his white master unconditionally because loving his master would be his only source of pride. The African would hate thyself, particularly the physical traits that exposed African heritage, such as big lips, big noses and black skin and nappy hair. The letter says that if you put these policies into practice on your plantation, the African will not only be mentally enslaved now, but for GENERATIONS TO COME.

This was systematic destruction of the black family. African women were treated as merely breeders, their husbands and babies sold off. They were routinely raped by their slave masters as used as unwilling concubines. As the African family was being dismantled, America traded in the plantation for industry and grew by leaps and bounds. No need for whips and chains, black people would become the country's biggest labor force and consumer source for free, and still love thy master. The ramifications of slavery and the mental damage it has caused is the biggest problem facing black people today. To be honest about how the past affects the present and future is not living in it. To ignore its affect is to be blind. It is the reason why the black family structure is broken, why we go to jail and fail standardized tests at alarming rates. It is the reason why we still think the white doll is nice and pretty and the black one is ugly and bad, in 2007. It is the reason we are racially profiled, and have higher infant mortality rates, and it is the reason we refer to each other as niggas and hoes.

On the flip, this destruction is also the cause of white priviledge in this country. It is silly to hold the son responsible for the sins of his father, but it is stupid to not acknowledge the vast priviledges that come from the forefathers business plan. The plan was to make sure that the children of rich white male land owners would profit off the land at the expense of black bodies and souls for GENERATIONS TO COME. White people live in better nieghborhoods, live longer, make way more money, and have access to way more resources and opportunities as a direct result of slavery. Affirmative action programs were created to try to achieve a better balance, but you cannot legislate whats in peoples hearts and minds. True, there are more rich black folks on TV, but our neighborhoods are worse than they've ever been. The white community has benefitted so much from slavery, it's no wonder the media tries to discredit anyone who brings it up.

So now they want to talk about double standards? Don Imus can say "nappy headed ho" because rappers say ho all the time? Are you kidding me? That is wrong on so many levels. First, a rapper claims to be nothing but an artist. As I have said before, an artist responsibility is to be honest with the craft. I don't think it's right to call women bitches and hoes, so I don't, if I did, I would be being dishonest with my craft. Don Imus is a journalist and political commentator who wallows in bathroom humor to make up for lack of substance. When it's convenient, he's a comedian. What Imus did had nothing to do with hip hop, do not let them fool you. Hip hop sells, so every time Hannity and Colmes does a show about hip hop, their ratings go up, period. These talking heads on the TV trot out fed up sisters, uncle tom negroes and political vultures who equate hip hop with the devil, but have never heard a record by Lupe Fiasco, the Roots, Immortal Technique, Common, Jean Grae, Little Brother, the Coup, Dead Prez, Zion I and too many other incredible artists to name. They love the earning potential of hip hop, and they how they sound bashing it, but the have zero respect for the art. They sound ignorant.

Many hip hop artists are young black men who have never had the priviledges Imus had growing up. If you have been severly oppressed by white people, and the ramifications of slavery have ensured that your family remains broken and poor, your instinct makes you wary. If a nigga is what you oppressor fears the most, than it is seductive to be the realest nigga out. You attack your women by calling bitches and hoes. It is a defense mechanism, because you are scared to love. Love equals loss in your world. These are not exuses, there are reasons. There are also reasons why Imus called the outstanding Rutger's womens team "nappy headed hoes". It is because he is inherently racist and his white priviledge has blinded him to it. His priviledge allows him to believe these were just jokes without specific historical context, when his brain should have told him he's smart enough and experienced enough to know better.
Don't let the TV tell you that this is about hip hop, or rap, or Nelly, or Al Sharpton, or Hilary Clinton, or Timbaland, or Jesse Jackson. This is about a white man who was doing radio long before Bambatta started Zulu Nation or Herc plugged a speaker into a lamppost. He did not need hip hops permission to call Gwen Ifill, a respected journalist, the cleaning lady for the NY Times 15 years ago. If I'm correct, I think he has daughters, but these young black women were objects to him, not people. His objectification made it impossible for him and his producer to imagine that these women were somebody's daughters. Imus has gotten away with many offensive statements, and he will remain an esteemed member of his community, fired or not. Jimmy the Greek was fired for less, as were many others. Imus will be OK. Even if it wasn't justice (which it was), it was karma. I'm glad those women found it in their heart to forgive him, forgiveness is divine. But they had nothing to prove to him. He was fired for losing advertising dollars, not for disrepecting black women. Now is the time to stand by our sisters, and to stand up for our music. The music is our life and we cannot let those who do not participate regulate it for us.

Talib Kweli....Blacksmith is the Movement