Apr 22 2014

Young People Continue To Talk About the Cops…

If you read this blog, you know that I talk a lot about policing. The cops are the gateway to the prison industrial complex and the gatekeepers of state power. In addition, as I’ve often written, the young people I work with want to talk about the police. Their material experiences of feeling and being oppressed usually revolve around how they are treated by cops.

Recently a young person who I love named Richard released a new music video for his song “Cops and Robbers.” You can and should watch it below.

I asked Richard about his inspiration for the song and his response was as follows:

“So the idea of the song actually was nothing planned. I was on the Greyhound coming back from a very short spring break and I had just started to re-read Assata Shakur’s Autobiography and I listened to the beat right after I read the first chapter and the first thing I could think of was Cops and Robbers, and how Assata was portrayed and accused and related to my experiences growing up in Chicago.”

I also asked about how he views the role of police in communities like the one he grew up in. His response was that they were “overseers” of the community. I thought that this terminology was instructive and harkens back to the slave patrols which were America’s original police forces.

Recently my comrade Francesco de Salvatore shared his collaboration with a group called the Young Fugitives about policing in Chicago. The project titled “Growing Up With CPD” is a set of audio interviews with young Chicagoans about their experiences with law enforcement. Below is one story.

“Growing Up With CPD” follows on the heels of a similar project that my organization undertook a couple of years ago called “Chain Reaction.” I think that what all of these projects have in common is a desire to surface the voices of young people who feel oppressed by policing in the hope that people will come to rely less on cops as the solution of violence. I hope that people will heed young people’s calls for true justice.

Apr 05 2014

Musical Interlude: One Love…

An all time classic…

Mar 15 2014

Musical Interlude: Just A Friendly Game of Baseball

Today is the international day against police brutality…

Feb 02 2014

Musical Interlude: Claimin’ I’m A Criminal

I’ve always liked this song by Brand Nubian. It’s from back in 1994 which is probably when I stopped really listening to rap music (LOL!).

Jul 24 2013

Musical Interlude: Blood on the Leaves (Remix) by Jasiri-X

I’ve been listening to this non-stop since yesterday. The brilliant and committed Jasiri-X has written and produced an amazing song that addresses the Trayvon Martin case. Blessed to have been in community with Jasiri and I have found him as kind as he is talented. That’s saying a lot. Listen and share with others.

Jun 14 2013

the murdered and the mourned…

“I should write something to mark the beginning of the George Zimmerman trial” is the thought rattling through my mind incessantly over the past couple of days. But I fear that I have run out of words… I’ve written about both Zimmerman and Trayvon Martin many times on this blog. No more words are forthcoming. I’ve been doing my best to ignore Sybrina Fulton’s daily tweets about her son this week. Today, she wrote: “You don’t have to know me to know my pain, use my pain & my lost to stand up for something.” It pushed me over the edge and I felt compelled to call forth Trayvon’s spirit.

“the mysterious connection
between whom we murder
and whom we mourn… – Audre Lorde (Dear Joe)”

I’ve been preoccupied with thoughts about his soul but also our country’s collective one. Does Trayvon’s soul rest easy? Or is it caught in the space “between whom we murder and whom we mourn” like thousands of other black people who have been tragically killed over the years in this country? Audre Lorde has written that: “Our dead line our dreams…” Unfortunately, too often black children are more likely to embody this country’s fears and nightmares.

Across time and space, my mind travels to Baton Rouge, Louisiana in December 1912. Simon Cadors, a black man, is convicted of killing a rich white planter. He’s sentenced to hang. As he awaits his appeal, he is kidnapped from his jail cell by a white mob and lynched. His body is found hanging from a telegraph pole on Christmas eve. Around his neck is a placard that reads: “The inevitable penalty.” It’s a warning to every black person in Louisiana; it’s southern ‘justice.’

A hundred years later, in my mind’s eye I see Trayvon. He’s lying on the cold concrete. As I get closer, I notice a placard hanging from his neck that reads: “The inevitable penalty.” It’s a warning to every black person in Florida; it’s southern ‘justice.’

There is a continuity between Simon Cadors and Trayvon Martin. Both exist in the space “between whom we murder and whom we mourn.” Despair and hope are once again at war within me. Audre whispers in my ear: “Despair is a tool for your enemies.” I decide to search for signs of hope. I find it once again in the voice of our youth:

I tell ‘em listen
I don’t fit your description
I don’t think that I embody this picture that you all are depicting

Lamar Jorden is a Chicago poet, writer and rapper. He has been part of the Louder than a Bomb (LTAB) poetry festival and appears on this year’s LTAB Mixtape. His song “Listen” is an exhortation for his peers to define themselves and to reject the negative stereotypes that society imposes on them. Jorden has taken on Sybrina’s Fulton’s call to use our pain and to stand up for something. He is also concerned with questions that Audre asked in 1977 (many years before he was born): “In what way can we cease to contribute to our own oppression? What hidden assumptions of the enemy have we eaten and made our own?” These are questions worth wrestling with as we work to build the world that we want to live in; a world free of oppression where true justice is possible.

Apr 29 2013

Unpacking ‘Chiraq’ #1: Chief Keef, Badges of Honor, and Capitalism

On Sunday, I awoke to the news that some parents of Walter Payton Prep High School students refused to allow their children to play a night game on the campus of Gwendolyn Brooks Prep High. 

You have to live in Chicago to fully appreciate this drama.  Payton and Brooks are both selective enrollment public high schools in the city. Both are considered “good” schools. Payton is on the Northside of Chicago while Brooks is located on the Southside. Rich white parents use their clout to get their children admitted to Payton but not to Brooks. In case you didn’t know, Chicago is still the most segregated city in the United States. This also extends to our schools, of course.

One can hardly blame the parents of Payton students who were afraid that their children might succumb to violence on the dreaded “Southside.” Over the past three to four years, media accounts have portrayed Chicago as the wild, wild, West. Scarcely a day goes by that there isn’t another account of rampant “senseless” violence in the city.

It’s gotten so bad that the former police superintendent, Jody Weis, felt the need to proclaim during a news conference in 2010: “We are not Chi-raq. We are Chicago.”
This brings me to the main issue that I wanted to address today.

chiraq

Read more »

Dec 15 2012

Musical Interlude: Young Lords by Immortal Technique

I love this song. Stay tuned for information about an upcoming project that I am working on about the Young Lords.

Dec 03 2012

Menaces to Society: Impotent Rage, Chief Keef, & Black Boys

Someone got really angry at me last week. She asked me to “defend” Chief Keef and I said no. I declined to engage with her not because Chief Keef isn’t “worth” defending but rather because he is a proxy & therefore irrelevant. What this woman really wanted me to do was to condemn Keef. I won’t do it. [Full disclosure: I've been asked to appear in the media to talk about Keef & have declined too.]

Many people cringe when they watch Chief Keef’s video for his song “I Don’t Like.” Some people find their fears of young black men confirmed by the images that they see. Others rage against him for embodying the worst stereotypes attributed to black boys. Are we to believe, however, that the negative ideas that people have about young black men originate with Keef and his videos? Come on. Those stereotypes and ideas predate Keef by several generations. The cultural work of racism that set the stage for dehumanizing black people has its roots in the 19th century. Keef really didn’t make this world; he’s inherited it and we are all culpable for this.

If you are taking to the media or the pulpit to skewer Keef, you are wasting your time. It is easy to rant and much more difficult to propose constructive solutions for the social problems that give birth to the destructive realities that Keef raps about and that he lives.

Kevin Coval gets at this in the preface of his new chapbook More Shit Chief Keef Don’t Like:

Every institution in Chicago fails Black youth. Segregated and systematically inequitable, Chicago is a town where white kids exist in an increasingly idyllic new urban utopia, and Black and Latino kids weave and dodge through a war zone. The largest specter in the spectacle and circus that surrounds the city, Chief Keef has become its poster boy and scapegoat. He is a young man who looks and sounds like thousands of young people in Chicago—reared in a culture of nihilism, death, and capitalism. He is a young man who sings the demented measures and results of white supremacy, the legacy and maintenance of grand inequity. Chief Keef sings a tortured and tormented Chicago song. It is a song we need to listen to carefully.

Like some other young black men in Chicago his age, Keef has already been in trouble with the law. He’s been arrested and spent time in jail. He is also unapologetic about these things. Keef is a symptom and product of Chicago’s devastated and blighted inner city communities. This past July, Daniel Shea wrote a profile titled “Chief Keef: Lost Boys,” it’s worth reading.

Keef is just 17 years old and he is basically a commodity at this point. He performs and probably makes much more money for corporations than he does for himself. I don’t know the young man personally but I would bet that he is no different than the other 17 year old black boys that I meet and interact with daily. He is no doubt holding a lot of anger, he is probably funny & mercurial, he might be sullen & sweet, he does a lot of weed and it’s clear that he is brilliant. In other words, Keef is as Kevin points out like “thousands of young people in Chicago.”

And the truth is that thousands of young people in Chicago are being failed on a minute by minute basis. So I won’t waste my time moralizing against Keef. I will instead continue to condemn and to hold accountable the systems and institutions that are supposed to ensure the health and well-being of the thousands of youth like him.

Nov 25 2012

Musical Interlude: “Revolution” by Rebel Diaz

The terrific Rebel Diaz have a terrific new video based on their song “Revolution.” You’ll hear them sampling the Black Panther chant in the song.