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Archive for the ‘Justice’ Category

I got a text from a friend yesterday morning. She’s young, beautiful and talented, so young that she was really a baby when George Michael rose to prominence. She wanted me to know that she thought he was corny in a New Kids On The Block kinda way. She had no idea how hurtful she was being. When a true Soul Man dies all of us in the community feel the loss. She knows a lot about music so her opinions are usually informed, but in this case, she just hasn’t been around long enough to know that George Michael was one of the most special artists who broke through during the MTV era. Michael benefitted from the star making power of MTV and along with Michael Jackson, Prince, Madonna, Duran Duran, Culture Club and a few others, he became a poster boy for the music channel’s ability to make household names out of pop stars.

My friends Nile Rodgers, Mark Ronson and Q-Tip all shared their condolences and shock over the superstar’s loss through social media. My old collaborators from the New Jack Swing days, Al B.Sure! and Keith Sweat paid tribute on their Facebook and Instagram accounts as well. Because you see, George Michael was a Black Thing.

I first heard George Michael’s music in 1984. Well, truthfully, I’d heard him just a bit before, but I started to pay attention in 1984 when Michael was fronting kiddie pop duo Wham. At that time, his appearance was more important than his sound, but Wham’s second album featured an anthemic slice of slick working class pop funk called “Everything She Wants”. Michael’s gruff pleading with a girlfriend who wanted more than the narrator could give had an appeal to a twenty something kid on the hustle with, two jobs, a demanding girlfriend, and an ambition to rise to the heights of the music industry. I loved that track.

Soul Music had taken a hit that year. In the spring, Marvin Gaye had been shot and killed, and I was walking around in a daze, but I kept pushing on. I was working in a small but important independent record shop in New York’s Greenwich Village. Vinyl Mania was the name of the store, and it did a brisk business in imported, independent and domestic major label dance music that was driven, mostly, by what underground overlord Larry Levan was spinning at The Garage, the Village hotspot that influenced two subsequent generations of dance club culture around the world. That was my part time job. For a day job, I worked at ASCAP identifying songs and their uses. The import 12″ single on “Everything She Wants” was a hot seller for us. On WBLS, the heritage Black FM outlet owned and controlled by the Inner City Broadcasting Group, “The Chief Rocker” Frankie Crocker had a grip on progressive Black listeners, but a threat arose to his dominance as 98.7 Kiss FM began to reach out for Frankie’s younger listeners by playing early hits from the fledgling Hip Hop industry. Frankie rocked “Everything She Wants”.

Ed Koch was the mayor of NYC, and he’d let the police run amok; they’d killed an unarmed Black graffiti artist named Michael Stewart, and a Black grandmother named Elanor Bumpers was shotgunned to death in her own apartment. Ronald Regan was in the White House, and he oversaw sinful deregulation of the financial and banking sectors that resulted in the Savings and Loan industry being gutted, and he ignored the rising body count from AIDS until it was almost too late. Funding for programs to help the poor, the vulnerable and the victims of AIDS was slowing to a trickle that never quite made it as far down as it had been advertised to reach.

It was with all of this as a backdrop that young George Michael – a working class kid from Margaret Thatcher’s England and a proud son of disco – began his assent in the game. Yes, disco: the derivative of funk and soul that sprouted up out of New York’s Black, Latin and Gay underground and became the music of the outsider looking for a way in. This often derided music was perfect for Michael’s worldview, because he was an unabashed celebrant of Black Music and his funkiness was obscured by his looks, his glibness and a uniquely potent gift for pop song craft.

While Michael was experiencing the peak of his success he was never fully appreciated. Much like the early Beatles – Wham/Michael was dismissed as a disposable pop group for young girls, but “Everything She Wants” sent a signal to the R&B and Black Pop markets that this kid was coming to get his and that he would be disruptive while doing it. Later, when his song writing became more introspective, he ran afoul of corporate politics, and he rebelled against the big money string pullers who would have had him release the same formulaic ditties that made him a phenomenon. Michael was thought to be too pretty and too slick with his writing to be taken seriously and his deep connection to the Black Music tradition was overlooked.

Before the tabloid headlines, the police entrapment, the forced outing, the near death accidents and trials with addiction, George Michael suffered the burden of the beautiful when he split with Andrew Ridgeley, his Wham bandmate, and embarked on an historic run as a solo artist with the release of the title track from “Faith” a rockabilly workout that smashed around the globe. If you only saw the video or didn’t get the album you may have missed “Monkey” or “Hard Day” the two funk joints on the album, or the subtle and soulful begging on “Father Figure”.

But I was in the Black Music business that George Michael was a factor in, and I witnessed this: Grandmaster Flash destroying a dance floor at the original location for The China Club – when it was a hangout for the best session players in The City – by cutting up the bass line from “Freedom 90” back and forth. Regional representatives from two major labels (one of whom had gotten Madonna’s “Material Girl” added to rotation) arguing with the PD from Kiss FM on the merits of adding Jam and Lewis’ remix of Michael’s “Monkey” to the station’s playlist, and the PD ignoring their objections to put the fifth or sixth single from “Faith” on the Urban powerhouse’s airwaves. The dance floor of The Garage packed and getting busy to Wham’s “Everything She Wants”. Stevie Wonder crooning a duet with Michael from the stage of the “World Famous” Apollo Theater. George Michael performing all covers including McFadden and Whitehead’s “Ain’t No Stopping Us Now” and Rufus and Chaka Khan’s “Ain’t Nobody” backed by The Sounds of Blackness at Madison Square Garden.

Yes, George Michael with the Patrice Rushen loops, the Gap Band interpolations, the James Brown samples, the Aretha Franklin duet, the Mary J. Bilge duet, the Stevie Wonder covers and big churchy choruses that screamed freedom out of radios and televisions was a Black Thing. The older he got the blacker he sounded. He became an avatar for Gay Pride and a vessel for those who remembered when Soul Music was a means for protest. He used the fashion business to promote his sound by casting Christy Turlington, Eva Herzigova, Tatijana Patitz, Linda Evangelista, Beverly Peele, and Hip Hop’s favorite dinner date, Naomi Campbell in his videos. He shone a bright light on the AIDS crisis and gave away tons of money to charitable causes. He kept it funky while doing it all and reminded us to listen without prejudice. I loved his music. I do not think that his dying exactly ten years to the day that we lost James Brown was coincidental. He’s probably somewhere trying to show James how to rock one of those slick Italian suits that he used to wear. He made a mighty contribution to this thing of ours. For this I am grateful.

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The Ab is the abbreviated name of The Abstract Poetic, another fly pseudonym for the player more widely known as Q-Tip, the leader of A Tribe Called Quest. We work together on Apple Music’s Beats 1. He spins and I announce. We’ve got chemistry that we’ve developed over a period of nearly thirty year’s time. 
He called yesterday. Hearing from him is not the most unusual occurrence in and of itself, but he’s been busy lately – mad busy. Monday he and his fellow band mates shot a video, Wednesday night they had a listening party in Queens, and yesterday he was rehearsing for an appearance in support of Dave Chapelle’s first shot at hosting Saturday Night Live. The SNL gig jumps off tonight.

While he was on the phone, he had to pick up another call from Jonah Hill, and he’d already heard from Bradley Cooper. Rick Rubin texted his congratulations. Nas checked in, Alicia Keys and L Boogie checked in. Rock and Roll Hall of Famer, Rev. Run of Run/DMC checked in. All of this uptick in activity and interaction with these film, comedy, soul and Hip Hop headliners has been prompted by yesterday’s release of the sixth and last album from A Tribe Called Quest “We Got it from Here… Thank You 4 Your Service,” the band’s first record in nearly twenty years. And the first one since the heartbreaking and sudden death of Tribe cofounder Phife Dawg, from complications due to Diabetes last spring.

“We Got it from Here… ” is on fire, and showing early signs of penetrating the public’s consciousness by receiving commercial acceptance in a way that is rare for records in these times. In an earlier era, you could easily track the success of a new release through radio air play and retail sales. Now, the online radio community, Soundcloud, You Tube, streaming, unauthorized downloading, file sharing and the rest have diminished the ability of record companies to quantify the success of their product. Even so, early indicators are that the record is already top ten in sales in eighteen countries (without the availability of a physical CD), and may possibly enter next week’s pop chart at number one. Epic Records chieftain and Black Pop overlord, L.A. Reid has got a left field smash with significant cultural importance on his hands.

The current political climate has upended the American status quo in a shockingly definitive fashion by unearthing an ugly underbelly of hatred that had been previously held in check. In an effort to reclaim economic and political power, working class whites and a large portion of voting Latinos elected an immature and bigoted political novice to the Oval Office. Blacks, Latinos with sounder political views, Muslims, women who want to maintain the right to choose, gays and people in need of affordable health care all feel less secure than we did at the beginning of the week. In uncertain times the need for solid, dependable ideas, concepts and institutions increases. A Tribe Called Quest is one of those durable brands that we can count on in times of distress to soothe our souls with the healing power of Black Love.

Yesterday at an impromptu retail pop-up promotion in New York’s Chinatown, a line of eager Tribe fans, that went totally around the block in both directions, and met itself at the beginning, began to form six hours before the doors opened. While attending the event, Tip encountered a young woman who was despondent about America’s recent choice for president. She confessed that she’d been considering suicide because of our national folly until she heard “We Got it from Here… Thank You 4 Your Service” and now she has the hope to go on.

The young fan is not the only one who has been feeling a little down lately. The record has been giving me life too. It’s dope, game changing and badly needed.  I’ve been hearing bits and pieces of WGIFHTY4YS in various stages of completion for nearly a year. The intensity of the production and performances far outshines anything else in the marketplace right now – Tribe is playing chess while the rest of these kids are playing marbles.

When I visited Tip in September at his home in Soul City, he played a relatively complete version of the project for me over the course of three nights. The majority of the record was recorded in the Ab Lab in the basement of his crib. Based on that first night’s playback, I was so overwhelmed by what I heard that I had to excuse myself and go to sleep. I didn’t have the required stamina to hear that level of sophistication and fury. Subsequent listens inspired tears.

Sonically this record is somewhat undefinable but it is rooted more in a slick Pop/Funk thing that can only be described as the Q-Tip sound. He’s been digging in the crates where the rarest of grooves can be found, but has incorporated. a good deal of live playing that fits his overall concept well. With this record, Q-Tip, the master conceptualist, DJ and MC has stepped forward to the elite ranks of record producers working in music today.

They’re all on it. All the Tribesman; Tip, Busta Rhymes, Jarobi, Consequence, Ali Shaheed Muhammad and Phife. A few friends helped out too; Andre 3000, Kendrick Lamar, Anderson .Paak, Talib Kweli, Marsha Ambrosious, Jack White, Elton John and a new voice on the record’s tribute to better living through chemistry “Melatonin,” Abby Smith. The group addresses hot topics in the intellectually conscious, insightful, humorous and funky way that has made the band one of Hip Hop’s best of all time. Tip, Jarobi and Phife set the pace from track one on “Space Program,” a demand for the listener to wake up to the pervasiveness of the affects of wealth inequality among other things. Other standout tracks include ; “Whateva Will Be,” a proud display of human and lyrical identity; “Dis Generation,” a tight freestyle with pop potential; “Lost Somebody,” the tribute to a fallen comrade and the b-boy workouts; “Möbius” and “The Donald,” a couple of joints where Consequence, Busta, Phife and Tip rock steady.

It’s been a long journey from the beginning for Tribe. It’s been a path laden with success, disappointment, defeat, death, healing and triumph. A lot of life was lived in the eighteen years that passed in between now and their most recent record. We are reminded that creating great art requires sacrifice and pain. Without it there will be no joy. This record sounds like all of that took place and got poured into its creation. Those eighteen years were time well spent because this is the best Tribe record ever. Get one right away. You can thank me later.

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THE BLACK MESSIAH

Interesting moment we’re living through; just last weekend, Chris Rock returned to the big screen with his self-written and directed starring vehicle “Top Five”, a sweet, funny and romantic tale that co-stars Rosario Dawson, and has been deeply influenced by Chris’ love of Woody Allen films. My love of Woody Allen films has given me the lens to see Chris’s work in its proper light, and I have to recommend ‘Top Five” wholeheartedly. Not surprisingly, audiences are responding enthusiastically and have given the top banana two thumbs up to the tune of a $7million opening weekend-good enough to place it in the top five of all films that played last week in the US.

Sunday night, I finished reading an excellent book by former Huffington Post editor, Marcus Baram. His debut effort is a biography on the activist, poet, blues, jazz, and soul man, Gil Scott-Heron entitled, “Gil Scott-Heron: Pieces of a Man” and it’s stellar. It is the perfect companion to Scott-Heron’s own 2012 memoir “The Last Holiday”. Baram’s book gives great insight into Gil’s eccentric ride in the music business, and his battles with commercial and corporate expectations, family responsibilities, the press, band mates and addiction. It also gives political, cultural and historic context to Scott-Heron’s poetry and political activism. It is a must read for these revolutionary times that we’re living through.

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CHRIS ROCK and ROSARIO DAWSON

The day before I finished Baram’s book, word of another troubled Black genius came across my Facebook newsfeed, Bad Boy/Soul Man, D’Angelo has returned to the fray with a flurry of excitement. News of his first full – length studio project in 15 years broke the Internet when “Sugah Daddy”, a set up track from “Black Messiah”, the highly anticipated album, was made available for streaming, and as a free download for a limited time. The buzz was deafening, I followed, and I went to hear it.

I’d heard “Sugah Daddy”, when I last saw D’Angelo perform, he was here in Charlotte, and he came through in September of 2012 as an opener on a Mary J. Blige tour in support of her “My Life II” project. D played “Sugah Daddy’ that night, and later at an impromptu backstage meeting with D and veteran Soul Music player, Alan Leeds, I expressed my support for “Sugah Daddy” as a lead single. My thinking was that even though it may not be a home run radio charter, it would serve well as a set up single. I remember saying, “Stop bullshitting, put the motherfucker out.” We all laughed at how easily my old promotion man’s humor and swagger could be called upon in the right circumstances.

Swagger and humor that I earned during my battles in the radio wars. You see, I spent nearly a decade as a promotion man during the period when Hip Hop bubbled up from the underground and became Black oil for the corporate multi-nationals. After that, I became an A&R man, the A&R man who signed D’Angelo to his first record deal. The one who rocked with him during the writing of his masterwork, “Brown Sugar”. So you see, I’m somewhat familiar with the “D’Angelo sound” and its roots.

It starts in the South and in the Black church. His granddaddy was a preacher, and his daddy was too, D was the director of the Senior Choir at his granddaddy’s church at the age of seven. All churches have hierarchies and Black churches are no different. The senior choir in a Black church is populated with the voices that are most steeped in the Black gospel tradition and feeling. They are entrusted to deliver all the show-stopping, house quaking, spirit invoking hymns on the Sundays they sing. Usually, after they have made a joyful noise, the collection plate gets passed around, and if they have done their job well, the congregation will shell out the cash in support of the lord. When you witness this as a young child, the connection between purity of expression, art and commerce is forever embedded in your psyche.

Like Gil Scott-Heron, D’Angelo is a gifted southerner who is deeply steeped in the Black arts of Blues, Gospel, and Soul, and his “Black Messiah” reflects it. Also like Scott-Heron’s work, it reflects his disdain for corporate interference and commercial considerations. The album is deep, Black, funky, exquisitely performed and confused. It has no clear direction and the songs are sung with muted and inaudible vocals. Lyrics have surfaced on various sites on the Internet – somebody over at RCA is really thinking. The project has inspired online debate as to whether or not it is an instant classic, unfinished or even good. As my friend Chris Rock shared with me, “It’s a beautiful mess”. I would agree. Projected first-week sales have been quoted at the 100,000 mark. D’Angelo, and all of the attendant controversy that comes with him is back.

In May of this year, here on this blog, I wrote an open letter to D that (amongst other things) chided him for fostering a hoax on the public as the self-anointed “future of the funk”. I stand corrected; he is funk’s last best hope of survival. “Black Messiah” is a miracle born out of resistance to corporate interference and an unwillingness to assimilate into a Black Music marketplace filled with compromised synth based juvenile love songs, and pre-fab white rappers. It is the music of struggle, of pain and woe. It is uncompromisingly and authentically Black, and quite funky.

Many have inquired about my thoughts. Frankly, it is not a record that I would have helped him make. As a creative businessman with an ear to the street and an eye on the bottom line, it would have been irresponsible to encourage an artist to release a record in this form. However, I may have been wrong. Part of what an A&R man must do is to support courageous experimentation. In this regard, apparently, D’Angelo’s courage knows no bounds, and his uncompromising resistance to creative guidance may pay off well. And this may be the ideal soundtrack for the chaotic and unpredictable moment that we are living through. I hope it ends differently for him than it did for Gil.

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SCOTT RUDIN and AMY PASCAL

Last month, Sony Pictures became the victim of a massive hack into its computer systems and the company’s dirty laundry has been incrementally aired over the web ever since. Fascinating details of the inner workings of a major Hollywood studio concerning salaries, material, talent, and politics have emerged and become a dynamic source of debate on the Interwebs.

One of the leaked e-mail threads, in particular, has stirred a tremendous amount of anger. Sony Pictures Chair, Amy Pascal and top Hollywood and Broadway producer Scott Rudin had a personal e-mail exchange where they both made a racist conjecture about Barak Obama’s taste in films. In light of a recent Hollywood Reporter cover story where my old friend Chris Rock penned an essay that spelled out the reality that Hollywood was a town filled with racist liberals who, on the whole, continue to exclude blacks from decision-making positions, both Pascal and Rudin look like country club rednecks who secretly have the confederate flag hanging over their fireplaces. Ironically, the event that prompted the poorly chosen private joke was a high-powered fundraiser for Obama that Pascal would be attending later. After the story hit the web, both Rudin and Pascal issued apologies the next day.

Yesterday morning, after I posted an account of the TV producing powerhouse, Shonda Rhimes accusation that the press had been less than forthcoming by describing Rudin and Pascal as “insensitive” rather than “racist” when she Tweeted, “U can put a cherry on a pile of shit but it don’t make it a sundae,” a young Facebook friend of mine inquired, “Where’s the NAACP on this?”

When I responded, “What do they need to do? They apologized. It’s over.”

My friend was not too pleased with my response and posted, “Racism isn’t over. Wish it were that simple.”

Producer and writer Shonda Rhimes, creator of the

THE POWERHOUSE

In my opinion, that’s not debatable but it is an oversimplification. I don’t apologize for racists, but I think there’s more at work here so I answered, “And what would you suggest? Will Smith, Jamie Foxx and Jay-Z are involved in Sony’s biggest Christmas movie (Annie). Idris Elba, Taraji P. Henson, and Beyoncé have all worked with Screen Gems (a Sony division), any complaints from them? Scott Rudin has produced the new Chris Rock movie (Top Five), you expecting to hear anything from Chris? Pharrell had Sony’s biggest record this past year, worked on the last Spider-Man soundtrack, and hired Alicia Keys and Kendrick Lamar, you expecting to hear anything from them?”

He’s a smart kid, but an outsider whose reply indicated that he was less than impressed, “Facetiously, I suggest we say and do nothing and continue to receive handouts. Mere pittance. I say resoundingly, that there are more Alicia Keys, Kendrick Lamars, Elbas, Foxxs…out there. While I love all of those individuals that you and I named, I suggest Hollywood stop going to the same individuals and let everyone on, not just Alicia, Idris, Lamar etc…. There are so many talented artists out there and they are being hindered and suffocated by the Pascals and Rudins of the world. Racism is subtle and cunning.”

It was early yesterday morning, and I didn’t have time to explain to my earnest friend the idea of bankability, the requirements to open a movie or that none of the previously mentioned artists were “let” in. No, they worked, clawed, fought and got themselves in a position where their talent was not only noticed but in demand. So I hit him with this, “I do not disagree that it’s cunning. I asked what would you do, not what you would have Hollywood do. You protest against policies not e-mails. Annie is not a pittance, and Will Smith is not taking handouts he is partnered with Sony management. Is there a need for more black involvement in Hollywood? Sure. Will boycotting Sony achieve that? I’m not sure it will. The real issues are these; 18 Sony employees in management are making north of half a million a year, none of them is black, and only one is a woman. Amy Pascal jokingly inquired of Rudin about what should she say to Obama because she doesn’t have enough black people in her circle. Entertainment is a closed network and cash intensive. If you know of independent third party financing that is really interested in serious entertainment driven by black creativity, let me know. I can help ’em get in the game quickly. You certainly can make your mark independently, but if you want to have true international success, you at some point will have to work within a corporate structure, and that means racists. Previously, the closest thing to this was the Imus situation and Donald Sterling neither of whom had the good sense to apologize. Rudin and Pascal have. Don’t expect to hear from the Hollywood NAACP on this they want to work.”

Are they racists? Perhaps. Was their exchange loaded with racist attitudes? Definitely. Are they discriminatory? That is the more important question, and in that regard the answer is less clear. Sony has helped Will Smith become a wealthy and powerful mogul. Before the hacking “Annie” was set to make a fortune for Smith, his producing partner Jay-Z and the film’s star, Jamie Foxx. Sony has also been instrumental in channeling the mega-wattage of Kevin Hart into films. Rudin has brought Denzel Washington, Chris Rock and Whoopi Goldberg to Broadway, remade “Shaft” with Samuel L. Jackson, has a film version of the ’70s TV series “Good Times” in development, and is working with a friend of mine to develop a musical version of a classic ’70s blaxploitation film for the big screen. Though Pascal and Rudin’s private e-mails reveal racist attitudes that are troubling their practices are not exactly discriminatory.

Barak Obama’s white house called Pascal and Rudin’s apologies, “appropriate”. I would have to agree. In addition to Pascal’s written apology, she also called Rev. Al Sharpton and Rev. Jesse Jackson to offer her apologies to them as well. Sharpton issued a statement that indicated that she needed to meet with him. That’s code for, “Hit me with a consultant’s check, hire my people, and I’ll help this go away for you.” Here’s where I am with it: If Al puts the bite on her for more gigs, access and content then this was all a good thing. I personally don’t care what the contents of her personal e-mails are as much as I care that her production budget, marketing budget, and slate are both more inclusive and more reflective of where we are right now.

These are heated times we live in. Race and class based discrimination seen through the lens of new technology and Social Media has various factions of society at each other’s throats. Cop killers are getting away with murdering black people, and in response, people of good will of all colors, and from varied backgrounds are uniting in solidarity for justice. Students, artists, athletes, workers, intellectuals and politicians have all participated in demonstrations, die ins, I can’t breathe ins and marches of some sort since the Staten Island and Ferguson grand jury decisions were made public.

Later today, three marches in Boston, New York and Washington will continue to illuminate the corrupt practices of the criminal justice system, and mount public pressure on elected officials to address the will of the people. Despite the long hard journey ahead this is a moment that gives hope. For those of you who are uncertain of the usefulness and impact that these acts will eventually have, remember this: The Eric Garner grand jury decision was shared with the public last week, and since then, worldwide reaction has been stunning. If change does not come it won’t be because we didn’t fight for it. Personally, I remain hopeful and I’m encouraged by the amount of love that has been displayed on a global basis.

I have several friends who are participating in the organizing, the marching, protesting and the all out pursuit of justice for those who have been unjustly murdered, and their families. Hopefully, we will all get through this period in better shape than when we started. And if they are paying attention to the drama of the moment, maybe Amy Pascal and Scott Rudin will green light and produce a film of quality that depicts the struggle that we are going through. If they do, they should hire me as the music supervisor. I know what they are missing.

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For Debbie, Sammy, Rush, Mike, Dream, The Justice League NYC, the inspired and the Freedom Fighters

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LESLIE McSPADDEN, MIKE BROWN’S MOTHER

Last night, MSNBC’s feed was on. Some official was giving a detailed description of why Mike Brown’s murderer went free, and a no bill of indictment was returned by a grand jury that was empaneled to ensure that justice was done in the case. It appears that jury members did not take their responsibility seriously enough.

I wasn’t there and I didn’t witness Mike Brown’s murder, but despite the well written and moderately well-read statement, it was obvious that justice was not served. Mike Brown was murdered in cold blood, and then left in the street to fester in the hot August sun for four and a half hours before an ambulance showed up.

When the outcome was read, I was surprised but not shocked. It felt like I was kicked in the gut, and I had to lie down. This is not new to me; we’ve been getting shot down in the streets like dogs, by cops, for years, and more often than not, an outcome that allows the muderers to go free seems to be the result. It took a day to get to the point where I could write. Then, I remembered that that was what the game is: To be too immobilized by anger or fear to act. Sorry for the delay.

So people left their homes, went into the night and raised their voices for justice. Freedom fighters in Oakland/San Francisco, Nashville, Beverly Hills, New York, Seattle and Washington DC, spontaneously protested the outrageousness of another criminal justice process gone wrong. Social Media posts from participants on the ground, concerned citizens, casual observers and critics helped to propel the fight for justice all over the globe. Those who would prefer a more passive observance of this tragedy miss the point: Without protest, the shame of Ferguson would never have come to light – the revolution is being Tweeted.

They’re out there again tonight; rebelling with a cause. Why? Because the senseless murder of unarmed black folks must end. The problem is not procedural, it’s systemic. America was built on the corrupt institution of slavery and refuses to come to terms with her blood-soaked legacy of shame. Ever since we came here in shackles and on boats, we have fought to be recognized as human, and at its core, this is our basic struggle.

Darren Wilson, the cop who did the murderous deed testified to the grand jury that Mike Brown seemed like a demon who was going to “run through” his shots. Apparently, after Mike Brown didn’t successfully run through the first couple of rounds, Wilson found it necessary to fire several more times until Brown’s life was ended.

I am not surprised that Wilson saw Brown in a subhuman way, because societally speaking, so much of the way we are taught would lead you to believe that being white automatically makes you smarter, wiser, deeper, more sophisticated and more deserving of life and gives you the right to determine the destiny of people of color. Darren Wilson is just a product of his culture – a culture of white supremacy that says that unarmed blacks can be murdered by white law enforcement officials, and that we don’t deserve the basic right of due process.

So what of Mike Brown’s family? After the results, they issued a statement that indicated their disappointment. I feel for them, and especially for his mother, Leslie McSpadden. This weekend, she should have been looking forward to her son spending Thanksgiving with her and sharing stories of his freshman year, first-semester final exams. She should have been looking forward to cooking and serving his favorite holiday dishes and discussions of whether the St. Louis Rams are going to get a win this weekend. Now, all she has is the knowledge that she will never have another holiday shared with her boy, and that his life wasn’t even worth the cost of a jury trial, and that the circumstances of his death didn’t meet the standard of a prosecutable offense in her local district – despite the fact that he was unarmed and shot in cold blood. My thoughts are with Leslie McSpadden and her family. I hope that she continues to seek justice and that she eventually gets it. That would be something to be thankful for.

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For Monica and The Ab and all the rest who are looking for justice in the streets…

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