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Mengingat posisi yang relatif dominan, hip hop menempati puncak pusing

Ketinggian kompleks hiburan-industri-global, mudah untuk melupakan kerendahan hatinya

awal dan perannya yang abadi sebagai sumber politik revolusioner.

Saya mendapat surat dari pemerintah tempo hari

Saya membuka dan membacanya. Dikatakan mereka pengisap

Saya tahu ini sebenarnya, Anda tidak suka bagaimana saya bertindak. Anda mengklaim saya sellin 'retak

Tapi kau lakukan itu, aku lebih suka mengatakan "melihatmu" Karena aku tidak akan pernah menjadi ya

Menjadi seorang perwira? Anda pengawas yang jahat!

Panggil aku Little Bobby Hutton, karena aku yang pertama menekan tombolnya

Rapper tidak mengatakan apa-apa ke sistem, kami mengatakan persetan

Itu sebabnya kami mengatakan "fuck" Itu sebabnya kami membuat hip-hop

We don't care about your badge, baton or Glock Your mind's in shock fucking cop stop

Remember that time passes and never stops in the clock

Though it didn’t really break out until the late 70s and early 80s, hip hop’s genesis

story began in the summer of 1973, in the South Bronx.

At the time, New York City’s northernmost borough was by all appearances a war zone.

Decades of neglect, ill-thought out public infrastructure projects, white flight,

racist redlining policies and urban decay had reduced entire city blocks to rubble.

Rampant poverty and unemployment had created a vacuum that was filled by street gangs,

with hundreds of small crews constantly battling over territory, and literally setting large

sections of the city on fire.

Out of this simmering cauldron of social and economic tension, hip hop emerged as a vibrant

DIY subculture, spread through house parties thrown by working-class Black and Puerto Rican

youth who were alienated and excluded from New York’s decadent disco scene.

A catalyzing moment of the emerging hip hop scene was the formation of the

Universal Zulu Nation, on November 12th, 1973.

...cars continue to change, nothing stays the same, there were always renegades

Like Chief Sitting Bull, Tom Payne

Like Martin Luther King, Malcom X.

They were renegades of the atomic age

Founded by members of a gang called the Black Spades, the Zulu Nation built hip hop into

a tool for community organizing – bringing members of different gangs together, settling

street-level beefs and introducing codes of conduct, all while imbuing the scene with

formative political values of street-based community solidarity

and pan-Afrikan consciousness.

The Zulu Nation is credited with constructing the foundation of hip hop culture, forged

around five core elements:

Mcs, Djs, Graffiti, B-boys & B-girls,

and the fifth element: street knowledge.

But then I got wise and I begin to listen

To the whack teachers and the wick-wack system

My mother put me in Weusi Shule

Which means black school in Swahili

And there is where I learned black history And how to be the best that I can be

We don't talk to police, we don't make a peacebond

We don't trust in the judicial system, we shoot guns

We rely on the streets we do battle in the hood

I was born in the G Code, embedded in my blood

In the decades that have followed, hip hop has been transformed into a global phenomenon,

and a multi-billion dollar industry in its own right.

But the five foundational elements have survived and adapted over the years, providing a sustained

authenticity that has allowed radical artists to continue to innovate, carve out space,

and even fight back against the industry’s overall creep towards commercialization.

Over the next thirty minutes, we will explore hip hop as a potent and persistent source

of revolutionary culture rooted in the oppression, exploitation and criminalization faced by

youth and particularly poor youth of colour.

Along the way we’ll speak with a number of grassroots artists who are continuing to

spit truth to power, all while organizing their communities, tearing up stages and making

a whole lot of trouble.

Hip hop stands for “His or Her Infinite Power Helping Oppressed People”.

That comes from the temple of hip hop.

Okay so that's from you know OGs like KRS-One and other people getting together and figuring

how to effectively uplift the more positive elements of the culture that are based in

community liberation and empowerment.

Hip hop to me is a way to be able to spread a message of resistance to a large audience.

Hip hop to me is a way to share my story before anybody else has a chance to twist up my words

or to twist up my experiences.

It is resistance and creativity, that's what hip hop is to me.

Hip hop initially rose up speaking to injustices, eventually it rose into stories speaking to

the issues of the oppressed.

The early days was very humble, there wasn't a lot of money there wasn't a big budget.

It was kind of put together by people with whatever they had.

People had come up with this medium of going through the rubble and putting graffiti up

dan break-dance, MC, DJ, dan Anda tahu itu cara perlawanan.

Pemuda yang sama yang melemparkan batu bata dan batu dan mendorong kembali polisi, mereka punya

sesuatu untuk dikatakan.

Bagi saya, hip-hop adalah alat untuk transformasi budaya yang memiliki beberapa prinsip kehidupan

Dan beberapa di antaranya adalah persatuan, cinta, dan hormat. Tetapi secara khusus, bersenang-senang, untuk memenuhi kebutuhan

untuk mempertahankan kebahagiaan Ada kutipan dari DJ Grandmaster Caz

Dikatakan bahwa hip-hop tidak menciptakan apa-apa Hip-hop menciptakan kembali segalanya

Kami mengintip alegori di api unggun mendengarkan ketika para tetua berbagi cerita tentang

korban vampir.

Bagaimana saya tidak melakukan kesalahan yang sama? Kebijaksanaan.

Hasilkan penglihatan, lenyapkan penjara.

Yang saya inginkan adalah kebebasan, tetapi saya tidak mampu membelinya,

bayi saya punya semangat, hanya cemerlang dan cantik.

Oh ya, dukungan pembelaan diri, selalu diam ketika dia akan memuatnya.

Pegang, esa morra untuk memuatnya.

Oh sial, dan seluruh barrio mendukungnya.

Terlihat seluruh orang ingin teman.

Terlihat seluruh orang ingin Benz.

Terlihat orang lotta keseluruhan tidak bisa mendapatkan apa yang mereka inginkan sehingga orang lotta pop muncul secara keseluruhan.

Mereka mengatakan itu berarti jangan membenarkan tujuannya.

Apakah tujuannya pernah membenarkan cara?

Dan apakah kita akan mengakhiri semua kesulitan ini jika kita menjadi kaya saja

fanatik dalam guillotine?

Karena saya tidak bisa melihat anak-anak ini mati dan kemudian berbaring seperti saya memberikan sesuatu dan tidak melakukan apa-apa

tetapi berbaring seperti aku sudah menyerah.

Jadi, dapatkan senjata jika Anda siap, kami memegang parang untuk siapa saja yang terlibat

masalah lupa.

Berpikir untuk diri sendiri adalah sebuah kemewahan yang mahal Bagi mereka, tidak nyaman jika Anda pergi

the herd They win more if they keep us ignorant

Keep the people poor, more power for the state

Fuck the parliament, fuck the cops and fuck the robber baron bosses and fuck their offices,

predominant model of economics and elephant cock in their ballot boxes.

It came from the Bronx in the 70s in New York City and now it's world wide.

Hip hop is like folk music, it's very much a historical record.

These are stories that are telling of the American empire you know, looking from within.

And I think that's why it's so compelling and that's why it resonated people may not

know it but I think the reason that hip hop spread is because they're stories that everyone

needs to hear and is interested in hearing.

Hip-hop is a universal culture That starts from a context of marginalization

poverty and criminalization That's a very specific context from 1970's

New York City That starts from a context of marginalization

poverty and criminalization That's a very specific context from 1970's

New York City But that's similar to other problems in other

places Like exploitation, lack of housing, the lack

of opportunities

It came from people who had been displaced historically from the continent of Africa

to North America, to Central America, South America and the Caribbean.

It also came from ethnicities that had been mixed in the process of the colonial subjugation

and conquest of the so called new world.

That was significant in drawing me in because we learned that we had a shared story.

We had a story not only of oppression but of resistance.

We can measure history in terms of what we know about our experience here in the United

States as descendants of people who were stolen from the continent of Africa.

But we also have to be able to measure our existence and our influence on what happened

before that, what's currently happening in the African diaspora and on the African continent

and struggles for liberation and self determination.

The driving force is just the songs of my ancestors the songs that they sung to be able

to speak to resistance to speak to fighting, to speak towards challenging and removing

any and all people that wish to destroy our people.

Some of the major influences that I've had musically have been folks who share their

narratives in a really honest way in a really vulnerable way especially when they go to

represent their anger and their rage with the way that these systems of oppression are

set up around us.

I recognize first and foremost that I am a guest in the house of hip hop.

I don't take someone else's experience and try to whiteify it.

I see things through the lens of white people and so I feel like it's my job to criticize

white culture in the way that a white dude can.

So I use my music to confront the shittiest parts about white culture: imperialism and

colonialism and capitalism and authoritarianism.

Although it has since spread all around the globe, hip hop first emerged from, and has

always remained rooted in the lived experiences of Black and LatinX youth hustling to survive

in America’s inner-city ghettos.

And the so-called “Golden Age” of hip hop, spanning the late 80s to the mid 90s,

were specially turbulent times.

The flooding of poor, racialized neighbourhoods with crack in the mid-80s provided the spark

for a rapid surge in street violence, waged between increasingly well-funded and heavily

militarized gangs.

This, in turn, provided the justification for the ramping up of Ronald Reagan’s

War on Drugs, a policy framework for the wholesale criminalization of Black and brown communities

that opened the door to enhanced police repression and mass incarceration, twin pillars of US

domestic counter insurgency strategy that continue to this day.

In 1986 a group formed in South Central, LA, that fed off this raw sense of desperation

and rage, forever changing the face of hip hop in the process.

That group was NWA, the first successful pioneers of a new subgenre of hip hop: gangsta rap.

These days, it’s hard to appreciate the shock and terror that NWA provoked in America’s

white supremacist power structure, and specially its front-line troops, the cops.

Rap music promotes by its very language and by its very actions, promotes violence against

authority and consequently violence against law enforcement.

Songs like ‘Fuck Tha Police’ became rallying cries for a generation of Black and Brown

youth whose rage would soon find popular expression in the LA Riots of ‘92.

Fuck the police comin' straight from the underground.

A young nigga got it bad cause I'm brown.

And not the other color, so police think, they have the authority to kill a minority.

But while NWA provided a megaphone to Black youth’s widespread hatred towards the police,

they also injected mainstream hip hop with a violent strain of misogyny and homophobia

that continues to fester to this day.

They also provided the emerging hip hop industry, largely controlled by the white capitalist

power structure that they were rebelling against, an opportunity to make millions of dollars

selling records that glorify Black and Brown youth killing one another over nothing.

A lot of the brothers that were my same age man, they were involved in the type of shit

where they were killing each other.

You know, they were killing cats that they grew up with, that they went to church with,

that they went to school with, that they played ball with, trying to be part of the whole

gang set culture you know what I mean?

Or they were trying to get their money selling that dope and like that's cool, whatever...

But really?

I was living during the crack era and so the criminalization that began this whole mass

incarceration that we have now, this new Jim Crow, it was heavily going on during that

crack era all the way through the 90s.

And so of course the theme in the music was about either fighting against this new drug

that was dropped on to our community or else using it as a means to get out of the community.

And so it's always been a part of the music from the very early days.

Let's use the phrase "The Personal is Political" as a starting point

Because even if we think our actions are personal They are going to affect our family and our

close friends Because even if we think our actions are personal

They are going to affect our family and our close friends

And in the community and the society that we are part of

There's a difference between telling your story and glorifying some of the things that

you have to do to get by.

So I appreciate you know, when artists can yeah maybe talk about the gang-banging past,

talk about the past where you had to sell some shit, you had to do some shit that you're

glad you don't have to do anymore.

Government plans, fencin' us in, life in the pen'

For sellin' shit you put in our hood, knowin' I'll do it

We desperate, starvin' and dyin' to eat, die in the street

For a fraction of what I get now for a soundin' fly on the beat

I feel the weight of not glorifying some of the things I've done in my past because I

see it happening with other artist with their songs.

Cold gang with the cocaine.

The more money make more rain.

Pourin' up a pint while I'm baggin' propane.

Point blank range give a nigga nose rings.

Skip to my lou with a pack in the cat.

Jiffy, Lube where the bricks where they at?

In hip hop they might call it, bitches, hos, guns, money, sex, murder and all that but

if you look at the army, navy, airforce, marines, and the US government, that's all it is.

It's a reflection of the culture that we live in.

It's the values that we've inherited as part of the conditions of survival in this country,

to prioritize the things that are going to get us pussy, get us respect and get us paid

and get another motha fucker to recognize us you know, and that is some bullshit.

It's been really motivational to me when artists cast aside all of the parameters of respectability

politics and are willing to speak their truths without coddling the feelings of

those who are oppressing us.

That's the job of my music, to challenge everything that has been imposed upon us to say no and

go drastic with it.

Again like, I don't follow the format, the status quo of hip hop.

I'm also still unlearning a lot because it wasn't like I grew up in a Native community,

I grew up in a city, because of the fact that people that came generations before me were

removed from their homelands and placed into cities.

What you won't find me doing in my music, lyrically, you won't find me killing niggas,

you won't find me on some exploitative, downgrading shit about women, you won't find me talking

about killing faggots and faggot this and faggot that.

There's lots of people saying fucked up shit in the world of hip hop,

to me I can't have that.

You know I'm not going to throw a show where I book those guys or I can't do collabos with

them, I can't work with them, I'm not going to taint the work that I'm doing with this

hate right?

I try to promote the kind of hip hop that I like to see, I work with people that are

doing the kind of hip hop that I like to see.

No matter what the content there's a political context from where it

comes from Becuase there's a need to reclaim our history

And even though it may not seem like "real" activism

There is an intention to survive a reality of violence

I feel like it's extremely important that you are responsible and disciplined and mature

enough to not abuse that platform.

To be predatorial, to escape any accountability for patriarchal tendencies.

I learned early that I had to be three times better than the guys to even remotely get

even recognized and it made me already come out swinging and I never stopped swinging

because I already recognized that I had a disadvantage or I was already seeing patriarchy

and sexism.

Whenever I do a show and I'm the only woman on the lineup, we have to call it out, we

have to address the fact that I'm not the only woman there because I'm the only woman

with something worth saying with something worth listening to, I'm the only woman there

because we don't listen enough to the women around us and we don't give up the mic, men

don't give up the mic enough.

I put my face in a book ‘cause my people are profiled

erased from the books and my people are told lies

Sky’s the limit? Go fly! Cali green? We go high

I mean back in ‘05, already knew I'd grow wise

Queen and Master of the chaos I inhabit Sometimes a tyrant, sometimes outlaw

The best battle, is with myself I'm self government, my flag is anarchist

When I wake up, no makeup, half naked, I feel like I’m the shit

Pardon my language, but hang ups do not define the kid

No, I’m not flawless, I’m scarred up and I’m fine with it

My body art a laundry list of all of life’s unkindnesses

A lot has changed in the 45 years since hip hop’s founding.

For one thing, many of the iconic inner-city neighbourhoods where hip hop first flourished

have been redeveloped, their former communities scattered to the winds of gentrification.

Far from the dilapidated pressure cookers of revolt and subversive urban decay that

they were in the 70s, these neighbourhoods have become homogeneous sites of high-rise

condos, hipster indie venues and Starbucks franchises.

Which is not to say that this process is a done deal... and even less so that the social

contradictions that birthed hip hop have disappeared.

The South Bronx is still a largely working-class area plagued by racist police violence, and

there is tons of vibrant hip hop coming out of America’s traditional urban centers,

from Baltimore to Oakland.

Bam!

The target of poverty by the white devil Because I wasn't testing at my reading level

I was testing any of these busters Yo, where you from? Pare?!

Lola’s like, “Bakit ka nag tatambay dun sa calle parate?!”

But as urban demographics have shifted, so too has hip hop’s centre of gravity.

In the United States, this shift has been most notable with the rise of Southern Rap,

beginning in the early 2000’s, and the emergence of Atlanta as a new hip hop epicentre.

Similarly, as it has spread to countries all around the world, hip hop has been transformed

and enriched by countless local culture and traditions, each of which has added their

own mark, while generally honouring the spirit of youthful defiance and resistance to authority

that’s been so key to hip hop’s global appeal.

Hip hop culture is an expression of oppressed people's reality.

Hip hop is so global now that literally every neighbourhood, every community is representing.

I see people doing hip hop in Palestine.

Native artists are just really standing up globally and representing and telling a story

that really needs to be heard and it reminds me of the early days of hip hop.

It's not like packaged and pretty and fake.

Just raw truth and raw facts so big ups to all my native comrades out there holdin' it

down with hip hop.

We never even knew what it was like to be poor until money was shown to us in the first

place, we didn't know what poverty was and so we're always trying to catch up to something

that really we don't belong to, that in fact, our culture is at odds with, our traditions

are at odds with.

Let's remember that a lot of art is elitist That it sometimes comes and it's valued in

certain places But hip-hop allows that from from the streets

from the ghettoes, from marginality These voices can be created

I feel like music is, specially important in sharing political ideals with youth, taking

care of our people, to maintaining our identities.

So it's absolutely like, foundational.

What is black?

Black is a response to white supremacist categorization of human beings.

Something that doesn't even begin to encompass the vastness of history and cultural reality.

When I'm in Zimbabwe as an 'ambassador' if you will for hip hop, I encounter people that

are Shona, people that are into balée, people that are of these different cultural realities

doing hip hop.

South Africa is big right now with the resistance music.

Y'all we've been colonized, it's not a lie, working class let's start to organize.

I believe the masses will arrive, revolution will rise and decolonize.

It is time to mobilize...

For people all over the continent to have taken hip hop, not in an exploitative, oppressive

way, but in an empowering way.

Taken Black culture born in the united states, created as a result of the separation from

the continent of Africa, taking that back, reinterpreting it and it being a bridge for

Black people all over the fucking planet Earth, that's a powerful thing man!

Anti-establishment feelings that I have, it could have been harnessed by a million things

but it was harnessed by good, radical, politics, through music.

Music has an opportunity to word things that are hard to say, music has a way of cutting

through to the heart of something it has the power to give voice to a situation or to paint

gambar tentang situasi dengan cara yang tidak ditulis.

Setiap kali Anda melakukan pertunjukan, Anda harus membawa pesan itu, apa pun itu

orang, atau dua ratus orang atau seribu orang di kerumunan.

Saya pikir acara yang lebih kecil menjadi lebih intim sehingga Anda memiliki kemampuan untuk dapat berinteraksi

dengan orang-orang di sana dan juga untuk tidak hanya dapat melakukan pertunjukan dan tidak hanya menjadi hiburan

tetapi juga untuk melakukan percakapan dengan orang-orang dan berbicara lebih banyak tentang perlawanan sesudahnya.

Saya ingin terhubung dengan orang-orang yang melakukan pekerjaan nyata dan melakukan pekerjaan radikal dan melakukan

pekerjaan revolusioner dan saya ingin mendukung gerakan mereka dan saya ingin menggunakan musik

untuk terlibat dalam hal itu.

Itulah yang paling saya sukai, Anda tahu, ketika saya bisa bermain di situs perlawanan yang sebenarnya.

Ini seperti membawanya kembali ke akar untuk apa musik itu diciptakan.

Pertunjukan gratis yang kami lakukan untuk para pemuda, para pemuda ghetto, selalu merupakan pertunjukan yang paling kuat

karena mereka tidak memiliki kendala yang dilakukan oleh pertunjukan komersial.

Kebenaran terletak pada kebohongan, orang-orang kami trauma, jadi donald truf bukan

berbeda dari obama barak di mata kita.

Mereka adalah bagian dari sistem yang berharap kita pergi dan pembicaraan sejarah dengan lidah bercabang dua

jadi kesengsaraan terus berlanjut di wilayah kematian yang diduduki secara ilegal ini.

Sejumlah pertunjukan yang akhirnya saya lakukan di luar ruangan di batu berdiri memiliki energi yang sama.

Itu sangat kuat dalam apa yang datang bersama dan semangat perlawanan dan kemudian kita

memiliki sejumlah acara dengan hanya sekelompok anak-anak di res, jenis energi yang sama.

Kami yang selamat, kami yang naik, ya kami mereka biadab menggedor penjajah, ya

we them savages banging on the colonizers we are finally facing the end of the cycle

an end of the terror fueled by the bible...

join the struggle, or live in denial.

There's a bunch of indigenous communities that are rapping in their language

There's mural art that's intersecting with graffiti

and the old scriptures Now we see a meeting between past cultures

And newer cultures But what hip-hop allows

It's that you can incorporate into the current reality

Something that was being lost

There's a difference when I'm on a reservation or when I'm at like an inner-city program,

doing a show for kids who might also be undocumented you know, doing a show for young women that

have never been on stage but would like to be or have poems that they wanna write or

whatever.

It's so much more of a reciprocal occasion when it's folks who share identities.

It's like one of the last things that we have is our ability to speak out.

Even if we feel powerlessness, hip hop makes us feel powerful.

Island woman rise, walang, makakatigil Brown, brown woman, rise, alamin ang yung

ugat They got nothin’ on us

Nothin’ on us Nothin’ on us

Nothin’ on us

Within revolutionary circles, often times we can get bogged down in abstract theoretical

debates, and lost in what can seem like an endless cycle of protests,

actions and organizing campaigns.

And while these engagements are essential and should not be dismissed, it’s also important

to keep in mind the vital role that culture plays in building effective movements of resistance.

At the end of the day, capitalism and the state are not just material forces, but ideological

systems as well.

This is something our enemies are well aware of, which is why they devote so much time,

energy and resources towards creating propaganda – much of it masquerading as entertainment.

From the countless high budget TV shows and Hollywood movies glorifying police and the

military, to music promoting frivolous consumerism, a look at the dominant forms of cultural production

can tell you a lot about the values being promoted by the powers-that-be.

But thankfully, we have the ability to fight back, by producing and promoting subversive

countercultures that promote our own values of solidarity, mutual aid, direct action,

and antagonism to capitalism and the forces of the state.

Let’s not squander the opportunity.

Here we go yo, here we go yo, so what's the, what's the, what's the scenario?

Here we go yo, here we go yo, so what's the, what's the, what's the scenario?

Just don't sell the fuck out man, it's simple, just stay true to what the fuck you represent

and don't change up

Haters are always going to exist But the need to do it

It's what's going to motivate us

Be ready to do it against all odds, be ready to do it by yourself, but also be very intentional

about building community with others.

Don't be afraid to link a network with people that aren't in your neighbourhood, you gotta

connect and you can't just preach to yourself, you can't just talk to yourself you have to

connect with people.

If you want to make it, yeah you can upload something to soundcloud, but to get

the full experience of the art and for people to hear you, to get exposure, you're gonna

have to go out there and perform, and you're gonna have to go out there and link up with

other people.

Backpack smacker, testament dropper, Amaru respecter, been to the hotter, kin to Assata,

studied it all, past to the present, resurrected

You have a duty if you're making radical music, you need to help build the foundation in your

community for radical music to come in.

So you have to help book the shows, you have to help find the spaces, you have to get the

sound systems, you have to help facilitate that.

You're not just making music and radical music, you need to help with fostering

radical music community.

The term is 'many hands make light work', we can get more done together than we can

by ourselves in certain formats.

And then sometimes, less is more, sometimes you have to cut dead weight and you have to

step away from people who don't have the same priorities as you and you have to be okay

with doing that.

You also have to be very observant of your reality

Stop and look at what's going on Listen and open your ears to hear

what's going on around you Becuase using words comes with responsibility

And if you are going to use them you have to be honest

as to who you are and where you are coming from

And it adds value to your community

nobody's gonna do this for you you know, look at the D.I.Y ethic of punk music, it needs

to be applied to hip hop more, and we need to do for ourselves, and we need to build

up our own spaces, our own community, our own networks and we need to share that amongst

each other and everybody can rise together.

The goal of my making music isn't to explain myself to someone who

doesn't understand my background.

The goal is to connect with the folks who share that same path and who find strength

and healing in hearing their story being told, who may otherwise feel very much alone.

It's cold because I can probably only speak to indigenous MCs based on an indigenous message

because for me I understand that talking about resistance, talking about decolonization,

talking about revolution, whatever it may be, the average person does not like to hear

the indigenous perspective, the true indigenous perspective of resistance because it challenges

even their existence.

Don't be afraid, don't cut yourself off, and don't listen to people who say

“this hasn't been done so you can't do it” or “it's weird and it's different”.

Some of our best artists were doing something that nobody else was doing before and it's

okay, it's alright to not rap in the same cadence that everyone else is rhyming in,

it's okay to mix your music with other genres, it's okay to be different and to not sound

like everyone else.

Sometimes people aren't going to want to fuck with you you know, but stick with it because

eventually what happens is, after years and years, you get better about what you're doing,

you get clearer about what you're doing, you learn from your mistakes, and when that is

combined with a sustained sense of joy in relation to why and how you work, you're unstoppable.

If you're going to try and build a radical current towards indigenous resistance, you

can't waiver, you can't switch up based on the fact that you're not getting support.

You're not going to get support.

There's going to be so much stacked up against you, you have to be uncompromising because

everything that you represent is problematic to the average person, even those people that

suggest they support indigenous resistance.

Stop inviting women to just the 'all-women events'.

Don't be embarrased when we grab the microphone and rock it in your circle full of guys.

When people start to look at diversity in that way of inviting people to the table so

that we all can break bread and do this thing that we call our culture, it'll change.

And if they don't open the door, break the fucking door down, kick it open, fuck asking.

These record labels slang our tapes like dope You can be next in line and signed and still

be writing rhymes and broke You would rather have a Lexus or justice,

a dream or some substance?

A Beamer, a necklace, or freedom?

Still a nigga like me don't playa-hate,

I just stay awake, this real hip-hop and it don't stop

'Til we get the po-po off the block, they call it

hip hop, hip hop, hip hop, hip It's bigger than hip hop, hip hop, hip hop

As we continue to resist the resurgence of far-right reaction, further entrenched inequality,

gentrification and an increasingly repressive state apparatus, it is very important that

anarchists build and strengthen connections with those outside our immediate circles.

Part of this requires that we actively spread our politics through popular subcultures like

hip hop, that resonate with millions of people who share our hatred of police and capitalist

society, but won’t necessarily be inclined to come out to all our meetings, rallies or

reading circles.

And the other part involves listening and learning from established histories of resistance

dan berjuang, untuk lebih memahami dan mengidentifikasi poin-poin kedekatan dan kemungkinan

kolaborasi.

Untungnya, ada banyak orang luar biasa yang sudah melakukan pekerjaan penting ini ...

tetapi kita membutuhkan lebih banyak dari mereka.

Jadi pada titik ini, kami ingin mengingatkan Anda bahwa Trouble dimaksudkan untuk ditonton

kelompok, dan untuk digunakan sebagai sumber daya untuk mempromosikan diskusi dan pengorganisasian kolektif.

Apakah Anda seorang hip hop head tertarik untuk membantu berkontribusi pada adegan radikal lokal Anda?

atau ingin membangunnya di kota yang tidak ada?

Pertimbangkan untuk berkumpul dengan beberapa kawan, mengatur pemutaran film ini, dan berdiskusi

di mana untuk memulai.

Tertarik menjalankan pemutaran Masalah secara rutin di kampus, infoshop, komunitas Anda

pusat, atau bahkan hanya di rumah dengan teman?

Menjadi Pembuat Masalah!

Untuk 10 dolar sebulan, kami akan menghubungkan Anda dengan salinan acara yang canggih, dan pemutaran film

kit yang menampilkan sumber daya tambahan dan beberapa pertanyaan yang dapat Anda gunakan untuk

dapatkan diskusi.

Jika Anda tidak mampu mendukung kami secara finansial, jangan khawatir!

Anda dapat melakukan streaming dan / atau mengunduh semua konten kami secara gratis dari situs web kami:

sub.media/trouble

Jika Anda punya saran untuk topik acara, atau hanya ingin menghubungi kami, hubungi kami

di [e-mail].

Jika Anda ingin mendengar beberapa lagu dari artis-artis yang ditampilkan dalam episode ini, lihat yang terbaru

Burning Cop Car, podcast hip hop radikal kami, di sub.Media/bcc.

Hanya perlu diingat bahwa karena SubMedia sepenuhnya

proyek yang didanai kerumunan orang, akan segera kami lakukan penggalangan dana tahunan kami

yakin kami dapat terus membuat video sepanjang tahun.

Episode ini tidak akan mungkin terjadi tanpa dukungan dermawan dari Todd, Marius

dan AvispaMidia.

Nantikan bulan depan untuk Masalah # 16, karena kita melihat lebih dekat pada uji coba

yang disebut terdakwa J20, yang ditangkap secara massal di jalan-jalan DC, pada protes bersejarah

menentang pelantikan presiden Pidana Perang AS, Donald J Trump.

Tidak ada yang ingin hanya muncul dan muncul, seperti ada pesan pasti tentang

mengganggu pelantikan.

Sekarang pergilah ke sana .... dan buat masalah!