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Given the relatively dominant position that
hip hop occupies atop the dizzying

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heights of the global entertainment-industrial-complex, it can be easy to lose sight of its humble

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beginnings and its enduring role as a source
of revolutionary politics.

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I got a letter from the government
The other day

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I opened and read it
It said they were suckers

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I know this for a fact, you don't like how
I act. You claim I'm sellin' crack

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But you be doin' that I'd rather say "see ya"
Cause I would never be ya

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Be a officer? You wicked overseer!

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Call me Little Bobby Hutton, cause I'm first
to push the button

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Rappers don't be saying nothing to the system,
we say fuck 'em

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That's why we say “fuck”
That's why we make hip-hop

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

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Remember that time passes and never stops
in the clock

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

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

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

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

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

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

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

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sections of the city on fire.

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

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

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

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

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Universal Zulu Nation, on November 12th, 1973.

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

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Like Chief Sitting Bull, Tom Payne

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Like Martin Luther King, Malcom X.

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They were renegades of the atomic age

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

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

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

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formative political values of street-based
community solidarity

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and pan-Afrikan consciousness.

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

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around five core elements:

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

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and the fifth element: street knowledge.

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But then I got wise and I begin to listen

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To the whack teachers and the wick-wack system

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My mother put me in Weusi Shule

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Which means
black school in Swahili

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

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

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

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We rely on the streets we do 
battle in the hood

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

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

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

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

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

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

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

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

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youth and particularly poor youth of colour.

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

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

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a whole lot of trouble.

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

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That comes from the temple of hip hop.

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

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

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community liberation and empowerment.

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

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

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or to twist up my experiences.

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

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

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the issues of the oppressed.

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

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

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

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and break-dancing and MCing and DJing and
you know it was a way of resistance.

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The same youth that were throwing bricks and
rocks and pushing back the police, they had

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something to say.

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For me, hip-hop is a tool for transformation
A culture that has some life principles

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And some these are unity, love and respect
But specially, having fun, to fill the need

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to defend happiness
There's a quote by DJ Grandmaster Caz

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It says that hip-hop did not invent anything
The hip-hop re-invented everything

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We peeped the allegory at the campfire listening
as elders shared the stories of the

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vampire's victims.

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How do I not make the same mistake? Wisdom.

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Generate the vision, obliterate the prison.

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Freedom's all I wanted but I couldn't 
afford it,

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my baby's got the spirit, just brilliant and gorgeous.

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Oh yes, the self defence endorsement, always
quiet when she about to load it.

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Hold it, esa morra's bout to load it.

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Oh shit, and the whole barrio support it.

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Seen a whole lotta people want friends.

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Seen a whole lotta people want Benz.

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Seen a whole lotta people can't get what they
want so a whole lotta people pop zans.

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They say that means don't justify the ends.

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Do the ends ever justify the means?

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And would we end all of this hardship if we
just put rich

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bigots in the guillotine?

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Cuz I can't watch these kids die and then
lie like I give a fuck and not do a fuckin

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thing but lie down like I've given up.

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So get a gun if you ready, we grippin' on
the machete for anybody involved we got a

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problem forgetting.

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Thinking for yourself is an expensive luxury
For them it's not convenient that you leave

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the herd
They win more if they keep us ignorant

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Keep the people poor,
more power for the state

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

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

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

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

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

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

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

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needs to hear and is interested in hearing.

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

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

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New York City
That starts from a context of marginalization

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

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

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places
Like exploitation, lack of housing, the lack

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of opportunities

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

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

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

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and conquest of the so called new world.

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

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

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

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

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

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

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and struggles for liberation and self determination.

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

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

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any and all people that wish to destroy our
people.

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

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

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

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set up around us.

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

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

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

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white culture in the way that a white dude
can.

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

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colonialism and capitalism and authoritarianism.

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

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

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in America’s inner-city ghettos.

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

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were specially turbulent times.

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

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

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militarized gangs.

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

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

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

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domestic counter insurgency strategy that
continue to this day.

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

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

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

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

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

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

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authority and consequently violence against
law enforcement.

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

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

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Fuck the police comin' straight from the underground.

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

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

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

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

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that continues to fester to this day.

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

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

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

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

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where they were killing each other.

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

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

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gang set culture you know what I mean?

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

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But really?

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

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

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crack era all the way through the 90s.

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

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

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

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

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

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close friends
Because even if we think our actions are personal

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They are going to affect our family and our
close friends

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

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

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you have to do to get by.

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

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

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glad you don't have to do anymore.

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

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

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

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

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

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see it happening with other artist with their
songs.

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Cold gang with the cocaine.

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The more money make more rain.

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

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Point blank range give a nigga nose rings.

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Skip to my lou with a pack in the cat.

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Jiffy, Lube where the bricks where they at?

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

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

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

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

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

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00:15:00,220 --> 00:15:04,840
and get another motha fucker to recognize
us you know, and that is some bullshit.

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

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

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those who are oppressing us.

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00:15:24,840 --> 00:15:29,160
That's the job of my music, to challenge everything
that has been imposed upon us to say no and

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00:15:29,160 --> 00:15:30,460
go drastic with it.

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

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

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

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removed from their homelands and placed into
cities.

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

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00:15:55,199 --> 00:16:01,990
you won't find me on some exploitative, downgrading
shit about women, you won't find me talking

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00:16:01,990 --> 00:16:05,570
about killing faggots and faggot this and
faggot that.

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00:16:05,570 --> 00:16:09,280
There's lots of people saying fucked up shit
in the world of hip hop,

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to me I can't have that.

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00:16:11,270 --> 00:16:16,120
You know I'm not going to throw a show where
I book those guys or I can't do collabos with

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00:16:16,120 --> 00:16:21,710
them, I can't work with them, I'm not going
to taint the work that I'm doing with this

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00:16:21,710 --> 00:16:22,710
hate right?

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00:16:22,710 --> 00:16:26,459
I try to promote the kind of hip hop that
I like to see, I work with people that are

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00:16:26,459 --> 00:16:29,130
doing the kind of hip hop that I like to see.

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00:16:29,130 --> 00:16:34,200
No matter what the content
there's a political context from where it

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00:16:34,200 --> 00:16:38,820
comes from
Becuase there's a need to reclaim our history

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00:16:38,820 --> 00:16:42,160
And even though it may not seem like "real"
activism

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There is an intention to survive a reality
of violence

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00:16:45,740 --> 00:16:51,519
I feel like it's extremely important that
you are responsible and disciplined and mature

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enough to not abuse that platform.

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

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00:17:00,170 --> 00:17:05,839
I learned early that I had to be three times
better than the guys to even remotely get

242
00:17:05,839 --> 00:17:11,329
even recognized and it made me already come
out swinging and I never stopped swinging

243
00:17:11,329 --> 00:17:15,809
because I already recognized that I had a
disadvantage or I was already seeing patriarchy

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00:17:15,809 --> 00:17:18,489
and sexism.

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00:17:18,489 --> 00:17:23,509
Whenever I do a show and I'm the only woman
on the lineup, we have to call it out, we

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00:17:23,509 --> 00:17:28,720
have to address the fact that I'm not the
only woman there because I'm the only woman

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00:17:28,720 --> 00:17:33,129
with something worth saying with something
worth listening to, I'm the only woman there

248
00:17:33,129 --> 00:17:38,430
because we don't listen enough to the women
around us and we don't give up the mic, men

249
00:17:38,430 --> 00:17:40,620
don't give up the mic enough.

250
00:17:40,620 --> 00:17:43,052
I put my face in a book ‘cause my people
are profiled

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00:17:43,052 --> 00:17:45,300
erased from the books and my people are
told lies

252
00:17:45,300 --> 00:17:48,120
Sky’s the limit? Go fly! Cali green? We go high

253
00:17:48,140 --> 00:17:49,900
I mean back in ‘05, already knew I'd grow wise

254
00:17:56,440 --> 00:17:57,440


255
00:17:58,200 --> 00:18:03,380
Queen and Master of the chaos I inhabit
Sometimes a tyrant, sometimes outlaw

256
00:18:03,380 --> 00:18:08,800
The best battle, is with myself
I'm self government, my flag is anarchist

257
00:18:08,800 --> 00:18:12,200
When I wake up, no makeup, half naked, I feel
like I’m the shit

258
00:18:12,200 --> 00:18:14,900
Pardon my language, but hang ups do not define
the kid

259
00:18:14,900 --> 00:18:17,600
No, I’m not flawless, I’m scarred up and
I’m fine with it

260
00:18:17,600 --> 00:18:21,000
My body art a laundry list of all of life’s
unkindnesses

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00:18:24,929 --> 00:18:28,260
A lot has changed in the 45 years since hip
hop’s founding.

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00:18:28,269 --> 00:18:32,710
For one thing, many of the iconic inner-city
neighbourhoods where hip hop first flourished

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00:18:32,710 --> 00:18:36,769
have been redeveloped, their former communities
scattered to the winds of gentrification.

264
00:18:36,769 --> 00:18:41,029
Far from the dilapidated pressure cookers
of revolt and subversive urban decay that

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00:18:41,029 --> 00:18:45,029
they were in the 70s, these neighbourhoods
have become homogeneous sites of high-rise

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00:18:45,029 --> 00:18:48,859
condos, hipster indie venues and Starbucks
franchises.

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00:18:48,859 --> 00:18:52,720
Which is not to say that this process is a
done deal... and even less so that the social

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00:18:52,720 --> 00:18:55,399
contradictions that birthed hip hop have disappeared.

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00:18:55,399 --> 00:18:59,690
The South Bronx is still a largely working-class
area plagued by racist police violence, and

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00:18:59,690 --> 00:19:03,720
there is tons of vibrant hip hop coming out
of America’s traditional urban centers,

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from Baltimore to Oakland.

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Bam!

273
00:19:06,100 --> 00:19:11,920
The target of poverty by the white devil
Because I wasn't testing at my reading level

274
00:19:11,920 --> 00:19:15,739
I was testing any of these busters
Yo, where you from? Pare?!

275
00:19:15,739 --> 00:19:18,600
Lola’s like, “Bakit ka nag tatambay dun
sa calle parate?!”

276
00:19:18,600 --> 00:19:23,710
But as urban demographics have shifted, so
too has hip hop’s centre of gravity.

277
00:19:23,710 --> 00:19:27,700
In the United States, this shift has been
most notable with the rise of Southern Rap,

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00:19:27,700 --> 00:19:32,220
beginning in the early 2000’s, and the emergence
of Atlanta as a new hip hop epicentre.

279
00:19:32,220 --> 00:19:36,779
Similarly, as it has spread to countries all
around the world, hip hop has been transformed

280
00:19:36,779 --> 00:19:41,729
and enriched by countless local culture and
traditions, each of which has added their

281
00:19:41,729 --> 00:19:46,929
own mark, while generally honouring the spirit
of youthful defiance and resistance to authority

282
00:19:46,929 --> 00:19:50,300
that’s been so key to hip hop’s global
appeal.

283
00:20:06,369 --> 00:20:11,990
Hip hop culture is an expression of oppressed
people's reality.

284
00:20:11,990 --> 00:20:16,570
Hip hop is so global now that literally every
neighbourhood, every community is representing.

285
00:20:16,570 --> 00:20:20,700
I see people doing hip hop in Palestine.

286
00:20:26,300 --> 00:20:31,980
Native artists are just really standing up
globally and representing and telling a story

287
00:20:31,980 --> 00:20:36,119
that really needs to be heard and it reminds
me of the early days of hip hop.

288
00:20:36,119 --> 00:20:39,010
It's not like packaged and pretty and fake.

289
00:20:39,010 --> 00:20:44,669
Just raw truth and raw facts so big ups to
all my native comrades out there holdin' it

290
00:20:44,669 --> 00:20:45,779
down with hip hop.

291
00:20:45,779 --> 00:20:50,330
We never even knew what it was like to be
poor until money was shown to us in the first

292
00:20:50,330 --> 00:20:53,809
place, we didn't know what poverty was and
so we're always trying to catch up to something

293
00:20:53,809 --> 00:20:59,110
that really we don't belong to, that in fact,
our culture is at odds with, our traditions

294
00:20:59,110 --> 00:21:00,639
are at odds with.

295
00:21:00,639 --> 00:21:08,349
Let's remember that a lot of art is elitist
That it sometimes comes and it's valued in

296
00:21:08,349 --> 00:21:14,269
certain places
But hip-hop allows that from from the streets

297
00:21:14,269 --> 00:21:18,070
from the ghettoes, from marginality
These voices can be created

298
00:21:18,070 --> 00:21:26,970
I feel like music is, specially important
in sharing political ideals with youth, taking

299
00:21:26,970 --> 00:21:31,080
care of our people, to maintaining our identities.

300
00:21:31,080 --> 00:21:33,260
So it's absolutely like, foundational.

301
00:21:34,700 --> 00:21:36,360
What is black?

302
00:21:36,560 --> 00:21:42,040
Black is a response to white supremacist categorization
of human beings.

303
00:21:42,049 --> 00:21:47,559
Something that doesn't even begin to encompass
the vastness of history and cultural reality.

304
00:21:47,559 --> 00:21:53,869
When I'm in Zimbabwe as an 'ambassador' if
you will for hip hop, I encounter people that

305
00:21:53,869 --> 00:21:58,720
are Shona, people that are into balée, people
that are of these different cultural realities

306
00:21:58,720 --> 00:21:59,960
doing hip hop.

307
00:21:59,960 --> 00:22:03,180
South Africa is big right now with the resistance
music.

308
00:22:03,360 --> 00:22:07,780
Y'all we've been colonized, it's not a lie,
working class let's start to organize.

309
00:22:07,780 --> 00:22:12,539
I believe the masses will arrive, revolution
will rise and decolonize.

310
00:22:12,539 --> 00:22:15,789
It is time to mobilize...

311
00:22:15,789 --> 00:22:21,440
For people all over the continent to have
taken hip hop, not in an exploitative, oppressive

312
00:22:21,440 --> 00:22:23,570
way, but in an empowering way.

313
00:22:23,570 --> 00:22:29,809
Taken Black culture born in the united states,
created as a result of the separation from

314
00:22:29,809 --> 00:22:35,019
the continent of Africa, taking that back,
reinterpreting it and it being a bridge for

315
00:22:35,020 --> 00:22:39,140
Black people all over the fucking planet Earth,
that's a powerful thing man!

316
00:22:41,920 --> 00:22:45,340
Anti-establishment feelings that I have, it
could have been harnessed by a million things

317
00:22:45,340 --> 00:22:49,989
but it was harnessed by good, radical, politics,
through music.

318
00:22:49,989 --> 00:22:55,409
Music has an opportunity to word things that
are hard to say, music has a way of cutting

319
00:22:55,409 --> 00:23:02,979
through to the heart of something it has the
power to give voice to a situation or to paint

320
00:23:02,979 --> 00:23:07,289
a picture about a situation in a way that
writing doesn't.

321
00:23:07,289 --> 00:23:11,700
Every time that you're doing a show you have
to carry that message regardless if it's two

322
00:23:11,700 --> 00:23:15,600
people, or two hundred people or a thousand
people in the crowd.

323
00:23:15,720 --> 00:23:20,299
I think smaller shows become more intimate
so you have the ability to be able to interact

324
00:23:20,299 --> 00:23:25,359
with people there and also to be able to not
just do the show and not just be the entertainment

325
00:23:25,359 --> 00:23:29,769
but also to have the conversation with people
and talk more about resistance afterwards.

326
00:23:29,769 --> 00:23:33,920
I want to connect with people that are doing
real work and doing radical work and doing

327
00:23:33,920 --> 00:23:38,100
revolutionary work and I want to bolster their
movements and I want to use music

328
00:23:38,100 --> 00:23:39,080
to be involved in that.

329
00:23:39,080 --> 00:23:44,639
That's what I love most you know, when I get
to play at an actual site of resistance.

330
00:23:44,639 --> 00:23:49,499
It's like taking it back to the roots of what
the music was created for.

331
00:23:49,499 --> 00:23:54,529
The free shows we do for the youth, the ghetto
youth, are always the most powerful shows

332
00:23:54,529 --> 00:23:58,789
because they don't have the constraints that
the commercial shows do.

333
00:23:58,789 --> 00:24:04,680
The truth rests upon the lies, our people
been traumatized, so donald trump ain't no

334
00:24:04,860 --> 00:24:07,380
different than barrack obama in our eyes.

335
00:24:07,380 --> 00:24:13,160
They are part of the system that wishes we
was gone and history talks with forked tongues

336
00:24:13,169 --> 00:24:17,409
so the misery goes on in this illegally occupied
territory of death.

337
00:24:17,409 --> 00:24:24,220
A number of shows that I ended up doing outdoors
at standing rock had the same kind of energy.

338
00:24:24,220 --> 00:24:31,529
It was powerful in what that was coming together
and the spirit of resistance and then we've

339
00:24:31,529 --> 00:24:36,710
had a number of shows with just a bunch of
kids on the res, the same kind of energy.

340
00:24:36,710 --> 00:24:43,300
We the survivors, we the up-risers, yea we
them savages banging on the colonizers, yea

341
00:24:43,300 --> 00:24:49,500
we them savages banging on the colonizers
we are finally facing the end of the cycle

342
00:24:49,500 --> 00:24:51,720
an end of the terror fueled by the bible...

343
00:24:53,020 --> 00:24:55,500
join the struggle, or live in denial.

344
00:25:08,440 --> 00:25:13,400
There's a bunch of indigenous communities
that are rapping in their language

345
00:25:13,400 --> 00:25:16,000
There's mural art that's intersecting with
graffiti

346
00:25:16,000 --> 00:25:24,480
and the old scriptures
Now we see a meeting between past cultures

347
00:25:24,480 --> 00:25:28,460
And newer cultures
But what hip-hop allows

348
00:25:28,460 --> 00:25:30,929
It's that you can incorporate into the current
reality

349
00:25:30,929 --> 00:25:32,690
Something that was being lost

350
00:25:32,690 --> 00:25:38,950
There's a difference when I'm on a reservation
or when I'm at like an inner-city program,

351
00:25:38,950 --> 00:25:45,769
doing a show for kids who might also be undocumented
you know, doing a show for young women that

352
00:25:45,769 --> 00:25:50,830
have never been on stage but would like to
be or have poems that they wanna write or

353
00:25:50,830 --> 00:25:51,830
whatever.

354
00:25:51,830 --> 00:25:57,320
It's so much more of a reciprocal occasion
when it's folks who share identities.

355
00:25:57,320 --> 00:26:00,880
It's like one of the last things that we have
is our ability to speak out.

356
00:26:00,880 --> 00:26:05,190
Even if we feel powerlessness, hip hop makes
us feel powerful.

357
00:26:05,190 --> 00:26:11,019
Island woman rise, walang, makakatigil
Brown, brown woman, rise, alamin ang yung

358
00:26:11,019 --> 00:26:13,520
ugat
They got nothin’ on us

359
00:26:13,640 --> 00:26:17,020
Nothin’ on us
Nothin’ on us

360
00:26:17,020 --> 00:26:18,800
Nothin’ on us

361
00:26:24,300 --> 00:26:28,960
Within revolutionary circles, often times
we can get bogged down in abstract theoretical

362
00:26:28,960 --> 00:26:32,820
debates, and lost in what can seem like an
endless cycle of protests,

363
00:26:32,820 --> 00:26:34,619
actions and organizing campaigns.

364
00:26:34,620 --> 00:26:38,920
And while these engagements are essential
and should not be dismissed, it’s also important

365
00:26:39,000 --> 00:26:43,420
to keep in mind the vital role that culture
plays in building effective movements of resistance.

366
00:26:43,420 --> 00:26:48,940
At the end of the day, capitalism and the
state are not just material forces, but ideological

367
00:26:48,950 --> 00:26:49,950
systems as well.

368
00:26:49,950 --> 00:26:54,299
This is something our enemies are well aware
of, which is why they devote so much time,

369
00:26:54,299 --> 00:26:58,609
energy and resources towards creating propaganda
– much of it masquerading as entertainment.

370
00:26:58,609 --> 00:27:03,029
From the countless high budget TV shows and
Hollywood movies glorifying police and the

371
00:27:03,029 --> 00:27:08,349
military, to music promoting frivolous consumerism,
a look at the dominant forms of cultural production

372
00:27:08,349 --> 00:27:12,300
can tell you a lot about the values being
promoted by the powers-that-be.

373
00:27:12,300 --> 00:27:16,980
But thankfully, we have the ability to fight
back, by producing and promoting subversive

374
00:27:16,990 --> 00:27:21,769
countercultures that promote our own values
of solidarity, mutual aid, direct action,

375
00:27:21,769 --> 00:27:25,239
and antagonism to capitalism and the forces
of the state.

376
00:27:25,240 --> 00:27:28,240
Let’s not squander the opportunity.

377
00:27:28,240 --> 00:27:32,859
Here we go yo, here we go yo, so what's the,
what's the, what's the scenario?

378
00:27:33,180 --> 00:27:38,660
Here we go yo, here we go yo, so what's the,
what's the, what's the scenario?

379
00:27:38,669 --> 00:27:43,919
Just don't sell the fuck out man, it's simple,
just stay true to what the fuck you represent

380
00:27:43,919 --> 00:27:45,129
and don't change up

381
00:27:45,129 --> 00:27:49,509
Haters are always going to exist
But the need to do it

382
00:27:49,509 --> 00:27:53,520
It's what's going to motivate us

383
00:27:53,520 --> 00:28:01,040
Be ready to do it against all odds, be ready
to do it by yourself, but also be very intentional

384
00:28:01,040 --> 00:28:03,840
about building community with others.

385
00:28:04,520 --> 00:28:09,379
Don't be afraid to link a network with people
that aren't in your neighbourhood, you gotta

386
00:28:09,379 --> 00:28:14,249
connect and you can't just preach to yourself,
you can't just talk to yourself you have to

387
00:28:14,249 --> 00:28:15,249
connect with people.

388
00:28:15,249 --> 00:28:19,700
If you want to make it, yeah you can
upload something to soundcloud, but to get

389
00:28:19,700 --> 00:28:23,779
the full experience of the art and for people
to hear you, to get exposure, you're gonna

390
00:28:23,779 --> 00:28:26,330
have to go out there and perform, and you're
gonna have to go out there and link up with

391
00:28:26,330 --> 00:28:27,330
other people.

392
00:28:27,330 --> 00:28:32,540
Backpack smacker, testament dropper, Amaru
respecter, been to the hotter, kin to Assata,

393
00:28:32,540 --> 00:28:35,880
studied it all, past to the present, resurrected

394
00:28:35,880 --> 00:28:40,220
You have a duty if you're making radical music,
you need to help build the foundation in your

395
00:28:40,229 --> 00:28:41,820
community for radical music to come in.

396
00:28:41,820 --> 00:28:46,179
So you have to help book the shows, you have
to help find the spaces, you have to get the

397
00:28:46,179 --> 00:28:47,739
sound systems, you have to help facilitate
that.

398
00:28:47,740 --> 00:28:52,320
You're not just making music and radical music,
you need to help with fostering

399
00:28:52,320 --> 00:28:54,720
radical music community.

400
00:28:54,730 --> 00:29:00,109
The term is 'many hands make light work',
we can get more done together than we can

401
00:29:00,109 --> 00:29:01,960
by ourselves in certain formats.

402
00:29:01,960 --> 00:29:07,149
And then sometimes, less is more, sometimes
you have to cut dead weight and you have to

403
00:29:07,149 --> 00:29:12,450
step away from people who don't have the same
priorities as you and you have to be okay

404
00:29:12,450 --> 00:29:13,600
with doing that.

405
00:29:13,600 --> 00:29:16,039
You also have to be very observant of your
reality

406
00:29:16,039 --> 00:29:20,960
Stop and look at what's going on
Listen and open your ears to hear

407
00:29:20,960 --> 00:29:24,739
what's going on around you
Becuase using words comes with responsibility

408
00:29:24,739 --> 00:29:29,019
And if you are going to use them you have
to be honest

409
00:29:29,019 --> 00:29:32,869
as to who you are and where you are coming
from

410
00:29:32,869 --> 00:29:37,640
And it adds value to your community

411
00:29:38,580 --> 00:29:42,899
nobody's gonna do this for you you know, look
at the D.I.Y ethic of punk music, it needs

412
00:29:42,899 --> 00:29:48,389
to be applied to hip hop more, and we need
to do for ourselves, and we need to build

413
00:29:48,389 --> 00:29:53,549
up our own spaces, our own community, our
own networks and we need to share that amongst

414
00:29:53,549 --> 00:29:58,240
each other and everybody can rise together.

415
00:29:58,640 --> 00:30:03,780
The goal of my making music isn't to explain
myself to someone who

416
00:30:03,780 --> 00:30:05,780
doesn't understand my background.

417
00:30:05,789 --> 00:30:11,759
The goal is to connect with the folks who
share that same path and who find strength

418
00:30:11,760 --> 00:30:19,470
and healing in hearing their story being told,
who may otherwise feel very much alone.

419
00:30:20,940 --> 00:30:25,680
It's cold because I can probably only speak
to indigenous MCs based on an indigenous message

420
00:30:25,690 --> 00:30:30,639
because for me I understand that talking about
resistance, talking about decolonization,

421
00:30:30,639 --> 00:30:37,419
talking about revolution, whatever it may
be, the average person does not like to hear

422
00:30:37,419 --> 00:30:42,730
the indigenous perspective, the true indigenous
perspective of resistance because it challenges

423
00:30:42,730 --> 00:30:44,300
even their existence.

424
00:30:45,560 --> 00:30:49,620
Don't be afraid, don't cut yourself off, and
don't listen to people who say

425
00:30:49,620 --> 00:30:53,389
“this hasn't been done so you can't do it” or 
“it's weird and it's different”.

426
00:30:53,389 --> 00:30:57,880
Some of our best artists were doing something
that nobody else was doing before and it's

427
00:30:57,880 --> 00:31:02,570
okay, it's alright to not rap in the same
cadence that everyone else is rhyming in,

428
00:31:02,570 --> 00:31:08,159
it's okay to mix your music with other genres,
it's okay to be different and to not sound

429
00:31:08,159 --> 00:31:09,479
like everyone else.

430
00:31:09,479 --> 00:31:13,320
Sometimes people aren't going to want to fuck
with you you know, but stick with it because

431
00:31:13,320 --> 00:31:18,669
eventually what happens is, after years and
years, you get better about what you're doing,

432
00:31:18,669 --> 00:31:25,489
you get clearer about what you're doing, you
learn from your mistakes, and when that is

433
00:31:25,489 --> 00:31:34,740
combined with a sustained sense of joy in
relation to why and how you work, you're unstoppable.

434
00:31:35,289 --> 00:31:41,600
If you're going to try and build a radical
current towards indigenous resistance, you

435
00:31:41,609 --> 00:31:46,549
can't waiver, you can't switch up based on
the fact that you're not getting support.

436
00:31:46,549 --> 00:31:48,830
You're not going to get support.

437
00:31:48,830 --> 00:31:54,909
There's going to be so much stacked up against
you, you have to be uncompromising because

438
00:31:54,909 --> 00:32:00,059
everything that you represent is problematic
to the average person, even those people that

439
00:32:00,060 --> 00:32:04,089
suggest they support indigenous resistance.

440
00:32:04,780 --> 00:32:07,300
Stop inviting women to just the 
'all-women events'.

441
00:32:07,309 --> 00:32:11,759
Don't be embarrased when we grab the microphone
and rock it in your circle full of guys.

442
00:32:11,759 --> 00:32:15,289
When people start to look at diversity in
that way of inviting people to the table so

443
00:32:15,289 --> 00:32:20,400
that we all can break bread and do this thing
that we call our culture, it'll change.

444
00:32:20,400 --> 00:32:25,440
And if they don't open the door, break the
fucking door down, kick it open, fuck asking.

445
00:32:26,080 --> 00:32:29,400
These record labels slang our tapes like dope
You can be next in line and signed and still

446
00:32:29,400 --> 00:32:32,320
be writing rhymes and broke
You would rather have a Lexus or justice,

447
00:32:32,400 --> 00:32:34,220
a dream or some substance?

448
00:32:34,220 --> 00:32:36,160
A Beamer, a necklace, or freedom?

449
00:32:36,280 --> 00:32:37,740
Still a nigga like me don't playa-hate,

450
00:32:37,740 --> 00:32:41,080
I just stay awake,
this real hip-hop and it don't stop

451
00:32:41,080 --> 00:32:43,740
'Til we get the po-po off the block, they
call it

452
00:32:43,740 --> 00:32:54,299
hip hop, hip hop, hip hop, hip
It's bigger than hip hop, hip hop, hip hop

453
00:32:54,299 --> 00:32:59,070
As we continue to resist the resurgence of
far-right reaction, further entrenched inequality,

454
00:32:59,070 --> 00:33:03,499
gentrification and an increasingly repressive
state apparatus, it is very important that

455
00:33:03,499 --> 00:33:08,549
anarchists build and strengthen connections
with those outside our immediate circles.

456
00:33:08,549 --> 00:33:12,169
Part of this requires that we actively spread
our politics through popular subcultures like

457
00:33:12,169 --> 00:33:15,960
hip hop, that resonate with millions of people
who share our hatred of police and capitalist

458
00:33:15,960 --> 00:33:19,980
society, but won’t necessarily be inclined
to come out to all our meetings, rallies or

459
00:33:19,980 --> 00:33:21,330
reading circles.

460
00:33:21,330 --> 00:33:25,259
And the other part involves listening and
learning from established histories of resistance

461
00:33:25,259 --> 00:33:29,759
and struggle, in order to better understand
and identify points of affinity and possible

462
00:33:29,759 --> 00:33:30,759
collaboration.

463
00:33:30,760 --> 00:33:34,580
Thankfully, there are lots of amazing individuals
already doing this important work...

464
00:33:34,580 --> 00:33:36,200
but we need more of them.

465
00:33:36,200 --> 00:33:39,499
So at this point, we’d like to remind you
that Trouble is intended to be watched in

466
00:33:39,500 --> 00:33:43,440
groups, and to be used as a resource to promote
discussion and collective organizing.

467
00:33:43,440 --> 00:33:47,700
Are you a hip hop head interested in helping
to contribute to your local radical scene?

468
00:33:47,700 --> 00:33:51,119
or looking to build one in a town where it
doesn’t exist?

469
00:33:51,119 --> 00:33:55,019
Consider getting together with some comrades,
organizing a screening of this film, and discussing

470
00:33:55,019 --> 00:33:57,080
where to get started.

471
00:33:57,080 --> 00:34:00,249
Interested in running regular screenings of
Trouble at your campus, infoshop, community

472
00:34:00,249 --> 00:34:01,759
center, or even just at home with friends?

473
00:34:01,760 --> 00:34:03,780
Become a Trouble-Maker!

474
00:34:03,780 --> 00:34:08,099
For 10 bucks a month, we’ll hook you up
with an advanced copy of the show, and a screening

475
00:34:08,100 --> 00:34:11,199
kit featuring additional resources and some
questions you can use to

476
00:34:11,199 --> 00:34:12,940
get a discussion going.

477
00:34:12,940 --> 00:34:14,960
If you can’t afford to support us financially,
no worries!

478
00:34:14,960 --> 00:34:18,739
You can stream and/or download all our content
for free off our website:

479
00:34:18,739 --> 00:34:21,100
sub.media/trouble

480
00:34:21,100 --> 00:34:25,320
If you’ve got any suggestions for show topics,
or just want to get in touch, drop us a line

481
00:34:25,329 --> 00:34:27,710
at trouble@sub.media.

482
00:34:27,710 --> 00:34:30,619
If you want to hear some tracks from the artists
featured on this episode, check out the latest

483
00:34:30,619 --> 00:34:36,059
Burning Cop Car, our radical hip hop podcast,
at sub.Media/bcc.

484
00:34:36,059 --> 00:34:38,089
Just a heads up that since subMedia is a fully

485
00:34:38,089 --> 00:34:41,630
crowd-funded project, we’ll be starting
our annual fundraiser drive soon, to make

486
00:34:41,630 --> 00:34:44,339
sure we can keep cranking out videos year
round.

487
00:34:44,339 --> 00:34:49,159
This episode would not have been possible
without the generous support of Todd, Marius

488
00:34:49,159 --> 00:34:50,159
and AvispaMidia.

489
00:34:50,159 --> 00:34:53,029
Stay tuned next month for Trouble # 16, as
we take a closer look at the trial of the

490
00:34:53,029 --> 00:34:57,920
so-called J20 defendants, who were mass arrested
in the streets of DC, at the historic protests

491
00:34:57,920 --> 00:35:02,720
against the presidential inauguration of US
War Criminal in Chief, Donald J Trump.

492
00:35:02,720 --> 00:35:07,660
No one wanted to just show up and just show
out, like there was a definite message about

493
00:35:07,660 --> 00:35:10,180
disrupting the inauguration.

494
00:35:10,180 --> 00:35:13,400
Now get out there…. and make some trouble!