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    Mengingat posisi yang relatif dominan, hip hop menempati puncak pusing
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    Ketinggian kompleks hiburan-industri-global, mudah untuk melupakan kerendahan hatinya
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    awal dan perannya yang abadi sebagai sumber politik revolusioner.
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    Saya mendapat surat dari pemerintah tempo hari
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    Saya membuka dan membacanya. Dikatakan mereka pengisap
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    Saya tahu ini sebenarnya, Anda tidak suka bagaimana saya bertindak. Anda mengklaim saya sellin 'retak
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    Tapi kau lakukan itu, aku lebih suka mengatakan "melihatmu" Karena aku tidak akan pernah menjadi ya
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    Menjadi seorang perwira? Anda pengawas yang jahat!
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    Panggil aku Little Bobby Hutton, karena aku yang pertama menekan tombolnya
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    Rapper tidak mengatakan apa-apa ke sistem, kami mengatakan persetan
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    Itu sebabnya kami mengatakan "fuck" Itu sebabnya kami membuat 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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    dan break-dance, MC, DJ, dan Anda tahu itu cara perlawanan.
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    Pemuda yang sama yang melemparkan batu bata dan batu dan mendorong kembali polisi, mereka punya
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    sesuatu untuk dikatakan.
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    Bagi saya, hip-hop adalah alat untuk transformasi budaya yang memiliki beberapa prinsip kehidupan
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    Dan beberapa di antaranya adalah persatuan, cinta, dan hormat. Tetapi secara khusus, bersenang-senang, untuk memenuhi kebutuhan
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    untuk mempertahankan kebahagiaan Ada kutipan dari DJ Grandmaster Caz
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    Dikatakan bahwa hip-hop tidak menciptakan apa-apa Hip-hop menciptakan kembali segalanya
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    Kami mengintip alegori di api unggun mendengarkan ketika para tetua berbagi cerita tentang
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    korban vampir.
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    Bagaimana saya tidak melakukan kesalahan yang sama? Kebijaksanaan.
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    Hasilkan penglihatan, lenyapkan penjara.
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    Yang saya inginkan adalah kebebasan, tetapi saya tidak mampu membelinya,
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    bayi saya punya semangat, hanya cemerlang dan cantik.
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    Oh ya, dukungan pembelaan diri, selalu diam ketika dia akan memuatnya.
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    Pegang, esa morra untuk memuatnya.
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    Oh sial, dan seluruh barrio mendukungnya.
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    Terlihat seluruh orang ingin teman.
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    Terlihat seluruh orang ingin Benz.
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    Terlihat orang lotta keseluruhan tidak bisa mendapatkan apa yang mereka inginkan sehingga orang lotta pop muncul secara keseluruhan.
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    Mereka mengatakan itu berarti jangan membenarkan tujuannya.
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    Apakah tujuannya pernah membenarkan cara?
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    Dan apakah kita akan mengakhiri semua kesulitan ini jika kita menjadi kaya saja
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    fanatik dalam guillotine?
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    Karena saya tidak bisa melihat anak-anak ini mati dan kemudian berbaring seperti saya memberikan sesuatu dan tidak melakukan apa-apa
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    tetapi berbaring seperti aku sudah menyerah.
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    Jadi, dapatkan senjata jika Anda siap, kami memegang parang untuk siapa saja yang terlibat
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    masalah lupa.
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    Berpikir untuk diri sendiri adalah sebuah kemewahan yang mahal Bagi mereka, tidak nyaman jika Anda pergi
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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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    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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    That's the job of my music, to challenge everything that has been imposed upon us to say no and
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    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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    you won't find me on some exploitative, downgrading shit about women, you won't find me talking
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    about killing faggots and faggot this and faggot that.
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    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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    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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    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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    hate right?
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    I try to promote the kind of hip hop that I like to see, I work with people that are
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    doing the kind of hip hop that I like to see.
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    No matter what the content there's a political context from where it
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    comes from Becuase there's a need to reclaim our history
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    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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    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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    I learned early that I had to be three times better than the guys to even remotely get
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    even recognized and it made me already come out swinging and I never stopped swinging
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    because I already recognized that I had a disadvantage or I was already seeing patriarchy
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    and sexism.
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    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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    have to address the fact that I'm not the only woman there because I'm the only woman
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    with something worth saying with something worth listening to, I'm the only woman there
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    because we don't listen enough to the women around us and we don't give up the mic, men
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    don't give up the mic enough.
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    I put my face in a book ‘cause my people are profiled
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    erased from the books and my people are told lies
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    Sky’s the limit? Go fly! Cali green? We go high
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    I mean back in ‘05, already knew I'd grow wise
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    Queen and Master of the chaos I inhabit Sometimes a tyrant, sometimes outlaw
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    The best battle, is with myself I'm self government, my flag is anarchist
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    When I wake up, no makeup, half naked, I feel like I’m the shit
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    Pardon my language, but hang ups do not define the kid
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    No, I’m not flawless, I’m scarred up and I’m fine with it
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    My body art a laundry list of all of life’s unkindnesses
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    A lot has changed in the 45 years since hip hop’s founding.
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    For one thing, many of the iconic inner-city neighbourhoods where hip hop first flourished
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    have been redeveloped, their former communities scattered to the winds of gentrification.
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    Far from the dilapidated pressure cookers of revolt and subversive urban decay that
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    they were in the 70s, these neighbourhoods have become homogeneous sites of high-rise
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    condos, hipster indie venues and Starbucks franchises.
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    Which is not to say that this process is a done deal... and even less so that the social
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    contradictions that birthed hip hop have disappeared.
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    The South Bronx is still a largely working-class area plagued by racist police violence, and
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    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!
  • 19:06 - 19:12
    The target of poverty by the white devil Because I wasn't testing at my reading level
  • 19:12 - 19:16
    I was testing any of these busters Yo, where you from? Pare?!
  • 19:16 - 19:19
    Lola’s like, “Bakit ka nag tatambay dun sa calle parate?!”
  • 19:19 - 19:24
    But as urban demographics have shifted, so too has hip hop’s centre of gravity.
  • 19:24 - 19:28
    In the United States, this shift has been most notable with the rise of Southern Rap,
  • 19:28 - 19:32
    beginning in the early 2000’s, and the emergence of Atlanta as a new hip hop epicentre.
  • 19:32 - 19:37
    Similarly, as it has spread to countries all around the world, hip hop has been transformed
  • 19:37 - 19:42
    and enriched by countless local culture and traditions, each of which has added their
  • 19:42 - 19:47
    own mark, while generally honouring the spirit of youthful defiance and resistance to authority
  • 19:47 - 19:50
    that’s been so key to hip hop’s global appeal.
  • 20:06 - 20:12
    Hip hop culture is an expression of oppressed people's reality.
  • 20:12 - 20:17
    Hip hop is so global now that literally every neighbourhood, every community is representing.
  • 20:17 - 20:21
    I see people doing hip hop in Palestine.
  • 20:26 - 20:32
    Native artists are just really standing up globally and representing and telling a story
  • 20:32 - 20:36
    that really needs to be heard and it reminds me of the early days of hip hop.
  • 20:36 - 20:39
    It's not like packaged and pretty and fake.
  • 20:39 - 20:45
    Just raw truth and raw facts so big ups to all my native comrades out there holdin' it
  • 20:45 - 20:46
    down with hip hop.
  • 20:46 - 20:50
    We never even knew what it was like to be poor until money was shown to us in the first
  • 20:50 - 20:54
    place, we didn't know what poverty was and so we're always trying to catch up to something
  • 20:54 - 20:59
    that really we don't belong to, that in fact, our culture is at odds with, our traditions
  • 20:59 - 21:01
    are at odds with.
  • 21:01 - 21:08
    Let's remember that a lot of art is elitist That it sometimes comes and it's valued in
  • 21:08 - 21:14
    certain places But hip-hop allows that from from the streets
  • 21:14 - 21:18
    from the ghettoes, from marginality These voices can be created
  • 21:18 - 21:27
    I feel like music is, specially important in sharing political ideals with youth, taking
  • 21:27 - 21:31
    care of our people, to maintaining our identities.
  • 21:31 - 21:33
    So it's absolutely like, foundational.
  • 21:35 - 21:36
    What is black?
  • 21:37 - 21:42
    Black is a response to white supremacist categorization of human beings.
  • 21:42 - 21:48
    Something that doesn't even begin to encompass the vastness of history and cultural reality.
  • 21:48 - 21:54
    When I'm in Zimbabwe as an 'ambassador' if you will for hip hop, I encounter people that
  • 21:54 - 21:59
    are Shona, people that are into balée, people that are of these different cultural realities
  • 21:59 - 22:00
    doing hip hop.
  • 22:00 - 22:03
    South Africa is big right now with the resistance music.
  • 22:03 - 22:08
    Y'all we've been colonized, it's not a lie, working class let's start to organize.
  • 22:08 - 22:13
    I believe the masses will arrive, revolution will rise and decolonize.
  • 22:13 - 22:16
    It is time to mobilize...
  • 22:16 - 22:21
    For people all over the continent to have taken hip hop, not in an exploitative, oppressive
  • 22:21 - 22:24
    way, but in an empowering way.
  • 22:24 - 22:30
    Taken Black culture born in the united states, created as a result of the separation from
  • 22:30 - 22:35
    the continent of Africa, taking that back, reinterpreting it and it being a bridge for
  • 22:35 - 22:39
    Black people all over the fucking planet Earth, that's a powerful thing man!
  • 22:42 - 22:45
    Anti-establishment feelings that I have, it could have been harnessed by a million things
  • 22:45 - 22:50
    but it was harnessed by good, radical, politics, through music.
  • 22:50 - 22:55
    Music has an opportunity to word things that are hard to say, music has a way of cutting
  • 22:55 - 23:03
    through to the heart of something it has the power to give voice to a situation or to paint
  • 23:03 - 23:07
    gambar tentang situasi dengan cara yang tidak ditulis.
  • 23:07 - 23:12
    Setiap kali Anda melakukan pertunjukan, Anda harus membawa pesan itu, apa pun itu
  • 23:12 - 23:16
    orang, atau dua ratus orang atau seribu orang di kerumunan.
  • 23:16 - 23:20
    Saya pikir acara yang lebih kecil menjadi lebih intim sehingga Anda memiliki kemampuan untuk dapat berinteraksi
  • 23:20 - 23:25
    dengan orang-orang di sana dan juga untuk tidak hanya dapat melakukan pertunjukan dan tidak hanya menjadi hiburan
  • 23:25 - 23:30
    tetapi juga untuk melakukan percakapan dengan orang-orang dan berbicara lebih banyak tentang perlawanan sesudahnya.
  • 23:30 - 23:34
    Saya ingin terhubung dengan orang-orang yang melakukan pekerjaan nyata dan melakukan pekerjaan radikal dan melakukan
  • 23:34 - 23:38
    pekerjaan revolusioner dan saya ingin mendukung gerakan mereka dan saya ingin menggunakan musik
  • 23:38 - 23:39
    untuk terlibat dalam hal itu.
  • 23:39 - 23:45
    Itulah yang paling saya sukai, Anda tahu, ketika saya bisa bermain di situs perlawanan yang sebenarnya.
  • 23:45 - 23:49
    Ini seperti membawanya kembali ke akar untuk apa musik itu diciptakan.
  • 23:49 - 23:55
    Pertunjukan gratis yang kami lakukan untuk para pemuda, para pemuda ghetto, selalu merupakan pertunjukan yang paling kuat
  • 23:55 - 23:59
    karena mereka tidak memiliki kendala yang dilakukan oleh pertunjukan komersial.
  • 23:59 - 24:05
    Kebenaran terletak pada kebohongan, orang-orang kami trauma, jadi donald truf bukan
  • 24:05 - 24:07
    berbeda dari obama barak di mata kita.
  • 24:07 - 24:13
    Mereka adalah bagian dari sistem yang berharap kita pergi dan pembicaraan sejarah dengan lidah bercabang dua
  • 24:13 - 24:17
    jadi kesengsaraan terus berlanjut di wilayah kematian yang diduduki secara ilegal ini.
  • 24:17 - 24:24
    Sejumlah pertunjukan yang akhirnya saya lakukan di luar ruangan di batu berdiri memiliki energi yang sama.
  • 24:24 - 24:32
    Itu sangat kuat dalam apa yang datang bersama dan semangat perlawanan dan kemudian kita
  • 24:32 - 24:37
    memiliki sejumlah acara dengan hanya sekelompok anak-anak di res, jenis energi yang sama.
  • 24:37 - 24:43
    Kami yang selamat, kami yang naik, ya kami mereka biadab menggedor penjajah, ya
  • 24:43 - 24:50
    we them savages banging on the colonizers we are finally facing the end of the cycle
  • 24:50 - 24:52
    an end of the terror fueled by the bible...
  • 24:53 - 24:56
    join the struggle, or live in denial.
  • 25:08 - 25:13
    There's a bunch of indigenous communities that are rapping in their language
  • 25:13 - 25:16
    There's mural art that's intersecting with graffiti
  • 25:16 - 25:24
    and the old scriptures Now we see a meeting between past cultures
  • 25:24 - 25:28
    And newer cultures But what hip-hop allows
  • 25:28 - 25:31
    It's that you can incorporate into the current reality
  • 25:31 - 25:33
    Something that was being lost
  • 25:33 - 25:39
    There's a difference when I'm on a reservation or when I'm at like an inner-city program,
  • 25:39 - 25:46
    doing a show for kids who might also be undocumented you know, doing a show for young women that
  • 25:46 - 25:51
    have never been on stage but would like to be or have poems that they wanna write or
  • 25:51 - 25:52
    whatever.
  • 25:52 - 25:57
    It's so much more of a reciprocal occasion when it's folks who share identities.
  • 25:57 - 26:01
    It's like one of the last things that we have is our ability to speak out.
  • 26:01 - 26:05
    Even if we feel powerlessness, hip hop makes us feel powerful.
  • 26:05 - 26:11
    Island woman rise, walang, makakatigil Brown, brown woman, rise, alamin ang yung
  • 26:11 - 26:14
    ugat They got nothin’ on us
  • 26:14 - 26:17
    Nothin’ on us Nothin’ on us
  • 26:17 - 26:19
    Nothin’ on us
  • 26:24 - 26:29
    Within revolutionary circles, often times we can get bogged down in abstract theoretical
  • 26:29 - 26:33
    debates, and lost in what can seem like an endless cycle of protests,
  • 26:33 - 26:35
    actions and organizing campaigns.
  • 26:35 - 26:39
    And while these engagements are essential and should not be dismissed, it’s also important
  • 26:39 - 26:43
    to keep in mind the vital role that culture plays in building effective movements of resistance.
  • 26:43 - 26:49
    At the end of the day, capitalism and the state are not just material forces, but ideological
  • 26:49 - 26:50
    systems as well.
  • 26:50 - 26:54
    This is something our enemies are well aware of, which is why they devote so much time,
  • 26:54 - 26:59
    energy and resources towards creating propaganda – much of it masquerading as entertainment.
  • 26:59 - 27:03
    From the countless high budget TV shows and Hollywood movies glorifying police and the
  • 27:03 - 27:08
    military, to music promoting frivolous consumerism, a look at the dominant forms of cultural production
  • 27:08 - 27:12
    can tell you a lot about the values being promoted by the powers-that-be.
  • 27:12 - 27:17
    But thankfully, we have the ability to fight back, by producing and promoting subversive
  • 27:17 - 27:22
    countercultures that promote our own values of solidarity, mutual aid, direct action,
  • 27:22 - 27:25
    and antagonism to capitalism and the forces of the state.
  • 27:25 - 27:28
    Let’s not squander the opportunity.
  • 27:28 - 27:33
    Here we go yo, here we go yo, so what's the, what's the, what's the scenario?
  • 27:33 - 27:39
    Here we go yo, here we go yo, so what's the, what's the, what's the scenario?
  • 27:39 - 27:44
    Just don't sell the fuck out man, it's simple, just stay true to what the fuck you represent
  • 27:44 - 27:45
    and don't change up
  • 27:45 - 27:50
    Haters are always going to exist But the need to do it
  • 27:50 - 27:54
    It's what's going to motivate us
  • 27:54 - 28:01
    Be ready to do it against all odds, be ready to do it by yourself, but also be very intentional
  • 28:01 - 28:04
    about building community with others.
  • 28:05 - 28:09
    Don't be afraid to link a network with people that aren't in your neighbourhood, you gotta
  • 28:09 - 28:14
    connect and you can't just preach to yourself, you can't just talk to yourself you have to
  • 28:14 - 28:15
    connect with people.
  • 28:15 - 28:20
    If you want to make it, yeah you can upload something to soundcloud, but to get
  • 28:20 - 28:24
    the full experience of the art and for people to hear you, to get exposure, you're gonna
  • 28:24 - 28:26
    have to go out there and perform, and you're gonna have to go out there and link up with
  • 28:26 - 28:27
    other people.
  • 28:27 - 28:33
    Backpack smacker, testament dropper, Amaru respecter, been to the hotter, kin to Assata,
  • 28:33 - 28:36
    studied it all, past to the present, resurrected
  • 28:36 - 28:40
    You have a duty if you're making radical music, you need to help build the foundation in your
  • 28:40 - 28:42
    community for radical music to come in.
  • 28:42 - 28:46
    So you have to help book the shows, you have to help find the spaces, you have to get the
  • 28:46 - 28:48
    sound systems, you have to help facilitate that.
  • 28:48 - 28:52
    You're not just making music and radical music, you need to help with fostering
  • 28:52 - 28:55
    radical music community.
  • 28:55 - 29:00
    The term is 'many hands make light work', we can get more done together than we can
  • 29:00 - 29:02
    by ourselves in certain formats.
  • 29:02 - 29:07
    And then sometimes, less is more, sometimes you have to cut dead weight and you have to
  • 29:07 - 29:12
    step away from people who don't have the same priorities as you and you have to be okay
  • 29:12 - 29:14
    with doing that.
  • 29:14 - 29:16
    You also have to be very observant of your reality
  • 29:16 - 29:21
    Stop and look at what's going on Listen and open your ears to hear
  • 29:21 - 29:25
    what's going on around you Becuase using words comes with responsibility
  • 29:25 - 29:29
    And if you are going to use them you have to be honest
  • 29:29 - 29:33
    as to who you are and where you are coming from
  • 29:33 - 29:38
    And it adds value to your community
  • 29:39 - 29:43
    nobody's gonna do this for you you know, look at the D.I.Y ethic of punk music, it needs
  • 29:43 - 29:48
    to be applied to hip hop more, and we need to do for ourselves, and we need to build
  • 29:48 - 29:54
    up our own spaces, our own community, our own networks and we need to share that amongst
  • 29:54 - 29:58
    each other and everybody can rise together.
  • 29:59 - 30:04
    The goal of my making music isn't to explain myself to someone who
  • 30:04 - 30:06
    doesn't understand my background.
  • 30:06 - 30:12
    The goal is to connect with the folks who share that same path and who find strength
  • 30:12 - 30:19
    and healing in hearing their story being told, who may otherwise feel very much alone.
  • 30:21 - 30:26
    It's cold because I can probably only speak to indigenous MCs based on an indigenous message
  • 30:26 - 30:31
    because for me I understand that talking about resistance, talking about decolonization,
  • 30:31 - 30:37
    talking about revolution, whatever it may be, the average person does not like to hear
  • 30:37 - 30:43
    the indigenous perspective, the true indigenous perspective of resistance because it challenges
  • 30:43 - 30:44
    even their existence.
  • 30:46 - 30:50
    Don't be afraid, don't cut yourself off, and don't listen to people who say
  • 30:50 - 30:53
    “this hasn't been done so you can't do it” or “it's weird and it's different”.
  • 30:53 - 30:58
    Some of our best artists were doing something that nobody else was doing before and it's
  • 30:58 - 31:03
    okay, it's alright to not rap in the same cadence that everyone else is rhyming in,
  • 31:03 - 31:08
    it's okay to mix your music with other genres, it's okay to be different and to not sound
  • 31:08 - 31:09
    like everyone else.
  • 31:09 - 31:13
    Sometimes people aren't going to want to fuck with you you know, but stick with it because
  • 31:13 - 31:19
    eventually what happens is, after years and years, you get better about what you're doing,
  • 31:19 - 31:25
    you get clearer about what you're doing, you learn from your mistakes, and when that is
  • 31:25 - 31:35
    combined with a sustained sense of joy in relation to why and how you work, you're unstoppable.
  • 31:35 - 31:42
    If you're going to try and build a radical current towards indigenous resistance, you
  • 31:42 - 31:47
    can't waiver, you can't switch up based on the fact that you're not getting support.
  • 31:47 - 31:49
    You're not going to get support.
  • 31:49 - 31:55
    There's going to be so much stacked up against you, you have to be uncompromising because
  • 31:55 - 32:00
    everything that you represent is problematic to the average person, even those people that
  • 32:00 - 32:04
    suggest they support indigenous resistance.
  • 32:05 - 32:07
    Stop inviting women to just the 'all-women events'.
  • 32:07 - 32:12
    Don't be embarrased when we grab the microphone and rock it in your circle full of guys.
  • 32:12 - 32:15
    When people start to look at diversity in that way of inviting people to the table so
  • 32:15 - 32:20
    that we all can break bread and do this thing that we call our culture, it'll change.
  • 32:20 - 32:25
    And if they don't open the door, break the fucking door down, kick it open, fuck asking.
  • 32:26 - 32:29
    These record labels slang our tapes like dope You can be next in line and signed and still
  • 32:29 - 32:32
    be writing rhymes and broke You would rather have a Lexus or justice,
  • 32:32 - 32:34
    a dream or some substance?
  • 32:34 - 32:36
    A Beamer, a necklace, or freedom?
  • 32:36 - 32:38
    Still a nigga like me don't playa-hate,
  • 32:38 - 32:41
    I just stay awake, this real hip-hop and it don't stop
  • 32:41 - 32:44
    'Til we get the po-po off the block, they call it
  • 32:44 - 32:54
    hip hop, hip hop, hip hop, hip It's bigger than hip hop, hip hop, hip hop
  • 32:54 - 32:59
    As we continue to resist the resurgence of far-right reaction, further entrenched inequality,
  • 32:59 - 33:03
    gentrification and an increasingly repressive state apparatus, it is very important that
  • 33:03 - 33:09
    anarchists build and strengthen connections with those outside our immediate circles.
  • 33:09 - 33:12
    Part of this requires that we actively spread our politics through popular subcultures like
  • 33:12 - 33:16
    hip hop, that resonate with millions of people who share our hatred of police and capitalist
  • 33:16 - 33:20
    society, but won’t necessarily be inclined to come out to all our meetings, rallies or
  • 33:20 - 33:21
    reading circles.
  • 33:21 - 33:25
    And the other part involves listening and learning from established histories of resistance
  • 33:25 - 33:30
    dan berjuang, untuk lebih memahami dan mengidentifikasi poin-poin kedekatan dan kemungkinan
  • 33:30 - 33:31
    kolaborasi.
  • 33:31 - 33:35
    Untungnya, ada banyak orang luar biasa yang sudah melakukan pekerjaan penting ini ...
  • 33:35 - 33:36
    tetapi kita membutuhkan lebih banyak dari mereka.
  • 33:36 - 33:39
    Jadi pada titik ini, kami ingin mengingatkan Anda bahwa Trouble dimaksudkan untuk ditonton
  • 33:40 - 33:43
    kelompok, dan untuk digunakan sebagai sumber daya untuk mempromosikan diskusi dan pengorganisasian kolektif.
  • 33:43 - 33:48
    Apakah Anda seorang hip hop head tertarik untuk membantu berkontribusi pada adegan radikal lokal Anda?
  • 33:48 - 33:51
    atau ingin membangunnya di kota yang tidak ada?
  • 33:51 - 33:55
    Pertimbangkan untuk berkumpul dengan beberapa kawan, mengatur pemutaran film ini, dan berdiskusi
  • 33:55 - 33:57
    di mana untuk memulai.
  • 33:57 - 34:00
    Tertarik menjalankan pemutaran Masalah secara rutin di kampus, infoshop, komunitas Anda
  • 34:00 - 34:02
    pusat, atau bahkan hanya di rumah dengan teman?
  • 34:02 - 34:04
    Menjadi Pembuat Masalah!
  • 34:04 - 34:08
    Untuk 10 dolar sebulan, kami akan menghubungkan Anda dengan salinan acara yang canggih, dan pemutaran film
  • 34:08 - 34:11
    kit yang menampilkan sumber daya tambahan dan beberapa pertanyaan yang dapat Anda gunakan untuk
  • 34:11 - 34:13
    dapatkan diskusi.
  • 34:13 - 34:15
    Jika Anda tidak mampu mendukung kami secara finansial, jangan khawatir!
  • 34:15 - 34:19
    Anda dapat melakukan streaming dan / atau mengunduh semua konten kami secara gratis dari situs web kami:
  • 34:19 - 34:21
    sub.media/trouble
  • 34:21 - 34:25
    Jika Anda punya saran untuk topik acara, atau hanya ingin menghubungi kami, hubungi kami
  • 34:25 - 34:28
    di trouble@sub.media.
  • 34:28 - 34:31
    Jika Anda ingin mendengar beberapa lagu dari artis-artis yang ditampilkan dalam episode ini, lihat yang terbaru
  • 34:31 - 34:36
    Burning Cop Car, podcast hip hop radikal kami, di sub.Media/bcc.
  • 34:36 - 34:38
    Hanya perlu diingat bahwa karena SubMedia sepenuhnya
  • 34:38 - 34:42
    proyek yang didanai kerumunan orang, akan segera kami lakukan penggalangan dana tahunan kami
  • 34:42 - 34:44
    yakin kami dapat terus membuat video sepanjang tahun.
  • 34:44 - 34:49
    Episode ini tidak akan mungkin terjadi tanpa dukungan dermawan dari Todd, Marius
  • 34:49 - 34:50
    dan AvispaMidia.
  • 34:50 - 34:53
    Nantikan bulan depan untuk Masalah # 16, karena kita melihat lebih dekat pada uji coba
  • 34:53 - 34:58
    yang disebut terdakwa J20, yang ditangkap secara massal di jalan-jalan DC, pada protes bersejarah
  • 34:58 - 35:03
    menentang pelantikan presiden Pidana Perang AS, Donald J Trump.
  • 35:03 - 35:08
    Tidak ada yang ingin hanya muncul dan muncul, seperti ada pesan pasti tentang
  • 35:08 - 35:10
    mengganggu pelantikan.
  • 35:10 - 35:13
    Sekarang pergilah ke sana .... dan buat masalah!
Title:
vimeo.com/.../289928207
Video Language:
English
Duration:
35:43

Indonesian subtitles

Revisions