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Afeni Shakur-Davis'Statement on Occupy Movement PDF Print E-mail
Written by Staff   
Friday, 30 December 2011 06:54

The Occupy Wall Street & Together Movement is a reflection of the increasing anger and implosion of the working class in a “profit by any means necessary” driven capitalist system. Capitalism on its own merit is not the problem. The way it’s approached in America is. There is a dichotomy at play though. Consumers want products at low prices, and producers manufacture goods in other Countries with lower wages to achieve the desired consumer prices. Somehow, it is easy for some to ignore inequity in pay and unsafe working conditions if it takes place outside of the United States. The consequence of outsourcing jobs outside of the U.S. to increase profit is that jobs shrink in America, especially in the manufacturing sector. In a recession, more jobs in multiple sectors dry up, affecting almost everyone except for those in the sectors that create new technology or for corporate executives. They actually get richer. The result is that more workers feel the frustration of finding adequate work, something many in the African-American community have experienced for generations. What is the real price of all of those inexpensive goods, and high profits? What would a device like a smart phone cost if it were manufactured 100% in America?

This problem is nothing new. There has been anger with the growing gaps between the rich and those trying to get by day-to-day since the founding of this Country. I know first-hand the results of vast inequity in America. That is what I fought against in the Black Panther Party. When the schools in New York shut down in the 60’s, I was angry. I helped organize my community on behalf of my nephews, and other children in our community. I stood up for what was right, and I remained angry. That anger led me into a tailwind of substance abuse. Anger has consequences. It leads to more harm than the original source of the anger. My family was devastated when violence killed my son in 1996. Although my lost was painful, I did not get resort to anger or violence. Over the past fifteen years, I have channeled my pain into the work of the Tupac Amaru Shakur Foundation. In the spirit of Tupac’s legacy we established the Foundation to provide opportunities for young people to express themselves creatively, to teach conflict resolution, to improve communities, and to provide an institution that brings people together.

The Foundation has been different things for different people at different times. For some, the Foundation is a source of strength, for others it’s a place of empowerment. The Foundation is a place of comfort to those grieving the loss of a loved one killed by violence, we increase awareness and prevention of suicide, we offer acceptance of others regardless of their sexual orientation or background. We honor & learn from our seniors, and mentor young women. We honor fathers, and those who have rebounded from substance and other abuse. We empower our community with resources, and provide jobs & opportunities for single mothers, young people, and for those just trying to get by. The Tupac Amaru Shakur Foundation and those that we have helped have long been the 99%.

The Occupy Movement has successfully organized people across the globe that share the frustration of the negative results from inequity in the U.S. capitalist system that has existed since I can remember. But, for the movement to be effective, especially for those involved from the Hip-Hop community, the movement must not ride the waves of anger into waves of violence, but into action. Community Action that helps those most vulnerable in their community: children, young girls, and seniors is the best defense. For instance, imagine the impact of thousands around the world flooding a shelter to help those most vulnerable in their communities. Being part of the 99% is nothing new, especially for the African-American community. Don’t scoundrel this opportunity to leverage the impact of the thousands that have organized, these opportunities do not come often. When this organizing moment is a glimpse in the history books, will your only accomplishment be a T-Shirt that reads “We are the 99%.”

In Solidarity,

Afeni Shakur-Davis

Source TASF

Last Updated on Friday, 30 December 2011 09:14
 
Tupac Amaru Shakur Collection Available in Atlanta University’s Woodruff Library PDF Print E-mail
Written by Staff   
Friday, 30 December 2011 06:37

Atlanta University Center Robert W. Woodruff Library Announced the opening of the Tupac Amaru Shakur COLLECTION for Scholarly Research

The Collected works of Rap’s Most Successful & Prolific Icon Includes 11 Linear Feet with 30 Boxes of Materials Housing Manuscripts, Song Lyrics, Poems, Video Treatments, Memorabilia
and Personal Correspondence with Family and Fans

Following two years of extensive collection and categorization, the Atlanta University Center (AUC) Robert W. Woodruff Library announces the opening of the Tupac Amaru Shakur Collection. The platinum recording artist, actor and poet remains one of the most influential writers and performers in the hip hop/rap genre.

Spanning a period from 1969 to 2008, this remarkable collection includes song lyrics, poems, track lists and video treatments, as well as manuscripts by Shakur family members and members of the rap groups Dramacydal and the Outlawz. Memorabilia, correspondence to and from Shakur, fan mail, media clippings and publicity materials are also included. Particularly noteworthy items within the collection are a handwritten video treatment for “Dear Mama,” his song that was inducted into the Library of Congress collection; a notebook of songs eventually recorded for Shakur’s immensely successful 2Pacalypse Now album; and handwritten drafts of poems included in The Rose That Grew from Concrete.

The Shakur Collection represents a partnership between the AUC Woodruff Library and the Tupac Amaru Shakur Foundation to make available for scholarly research the manuscript writings and other papers of Shakur. The collection is extensive and comprises approximately 11 linear feet, with 30 boxes of materials, and has the distinction of being one of the few publicly available research collections of an individual hip hop artist.

Born in East Harlem, New York, Shakur first came to prominence in the early 1990s as a featured rapper for the vocal group Digital Underground and went on to become one of the most significant cultural icons of the hip hop generation. Prior to his untimely death at the age of 25, Shakur released five record albums and appeared in four motion pictures.

Ten albums, numerous compilations and four feature films have been released posthumously, including Tupac: Resurrection, which received an Academy Award nomination for “Best Documentary (Feature)” in 2005.

“We’re honored to have partnered with the Tupac Amaru Shakur Foundation to preserve the artistic legacy of Tupac Shakur through this collection,” said Loretta Parham, CEO and Library Director. “He transformed the landscape of hip hop culture and was one of the most compelling voices and talents of his generation. As an academic library, we feel privileged to be the stewards of the Shakur Collection and to promote for scholarly research.”

Vernal Cambridge, Executive Director of the Tupac Amaru Shakur Foundation adds, “We are excited about the centralization of Tupac’s massive body of work and materials. The Tupac estate has done a great job at preserving his history. Similar to his albums, and documentary film, Tupac: Resurrection, this unique collection gives Tupac another opportunity to tell his story in his own words. The lessons that students, researchers, and fans can learn from this close and personal look at his writings are invaluable.”

The collection is available for research in digital and original formats in the AUC Woodruff Library’s Archives Research Center Reading Room. For inquiries about researching the collection, e-mail the Archives Research Center at This e-mail address is being protected from spambots. You need JavaScript enabled to view it or call 404-978-2052.

Source: TASF

Last Updated on Friday, 30 December 2011 12:04
 
The Unseen Ones PDF Print E-mail
Written by Staff   
Thursday, 29 December 2011 21:43

Kurt Orderson is a young film maker hailing from Cape Town, South Africa. His first documentary ‘Definition of freedom’ (2004) highlighted the role hip hop played in the struggle against Apartheid, and in ‘Prodigal Son‘ he traces the story of his great grandfather who had come from Barbados to South Africa, escaping the colonial regime at the time. His latest hip hop related work is a short documentary film that comes with a bonus music video. Both can be seen in their entirety on this page.

‘The Unseen Ones’ (watch the video HERE) is about 27-year old Leagan Davids (artist name: Nico10long) who lives in Wesbank/Delft, a poor township some 40 km from Cape Town CBD. Living there and raising a three-year old daughter he faces crime, lack of proper education and unemployment in the neighbourhood – many of these issues are felt all over the Cape Flats. Leagan is also an emcee and he uses Afrikaans to talk about every day life in his hood, telling the stories that don’t make it into the newspapers. The Cape Flats are seldom shown on national TV except when reporting on gang activity.

The track ‘Vaderfiguur’ (HERE) talks about the reality of raising a 3-year old daughter without having a job.

And keep an eye on Kurt Orderson – he’s working on a fiction feature film, among other projects, and there’s ‘Breathe again’, his latest documentary about black swimmers in South Africa – watch the trailer.

Source: http://www.africanhiphop.com

 

Last Updated on Thursday, 29 December 2011 21:51
 
African Hip-Hop Group Uses Music to Combat al-Qaeda-Affiliate PDF Print E-mail
Written by Robert aka 'RB'   
Thursday, 29 December 2011 22:07

Take some anti-jihadist courage and mix it with musical talent and what do you get? An Islamist-fighting hip hop group, apparently.

Enter Waayaha Cusub (which means “New Era” or “New Dawn”), an 11-member music group intent on battling the al-Shabaab terror group and its violent ideology.

The hip-hop collaboration, comprised of Somalis, Kenyans, an Ethiopian and a Ugandan, was founded by 29-year-old Shine Ali in 2004. Just three years ago, Ali was shot by members of the terrorist group after they broke into his home. According to the Waayaha Cusub founder, it was his anti-radical message that incited the attack.

While this would have been enough to stop most people from proceeding, Ali and his group members are intent on continuing their mission to encourage young people to sheer clear of involving themselves in jihad. ”When they shot me, I knew that if I stopped the music, they would win but if I continued, my power would win,” says Ali.

The group has produced several albums and caught some major attention for its 2010 song, “No to al-Shabaab.” Waayaha Cusub’s songs are recorded in Nairobi and they are disseminated on CDs, though the radio and on the Internet. Aside from their peaceful calls against the terror group, the Guardian reports that the musicians tackle other issues like AIDS and clan rivalry.

Here’s the music video for “No to al-Shabaab”.

But the price members pay for their brave stance is a hefty one. One singer — a female — who was slashed across the face a few years ago remains in hiding. As Ali has learned, the positive and uplifting message the band is trying to spread could cost the singers their lives.

Source: TheBlaze.com

 
Jay-Z and Kanye West earn almost £4 million for playing 16 year old's birthday bash PDF Print E-mail
Written by Staff   
Thursday, 29 December 2011 21:42

Kanye West and Jay-Z were paid just under £4 million to play live at the 16th birthday party of the daughter of an Arab billionaire.

The rappers, who released their much anticipated collaboration album 'Watch The Throne' earlier this year, were reportedly paid a fee of £1.9 million ($2.9 million) each to perform the gig, which took place in Dubai around two weeks before Christmas.



According to The Sun, the rappers performed several sets at the party, which was given to celebrate the 16th birthday of the girl, who is also the niece of Sheikh Mansour, the multi billionaire owner of Manchester City Football Club.

Jay-Z has previously hinted that the second release from his and West's 'Watch The Throne' project will be released next year.

He said of he and West's future plans: "We – I say 'we' because I'm in Throne mode – we're in a great place creatively. You might see a Jay, then Kanye and a Throne album next year… We've really found our zone."

Jay-Z and Kanye West completed a lengthy North American arena tour just before the Christmas period.

Source: http://www.nme.com/news/jay-z/61152

Last Updated on Thursday, 29 December 2011 21:46
 
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