By Raynard Jackson
BlakPAC Blogger
I am quite confident that what I am about to write will prove to be
quite controversial, but I implore my readers to please read carefully
what I am about to write.
I will preface this column with one of my favorite Bible verses,
Proverbs 4:7: “Wisdom is the principle thing, therefore get wisdom; and
with all thy getting, get understanding.”
Let’s see if we can get some understanding as to why it seems that
Blacks, especially young Black males, seems to have a bullseye on them
when it comes to routine encounters with police departments all across
the country.
Who could not help but be stunned at the shocking death of Alton Sterling last week in Baton Rouge, La.? Who could not help but be in tears at the heart-wrenching death of Philando Castile in Minneapolis, Minn.?
Police clearly had Sterling on the ground with two policemen on top
of him when one of the policemen shot him point blank in the chest, all
under the guise of him having a gun in his pocket.
Castile was shot while following orders from a Hispanic-American
policeman. The policeman was informed by Castile that he had a licensed
gun on him along with his permit to carry; following the policeman’s
commands to show the documentation, he reached into his pocket to
retrieve them and was shot and killed.
Even when Blacks follow instructions, somehow, we still end up dead.
Many Blacks feel like there has been an unofficial war declared on us, especially on young, Black males.
As tragic as these actions were, they should spark a larger, separate
conversation about the images that we have created around Black life
and Black culture. Regardless of these images, there is no justification
for killing those young, Black men. Let’s be clear about that.
For the past 30 years, we have created images of Blacks in the most
negative of lights. For those who would say it’s just music, it’s just a
movie, it’s just a reality TV show, I say now there is just another
Black body lying in the streets of America.
Before you go to war, the first thing that is needed is to create a
psychological operations campaign (psy-ops). This is a tactic that the
military uses to marginalize its targeted population so that when the
troops are sent in to destroy this group, there is little or no public
outcry.
Just look at how the U.S. military vilified and demonized former
Iraqi president Saddam Hussein and terrorist Osama Bin Laden, before we
set out to kill them. Upon their deaths at the hands of the U.S.
military, the American people cheered because we had devalued and
marginalized them before the American people.
I can’t help but ask the Black community, have we unleashed a psy-ops campaign on our own people?
In the horror movie “Frankenstein,” Dr. Frankenstein did not set out
to create a monster, but rather he was a scientist playing around in his
laboratory. As a result of this experimentation, he created a monster
that neither he nor society could control.
In a similar manner, one could argue that Blacks, specifically in
Hip-Hop, have experimented in the laboratory called a recording studio;
and by exercising their First Amendment Right to freedom of speech and
expression through music, they have created their own version of
Frankenstein.
In the beginning, like with Frankenstein, people marveled at this new
creation and people were willing to pay to see and hear it. There was
“Rappers’ Delight,” there was “The Message,” and there was “Fight the
Power.” Then, the imagery and lyrics took a twisted turn under a
perverted interpretation of the First Amendment called “keeping it
real.”
Now, the establishment, especially the police, had become the enemy.
Hip-Hop was a counter-culture movement that turned into a monster that
could no longer be controlled. Women became “bitches and hoes,” men
became hyper-sexualized thugs who were only out to force themselves on
your daughters and to “Get Rich or Die Tryin.’” When rap music started,
it was a verbal extension of the Civil Rights Movement of the 1960s in
the spirit of the Dr. Martin Luther King, Jr. It was about the uplifting
of our community and providing a voice to those often without a voice.
Then in the 1990s, rap took a more militaristic tone with the
creation of “gangsta rap.” This too, was a verbal extension of the Civil
Rights movement, but more in the spirit of Malcolm X on steroids. These
artists represented those in the “hood” who felt trapped and abused by
the system. They felt like no one cared about them and that life was
about the here and now – immediate gratification, so screw the future.
They wanted to “get theirs now.” They wanted to live fast, even if it
meant dying young.
This ultimately led to the “thug” culture, personified by hit movies
like “Scarface,” “New Jack City” and “Carlito’s Way,” each glorifying
the criminal lifestyle.
Then you had the crack epidemic of the 1990s with the violence that
it brought into the hood. All these factors combined to create a
narrative that Black life was worthless and that young Black males were a
menace to society. It’s too bad the rap world didn’t heed the words of Chuck D, KRS-One,
Doug E. Fresh, Heavy D, MC Lyte, Kool Moe Dee, D-Nice, Daddy-O and
others on the all-time classic, “Self Destruction,” which had as its
chorus, “Self-Destruction, ya headed for Self-Destruction.”
BlakPAC founder George Farrell is working to reverse the negative image of Black Americans through his Success is Colorblind Campaign. I suggest all Americans read his books and join BlakPAC
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