• The Africa Narrative Has Evolved.
• Demographic Pressures.
• The Changing Europe-Africa Risk To Reward Pyramid.
• Nation-State Competition.
• Capital Market Expansion.
• The Rise of Islamic Banking.
• Growing U.S. Multi-National Corporate Penetration and Dependence.
• ‘Volatility’ Now Means ‘Northern Africa’ not Sub-Saharan.
• African Leaders Have Their Own Development Agenda.

To read the full August 5, 2011, Client Comment, “9 Reasons Why 2011 Isn’t 2008″ subscribe to Africa PreBrief (http://www.africaprebrief.com/pages/company-watch-capital-markets.php)

Last year around this time in an AllHipHop.com editorial ‘Movement Music: From Coke Rap To Community Development’ (http://www.allhiphop.com/stories/editorial/archive/2010/07/27/22311557.aspx) I touched on the economic, cultural, and even political importance of this with the perspective of history.

Real-life events such as budget cuts crippling social services and media allegations over the murder of the Notorious B.I.G. and much more over the past year make it clear to me that the culture and industry - what remains of it - are operating on borrowed time to extract the untapped redemptive value from the most powerful artistic phenomenon of the generation. Soon, the music will stop, for all of us.

From that perspective yesterday’s NBC Philadelphia and MSNBC.com feature interview of Troi ‘Star’ Torain, “Radio Host Snitches To NBC Philly” (http://www.msnbc.msn.com/id/43752330/ns/local_news-philadelphia_pa/) I believe, further captures the essence of the horns of a dilemma shared by grass roots activists, police officers, religious communities, the public school system, and the Hip-Hop culture, in particular. While many in this potential critical mass for change would consider each other outright enemies, the reality is that each of these power centers share a common burden in establishing equilibrium in our society which can only be achieved with sufficient levels of freedom, justice, and equality, enjoyed by all.

Although these three principles are commonly reduced to platitudes, they are part of a sophisticated mathematical formula which when properly factored and calculated produce a level of peace and quality of life that all human beings seek – regardless to creed, class or color. Without us working out this problem, rationally and carefully we are headed for an explosive and violent ’solution’ not of our own choosing.

When my dear friend Star, Star and Buc Wild, first made me aware last Fall of his decision to re-ignite his long standing interest in “building a better bridge,” between law enforcement and alienated youth, words from the Honorable Elijah Muhammad (http://www.noi.org/about_the_honorable_elijah_muhammad.shtml) immediately came to mind. In an article published in the July 21, 1956 edition of The Pittsburgh Courier he wrote:

“Everyone loves good for self: then should he not love the same for others? If such love were practiced, there would never be a need for an army, neither a police force.”

Along with these words, I then sent Star a note of encouragement, “Until we practice the Golden Rule we will always have need for a police force. Isn’t Philadelphia supposed to be the City of Brotherly Love? (smile) I know that with humor, knowledge of self, and rational thought you will do more to ‘build a better bridge’ than countless numbers of activists, religious leaders and politicians who preceded you, and failed.”

I meant every word.

For a decade as Co-Publisher of BlackElectorate.com (http://blackelectorate.com/) where we have published roughly 150,000 articles in 11 years (and where I have written nearly 1,000 opinion pieces) we have covered criminal justice issues from every perspective imaginable.

Furthermore we established an offline “Business and Building” Community in 2006-2007 to apply insights and to better network around a holistic formula of four initiatives:

Felon Disenfranchisement – a partnership with the ACLU to help ex-offenders obtain voting rights

Assisting Street Organizations (‘Gangs’) To Build Their Develop Communities – a partnership with Saving Our Selves (S.O.S.) In Newark, New Jersey (who brokered a cease-fire between Bloods and Crips)

The Black Bank Initiative – which resulted in hundreds of bank accounts being opened in Black communities across America (featured in the prestigious American Banker: http://www.blackownedbank.com/wp-content/uploads/2008/09/abversionpdf.pdf)

A United States of Africa-Diaspora Advocacy Group – dedicated to informing and connecting Black Americans with the African Union’s efforts to unite Africa in a common market and political union (I was later named as a Member of the First Congress of African Economists by the African Union with the further designation as the Congress Rapporteur To the Diaspora in the United States http://www.cedricmuhammad.com/%E2%80%A6notes-from-the-first-congress-of-african-economists/).

My position and that of BlackElectorate.com is then, and remains now, that until our communities and leading organizations deal with criminal justice issues, youth development problems, economic and entrepreneurial initiative, and international relations, simultaneously we will have blindspots which make us vulnerable to internal weakness and external manipulation. Without this widened perspective in a global and technologically advanced society where kinship and family ties are weakened we have not only reached a plateau but have passed the point of diminishing returns in problem solving.

In all of our years at Blacklectorate.com we have never received a better reaction to anything we published than what was generated by a 2002 editorial entitled, “Diallo, Devaluation Of Black Life And Police ‘Privatization’ ” (http://www.blackelectorate.com/articles.asp?ID=6 ) wherein we questioned the paradigm governing the relationship between law enforcement and community.

On one hand it was clear that there were both individuals in law enforcement who were bent on a supremacy mindset that made them incapable of treating certain individuals humanely and fairly as well as very well-meaning, sincere and effective individuals who came from the communities they policed and upheld the law in a way that preserved the dignity of alienated youth and residents that experienced decades of discrimination.

On the other hand there were very well-informed and progressive activists concerned with police brutality and racial profiling, who did an exemplary job of pointing out the shortcomings and imperfections of law enforcement, including the supremacy mindset, while at the same time there were others who manifested an inferiority complex seeking to change the hearts of unjust judges and calling law enforcement to responsibility, when they themselves, never challenged their own community to clean itself up, and even police itself, if necessary.

In, “Diallo, Devaluation of Black Life and Police Privatization” we framed the issue in Black and White and floated a trial balloon, that could be applied in a city like Newark or Camden, New Jersey or even Philadelphia, Pa where resources are dwindling and budget cuts are having an impact:

Black communities throughout this country could virtually eliminate racial profiling and police brutality by the “community policing” of their own neighborhoods. Black Christians, Muslims and grassroots organizations, particularly their male members, can voluntarily and for fees, patrol their own neighborhoods and reduce crime. Their presence and love and respect for their communities can even persuade young Black and Latino men and women to leave a life of crime behind. They also can serve as a buffer between police officers and youngsters in the community. And sadly, if need be, they can educate police officers on the nature, rhythm and culture of the communities in which they work.

Under such community patrols, people who are totally innocent of crimes will be left alone. Why? Because the people in the community actually know who they are. There is no need to “profile” individuals that you know.

****

Sadly, although what we propose and describe loosely as ‘privatized policing’ is a sound concept and viable and has even produced results in isolated cases, sufficient commitment and operational unity between Black organizations does not currently exist to make it a reality on a mass scale.

Despite the strong ideology, sincerity, and rhetoric, the depth of disunity, poor planning, misplaced priorities and distractions prevent something workable that could work and lift the burden that currently weighs down police departments and the community.

Although many of us have grown comfortable framing relations between certain communities and alienated youth and police departments in stark ‘us’ vs. ‘them’ terms, the reality is not as cut and dried.

Many activists understand the difficult task that law enforcement faces in light of the miserable conditions in which the people live.

Similarly, many police departments know from the inside their own imperfections and corruptions.

And of course, anecdotally, police officers, FBI employees, probation and corrections officers, judges, prosecutors and HIDTA task force groups (http://www.whitehousedrugpolicy.gov/hidta/) are our childhood friends, family members and neighbors.

From day one Star laid out for me his three very clear objectives:

1. To familiarize and personalize youth with their respective police departments and to open up a dialogue between them.

2. To provide a mechanism for continued improvement of communication between municipalities and law enforcement.

3. To promote a greater understanding of the mechanisms of law enforcement.

Anyone who doesn’t see the need for this tripod is delusional.

As a young Member of the Fruit of Islam (F.O.I.) in Mosque # 25 in Newark, New Jersey one of the very first forms of instruction I received was how to handle myself when engaged by a police officer. It is an area where all young people need training. Sometimes simply knowing what to say (and more importantly what not to say or do) can save your life.

To this very day, while having an end to police brutality included as one of the main points in its Muslim Program (http://www.noi.org/muslim_program.htm) the Nation of Islam places great emphasis in this area and the Honorable Minister Louis Farrakhan has provided wise counsel over the years which has enabled young people to avoid unnecessary conflict with police officers. The Minister has also been foremost in guiding police officers (even addressing their conferences) in how to better understand, respect and treat more humanely and fairly those in the communities which they serve, without compromising his beliefs. Minister Farrakhan has found a balance between opposing law enforcement abuse while recognizing the need for law in a community where discipline and self-knowledge, self-respect, and self-love has been sorely lacking or denied.

What makes Star’s efforts especially unique is that he aspires to do what he does in the context of the Hip-Hop culture and industry which he commonly describes as ‘anti-values’ while extolling its progressive aspects and entrepreneurial spirit.

His ‘outsider’ perspective, coupled with unparalleled professional success – as the most highly rated talk show host in the history of the Hip-Hop genre and format (recently named one of the Top Radio Jockeys of All Time by News One; http://newsone.com/way-black-when/news-one-staff/top-20-radio-jockeys-of-all-time/?omcamp=EMC-CVNL) – and a willingness to not care whether he is ‘liked’ or politically correct, make him a credible figure, speaking to and from within a generation in a way (yes, that often includes the uncomfortable language of the music and the streets) that we have not seen before.

In that sense he is operating on the cultural, technological, and demographic ‘front lines.’ His broadcast home Philly 100.3 The Beat (heard around the world via: http://thebeatofphilly.com/) targets the core urban demo – 18 to 34 year olds. In between the Drake, Chris Brown, Nicki Minaj and Trey Songz programming, Star is discussing his initiative, with no holds barred, in the context of a horrific homicide rate in Philadelphia and increased tensions between law enforcement and community. His recent guests have included Mayor Michael A. Nutter and Deputy Commissioner Richard J. Ross, Jr. of the Philadelphia Police Department, Tae Zaron-Smith from the “Philadelphia More Beautiful Committee” which promotes youth responsibility; and Toshon Jennings of “House of Ladies of Gentlemen” a group that’s committed to education and non-violence.

This strategic position also places Star in the context of the long running debate in Hip-Hop as to what constitutes ‘snitching’ and at what level people should cooperate with police in solving crimes.

From another perspective I have worked on this dynamic at the invitation of the American Civil Liberties Union (ACLU) as it relates to the problem surrounding the improper handling of confidential informants (CIs). For two years I was asked to participate in an ad-hoc group and advise the ACLU on its work in tackling the problem of lack of oversight and regulation in how law enforcement works with informants (http://www.aclu.org/unnecessary-evil).

I have also been out front for over 10 years in investigating, chronicling, analyzing and commenting on how the Hip-Hop culture and industry have been infested and plagued by surveillance and informants and propaganda coming from law enforcement, working in tandem with media (http://www.finalcall.com/artman/publish/Entertainment_News_5/Rap_COINTELPRO_Subverting_the_power_of_Hip-Hop_2114.shtml). The conflict in Hip-Hop over this real problem and how it impacts police investigation of unsolved crimes is a very serious problem that has eluded solution thus far. The only evidence one needs in that regard is the near 15-year old mischief that has been made around the ‘unsolved’ murders of the Notorious B.I.G. and Tupac.

In that context, Star’s encouragement since 2002 that anyone who has information regarding a homicide to contact the local police – ‘snitching for the right cause’ as he terms it – is a reference point for us to resolve what can only be described as a schizophrenic mentality whereby the community mistrusts police at the same time that we beg them to stop criminal activity; all while law enforcement simultaneously expects greater community cooperation as it fails to correct abuses in the informant system.

Introspectively we are all faced with the ultimate question – if a loved one of our own was murdered would we first rationally tell police officers to be careful that they not abuse the informant system so that an innocent person is not arrested or would we emotionally accept the first suspect they present to us as the guilty party?

All of this, and more, represents the value and challenge of Star’s ‘Meet The Police’ and ‘Start Snitching’ initiative, which in some way should motivate us all to action, admittedly in uncomfortable ways.

In reminding us all of the principles contained within the Honorable Elijah Muhammad’s 55-year old words (”Everyone loves good for self: then should he not love the same for others? If such love were practiced, there would never be a need for an army, neither a police force.”) Star has forced us to admit the dilemma we all face and the burden we all share because we do not – as a community - practice the Golden Rule enough to not have a police force.

The question now, is – what is the most informed and progressive thing we can do about it?

Cedric Muhammad is a monetary economist, political strategist and brand manager and a former General Manager of Wu-Tang Clan and author of ‘The Entrepreneurial Secret’ book series (http://theEsecret.com/). He is Co-Publisher of BlackElectorate.com currently runs an economic consulting firm Africa PreBrief connecting Diaspora and Frontier investors with opportunities in African economies

[For a complete understanding on this one must watch Stacey Muhammad’s ‘For Colored Boys Only’ Summer 2011 Web Series: http://www.forcoloredboysthemovie.com/]

The final phase of the Movement was Ced’s exodus from the programming prison known as Cable premium channels. His introduction to the Roku Box by ‘E From Queens’ was the turning point, adding quality and quantity without the limited and unnecessary editorial voice of HBO, Showtime, or Cinemax.

Personal Testimonial: Cedric says, “As a result of the CedCinema Roku regimen I can now see the end of a movie coming a mile away and I have found balance to compliment years of intense study of scholarly works. I’m no where as good of a movie watcher as strategist but with hard work and dedication I’m on my way.”

Official Endorsement Independent Film Consultant Eric ‘E From Queens’ Canada says, “That’s my word. The Ced Cinema Awards have no bias. I’ve never even heard of half these joints.”

Methodology: Watching 40 Films in 30 Days via a random selection process (i.e. Cedric grabs the Roku remote and hits the arrows with no rhyme or reason other than a preference for Independent Thrillers, Dramas, Comedies and Documentaries and with a few exceptions, anything made since 2009). Careful lottery-style chance is displayed so that no favoritism toward Hollywood Blockbusters or pro-Black films is shown (not that it does not exist).

Here, in no logical order are the Summer of 2011 ‘CedCinema Roku Revolution’ Awardees:

Best Film: ‘Ca$h’

CedCinema Comment: A rare combination: Comedy and Crime Thriller

Best Foreign Film: “The Lives Of Others”

CedCinema Comment: Stimulating from beginning to end. Powerful ending and absolutely Beautiful score. Army-Brat certified. Ain’t no thrillers like Cold War thrillers - subtitles or not…

Strangest Film: ‘Red, White and Blue’

Ced Cinema Comment: Somehow this film weaves together being HIV positive with horror movie graphicness on the level of ‘Prom Night’

Most Poignant: (Tie) ‘Desert Son’ and ‘Teenage Dirtbag’

Ced Cinema Comment: Touching stories that made Cedric one-eye cry

Best Newcomer: ‘Stone Cold’ Steve Austin in ’Hunt To Kill’

Ced Cinema Comment: He waited too long to transition to acting but still has a chance. Fighting scene skills not as expected (the bad wheel is a problem)and the directors blew it by not having him do multiple Stone Cold Stunners (http://bleacherreport.com/articles/680058-listen-to-this-ovation-the-25-biggest-pops-in-wrestling-history/page/18)

Best Dialogue: ‘The Four-Faced Liar’

Ced Cinema Comment: Overall good conversation to mask a low budget and the emotional exchange between the jolted heterosexual boyfriend and Lesbian girlfriend is quite intense.

Best Chase Scene: Chris Brown in ‘Takers’

Ced Cinema Comment: A little too long but no one can front on Chris Breezy’s track skills…

No Matter How Bad The Script Is You Shine Award: Taraji P. Henson in ‘Once Fallen’

Ced Cinema Comment: Not sure why she took this role but after an initial slow start, she stole the show from inferior actors and broke free from the limits of a bad script

Best Paradox: ‘Krews’

Ced Cinema Comment: Never seen a movie do a better job with the juxtaposition of street gangstas and Wall St. gangsters
>

Best Actor: (3-Way Tie) John Travolta in ‘From Paris With Love’ Michael Douglass in ‘Solitary Man’ and Leonardo Dicaprio in ‘Shutter Island’

Ced Cinema Comment: None. I don’t feel like describing just watch for yourself.

Best Actress: Demi Moore in ‘The Jone$es’

Ced Cinema Comment: I have been following her career since she was Jackie Templeton on ‘General Hospital,’ which makes me an expert. (http://www.youtube.com/watch?v=-5_YFEA3ksE) This is one of her most underappreciated roles.

Worst Collective Acting: ‘200 MPH’

Ced Cinema Comment: A movie so bad I’m tempted to think I could have auditioned competitively

Best Message Without Preaching: ‘The Joneses’

Ced Cinema Comment: This film uses humor and wit to warn against conspicuous consumption

Most Confusing: ‘The Exam’

Ced Cinema Comment: I felt the cinematography and dialogue but it just went over my head. Maybe an example of my movie intelligence deficit.

Pleasant Surprise: ‘Nice Guy Johnny’

Ced Cinema Comment: Like ‘Michael Clayton’ this movie unexpectedly caused an embarrassing one-eye cry

Best Scoring: ‘Shadows and Lies’

Ced Cinema Comment: Tremendous use of the science of music around James Franco’s moods

Entirely Too Long: ‘All Good Things’

Ced Cinema Comment: I hit stop on the Roku remote several times but fought through it

Best Documentary: ‘The Quantum Activist’

Ced Cinema Comment: Excellent example of where science and ‘religion’ can truly meet

Best Director of Documentary: Alex Gibney; ‘Client 9: The Rise and Fall of Eliot Spitzer’

Ced Cinema Comment: Fast-paced, in-depth interviews, creative re-enactment and riveting scoring…

Best Comedy: ‘Chaos Theory’

Ced Cinema Comment: It’s the only one I watched

Best Standup Comic: ‘Patrice O’Neal: Elephant In The Room’

Ced Cinema Comment: Uncomfortably hilarious

Why Did I Watch This? (The ‘E From Queens’ Tax-Write-Off Award): ‘Killers’

Ced Cinema Comment: Ashton Kutcher as action hero and Tom Selleck as ‘tough guy’ simply does not work

*****

Cedric Muhammad is a strategist, economist and brandmanager who in his spare time reviews scripts, project overviews and funding requests for Independent Films

Part 2: http://www.cedricmuhammad.com/part-ii-big-business-and-african-investment-the-return-of-%E2%80%98the-cedric-muhammad-and-black-coffee-program%E2%80%99/

Eric Canada: Something that you have been getting into lately which I think is important is encouraging people to change their view of investing but really ever since I have known you I’ve heard you speak on gold coins and the gold standard. Why?

Cedric Muhammad: Because at the end of the day it is the only real money we have and the only historical way to protect your money or store ‘cash’ over time. In some respects it is more important than land because land is immobile – you can’t take it with you. So on the special broadcast I’m going to devote a lot of attention to it. I’ll get into my proposal made to the African Union for an African gold standard and more but there is also something about the issue that is fundamentally important.

E, we have to do something to get people re-oriented to what value is – in life and in economics. Sports and entertainment are not insignificant and the stock market has its place. But real wealth and what people have always valued boils down to three things: Land, Business and Gold (and silver). If I can do anything to help a teenager realize that they can make more from farming than rapping or show them chasing paper is inferior to coin counting I would be pleased. So I’m dedicated to that, and of course my commitment to entrepreneurship – the third part of that tripod.

My root in all of this comes from being a Student of the Teachings of the Honorable Elijah Muhammad and how Minister Farrakhan has represented it.

Eric Canada: Again that’s what I’m talking about – trying to reach the youth and different crowds. Do you see yourself as more of a Teacher, Entrepreneur or Mentor?

Cedric Muhammad: It depends on the audience. I might just be a frustrated 76ers fan who is currently watching re-runs of Dynasty Season 2 and who has a slight crush on Folly Bah Thibault of Al Jazeera. I really think for people my age I’m more and more of an entertainer cause folks certainly don’t act on what I tell them we should be doing!

But seriously, I try to think of myself more as a ‘Friend,’ and ‘Sincere Adviser,’ than anything. Because those other roles don’t always allow me to convey genuine concern, which is paramount to me. I don’t like phony people and vanity and ego are areas of my life I am trying to work on. Like you know well, I care about people and if I hear someone has a problem, I have to be careful to not identify with it to the point that it consumes me and totally drains me. I’m just built like that. I have two friends right now going through something difficult and I can’t stop thinking of ways that I can help them. So with my show I try to offer something that will have staying power. I’m always trying to motivate and give good advice. And in a funny way I have a very cold side and a ‘business face’ – with almost no feeling and also a very sensitive side that made me cry like a baby at the end of Field of Dreams and during one part of the movie The Wrestler. I’m a mess.

Eric Canada: In what ways is the show going to change?

Cedric Muhammad: Well, first I’m only bringing it back for a Special Broadcast because I want to see that for myself before I announce a new schedule. I’m not really sure I can do the show I want to so I won’t commit to that until I see something in the audience and feel something in my heart. Aside from the near-complete focus on business I’m looking for more women, for instance – who I think bring intellect and a spiritual angle that us men don’t have as well developed – especially those of us who want to be the smartest person in the room. But in recent years I have seen something in my conversations with women that is so powerful about them that talk shows usually patronize or have little interest in displaying. But I have to change what I show of myself to make the women in the audience feel comfortable that they are welcome to show that side of themselves…

Eric Canada: What is it about them cause I want to make use of it immediately (LOL)?

Cedric Muhammad: I don’t want to give the ‘secret’ away but the nurturing, and coordinating nature of the Female causes her to relate to people much better than concepts and its usually the reverse for men. Women are natural managers and you see it in every society. Invariably women are the best savers of money and more advanced in working collectively. That’s why I call them the Head Economist of the World, and you can see it very clearly in Africa. The problem is when you add too much structural hierarchy – that’s how you lose women and even oppress them. Titles and status does not mean as much to them as it does men – who gain importance from it. Anyway I don’t want to go too deep before the show but there is a way to get into matriarchical and patriarchical societies free of ideology and without causing different genders to become defensive – which talk radio does too much. Men and women ‘perceive’ and ‘conceive’ differently but if you can get past the tension and share perspective and frame of reference properly it manifests a Supreme worldview.

Eric Canada: Alright I’ve been wanting to get into this. You went to the Opening Night of the Rihanna concert in Baltimore and called me afterward and explained to me exactly why it was one of the best concerts you have ever seen. I immediately saw the influence of Jay-Z in what you were breaking down. Now, being that you have spent years in the music industry and put tours together I take that seriously. Explain that, please.

Cedric Muhammad: I’ll give a bit of it but not all of it now. Let’s wait until Wednesday, June 15th for all of it. There were very exceptional aspects of it from a professional performance perspective which I won’t get into here. But for now I’ll say, you can’t appreciate the beauty and talent of a person by first judging them according to your own values. Rihanna is much deeper than people think and it comes across in her show, catalogue, stage presence and in her relationship with her audience. The Baltimore Sun, in their positive review said it well when they wrote, “While at the Monster Tour, the crowd’s excitement ebbed as Gaga played new songs, or some of the more obscure ones, Rihanna seemed almost incapable of losing her audience.” That is a hell of a statement for anyone who understands anything behind the science of speaking engagements, live performance, or conducting yourself in public. 80 percent of the audience was women and there is a reason for that which can’t be dismissed. Rihanna is actually making a kind of feminist protest music and performance, if your ears and eyes are sensitive to it. Most men may be surprised at how I interpret her song ‘S & M.’ That song, to me, is not really about freaky sex. There is a deeper reason as to why women supposedly want to be ‘bad.’

This is really what I hate about ideologues and intellectual cowards. It is not that I hate the ideology. Ideologies only represent partial aspects of the spectrum of human nature. The ideological political spectrum is only a reflection of the entire range of human nature. A spectrum is a band of colors produced when sunlight is passed through a prism. Politics is not sunlight to me, but rather a prism through which the sunlight or life force is maintained and governed. We have an essence in us that seeks order, change, growth, security, freedom, justice and equality, and if one carefully examines their fundamental basis, the conservative, liberal, libertarian, progressive, socialist, even fascist, anarchist and totalitarian political schools of thought reflect aspects of human nature and the capacity even for imbalance and extremism in the human being and society. So, even though I may be more on the Political Left at times I know that the political conservative ideology, however imperfect, is not simply an artificial construct that was generated in a vacuum, devoid of truth. It has relevance and resonates with so many people because it speaks to part of the range of human nature. It is one of the colors along the spectrum. It has productive utility as well as a destructive potential depending upon how it is constructed, understood and applied in public policy.

But Rihanna is a person in whom is a complex spectrum. She, like me, can manifest the highest and lowest form of human behavior.

But I can’t be her judge because I don’t know her heart.

But Rihanna’s music and expression is a powerful reaction to something.

When I heard her speak to the audience and watched her performance and studied it and the reaction, I was moved because I saw some of her heart. I learned more about her.

An opinion is fine, but anyone making a judgment about Rihanna without watching her near 2 hour show has formed their view based upon incomplete knowledge.

[Enjoy the Wednesday, June 15, 2011 Special Broadcast of ‘The Cedric Muhammad and Black Coffee Program” at BlackElectorate.com (http//blackelectorate.com) or (http://www.cedricmuhammad.com/media/) at 12 PM EST]

Ahead of the Wednesday, June 15, 2011 Special Broadcast of ‘The Cedric Muhammad and Black Coffee Program,” Independent Film Consultant and long time Friend and Creative Partner Eric Canada spoke with Cedric about the evolution of the program and a host of other issues.

Read Part 1: http://www.cedricmuhammad.com/big-business-and-african-investment-the-return-of-the-cedric-muhammad-and-black-coffee-program/

Here is Part II of their conversation:

Eric Canada: I see what you mean on a personal level but I want you to explain what that ingredient – business and economics – adds to the flavor of your show. Because to me that’s what separates what you are doing from a lot of others.

Cedric Muhammad: Right. Along with the spiritual or human motivation factor that is what makes the show valuable, according to listeners; and also to me, deep down. Let’s be honest the stereotypical subject matter for a Black male under 40 to build on in public is not international monetary policy or what’s appearing on Bloomberg and CNBC. It’s something closer to sports and entertainment, or the Democrats versus Republican debate; or straight current events at best, with no analysis. So, it just looks different to most people, and I know that and that’s cool. But getting beyond the intriguing appearance of it, I think people know they are dealing with substance when they see what we bring. I’m not talking about subjects I haven’t intimately become acquainted with and if I don’t know it at a significant level we hit the books for research or we find a living expert. I simply love the research process and I love stimulating discussion and I can have it with an 8-year old or a 90 year old. If nothing else I know how to ask questions. But most importantly I tap into the wisdom of the crowd in the form of the audience who already knows the science of life from their study and life experience. I just have to bring it out more into view.

But back to a cultural level, Black Americans, unlike any other people, did not inherit business knowledge rooted in a cultural tradition. We were stripped of that. It makes a big difference. And after we came out of chattel slavery, in Reconstruction those institutions set up to educate us did not include formal business instruction and we were denied the freedom in civil society to gain that knowledge and pass it on efficiently or practice it freely. This does not mean that we did not practice economics cooperatively. Segregation forced us to and we have never produced anything since as powerful as those 60 ‘Black Towns’ we had from 1865 to 1915.

But Black Americans have culturally had nothing to rival basic traditions like the informal savings cultures of other ethnic groups.

And our use of mutual aid societies and charity was never overtly tied to entrepreneurship or business development as a primary objective or at a mass level, as was clearly the case for say Jewish immigrants from Eastern Europe in the 19th century.

But I think beyond that history what is important to look at is that for 100 years Blacks have subscribed to non-economic liberalism.

Our politics have no economic component to them and are essentially what they have always been – tactics, maybe not even a strategy, to extract the bare minimum forms of securities and rights from one political party that feigns friendship in the face of another political party that manifests more open hostility. Not realizing that our captured status (uncritical loyalty and total reliance on one party, and scared by the other) allows both parties to manage a stalemate on race relations so that the discussion is controlled. It looks like the two-party system aggravates racial tension when it really is redirecting and controlling its energy. The two-party system manages disequilibrium. It’s quite a trick that has deceived many.

So, to have a Black political independent like me – who has voted Democrat, Republican, Socialist, Conservative, Libertarian and Green and who has friends in the Republican Party’s economic growth wing and those on the radical, activist Left – say that economics matters more than partisan politics makes for something very interesting.

I don’t outright advocate it as a strategy but if every Black Democrat said that for the next four years they would only pay attention to Federal Reserve policy and Supreme Court decisions not the Presidency or the House and Senate; only vote for their school board, city council and mayoral races; focus on investing in and growing small businesses and not national elections; and turn off Fox, MSNBC, and CNN, NBC, CBS and ABC and just watch Al Jazeera, Russia Today, South African Broadcast Corporation (SABC), CNBC, Bloomberg and Fox Business Channel the quality of life in our communities would increase 100% and we would become an international force. We would see that all of the Members of Congress, Senate, Governors and the President would compete for our vote without us casting one for them.

Eric Canada: Of course what I love about the program is that it gets into religion, politics, business, sports and entertainment. Anyone could get into it – an artist, cat on the streets, politician, spiritual person and a young person in High School or College. Is that the goal?

Cedric Muhammad: Yup. I don’t assume that just because Nicki Minaj may have suggestive lyrics and dress too revealing that she can’t teach me a lot of the science of what it means to be a young lady in a world like this. As you know I pull out the great equalizer in gender relations – the 1962 Muhammad Speaks Article, “Are Beauty And Fashion The Same?” Using that article I can talk with an adolescent or an elderly woman about gender issues and the shifting notions of ’style’ in clothing etc… A stripper, a feminist, a businesswoman who studies professional etiquette, and a fashion designer could discuss verses in the Qur’an about the different purposes for clothing, depending upon circumstance, from that base. And I could build with men about why our view of women is sometimes so filthy and where blame rests and why we should appreciate that clothing means something to females that it doesn’t to males. And we’ve had great and spirited conversations about this on the program so we know from experience. We don’t do dogma on the show. We strive for science. That’s the only universal language – natural law and universal order – and I look for it in anything and everything. You have to take the disposition of a student as well, which most public intellectuals don’t do, because of ego or they are just doing a job or out to sell and market, so they can’t listen. But I would never do a show only in the language of what I personally believe. One day I want to do a show on what I, as a Muslim, appreciate about Quantum Physics and Atheists but I don’t feel I have the critical mass I desire as an audience, yet. Whatever I would say would be reduced to dogma and silly debate. Soon, though, Allah Willing.

Eric Canada: How does the Internet and technology play into what you do? Because quiet is kept BlackElectorate.com and Black Coffee Channel were way ahead of their time.

Cedric Muhammad: Yes, thanks. That’s something I’ve learned. You have to be careful about time and the difference between pioneering, leading and serving. And what your business pursuits are versus broader mission-oriented work. I have had painful experiences with that dynamic…

Eric Canada: Brother, you ain’t the only one.

Cedric Muhammad: I know, I know. And that’s why it’s good to get it out in the open because we are being hindered by it.

What happens sometimes, especially when you are blessed to innovate among a people who have been denied certain things like we have been – speaking of Black people – is that your private service becomes a ‘public good.’ People feel they own what you are sharing with them and they also form a deep emotional attachment with you and what you provide because of the need it suffices in them, which is deeply emotional and spiritual. This gets back to the self-interest of the creative/spiritual person who is not selfish but who is asked to be selfless. What I have found is that talented people are made to feel like they have betrayed the larger group in structuring what they provide as a service so that it provides benefit for self. If you aren’t careful you can end up bitter because ‘the people’ don’t patronize you nor do they support you financially. So you end up in ‘no man’s land’ and if you have been taught a very strong ideology that overpowers science and a basic sense of your humanity, and if you are exceptionally sensitive to peer pressure or need psychic income (applause, appreciation, attention) you would never think that you are justified in doing trade and commerce with people other than your own, as well as your own. You don’t even think you are allowed to have your own life, to obtain something for yourself – as if it contradicts your value system or minimizes your commitment to the whole. As a result, unless you overtly structure your support group like an effective spiritual teacher who relies upon the charity of those who sincerely follow and appreciate them, you really can’t sustain yourself.

And I personally couldn’t do that – build a movement around myself - because I don’t want anybody ‘following’ me. But that sadly, Eric, is the arrangement the masses have grown comfortable with. I’d rather play the role of a supporting catalyst within a movement - not an ignorant worshipper or person going along for the ride but also not as an outfront personality who can’t draw people to the work and acceptability of self-improvement and organization.

Although they claim to hate ‘messiahs,’ ‘demagogues,’ and ‘charlatans,’ most people I have met ‘dumb down’ in order to shirk responsibility - becoming mentally lazy, needy, and desire a dependent relationship between themselves and some ‘great’ person. I have rejected it in my life and actually have an acid-like distaste for people who try to make me greater than I am while diminishing their own magnificence. The talented, sincere, and sensitive - unless they master business and can find a safety zone in between selfishness and selflessness – will end up being used up by those more needy or exploited by those who are wiser. Both groups - the needy and the wickedly wise - are highly manipulative.

There is nothing wrong with a life based upon total sacrifice, if a person can truly accept that, without bitterness in their heart, and also understand the dynamics that brings in their personal and professional lives.

We will never become what we need to be as a civilized and united people until the cry of ‘one for all’ is sincerely equaled by the network represented by ‘all for one.’

So, I’m glad I realized that even if you are a public personality who sells and markets information and entertainment you have to operate in the arena of trade and commerce and you have to make sound business decisions on the basis of principles and facts and not just a worldview, however sound. Applause without money can eventually lead to vanity or bitterness.

I also think you have to make offerings that are capable of satisfying a community broader than your own. This is especially true because of the changes in demographics and technology.

Eric Canada: Explain that more and how you discuss it on the show.

Cedric Muhammad: Yeah, I mean everything is fragmented now – content and distribution platforms. We have gone from being able to get a limited amount of offerings in a limited amount of places to having an unlimited amount of offerings available in an almost unlimited amount of places, at any time. The places that have credibility in the eyes of those 30 and up are not the same as those in the eyes of a teenager. A smartphone, Facebook, and Twitter are for a 14-year old what the Internet, cellphone and PC were for a 30 year old, just 10 years ago and what radio and TV were for a 50 year old 20 years ago. The ramifications of this are real – just ask the makers of live entertainment, cell and smart phones, and PCs, notebooks or tablets. Branding and taste-making are more valuable now because of that because it is harder to do, because more people can try. We talk about stuff like this on the show, with a sense of humor.

My 14-Year Old Adviser laughs at me telling me that everything I was or am into is old: soap operas, professional wrestling and Blackberrys, replaced by reality TV and iPhones. It’s hilarious but true.

Eric Canada: I know, I just spoke to her for an hour…

Cedric Muhammad: She’s brutal, right? Clowning both of us ancient 30-somethings! Making fun of CDs, soap opera cancellations, Hip-Hop as an ‘old’ genre and what not. I think when ‘General Hospital’ is finally cancelled and Soapnet goes dark she is going to have a party. I love looking at the world through eyes younger than mine. That’s why I describe the music industry the way I do, as not really being a business. The people who enter it are blinded by psychic income and romanticism or caught up only in terms of what is happening ‘now.’ Not realizing that ‘now’ in some cases was decided 5 or more years ago by a demographic and technological shift.

Eric Canada: So what’s your view of Facebook and Twitter?

Cedric Muhammad: I like the potential of Facebook’s business model and people who think it can’t compete with LinkedIn because it is used by people more for their personal use than professional are forgetting something. In between a strict professional job seeker and a person just relaxing is the entrepreneur. An entrepreneur can use Facebook for business and social purposes very easily, without contradiction. But Twitter, Eric, I’m not so sure about as a business. I see it more as a phenomenon. I don’t know how lucrative it will end up being for the owners and investors. It’s an important marketing vehicle but not for everyone. Although it gives you a lot of eyeballs I think it too easily allows others to negatively impact your brand or business. There’s a side to it that I think is still ‘uncontrollable.’ That makes it appealing to masses of people but not necessarily to an image-conscious businessperson.

What disappoints me is the way people use social media. It could be so progressive and constructive if a sober mind was brought to it. In terms of my show, if I can’t use it for more than an online marketing purpose, I’ll probably discontinue the show. My ultimate objective is to use social media for more lucrative, progressive, and offline networking, initiatives and projects that better suit my profile. We were able to do this to a degree with the BlackElectorate.com ‘Business and Building’ Community - now I want to apply it to use movement energy for some collective business activity. But only if the people want to engage in that and I don’t have to carry anybody. Otherwise I’m happy to use my show even as a loss leader for my other ventures like Africa PreBrief my brand management company and Black Coffee Channel. I haven’t been able yet to do the show I ultimately want to sell to an international company – the fragmentation issue prevents it. I’m probably 2-3 years away.

Eric Canada: Where does Africa fit into this and your upcoming special broadcast on June 15th?

Cedric Muhammad: The rest of the world is boring to me, E! Seriously, Africa is where everything is converging. In my consulting business Africa PreBrief, we explain this to clients and where the opportunities are. I don’t care if you have 20 dollars or $20 million you need to be thinking about Africa. My love for Africa was stimulated by the great era of consciousness in Hip-Hop in the 1980s-90s; reading the work of great African History scholars like Cheikh Anta Diop, Dr. Yosef Ben- Jochannan, and Dr. John Henrik Clarke; and by reading The Final Call newspaper and hearing Minister Farrakhan teach on it. My love for economics and my professional ability in it made it only natural that I would apply that lens to current events. The ‘Cedric Muhammad and Black Coffee Program’ is dedicating its format to a focus on economic events in Africa and basically bringing the analysis that we provide at Africa PreBrief into sound and view as show content. That means we marry art, culture, high finance, technology, and politics. You don’t have to be a citizen of an African nation or have a doctorate degree to enjoy the new emphasis of the show.

You only have to have an interest in reality and be forward-looking.

If Africa is the Mother or Throne of Civilization - which it is – then it’s time for an ideology-free conversation and experience about it that is universal and not patronizing, superficial, or condescending.

The people who have monopolized the conversations about Africa have been people who haven’t evolved their view of it beyond a single ideological variable – culture, class or political ideology. I’ve seen this mindset in the Black activist community as well as the White elite intellectuals who sit in D.C. and try to prescribe policy for Africa.

Both ‘cliques’ want Africa to conform to their own image of or agenda for what the world should be like.

I’ve yet to really hear a dedicated show in America that looks at Africa not just as a historical or contemporary phenomenon but one that is futuristic and considers the complexities of cultural orientation and timely economic information, simultaneously.

As long as trade and commerce is left out of the storyline we never will.

End of Part II

***

In Part III: Gold and Silver Coins as a Window To The World; Sports, Entertainment & Music As Metaphor And Motivator; How To Tell When A Show Is Good

Ahead of the Wednesday, June 15, 2011 Special Broadcast of ‘The Cedric Muhammad and Black Coffee Program,” Independent Film Consultant and long time Friend and Creative Partner Eric Canada spoke with Cedric about the evolution of the program and a host of other issues.

Here is Part I of their conversation:

Eric Canada: What I want to do with this is have the kind of free flowing conversation you and I have had for years. The only difference is this is for the people and the public.

Cedric Muhammad: Alright, cool, I’ll turn off my ‘self-editing machine’…

Eric Canada: That’s important ‘cause I think when someone like you has the public persona and background people lock into only one side of you and you know how much I dislike that kind of limit because while people may know you as someone who has been proudly associated with Wu-Tang, Nation of Islam, Members of Congress, Star & Buc Wild, the African Union, AllHipHop and more at the end of the day I just see you as an interesting dude and a brother and friend to a lot of people who has fun but who is serious about business. How does that relate to your show?

Cedric Muhammad: That is a big part of what we try to do on the program – allow people to form stereotypes and limited impressions of me and the audience and then break free from it. It creates a nice tension. There is a confluence of forces at work – my genuine personality, my beliefs, my imperfections, my professional interests and my personal compass that I’ve always let the audience know is my reference point. When it’s all over with I have to be able to listen to the show archives and know that I lived up to what my Mother and Father always wanted me to be – ‘well-rounded.’ That’s the actual phrase my Mom always used to describe how she wanted me to be. I grew up that way and became an ‘extremist’ later in life! But seriously I am largely driven by a need I feel to produce a positive return on all of the ‘investments’ that have been made in me by the influences on my life. I suffer and sacrifice a lot as a servant and lover of people but I don’t negate the existence of my ‘self.’

Eric Canada: Something I know you have spoken on during the show are your influences and how much you enjoy talk shows. Speak about that.

Cedric Muhammad: Yeah the 4 talk show hosts I credit for influencing me: Bryant Gumbel– the closet Black militant; Walt ‘Baby’ Love who I grew up listening to on Armed Forces Radio; Matsimela Mapfumo (Mark Thompson) who was the first talk show host who allowed me to co-host in studio, and Star of Star and Buc Wild who I believe is hands-down the best and most talented person to ever do a talk program. I’ve learned and been inspired by all of them. But I study the game - everyone from Don Imus, to Howard Stern, Oprah Winfrey, Alex Jones, Colin Cowherd and Chris ‘Mad Dog” Russo. And of course I respect what someone like Michael Baisden does in running probably the most seamless radio program you will ever hear. And great interviewers like Brian Lamb of C-SPAN have my respect. He understands the science of subordination and being ‘boring’ and just shutting up so your guest shines!

But I don’t just get into ‘show personalities’ that’s why I deal with business so much on my show.

Ever since I was 17 years old and my Big Brother took me behind-the-scenes of a rap concert I’ve always been more into the off-camera aspect of entertainment than the people who make the headlines. So I know that someone like Rush Limbaugh is first-and-foremost in his mind a successful entrepreneur and not a political leader. The fact that his Republican supporters and Democratic enemies don’t know this is why he is so successful but he has a very real business model that I can appreciate. Here is what a New York Times article from 2008 reported him explaining, “Do you know what bought me all this?” he asked, waving his hand in the general direction of his prosperity. “Not my political ideas. Conservatism didn’t buy this house. First and foremost I’m a businessman. My first goal is to attract the largest possible audience so I can charge confiscatory ad rates. I happen to have great entertainment skills, but that enables me to sell airtime.”

That’s the business model – has nothing to do with ideology. You have to respect the science of that from a man making $38 million a year to give his opinions, while most of us don’t get a dime.

There are certain people who I know could transition into talk radio and be great at it. Cynthia McKinney is one person and I’ve told her that. She has qualities that go beyond ideology.

It’s the same with Glenn Beck. I used to listen to him in 2004 on long drives to Atlanta when I was advising Congresswoman Cynthia McKinney. I knew he would be big because of how his show was structured and because he has mastered voice inflection, cadence and the use of language to a degree. I knew it would work on radio but not TV. When Glenn Beck does that same stuff with a camera on he looks kind of creepy. It doesn’t work as well.

I can recognize that same quality – cadence – in someone like the rapper Jadakiss who has mastered that and also in how he end rhymes with whole phrases, even short sentences. I have a friend of mine who is a successful R&B producer and singer and he and I talk about that all of the time, little things I notice like how Mariah Carey stands out from other singers because she uses multi-syllable words. Her vocabulary is broader than her contemporaries. It gives her a signature sound.

Well, talent is talent and science is science and one of the things I do on my show is appreciate it wherever I see it. I don’t think you are free as a person – intellectually or spiritually - if you hide behind your ideology and a public mask you wear in order to gain acceptance from a certain group of people.

An ideologue can’t accept that I praised Glenn Beck and Jadakiss in the same sentence for applying science and having talent.

They would rather I argue over their political beliefs and lyrical content only.

A person like that lives in a prison.

Eric Canada: What do you mean by ‘prison’?

Cedric Muhammad: They are in the ’social mirror’ jail; incarcerated by groupthink, oppressed by how they are labeled and categorized by others. They aren’t willing to accept reality for what it is, or take risks, and rarely acknowledge their own imperfections in public. I’ll give you an example from talk radio. Howard Stern.

Anyone who has really listened to Howard Stern will bear witness.

With God as my witness I never listen to Howard Stern for his freaky content. I mainly listen to him for a couple of reasons. One, he is one of the best interviewers, ever and two, he is one of the most introspectively honest human beings I have ever heard. Well, there is a third reason too – I love how Robin Quivers does the news.

Now, many people would think I’m not supposed to appreciate anything about Howard Stern. But these people are deluding themselves. How could he attract such a loyal listenership willing to pay to listen to him if there was not something magnetic about his personality that resonated with them? To me, aside from his talent he represents the subconscious mind of the worst part of the human personality which people don’t feel comfortable ever acknowledging in public or even in private. But if you ever wanted to know why some people naturally do evil or why good people do bad things, just listen to his show.

He camps out on a certain spectrum of the human personality that many don’t want to see in themselves and because he does that so openly, he actually demonstrates more knowledge of self than his critics. He’s more honest with himself than they are with themselves. This is one of the areas where religion often has intellectual cowardice in not wanting to face the origin of evil and what scripture has to offer in understanding the entire range of human nature.

But if you read the hard copy version of Howard Stern’s recent Rolling Stone interview you’ll get a picture of a person who has an almost insatiable desire to understand themselves and why he does the things he does – good and bad.

A lot of intellectuals, activists, teachers, scholars and others who hide behind ideas, ideologies, philosophies, sectarian loyalty and who specialize in critiquing others - but hardly ever themselves - can learn from that.

Eric Canada: What about Oprah?

Cedric Muhammad: Pretty much the same thing. I never really got into her show but I did watch her final episode and appreciated her presentation of her worldview. She’s very deep.

Now I do have a criticism of Oprah that I think is an important subject but I’ll only raise it quickly and move on to the point you are driving at.

How could Oprah live in the same city as Minister Louis Farrakhan for as long as she has and have everyone you could imagine on her show as a guest but never him?

Can you say ‘Arsenio Hall?’

There is something in that for people to study about how really powerful and free Black businesspersons are (or aren’t). But I would never allow that peculiarity or critique to obscure my appreciation for her beautiful heart and incomparable influence or the science of what she does.

I was reading an article in The Financial Times this morning about how the book and music industries are impacted by her taste-making powers. She is an icon whom I and everyone else can learn from.

I’ll save this for my show but Oprah wrestles with the problem that any leader or celebrity who serves people in public wrestles with – how to be selfless while pursuing a business self interest.

The ‘mask’ she has to wear in order to sell and market drains her genuine reach and spiritual touch.

Eric Canada: Why does it matter so much for you to make economics and business the heart of the show?

Cedric Muhammad: Because it’s natural for me. I believe my interest in those subjects is stimulated by God. And I’ve had a life experience where I was always made sensitive to it. I grew up observing a Dad who I saw bargaining in the streets of New York as well as Rome, Italy. I used to not be able to watch because I would feel sorry for the vendors, not knowing their posturing was all part of the bargain. And I also grew up for many years outside of the United States so my mind was shaped by being an 8-year old who kept track of currency exchange rates – the dollar, German mark, Italian lira, French franc. Therefore I was never intimidated by the subject and there was no school capable of forcing me to ‘unlearn’ what I had already seen in my travels as a boy. The other insight I gained later in life was that entrepreneurship – which is the base of business – is a deeply spiritual and emotional act. So that allows me to speak about it in a manner that anyone can relate to. At the end of the day business is just life activity in universal order.

Part II: The Influence Of The Internet, Shifts In Content Delivery And The Importance of Africa

http://www.cedricmuhammad.com/part-ii-big-business-and-african-investment-the-return-of-%E2%80%98the-cedric-muhammad-and-black-coffee-program%E2%80%99/

- “The State of Jay-Z’s Empire”Wall Street Journal; October 29, 2010

It is not necessarily a subject he doesn’t feel comfortable discussing with his fans. Maybe, maybe not.

The question, though, it seems, resembles the criteria for proving someone has committed a crime – what motive and opportunity does Jay-Z really have in the world of Hip-Hop to delve into his significant emerging profile as an art collector?

In an industry with a media culture that thrives on three elements: sex, gossip and manufactured conflict (it seems the term ‘beef’ is never archaic in rap) and for a full generation targets the young 17 year old male as primary advertising target, there are just too few forums where institutionalized immaturity permits one to delve into the nuances of a Romare Bearden art piece without running the risk of being labeled as ‘old,’ lacking street cred, or even Gay.

Thus, it was The Howard Stern Show, late last fall and not any of the popular Hip-Hop morning shows where Jay-Z was most comfortable and candid about his interest in fine art (http://www.youtube.com/watch?v=0fqO77EDkDY), how he goes about purchasing pieces and why he decided to place an Andy Warhol Rorschach on the cover of his version of coffee table art book-autobio-lyric sheet compilation, Decoded. As is increasingly common when rappers with ‘hustler,’ ‘hardcore,’ or ‘underground’ images appear on financial, political, or mainstream media, in a voice with more treble than usual and without the typical posturing, subliminal comments directed at other artists, and sometimes desperate need to ‘shock’ – Jay-Z with an almost nervous and shy disposition took on an authentic connoisseur persona when explaining his tastes and how he was able to secure permission to place the image of a high-end art piece on the cover of his book.

“Yeah I collect art. I got into art recently, about five years ago or so…We called the Andy Warhol estate. They cleared it in one day, which was amazing. I was very happy about that. I actually have one of those Rorschachs over my fireplace in my living room,” he told Howard and Robin Quivers.

The juxtaposition of Jay-Z art collector with Jay-Z MC – and with it the apparent contradiction of an anti-value culture with the intricate world of art valuation - is too obvious and tempting to resist. But it obscures a possibly even more intriguing subject – is it possible that Jay-Z’s acquired taste is a possible catalyst or transitory stage for a supposedly ‘lost’ generation to find meaning and even evolve into one of the most significant aspects of the Civil Rights and Black Power era – the Black Arts Movement?

The Black Arts Movement spanned a 10 year period – culturally bookended by the assassination of Malcolm X in 1965 and the fall of the Nation of Islam in 1975. The symbolic birth of it is said to have occurred when LeRoi Jones (now known as Amiri Baraka) moved from Manhattan’s Lower East Side and took Harlem as his home and creative base. The movement is seen primarily through the lens of its impact on literature but had a significant seminal influence on dance, music, and theatre. In a 1968 essay, “The Black Arts Movement,” Larry Neal declared Black Arts as the “aesthetic and spiritual sister of the Black Power concept,” and we’ve been fascinated by this era shrouded in a bit of mystery (and fear) ever since.

While the Hip-Hop generation for extended periods has had no problem with the spirit and rhetoric of that era, and a segment of its community has always comfortably embraced its literary icons it has wrestled awkwardly with integrating this aesthetic element and struggled to manifest a credible visual and performance art wing.

The so-called ‘Golden Age of Hip-Hop,’ by most standards, is roughly the period from 1987 to 1992 when rap artists (primarily from New York) weaved in the speeches, worldview, and phraseology of Black nationalist, civil rights activist, and pan-African organizations hailed by the Black Arts Movement but the era faded, as rap music took on a national identity and received greater attention from multinational entertainment companies.

One of the criticisms of Jay-Z made by artists and the critic-intelligentsia who hail from or revere this era is that his lyrical content is antithetical to the message of that time period. Maybe so, but I can’t recall ‘Jigga’ ever criticizing the organizations or leaders of the movements this establishment regards as sacred. In fact this would be very hard for him to do with integrity considering he was raised, influenced and inspired by the music of both the Black Arts and Golden Age eras. Far from just a token act of consciousness or an anomaly in his catalogue – as his detractors think - this contextual reality of Jay-Z as a teenager in 1980s Brooklyn serves as a plausible explanation for his freestyle re-make of Big Daddy Kane’s ‘Young Gifted and Black,’ (http://www.youtube.com/watch?v=leUFRB2womg) which is included in Decoded, along with a drawing of Minister Louis Farrakhan, whose sampled voice opens the track.

Of course the baton pass from BDK to Jay-Z is rooted in the Nina Simone 1970 classic, ‘To Be Young, Gifted and Black’ (http://www.bing.com/videos/watch/video/nina-simone-young-gifted-and-black/1961ee6550a436b49dee1961ee6550a436b49dee-644833609041?q=Nina%20Simone,%20Young%20Gifted%20and%20Black)

The problem with the incessant focus on Jay-Z’s lyrics which the rap critic-intelligentsia too easily style as ‘superficial,’ ‘materialistic,’ ‘homophobic,’ ‘misogynist,’ ‘anti-Semitic’ and of course, ‘conceited,’ is that it lacks a modern socio-economic context (the expectation that he should not just describe conditions but do so more in the voice of an activist is more complaint than critique) and appreciation for entrepreneurship not as an evil act of capitalism but as a spiritual and creative undertaking (elements which endear themselves to appreciation of the aesthetic) and act of self-preservation. The concept that a business-orientation can be an important aspect of self-actualization is lost on an elite who navigate today’s world by driving while watching their rear-view mirror. Could Public Enemy really be as popular today as 1987?

Thus, an at times romantic longing for the 1960s and 1970s, in particular, not to mention ‘superficial’ understanding of Marx (ignorant of or in denial over what he wrote on the cyclical capacity for human suffering to produce creative acts of change) finds few redeeming qualities in a man who rose from poverty to a net worth of $450 million, and enjoys meetings with billionaire Warren Buffett.

But can this Jay-Z opposition wing appreciate the implication and potential for the impact that his open embrace of art may have on popularizing art education in public schools or attracting attention and finance to performing and visual arts programs in American inner cities?

In a world where social media brings down governments, global finance makes national sovereignty impossible; and where 200 million Africans will move from below the poverty line to middle class status in the next four years is it credible to dismiss someone simply because they believe, “There’s never been a n—-a this good for this long, this hood or this pop, this hot or this strong”? or who insists that because of his influence on pop culture, he is the greatest rapper ever?” (http://www.youtube.com/watch?v=UIJjK3IV3E0)

My sense is that a Jay-Z investing in a musical about the life of Nigerian human rights activist and Afrobeat pioneer Fela Kuti (http://www.billboard.com/news/jay-z-will-smith-put-money-on-fela-1004043434.story); launching a new lifestyle website Life and Times (with an intriguing art section: http://lifeandtimes.com/tag/art) and more willing to speak on his collection (and willing to promote it in places that don’t have the checkbook for a Rorschach) and less often about ‘Money, Cash, Hoes.’ (http://www.youtube.com/watch?v=31xa0CLbcls) is more revolutionary, and more meaningful to a lot more people.

And here is where it gets even more interesting.

Jay-Z’s rise runs parallel to the development of a critical mass of Black American art professionals and entrepreneurs – something which, due to discrimination, could have only occurred as part of a decades-long process. Developed or inspired by the New Deal-era U.S. Works Projects Administration (WPA) programs and the Black Arts Movement a network infrastructure capable of executing every aspect of the business of art has emerged - curators, art historians, galleries, public educational program specialists, and museum contacts – adept in appraising, popularizing, and selling fine paintings, sculptures, photography, and original prints.

The possibility of Jay-Z serving as a credible participant, advocate, or representative of their culture and industry is a dynamic one, not lost on leading figures like Norman Parish, one of the most respected and influential Black art gallery owners in the world. His Parish Gallery (http://www.parishgallery.com/), enjoying its 20-year anniversary, is based in the Georgetown section of Washington, D.C.

Parish sees a lot in the rapper’s tastes, “Jay-Z’s book cover reflects his interest in the artist, Damien Hirst who it seems was influenced by Warhol. As a Rorschach image creates an individual perception by the viewer, we can now see the complexity of Jay-Z’s life as comparable to the creative illusions of a Rorschach. In my opinion this could be why he chose that image for the cover of Decoded.”

On the possibility of Jay-Z’s interests intersecting with the infrastructure of art business professionals shaped and nurtured by WPA, the Black Arts Movement, and years of experience and education Mr. Parish responds, “Art collectors generally view art that reflects upon inner spiritual impacts relative to life as they see it. It is hopeful that Jay-Z’s direction for collecting art can be impacted by the fine art institutions that have been established over the years. These institutions have minutely considered the creativity and power of the fine art being produced by well-educated, cultured, career-bound artists of color.

“His contribution withstanding this ideology would be a major benefit for these artists. A small glimpse of the future business of fine art is taking place within people of color in all disciplines whereby one finds costly educations being pursued for successful careers as critics, museum directors, historians, and directors of fine art galleries. Jay-Z should appreciate and understand that this structure does exist and that it would benefit him in a unique way to become a major contributor to what is really his own culture.

“An example of someone developed along this path is basketball player Grant Hill - an athlete who was educated into the world of art by his father, Calvin Hill, and who at an early age has developed an interest in collecting fine art. His exposure and education lead him to a make a broader contribution to the business of collecting fine art by people of color.

Norman Parish concludes, “Jay-Z’s ‘unorthodox’ path to become an art collector therefore has two potential benefits. One as an inspiration to people who would not normally know about the world of fine art, and secondly as a model of a new kind of emerging investor who not only appreciates art for what it is on a universal level, but also the value that one’s heritage brings to the business, resulting one day even in his own ability to influence the value of pieces and dictate market forces on a mass and elite level. This could be big.”

My interpolation that Jay-Z’s emergence as an art collector has powerful implications for race and class is one that many will dismiss as wishful thinking. That he has the potential to spark a cultural revolution, for many, borders on blasphemy.

But if not a former drug-dealer, multi-millionaire rapper raised in Brooklyn, with expensive tastes – then in 2011, I ask, who and where is a better candidate for the job going to emerge?

My money is on a man who can afford a Bugatti Veyron while being loved by the people on the 3 Train.

Cedric Muhammad is a former GM of Wu-Tang Management and a monetary economist, political strategist, and brand manager. He is Founder of the economic consulting firm Africa PreBrief (http://africaprebrief.com) and author of ‘The Entrepreneurial Secret’ book series (http://theesecret.com/ ). He can be contacted via e-mail at cedric(at)cmcap.com

* An in-depth interview of Norman Parish is available at BlackElectorate.com: http://www.blackelectorate.com/articles.asp?ID=917

However, the rap-related mood I have been in of late has been reflective – considering my journey from being a fan and consumer to one who operates on the business side. That mood, and my thoughts on international marketing trends have caused me to think about an aspect of Hip-Hop culture that I don’t think gets adequate attention and that is the influence that the Caribbean (primarily its immigrant communities in the States) has had on Hip-Hop, on both a cultural and economic level (not to mention political).

Last week after enjoying music from Rayvon (off his self-titled solo album Rayvon) – a legendary dancehall artist born in Barbados, raised in Brooklyn (who did a lot of the hooks for Shaggy in the 90’s on songs like “Angel” and “In the Summertime,” and just released a new video for “When I Get You Home” f/ Red Fox: http://largeup.okayplayer.com/2011/02/19/nice-lovely-new-rayvon-f-red-foxx-video-when-i-get-you-home/) I thought more than ever about this.

So I reached out to the music industry friend in my inner circle who is my resident expert on all things Caribbean (and all things radio through her hot digital-blasting service MP 3 E-Mail Promo) – Tamara Hernandez of Left Field Marketing and Sweet Vybz Management (with partner Robin Winter). Tamara has worked in marketing, publicity, artist development, creative services and sales for entertainment companies such as Def Jam and Atlantic Records on some of the biggest projects of the last 10 years (everybody from Jay-Z to B.o.B., to T.I., to Wyclef to Lil’ Kim to Barrington Levy to N.O.R.E.) and is one of the few professionals with a world of experience in the ‘old’ music business model who understands where things are headed in terms of both sound and marketing.

Consider our exchange - from the English and Spanish-speaking perspective - just a small and incomplete personal perspective to a subject worthy of much more attention. In a future column I’ll focus on the impact of French-speaking members of the Caribbean community on the culture and industry.

******

Cedric Muhammad: I’m born to a Mother who, herself, after being born in Panama was raised in Jamaica, before coming to the States and eventually settling in Brooklyn. Her family - from Jamaica and Barbados - worked on the Panama Canal. That background gave me an appreciation for the connection between the Diaspora in the Caribbean and the States, and important subtle differences between those from the ‘West Indies’ and those in Black America. I also learned some nuances between the people of Central and South America on one hand and the ‘Caribbean’ on the other. In addition, I gained some insights into the different attitudes, beliefs, and ideologies in the culture of Spanish-speaking Blacks and English-speaking Blacks, even within the same family. That’s the lens from which I view music today. My Mother is a huge calypso fan and I grew up in a home where Peter Tosh, Yellowman, and of course Bob Marley were played, and I also was influenced by time spent in Harlem and Brooklyn and New Jersey where New York radio – both 107.5 WBLS-FM and 98.7 Kiss-FM were the popular stations (before the emergence of Hot-97).

Listening to those stations and the DJs on them like Frankie Crocker; Davhed Levy (http://www.yardflex.com/archives/002304.html); DJ Red Alert; Chuck Chillout and Mr. Magic and Marley Marl is where I first saw the emergence of this intersection between Hip-Hop, Reggae, Soca, Calypso, Dancehall, Ragamuffin from a street, mix, and radio playlist standpoint. And of course an artist like KRS-One took it to a new level, from the rap side. To me, his ability to fuse different genres and sounds of the Diaspora is one of his greatest and overlooked contributions.

The song that did it for me, in terms of falling in love with that blend was Shinehead’s ‘Who The Cap Fits’ from 1986 but not the Elektra Records album version – the one serviced originally to DJs (http://www.youtube.com/watch?v=R3yzb8tAZWk) in 1986. That track was the epitome of it to me.

I feel only Just Ice’s ‘Mosh It Up’ produced by KRS-One and featured on the Cool and Deadly album is the only thing that ever came close (http://www.youtube.com/watch?v=xNhIQMs1HyY)

However, I always thought the sound was boxed in as ‘regional’ – partly because 1) there was no national Caribbean network of radio stations 2) there was no Hip-Hop and R&B radio format really until 1993 and 3) because this intersection seemed to be based upon a handful of regions of the country that had the right mix of these cultural communities and populations. Because of this New York City stood out, and in that sense the sound was seen as ‘New York’ more than international.

So that is what I thought limited the appeal of artists like Super Cat, Shabba Ranks, Buju Banton and various rappers who experimented or incorporated the sound and how able they were to to ‘cross over.’

But at some point just about everyone felt the pressure to include chanting or some kind of riddim (http://en.wikipedia.org/wiki/Riddim) or dancehall-raggamuffin influence into their music.

One example that stands out was N.W.A.’s “Alwayz Into Something” (http://www.youtube.com/watch?v=7aleRvCrXp4)

What are your memories and thoughts on this time period, sound and artists?

Tamara Hernandez: Well first, my Mother is of Filipino/Chinese/Spanish background (also a hula dancer) I’ve watched her perform until I was able to walk, and I followed in her “dance steps” and became a dancer as well, and still teach classes in NY on the weekends when not traveling for reggae shows! My Father is of Puerto Rican/Taino Indian/African heritage. But in the time period you are talking about, reggae and dancehall slowly began to creep into hiphop. Reggae and Dancehall weremore prevalent among older music lovers but due to their fusion with hiphop, younger people and hiphop fans started to take notice. I remember being in the back seat of my mom’s car while we listened to the Legend album by Bob Marley - from Orlando, Florida to Atlanta. I was annoyed at first, but after the trip I fell in love with the album. Later after hearing more Bob Marley albums, reggae started to resonate more with me. I started paying more attention to the genre and added more reggae,dancehall and soca artists to my playlist. My favorite artists at the time were and still are Buju Banton, anything Bob Marley, Marcia Griffiths, and Third World.

Cedric Muhammad: In some ways do you think that Miami has replaced New York City as a ‘capitol’ for the ‘Caribbean’ sound?

Tamara Hernandez: Yes, because of Miami’s close proximity to the Caribbean, many Caribbean artists and their families settled there. The weather and environment in Miami are also very similar to the Caribbean. Over the years, hiphop has shifted from the east coast to the South. Because of the connection between hip hop and Caribbean music, Caribbean music has also shifted to the South.

Cedric Muhammad: What is your assessment of the impact of the reggaeton era last decade?

Tamara Hernandez: Reggaeton developed from dancehall riddims. Because of reggaeton’s connection with dancehall music and its use of spanish, reggaeton has broadened the appeal of spanish music to dancehall, hiphop and reggae fans, and dancehall music to spanish and hiphop fans. This creates a crossover effect within two caribbean genres. For example: El General http://www.youtube.com/watch?v=EQyK8MCsRf0

Cedric Muhammad: In general, how has the sound evolved over the last 25 years – where is it today?

Tamara Hernandez: Over the last 25 years the caribbean sound provided an avenue for dancehall, reggae and reggaeton artists to become mainstream crossover artists. You can hear their influences in other genres such as R and B and Pop music. Examples of these caribbean cross over artists are Sean Paul and Daddy Yankee.

Cedric Muhammad: What are the distinctions you make between ‘Latin’ and ‘Caribbean’ music (if any)? Do you think that radio playlists and formats have divided people and cultures that are more connected than many realize?

Tamara Hernandez: To me, there is not a major difference between Latin and caribbean music; the only difference is the language and the use of certain instruments. Caribbean culture is basically the same whether you are from an English speaking country or Spanish speaking country. Playlists and formats place emphasis on the language and the geographical location instead of the riddims and musical influences.

Cedric Muhammad: From the standpoint of marketing and how technology has impacted music how has this sound, culture, and the communities it represented been impacted?

Tamara Hernandez: Technology has made caribbean culture and caribbean music more accessible to the world through downloads, caribbean blogs, caribbean websites and caribbean online radio stations. Everything is more at your grasp. Reggae from Hawaii, Amsterdam and other countries are able to have platforms and share their style and take on Reggae music.

Cedric Muhammad: Where are things headed next?

Tamara Hernandez: I think we can expect an increase in fusion with other genres and eventually reggae,dancehall and reggaeton will be able to compete with mainstream genres. In order to raise awareness about reggae,dancehall and reggaeton among mainstream audiences there needs to be more collaborations with mainstream artists.

Cedric Muhammad: Who are the artists you are working with today that we should keep an eye on and what separates them from others?

Tamara Hernandez: Here’s 5 whom I work with now:

Esco Da shocker (http://www.youtube.com/user/IamEscoDaShocker)
The Multi-talented singer/songwriter has produced a wide range of island beatsdrawing influences from Dancehall, Reggae, and Soca. As the son of veteran Jamaican disc jockey, Errol ‘ET’ Thompson & former Wailers background singer, Marcia Griffiths, Esco (MatthewThompson) is the product of a major reggae royalty. Esco has the ability to cross over into the mainstream market through his undeniable passion for music that transcends genres and catches the attention of listeners around the globe.

Mr. Vegas. Throughout the years, Vegas has continued to release well-crafted singles which have ensured his status as one of the most consistent and in-demand acts in the business. Tek Wey Yuhself, Hot Wuk and Nuh Friend From Dem, from his 2007 Hot It Up album were chart toppers, with Hot Wuk dominating all the major American, Caribbean and European charts. The single even made an entrance on Billboard’s Hot R&B/ Hip Hop Singles chart. His 2008 Daggering packed a wallop in the dancehall, and in true Vegas style, come 2009 and he again demonstrates his versatility with the gospel-flavoured I Am Blessed and Up Deh.

This singjay has appeared on all of the Reggae industry’s major shows, including Guinness Sting, Red Stripe Reggae Sumfest, Fully Loaded and Reggae Sunsplash. In additional to blasting his way through the Caribbean, Mr. Vegas has also thrilled fans in Europe and the U.S. and Japan with highly rated performances.

Mr. Vegas, undoubtedly, has the winning formula.

Cherry L (www.cherrylmusic.com) is an artist who carries the tradition of dancehall fusion. Born in St.Lucia, he won best new artist in the 2008 St.Lucian music awards. Then he moved to New York and won first place in one of the premiere Hip Hop industry showcases called Faces in the Crowd. He was the only dancehall artist. Unlike many of his contemporaries, Cherry L uses dancehall as a base for his musical explorations instead of as a straight jacket, incorporating classic roots reggae in his music, creating a more organic sound than other performers who rely on purely digital riddims.

Elly Ess has created a unique blend of reggae and hip hop, his music comes from within and being born in New York, raised in Clarendon Jamaica and now residing back in the US, the fusion of the genres was sure to happen. With his own independent record label, Rockstar Entertainment & Music, Elly Ess has been able to fulfill his dreams, be creative with his music and express himself to the world. http://www.youtube.com/user/Rockstarent973#p/a/u/2/v__DHIxIcho

Kevin Lloyd (http://www.youtube.com/user/KevinLloydMusic)

Ziggi Recado(http://www.youtube.com/user/ziggitv#p/a/u/1/5XSr9uyMKT4)
grew up on the Caribbean island of St. Eustatius as the young Ricardo Blijden. He was given the nickname Ziggi by his grandparents who raised him. In 2001 Ziggi came to the Netherlands to study. It was in that time when he was introduced to Mr. Rude the owner of an independent studio and label called Rock ’N Vibes Entertainment. Soon chilling out in the studio with friends became a professional musical career for Ziggi. With blazin’ performances on the major European festivals and venues like, Roskilde (Denmark), Lowlands (Netherlands),Festineuch (Switserland), Coleur Café (Brussels/Belgium), Cabaret Sauvage (France) and Super Bock Fest (Portugal) Ziggi proves one again that he is amongst the top few of European Reggae acts.

*****

Tamara’s points and the work of her artists drove home an important point for me. While Hip-Hop continues to get better at documenting its history, it still feels to me that this slice of it - the Caribbean impact and influence - has yet to receive the full attention it deserves from a cultural, political, and economic lens. In some ways, it is treated just like the music is categorized (no matter how ‘mainstream’ it really is) - as a sub-genre or niche segment - rather than like what it really has been: an original creative and socio-economic element essential to the birth (and evolution) of the most significant artistic phenomenon of the last 40 years.

No matter how far away others position the Caribbean Diaspora away from that essence, the facts will never change.

Perhaps, it’s good that early in 2011 I’ve gotten a bit away from the playlist, and more in tune with perspective.

*[ Those interested in contacting Tamara Hernandez can reach her via email at: Tamara1439(at)gmail.com ]

Cedric Muhammad is a business consultant, political strategist, and monetary economist. He’s CEO of CM Cap where he provides brand management services to Hip-Hop artists: http://www.cedricmuhammad.com/cedric-muhammad-unveils-hip-hoppreneur-%E2%84%A2-advisory-service-for-international-artists/. Cedric is a former GM of Wu-Tang Management and author of ‘The Entrepreneurial Secret’ (http://theEsecret.com/). His Facebook Fan page is: http://www.facebook.com/pages/Cedric-Muhammad/57826974560?ref=ts and he can be contacted via e-mail at: cedric(at)cmcap.com.

Of late I have concerned myself primarily with the economic aspects of the matter because I believe the relationship between art and commerce – which always exists - has been either ignored, diminished or oversimplified (by lovers and haters of business activity) by most opinion leaders in Hip-Hop. I have expressed that perspective in this Hip-Hoppreneur column which I am honored to have had published for a year now at AllHipHop.com.

My most recent thoughts (which I’ll keep to myself this week -smile) in this area and the question of whether or not a return to earlier days in Hip-Hop (when historical knowledge was championed and fashionable) is possible or even desirable were stimulated by the work of two artists: mikeflo – an emcee, DJ (for dead prez), producer and teacher; and Wise Intelligent of the legendary Poor Righteous Teachers, who also records under the identity/personality of Djezuz Djonez (and who continues to work with youth all over the country and in particular, his native Trenton, New Jersey).

I’ve been enjoying mikfelo’s mixtape (http://mikeflo.wordpress.com/), “Fly, Fresh, and Responsible,” hosted by M1 of dead prez, and Wise Intelligent’s “Illuminati’: (http://soundcloud.com/wiseintelligent/wise-intelligent-illuminati) off of his new album “Wise Intelligent Iz…The UnConKable Djezuz Djonez” (along with an outstanding blog deconstructing his own lyrics at: http://www.wiseintelligent.com/)

From two very important perspectives mikelfo and Wise make valuable contributions to discussing this decades old debate, in a timely and relevant manner. Seeking to place their up-to-date perspectives opposite this ‘timeless’ discussion (that at times gets stale, preachy, and even down ignorant) I interviewed both of them on their work and the success and challenge of entertaining and cultivating souls while feeding the intellect of a generation that wasn’t raised on Eric B. and Rakim, Public Enemy, Boogie Down Productions, Queen Latifah, X-Clan, Ice Cube, or Brand Nubian.

***

Cedric Muhammad: What is the motivation behind “Fly, Fresh and Responsible” and its connection (if any) to the principles of R.B.G. ‘Revolutionary But Gangsta” coined by Dead Prez?

mikeflo: The motivation behind “Fly, Fresh & Responsible” comes from an undying need to provide balance to an industry bombarded with an influx of imagery that is NOT useful in the war against all Afrikan people at home and abroad. Its a call to action for artists to remember that they can be fly and fresh, yet also be held accountable to their families (which I am and ALWAYS MUST THANK for my development as a man), communities and to Hip Hop as a whole. Impressionable minds are watching our every move and it is paramount that we communicate proactive and promising messages WITHOUT preaching. “Revolutionary But Gangsta” says exactly that for dead prez and for me it is the same. Its not enough to merely preach to the amen corner, but to meet the people where they are and take them to where they want to be, even if they aren’t sure where to go…..we speak clearly and make it plain.

Cedric Muhammad: Certain tracks on the mixtape flip recent popular records and turn the title, phrases, and hooks in a different direction than artists like Kanye West or Drake, for example, intended. Have you found that approach useful in connecting with young fans of the music - and introducing history lessons, concepts, and books they otherwise may not know or learn about?

mikeflo: Yes, I’ve found this approach very successful because at the end of the day the food must taste good. Its no different than taking a popular dish and substituting ingredients yet still maintaining the taste and integrity of that particular dish. At the end of the day people want to unite with things that are sonically pleasing and if you can manage to communicate some relevant messages then its all worth it. I have fun with takeovers but put just as much or even more into my original material. Young people love to hear what they know being translated in a different way, especially when you’re really spittin’ and relating to them.

Cedric Muhammad: Years ago in a Final Call interview I said (http://www.blackelectorate.com/print_article.asp?ID=1425):

“I think that it’s important for historical context that I make a reference to one of the memos of the counterintelligence program of the FBI dated August 25, 1967. It actually said that no political activist or somebody with an ideology that was perceived as a threat to the establishment should have access to a mass communication media. That’s actually the quote, “mass communication media.” And so, J. Edgar Hoover was fearful of any ideology or philosophy or charismatic leader or organization having access to a medium. And so, before we even get into the question of which rappers are more conscious than others, I think we have to respect the power of the medium itself. Hip Hop culture, the music and of course, radio, the records, the videos and other forms through which people can project messages and images that may spark a movement.”

What is the place of the DJ and the Mixtape in terms of COINTELPRO and ‘mass communication medium’?

mikeflo: The role of the DJ is to counteract the counter intelligence. DJ’s should have their fingers on the pulse of the people and an eye on the prize at the same time. Many “well known” to “obscure” DJ’s are dropping the ball because they are not playing the plethora of songs they really listen to in their own lives. Instead, they follow the formula of going with the status quo in attempts to NOT ruffle too many feathers, keep advertisers happy (in the case for radio DJ’s) and song by song dumb down the culture. The DJ is just one of the elements (many say the foundation) of Hip Hop and knowledge is the 5th element that can’t be forgotten. The DJ’s role is to play good records and break good records that the average music lover may not know about. Everything is political so every tactic is significant in war. The DJ definitely plays an important role in sustaining Hip Hop culture and keeping it solid so that certain agents aren’t so confident and successful in their infiltration into what is one of our most powerful tools for liberation.

Cedric Muhammad: “Fly, Fresh and Responsible” weaves in the language of different schools of thought and communities from the Working Class/Black Power/Black Nationalist/Pan-African Movements in a very credible way. In addition acknowledgment of the role of street organizations (on the track ‘One Blood’ we hear a call for the unity of Black and Brown people and to organize ’street tribes’). Do you believe that Hip-Hop lyricists have the ability to develop a universal unifying language that has eluded some of our organizations whose disciples and members to this day seem to operate with suspicion in dealing with one another - even in facing a common enemy?

mikeflo: Excellent question Brother Cedric. Many Hip Hop lyricists have the ability to paint pictures so crystal clear that permeate all kinda hoods from coast to coast and tribe for tribe. Any effective communicator must assess his/her audience before they can address them. It is very important for artists to have a scope that includes the hood, yet reaches far beyond those same hoods that tend to unify us. At the end of the day we all want the same things and are more alike than different. The problem is that many artists are digging deep into themselves to provide more balance and thus are underestimating what the working class really wants and needs….Artists must be fearless in these days and times. The stakes are too high. And yes, it is a common enemy. We must choose a side of the fence we want to live on. No more straddling the fence, especially for those that “know better”. Period.

Cedric MuhammadDo explanations which primarily blame corporate power and corrupt music industry influence for the ‘disappearance’ of ‘consciousness’ from Hip-Hop and rap music satisfy you?

Wise Intelligent/Djezuz Djonez Well, let me say first and foremost that I do not believe that ‘consciousness’ has ‘disappeared’ from Hip Hop, neither from rap music. Hip Hop artists, in America and around the world have continued to interpret the social-political landscape of our communities, nation and world without cessation. Its more so a question of ‘conscious’ Hip Hop leaving the mainstream mediums (corporation; label/radio/video, etc.) through which the culture is delivered to the masses. With that as our backdrop, we can safely say that corporate power (which is the music/media industry) is responsible for the shifts in what we hear or not within the mediums under their control. Let’s not simplify what has happened to the literatures of freedom or “consciousness’ to the mediums of Hip Hop propagation. We have ample evidence and or examples of how ‘conscious’ media has been caused to disappear from mainstream film, television, news, print publications – including but not limited to literary works such as histories and novels. Just as Fight the Power is no longer in the mainstream, neither is Malcolm X, or Rosewood. Just as You Must Learn is no longer in the mainstream neither is The African Origin of Civilization: Myth or Reality or Culture Bandits. When ‘conscious’ Hip Hop or “protest songs” – as I prefer to refer to much of what I do – were cut from the BET programming so was Tavis Smiley, Teen Summit and anything that could shine the least bit of light into a budding mind. When we make Hip Hop the sole focus of this process of DUMBING DOWN, we miss the reality that this is an assault on our collective conscience by Weapons of Mass Distraction targeting everything from the music we listen to and television we watch, to the books we read and schools we attend. Harry Allen still exists and so do many young people today doing what he did when PE made him famous. But, just because mainstream does not propagate this brand of content does not mean it does not exist or is not relevant!

-Cedric Muhammad: Of late we’ve heard Jay-Z more openly make reference to terminology popularized by the Nation of Gods and Earths (which has also been referred to as the 5% Nation of Islam) and many noted his reference to Minister Farrakhan - even placing a drawing of him in his new book, Decoded. What impact if, any do you see this having on younger artists who admire Jay-Z yet did not grow up in the 1980s (as Jay-Z did) when the Lessons and Teachings of the Honorable Elijah Muhammad were more common place in Hip-Hop culture/music?

Wise Intelligent/Djezuz Djonez: Hopefully they’ll Google Minister Louis Farrakhan. Sad day in black life when black teenagers have to Google Farrakhan to know anything about who he is. Jay Z, in my opinion is one of the dopest MCs ever, without any argument – I believe. I’ve always thought that he could take a rhyme wherever he wanted to take it, along with whoever’s listening to him. I also, thought that some 99.999 percent of his catalogue focuses primarily on the same things, i.e., money, ho’s and clothes (consumer oriented materialism). I must say, you cannot be forty years old and have nothing else to talk about other than having the “baddest” R&B “bitch” wearing your chain, or how much more money you have than the people you grew up in poverty amongst? Maybe you can? At some point in our lives that conversation gets old and demeaning. So, substance is required…guess I’ll try and kick a little knowledge. I hope this is the case…at least an occasional reference to the collective heartbeat of this people.

Cedric MuhammadThere is clearly a disconnect in Hip-Hop which as you may know [in "Why T.I. Needs Chuck D….(and Soulja Boy Needs T.I.) http://www.allhiphop.com/stories/editorial/archive/2010/12/15/22527896.aspx)] I have blamed for the lack of the transfer of business and creative knowledge from one generation of artists to another within the culture and industry. You also know that I have noted what I believe is a tendency for the older members of the Hip-Hop generation to be not just critical but judgmental of the tastes of its youngest members. Yet, you are over 20 years in the game, arguably still look like a teenager (and market yourself in ways that embrace youth), and are rooted in the work of community development via the use of technology which seems to captivate young people. Do you believe your personality and approach holds some keys for others?

Wise Intelligent/Djezuz Djonez: I’ll say that there has never in the history of music – as far as I am aware – been a time wherein there was a transferring of business and creative knowledge among artists (black or white). Hell, we have barely passed down family trees for two generations in some of our households. What I do see happening is Hip Hop artists are passing business and creative knowledge down to their paternal offspring. Many Hip Hop artist and moguls are developing their children into mega artists as well as astute businessmen/women. However, you are correct in that there is no transfer of such business knowledge and skill among artists. I’m not sure if my approach holds keys, but I do know and understand that most ‘progressive’ and revolutionary movements were initiated by young people as young as 16 – 24 years old. The Civil Rights Movement with the Student Non-violent Coordinating Committee (SNCC), Martin Luther King Jr. was a mere 26 years old when he stepped on the frontline. The Black Panther Party were fairly young as well. Che Guevara was what, 25 years old when he joined a young Castro? I just don’t believe all the BS about “young people don’t want” to hear or buy this or that because its “too preachy” or some other BS. We were once the 16 to 24 year olds listening to everything from Kool G Rap and NWA to Public Enemy and Too Short. We wore Dapper Dan leather outfits, fat gold chains, smoked weed and still read books, studied lessons and went to see Farrakhan and or a Leonard Jeffries speak. Being young and dumb are not synonymous. Just as being old and wise aren’t either. Wisdom and youth are not mutually exclusive. I’m making music that explains the why of it all. Yes, some of us are cooking and selling cocaine and other drugs, yes we are filling the prisons, yes some of us are gangbanging…I’m interpreting how we got here. What created ghettoes, concentrated poverty, poor schooling, etc. ALL BLACK PEOPLE (and not just the youth) can relate to this! As long as an artist stays true to his root, his people, his source of power he’ll remain relevant far beyond the shelf life breathed into him by the mainstream apparatus.

Cedric Muhammad: Do you believe we’ll ever see an era like what existed in the 1980s-90s where the open embrace of knowledge was not only acceptable but an essential key to being popular and relevant, as an artist? If not, why not and if so - what forces, circumstances, events, individuals, and institutions would play a role or be a factor?

Wise Intelligent/Djezuz Djonez: YES, I do believe we will once again witness a healthy injection of knowledge and substance into the diets of a larger audience. I don’t think a child can drink energy drinks his entire life without one day seeking out and or asking for a glass of water. The cotton candy breakfast, lunch and dinner will eventually exhaust itself. Organic produce will once again be added to the mainstream menu when Wise Intelligent’s “ILLUMINATI” is accidentally played on Hot 97, followed by the adding of “Something About Mary” to urban radio playlists around the country. The masses are connected to mainstream mediums like babies to umbilical cords. Until they are fed knowledge through these – their mother mediums – if it ain’t in the mainstream it ain’t in their bloodstream.

*****

* Mikeflo thanks Jaha, Garvey and Pili Asante for helping to keep him “Fly, Fresh & Responsible”. Visit www.mikeflomusic.com and www.deadprez.com for the latest music and travel calendar.

You can follow Wise Intelligent/Djezuz Djonez on twitter at http://www.twitter.com/wiseintelligent

His new album, “Wise Intelligent Iz…The UnConKable Djezuz Djonez” is available at iTunes, Amazon, and Shockhound

http://itunes.apple.com/us/album/wise-intelligent-iz-unconkable/id417993305

http://www.amazon.com/Intelligent-Unconkable-Djezuz-Djonez-Explicit/dp/B004N55RY2/ref=sr_1_1?ie=UTF8&s=dmusic&qid=1298257573&sr=8-1-catcorr

http://www.shockhound.com/albums/777935-wise-intelligent-djezuz-djonez-mp3s-wise-intelligent-iz-the-unconkable-djezuz-djonez

Cedric Muhammad is a business consultant, political strategist, and monetary economist. He’s CEO of CM Cap where he provides brand management services to Hip-Hop artists: http://www.cedricmuhammad.com/cedric-muhammad-unveils-hip-hoppreneur-%E2%84%A2-advisory-service-for-international-artists/. Cedric is a former GM of Wu-Tang Management and author of ‘The Entrepreneurial Secret’ (http://theEsecret.com/). His Facebook Fan page is: http://www.facebook.com/pages/Cedric-Muhammad/57826974560?ref=ts and he can be contacted via e-mail at: cedric(at)cmcap.com.