There are often times many topics, occurrences, and instances in the media that I might feel compelled to write about and never do. Every so often however, I will come across something so atrocious, so deplorable, so disgusting…that I have to pen my thoughts on it for sake of not exploding into a rage of anger. Be it a form of therapy if it will. I have stated before that as a Radio Television & Film major I was taught (although I have always done this) to pay very close attention to media, more specifically the themes, ideas, suggestions, and messages put forth by it, in order to understand the media’s role in “culture creation” and the social engineering of the populations of the world. If anyone does a serious critique on American media specifically, they would ultimately come to the same conclusion that I have…that the Television was the most sophisticated, most cunning, and most brilliant instrument of mind control ever to be created on planet Earth.
This brings us to our latest debacle….
Last night, and I have no idea why, I just so happened to (accidentally) hit the play button on the new Nicki Minaj video/single “Lookin Ass Nigga”…the latest single from the Young Money Camp (the last video I wrote about was Lil Wayne’s “Love Me” video). As a music video director (who has probably already been blackballed from the industry!), I often peruse video sites and watch music videos, although I rarely ever watch them all the way through, simply as an effort to study the “competition.” I am neither blind nor a stranger to the blatant masonic themes and energies injected into these videos, although their shock value has ceased to be existent to me at this point. I have since abandoned my studies of the so-called Illuminati in efforts to learn my African history and have since discovered that these people are simply imitators and thieves of our original ancient Mystery School Systems and ancient knowledge. That’s another discussion.
Lets get back to Nicki….
I must say that there is not much to expect from a Black woman with blonde hair, a European mind (and accent to boot), who seems to want to epitomize the very definition of the “black woman lost” parading herself to the world as some kind of modern day whore of Babylon (think Maria from the movie Metropolis). She has an interesting voice I will give her that. So it goes without saying that after watching the video where she puts into hyper-drive her attack, insulting, and destruction of the Black male image by constantly invoking her slave masters and enslavers in her constant repetition of the derogatory word “nigga” I was not at all surprised. Nicki has made a career out of this. What did appall me was when today I saw the cover art for the single (God bless her heart) depicting the infamous photo of the great Malcolm X, looking out of the window with an AK-47, as a “looking as nigga.” And this is where we are at in 2014 black people….
We still hate ourselves.
Now, I cannot attack Nicki anymore than I can blame the slave for his slave mentality. I am smart enough to know that this was not her “inception” and that there are some very powerful people behind her with an agenda to keep Blacks in America asleep and in a state of perpetual negativity (see BET). I will also assume that she is using her sexuality and objectifying herself for sales, in an attempt to compensate for her lack of intellectual capacity. I don’t blame her. The thing that concerns me as a Black man is seeing the droves of Black women who come rushing to her defense, validating and sanctioning her outright and blatant disrespect of Malcolm X, one of our greatest leaders and a man who paid for Black liberation with his very life. I think that if Nick knew one iota of Black history, she would have never dreamed of carrying this out….let alone during Black History month. Again, Nicki is merely a puppet of a very sinister agenda. There is something deeper we need to examine here….and the closest word I can use to describe it is schizophrenia. American schizophrenia…..
Schizophrenia is defined as a mental disorder which renders the person unable to tell real from unreal, have normal emotional responses, and unable to act normally in social situations.
Lets put this into perspective:
People who classify themselves as “white” (Europeans) make up about 10% of the total world population, which means that the remaining 90% of the world is made up of people of “color.” However, it is painstakingly clear that Europe controls over 80% of the world’s total resources, and in effect controls the majority 90% population people of color. One may ask how 1/10 of the people can control 9/10 of the people? Dr. Frances Cress Welsing explains it brilliantly by saying that “once you teach a people to hate themselves, they will engage in their own destruction.” Dr. Welsing also describes with process of the genocide of the Black male throughout the world, especially here in America, due to the fact that the Black man poses the greatest threat to global white supremacy, more specifically, he poses the ultimate threat of white genetic annihilation. She further explains how this threat of genetic annihilation was the reason behind the attacks on the Black male penis, through castration, during slavery as the realization of this fear. There has been no historical evidence of attacks on the white male penis by the Black man.
“Once you teach a people to hate themselves, they will engage in their own destruction.”
Dr. Frances Cress Welsing
For all intents and purposes, Nicki Minaj has proven herself to be a European woman “trapped” in (light) Black skin. This latest episode reminds me of the Russell Simmons/Harriet Tubman fiasco where he produced a skit depicting Harriet Tubman having sex with her white slave master, and this relationship being the impetus of the underground railroad. I know Russell in his heart saw nothing wrong with that, although he did issue an official apology. My question is when did it become so cool to disrespect our ancestors? At what point did Blacks become so Europeanized that we take on the attitudes and ideologies of our oppressors, and began to hate ourselves. I do not see this in the Civil Rights movement. I saw Black pride, Black power (although there was a significant lack thereof), and a strong Black consciousness in the Civil Rights movement. How and when did we lose this and why does no one seem to care?
“Something has happened to us that we pay little attention to, and we are forever knocking at the door of other people, borrowing cultures, borrowing ways of life inferior to the ones we lost.”
Dr. John Henrik Clarke
Dr. John Henrik Clarke tells us that before the foreigners entered into Africa, there was no word for jail because nobody had ever gone to one. No world for orphanage because no one had abandoned their child. No divorce, no rape, no teenage pregnancy in Africa before the foreigner. What has happened to us? Dr. Clarke describes the process of how the African was removed from his natural cultural incubator in Africa, and placed into a second cultural incubator, in America, taking on traits alien to us, and losing the values of the original incubator. He explains that “Something has happened to us that we pay little attention to….and we are forever knocking at the door of other people, borrowing cultures, borrowing ways of life inferior to the ones we lost.” I will maintain that little energy should be dissipated on Nicki Minaj, for she is only a symptom of a deep rooted psychological condition of Black America, inherited directly from our so-called “American” enslavers themselves. Willie Lynch described his method of reversing the roles of Black men and women, by turning the light-skinned against the dark-skinned, turning the old against the young, as lasting for at least 100 years. That was in 1712.
In 2014 Black people need to do more than just “get it together”…..we need a major, major reform. We need to be able to look in the mirror and love ourselves and we need to stop following other people who have no idea where they are going. We need to stop engaging in this self-hatred and know that civilization started with us, that humanity started with us, that we have civilized the world three times over and that the world owes a great debt to the African. We need to stop condoning the blatant disrespect of our ancestors and celebrating those who with every opportunity take part in the destruction of African people. We need to actually take the time out to learn our history beyond Jackie Robinson and slavery, because our story goes back millions of years, back to Africa the “birthplace of humanity.” We need to stop letting people define who we are and realize who he have been, and still are. We need to end this Black American schizophrenia and get back to the basics of nation building. We need to give the world its humanity once again.
Thank you Nicki.
It doesn’t seem like its been so long since the 1st draft of the script for Sahtyre’s “Suicide” was sent out. My personal favorite song from Sahtyre’s LSD (The Prelude) mixtape, since first hearing the song and being offered to direct the video I’ve been super anxious to bring this song to life. We had done a good job with the Miss Communication video and the B.A.R.S. series back in early 2012 that I have been anxious to work with Sahtyre again, especially if we were able to to secure a decent budget for the next one. After initially throwing ideas back and forth, the original concept being the creation of Sahtyre himself, we were confident enough in the script to wait for the right time to shoot it. Before shooting Suicide, Sahtyre shot and released three other videos from the mixtape (LSD-The Anthem, Bad Habit, & Broccoli) with assistance from another videographer/director, Adam Stanzak, all three being really incredible, although the LSD video stood out to me as some next level stuff. I was after about 7-8 months later starting to have my doubts about the Suicide video actually becoming a reality….until about late September when I got the call from Sahtyre to finally do it. Steez.
Enter: Suicide….the story of a young girl who gets caught up in the allure of “fame” and “super-stardom” and who subsequently ends up paying the ultimate price for it all in the end. The video follows the young girl (Kiara Black) through her slow transition from dancer to model (Brianna King), and her fall from grace leading to her…suicide. Shot on location in Hollywood, CA, the video for Suicide has a very polished, clean but dark and ominous look and feel to it, which was exactly what we envisioned.. More short film than music video, and with no performance shots or even a small cameo from Sahtyre, the video depended solely on the dark aesthetic and the gripping story to pull the viewer into the world in which we created. Working with Sahtyre, Adam Stanzak, and Michael Paredes made directing a breeze. Our pre-production work definitely made all of the difference in the world, and the fact that all of the actors were all on point made filming this video the smoothest process it’s ever been for me. Shot in just two days, the music video for Suicide is arguably my best work yet as a director and has only got me anxious for the next one. In the meantime…watch and enjoy.
Note: There are many different themes being presented in this video…lets see if you can pick up on them.
“25” is the both the third music video from C Plus’ “L.O.C.A.L.” sophomore album, and the third video we’ve shot for him. They say the third time’s a charm and I feel like we really nailed it with this one. Minus any performance shots, the video depicts a day in the life of Sacramento artist C Plus in a venture throughout northern California, with stops in Sacramento, San Francisco, and Oakland. The song provides for the perfect sound bed for the imagery in this video, as we wanted to capture not only the lifestyle of C Plus, but of California as a whole. Filmed in Fillmore District of SF, East and West Oakland, and C Plus’ hometown in Northern Sacramento, the images themselves tell the visual story of what the song embodies. Please enjoy.
While on his King Remembered In Time tour, Big K.R.I.T. sat down with StrongArm (90.5FM KSJS) for an exclusive interview after his performance at DNA Lounge in San Francisco. Among topics discussed were the new project, K.R.I.T. (King Remembered In Time) and tour, linking with Spike Lee for a short film for the “Praying Man” track which features B.B. King off his debut studio album, Live From The Underground. He also spoke on the track “Banana Clip Theory” about gun violence, and on working with 9th Wonder & BJ The Chicago Kid on the track “Life is a Gamble”, both tracks are on his new mixtape.
Check out Big K.R.I.T.’s King Remembered In Time (K.R.I.T.) project here: http://www.livemixtapes.com/mixtapes/21536/big-krit-king-remembered-in-time.html
Purchase Big K.R.I.T.’s studio album, Live From The Underground: https://itunes.apple.com/us/album/live-from-the-underground/id530070425 .
A Special thank you to Johnny Shipes, Dutch and everyone else at Cinematic Music Group.
Footage taken at Tastemaker Live/Sean Healy Presents. Show at DNA Lounge in San Francisco on 5.28.13.
Shot/Edited by Amadeuz Christ (@AmadeuzChrist)
Interview by Arman “StrongArm” Mahmoudi (@StrongArm408)
An Open University Production
C Plus is one of my favorite upcoming artists on the scene. Chase Moore and Hippie Sabotage are quickly becoming my favorite producers in the game. All Nighter finds the Sacramento emcee C Plus linking up with Chase and the Hippies to bring you the perfect combination of solid production and dope lyricism, with the sample and visual treatment inspired by the movie Drive. With this video I had the freedom to creatively bring to life a hip hop influenced take on the film, with C Plus as the driver and the sexy Ciara Gorman as the co-star. Shot in the only a day and a half, one at first look probably wouldn’t be able to tell how much work went into the pre-production of this video but I will say that planning definitely pays off. This video has to be one of my favorites so far in how the whole concept and look came together.
In the video C Plus stars as the driver, who with his female accomplice, ends up going head to head with a mob boss (played by Chase Moore) and a hired hitman (played by So Crates) after a botched robbery plot. Anyone who has seen the film Drive will quickly pick up on the loosely inspired plot and theme, to which Chase Moore and Hippie Sabotage superbly do the sample justice. In All NIghter C Plus must quickly learn how to deal with these threats, all while seeming totally cool and unnerved by the attempts on his life. Chase Moore and So Crates do an excellent and convincing job in their portrays of their characters, and we’re still sure that So Crates is still in a little bit of pain. All Nighter can be found on C Plus’ Still Out Here mixtape which is available now at thirdletta.com. Enjoy.
Back in August we released our first collaborative video for Sacramento emcee The Gatlin, entitled Victorian Muzik, which followed Gatlin through an awakening process from the street life to attaining enlightenment. The video attempted to shed light on the drug game as a government set-up and followed Gatlin through his becoming aware of the trap. We now come to the second installment of the video series with the video for Gusto, which takes us back to the events that take place before Victorian Muzik and acts as the impetus of this self-awakening. In this new video, a prequel if you will, we Gatlin caught in the paradigm of risk vs. reward and the rules of the streets….and almost loosing his life as a result.
The video begins with a drug deal gone bad and then explores the events that led up to Gatlin’s near untimely death. The video paints a realistic portrayal of the pitfalls of the street life alluding to the fact that although the reward may be great, in the end the risks one takes with his/her life is not worth that reward. Gatlin learns this the hard way, although he ultimately survives death and is able to live to tell the story. Gusto in no way tries to glorify the street life, rather tells of the reality of its dangers which often lead to incarceration or certain death. The video co-stars many of Sacramento’s noteworthy emcees who join Gatlin in bring this street tale to life. Watch and enjoy.