Troubled Soul Refinery by Taalam Acey Book Review by Carmen B. Smith

If you are familiar with the world of Poetry Slams and Spoken Word, chances are you have heard of Taalam Acey. Since 1999 he has been traveling the globe to share his work. He has nine CDs, but had yet to publish any of his poetry in written form, until now. “Troubled Soul Refinery” (TSR) is a 340 page collection of Acey’s poems from 1998-2007. Spoken word lovers have awaited this manuscript since Taalam’s first book “Eyes Free,” an award-winning memoir that gave the purest account of what it is to be a full time traveling spoken word artist. TSR offers the gift of Taalam’s work that covers topics from Social to Erotic, Political to Depression, Love, Rants and Spirituality; with that range, there are sure to be a number of poems for everyone.

In Acey’s third book, he presents an introduction to each chapter, giving insight into how he came to write each piece and how they have been received by audiences when performed. He takes you on a journey, citing times and places, outside influences and inner demons, and points out the issues that matter to him most. TSR not only leads you down the path of a poet’s writing process, but it leads you to your own path of self discovery, as many lines can simultaneously pierce and heal the soul.

There are over ninety poems in this collection. Not only do they inspire and provoke deep thought, but they are rich with teaching, bestowing a wealth of African American History and Heritage. The reader is challenged to investigate and revisit many historical and political figures, leaders, activists, and artists that Taalam references, such as:

“And from there,
she discusses Rodney’s
“How Europe Underdeveloped Africa”
And compares that
To Kwame Nkrumah’s
“Neo Colonialism:
The last Stage of Imperialism.”

There are over sixty such references throughout the book, yet each piece remains relevant for today and timeless for decades to come. The Political and Social poems address, with no holds barred, the many issues that have plagued this country, from Hurricane Katrina, the crack epidemic, problems with hip hop, AIDS, misguided youth, police and the prison industrial complex, to 9/11. This manuscript can be woven into the curriculum of any literary, socio-political or history class at the top universities around the nation.

“Troubled Soul Refinery” is an intense display of the constant conflict of life, which is balance. From one end of the spectrum to the next, Taalam continuously aims to balance his subject matter. He goes from encouraging brotherhood to then sharply confronting men about their neglected responsibilities. He deals with overcoming suicidal depression to superseding one’s calling in life. And in true Slam poetry fashion, there are lyrical boasts that balance the poems that edify and uplift the peers of his art form as well as vivid womanizing pieces that are countered by the most heartfelt love poems, in which he refers to women as the “closest thing to G*d.” The frail humanity of the poet is sincerely felt through his words. His contrasting and varying attitudes are also attributed to the fact that this work spans over a decade.

The ultimate beauty of the book is found in the author’s brutal honesty. This is honesty that most of us yearn for, but rarely get today. It is raw and uncut, endearing and vulnerable. Acey holds no punches when dealing with people who have brought down the community or in expressing erotic, loving and sensual spells. He is also quite transparent in divulging his personal life. The introspective rant “Motels & Couches” makes you feel as though you have traveled internationally with Taalam to numerous poetry venues and motels, all the while giving you insight into his witty comedic and sarcastic nature. The essays and interview at the end of the book also thoroughly educate the reader on the history and current state of spoken word.

I once heard that Acey taught a class on ‘Creative Genius and Mental Illness,’ this is somewhat fitting. As you move through the pages of the book, it becomes clear that not only are you reading the work of a “troubled soul” but also one of the most talented wordsmiths, genius minds and speakers of truth to power for this generation. “Troubled Soul Refinery” is sure to leave “indelible fingerprints on your heart” and have you “reaching for your higher self”.
________________________

“Troubled Soul Refinery” can be purchased online at: www.poetcd.com

For more information about Taalam Acey visit:
www.taalamacey.com
www.myspace.com/officialtaalamacey

I blame hip-hop

While I obvioulsy believe that there is a need for Hip Hop to change and "return to the high lyrical content of the late eighties." I also strongly believe that the Imus situation was yet again another example of how the white supremacist media led frenzy turned us (Blacks) yet again to fighting one another. I'm sure many of you have been following the Al Sharpton vs NY Oil debate and now 50 cent and Master P beef. UNITY and CHANGE need to take place so that we can we can move forward and address the issues that have kept the fabric of this country from ever being solid.

In the meantime here is some COMIC RELIEF from www.nickadamsweb.com
Author of Making Friends with Black People


I blame hip-hop
- Over 2,200 U.S. soldiers have died in Iraq since Mos Def stood on the deck of an aircraft carrier and declared that major combat operations had ended.

- Three 6 Mafia has been pressured by their conservative Christian base to give less and less money to groups that distribute condoms in sub-Saharan Africa.

- Jay-Z disenfranchised thousands of black voters in Florida in 2000, and again in Ohio in 2004.

- MF Doom wears a mask because he’s the one kidnapping all these little white girls.

- Talib Kweli failed to take action to protect the citizens of New Orleans even though he had been warned “of breached levees, massive flooding, and major losses of life and property.”

- Kanye West arrested 800,000 people in 2005 on charges related to marijuana, a substance proven to be significantly less harmful to society than both alcohol and tobacco.

- During the first three years of the Diddy administration, the unemployment rate increased by one-third, 2.2 million jobs were lost, and the country went from a $281 billion surplus to a $521 billion deficit.

- Just Say No was Biz Markie’s idea.

- Little Brother brought about mad cow disease and a previously unseen strain of E. coli by feeding corn and the remains of other animals to cows.

- Bow Wow is the reason the United States has the second worst newborn mortality rate in the developed world.

- Thanks to Lil’ Wayne, the United States has 5 percent of the world’s population and 25 percent of the world’s incarcerated population.

- Speech from Arrested Development canceled Arrested Development.

Black Way of Seeing: From Liberty to Freedom by Paul Robeson, Jr

Today I went to the event posted below-
Writin' Is Fightin': Malcolm X & Black Writers
(In future posts I hope to notify you of such events in advance).
While there is much to be discussed from what I gained from the amazing panel, I would like to make mention of a book I purchased at the event. As soon as I finish reading it, I will post my book review.

Black Way of Seeing: From "Liberty" to Freedom
by Paul Robeson Jr

From Publishers Weekly
For more than 20 years, Robeson was "close aide and personal representative" to his father, actor and activist Paul Robeson Sr. Robeson's latest book, following Paul Robeson Jr. Speaks to America: The Politics of Multiculturalism and The Undiscovered Paul Robeson, An Artist's Journey, continues the elder Robeson's tradition of speaking out thoughtfully and frankly, and sketches a vision of American history where Black Americans, from slavery forward, have been forced to live a "separate reality" from white Americans. Copyright © Reed Business Information, a division of Reed Elsevier Inc.


Writin' Is Fightin': Malcolm X & Black Writers

Saturday May 19, 2007 from 3PM to 6PM

At the Schomburg Center for Research in Black Culture- Malcolm X Blvd & 135th Street
Commemorating the 82nd Birthday of Malcolm X, the Malcolm X Museum has organized an intergenerational conversation with 9 Black writers about the impact of Malcolm X upon Black writers and the impact of Black writers upon Malcolm X.

The Black activist-writers in conversation will be: Askia Ture (Boston), Kevin Powell (Brooklyn), Camille Yarbrough (Harlem), Johanna Fernandez (Pittsburgh), Marvin X (San Francisco/Oakland), Herb Boyd (Harlem), Cheryll Green (Harlem), Esther Iverem (Philladelphia), and Osuware Oyande (Philadelphia).

Spokenn word artist, Sista Devynyty will help set the tone with one of her poems.

This FREE event will be followed by a public reception in the lobby of the newly renovated Schomburg Center.

For more information: 212.650.8956

Location: the Schomburg Center for Research in Black Culture- Malcolm X Blvd & 135th Street
Contact: Venus Green-- 212.650.8956

HIP HOP’S (STILL) INVISIBLE WOMEN

HIP HOP’S (STILL) INVISIBLE WOMEN
By Yvonne Bynoe

With all the talk about Hip Hop activism, I have to ask, "Where is women’s activism within Hip Hop?" From my vantage point, what the recent Don Imus affair brought painfully to light is that generally, Black women within Hip Hop are to be ogled in music videos, insulted in the name of free speech and discussed by pundits, but rarely are they given access to the major media outlets that would allow them to accurately represent themselves, their images and ideas.

There are indeed Hip Hop generation women in our communities working to empower their sisters, however in the main there are no concerted efforts, locally or nationally, to address the issues of race, class and gender that create the environments that allows Black male rap artists and a White radio show host (both supported by large corporations) to call Black women ho’s in our mainstream media. It is this lack of critical analysis that recently gave New York City police sergeants, at two different precincts license to call women ho’s. At the 70th Precinct in Brooklyn three policewomen, two Black women and one Latina, were called ‘hos during roll call. Adding insult to injury, a fellow officer interjected that the correct term was "nappy, headed ho’s." It should not be a surprise that this is the same precinct where the infamous assault of Abner Louima took place.

In a separate incident, a police sergeant threatened to call a Black police woman a "nappy headed ho" if she gave him lip. Should these policewomen assume that men who would denigrate them so callously and publicly can also be trusted to be fair in assessing their job performance and ability to advance in their careers? Within a wider context, is it realistic, given these men’s actions to expect that on the streets they will justly apply the law regardless a person’s race or gender? Women should be more vocal in denouncing sexism in rap music and in our society because our livelihood and our lives depend on it. Furthermore although it appears to be counterintuitive, sexism also threatens the lives and prospects of the Black men whom we love (even if they are perpetuating it). As the situation at the 70th precinct illustrates, wherever you find sexism, it is very likely that you will also find racism. In the words of Frederick Douglass, "Power concedes nothing without a demand---It never did and never will." Sexism and racism are both vehicles to wield and retain societal power.

Ten years ago, journalists along with average joes and janes were discussing whether or not "Hip Hop hates women," and regrettably today many within Hip Hop are still debating that same question. In a 1995 essay, current Vibe magazine Editor-in-Chief, Danyel Smith discussed how Hip Hop tended to mirror the biases of the greater society saying, "Women’s versions of reality are somehow suspect; men’s interpretations of women and their motives and ideas are considered more ‘real’ than women’s declarations." The title of her article "Ain’t a Damn Thing Changed," about sums up contemporary women’s status within Hip Hop. In the intervening years Hip Hop generation women have not become visible, insofar that they have not staked out spaces that allow their stories and complex realities to be heard by the masses. Whether it is fear or access to capital or some combination of the two, Hip Hop generation women have not created our version of the Lilith Fair to support female rap artists. Similarly, most female rap artists, like their male counterparts have not created independent record companies and touring apparatus that would allow them to control their messages and images; get those messages to the public; and make money in the process. Subsequently, male rap artists (aided by their corporate entertainment entities), rather than Black women themselves have largely shaped the image of Black women in the United States and in doing so have defined the contours of our public dialogue about Black women.

For years many Black women have had a tortured relationship with Hip Hop: loving its beats, its energy, but hating the misogyny and gratuitous violence. The thing that appears to have changed is that more young Black women, rather than critically examining their allegiance to the Hip Hop status quo are now helping to maintain it. Several years ago when women at Spelman College in Atlanta threatened to protest Nelly’s appearance on campus because of his music video "Tip Drill," young Black women joined young Black men in attacking the Black female activists. Young Black women parroted the lines that in the past were used by Black men to rationalize misogyny in rap music such as "ho’s do exist," "it’s just entertainment" and "no one is forcing these women to be in these videos." While all of these statements may indeed be true, they miss the point. At core the argument is not about whether every rap song has to be deep or whether women have the right to shake their money-makers in a music video; it is about whether Black women gyrating on poles for dollars should be the sole portrayal of Black women in our society. In echoing the words of activist and author Barbara Smith, women’s studies has flourished in academia and has opened the doors for talented scholars such as Gwendolyn Pough and Tracy Sharpley-Whiting to publish groundbreaking books on women in Hip Hop, but it has been less successful in educating, nurturing and raising the consciousness of young Black women, in and out of the ’hood.

In our communities, we still refer to Black men as "endangered species." We are rightfully alarmed about the staggering number of Black men who are incarcerated each year and by the high number of young Black men who drop out of school, leaving themselves unqualified for the legal job market. Unfortunately, there is far less urgency about the increasing incidences of HIV/AIDs among Black women or the rise on young women of color going to jail or the plight of working, single mothers who cannot find safe, reliable and affordable childcare. Asserting that young Black women have needs and concerns that are particular to their gender, class and race in no way negates the important issues that are pertinent to young Black men. Moreover, mature, really progressive politics understands that the fight for equality does not exclude women. Young Black men and women seem to be making the same mistake that some of our elders did by pitting the ravages of racism against the tyranny of sexism and concluding that racism is more evil. As has been said by far more articulate people, even if racism ended tomorrow, gender discrimination would still exist.

As Black women and Black men our ultimate strength will lie in our ability and our desire to jointly bring our distinct experiences, grievances and issues to the table and work in coalition toward manifesting an equitable and free society. What Hip Hop generation women have to realize is that standing by passively, in the name of comradeship, afraid to anger the brothers has garnered us neither respect nor equality (assuming that the two can be separated). As was the case in prior generations, young Black women need to step into the arena and forcefully speak their truths because: The Black men who really don’t like us will always find solace in the arms of others and use our strength as their excuse; The Black men who merely like us will demand that we "play our position" so that they can gain power; and The Black men who genuinely love us will fight along side us for justice and will encourage us to fully express our hearts, minds and spirits.

The most political, first step that many women within Hip Hop can make is to create communities that nurture us: spaces where we can perform our own rhymes; spaces where we can share our own stories; and spaces where we can give each love and provide support. Author and activist, Rebecca Walker made a profound statement when she said that our life’s journey is about understanding our own suffering and how the powerful societal stratifications of race, class, gender and sexuality impact us all negatively. Women therefore cannot change sexism within Hip Hop or in the broader society until we are willing to heal ourselves. When it is all said and done, railing against Imus or lobbying entertainment executives will not end sexism, no more than Robitussin will cure cancer. Black women in Hip Hop have to fight for power----be willing to love and respect ourselves enough to put the financial, intellectual and creative energy behind establishing our own blogs, website, podcasts, e-newsletters, record companies, music conferences, summits, publishing companies, magazines, radio shows and televisions programs that illuminate the many sides of beautiful Black womanhood. We also have to brave enough to collaborate with each other, with women of other races and with equality-seeking men to make these new entities the mainstream, rather than the alternative.

***

Yvonne Bynoe is a Senior Fellow at the Future Focus 2020 Center at Wake Forest University. She is also the author of Stand & Deliver: Political Activism, Leadership & Hip Hop Culture and the Encyclopedia of Rap and Hip Hop Culture. She can be reached www.YvonneBynoe.com or www.myspace.com/yvonnebynoe

Copyright 2007 Yvonne Bynoe

Free the San Francisco 8

Source: Glamazon Life

L-R, top to bottom: Ray Boudreaux, Francisco Torres, Hank Jones,
Jalil Muntaqim, Richard O'Neal, Richard Brown,,
Herman Bell, Harold Taylor, the late John Bowman


Eight former Black Panthers were arrested January 23rd in California, New York and Florida on charges related to the 1971 killing of a San Francisco police officer. Similar charges were thrown out after it was revealed that police used torture to extract confessions when some of these same men were arrested in New Orleans in 1973.

Richard Brown, Richard O'Neal, Ray Boudreaux, and Hank Jones were arrested in California. Francisco Torres was arrested in Queens, New York. Harold Taylor was arrested in Florida. Two men charged have been held as political prisoners for over 30 years – Herman Bell and Jalil Muntaqim are both in New York State prisons. A ninth man -- Ronald Stanley Bridgeforth – is still being sought. The men were charged with the murder of Sgt. John Young and conspiracy that encompasses numerous acts between 1968 and 1973.

Harold Taylor and John Bowman (recently deceased) as well as Ruben Scott (thought to be a government witness) were first charged in 1975. But a judge tossed out the charges, finding that Taylor and his two co-defendants made statements after police in New Orleans tortured them for several days employing electric shock, cattle prods, beatings, sensory deprivation, plastic bags and hot, wet blankets for asphyxiation. Such "evidence" is neither credible nor legal.


Herman Bell, 59, of Mississippi, a political prisoner since 1973. Cointelpro's "pattern of manipulation and lies, continuing into the present, indicates something more than the ordinary corruption and racism of everyday law enforcement. It can be understood only in terms of the power of the political movement that [we] were part of, and the intensity of the government's efforts to destroy that movement and to disillusion and intimidate future generations of young activists." In transit to San Francisco; his address will be posted as soon as it is available. More about Herman.


Ray Boudreaux, 64, of Altadena. "Actually for the last 25 years I've lived a pretty peaceful and quiet life. My politics are still the same. It's just that I'm not active. People come to me sometimes as a peace-maker. And all of that has to do with all of my experience." Write to him - 2301300, 850 Bryant Street, San Francisco CA 94103.

Richard Brown, 65, of San Francisco. "For the past six years I have been a Community Court Judge Arbitrator working with the San Francisco District Attorney's office. We place a lot of emphasis on restorative justice, so most of the community service done will be done in our own community where the offender can give back to the community." Write to him - 2300819, 850 Bryant Street, San Francisco CA 94103.

Henry W. (Hank) Jones, 70, of Altadena. "I [have lived] under the constant threat of another ... incarceration. In essence I have been robbed of peace of mind, life, liberty and the pursuit of happiness. I am therefore compelled to resist these tactics and inform the public of my recent experience, feeling that something similar could happen to anyone given the climate of fear, paranoia, and abuse of authority that is rampant in our country today." Write to him - 2301301, 425 Seventh St, San Francisco CA 94103.


Jalil Muntaqim (Anthony Bottom), 55, of San Francisco, a political prisoner in New York since 1978. "The United States does not recognize the existence of political prisoners. To do so would give credence to the fact of the level of repression and oppression, and have to recognize the fact that people resist racist oppression in the United States, and therefore, legitimize the existence of not only the individuals who are incarcerated or have been captured, but also legitimize those movements of which they are a part." Write to him - 2311826, 850 Bryant Street, San Francisco CA 94103.

Richard O'Neal, 57, of San Francisco. Richard works as a custodian for the city. He had previously worked at the city's Hall of Justice and has been a city employee for more than 25 years. Write to him - 2300818, 850 Bryant Street, San Francisco CA 94103.

Harold Taylor, 58, of Panama City. "In 1971, two brothers and I were set up by the FBI. We didn't learn about COINTELPRO until years later. In 1973 I was arrested in New Orleans and was beaten and tortured for several days. in 2003 the detectives that were responsible for my torture came to my house to try and question me. I have not been the same since." Write to him - 2305584, 850 Bryant Street, San Francisco, CA 94103.

Francisco Torres, 58, of New York City. Cisco born in Puerto Rico and raised in this country. He is a Vietnam Veteran who fought for the grievances of Black and Latino soldiers upon his return to the states. A fomer Black Panther, he has been a community activist since his discharge from the military in 1969. Write to him - 2307534, 850 Bryant Street, San Francisco, CA 94103.

About the Committee for Defense of Human Rights
The mission of the Committee for Defense of Human Rights is to draw attention to human rights abuses perpetrated by the government of the United States and law enforcement authorities which were carried out in an effort to destroy progressive organizations and individuals. By building coalitions with organizations and groups that advocate for human and civil rights, CDHR hopes to bring an end to these abuses. CDHR's basic principles are set forth in the Universal Declaration of Human Rights and the United Nations Convention against Torture.

Committee for the Defense of Human Rights
P.O. Box 90221
Pasadena, CA 91109

(415) 226-1120
E-mail: freethesf8@riseup.net
Support the SF8
Come to court
Monday, June 11
Demonstration 8:00
Hearing 9:00
850 Bryant St, SF

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Notes on "An Open Letter to Oprah Winfrey" by Taalam Acey

Source: www.myspace.com/officialtaalamacey

Notes on "An Open Letter to Oprah Winfrey" by Taalam Acey

I want to approach this critique cautiously if only because these ideas are among my most sincere. I applaud you for writing your "Open Letter to Oprah Winfrey," and though it took me awhile to get around to reading it, I'm glad I did. When James Baldwin remarked that, "The poet or the revolutionary is there to articulate the necessity," I'm sure that your open letter was the sort of agitation he had in mind.

I was not born of a minister and school teacher. Instead my parents were Black Nationalists in Imamu Amiri Baraka's Committee for a Unified Newark. Unlike you, I was influenced by both Rakim and June Jordan. I affirm these things because they will no doubt color the critique that follows.

As for the illustrious Ms. Winfrey, I too grew up watching her on television. As a teen, my mother had me read Alice Walker's "The Color Purple." In the film, Ms. Winfrey's portrayal of Sofia was exactly how I envisioned it. It was not surprising that she garnered one of that film's 11 Oscar nominations (though, the film somehow didn't win a single Oscar).

Of more relevance here, however, is that Ms. Winfrey, ironically, played a major role in my appreciation for gangsta rap. In 1989, Harpo, her company, produced (and she starred in) Gloria Naylor's "The Women of Brewster Place." Back then I was sure that white America despised young black men. However, in my 18th year, her mini-series convinced me that black women might hate us even more. I felt demonized. Though, I didn't care much for "hard core rappers" beforehand, after Brewster Place, my feelings of betrayal rendered their messages vital.

A few months later, when Ms. Winfrey donated $1 million dollars to your alma matter. I remember thinking it had to be a function of her guilt.

Since then, she has given repeatedly and contributed to the education of hundreds of Morehouse students. I no longer doubt her sincerity. Still, I have come to believe there is a dichotomy in her perception of young black males. She has gone on record about being sexually abused by relatives (including a 19 year old cousin) beginning when she was 9 years old. However, she also credits moving in with her father as saving her life. In fact while Vernon Winfrey was named by her mother as only one of a few potential fathers, he nevertheless took responsibility for Oprah and refused paternity test throughout her life.

I mention none of this to be disrespectful to Ms. Winfrey. She is a self-made billionaire, Television Hall of Fame inductee and media mogul. Yet, she is also human and, like the rest of us, her past experiences may shed light on her current convictions.

Thus, having discussed the above, I'd like to assert that many of today's rap lyrics conform more to the values of her 19 year old cousin than they do those of her father.

I love Hip-Hop. It is and has always been sacred to me. There was something spiritual about Rakim's flow and something evangelical about KRS-One's diatribes. In high school, I spent time with Queen Latifah and was pretty close with Cut Master DC (of "Brooklyn's in the House" fame). I attended shows at Union Square, The Tunnel and even The Castle in the South Bronx. I almost don't know where to stop...during my teens, I got to drive Red Alert from a show in Jersey back to NY and talked him to death. I remember dancin' to Crash Crew records, arguing over who was the best emcee in the Fearless Four, losing my mind when the Sugar Hill Gang and The Furious Five did a record together. There are entire Slick Rick, Rakim and Biggie songs that I still know word for word. Believe me, I too am a hip hop head.

Hip Hop in it's organic form is Melle Mel's, "The Message." Nevertheless, there's always been room for Ice Cube and Snoop. They had a story to tell. Our problem now has become that the stories are being told ad nauseam and by people who not only haven't lived them, but aren't inspired to tell them.

I'm into Spoken Word, one of many forms of poetry. There can be no doubt that rap is another. True, all rappers are not poets. But, even by the definition you applied, all Spoken Word artists aren't poets either. Few artist of any art form operate from a sincerely vulnerable place. That is not a Hip-Hop phenomenon.

The problem is bigger than vulnerability. When you declared "There is no true hatred of women in Hip Hop." I can only assume that you meant in the Hip-Hop that you and other "Backpackers" support. Those of you who choose "to associate...with the more "conscious" or politically astute artists of the Hip Hop community." Surely you don't believe that today's rappers intend their endless litany of "Bitch," "Ho," and "Slut" as displays of affection.

I agree with you that, at our root, we inherently worship the feminine. Sadly it seems that for most of us now, at all points above our root, we've begin to worship money more. The problem with most of Hip-Hop is that it's being co-opted. I cannot imagine what, if any point, you were attempting by mentioning that 50 Cent and George Bush share a birthday. I agree that George Bush is one of the gangsters that control this country, but I am certain that 50 Cent is not one of the "gangsters" that controls Hip-Hop. He may control his entourage and his bank account, but not much more. Curtis Jackson is an "artist," not a mogul. So can you tell me if Lyor Cohen or Jimmy Iovine share a birthday with Bush? That might be slightly relevant.

You are right that "Censorship will never solve our problems." Boycotting the sponsors of a radio show that made disparaging remarks about young black girls isn't censorship though. In America, dollars vote. It is not censorship to use your dollars to vote a bigot off the air. The dramatic decline in the sale of rap records since 2005 is also not due to censorship. People are voting for change. We no longer care to support songs about how your car and house are better than mine because you're really good at selling crack to my children.

This is a serious social issue and has nothing to do with the depiction of G*d in Christianity or any other religion. I've heard the argument about the proper Holy Trinity being man, woman and child, previously. I've attended lectures about instances of chauvinism in organized religion. Still I take issue with the logic that the Western depiction of G*d has driven emcees crazy.

You concluded by saying:

"If we are to sincerely address the change we are praying for then we must first address to whom we are praying."

That's the point, emcees have begun praying to mammon. Most mainstream rappers no longer take pride in their lyricism. They simply write whatever the record company believes it can easily sell. The problem is selfishness, not religion. Believe me, we haven't reached this point in our history because too many rappers have become obsessed with studying the Bible.

This particular weapon of mass destruction is NOT the one that asserts that a holy trinity would be "a father, a male child, and a ghost." This weapon of mass destruction IS wealthy racist white men who exploit and mass market poor young black men who are willing to denigrate themselves for money. We do not require disconnected excuses, only change.

The primary problem with rappers today is selfishness. That's the very quality that separated Oprah's father from her 19 year old cousin. I'll end by saying there's nothing more vulnerable than a broke talentless rapper in the hands of a racist white media mogul. In the end, I hope you understand that these notes are not about you and I but, instead, the masses of oppressed people who deserve to know the truth.

In Brotherhood,

Taalam Acey

About Taalam Acey:
Taalam Acey is an internationally celebrated writer/poet. He has read his work in every major US city, several foreign countries and many dozen college campuses. He is considered by many to be the hardest working spoken word artist of his generation. He’s published a novel, an award winning memoir, a 340 page compendium of his poems from 1998-2007, 9 spoken word CDs and a DVD. Prior to becoming a full time author; he earned a BS in Accounting and an MBA in Finance. He was also a full time lecturer in senior level accounting at Rutgers University and a principal in a small business consulting firm.

For more info visit:
www.taalamacey.com and www.myspace.com/officialtaalamacey

Hip Hop Project - SUPPORT POSITIVE BLACK FILMS!!!

Today I went to see the Hip Hop Project. I won't go into a review of the movie because I feel that Aimee (below) does a good job. But what I do want to express is my heartfelt anguish about what I experienced. On a Sunday afternoon in Harlem at the Magic Johnson Theatres, there I was with 4 white movie goers and 2 Black. How on earth could there be barely 10 people on opening weekend? This is a movie that shows the positive side of Hip Hop, a hot button topic at the moment. This is a movie that showcases our people rising above the harsh realties of the inner city. This a movie that showcases a Black woman as an executive producer. This is a movie whose proceeds will go towards youth organizations. This is a movie that shows black youth doing something positive with their lives. WHY ON EARTH ISN'T THIS MOVIE BEING SUPPORTED THE WAY IT SHOULD BE? What disturbed me most, I think, is that we will swarm to watch a 50 Cent movie, or Scary Movie #7, or Norbit but there were barely 10 people in the theatre watching the Hip Hop Project????!!!????
Please support positive Black films and go see The Hip Hop Project today!



Source: www.daveyd.com

Looking Deep Into the Hip Hop Project
by Aimee Allison

In the twenty-five years since my personal world view was shaped by the biting social commentary of Grand Master Flash's "The Message", hip hop has become many things to many people - hard beats and clever rhymes, streetwise bravado, glorified violence, even in Don Imus' case an excuse for bad behavior. Many times, I've winced and avoided the b-word and the n-word of commercial hip hop.

But even for fans of the genre, the new movie Hip Hop Project - premiering nationwide on May 11th - demands you leave your assumptions at the door.

After attending the preview screening of the Hip Hop Project documentary - I see hip hop at its best, it is a healing art. Not since the Million Man March have I experienced a more loving, honest and poignant plea for self-healing.

It is a powerful story that spans a five-year period in which former foster kid Chris 'Kazi' Rolle inspires a group of New York teens on the verge of dropping out of high school. Leveraging the popularity of hip-hop, Kazi founds the Hip Hop project that connects these students to music business insiders who help them to write, produce, and market their own hip hop compilation album. Kazi is friend, father, mentor, and teacher.

He's a twenty-something survivor that shares the deep-seated pain of neglect, violence, and poverty with his students. The film shares the compelling stories of several students including Christopher "Cannon" Mapp, who faces his mother's terminal illness and eviction from his childhood home and Diana "Princess" Lemon, who agonizes over her abortion and imprisoned father.

These young people have symptoms suspiciously like post-traumatic stress disorder (PTSD) that afflicts many of the Iraq War vets I've met. They are stress-filled, twitchy, angry, impulsive, sad veterans of America's streets. In fact, the National Center for PTSD reports that more than a third of urban youth, and more than half of homeless and foster youth, have treatable PTSD. And Kazi has a prescription that works.

The Hip Hop Project is the polar opposite of the fake reality TV hype of P-Diddy's Making the Band or American Idol. There's no soul-depleting criticism or superficiality in the name of entertainment. This documentary shows the messiness of making art; the technical glitches, the humiliation of fundraising, the waning motivation, and the roadblocks on the way to producing a CD.

The star power behind the film - executive producers Bruce Willis and Queen Latifah and hip hop mogul Russell Simmons makes it possible for 100% of the profits will go to organizations dedicated to youth.

Hip hop is a powerful elixir for what ails an entire generation of disaffected people; a salve for the broken, a cure for the lost. And if the enthusiastic audience reaction is any indication, Hip Hop Project will be a seminal story of its time - destined to evolve our own thinking about ways to healing the young living in a damaged world.

The Hip Hop Project opens May 11th. See www.hiphopproject.com for schedule and theatre locations.
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Aimee Allison is an author and social commentator in Oakland, CA. Her
upcoming book, Army of None, is due out in July. Contact her at
aimee@aimeeallison.org