Day: November 11, 2016

Chairman Omali Sunday Study | Origin of Capitalism,The Dialectics of Black Revolution, Political Economy: A Marxist Textbook, by John Eton and Supplemental_The Political Report to the Sixth Congress of the African People’s Socialist Party (2013)

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Last Updated 09-06-24

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Pop the documents out from the upper right to read / expand / download.

The Dialectics of Black Revolution by CHM. Omali Yeshitela

CHAPTER III_THE ORIGINS OF CAPITALISM (Page 49 of this reader.)

Supplemental_The Political Report to the Sixth Congress of the African People’s Socialist Party (2013)

M1 deadprez and Bonnot – Number one with a bullet feat. Prodigy (Mobb Deep) & Divine RBG (Official), Sekou Touré Quote and Fire In The Booth Legends – M1 (RBG DPZ Video Player)

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Last Updated 09-07-24

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“To take part in the African revolution it is not to write a revolutionary song; you must fashion the revolution with the people. And if you fashion it with the people, the songs will come by themselves, and of themselves. … In order to achieve real action, you must yourself be a living part of Africa and of her thought; you must be an element of that popular energy which is entirely called for the freeing, the progress, and the happiness of Africa. There is no place outside that fight for the artist or for the intellectual who is not himself concerned with and completely at one with the people in the great battle of Africa and of all suffering humanity.” Sekou Touré

RBG_DPZ Video Player Trk #6 of 33-Fire In The Booth Legends – M1 (Dead Prez) From: THE ONEZ WHO FIGHT BLK | Web 3.0

33 Video Playlist

TAHIR RBG – WHOSHOTCHA | and “Why should an understanding of RBG Hip-Hop / Rap be worth your while?”

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AS TO THE QUESTION OF BLACK MUSIC AND REVOLUTIONARY STUDY:
And why should an understanding of RBG Hip-Hop/Rap be worthwhile in what is being called, “a Communiversity” anyway?

We would like to suggest just five of the many reasons:

•The skills one brings to listening to Black music—imagination, abstract/non-concrete thinking; intuition; and instinctive reaction and trusting those instincts— melanin-mediated themes, have gone uncultivated in the U.S. educational system and culture.

•Music, as a universal, non-verbal language, allows us to tap into the social, cultural, and aesthetic traditions of the Afrikan experience; and the sociopolitical climates of various historical eras. listening to conscious and message music we become more aware of our shared predicaments as Afrikan people across time and the never ending battle between freedom and bondage.

•You learn how the Black Liberation Movement, in fighting against the system , business and culture of white supremacy, created and continues to create music and musicians whose rhythms and lyrics are shrouded in liberation themes. The work and activities of the organizations and grassroots peoples of the Movement transmit inspiration, wisdom and vision to the musician/ poet; and in turn, the music/spoken word produced by the artist inspires and drives the Movement .

•Music allows us to transcend our own individual world and partake in the utterly different, but nonetheless similar, realities of other Afrikans in American and throughout the diaspora.

•Last, but certainly not least, good music is fun to listen to, relatively inexpensive—we can do it by ourselves or with others—and there are any number of ways to expand our knowledge and appreciation of the art itself and it’s role on our overall struggle for freedom, justice and equality”

RBG| Red Black and Green, Roy Ayers, w HISTORYMAKERS Bio and link out…

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Jazz composer and vibraphonist Roy Ayers was born on September 10, 1940 in Los Angeles, California to Ruby Ayers and Roy Ayers, Sr. Ayers’ mother, a schoolteacher and piano instructor, began teaching him music when he was only a toddler. Growing up near Central Avenue, the heart of the West Coast jazz scene, Ayers was exposed to local luminaries from an early age. At five years old, Ayers was given his first set of vibraphone mallets by bandleader Lionel Hampton. Ayers attended Thomas Jefferson High School, where many of his classmates also went on to become famous jazz and R&B artists.

Ayers first played steel guitar and piano and did not study the vibraphone until meeting vibraphonist Bobby Hutcherson at age seventeen. At twenty-two, Ayers began his prolific recording career as a sideman for jazz saxophonist Curtis Amy. In 1963, Ayers released his first album, West Coast Vibes, and went on to record with the Jack Wilson Quartet, Chico Hamilton, and the Gerald Wilson Orchestra in the 1960s, before joining up with jazz flutist Herbie Mann at The Lighthouse club in Hermosa Beach, California. Mann produced three of Ayers’ albums for Atlantic Records, and Ayers was a principal soloist on Mann’s hit album Memphis Underground. In 1970, Ayers moved to Manhattan and formed Roy Ayers Ubiquity, marking his move into jazz fusion. Ubiquity released a number of records on Polydor Records, including hits like ‘We Live in Brooklyn’ and ‘Everybody Loves the Sunshine.’ As the decade closed, Ayers went solo with songs like Let’s Do It. In 1980, Ayers began collaborating with Nigerian musician Fela Kuti and formed Uno Melodic Records. Ayers considered In The Dark, released on Columbia Records in 1984, as one of his best recordings.

He continued releasing yearly albums through the 1990s. At the same time, Ayers’ work was remixed, covered, and sampled by the emerging hip hop generation that included such artists as Mos Def, Puff Daddy, and Mary J. Blige. In 1993, Ayers appeared on Gang Starr rapper Guru’s Jazzmatazz, Vol. 1, one of the first albums to combine a live jazz band with hip hop production. Singer Erykah Badu has dubbed Ayers the Godfather of Neo-Soul.

Roy Ayers was interviewed by The HistoryMakers on September 19, 2016.

The National Question

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African Socialist International Chairman Omali Yeshitela – On February 18-21, 2012 the African People’s Socialist Party USA (APSP USA) held its National Plenary in St. Petersburg, Florida to define the work of the Party in this period and mark the 40th anniversary of the Party’s founding. The National Plenary is a tool often used by the APSP USA between its congresses, the place where the entire organization comes together to establish policy and elect leaders. At the plenary, the Party examines its work since the last congress and assesses the world situation, making any necessary adjustments to its work to meet its objectives.