20 years ago Rodney King was brutally beaten by police..It was shocking and caught on film, folks just knew the officers were going to jail.. It was a slam dunk. Who could refute the evidence? My how times have changed..or have they? Fast forward to the Oscar Grant murder which was also caught on film and you tell me..shout out to Paul Scott for his article..
March 3, 1991. What started off as just another case of a brotha gettin’ beat down by the Po Po, would set off a chain of events that would forever change the socio-political dynamics of America, especially for the Hip Hop generation.
While the music previously was seen as fad and just a blip on the radar screen of middle America, the idea of rebelling “ghetto youth” using rap music as an unregulated form of information dissemination sent shock America’s political foundation.
This is not the first time that the rising collective voice of “the silent minority” became a matter of national security.
According to the March 21, 1993 edition of the Memphis Commercial Appeal, in 1917, a Lt Col. Ralph Van Deman created the Army’s black spy network, which snitched on black organizations, even black churches. The article names Robert Morton of Booker T. Washington’s Tuskegee Institute and Joel Spingarn, one of the founders of the NAACP,as operatives in the spy network.
In the book, “Heard it Through the Grapevine,” Patricia A. Turner wrote that “rumor clinics” were set up during World War II to “prevent potentially adverse hearsay of all sorts from gaining credibility.”
Also, although the FBI’s COINTELPRO is the best known of the “dirty trick” operations of the Civil Rights /Black Power Era, Clay Risen, in his book “A Nation On Fire: “America in the Wake of the King Assassination,” wrote about the Army Operations Center and” its first operations plan for national disturbances, code named Steep Hill.” Risen also talks about the U.S. Army Intelligence Command (USAINTC) which included 1000 agents “around tthe country whose job was to spy on militants and “monitor indicators of imminent violence.”
The entertainment industry was not immune of the fear of a black uprising. In Peter Doggett’s book, “There’s a Riot Going On” he wrote about how James Brown was hired by the mayor of Boston , Kevin White, to throw a concert the night after the King murder to keep the natives calm.
From the very beginning it has been clear that America’s fear was not the thugs in the street stealing hubcaps but the fear that they may become politicized, intelligent hoodlums. So on April 29, 1992, the day the police officers were acquitted of beating King, the apparatus was already in place to deal with young “urban” youth who were chanting Hip Hop lyrics challenging the system as their mantra.
As, rebellions took place in cities across the country, even the watchful eye of the Fed’s underestimated the politicizing of the youth courtesy of rap lyrics. The site of “gangstas” articulating the political ideologies of Frantz Fanon on Night-line caught politicians with their pants down.
According, to the May 11, 1992 Time Magazine article “How TV failed to Get the Real Picture” it was reported that LA mayor Tom Bradley “requested” that in the midst of the chaos that the highly rated “Cosby Show:” air as an exercise in “crisis counter-programming.” However, this was not 1986 and black youth were more responsive to the voices of the X-Clan, than they were “Dr. Heathcliff Huxtable.”
So, another form of “crisis counter-programing” had to be developed that would insure that rebellions like what happened in LA would never happen again.
Even before the LA Rebellion, President George Bush had instituted the “Weed and Seed Program” which many residents of Los Angeles, such as those interviewed in the book “Uprisng” by Yusef Jah and Sister Shah Keyah considered a spy operation. The official purpose of weed and seed was to “weed” out gang members and in their places “seed”the hood with community programs.
So, we see the same strategy was used in Hip Hop as the biggest threat to this country’s racial hegemony ” conscious rappers” were weeded out and the industry was seeded with “gangsta” rappers.
One can clearly see how the careers of early conscious rappers suffered because of their courage to speak truth to power. However, the “gangster rappers” of the period became multi-millionaires and were rewarded with movie scripts and endorsement deals.
It is against this historical backdrop that two major post-LA Rebellion developments took place.
First the “no snitching” ethos was taken out of its historical context and was been replaced with a scapegoat for black on black violence and the demonization of entire black neighborhoods. Conveniently forgotten were the various government sponsored snitch operations that had plagued the black community for decades.h
More important is the overall anti-political direction of commercial Hip Hop, where, instead of “Cosby” crisis programming, the Hip Hop artists are now part of preemptive crisis programming, where the minds of the youth are distracted by such things as face tattoos This can help to explain, in part, why the incidents of police brutality in cities such as Cincinnati, New York, Oakland and Houston generated relatively little outcry.
Some may argue that times have changed and the season of “fighting the power” is a part of a bygone era.
However, with incidents of global outrage taking place from Egypt to Wisconsin, maybe not.
Perhaps Ice Cube was right when he once rapped ,” April 29th brought power to the people, and we just might see a sequel.”
Only the ‘hood knows….
TRUTH Minista Paul Scott can be reached at (919) 451-8283 or email@example.com
Article courtesy of the Militant Mind Militia http://www.militantmindmilitia.com