Today February 6th is Bob Marley‘s birthday… It’s interesting to note that as folks will lionize Ronald Reagan who shares the same birthday, they will overlook the fact that Marley not Reagan was the one under surveillance by the CIA. Reagan was all up in the Iran Contra Scandal, yet our government considered Marley and other Rastas threatening..His message of love which was empowering to folks was in conflict with those who did not like to see bridges being built and communities coming together.. Many folks don’t realize this.. and when you take this into account, it may shed some light as to why Marley in spite having world-wide popularity, never really had a home on Black /Urban radio here in the US….
Below is a cool article from http://www.greenleft.org.au/node/48516 on Marley and him being surveilled.
The Bob Marley songbook is bursting with eloquent social protest, exposing the poverty, oppression and injustice endured by inhabitants of the “developing” world.
“Burning and Looting”, for example: “This morning I woke up in a curfew. O my God I was a prisoner too … Could not recognise the faces standing over me, they were all dressed in uniforms of brutality.”
Or from “Slave Driver”: “Every time I hear the crack of a whip, my blood runs cold. I remember on the slave ship, how they brutalise the very souls. Today they say that we are free, only to be chained in poverty … slave driver catch a fire so you can get burn, now.”
This is a message as relevant today as it was when Marley died from cancer 30 years ago in 1981 at the age of 36.
“Check my life if I am in doubt,” advised Marley to any who doubted his authenticity.
The Jamaican roots reggae superstar of the 1970s was never motivated by fame or money, though Marley did acquire these things when reggae went global under his stewardship.
These materialistic trappings were regarded by Marley as the “tools of Babylon”, which he would use to raise consciousness and spread a revolutionary message.
As a “mixed-race” child of rural Jamaica and, later, the working-class Trenchtown district of Kingston, Marley experienced the inequities of the post-colonial system.
Selling records and filling concert halls was never a vehicle for the gratification of Marley’s ego. It was for the transformation of a conflict-ridden world divided between exploiters and exploited to a new order of peace, harmony and understanding — “one love”.
At times, Marley encountered temptation and sometimes strayed into the path of excess.
Yet, as Chris Salewicz’s definitive 2009 biography Bob Marley: The Untold Story shows, Marley remained uncorrupted by the music business.
Although Rastafarianism (like any religion) contains its fair share of irrational dogma, Marley’s emphasis was on “redemption” in the here and now by toppling “Babylon” (i.e. the racist imperialist system of oppression).
“If you know what life is worth, you will look for yours on earth,” sang Marley in “Get Up Stand Up”.
Like “liberation theology”, a strand of radical Christianity that made a welcome contribution to the anti-imperialist movement in Latin America, Rastafarianism is compatible (in many respects) with the secular struggle against capitalism.
Marley’s dissent made him a target for surveillance and harassment.
His militancy was too much for the US intelligence establishment, which regarded Marley and other Rastas, such as fellow Jamaican reggae musician Peter Tosh, as dangerous subversives.
“Rasta”, as Bob defiantly stated in “Rat Race”, “don’t work for no CIA”.
The dramatic implications of this line can only be understood when viewed in the context of Jamaican politics.
Following the “loss” of Cuba in 1959, Washington sought to contain the spread of genuinely independent Caribbean regimes.
By the mid-70s, Jamaica was in a state of unofficial civil war. Two political parties, each equipped with armed gangs, battled for control of the island.
On the mainstream left, there was Michael Manley’s Peoples National Party (PNP), which held government.
It was opposed by the deceptively-titled Jamaican Labour Party (JLP) under Edward Seaga, whose funding came from the domestic Jamaican “white” elite and foreign corporate interests involved in the mining industry.
The US government interfered to help fuel the political violence. It openly aimed to install Seaga (or “CIA-ga”, as he was widely known) in power.
Manley’s offences had been to pursue greater state control over the country’s plentiful bauxite reserves and engagement with Cuba’s revolutionary government.
The CIA, through the JLP, conducted a campaign of destabilisation against the Manley government.
Marley refused to be directly associated with Manley’s 1976 re-election campaign, but he did identify with Manley’s anti-imperialist policies.
At Manley’s request, he agreed to perform at the “Smile Jamaica” concert organised by the PNP.
In apparent retaliation, a squad of four JLP-affiliated hit men tried to assassinate Marley and his wife Rita on the eve of the concert.
Rita, with blood streaming from her scalp, only survived by playing dead at the wheel of her shot-up VW.
Marley’s manager stepped into the line of fire just as the gunman opened up, taking four bullets.
A ricochet struck Bob in the arm after grazing his chest. “If he had been inhaling instead of exhaling”, notes Salewicz, “the bullet would have gone into his heart.”
Two days later, the injured Marley performed at the concert.
A few days before the attempt on his life, Marley was visited by an official from the US embassy.
Salewicz said the official “advised the singer to tone down his lyrics, and to stop aiming at a white audience in the USA; if he didn’t, he would find his visa to enter America had been taken away”.
Whether the CIA ordered the assassination attempt or not, it is beyond doubt that the shadowy, murderous organisation was supporting right-wing elements in Jamaica that wanted anti-imperialists such as Marley dead.
There were thousands of JLP/CIA-orchestrated political killings during this period.
Having terrorised Jamaica for years, Seaga took power in 1980, severing relations with Cuba and implementing neoliberal policies.
Embracing neoliberalism, Manley returned to office with US backing in 1989.
After a succession of “business-friendly” governments, most of the island’s population remains mired in poverty.
For people of the left, Marley should be remembered as a comrade in the common struggle.
Although he mistrusted Jamaican “politricks” (with good reason) and was never an orthodox “socialist”, Marley was nothing if not a vehement critic of the global capitalist “Babylon System” — which he memorably described as “the vampire, falling empire, sucking the blood of the sufferers … Deceiving the people continually”.
http://www.youtube.com/watch?v=gQb7Fk3Vikw
http://www.youtube.com/watch?v=gQb7Fk3Vikw
This past Monday, Spinderella of Salt-N-Pepa, Mike Shinoda of Linkin Park and myself among others, participated in a panel discussion at UCLA that focused on the business workings and current state of Hip Hop. Before we launched into Q&A from the audience all of us were asked ‘What CD we were listening to in our ride?’ The audience seemed a bit surprised when I mentioned that in my CD deck was the 1981 album ‘JuJu’ by new wave/punk act Siouxsie & the Banshees. Songs like ‘Spellbound, ‘Monitor’ and ‘Into the Light’ brought back fond memories. More importantly the whole early new wave/punk scene was a very much apart of my early Hip Hop experience.
It’s one sided in the sense that you have rock oriented outlets with a predominantly white audience embracing Hip Hop. Yes, you can tune into a radio station like KROQ and hear rap alongside the usual rock offerings and lastly we have all the mash up projects, with the most noticeable being Collision Course with Linkin Park and Jay-Z. However, you will not see similar attempts in many urban outlets that target African American audiences. Yes believe it or not groups like Linkin Park as popular as they are are still relatively unknown in many Black circles where BET and commercial radio are the main conduits to things outside the community. I’m not sure what needs to be done to change that or if it even needs to be changed.
Today is 
Conservative talk show host , Sean O’Reilly hated Hip Hop with a passion. Yet, there he was, sitting in front of his flat screen watching the Grammys, anxiously , waiting for the rap song of the year to be announced . When the winner was finally revealed ,he jumped off his recliner like this favorite team had just won the Superbowl. No , he hadn’t become a converted Kanye West fan, he was just happy that he could announce to his millions of listeners the next morning that the best rap song was “N*ggas in Paris…”
The only other thing to come close to this monumental event is, perhaps, Nas and ex -wife Kelis sportin’ the N*gger T-Shirts on the Red Carpet at the 2008 show.
For instance Philadelphia social worker, Abena Afreeka , who recently started a “N*gga Recovery Program” to help those addicted to using the word, opposes it because it acts as a psychological trigger to subconscious memories of slavery which results in negative behavior. Thus creating the perfect Manchurian candidate.
Woke up this morning to hear that former New York City Mayor 
Much of it centered around artists like George Clinton, Bootsy Collins George Duke and Roger & Zapp to name a few. Simply put, brothers out west brought p-funk to the hip hop round table.
Shock G pointed that funk was heavy all around the country except New York where he spent a lot of time growing up. He went on to explain that there were two things going on in New York City..”First of all, disco had taken off in a big way and hip hop was starting to become big among the younger people. The result of this activity was that New York missed out on the P-funk”.
OGs of the Bay Area hip hop scene will recall that C-Funk an East Palo Alto native started out with the name Captain Crunch, but a certain cereal company came forth with some court orders forcing him to change. However, C-Funk along with his partner Mozilla the Funk Dragon have definitely made some noise around town.
the Black Panther of hip hop, CEO of Scarface Records and producers for the hit group Conscious Daughters , is himself no stranger to the funk. On his last album… ‘
En Vogue producers Foster & McElroy, George Clinton collaborator and long time funkateer Dave Kaos and SF rap start JT The Bigga Figga. All have come to the hip hop roundtable with funk in their back pocket.
***Update**** The folks from Poor News Network have been following this case and released the following information about the young man shown in the video…His name is Kevin Clark and he’s an 18 year old Honors college student ..He was brutalized by the SFPD for simply walking down the street? He was not charged or arrested but cited for resisting and delaying. …..
The Board of