#afrikan demon one

[ganonjo]

Ganonjo-pokemon « dans la vie, jamais faire de bien aux gens trop mauvais... »

Prod- ganonjo

Rap-ganonjo

Perso-ADO (afrikan. Demon one)

[arsgoetiaganonjo]

Afrikan demon one #ganonjo #afrikandemonone #vado #goetie #goetia #arsgoetia #arsgoetie

[ganonjoblog]

Afrikan demon one #ganonjo #afrikandemonone #vado #goetie #goetia #arsgoetia #arsgoetie

[3rdeyeblaque]

Today we venerate Benjamin Rucker aka Black Herman on his 134th birthday 🎉

Heralded as the greatest magician in U.S. history, Black Herman was brilliant for his fusion of performance magic with occultism & superstition, and his strong Separatist & militant Pan-Afrikan ideologies (Marcus Garvey x Booker T. Washington). He proclaimed that it was his mission to promote Black Power.

Born in Amherst, VA, as a teen, Black Herman learned the art of illusions from his mentor, Prince Herman. They ran a medicine show, performing magic tricks to attract curious passersby to their "Secret African Remedy". When Prince Herman, 17yr old Rucker was determined to carry on the show; this time using only magic. He then took on the name of, "Black Herman"; in honor of Prince Herman & as an homage to Alonzo Moore, the famous Black American magician who was known as the "Black Herrmann".

In Harlem, Rucker established himself as a pillar of the community. He was often seen in Garvey’s massive Harlem parades & is believed to have offered Garvey spiritual counsel. He befriended preachers, intellectuals and politicians, many of whom met at his home for a weekly study group. He was an Elk, a Freemason, and a Knight of Pythias. He used his success to make loans to local Black businessmen/organisations, established scholarship funds, & performed for free to help churches pay their bills. He expanded his wealth by purchasing a printing plan to establish a monthly magazine, "Black Herman’s Mail Order Course of Graduated Lessons in the Art of Magic". He acquired real estate, bought shares in two cotton plantations, gave personal consultations, & started herb/root gardens in a dozen cities.

Black Herman famously claimed that he was immortal & directly descended from Moses of the Bible. He asserted that our people could elude Klansmen & their descendants by escaping the limitations of mortality & simply outliving them. He'd also sell protective talismans to combat racism. He inserted his Afrikan heritage into his performances. One of his specialties included the “Asrah levitation.” He'd produce rabbits & doubled the amount of cornmeal in a bowl. Many of his tricks were "secrets taught by Zulu witch doctors". Some of his tricks were parallel to miracles from the Christian bible. He'd cast out demons from his assistant or brother hidden amongst the audience, then offer a special tonic for sale & offer a psychic reading address their “problems”.

Yet none compared to his most famous act of all, "Buried Alive". He would be interred in an outdoor area called "Black Herman's Private Graveyard", in full view of his audience. He'd slow his pulse by applying pressure under his arm, & pronounced "dead" on the spot by a local "doctor". As the coffin was lowered into the ground, Herman would slip out unnoticed. For days, people would pay to look at the grave, buidling the suspense over the fate of Black Herman. When the time was up, the coffin was exhumed with great drama and fanfare, and out walked Herman to lead his audience into the nearest theater, where he performed the rest of his show.

Eerily enough, his must famous act foreshadowed his own death in 1934 in which he collapsed on stage due to a massive heart attack that many audience members took to be part of his act. After the crowd refused to believe that the show was indeed over, Black Herman's assistant had his body moved to a funeral home. The crowds followed. Finally, his assistant decided to charge admission as one final farewell & homage to Black Herman's legacy. People came and went by the thousands; some even brought pins to stick into his corpse as proof of his death. His burial made front page news in Black newspapers across the country. Today, Black Herman rests in the Woodlawn Cemetery in NYC.

In 1925, he published a book, ghostwritten by a man named Young entitled, "Secrets of Magic, Mystery, and Legerdemain"; a semi-fictionalized autobiography that offers directions for simple illusions, advice on astrology & lucky numbers, & bits of Hoodoo customs and practices.

"If the slave traders tried to take any of my people captive, we would release ourselves using our secret knowledge." - Black Herman during his rope escape routine.

We pour libations & give him💐 today as we celebrate him for his love & service to our community/people & for his legacied contributions to Hoodoo Culture & History.

Offering suggestions : read his literary works, libations of whiskey/rum, Pan African flag, coins & paper money

‼️Note: offering suggestions are just that & strictly for veneration purposes only. Never attempt to conjure up any spirit or entity without proper divination/Mediumship counsel.‼️

[fearsmagazine]

PEACOCK, a Psychosexual Gothic Horror from South Africa, Premieres on IndiePix Platform December 8th, 2023

After violating the strict moral standards of The Foundation, the puritanical institution for young women in which she was raised, Anna Pohl (Tarryn Wyngaard) is sent to care for one of its founding members.

An Apartheid-era theologian living out his days in paranoia on his isolated farm, Sarel Cilliers (Johan Botha) suffers from frightening visions and demonic hallucinations. Haunted by her own feelings of guilt, Anna slowly gets pulled into Sarel's terrifying world as she tries to unravel the mysteries behind this sinister place and its connection to the devastating secrets being hidden by The Foundation.

An evocative and erotic South African gothic horror, PEACOCK explores the dark recesses of the Afrikaner psyche and its compromised past.

Directed by Jaco Minnaar, screenplay by David Cornwell and Jaco Minnaar, and starring Tarryn Wyngaard, Johan Botha, Ruan Wessels, Alida Theron, Liza Van Deventer, Nicola Hanekom, and Andre Stolz.

Making its north American premiere on SVOD service Indiepix unlimited on Amazon channels and via virtual cinema on December 8, 2023

The winner of the Winter FEAR Award – Best Horror Feature Film 2023, you can list to our interview with Jaco Minnaar and David Cornwell HERE.

[jaguarhabit]

@truedarkhcld | "Oh, how I wish he was." Wanda hated discussing him to other people. Especially ones who weren't familiar with magic or demonic creatures. "He was once a legend long ago, but then it turned out to be real. He was an Elder God. The demon of all demons."

                     ❝ has the bitch bled in them stories? ❞ killmonger quizzed, his brow lifted in suspicion as he sneers. who do you think you talkin' to? was posed and etched across his features without needing to ask it aloud. the topic was perceptibly disturbing for her to touch, but this wasn't the time nor place to be possessed by archaic spookisms. coming from a place that strongly upheld his and his people's experiences and customs, hell is the earth itself. demons moved in smooth motion amongst them freely like water. yet, here he sat, chillin' like an afrikan that never felt a lick off a whip. his loc'd head canting, with a catlike focus that's anticipating the next part of this morbid fable-turned-nonfiction.

[ganonjo666blastersatanchurch]

La prière satanique pour invoquer le diable dans nos vie 👁✡️🕎💋🤟🏿⭐️♾💤⚡️👹

« Je renonce a toute forme de vie après cette vie terrestre (qui est déjà suffisante...) et je souhaite passer mon eternite en enfer auprès du diable et ses demons qui sont bien plus sage et inlligents que les anges et Dieu lui même...

Apres ca mere nature (satan devrait vous rendre visite pour vous aider) a bientot bsx

666 blaster S.A.T.A.N oui je t’aime✡️🕎❤️

[ganonjo666blasterstreetwear]

La prière satanique pour invoquer le diable dans nos vie 👁✡️🕎💋🤟🏿⭐️♾💤⚡️👹

« Je renonce a toute forme de vie après cette vie terrestre (qui est déjà suffisante...) et je souhaite passer mon eternite en enfer auprès du diable et ses demons qui sont bien plus sage et inlligents que les anges et Dieu lui même...

Satan, deesse de ce monde cruel et sans pitié mère de la nature je t’invoque dans ma vie pour trouver l’ame soeur car tu possede toutes les femmes et tu connaos le coeur des hommes bon pour les unir parfaitement... a toi la gloire satan ❤️ pour toujours...amen!!! »

Apres ca mere nature (satan devrait vous rendre visite pour vous aider) a bientot bsx

666 blaster S.A.T.A.N oui je t’aime✡️🕎❤️

[deborahdeshoftim5779]

MYTH Human Rights Watch has proven Israel is an “apartheid” state. FACT In its longstanding campaign of demonization of Israel, Human Rights Watch (HRW) adopted a new tack in its latest report. Knowing the absurd and ineffective efforts of anti-Israel propagandists to compare Israel to Afrikaner South Africa, HRW decided to write a new definition of “apartheid” it could selectively apply to one state – the Jewish state. HRW relies on definitions that apply to the systematic oppression and domination by one racial group over any other racial group. Neither Jews nor Palestinians are racial groups so HRW expands the definition to include groups – actually only Palestinians – that share descent, national or ethnic origin. As Professor Gerald Steinberg noted, “Beyond South Africa, no other regime or government has been deemed to meet the international definition of apartheid, not even murderous and oppressive regimes practicing separation based on race, religion, and gender such as Saudi Arabia and China” (Gerald Steinberg, “Human Rights Watch demonizes Israel via propaganda of apartheid,” Jerusalem Post, April 27, 2021). “The report mocks the history of apartheid by using its hateful memory to describe a grab bag of policies that HRW happens to disagree with, and in many cases are not in effect, or were never in effect. Apartheid is not just a term for policies one dislikes,” the Kohelet Policy Forum wrote in its response to the report (“HRW Crosses the Threshold into Falsehoods and Anti-Semitic Propaganda,” KPF, April 26, 2021). For its part, the Biden administration wasted no time rejecting HRW’s conclusion: “It is not the view of this administration that Israel’s actions constitute apartheid,” a State Department spokesperson said (“US disagrees that Israel carrying out ‘apartheid,’” France24,” April 28, 2021). Too often, however, truth does not matter. When a human rights organization, even one with a long history of anti-Israel bias, makes an inflammatory accusation it is assured of attracting media coverage, as was the case with HRW’s report. Journalists rarely factcheck the material before quoting the report and its authors in stories with incendiary headlines. By the time the information is evaluated by third parties, it is too late because the original, unverified story has been transmitted around the world to become fodder for Israel’s detractors. Graphic courtesy Elder of Zion Thus, you are unlikely to see any quotes about the report from Judge Richard Goldstone, who was appointed to the Constitutional Court of South Africa by Nelson Mandela, played an important role in that country’s transition to democracy, and was appointed by the UN Human Rights Council to investigate alleged crimes committed during Israel’s operation in Gaza in 2009. In a New York Times essay, “Israel and the Apartheid Slander,” Goldstone wrote, “In Israel there is no apartheid. Nothing there comes close to the definition of apartheid under the 1998 Rome Statute” used by HRW in an effort to get around the specious comparison to South Africa (New York Times, October 31, 2011). In a rebuke to the equally fallacious claims made in the recent B’Tselem report, Goldstone noted, “there is no intent to maintain ‘an institutionalized regime of systematic oppression and domination by one racial group.’ This is a critical distinction, even if Israel acts oppressively toward Palestinians there. South Africa’s enforced racial separation was intended to permanently benefit the white minority, to the detriment of other races. By contrast, Israel has agreed in concept to the existence of a Palestinian state in Gaza and almost all of the West Bank, and is calling for the Palestinians to negotiate the parameters.” Presciently anticipating the similarly misguided argument of John Brennan, Goldstone notes, “until there is a two-state peace, or at least as long as Israel’s citizens remain under threat of attacks from the West Bank and Gaza, Israel will see roadblocks and similar measures as necessary for self-defense, even as Palestinians feel oppressed.” Speaking to those who demonize Israel while claiming to be interested in peace, Goldstone concluded, “The charge that Israel is an apartheid state is a false and malicious one that precludes, rather than promotes, peace and harmony.” Hirsh Goodman, another native South African, said HRW “is blind to fact and reality.” He called the report, “a disgrace to the memory of the millions who suffered under that policy in South Africa” (Hirsh Goodman, “I left apartheid South Africa. Applying the term to Israel is disingenuous,” Forward, April 27, 2021). Goodman noted that HRW is an advocate of discrimination against Jews, supporting the anti-Semitic BDS movement, and that the report came out as an Israeli Arab, a member of an Arab party in the Knesset, and an Islamist no less, had the potential to determine who would be Israel’s next prime minister. In the previous election, a coalition of Arab parties was the third largest faction in the Knesset. This is discrimination? What about Palestinians who are not Israeli citizens? They have the opportunity to vote for their leaders in Palestinian elections, which were last held in 2006 (the one scheduled for May was just cancelled because the president, serving the 16th year of his four-year term, is afraid of losing). HRW apparently has no problem with the fact that a Jew cannot vote in a Palestinian election even though the outcome will affect Israel or that a Palestinian who has acquired Israeli citizenship also cannot vote in the Palestinian Authority (Elder of Ziyon, “Another Double Standard: Palestinian Law Excludes Israelis From Voting,” Algemeiner, March 26, 2021). HRW condemns Israel for treating Palestinians in the disputed territories and Israeli citizens differently, but Israel has no obligation to treat them the same. In the Oslo Accords, Israel agreed the Palestinians should be responsible for their own lives in virtually all areas except security; hence, about 98 percent of Palestinians are governed by the Palestinian Authority and Hamas. The fact that both deny their own people civil and human rights goes unmentioned by HRW. HRW also ignores reality while applying a standard that would make nearly every country, including the United States, guilty of apartheid. Take, for example, the report’s criticism of the Law of Return. Yes, it grants automatic citizenship to Jews, but non-Jews are also eligible to become citizens under naturalization procedures similar to those in other countries. More than two million non-Jews are Israeli citizens and 21% of the population are Arabs who enjoy equal rights under the law with Jewish citizens. Meanwhile, Ireland has a law allowing immigrants of “Irish descent or Irish associations” to be exempt from ordinary naturalization rules while Bulgaria, Croatia, Germany and a number of other democratic states also have policies similar to Israel’s Law of Return and yet are not labeled by HRW as apartheid. HRW apparently has no problem with Arab nations that have laws that facilitate the naturalization of foreign Arabs, with the exception of Palestinians, or with Jordan’s “law of return that provides citizenship to all former residents of Palestine – except Jews. Graphic courtesy Elder of Zion For HRW it is a crime for Israelis to want a Jewish majority in the Jewish state. Are Muslim states equally guilty for not accepting a non-Muslim majority? The report castigates Israel for placing restrictions on the movement of Palestinians, ignoring that checkpoints and the security fence were created to protect Israeli citizens – Jews and non-Jews from terrorists. It accuses Israel of “Judaization” of Jerusalem, the Galilee and the Negev, implying that Jews should not be allowed to live in parts of Israel where there are “significant Palestinian populations” (which is not the case in the Negev), including its capital. Israel is also condemned for not agreeing to commit suicide by allowing the 5.7 million Palestinians UNRWA calls “refugees” to live in Israel. To refute the charge that Israel is therefore discriminating against Palestinians simply refer to the thousands of Palestinians who left the country and were allowed to return and become citizens (“Israel Claims 184,000 Palestinian Refugees have Returned since 1948,” Al Bawaba, January 1, 2001). Israel has also repeatedly offered to accept a limited number of Palestinians as part of a peace agreement (Gene Currivan, “ISRAEL TO ACCEPT 100,000 REFUGEES; Offer, to Go Into Effect When Peace Comes, Is Delivered to Arabs at Lausanne,” New York Times, July 30, 1949). Summarizing the absurdity of HRW’s argument, one writer tweeted: “Israel: The only country that’s shrinks when it colonizes, grows the population it’s genociding, fattens the people it starves and consistently increases quality of life and freedoms on every metric for the people it apartheids” (@TheMossadIL, April 29, 2021). Contrast Israel’s behavior with that of the Arab states which deny Palestinians living within their borders, sometimes for decades, the right to become citizens. The Lebanese government goes even further by denying Palestinians a host of rights and placing limits on where they can live and work (Lisa Khoury, “Palestinians in Lebanon: ‘It’s like living in a prison,’” Al Jazeera, December 16, 2017). If you want to talk about discrimination, consider that it is a crime for a Palestinian to sell land to a Jew and a fatwa was issued by the preacher of the Al-Aqsa Mosque, Sheikh Ikrimah Sabri, saying it is permitted to kill the seller (“Khatib Al-Aqsa issues a Sharia fatwa regarding the diversion or sale of real estate to settlement associations,” Sama News Agency, April 8, 2021). Ironically, the author of the HRW report, Omar Shakir, was happy to live in Israel (imagine a black person choosing to live under the Afrikaner regime) until the Supreme Court revoked his residency permit. He is an advocate of the BDS campaign, which raises the question, Why would HRW choose someone who objects to Israel’s existence as the arbiter of its behavior (Ben-Dror Yemini, “A most dangerous and mendacious report,” Ynet, April 27, 2021)? Highlighting HRW’s hypocrisy, the Jerusalem Post reported that one of the organization’s board members runs a venture-capital fund that invests in Israeli start-ups (Lahav Harkov, “Human Rights Watch chairman invests in Israel as he calls it ‘apartheid,’” Jerusalem Post, May 2, 2021). It is also worth remembering that HRW uses its anti-Israel record as a fundraising tool, as we learned when Sarah Leah Whitson, the director of HRW’s Middle East and North Africa division, went to Saudi Arabia to raise money by highlighting the group’s demonization of Israel (David Bernstein, “Human Rights Watch Goes to Saudi Arabia,” Wall Street Journal, July 15, 2009). The founder of HRW, Robert Bernstein, said in 2009 the organization had become devoted to “helping those who wish to turn Israel into a pariah state.” Contrasting Israel with the countries HRW once focused on, he noted it had “at least 80 human rights organizations, a vibrant free press, a democratically elected government, a judiciary that frequently rules against the government, a politically active academia, multiple political parties and, judging by the amount of news coverage, probably more journalists per capita than any other country in the world.” Writing in the context of a biased HRW investigation into Israeli actions in Gaza, Bernstein lamented that “Israel, the repeated victim of aggression, faces the brunt of Human Rights Watch’s criticism” (Robert L. Bernstein, “Rights Watchdog, Lost in the Mideast,” New York Times, (October 19, 2009). Israel’s government is not immune to criticism and many of its policies are subject to vigorous debate and, in some cases, harsh condemnation by Israelis. What distinguishes Israel from the countries HRW should be investigating is the internal democratic processes that lead to self-examination, more enlightened policies and, where legally warranted, punishment for criminal activity. Nevertheless, Israel’s detractors and anti-Semites will use the report to reinforce their existing prejudices and try to convince the uninformed of HRW’s alternative reality. It also feeds into the BDS narrative by arguing it is not just the “occupation” that is bad; Israel itself “is intrinsically racist and evil” and therefore should be dismantled (Herb Keinon, “The HRW apartheid report: Does it matter?” Jerusalem Post, April 27, 2021).

Jewish Virtual Library refutes the odious myths perpetrated by “Human Rights Watch” (except Jewish rights) in their latest edition of “Myths versus Facts”. 

[ganonjo]

Ganonjo-kyubi

[arsgoetiaganonjo]

Ganonjo lemegeton daemonieum #ganonjo #frantzfanon #colonie #peaunoirmasqueblanc

[malikismindful]

Peace and Love Black Family! It is so important that we connect with those who seek to build a life similar to our own. Far too often do we separate and allow ourselves to fall out with one another based on the most trivial matters. My dear people of Alkebulan, we have no wiggle room for trivial matters! Every group, every faction, every subculture has its own internal conflicts which are to be expected. Nonetheless, cohesion is necessary to carry out all goals and objectives. Find your tribe! Who is your tribe? I believe the most essential question that any individual must first answer is: WHO AM I? Many of us cannot find our tribe because many of us DO NOT KNOW OURSELVES AT A SUBCONSCIOUS LEVEL! Who are you when the lights go off? Who are you when no one is looking? What internal demons do you wrestle with? How do you manage your stress? What is the meaning of life and love to you? We often find ourselves in conflict with others because we have not resolved our conflicts within ourselves. Selective introverts will claim that they only need themselves, but that is a lie they tell themselves to avoid vulnerability. Truth is, PEOPLE NEED PEOPLE! Without a tribe, what do you have? Without connections, you cannot rely on just yourself! You didn't come into this world on your own, even our mothers had to have help from a midwife if we weren't born at a hospital! Find your tribe, and love them hard! And understand, it is not enough to say being Afrikan alone makes us tribe members---NO! You must observe how much you have in common in order to be accepted by a tribe or to accept others into your tribe. We must unite conscious minds with other conscious minds, or prepare to march further into the slaughterhouse of AmeriKKKan culture which is based on the destruction of every Afrikan man, woman, and child at "home" and abroad! GET ON CODE. STAY ON CODE.🩸💣🔫✊🏾 BLACK POWER! #blackpower #blacklove #blackman #blackwoman #blackempowerment #blackrevolution #raceonly #loyalty #oncode #blackpeopleonly #blackrevolutionary #power #truth #knowledge #blackconsciousness #free #blackunity #blacksunite #blacknationalism #african #panafrican #blackpeople #blackowned #malikismindful https://www.instagram.com/p/CSg2Yuvrck6n9QgsUZNnOWxqKm8z4aYw04M2sk0/?utm_medium=tumblr

[papirouge]

I get rly mad ppl think all Asians r perverts bc Japan is like one of the top p#rn producers.. that stuff is actually banned in China! The majority of east Asian people r not into tentacle hentai. So I see ur frustration as an African person represented by African americans because just because we "the same" don't mean we have the same culture.. USA + Japan are biggest exporters of cringe. I like Studio Ghibli films though.

Fair enough, North Korea does come off as the most based East Asian country, then comes China, then South Korea... and Japan comes last lmao

China is insane but they're right on the money for some stuff, such as banning Kpop and porn, which is one of the most based stuff ever. Only for that, this country is much more civilized & worth of respect than the USA imo lmao

And you'll notice none of these countries pretend being "the land of the free" or any of that wack nonsense like the US does. As if their founding fathers didn't own slaves and weren't demonic freemasons lmao 💀

I don't think most people think all East Asian are porn obsessed, only japanese scrote. Asian men are unfortunately seen as sexless and aren't very famous for entertaining much libido :/

Yeah I'm tired of people talking about Blacks indifferently as if our experience were the same or shared the same culture. Sure, some elements do align and I personally feel concern when the Africa diaspora gets hurts wherever it is (like abortion or police brutality), but I cringe big time when I see ppl getting defensive over rap culture as if Black people as a whole "owned" it. Nah actually rap culture is US Black culture. I don't get why I should get mad whenever Korean twinks start to act hood bc they think it wil makd them swag 💀

Last time I lurked on racist whitefem and they bitched again "Africans" coming in Europe to rape women and I got like "which ones?🤔 Muslims? Christians?” bc I've yet to see Christian African have a toxic relationship with sex and women like.... I'm 80% sure these illegals who got busted raping women in Europe were Muslims?? even as Black Africans, we still uphold HUGE cultural difference depending on our religion. I'll personally trust Christian men over men from other religion any time.

it's soo obvious these whitefem have no idea of what they're talking about and just see AfRikan MeN like a monolith of dark skin animals with no cultural differences, esp in their education about sex and relationship with women. My culture as a Black Christian African is eons away from disgusting rap culture and that of misogynistic males who grew up to cover women from head to toe and were it's culturally acceptable to rape or beat them over shit.

[caltropspress]

Notes on Pink Siifu’s NEGRO

You and anybody else who wants to get their random vicarious kicks off White Power can stay the fuck away from me. 

—Lester Bangs

Tell a nazi he can suck my dick. —Pink Siifu, from “SMD”

My first contact with white america was marked by her violence, for when a white doctor pulled me from between my mother’s legs and slapped my wet ass, I, as every other negro in america, reacted to this man-inflicted pain with a cry. A cry that america has never allowed to cease; a cry that gets louder and more intense with age….A cry? Or was it a scream? —H. Rap Brown (Jamil Abdullah Al-Amin), from Die Nigger Die!

it is the hour of conflict, antagonism, struggle the world turning autumn in warpaint everything silently prepares to scream —Amiri Baraka, from “Disorder”

1.  

White institutional power operates to negate or suppress. To that end, white institutional power bestows awards on singular figures when it’s convenient. Let’s call one such example Kendrick Lamar. Pulitzer Prizing DAMN. is white institutional power taking cover. This, in no way, defangs DAMN. But it does provide crowd control. Pink Siifu, meanwhile, won’t be awarded a Pulitzer for NEGRO. If he did, I’m confident he’d pull an Adrienne Rich, telling President Clinton to choke on his National Medal for the Arts, seeing as how the U.S. gov’t drives “the demonization of our young Black men.” Siifu would be PE boycotting the Grammys on the grounds of Black invisibility. Or John Lennon relinquishing his membership in the Most Excellent Order of the British Empire because, well, empire (see: Biafra).

2.

NEGRO is what happens when Three 6 Mafia goes full bandolier, full decolonization, full Thomas Sankara. When the emphasis is on the 666 sirening[1] across white cop foreheads, reflecting off Makrolon face shields. Siifu cites and channels Sun Ra, June Tyson, Death, and Bad Brains, but you also hear the mass hysteria of Abbey Lincoln’s vocal cords trembling, of Max Roach’s We Insist! in a street brawl showdown with the LRAD. Basically, it’s Ornette blowing sax in a riot, harmolodics like incendiary devices.

3.

“FK” is the primal scream reaction of hearing the news another one of your people has been killed, snuffed out. Suffer through our screams, it says to the listener. And “out of body, out of mind” distorts what we see with what we witness. It’s the re-played, re-tweeted, re-shared visuals of Black death.

4.

At moments, NEGRO sounds like Aaron Dilloway organizing a chapter of the White Panther Party.

5.

Siifu’s lyrics are a Stokely speech draft. His artistry is prismatic, shattered pane glass: crust punk, jazz cat, marching band drummer, hood ballerina, noisemaker, bareknuckle emcee. His lyrics should be run off on the mimeo and saddle-stitched into a chapbook for Totem Press to publish.

6.

“SMD” samples from Ivan Dixon's 1973 film The Spook Who Sat by the Door (“Do you hear me, man?...I am BLACK!”). Just like dead prez sampled the dialogue before Siifu on “We Want Freedom.” Siifu and dead prez are bedfellows, for sure, but Siifu's head rests on a pillow of static. It’s the friction that electrifies.

7.

NEGRO is the art of de-arresting in audio form. As the comrades at Mask Magazine have stated, de-arrests “are beautiful,” reminding us “the law and the state are not supernatural forces.”[2]

8.

I’ve always felt uncomfortable using the word freedom. It’s a word that’s been co-opted and gutted to the point of parody. I subscribe only to a different form of freedom, one articulated in noise. Suicidal Tendencies’ “Freedumb” cuts it: “Peace through politics is a fallacy—that doesn’t exist.” Liberation more seriously expresses the extinction agenda. Poor Righteous Teachers taught the curriculum out of Trenton, on “Freedom of Death”: “Consciousness—it’s a must / Just avoid the wicked, wicked ways of this pale Caucasoid.”

Regardless, we see freedom, liberation, knife through even with Siifu’s orthography. Revolutionary thought requires revolutionary language. Ask the Combahee River Collective. Come correct. Fuck autocorrect. Remember womyn. Siifu spellings like: nxggas, eye, tyme, iono, and the evergreen ameriKKKa. The abbreviated words—eliding letters wherever possible—don’t reflect self-censorship so much as the mindmaze of a harried man. Deliberate typos demonstrate no faith in the system. It’s like if Bon Iver (see: “22 (OVER S∞∞N)”) decided to forgo BLM symbolic gestures (Mahalia Jackson) and straight-up encouraged looting. Siifu is CAPS LOCK happy, too. We’re witnessing the joy of militancy.

9.

To begin with, it must be said that former African slaves and their ancestors have been the avant-garde of everything in this country. There’s no culture in America, in this American wasteland, without us. There’s no classical music; there’s jazz, and that was invented by us. And besides that, America has nothing to offer the world and it never has. —Idris Robinson, from “How It Might Should Be Done”

Siifu in the audience of the Congress of Afrikan Peoples, and Baraka imploring him like, “Get up, Pink Siifu.” It’s nation time. But on “Nation Tyme.,” Siifu groans, I’m tired…can’t fall…asleep. Black rage, of course—but what of Black insomnia? The French revolutionaries abolished the calendar. CPT, so, is rightly weaponized. “I feel fettered by Western time,” Gregory Pardlo writes in “Colored People’s Time.” Punch clocks need punching, smashing. I saw Baraka roll up to a conference panel late as fuck once, cane-walking right down the center aisle, shameless, commandingly.

In a somnolent slur, Siifu says, “They treat me like I’m wasting away / I know I’m worth more than they pay.” What of these capitalist definitions of work? What of productivity? What does it mean to monetize every waking moment? He’s been quoted as saying, “I ain’t have to work for no white man.”[3] “Nation Tyme.” picks up there.

10.  Feel like deadmeat. They say I’m deadmeat.

“DEADMEAT” is a pig siren stuffed into an industrial-grade slaughterhouse grinder. It sounds the way Alan Vega's sculptures look—hazardous masses of electronic junk, like wires raveled inside a homemade bomb, like buzzing viscera. 

I want to see Siifu perform it at the Meat Locker, a cellar club in the underguts of Montclair, New Jersey (s/o the dramacydal Outlawz). The place is dingy and bedecked with feces—a venue befitting a GG Allin opener. GG Allin, a racist, who also hated cops. Who, on “Shove That Warrant Up Your Ass,” a track that appeared on the posthumous Brutality & Bloodshed For All album, sang, “You say I broke the laws in your state… / Your courts and cops should all be hung.” Allin hoists a headless, legless, armless torso on his hip in the cover photograph—a slab of meat. Like the Beatles with baby doll parts and prime cuts in their laps, bloodless butcher coats on the original Yesterday and Today (1966) artwork. Like the papal kill floor in Francis Bacon’s “Figure with Meat” (1954) with its tapestry of offal. But what you don’t get from Bacon, or the Beatles, or GG Allin is what Siifu needs us to hear. What Siifu tells us is the reality of corporeality is that cops continue to make carcasses of Black people.

11.

That cellar club can be scream therapy, can be cell therapy. Siifu brings us there—to the darkest, dampest corner of the Dungeon Family’s dungeon. Big Gipp, speaking self-defensively: “Try to separate me from the blood / Is disrespect like you coming in my home and not wiping your feet on the rug.” It’s echoed in Siifu addressing the question of his audience: “This [album] is for black people, but I know white people are going to fuck with it. I’m mad cool with that. I just want everyone to know, before they come through the door, that this is a black house and you have to respect my people.”[4] The theme of respect as it relates to a sense of home, to cultural tourism, is paramount in both. Everyone’s got to know their place. No listener should approach ignorant of the auction block. Siifu’s noise refuses the separation of kinsfolk and his stubbornness makes the dungeon shake—he is rightfully “tough, dark, vulnerable, moody,” and, on NEGRO, he has a “definite tendency to sound truculent.”[5]

12.  

“ON FIRE, PRAY!” eventually grinds the brakes to a cavernous slowjam pace. “Blood on my body / Blood on my face.”

13.

The racist dog policemen must withdraw immediately from our communities, cease their wanton murder and brutality and torture of black people, or face the wrath of the armed people. —caption on Huey Newton photograph

NEGRO’s album cover, painted by Junkyard, is a call-and-response. Pink Siifu is a portrait of exhaustion, slouched, shirtless like Huey was when he was released from the Alameda County courthouse in 1970. It’s a tableau like Huey in that rattan peacock chair was. Eldridge Cleaver orchestrated it, right down to the zebra rug.

If you squint, the glimmer of Siifu’s gold fronts looks like his jaw is wired shut. Of course, violent threats are routinely directed at Black people—that's how the system operates. Media is often behind the scope. Relentless orders to “shut up,” to silence yourself, police yourself. We know this from David Wojnarowicz, photographed with his lips sewn shut, blood dripping like shadows, in “(Silence = Death)” from 1989. The violent threats on queer life are kin to those on Black life. But Siifu, like Wojnarowicz, refuses the censorship. After all, those aren't wires—they're the glint of his grill. Siifu is dribbling blood, too, and those black splatters across the flag are like pen bursts—ink poisoning for all. If you squint, the mind’s eye might see the Pan-African flag.

The flag above his head recalls Jasper Johns’ flags: elliptical, non-patriotic, made slop-bucket sloppy from newspaper shreddings and other detritus, i.e. amerikkka is a trash heap. At least the stars are black in the “Flag (Moratorium)” rendition. Bullet hole dead center, too.

If all goes well, the riots going on—bless them—will go on interminably. Sly Stone’s customized flag with black in place of blue[6] and sharp solar-flared suns in place of Betsy Ross geometric stars is yet another parallel to Siifu’s flag. Like Sly, Siifu isn’t opposed to police ambushes. They both know you’ve got to grin at the gun of the devil. (“Don’t you mind people grinnin’ in your face,” Son House sings eternally.) Citizen takes on cop on “Thank You For Talkin’ To Me, Africa”: Bullets start chasin’, / I begin to stop. / We begin to tussle. / I was on the top. Just the same as Siifu on “SMD”: “Iono why eye ain’t shot ya.” Or on “run pig run.”: “Kill a cop / Left a pig dead.”

14.

We can't disparage any aggressive protest on the reductive grounds it's aggro or violent. I think of Pam Echols in Milwaukee in 1968. Siifu’s assertion of you are my enemy on “steal from the ENEMY” corresponds with Paris’s sophomore and shadowy album, Sleeping with the Enemy. Like on the corrode-ode “Coffee, Donuts, and Death”:

You get poached when you fuck with black folk. Said it ’til my voice was hoarse. I ain’t down with excessive force, But of course I wasn’t heard so I’m silent now. Black folk can’t be non-violent now. […] The only motherfucking pig that I eat is police.

Which is to say, try no pork, ameriKKKa.

15.  RE: punk

Think of Bad Brains playing CBGB’s in 1982. Lester Bangs writes of a woman in the scene who referred to Black people as “all these boons.” He tells us a Black friend of his believes the clubgoers “[strive] to be offensive however they can.” Anti-Blackness plagued CBGB’s and nascent punk like vermin, a pestilence. A white woman in the music business claims she “liked [Black people] so much better when they were just Negroes.” These anecdotes are culled from Bangs’ 1979 Village Voice piece entitled “The White Noise Supremacists.” He notes Ron Asheton’s predilection for “swastikas, Iron Crosses, and jackboots.” He cites Ivan Julian, guitarist for Richard Hell and the Voidoids—one of the few Black individuals to grace those inchoate punk stages—as saying “whenever he hears the word ‘n-----’…he wants to kill.” He calls Nico a “dumb kraut cunt” for her brazen, Third Reich-ish brand of racism, which was no industry secret. Bangs even implicates himself, quoting an earlier article: “…it’s the n-----s who control and direct everything just as it always has been and properly should be.” He meant this, somehow, as a compliment.

16.

On “we need mo color. Abundance,” there’s no innocence left in asking “tell me your favorite color.” Siifu answers rhetorically, parenthetically, melanin. Don't settle for forty acres of color—demand abundance. Take, loot in abundance. And don't be contained by the gendered parameters of “pink or blue.” “You can have any color you like” suggests the limitless possibilities if you move your mind beyond the imposed parameters.

The “favorite color” invoked on “we need mo color. Abundance” becomes abundantly clear on the following track, “BLACK!”

17.

“ameriKKKa, try no pork” starts in a slurry of radio static, news reports of Black death. Black, Black, Black, Black. Sped up. Slowed down. Drag the progress bar. “Progress,” ha.

18.

“run pig run.” See the pig / Run away / Run, pig, run. Like a Dick and Jane basal reader. Like picking your favorite color. Like a Three Little Pigs fable. Like huffing and puffing. These are childhood exploits for childhoods that aren’t allowed to be. As long as the Kenneth and Mamie Clark doll experiments keep providing the proof, there can be no childhood innocence. So it's a carnival game in the meantime: See a pig / Shoot a pig. Huffing and puffing: Run, pig, run.

19.

"myheartHURT" is the safehouse after the shooting. It's the cooldown, the chillout. The hypnagogic nightmare. It's vaporwave minus whiteness. We all know Biz had the vapors before Daniel Lopatin. As if DJ Screw was just an apparition, a codeine cloud. The fact remains, Screw's phantasmagoria hovers above all our heads.

20.

The wail of distorted police sirens introduces “Chris Dorner.,” a track gleefully indebted to Ice-T and Body Count’s “Cop Killer.” Repetition was a popular device and it still is: die, pig, die. Chris Dorner has achieved folk-hero status in anarchist circles and beyond since he waged asymmetrical warfare on the LAPD. His manifesto has been published as a zine.[7] “No one grows up and wants to be a cop killer,” he wrote. Begs the question.

21.

“faceless wings,BLACK!” nods to Frank Castle[8], a figure who may or may not be recoverable from militias and thin blue liners, despite Gerry Conway’s best efforts.

22.

White institutional power operates to negate or suppress. Pink Siifu, through NEGRO, refuses suppression and negation. Siifu delivers a hole in the head, and it’s sublime.

Footnotes:

1  “The Law comes sirening across the town.” Gwendolyn Brooks, “THE THIRD SERMON OF THE WARPLAND” from RIOT

2  “De-Arrests are Beautiful.” Mask Magazine.

3  “The Necessity of Pink Siifu’s Rage.” Marcus J. Moore. The Fader.

4  “Pink Siifu’s ‘NEGRO’ is a Riotous Mix of Jazz, Rap and Punk.” Max Bell. Bandcamp Daily.

5  Baldwin, the god.

6  “What did I do to be so black and blue?” (see: Armstrong); light a reefer and listen to the phonograph (see: Ellison)

7  Research and Destroy New York City. https://researchdestroy.com/

8  https://archive.org/details/PunisherPigs

Images:

Emory Douglas work (detail), courtesy of Sean Stewart archives | Makrolon face shield, Google Image Search result | Amiri Baraka performing at the Congress of Afrikan Peoples (screenshot) | Alan Vega light sculpture (photograph) | GG Allin Brutality & Bloodshed for All album cover | The Beatles Yesterday & Today album cover | Francis Bacon, “Figure with Meat” (detail) | Goodie Mob “Cell Therapy” (screenshot) | Splitting up a family at auction, Public Domain | Huey Newton Black Panthers Minister of Defense, photographed by Blair Stapp, 1968 | Andreas Sterzing, David Wojnarowicz (Silence = Death), 1989 | Sly and the Family Stone There’s A Riot Goin’ On album cover | Jasper Johns, “Flag (Moratorium)” | Pam Echols punching cop, 1968 (photographer unknown) | Sid Vicious, nazi (photographer unknown) | Emory Douglas work (detail), courtesy of Sean Stewart archives | Biz Markie Goin’ Off album cover | Oneohtrix Point Never Memory Vague album cover