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I pledged allegiance to the flag of the United States of America
And to the republic for which it stands
One nation, under God, indivisible
With liberty and justice for all
But today
Today I pledge allegiance to truth
I pledge allegiance to truth
Thus forcing the regurgitation of lies digested for years
So today I stick my revolutionary finger down my throat like a struggling bulimic
Refusing to keep toxic deceit in my purified spirit any longer
And I give you back the lies in the garbage can it should have remained in to begin with
All for justice and liberty with
Indivisible, God under, nation one
Stands it which for republic the to and
America of States United
The of flag
The to allegiance pledge I
Allegiance pledge I
Time a upon once
Upon a time
Stood I
A little caramel mocha girl in my catholic school uniform
I stood there
Watching the American flag blowing with the wind
Proud
Hand across my heart
Beating fast
Believing indeed
Having some kind of faith in this country to which I pledged allegiance
Loyalty
Faithfulness
I trusted these United States of America to be
One nation, under God, indivisible
With liberty and justice for all
Trusted it to be one nation not one nation rooted in economic & racial separation
On every application wanting to know if I’m African-American or Caucasian
Latino or Haitian
Of Indian decent of or Asian
Yet still claiming to be one nation…under God…indivisible
Embracing liberty and justice
Even then, my petite twelve year-old frame knew that something wasn’t right about me reciting those words authentically
And today, twelve years later, my liberated mind and commitment to truth won’t let me utter such a pledge and still walk away with my dignity
My reciting would be an indication of my saluting you America
And I don’t pledge allegiance to you
No, today I pledge allegiance to truth
Maybe my words make me unpatriotic but I was never a patriot anyway
And if I have to choose between being what you deem a faithful American or revolutionary in thought and deed then I’d rather bring forth revolutions of change any day
Yes I still smell the smoke that covered liberty
131 years and 19 amendments later finally deciding to move forward with the enactment of Women’s suffrage allowing women the right to vote yet still in this 2008 women still don’t receive equal pay for equal work
Yes I still smell the smoke that covered justice
Brutally beaten, shot in the head, then thrown in the Tallahatchie River with a 75 pound cotton gin tied to little 14-year old Emmett Till’s neck while his killer walked and still today the Sean Bell’s of the world can get 50 bullets put inside of him by men shooting and neglecting instead of serving and protecting and still walk away without penalty
Yes I still smell the smoke
And yes the smoke still covers the hope of the liberty and justice you claim to stand for
The oneness you claim to promote
And the only indivisibility with which I can link you to is failure to be worthy enough of my trust
I trusted you to educate my little brothers but instead of investing in his education you prepare him a cell and track him into incarceration by allowing $476 million dollars to build a new prison instead of a better school
I trusted you to do something about the 9 million American children without health care but instead you’d rather be spending billions on a war establishing democracy in foreign nations instead of fighting for egalitarianism and social equality on this American soil, this supposed land of the free you call democracy
I trusted you to heed to King’s dream and do more than deliver broken promises, a broken economy, disconnection and disregard for the fact that freedom ain’t ringing in most of the neighborhoods where the people look like me
I trusted you to make us a priority
Women, elderly, poor, minorities
I trusted you to make us a priority
Yet again you didn’t come through
So today my allegiance is pledged to truth and possessing an undying commitment agitating for liberty and justice for all
Not you America
Not you
Yorri Berry is a Katrina Survivor and a poet who has granted YourBlackWorld.com permission to offer her thought-provoking poems to the masses. Look out for more of her highly enriching poems. Click here to Contact Ms. Berry.
Brother, Can You Spare Some Class: Black Men in the Media
By: Tolu Olorunda
Staff Writer - YourBlackWorld.com
On October 15th, Comedy Central is slated to premier a “satirical fake news show” called, Chocolate News. David Alan Grier, most famous for his many characters in the ‘90s hit sketch comedy series In Living Color, will be the host. The show is reported to be a cultural spin-off of The Daily Show with Jon Stewart and The Colbert Report, but judging from the released trailers, Comedy Central is aiming for a much different objective. The scene is an all too familiar one. The trailers feature Grier, like past Black comics before him, dressed up in feminine outfits, yelling at the top of his voice, acting erratically, and operating in an incoherent shuffle. It is as though this long national nightmare, of which President Ford spoke, is far from over.
In early 2005, Chappelle’s Show, Comedy Central’s most popular series at the time, received a set-back from production because Dave Chappelle, star of the show, had come to a sobering conclusion that he did not wish for his soul to be purchased at the price of corporate America’s offer. As the legend tells itself, Dave Chappelle turned down $50 million – the allotted price for the third season – and escaped to South Africa for a “spiritual retreat.” Comedy Central, uneasy about the kind of message being sent to Black boys and girls across the globe, initially spun Chappelle’s departure into a battle with the flu, but subsequently reoriented it to suggest a meltdown of insanity and eccentricity.
Dave Chappelle, upon a return to The States, informed TV icon Oprah Winfrey, that he was motivated to halt production of his ultra successful show because it had grown increasingly “socially irresponsible.” In response to the growing concern from within the Black Community, vis-à-vis his many overtly stereotypical sketches, Chappelle remarked that he didn’t want “black people to be disappointed in me for putting that [message] out there. … It's a complete moral dilemma.” What an unusual and unprecedented act of solidarity and candor.
What Dave Chappelle understood, quite explicitly, is the depth to which images matter. Dave Chappelle, unlike his counterparts, has a concerted knowledge of history and is aware of the degree to which Minstrel shows, in the past, have damaged the quality of life for Black folks worldwide. For Chappelle, stoking the flame of suffering would be unforgivable and unacceptable. If contemporary Black comedians, artists and entertainers in general, possess a similar amount of self-worth, the world would undoubtedly be a much better place for Black people. Veteran Black Panther activist and presently incarcerated political prisoner, Jamil Abdullah Al-Amin a/k/a “H. Rap Brown,” once noted that in the stadium on entertainment, Blacks “dominate the field,” but stop short of actually “controlling” it. In essence, commercial Hip-Hop artists foolishly parade around with diamond-encrusted slave chains on their necks, but ultimately realize who the “master” is.
Hip-Hop, a musical genre constructed from the agonizing and cruel conditions of inner-city life, has now morphed into a safe-haven for over-sexed men, over-sexed women, cutthroats, pimps, promiscuous females, testosterone-filled adolescents, capitalists, criminal international bankers, government agents, drug-dealers etc. What once represented, as Public Enemy founder Chuck D put it, the “CNN for black people,” is now a disseminator of filth, uncleanliness and impurity. Corporate Black male rappers – powered by big name industries – operate like cranked-up robots whose sole purpose is the further degradation of Black women. With the much publicized studies claiming 72% of Hip-Hop’s consumers to be White kids, with 80% of that being suburban White females, one wonders for whom the proverbial “studio gangsters” flex their steroid-laden muscles.
The triple evils of BET, VH1 and MTV have wreaked more havoc – in the 21st century – upon the Black psyche than at any other period in entertainment history. Under the umbrella of Viacom, owned by the 85-year-old White Sumner Redstone, BET, VH1 and MTV have risen to great heights as the primary source of amusement for the 18-35 demographic. Even more foul is the reality that BET – also know also known as “Black Evil Television” or “Black Embarrassment Television” – has extended that margin to accommodate, through marketing schemes, kids as young as 9 years. old.
Like every rotten apple, BET was once a ripe beacon of illumination and intellectual stimulation. At a certain period in its formation, the now withering BET entertained a diversity of programs and a line-up embroiled in novelty. As the late Notorious B.I.G. once quipped, “Damn, sh-- done changed.” With long-axed variety shows including, “Our Voices with Bev Smith,” “BET Tonight with Tavis Smiley,” “BET Tonight with Ed Gordon,” “BET Nightly News,” “Teen Summit” and “Lead Story,” it seemed odd that Black Entertainment Television would, in a pathetic move, attempt to substantiate the magnitude of such loss with the addition of a weekly half-hour political talk show, hosted by noted activist, Jeff Johnson. In 2007, many activists in the Black Community grew weary of BET’s stubborn reluctance to feed its viewers healthy material, and therefore employed numerous avenues to send a strong message of resistance to the corporate monsters – mostly white – whose programming decisions are wiping out the consciousness of an entire generation.
One of such activists, Opio Osokoni, created an international “Turn off Channel Zero” (TOCZ) movement in mid 2007. Through a self-produced documentary, Osokoni searched for answers to the over-saturation of Black male buffoonery on Viacom and the mainstream media at large. The documentary featured a panel of acclaimed activists such as Public Enemy member Professor Griff, Hip Hop journalist Davey D, Last Poet's Abiodun Oyewole and Morgan State University Professor Ray Winbush. In less than 80 minutes, Turn off Channel Zero was able to accomplish what most mega-budget Hollywood scripts constantly fail in fulfilling. It exposed the corporate characters that pull the strings behind big media companies.
One intriguing development was the fact that most of those forces, who now sit atop the Hip-Hop and “urban” industry, are Caucasian or non-black. These corporate criminals are, without a doubt, the chief culprits in the continual cheapening of the Black Community’s integrity. With the stroke of a pen, they have outlawed positive/uplifting imagery, and promoted – with full force – the incessant caricature of Black life that has grown into a normative state on most entertainment and News channels. Rosa Clemente, V.P. nominee of the Green Party, spoke out eloquently against this reality in a 2005 protest of the Hip-Hop station, Hot 97. “Believe me, when you look at Emmis.com, and you see the 7 top executives of Emmis Communication, they are all white men over the age of 50, programming poison to our children,” Clemente said. “As a new mother, with a two-month old, I refuse to let these companies, these corporations, call my daughter a bitch, a hoe, a nigger. It’s over. It’s not about ‘free speech.’ It’s about your peddling drugs into the mind of our community. What you do is addicting our children to violence.” Another sobering finding, that TOCZ uncovered, is the reality that White corporate executives have always found – and would always find – Black males who would readily submit themselves for the usage of the devil.
Many older Blacks are familiar with Stepin' Fetchit and the horror of minstrel shows. White directors, in the 1800s, formulated a plan to keep their pale-faced audiences everlastingly entertained. The way they figured it, if Black men soon resolved their internal battle with self-hatred/self esteem and decided to abruptly refuse the role of “lawn jockey” for White-owned media production companies, white actors could simply darken their faces with cosmetic products and perform in a way they believed was natural to Black people – that of drunkenness, laziness, ignorance and incompetence. Luckily for the swine, locating Black men who perceived their prime objective in life to be that of lackeys and coons for White satisfaction has proved to be no daunting task.
In the ‘70s, CBS found it amusing to promote a sitcom called “Good Times.” The premise of the show was apparently to propagate the concept that a family with unpaid bills, horrible living conditions, insufficient food, and domestic commotion was somehow dwelling in “Good Times.” As expected, the cast of gifted characters was incomplete without a silly-acting son whose self-obsession, poor taste and preoccupation with promiscuity was accommodated, and sometimes encouraged, by the loving, yet misaligned set of parents. It was also in the ‘70s that NBC ‘made a killing’ with the variety show, The Flip Wilson Show. A show which, amongst other factors, was most popular for the Geraldine Jones skit, featuring the host, Clerow Wilson Jr. reduced to the role of a sharp-tongued black woman who was devoid of any sense of personal responsibility and always retorted – when caught – “The devil made me do it!”
This phenomenon of Black men unashamedly embracing offers that require appearances in dresses and drags have blossomed into a cash-magnet enterprise. Tyler Perry (Madea) and Martin Lawrence (Big Momma’s House), two very famous comedians, are perhaps the most treasonous in reprising self-imposed roles, where the mocking and open denigration of Black women (whether consciously or subconsciously) is entertained as “humor.” It is somewhat ironic that these two acts are most beloved by Black women, whose mass consumption of “mammy-like” stereotypes helped make Perry and Lawrence instant multi-millionaires.
It is no surprise that the same media which revels in the destruction of Black male identity seeks to fulfill the same with today’s most important Black male: Sen. Barack Obama. More disturbing is the reality that Sen. Obama, like prominent Black public figures before him, is too uninformed to acknowledge the degree to which such acquiescence would redound toward the disadvantage of generations to come after him. One thing is for certain however: Black folks of consciousness have work cut out for them. For Change is not a cheap political exercise, but rather a unified hegemonic force against a system of convention.
One of the groups that was not bailed out during the recent financial crisis has been the American consumer. Congress took care of the firms on Wall Street, but they didn’t take care of the millions of Americans forced to confront the realities of bankruptcy, foreclosure and uncomfortable confrontations with menacing bill collectors. It appears, sadly, that every man and woman must find their own way through this financial tragedy. Bill Collectors really want their money, like the rest of us. Some of them seem to feel that it’s O.K. to resort to flat out thuggish intimidation to get their money back. That might work on The Sopranos, but it shouldn't work in real life. Part of the reason abusive bill collectors can have their way with the public is because many citizens do not know their rights. Bill collectors prey on the uninformed in a terrible way: They may threaten to have you arrested, harass your relatives, call all hours of the night, and engage in other types of atrocious behavior to get their money out of your hide. One woman successfully sued a rogue bill collector after he called her repeatedly with threatening language. The woman, a senior citizen, was told by the man to "Stop with the sob stories and pay your god d*m bill!" This kind of behavior is not acceptable, and bill collector harassment doesn’t have to keep you up at night. The Federal Trade Commission states that complaints against bill collectors are rising, reaching the highest level they've seen in the past 3 years. Most of the complaints focus on vulgar language, trying to collect more than the amount of the true debt, and extra fees, such as court costs. You have rights that can protect you from bad and malicious bill collectors. You want to keep these in mind as you work yourself out of debt: 1) There is something called "The Fair Debt Collection Practices Act". If you are not familiar with this document, get familiar with it. You can read it by clicking here. 2) A bill collector cannot contact you at work if your employer does not approve of the contact. Let the bill collector know that this is the case and they must legally stop contacting you at your job. 3) Bill collectors cannot call you before 8 am or after 9 pm. The only exception is if you give them permission to do so. 4) A bill collector can only contact your friends and family if they are trying to find a way to get in touch with you. However, some of them may do this in order to harass or embarrass you. If that is the case, you may want to tell your friends to tell the bill collector, "She does not live here and I do not know how to get in touch with her. Please don't call here anymore." Then, get the bill collector's information from your friend and reach out to them when you can. 5) You can get bill collectors to stop contacting you altogether by sending them a letter telling them to stop. You still must pay the debt, but they won't be calling you during dinner.
6) The bill collector cannot curse at you or use foul language and they must tell the truth about how much you owe. They cannot threaten to sue unless they are serious about it, and they can't touch your 401k or IRA. 7) If the bill collectors call you, you can demand that they send you a written notice of the amount you owe and who you owe the money to. If you do not believe that the debt is yours, you can write a letter to them stating that this is not your debt. They must then send you proof that the debt is actually yours. If you feel that a debt collector has violated any of these rules, you can contact the Federal Trade Commission at www.ftc.gov. Remember that you are not powerless in this situation.
Dr. Boyce Watkins is a Finance Professor at Syracuse University and author of Financial Lovemaking 101: Merging Asset with Your Partner in Ways that Feel Good. He does regular commentary in national media, including CNN, CBS, NBC and BET. For more information, please visit www.BoyceWatkins.com. This information does not constitute legal advice. For legal advice, please consult your attorney.
