If you have ever thought of hip hop lifestyle as just another way of staying hype in the hood, hanging on the street, smoking weed… or even pushing the crack all night, then you’re obviously wrong or omit the real knowledge about what rapping has all become about now. Fasten your seat belts then and prepare for the journey into The Black Myth dimension.
Long time ago, as they call the previous century, there was a musician and jazz composer, extraordinary, outer celestial newcomer from the planet Saturn, which baptized himself with a name Sun Ra, expressing his deep Egyptian sympathies. For to Egypt lead his studies over history of „black culture”, where he found eventually the origins of the whole human culture. As a matter of fact he wasn’t philosopher and didn’t practise any religion either, instead he believed in what he called „subtle living equations”, occult, higher law, which he tried to harness in order to liberate Earth from the rules of vile Demiurg.
Mainly he had been unveiling this ever present fight by his afofuturistic music, in which he explored the meaning of The Black Myth, but he left some written impressions as well. In his beatufiul poem, Cosmic Equation, he wrote: Subtle living equations Clear only to those Whose wish is to be attuned To the vibrations of the Outer Cosmic World Subtle living equations Of the outer realms Dear only to those Who wish fervently the greater life (Sun Ra, 1965)
Throughout his whole career we can see profound desire to join the community of this noble, outer space, „angelic race”, which has found Egypt as its home, as he was convinced. Sun Ra wasn’t a lonely exile though, rather was he a typical team player always surrounded by crowds of friends and open to any form of creative collaboration, which he was proposed.Warm words had spoken about him John Cage and Amiri Baraka, then from his own statements had poured out a deep concern about the fate of humanity.
In one of the interviews conducted by John Sinclair in 1966, Sun Ra explained the meaning of his secret code of reality stating: Because they’re changing ages – one age moves over into another one, and the rulers – they’re in trouble. You’ve got not only a change of age, but a change of laws – the law that has been the law on this planet has moved over to no longer be the law. Now when that happens, and since this planet for thousands of years has been up under that law of death and destruction, it’s moving over into something else which I choose to call MYTH, a MYTH-SCIENCE, because it’s something that people don’t know anything about. That’s why I’m using the name MYTH-SCIENCE ARKESTRA, because I’m interested in happiness for people, which is just a myth, because they’re not happy.
Sun Ra’s afofuturism was very closely related to ideology of Marcus Garvey, Malcolm X or esoteric theology of The Moorish Science Temple, established 1913 by The Most Noble Timothy Drew Ali in Chicago. Afrofuturism was reflected also in ideal manner by music of Miles Davis, John Coltrane, Ornette Coleman or Fela Kuti. The other leading examples of tuning into worlwide net of The Black Myth are „rastafarian prophets” such as Burning Spear, Jah Shaka or in particular Lee Perry (who’s very likely to believe he’s an instant incarnation of Budda, Allah, Jah, Krsna, identical with the Internet as well as having visions of Lion of Judah levitating over Titikaka Lake) – he reached with their roots reggae message absolutely mass audience in the last 30 years, gaining widespread, memetic influence on the global culture and becoming kind of cult personality.
It’s worth mentioning that this influence in The Western World is largely due to post countercultural abolition of fixed identity and exchanging it for collage of multiple, arbitrary (often randomly chosen) elements. This is the movie we’re actually in – the politics has been deprived of the leading role here, as well as nationality, skin color (so called race) or even position in the social hierarchy.For the screenagers generation there is only one issue left… music. Due to the Internet, which involves globally circulating music, possible become to proliferate mems on a large scale by many subcultures, faiths, sects, NGOs, ideological parties or just business networks and corporations, the music has become one of the greatest powers of nowadays world.
It’s not so strange then that one of the hottest battlefield right now is a music market, which is the intersection of all the imaginable contents of collective unconsciousness. The Black Myth has been one of the most strikingy present on this „market” for the last 30 years, but hidden in a niche of its own. Today we’re facing the next stage, which lets it be domesticated by popular culture, to weigh anchor from any specific cultural or ethnic language roots. However one of the most important is still connection with popular black culture expression – hip hop subculture.
The new revelation of gnostic pop vodoun is The Black Dot, most profound rapper you could imagine, straight from Harlem, NY, author of disconcertingly mad book Hip Hop Decoded: From its Ancient Origin to its Modern Day Matrix and DVD series 5 Bloodlines of Hip Hop or Hip Hop Is Dead.Watching the 5 Bloodlines of Hip Hop we’re acknowledged with the real Black Myth trace being ensured that the spirits of ancestors are still alive. The Black Dot takes for granted that black ancestors had stepped to Earth long time ago through Five Bloodlines, which can be identified by sci-fi freaks as something like Stargate stuff. These five would be: Earth identified by The Black Dot with Hierogliphs, Water identified with Dance (shake that booty thing), Fire identified with Griot (praise singer and wandering musician among Malinke, Mandinke and Bambara of Western Africa) or Oracle, Air identified with Sacred Drum (for instance could be haitian Asotor Drum) and Ether identified with Knowledge. This was the way black people gained their precious culture and original indentity.
However, happiness hadn’t lasted long, the troubles had come in forms of deadly and vile vampire-mutants, which sucked up the whole bloodlines and seized the spiritual connection with ancestors leaving black nations in long lasting despair. As The Black Dot claims, redemption was long to be received for the black people, which were supressed and abused during all that time waiting for reclaiming their lost Wisdom. It came eventually in 1973 largely due to hip hop, when the superheroes appeared such as Afrika Bambaataa (founder Of The Universal Zulu Nation) and Grandmaster Flash (one of the best Djs ever), who revitalized the lost bloodlines and brought them back to life. The old ancestors’ manifestations have been transformed into B-boying, Rap, Graffiti and Turntablism, joined together by Knowledge.
Although the new battle was to begin, vampire-mutants quick started to spread their agendas again, creating deadly style known as gangsta rap, which was a nail in the coffin. The Black Dot has found, however, the leader of this turmoil, which is Jay-Z, being mounted amongst many other pop rappers by the forces of evil. In spite of such difficulties our Harlem’s activist has been still irreconcilable optimist believing that real hip hop is going to win this war in 2012, when it will approach an Omega Point and tune in to the rhymes and beats from the highest dimensions.In his book
The Black Dot also writes about the reasons of starting his mission explaining why hip hop is dead: I started this story by saying there’s a war going on. It’s more than just a rhyme war, or a mind war. It’s also a spiritual vs. a material war with many other factors involved. Everyone knows that rhyme pays including the „Government.” So when they couldn’t shut it down in the early days because of its high demand, they made sure they got paid a very high percentage before the product even hit the streets. Yet even this wasn’t enough. The government wanted to control the type of product that hit the streets more than anything else. The earlier rhyme families always gave the streets something uplifting, motivating, educational, conscious, or spiritual. This presented a problem for the government. They didn’t want product that freed the minds of the young hitting the streets. This kind of product was considered dangerous and something had to be done. So positive rap was destroyed, and in came gangsta rap, followed by the playas, pimps, hoes, hustlers, and thugs.
So may we say that the war is on for hip hop, then we’ve encountered another good reason to believe in the power of black culture, which has been very often mistreated and misunderstood in The Western World. Stay tuned to The Black Myth agenda, rappers have got many more things to say…