What is There to Do? The Divide, Music and Imperialism, DIY Culture and Metamodernism.
I seen a tweet the other day that described a young girl at an ICE protest who allegedly was making bead bracelets that were easy to break so that way the authorities sent to control the protest could slip on them. For all I know the tweet could be fake, but it did make me ponder for a couple days religiously about how many people I have known, read about, or seen who have done whatever they can, big or small, to not relent against "the powers that be" or whatever you would like to call it. The state, the government, the Illuminati, lizard people, "They", whoever it is you believe in is becoming a rather unstoppable force, especially to someone as the young woman from our hypothetical tweet. At no point in human history has an empire done as much damage worldwide, spanning generations and infecting god knows how many butterfly effects of cultural and military influences alone, as the United States. The real difference between past empires and the US is the sheer amount of resources we will use to innovate and experiment with new methods of incomprehensible terror. The government has no issues spending your tax money on occult practices (whether for legit reasons or just because), coups in foreign countries, mass surveillance, near endless firepower, and funds nearly anything involving any sin or evil you could imagine (this is a wide range I know but I just want to illustrate there's no true focus the state has for its resources, besides general total dominance). This writing is not going to be the millionth essay you read on how bad the government is, there's not much I have to add to that that's not already available to you and is way beyond the scope of this. I just want to highlight the fact the US has a long history of, and continues to, be the greatest enemy to its own citizens, systematically and by design. They, this time for lack of better term, have no problem throwing pocket change at doing whatever is necessary to exercise control over its own people, let alone worldwide. Just look at the 1985 Philadelphia MOVE bombing. Not to get too crazy, but we're reaching the techno-fascist singularity to where our government is not just the supreme leader, but the supreme entity entirely. If through our steady innovations in every STEM field we get closer to the government, and by extension the military industrial complex, becoming the all-knowing/all-powerful presence, and we as people can never settle on who exactly "they" are (illuminati, lizard people, Rothschilds, normal politicians, all of the above, none of the above, etc), are we not just replacing our central power with God? As Wendy Painting references in Aberration in the Heartland of the Real, "Our government is the potent, the omnipresent teacher. For good or for ill, it teaches the whole people by its example." It's the elephant in the room of today, sometimes when you sit back and think to yourself about what all the government has done to have more power, to innovate its methods of dominance, surveillance and control, it becomes overwhelming at the sheer idea of trying to fight back against the omnipotent force that is the United States, let alone similar powers worldwide. So it begs the questions that is being asked persistently, how did we get here? What is there to do?
~ Now before we get anywhere again I'd like to mention that there's nothing much I can add to the two questions, in the big picture that is. That is beyond my expertise enough to meaningfully write about, let alone add to the conversation of. What I would like to shed more light on, and that I would like to think I have expertise on, is what the answer to those two questions are within the context of culture and music. I have not seen too many articles or essays about this topic (which makes sense because no one is trying to read about that while children are dying worldwide, I get it), but like our kind alleged bracelet lady from the tweet I need to offer whatever I can, whatever I can truly add, to this time we're in. ~
Alienation (within Marxism) - "Alienation in general, at the most abstract level, can be thought of as a surrender of control through separation from an essential attribute of the self, and, more specifically, separation of an actor or agent from the conditions of meaningful agency. In capitalist society the most important such separation, the one that ultimately underlies many, if not most other forms, is the separation of most of the producers from the means of production. Most people do not themselves own the means necessary to produce things. That is, they do not own the means that are necessary to produce and reproduce their lives. The means of production are, instead owned by a relatively few. Most people only have access to the means of production when they are employed by the owners of the means of production to produce under conditions that the producers themselves do not determine." (York University)
"In theology, alienation referred to the distance between humanity and God; in social contact theories, it meant the loss of an individualās original freedom, whereas, in political economy, it referred to the transfer of property ownership" (Musto, 2010). In Marxās Economic and Philosophical Manuscripts of 1844, he presented alienation as the phenomenon through which the labor product confronts labor āas something alien, as a power independent of the producer.ā
In easier terms and to combine the last two cited paragraphs respective definitions, Alienation describes an almost independent "alien force" that estranges and strips the individual of their own humanity through their profits (or lack thereof, since the worker is never designed to own the production or profits in the first place) and labor under Capitalism. This is integral to understand for what we are trying to answer.
(I can't help but recommend reading "Gen Z Lives in The Archive" by Katherine Dee and sam buntz on Substack, I think it provides good insight on this next part.)
The first thing I would like to address is the "how did we get here?". While every generation builds upon the one before it, around the 1950/60s this snowballed. It started the literal beginning of the label of "counter-culture". This greater divide between a generation and the one before it, more than any up until that point in human history, led to a major worldwide shift. For the first time, a single person could live what multiple generations before would experience in just decades. Instead of an "era" or "period", they were shortened aesthetically and classified by the decade. The Victorian Era vs. the 70s, The Renaissance vs the 80s, etc. Along with our aforementioned constant advancements in every STEM field, led to an acceleration of information and culture at a pace no one person could keep up with. Objectively, this was an amazing thing. Life expectancy increased, communities prospered, advancements and flourishes in every industry imaginable. Only one thing, in the background akin to memory's evil twin Nostalgia, culture's evil twin, profit, grows equally as fast. The Divide (as I dub it because I'm not sure if there's an overarching term for this, and this my website I'm paying for it) takes advantage of sexism, racism, homophobia, xenophobia, every prejudice and selfish individual/hedonistic ideals (whether knowingly or not) and gears it towards a greater divide in class and economic status. This divide then forces the individual to partake in these pseudo-cultures that are not rooted in real community or that are imitations of real culture/community or experiences in the form of escapism (and materialism if one can afford, but that's a form of escapism in my book). The alienation through this divide rises exponentially, policy and societal change cannot keep up within this system to adjust, nor is there profit incentive to sadly. Since the worker will never own their own means of production, their own labor, their own profits, their own possessions even (through renting forever, new subscription models, etc) and are stuck to just survive, escapism is all one really owns. Escapism can only last so long, as culture or ideals snowball, sometimes even fueled by their own escapism through media, people turn into a generation turning. The 60s, while being known for being free spirited and "the love generation" and albeit it was, was also the beginning of the end so to say. The 60s spawned a trend of mass murders, serial killers, police brutality, mass protests, communes, occult practices, etc.
Now I know what you're thinking dear reader, "Kane, you dumbass, all of these things were going on way before the 60s". You're right, but the 60s introduced a new widespread vehicle for it all: the television. Televisions became common in American homes during the 1950s, with a rapid surge from under 1 million sets in 1949 to over 50 million by the end of the decade. By 1953, over 50% of households had a set, and by 1960, roughly 90% of US households owned a television, surpassing indoor plumbing. From this point onwards, the average American was influenced by almost everything at once, from literal carnage of the Vietnam War and the experiments the government was cool with disclosing, to childlike cartoons. A serial killer, a cult commune, a banker who has a wife and mistress, a rock star, a literal slaughter to a foreign country done by the people who ask you to pay taxes, could be available to view within 24 hours in the confines of your own company, as long as you had a television. This was then even a profit incentive for the media from then on, as higher viewership meant higher profits. This contributed to widespread riots towards wars, diseases, disagreements towards policy, etc. The government soon realized that their citizens were their biggest enemy, and they accidentally supplied them fuel constantly. They realized they cannot relent, so thus began the absolute and total focus on control over the US population domestically. As mentioned before, the sheer resources the federal government is willing to commit under the ever growing umbrella of "national security" is far beyond any in human history. You will not see bloodshed on TV anymore, serial killers are shown on TV with pictures of them walking their dog, a pedophile playing tennis, nothing to make you hate the state more than you already do. This worked for a while, the 50s-90s being considered damn near a golden age in aesthetics and culturally, I mean shit that's why we constantly reference those times over and over again. Nostalgia is a bitch. I'm not going to vent any longer about decade spanning art or whatever, but I would like to fast forward until recently, to I'd say the late 90s.
The late 90s ushered in man's greatest invention: the Internet. Unlike television where you can almost see everything all at once that's happening in the present, the internet lets you see everything all at once, past and present. It leaves almost all control within the user's hands, letting them build upon it, further building to the "everything". I'm not going to tell you things about the internet you already know. I just want to point out that this is the television at its perfect form, and we're the counter culture of now instead of the 60s. The Divide I spoke of earlier, is now greater than at any point because of the internet, and we are reaching a critical point. Through the internet, the youth of today has reached a point of being almost alienated from the world that came before them. I am not saying that in a "these kids always on they damn phone" sort of way, but in way that gives context into what they feel. If you feel almost shunned, not belonged and alienated from the world and society you live in, would you choose to understand and support that system? Within this same system that you feel alienated from, you see media constantly from your phone 24/7 that shows atrocities akin to the television of the 60s pre-government patch. Keep in mind, now this media I speak of comes from past and present via online access. The user can easily see a war crime filmed by the person witnessing it, directly look up who is responsible, who they get paid by, and how many times this has happened in history. That's just within the first 5 minutes after waking up. This inevitably, worse than ever before, creates an Us vs. Them mindset. For example, today I opened the application formerly known as Twitter and within 5 minutes saw Tehran looking like the Book of Revelations, a Gucci Mane song I've never heard, a thread of resources to read about every protestor that has died by the US government, and some tight ass pants. Now obviously this is my one isolated experience, but most people I know say the same thing about their timelines on various apps they frequent. I could only imagine what someone 10 years younger than me is seeing within 15 minutes. The point is, over the course of years of us doing this, how can you possibly look someone who is 45 in the eyes and come to a civil agreement when they're falling for some AI occult video on Facebook that was originally made by someone in Belgium looking for some easy passive income? What if that generation, that has easily been engulfed and alienated from the world/generation of today, are in power? What if they were to hold the largest stakes in our economic system, and by extension, our governance?
Before I talk about the musical connection to all of this, I'd like to point out the ever present idea of imperialism, physically and culturally. While the physical examples of imperialism, domestically and internationally, is something you can easily find and I could never give a good in depth insight of, culturally imperialism happens without us consciously knowing it seems. If I take a penny a day from your bank account, when will you notice? An example I'll give is Drake, cause we love to joke around about Drake. Drake is notorious for stealing some new accent and culture every couple of years. Drake recently had a huge influence on ushering in the new American embrace of latin music and latin culture by extension on a stadium scale. Which then means more money flows from the labels (the cultural version of oil companies) into latin artists, which they'll then market and research more into latin communities, share that data with other companies, collab with latin brands to jerk on the heart strings of the latin community, which then more latin restaurants will open, etc. You catch my drift? Drake, through his "labor" in colonizing his portion of the latin community, now has a larger stake within culture as a whole, which then means he has a larger stake in our capitalist system, which in turn means more power and influence. While at face value, this might be the start of a greater worldwide representation of latin culture as a whole, an objectively great thing. On the other hand, why should it be Drake, shareholders who are alienated, A&Rs, and DSP employees who be the ones who curate our pseudo-latin culture that we think we appreciate, when it never came from the hands of the original community to begin with? Why are white people so comfortable with starting a gentrified taco truck? And what of the pioneers of Corridos, who died at the hands of the drug trade constantly just for the opportunity to express themselves? Do we expect the world to cancel out their work just because Drake and "the industry" decided they wanted to start making money off of their sound?
This perpetual cycle of imperialism and colonialism is not unfamiliar to us, we're just desensitized and justify it as representation. The world has been harping off of black culture since the dawn of this counter culture we spoke of, corporations pretending to be an empathetic human during pride month, forced alienated inclusion within media, etc. The real kicker of it all is in our current system, this is all apart of "making it". Whatever industry, sector, community, or basically any facet of creation from humans start from some grassroots/DIY/smaller means, and rely upon some larger entity, corporation, organization, "something", to bring them onto a larger scale. This constant cycle is how our free market economy works, how international and domestic markets move, where media points to, and where the publics gaze is. A small genre created in a Discord server is picked up by a record label, thus creating capital from anew. A team of teens making a small passion project is sought by venture capitalists, intelligence agencies, or worse, defense contractors. A cherished family farm which produces fruit manages to get to level of scale to have a glimpse of generational wealth, to then be bought by a private equity firm to squeeze and optimize every last bit of profit from (which this is the better outcome assuming they're in the US, abroad they could very well die from the hands of the US, maybe even as an accident of miscommunication, before they ever reach this point). Since the dawn of a free market economy and Capitalism, have humans relied on either a larger group holding a large stake in our economic system (sometimes locally, sometimes on a larger scale), or institutional/state funding for access to a greater life or advancements in their respective fields. Either that, or you have to sell your body to the government through military service, or become a prisoner within the "for-profit" prison industry. As Mark Fisher so eloquently puts it, āOnly prisoners have time to read, and if you want to engage in a twenty-year long research project funded by the state, you will have to kill someoneā.
Everything mentioned up until this point brings me to this, "what is there to do?". I would like to call back to before, to the television and internet comparison and relate it to the last paragraph. The way television programming works is key to how that respective industry could be swayed or influenced. Either a local station or a "for profit" station (for lack of better way to put the large umbrella of telecommunication corporations) broadcast media, but all still from a central organization whether the state (local stations) or a company of some sorts. This is the exact opposite of the internet, and while internet providers can restrict what you can visit/access, they cannot restrict the users. If you want to watch a cooking show, you can look that up right now and find someone recording with their phone. There's no need for a production company, or larger corporate entity. While in this instance yes you have to rely on let's say, YouTube, to host the video, but there is nothing stopping that same uploader to just upload it to a different platform. This adds immense power to the average person, albeit still not total control. This is very important context to what follows, and to the overall question of "what is there to do?".
I personally would never ask someone's opinion on the potential ailments to a disease, unless they were an expert in the medical field. So I won't expect you to read my opinions on community organization, mutual aid, revolutionary tactics, etc. I do however know a lot about music, and the greater implications of art and culture on a socioeconomic scale. This is long enough, so I'm not going to give a short biography of me to plead my case in how much I have researched these topics. I will say my whole entire life, even as a child, was dedicated to researching music, even way before I ever thought about making music. My childhood was dedicated in large part to researching hip hop music, which is deeply rooted in counter culture, anti-classism, anti-colonialism, much of what I have discussed here. As much as I would love to talk about the history of hip hop, this is already long and outside of the focus of this essay.
We will fast forward to when the internet was first introduced into the hip hop world.
The introduction of the internet slowly pulled the power away from the professional studios, and in large from record labels. Fruity Loops (FL Studio for my dumbasses out there) was pirated by and large (another community grassroots led system) to many laptops. Sound kits were bought off Craigslist and newspaper ads. Infamously, the "Crank That" beat by Soulja Boy (2007) was made only with stock sounds on FL Studio. Speaking of Soulja Boy, we love to joke around about him saying "I was the first rapper to do ****". It is funny, but it is not without merit. Soulja Boy was never the first rapper to use FL Studio, or to upload music on Soundclick and YouTube, but he was the first rapper you most likely know about that achieved such height with just tools accessible by everyone. While he was the first superstar with these new advancements, I never think about him as the person who ushered in the age of internet music, or anything like that. However, I do think he was a catalyst of sorts for the newest frontier of artistry that would potentially be the biggest influence culturally to the youth online: Atlanta.
The blueprints of music today were founded by the innovations of the hip hop community in the southeastern United States. You could go back to Cash Money Records, a total grassroots led label that led to the most infamous label/marketing architecture that would soon be followed nationwide. Maybe more notable to the average person is Three 6 Mafia (I think more in specific Juicy J), who innovated the same methods of Cash Money, but this time synthesized the two worlds. Three 6 was able to strike distribution deals, partnerships with labels, and melded the club and street scene of Memphis to the world, potentially having a larger cultural imprint. I bring up this in particular because off the top of my head without being there, these 2 would have been the first regional cultural acts to be shared via the internet for the first time. This would then set the stage for Atlanta. I want to give context to this, because these southern hip hop influences on Atlanta were not just musically or culturally, but socioeconomically.
Atlanta was the first regional footprint to be able to use all recent STEM and web advancements and meld it perfectly with creative expression. While it wasn't the first time an artist or even organization decided to cut out the middle man or a higher organization with a larger stake in the capitalist system, it was the first regional influence to cut out these respective powers and use the internet strictly as a vehicle to express and create a living directly with their community (direct to consumer). We cannot talk about this without mentioning the infamous Gucci Mane mixtape run that could debatably be the most influential body of work to music online in general (rivaled only by maybe Chief Keef, Kanye West, Drake, Future, and Young Thug but we have to keep in mind even he influenced most of these artists). Producers like Zaytoven, Shawty Redd, Mike Will Made It, and Drumma Boy just to name a few, have had untold influence on the sounds we hear today, let alone through the internet. This created a perfectly DIY, grassroots, community led effort to "make it". While the preexisting avenues to success were still there to suck upon everything you know and love, Atlanta proved that just through the internet and the tools at your disposal, against all odds, you can express yourself and maybe even make a living without relying on a larger body to own either part of you, or your labor.
Speaking of preexisting avenues to success still innovating it's methods to today's market to then take everything you know and love and turn it into capital to drain every last drop of profit out of it until you are so far alienated with what you once loved, let's look at that within recent circles of DIY/community driven efforts. First off let's start with what we alluded to before, trap music. While what I spoke of was beautiful, it then became another movement to sell to labels and agencies, who then extract every dime out of it. We love to joke around about being a "Soundcloud rapper", but in reality, being an artist experimenting and expressing yourself within a community on Soundcloud is way more pure and community driven than "making it" by surrendering your humanity to the larger corporate model, aka "selling out". So many artists and scenes have been devoured from Soundcloud to the "Soundcloud to label to celebrity to alienated being" pipeline. Rage music is one in recent years, as we see what has happened with Yeat. It's not just hip hop, hardcore music is being destroyed by McDonalds ads with Turnstile's music in the background (it's actually an Olympic ad but you get it). I actually hate country music, but even it is now just basically another platform in itself for right wing ideologies and brands that market to that lifestyle. Then again, that's all we ever see. Being "alt", "punk", "goth", etc, were once rooted in such beautiful communities. Now, it has just been degraded to a marketing term and just another adjective to add to the buzzword list, again, alienating it from what it once ever was in the name of profit. Then once you circle back to my Drake analogy from way earlier, it really makes you sick. This evil, this bloodsucking of pure community efforts, it makes you demand now: what the fuck is there to do?
In short, culturally, we need as much due diligence as possible. There is no more of naively walking through life, "not caring about politics", and just enjoying/selling things just for the sake of profit, but that's obvious. Recently I have really been enamored with the Gen Z/A of today, they are so alienated from corporations and higher stakeholders in our system (and some outright do not know how the system works, but they are not to blame as past generations could refuse to, further adding to the system they are estranged from) that sometimes it seems in the face of it all, all they, and really we, have is each other. In the wake of mass surveillance, cultural imperialism, techno-faschist governance, the ever looming threat of doom (whether that be through climate change, economic collapse, nuclear war, or in a personal sense, immense depression that is like hell that seems like everyone feels and can't get out of) we have no choice but DIY efforts, grassroots movements and community. Those are the only things that as long as humans are breathing we will strive towards. There is no more time for idealism, or caring about "what if it's all a simulation", or why you think these two obviously scripted old British men rapping on TikTok for ad revenue over drill beats can compete with "mumble rappers" because in the end, the US government will still be bombing children worldwide, be funding ways to control you more, and you will just be at the hands of what you consume and what you decide to give profit/your labor to.
Honestly, in the wake of times like this I think about electronic music. In the past 5-6 years I've tried my best to study electronic music like how I used to with hip hop. What amazes me about it is how it is innovative, but stays in person and community driven. The icing on the cake being that it thrives in spite of having its history and mainstream influence constantly smeared through racist, sexist, transphobic, xenophobic, and classist control. Most electronic music consumers have no idea who Frankie Knuckles is, or how hip hop music (and almost all music at large) is directly linked to electronic music's history. Early hip hop production was heavily influenced by electronic German Industrial music (i.e. Kraftwerk), and who can truly gauge the influence of Funk's electronic dominant characteristics on the genre? Electronic music and its influences have had untold influence, and uplifted many minorities and historically outcasted groups throughout it's history. Does that not sum up the history of any great change, especially in American history? The constant advancements and innovations done by minorities and any group who suffers prejudice and does not have a fair shot at life, are the ones who drive us forward worldwide in every industry, most of the time having to create new industries through DIY methods. To thank those groups, we then sell their own culture back to them after sucking all the profit out of it, just to smear the history of it. It reminds me of women's purses, which were made because the lack of pockets in women's clothes were sexist in the first place. Electronic's music power is also very large and political. Besides the normal cultural shifts music has I mentioned before, this genre encourages and commands you sometimes to be in person. People hold underground shows that you have to be in the know of, DJ sets are just recordings of what you could've heard in person. A DJ commands a whole group of people in one room. In the contrast of all the negative examples I have mentioned of topics in this essay, I'd like to mention a positive example of this. There was a music event hosted in New York where the DJ played a whole diaspora of Electronic music that spanned its whole history, the genres influenced by every nationality, every ethnicity, worldwide. Sponsoring said event was USB Club, a file sharing platform that encourages users to share files with people within it's software (only available to people who own a USB Club USB) and view files from users that include even top researchers, who provided a firewall so attendees at the event could privately share files with no oversight from governance or surveillance. The implications of such an event almost bring tears to my eyes.
Another huge influence Electronic music has had on me (in a way you could view this whole essay as a love letter to the genre) is the discovery of direct political action, art praxis, and Metamodernism. Metamodernism is defined as "a cultural philosophy and aesthetic characterized by an oscillation between modern enthusiasm/sincerity and postmodern irony/cynicism". In an emotional context, it describes the attitude I described earlier with current generations. In the face of powers that seem like God, with a future that seems inevitably bleak, what is there to do but post memes, get on Discord, bedrot, and go against the government? A staple of Metamodernism lies within that idea: if there's no use, what do I have to lose in trying? Because that's the thing, we HAVE to try. Since most of its ideals lie within community and a sense of sincerity, it teaches us our system by design is not meant to support both sides of this oscillation at the same time. People today must create a new future, but while being aware of the past. Pragmatic idealism is another focus, saying that we must pursue meaningful and sustainable change while acknowledging systemic constraints and the impossibility of a perfect solution. Since there's no true perfect solution, we must embrace each other's respective lived experiences and subjective meanings. We must not try to apply the age old ideal of the human brain loving simple solutions to complex problems, we have to chase the understanding of the interconnectedness and complexity. People like Greta Thunberg are a great example, who with sincerity/empathy and great understanding, use DIY means to disrupt an ever-growing connected and complex world. As "The Greek" said in The Wire, "This New World, it is not so big".
((((Authors Note : before moving on I want to acknowledge some of those sentences might come across as saying we have to "meet in the middle" with people in power, I'm not saying that at all. As Malcolm X was potentially referencing from Jean-Paul Sartre, "I was not the one to invent lies: they were created in a society divided by class and each of us inherited lies when we were born. It is not by refusing to lie that we will abolish lies: it is by eradicating class by any means necessary".))))
Speaking of New World, to end this I'd like to talk about look at this time through a historical lens. During any huge history changing era/event, I'm sure the people of that time did not know. I'm talking humanity changing level, The Renaissance/Enlightenment, The Industrial Revolution, that type of thing, did they know? I'm sure they felt something in the air, some great bubble bursting, that SOMETHING, only the universe knowing what that is, would change. This is undoubtedly one of those times. People reminisce on the past, to cultures they'll never touch or may have ever touched, and use nostalgia as some form of escapism to inspire and fantasize about what they want in this world. These people are fools. That world in which once was is dead, and the world we currently live in cannot sustain any longer. We must take each other's respective cultures and history, and come together to create a new world. In a musical way, I am hugely inspired by the movements in the UK and international underground scene as a whole, using their own cultures and music that have been shunned and smeared away (like electronic music) to make something entirely new to thrive (I will write on this in more depth soon). In a modern, or Metamodern sense, we share cynical memes that are rooted in real activism, in real communities, in real spaces. We are all just connected by this interconnected thread, which we now have a physical manifestation of by the internet and its infinite cultures. There's a world out there for us to change, but first we have to get out there and get together while keeping our technological innovations in mind (as we've seen in recent years). It is now more imperative than ever to use whatever you can, whether it's a skill you have or just some knowledge in, to create change within your community and fight back. Use whatever means you have to theorize, act, organize, contribute, start a mutual aid, a community garden, a resource list, SOMETHING. It is the responsibility we all hold for future generations, to do something for our world. Besides the future generations, what else do you have to lose or to do? Just bedrot and idle away while the world changes before you, while you live isolated in the comfort of your first world life? Is it comfort if you're just surviving? If we do not act now, there's no chance any future generations will even be able to answer those questions or have the right to that existence, let alone have the time to ponder them. I am not excluded, all I am doing is sitting here typing on a blog listening to Len, I live a very privileged existence. Since I'm sure 90% of you are living an equally as privileged life in a first world free market system, it is our responsibility for the rest of humanity today and in the future. For as long as I live, I will continue to theorize and contribute any way I can. So if you know how to make bead bracelets, please show up at the next protest, we need you.
FUCK ICE
FUCK THE US
FUCK ISREAL
FREE PALESTINE
FREE THE PEOPLE OF THE CONGO, SUDAN, CUBA, AND ANYONE AT THE HANDS OF ANY IMPERIALIST NATION