The drum sounds philosophical beats that engage us all and compel us to strive for a better life. These are mystic licks calling for unity, in a global march for dignity, liberty and peace. Booming beats beckon us to free our minds and take a road, full of obstacles, ambushes and dead ends. The drum calls us to a sojourn of conscience, one that can only be successfully traversed by those aligned to the people and their collective interests. The drum calls us to journey to redemption. A journey that must, of necessity, reshape our soul and resurrect our twisted minds. . . .
African identity is much more than glamorizing our past. For proponents of Pan-Africanism it’s really a recognition that there are 2 billion Africans worldwide, living in 120 countries and in each of those countries we occupy the bottom of society. And, at the core of this is the continued subjugation of Africa. . . .
ur focus must be on ideological and political development of the masses. The enemies of our people are in our midst and only mass, revolutionary African culture and organization can combat this reactionary behavior. We must collectively reconstruct not only the ethical and political foundation for a new African society but also reinvigorate revolutionary and principled people willing to build an ethical and principled society for the future of Africa and all our African communities. . . .
Reggae—roots reggae specifically—is one of many overt cultural manifestations of resistance and radical movements. Though reggae did not directly come out of Africa, its main component, the drums, is a strong and pure African influence. The drums are the very first thing one hears in most reggae songs—and that’s for a reason. The drums are the heartbeat of any reggae song. . . .
The art of accountability relies on consistency & integrity. Without consistency, there can be no standard. Without integrity, there can be no honor. As a collective it is imperative for a people to have an honorable merit of excellency that is most beneficial to the whole. . . .