• ::: Dr. Ernest N. Emenyonu: Achebe and the Problematics of Writing in Indigenous Languages
  • ::: Mike Thornton: Black Farmers vs. USDA
  • ::: David Mandessi Diop: Aux Mystificateurs

::: Dr. Ernest N. Emenyonu: Achebe and the Problematics of Writing in Indigenous Languages

::: :::

“Two things emerged from the annual Odenigbo Lecture given by Chinua Achebe on September 4, 1999 at Owerri, Imo State, Nigeria. First, the lecture brought Achebe into a head-on collision with Igbo Linguistics scholars. Secondly, it forced scholars of Igbo Language and Literature to start debates again on the problematics of creating literature in an indigenous language in a multi-cultural, multi-lingual situation where a foreign language as official language, has gained national currency even at the grassroots and marginalised the status of mother tongues, as is the case in Nigeria today.”

::: Mike Thornton: Black Farmers vs. USDA

::: :::

Mike Thornton of Full Logic Reverse interviews Gary Grant, former president of the Black Farmers and Agriculturalists Association, about the events surrounding the Pigford Consent Decree. According to the BFAA, “The USDA finally admitted to both Congress and the federal courts—what Black farmers had been asserting and otherwise stating through public outcries for decades—that the USDA was engaged in a systematic effort to expropriate the land that African Americans had acquired since slavery, back to the sons and daughters of the original plantation owners. The USDA had developed a sophisticated system of allowing its agents to discriminate against Black farmers by delaying, denying and otherwise frustrating the efforts of African American farmers and their heirs from obtaining loan assistance necessary to maintain their lawful and constitutional right to engage in the vocation of farming.”

The relatively ‘minor’ events at the South Central Farm here in Los Angeles remind us again that there still is a struggle for the land here in the United States of America, that there are people who are willing to work according the most ancient, authentically conservative world view: the people directly toward the land and the land directly toward the people. That the very idea of Black people actually wanting to farm for a living is almost laughable for most urbane North Americans is yet another towering example of the mind control powers of the centrally-controlled mass media. Africans were stolen away to this country to work the land. To match the cynicism and Dadaism of pop culture, we can call this horrible experience a job training program that should have made a majority of us the best farmers in the world. Gary Grant details some of the reasons why this is not the case.

::: David Mandessi Diop: Aux Mystificateurs

::: :::

Notre deuxième présentation de la poésie de David Mandessi Diop, suivant « Les Vautours, » est une collaboration avec Ousmane Sembène, le grand talent qui est souvent appelé « le père du film Africain. » La poésie de Diop est mélangée avec les images de Sembène. Cette ‘collaboration’ était dirigée par moi—et, dans ce contexte du rasx() ci le but est créer un « mash-up » aussi naturel que deux frères faisant ensemble les corvées du jour. Les deux hommes tracent leurs origines à Sénégal. Les deux hommes survivaient ce qu’est appelé « l’ère tutélaire ». C’est la période du colonialisme résidentiel des pouvoirs européens dans l’Afrique—la rénovation moderne du « God complex ».

Diop s’adresse aux ces divinités tutélaires directement dans « Aux Mystificateurs ». Il semble qu’une seule image, prise du film La Noire de… (The Black Girl from…) de Sembène, est la compagne idéale pour le sentiment de Diop. J’espère que les avocats de divertissement Américains sont d’accord avec moi. Utilisant quelques plus images de « La Noire de… », j’ai fait encore deux tentatives avec les œuvres « Temps de Martyr » et «Les Heures ».

C’est intéressant qu’Ousmane Sembène soit aussi écrivain professionnel. Je suis curieux de son opinion de la poésie de David Mandessi Diop. Devrait que ces deux frères travaillaient ensemble? Regardez et lirez pour vous-même.

Buy this book at!So we here in the kinté space try to make a few pennies from working on the Web—and I must say in defense against children of inheritance blowing Internet bubbles with SOAP and other Web services—that my financial goals on the Web are relatively humble (no maxing out credit cards with six-figure networking equipment and sleeping five deep in luxury Silicon Valley apartments used as barracks for aspiring billionaires). I’m looking first for revenue that can pay for the dollars used to keep running. The next levels of revenue are considerable and so I consider them…

So, is one trickling revenue stream. The affiliate program offered by this company (and others like provides me with an opportunity to ‘ask’ for money from the Internet public without using more violent, commercial methods of mass-new-media advertising (pop ups and floats). The affiliate income recorded by provides me with some kind of window looking out to the kind of people supporting The following product purchases reveal a very intriguing group of people:

So it goes without saying—but I will write to you all—much appreciation for your support. Your generative efforts are making history. Welcome to the kinté space!

Some Security Now! podcast has me linking to SSL Explorer.

Being aware of may be of use to me in future.

I still fail to appreciate JSON and reading “Converting Between XML and JSON” by Stefan Goessner still rolls right off me. Here’s a quote from “HOWTO: Use a Web Proxy for Cross-Domain XMLHttpRequest Calls”:

Use JSON and dynamic <script> tags instead of XML and XMLHttpRequest. You can get around the browser security problem altogether by making your web services request directly inside a <script> tag.

For some reason, I think this advice is related to “Yahoo worm demonstrates AJAX threat.”

Adobe InCopy reminds of that word processor in the Quark Publishing System from the early 1990s, copy desk (?). However, InCopy should have far more respect for XML than Quark.

The Meaning of ‘Ubuntu’—Explained by Nelson Mandela” says it all… What’s really sad is that there may be too many Africans who are embarrassed about not finding a direct translation for the English word “love” into their “native” language—such folk do not understand what it means to live in a world where there is so much love that there is no need for the word “love.” Love requires hate… Ubuntu is just Ubuntu.

I think it’s illegal for me to link to I’d rather use… really…

Arthur Widmer passed away last May. I will assume that he refused to participate in any documentaries about him—otherwise not making a documentary about his life seems to be quite an oversight.

You can never know enough about the HOSTS file.

Dave Chappelle as Rick James

Dave Chappelle held a Haitian-like rebellion in the intellectual Vietnam that is the war for the hearts and minds of young people. Right now he is on hiatus—but he said that he is a Muslim on Inside the Actors Studio—so just for saying that—plus going to Africa—means his hiatus might take a spell.

The Rick James sketch broke out of the ghetto of one-dimensional Def-comedy, black humor. It was a multidimensional tour de force that finally took a lesson from the humor of George Clinton and Richard Pryor. Every kid will go around saying “I’m Rick James bitch” until the pus-dripping corporate cows come home—but there were other bits of information in this historical sketch that won’t be fully appreciated until a white person makes an Elvis copy—and then it will suddenly be ingenious. These are a few points:

  • It was the first time in Black television history that the subject of what is called “self-hatred” was made into fun. Rick James clearly had issues with strong African features. Rick James loved Black people but he did not love Black people—this logic escapes the dialectical mindset. The way he addressed the Murphy brothers as “the darkness brothers” and the deliberately-cast light and white women surrounding Chappelle playing Rick James sent a clear message to the properly schooled. I’m trying to flip through 1970s episodes of The Jefferson’s or Sanford and Son to see a precedent but I’m sure this is a first. Deliberately and consciously sending messages like this cannot be understated. Remember who Dave Chappelle’s mother is (you are not going to get her information from…
  • The right-brain activity of synthesizing a documentary interview with the comedic dramatization sent the sketch into the stratosphere. This technique is usually reserved for “serious” documentary filmmakers or journalists. So we can call this form of sampling something of hip hop culture—and this is the level of culture hip hop culture should start at—because by interviewing the elder we have an African thang going on… And what is sublimely funny is that Dave pays respect to his African elder by playing him as he was… there was no disrespect—no gross, false distortion of history… Rick James was a stone cold fool, but he is still an elder and deserves respect and commemoration for his foolishness…
  • Charlie Murphy tells you the story as he would tell any dude on the street the story. There is no Cosby-style, jubilee-singer antisepsis going on for a theoretical white audience. Charlie’s delivery, of an urban, oral tradition (to use pretentious college words) is a first-class citizen among all the high-tech wizardry that is motion picture making. Moreover, this highlights the innovative way Dave Chappelle hosts his show: he speaks directly to his audience, beyond the traditional confines of the monologue.
  • Understand the significance of the last line that was repeated in slow motion: “They should have never given you niggas money!” I know without knowing the facts that it was not Dave’s writing partner that made sure this line (and many others) was repeated let alone written. When it comes to the day-to-day struggle for excellence in the Black world, it’s not the white folks holding progressives back—it’s the self-appointed, self-hypnotized agents of white folks that do most of the dirty work. Rick James is dem white folks. He is a founding father of our modern form of bling bling. Now, Teena Marie, a Rick James protégé, is a very talented woman—more talented than Diana Ross. But I would not be surprised about how many others Rick James overlooked because they were “too Black.”

So, one of the most profitable Comedy Central vehicles is on hiatus. This proves again—for a new generation of young people—that for Black excellence like that of Dave Chappelle there is no competition. There is only betrayal and murder. I used to think those people in power used what they call “logic” when it comes to showing respect to those who keep the books in the black. It ain’t “logic” as they define this word, it’s humanity as defined by Harold Bloom—Shakespearean tragic. There will always be at least one Iago for Othello.

So I’ve read the “Top Ten Stock Photography Cliches” at Great work! Take a look at it! And, now, you are being warned, these clichés are in the rasx() context:

  • The Handshake of Synergy. A couple of ex farm boys making egocentric, backroom deals. Any refined “gentleman” knows to have his cuffs showing under his suit sleeves.
  • The Flirty Customer Service Gal. Just professional, sexual, corporate compliance. The large, fake pearls around the neck smack of nouveau riche, crystal cathedral, republican-housewife aspirations. The reality is that she has to work everyday and assume the prone position at the phone.
  • The Big Thumbs of Triumph. The thumbs-up is traditional, Roman, emperor choreography at the circus. So the gee-whiz kid is not as cute and harmless as you think he is… I can imagine at least one Iraqi family meeting a kid that looks just like this young person in the middle of the night at gun point.
  • The Romantic Glow of the Laptop. Fake. Models just going through the motions. The photographer assumes that the “right people” are too busy and self-absorbed to see the subtlety. The photographer is right.
  • Growth: The Handful of Manure. This symbolizes death. I see a green life being removed from its colorful environment to become pale, wither and die.
  • The Air Up There. European fascination with renaissance perspective and fairy tales—jack and the beanstalk in an existential vacuum, baby.
  • The United Colors of Megacorp. The European redefinition of the emperor’s menagerie of human booty… multiculturalism is often represented in egocentric terms—individuals from different groups coming together—instead of relatively homogeneous groups coming together. The ghetto streets of ancient Rome were “multicultural” because fascist centurions “fell in love” all over the Mediterranean world. Let’s not forget that imperial Rome defined fascism.
  • Lise Gagne’s Business Folks. To quote Chris Rock: “For white people the sky’s the limit; for Black people, the limit’s the sky.” I think I heard that right.
  • Ewa, the Polish Everywoman. Since I’m from California, please excuse my bias. This photo represents a ‘secret revolution’ among young women of European descent to respect their bodies and stay out of the sun. High definition television out among the colored masses may eventually start revealing hidden truths—or the special effects guys may have to whip out the healing brush to keep actresses with “universal appeal” employed.
  • Telecommuting from the Edge. Remember those German mountain films? Leni Riefenstahl? Billy goat? Paul Mooney? Anyone?