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Jonathan Owens, professionally known as Casual, is a businessman, recording artist, angler, marksman, and a student of the ancient Egyptian language. Contact Jonathan at casual@hieroglyphics.com
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TO UNDERSTAND THE LOGIC OF ZIONIST YOU MUST FIRST UNDERSTAND ZIONISM, THERE ARE MANY TUPES OF ZIONIST AND ZIONIST DO NOT REPRESENT JUDAISM, SOME JEWS ARE ZIONIST BUTE MOST ZIONIST ARE WHITES, LOOK UP CHRISTIAN ZIONISM, THEY EXISTED BEFORE THE STATE OF ISRAEL WAS CREATED, THEY ARE THE CHRISTIAN WHITE RIGHT WING IN AMERICA AND ARE WHAT WE WOULD CALL THE KKK, THE BALFOUR DECLARATION WAS A BRITISH COLONIAL ACT THAT TOOK THE LAND FROM ITS NATIVE POPULATION, WHAT THEY CALLED THEMSELVES IS IRRELEVANT TO ME BECAUSE THOSE PEOPLE HAVE BEEN INVADED CONVERTED AND CHANGED SO MUCH AS A AREA OF CONFLUENCE THAT ITS PETTY TO PLAY THE NAME GAME, THE FACT IS THEY ARE THE NATIVES, AND THE EUROPEAN POLISH , AND RUSSIAN JEWS WERE THE INVADERS, PLUS A SMALL NATIVE POPULATION WAS ALSO PRACTICING THE FAITH, BUT THEY LIVED IN PEACE WITH THEIR NEIGHBORS BEFORE THE EUROPEANS CAME , YOU NEED TO DO A SHOW SO THE COMMUNITY KNOWS WHO NOT TO SUPPORT, WE AS AFRICANS BASED ON WHAT WE BEEN THRU ALWAYS SUPPORT THE UNDERDOG THE OPPRESSED, OUR STRUGGLE WAS ALWAYS IN SUPPORT OF PALESTINE , LOOK UP WHAT THE ELDERS POSITIONS WAS 🕷️
FIRST THING THERE WAS A APARTHEID OPPRESSIVE SYSTEM IN PALESTINE BY AN OCCUPIER ISRAEL BEFORE OCT 7, NO APARTHEID NO OCT 7th, SECOND THE CRUSADE NEVER ENDED, THIS IS A WAR AGAINST ISLAM AAND ADD THE JEWISH/ZIONIST COMPONENT ITS MORE DANGEROUS, THIRD WE AS BLACK FOLKS ARE NOT EDUCATED ENOUGH ON THESE ISSUES, IF WE ARE NOT EDUCATED WE WILL BE USED AS CANNON FADOR FOR THESES GROUPS, EACH ONE OF THEM USES US HISTORICALLY AS THEIR FOOT SOLDIERS, WE NEED TO STAY OUT DIS SHIT, AFRICA IS BEING ATTACKED BY ISLAM, CHRISTIANITY AND JUDAISM TODAY, PAY ATTENTION PAN AFRICANISM SCARES THE POWERS THAT BE AND DO NOT THINK ALL THESE ANTI AFRICA GROUPS THAT HAS SPRUNG UP IS AN ACCIDENT, 🕷️
What people nowadays call the 'Latin' feel has almost nothing to do with native Spanish music at all which sounds like generic Southern European music, only exception being Moorish and Gipsy influenced genres like Flamenco. As for modern 'Latin' and 'Carribean' music genres the rythm/percussion which is 100% African, and has nothing to do with Spain or Europe at all. These people hardly innovated, they mainly just added European instruments and lyrics, and later American influences. The real problem is that these people can never accept that black people created something great that's so influential in their culture because they have deep rooted hatred for anything black or African unless they can appropriate it. Just like Meta-tron saying Ancient Egypt wasn't black but multicultural...
i remember i was in 11th grade, friday night, and my older brother rushed home and barged into my room and was like "put in a tape, saafir and casual about to battle on KMEL!"... still have that cassette to this day
saafir's round (i think his 3rd verse), and tajaii's response verse right after were my favorite moments, lol not to mention peplava with his verse. Love both crews, I always remembered how phesto shouted out saafir and the rest of the hobo junction at the end of 93 til infinity. two of my favorite groups of all time~ peace and love yall, BAY AREA BABY
A major thing y'all left out about Umar and those govt contracts and other black folks that opened schools is that those are charter schools that are controlled by the govt that's what he Doesn't want..just wanted to add that note. Great discussion
. *There's probably some kernels of truth to Latino contribution* with the demographics of Bronx. You had Carlos Mendez, (Charlie Chase), DJ Wiz...however FBA (Foundationaly Black American) in origins. *Facts that can't be obfuscated in FBA founding on all components of hip hop. This stuff is timestamped and recorded* 1 Herc never said he transplanted hip hop from his homeland of Jamaica to NY. In fact, we hear, the opposite on a 1989 recorded interview. He notes that people weren't feeling his native music at the time, so funk and soul was played...and James Brown was the main one. 2 Ken Swift and Crazy Legs both allude to the African American origins of the dance. Legs says in like the latter 70s, they would call it that Morano style whenever the moves that came from early 70s Zulu Kings was noticed (encapsulated in FrostyFreeze). Morano denotes black and original in this context. He says this is the original style (tho played out by the latter 70s - very very early 80s). Puerto Rican youth added much to that. The earliest b-boy crew people can recall by name and memory has consistantly been the Zulu Kings (circa 1973) in interviews over time. The b-boys were African American youth at the time like Sasa, Trixie, PeeWee Dance, CharlieRock, N....Twins, Beaver, Lil Boy Keith and more 3 In a interview circa 1984, Mele Mel was asked where do you guys get names like Grand Master Flash. Long before Ytb and Internet, Mel tells us...we were influenced by people like Grand Master Flowers (African American) of 60s Brooklyn. Keep in mind that Flowers opened up for James Brownin 1968 at Yankee Stadium in Bronx, NY.....possibly the initial point of transplant from Brooklyn to Bronx. Mel as well as Mr Ness (Scorpio of Furious Five) was in a b-boy crew called D Squad. Fellow member Fuji of the long forgotten group said this was 1974 in middle school. There is a picture of Mel and Fuji in more recent times and Fuji in the 70s 4 Coke la Rock (African American) was the first rapper (in hiphop) and best friend of Kool Herc, going back to middle school in the 1960s . He says that it wasn't a music genre back then, but it's just the way he talked on the Mic when giving announcements...and the people loved it. This is a very important detail because specifically African American announcers and performers have always rhyme talked to beats in this manner, going back to the 30s and 40s. Back then ya might hear ... "WELL AH REET, ALL ROOT, ALL RIGHT...BE AT THE JITTER BUG CONTEST TONIGHT. You have the Co Real Artist out of Los Angeles (total opposite side of country) with the 1974 song "What ya Gonna Do In The World Today". They sound like The Funky Four Plus One 1979-81 style. Gary Byrd in the early 70s was absolutely rapping with that early70s hip jazz/soul style. Jacko Henderson in the 50s, The Jubilees in the 40s, Pig Meat Markam in the 60s.. I would even say songs like Don't Burn Your Candles at Both Ends by Loius Jordan , 1940s (in the movie Look Out Sister 1946, but more like rapp on the record version). Or his 40s song Beware. Even more so like rapp than singing was his song Look Out (also in the 1940s independent African American movie). Jacko Henderson is in the 1981 20/20 ABC news special, covering this new thing called...HIPHOP. Jacko is very familiar with this sound as he snaps his fingers remembering a few verses, and tells us WE USED TO DO THIS IN THE 50s In a 1973 movie called Five on the Black Hand Side, the Kool guy who walks into the barbershop immediately puts a coin in the jukebox, and starts doing what they once called jive talking. Sounds so much like rap, the Sugar Hill Gang used one of the verses. Both Ali and H. Rapp Brown (coincidently) spoke in this manner in the 60s and very early 70s (warning if looking up Brown's 60s speeches...they may contain a few epithets. Sensitive political and social times). The Last Poets (latter 60s - very early 70s) with songs like Run, True Blues, On the Subway (1970), New York New York, and others, were rapping back then with poetry and African sounding drum. Keep in mind that rapp means to talk, not neccesarily rhyming, (though they often did). KRS1 references Coke in a 80s rap. His partner was Scott LA Rock, and they followed the trend from early 70s Coke La Rock. We also have ShaLa Rock...female rapper from the latter 70s - early 80s, and others 5 Batch, a Puerto Rican guy who created TBB (The Bronx Boys) as a youth in circa 1975-76. They were a breaking crew. He tells Colon on a Livestream (no time to edit out😂)....YOU CAN SEE ON MY SCREEN IM PROUD OF MY RICAN HERITAGE WITH THE FLAG ON THE WALL, BUT THIS HIPHOP COMES FROM THE BROTHAs... Deer in the headlights look 6 Everyone that came up in the Bronxdale projects during that time of the 60s and early 70s seem to remember DJ King Mario (African American).. concurrent with Herc. In fact, a few said they knew each other, but Mario like to do outdoor block party/festival style, while Herc was more indoor venues. 7 One of the first Hispanic hip hop DJs said he seen all black people back then and sometimes wondered if he would be rejected based on his ethnic background. He found a warm welcome, because it was based on how good you were and not race. HE WAS GOOD. (in other words, even a African American youth would be booed off the stage and told to go back to his borough in a NYC accent). You always had R&B music artist incorporate a little Latin sound like Reasons by Earth Wind & Fire 1975...with a Cuban style, or Running on the 1977 All N All album. Also Herman Kelly with the 1978 song dance to the drummer beat. Tito Puente of Puerto Rican background was a musician who played on certain SugarHill rap records Puerto Ricans bros like Ken Swift, Crazy Legs, Mr Wiggles, and even Trac 2 (when he was younger and humble😄), said they saw mostly African American youth breaking before like 75-77. Trac is in a 1978 photo with Spy (African American and Spanish). Also Rene and Boss same year. They just won a breaking competition. Crazy legs said Spy was the first person he ever seen do this dance as a 9 year old in 76. Spy was in his early teens. In rare photos from an original RSC website, Legs is in a photo with forgotten African American members (1979- 81) like Ski, Kippy D, Lil Craze, and their 1977 cofounder Jimmy Dee (with PuertoRican friend Lee). I say this so you can see the dance was both African American and Puerto Rican at the same time. You kind of sense that in the old photos. In a 2013 gathering celebrating hiphop, Crazy Legs introduced their 1977 African American cofounder, Jimmy Dee, to the crowd. Many never seen him because being a couple of years older (upper teens), he went off to college by time the 80s came around. In a modern Ytb livesteam interview, he says in like 78 this 12 year old, exuberant about the dance dormant in Bronx and Harlem at the time, asked him if they can start a new chapter of RSC before moving to Manhattan. We know this enthusiastic dancer as Crazy Legs In the 1974 movie "Education of Sonny Carson", coincidently about a African American gang in New York City, the one teen that likes to dance is up-rocking into James Brown like splits (Staten Island boat scene and parade scene). It reminds me when Ken Swift describes old style breaking (before 77 -76ish) as looking more like FrostyFreeze style ( African American teen in Flashdance who jumps on his back. Movie filmed in 1981 and released in 83) Filmed in 81 and released in 83, the outtakes of StyleWars, Kippy D of old Rock Steady Crew informs us that they just incorporated Poplocking from the West coast. This componant lumped into breakin was absolutely African American. A derivative of 1969 locking, created by Don Campbell (African American), POPPIN was introrduced to L.A. youth by African American Boogaloo Sam and his brother Poppin Pete of Fresno, CA, circa 1976 (so it came full circle back to L.A. stemming from lockin). Debuted on SoulTrain in 1978 by Jeff Danials and his crew, it became a popular dance of young people and performers at the time (1978 thru 83-ish). Another interesting detail in StyleWars (filmed in 81...important to emphasize that), Frosty Freeze tells the interviewer that the dance started in Bronx as well as parts of Harlem. Rock dance is not the base of up rock commonly used in breaking. You have a Puerto Rican Rock dancer of 70s Brooklyn saying he seen breaking in the Bronx circa 1975 and it looked nothing like what they did. Even Brooklyn Rock Dance, with it's mysterious origin, shows more affinity to African American style than Latino. In the 1950s African American teens created their own form of Mambo. (Look up Brooklyn Mambo, 1950s). It's very close to RockDance. So far we can't find videos of Latin dance in this manner concurrent to that 50s era Uprockin for breakin comes from Spade Dance (Black Spades, 60s - early 70s Bronx gang). Just like C-walking (Crip Walk 1970s), people just forgot over time the African American street culture these styles are based on. In the history of Melbourne Shuffle, no one seems to mention or allude to the fact they're C-Walking (with a little 80s New Jack Swing...sped up). This is the same scenario in not recognizing Uprock being originally Spade Dance. In a 1990, hiphop doc, PeeWee Dance, an original ZuluKing member, hangs with RSC as he demonstrates the raw essence of what they did in the early 70s. He is SpadeDancing/Uprockin/GoingOff (video should be on Ytb) God bless
Metratron spent his entire video attacking Kuelimika rather than dealing with facts. He says he has a full team of professionals and none of them offered anything beyond attacks on Kuelimika.
@benschroeder1161 hard to remember after this long but I documented most of my steps on GreenHulk.com under 2005 gtx thread. My name is smash rockwell on green hulk too. Search my name in their forum and you might find it. Maybe low voltage. I forgot
Is it true that latino translates to property of Italy and hispanis translates to property of Spain ? They don't even know who they are yet they want to tell us what's going on in hiphop . They move like colonizers . They want to push us out destroy us and then say that they are us . Letting them lay claim to our culture is dangerous it is a step in the direction of genocide
Interesting that Lord Jamar is now talking about standing on truth, when he's been lying for the past three years that we're indigenous to the Americas. If you're going to claim to stand on truth, then stop lying in other aspects.
Speak ye Ma'at 🙏 I salute 🫡 you from standing on truth unapologetically at a time when so many of the Emcees I grew up listening are selling out the culture
Smash I know who’s side you on but consider this, who has been in the hip hop culture longer and career longer? KRS that’s who he told us hip hop is not something you do it’s something you live so based on the true definition of hip hop lord jamar is still a student that’s all I’m saying but the teacher KRS has made the temple of hip hop and even promotes hip hop history month . He promotes unity and progress in hip hop not division and ignorance, KRS has done more for the culture than Jamar will ever do. Progress not ass backwardness
@@utilize3eyes But he came into the game with a lie that hip hop started in the South Bronx. He taught lies all over the world for 40 years and is still a liar! He changes his statements over and over. If he loved hip hop like he claims he would love the truth! The people that created hip hop corrected the lies!
At 58:43 That yellow emporer of China is symbolically yellow. "Besides being the color associated with the center of the four directions, huang ("yellow") also means "radiant"; there are traces of a sun god myth of Huangdi. More important is the fact that the graph huang ("yellow") is often used for another huang ("august, sovereign"), thus blurring the distinction between the Yellow Emperor and the "August Emperor," that is, the supreme celestial deity Shangdi of the feudal religion. This might explain why, by the second century bce, the majority of feudal clans claimed Huangdi as their ancestor. From the same period dates Huangdi's place in Chinese astronomy. Under his personal name, Xianyuan, and in the form of a yellow dragon (the imperial emblem) he is an asterism in the southern section of the sky" HUANGDI Encyclopedia
