The virtues of segregation (Part 1)...The Legends of Sam Cooke and Jimi Hendrix...

Johnny Allen Hendrix, better known as 'Jimi' Hendrix, was born in Seattle, Washington on November 27th, 1942. Son of James Allen Ross Hendrix and Lucille Jeter, young Jimi so adamantly strummed on a broom like it was a guitar, his father thought to buy him a one-stringed ukulele. Jimi was so prodigious in the stylings of Robert Johnson and B.B. King with this one-stringed instrument, that his father bought him a used acoustic guitar when he was 16.

Jimi left high school and enlisted in the army; it was there he met bass player Billy Cox who he formed a fast friendship and a band with called the 'King Casuals'. After a parachuting accident, Jimi was honorably discharged from the army. Thereafter, he earned a reputation as an exceptionally competent backup guitarist/session player. Over the next few years, Jimi played with such notable groups/acts as the Isley Brothers, Little Richard and Ike and Tina Turner amongst others.

Sam Cooke was born on January 22, 1931 in Clarksdale, Mississippi. He was one of eight children of Charles Cook Sr., a baptist minister. Early in his youth, Sam's voice got him noticed as having the intangible 'it' factor that made him stand out from his peers in his father's gospel youth choir. 

By the time Sam was 20, his voice was honed into a finely tuned instrument, and he replaced R.H. Harris in the gospel group, the 'Soul Stirrers'.  Now, R.H. was a legendary singer in his own right and the Soul Stirrers at the time, where one of america's most popular groups; but when Sam took over as lead vocalist, their popularity increased ten fold. 

After singing with the Soul Stirrers for six years, Sam decided to try his hand at secular music. His hypnotically smooth voice and stylings won him a hit record with his 1957 release of 'You Send Me'; which sold over a million copies. Sam is also credited as being one of the architects of the Soul/Rhythm and Blues genres, along with other giants of the industry like Jackie Wilson. 

Now, the story of these two brothers converge when they find initial success emulating the uptight and passionless music of the white mainstream; Jimi with

his band 'The experience' and Sam Cooke who was doing his level best to sound and mold himself, especially vocally, in the fashionings of Frank Sinatra.

Side note: I shake my head when I think of the band Procol Harum's song, 'Whiter Shade of Pale'; the ghastly pallid lead singer tries to sing the song as soulfully as he can, while talking about someone's 'ghostly' skin turning a whiter shade of pale. I guess they had no idea, or didn't wanna' admit they were emulating, or trying to emulate, Black soul music. Recently, when I told a white woman on line that Black people created Rock and Roll, one dunce of a white man responded saying, 'what?lol'. They have no idea how the music they identify with so much was once called 'jungle music' 'cause Black people created it and were the only ones, in it's inception, who were playing it. I told the inbred to google the names, 'Chuck Berry' and 'Little Richard'; I haven't heard from them since. 

But back to Jimi and Sam... it was after these brothers came up outta' trying to emulate white mainstream artists and started discovering their own melanated stylings, that they created their masterworks. Case in point, Jimi's album 'Electric Ladyland' and it's song 'Voodoo Chile' (Slight return). In it Jimi says: "Well I stand up next to a mountain and I chop it down with the edge of my hand...'cause I'm a Voodoo Chile, Lord knows I'm a Voodoo Chile..." And Sam with his album 'Live at the Harlem Square club' pictured above; Sam accessed his Black spirituality, i.e. soul, and found out, that's what whitey wanted most. Understand, because caucasians have nearly no melanin, they can't access the depths of emotions we can; therefore, whenever they hear our soulful stylings in their rawest form, they immediately gravitate to it. They envy our access to spirituality 'cause they're incapable of getting there themselves, you feel me. 

And at the latter stages of their lives, they were both murdered by corrupted crakas when they tried to reclaim monies stolen from them by an assortment of pale-skinned degenerates. 

Now, ever since I was young I heard Jimi Hendrix choked on his own puke because he accidentally overdosed on barbiturates.  And it was a young sista who told me emphatically that Jimi Hendrix was murdered. Now evidence points to the fact that the man who actually put the hit out on him was his manager Mike Jeffries. Mike was an interesting fellow, to say the least; he formerly worked for british intelligence before becoming a music manager and had ties to organized crime families. Jimi was killed right before he was gonna' take Mike to court for monies Mike stole from him; and it's said that years after Jimi died, Mike confessed to having him killed saying, "I had to do it, he would have ruined me." 

In Sam's case, he was reportedly killed by Bertha Franklin, manager of the Hacienda motel in Los Angeles, CA. Now, newspapers reported that Sam was shot by Bertha, but upon seeing Sam's body at his funeral, singers like Etta James said his head was so badly disfigured that it looked like he'd been beaten to death. It's funny how this happened right after he opened his own publishing and record companies, and filed a lawsuit against a former manager who had ties, again, to organized crime.

Now, I've said all that to say this, Sam especially was very mindful about playing to integrated audiences and he was very vocal about his support for the Black 'Civil Rights movement'; now, had he known how he was going to wind up, do you think he'd have tried so hard to sing to whitey?

Had Jimi and Sam performed for their people exclusively, they'd still be alive today. 

Now, this was just a tale of two extraordinarily talented brothas in the arts; think of how much more our people have been affected politically, by literally dying to sit and go to school next to a white person. Socio-politically, we've lost everything trying to get close to whitey, up to and including our lives. And I've already talked about the price we've paid in terms of these fascist bastards making us hate ourselves. 

Why is it that the Black 'nuclear' family was more in tact in the 1920's than it is now? Homogeneity, i.e. segregation, is what the Black Diaspora needs to thrive in the coming years, decades, etc. We need to be able to work by ourselves, for ourselves, exclusively. 

Now, I understand that we've built lives here, so we can't just pick up and go; but we should start making preparations to get the hell from around whitey. Now, the first step in this migration is mental. We have to know we can not only survive, but ultimately thrive away from white folks. And it starts by getting rid of our love for these inbreds and getting rid of the hatred we have for our own kind. Pretty soon I'm gonna' divulge a quicker meditative method for doing this subconsciously, so stay tuned to this Blog for that technique. 

But beyond this, is this something the Black Diaspora as a whole, sees that we need to do? How many more Mike Browns, Eric Garners, Trayvon Martins, etc. do there have to be for us to understand we'll never peacefully co-exist with these beasts called white people? Hurricane Katrina should have been the LAST STRAW!! We should have revolted behind that...but we're so conditioned to love whitey, that half the people celebrating in Louisiana's marde gras right afterwards, were us.  

We need to make a decision people, do we want to perish trying to be with whitey, or do we want to survive what's coming and thrive in a nation full of our own kind? The choice is ours, and it's one we need to make before it's too late. 

Sutekh!

MontUHURU Mimia