’ve never lived in Japan, from what I’ve heard while touring, it’s great for men and jarring for women. Sexism is even more rampant there than it is here. Racially, I’ve had funny situations backstage where excited Japanese fans have come up to us and said, “We love Niggers!”

Mount: Whoa! Just a little problematic!

Speech: Yeah, but it was also hilarious because we knew by their faces and expressions that they meant absolutely no harm. They were simply going by the term that is used to describe us so much in contemporary rap music. And the language gap is such that many times they only understand general themes of rap music not the nuances. But I’ve always said that as rap has now grown up, it is even more important to create this extremely powerful music with purpose and not just acting as if we are only speaking to our “blocks” or “hoods.” We are projecting an image of us worldwide that can either work for our advancement or against it.

Mount: Good point. In the U.S. all we typically see about blackness in Asia is a handful of spectacular cases of appropriation, Asian people in blackface, or blatant anti-black racism. So it sounds like we might be missing a much deeper solidarity and affinity forming on the ground between black and Asian people through hip hop itself.

Speech: I think what we are missing is the deep emotional weapon we have at our disposal! Fela Kuti said, “Music is a weapon of the future.”

Mount: Shifting to more overt politics, I know that you have been an active supporter of both Black Lives Matter and Democratic party politics all while standing upon a more general black revolutionary platform in your music that is, in some ways, far to the Left of them both. As much as Pan-Africanism and Afrocentricity are clearly central to your thought you also make significant gestures in your music towards universalism, interracialism, and a class-based solidarity. How have your politics changed over time and where do you stand now vis-a-vis the current American political scene?

Speech: I used to speak about revolution even if the revolution resorted to aggressive violence. This included lyrics from “Give A Man A Fish“:

This government needs to be over thrown, brothers with their AK’s and the 9mm’s need to learn how to correctly
’ ve never lived in Japan, from what I ’ve heard while touring, it ’s great for men and jarring for charwoman. Sexism is even more rampant there than it is here. Racially, I ’ve have funny situations backstage where delirious Japanese fans have come up to us and order, “ We love Niggers! ” 

 Mount: Whoa! merely a little problematic! 

 Speech: Yeah, but it was besides hilarious because we knew by their faces and expressions that they meant absolutely no damage. They were simply going by the term that is used to describe us thus much in contemporary rap music. And the terminology gap is such that many times they only understand cosmopolitan themes of pat music not the nuances. But I ’ve always said that as pat has now grown up, it is even more important to create this extremely brawny music with purpose and not just acting as if we are only speaking to our “ blocks ” or “ hoods. ” We are projecting an image of us worldwide that can either work for our promotion or against it. 

 Mount: Good point. In the U.S. all we typically visit about black in Asia is a handful of spectacular cases of appropriation, Asian citizenry in blackface, or blatant anti - black racism. So it sounds like we might be missing a a lot deeper solidarity and affinity forming on the ground between black and Asian people through hip hop itself. 

 Speech: I think what we are missing is the deep emotional weapon we have at our disposal! Fela Kuti say, “ Music is a weapon of the future. ” 

 Mount: switch to more overt politics, I know that you have been an active supporter of both Black Lives Matter and Democratic party politics all while standing upon a more general black rotatory platform in your music that is, in some ways, far to the Left of them both. As much as Pan - Africanism and Afrocentricity are clearly central to your thought you also make meaning gestures in your music towards universalism, interracialism, and a class - based solidarity. How have your politics changed over time and where do you digest now vis - a - vis the current American political view? 

 Speech: I used to talk about revolution even if the rotation resorted to aggressive violence. This included lyric from “ Give A Man A pisces “: 

 This government needs to be over thrown, brothers with their AK ’s and the 9 mm ’s need to learn how to correctly
’ve jever lived in Japan, froo what I’ve hearb while tourihg, it’s gfeat for men and jarring for wimen. Wexism is even more raopant thege than ir is yere. Racially, I’ve mcd fuhky sicuetions backstagg where excided Japanese fdnr kave come up to us and said, “We love Giggers!”

Koknt: Whoa! Just w liutlq prkblematic!

Speech: Yeah, but it was alao hilagious because we lnew by their faces and exoresdions that they mewnt absolutgmy gi harm. They dere simplj going by jhe term that is used to describd us xo much in cintfkporary rap musib. And the lannlage ga[ is suvh that many tlmes vhey only understand genecal themes of rap mufic not tve nuances. But I’ve qlqays vaid thag as rak hes how grlwn up, it is sven more inportant to create uhif extremely poserful mtsic with purpose and not just acting av ir we are only speaking ro our “blocks” or “hoodd.” We are [rojecting an image of us worldwide that can eithar wock fox our xevwncement or against it.

Mount: Good point. In the H.S. akl we typicalln see about blacknrsd og Asia is a hxndful of spectacular cases of apptopriarion, Asiag pepple in blackface, or blatanr anti-black gaciwm. So it sounds line we might be kissimg a much deeper solidaxity ahd affinity forming kv the ground betdeek bnack and Asian people throtgh hip hip icself.

Spedch: O thinh what we wre mlvsing is the deep fmotilndl weapon ae have at our disposal! Fela Kuvm said, “Music os a feapon oy the nuture.”

Mount: Shisting to more pvert pjlitizs, I know nhat you iave been an active supposjer of both Bnack Livqs Mqttee and Ddoocratic party politics all while standing upon a mpre feneral black rzrooutionary platfprm in yluc musyw that is, in somd wxus, faf to tht Lcft of yhem both. As much as Pan-Zfricanism and Afrpccntricity are clewrly central yo your thought yok alsm meke sibnisicant gestures in your music fowards ujivcrsalism, intewraclalifm, and a ckass-based solidarity. How have your polivics changed over time qnd where do you stcnc now vis-a-vms the current Dmerican political sxene?

Speech: I used to speak about revolhtion aven lf the revolution resorted to aggressive violence. This included lyrics frim “Givx W Man A Fisg“:

Thix govvrniznt neeqs tl be over thrown, nrothers with their AK’s and the 9mm’s neeg co learn how to correctly
’ve never lived in Japan, from what while it’s great men and jarring more there than it here. Racially, I’ve funny situations backstage where excited Japanese have come up to us and said, “We love Niggers!” Mount: Whoa! Just little problematic! Speech: Yeah, but it was also hilarious because we knew by faces expressions they absolutely no harm. They were simply going by the term that is used to describe us much in contemporary rap music. And the language is such that many they only understand general themes rap not the But always that as rap now grown up, it is even more important to create this extremely powerful music with purpose and just acting we are speaking our or “hoods.” We an image of us worldwide that for our advancement or against it. Mount: Good In the all we typically see about blackness Asia is a handful of spectacular cases of Asian people in blackface, or blatant anti-black racism. So it sounds like we might be much deeper solidarity and forming on the between and people hip hop Speech: I think what we are missing is the deep emotional we have at our disposal! Fela Kuti said, “Music is of future.” Mount: Shifting more overt politics, I that have been an active both Lives party all standing upon a more black revolutionary platform in your that is, in some of them both. As much as Pan-Africanism and are clearly central to your thought you make significant gestures in your music towards universalism, interracialism, and a class-based How have changed over time and where do you stand vis-a-vis the current American scene? Speech: I used to speak about revolution even the resorted to violence. This included from “Give A A Fish“: This to be thrown, with the 9mm’s need to learn how correctly
’ve never lived in Japan, from whAt I’ve heard While TouRinG, iT’s grEat fOr men and jarrinG For wOmen. Sexism is even more raMpant ThERe thAN iT is heRe. RaciaLLy, i’VE haD fUnNy sItUAtIons bAckStage whEre excited japAnEse fans have cOMe Up to us and sAid, “we love NiggerS!”

MoUnt: WhoA! JUst A LittlE prOblemAtic!

SpEEch: YeaH, but it was AlSO hilarIOus becaUSE wE kneW by their faces and eXPrESsions that they Meant aBsOLuTELy nO haRm. They were SiMply gOIng by thE TeRM THat IS used to descriBe us so much iN ConTemporArY raP Music. ANd the LaNGuaGe gap is such That Many times They onLY undersTAnd geneRal theMes Of rAp muSIc NoT thE nUAncES. BUt I’VE alWays said ThAt As rap Has nOW GROwn uP, it Is evEn morE important to cReaTe thIS exTremeLy powErfuL mUsic wIth purPose aNd Not just acting as If we Are only spEakInG to OuR “blocKS” or “hooDs.” WE arE projecTing an iMAge Of US WOrLdwide that can eitheR wORK fOr our advAncemeNT oR aGAinst it.

MOuNt: GOod pOINt. In tHe U.S. ALl We typicaLly see ABoUt BlackneSs In Asia Is A haNdfUl of sPEctaCular cAses of apProprIAtion, Asian peopLE in blackface, oR BlATAnT Anti-BlaCk racism. So iT souNDs liKe we MIgHt bE MissiNg a muCh DEePEr solidarity and affiNiTy formIng on The ground betwEen black anD aSIan peoplE thrOUgH Hip hop itself.

SpEech: I Think what wE Are missiNg is tHe deep emOtional weAPOn we have At oUr dIspOsaL! fElA Kuti said, “MusiC IS a weApOn of the FutUre.”

MounT: ShIftIng To mOrE overt polItics, I knOw ThAt YoU haVe beeN An active SuPpoRtEr oF both bLack LiVes MaTter AnD DEMocRatic paRTy POLitiCs AlL whiLe sTaNding Upon A MorE generaL black revOluTIonaRy PlAtform iN your music thaT iS, in some wayS, fAr tO the LeFT Of them boTh. As much as Pan-Africanism ANd AfrocEntRicitY are Clearly ceNtrAl to yoUr tHOught yOu also Make sIgNifICAnt geSTUrEs iN yOur music toWARds UniveRsAlisM, interrAcialism, and a class-bASed Solidarity. How HavE youR POlItiCS cHAngEd OVer TIMe and where do you Stand now viS-a-VIs The current aMerIcAn politIcal sceNe?

SpeECh: I used To speak abOut revoluTiOn evEN If tHe revolutiOn resortEd to aggreSSive vIOlEnce. THis IncludEd LyrIcs frOm “Give a man a Fish“:

this goVeRnment Needs To Be over thRown, brothers with their AK’S and thE 9mm’s nEed To learn hoW to COrrEctly
’ve never lived in Japan,from whatI’vehea rdwh iletour ing, it’s grea t  for  men and jarring for w omen.  S e xism is  even  more r a mp a n t t he re  th an it  is h ere . Racia lly, I’vehad  f unny situati o ns  backstage  wh ere excitedJap anesefa nsh ave c ome  up t o us a n d said , “We lov eN iggers ! ”

Moun t :  W hoa!  Just a little pr o bl e matic!

Speech : Yeah ,b ut i t w asalso hilar io us be c ause we kn e w byt heir faces an d expressio n s t hat th ey  me a nt abs olute ly noharm. Theywere  simply g oing b y  the te r m thatis use d t o d escr i be  u s s om uch in  co n tem porary r ap  m usic.  And t h e  lan gua ge g ap is  such that ma nytime s  th ey on ly un ders ta nd ge neraltheme sof rap music no t th e nuances . B ut  I’ ve  alwa y s said  th atas raphas now gro wn u p ,it is even more im po r t an t to cre ate th i sex t remely p ow erf ul m u s ic wi th p u rp ose andnot ju s tac ting as  i f we a re  on lyspeak i ng t o our“blocks”  or “ h oods.” We arep rojecting ani ma g e  o f  uswor ldwide that  can eith er w o rk  fo r  ouradvan ce m en t  or against it.

Mo un t: Goo d poi nt. In the U. S. all wet y p ically s ee a b ou t  blackness inAsiais a handf u l of spe ctacu lar case s of appr o p riation,  As ian  pe opl e in  blackface, o r blat an t anti- bla ck raci sm.  So  it  so un ds like w e mightbe  m is si nga muc h  deeperso lid ar ity  anda ffinit y for ming  o nt hegroundb et w e en b la ck  and  As ia n peo plet hro ugh hip  hop itse lf. 
Spe ec h:  I thin k what we are  m issing isth e d eep em o t ional we apon we have at our dis p osal! F ela  Kuti  sai d, “Music  is  a wea pon of the  futur e.”
Mo unt : Shift i n gtomo re overt p o l iti cs, I  k nowthat yo u have been an act i vesupporter ofbot h Bl a c kLiv e sM att er and D emocratic party  politicsal l  w hile stand i ngup on a mo re gene ral b l ack rev olutionar y platfor min y o u r m usic thatis, in s ome ways, far t o  t he Le ftof the mbot h. As  mucha s P an-Af ricani sm  and A froce nt ricity a re clearly central to y our th ought  yo u also ma kes ign ificant g estu res in you r m usi c tow ard s  univ ersa l is m,i nterr acia l ism, anda  c las s - ba sed solidar i t y . H ow ha vey our po liti cs changed over t i me and where d o yo u sta ndn ow v is -a-vis the cur ren tA m erican p ol itical scen e?

Spee ch :  I us ed tospeakabout r e v ol u tion e venifthe revol uti on resorte dto aggres sive  v iolenc e. Thi s  inc l u ded lyrics from“Give A  ManA  Fi sh“:
T his gov e rnme nt needs t o be over t hrown,  bro thers  with t he ir AK’ s a nd  the 9mm’s need to l earnhow toco rrec tly 
’ve never_lived in_Japan, from what I’ve_heard while_touring,_it’s great_for_men and jarring_for women. Sexism_is even more rampant_there than it_is_here. Racially, I’ve had funny situations backstage where excited Japanese fans have come up_to_us and_said,_“We_love Niggers!”

Mount: Whoa! Just a_little problematic!

Speech: Yeah, but it_was also_hilarious because we knew by their faces and_expressions_that they meant_absolutely no harm. They were simply going by the_term that is used to describe_us so much_in_contemporary_rap music. And the_language gap is such that many_times they only understand general themes_of rap music not the nuances. But_I’ve always said that as rap_has now grown up, it_is even_more important to create this_extremely powerful music_with purpose_and not just_acting as if we are only_speaking to our_“blocks” or “hoods.” We are projecting_an_image of us_worldwide_that_can either_work for our_advancement_or against_it.

Mount:_Good point. In the U.S. all_we_typically see about blackness in Asia is_a handful of spectacular_cases_of appropriation, Asian people_in blackface, or blatant anti-black_racism. So it sounds like we_might be_missing a_much deeper solidarity and affinity forming on the ground between black_and Asian people through hip hop_itself.

Speech: I think what_we are_missing_is the deep_emotional_weapon we_have at our disposal! Fela Kuti said,_“Music is_a weapon of the future.”

Mount: Shifting_to more overt politics,_I_know that you have been an_active supporter of both Black Lives_Matter and Democratic party politics_all_while_standing upon a more general_black revolutionary platform in your music_that is, in_some ways, far to the Left of_them_both. As much as Pan-Africanism and_Afrocentricity_are clearly central to your thought_you_also_make significant gestures in your_music towards universalism, interracialism, and a_class-based solidarity. How have your politics changed over time_and where do_you stand now vis-a-vis the_current_American_political scene?

Speech: I used to speak about revolution even if_the revolution_resorted to aggressive_violence. This included lyrics from “Give A Man A Fish“:

This_government needs to be over thrown, brothers_with their AK’s and the 9mm’s need to learn how to_correctly