1. |
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I was born in Chicago
In the year 1970
When I was nine years old
I saw the news
about a meltdown
at a Nuclear power plant
in Southeastern Pennsylvania
I began to have nightmares
In which I was being chased
through a cornfield
by a cloud
of radioactive gas
running for my life
running for my life
KRAFTWERK “RADIOACTIVITY"
Radioactivity
is in the air for you and me
Radioactivity
discovered by Madame Curie
Radioactivity
tune into the melody
When Jerry Brown came around
I learned more about the sun
And its energy
Ten more years nest
I moved west
took the aqueduct
to the state house
I missed hearing Jerry say,
Protect the Earth, serve the people,
and explore the universe
In 2022
I was elected to
the 117th
and serve the 34th
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2. |
Drone Operator
04:54
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You may be murdered by remote by the USA
On your way home from the mosque or store
Were you named as friendly to their worst enemy?
Or, are you just a regular Joe?
Oh, how they hover
They sparkle in the summer
Brother, take cover
There’s a drone above ya’
Kalashnikovs look like garden tools on this fuzzy screen
Where pixelated information glows
Electric stimulation brought an uncommon persuasion
My finger clicks the mouse, my gut don’t go
Oh, how they hover
They sparkle in the summer
Brother, take cover
There’s a drone above ya’
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3. |
The Carpetbagger
05:27
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I remember when you said you were leaving
Hurricane winds brought a business opportunity
So you bought a little land
and built a high rise property
Fancy people moved in
And you became your own man
Do you remember when
you heard the drums of Burundi?
The colonial twin would be white skinned and groovy
You put together the band
To bang the beats out properly
and did The Mockingbirds land?
Or was that not part of the plan?
I can’t speak for your father, son
But your mother didn’t raise no carpetbagger
I remember when I said you were perfect
The infallible kid
God’s gift to humanity
It isn’t hard to understand
Mr. Greenspan’s philosophy
Or how the devil Ayn Rand
Turns a boy into a brand
I can’t speak for your father, son
But your mother didn’t raise no carpetbagger
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4. |
Your Heart is a Jewel
05:01
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Your heart is a jewel
The oil is under your fingernails now
Begin to see that I am He
Prostate is a worthy mate and friend
Ah!
Female prostate, too, is not just pretend
So!
Rub spices into the Cleanliness Body, ohh!
WE IS THE TEMPLE
YOU IS THE TABERNACLE
I IS THE CENTER OF THE TEMPEST IN THE DESERT
--> I <--
Truck into Nevada
Eighteen wheels spin away the miles
HELLO!
Wriggle into your seat of Mercy, Peace and Graciousness
Ahh!
Only there will we HI HOW ARE YOU
Only alone can you HELLO HOW ARE YOU
Only at Peace can we HI
(Hi!)
TEMPLE TEMPLE TEMPLE
TABERNACLE TABERNACLE TABERNACLE
HI
I IS YOUR HE IS ME IS SHE IS WE IS
TEMPLE
TABERNACLE
WE, THE TEMPLE...
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5. |
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ou’ve been on the road for days
Thinking of the way
You’d like to lay your woman down and say, “be still”
Like she’s under your will
Is it so wrong to rib your fascist way?
Your need to dominate
with armored heart and dark malaise
Let me see it
Let me see you
Feel the pleasure of the rumble strip
Press your tongue into your teeth and top lip
Sometimes you ought to be the passenger
Give your ego the slip
Let your loving woman steer the ship
Let her tie you down and wear the dick
How to surrender is a thing to learn
Ride your libido with id
It’s a shame the way your man behaves
How he tailgates all over my grave
(it reads) “Here lies Cliché,
gone to masquerade in the ether”
Feel the pleasure of the rumble strip
Leave your body at a steady clip
It’s a cry from Melanesia
and Vienna’s a trip
I got a letter from the sex box man
Ten years living on the lamb
Said he found a cure for cancer
and how to roll a spliff
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6. |
Water Sign
05:11
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I’m born in Cancer
I’m entranced by water
I used to work for Dirty Dave
Now I work for Mystic Mike
Life is better on this wave
I am a river
My love is unconditional
Find me east of Gemini
I am a moon-child
House of Neptune
Hear my liquid lullaby
In Cochabamba
Public water privatized
War is the only way
Coordinadora!
Oscar Olivera!
They’re less thirsty today
Watch the wealthy
Controlling the supply
turning water into cream
The land is sinking
The wells are running dry
There is sewage in the stream
The fertilizer
The heads of the hydra
All spewing pesticide
But watch my crab walk
It’s got some power
harasses Hercules
They’ll try to tell ya’
you haven’t earned the right
To what should be free
Protect the commons
Our resources from the market
Bourgeois monopoly
I am a river
My love is unconditional
Find me east of Gemini
I am a moon-child
House of Neptune
Hear my liquid lullaby
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7. |
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The petitions began in the late 18th century
A few former slaves were successful
in their efforts
to claim compensation
for work done
while in bondage
in the state of Massachusetts.
However,
many estates
failed to make payments
and the rulings were rarely enforced.
“Emancipation without compensation”
Solomon Northrup
proposed the idea
of reparations
to congress
in the mid 19th century
and in 1867
Congressman Thaddeus Stevens
and Senator Charles Sumner
attempted to redistribute land
to freed people
HR 29
died in the House
HR 29
died in the House
“Emancipation without compensation”
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8. |
C-Span Minor
05:53
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Mr. Speaker,
today I introduce
Proposition 127,
I would like to thank
my house colleagues
who have signed on
as original
co-sponsors of this legislation.
I begin this morning
with a quotation
from Dr. Martin Luther King Jr.
who believed
that the black community
should consolidate
their economic resources
as a means
to political power
yet at the same time
emphasized
that quote:
“we must not be oblivious to the fact that the larger economic
problems confronting the Negro community will only be solved by
federal programs involving billions of dollars”.
Reparations
for African Americans
are essential
if we wish
to strengthen
and preserve this nation,
if we wish
to grow beyond
our white supremacist-oligarchic identity,
and if we wish
to heal the wounds
that continue to burden
the black community
left by the institutions of slavery,
Jim Crow segregation,
and the era of mass incarceration.
After many failed attempts by committees on the federal level,
my colleagues and I are turning our focus to the state of
California for the development of a reparations fund for its black
citizenry. To create the capital, we’re proposing a ten-year
progressive tax on white workers in a multi-billion dollar industry
that was built from the stolen labor of African Americans. Since
its inception, the white dominated music industry has depended
on black expression as a free and plentiful resource. Whether
it’s been white artists imitating black artistry or record
executives preying on the lower classes, the corporate music
industry has amassed great wealth from the commodification of
black culture and exploitation of its black workers.
I am offering
The white workers
Of California’s music industry
the opportunity
to send a message
to the rest of the world,
to say
we are a compassionate nation
to say
we acknowledge our barbarity
to say
we seek out constructive ways
to repair
the damage done
to individuals
and their communities
A recent study from the Harvard Business School estimated the
lost wages of African Americans working in the music industry
between 1909 and 1977 at fourteen trillion dollars. Copyright
infringement, unpaid royalties, and discriminatory policies are
just a few examples of how this money never reached its rightful
recipients. On average, the music industry accounts for only 2%
of our annual GDP. Fourteen trillion dollars of lost wages in the
music industry alone over seventy years makes me wonder how
much there is to be accounted for in manufacturing, real estate,
or agriculture.
The time has come
to close the racial wealth gap
and embark on
a reparations program
that is therapeutic and restorative,
that combats political
and economic inequality,
and that expands our national
consciousness about slavery’s affects on the present.
Thank you Mr. Speaker, I yield back.
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The Fruit Stare Chicago, Illinois
The Fruit Stare is a foraging habit of orangutans and the name of a Chicago based human multi-media art group experimenting with narrative, sound, and performance.
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