Jacqueline Luqman on the U.S. State Controlling Hollywood

Editor’s Note: This article was originally published in The Burning Spear. Light edits have been made to conform this piece to TF’s style.

This month, Regions Bank, a financial institution with branches in the U.S. South and Midwest, notified the Black nonprofit, African People’s Education and Defense Fund (APEDF), that the bank was “exiting” its 20-year relationship, closing accounts, withdrawing lines of credit and canceling mortgage loans.

This assault on the ability of African people to build economic self-reliance was the latest in a series of actions revealing government and corporate cooperation targeting the Black community programs of the Uhuru (Freedom) Movement, including its popular Women’s Health Center, Black Power Vanguard Basketball Court, “One Africa! One Nation!” Marketplaces, Gary Brooks Community Garden, Uhuru Jiko Commercial Kitchens and Bakery Cafe, Akwaaba Hall events venues, Black Power 96 radio station, Uhuru Furniture & Collectibles stores, Uhuru Foods & Pies and Uhuru House community centers for Black people.

Facebook has blocked the ability for supporters to crowdfund for Uhuru programs through their personal pages. GoFundMe froze over $9,000 in donations for the Hands Off Uhuru! Legal Defense Fund for more than three months until the group’s lawyers took legal action to get the funds released. The Stripe payment processing company also blocked contributions to the group for a period of time.

On February 14, the Pinellas County Commission revoked $36,801 in funding that had been previously approved for WBPU 96.3 FM Black community radio station in St. Petersburg, Florida, after expressing political opposition to its association with the Black power Uhuru Movement.

These economic sanctions have come on the heels of a series of violent government-initiated attacks on the Uhuru Movement that began in earnest with the July 29 militarized FBI raid on seven Uhuru properties. That also includes two acts of arson, one arrest and interrogation, censorship in the removal of a change.org petition, and a U.S. State Department announcement of a $10 million reward for information that could tie Uhuru leaders to Russian government interference in U.S. elections and public opinion influencing.

Ona Zené Yeshitela, Board President of APEDF, says, “Our organization has built over 50 economic institutions, financed through our own fundraising work and the donations of thousands of people. These banks don’t want Black people to be able to feed, clothe and house ourselves. They do not want money circulating in the Black community.”

Omali Yeshitela is founder of the Uhuru Movement and Chairman of the African People’s Socialist Party. He is considered the primary target of the FBI raids and reportedly pending indictments on charges of serving as a pawn of the Russian government. A 1960s field organizer registering voters with the Student Nonviolent Coordinating Committee, the 81-year-old Yeshitela has fought for Black Power for over 50 years.

He charges, “These banks are collaborating with the government to deny Black people the right to have free healthcare, to have economic development in our communities, for our children to have safe basketball courts. They want us on welfare. But we’ve got a right to have our own power. These banks are imposing economic sanctions on our movement because we are engaged in unifying the African Nation that represents an existential threat to the continuation of the colonial mode of production on which they are built and maintained.”

Yeshitela likens the economic aggression against Uhuru Movement institutions to those the U.S. government and society made against Marcus Garvey and his United Negro Improvement Association (UNIA), the bombing of Tulsa’s “Black wall street” and the destruction of the Black Panther Party Black-community survival programs.

He accuses the U.S. government of imposing economic sanctions against the Black-led Uhuru Movement, as they do against countries that do not bow to U.S. world domination, such as Cuba, Venezuela, Afghanistan, China and Russia.

The actions of Regions Bank and other financial institutions come after widespread public exposure of the role of the slave trade in the birth of the U.S. banking and insurance industries and during a time of growing demands for reparations to Black people for slavery and colonialism.

A campaign has been launched to defend the Uhuru Movement, its leaders and institutions, chronicled at HandsOffUhuru.org. Supporters are raising funds for legal defense, mobilizing for protest demonstration at U.S. federal buildings, organizing call-ins to government officials and demanding “Hands Off Uhuru! Hands Off Africa!”

Burning Spear is the official organ of the African People’s Socialist Party.

Ashley O’Shay’s documentary “Unapologetic” is an examination of the lives of Black women and queer activists in Chicago as they navigate the response in the streets to the police killings of Rekia Boyd in 2012 and Laquan McDonald in 2014. While the documentary provides a chilling revelation of just how long the process for “justice” for these two police killings took, it also, and perhaps more importantly, focuses on the struggles on multiple levels that the people who took to the streets and organized behind the scenes to demand that justice endured during that time. Two of those people are Janea Bonsu, an organizer with Black Youth Project 100 (BYP100), and Ambrell “Bella” Gambrell, a scholar and raptivist (a rapper who is involved in political or social activism).

After an introductory soliloquy in which viewers are let in on the meaning behind the film’s title, footage appears from a direct action in what looks to be a ritzy eatery in one of Chicago’s whiter areas. Agitators—and I use that term quite intentionally and with the utmost respect—interrupt the relaxed regular dining of the mostly white patrons with a coordinated call and response, indicting the dismissal of the suffering of poor Black families struggling to put food on their tables, who were probably not far from where the visibly uncomfortable white folks were sitting. They all sat there and chit-chatted over meals that were probably overpriced.

Though some of the patrons tried to appear patient and listen attentively, many more tried even harder to ignore the agitators and get on with their meal despite them, which is the perfect representation of the way much of white U.S. society responds to Black suffering and death in general. But the comments of the testy restaurant employee, dressed in what appears to be an elf costume—which makes his testiness all the more comical and infuriating—really bring home the point that the documentary endeavors to make, but also the point that the agitators were making.

The documentary proceeds to follow Janae as she completes her doctoral dissertation while organizing with BYP100, and Ambrelle as she uses her talent as a rapper and her exposure to the criminal justice system through family incarceration as the foundation of her activism. One should not mistake the difference in these two women being one of class—both are residents of the Southside of Chicago, and both have attended and graduated college. The difference appears to be the paths each takes with that foundation that the documentary shows contributes to their organizing efforts in different ways. One pursuing a Ph.D. based on pursuing alternatives to the disastrous impact on Black women that social services and interactions with the police have. The other eschews pursuit of further education in the system that she excoriates in one of her poems recited at an early protest.

And this is one contradiction that the documentary raises, or should raise, among its audience regarding academia and organizing—how useful is academia in organizing? Because while Janae is clearly passionate about working to find solutions to the very real problems of the negative impacts of the social services system on Black women, can solutions be found inside the very systems that perpetuate those problems? There are already plenty of educated folks in the social work field and even in policing, many of them Black. When we see in the documentary how Janae’s doctoral chair counsels her that she doesn’t have to talk about everything in her dissertation, isn’t this a reflection of how the established institutions respond to Black people when we raise the alarms about that system and its impact on us? A question to ponder, but not with the aim of besmirching Janae’s pursuit of her Ph.D., because the contradiction isn’t one regarding personal choice, but it is about systemic realities and being realistic about them.

Conversely, rather than go the academic route, Ambrelle took to the streets in the pursuit of organizing her own space, especially on behalf of Black women—and particularly queer women—who have experienced victimization by the carceral state. Clearly a skilled wordsmith and masterful with rap technique, she also draws upon her own experiences with multiple generations of family exposure to incarceration, using the experience of her mother’s incarceration and then her brother—still incarcerated at the time of the making of the documentary—to help other Black women deal with the trauma of that systemic victimization.

Both women actually have experience with the carceral system impacting their families, and both connect the repression of the state as part of the “War on Drugs” to the ongoing war on Black and poor people, and how this repression destroyed the stability of even economically struggling Black communities like in the Southside of Chicago.

That both women highlight the need to elevate the voices of young, Black and queer women in the new efforts at organizing is a central theme in the documentary. The role women play in organizing—that has been too often overlooked throughout the historical reflection of the long fight for liberation for Black people—is an important and well-highlighted discussion that both women and others throughout the documentary raise. In organizing meetings and in the streets, the documentary points out several instances throughout when Black men literally take the mic from Black women while they were speaking or talk over them, thereby dominating the discussion. It seems the film focuses on the organizing that occurred after Rekia Boyd’s killing precisely because few outside of Chicago probably understood how much focus the people in the streets DID pay to her killing, despite people outside of Chicago saying that the movement writ large doesn’t pay much attention to Black women killed by police.

However, there are contradictions even in these discussions in the film, as Ambrelle particularly describes Black men as being only interested in their position to power and as oppressors of Black women. But even with this troubling discourse about Black men, other voices in the documentary point out other possibilities, chief among them that Black men who exhibit misogynistic behavior toward Black women are largely unconscious of how some of their behavior negatively impacts Black women because they, too, are oppressed and do not realize the depth of their oppression. Just as in the questions surrounding the utility of academia in the movement, raising this contradiction is not a dig on Ambrelle, but an occasion to examine how we all talk about Black men in the spaces we all occupy in the movement.

Those contradictions that we all must wrestle with aside, the documentary delves into the hectic, exhausting, emotionally taxing life of Black organizers, activists and agitators—whatever you want to call them. The work that is done to confront city councils that refuse to listen to the demands of the people most impacted by police violence that is literally funded by their tax dollars, the difficulty balancing organizing and personal lives, the importance of strong family ties and support, and the difficulties even pursuing romantic interests are all issues among several others that remind the viewer that organizing is not a hobby. Nor is it a lifestyle. It is—for many of us—our life, our whole life. And it is such because our lives depend on it. But as the two women show in the various ways that they stay connected and grounded when they are not organizing or agitating, the necessity of having those connections and making that time for them outside of organizing and agitating is critical to their survival, too.

The documentary also presents a detailed timeline of the response of the Chicago Police Oversight Board and the mayor’s office to the police killings of Boyd and McDonald. In that timeline, we see the way now-Mayor Lori Lightfoot conducted herself in the presence of these agitators as they demanded the cop who killed Rekia be fired, but also the cold detachment as Rekia’s brother testified before the Chicago Police Board that Lightfoot presided over as president.

Watching it, you wonder how in the hell did she get away with presenting herself as a progressive after the despicable way in which she responded to these incidents and the people in that community demanding action be taken against the cops who committed them. Lightfoot’s recorded comments from that time period, and those of Rahm Emanuel, are repulsive and one wonders how the hell Lightfoot was elected mayor after the revelations of her boss Rahm Emanuel’s attempts to cover up evidence of the McDonald killing and the corruption of the Chicago District Attorney’s Office that was connected to Emanuel’s shady dealings. The politics of identity divorced from class analysis and good ol’ Democratic lesser-evilism are at play here, but it is not pointed out in the documentary. That is unfortunate, because these issues are critical drivers behind continued political malaise and stagnation among the very community the agitators are agitating on behalf of.

“Unapologetic” is a much-needed exposé into the actual lives of actual activists. It reveals that the “people in the streets” are ordinary folks struggling with ordinary life, but they also have the extraordinary desire to challenge and change this system because, as Black women and Black queer people, they also struggle with the extraordinary burdens heaped upon them by this society. That seems to be the primary focus of the documentary, though it also looks at how those ordinary people are pushed to be unapologetic about their activism and agitation—and that is a good thing. However, it leaves out the deeper discussions we need to have about the gender relations between Black men and Black women, classism, and identity reductionism that exist within this important work, all of which we cannot afford to ignore if we ever want to be healthy enough—mentally, emotionally, and as a community—to endure this continued struggle.

Jacqueline Luqman is a radical activist based in Washington, D.C.; as well as co-founder of Luqman Nation, an independent Black media outlet that can be found on YouTube (here and here) and on Facebook; and co-host of Radio Sputnik’s “By Any Means Necessary.”

Editor’s Note: This report was originally published by Antiwar.com.

CBS News retracted a documentary it briefly released on August 7 after pressure from the Ukrainian government. The original documentary (watch it here) CBS put out examined the flow of military aid to Ukraine and quoted someone familiar with the process who said in April that only 30 percent of the arms were making it to the frontline.

We removed a tweet promoting our recent doc, "Arming Ukraine," which quoted the founder of the nonprofit Blue-Yellow, Jonas Ohman's assessment in late April that only around 30% of aid was reaching the front lines in Ukraine. pic.twitter.com/EgA96BrD9O

— CBS News (@CBSNews) August 8, 2022

“All of this stuff goes across the border, and then something happens, kind of like 30 percent of it reaches its final destination,” said Jonas Ohman, the founder of Blue-Yellow, a Lithuania-based organization that CBS said has been meeting with and supplying frontline units with aid in Ukraine since the start of the war in the Donbas in 2014. “30-40 percent, that’s my estimation,” Ohman said.

After the documentary sparked outrage from the Ukrainian government, it was removed from the internet by CBS. In an editor’s note, CBS said it changed the article that was published with the documentary and that the documentary itself was being “updated.”

The editor’s note also insisted that Ohman has said the delivery of weapons in Ukraine has “significantly improved” since he filmed with CBS back in April, although he didn’t offer a new estimate on the percentage of arms being delivered.

The editor’s note also said that the Ukrainian government noted U.S. defense attaché Brig. Gen. Garrick M. Harmon arrived in Kyiv in August for “arms control and monitoring.” Defense attachés are military officers stationed at U.S. embassies that represent the Pentagon’s interests in the country. Previously, it was unclear if there was any sort of military presence at the U.S. embassy in Kyiv after it reopened in May.

Ukrainian Foreign Minister Dmytro Kuleba said the retraction by CBS was not enough and called for an investigation into the documentary. “Welcome first step, but it is not enough … There should be an internal investigation into who enabled this and why,” he wrote on Twitter.

In the documentary, Ohman described the corruption and bureaucracy that he has to work around to deliver aid to Ukraine. “There are like power lords, oligarchs, political players,” he said. “The system itself, it’s like, ‘We are the armed forces of Ukraine. If security forces want it, well, the Americans gave it to us.’ It’s kind of like power games all day long, and so eventually people need the stuff, and they go to us.”

Other reporting has shown that there is virtually no oversight for the billions of dollars in weapons that the United States and its allies are pouring into Ukraine. CNN reported in April that the United States has “almost zero” ability to track the weapons it is sending once they enter Ukraine. One source briefed on U.S. intelligence described it as dropping the arms into a “big black hole.”