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is pleased and proud to offer as its inaugural publication Warrior Song, an intense,
broad-stroked, over-under-inner-outer-view of the international Black music scene
from cultural journalist Djehuti wa Kamau.
We all know there are many,
many titles on Black music saturating the publishing market, possibly too many,
and definitely more than enough to keep up with; but, without doubt, Warrior Song
is one book like no other. Anchored with the subtitle A PanAfrikan Centered Handbook
for Cultural Liberation and Salvation via the Medium of Music, Warrior Song makes
long, hard observations and equally-measured commentary on how the world of the
music industry and other powers-that-be affect communities of the African Diaspora—most
unfortunately in an adverse manner, as can immediately be seen and heard with
the turning on of a TV, radio, or computer monitor.
Leaving as few stones
unturned as can be, wa Kamau has written an all-encompassing treatise on Black
music, and a glimpse at only a few of the topics discussed proves just that: Early
Greek and Roman historical testimony to the African origins of Greco-Roman music
culture; revealing the real pirates and gangsters of the music business; how music
is literally used as a weapon in, out of, and in between wars; the direct linkages
of the sex, drugs and violence themes currently found in Black music to early
Greco-Roman society and the transatlantic slave trade; chastisement of traitorous
entertainers-turned-enemies of the Black community and their dastardly deeds;
the interrelationship between self-hate, population control, popular music and
Black performers; the continuous connection of all music of African origin; an
outline for building a communal music-culture system; and much more to keep the
reader’s interest above peak level.
Real, honest, and uncompromisingly
forthright, the author has taken the utmost care to back up his assertions, as
Warrior Song boasts nearly 200 footnotes, a 43-page bibliography (which includes
a discography/videography of recommended recordings), and page upon page of in-text
citations. So, though he is out to please no one, wa Kamau nevertheless brings
high standards to this book. A work several years in planning and several
after that in the making, written under intense pressure—professional and
personal—and the target of attack by haters and nay-sayers with little if
any encouragement, Warrior Song found completion by wa Kamau, who persevered to
the finish line despite those obstacles and also after the theft of his handwritten
manuscript and notes, which left him confronting moments of duress and uncertainty.
Needless to say, wa Kamau met the challenges and emerged victorious.
Lovers
of any style of Black music around the globe will find this publication a necessary
title to include in their library, or a fine primer to start one. Make no mistake,
though; Warrior Song is not for the faint at heart, and even the strong-willed
may have to brace themselves. Djehuti wa Kamau pulls no punches, bars no holds,
and goes for the jugular, all the while infusing a crafty humor that keeps the
humidity low while the topics heat up with each turned page. Agree with this book’s
premise and conclusions or not, your thoughts will be incited in ways and expanded
to areas rarely charted. Indeed, when the fire dies down and the smoke clears,
when all stones have been cast and the final judgment made, Warrior Song will
have proven to be one of the most provocative books of its time. | 
Book
Review: They stole our music.
WARRIOR
SONG, A PanAfrikan Centered Handbook for Cultural Liberation and Salvation via
the Medium of Music begins by giving an accurate account of how white people have
taken credit for or just plain stole the music, lyrics and styles of people of
African descent since the time of ancient Egypt. By exposing the first culture
bandits, the Greeks, Djehuti Wa Kamau begins to chart an endless timeline of thievery
related to our music and culture. This sets the tone for the later chapters that
not only expose the culture banditry, but also explain in detail how what’s
left of our music and culture is used against us.
Kamau shows and proves how
from the blues to hip hop, white musicians and singers have tried to imitate and
duplicate black musicians and singers. Not being afraid to name drop, Kamau exposes
the culture banditry of Johnny Cash, Madonna, Van Morrison, Paul McCartney, Mick
Jagger and many more. He even list quotes by the bandits that show how they try
to copy blacks.
After proving how they stole our
music and culture, the author explains how governments, multi-media conglomerates,
alcohol companies, tobacco companies, etc. all use the music industry to influence
and control our behavior, thoughts and perceptions. Readers will find this section
of the book very interesting. There is a 20-page section in the book that contains
real proposals from tobacco companies, (Salem and others), that shows their intent
to target black people for increased cigarette consumption through heavy marketing
campaigns mostly through concert promotions and black music programs. The sections
about the mind control tactics being used in Africa via music and music-related
activities are equally as interesting.
Kamau ends
the book by providing readers with steps we must take to gain control over our
music and culture. Just like in the title of the book, the solutions are presented
from a pan-Afrikan perspective. The solutions were written to be applied globally.
I
highly recommend this book for everyone. It should be required reading in every
music program and psychology class.
---Reviewed
by *Granderson Glen for RAW's BMR
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