Blaxploitation

These new-found tensions which are present at all stages in the real nature of colonialism have their repercussions on the cultural plane. In literature, for example, there is relative over-production. From being a reply on a minor scale to the dominating power, the literature produced by natives becomes differentiated and makes itself into a will to particularism. The intelligentsia, which during the period of repression was essentially a consuming public, now themselves become producers. This literature at first chooses to confine itself to the tragic and poetic style; but later on novels, short stories and essays are attempted. It is as if a kind of internal organisation or law of expression existed which wills that poetic expression become less frequent in proportion as the objectives and the methods of the struggle for liberation become more precise. Themes are completely altered; in fact, we find less and less of bitter, hopeless recrimination and less also of that violent, resounding, florid writing which on the whole serves to reassure the occupying power. The colonialists have in former times encouraged these modes of expression and made their existence possible. Stinging denunciations, the exposing of distressing conditions and passions which find their outlet in expression are in fact assimilated by the occupying power in a cathartic process. To aid such processes is in a certain sense to avoid their dramatisation and to clear the atmosphere. But such a situation can only be transitory. In fact, the progress of national consciousness among the people modifies and gives precision to the literary utterances of the native intellectual. The continued cohesion of the people constitutes for the intellectual an invitation to go farther than his cry of protest. The lament first makes the indictment; then it makes an appeal. In the period that follows, the words of command are heard. The crystallisation of the national consciousness will both disrupt literary styles and themes, and also create a completely new public. While at the beginning the native intellectual used to produce his work to be read exclusively by the oppressor, whether with the intention of charming him or of denouncing him through ethnical or subjectivist means, now the native writer progressively takes on the habit of addressing his own people.

Mos Def calls out Lil' Jon

"Our priorities is gettin' fucked. Lil Jon-I love his music. But why are the East Side Boyz names Big Sam and Lil Bo? What the fuck? What's next, Kunta and Kinte? The South should know better. This is the same country that ran up in Fred Hampton's crib and shot him in bed with his pregnant wife. You think the rules changed cause niggas got No. 1 records? What are we supposed to tell our kids? After Malcolm, Martin and Dubois we got Sam-Bo? I'm supposed to be down with that 'cause it makes me dance?"

[...]

"Paris Hilton don't really care about ya'll niggaz, man. She can't even hear ya'll niggaz. I'm just keeping it real. This shit is entertainment to them. We're adopting their morals like we them and we never been them. We don't have the same struggle. Dudes is no more than 20 years removed from real poverty. For dudes to have this much access to money and it's not translating to people power, its inexcusable..."