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To liberate, create: Distributed in 11 countries and 9 U.S. cities, The Liberator Magazine is the independent international journal for stories and expressions of art, culture, education, politics and truth. To that end, this cooperative project was created to serve our community of artists, educators, students, musicians, filmmakers, healers, parents, performers, visionaries, curious minds, researchers, philosophers, critics and writers. Why? To help preserve humanity, by creating and supporting excellent spaces of dialogue that provide fresh and forceful analysis and critique. To make a habit of transcending boundaries. To believe serious discussion and storytelling are the precursors to, and companion of, serious action. To remain conscious of our potential to contribute to and help maintain life. And to manifest diplomacy among the urban enclaves of America and between the larger Diaspora.
The Liberator Magazine is currently
published two to four times a year,
The Liberator Blog is published
daily online, and community
Live From Planet Earth
parties produced by The Liberator
go down a few times a year around the world, supporting emerging
musicians and grassroots causes, along with the
Live From Planet Earth Music Compilation Series
available for free online.
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In The News:
"Over the years THE LIBERATOR has branched out nationwide and has also
transformed itself into a divine cyber version, for all to enjoy. You
would do well to read you some and stay connected."
"THE LIBERATOR looks back to the revolutionary spirit that inspired
the Black Arts Movement, while at the same time embracing a contemporary
aesthetic with its foundations in a pan-African consciousness. Defiantly
collective it seeks to erase boundaries between divergent art forms and
explore the intersections between the personal and the political in a
heartfelt, serious way. This position places it in direct opposition to
mainstream urban culture, which Askia Toure describes as having "lost
its national consciousness, in its rush to assimilate materialism, bling
bling, capitalism and misogyny." ... Its content veers dizzyingly from
arts and culture, to war, immigration, homelessness and crack cocaine at
home; from broad-brush assertion to the laser-focused insights of
previously unheard voices ... At the same time it sidesteps
ghettoization by situating its debate within the complex web of creative
expression which binds black artists from around the world. The fiery
voice of a new black self-consciousness and social consciousness
reclaiming its freedom in the complex contemporary world."
"Pick up the most recent issue of THE LIBERATOR and you'll experience
the raw spirit of street-level publishing: cultural theory on gangster
rap, a piece on lust next to a short guide to an ancient Indian
spiritual and dietary tradition, a letter-to-the editor from the vice
president of a Police Federation, an interview with a
former crack cocaine dealer, historical analysis of American
exploitation in the Congo, and a review of a recent Grand Master Flash
show... it reflects all the vibrancy and the rough edges of zine-like
journalism... Despite the journal's pan-African spirit and political
angle they bristle at being labeled community activists..."
"Those 'meddling kids' over at LIBERATOR MAGAZINE ... right-on-time ...
intrepid eyes ... The only game in many, many towns ... There would be
no point in calling "Liberator Magazine" LIBERATOR MAGAZINE
without some behavior related to liberation ... this is a venture that
sees nothing wrong with the concept that peoples of African descent
should be interested in subjects that are undeniably African (and the
punch line: everyone on Earth is of African descent). Denial about such
a "strange" interest is implied constantly. It is the current American
trend -- an America that used to call rock-n-roll "animalistic nigger
bop" has built a multibillion dollar business empire on Black graves of
people they ultimately hate. Every time a white kid in Nebraska says the
word �cool� she is dipping in the Black pool. This white kid does not
have bow down to every person of color she sees -- you would think that
eventually she would get tired of being called "white" and start to
question for something else (and not some hippie colorblind bullshit but
something else). This American trend has a Roman heritage. The Imperial
Roman traditionally despised the weak -- this is what the coliseum
gladiator represents. Because traditional Africa was collectively unable
to independently conceive of nuclear weapons -- and other technical
systems of "high" civilization -- Africa is "weak" by the Roman
standard. Why bother to waste precious fossil-fuel energy on showing
"politically correct" respect to the weak? Too many African young people
-- properly assimilated to the "real world" of white empire -- know this
Roman romance very well. So when they ... ask for funding for a symbol
of non-Roman liberation, I'm sure they know how much popularity is
opposed to them ... THE LIBERATOR MAGAZINE continues to make Black history by
merely existing."
"Best
Culture Blog: THE
LIBERATOR MAGAZINE. After 9,400+ nominations and over
1,500 votes by the blogging public and our team of distinguished
judges."
"Celebrating Black History Month with a interview with LIBERATOR
MAGAZINE's editor"
"THE LIBERATOR asserts that younger leadership in communities of color
is critical, and [they] challenge the corporate values that destroy
communities... LIBERATOR writers say college-educated people of color
are encouraged to focus on individual careers, recognizing that the
collective spirit of the Civil Rights Movement was lost."
"Great young leaders. The best & the brightest... THE LIBERATOR
MAGAZINE... THE hope of the country..."
"Blog Of The Day: THE LIBERATOR MAGAZINE"
The Liberator has featured articles on: classical and prodigal musicians such as Chuck Dee, Whodini, Grandmaster Flash, Saul Williams, Dead Prez, K'Naan, Talib Kweli, Brother Ali, J*Davey, K-OS, Cee-Lo, I-Self Devine, Method Man and Cody Chesnutt; upcoming and legendary writers such as Nikki Giovanni, Jeff Chang, Malidoma Patrice Some and Askia Toure; groundbreaking visual artists such as Kara Walker; visionary filmmakers such as James Spooner (Afro Punk); economic, social and political change agents such as Mumia Abu-Jamal, Brent "Siddiq" Sayers, Runoko Rashidi and Al Franken; and issues ranging from war, immigration and development around the world to homelessness and crack cocaine at home. |
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