To liberate, create:
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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 printed and distributed two to four times a year, The Liberator Magazine Blog and Tumblr are published regulalry 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.

Find us in New York, Minnesota, Washington DC, Atlanta, Chicago, Carolina, Oakland, Los Angeles, Philadelphia, Toronto, London, Paris, Switzerland, Nairobi Kenya, Kampala Uganda, Gambia, Dakar Senegal, Dar Es Salaam Tanzania, Cape Town + Johannesburg South Africa.

 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."
-Saucy Dame Delux

"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."
-Chimurenga

"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..."
-Spokesman Recorder

"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."
-Rasx() Context / Kintespace

Afeni Shakur (2Pac's mom)

Mos Def (Black Star)

Chuck D (Public Enemy)

Cynthia McKinney

DJ Seduce (Afro:Baile)

Danny Glover

Talib Kweli (Black Star)

Fred Hampton Jr.

Grandmaster Flash

Slug (Atmosphere)

Ceewhy

Moe (Cipher)