Articles on this Page
- 12/31/13--07:50: _Marvin X's Great Gr...
- 12/31/13--17:57: _John Gilmore and Su...
- 01/01/14--15:17: _Black Bird Press Ne...
- 01/02/14--10:31: _(What did I do to b...
- 01/02/14--10:51: _NINA SIMONE To Be ...
- 01/02/14--11:19: _Black Bird Press Ne...
- 01/02/14--15:48: _Marvin X's Central ...
- 01/03/14--07:22: _Malcolm Little, the...
- 01/03/14--19:20: _The Central Valley ...
- 01/03/14--21:29: _Let us continue in ...
- 01/03/14--22:11: _Again the Kora
- 01/04/14--13:01: _Al-Qaeda Takes cont...
- 01/06/14--06:36: _Marvin X now availa...
- 01/08/14--08:11: _Marvin X will fast ...
- 01/08/14--11:08: _Mrs. Amina Baraka o...
- 01/09/14--07:40: _Marvin X and the wo...
- 01/09/14--08:15: _Color of Change: En...
- 01/09/14--09:19: _Marvin X will be ac...
- 01/09/14--11:25: _Nina Simone - You D...
- 01/09/14--11:30: _Billie Holiday: You...
- 12/31/13--07:50: Marvin X's Great Grandfather, Former Slave, Dies on Madera Ranch
- 12/31/13--17:57: John Gilmore and Sun Ra
- 01/02/14--10:31: (What did I do to be so) Black and Blue
- 01/02/14--10:51: NINA SIMONE To Be Young,Gifted & Black [ Live 1970 ].wmv
- 01/02/14--15:48: Marvin X's Central Valley Tour, 2014
- 01/03/14--22:11: Again the Kora
- 01/04/14--13:01: Al-Qaeda Takes control of Fallujah
- 01/06/14--06:36: Marvin X now available for Black History Month
- 01/08/14--08:11: Marvin X will fast for Syria and the Hoods of USA
- 01/08/14--11:08: Mrs. Amina Baraka on Amiri Baraka
- 01/09/14--07:40: Marvin X and the world fasts for Syria
- 01/09/14--08:15: Color of Change: End the New Jim Crow: Private Prisons
- 01/09/14--11:25: Nina Simone - You Don't Know What Love Is
- 01/09/14--11:30: Billie Holiday: You Don't Know What Love Is
Being black ain't so bad, it's just inconvenient!--elder black woman
Black Bird Press News & Review: A Marvin X poem for Miles Davis in Montreal - Time After Time:
And time is all we have
a moment or two
do not waste time
you will look back to wonder
what happened to time
who ate time
some big ugly monster
illusions filling the night air
something we missed in conversation
"That is not what I meant
That is not what I meant at all" (TSE)
and before you know it
time has slipped away
lovers have gone
you sit alone
life is wonderful
live like Sade said
every day is xmas
every night New Year's eve.
This title will be released on January 7, 2014.
Ilyasah Shabazz, daughter of Malcolm X, is an activist, motivational speaker, and author of the critically acclaimed Growing Up X— with Hajji Ali Davis.
We talked with Mrs. Amina Baraka on the phone today. He is still suffering from pneumonia. Let us pray for our dear brother brought so much African culture and consciousness to the Black Nation.
listen to the Blues
but listen with eyes behind your head
third eye listen
Blues take you beyond
Ali Farka played the Blues they sad
Ali said go beyond America
go ten thousand years
let the griot tell you stories of myth and reality
let the Kora speak
let the Griot speak
it is the sweet music of a soul in peace
we sit at the tribal fire
Kora takes us there
men know they are men
they manhood train
no struggle no fight
manhood ritual works
solid men stand tall
the women say
I hate a weak nigguh
I hate a weak nigguh
young girls say the same
No man can miss the lesson
conquer the self
man in the mirror
what is your bliss?
Follow your bliss
marriage is the end all
a good job not enough
what is your mission
beyond money pussy dope
greed lust jealousy envy
take the wood for the fire place
burn wood burn
burn my garbage burden on my back
destroyed my kingdom
took me from the Upper Room
to the dungeon
after all my labor under the sun
demons confounded me
demons were music in my ears
illusions convinced me
lies were truth
I am Othello
the devil whispers in my ear
I listen and I am destroyed.
Marvin X Now Available for Bookings for Black History Month, 2014
Marvin X is now available for speaking and reading at colleges
and universities. Contact his agent: Sun in Leo PR: 718-496-
BLACK HISTORY IS WORLD HISTORY
By Marvin X
(c) 1981 by Marvin X
Before the Earth was
Before time was
you found me not long ago
and called me Lucy
I was four million years old
I had my tools beside me
I am the first man
call me Adam
I walked the Nile from Congo to Delta
a 4,000 mile jog
BLACK HISTORY IS WORLD HISTORY
I lived in the land of Canaan
before Abraham, before Hebrew was born
I am Canaan, son of Ham
I laugh at Arabs and Jews
fighting over my land
I lived in Saba, Southern Arabia
I played in the Red Sea
dwelled on the Persian Gulf
I left my mark from Babylon to Timbuktu
When Babylon acted a fool, that was me
I was the fool
When Babylon fell, that was me
BLACK HISTORY IS WORLD HISTORY
I was the first European
call me Negrito and Grimaldi
I walked along the Mediterranean from Spain to Greece
Oh, Greece! Why did you kill Socrates?
Why did you give him the poison hemlock?
Who were the gods he introduced
corrupting the youth of Athens?
They were my gods, black gods from Africa
Oh, Socrates, Plato and Aristotle
Whose philosophy did you teach
that was Greek to the Greeks?
Pythagoras, where did you learn geometry?
Democritus, where did you study astronomy?
Solon and Lycurgus, where did you study law?
In Egypt, and Egypt is Africa
and Africa is me
I am the burnt face, the blameless Ethiopian
Homer told you about in the Iliad
Homer told you about Ulysses, too,
a story he got from me.
BLACK HISTORY IS WORLD HISTORY
I am the first Chinese
China has my eyes
I am the Aboriginal Asian
Look for me in Viet Nam, Cambodia & Thailand
I am there, even today, black and beautiful
BLACK HISTORY IS WORLD HISTORY
I used to travel to America
long before Columbus
came to me asking for directions
on his voyage to America
saw me in the Atlantic
returning to Africa
America was my home
Before Aztec, Maya, Toltec, Inca & Olmec
I was hereI came to Peru 20,000 years ago
I founded Mexico City
See my pyramids, see my cabeza colossal
in Vera Cruz and Yucatan
I am the Mexican
for I am mixed with all men
and all men are mixed with me
I am the most just of men
I am the most peaceful
who loves peace day and night
Sometimes I let tyrants devour me
sometimes people falsely accuse me
sometimes people crucify me
but I am ever returning I am eternal, I am universal
Africa is my home
Asia is my home
Americas is my home
BLACK HISTORY IS WORLD HISTORY
Marvin X has been ignored and silenced like Malcolm X would be ignored and silenced if he had lived on into the Now. He's one of the most extraordinary, exciting black intellectuals living today!
--Rudolph Lewis, Chickenbones.com
Marvin X's Revolution on the Rocks Book Tour 2012
Marvin X is Plato Teaching on Oakland’s Streets
The Wisdom of Plato Negro: Parables/Fables
Marvin X was a prime shaper of the Black Arts Movement (1964-1970s) which is, among other things, the birthplace of modern Muslim American literature, and it begins with him. Well, Malik Shabazz and him. But while the Autobiography of Malcolm X is a touchstone of Muslim American culture, Marvin X and other Muslims in BAM were the emergence of a cultural expression of Black Power and Muslim thought inspired by Malcolm, who was, of course, ignited by the teachings and writings of the Honorable Elijah Muhammad.
And that, taken all together, is what I see as the starting point of Muslim American literature. Then there are others, immigrant Muslims and white American Muslims and so forth, that follow.There are also antecedents, such as the letters of Africans enslaved in America. Maybe there is writing by Muslims in the Spanish and Portuguese era or earlier, but that requires archival research of a sort I am not going to be able to do.
My interest is contemporary literature, and by literature I am more interested in poetry and fiction than memoir and non-fiction, although that is a flexible thing.I argue that it is time to call Muslim American literature a field, even though many of these writings can be and have been classified in other ways—studied under African American literature or to take the writings of immigrant Muslims, studied under South Asian ethnic literature or Arab American literature.
With respect to Marvin X, I wonder why I am just now hearing about him—I read Malcolm when I was 12, I read Amiri Baraka and Sonia Sanchez and others from the BAM in college and graduate school—why is attention not given to his work in the same places I encountered these other authors?
Declaring Muslim American literature as a field of study is valuable because recontextualizing it will add another layer of attention to his incredibly rich body of work. He deserves to be WAY better known than he is among Muslim Americans and generally, in the world of writing and the world at large.
By we who are younger Muslim American poets, in particular, Marvin should be honored as our elder, one who is still kickin, still true to the word!Love and War Poems is wrenching and powerful, combining a powerful critique of America ("America downsizes like a cripple whore/won't retire/too greedy to sleep/too fat to rest") but also a critique of deadbeat dads and drug addicts (not sparing himself) and men who hate.
"For the Men" is so Quranic poem it gave me chills with verses such as:
for the men who honor wives
and the men who abuse them
for the men who win
and the men who sin
for the men who love God
and the men who hate
for the men who are brothers
and the men who are beasts"
"O Men, listen to the wise," the poet pleads:
there is no escape
for the men of this world
or the men of the next
He is sexist as all get out, in the way that is common for men of his generation and his radicalism, but he is refreshingly aware of that and working on it. It's just that the work isn't done and if that offends you to see a man in process and still using the 'b' word, look out. Speaking of the easily offended, he warns in his introduction that "life is often profane and obscene, such as the present condition of African American people." If you want pure and holy, he says, read the Quran and the Bible, because Marvin is talking about "the low down dirty truth."
For all that, the poetry of Marvin X is like prayer, beauty-full of reverence and honor for Truth. "It is. it is. it is."A poem to his daughter Muhammida is a sweet mix of parental love and pride and fatherly freak-out at her sexuality and independence, ending humbly with:
it's on you
Other people don't get off so easy, including a certain "black joint chief of staff ass nigguh (kill 200,000 Muslims in Iraq)" in the sharply aimed poem "Free Me from My Freedom." (Mmm hmm, the 'n' word is all over the place in Marvin too.) Nature poem, wedding poem, depression poem, wake-up call poems, it's all here. Haiti, Rwanda, the Million Man March, Betsy Ross's maid, OJ, Rabin, Mumia Abu-Jamal, and other topics make it into this prophetically voiced collection of dissent poetry, so Islamic and so African American in its language and its themes, a book that will stand in its beauty long after the people mentioned in it pass.
READ MARVIN X for RAMADAN!
--Mohja Kahf Associate Professor / Dept. of English, Middle East & Islamic Studies,
University of Arkansas-Fayetteville
photo Kamau Amen Ra
Somethin' Proper, the Autobiography of Marvin X, Black Bird Press, 1998
from the Introduction by Dr. Nathan Hare, the Black Think Tank
In SOMETHIN' PROPER, we quickly see that we are inside the pages not only of Marvin's private political papers, comprising a lyrical diary shaped to be read and enjoyed like a novel by the masterful hands of an internationally noted black poet, but we are being escorted to the cutting edge of a fascinating postmodern black literary genre in the making, the notes of an undying black warrior who refuses to give up, give out or give in!
Although easy to read by almost anybody wishing to do so, SOMETHIN' PROPER (apparently a phrase from the drug subculture, i.e., BREAK ME OFF SOMETHIN' PROPER), presents us at once with an opportunity for a deeper understanding of a panorama of participants in the often poignant but sometimes hilarious inner workings of the black male psyche, from the middle class bourgeois pretenders such as "tenured Negroes" on the academic plantation and their "negrocity," to "coconuts" in the corporations, and across the spectrum to brothers in the hood, particularly the way in which utility and haughty demeanor conceal and mask the panoramic and pervasive depression of the black male.
Before his death at the early age of 36, Frantz Fanon, the black psychiatrist who lived and wrote about the relations between the oppressor and oppressed in the battle of Algiers (Wretched of the Earth; Black Skin, White Masks, and A Dying Colonialism), presented us with clear psychiatric paradigms for the struggles Marvin deftly captures for us.
Marvin is able to give us insights into himself and his affiliates (Huey Newton, Eldridge Cleaver, Bobby Seale, Little Bobby Hutton, Amiri Baraka, Sonia Sanchez, Angela Davis, et.al., that are original but reminiscent of Fanon, because Marvin is bearing the covers on his life and the life of others.
Of all the many disorders and distortions that plague the black male, each and every day, perhaps the ones that take the heaviest tool on his ravished brain are those that—if not contained by armed resistance—revolve around the painful difficulty of gaining control over his individual and collective destiny, around what is known in mental health circles as "the locus of control," the dilemma of resistance to the enemy from without and the enemy from within (including the self, if we consider that there can be no master without those who, for whatever reason, are willing to be a slave). Might makes right but not for long.
If we honor the likes of Patrick Henry for saying "give me liberty or give me death," it is no matter that when the Negro says give him liberty or death the white man tries to give him death! The so-called Negro is confronted with a choice Patrick Henry had not reckoned with, something Fanon called "reactional disorders" or "psychosomatic pathology" that is the direct product of oppression.
But out of a last ditch desperation in self-medication and the management of his pulverized and thwarted emotions, in a mindless effort to soothe his psychological and social wounds, the black male is introduced unwarily if discreetly to the vicious cycle of self-mutilation and induced addiction, which takes hold and spreads like an epidemic virus as part of the psycho-technology, historically, of the white man's oppression of the North American African and others around the world.
In his powerlessness and victimization, with nothing left to lean on, the black man is likely to mount the seesaw, if not the roller coaster of racial psycho-social dependency and messianic religiosity (becoming the mad-dog religious fanatic, believing in a savior other than himself) on the one hand and the individual chemical dependent on the other, i.e. the dope fiend.
Marvin decontructs both. In the bottomless caverns of addiction in any form, there seems no amount of religiosity, coke, crack, alcohol or sex sufficient to sedate the social angst and shattered cultural strivings.
The more the black man tempts to medicate his anxiety and to mask his depression and self doubts with pretense and hostility, the more he finds himself in trouble with the persons he must love and be loved by than with the alien representatives of the society that would control and castrate his manhood.
Novelist Richard Wright, addressing these paradoxes and dilemmas in his own autobiography BLACK BOY, explained that, "Because I had no power to make things happen outside of me in the objective world, I made things happen within. Because my environment was bare and bleak, I endowed it with unlimited potentialities, redeemed it for the sake of my own hungry and cloudy yearning."
The catch is in the way these things turn out after the boy has been taken through the meat grinder of growing up within the machinery of white social control. In response, the strategy or road most taken by both Marvin X and Richard Wright, to put it simply, is FLIGHT (what Wright as a matter of fact names the middle passage of his novel, Native Son, book 2 of 3).
As surely as the individual who accepts oppression is constantly in flight from his racial identity, the black man who rejects it is constantly on the run from the agency of white supremacy that must control him and wishes to annihilate him outright. And here is where Marvin's story is most valuable to us , helping us to grasp the meaning of the tradition of escape within our race, literature and history, stretching back to the slave trade and slave ships of the middle passage, down to the demanding requirements of escape from coercion, incarceration and surveillance in the modern era: he takes us through a childhood of continual efforts to avoid juvenile hall, to the flights of his father (despite punishing ambiguities, Marvin X dedicates his book to both his parents in memorial), calling upon pure personal honesty and the deepest levels of understanding to appreciate the parental struggles of his own and the resulting psycho-sexual and social conflicts.
Without professing to do so, Marvin X speaks here most effectively of all black men, exposing their triumphs and follies, telling all he knows about everybody, including himself, always seeming to exact the hardest toll of all on himself, inviting us openly and unashamedly into the intricacies of his youthful endeavors to love too many women, including more than one try at the practice of polygamy (at one point he had four wives, in the Islamic tradition), until he realizes that if monogamy is the love and marriage of one woman, polygamy is the love or marriage of one woman too many!
I predict that SOMETHIN' PROPER (the life and times of a North American African Poet) will readily emerge as an underground classic as well as a classic of the black consciousness movement and the world of the troubled inner city, a manual of value to any brother who has lost his way and the sister who would help him to understand or know how to find it, to find it within himself, in the intriguing story of Marvin X, who has been there and the women and political fellow-travelers in the black movement who were there with him in his often daring escapades, his secret flights and open confrontations with white supremacy.
In the end, is he bitter? Or is he happy as a negro eating watermelon on massa's plantation? Well, in the beginning white people are devils—but by the end, all people are devils—in Marvin's world. After all, this is his story. Nevertheless, by the end we are convinced Marvin has regained faith in himself, his God and his people.
And it is gratifying in an era of the sellout, the faint hearted and the fallen, to see that Marvin X was one black man who met the white man in the center of the ring and walked with him to the corners of psycho-social inequity, grappling with him through the bowels of the earth, yet remained one black man the white man couldn't get.
I'm glad I stopped that day on Market Street and bought a pair of Marvin's sunglasses, but I wish I knew where to find those sunglasses now, because I could feel so proud to wear them, or, better yet, I could lend them to some other brother who was trying to find his way to SOMETHIN' PROPER while moving in the direction of the sun.
--Dr. Nathan Hare
Marvin X is the USA’s Rumi, and his nation is not “where our fathers died” but where our daughters live. The death of patriarchal war culture is his everyday reality. X’s poems vibrate, whip, love in the most meta- and physical ways imaginable and un-. He’s got the humor of Pietri, the politics of Baraka, and the spiritual Muslim grounding that is totally new in English –- the ecstasy of Hafiz, the wisdom of Saadi. It’s not unusual for him to have a sequence of shortish lines followed by a culminating line that stretches a quarter page –- it is the dance of the dervishes, the rhythms of a Qasida.
Stay connected to . they really can feel you. as much as you dislike rap. your style is very hip hop. Lol! brash. raw. in your face. not givin a F what anybody thinks albeit a much stronger message.
--Muhammida El Muhajir
ELDRIDGE CLEAVER - MY FRIEND THE DEVIL: A Memoir
Marvin X‘s newest book, “Eldridge Cleaver: My Friend, The Devil” is an important Expose!, notonly of whom his good friend really was… (I confess I thought something like that, in less metaphysical terms, from the day we met, at San Francisco State, 1967) But also of whom Marvin was/is. Now, Marvin has confessed to being Yacub, whom Elijah Muhammad taught us was the “evil big head scientist” who created the devil. (Marvin’s head is very large for his age.)
What is good about this book is Marvin’s telling us something about who Eldridge became as the Black Panther years receded in the rear view mirror. I remember during this period, when I learned that Marvin was hanging around Cleaver even after he’d made his televised switch from anti-capitalist revolutionary to Christian minister, denouncing the 3rd World revolutionaries and the little Marxism he thought he knew, while openly acknowledging beating his wife as a God given male prerogative, I said to Marvin, “I thought you was a Muslim” . His retort, “Jesus pay more money than Allah, Bro”, should be a classic statement of vituperative recidivism.
But this is one of the charms of this memoir. It makes the bizarre fathomable. Especially the tales of fraternization with arguably the most racist & whitest of the Xtian born agains with Marvin as agent, road manager, co-conspirator-confessor, for the post-Panther – very shot- out Cleaver. It also partially explains some of Cleaver’s moves to get back in this country, he had onetime denounced, and what he did after the big cop out. Plus, some of the time, these goings on seem straight out hilarious. Though frequently, that mirth is laced with a sting of regret. Likewise, I want everyone to know that I am writing this against my will, as a favor to Yacub.
Marvin X Articles on AALBC.com Include
Movie Reviews by Marvin X on AALBC.com include:
How to Recover from the Addiction to White Supremacy, a mental health peer group session
Marvin X tour dates
Marvin X will read at New York University on February 4, 2014, at a tribute for poet Jayne Cortez.
February 22 he will read at the Hinton Center, Fresno CA.
February 24 he will read at Fresno City College
February 28, March 1-2, he will co-produce (with Kim McMillan) the Black Arts Movement Conference, University of California, Merced.
For more information or to invite Marvin X to your campus and/or conference, call 510-200-4164.
In a phone conversation with Marvin X, Mrs. Amina Baraka said the condition of her husband is not getting better. He is on dialysis and still fighting pneumonia. "We can't let capitalism take him out. Marvin you gotta come back here. You know he will get up if you come cause he ain't gonna let you get the last word. You know how he is! Plus, I want to slap him again and tell him some things that're on my mind. So please come, if you can. He still has not regained consciousness and the condition of his heart, liver and kidneys are not good. But we're not gonna let capitalism take him out--they want to take us all out but it ain't gonna happen! We will fight!"
Thanks to the organizers of Day of Solidarity with Syria - global demonstrations on Saturday, January 11. London, Dublin and Malmo, Sweden will also have groups doing a Solidarity Hunger Strike on that day. Check out their info and attend the demonstration in your area. There are demonstrations in Syria; Vienna, Austria; Milano, Como Genova, Bologna, Ancona, Roma, Napoli, Palermo, and Lecce in It...aly; Munich Stuttgart, Freiburg, Heidelberg, Frankfurt, Aachen, Cologne, Hamburg, Dortmund in Germany; Helsinki, Finland; Amsterdam, Netherlands; Barcelona, Granada and Seville in Spain; Paris and Montpelier in France; Montreal in Canada; Mexico City in Mexico; Nairobi in Kenya; Warsaw in Poland; Cairo in Egypt; Antwerp in Belgium; Lausanne in Switzerland; Buenos Aires in Argentina; Los Angeles and Washington in the U.S. https://www.facebook.com/
On Friday, January 10, 2014 Marvin X will fast for Syria and the hoods of America suffering genocide and fratricide. Also, he asks you to join him in prayer for poet Amiri Baraka and Dr. Julia Hare. Fasalli li Rabbika! (So pray to your Lord)
Executive Director, ColorOfChange.org
The United States incarcerates more people than any other country in the world, and the private prison industry is making a killing off this broken system. For-profit prison companies get paid for each person that fills their cells — raking in $5 billion in annual revenue.1 Empty beds mean lost profits, so to keep the money flowing the industry spends millions lobbying the government to expand the destructive policies that keep more people behind bars for longer, harsher sentences.2
Tragically, one-third of all Black men will spend part of their lives in prison.3 Meanwhile, for-profit prisons promote and exploit mass incarceration and racial-bias in the criminal justice system — further accelerating our nation's prison addiction. We can stop this. The prison industry depends on corporate backers for the capital it needs to keep growing,4 and allies in government for contracts that fill their prisons. If we convince enough investors and board members to leave the industry, we can discredit incarceration as a business, bring attention to the harm it creates, and deter public officials from granting contracts to prison companies.
Please join us in urging investors and board members of for-profit prison companies to get out of this exploitative business. We'll inform them of what they're involved in, and if they refuse to do what's right, we'll hold them publicly accountable.
Federal agencies and state governments contract with three main companies to lock people up: Corrections Corporation of America (CCA), GEO Group, Inc., and the Management and Training Corporation (MTC). The top two prison companies, CCA and GEO, are publicly traded and financed by investors, major banks and corporations, who hold shares in the industry. CCA and GEO Group make money by charging a daily rate per body that is sent to them — costing tax payers billions for dangerous, ineffective facilities.5 The industry also makes money by avoiding tax payments. CCA will dodge $70 million dollars in tax payments this year by becoming a real estate investment trust (REIT) and designating their prisons as "residential".6
In order to maximize profits, prison companies cut back on staff training, medical care, and rehabilitative services — causing assault rates to double in some private prisons.7A 2010 ACLU lawsuit against CCA-run Idaho Correctional Center cited a management culture so violent the facility is known as the "gladiator school".8 The industry also maximizes profits by lobbying for and benefiting from laws that put more people in jail. In the 1990's CCA chaired the Criminal Justice Task force of shadowy corporate bill-mill, the American Legislative Exchange Council (ALEC), which passed "3 strikes" and "truth in sentencing" laws that continue to send thousands of people to prison on very harsh sentences.9Black folks are disproportionately subjected to these uniquely harsh conditions due to our extreme overrepresentation in the private prison system.10
In many parts of the country, the political tide is shifting against the for-profit prison industry. Earlier this summer, Kentucky, Texas, Idaho, and Mississippi broke ties with CCA after reports of chronic understaffing, inmate death, and rising costs to the states became undeniable.11 In April, New Hampshire rejected all private prison bids because the prison corporations could not show that they would follow legal requirements for safely housing prisoners.12 And, there is growing opposition to California Governor Jerry Brown's misguided plan to comply with a Supreme Court order to alleviate the State's prison overcrowding crisis by moving thousands of prisoners into private facilities, at a public cost of $1 billion over 3 years.13
The private prison industry should not control who is locked up, for how long, and at what price. For-profit prison companies have investors that cut across many industries. Some of these investors — wealthy individuals, major banks and financial companies — know exactly what they're doing. But with enough pressure, they might reconsider whether it's worth being known as profiting from exploitation and racism in the criminal justice system.
Profiting off the brutality and discrimination of incarceration is shameful. Please join us in calling on the investors and board members of for-profit prison companies to get out of this corrupt business.
Thanks and Peace,
--Rashad, Matt, Arisha, Aimée, William, Lyla and the rest of the ColorOfChange.org team
September 4th, 2013
Help support our work. ColorOfChange.org is powered by YOU—your energy and dollars. We take no money from lobbyists or large corporations that don't share our values, and our tiny staff ensures your contributions go a long way.
1. "A Boom Behind Bars," Bloomberg Businessweek, 03-17-2011
2. "Gaming the System," (.pdf) Justice Policy Institute, 06-01-2011
3. "1 in 3 Black Men Go To Prison? The 10 Most Disturbing Facts About Racial Inequality in the U.S. Criminal Justice System," AlterNet, 03-17-2012
4. "Private Prison Profits Skyrocket as Executives Assure Investors of Growing Offender Population," ThinkProgress, 05-09-2013
5. "Banking on Bondage: Private Prisons and Mass Incarceration," (.pdf) ACLU, 11-01-2011
6. "The Legacy of Chattel Slavery: Private Prisons Blur the Line Between Real People and Real Estate With New IRS Property Gambit," Truthout, 02-04-2013
7."The Dirty Thirty: Nothing to Celebrate About 30 Years of Corrections Corporation of America," (.pdf) Grassroots Leadership, 06-01-2013
8. "ACLU Lawsuit Charges Idaho Prison Officials Promote Rampant Violence," ACLU, 03-11-2010
9. "Too Good to be True: Private Prisons in America," (.pdf) 01-01-2012
10. "The Color of Corporate Corrections: Overrepresentation of People of Color in the Private Prison Industry," Prison Legal News, 08-30-2013
11. "Three States Dump Major Private Prison Company in One Month" ThinkProgress, 06-21-2013
12."New Hampshire Rejects All Private Prison Bids," ThinkProgress, 04-05-2013
13. "Gov. Brown's misguided private prison plan" SF Gate, 08-28-2013