The Jungle Brothers

When people recall the founders of the Native Tongues (the highly influential Afrocentric hip hop collective from the late ’80s to mid ’90s), they usually think of A Tribe Called Quest, De La Soul, and the Jungle Brothers…in that order. The former two are among the most highly beloved and celebrated hip hop groups of all time. The latter is a highly forgotten and under-appreciated after thought.

It’s quite a shame that outside of hardcore hip hop heads, not many people know of the Jungle Brothers. Composed of rappers Afrika Baby Bam (homage to Afrika Bambaataa) and Mike Gee and producer Sammy B., they were one of the most influential hip hop groups of the late ’80s and early ’90s. They are the ones that introduced the members of A Tribe Called Quest to De La Soul. They are the ones that gave A Tribe Called Quest their group name. They were paving the way for jazz rap and instrumental experimentation before Tribe or De La ever released an album.

the jungle brothers (left to right): afrika baby bam, sammy b., mike gee

So why have they been so underrated? It’s hard to explain. Hip hop critics will concede that their first two albums Straight out the Jungle and Done by the Forces of Nature are definite classics. Yet in spite of all this, the J Beez (as they’re commonly called) never managed to garner much commercial appeal. Of the first three albums that consist of their canon, two were commercial flops. Perhaps it’s because they were even more experimental in their music than Tribe or De La. But for whatever reason, they never gained mainstream success.

Which of course is a shame, because their music is brilliant, with it’s own distinct style. That’s why I think this post is very timely. What better time than Black History Month to inform people about one of the most Afrocentric music groups to ever approach the mic.

Love live the J Beez!

We Are a Prideful People

My blood runs dark;
its stream flows strong.
As powerful as the Nile,
rich as the oil fields of West Africa.

My blood is regal;
my ancestry affluent.
My family tree is prominent,
like the great pyramids of Egypt.

My blood’s been shed,
over deep-running roots.
Yet my heritage is free.
We are a prideful people.

la palabra, mixed media, 2008 by Dorian Dargan

*Did you know that today is the first day of Black History Month? During the month of February, people all across the United States, Canada, and the United Kingdom will be remembering important people and events in the history of the African diaspora. While every post on TheCreativeRoutine this month won’t be dedicated to afro-related topics, I will do my best to tastefully disperse afro-centric material into the content for this month. Happy Tuesday folks. Happy Black History Month.

The Political Stand of the Resurrected Black Man

The poetic aesthetic of the African American male
is a direct reflection of the society in which he has been installed.
A consequential reply to the oppressor that tries to oppress.
A noteworthy response to the agitator,
though not a cry of distress.
 
You see, this is a purposeful call to the white man
that looks on appalled, as the unified
front of the Afro people declares to the world
that we will not be stopped.

Uproot us from our roots. Try to stem
the youthful pursuits of our youth,
and in response we will don a suit that
suits the unified ideals of the unified African front.

But this is more than a front. These are symbols and props
of self-identity that we swapped
for the chains and whips that were once used to mock
our regal ancestors.

This is so much more than sartorial.
This is not merely rhetorical.
Let this serve as an oracle!

300 years of oppression is not enough
to make us forget our name.
Nor is it not enough to maim
the ambitions of our unified race.

So let the record show. Shout it from the rooftops,
let everyone know…

that the poetic aesthetic of the African American male
is the political stand of the resurrected black man.

*This is inspired by the Afro-sartorial movements that have preceded me: Sidney Poitier, Malcolm X, Gil Scott-Heron, The Rosewood Movement, Street Etiquette, JoeKenneth Museau, Rog Walker, and the rest of the Black Ivy.


The Black Ivy