Watch the Throne

God’s inspired word tells us that his throne is the seat of his sovereignty, the vantage point from which divine justice is extolled, the pinnacle of his positional omnipotence, thus the forum that is the representation of his supernal governmental excellence. It is often depicted as being gold and ornate, and he is pictured seated in regal attire with a scepter in his left hand and a crown beaming scintillatingly from his frontal lobe. Perhaps this image is engrained in the collective unconsciousness of man connotating that it is an effigy we either have seen in the womb, or that it is an image we have all contrived from our psychological dependency to be governed by celestial direction. Interestingly, individuals that are renowned for their thronemanship throughout history are kings or dictators that use the position of beseechment as a mechanism for inordinate reverence and prostration. We think of the bible’s despotic depiction of Pharaoh enslaving 300,000 Egyptianized Israelites in 1513 BCE sitting on his throne denying Moses emancipation for his people. We think of King Herod decreeing the order to murder infants two years and younger in an attempt to murder Jesus in the first century, and we are inclined to recollect the account of Jesus being adjudicated guilty of blasphemy for saying he was the son of God in 33 CE by Pontius Pilate sitting on his throne. The bible talks about The kings of Babylon, Nebuchadnezzar and Beltashazzar sitting on their thrones dictating the enslavement of the Israelites once more and refusing their release to go back and rebuild their home land between 607 and 537 BCE. We are reminded that Cessius Gallus declared war from his throne on God’s chosen people in 66 CE so he could ransack the people of Jerusalem with instruments of devilment under the ordainment of his emblems of Christianity through which he would wield the cross as the validation for his heathenism. General Constantine sat on a throne in the Nicean Council when he pieced together doctrines of his choice to form the amalgam of beliefs by which we formulate our salvation or damnation criteria. The writing of the King James Bible itself was commissioned by King James on his throne in 1611 for the purposes of condoning slavery and one of the most indelible images we have of royal supremacy manifested as thronemanship is the Lincoln Monument. Invoking in nature is the fallacy connected with this image that Lincoln freed the slaves out of his mythologically sensationalized moral rectitude when in reality he freed the slaves to save the Union from the southern dominance of the Confederacy had they made their southern slaves fight in the Civil War. As the first Republican president, he coupled his antipathy for black people, preferring to banish them to Nova Scotia or Sierra Leone, with the party becoming renowned for procuring the disenfranchisement of black people. Thus, his throne probably more aptly symbolizes white supremacy than supremacy in the general sense. When we mache these images together we resoundingly come to perceive a supremist giving orders to subjugate a people whom he deems inferior, which is why we see people denigrating themselves kneeling before thrones of rulers in cinematic portrayals. Yet to go a step further, if God is the Patriarch and founder of the throne image and he sometimes used that symbol of rulership to liberate his people and he conversely used it on occasion to disadvantage his people by empowering other nations to ravage them in warfare, then how has that symbol of rulership been used by imperfect humans in connection with the treatment of God’s people? Matt 25:31-33 tells us that God’s people are the ones that have a sheep-like disposition insinuating that they are the meek ones that Psalms 37:29 speaks of as having the altruistic character that would grant them the blessing of salvation. Overwhelmingly, the people who seem to fit this description are the 39 million black people in this country who have endured the holocaust of slavery and have been sheep like and meek enough not to insurrect on their oppressors who still deny them human and civil rights in more innocuous forms, and to even coexist with them not preferring to separate themselves all together, which would seem logical after their mendacious tormenting and attempted genocide by them. So what have we to say of those who boast about either assuming the position of the throne or representing the faction that is positioning itself to do so? What if the new throne heralders or throne seekers are of the same ethnicity as those whom God says are his people? Are they then obligated to use their position of thronemanship or the symbol of thronemanship to free the members of their kindred family, or will they use it to persecute their own people the way God did when he let the nation of Israel succumb in battle to the Egyptians, the Babylonians and the Romans? Well since Jay-Z calls himself Jehovah and Kanye West considers himself to be an advent of Jesus the Christ and the bible tells us that God and his son Jesus are one in mind, they must have the same celestial agenda for their people? What is it, especially since their album tells us to watch for it? Well what are we to extrapolate from the imagery that they have presented us with thus far? In the “Otis” video, as rap videos typically go, I see two middle aged adults wallowing in a retrogressive adolescent mentality of juvenile jovialism and unabashed braggadocio. Yet this is to be expected because they are selling the mirage that life is play and that money grows on trees which unfortunately has become an underlying crisis in the identity of hip hop. But what should we be concerning ourselves with as God’s people as we watch our self appointed leaders of the African American dream? What disturbs me about their frolic through regression is the fact that that in the “Otis” video we are subjected to watching a backdrop of the American flag as was the case in their MTV awards performance where Kanye also donned one as a bandanna in his back pocket. Some would argue that their usage of the star spangled banner is an artistic symbol, a way of inverting the nationalistic white supremist emblem into something that is abstractly reflective of the urban swag that this nation has involuntarily come to embody. They would say that it is a surreal depiction of the African American subculture becoming the dominant obsession of American intrigue, therefore the flag becomes the billboard advertising the fad of black impressionism. I can understand this philosophy because I felt similar when I saw Andre 3000 wearing a belt buckle of the Confederate Flag in the “Sorry Ms. Jackson video.” However, 3000 was shirtless wearing a Fat Albert crochet beanie, rainbow colored wool scarf and seemingly skinny jeans and chucks before they were in style asserting that his wearing of the buckle was as artistically expressive as the rest of his attire. In the introduction we see a grandmother like figure wearing a robe and rollers in her hair, almost mammy style as a testament to the video’s artistic revamping of stereotypes, suggesting that the confederate symbol was in sync with the video’s avant garde statement. Moreover, Andre and Big Boi never appointed themselves as the leaders, or spokesman for the African American dream and have never compromised their Afrocentricity with any Eurocentric antonyms. Yet when I look at the Otis video, I see immature glee accompanying a countenance of resigning black pride corroborating the boastfulness that their benefiting from classism and capitalism makes them proudly American and that race is not an impediment to their assimilation because of it. Some would argue that perhaps the flag is a representation of them being proud of Barack, but if that’s the case why not be more precise in their adulation of him by honoring a flag of his image instead of honoring the one that prevented the other 43 presidents from being people of color because of tyranny oppression and ultimately white supremacy? The only time we routinely see white musicians don the American flag is if they are performing a patriotic song, are performing at the super bowl or the opening of the football season like Kid Rock did, or if it is a country song about 911, but Jay-Z and Kanye do it for no apparent reason, or perhaps the reason is that they want to appear as non threatening as possible. If they are embarking their thrones it appears as though they want to be looked at as the “decent negroes” of which Nas makes jest at in his song “Our Heroes” calling people like them “coons who “yes massa” on TV”, “pickanannys who get with anything to sell records”. He calls “sell out” gestures like these attempts at making “we are the world records,” and tells us not to be fooled by them. Another message they send God’s people from their thrones is their acceptance of the white supremist scheme to amalgamate the brown skin color into beige, symbolized by their driving around white or extremely non melenated girls in the back seat of the Maybach. Nas says that the government wants the country to look Latin like the dominant complexion of Manhattan and Jay-Z and Kanye condoning the preference of choosing non melenated women over their kindred melanted ones is an innuendo supporting this racist agenda. When I look at the Otis video in contrast with Common and Nas’ “Ghetto Dreams”, I think of the 68 Olympics in Mexico City where Common and Nas figure Tommy Smith and John Carlos with raised black fists and Jay-Z and Kanye figure George Foreman prancing around the boxing ring waving an American flag at a time when America refused to give black people their civil rights. Common and Nas elucidate their familiar “Black Girl Lost” and “Retrospective for Life” themes while the thronemen are patriotic black girl ostracizing simpletons. I have tried everything in my power not to call Jay-Z and Yeezzie Uncle Toms, but my patience has reached its threshold. What else would you call people who proclaim themselves to be sitting on the throne, or supporting the people that do and use that power or support to persecute their own people by selling them self deprecating philosophies, oppressing them the same way Lincoln, King James, Herod, Constantine, Cessius Gallus and Pontius Pilate did to black people centuries ago? Shouldn’t they feel obligated to stand strong instead of selling out in this position of mastership during a time when allegiance to white supremist organizations sky rocketed with the election of Barack while this country uses him as a pawn to bomb other African nations? I am watching the throne, and what I see thus far embarrasses the quintessence of my blackness. At least when Pharaoh, Nebuchadnezzar and Beltashazzar oppressed their own people, they were simultaneously making them blacker through amalgamation, it appears as though Jay-z and Kanye want us to be white… My name is Kinshasa and these are my waking thoughts, you may disagree, but rest assured my intelligence is superior.

This entry was posted in African American, black culture and black consciousness, black entertainment gossip, black news, Hip Hop, religion and tagged , , , , , , , , , . Bookmark the permalink.

One Response to Watch the Throne

  1. B. sanders says:

    Nice article. I believe they are puppets used for a spiritual take over. There is something more serious going on that i dont even believe they recognize.

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