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Excerpts taken from The Introduction

Essays Related To Violence and The Salvation Of America.  Unpublished manuscript by FreedomJournal Press


Editor’s Note: Due to an impending crisis regarding love and human understanding we FreedomJournal Press will post some of our previously reported material.  However, some of these Essays have not been posted especially those that are a part of the two books we will mention.


We will begin with the “Introduction taken from Youth Related Violence and the Salvation of America.” Book II will follow as the “Introduction to Succinct Notes on Youth Violence.”


The second Book is entitled “Contemporary Essays On Comprehending the Black American Experience. Introduction Book I: The Distinct Ethnicity of Black Americans.”


Book II of these Essays is entitled ”What Is More Detrimental To Black Americans, Black on Black Discrimination or White Racism?



What is the impact of the environment on culture? These are very troubling times for all that liveth. However, it seems as if the Black man and woman in North America have some very unique problems and concerns.


With the disregard for Black consciousness rendered by Hip Hop and the youth culture that has come into existence many Black Americans have become very confused. One of the most tragic things that can happen to any human being is not to understand their ethnic origins.


Ingrained in the confusion about race has historically been the name for Black people. Meanwhile the culture of Black Americans has continued to evolve. Thus, culture and race have therefore been greatly impacted by the environment.


But just how much does one’s environment have to do with defining culture? Although you were born in College Hill Courts, Chattanooga, Tennessee can you adopt another culture? Well can Black Americans that have African ancestors become African although they reside and were born in America?


Therefore, one’s environment logically helps define culture. So, it seems to be obvious that one can move in-between the various cultures of North America that represent Black Americans, Native Americans and White Americans.


Thus, there seems to be very little logic involved in trying to import a foreign culture and place it within the Black community.  Name, language and clothing style are not the only defining components of culture.


It is for certain that one’s parents and blood-line have a great deal to do with culture. Thus logically, biologically, genetically etc. one’s parents have a great deal to do with your culture overtime.


Therefore, it is virtually impossible to assign culture among a group of people by way of attending a Swahili class, changing your name or learning a foreign African language. It is for certain Black Americans cannot change into an African just because it is allegedly politically correct.


So, if you are born in the USA with enslaved ancestors that have inter-mixed with European and Native American people you cannot by the stroke of a pen change your culture to African.


Thus, it is obvious that the various factors of culture rendered by the environment that relates to race ethnicity and blood-line determines culture.


But this raises the question of why? Yes, why would someone want to declare that he is a part of another or group of people?  Therefore, we argue that those people Black like me who believe they are African and American are unaware of their d

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I would like to reply to your post by sharing an excerpt from the upcoming book Dr. Sebi Speaks of Dembali (November 2020). On page 83, in Chapter Three, On Matters of Culture, it says:

New Orleans in 1954 is a segregated port city, a white, Creole, and brown town plastered with signs that remind folks how to behave:  Colored Entrance, White Entrance, Colored Waiting Room, Whites Only, Colored Water Fountain. When twenty-year-old Dr. Sebi settles down there in those days, he’s Alfredo Bowman, merchant seaman, transporter of cargo and travelers. He’s tall, jovial, and amazed at all the welcoming colored people wherever he goes, including Tremé, the oldest black neighborhood in America. Two-hundred-year-old Congo Square fascinates him too, that historic gathering and marketplace for enslaved and free Africans, including West African blacksmiths and wrought iron artisans who built the balconies and rails in the French Quarter. In Negro Art: Past and Present, Dr. Alain Locke writes, “The most authentic tracing of any considerable school of master craftsmen has been in the connection with the famous Negro blacksmiths of New Orleans who furnished the hand-wrought iron grilles that ornamented the balconies and step balustrades of the more pretentious homes.”

This migration of ancestral skill—African blacksmithing is over one thousand years old—demonstrates divine order at its best, that natural progression of life Sebi encouraged. It shows a cosmic arrangement, a continuum that modern man can use to navigate life.


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