Georgia Anne Muldrow and Dudley Perkins left Stones Throw to do their own work and to teach and meditate in the mountains. They prepare now to release a solo album each—both produced by Georgia—on the same day this month on SomeOthaShip, and they speak from their home in Inglewood about war, love, power and Michael Jackson. These extended interviews by Chris Ziegler.
How did you two make so much music all at once?
Soul power, man. Yeah. That much. Soul power, man.
Do you think this is the most creative time in your life?
I’d have to say so. It feels great. I feel like I’m the most creative because I have a new baby. It doesn’t really get better than that. That’s the best creation ever. I’m very inspired and it means a lot to me to be a relevant artist in the sense that there’s a lot of things going on that need to be addressed—that’s what keeps me inspired and that’s what keeps me going. I never run out of material.
What’s something that inspires you instantly? That always makes you want to work?
The children. Children and war and how they have to handle the effects of that. I think about this planet. I think about my people. I think about Africa. I think about a lot of different things and I never run out of things to say about it. I think about developing minds and that’s my main thing—developing minds. They have to pay for our mistakes. The things that we make with each other—like how to maintain clean water and air and things like that—they have to find a way to pay for that. They have to find a way to fix it. We’re trying to find a way to fix it. Every generation we hope is the one that’s going to fix it. But it takes more than just one generation to fix the problems and it’s a serious thing that stays in my mind because I’m not like an engineer or something like that—I have to go to the fullest capacity that I have in the chemistry of music and that’s what I do. That’s my inspiration. I don’t do a lot of night club gigs anymore because I’m home but I use that to my advantage and I have a lot of records out.
Some people have said your work is overwhelming—shouldn’t music be overwhelming sometimes?
I guess that’s better than being underwhelmed. I don’t know. I think that sometimes that some people are so keyed in and pre-programmed for a certain thing. Pre-programmed as far as tuning and all that stuff—I have a more indigenous approach to music. I do it digitally, but it’s a very much indigenous approach. I don’t deal with European tuning—sometimes that can jolt somebody’s system because they are so into it. And now in the realm of autotune—it’s very colonial right now as far as the attempt to wipe out people’s unique soul expressions. It’s like a new slave age in terms of androids and that kind of sound and that kind of mentality. As a result you’ve got something that’s called ‘business music.’
What do you mean by that?
Business music—music that you do your business to. People are doing business by making a certain sound that corporations can support, instead of the corporations supporting the music that needs to be out. So you have a switcheroo there. It’s only a matter of time before people would start sounding like androids because after a while they actually will be androids. I’ve even seen that. I’ve seen a robot that can play ‘Giant Steps’ and that kind of scared me. I’m serious. But I do more organic stuff. I don’t think it’s really that hard to think the way that I think.
What is the way that you think?
I think it’s just to think with love and not to think from the self—being selfish. Music is something that can affect people all over the world and can always make people dance—why are you not going to use that for something positive? You’re going to use it to go over your own shit. And that’s not what I’m about because as an African woman I understand my duty to music—I’m the inventor of music. That’s my role on this planet. I’m born into that role. My heartbeat is the very first instrument of the human experience that anyone gets to hear. So it’s like I have to be true—that’s the way that I think. I have to be true to that model and I’m not saying you should think like me but to me logical. It’s natural. I don’t know how to explain it—it’s actually insane. It’s actually the lack of logic. Pop culture—I think it’s anti-human. I think it’s anti-Earth. I think you have to forsake your own self and the more you can forsake your own self, the more you will be successful. It’s crazy because that natural talent, that’s what the people will see—but you have to forsake so much of yourself to get there. Think about Michael Jackson—like a pure angel. A beautiful, beautiful musician. A unique talent. But look how much he had to forsake himself in order to be who he is.
Was there a time when you didn’t feel this way?
Absolutely. Growing up—you know what I’m saying? There came a time when I was really not impressed or thankful for the life I had and I was going on autopilot and not taking my life seriously because it was like—‘Don’t take it so serious!’ And then you end up not taking life seriously and it becomes a joke. Well, I didn’t get here by myself. I wasn’t a joke in my mother’s womb. These trees that grow, they’re not a joke—we need them. These birds that fly around, it’s not no joke—the clouds ain’t no joke. Then how come when it comes to somebody making music that actually has the capacity to heal themselves first and then the world community—why does it have to be a joke? That’s what makes me upset. I see black music being co-opted as a joke and everything is half-serious when we are dying right now—and we are dying as far as truly dying as well. We are having a cultural death—a physical death and I’m seeing that. And I’m seeing how these people just play into the hands of these leeches that will profit off of our death so that they can co-author it and call it whatever they want. When I think about pop culture and I see what pop is, it’s like—what is pop? It ain’t nothing. It’s R&B, rock ‘n’ roll—all of our black expressions get co-opted into pop and we can’t be there. It gets co-opted so that we can’t be there. Heavy metal. Heavy metal ain’t nothing but Parliament. You see that—the boots, the black, the growling—all that is Parliament. It’s funk. But they have to turn it into heavy metal so that people can be counted out and so that people can be put in a dangerous situation if they choose to support certain events. It’s very much ignorant what’s happening right now. And that’s my inspiration. I have to be the solution to that because it doesn’t make no sense.
How do you and Dudley hope to stand against this?
I don’t know. I think we have to have a deep love to tolerate it in the way that we do but seriously, the power of this world is going to have to be returned to the right place. If it’s not then we are not going to have nothing. The powers of this world have to be returned to the people who care for it. It can’t be to the people who can hurt the most people—it has to be to the people who are interested in its flourishment. It can’t be how it is and that’s what my music is for—it’s for returning the power to the people who love this planet truly. And it’s for the planet itself because I really do know the power of sound. I really do understand the power of music. I’ve understood it since I was a child. I just knew in my heart that you have power and when utilized correctly people can actually break through barriers that are making it hard to love their people. Because right now I look at society—I’m looking at somebody taking out their trash right now, Like we have trash cans? What the hell? I know that seems little but we really do think that we throw out the trash and it disappears. We really think that shit. And the methods of disposal are from the 1700s—just put it in a pile. They got mountains in Europe that ain’t really mountains. They got mountains in Europe that are just trash. There’s a whole long way for us to go. And if I just thought about things that are minute—because that’s minute of a level—I’m not even talking about how there is a war going on against black people all over the world all the time. People don’t understand that. They try to talk about black history and this and that but nobody notices how everyone is getting cheated out of the true history of this planet by not knowing about our true contributions to this planet. Everybody gets cheated by not knowing our contributions and that’s what I’m trying to do. I’m trying to contribute because if I just sit down and really look at what’s happening and think about it, I’ll really feel very unhappy because I’ll get all this input but I won’t get any solution. There won’t be any output for the input I’m receiving—there’s no conversion. That’s why I make so much music all the time—because that’s how deep I feel this. And I don’t feel like it’s going to be over ‘til it’s over and really that’s the truth. People get caught up in some spook that’s gonna save us all or end it all and it’s not going to be neither! It’s gonna be us and it’s us only. There’s no other shit happening. So if I can write a song that says ‘I pray one day you’ll find everything within’ and that’s all I have to say, then that’s what I do. I really have devoted my life—because I know we are in a war—to be a warrior. It’s on a sonic level. It’s a sonic war and I’m playing a part in it. It’s like when they said what they said with Uncle Jam’s Army and George Clinton—rescue dance music from the blahs, and right now the blahs are winning. The blahs are running the whole ship.
How did that happen?
I think it happened because it’s all military. I think when people think outside of that, it becomes confusing. But when you understand the history of oppression even on a surface level, it becomes very clear as to why somebody would want to rob music and rob the power of music and invest in destructive music. You will see why. People kill each other. People love money—it becomes their god. People talk about ‘secular’ meaning devoid of religion but I really think the opposite—I think secularism is a hidden religion and I think that if you say, ‘I’m a secular person and I go to the club and I go to the club and I wear my high heels and I put this weave in and I only listen to songs that talk about throwing up on people I hate or whatever to be cool and hip and following this trend or whatever…’ and I don’t know what’s happening right now in L.A. but it’s very strange. That’s a religion—that’s a hidden religion. Maybelline is a church because that’s coming from ritual make-up—they call it your morning ritual. They call it that. When you put on your make-up, that’s the same as putting on ceremonial paint, so a lot of my sisters over here are getting caught up in the ceremony so they gotta have music to go with that ritual and then you have the club. Where they talk about disunity and hurting somebody else—talking about how this man is no good and all this other stuff and then we wonder why, ‘Oh, I can’t find no man!’ It’s like—what? We don’t know how powerful we are. And how these cell phones—the crystals in these cell phones are mimicking what our brain has in it. Radios are mimicking our body structure. So we’re behind right now because we’re talking on a cell phone.
Jon Langford from the Mekons quotes John Peel saying ‘society dehumanizes from the top down.’ Does that happen within music too?
You know, I understand that. We’re copying the first niggers who was. The first niggers like Andrew Jackson—you know what I’m saying? That was the first nigger. George Washington and all them. Whoever sold the first slave boat to take my people away from where they belong. Yeah, we’re copying them—anybody who thinks that we can take other people’s hard-earned resources and call it theirs and be happy about it is a definite copycat of the forefathers of this nation. I absolutely agree with that. And I believe that change starts from the bottom up—ain’t no change happening from the top down. I feel like it’s déjà vu—Jesse Jackson or something—ain’t no change happening like that and everybody knows it. It’s really not popping like that—change has to happen—this shit has gotta get burned down. And that’s straight up. Shit’s gotta get burned down. The White House has gotta be turned—it’s called the ‘White’ House, you know? Shit is messed up.
Do you think you and Dudley are starting that?
We aren’t the only ones—there’s a lot of people who ain’t even musicians who dedicate their lives to our liberation. There’s a whole lot of people with different philosophies on that—we’re just trying to find the best solution so that we can just slide into a world without ignorance. Ignoring the beauty of our natural faculties—there’s a lot of different people. We didn’t start it—we’re just a part of it. A lot of the times it goes over peoples heads so I don’t know—if they ain’t ready, they ain’t ready, but I can give a hell about somebody who isn’t ready. My music is for the people who’ve already been living through some type of form of rebellion. My music—you can crip walk to it. Somebody who is already living as a warrior. I’m not asking you to change yourself, I’m not asking you to be rich, I’m not asking you to be mad—all we’re asking is to turn within and get the movement popping from the inside out so that we can just really come together and unite. Just clean up house on the inside so that everybody can unite. That’s the whole thing—it’s a process man and I think the process has already taken too damn long.
How do you feel you fit into music in L.A.?
There’s a lot of people with me—I can’t just say L.A. L.A. is like so small—I’m from L.A., but I know L.A. is only going to go as far as it can go. But who I am excited about in L.A. are the people who keep it real with their expressions. I know people who are trying to do this ‘80s bullshit and all that—I’m talking about the people who keep it real with who they are and their expressions and their timeless expressions and know what time it is. They have a revolutionary standpoint on where it is they’re coming from. Because really that’s all we have to talk about, really. I’m trying but I feel it so much—man, it’s just this is what needs to happen, and it feels like sometimes artists get caught up in the ego structure of a review how somebody else thinks of their music—but they know where they were at when they did it. There definitely need to be more who are not afraid to be themselves and try out new territory.
You said pop is a joke—do you think people joke because they’re afraid? What are they afraid of?
They’re afraid of being alone. That’s why people are afraid of dying—it’s not the death, it’s being alone.
But isn’t music the exact way to not be alone?
That’s the thing—fear don’t make no sense. There’s no logic in fear. That’s why it doesn’t work.
How have you learned to deal with fear in your own life?
By woman-ing up.
I read at one point you almost gave up making music—why?
It’s like I said earlier. When you don’t understand why you are feeling certain feelings and there is all this stuff that you can’t describe but you know that you’re being attacked—you can’t really describe it in words. I didn’t really understand where I was in this country—really getting back to the fundamentals of how I got here. That’s what I was feeling—why am I here? Muldrow ain’t my original name—why it ain’t my name? That’s not my name, Chris—that’s not my name! That’s somebody else’s name. You know what Muldrow means? It means mulled row—like mulled—like a row of dirt—that’s my name and that’s what I was feeling. That’s why I felt like I didn’t want to do music any more. That’s why I felt like that. Because I know that I’m not going to be this industry standard—I’m too real for that and I can’t do that and I can’t put on a wig and sell out like that. I can’t do that and that’s what it’s all about. That’s the whole thing.
So if it’s war, it’s a decision to be a warrior?
And some people decide against it when they’re faced with that and they have to pay. You have to pay with your life either way—you’re either going to have courage or fear and I felt like, ‘You know what? I’m not afraid of nothing—I’m not afraid of dying so I’d rather live my life doing something good.’ Inspiring somebody along the way and dedicating my life to my people—I can’t lose.
Did it change your music when you became a mother?
Oh yeah, absolutely. Absolutely. It really did. Becoming pregnant, the ancestors revealed a lot of things to me. I was in that portal for a long time between life and so-called death and understanding what life is all about. I got some motherhood humanity classes from the ancestors and it showed me what’s really important and what to keep my focus on. I think my stances became stronger and much more—not serious, but urgent.
Why? Do you feel time is running out?
No. I don’t think there is no time. I don’t believe in it. I don’t believe in time—time is fake. Time is perceived but it’s not true. You know—the sun goes up, the sun goes down. I don’t know about running out of time. I know that things need to start and things need to end. I know about what don’t work and what do.
What works and what doesn’t?
I think what works is being who you truly are without hurting another person. I think it’s the lack of priorities that’s hurting us. Our priorities are not straight. We’re distracted by money and survival but the whole thing about it is if you know who you are it’s much easier to survive. Because there’s a war, okay? There’s a war going on.
Dudley said these albums are striking back—what do they strike back against?
All European structures of power—all of ‘em. All European styles of authority—all European styles of philosophy—because it’s too new to trust. It’s too new in the game to trust and the simple fact that it’s too modern to trust—not to say that new things aren’t good, but it’s something that does not have experience. Philosophy needs a little bit more testing time. But we live in a place where that is touted as the most ancient form of knowledge, the European mind—and it’s not. It’s actually the most disoriented frame for knowledge because it’s so young. They hit you with that Greek shit like that’s the first thing that ever was. They hit you with the renaissance and classical music and all of this—don’t you know they was painting like that in West Africa way before that? And that’s just to say—no bragging rights—that’s just an example of the minds that were already beyond that. We’re striking out against this whole whitenization—we’re striking out against that because it’s not the way. It’s not the way. If it was the way, I’d be gung ho. But it’s not the way. I see Franklin Roosevelt in the magazine and they’re talking about what Barack can learn from him. I’m like, ‘Homie, he put people in concentration camps—nothing can be learned from him. He was a racist bigoted pork-eating fiend.’ But no, no—he’s one of our greats. ‘His blue eyes penetrated.’ I’m like, ‘No, he didn’t know. He had no reference for knowing and for true knowledge. He could process information but he had no knowing.’ And that’s what I’m saying—we’re striking out against that. Because you know what? We can create something else. We just have to make a decision that something else can be created and that’s what’s going on with my folks right now is that we don’t believe in that. We don’t believe in somebody who knows less than us. I’m not saying that every black person knows everything—no. There’s a whole lot of negroes here that think more white than a white person—there are those people and I cry for them, too, but really honestly, it does come down to that. Because the bombs in Afghanistan, that’s on me. I know who lives there—I’ve done my research. I know who lives in Saudi Arabia. I know the Middle East is just a scam. That’s all Africa. And they just keep bombing—they keep bombing me. That’s me. So that’s what I’m saying. I’ve been to China and I saw myself there, you know? That’s what I’m going up against. Up against this individual fearful mentality. We don’t have to think like that—we have more equipment than that and now everybody got a little something. Everybody got a little something now. There’s a way to not think that way no more. So my music—I know that my music influences thinking. The thought is what creates the blade—I’m attacking it at that finer level. That’s what I’m seeking to do. If I don’t do that, I would have wasted my life expression. And really honestly, I have reincarnated too many times into slavery—I’m tired of it. Ever since I was little, I have had flashbacks of my past life experiences. When I was five years old picking cotton? I don’t think so. That’s not fun. That’s not fun and I’ve had to go through that and sometimes that would get so overwhelming you would want to give up. And yeah, you would want to give up but you know what? Not for long because it’s going drive you insane if you know what you’re really supposed to be doing. So that’s the whole thing—a lot of people don’t really have that reality to deal with but they’re not supposed to. They have to deal with another reality and I’d rather have those flashbacks because then I know that I can, perhaps, provide a solution instead of perpetuating the confusion, and that’s real, you know? Us putting so much faith in people who don’t believe in God, but then they believe in science—in European science. They calling stuff AIDS—they don’t know what it is. They call something a cold—they don’t know what it is but we listen to these people like they have the answer. They don’t know what the flu is—they just want to give you a shot. They want to shoot you. They want to shoot you so they can run tests on you and kill you. Under their supervision. These hospitals be assassinating people and they’ve been doing it for a really long time but until it happens to somebody like Justin Timberlake, they’re not going to be investigated—it’s really not. They gonna be looking at it like, ‘Oh you know…’ But that’s real—they’ve been killing my people for a long time. They’ve experimented on my people a long time. They’re like vampire style. My uncle—they talked about somebody coming every week to collect his blood, and I’m like, ‘He’s out the hospital—you guys are vampires in style? You guys are doing this in style?’ Can you believe Viagra has our brain matter in it? I’m not kidding you. You ever heard of melatonin—the pills? That comes from melanin which comes in a strong concentration in black people—that’s us in there. That’s cannibalism that’s happening right there. But then people don’t want to know the truth because then they have to make a decision.
What’s the decision? Courage or fear?
What you said. Frontin’. Being real or being fake.
So what is the way out? Do you have hope for any solution?
Absolutely. If there was no hope then I’d just have a gun and just shoot everybody—I really would. If there wasn’t no hope, I’d just kill ‘em. I’d drop a bomb on Europe if there wasn’t hope.
What do you hope for?
I don’t have no hope. It’s not like… hope. I have confidence. I’m optimistic. I have confidence in our equipment—in our natural equipment to be reclaimed. And I don’t think everybody is going to make it. So that gives me hope, too—because if it was everyone, then I’d really be sad about it. It ain’t everybody who is going to make it. It’s going to be the people who committed their lives to living in the true spiritual laws that govern this universe. To live in those laws—to live in the truth. And they’ll be fine and that’s the deal. I’m just tired of this dimension repeating itself—it’s getting real old and played out. I’m really not trying to be in this position like this. I’m really not. And the way that I get out of it is this music because I know it can activate another one.
Does your music help others get out?
Shoot man, you know what? As hardheaded as I am, I’m sure it would. I’m not sure who it is, but if it do then that’s what it’s meant to do because I decided to get myself out of it. I got a long way to go but that’s how I get out of it right there.
You did an interview where you said it’s not about who inspires you—it’s about who you inspire. Do you have any sense of who you’ve inspired?
The way I see it is—I don’t dwell in that realm too long so that I can keep working. That’s the deal with me. I’m inspired by a whole bunch of things. There’s certain people who have used the music in a way that is magnificent and it makes me know that it’s possible what I’m doing. So you got your Miriam Makebas—there are people who are out there who done dedicated their life to making it real and even though in their lifetime they are not able to witness the complete shift, they have invested their energy so that it could be that much closer. And that’s all that I’m trying to do there. My whole flip on it is that in my lifetime, I’m trying to witness some results—I’m trying to witness that. I’m trying to manifest myself and work my magic so I can have that. This reality is so paper-thin to me and that’s what frustrates me is that it is so paper-thin—and I have been able to witness that. Especially being pregnant. This reality is so thin.
If you break through, what’s on the other side?
Someone said John Coltrane’s music contains ‘the things by which the soul of man survives.’ Does that connect to any of this?
I love Coltrane. Coltrane helped me. I cried to Coltrane, getting the stuff out. Alice and John. Coltrane inspired me on that making something out of nothing thing. I feel like he’s a school of thought, too—because people loved him and hated him at the same time and the more that he embraced his true essence, the more people turned away from him and I saw that. For me that’s what keeps me inspired—that’s what I tell Dudley about that. I say, ‘Man, if they hated on Coltrane…’ That’s like they want to say about Jesus or whatever but I don’t buy into that.
Why do people react to art with that kind of hate?
Because we’re in a war. We’re in a war right now. That’s why. You know Bob Dylan got away with murder—do you see what I’m saying? And that’s not to take away from what he got but he got away with murder. If Coltrane can’t live—a straight-up musician during the same time frame—and Dylan gets away with murder? That’s what I’m talking about. We’re in a war and the powers that think they have that, they utilize it. They don’t think with love—they’re not thinking like that when they get up in the morning. They thinking of winning and proving to the world that they have competent thought processes, but they don’t. And that’s the whole thing—that’s why dedicating the music to the ancestors and expressing the music in an African way can be kryptonite in itself because it can wake up the sleeping giant in people who had a normal idea and can’t identify it with words. I’m not looking for people who have learned the dictionary. I’m looking for people who have gone through it and have battle scars and understand how crucial this time is. That’s what it’s about—it’s not about all that other stuff. I’m sorry. Fools putting on some sunglasses and thinking that it’s a rap—I can’t do that. My heart’s too big. I’ll trust anybody—I’ll love anybody. That’s what makes me mad because now I know I’m in a war and I can’t love the way I wanted to and that makes me very upset. So that’s why I dedicate this music to love—that’s why I dedicate this music because that’s something that I can definitely devote myself to. But it makes me upset that everyone that I meet do not have the best intentions for me that I have for them. And it makes me upset that a group of people who front themselves as the administration of health associations—the FDA—it makes me sad that they are not seeking to heal. They are seeking to kill people. It hurts my heart that the board of education is not seeking to create scholars—they’re seeking to create prisoners and soldiers. That hurts me because I want to trust. I want to be able to not have to have second thoughts. I want people to be real and to love each other—that’s what I want. But I know it ain’t going to happen unless some other things take place. There’s going to have to be some other things such as people saying, ‘Cut the shit—stop being like that to me!’ It’s going to have to take stuff like that. It’s going to take Africans on the continent to give people the boot—Zimbabwe is catching a lot of flak for that but they are one of the only countries who are actually taking the measures to do what needs to be done. You know what? Cecil Rhodes wasn’t born in Zimbabwe. He wasn’t born there. He took and took and raped and raped and hurt and hurt. They got to go. Go home. They don’t know where home is? Well, gotta figure it out. I’m sure they’ll figure it out. I’m not from here. I’m trying to figure out where home is but I got a basic understanding of it because I cared about those who helped me to exist so they tell me where I’m from. Those are my ancestors and that’s what the album is dedicated to. Dudley’s album is dedicated to Africa. His is dedicated to Africa and mine’s dedicated to Africa and African awareness. I don’t ever think that it’s been different, no matter what I was doing—I didn’t go with the okie doke. I didn’t have the language to explain it but I knew that I couldn’t go with the okie doke. I would rather do it the underground-railroad style instead of just being a mainstream thing because I definitely had the option to do so. I definitely still have the option to do so. But I would rather create a separate infrastructure. I’d rather create another infrastructure that is pure with artists that care. I’d rather have my own operation. At the end of the day we need to see that if we’re not willing to learn from each other and we’re not willing to learn, then we’ll just impose one reality that’s incomplete. So perhaps that reality doesn’t need to exist anymore—that’s what I’m about. Because I got too many children running around my house to just do my Nat Turner, I can’t do that. I’d be gone too quick. And there wouldn’t be enough of ‘em gone! So what I would rather do is instead of take some out, I want to save some. I want to save some of my own so we can all arrive to a conclusion that works out better. You look at the Sphinx, man—the shit has water marks on it. Different sea levels. The shit is older than what they say. Really, really old. We were old when Greece was being born—we were old. That was the cousin next door or whatever. Trying to bring some civilization—but for real, if we don’t understand that element—if we don’t understand that crucial element of knowing the true story of this planet’s people—if we don’t understand how important that is to study it for ourselves and not rely on any institution to do this—then it’s going to be very tough. There’s a lot of people who don’t know how to read. So what I’m trying to supply is something for them. Something for people who cannot read. Something for the people who do not read but feel very deeply about this planet and they will know by the tone of my voice what I’m talking about because I have devoted my every cell to this.
Do you think they’ll find you?
Yeah—one by one. And if they don’t find me the sound will keep reverberating. That’s why it’s so precious—it never stops. It changes in form but it doesn’t stop. So through the wind through the air, through the trees, through the homes, all of that—I’m counting on all of that, I’m using all of that. And that’s what I’m going off of that and you know people say what they want to say about that, but I know it’s true. What I want to say is—take some time to meditate. Take some time to listen to that inner voice. Stop following all this shit. Stop following somebody else and thinking that it’s cool to be frivolous and petty, man. Stop thinking that it’s cool that you are what you wear. That’s really sad. Stop thinking you are how you’re perceived. You are not what you’re perceived as. I’m way bigger than that. And I think that people understood that we had a higher quality of artist. Everything is like a damn picture—everything is an image. I’m just tired of seeing people go out like that because I know that there is so many people who have dedicated their lives and died broke so that we can know a better truth and don’t think that we gotta die broke. I don’t think that’s how it has to end. But if you ain’t gonna be broke, don’t waste it on showing somebody how much you got. It’s supposed to be devoted to your nation—it’s supposed to be sent to Africa. You send your ass to Africa. I’m talking to black people. You send your ass to Africa and be there. Not sending a little mail envelope on behalf of some Christian foundation. I could keep going but yeah—I think that’s all.
GEORGIA ANNE MULDROW AND DUDLEY PERKINS ON SAT., AUG. 1, AT FAT BEATS, 7600 MELROSE AVE., STE. J, LOS ANGELES. 7 PM / FREE / ALL AGES. FATBEATS.COM. AND WITH DJ MUGGS, INKA ONE AND MORE AT BOOMBOX ON SAT., AUG. 1, AT THE GRAND STAR JAZZ CLUB, 943 N. BROADWAY, CHINATOWN. 9:30 PM / $5 BEFORE 10:30 / $10 AFTER / LADIES FREE BEFORE 11 PM / RSVP AT GOING.COM/BOOMBOX36 / 21+. MYSPACE.COM/BOOMBOXLOSANGELES. GEORGIA ANNE MULDROW’S UMSINDO AND DUDLEY PERKINS’ HOLY SMOKES ARE OUT NOW ON SOMEOTHASHIP. VISIT GEORGIA ANNE MULDROW AT MYSPACE.COM/GEORGIAANNEMULDROW.