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The raised fist has long been a symbol of black power, most famously when used by Tommie Smith and John Carlos in the 1968 Olympics

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J uses his typical poetic language to call for black self-determination, culturally and politically. The “east” language refers to the connection black nationalists feel with early African civilizations such as Egypt

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Harambe is a Swahili word meaning “a call to unity and collective work”. It has been adopted by black nationalists as part of the celebration of Kwanzaa, a week-long winter holiday celebrating black culture and history that was created in the mid-1960’s by Ron Karenga

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The X-Clan were influenced by Kemetism – a neopagan revival of Ancient Egyptian religion and culture that developed in the 1970’s. One branch of it, led by groups like the Ausar Auset Society, had a black nationalist spin

Many Kemetists and other Afrocentric thinkers claim that ancient Egyptians had black skin, equivalent to modern-day African Americans. However, that claim has been rejected by a strong majority of Egyptologists

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See here for X-Clan’s song-length tribute to the 1989 Day of Outrage march

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Brother J explained the history of his “Grand Verbalizer” name in Brian Coleman’s book:

I started using the name Grand Verbalizer way back, after I was out of Brooklyn College Academy…Grand Verbalizer defined MC differently for me. I didn’t want to be MC Brother J – I needed a title that would describe me to the fullest. Grand Verbalizer was like a royal MC

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This “You must learn” – emphasis strongly on the “you” here –was a direct dis to KRS-One, whose Boogie Down Productions had a song with that name. Read about the KRS/X-Clan beef here

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These lines, with their referring to whites as “polar bears” who can’t be a part of black means of expression, were disturbing to a young Eminem, as he recounts in a mid-aughts Rolling Stone interview:

I loved the X-Clan’s first album [To the East, Blackwards, 1990]. Brother J was an MC that I was afraid of lyrically. His delivery was so confident. But he also made me feel like an outcast. Callin' us polar bears. Even as militant as Public Enemy were, they never made me feel like, “You’re white, you cannot do this rap, this is our music.” The X-Clan kinda made you feel like that, talking [on “Grand Verbalizer, What Time Is It?”] about “How could polar bears swing on vines of the gorillas?” It was a slap in the face. It was like, you’re loving and supporting the music, you’re buying the artist and supporting the artist, you love it and live it and breathe it, then who’s to say that you can’t do it? If you’re good at it and you wanna do it, then why are you allowed to buy the records but not allowed to do the music? That was the pro-black era – and there was that sense of pride where it was like, if you weren’t black, you shouldn’t listen to hip-hop, you shouldn’t touch the mike

This is also one of the jabs directed at MC Serch and 3rd bass, so it makes sense that Em wouldn’t like it so much…

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The song that got Eminem bent out of shape as a kid, this black nationalist anthem is still funky (and divisive!) over twenty years later

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As it turns out, resisting and rebelling was also a good career move for X-Clan. As Professor X remembers it in Coleman’s book:

The day after we took the bridge, there was a picture of us in the paper being part of it, and the head of 4th & Bway [the record label that had signed the group to a single deal, with an option for an album] saw it and signed us for the album right there, because of the picture. They were on the verge of getting rid of us up until then because of low sales on the single

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