From Malcom X to the Wu Tang Clan, the first in-depth account of this fascinating black power movement With a cast of characters ranging from Malcolm X to 50 Cent, Knight’s compelling work is the first detailed account of the movement inextricably linked with black empowerment, Islam, New York, and hip-hop. Whether discussing the stars of Five Percenter rap or 1980s crack empires, this fast-paced investigation uncovers the community’s icons and heritage, and examines its growing influence in urban American youth culture.

A thoughtful, insider view of The Five Percenters-a deeply complex and misunderstood community whose ideas and symbols influenced the rise of hip-hop. Misrepresented in the media as a black parallel to the Hell's Angels, portrayed as everything from a vicious street gang to quasi- Islamic revolutionaries, The Five Percenters are a movement that began as a breakaway sect from the Nation of Islam (NOI) in 1960s Harlem and went on to impact the formation of hip-hop. References to Five Percent language and ideas are found in the lyrics of wide-ranging artists, such as Nas, Rakim, the Wu-Tang Clan, and even Jay-Z. The Five Percenters are denounced by white America as racists, and orthodox Islam as heretics, for teaching that the black man is Allah. Michael Muhammad Knight ("the Hunter S. Thompson of Islamic literature" -The Guardian) has engaged this culture as both white and Muslim; and over the course of his relationship with The Five Percenters, his personal position changed from that of an outsider to an accepted participant with his own initiatory name (Azreal Wisdom). This has given him an intimate perch from which to understand and examine the controversial doctrines of this influential movement. In Why I Am a Five Percenter, Knight strips away years of sensationalism to offer a serious encounter with Five Percenter thought. Encoded within Five Percent culture is a profound critique of organized religion, from which the movement derives its name: Only Five Percent can act as "poor righteous teachers" against the evil Ten Percent, the power structure which uses religion to deceive the Eighty- Five Percent, the "deaf, dumb, and blind" masses. Questioning his own relationship to the Five Percent, Knight directly confronts the community's most difficult teachings. In Why I Am a Five Percenter, Knight not only illuminates a thought system that must appear bizarre to outsiders, but he also brilliantly dissects the very issues of"insiders" and "outsiders," territory and ownership, as they relate to religion and privilege, and to our conditioned ideas about race.

Hip-hop evangelism--a compelling look at a rap subgroup that explores its musical, social, and political contexts.

This book is based on the true history of Allah "the Father" and His great Nation of Gods and Earths known as the Five Percenters. This is the greatest story that was never told by the Gods and the Earths during their younger years with Allah "the Father" from the early 1960s up until the time of his assassination on June 13, 1969. This was a time of struggle for the Black Man, Woman, and Child (the Universal Family). This was the time of "the Big Five", who were: Allah "the Father", who brought about the Nation of Gods and Earths known as the Five Percenters; the Honorable Elijah Muhammad, who was the last and greatest messenger of Allah, also the leader and teacher of the Black Muslims; Malcolm X of the new arrival; Dr. Martin Luther King, Jr., the civil rights leader; and the Black Panther Party on the East and West coasts. These five groups were called the Big Five, because they had the attention of every Black Man, Woman, and Child in the wilderness of North America and other parts of our planet. There was a host of other Black groups as well. This was a time when the Five Percenter's teachings were being taught/spoken so plain and simple that even a child could understand. Black people were on the rise, and it was a time for a change—for Black Man, Woman, and Child to take their place on earth. Peace!

This book is discussing patterns of radical religious thought in popular forms of Black music. The consistent influence of the Five Percent Nation on Rap music as one of the most esoteric groups among the manifold Black Muslim movements has already gained scholarly attention. However, it shares more than a strong pattern of reversed racism with the Bobo Shanti Order, the most rigid branch of the Rastafarian faith, globally popularized by Dancehall-Reggae artists like Sizzla or Capleton. Authentic devotion or calculated marketing? Apart from providing a possible answer to this question, the historical shift of Bobo adherents from shunned extremists to firmly anchored personifications of authenticity in mainstream Rastafarian culture is being emphasized. A multi-layered comparative case study attempts to shed light on the re-contextualization of language as well as expressed dogmatic perceptions and symbolism, attitude towards other religious groups and aspects of ethnic discrimination. Further analysis includes the visibility of artists and their references to practical and moral issues directly derived from two obscure ideologies that managed to conquer airwaves and concert halls.

This enhanced eBook includes: • Over 30 minutes of never-before-seen video* interviews with Jay-Z discussing the back-story and inspiration for his songs • Two bonus videos*: “Rap is Poetry” and “The Evolution of My Style” • The full text of the book with illustrations and photographs *Video may not play on all readers. Check your user manual for details. Expanded edition of the acclaimed New York Times bestseller features 16 pages of new material, including 3 new songs decoded. Decoded is a book like no other: a collection of lyrics and their meanings that together tell the story of a culture, an art form, a moment in history, and one of the most provocative and successful artists of our time.

In Esotericism in African American Religious Experience: “There is a Mystery” ..., Stephen C. Finley, Margarita Simon Guillory, and Hugh R. Page, Jr. assemble twenty groundbreaking essays that provide a rationale and parameters for Africana Esoteric Studies (AES): a new trans-disciplinary enterprise focused on the investigation of esoteric lore and practices in Africa and the African Diaspora. The goals of this new field — while akin to those of Religious Studies, Africana Studies, and Western Esoteric Studies — are focused on the impulses that give rise to Africana Esoteric Traditions (AETs) and the ways in which they can be understood as loci where issues such as race, ethnicity, and identity are engaged; and in which identity, embodiment, resistance, and meaning are negotiated.