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*. . . sae a A tet FF Rv ATK PANTHS: aRTY ( Se ee ena eg ae “Right on, right on, right on, right on, right on. Like J Jon*t usvally come South. I think the furthest South I've been is the South ferry (phonetic) in New York. But I see out hers a whole lot of beautiful blak young people. I even see some white mother country radicals sprinkled here and there. I see some . . . I see some brothers and sisters who are a little bit Older, but they haven'r fell for long-nose (phonetic) NIXON's ge: eration gap. But they're here too. "See, I think, I think that one of rhe first i-pressions I get when I got off the plane was how brown and how dark the soil was in North Carolina. And being born in Harlem, that is a mind blow to see very dark rich soil. And the first thing that hit my mind was why that soil is dark and rich. That soil is dark and rich because there was dark and rich blood that scaked it and made it into a ferti:« soil. And that blood and those tears was the blood and tears of millions of black people. "SO we're gOing to talk about that. We're going to talk about a system that thrives on sucking people's blood. A system where black people are forced to live in conditions that deny them all semblarte of humanity, that denies them all outlets of self-creativity. We're going to talk about these racist dogs like, what's that fuck's name, BENTON, red-neck BENTON. We're going to talk about that flathead because I'd like to ride on him. I'd like a whil+ on him. The kiecews gavé.me a word on him as soon as I came here and I jottea them down. I've got him with a lines under his naw. SO I'm going to curse him out first. Because I know he's no good it his name is RAY and he's from the South. “So, before we get tO cursing Out BENTON, I want all the brothers and sisters here to realize that as far as black people are concerned in a racist Babylon in twentieth century America, there's no difference between geographic positions. There's no difference between the North and there's no difference between the South. Ain't nothing changes but the address. And I think that once we make that basic funjamental realization, we can understand why a black person will get off a bus in Chitling Switch €honctic), Georgia and the first thing he does is turn to the right Imnd of the dial On the radio to pick up on some soul music, because we know that niggers is always on the right hand of the dial. If you want to 19 oF TT ee oat ~ ee - =~ ~~ mer ae ae * eas Cm — ~ Sa, “te ww oe . . - y . wt vale ee oo tn tome a! eo of eS Pate on, ater, « A. ated aot ee ‘7 as! ~ at Oo nr Peal . - . eo e : - -- we ee a ee