If you don't see the video above, click here.
Mae Jackson is a New York City based writer, poet, dreamer and doer whose record of activism on behalf of her people stretches back to SNCC. A founder of Art Without Walls, an art program for the children of imprisoned women, she is well acquainted with the difference between surface change, and fundamental, revolutionary change.
Here are a few minutes of her address to the crowd at May 31, 2009 event memorializing the early 20th century Harlem activist Hubert Harrison, in which she lays out a clear understanding of whose lips move when our First Black President speaks. Referring to some of Barack Obama's widely acclaimed orations at the Democratic convention, atop Lincoln's tomb, and other places, she tells us
“..those wonderful speeches made by the young man from Chicago were actually crafted, that's written, by three young white men 25, 26 and 31 years old. We got the unfortunate opportunity once again to see the world through their eyes. Obama was the spokesperson. Same as when you buy a painting, that doesn't make you the painter...”
She explains how the establishment turned took the politics out of activism, neutralizing and de-politicizing young political activists by turning them into “community organizers."
“There has been divide and rule in the modern Caribbean with a vengeance, all in the interest of US hegemony over the economic, military and political destiny of the Caribbean as a whole.”
These are remarks prepared for a 09/16/25 Covert Action webinar on Neocolonialism in Africa.
The assassination of a far-right demagogue raises the question: when does 'free speech' become a tool for inciting violence? Nations like South Africa and Brazil have decided that some speech is not…
“The youth are getting restless. I can't hear you, Let them hear you all the way to Washington, The youth are getting restless, Own creation, The Youth are Getting Restless, And once again a nation,…
"School Shooting Du Jour. War Of The Week" is the latest from BAR's Poet-in-Residence.
