Still Dancing on

I John Wayne's Head JAMAICANAND INDIGENOUS COLLABORATION, DUBWISE LORE-rrA COLLINS KLOBAH

Tekus outa dis Babylon connection" with indigenous peoples and other cultures of re~istance.~These We tired fi live pon capture lan by either performing at events with two interrelated artistic and social -Count Ossie First Nations artists or by playing action collectives, first founded in on Native American reservations? Ottawa, Canada, and Rio de Janeiro, Deejays Josey Wales, Clint Eastwood, Likewise, indigenous bands Brazil respectively, have created dub Dillinger, John Wayne, Bandolero, Lady have emerged from Greenland to the music anthems by blending Jamaican Apache and Trinity! Carlos Malcolm's South Pacific! roots, jazz, hip-hop, junglist and "Bonanza ", Derrick Harriott's Arguably, of all musical entities futuristic sounds with interviews Crystalites instrumentals - the . from the Jamaican diaspora, The Fire of Blakk Indian artists and activists, Undertaker songs, Bob Marley's "I Shot This Time (TFTT, 1992-present) and indigenous poetry, singing, and the Sheriff" and "Buffalo Soldiers", Indigenous ResistanceIIndigenous traditional chants. In the process, and Peter Tosh's LP Wanted Dread and Reality (IRIIR, 2003-present) have they have worked with some of the Alive. Rhygin's poses as Wild West carried out the most sustained and best sound mixers, including Lee gunslinger in the film The Harder They sincere effort of fostering cultural, "Scratch" Perry, Adrian Sherwood: Come. Lee 'Scratch' Perry's cowboy musical and political collaborations Mark Stewart, Bobby Marshall of On U mixes "Django", "Clint Eastwood and between African peoples, Jamaicans, Sound, Chuck D of Public Enemy, Mad "Van Cleef". Yellowman's "Wild Wild "Blakk Indians", indigenous peoples Professor, Augustus Pablo' and Asian West': Bounti Killa's "How the Dub Foundation's Dr Das! West Was Won" and Super Cat's Members of the TFTT and IRIIR collectives are quick to Jamaican popular music has declare that even though they a history of absorbing motifs , have travelled extensively and soundtracks of Hollywood worked in partnership with many artists and social reform ed images of Native workers of indigenous groups, ican culture. At the such as the Mohawk, Mapuche, Kuna, Aymara, Okanagan, Quechua and Krikati, they are with Jamaican reggae not trying to proclaim a "We are spirituality, messages the World pop music message of unity. Yet, their audio recordings, films, books, Web projects and Icommunity development projects have taken them to , Costa Rica, Panama, Guatemala, Nicaragua, Paraguay, Peru, Bolivia, Columbia, Ecuador, Chile, ~raz'il,Nova Scotia, Australia, Vanuatu, Fiji, the Solomon lslands (and other small islands of Oceania), Tonga, West Papua, New Guinea, Senegal,

Blakk Indian Quechua woman and children enuine "culture of 8olivia South Africa, Mozambique, Zimbabwe, poet Krystal Cook, South African poet research into untold histories, reading Ethiopia, and US locations including Sandille Di Keni, Greenlandic poet conscious literature and creatively Detroit, San Francisco, and the Supai and theatre performer Jessie Kleeman, generating social transformation Village at the bottom of the Grand Okanagan novelist Jeanette Armstrong, through direct action. Moreover, TFTT Canyon in the American Southwest? and USA-based alternative bands and IRIIR expand the dub medium TFTT and IRIIR explicitly Soma Mestizo, and Michael Franti and to foreground the importance of attempt to "move away from certain SpearheadJ2 egalitarian collaboration between stereotypes we feel exist toward Based on interviews with a men and women activists and creative indigenous peoples" in both Jamaican Jamaican member of both collectives, artists. and North American societies. this article documents the ambitious Referring specifically to their work projects of TFTT and IRIIR, arguing DUB LYRICISM"/DUB DEFENCE with Jamaican poet Oku Onuora on that Jamaican reggae and TFTT and IR/IR do more than the track "Ohtokin" (CD Basslines and have been utilised, in this case, to accomplish the demolition of Western Ballistics), they assert: build a foundation for actualising music orthodoxy. They facilitate, the kind of "harambee" (working through a dub aesthetic, an alternative On one hand there's a generally together in unity) principle that reggae musical and cultural alliance of peoples sympathetic viewpoint of indig- proclaims. Their experimental films, still impacted by conquest, slavery, enous people. Yet at the same time, documentaries and cyber publications genocide and imperialism." Although the preference is for them to be stress the importance of conducting their productions include dub music regarded as quaint, exotic, and in- and spoken-word audio tracks, CDs, capable of independent action with- vinyls, short films, MP3 videos, out the aid of famous rock stars like UNDERSTANDING THE CONNECWNS BElViEEN Understanding the Connections between BLACK AND ABORIGINAL PEOPLES Sting. Or they are dead or dying. Black and Aboriginal Peoples (a book of The image of indigenous people as travel narratives and reasonings on dead or dying very much suits the Blakk Indian cult~re),'~the booklet agenda of those who perpetuate IR9: Indigenous and Black Wisdubs: brutalities against communities, es- Indigenous and Black Philoscyhy and pecially if those indigenous people Political Thought, online Kona Warrior are on land that has minerals or oil comiclgraphic novels, a photography or anything valuable that people book on the Mapuche people of Chile, want. People have a fascination and a comprehensive multimedia Web with the spiritual aspect of indig- page, the 'dub' pulse is at the epicentre enous cultures, but most of the time of every project. The collectives attempt these same people don't want to to "revitalise indigenous resistance address the hardcore issues, such as around the world" by "incitling] indigenous land rights.. .They will freedom of speech through the sound exalt the indigenous respect for the of dub"" Although TFTT and IR/IR Earth, buy dreamcatchers, and go to incorporate an array of musical styles, indigenous ceremonies, but at the several tracks from the earlier audio same time, they don't want to hear recordings mix Rasta drumming or about land claims, traditional lands dub reverb with indigenous singing, stolen, or indigenous activists. . . poetry or polemical conversation: who are in jail.'O Basslines and Ballistics, Dancing on Iohn A listener will hear, on TFTT Wayne's Head and Still Dancing on lohn and IRIIR dub tracks, messages Wayne's Head." delivered in Jamaican English Spar'-'. TFIT and IRIIR take the concept Mohawk, Greenlandic, Punjabi, Word Soun Ave Power", so Portuguese and other languages. expressed in Rastafari and Nyahbinghi drumming mixes with reggae culture, to mean much more traditional Bellonese chants of the than the ability 6f utterance, vibration Solomon Islands and Tonga. Among and musical riddim to effect societal and many others, their collaborators have spiritual changeJ8Dub is an attitude, included Jamaican-Britishdub poet an empowered orientation towards Benjamin Zephaniah, Santee Sioux the world and a model for ethical poet John Trudell," Mohawk musician partnerships. TFTT and IRIIR endorse Don Patrick Martin, the choral group self-sufficientrecording strategies that Eagleheart Singers, Kwak wak'awakw are not dependent on expensive or elaborate recording studios. "lt's not Out of the continuing desire the quantity of equipment you have in to serve as a conduit for solidarity the studio, but how you use what you between indigenous and black people, have, alongside the spirit and feeling the relatively new label and collective you put into your music. One of the :ING ON IRIIR has recently carried forward the things we feel made dub music great JOHN WAYNE'S HEAD dub message to Brazil and Oceania, was the fact that it came from folks like \pi08 ng the iblakk Indian connerr where they have made new films not Lee "Scratch" Perry and , yet released in the Americas, and [who created] incredible sounds with some of their best-sounding and most just a few tracks." The collaborative conscious tracks to date. Collaborating projects between IRIIR and Asian again with Asian Dub Foundation, Dub Foundation's Dr Das have made IRIIR's "Galdino", a 7-inch vinyl use of this "minimalist approach". For release, addresses the horrific Brazilian instance, the IRIIR track "Krikati" case of the 1997 murder of the Patax6 was recorded "deep in the Brazilian HZ-HZ-HZe Indian Galdino Jesus dos jungle on the territory of the militant Santos, who was drenched in gasoline Krikati Indians", who knocked out and set on fire by a group of wealthy power lines after a series of failed teenagers because they thought he was negotiations with the government a homeless person.26The simple but over Krikati land claims. According powerful contrast of Vanuatuan society to TFTT and IRIIR the Krikati had with Westernised society, "Through a troubled history of disputes with the Eyes of One Who Paints with cattle ranchers who simply murdered Earth", mixes a traditional Tonga chant indigenous people and confiscated by Epeli Hau'ofa (a.k.a. Boso) with land for cattle grazingJgThe IRIIR dub music and spoken-word vocals dub track samples in the voices of by Michael Franti and Carl Young those involved in the insurgency. The As both dub producers and (Spearhead).The IRIIR dub attitude ability to use dub remixing technology, long-time sojourners in indigenous can be, by turns, either a burn-down- the internet and limited equipment cultures, TFTT and IRIIR have Babylon "fiery dub or a self-reflexive, is "especially essential in light of the also theorised the relevance of the meditative dub. situation of many indigenous people silences in dub music to consciousness who are fighting struggles in remote transformation and resistance work. DANCING ON JOHN WAYNE'S HEAD lo~ations".'~ Interestingly, while most critics and During the 1990s, TFTT produced three TFTT and IRIIR thoughtfully fans of dub have discussed the noise of short films and other short videos on express their relationship to dub music: the musical form - its innovations in the indigenous and African connection; "We have always listened to dub. The layering sound effects - a few astute the films were In the Beginning, At first record we ever bought was a dub critics have attempted to describe Least Native Americans Know. . . and rec~rd."~'They continue: the subtle but crucial dimension of Dancing on Iohn Wayne's Head. IR/IR silence in dub music." TFTT and IRIIR has completed two films more recently Dub music in its natural form is a rethink the power of dub silences in with indigenous people in Brazil and challenge to conventional music. connection with their understandings Oceania, including IR6, a documentary Dub is experimental, unpredict- of the importance of silence in some similar in approach to the TF'IT dub able. You can never repeat the same indigenous settings: "You can have documentary Dancing on John Wayne's dub mix twice. Dub music has a a piece of dub that in the middle of Head.27 lot of space in it, where you can be the track, there is complete silence. Regarding the short, experimental inventive and insert whatever you We especially love this, as it's very in film In the Beginning, members of like. In hsspace, we have tried to tune with the importance of quietness TF'IT and IRIIR explain that they had be inventive and add indigenous in many indigenous philosophies."" noticed that even though evidence and chants, indigenous oratory, politi- A recent IRIIR track, "Indigenous legends have supported the idea that cal commentary. . . coded political and . . . Sacred, recorded on a South Africans had reached the Americas messages. We always heard the con- Pacific island, "honours the traditional before Europeans arrived, there were nections between Nyahbinghi, the lifestyle and wisdom of the indigenous virtually no visual representations of one drop of reggae, and the tradi- people in this community, a lifestyle what the meeting between Africans tional North American indigenous that is based on . . . an appreciation and indigenous peoples of the region music. . . Dub music presents the and respect for nature. This track might have been like. Although the perfect framework to present these was created in a very, very quiet and film is "loosely based on the historical musical links.?2 unobtrusive account of an emperor from Mali, Abukar, who left Ahia with a would have no huuble naming ten huge flotilla of ships to explore videos quickly. . .%n we would what lay on the other side of the flip the question and ask them. mSrmand newreiumed, the "Name us ten videos with young power of the exquisitely beautiful people of colou~,especially street- film resides in its dignified wise kids, with books - reading representation of the meeting of them on their own initiative as op the Ahican and indigenous as posed tobeing forced to as a way to juxtaposed with the urban chaos make it inbe system." ~t the time, of modern Toronto. Featuring no one could tell us the name of one a narrative spoken in Mohawk video? by a woman storyteller, with English subtitles and inter-titles, So TFIT filmed At Least Native and a hauntingly powerful dub Americans Know. . . at a library soundtrack the film shifts from next to the Aboriginal Friendship scenes of the encounter between Centre inToronto, Ontario. It the African sea-voyagers and featured Mohawk activists, a the indigenous people of "Turtle Mayan woman from Mexico, a Island" (CanadatNorth America), 3 Rastafarian from the Bahamas, and the initiation of a peaceful, a an activist from Sri Lanka reading intimate relationship between the and sharing books on Black Power African leader and the daughter movements, indigenous history of the indigenous tribal leader and religions, Central American (all performed in mime and silent resistance struggles, Jamaican dub gesture), and the turbulent and poetry (Echo by Oku Onuora), and alienating presentday Canadian Cardinal and Armstrong'sbook The city Historical and contemporary Native Creatioe Process. "In real life, realities merge in these scenes all these folks love reading, and as members of the early- we filmed them reading hardcore period African and indigenous club books. We wanted to show community find themselves in the streetwise young people of colour concrete city of towering, sterile comfortable inanenvironment buildings. The evocative film is full of books, using the book as a filled with memorable images, potential hlagainst the system!* 'The strow appeal of this film such as that of a Mohawk activist/ I - A. warrior who draws in graffiti a depends on the audio intensity of chalky, ghostly Great Tmof Peace the energising, rapid-fire junglist ma conmte wall, a Six Nations soundtrack and the visual intensity ymbol for harmonious social of the quick-sequence images of iving. people studying together, book TFIT and IR/IR productions jackets, conscious public art grad% mspicuously foreground the writing, and historical footage. tal importance of consciousness- Dancing on fohn Wayne's Head, ising books, thoughthl a documentary hlm narrated by a lectio~and the contributions foundiimember of TFIT, covers writers to intercultural social much of the same ground as the tie mbvements. hcmk Understanding the Connections between Black and Aboriginal We a4 always on the lookout l'qles: The Links between African- for young people reading on American, Plack, Native American nd their own initiative .. . [Tlhe li~digenousCultures. fiefilmmakers iystem is more comfortable document the 'FIT journey (to ;eeing young people of colour Peru, Lblivia, Supai Y111age at vithgunsasopposedtobooks. Ve used to pose the question Stilk from TF7Tfihs In i+e Beginning (top, I people, "Name us ten videos &), At leart Natiw Amrim Knav .. . here you see young people of (rhird, fa,&) and Daocing on bhn Wayne's 'lour with guns." The people Head (lwuom). the base of the Grand Canyon in the rticular songslpoems is palpable, USA, the city of San Francisco, and as Monyaka explains the Supai Fiji), including reasoning sessions identification with African peoples with musical artistsiactivists (such and Bob Marley: "We feel really close as the socially committed vocalist with the music, with reggae, because Michael Franti and John Williams we're struggling, we're striving just of the Arizona reggae band Native as much as the black, our brother, has Roots), educators, Blakk Indians and been afflicted by the white government indigenous people of the American that has attempted to take over their Southwest. As in nearly all TFTT land [and exterminate African and and IRIIR productions, generous indigenous tribes]." Monyaka recounts space is allotted to positive images this moment: of womanhood and interviews with women. I walked into a room once where Dancing on John Wayne's Head there was an eighty-year-old listen- records two of the most memorable ing to Bob Marley sing, and she was moments in the years of TFTT in tears. . . .The song "Redemp- work. One of the moments was the tion Song" was on. I said, "What's impulsively fortuitous trip in the back wrong?" She said, "I like these of an open truck to a community of words. It reminds me of the prayers the Quechua Indians. These Bolivian of the old people, the way they used Blakk Indians live in a small coca- to pray. It aches down into the leaf farming, mountaintop town in soul, the spiritual soul, way down the Yungas region. Although fully in there."32 assimilated to the indigenous lifestyle Dressed in a Rasta tam and and mode of dressing, several members speaking a remarkably good Jamaican of the Quechua community have patois and Rastafari idiom (which he African features. TFTT seeks to find learnt solely from listening to reggae communities that demonstrate this music), Benjamin Jones beautifully kind of cooperation, interdependence expresses how he "become aware that I and intermarriage between Africans am Rasta", as he explains the impact of and indigenous peoples." uranium mining on his environs. The most moving part of the film Dancing on John Wayne2 Head, however, NEW WAYS OF LOOKING AT and one of the most momentous of WOMAN POWER any of the TFTT and IRIIR recorded One of the most appealing aspects of interviews, is the footage shot with the projects of TFTT and IRIIR is their Havasupai activists and reggae fans unreserved commitment to women's Monyaka and Benjamin Jones in issues and their acknowledgement of Supai Village, where six hundred women's contributions to liberation members (one hundred families) of and solidarity movements. Okanagan the Havasupai live. After reading a activist, novelist, poet, teacher, Reggae Beat article about the legendary recording artist and sculptor Jeannette concert that Wailers keyboardist Armstrong and Metis architect and Tyrone Downie and Bob Marley's flautist Douglas Cardinal collaborated mother Cedella Booker played for Ion a series of philosophical dialogues the Havasupai in the early 1980s, 1 and photographs published as The and talking to Akiba Tiamaya, a Native Creative Proce~s.~The book has Blakk Indian Sundancer, about Roger profoundly influenced the practices of Steffens's show in tribute to Bob Marley TFTT and IRIIR especially Cardinal's that often includes film footage of the concert, TEIT decided to travel by mule, and then by helicopter, down mP 10 BOT~OM Blakk Indian artiste Michael Frant; from the bandspearhead; lohn Williams, Native the mile-high Grand Canyon cliffs to American reggae artiste of the band Native Rwts; Supai3' The extraordinary Havasupai still from the TFTT iilm Dancing on lohn Wayne's Head - a Iamaican member of TFTT connection with Jamaican reggae collective; Monyaka, Havasupaiactivi5tandreggae music, spirituality, worldviews and fan; Benjamin loner, Havarupai reggae arfirte and fan. statement about the crucial connection contemporary struggles of First Nations presence is vital." He declares, between men and women: people in Canada and elsewhere. In moreover, that Breeze "was a very Understanding the Connections between important inspiration" for some of Here is the wisdom of our elders. Black and Aboriginal Peoples, the the early CDs, particularly Dancing As an individual you are both male author "Raging BlakkIndian Dub" on John Wayne's Head and Still Dancing and female. Men and women are refers positively to Cooper's poem on John Wayne's Head. "@reeze]has very powerful working together. As "Christopher Columb~s'~~which beautiful dub words to say about the a man, if you allow yourself to be describes indigenous genocide. He importance of humility and honouring sourced by women, to be coached, also acknowledges Cooper's comments the indigenous people on whose land to learn from them, to take the con- made in a conversation with him: we might be."38 hibution that they are, then partner- she said, "I don't think I can speak of TFTT participated during its ship is very powerful." the history of the Caribbean without formative years in the International Almost all of TFIIT and IRIIR making reference to the original Feminist Book Fair in Montreal and projects foreground women's voices, inhabitants, who in the case of Jamaica in gatherings of indigenous artistes emphasising egalitarian exchange and were Arawak people. For me, as an where women performers were re-evaluating power relations between individual who has a deep sense of present. TFTT dub tracks frequently the genders. TFTT and IRIIR attempt history and place, acknowledging and feature women artistes whom they to counteract the resistance in both recognising these people who were have met during these sojourns or on mainstream society and within social in these places before the African internet forays. TFTI met Fura F6 and movements to the woman's voice: "We Jessie Kleeman at "Beyond Survival", have come across many, in our opinion, a mid-1990s international conference brilliant anarchist or anti-authoritarian for indigenous artistes, where women of,colour who have so much Kleeman was performing with the to offer, and yet not only does larger Silamut Theatre Group of Greenland." society try to shut them up but even Kleeman was "a huge reggae fan". some social movements have kicked TFTI and Kleeman shared an interest them out or tried to silence them."= in the Inuit Circumpolar and the rights In the online comic bookslgraphic of indigenous people who live in the novels, the protagonist is a militant, Northern Hemisphere. When TFTT indigenous martial artist woman, heard Kleeman's "amazing, versatile Kona Warrior, who defends Aymara voice", they "said we should do the coca leaf farmers under attack from first Greenlandic dub poetry record, the governments of Bolivia and Peru. so we did".*TFTT and IR/IR recorded The film In the Beginning (narrated in with musiaan Ole Kcistiansen in the Mohawk by woman storyteller Raven "noahernmost studio in the world and featuring Coast Salish chants by where we could hear the sound of Kelli White on the soundtrack)portrays wolves and sled dogs howling during the daughter of the indigenous chief as the arctic nighY: This collaboration a woman with allegiance to her people took place during a prolonged but receptivity to the African travellers. TFTT and IR/IR stay in Greenland, Dancing on John Wayne's Head devotes where they worked with Kleeman ample attention to interviews with on new IRIIR lyrics (including the Blakk Indian women." In the short film recent track "Eagle Screaming Red Revolta, the camera alternates between Sky Alight"). IRIIR calls the track a scenes of a strong woman practising "meeting of Kleeman's] indigenous martial arts punches and kicks, an mythology, radical street politics" and abused young woman being consoled vocalist Christiane D's "beautiful dub by her friend, women working in the mystical interpretation"!' The lyrics marketplace, and the warm reception call for a rebirth out of ashes of the that the abused woman and her friend North ~meri'canpost-9/11 and war- receive at the Fiji Women's Crisis Centre. mongering, Iraq-ravaging society. As A Jamaican founder of TETI and the song notes, the revolution must also IRIIR has acknowledged his respect for such Jamaican performance poets TOP m m "loloorney to Sosolakam"fmm lWlR as Afua Cooper and Jean Binta Breeze, comic bwk Kona Warrior 2 by aast Dandarub; who have addressed the indigenous TFTTcolle~tivemember with indigenous maleaf farmero1Bolivia;Akiba liamyBlakk indlan run heritage of the Caribbean islands and dancer ofSan Francisco, Cali orma [are] still happening on horrific levels in a world that is purportedly 'safer and more equal' for women than in previous eras".'s

CONCLUSION The collectives TFTT and IRIIR craft a hypnotic, militant dub music intended to transmit a supershock to the forces of global devastation. But most impor- tantly, for TFIT and IRIIR, "dub" is a comprehensive and enlarged term that refers to their aesthetic and musical sensibilities, philosophical orientations and activist participation in African and indigenous coalition-creation. TFIT and IRIIR hold Audre Lorde's wisdom as axiom: "[Als we come more Asian Dub Foundation?' The excellent into touch with our own ancient, non- video juxtaposes the Shakur track with European consciousness of living as a images of harmonious Blakk Indian situation to be experienced and inter- communities in Bolivia, police- and acted with, we learn more and more state-inflicted brutal violence against to cherish our feelings and to respect indigenous and black communities, those hidden sources of our power jailed leaders such as Leonard Peltier from where true knowledge and, there- and Mumia Abu Jamal, and women fore, lasting action comes.'" However,

TOP IRNR amork: photo of Oceania and painting warriors fighting in armed struggle" in their quest to connect with ancient 1digifalmontageI by laabi. TFTT and IRIIR greatly appreciate sources of African and indigenous smStill image from TFTT film Dancing on the position of women like Shakur, wisdom and self-knowledge, these col- JohnWayne's Head. stating that "people like Breeze and lectives focus on dub-centred, tangible [Shakur] are crucial to the creation of modes of interpersonal communication include the forging of a new society our work".* and social action that facilitate present- that validates and enables women: TFIT and IRIIR also support those day change and the defence of land "within the revolution, we create male-initiated projects that mate new claims. 6 another/revolution".* ways of looking at power between the TFIT and IRlIR especially deem sexeq such as Benjamin Zephaniah's crucial their dub tracks featuring anti-domestic violence poem "She's vocals by African-American women, Gymg for Many": ACKNOWLEDGEMENTS such as scholar and spokesperson The research for this article was made Angela Davis and former Black Panther She is flesh of me flesh possible by a FlPI grant from the office of Assata Shakur. The TFlT and IRIIR I am bone of her bone the Dean of Graduate Studies, University of Puerto Rico, Rio Piedras. I wish to thank collaboration with Davis has resulted SOplease stop kicking her members of collectives The Fire This Time in two tracks: "Sisters and Brothers" Beg yu leave her alone and Indirenous- Resistance/lndieenous- and the remix "Black and Native . . .Dat's me sista yu beating Reality for genemusly participating in two Unity". Davis imparts the advice: "I upstairs. years of casual e-mail conversations and a think it's really important for us as bummer (2005)of extensive interviewing via internet. At this point in time, it is the black people to try to stand together The poem notes the complicity political stance of the members of these with our American Indian sisters and between the abuser and the police, collectives to refrain from being identified brothers. During slavery a lot of our who dismiss domestic violence cases by name in publications or publicity ancestors were able to escape and set as less important crimes." Other TFlT materials. In the'article, I respect their preferences for being referred to solely up Maroon communities because there and IR/R audio tracks, such as the by the names of the collectives/recordi~~ were Indians that showed them where previously mentioned "New Ways labels. to go."O The TFlT collaboration with of Looking at Power'; "Aboriginal Shakur has resulted in two TFIT dub Hitchhike Rape" and "We Need a tracks: "I Love tha Future", featuring Woman's Army", were all initiated by music by Michael Franti of Spearhead, men. TF?T and IR/IR recognise that All images provided courtesy of TFTTand and "Reluctant Warrior", with mixes by "rape, domestic violence, sexual abuse INIR.