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Michael Muhammad Knight - Why I Am a Five Percenter

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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 Hells 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 communitys 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 ofinsiders and outsiders, territory and ownership, as they relate to religion and privilege, and to our conditioned ideas about race.

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Table of Contents FOR SADAF Once I went to the land of China Those whom - photo 1
Table of Contents FOR SADAF Once I went to the land of China Those whom - photo 2
Table of Contents

FOR SADAF
Once I went to the land of China.
Those whom I had not met
put the mark of friendship on my forehead,
calling me their own.
The garb of a stranger slipped from me unknowing.
The inner man appeared who is eternal,
revealing a joyous friendship, unforeseen.
A Chinese name I took, dressed in Chinese clothes.
This I know in my mind;
wherever I find my friend, there I am born anew.

Rabindranath Tagore
ONE
DEVIL IN DEEP SPACE: THE BIRTH OF AZREAL WISDOM
DONT GET ME WRONGbefore my first trip to the Allah School, they had me scared shitless. According to 50 Cents old fence-man, there was a time when Five Percenters owned the streets like the Bloods and Crips. According to a State Senate subcommittee, Five Percenters were the ones who ran things during the 1971 Attica prison rebellion. In newspapers from the 1960s, I found references to the Five Percenters as terrorists who trained in martial arts with ambitions to kill white people at random. If the Nation of Islam is a religion that finds converts in prison, Russell Simmons once remarked, Five Percenters find their converts under the prison. Thats how street it is. It all contributed to an image of Five Percenters as half-gangster, half-revolutionary, quasi-Muslim cultists, maniacs with names like Ruler Zig-Zag-Zig Allah. It was said to be a convicts religion or a rappers religion or not even a religion, but they had their own wild mythology of mad scientists blasting the moon from the Earth and believed that they were all gods and spoke in a secret language that somehow incorporated numbers. How does anyone work their way through that scene? In a tight situation, would this white boy even have the vocabulary to plead for his neck?
I remembered those thoughts while backstage after the Wu-Tang Clan show at Manhattans Webster Hall, interviewing Brand Nubians Lord Jamar in his dressing room and choking on the smoke from a passing blunt, Jamar telling me how he came into the knowledge. By that point, I had been building with the gods for a few years; if the Five Percenters were anything like their reputation, I should have been dead several times over. Lord Jamar introduced me to other gods in the room, and it was all peace, everyone smiling and shaking my hand, no one calling me a devil or putting swords to my neck. I like your shirt, said one, pointing to Elijah Muhammads portrait on my chest, rhinestones making the fez sparkle.
Searching the darkness backstage, navigating between orange-robed Shaolin monks and groupie girls, I found the Wu-Tangs abbott, Ruler Zig-Zag-Zig Allah, better known as the RZA, and he said that we could build outside. Following him down the crowded stairwell, passing Masta Killa, I thought about arts intersection with spiritual authority. If this was medieval Iran, Id be hanging around Sf orders, chasing after poets. Sometimes the line between poet and prophet gets thin, and sometimes its not there at all. In the Qurn, God tells Muammad to remind his people that these words arent mere poetrybut with a battle-MCs bravado, God also challenges poets to match the Qurns verses.
The RZA toes that line, but only if you know what the hell hes talking about, and most dont. The dumb are mostly intrigued by the drum, says his cousin, the GZA (also known as the Genius or Allah Justice). Encoded in the Wu-Tangs body of lyrics, buried deep under layers of references to Mafia culture and kung fu flicks, is a metaphysical matrix that never gets fully explained; you have to know before entering. At one point during this Webster Hall show, the RZA stopped the music and told the crowd that amidst hedonism and crime in the streets, one could also find wisdom. He then launched into an a cappella version of his song The Birth. People didnt know how to take it. Six is the limitation of the devil, the RZA recited, and the million square miles of land that he settles. Unless youre in enough to get what that means, it means nothing. So his fans threw up the Wu hand sign and waited for the drums.
I couldnt have been the only one in the room to pick up on the verse, but it felt good to pretend that I was. Thats a common experience in both art and mystical orders: the desire to search between the masters words, to know him better than any of the other disciples or fanboys. We believe that through our heavy intellectual and emotional investment, we earn greater intimacy with the poet or saint. Knowing that not everyone was qualified for the wisdom, classical f masters such as Ibn al-Arab (11651240) would present their doctrines with deliberately complex language and arcane symbolism, offering privileged knowledge only for those who were willing and able to dig deep. In hip-hop, this approach also provides balance between two audiences. The RZAs specialized code allows him to address the initiated without alienating most of his fans.
If the RZA founded his own f order, Id probably join it. Over the years, he has cultivated an authoritative, semimystical charisma, as though we should look to him for much more than music. Not many other MCs could write books on the philosophical underpinnings of their lyrics (theres no The Tao of Lil Wayne coming out). I had once heard a rumor that the RZA was taking time off from music to find a cure for brain cancer; for at least a few minutes, the idea seemed reasonable. It wasnt hard to imagine him in the labnot the lab where he makes beats but an actual laboratorywearing a white coat and goggles, mixing smoking liquids between test tubes.

AS WE WALKED down the street, I asked the RZA questions and jotted down his answers in my notepad. I was writing a book on the Five Percenters, I told him; excerpts had already appeared in the notes for Lord Jamars new album. The RZA shared his thoughts and we parted ways with Peace at the corner, in front of a giant tour bus with Method Mans face splashed across the side. The East Village was quiet at that hour, and I walked alone down Fourth Avenue reciting lyrics that most failed to catch:
Understand the equality, God in the bodily form
Lettin my knowledge be born
You have to know the code; in the Five Percenters system of Supreme Mathematics, Understanding corresponds to the number 3; Equality corresponds to 6. Born corresponds to 9, so Understanding your Equality (3+6) leads to your knowledge being Born (9). Also, Knowledge corresponds to the number 1; to go from 1 to 9, or to make Knowledge Born, means to make your Knowledge manifest in the world. Though it doesnt factor into the number play here, God happens to be the attribute for 7.
Heres how it would read mathematically:
3+6, God in the bodily form
Lettin my 1 be 9
Hip-hop is filled with these secret Five Percenter references, even from MCs who arent Five Percenters. Listening to Jay-Zs freestyle with Big L, I would geek out on the part where Jay says, Just like the gods, I start with Knowledge and follow with Wisdom, for greater Understanding. Knowledge, Wisdom, and Understanding correspond to 1, 2, and 3. In Jigga My Nigga, when Jay-Z boasts, The god, send you back to the earth from which you came, theres a double meaning for Five Percenter ears, since Earth represents woman.
Five Percenter code appears most often with New York MCs of a particular generation, but even Lil Wayne uses it in Tha Heat, when he says, Ima shoot your Arm, Leg, Leg, Arm, Head, playing on the Five Percenter understanding of A.L.L.A.H. I dont think that the gods liked that one.
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