Tamara+Morrison+and+Riley+Franklin 

__**Janelle Monae 1ac**__

~Janelle Monae - Cold War
[] ====Surveillance is the means through which the expendable objects of anti-black violence are tracked- able to be disposed of at any time. To understand how this racist practice is foundational to America and its supremacy, we invite you to time travel with us; first- to the past.==== According to Christian Parenti, the history of surveillance in America can be traced to AND looks have the power to trouble surveillance as a "Technology of Whiteness".
 * Browne 2012** – PhD in Sociology and Equity Studies in Education (Simone; "Race and Surveillance" "Routledge Handbook of Surveillance Studies"; Google Book; https://books.google.com/books?hl=en&lr=&id=F8nhCfrUamEC&oi=fnd&pg=PA72&dq=race+and+surveillance+Simone+browne&ots=y_cvDcnYS0&sig=ZmhtR3WJI2mp_clVI6qwScZDZwQ#v=onepage&q=race%20and%20surveillance%20Simone%20browne&f=false; 7/5/15 ~|~| NDW)

====The past glows with strange lights- the darker the body, the brighter the light. The darker the skin, the more we are watched. Black luminosity- we are kept aglow, spectres of colonial America's cultural practices, haunting black women through entitled access to our bodies. Present day surveillance is an abusive dynamic that forces black women to participate in our own destruction, stripped of consent and subjectivity.==== What the hell is you looking for? Can't a young man get money anymore AND solution for being constantly watched, if no one sees you at all?
 * Harry 14 **(Sydette Harry is a cultural critic, troublemaker and writer from NYC. Her next project is a decidedly low/high tech response to media, age and race, also grad school. She has been published in dissent, Salon and the blogs as @blackamazon. "Everyone Watches, Nobody Sees: How Black Women Disrupt Surveillance Theory", https://modelviewculture.com/pieces/everyone-watches-nobody-sees-how-black-women-disrupt-surveillance-theory, October 6th, 2014 TAM)

====You remark that the past looks different than you expected. I laugh- the history books have never been concerned with our ancestry. Our histories are oral, passed down through the subversive languages of Black feminist performances. ====

Cold war
So you think I'm alone? But being alone's the only way to be When you step outside You spend life fighting for your sanity This is AND

Do you know what you're fighting for?
 * 11-:54

====We carry our past in our voices, in our performance. We bring them to the present, where we find ourselves now, with the performance of the 1AC. Black women write our own histories that are simultaneously then and now, generating dualities of everywhere-ness and concrete experience.==== REDMOND,11 ( Shana L. is Associate Professor of American Studies and Ethnicity at USC. She received her combined Ph.D. in African American Studies and American Studies from Yale University. Her research and teaching interests include the African Diaspora, Black political cultures, music and popular culture. "Marking the Margins: Janelle Monáe's 'Cold War' Landscape":"This Safer Space: Janelle Monae's´ "Cold War"", Post45 Conference, Roundtable/Panel, Refereed Paper, Rock and Roll Hall of Fame, Cleveland, OH, Post45, Spring 2011 ) "Cold War" facilitates and relies on a reimagining of the Cold War; AND experience by mapping its negotiation onto the nonnationalized body of the black woman.

====As the future encroaches on us, technology expands the reach of Black luminosity. Drones become the manufactured disciplinarians of the black female body and a constant reminder of our construction as expendable non-persons. Affirming the 1AC destroys conceptions of the benign sovereign and exposes the omnipresence black luminosity. ==== This post is basically speculative. It's a question, or rather, a hypothesis AND used as instruments to further marginalize even more vulnerable non-white populations?**
 * James, 13**(Robin Associate Professor of Philosophy @ UNC Charlotte, "Afrofuturism and Drones", http://thesocietypages.org/cyborgology/2013/11/01/afrofuturism-and-drones/, November 1, 2013 TAM)

====This radical act of self-exposure- sharing infinite histories with you in these 8 minutes, works across methods and ideologies. We create a space that fosters different methods of state deconstruction.==== Monae´s questions to us throughout the song are met with definitive statements as AND United States and offers an alternative to the subterfuge used by oppressed peoples.
 * REDMOND, 11** (Shana L. is Associate Professor of American Studies and Ethnicity at USC. She received her combined Ph.D. in African American Studies and American Studies from Yale University. Her research and teaching interests include the African Diaspora, Black political cultures, music and popular culture. "Marking the Margins: Janelle Monáe's 'Cold War' Landscape":"This Safer Space: Janelle Monae's´ "Cold War"", Post45 Conference, Roundtable/Panel, Refereed Paper, Rock and Roll Hall of Fame, Cleveland, OH, Post45, Spring 2011 )

====Fiat isn't freedom; it's a contradiction. An elusive, momentary state of mind that anchors itself through the writing of history through the writing of ballots. To uphold the antiquated notions is to choose to omit Black women's performances, to choose to allow history to be written without us- again. ====

====Instead, uphold an afrofuturist speculative fiction in which the surveillance of black women is substantially curtailed. That imagines a radical re-centering of black women in conversations at the intersection of race, gender, technology, surveillance, and the future of criminalization in an anti-black America==== Susana **Morris** (Assistant Professor in the Department of English at Auburn University) Fall/Winter **2012** "Black Girls Are from the Future: Afrofuturist Feminism in Octavia E. Butler's "Fledgling"" Women's Studies Quarterly, Vol. 40, No. 3/4, ENCHANTMENT (FALL/WINTER 2012), pp. 146-166 Speculative fiction, that is, science fiction, fantasy, horror, and futurist AND to radically alter their surroundings and challenge normative notions of how to be.

Q.U.E.E.N.
I can't believe all of the things they say about me Walk in the room they throwing shade left to right They be like, "Ooh, she's serving face." And I just AND cut me down Yeah I wanna be, wanna be (queen)

__**Kanye West 1ac**__

Kanye West – Power
https://youtu.be/ieXMNNOYWXI?t=2m19s 2:19 – 3:02
 * the system broken, the school's closed, the prison's open**
 * we ain't got**
 * AND**
 * off the power**
 * til then, … that,**
 * the world's ours**

Our advocacy is that you should affirm Kanye West's "Power" as a fugitive poetics to challenge the United States Federal Government's domestic surveillance apparatus and anti-black violence.
====American surveillance grew from slavery—the original lists of human cargo, plantation inventories and diaries were used by masters to govern slaves. Disciplinary power operated through the compulsory visibility of targets, and fugitives became targets of additional layers of surveillance like wanted posters and slave patrols that evolved into modern policing and oversight==== According to Christian Parenti, the history of surveillance in America can be traced to AND looks have the power to trouble surveillance as a "Technology of Whiteness".
 * Browne 2012** – PhD in Sociology and Equity Studies in Education (Simone; "Race and Surveillance" "Routledge Handbook of Surveillance Studies"; Google Book; https://books.google.com/books?hl=en&lr=&id=F8nhCfrUamEC&oi=fnd&pg=PA72&dq=race+and+surveillance+Simone+browne&ots=y_cvDcnYS0&sig=ZmhtR3WJI2mp_clVI6qwScZDZwQ#v=onepage&q=race%20and%20surveillance%20Simone%20browne&f=false; 7/5/15 ~|~| NDW)

====Our performance is an act of poetics from a "legacy gone missing," a strategy that both utilizes enclosure and run, that is here but is not here, that is there but is not there, visible but not visible.====

====We begin with a radically different interpretation of freedom. Freedom from surveillance isn't achieved when the NSA dissolves or the PATRIOT Act is reversed, nor is the fugitive simply imagined or demanded as a concept in the 1ac.====

====Fugitivity and freedom exists in our use of language and it's constant re-reading and re-use as a way of knowing the world. Freedom isn't fiat; it is elusive, momentary, and a state of mind; it is discursive play rather than related to the location of the body or an abstract vision of social change. Such a "freedom" is utopian and fugitive==== Harryette Mullen has published five books of original poetry—Tree Tall Woman (1981 AND discursive tigations reveal the often unmarked and unnamed structurings of various internecine ideologies.
 * Tremblay McGraw 10** – Robin Tremblay-McGraw @University of California, Santa Cruz "Enclosure and Run: The Fugitive Recyclopedia of Harryette Mullen's Writing" MELUS Volume 35, No.2 Summer 2010. Pp 71-94 (Article) Oxford University Press [E.Smith]

If you're thinking "lol Kanye West as fugitive poetics?" then the aff worked, and that's why it can exist as both a visible protest and remain elusive in the face of targeting and surveillance.
====When slaves sang songs like "follow the drinking gourd" they were singing the steps and guides for fugitive slaves to navigate the underground railroad and escape the plantation. They could sing these songs publicly because their masters interpreted it as the delightful tone of slaves singing in the fields. It was at once visible but not visible, there but not there.====

Similarly, the hook from "Power" – no one man should have all that power – was easily interpreted by dominant powers as more Kanye egoism, another "I'm going to let you finish…" moment.
====Deeper listeners heard the real message – Kanye speaks of being chosen in this white man's world and that "no one man should have all that power" before envisaging a fugitive departure, a "beautiful death, jumping out the window, letting everything go." The reference to power is an historical allegory to the police's reaction to Malcolm X's resistance to racialized police surveillance and government control that Kanye remixed as this generation's rallying cry against white supremacy – and, we're gonna let you finish about the power of fiat, but Kanye's message reached more people than any presidential speech of all time.====

====As an educator you should affirm a space away from surveillance, fugitive knowledge—in short, a Dark Twisted Pedagogy. Our classroom model is one that envelops students in opportunities to speak back and re-envisage the lines they've heard thousands of times as poetics but never thought of as useful knowledge as their own guide to critical consciousness through fugitivity==== Over the fall of 2010, rapper Kanye West reimagined the way music was distributed AND ─beautiful. It is a pedagogy of hope for the digital age.
 * Garcia, 13**—Antero, Assistant Professor in the English department at Colorado State University, "Beautiful Dark Twisted Pedagogy: Kanye West and the Lessons of Participatory Culture," Radical Teacher, no 97 (Fall 2013), http://radicalteacher.library.pitt.edu/ojs/index.php/radicalteacher/article/view/38/22 —BR

__**NWA 1ac**__

1ac—NWA
https://youtu.be/RcNAxtM3b0E Starts at 0:30, pause/close the tab at 1:05
 * tha police

Comin straight from the underground

Young * got it bad 'cause I'm brown

And not the other color so police think

They have the authority to kill a minority
 * that *, 'cause I ain't tha one

For a punk * with a badge and a gun

To be beatin on, and thrown in jail

We could go toe to toe in the middle of a cell
 * 'in with me 'cause I'm a teenager

With a little bit of gold and a pager

Searchin my car, lookin for the product

Thinkin every * is sellin narcota You'd rather see me in the pen…

====When NWA stepped forward in 1988 to challenge the police and the state of militarized law enforcement, it was a radical act that revealed both historical knowledge and unbelievable foresight regarding militarized violence – that echoes the forms of brutality that are still being practiced in the surveillance, targeting and killing of black bodies. Our choice to begin the 1ac with a fugitive poetic is a way of reinterpreting and challenging the original police state, the plantation—it's a performance that breaks down the existing power hierarchies that govern over the structures that control our role and identities in society==== According to Christian Parenti, the history of surveillance in America can be traced to AND looks have the power to trouble surveillance as a "Technology of Whiteness".
 * Browne 2012** – PhD in Sociology and Equity Studies in Education (Simone; "Race and Surveillance" "Routledge Handbook of Surveillance Studies"; Google Book; https://books.google.com/books?hl=en&lr=&id=F8nhCfrUamEC&oi=fnd&pg=PA72&dq=race+and+surveillance+Simone+browne&ots=y_cvDcnYS0&sig=ZmhtR3WJI2mp_clVI6qwScZDZwQ#v=onepage&q=race%20and%20surveillance%20Simone%20browne&f=false; 7/5/15 ~|~| NDW)

====NWA is uniquely positioned as a site to criticize the development of the plantation into the modern surveillance and prison system – it's an act of aggression that disrupts the normality of white civil society. It is a fugitive art – it is both present on society but critiques it vehemently==== McCann 2012 Contesting the Mark of Criminality: Race, Place, and the Prerogative of Violence in N.W.A.'s Straight Outta Compton, Critical Studies in Media Communication, 29:5, 367-386, DOI: 10.1080/15295036.2012.676194 The Political Violence of Fuck Tha Police Fuck Tha Police continues this critique AND fallout following the record's release revealed precisely how unamusing their challenge would be.

====Fugitivity exists in our use of language and it's constant re-reading and re-use. Freedom isn't fiat; it is elusive, momentary, and a state of mind; it is discursive play rather than related to the location of the body or an abstract vision of social change. Such a "freedom" is utopian and fugitive==== Harryette Mullen has published five books of original poetry—Tree Tall Woman (1981 AND discursive tigations reveal the often unmarked and unnamed structurings of various internecine ideologies.
 * Tremblay McGraw 10** – Robin Tremblay-McGraw @University of California, Santa Cruz "Enclosure and Run: The Fugitive Recyclopedia of Harryette Mullen's Writing" MELUS Volume 35, No.2 Summer 2010. Pp 71-94 (Article) Oxford University Press [E.Smith]

Vote aff in favor of embracing radical forms of public pedagogy that are key to teens like us to deconstruct corrupt politics and institutional violence
Giroux 2000 (The mouse that roared: Disney and the end of innocence) The organization and regulation of culture by large corporations such as Disney profoundly influence children's AND as both an educational issue and a matter of politics and institutional power.

The use of popular culture and rap in educational spaces is key to creating a critical pedagogy
Powell 2015 (The Journal of Negro Education, Vol. 60, No. 3, Socialization Forces Affecting the Education of African American Youth in the 1990s (Summer, 1991), pp. 245 Conceptual Framework We initially considered how the two schools used popular culture as critical pedagogy AND continually redefine and reposition themselves within the social contexts of their everyday lives.

__**2NR/2NC Strats**__ We have ran the these affs on the neg (especially the **NWA** one). We have also ran the **Cosmopolitan K**, **CRT K**, and **T**.