Tamara+Morrison+and+Riley+Franklin

__**NWA AFF**__
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 * 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 a form of underground rap that can not be co-opted and offers a deeper social reconstruction to social violences. Underground rap 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 ya boi Riley to fly 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.

====As teens we are all affected by brutaility and state violence whether we live in Detroit or in Houston debate creates a space during a critical point of our lives where we can express ourselves and create points of resistance to establish our own pedagogy. Thus, 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) ya boi Riley to fly 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.

====Hip hop is a tool that is both fluid and pervasive that can be interpreted across generations and class binaries. The use of popular culture and rap in educational spaces is key to creating material change.==== 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 ya boi Riley to fly 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.

====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]

__**Janelle Monae AFF**__

Janelle Monae - Cold War
https://www.youtube.com/watch?v=lqmORiHNtN4 So you think I'm alone? But being alone's the only way to be When you step outside You AND https://www.youtube.com/watch?v=lqmORiHNtN4)

With her performance as a black women and her reference to the cold war Janelle creates a duality of everywhere-ness and concrete experience
"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.
 * 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 )

Monae's narrative creates 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 )

Monae's sound takes advantages of social movements and leave an opportunity for future one
Monae´ has developed, within a relatively short period of time,a sound AND these methods and conjunctions that the future spaces of political possibility might be realized
 * 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 )

This space allows black women to not only deconstruct the state, but also patriarchy in order to combat oppression with alternative forms of performance.
Monae´s performance refuses the acts of dissemblance that have long characterized black women's AND effectively lifting the veil of secrecy that allowed for black women's sociopolitical subterfuge.
 * 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 )

Monae´s performative unveiling sensitizes us to questions of truth as the layers of AND cohort in the present and envisions a future beyond her own critique.8
 * ====This deconstruction allows us to question history as it affects present structures as well as promoting a free space that advocates for alternative discourse.====**
 * 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 )

Fugitivity exists in our use of language and it's constant re-reading and re-use. 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]

The knowledge here is specifically key. It allows experimental ways of change
Boal's argument that performance activists and teachers should work against the mystification process, not AND of embodiment moves theory through their bodies, effecting change in experiential ways.
 * Warren and Fassett, 2004** [The Johns Hopkins University Press. All rights reserved Theatre Topics 14.2 (2004) 411-430John T. Warren is an assistant professor in the School of Communication Studies at Bowling Green State University, where he teaches courses in performance, culture, identity, and power. Deanna L. Fassett is an assistant professor in the Department of Communication Studies at San José State University, where she teaches courses in instructional communication and critical, feminist, and performative pedagogies //liam]

The role of the ballot is to vote for the team that best creates a space of under-commons to deconstruct and overthrow anti-black structures of power
__**Kanye West AFF**__

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