After the US officially admitted it deployed weapons into outer space earlier this week, Russia and China expressed concerns, calling it a threat to international peace and demanding the immediate stoppage of all such activities.

During a regular press conference on Tuesday, September 15, Guo Jiakun, official spokesperson of China’s Ministry of Foreign Affairs, said that “China opposes any arms race in outer space or any attempt to weaponize it and turn it into a warzone.”

He further said that “China stands for the peaceful use of outer space and keeping it safe” and urged the US to “stop expanding military build-up in outer space, and uphold global strategic stability with concrete actions.”

Russia’s Foreign Ministry Spokesperson Maria Zakharova said that the US weapons deployment is a threat to international security and puts a question mark on the stability in outer space. 

“Russia has for many years been consistently drawing the attention of the global community to the grave consequences for international security that Washington’s destructive course may lead to,” Zakharova said.  

She said her country seeks “urgent practical measures to prevent arms race in outer space” and reiterated Russia’s push for a “multilateral legally binding instrument banning the deployment of weapons in outer space.” 

Though it has long been a subject of speculation, a couple of US military officials, earlier this week, admitted that its military is operating weapons deployed in outer space.  

The admission was made by US Air Force Secretary Troy Meink on Monday during a conference. He said that the US “has on-orbit space control weapons capable of defending the joint force against hostile adversary action.”

Meink’s statement was substantiated by US Space Force chief Douglas Schiess, who a day later, on Tuesday, said that in the coming years the US is even planning to increase the number of orbital weapons already used by the members of his military unit.

Urgent need of legal prohibitions

Underlining the threat that the deployment of weapons in outer space poses, several countries, including Russia and China, have been calling for an international treaty to prevent any arms race in outer space for decades now.

The existing instrument, the UN Outer Space Treaty (1967) makes clear that “outer space is not subject to national appropriation by claims of sovereignty, by means of use or occupation, or by any other means.”

It also prohibits the deployment of “nuclear weapons, or other weapons of mass destruction in orbit or on celestial bodies or stationing them in outer space in any other manner,” but it says nothing about the deployment of conventional weapons, despite declaring it should be used for peaceful purposes only.

None of the US military officials spoke about the nature of weapons deployed by the US in outer space.

Though only a handful of countries have the technological capability to explore outer space in any significant way, several countries have used satellites for military and war purposes for decades now.

The US has a dedicated space force which has recently held exercises related to possible military conflicts in space.

The deployment of weapons and claims of exclusivity, apart from increasing possibilities of an arms race between the existing powers in space; the US, Russia, and China, may also make the rest of the world more insecure.

Zakharova said that Russia is planning to submit a proposal for the creation of an international instrument legally prohibiting all weapon deployment in outer space during the upcoming annual UN General Assembly session.

She asked for more countries to join the Russian initiative and co-author the treaty document.

In the year of the 250th anniversary of US independence, the bipartisan US Semiquincentennial Commission released “America’s Soundtrack: The Sound of 250 Years.” Perhaps unsurprisingly – because the initiative was planned over the course of a decade with the support of corporations like Amazon, Oracle, and Palantir – the playlist is a romantic ode to the most paternalistic and militaristic sides of the United States.

However, activists have pointed out that there are “Two Americas at 250.” In other words, there is a working-class history and culture that directly contradicts the imperialist project of the billionaire class. Therefore, we must study another soundtrack: one based on the struggles, desires, and traditions of the people. One person that represents this soundtrack is “America’s favorite blues man,” 34-year-old Buffalo Nicols.

Music characterized Carl Nichols’s upbringing in Milwaukee, Wisconsin. Though not surrounded by musicians, he always had the sounds of jazz on the radio, his mother‘s music collection, his older brother’s hip-hop, and his older sisters, R&B, punk, and metal. This was the context in which he taught himself to play his sister’s guitar at the age of 12.

Performing with bands throughout high school, Carl found kinship among the West African community. As he played a cheap banjo along with a friend on the instrument known as the xalam, he embraced music as an opportunity to learn about other cultures. Traveling through countries like Senegal, Romania, Hungary, and Ukraine in his early 20s and learning their sonic traditions, motivated him to study Black American music with the same rigor.

Performers like Lead Belly, Pete Seeger, and Woody Guthrie left a lasting mark on him, specifically relating to communal and commercial music. Similarly, the writing of Etheridge Knight, Langston Hughes, Zora Neale Hurston, and Amiri Baraka helped him understand the blues as “a living thing” rather than a set of important names and dates. He said, “There’s always been this connection between activism and folk music because I think trying to exist as an artist in America has been a political thing.”

His 2025 song “Belly of the Beast“ is one example of this because it asks about the responsibility which domestic victims of US imperialism have for protecting victims abroad. Written during the heightened media coverage of the Israeli genocide in Gaza, the song calls attention to the relationship between Black Americans and Palestinians. He conceptualized the song following a period of political education defined by a collection of Malcolm X speeches and Régis Debray’s 1967 “Revolution in the Revolution?”

I live in the belly of the beast

Though I only meant to look into his mouth

It was not opportunity but chains he used to capture me

And every day I’ve tried to get back out

While these lines of the chorus speak from the individual or first person perspective, Nichols uses them to describe a common experience.This is why the song ends with the collective “we live in the belly of the beast.” The song is neither nihilistic or romantic in its allusion to topics like police killings, occupation and ethnic cleansing. Rather, in verse four, the singer puts his hope for change in the hands of the people, saying “we cannot win ’till we get organized.”

Read more: Studying the changes: a Palestinian music teacher’s lesson on will

Some, who mistake folk music as apolitical, took offense to this song. They attack him in social media comments, direct messages, and hate mail. In the spirit of the blues, Nichols said he laughs at their assumption that they can hurt him. The same minority of listeners attacked him for his 2025 song “Ice Age Blues.”

He wrote the song in response to the second Trump administration’s escalation of ICE terror. Specifically, on the widespread sense of surprise that law-enforcement would use deadly force against the US residents. He said that it reminded him of the same realization among new activists during the 2020 uprising for George Floyd. However, Nichols shows that he was not shocked by the contradiction – he ends the song by asking,

You think all that money is for war fought abroad?

They won’t hesitate to kill you in your own backyard. 

They’d be happy to kill you in your own backyard.

Nichols said that political finger pointing will not help identify the common perpetrator of a shared oppression. Instead, he urges readers to understand the state and how it works against the people; to study the basis of its patterns and changes. By doing so, he calls listeners attention to the basis of repression rather than simply what accelerates it. 

Similarly, he recommends the new generation of blues people to “return to the root.” That is, to disregard stereotypes about their Black art and study those – like Zora Neal Hurston – who preserved long-standing traditions. By reclaiming their legacy, he said that culture workers can affect consciousness on a mass level.

I know no artist really wants to be a role model or to be representing an entire people but the reality is that Black culture is such a fragile, delicate and important thing that we have to be more mindful of how we share it and how we interact with it. 

Buffalo Nichols is currently touring through states like West Virginia, North Carolina, Illinois, and Minnesota.