The Secret Meeting that Changed Rap Music and Destroyed a Generation

Natural Citizen

American Made
Gold Supporting Member
Aug 8, 2016
25,762
24,572
2,445
This is more of a cultural issue, not so much racial, especially since there's such a diverse culture of fans of it.

Anyway. I thought it was an interesting read. Though, it might well be better adorned for the basement, in the conspiracy section. I dunno.


"The Secret Meeting that Changed Rap Music and Destroyed a Generation"


I was reading some thoughts on it from a gentleman with a doctorate in patristics from the University of Oxford, here's his thought on it, which I've snipped from. The snip is the lesser of the bulk of the content, but you can swatted me if you think I've snipped to much from it. It might be.

Anyway. Snip from the reviewers page

The implications of the allegations are clear: There was a clear social engineering program to (1) infiltrate a popular trend, to co-opt it, and to redirect its focus into advocacy of criminal behavior in order (2) to fill up private prisons and turn profits for the shareholders, and, (3) as a "side benefit", to exploit the criminalizing trend to create a stereotype of minorities and economic classes and further culturally divide the country. The private prisons soon filled, mostly with young kids, at first predominantly African-American, then reaching out to grab other young people who were exposed to the "music", whites, Hispanics, and so on. We all know how peer pressure works, especially in high school, where to be "cool" and "accepted" means you listen to the latest "cool" music group. The social engineers could count on this to spread the contagion.

To the letter-writer's list of the aims and effects of this "program" one might add a fourth possible long-term goal: to so barbarize music that those who exposed themselves constantly to it were "dumbed down" and cut off from other more genuine musical forms with a history and tradition: jazz, rock, country, and (here it comes) "classical."

The question is, does one believe the letter?


I do, and here's why: in my last book Microcosm and Medium I pointed out how the "deep state" made a deliberate post-war effort to penetrate and manipulate the world of the arts and music, and to drive them deliberately into modernist forms; "traditionalists need not apply." It happened everywhere, and the goal was to promote a kind of antinomian freedom from all previous tradition, rules, canon, custom, and mores in order to demonstrate that the West - as opposed to the Soviet bloc - was genuinely free. In other words, decadence and antinomianism were drafted; the west was "free" because it could flout all traditional artistic boundaries. In the process of researching that book, I ran across David McGowan's Weird Scenes Inside the Canyon, a book that exposes the stunning manipulation of the rock groups associated with Laurel Canyon in the 1960s and 1970s. Every one had clear ties to the "military-industrial complex", and no group's art went anywhere near politics or cultural critique. It looked to me then - as I wrote my own book - and looks to me now, as if this was the "popular prong" of the same effort to manipulate art and music and to socially engineer the culture by means of it. By any measure, those early efforts were successful.

This letter, taken in that context, is showing the same pattern; it is contextually-historically corroborated, if nothing else. And it also says something else: those early "social engineering experiments" at the deliberate manipulation and promotion of certain types of art were so successful, that they were able to fine tune it for specific goals.

 
This is kind of a serious claim, so no dick waving, please, just stick to the topic, I'm serious now.
 
Wow. Nice read. Assuming it is not fiction and it is all true.

I don't think a lot of discussing is necessary, the only discussion that is necessary is the authenticity of the account.

I for one believe in the account, for I don't see any motive for such a tale of corruption were it not all true, and the facts today meet the narrative.

As far as the analysis? The discussion underneath the article pretty much sums it up, what more is there to say?
 
Wow. Nice read. Assuming it is not fiction and it is all true.

I don't think a lot of discussing is necessary, the only discussion that is necessary is the authenticity of the account.

I for one believe in the account, for I don't see any motive for such a tale of corruption were it not all true, and the facts today meet the narrative.

As far as the analysis? The discussion underneath the article pretty much sums it up, what more is there to say?

Yeah. I agree. It's a wild world, isn't it? Gosh.
 
This is more of a cultural issue, not so much racial, especially since there's such a diverse culture of fans of it.

Anyway. I thought it was an interesting read. Though, it might well be better adorned for the basement, in the conspiracy section. I dunno.


"The Secret Meeting that Changed Rap Music and Destroyed a Generation"


I was reading some thoughts on it from a gentleman with a doctorate in patristics from the University of Oxford, here's his thought on it, which I've snipped from. The snip is the lesser of the bulk of the content, but you can swatted me if you think I've snipped to much from it. It might be.

Anyway. Snip from the reviewers page

The implications of the allegations are clear: There was a clear social engineering program to (1) infiltrate a popular trend, to co-opt it, and to redirect its focus into advocacy of criminal behavior in order (2) to fill up private prisons and turn profits for the shareholders, and, (3) as a "side benefit", to exploit the criminalizing trend to create a stereotype of minorities and economic classes and further culturally divide the country. The private prisons soon filled, mostly with young kids, at first predominantly African-American, then reaching out to grab other young people who were exposed to the "music", whites, Hispanics, and so on. We all know how peer pressure works, especially in high school, where to be "cool" and "accepted" means you listen to the latest "cool" music group. The social engineers could count on this to spread the contagion.

To the letter-writer's list of the aims and effects of this "program" one might add a fourth possible long-term goal: to so barbarize music that those who exposed themselves constantly to it were "dumbed down" and cut off from other more genuine musical forms with a history and tradition: jazz, rock, country, and (here it comes) "classical."

The question is, does one believe the letter?


I do, and here's why: in my last book Microcosm and Medium I pointed out how the "deep state" made a deliberate post-war effort to penetrate and manipulate the world of the arts and music, and to drive them deliberately into modernist forms; "traditionalists need not apply." It happened everywhere, and the goal was to promote a kind of antinomian freedom from all previous tradition, rules, canon, custom, and mores in order to demonstrate that the West - as opposed to the Soviet bloc - was genuinely free. In other words, decadence and antinomianism were drafted; the west was "free" because it could flout all traditional artistic boundaries. In the process of researching that book, I ran across David McGowan's Weird Scenes Inside the Canyon, a book that exposes the stunning manipulation of the rock groups associated with Laurel Canyon in the 1960s and 1970s. Every one had clear ties to the "military-industrial complex", and no group's art went anywhere near politics or cultural critique. It looked to me then - as I wrote my own book - and looks to me now, as if this was the "popular prong" of the same effort to manipulate art and music and to socially engineer the culture by means of it. By any measure, those early efforts were successful.

This letter, taken in that context, is showing the same pattern; it is contextually-historically corroborated, if nothing else. And it also says something else: those early "social engineering experiments" at the deliberate manipulation and promotion of certain types of art were so successful, that they were able to fine tune it for specific goals.
Thank you, worthy topic. I've heard about this before.

Anyone who thinks "rap/hip-hop" are actual reflections of black culture rather than deliberate results of insidious corporate engineering, is just not seeing the forest for the tree they wish to see.
 
Jews financed, produced, and controlled the Rap music scene for many years in the beginning.

Like I always say, anytime there is an attack on social values leading to moral decay. Just scratch the surface a little, and you will find a Jew behind the scenes organizing and funding the cultural destruction. .... :cool:
 
This is more of a cultural issue, not so much racial, especially since there's such a diverse culture of fans of it.

Anyway. I thought it was an interesting read. Though, it might well be better adorned for the basement, in the conspiracy section. I dunno.


"The Secret Meeting that Changed Rap Music and Destroyed a Generation"


I was reading some thoughts on it from a gentleman with a doctorate in patristics from the University of Oxford, here's his thought on it, which I've snipped from. The snip is the lesser of the bulk of the content, but you can swatted me if you think I've snipped to much from it. It might be.

Anyway. Snip from the reviewers page

The implications of the allegations are clear: There was a clear social engineering program to (1) infiltrate a popular trend, to co-opt it, and to redirect its focus into advocacy of criminal behavior in order (2) to fill up private prisons and turn profits for the shareholders, and, (3) as a "side benefit", to exploit the criminalizing trend to create a stereotype of minorities and economic classes and further culturally divide the country. The private prisons soon filled, mostly with young kids, at first predominantly African-American, then reaching out to grab other young people who were exposed to the "music", whites, Hispanics, and so on. We all know how peer pressure works, especially in high school, where to be "cool" and "accepted" means you listen to the latest "cool" music group. The social engineers could count on this to spread the contagion.

To the letter-writer's list of the aims and effects of this "program" one might add a fourth possible long-term goal: to so barbarize music that those who exposed themselves constantly to it were "dumbed down" and cut off from other more genuine musical forms with a history and tradition: jazz, rock, country, and (here it comes) "classical."

The question is, does one believe the letter?


I do, and here's why: in my last book Microcosm and Medium I pointed out how the "deep state" made a deliberate post-war effort to penetrate and manipulate the world of the arts and music, and to drive them deliberately into modernist forms; "traditionalists need not apply." It happened everywhere, and the goal was to promote a kind of antinomian freedom from all previous tradition, rules, canon, custom, and mores in order to demonstrate that the West - as opposed to the Soviet bloc - was genuinely free. In other words, decadence and antinomianism were drafted; the west was "free" because it could flout all traditional artistic boundaries. In the process of researching that book, I ran across David McGowan's Weird Scenes Inside the Canyon, a book that exposes the stunning manipulation of the rock groups associated with Laurel Canyon in the 1960s and 1970s. Every one had clear ties to the "military-industrial complex", and no group's art went anywhere near politics or cultural critique. It looked to me then - as I wrote my own book - and looks to me now, as if this was the "popular prong" of the same effort to manipulate art and music and to socially engineer the culture by means of it. By any measure, those early efforts were successful.

This letter, taken in that context, is showing the same pattern; it is contextually-historically corroborated, if nothing else. And it also says something else: those early "social engineering experiments" at the deliberate manipulation and promotion of certain types of art were so successful, that they were able to fine tune it for specific goals.
Yeah...no. it makes a convenient excuse but I don't think music really alters behavior all that much.
 
This is more of a cultural issue, not so much racial, especially since there's such a diverse culture of fans of it.

Anyway. I thought it was an interesting read. Though, it might well be better adorned for the basement, in the conspiracy section. I dunno.


"The Secret Meeting that Changed Rap Music and Destroyed a Generation"


I was reading some thoughts on it from a gentleman with a doctorate in patristics from the University of Oxford, here's his thought on it, which I've snipped from. The snip is the lesser of the bulk of the content, but you can swatted me if you think I've snipped to much from it. It might be.

Anyway. Snip from the reviewers page

The implications of the allegations are clear: There was a clear social engineering program to (1) infiltrate a popular trend, to co-opt it, and to redirect its focus into advocacy of criminal behavior in order (2) to fill up private prisons and turn profits for the shareholders, and, (3) as a "side benefit", to exploit the criminalizing trend to create a stereotype of minorities and economic classes and further culturally divide the country. The private prisons soon filled, mostly with young kids, at first predominantly African-American, then reaching out to grab other young people who were exposed to the "music", whites, Hispanics, and so on. We all know how peer pressure works, especially in high school, where to be "cool" and "accepted" means you listen to the latest "cool" music group. The social engineers could count on this to spread the contagion.

To the letter-writer's list of the aims and effects of this "program" one might add a fourth possible long-term goal: to so barbarize music that those who exposed themselves constantly to it were "dumbed down" and cut off from other more genuine musical forms with a history and tradition: jazz, rock, country, and (here it comes) "classical."

The question is, does one believe the letter?


I do, and here's why: in my last book Microcosm and Medium I pointed out how the "deep state" made a deliberate post-war effort to penetrate and manipulate the world of the arts and music, and to drive them deliberately into modernist forms; "traditionalists need not apply." It happened everywhere, and the goal was to promote a kind of antinomian freedom from all previous tradition, rules, canon, custom, and mores in order to demonstrate that the West - as opposed to the Soviet bloc - was genuinely free. In other words, decadence and antinomianism were drafted; the west was "free" because it could flout all traditional artistic boundaries. In the process of researching that book, I ran across David McGowan's Weird Scenes Inside the Canyon, a book that exposes the stunning manipulation of the rock groups associated with Laurel Canyon in the 1960s and 1970s. Every one had clear ties to the "military-industrial complex", and no group's art went anywhere near politics or cultural critique. It looked to me then - as I wrote my own book - and looks to me now, as if this was the "popular prong" of the same effort to manipulate art and music and to socially engineer the culture by means of it. By any measure, those early efforts were successful.

This letter, taken in that context, is showing the same pattern; it is contextually-historically corroborated, if nothing else. And it also says something else: those early "social engineering experiments" at the deliberate manipulation and promotion of certain types of art were so successful, that they were able to fine tune it for specific goals.
Thank you, worthy topic. I've heard about this before.

Anyone who thinks "rap/hip-hop" are actual reflections of black culture rather than deliberate results of insidious corporate engineering, is just not seeing the forest for the tree they wish to see.

It's multifaceted, for sure.

On a side note, and I chuckled a little when I thought about it for a second, my favorite music is that late 80s hair metal. Even though it's a stupid thing to call it, I mean everybody had hair. What the heck. A lot of it was good music, I especially like those powerballads, some of those were good, I don't care what anybody says, but...I remembered that they were all wearing lipstick and had poofy girl bleached blonde hair and were mainly wearing pink and yellow leotards and ordained with a full face of makeup that made em look just like hot chicks from a distance. At least in their videos anyway. Remember MTV when it was good?

So, if we give the letter in the op credibility, surely we have to consider they were trying to feminize hair band fans in the late 80s, too. I even went and got an ear ring back then, now that I really think about it. Sheesh. What a pansy I was being set up to be back then. Which really leads me to realize just how bad MTV really was, in retrospect. Ugh.
 
Last edited:
It sounds plausible given the very shady people behind gangster rap. I don't know how you would be able to hide this elaborate scheme of ownership in "private" prisons and issue stock etc. and be able to keep it secret for 25 years.
 
Yeah...no. it makes a convenient excuse but I don't think music really alters behavior all that much.

I dunno. Grunge really, really, really brought me down. It was a major downer. Seriously. I stopped listening to the radio for years and was very happy when cd conversion and digital format became popular.

So, I'll meet you half way on it. You can walk away and not listen to a specific genre if it's a downer. If you really want to.

But now you can listen to your favorite stuff on mp3 and not care about the other stuff. Even though the stuff on my mp3, the dudes looked like chicks.

Of course, there is country music. But have you noticed how whacked country music is now? That isn't country. It's some other weird stuff, we should look into that stuff, for sure. I don't really know what they're on. But I do know Toby Kieth had a really good gig going on there for a while. That song of his sold half the country on that Iraq war.

There's Polka. We have Polka. I think I saw a Polka thread some place around here, as a matter of fact. I'm not looking for it, though.
 
Yeah...no. it makes a convenient excuse but I don't think music really alters behavior all that much.

I dunno. Grunge really, really, really brought me down. It was a major downer. Seriously. I stopped listening to the radio for years and was very happy when cd conversion and digital format became popular.

So, I'll meet you half way on it. You can walk away and not listen to a specific genre if it's a downer. If you really want to.

But now you can listen to your favorite stuff on mp3 and not care about the other stuff. Even though the stuff on my mp3, the dudes looked like chicks.

Of course, there is country music. But have you noticed how whacked country music is now? That isn't country. It's some other weird stuff, we should look into that stuff, for sure. I don't really know what they're on. But I do know Toby Kieth had a really good gig going on there for a while. That song of his sold half the country on that Iraq war.

There's Polka. We have Polka. I think I saw a Polka thread some place around here, as a matter of fact. I'm not looking for it, though.

Polka?
shakehead.gif
Are you in Wisconsin?

One time, for whatever reason, I was driving through Connecticut on a weekend morning. I turned on the radio and all over the dial there was Polka. To this day I have never figured that out and continue to wonder if that really happened.
 
It sounds plausible given the very shady people behind gangster rap. I don't know how you would be able to hide this elaborate scheme of ownership in "private" prisons and issue stock etc. and be able to keep it secret for 25 years.

I don't think prison profiteering is exactly a new revelation. Ever hear of Dick Cheney?
 
Polka?
shakehead.gif
Are you in Wisconsin?

One time, for whatever reason, I was driving through Connecticut on a weekend morning. I turned on the radio and all over the dial there was Polka. To this day I have never figured that out and continue to wonder if that really happened.

Connecticut really is a nice place. It is big on Polka, though. That's probably why. They have Polka festivals up there.
 
It sounds plausible given the very shady people behind gangster rap. I don't know how you would be able to hide this elaborate scheme of ownership in "private" prisons and issue stock etc. and be able to keep it secret for 25 years.

Yeah. In order to run a scheme like that you'd have to be really, really confident that you'd never be audited nice and good.
 
Polka?
shakehead.gif
Are you in Wisconsin?

One time, for whatever reason, I was driving through Connecticut on a weekend morning. I turned on the radio and all over the dial there was Polka. To this day I have never figured that out and continue to wonder if that really happened.

Connecticut really is a nice place. It is big on Polka, though. That's probably why. They have Polka festivals up there.
In northern MN polka was at every wedding and large family event.
Causes the listener to bop at a three time beat and consume massive amounts of beer.
A conspiracy of brewers to sell more beer perhaps?

After a few, I would actually start to enjoy the beat. Could feel the polak roots kickin in.
 
Yeah...no. it makes a convenient excuse but I don't think music really alters behavior all that much.

I dunno. Grunge really, really, really brought me down. It was a major downer. Seriously. I stopped listening to the radio for years and was very happy when cd conversion and digital format became popular.

So, I'll meet you half way on it. You can walk away and not listen to a specific genre if it's a downer. If you really want to.

But now you can listen to your favorite stuff on mp3 and not care about the other stuff. Even though the stuff on my mp3, the dudes looked like chicks.

Of course, there is country music. But have you noticed how whacked country music is now? That isn't country. It's some other weird stuff, we should look into that stuff, for sure. I don't really know what they're on. But I do know Toby Kieth had a really good gig going on there for a while. That song of his sold half the country on that Iraq war.

There's Polka. We have Polka. I think I saw a Polka thread some place around here, as a matter of fact. I'm not looking for it, though.
Grunge was indeed a downer, but there wasn't a suicide epidemic from it, and that's kinda my point.


I'm afraid I can't really speak knowledgeably about country currently but back in the day it was pretty much the blues on steel guitar and there was no epidemic then either.

I don't actually recall ever listening to a whole polka song.
 
Jews financed, produced, and controlled the Rap music scene for many years in the beginning.

Like I always say, anytime there is an attack on social values leading to moral decay. Just scratch the surface a little, and you will find a Jew behind the scenes organizing and funding the cultural destruction. .... :cool:

Maybe. I've never really looked into it. Still, though, the Jews get blamed for everything. I've noticed. And sometimes people get called a Jew even when they're not really a Jew. Like bad tippers, for example. One of my old friends called me a Jew once. I only threw in a dollar for the pizza, there was like 4 people eating it. All I had on me was a dollar. lol.

Ever since then, though, I've always threw in 5 dollars no matter what. Not because I feel bad about not chipping in a lot, especially since I usually only eat one piece anway, but because I don't want anyone thinking I'm a Jew. Worst part? No jews were involved. None.
 
Jews financed, produced, and controlled the Rap music scene for many years in the beginning.

Like I always say, anytime there is an attack on social values leading to moral decay. Just scratch the surface a little, and you will find a Jew behind the scenes organizing and funding the cultural destruction. .... :cool:

Maybe. I've never really looked into it. Still, though, the Jews get blamed for everything. I've noticed. And sometimes people get called a Jew even when they're not really a Jew. Like bad tippers, for example. One of my old friends called me a Jew once. I only threw in a dollar for the pizza, there was like 4 people eating it. All I had on me was a dollar. lol.

Ever since then, though, I've always threw in 5 dollars no matter what. Not because I feel bad about not chipping in a lot, especially since I usually only eat one piece anway, but because I don't want anyone thinking I'm a Jew. Worst part? No jews were involved. None.

Consider that if you were forced to quintuple your tip, then the terrorists won.
 
#TheLargerIssue #Fatherlessness #ChildNeglectMaltreatment #MentalHealth #Solutions

"The Secret Meeting that Changed Rap Music and Destroyed a Generation" By Anonymous European

"The Secret Meeting that Changed Rap Music and Destroyed a Generation" | Hip Hop Is Read

An anonymous person purporting to be a person of influence in America's recording industry wrote, "He told us that since our employers had become silent investors in this prison business, it was now in their interest to make sure that these prisons remained filled. Our job would be to help make this happen by marketing music which promotes criminal behavior, rap being the music of choice."

Were President Barack "My Brother's Keeper" and First Lady Mrs. Michelle "GIRL POWER" Obama promoting "CRIMINAL BEHAVIOR" when they invited to their children's and Nation's home more than a dozen apparent or admitted emotionally ill American urban story-TRUTH-tellers creating American music art vividly describing the 'VIOLENT, SUIC!DAL, HOMIC!DAL (*May 18, 2015 - Rise in Suic!de by Black Children Surprises Researchers - The New York Times*) anti-social people and community harming behaviors' they personally engaged in or witness their emotionally ill family members, friends or neighbors engaging in?

obama_carter_mack_millis_02.jpg

Nasir 'Nas' bin Olu Dara Jones.jpg

Anonymous record exec wrote, "I considered speaking out publicly at the risk of losing my job but I realized I’d probably be jeopardizing more than my job and I wasn't willing to risk anything happening to my family. I thought about those men with guns and wondered who they were?"

Unfortunately, many of the men with guns were perfectly healthy American newborns who THROUGH NO FAULT OF THIER OWN, experienced a potentially life scarring medical disease known to medical doctors and researchers as 'Childhood Trauma' or 'Adverse Childhood Experiences' (#ACEs).

_tupac dr nadine burke harris common.jpg

'David Carroll - Jazzyslim Criticizing PRO BLACK Brothers Sisters'



'Armed Suicidal Homicidal Chicago Teens n Young Adults'



Anonymous record exec wrote, "I had been told that this was bigger than the music business and all I could do was let my imagination run free...I tried to do a little bit of research on private prisons but didn’t uncover anything about the music business’ involvement."

Without credible evidence supporting his or her anonymous claims, I have to believe the writer's imagination got the best of them.

Peace.
___
American *(Children)* Lives Matter; Take Pride In Parenting; End Our National Health Crisis; Child Abuse and Neglect; End Community Violence/Fear, Police Anxiety & Educator's Frustrations
 

New Topics

Forum List

Back
Top