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I watched as record companies promoted gangsta rap over other genres of rap and their white consumer base ate it up. I watched as naive rappers from the hood (or fake ones from the suburbs) jumped on the money train not realizing what kind of harm it was doing. Its one thing to tell a story. Its quite another to glorify that story over and over again. Real rap and hip-hop is still alive however. Its primarily underground.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.
I watched as record companies promoted gangsta rap over other genres of rap and their white consumer base ate it up. I watched as naive rappers from the hood (or fake ones from the suburbs) jumped on the money train not realizing what kind of harm it was doing. Its one thing to tell a story. Its quite another to glorify that story over and over again. Real rap and hip-hop is still alive however. Its primarily underground.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.
I watched as record companies promoted gangsta rap over other genres of rap and their white consumer base ate it up. I watched as naive rappers from the hood (or fake ones from the suburbs) jumped on the money train not realizing what kind of harm it was doing. Its one thing to tell a story. Its quite another to glorify that story over and over again. Real rap and hip-hop is still alive however. Its primarily underground.
I watched as record companies promoted gangsta rap over other genres of rap and their white consumer base ate it up. I watched as naive rappers from the hood (or fake ones from the suburbs) jumped on the money train not realizing what kind of harm it was doing. Its one thing to tell a story. Its quite another to glorify that story over and over again. Real rap and hip-hop is still alive however. Its primarily underground.
Yeah? I haven't really followed it. Like I said, I turned the radio off in about 1991 and starting ripping cd albums when I figured out I could do that. So, I only listen to what I grew up on. To me, it's better music. I always tell the young folks that if they missed the late 80s , they had no idsea what they missed. Those were fun times. And I think that's when was a rap scene was bgrowing, too. That was about the time a lot of people started wearing L.A. Raiders gear all the time.
If I'm not mistaken, I think the first rapper I saw was MC Hammer. Then came Vanilla Ice. Then I was like, no, I'm gonna listen to my other stuff.
I would be curious to see what those undergrounders are rapping and hip hopping about, though.Where's that term come from anyway? Hip Hop, I mean. We're they jumpming up and down a lot?
That's something else I've noticed. People dance different today, too.
Lookit this. I saw it the other day on youtube, you know how you get that list of videos on the right hand side of the youtube page? It was one of those.
I'd fall on my face trying to to do this stuff. And these are largely kids. Seems kind of like techno rap, though. Id there is such a thing. I don't know what that music is.
MC Hammer and Vanilla Ice were not really rappers. They were entertainers.
You have rap, you have MC's, you have dance, you have life philosophies, you have clothing, you have culture. All these things combine to create Hip-Hop. Hip is the knowledge part of it. The expression of philosophy and information via words. Reaching the level of overstanding instead of understanding . Then you have Hop which is the movement. Physical movement expressed as dance or change in personal or group action due to that knowledge acquisition.
I recognized some of the dances and yes that music sounds more like techno pop.
So, I only listen to what I grew up on. To me, it's better music. I always tell the young folks that if they missed the late 80s , they have no idea what they missed. Those were fun times. And I think that's when the rap scene was growing, too
I really think that if we took the time to look at all the statistics we could say that RAP did no more harm than any other music.
Rap has bridged so many cultures that its probably done way less harm than other music. You look at the people that enjoy real rap/hip hop and you will see fans from all over the globe. Its the most popular genre in the US for sure.I really think that if we took the time to look at all the statistics we could say that RAP did no more harm than any other music.
I really think that if we took the time to look at all the statistics we could say that RAP did no more harm than any other music.
Peace.
I really think that if we took the time to look at all the statistics we could say that RAP did no more harm than any other music.
Rap has bridged so many cultures that its probably done way less harm than other music. You look at the people that enjoy real rap/hip hop and you will see fans from all over the globe. Its the most popular genre in the US for sure.I really think that if we took the time to look at all the statistics we could say that RAP did no more harm than any other music.
When you can explain the violent lyrics in some white music genres, let me know.
Classic Method Man expressing love for his Black wife. Me and my wifes song.
I watched as record companies promoted gangsta rap over other genres of rap and their white consumer base ate it up. I watched as naive rappers from the hood (or fake ones from the suburbs) jumped on the money train not realizing what kind of harm it was doing. Its one thing to tell a story. Its quite another to glorify that story over and over again. Real rap and hip-hop is still alive however. Its primarily underground.
Yeah? I haven't really followed it. Like I said, I turned the radio off in about 1991 and starting ripping cd albums when I figured out I could do that. So, I only listen to what I grew up on. To me, it's better music. I always tell the young folks that if they missed the late 80s , they have no idea what they missed. Those were fun times. And I think that's when the rap scene was growing, too. That was about the time a lot of people started wearing L.A. Raiders gear all the time.
If I'm not mistaken, I think the first rapper I saw was MC Hammer. Then came Vanilla Ice. Then I was like, no, I'm gonna listen to my other stuff.
I would be curious to see what those undergrounders are rapping and hip hopping about, though.Where's that term come from anyway? Hip Hop, I mean. We're they jumping up and down a lot?
That's something else I've noticed. People dance different today, too.
Lookit this. I saw it the other day on youtube, you know how you get that list of videos on the right hand side of the youtube page? It was one of those.
I'd fall on my face trying to to do this stuff. And these are largely kids. Seems kind of like techno rap, though. If there is such a thing. I don't know what that music is.
