Natural Citizen
American Made
- Aug 8, 2016
- 28,907
- 29,062
- 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.
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.
