An RAM Report Original Article: The Black Rapper and Zionist Jews: The origin of Gangster Rap as a Religion for Black Youth September 6, 2011 at 2:49pm
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The Black Rapper and Zionist Jews: The origin of Gangster Rap as a Religion for Black Youth
No.1 Best Seller in America-Essence
Magazine-published in 2002
The American Directory of Certified Uncle Toms
“Being a Review of the History, Antics, and Attitudes
of Handkerchief Heads, Aunt Jemimas, Head Negroes in Charge, and House Negroes
Against the Freedom Aims of the Black Race.”
Zionist Jews and the Birth of Gangster Rap in America
Uncle Tom Rappin’- “ Art is not a mirror to reflect a
reality, but a hammer with which to shape
it.”
pages 234-239.
The
hip-hop culture is the organic expression of the most powerful generation ever
produced by the Black race. Hip hop encompasses a range of dynamic forces,
including graffiti art, clothing designs, dances, music, and, most prominently,
the Afro-rhythmic poetry known as rap. The rap artists, through their
ubiquitous videos and recordings, have emerged as the spokespeople for the
hip-hop culture, and have become the most visible exemplars of the faith. The
rappers, for the most part, are the artists, poets, and activists attempting to
express an array of experiences and emotions through the Afro-centered,
rhythmic language of a people in pain. Some have suggested that the term rap
itself is a acronym for Revolutionary African People, and the world’s
revolutionaries, from the Palestinian to the youth of China, have embraced rap
as a vehicle for their messages.
Though
rooted in the heart and soul of Black youth, hip-hop-as an authentic expression
of Black youth culture-is facing its own demise. <p>Despite a façade of streetwise</p><p>entrepreneurial independent, hip-hop has been commandeered and now operates</p><p>from the boardrooms of white corporate America. White investment in rap music</p><p>has targeted and promoted the most parasitic, criminal, and destructive</p>elements and has insisted on the glorification of a “<p>gangster”</p>behavior that Black race leaders have long tried to eradicate. At a
recent conference of hip-hop artists and leaders organized by hip-hop mogul
Russell Simmons,
Minister Louis Farrakhan acknowledged the rappers being the “most
courageous…strongest…fearless generation that we have ever had,” and then
zeroed in on the negative forces at work among them:
<p>“but,</p><p>your courage and your fearlessness are being by the enemy so that you will</p><p>destroy each other....You now have become now tools of a satanic mind that will</p>use you to destroy your future.” Final Call, June 26,2001, p 21
The
performers of rap who have been taken down the low road of Black gangsterism do
not at first glance fit the classical mold of the Uncle Tom. They show little
interest in emulating a white middle-class existence or in pursuing any of the
degrees of formal white education. They appear to embrace openly those
characteristics which the Black middle class has long attempted to conceal.
There are similarities, however. :- Both the “gangster” rapper and the Uncle Tom appear tobe economically independent but are, in actuality, totally subordinate to whiteoverseers.
- Both are individualists who exhibit no loyalty to anyBlack community strategy for empowerment or enrichment.
- Both are entirely committed to representing andprotecting those whites who pay them.
- Both are committed to the maintenance of a system thathas made a tiny minority of them wealthy.
- Both downplay white supremacy as a factor in thedegraded conditions of Blacks as a whole and tend to blame Blacks for all theirwoes.
- And, most important, they both promote attitudes andbehaviors that harm individuals of their race and lead Blacks to greaterdependence on the white power structure.
Whites have always relied on their Uncle Toms to
direct and control the Black community on their behalf. At some point in the
‘70s, however, they realized that the younger generations of Blacks could not
be influenced in any way by the white-appointed negro leaders. The homegrown
leadership that respected, emerging from the Black insurgency of the
1960s-Black Panthers, SNCC, the Nation of Islam-had, by the hip-hop era, been
decimated by a combination of FBI sabotage (COINTELPRO), white liberal
deception, and Uncle Tom duplicity. As Black youth culture developed its own
forms of expression-unsupported by any traditional institutions of school and
church-it developed its own leadership, whose varied motivations bore little
resemblance to the civil rights agenda. Initially, the Black Power messages of
community empowerment and nationalism dominated rap lyrics, along with heavy
dosages of “party hard” themes. But soon the trail blazers of what came to be
known as hip-hop developed their own style and identity, operated
independently, and became the de facto
leadership in the community of Black youth.[1]
The Uncle Toms that haunt the middle echelons of the
music business had the first opportunity to nurture and develop the new
original sounds emerging from their own youth and to guide rap’s evolution as a
positive force. They instead, rejected the whole hip-hop movement as strongly
as the youth embraced it. They ignored its urban appeal and , true to their own
middle-class acculturation, sought their talent from artists whose styles were
of the Lionel Ritchie/Michael Jackson “crossover” mode. [2]
<p>“..The Negro Child…will be presented with a</p><p>humiliating picture of the Negro as dirty , lazy, happy-go-lucky, smelly,</p><p>ignorant, treacherous, superstitious, and cowardly, and he may find himself</p>expected to live up to this.” Bertram P. Karon- The Negro Personality
<p>Consequently,</p><p>a new generation of white businessmen moved in. They had heeded the advice of</p><p>their forbears in the entertainment business, who’d always adhered strictly to</p>their industry’s most profitable commandment: “Go Black, young man.” <p>With</p><p>their cash and superior industry position, these white entrepreneurs installed</p><p>a new leadership over the hip-hop movement, and began to promote a nefarious</p>“niggerization” of rap music. <p>The</p><p>Vibe History of Hip-Hop is very explicit about the roots of this ominous new</p><p>trend, warning that “acting like a nigger was about to become more lucrative</p>than ever.” They point out that
rappers KRS-One and Public Enemy became strong positive forces for Black youth,
a group called NWA( Niggaz With Attitudes) emerged with explicity opposite
point of view. The group’s founder, Andre Young, aka, Dr. Dre, expressed his
philosophy thus:
<p>“….I wanted</p>to make people go, “ I cant believe he is saying this sh**..I wanted to go all the way left. Everybody trying to do this black power
and sh**, so I was like, let’s give
‘em
an alternative, “niggerniggerniggernigger f**k this that b**chb**chb**chb**ch
suck my d**k,” all types of sh**, you what I am saying?”[3]
Hence, Young and the members of NWA, including
superstars Easy E, Snoop Dogg, and Ice Cube, consciously decided to play the nigger anti-Christ in the hip-hop
culture. If the larger Black community had had a say in the matter, NWA would
have remained marginalized-an insignificant gaggle of riff-raff nuisance
negroes in need of re-education; <p>but Vibe reports that a white, Jewish</p>promoter named Jerry Heller[4]
began managing and aggressively promoting NWA to white record companies, one of
which signed the group to a major recording contract. Young’s top-selling album
entitled “The Chronic” contained such
wholesome refrains as “Rat-a-tat and a tat like that/Never hesitate to put a
nigga on his back.”
In short order, white record executives- in collusion
with television networks MTV,BET, the film industry, and even the major
publishers- were openly telling young, talented Black youth that NWA and the crime noir motif are where the money’s
at. Tens of millions of dollars poured into the hands of street hustlers and
drive-by-artist, who competed in their nihilism and misogyny for white
attention. Major corporate figures like Frederick Field, of retailer Marshall
Fields, and Edgar Bronfman, of liquor giant Seagrams, as well as the “big six”
record companies-Warner Elektra Atlantic, Polygram, MCA Music Entertainment,
BMG Distribution, Sony Music Entertainment, and CEMA/UNI Distribution-invested
heavily in the “genre” and broadcast the gangster sound. All of this coincided
with the rise of consumption of dangerous alcoholic and chemical drug
concoctions and with the promotion sexual promiscuity ,fratricidal violence,
and the use of degrading terms to describe the Black race and women in
particular.[5]
According to the <p>L.A.</p>Times, “labels began to mass market and promote the image of swaggering
black men holding guns and drinking beer on album covers.”[6]
Production companies with names like <p>Death</p>Row Records became the rap industry standard, doling out the most lucrative
contracts to aspiring gangsters. Public Enemy’s Chuck D, one of the virtuosos
of political rap, described the late rap star Tupac Shakur’s artistic dilemma
as he confronted the corporate rap hierarchy:
“…Tupac found that when he said things that was
pro-Black and militant, people were not paying any attention to what he was
saying so he decided to go more and more into the side of darkness..The more he
played the “bad boy” or “rude boy” image, the bigger and bigger he got.”[7]
Newsweek concurred: “ As he played the sociopath, his
celebrity and his sales swelled.”[8]
When Chuck D went to the industry whites and pitched his idea for a politically
conscious Black interview show called <p>Chuck</p>D. On the Real, he was turned down by every network and syndication
company. One of them said that Chuck D “has an agenda that we don’t want to put
on TV.”[9]
Chuck concluded that agenda
<p>“… right now Rap is being used in a way that’s</p><p>negative to the existence of Black people…This whole gangster kick, you have to</p>ask, where does it benefit us? The sad truth is..it doesn’t.[10]
Those who did get lucrative TV, book, and movie deals,
like Queen Latifah, were, upon closer examination, selling the Black youth
questionable ethics indeed. One of her releases contained the lyric: Get off my
d**k/and tell your b**ch to come here!” She explains that advice thus:
<p>“….The</p><p>hip-hop head in me needed to do something a little more hard core, a little</p><p>edgier than what I’d been doing on my albums. Shakim came up with the idea. He</p><p>said,” Yo, you should make a record like,” get off my d**k, nigga, and tell</p><p>your b**ch to come here.” I liked that. It was in-your-face-raw, and I knew it</p>would get attention. Until then, I
had
kept my albums positive. But I was
starting to feel too safe. Every now and then, I need to cut loose, play out a
role musically.[11]
Some of these corporate rappers appear strong, but
“Black strength” under white influence and financing has been given an odious
new definition. The wearing of prison rags among the “law-abiding” population
was distinctly shameful before corporate hip-hop, but much of Black youth
fashion is now based on emulating the disheveled, drooped clothing look that
results from prison practicing of confiscating belts and shoelaces before
incarceration. Black “leaders” watched helplessly as Hollywood rap videos show
sociopathic negroes suspiciously content to led around in leg irons and prison
stripes. Those rappers promoting the most detestable of Black images get the
most lucrative contracts to do anything, sell anything, say anything asked of
them by their white industry pimps. Whereas Blacks once wanted to be equal, now
under—the guidance of corporate America—they just want to be arrested. It is
troubling indeed that a sizable portion of aspiring Black rappers would
consider it the pinnacle of success if they could boast, “ I’m on Death Row.”
This is all the more pernicious when juxtaposed
against some alarming statistics of Black community devastation. A Black man
living in Harlem is less likely than is a resident of Bangladesh to reach
sixty-five years of age. Black men have a three times greater chance of dying
of AIDS, and outnumber whites as murder victims by a factor of seven. The
number of Black males in prisons and jails in the U.S. is greater than the
number enrolled in higher education. Rap originally had strong representation
of artists committed to addressing those chilling realities. The art itself was
created as a positive counteraction to the pathologies of poverty. But with the
white corporate investment so strongly focused on the mayhem spawned by
American racism, rap became the central vehicle for the philosophy of Black
destruction and degradation.[12]
<p>WHITES RULE</p>RAP * As quiet as it’s kept, the
audience for this message is not Black, and the relativity penniless Black
youth are not the ones being targeted by corporate financiers. According to
industry demographics, rap’s primary audience is white and male and lives in
the suburbs, comfortably distant from the musical mayhem their dollars demand.
According to an MTV executive, the audience for that networks’s popular show Yo! MTV Raps “was primarily white, male,
suburban, and between ages 16 and 24.” What’s more, these white boys, who
constitute <p>seventy-one percent of raps’</p>consumers , want their rappers to be brutally violent and preferably
committing their filmed crimes to a bass-heavy funk beat.[13]
The music industry found that the more criminally packaged their rappers were,
the bigger their white audiences and revenues came.[14]
A Newsweek cover story reported that
this trend was not driven by Black people at all:
“…But with the increasing prevalence of violent and
misogynist imagery—driven in the part by the appetites of white record buyers,
now the largest segment of the rap audience—even some supporters of the music
don’t like where it’s heading. (Emphasis ours)[15]
The spin-off rap videos, the countless “in the ‘hood”
driven-by movies, the hip-hop apparel lines,[16]
and their prevalence in white youth culture all confirm potency of this
marketing approach. According to a
New
Republic article:
<p>“…Rap’s</p><p>appeal to whites rested in its evocation of an age-old image of blackness: a</p><p>foreign, sexually charged, and criminally underworld against which the norms of</p><p>white society are defined, and , by extension, through which they maybe</p>defied.”[17]
[1]
See Ronin Ro, Gangster (New York: St.
Martin’s Press, 1996), pp. 6-7 and passim. Also, Chuck D., Fight the Power: Rap, Race and Reality( New York: Delacorte, 1997),
pp. 2-9. See also Robert Scoop Jackson,
The
Last Black Mecca: Hip –Hop ( Chicago: Research Associates, 1994).
[2] Nelson George, Hip-Hop America (New York: Penguin Books, 1998), p. 59
[3] Alan
Light, ed., The Vibe History of Hip-Hop
(New York: Random House, 1999), p. 258
[4]
See a description of Heller’s contractual modus operandi as described by rapper
Ice Cube in Mike Sager, ’Cube: The World According to Amerikkka’s Most Wanted
Rapper,” Rolling Stone, October 4,
1990, p 88.
[5] Johnnie L. Roberts, “Blood on the Record
Biz.” Newsweek, September 23, 1996,
p. 69. See “ A Hip-Hop Nation Divided,” Essence,
August 1994. An excellent overview of the business of hip-hop-white interest in
it, and the inability of Blacks to capitalize on it—is by Norman Kelley,
“Rhythm Nation: The Political Economy of Black Music,” Black Renaissance/ Renaissance Noire 2, no. 2 (summer 1999): 9-21
[6] Frank B. Williams, “How Rap Music Got Its Bad
Rap,” Los Angeles Times, January 13,
1995. Sec. B, p. 4
[7]
Chuck D. “Fight the Power,” pp.3-5
[8]
Allison Samuels and John Leland, “ Troubled Man,” Newsweek, September 23, 1996, p. 67
[9]
Chuck D. “Fight the Power,” pp. 3-5
[10]
Ibid., p. 254.
[11]
Queen Latifah
, Ladies First: Revelations
of a Strong Woman (New York: William Morrow, 1999), pp. 123-24
[12]
Ro, Gangsta, p. 2 The hip-hop
industry, writes Ro,”lives under the oppressive shadow of a handful of gangster
rappers with meager skills, drug-addled worldviews and far-reaching influence
on American youth.” Nelson George, in his book Hip Hop America (pp. 57-59), names the following individuals as
some of many whites who now control the Black rap artists and their images and
messages: Tom Silverman, Monica Lynch, Dave Klein, Bill Adler, Michael Berrin,
Dante Ross, Barry Weiss, Ann Carli, Fred Munao, Aaron Fuchs, Brian Turner,
Charles Steller, Lyor Cohen, Rick Rubin,
Cara Lewis, Ed Chaplin, and Ron Skuller. “Interestingly,” writes George, ‘the
majority of these men and women were Jews…” George calls Jive Record
founder Barry Weiss “ the most important white man in hip hop.”
See also Seth Gitell, “ Too Late to
Celebrate Thug Life,” Forward. May 9,
1997, p. 14 Gitell writes about “the Jewish relationship with hip-hop, which
was mostly a love affair.” He confirms that
a “whole contingent of young Jewish males—and some notable females—began
working in the industry as producers, marketers, and even a few attorneys.” As
rap “focused more and more on violence,” Gitell asserts, “Jews remained
involved.”
[13]
Tony Chapelle, “Soul for Sale: Companies Are taking Black Culture—and Consumers—to
the Bank,” Emerge, December/January
1998, p. 43.
[14]
David Samuels, “The Rap on Rap: The ‘Black Music’ That Isn’t Either.” New Republic, November 11, 1991, p. 24.
When rapper Calvin Broadus (aka Snoop Dogg) was charged with murder and
conspiracy to commit assault, sales of his record Doggiestyle surged. See Andario Strange, “Angel of Death” The Source, December 1996, p. 108.
[15] Newsweek, November 29, 1993, p. 64
[16]
Chapelle, “Soul for Sale,” p. 46
[17]
Samules, “Rap on Rap,” p. 24
Death Row-Zionist Jew CONTROLLED
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