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the hidden symbiotic nature of a genre of “street” music and it’s (material/drug)culture or physical (ghetto) project.

in nearly every respect, this reality is thoroughly produced and/or maintained by the corporate elite and banking interests of the united states.

many of the lyrics selected for wide distribution become a disguised permeation of aggressive ideological free market undertones. abstracted, these messages are mediated through ground level criminals turned musicians along with the corporations who produce and distribute them.

while quarrels between black artists and their various music labels are dramatized and publicized, most celeibrated hip hop is ultimately funded and broadcast by 3 multinational conglomerates. the large majority of rap music is owned by the general electric company.

corporate elites representing a tiny fraction of the population hold a monopoly on the means to produce and disseminate popular music. this is then coupled with their studio’s ability to select recording artists. the claim that what is produced is based on what will sell takes the public into yet another realm of faith when these same elite interests control radio play.

when the realities of the drug(and prisoner) trade are taken into account, violent pro-drug music, drugs, prisons, ghetto projects, weapons, clothing, cadillacs, rims, rolland 808s and even the drug dealers/rappers themselves truly complete a profit structure owned and managed by a few racist white men.

the vast majority of the hip hop product is anti human. a perfected, normalized and deeply invested racism of the highest degree. it is a physical manifestation of black on black abandon, disguised within and indeed entrapping the very nature of african american culture.

drug rap is a lubricant of the drug trade. it’s glamor is a prize awarded for self hatred. it isolates all peoples of the earth by selling and aggrandizing the separation of the s-xes. possibly worst of all, it abstracts concepts garnered from ghetto parlance (like pimping or ballin’) and thoroughly injects them into the rest of the global (material) youth culture.

the commodified ego of modern hip hop is the very heart of a society of spectacle.
a devastatingly collusive strategy and sadly; complete hip hocricy.
“we refused to dance to ms. booty after while it was played for the third time during our prom. g-d i hate this retched hip hocricy”

“keep it ghetto”

“bdrat!”

“soulja boy”