The Supremacist Agenda and Hip Hop

The Supremacist Agenda and Hip Hop: A Brief Overview

The intersectional corruption in colonial America has influenced the Hip Hop music industry and has affected the ability of people of color to perform as their highest self. By limiting our ability to preach our true message of progressive positivity the supremacists stunted what could have been an exponential growth pattern extending an earlier rise from colonialism. But of course universally and historically speaking, we can't have nice things without being on the same page with the universe. After slavery was abolished the supremacists exploited the 13th and the 1st upon people of color thru loop holes in the prison industrial complex and music industry continued into institutional discrimination tactics. From hyper sexualizing Femcees to the hyper masculine normative in gangster rap to the CIA's involvement with the war on race and drugs. The audio-visual industry has maintained a heavy hand of control and perception on the creative and political progress or veiled any coverage on black women of color in Hip Hop culture up until the early 20th century with the turn of technology.

European colonialism has been the cause of the imperialist state of affairs we are in, here in America, which has lasting effects of racism, sexism, and elitism reverberating through generations sense Christian Crusades in the 10th millennia (Bulhan, Stages of Colonialism in Africa...). So it shouldn't be surprising that since the rise of European capitalism amongst the charade there has come a new tactic to silence and limit people of colors' youth. By privatizing the prison industry and influencing impoverished communities and their education system the supremacist made a chain and cycled reaction. "Dropout Factories" is a term and formula used; inadequate schooling and motivation for marginalized students would derail concentration from school to how to survive or provide by the state of oppression families face. Unemployment and inadequate work compensation was rampant among the marginalized communities. Money was to be made in underground work such as selling drugs and gang work. Students would then be caught in the balancing act often taking the route of survive and provide (Kitwana The Hip Hop Generation...) Police enforced the war on race and drugs to round up and place our men and women into the systemic slavery in privatized prison industry to exploit the loop hole in the 13th amendment (DuVernay, 13th.) It's interesting to note L.A.'s District Attorney investigating allegations of illegal payola by recording companies with drugs as payment to disk jockeys in the 70s (Lichtenstein, Record Companies on Coast Shaken by Payola Studies.)

It's easy to connect the crack/cocaine epidemic being placed in marginalized communities by the CIA to fund their covert operations back in the 70s. In Michael E. Salla's essay Birth of the Black Budget goes over evidence that the Department of Defence covert appropriations of funds from the Department of Housing and Urban Development. These waived appropriations would be wired to the CIA and as to where this money goes is unknown per the CIA and DoD's exception to the Freedom to Information Act of 1997 as a pieces of the prior Nation Security Act in 1947. From 1998 to 2000 Inspector Generals of HUD reported on their audits that all together add up to $5.1 trillion in unsupported entries (meaning money unaccounted for and missing). In January 2003 was the 12th year the HUD OIG claimed the limited financial management system to be a key weakness in their audits. The DoD "Special Access Programs" and CIA's "Covert Access Programs" where waived to operate outside the oversight system of funding from Congressional appropriations.

Influences made by supremacists promoted gang activity and drug use which fueled the prison industrial complex and persisted separation tactics to create emotional distance between people of color. "Decision makers" shoveling criminal activity into the mainstream industrial music pot and drowned out any major involvement of women in Hip Hop till the early 20th century. An anonymous email letter was sent to Ivan Rott of Hip Hop Is Read early 2012 which speaks to a secret meeting held in L.A. around 1991. This meeting was to connect up and coming music business constituents on promotion of criminal activity in rap to fuel the prison industrial system per their companies invested upon. Noting Universal Records predecessors and constituents like Capitol Records and Warner Bros. connects "old boy money" and the idea of influencing people of colors habits thru habitual normative and verbatim (Cornyn, Stay Tuned By Stan Cornyn: Maitland Moves On. and Lichtenstein.)