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The Mad Scramble for Africa
‘In contrast with the surging growth of the countries in our socialist camp and the development taking place, albeit much more slowly, in the majority of the capitalist countries, is the unquestionable fact that a large proportion of the so-called underdeveloped countries are in total stagnation, and that in some of them the rate of economic growth is lower than that of population increase.
‘These characteristics are not fortuitous; they correspond strictly to the nature of the capitalist system in full expansion, which transfers to the dependent countries the most abusive and barefaced forms of exploitation. It must be clearly understood that the only way to solve the questions now besetting mankind is to eliminate completely the exploitation of dependent countries by developed capitalist countries, with all the consequences that this implies.’
Hip Hop/Rap: The Culture vs The Industry and The White Supremacy Factor
Introduction: The evolution of hip-hop, from its grassroots origins as a form of cultural expression within marginalized communities to its contemporary manifestation as a global commercial entity, encapsulates a complex narrative. This brief outline and it’s associated videos, including the Dr. Amos Wilson lectures, endeavors to critically examine the trajectory of hip-hop, delineating the tensions between its cultural authenticity and its Black dehumanization and commodification within the music industry. Moreover, it elucidates the role of the system, business and culture of white world terror domination in shaping and perpetuating these dynamics.
Historical Context and Cultural Genesis: Rooted in the African American experience, hip-hop emerged as a transformative medium during the latter half of the 20th century. Pioneered by figures such as Grandmaster Flash, Kool Herc, and Afrika Bambaataa, hip-hop was initially imbued with a spirit of celebration, creativity, and community cohesion. Its genesis within the Bronx marked a seminal moment in the cultural landscape of America, offering a platform for marginalized voices to articulate their realities and aspirations.
Commercialization and Cultural Degradation: However, as hip-hop gained traction beyond its local origins, it underwent a process of commercialization that veered away from its foundational ethos. The emergence of gangsta rap, characterized by themes of violence, materialism, and misogyny, represents a notable divergence from hip-hop’s original intent. This transformation, often attributed to corporate interests seeking profit through exploitative narratives, has led to a dilution of hip-hop’s cultural significance and social utility.
White Supremacy and Cultural Hegemony: Central to the commodification of hip-hop is the pervasive influence of white supremacy within the music industry. The imposition of a whitewashed corporate agenda has perpetuated narratives that reinforce negative stereotypes and undermine the agency of Black and Brown communities. Dr. Amos Wilson’s concept of “black self-annihilation in service of white domination” aptly characterizes the insidious mechanisms at play, wherein cultural expression becomes co-opted to serve hegemonic interests.
Socio-Political Implications and Resistance: The proliferation of commercialized rap music not only perpetuates harmful narratives but also exacerbates existing socio-political inequalities. By glorifying violence, materialism, and individualism, mainstream rap perpetuates a cycle of disempowerment and alienation within marginalized communities. However, resistance movements within hip-hop, exemplified by artists such as Public Enemy, Paris, Wise Intellignt, KRS-1, X-Clan, Dead Prez, and many more continue to uphold the spirit of conscientious activism and cultural revitalization.
In Conclusion: The dichotomy between hip-hop as a cultural force and hip-hop as an industry commodity underscores broader issues of systemic oppression and cultural hegemony. While commercial interests have sought to co-opt and sanitize hip-hop for mass consumption, grassroots movements persist in reclaiming its authenticity and socio-political relevance. Addressing the pervasive influence of white supremacy within the music industry is imperative to safeguarding hip-hop’s legacy as a tool for liberation and social change.
RBG Street Scholar, April, 2024
Hip Hop Classics Vol. #1
RBG| HIP HOP and SUBLIMINAL SYMBOLISM | DR. AMOS WILSON VIDEO EDUCATION PLAYER
Hip Hop/Rap: The Culture vs The Industry and The White Supremacy Factor
Introduction: The evolution of hip-hop, from its grassroots origins as a form of cultural expression within marginalized communities to its contemporary manifestation as a global commercial entity, encapsulates a complex narrative. This brief outline and it’s associated videos, including the Dr. Amos Wilson lectures, endeavors to critically examine the trajectory of hip-hop, delineating the tensions between its cultural authenticity and its Black dehumanization and commodification within the music industry. Moreover, it elucidates the role of the system, business and culture of white world terror domination in shaping and perpetuating these dynamics.
Historical Context and Cultural Genesis: Rooted in the African American experience, hip-hop emerged as a transformative medium during the latter half of the 20th century. Pioneered by figures such as Grandmaster Flash, Kool Herc, and Afrika Bambaataa, hip-hop was initially imbued with a spirit of celebration, creativity, and community cohesion. Its genesis within the Bronx marked a seminal moment in the cultural landscape of America, offering a platform for marginalized voices to articulate their realities and aspirations.
Commercialization and Cultural Degradation: However, as hip-hop gained traction beyond its local origins, it underwent a process of commercialization that veered away from its foundational ethos. The emergence of gangsta rap, characterized by themes of violence, materialism, and misogyny, represents a notable divergence from hip-hop’s original intent. This transformation, often attributed to corporate interests seeking profit through exploitative narratives, has led to a dilution of hip-hop’s cultural significance and social utility.
White Supremacy and Cultural Hegemony: Central to the commodification of hip-hop is the pervasive influence of white supremacy within the music industry. The imposition of a whitewashed corporate agenda has perpetuated narratives that reinforce negative stereotypes and undermine the agency of Black and Brown communities. Dr. Amos Wilson’s concept of “black self-annihilation in service of white domination” aptly characterizes the insidious mechanisms at play, wherein cultural expression becomes co-opted to serve hegemonic interests.
Socio-Political Implications and Resistance: The proliferation of commercialized rap music not only perpetuates harmful narratives but also exacerbates existing socio-political inequalities. By glorifying violence, materialism, and individualism, mainstream rap perpetuates a cycle of disempowerment and alienation within marginalized communities. However, resistance movements within hip-hop, exemplified by artists such as Public Enemy, Paris, Wise Intellignt, KRS-1, X-Clan, Dead Prez, and many more continue to uphold the spirit of conscientious activism and cultural revitalization.
In Conclusion: The dichotomy between hip-hop as a cultural force and hip-hop as an industry commodity underscores broader issues of systemic oppression and cultural hegemony. While commercial interests have sought to co-opt and sanitize hip-hop for mass consumption, grassroots movements persist in reclaiming its authenticity and socio-political relevance. Addressing the pervasive influence of white supremacy within the music industry is imperative to safeguarding hip-hop’s legacy as a tool for liberation and social change.
RBG Street Scholar, April, 2024
The secret relationship between Hip Hop (“Industry”) and Jews.
Gangster rap was never black culture. It was created by the Feds, who proferred deals to homosexual black men in prison and then turned them into artificial celebrities. The goal was to create false idols to destroy black American values.
RBG Communiversity: Message 2 Da Grassroots 
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