The Denmark Vesey Theory

Rap Haters ask us to believe the immense impact on the collective imaginations of young people all around the world by Hip Hop stars, is NOT a marketplace response to their artistic expression, cultural commentary, extraordinary musicianship, marketing genius, political sensitivity, raw soulfulness, heart or hustle.

The Hip Hop Hater wants us to attribute the Beatle like dominance of pop culture not to the men who dominated it, but to it’s white corporate functionaries acting as manipulators of these “tokens” and “tools”.

The Rap Hater invents 911 like Rap Conspiracy Theories and white boogeymen who … “allow” … these young black men to fascinate the imaginations of millions. These same white boogeymen deny “conscious” rap (rap consistent with their worldview) from earning the place it deserves in the minds of young people.

Rap Haters harbor an almost religious like insistence that bad language, violent imagery and sexual lyrics of Hip Hop stars are particularly destructive because “young blacks can’t discern the difference between rap and reality”.

Their self-inflicted racism is apparent each time they allow their children to consume just as violent and more overtly sexual imagery from white media. “It’s OK for Bruce Willis to have a gun. But not Nas!” “Sharon Stone can flash her vagina, Madonna can tongue kiss Britney but Cocoa can’t drop it likes it hot.”

I find the rhetorical theater of Rap Haters, Plantation Negros and Corporate Slaves far less sophisticated than the current generation of Hip Hop superstars they so loath.

Hip Hop’s superstars shrewdly and artistically present a romanticized, rich and empowered interpretation of the black experience to a global audience while simultaneously spinning fantasy tales of bourgeois wealth to Americas huge consumer class.

That’s a great hustle. That’s media savvy. That’s marketing genius. That is an example of what works in America. That’s Donald Trump. That’s Dynasty. That’s Dallas. That’s Horatio Alger. That’s Joe Kennedy. That’s Micahael Corleone. Bill Gates is no more of a genius than is Jay-Z.

In contrast:

Plantation Negro and Corporate Slave iconography inanely presents a minimized interpretation of the black experience as wanting, as second class and as a victim. It’s stories of Affirmative Action, defeat and Civil Rights sentimentalism are widely ignored by young people today. It's icons are Harold Ford and Congo Lisa Rice. Not surprisingly, not much market share is left.

Hip Hop is to black people is what oil is to Arabs.
Hip Hop is to pop culture what HBO is to cable.

It's an extremely valuable media asset.

"We" don't control the distribution? Well maybe some "we" Corporate Negros need to step their games up, employ their Ivy League educations and build some black owned distribution channels instead of bitching at black Artists for playing the game available to them.