Michael Fisher Explains Why Hip Hop Is Bad

 

"Maybe I spoke about my cash flow because Im 5'10 and fair skinned and not tall and dark ."

Michael Fisher said ...
And that, my friends, is the essence of modern "Hip Hop"

Allow me to quote myself from the very first post of my, now inactive, blog:

"Around 1990 a conscious decision was made by a small number of record executives and artist managers out of Los Angeles that the best way to get young black men to buy records (black women were already buying tons of records featuring R&B) was to appeal to the most powerful fantasy alive in the average young heterosexual male: Unfettered access to attractive, sexy, young women.
CONTINUED=>

Denmark Vesey said ...
The Mike Fisher phenomenon is interesting but not rare. The battlefield of the recording industry is littered with the mutilated corpses of music industry executives unable to adapt to the changing business model and cultural sensibilities that occurred soon after the explosion of what we call "Hip Hop".

Prior to the Hip Hop era the recording industry was nothing more than sharecropping. Instead of tobacco or cotton, the harvest was wax. All the record labels were run by Jews who established a parasitic oligarchy that funneled the vast majority of the profits generated by songwriters and performers directly to the distributors pockets. Artists were forced to sign draconian publishing contracts and mechanical licenses that made them de facto indentured servants. Though their art generated enormous revenues most lived their entire careers in perpetual debt, and many died penniless. The story is all too well known.

After the early years of Chuck Berry and race records, as the nation emerged from the turbulent 60's, and black artists became a bit more aware, the recording industry business model evolved slightly. It didn't due for Jews to be in direct control of black artists as in previous years. With the exception of the Clive Davis charade, the days of the Jewish "A&R" gave way to the occasional black "owned" record label and a handful of black "executives" employed by the record label to "manage" their stable of highly profitable black artists.

When the dynamic new art form called Hip Hop exploded from the streets of New York and soon galvanized the attention of the world, it was initially marshaled by that thin layer of black overseers whose job it was to funnel profitable money makers to the Jewish record labels. Unbeknownst to the Plantation Negro trustees of the record labels, they were not only marshaling raps, scratches and 808's, they were also opening the door to black business acumen learned in the streets.

Reaganomics and the War On Drugs produced a young black entrepreneurial class that not only applied their genius and talent to making music, they applied it to making money. It didn't take long before this wave of new talent saw through the sharecropping business model of old and sought ways to remove the unnecessary middle men. It's no mistake that former drug dealers, schooled in the arts of distribution, management and marketing, like Master P and Cash Money Records, were among the first recording artists to own their own masters.

The same skill set involved in breaking a new record is not much different than the skill set necessary for breaking a brick of cocaine. Hustlers thrived. Lames fell to the way side. That layer of black music industry "executives" who worked directly for or in some cases with the record labels found themselves squeezed out. Those who thought their educations would endear them to the Jewish distributors who wouldn't want to work directly with these ... crude ... street level ... niggers ... soon found themselves without a job. Out with the old ... in with the young.

Seeking to rationalize their dismissal many crafted Byzantine conspiracy theories rationalizing their personal demise. Initially these theories foretold of Hip Hop's inevitable "downfall". Thirty years later Hip Hop thrives. Now the ideology of the failed Negro Executive centers around the "destructive nature" of Hip Hop ... (the implication is "see what you get when you don't involve me").

When it comes to Hip Hop, I see a glass that is 3/4's full. I see a bastion of Duboise's Talented Tenth that looks vastly different than the legions of neutered and conformed establishment produced Undercover Plantation Negros many had come to expect. I see and hear raw expressions of art, ideas and empowerment leagues ahead of what is produced by our more conventional outlets. Between the lines and behind the lyrics is one of the last bastions of truth in a vast desert of lies and deceit.

On the surface are there distasteful lyrics? Of course. Anything examined in isolation is damnable. Rappers play the cards they were dealt. We live in an era of secular fanaticism. The same people condemning Hip Hop TiVo Desperate Housewives. Hip Hop examined as a whole is one of the few institutions capable distributing empowering memes. Hustle Hard.