Is Hip-Hop Good For Anyone?

theoccidentalobserver |   It is unfortunate, to say the least, that Black hip-hop scholarship never mentions the elephant in the room: Jewish control of the music industry. If hip-hop is, indeed, ethno-politics set to music, if hip-hop has taken the place of the civil rights movement in the hearts and minds of Black youth, it is impossible to ignore the historic Black-Jewish alliance against WASPs. For much of the twentieth century, that alliance was a constituent element in what Black nationalist Harold Cruse called the “fateful triangular tension among national groups…coming to the fore” in the 60s.[28] It is a truism of American political history that, from the Leo Frank trial and the founding of the NAACP in the early twentieth century down to the Black Lives Matter movement, Jewish intellectual-activists have worked tirelessly to imbue disaffected American Negroes with their own revolutionary spirit.[29]

Cruse was himself a Negro member of the American Communist Party. By that time, Jews had displaced Anglo-Saxons as the vanguard of American Communism. Unlike WASP Communists, the Jews shaped radical politics in accordance with “their own national group social ambitions or individual self-elevation.” Negroes were relegated to the status of a national minority in the party while Jews were free to pick up or drop their Jewish identity as it suited them.[30] This arrangement enabled Jews to become experts on “the Negro problem.” Not surprisingly, Jewish artists, musicians, and radicals then became highly visible players in the Civil Rights Movement of the 1950s and 60s. “As a result,” Cruse observes, “the great brainwashing of Negro radical intellectuals was not achieved by capitalism, or the capitalistic bourgeoisie, but by Jewish intellectuals in the American Communist Party.”[31]

In the contemporary hip-hop community, Jewish leadership has been hidden behind the corporate veil. Tricia Rose vehemently denounces the corrupting influence of corporate control on the hip-hop community but her treatment of the subject obscures the identity of the corporate high command.[32] The music industry is absorbed into a vast impersonal system of “White power,” a matrix whose denizens all routinely swallow the blue pill. The closest we come to identifying those in charge is when Dyson criticizes the “White corporate interests” exploiting Black talent.[33]

Jews are never mentioned in Dyson’s work on hip-hop. Not surprisingly, Dyson has unimpeachable philo-Semitic credentials. Blacks and Jews, he believes, are united in common struggles against oppression in White America. Far be it from him ever to cast Jews as an enemy of Black folk. On his account, Blacks love Jews and Jews love Blacks.[34] Professor Rose also tip-toes around the issue of Jewish influence in the hip-hop community; The Hip Hop Wars has no index entry for Jews. Only in passing does Rose name names. But, when she does identify a few of the corporate heavyweights involved in the hip-hop community, the elephant moves onto center stage.

In a chapter on hip-hop’s responsibility for sexist and misogynist lyrics and imagery, Rose mentions a rare public appearance by leading figures in the corporate record industry. In their statements “corporate executives such as Universal chairman Doug Morris, Warner chairman and chief executive Edgar Bronfman, Sony chairman Andrew Lack, and Viacom president and CEO Phillipe P. Dauman have defended their role as distributors of intensely sexist content by subsuming sexism under artists’ rights to express themselves freely.” Interestingly, in the same paragraph, Rose urges us to “pull back the veil on the corporate media’s manipulation of Black male and female artists and the impact this has on fans and the direction of Black cultural expression.”[35] Why does she not see fit to mention that the four corporate kingpins she names are all Jews? The ethno-political fact is that Rose leaves the corporate veil intact by ascribing blame for the corruption of the hip-hop community to an abstraction called corporate greed. Rose heads the Center for the Study of Race and Ethnicity in America at Brown University.[36] How can she not be aware of the stunning success Jews have had in mixing business with ethno-politics?

After all, a simple Google search on “Jews run hip hop” turns up a wealth of investigative leads for a researcher eager to see how the “triangular tension” between Jews, Negroes, and Anglo-Saxons” has accommodated itself to the new players in American ethno-politics. Black scholars typically ignore the criticisms of Jewish control commonly made by rappers and fans.[37] Traditional Catholics such as E. Michael Jones are also critical of rap music as “one more manifestation of the behavior which goes along with the Jewish revolutionary spirit that took over the Black mind during the course of the 20^thcentury.”[38] The Jewish revolutionary spirit has pioneered the techniques of using sex as an instrument of political control.[39] The hip-hop brand of sexuality is no exception.

Bearing that in mind, it comes as no surprise to learn that hip-hop is deeply involved “with the multibillion dollar pornographic industry. The strip club has long been an integral part of both the music video and business end, but since the start of the new century, there has been a complete cross-over into pornography.” Orlando Patterson describes scenes from these productions as “the most degrading and abusive depictions of women imaginable.”[40] Small wonder, then, that a Google search for “Jews run pornography” yields another treasure trove of investigative leads sure to be left unexplored (for fear of the Jews?) by both Black and White scholars.