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Truth is in favor of you and me; for the truth of our enemies whom we have been serving here in the U.S.A. for over 400 years (whom we did not know to be our enemies by nature) is the truth that the Black Man must have knowledge of to be able to keep from falling into the deceiving traps that are being laid by our enemies to catch us in their way which is opposed to the way of righteous of whom we are members. ~ The Honorable Elijah Muhammad

Monday, September 14, 2015

The FBI-CIA War on Tupac and Socially Conscious Artists

tupac_interview620x345John Potash is the author of The FBI War on Tupac Shakur and Black Leaders.
Published in 2007, it is just now beginning to circulate among a new
generation of Black millennial artists and activists. Based on 12 years of intense research, it includes over 1,000 endnotes, an assortment of
FBI documents and over 100 interviews. Potash’s most recent book Drugs
As Weapons Against Us was published earlier this year in May 2015. This interview was conducted by telephone and transcribed verbatim.  - RapRehab

Also read:

Facts about hip-hop and prison for profit - RapRehab

Last year Corrections Corporation of America (CCA), the biggest name in the
private prison industry, contacted 48 states offering to buy their
prisons. One stipulation of eligibility for the deal was particularly
bizarre: “an assurance by the agency partner that the agency has
sufficient inmate population to maintain a minimum 90% occupancy rate over the term of the contract.

What kind of legitimate and ethical measures could possibly be taken to ensure the maintenance of a 90% prison occupancy rate?

Two months later an anonymous email was sent out to various members of the music and publishing industries
giving an account of a meeting where it was determined that hip-hop
music would be manipulated to drive up privatized prison profits. Its
author, despite claiming to be a former industry insider, did not
provide the names of anyone involved in the plot, nor did he specify by
which company he himself was employed. As such, the letter was largely
regarded as a fraud for lack of facts.

Ninety percent of what Americans read, watch and listen to is controlled by only six media companies. PBS’s Frontline has described the conglomerates
that determine what information is disseminated to the public as a “web
of business relationships that now defines America’s media and
culture.” Business relationships. Last year a mere 232 media executives
were responsible for the intake of 277 million Americans, controlling
all the avenues necessary to manufacture any celebrity and incite any
trend. Time Warner, as owner of Warner Bros Records (among many other
record labels), can not only sign an artist to a recording contract but,
as the owner ofEntertainment Weekly, can see to it that they get next
week’s cover. Also the owner of New Line Cinemas, HBO and TNT, they can
have their artist cast in a leading role in a film that, when pulled
from theaters, will be put into rotation first on premium, then on
basic, cable. Without any consideration to the music whatsoever, the
artist will already be a star, though such monopolies also extend into
radio stations and networks that air music videos. For consumers, choice
is often illusory. Both BET and MTV belong to Viacom. While Hot 97,
NYC’s top hip hop station, is owned by Emmis Communications, online streaming is controlled by Clear Channel, who also owns rival station Power 105.
The Music Industry Hates Black People - RapRehab

...music industry’s agenda to promote death and dysfunction to Black youth is bigger than its desire to make money?
Yes, I’m a conspiracy theorist. I don’t care how many people ridicule me. I
don’t care how many “real street cats” call me an out-of-touch Hip Hop
purist who doesn’t know what today’s kids are into. I don’t care how
many industry execs mock my extreme views and so-called lack of music
business knowledge. I don’t care how many idiots call me a
race-baiter. I don’t care how many call me a hater for criticizing a kid
I don’t personally know without even giving him a chance to shine. I
don’t care how many dumb asses try to convince me that if he didn’t get a
record deal, he’d be out shooting or robbing folks (that seems to be a
popular opinion on the internet right now). I don’t care how many tell
me that Hip Hop can’t always be positive or that I need to leave the
days of De La Soul and Public Enemy behind. I don’t care how many fools
try to sell me on the idea that the labels are just giving the fans the
kind of music they want. I don’t care how many of you tell me that a
record company’s goal is to make money, not save lives. I don’t care how
many major artists co-sign this misled kid. And I don’t care how many
of his fans insult me.
Nothing
you can say negates the fact that Bobby Shmurda and other similar
rappers are promoting the worst kind of images and messages. Nothing you
can argue negates the fact that what these labels are marketing is
toxic, criminal, and racist. No other form of entertainment, be it pop,
rock, country, electronic, video games, movies, or TV, glorifies the
blatant death and destruction of Black people while passing it off as
entertainment you can do a trendy dance to. Mainstream rap is the only
form of entertainment that prides itself on depicting reality yet ends
up only promoting the ugliest part of that “reality”, often resulting in
real-life drama, murder, arrests, and jail sentences. Why does the
music industry keep promoting something that any other industry would
consider a poor investment and a huge liability? What kind of business
can you think of, beyond the field of entertainment, that would
knowingly employ someone who glorifies crime and all other forms of
disturbing behavior…unless there was a damn good reason?

So what are the music industry’s reasons? Does it have anything to do with “the commercial rap to prison pipeline“? Is it about selling a lifestyle that will send impressionable youth to the private prisons media conglomerates invest in?

"The Secret Meeting that Changed Rap Music and Destroyed a Generation" | Hip Hop Is Read
Quickly after the meeting began, one of my industry colleagues (who shall remain nameless like everyone else) thanked us for attending. He then gave the floor to a man who only introduced himself by first name and gave no further details about his personal background. I think he was the owner of the residence but it was never confirmed. He briefly praised all of us for the success we had achieved in our industry and congratulated us for being selected as part of this small group of “decision makers”. At this point I begin to feel slightly uncomfortable at the strangeness of this gathering. The subject quickly changed as the speaker went on to tell us that the respective companies we represented had invested in a very profitable industry which could become even more rewarding with our active involvement. He explained that the companies we work for had invested millions into the building of privately owned prisons and that our positions of influence in the music industry would actually impact the profitability of these investments. I remember many of us in the group immediately looking at each other in confusion. At the time, I didn’t know what a private prison was but I wasn't the only one. Sure enough, someone asked what these prisons were and what any of this had to do with us. We were told that these prisons were built by privately owned companies who received funding from the government based on the number of inmates. The more inmates, the more money the government would pay these prisons. It was also made clear to us that since these prisons are privately owned, as they become publicly traded, we’d be able to buy shares. Most of us were taken back by this. Again, a couple of people asked what this had to do with us. At this point, my industry colleague who had first opened the meeting took the floor again and answered our questions. He told us that since our employers had become silent investors in this prison business, it was now in their interest to make sure that these prisons remained filled. Our job would be to help make this happen by marketing music which promotes criminal behavior, rap being the music of choice. He assured us that this would be a great situation for us because rap music was becoming an increasingly profitable market for our companies, and as employee, we’d also be able to buy personal stocks in these prisons. Immediately, silence came over the room. You could have heard a pin drop. I remember looking around to make sure I wasn't dreaming and saw half of the people with dropped jaws. My daze was interrupted when someone shouted, “Is this a f****** joke?” At this point things became chaotic. Two of the men who were part of the “unfamiliar” group grabbed the man who shouted out and attempted to remove him from the house. A few of us, myself included, tried to intervene. One of them pulled out a gun and we all backed off. They separated us from the crowd and all four of us were escorted outside. My industry colleague who had opened the meeting earlier hurried out to meet us and reminded us that we had signed agreement and would suffer the consequences of speaking about this publicly or even with those who attended the meeting. I asked him why he was involved with something this corrupt and he replied that it was bigger than the music business and nothing we’d want to challenge without risking consequences. We all protested and as he walked back into the house I remember word for word the last thing he said, “It’s out of my hands now. Remember you signed an agreement.” He then closed the door behind him. The men rushed us to our cars and actually watched until we drove off.

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