Hiphop and the Prison Industrial Complex

[Ben Shapiro]

This topic requires you to believe in the Black Illumaniti.

[East Coast Hustle]

It perpetuates a racist trope, namely "black people are simple-minded and easily manipulated through popular media to a degree that nobody would ever dream of applying to white people as a whole".

Where did you get the insane idea that the media doesn't manipulate white people?

Try reading it again, with a little comprehension this time.

[The Good Reverend Roger]

It perpetuates a racist trope, namely "black people are simple-minded and easily manipulated through popular media to a degree that nobody would ever dream of applying to white people as a whole".

Where did you get the insane idea that the media doesn't manipulate white people?

Try reading it again, with a little comprehension this time.

Um..."Shandor".

[Mesozoic Mister Nigel]

It perpetuates a racist trope, namely "black people are simple-minded and easily manipulated through popular media to a degree that nobody would ever dream of applying to white people as a whole".

Where did you get the insane idea that the media doesn't manipulate white people?

Try reading it again, with a little comprehension this time.

Seriously, wow.

[Junkenstein]

http://www.vice.com/en_uk/read/hip-hop-listening-parties-are-corny-and-corporate

That's not always the case. Not being able to bank off record sales for cash flow, the artist will often make money from sponsors for listening events, according to Michelle McDevitt, industry veteran and cofounder of Audible Treats. A smaller-name brand matched with a big name talent means the artist will likely make money to support the name.

So revving up the hype machine for both the brands and the artists is much more important than wining and dining music critics. To generate the relevant buzz, the guest list for modern listening events is almost strictly scenesters. "You would be amazed at how many listenings I don't get invited to. I'm not even a priority, and I'm a DJ who plays records on the radio!" Peter Rosenberg said. "It's the brand trying to talk through the people who are there, rather than about the album." Those people are now bloggers with big Twitter followings, sponsors and their clients looking to smash free drinks, and radio-contest winners, just so the plebes think they still matter.

Nice article. I'd expect this to be happening in other music scenes as well. The band as a brand or being used to support a brand has been increasingly common over the past 25-ish years. Considering where this trend could lead in the next 25 years and "Demolition Man" with it's radio stations that only play fucking advertising jingles seems that much more plausible.

[Roly Poly Oly-Garch]

It perpetuates a racist trope, namely "black people are simple-minded and easily manipulated through popular media to a degree that nobody would ever dream of applying to white people as a whole".

So, yeah, some people might say it matters.

So what about a revised narrative: PIC notices this phenomenon of gangster rap. Cuts some deals to begin marketing it aggressively to white suburban kids in an effort to scare their white suburban parents sufficiently that they will turn a blind eye to the fact that young black youth are basically being harvested to fill beds at their private detention facilities.


Edited for intent: This is more of an O:MF kind of thought, here...