1 @PhonZhi
(let's start pulling facts and having an intellectual discussion based off of a study as opposed to personal opinions. Too much name calling and mud slinging for no reason)
CHAPTER 1INTRODUCTIONThe culture industry’s cycle of assumptions is the interaction between the director(culture industry), the author (hip hop artist), and the audience (White consumer). Together the three combine to create ideological outcomes that reflect and reinforce historically negativeWhite racial attitudes.
The director of the culture industry doesn't look like me and you. The owner of TV networks also doesn't look like me and you. You can't blame artists who are no doubt at the lowest end of this minstrel food chain
Commodification of Hip Hop Music
In the same critical view of the Frankfurt School authors, many hip hop intellectuals,Michael Eric Dyson (1996), Patricia Rose (1994, 2008), Todd Boyd (2003), Bakari Kitwana(2002,2005) and Nelson George (1998, 2005), have critiqued the role of the culture industry indistorting hip hop music into a one-dimensional form, commoditized and sold as violent,misogynistic, materialistic, and destructive.
The culture industry has limited the representation of hip hop to narrow, negative associations of Blackness, and by “letting commercialized hip hopbecome a nearly constant caricature of gangstas, pimps, and hoes, we’ve come to equate blackpoverty with black street life. This denies and silences a wide range of black urban ghettoexperiences and points of view which venerates predatory street culture” (Rose 2008:139).These limited caricatures of black poverty reinforce Whites’ negative racial attitudes of the Blackculture being inherently dysfunctional and responsible for their own inequality (Schuman, etal1997, Sears, etal 2000, Charles and Bobo 2009, Huddy and Feldman 2009, Rose 2008,Kitwana 2002). The saturation of these images “produces representations that attempt to induceconsent to certain political positions, getting members of the society to see specific ideologiesas ‘the way things are’” (Kellner 1995:59). In other words, the saturation of narrowrepresentations of Blacks as gangstas, pimps, and hoes through commercial hip hop, createsan illusion that what is represented is a seamless extension of the Black reality
So the oppressor (who knows our true history and significance to the world) has found a way to civilize barbaric behavior while showcasing "black" culture directly with barbaric animalistic behavior for the means of flattering themselves and entertaining audiences yet you negros still think the music is the problem
Without the culture industry these little artists music wouldn't be used as a tool to propagate to the masses..
I'm so glad the number one consumer of the minstrel is white folks
modern hip hop music is made by the oppressor and for the oppressor