GHOSTFACE KILLAH AIR OUT ACTION BRONSON (DISS, REBUTTAL, REBUKE, RESPONSE, RESPONDS, BEEF, BATTLE VS., WU-TANG , DEATH THREAT, BEARD, SHOOTERS)
EMINEM ADMITS HE IS JEWISH AND HAS THE SAME JEWISH MANAGER AS ACTION BRONSON “PAUL ROSENBERG”
of the most powerful international social forces in the history of the
world. There is no nation on Earth where its footprints cannot be found.
Rap artists who create the soundtrack that fuels hip-hop culture become
equally influential. They determine trends and the general course of
youth culture globally. Yet while it appears these artists who often
peddle images of invincibility are in control of hip-hop, we must look
deeper to see who may be in control of them.
powerhouse called Roc-a-fella Records. It was a Black-owned Record
label that produced millions in sales. As is often the case, these two
brothers reportedly had personal and business disagreements and decided
to part ways. Legend has it that a Def Jam Records executive by the name
of Lyor Cohen played the role of instigator, negotiator and “clean-up”
businessman. What is clear is that Roc-a-Fella Records, once known as
“The Dynasty”, is now owned by Def Jam. Cohen happens to be Jewish.
storm when a young Black entrepreneur named Eric Wright a.k.a. “Eazy E”
assembled some of the finest talent to be found in the Los
Angeles/Compton area to form the legendary collective N.W.A. The group
captured an untapped market selling millions of albums with no
commercial radio play. These record sales did wonders to fill the
coffers of Ruthless Records, which was owned by Wright who took on a
partner by the name of Jerry Heller. Heller was a veteran music
executive who once represented artists like Marvin Gaye. The group’s
most creative geniuses, Ice Cube and Dr. Dre, eventually left the group
citing unfair compensation. Accusations flew that Eazy conspired with
Heller to rob the other members of royalties that were rightfully
theirs. Heller happens to be Jewish.
Heller. The ADL (Jewish Anti-Defamation League) labeled it anti-Semitic.
boutique subsidiary of Interscope Records. Death Row, which was owned by
a Black man by the name of Suge Knight, built an impressive roster of
talented artists and dominated the charts selling millions of records
generating hundreds of millions in revenue. Again, disagreements between
the two brothers ended in a parting of ways. Dr. Dre walked away from
Death Row Records, who at that time had acquired the legendary Tupac
Shakur. After selling millions on Death Row/Interscope Tupac was
murdered. A series of personal and professional misfortunes landed
Knight in prison and the house that he and Dre built ended up in the
hands (Interscope). Interscope is owned by a man by the name of Jimmy
Iovine. Mr. Iovine happens to be Jewish.
cases are about as substantive as a teardrop in the Pacific Ocean when
compared to the decades of draconian record contracts, usury and the
general slave/slavemaster relationship between Black entertainers and
entertainment executives who happen to be Jewish. Jewish hegemony in the
music world is about as American as apple pie. It has even been said
that the second language of the music business is “Yiddish.” Truth be
told, the Black/Jewish relationship in the music industry has played a
major role in the rotting of Black/Jewish relationships in general.
“Little” Richard (and the list goes on) lived rich, yet died broke while
Jewish managers, accountants, attorneys, business advisors and others
fed their families for years off of their largess. Few entertainers in
the history of Black America have been able to say that their assets and
true net worth were as prominent as their talent and popularity. Sadly,
hip-hop is no different. And while hip-hop has produced a handful of
millionaires, they are like a teardrop in the Pacific Ocean when
compared to the many rappers who, like most Black people, are living
“show-to-show” and “check-to-check.”
hip-hop music industry with hit records, global popularity and a healthy
fan base. It always puzzled me the way they struggled financially;
worse than some school teachers or sanitation workers. I watched many of
them try and maintain the image of the rich and powerful, yet couldn’t
pay their taxes, child support and in some cases their rent. Popular
hip-hop magazine, XXL, recently published an article titled “Hard Times”
about fiscal problems rappers face that the hip-hop community doesn’t
like to talk about. Truth is, most rappers are broke; owing more money
to their record labels than they have in their bank accounts. As a
matter of fact, most contracts for rappers are just as horrible as those
for entertainers in other genres where artists sell millions and
receive pennies while the record companies make out like fat rats. Who
are the owners of these major record companies? Forgive me if I sound
monotonous, but they just happen to be Jewish.
music industry such as Master P (No Limit Records), James Prince
(Rap-a-Lot Records), Luther Campbell (2 Live Records) and others.
However, because none of these outfits had the power to control their
own distribution they were eventually left at the mercy of those who
did. Who are the owners and controllers of the distribution channels
that deliver rap music to the world? You guessed it. They just happen to
be Jewish. Cash Money/Young Money Records, a popular imprint from New
Orleans who houses artists Lil’ Wayne, Drake, Nicki Minaj and others
reportedly has one of the last lucrative independent deals in existence,
but still do not control their own distribution. So even those
Black-owned rap labels who appear to be the front-runners are in a
of our great hip-hop artists. I love hip-hop. I am part of the hip-hop
generation. This is why I felt the need to write this article. Hip-hop
is leading the youth of the world, but if our artists are under the
inordinate control of those who control their careers then where will
the youth of the world be led? I’m only trying to, as they say in the
streets, “keep it 100.” It’s time for rappers to become just as tough
and assertive in the boardroom as they are in the recording booth.
many accuse rappers Kanye West, Jay-Z and others of being members of the
“Illuminati”, or secret society. It, personally, sounds bizarre to me.
However, in my humble opinion, they need to start something similar.
Artists need to convene a private meeting of some sorts to determine the
best way to chart a course that frees hip-hop artists from such
inordinate control. We must learn how to settle differences among
ourselves so that our personal disagreements don’t leave Black-owned
companies, like Roc-a-fella Records, in the hands of the “clean-up men.”
The enormous influence of a collective group of hip-hop artists backed
executives bend to its collective will. The only solution to this
problem is UNITY, organization, fearlessness, selflessness and the
desire to free the art form and its culture from the control of outside
lawsuit in San Francisco Federal Court against Jewish owned Universal
Music Group alleging the underpaying of royalties on digital downloads.
He claims that UMG categorizes ringtones and downloads as sales of
physical records as opposed to licensed work. The former equals less
profit for artists than the latter. Even in the age of modern technology
and the internet record companies have found ways to manipulate artists
royalties just as was done during the days big bands and wax records.
If Chuck D is successful in his lawsuit it could set a legal precedent
that expands opportunities and contract leverage for artists across the
board. This is a bold, but necessary, move.
it, we must pool our resources and combine the genius among us to
control our own production, manufacturing, distribution and destiny.
Jewish control over artists and entertainers has been the order of the
day for much too long. Through the power of right guidance and unity we
can break this cycle. But, if we remain disunited, we will pass down to
the next generation another cultural force that is under the control of
like Chuck D and “fight the power.”
who you know are robbing you of what is rightfully yours. If we don’t we
are not being true to the root of what we say hip-hop culture
represents. Artists should not be afraid of what will happen if we stand
up to the outside forces that control hip-hop; artists should be afraid
of what will happen if we don’t.