Cedric Muhammad | Hip-Hop and Politics

An Important Sobering Article: The Decline Of The Conscious MC-Can It Be Stopped?

August 3, 2010 By mrDaveyd

The Decline Of The Conscious MC: Can It Be Stopped?

by Cedric Muhammad

“This is the way of an artist
a purging, a catharsis
the emerging of a market
a genre on my own…”

– “Water Walker” by Djezuz Djonez
(http://www.youtube.com/watch?v=LBXSIan1l8o)

Cedric Muhammad

As many AllHipHop.com readers know I have been promising to write about what I have loosely described as the death or demise of the conscious MC. Last week, I received the final bit of inspiration I needed to pull the trigger – a thoughtful email from a regular and very careful reader who always makes great points, challenging me. Here is what I received in reaction to “Movement Music: From Coke Rap To Community Development” (http://allhiphop.com/stories/editorial/archive/2010/07/27/22311557.aspx) from “V W”:

“Do you really believe that some artists i.e. Rick Ross are truly thinking on that level of intellect? Are they really trying to start a movement? Or is it just a marketing tactic to sell more records and ringtones? You can say I am “profiling” but Ross just doesn’t come across as that type. If Jay Electronica or Lupe did a track like “B.M.F.” I’d be more inclined to think so. Even his “Free Mason” track with Jay-Z didn’t sit well with me. I’m waiting on an article about that (wink wink).”

Here is my response to “VW” which is a great place to start my critique of what is wrong with the current corps of ‘conscious MCs’:

“I believe your e-mail indirectly frames the challenge quite well – the balance between an artist’s personal intellect and a marketing strategy. ‘Movement’ potentially is a catch-all for both.

A street artist doesn’t have to have intellect to accept a righteous movement. And a conscious artist doesn’t necessarily understand how to market a righteous movement.

I wonder why the street artist is held to a standard of EFFECTIVENESS that the conscious artist is not.”
This is the first of five reasons why the American-based conscious MC of today continues to be irrelevant, while continuing to long for the golden era – (loosely identified as 1986-1992).

No Movement Energy (Conscious Artists Hustle The Struggle Too). In my response to ‘VW” I was responding to an important and common criticism of the more street-oriented mainstream rappers for shouting out crime figures and gang leaders and glorifying negative or destructive behavior. In their eyes, Rick Ross is the latest artist to ride this practice into commercial success. But what I have always felt is that conscious artists are hustling hard too. They shout out influential leaders and revolutionary icons like Che Guevara, Patrice Lumumba, Brother Malcolm X, Minister Farrakhan, and Fidel Castro; and cite Teachings, Lessons, and quote books for their personal commercial benefit. Yet, just as I don’t see street rappers doing much in the streets – even the minimum good that real gangsters have done; neither do I see conscious MCs doing the good works or taking the real-life stances of the icons they celebrate on wax (or mp3). With the exception of Dead Prez and Immortal Technique – and David Banner in a different sense –

I have felt no movement energy from any of the artists who have emerged over the last 10-12 years who were categorized or style themselves as ‘political’ or conscious. And certainly nothing like X-Clan, Public Enemy, KRS-One, Big Daddy Kane, Eric B. & Rakim and Poor Righteous Teachers whom I believe all realized it was as important to inspire and make people feel the urgency of the moment, as it was to just share information. My point to “VW” was that you don’t start movements just based upon an artist’s intellectual development. The vast majority of conscious artists don’t have movement energy – while many street artists do – because they (conscious artists) don’t respect marketing nor do they respect the laws that govern the human mind which revolve around the use of language, symbolism, and how efficient the brain and mind must be in categorizing and classifying information and concepts. And because people really don’t think until they are forced too (see Volume 3 of my book on ‘search behavior’) it is possible to get an ‘ignorant ass street rapper’ to lead a conscious movement, not based upon intellect in terms of the books he or she has read, but because it is an act of creative self-preservation. Remember, the movement energy was so strong in the 80s that even Eminem was rocking African medallions! You weren’t even relevant if you didn’t have some form of pan-African sensibility (or could fake it).

David Banner

So this is more about marketing and understanding mass psychology than it is about making superficial judgments on face value of an artist’s personal level of positivity and negativity. And when the ‘conscious’ artist and activist understands that, she or he will understand the authority and credibility that groups like the Black Panthers once enjoyed and which – on a lesser level – the ‘gang’ approaches today on the street. But finally it is important to accept the fact that most artists no matter what they talk about on a track find it hard to accept a real leadership profile. In fact I have never met a rapper who wanted to be a leader as much as they wanted to be an artist. Not one. The closest was David Banner who I arranged to meet with his Congressman – Bennie Thompson, for a high-powered discussion on community development in his hometown of Jackson and his state of Mississippi. A conscious artist can sincerely desire to be a leader of a movement but unless they surround themselves with individuals who also want that for them and not just great ‘celebrity art’ it will not happen. Lyrical content is not enough. An artist must want to serve the people more than rise the ladder of celebrity status.

The I Have To Be The Smartest Person In The Room Syndrome (Ideology Matters More Than Strategy). If there were one major criticism that I would make of 95% of all conscious artists it is that they make music only for themselves or people who already think like them, or agree with them. Preaching to the choir is one of the best ways to limit your appeal leading to what I call ‘demographic death’ (have you ever noticed how all of the conscious artists in the Northeast are in their 30s and 40s and have no following among teenagers? They could all learn something from the example of Wise Intelligent and his latest ‘Djezuz Djonez’ project:http://www.djezuzdjonez.com/. Another talented artist to watch is the always witty and on message Jasiri X: http://www.youtube.com/user/jasirix).

Why did 50 Cent as opposed to a conscious rapper team up with Robert Greene to write a book?

Too many conscious rappers allow their ‘book knowledge’ to overpower their street knowledge, natural grasp of wisdom and common sense. That is why conscious artists aren’t very strategic (even though they shout out and quote great revolutionary warriors), while the more mainstream artists can be (why didn’t a political activist-artist rather than 50 Cent write a book with Robert Greene?). They allow ideological purity to become more important than effectiveness and influence. In my book I write about the Ideologue – a person who is loyal to principle and sincere but who literally can’t think on their feet, make any kind of necessary compromise in negotiation, and who mistakes a change in language with a deviation in core principles of belief or ‘dumbing down.’ In addition we all have insecurities and I find that many of us use book knowledge as a way to keep people from seeing our own imperfections, flaws, and shortcomings. In a sense, ‘being smart’ is a shield that keeps some of us from ‘being real.’ It also is the only way some of us would get attention, admiration or respect, we mistakenly feel. If conscious artists would develop their personalities or let more of it show, their popularity would increase.

And here, again we run into a problem because it appears that the ‘conscious’ audience actually demands that you remain unpopular in order to be authentic. It is crazy – the less people that claim you, the more ‘real’ you are in the eyes of the supposed ‘alternative,’ ‘underground,’ artistic fan base. Many in the underground rap community write to me to tell me I have failed to mention a particular artist they like (but which very few people have heard of). Many of these artists have been around for years and their following has not grown beyond the underground circuit. What I realize more and more each year is that the ‘underground’ wants to be just that – not in the mainstream (and that is fine if they can accept that means their audience will not grow beyond a critical mass) and because of that any ‘conscious’ artist who seeks their constant approval has to accept the marketing limitations that come with the endorsement and association.

A lot of left leaning conscious emcees like to quote Karl Marx but have never actually read him which does a grave disservice to their cause

It’s All Political Now (Eff The Science of Business). This is something I have been building on for years – the influence that mistaken or limited interpretations of Karl Marx (and the terminology he popularized) have had in causing many progressives and socialists to confuse historic and natural economic, business and trade and commercial activity with ‘capitalism.’ My personal litmus test for this continues – out of all of the great communist influenced opinion leaders of our generation in Hip-Hop that I have met or built with not one of them has really read the Das Kapital or Capital book series of Karl Marx. I don’t blame them, it is thousands of pages worth of material and my engagement of Volumes I and III has taken place over months and years, not days and weeks. But I’m sorry, with all due respect to the sincere Leftist – reading the history of the Cuban revolution, watching independently-produced documentaries, listening to progressive talk shows, and having a basic acquaintance with the terminology of the Communist Manifesto is great but it does not automatically make you an economic historian or anthropologist capable of explaining every aspect of reality and human cooperation through the lens of socialism. Entrepreneurial activity and economic pioneering (which is actually what produced Hip-Hop) is rooted in universal order and natural law and has nothing to do with any ‘isms’ – capitalism or socialism. This confusion actually causes conscious artists to disrespect their natural ally – economic understanding which would inform their lyrics and business moves.

As many of you know I have written about this in a controversial piece called ‘The “Consciousness” Of Wu-Tang Clan, Suge Knight and Jay-Z”(http://www.blackelectorate.com/articles.asp?ID=529). Rallies, elections and protests are important, but they don’t substitute for an economic blueprint.

‘They’ Did It To Me (‘So What That I Have No Swagger Or Progressive Business Team …I’m Not Hot Because The ‘Industry’ Is Against Me’). This is the factor that hurts the most to write. But I must be honest. Most conscious artists because they lack a full economic consciousness and disrespect the science of marketing too often blame the corporate industry establishment for their own shortcomings. Don’t get me wrong I know the 10% is real (no one over the last decade has written more about the hidden hand and COINTELPRO-like activity in rap than me), and that there is a ceiling that exists for artists willing to speak certain truths and associate with certain truth-tellers and revolutionaries but anything that you are a reaction to, in fact, controls you. And many conscious artists are ‘controlled’ or limited by their fascination and resentment of the success of ‘mainstream’ corporate America-approved artists.

Take a look at what I wrote about the music industry’s power pyramid and ‘caste system’ (http://www.cedricmuhammad.com/chris-lighty-is-not-a-sell-out-the-music-industry-caste-system-hip-hoppreneur-%E2%84%A2-commentary-november-4-2009/) where I explain that in certain ways conscious artists are unsuccessful not because anyone is stopping them but because their career planning betrays their lyrical content and they fail to build the kind of team infrastructure that will market them in a way that is in harmony and alignment with their marketplace brand-reputation-image as ‘political,’ ‘conscious,’ or ‘positive.’ It is the most backward thing to see so-called revolutionary artists who rail against the industry publicly trying to attract the kind of business team that the mainstream corporate-approved artist has. It is as if the conscious artist lives in a world that only exists in their head. They preach independence but won’t get a lawyer or business manager from outside of the music industry. They claim to have an ‘alternative’ image but won’t hire a publicist who does ‘non-industry’ things. They rap about Africa but have no real on the ground connection in Africa. The street and mainstream artist is partially more successful than the conscious one because their creative work; brand-image-reputation and team infrastructure are in better harmony and alignment.

They preach independence but won’t get a lawyer or business manager from outside of the music industry. They claim to have an ‘alternative’ image but won’t hire a publicist who does ‘non-industry’ things. They rap about Africa but have no real on the ground connection in Africa. The street and mainstream artist is partially more successful than the conscious one because their creative work; brand-image-reputation and team infrastructure are in better harmony and alignment.

Mos def

Made In America. (The U.S.-Based Conscious MC Lacks Music, Message or Model To Attract The World). On a musical level, of the major ‘conscious’ artists, Mos Def is the exception here. Keep your eyes on him as he continues to experiment with new sounds that will expand his appeal abroad. But for the most part, consciousness in rap, from a creative standpoint has become a religion that has not updated its sermons to be equal to the time. Its political message has not been updated. In other words, if I don’t live in America the conscious artist has very little to offer me that I can relate to. This reality is why the most interesting, progressive, radical and innovative political rap is coming from regions of the world outside of the U.S. – Central and South America, Palestine, and Africa – who claim to inherit the legacy of the conscious rap of America from the latter 80s and early 90s. And these artists aren’t just quoting political leaders like we do here – they are influencing them, even entire elections like in places like Senegal. In Palestine rap is resistance. And that’s the difference, much of the conscious rap here is non-threatening and really establishment-oriented, as much as it tries to act like it is not.

When American progressives hear an album like ‘Distant Relatives’ by Nas and Damian Marley they are ‘inspired’ and encouraged and brag about the album on an artistic level but it doesn’t inform or engage any existing movement that they or ‘conscious’ U.S.-based artists are at the vanguard of; while for those who are part of movements pertaining to real issues in Africa, like Brian Chitundu, the Interim National Youth Director, of The Citizens Democratic Party of Zambia [www.thecitizensdemocraticparty.com], ‘Distant Relatives’ is a soundtrack for the work they are already doing to change the political climate of a nation that Britain once colonized. In a sense the American-based political rap community is romanticizing over revolution more than they are doing revolutionary work. It is why I have said that I feel in fact America has colonized rap, and the rest of the world is now liberating it (http://www.cedricmuhammad.com/what%E2%80%99s-next-for-hip-hop-the-end-of-its-american-colonization/). Here the disconnect between the intellectual and scholar whom the American conscious rapper claims and the struggle that the conscious rapper abroad (and even the street rapper based here) lives is apparent. One of my favorite readers from Africa (who also studies entrepreneurship and anthropology) – ‘Dalitso’ – made this point in relation to what I wrote last week regarding Rick Ross:

“One of my biggest critiques with alot of “Hip Hop intellectuals” is they don’t understand that the [street] artist’s message (which like you show in your article) is a [threat or] source of concern for larger America. Just the same way public intellectuals are the voice of “educated society,” artists are the voice for us – the wretched of the earth. There is a difference between an artist struggling to get out the environment and a scholar struggling to graduate. They both rep their alma mater when they ‘graduate’ but neither can understand the other until they suspend their beliefs and critical listening to the realities that they have each endured to become who they are without condescending attitudes, that’s why few artist can cross over or few “hip hop intellectuals” can be taken seriously – neither has a monopoly of truth. But when knowledge from both sides of the spectrum can be pooled together it creates multiple avenues of addressing an issue and most importantly like Jazz its movement music.”

My personal experience shows me that many more of the youth, street artists, gang members and artists from overseas are open to ‘listening to realities’ without ‘condescending attitudes,’ than the American-based ‘conscious’ artists and intellectuals who act like they know it all, and can be very close-minded. And largely because of that attitude and willingness to learn new languages, these other artists are becoming more and more relevant and influential.

My personal experience shows me that many more of the youth, street artists, gang members and artists from overseas are open to ‘listening to realities’ without ‘condescending attitudes,’ than the American-based ‘conscious’ artists and intellectuals who act like they know it all, and can be very close-minded. And largely because of that attitude and willingness to learn new languages, these other artists are becoming more and more relevant and influential.

My experience is that the ‘conscious’ rapper despite their inability to build a mass following, rather than introspectively asking ‘what can I learn and do in order to be more effective?‘ very often arrogantly looks down upon those who may have less information than them (in terms of academic education, political history, and current events) but who are much more effective at reaching the masses through symbolism, music quality, personality, and the creation of caricatures and charachters.

What matters now, in 2010, is not that you are ‘conscious,’ ‘progressive,’ or ‘political’ in terms of knowledge but that you are relevant with a personality that can transcend language, borders, creed, class and color. When progressives criticize President Barack Obama purely on political policy grounds and remain confused as to why he is so popular and appealing around the world, even though he is the American Emperor, it is because they don’t understand that he is reaching people with a personality and cultural identity that is universal and cosmopolitan. It is the same thing that made Muhammad Ali popular and claimed by the world, and what makes Minister Farrakhan a respected international leader. They authentically – through cultural kinship, religion, or careful use of language represent an identity broader than their current place of residence. If political and ‘conscious’ artists would suspend their knee-jerk ideological criticism of the President long enough (again, this is one of their hang-ups – ideology matters more than strategy), they would see that the Personality of Barack Hussein Obama is what the conscious artist needs, from a marketing standpoint.

As I wrote in “Barack Obama: Diasporic Personality, Cultural Entrepreneur, American Emperor” (http://www.cedricmuhammad.com/%E2%80%9Cbarack-obama-diasporic-personality-cultural-entrepreneur-american-emperor%E2%80%9D-remarks-given-by-cedric-muhammad-at-the-george-mason-university-%E2%80%98fall-for-the-book%E2%80%99-fest/):

“He’s mobile, cosmopolitan, sophisticated and a risk-taker. He embraces change – both technological and demographic. He deftly moves in and out of different perspectives and civilizations, which by the way dovetails nicely with the Aloha Spirit (which he absorbed in Hawaii, where he did middle and high school). His socialization skills and ability to adapt to different cultures is uncanny. But this also makes him the ultimate challenge to rigid forms of identity (tribe, race, religion, ethnicity, political ideology, partisanship, and nationalism). He is foremost a universalist. He resists and pushes back any time he is pigeon-holed or stereotyped.”

Here again, Immortal Technique and Dead Prez stand out.

Immortal Technique

Immortal Technique – who is originally from Peru is as capable of building on the block in Harlem, as he is speaking at Saviours’ Day (which he did in 2008) as he is appearing on international channel Russia Today (giving an interview after the flotilla incident which brought Israel and Turkey at odds publicly:http://www.youtube.com/watch?v=L9WCrIWLKBY). And peep how Immortal does so while rocking his official T-shirt and a Yankees hat! His brand-image-reputation are in alignment.

And who but M1 of Dead Prez could be at the center of something as powerful as the Ni Wakati project (http://www.youtube.com/watch?v=WVW4cTnpa6I) produced by the brilliant Michael Wanguhu that brought together rappers from East Africa and America for a real on-the-ground connection and collaboration? Although Dead Prez are socialist in political ideology, they respect something that I believe is even more powerful – cultural kinship. And I hope we will never forget the leadership and ‘creative risk’ Dead Prez took in doing a song with Jay-Z (the artist the conscious rap community may love to hate more than any other). I was one of the few willing to publicly praise them for ‘Hell Yeah’ (Pimp The System) remix (http://www.blackelectorate.com/articles.asp?ID=1087) and I still rock the hot ‘Revolutionary But Gangsta’ T-shirt in support.

It will be Diasporic personalities who are political but also marketable, like Queen Yonasda and Ana Tijoux, that will make it hot – in both the states and abroad this decade (http://allhiphop.com/stories/editorial/archive/2010/05/11/22213013.aspx).

http://www.youtube.com/watch?v=g_9Y-4PaU2U

It is so sad to see, at times, how superficial the conscious rap community can be.
Their/our narrow-mindedness actually repels artists more than it attracts them or influences them to say and do better.

If the decline of the conscious-based MC in America is to be stopped it will begin not with blaming a platinum artist or ‘the system.’

It must start with an honest look in the mirror.

Cedric Muhammad is a business consultant, political strategist, and monetary economist. He’s a former GM of Wu-Tang Management and currently a Member of the African Union’s First Congress of African Economists. Cedric’s the Founder of the economic information service Africa PreBrief (http://africaprebrief.com/) and author of ‘The Entrepreneurial Secret’ (http://theEsecret.com/). He can be contacted via e-mail at: cedric(at)cmcap.com

original story: http://www.cedricmuhammad.com/the-decline-of-the-conscious-mc-can-it-be-stopped/

It’s NO LONGER Smart to be DUMB!

Filed Under: 2010 Daily News, Political articles Tagged With: An Important Sobering Article: The Decline Of The Conscious MC-Can It Be Stopped?, Ana Tijoux, Cedric Muhammad, Cointel-pro, Communist Manifesto, Conscious Hip Hop, David Banner, Dead Prez, Hip Hop intellectuals, Hip Hop scholar, Immortal technique, mos def, Muhammad Ali, The Citizens Democratic Party of Zambia, The Decline Of The Conscious MC: Can It Be Stopped?

Breakdown FM: Wall Street Gangsters, Wu-Tang Clan-Why Cash Really Rules Everything Around You

October 22, 2009 By mrDaveyd

DaveyD-leather-225 Does Cash Rule Everything Around Me? From the looks of things yes. We sat down and spoke with former Wu-Tang Clan manager and author/entrepreneur Cedric Muhammad of Blackelectorate.com to have an indpeth discussion about today’s current economic situation and how its impacting us.

We started off talking about the recent decision by investment bank Goldman Sachs to give out more than 20 Billion dollars in bonuses, after being bailed out with tax payer money. How could such a thing happen? Where’s the public outrage?

Cedric explains that the US is no longer a democracy but a plutocracy where a wealthy few rule everything. The blatant disregard by Goldman Sachs to the American public underscores the the type of control investment bankers have over all aspects of our lives here in America. Cedric explains that it’s almost impossible for President Obama to do anything because his seat in the White House is strictly controlled. As was spoken about in Michael Moore‘s movie ‘Capitalism‘, a coup has taken place in this country and we are sadly seeing it play out before our eyes.

Cedric Muhammad talks about this economic coup in our interview. His analysis is compelling. We talk in great detail how and why this happened. We also talk about how it is foolish to see this as a Democrat vs Republican situation. Cedric talks about how outfits like Goldman Sachs have members of both parties on the payroll.

We talk about the significance of Oliver Williamson of UC-Berkeley and him winning this years economic Noble Prize. We talk about the emerging economic models that exist in various ethnic communities and how they have allowed groups of people to prosper even in rough economic times. Cedric speaks about the important model set forth by Rza and his Wu-Tang Clan and why we should pay close attention and even mimic them. We also talk about how the Hip Hop political movement has allowed itself to be severely compromised and co-opted.

This is an incredible and enlightening interview. It’s probably one of the most important ones you can listen to…click the link below to hear.

http://odeo.com/episodes/25319912-Wall-Street-Gangsters-How-Cash-Really-Does-Rule-Interview-w-Cedric-Muhammad

As you listen to the podcast peep out this insightful article that further explains the points raised by Cedric Muhammad..

Economic Governance: The Organization Of Cooperation: Why Wu-Tang Clan and The Honorable Elijah Muhammad Could Have Won The 2009 Nobel Prize In Economics

(Cedricmuhammad.com) Of all of the chapters that I wrote in my new three volume book series on entrepreneurship, The Entrepreneurial Secret (http://www.theEsecret.com/) the one that gave me the most anxiety from a technical standpoint was Chapter 4 of Volume I, entitled, “The Secret of Capital And The Business Firm.” It is a chapter that makes some strong assertions, such as the economics profession does not understand what capital is; money is one of the least of all of the forms of capital; entrepreneurs should understand that a business firm is actually a society; and that 90% of Black businesses have no more than a single paid employee partly because the science of what a business firm is, and legal forms of business that encase it (i.e. sole proprietorships, partnerships, and corporations) were never taught to Black Americans, or worse, denied to them.

My anxiety stems from the fact that we the people have been made so ignorant, miseducated, and misled on economic matters that it is difficult to get into certain economic truths without being misunderstood or mislabeled. As I wrote in the Preface to The Entrepreneurial Secret this is due to the fact that the public school system does not teach economics, the news media cannot explain it properly and the book publishing industry divides and compartmentalizes knowledge in the field into too many categories. On another level, we’ve been systematically denied certain elements of business knowledge and funneled into a phony capitalism versus communism shouting match that produces more debate and distraction than development.

In my book I make the case that macroeconomic policy does matter, and that a debate over market forces and State control of an economy is important (I devote an entire chapter to this discussion). But a central theme of my book is that what leads to wealth creation, economic development and growth is self-improvement, enlightened self-interest, cultural traditions of pooling money, the proper use of the business firm, and the standardization of a business organization so that it does not depend upon a single personality. None of these five elements fits neatly into the mainstream economic profession nor does it revolve around the Free Market versus State debate that dominates the capitalism-socialism paradigm.

In The Entrepreneurial Secret I define the business firm as a form of society, a social institution, not to be defined by a ‘State’ or ‘Free Market.’ It is a vehicle where human beings unite, pool resources and capital, organize them in hierarchical structures and make decisions, even on how to resolve conflict. In that sense I see the business organization not unlike a ‘gang’, sorority, tribe, or religious order.

Oliver Williamson

And this is why I was so impressed with the fact that Professor Oliver Williamson of California, Berkeley was a co-winner of the Nobel Prize in Economics (http://nobelprizelaureates/2009/press.html). You see Professor Williamson’s view of the firm is similar to the one I express in my book. Here is the most relevant portion of the official press release announcing his victory:

“Economic transactions take place not only in markets, but also within firms, associations, households, and agencies. Whereas economic theory has comprehensively illuminated the virtues and limitations of markets, it has traditionally paid less attention to other institutional arrangements…. Oliver Williamson has argued that markets and hierarchical organizations, such as firms, represent alternative governance structures which differ in their approaches to resolving conflicts of interest. The drawback of markets is that they often entail haggling and disagreement. The drawback of firms is that authority, which mitigates contention, can be abused. Competitive markets work relatively well because buyers and sellers can turn to other trading partners in case of dissent. But when market competition is limited, firms are better suited for conflict resolution than markets. A key prediction of Williamson’s theory, which has also been supported empirically, is therefore that the propensity of economic agents to conduct their transactions inside the boundaries of a firm increases along with the relationship-specific features of their assets.”

The Royal Swedish Academy of Sciences, which awards the Sveriges Riksbank Prize in Economic Sciences in Memory of Alfred Nobel, uses a phrase, ‘relationship-specific.’ The untapped area in the field of economics which remains is that which revolves around ‘relationship-specific’ activity, and how such factors like love, envy, ambition and trust influence trade and commerce. Yet, the profession is only now getting around to how firms, associations, households and agencies are formed and impacted as a result of these forces. That Professor Williamson is being recognized for his work which looks at economic reality outside of central governments and markets is a positive sign.

On an empirical, conceptual, and anecdotal level my recognition of how people unite, resources are ordered, capital is arranged, and decisions are made in the firm is influenced by the teachings of the Honorable Elijah Muhammad and my experience as General Manager of Wu-Tang Management. The economic blueprint of the Honorable Elijah Muhammad, in its entrepreneurial aspect (contained in the 1965 book Message To The Black Man) encourages, “If there are six or eight Muslims with knowledge and experience of the grocery business – pool your knowledge, open a grocery store – and you work collectively and harmoniously, Allah will bless you with success. If there are those with knowledge of dressmaking, merchandising, trades, maintenance – pool such knowledge….help to make jobs for your own kind. Take a lesson from the Chinese and Japanese and go give employment and assistance to your own kind when they are in need. This is the first law of nature…”

To the Honorable Elijah Muhammad the business firm is a society within a society. The connection of his insights and reference to the ethnic communities that have been foremost in wealth creation around the world and in the United States as immigrant groups is worthy of deep study.

When I was interacting with Wu-Tang Clan (beginning in 1993 when I met them as a young concert promoter still in college) or serving as part of management for over a two-year period in the 1990s I saw these principles practiced at a high level, and was involved in helping to execute them (along with an incredible four-man combination of Mook, Divine, RZA and Power) on the group’s behalf inside of the music industry and outside of it.

I will argue the unparalleled achievements and example of Wu Tang with anyone.

There has never been a greater model for community and economic development – in a business context – provided by any single artist or group in the music business than that given by the Clan. Perhaps one day someone will make a detailed study on this subject.

One of the reasons for the group’s success was that it was never burdened by any superficial ideological debates. Everyone was clear on what the goal was and in many ways we embodied the first law of nature – self preservation – and building wealth according to the cultural kinship systems of the Chinese, Jewish, and African traditions for example, where individuals support a collective and the collective finances the individual (entrepreneur). We made mistakes and errors, and fell victim to the same vices and imperfections that we all struggle with, but at its highest level of operation, there has been nothing like the Clan, before or since.

I touch on some enlightening and hilarious anecdotes in The Entrepreneurial Secret.

In my book’s chapter on capital and the business firm I devote 12 pages to different arguments over the nature of the business firm. What I present kisses and embraces certain aspects of Nobel Economist Professor Williamson’s work which makes clear that the government and market are quite often not the place where real economic activity takes place. It is in informal institutions like associations and households where transactions take place, often without money changing hands. Just look at a family and how many ‘trades’ take place without cash being involved. Consider the New York-based Jewish diamond trade where contracts in the millions of dollars are sealed only with a handshake and a Hebrew-Yiddish greeting of ‘mazel and brucha’ (luck and blessing).

Yet, despite overwhelming evidence, the economics profession looks down upon kinship systems (families, tribes, ethnic groups, ‘gangs,’ religious groups) that often have more trust than formal systems dominated by markets and central authorities. The obvious truth that trust is a form of wealth, seems to be a fact that Western economists only seem willing to acknowledge after stock market crashes and financial panics.

What the work of Nobel Economist Oliver Williamson makes clear is that whether markets or strong governments exist or not there are always benefits and a principal role for what he terms ‘private ordering’ – the lead role of associations, households, firms and agencies in undertaking economic activity.

Every ethnic trading network and group savings association in the world already knew this.

Wu-Tang Clan; The estimated $80 million Muslim ‘economic empire’ of the Nation of Islam prior to 1975; Jamaican ‘partners;’ Ethiopian ‘ekoub;’ Jewish aktsiyes;’ and the Chinese system of doing business known as ‘guanxi’ are not created by governments or ‘markets,’ they are relationship-specific institutions that emerge culturally and defy the understanding and logic of the economics profession.

Rza

As I write in my book, Wu-Tang really was a clan and RZA was our head. We were the product of an entrepreneurial vision, voluntary association, kinship system (everyone involved was either a blood relative, childhood friend or serious student of Islam and universal principles). There were elite inner circle elements to the decision-making, and others that were more ‘democratic’ and still more that were authoritarian. Only an understanding of the nuances of the theory of the business firm (and not how markets or central governments work) and the hierarchy it creates or enables would explain how and why the Clan achieved so much.

In an interesting interview with CNN to promote his new book, The Tao Of Wu, CNN and RZA have the following exchange:

CNN: You say you ran Wu-Tang like a dictatorship in its first five years. I know you and Raekwon have had creative differences and Ghostface Killah is suing you over royalties. Ever regret the dictatorship approach?

RZA: I don’t regret it because it got us to the power we are. …To me, in the beginning, the dictatorship led us to such a strong foundation that even though Wu-Tang seemed to be crumbling, it didn’t fall because of the root foundation of one man’s idea. But now as it’s coming back together — we’re living in the twilight age of it right now — it’s still surviving because of the democracy of it.

****

RZA’s assessment of the drawbacks but undeniable progress made with a ‘dictatorship’ would enlighten those who don’t understand why certain societies and electorates turn to authoritarian rulers with egalitarian messages (Venezuela, Cuba) or dominant spiritual leaders (Iran, Vatican, Nation of Islam). Much of it has to do with the shortcomings of ‘markets’ and ‘governments,’ and the ability of special human beings to inspire the greatest forms of economic wealth – trust and love – which always decrease transaction costs and provide a foundation for development.

On another level the theory of the firm explains why the entrepreneur is often more efficient than ‘markets’ at gathering, allocating, and determining the use of resources.

For the valuable role of direction and execution of resources that they fulfill, as well as the risk-taking they assume, there is always a dispute within groups (filled with envy, ambition, and structured on hierarchy) over how much of a ‘profit,’ reward, or compensation the leader or head should enjoy as opposed to the rest of the body.

In my book I make clear why I believe the word ‘entrepreneur’ is more accurate and appropriate than ‘dictator,’ to describe the dominant leader.

Yesterday, from Memphis, Tennessee, the Honorable Minister Louis Farrakhan, in an address commemorating the 14th anniversary of the Million Man March (http://noi.org/) represented one of the deeper regions of the Teachings of Honorable Elijah Muhammad connecting the structure and function of the human body, the origin of the universe, and the next stage of community and economic development that should take place in Black America, wasted urban areas, and distressed rural areas.

That anatomy, physiology, and universal order should enter a discussion on economics may be strange to some, but the deeper economists think into reality and study societies and their basic unit, the individual human being, the more they will see the unity of that which previously seemed disconnected.

I don’t believe in revisionist history, but the deeper economists get into anthropology, theology, cosmology, astronomy, anatomy and physiology – and I can’t leave out botany and zoology – the more likely they are to broaden the pool of likely recipients for the highest prize in the profession.

The Wu-Tang Clan and the Honorable Elijah Muhammad absolutely practice what Nobel Prize Economists Elinor Ostrom and Oliver E. Williamson have studied, “Economic Governance: The Organization of Cooperation.”

One day it will be acknowledged, if I have anything to do with it.

Cedric Muhammad
http://cedricmuhammad.com/
October 19, 2009

Return to Davey D’s Hip Hop Corner

Filed Under: 2009-Daily Hip Hop News, Breakdown FM Interviews, Southern Shift Tagged With: Breakdown FM: Wall Street Gangsters, Cedric Muhammad, Economic Coup, Entreprenuerial Secret, Goldman Sachs, Professor Oliver Williamson, The Secret of Capital And The Business Firm., Why Cash Rules Everything & the Wu-Tang Clan, Wu-Tang Clan-Why Cash Really Rules Everything Around You

Rap COINTELPRO VIII pt2 Jada vs Beanie and Suge’s Release

August 17, 2001 By mrDaveyd

Cedric Muhammad

Underneath the braggadocio, hubris and arrogance in the comments that Hip-Hop artists direct at one another in the media, is a mixture of unwarranted confidence, greed, vanity, insecurity and envy and jealousy. The vast majority of the aforementioned characteristics have little or no redeeming qualities at all. They have led to the shedding of blood, lying, robbery, slander, libel, and the general disrespect for others. Most rappers, even in their creative works, speak in great detail, in a negative way, of the destruction that these human traits often cause. It is obvious from just a cursory sampling of the most popular rap songs, that Hip-Hop artists are intimately acquainted with the dark side of human nature and frequently criticize what they witness and experience in this area. Artists have proven that they are capable of identifying and condemning these qualities. If that is the case, and it is, then why are these character flaws so pervasive in the music business and among entertainers, in general? And more importantly, why are they so visibly displayed in the public conduct of Hip-Hop artists?

At a certain point Hip-Hop artists seem to recognize that even within the music industry, these character flaws not only put their lives in danger, but also pose a serious threat to their careers and business enterprises. However, by the time artists honestly admit that their lives, careers and business enterprises are threatened by their personal imperfections and those of others, and the manner in which they manifest themselves in the music business, many artists think that it is “too late” to alter the image that has been crafted for them, or to change their public conduct, even, the very words that they use in public and the tone and spirit in which they convey those words.

A large part of the inertia, resistance and fear that keeps artists from evolving toward greater consciousness and conduct comes from, or is directly connected to, the pressure and temptation to use the media for personal and professional gain.

Jadakiss

It is this dynamic which we have focused on in recent weeks in both the end of the Beanie Sigel-Jadakiss “problem” and the release of Suge Knight from jail.

In the Beanie Sigel-Jadakiss problem we identified how, regardless to the conduct of the reporter and media publication involved, both artists attempted to use the controversy stemming from the rumors, perceptions and idea that they were feuding with one another, to sell records. We are not sure how it all evolved, but at a certain point, both artists decided to use the controversy for personal and professional gain. This is dangerous, and eventually that fact became obvious to both artists and to others like Russell Simmons, who decided that enough was enough and stepped in to encourage a reconciliation of both talented artists, who are both increasingly wealthy Black men, under 30 years of age.

In the case of Suge Knight we watched, hoping for the best, as Suge Knight gave several interviews prior to and immediately upon his release from jail. We recognized right away what was happening. Although he knew of the great risks involved and what some mischief-makers in the media would do with his words, Suge Knight made a conscious decision to use the media for personal and professional gain, partly to clear the air on a variety of issues, but also to promote his record label. But as we watched, at different moments of the various interviews that Suge Knight did for media outlets, we could literally see how Suge was walking an apparently impossible tightrope, laid out for him by the interviewer and his own motivations and strategy. He did pretty well trying to avoid the obvious and not-so obvious minefields in the loaded questions hurled his way by interviewers, who do not give a damn about Hip-Hop, but we believe he made some mistakes that can and probably will be used against him and the entire Hip-Hop community, in the future.

Placeholder-KRS-Green It can certainly be said that competition and frank verbal communication are what make Hip-Hop, in certain ways, very special. There is a tremendous value placed upon the full expression of the individual in Hip-Hop, which is admirable. And there is a constant attention placed upon the improvement of one’s skills and the mastering of their craft. Comparisons play a big part in this. It is hard to not watch or read a Hip-Hop interview where one artist is not compared to another. Comparisons are not inherently bad. Neither is competition. But the same can not be said for invidious comparisons which now seem to be increasingly common in Hip-Hop and in the positioning of Hip-Hop artists in alternative, Black and music industry-related media and particularly in the mainstream media, which serves an audience that is unfamiliar with the nuances of the Hip-Hop community and industry. That is why it was so easy for those who get their picture of Hip-Hop from the mainstream media to be deceived into believing that the murders of Biggie and Tupac were the result of an East Coast/West Coast rap feud – a picture that was largely created by provocative articles written in Hip-Hop publications fed by the actual words of Hip-Hop artists.

Yet and still, after having seen how the media handles comparisons and the words of artists, Hip-Hop artist after Hip-Hop artist, as well as executives, continue to feel a need to talk to media outlets that have demonstrated in the past, that they do not value the lives of the members of the Hip-Hop community nor the words of the leading figures in that community. Indeed, some even feel the need to bring hostile or at least, unfriendly media outlets into private Hip-Hop settings, supposedly to make sure that “the message gets out”. We noticed this at the recent Hip-Hop summit where WNBC, NY Post and CNN reporters were given preferential treatment and access to Summit participants over Black, alternative and Hip-Hop media because of the supposed need for “exposure”. What good is exposure, we thought, if it is distorted?

Our hope is that Hip-Hop will pass this current trial that it is undergoing by mastering the manner in which members of the community communicate with one another. While we all have imperfections, we sincerely hope that artists, writers, DJs, radio morning show hosts and rap video hosts will resist the temptation to use various forums for narrow personal and professional gain, at the expense of others in the Hip-Hop community. The mere fact that we have to use others, outside of the community, in order to learn about one another in the first place, should provide a sober reminder of the tremendous vulnerabilities that exist within the community and which make us all susceptible to the evil efforts of others who would very much like to see Hip-Hop destroyed, once and for all.

There is no need to help that plan along simply because we could not control our tongue(s).

Here is a portion of the Bible, which provides insight and instruction regarding the power of our mouths to build and destroy.

It is certainly food for thought for those of us who reach hundreds, thousands and millions with our pens and our tongues. It also is especially relevant to artists who are victims of invidious comparisons and their own “need” to use the media to further themselves and their careers in a shortsighted manner.

James 3- 4:1-3 from the New American Standard Version:

James 3
1
Not many of you should presume to be teachers, my brothers, because you know that we who teach will be judged more strictly.
2
We all stumble in many ways. If anyone is never at fault in what he says, he is a perfect man, able to keep his whole body in check.
3
When we put bits into the mouths of horses to make them obey us, we can turn the whole animal.
4
Or take ships as an example. Although they are so large and are driven by strong winds, they are steered by a very small rudder wherever the pilot wants to go.
5
Likewise the tongue is a small part of the body, but it makes great boasts. Consider what a great forest is set on fire by a small spark.
6
The tongue also is a fire, a world of evil among the parts of the body. It corrupts the whole person, sets the whole course of his life on fire, and is itself set on fire by hell.
7
All kinds of animals, birds, reptiles and creatures of the sea are being tamed and have been tamed by man,
8
but no man can tame the tongue. It is a restless evil, full of deadly poison.
9
With the tongue we praise our Lord and Father, and with it we curse men, who have been made in God’s likeness.
10
Out of the same mouth come praise and cursing. My brothers, this should not be.
11
Can both fresh water and salt water flow from the same spring?
12
My brothers, can a fig tree bear olives, or a grapevine bear figs? Neither can a salt spring produce fresh water.
13
Who is wise and understanding among you? Let him show it by his good life, by deeds done in the humility that comes from wisdom.
14
But if you harbor bitter envy and selfish ambition in your hearts, do not boast about it or deny the truth.
15
Such “wisdom” does not come down from heaven but is earthly, unspiritual, of the devil.
16
For where you have envy and selfish ambition, there you find disorder and every evil practice.
17
But the wisdom that comes from heaven is first of all pure; then peace-loving, considerate, submissive, full of mercy and good fruit, impartial and sincere.
18
Peacemakers who sow in peace raise a harvest of righteousness.

James 4
1
What is the source of quarrels and conflicts among you? Is not the source your pleasures that wage war in your members?
2
You lust and do not have; so you commit murder. You are envious and cannot obtain; so you fight and quarrel. You do not have because you do not ask.
3
You ask and do not receive, because you ask with wrong motives, so that you may spend it on your pleasures.

www.blackelectorate.com/a…asp?ID=407

Cedric Muhammad

Friday, August 17, 2001

Filed Under: archive articles, Rap Cointelpro Tagged With: Biggie, Cedric Muhammad, Hip Hop, rap cointelpro, Russell Simmons, Suge, suge Knight

Rap COINTELPRO Pt VI: Is The Murder of Biggie Setting Up a Civil War In Hip-Hop ?

July 13, 2001 By mrDaveyd

Cedric Muhammad

Note: The Rolling Stone.com online version of the “The Murder Of Notorious B.I.G.” is only an excerpt from the full article which appears in the hard copy

After reading the feature article in the June 7th issue of Rolling Stone Magazine, “The Murder Of The Notorious B.I.G.” we suggest that the Hip-Hop community and industry brace itself for some serious mischief making. The publication of this article and the time of its appearance, which coincides with the news that the NYPD has Hip-Hop artists under surveillance has us just about convinced that something sinister is going on with the FBI, LAPD, NYPD and media outlets that looks just like the COINTELPRO of the 1960s and 70s and which may manifest violently this summer. In light of recent events, the stage has now been set, enough seeds have been dropped and a cover story written for a civil war in Hip-Hop and inside of the Black and Latino community that would involve East Coast Rappers, West Coast rappers, Bloods, Crips, Latin Kings and the Nation of Islam and which would serve the ultimate objective of the U.S. government’s phony war on drugs and gangs.

By far, this article is the most extensive, in terms of innuendo, rumor-mongering and potentially slander and libel that we have seen since we began writing this series about our belief that the Hip-Hop community and industry are the object of a destabilizing effort that bears a startling resemblance to the FBI-coordinated efforts to discredit, neutralize and destabilize Black organizations. In that effort everything from surveillance, informants, planted evidence and newspaper articles were used to destroy organizations and their reputations from within and in the court of public opinion.

Det Russell Poole

This article in Rolling Stone, which relies heavily upon the account of a single LAPD officer, Russell Poole, works to pin the murder of the Notorious B.I.G. on Suge Knight and a group of LAPD officers. This is the second time that a media outlet has attempted to do this. The first effort began in early 1999 but was unsuccessful in large part due to articles printed in Brill’s Content and the work of another reporter who writes for the LA Times who poked numerous holes in the theory.

SugeKnight-cigar-225 The Rolling Stone article, even though it acknowledges that the first effort to link Suge Knight with the murder of Biggie had some very serious problems with it spends not so much as a whole paragraph detailing how Brill’s Content and the second LA Times reporter poked wholes in the initial theory. Instead, Rolling Stone writer Randall Sullivan spends tens of thousands of words dropping seeds and speculating that Suge Knight, some LAPD officers and an individual named Amir Muhammad were involved in the murder of Biggie.

Sullivan very deviously and slyly works to even connect the murder with the Nation Of Islam, an effort that actually publicly began within hours of the shooting, by emphasizing the reports and police sketch indicating that the shooter wore a bow tie. Sullivan then states that Amir Muhammad and David Mack, one of the off-duty officers allegedly involved in the murder of Biggie, claimed to be Muslims.

Regardless to what their faith may be we find it especially peculiar that Sullivan and Rolling Stone, in thousands of words of writing, only make one reference to the second LA Times reporter who debunks the association of Amir Muhammad with the murder of Biggie. They only mention it briefly but do nothing to explain how the reporter saw through the loose reporting of his fellow reporter who first put in print the theory that Suge Knight, LAPD officers and Amir Muhammad were behind the shooting.

One of the more interesting things that comes out of the Rolling Stone article is that the reporter reveals how the government and the LAPD infiltrated Death Row Records as well as businesses connected with Suge Knight. They even make reference to a probe of Death Row Records and Suge Knight, which was/is being run out of the U.S. Justice Department.

But by far, the most interesting aspect to the story is that while it makes numerous efforts to pin the murder of Biggie on Suge Knight it drops some very peculiar information that seems to indicate that people way above Suge Knight and off-duty LA police officers have knowledge of who is actually behind Biggie’s murder.

Sullivan writes:

diddy flowers-225 “One week after Russell Poole took over the Biggie Smalls murder investigation, the media learned that as many as a dozen law-enforcement officers had been on the scene when Smalls was shot to death. Six cops had been working for Smalls that night. The rapper was being shadowed as well by an assortment of undercover officers from the New York Police Department and the Federal Bureau of Alcohol, Tobacco and Firearms. The New York cops believed that the same man who shot Tupac Shakur at Quad Studios had killed by one of their off-duty officers and might still be working for either Puffy Combs or Biggie Smalls. The ATF officers were part of a federal task force investigating allegations that employees of Death Row Records were involved in money laundering and the sale of stolen weapons.”

It is interesting that Sullivan leaves out the fact that the officers that followed Biggie’s car as he was killed were able to show members of Biggie’s entourage actual pictures of cars and individuals taken while they were following Biggie. That information shocked the members of Biggie’s entourage who were totally unaware that the government and NYPD cops were following them. This was reported in the LA Times, why didn’t Rolling Stone and Randall Sullivan indicate that in their article?

And why does Sullivan rely almost exclusively on information and sources within the LAPD when he knows that NYPD officers and ATF agents were following Biggie at the exact moment that he was shot? We think in light of that fact it would be incumbent on any reporter worth two cents to follow up that angle. If the NYPD and government agents had a birds’ eye view of Biggie’s murder why all of the emphasis on the LAPD?

LAPD Why would a supposedly enterprising reporter like Sullivan not work his investigation from the actual scene of the shooting? Why do we have so much information in his article about people at the party that Biggie attended before the shooting where “Muslim-looking” individuals and off-duty police officers connected to Death Row were seen, and so little information about the government agents and undercover NYPD officers following Biggie’s car when he was shot?

To ignore the scene of the crime as Sullivan does, when information is available, is a sign of horrific reporting, at best.

Unless… the Rolling Stone article is part of the cover story being written not by Rolling Stone but through Rolling Stone, by the government, with the help of editors and a willful or ignorant reporter, Randall Sullivan, to pin the murder of Biggie on Suge Knight, off-duty LAPD officers and others in order to serve a larger purpose with implications on the Hip-Hop and Black communities.

The FBI and CIA, for years, used reporters and editors to influence stories and even plant stories in mainstream media sources that were uncomplimentary to various groups.

Notorious BIG Diddy A basic reading of the story indicates that Sullivan directly or indirectly was fed information from people in the U.S. government who have been watching Death Row and Bad Boy Records and who work with the LAPD and NYPD. No one can reasonably refute that from the manner in which Sullivan quotes unnamed sources and weaves in information into his story that had to have been given to him by the government itself, or through others in touch with the FBI or Justice Department.

The most striking aspect of the article which makes us believe that the story at least has been crafted, is that after spending the entire emphasis on the article and tens of thousands of words on making the LAPD the entire focus of the article, Sullivan turns his attention to the reality that the FBI is now working on an effort with the help of a Los Angeles jail inmate to connect Suge Knight with the murder of Biggie. The effort is not lightweight, according to Sullivan.

Our question for Sullivan’s reporting is: if the FBI has been investigating Biggie’s murder all along, why does he place the entire emphasis of his story on the LAPD and its investigation of the murder?

Even Sullivan’s primary source, Russell Poole, who evidently has knowledge of the FBI’s investigation, is quoted by Sullivan as saying, “The FBI has something big cooking…”

David Mack LAPD

For Sullivan to leave out the NYPD, ATF, the Brill’s Content and LA Times articles which contradict the alleged Suge Knight, David Mack, Amir Muhammad connection with the murder of Biggie; and for Sullivan to leave out the FBI’s investigation into the murder, until the end of his lengthy piece, results in his writing and willful omissions fitting rather nicely with whatever the FBI is “cooking”.

Why is all of this information coming out now, on the eve of Suge Knight’s release from jail?

Has the government, law enforcement agencies and informants in the Hip-Hop industry/community planned something even bigger that puts not even Suge Knight’s life in danger, upon his exit from jail, but the entire Hip-Hop community and sectors of the Black community?

What kind of atmosphere is being created by the Rolling Stone article, media outlets like Newsweek, MSNBC (particularly the Imus in the Morning Show) hyping up Suge Knight’s release from prison, and what of the hidden efforts of the Justice Department, FBI, ATF, NYPD and LAPD – including these law enforcement agencies’ ongoing investigations focusing on Hip-Hop artists and record labels?

How does all of this relate to the recent revelation that the NYPD now has the entire Hip-Hop community under surveillance? And what about the recent arrest of Jay-Z while under surveillance by the NYPD’s Street Crime Fighting Unit and his reported feud with Jayo Felony, a rapper from LA who is said to be a Crip?

Who would benefit from a war in the Black community involving East Coast rappers, West Coast Rappers, Suge Knight, Puffy, Bloods, Crips, and even the Nation Of Islam – all of whom, through innuendo, are made to look like criminals in the Rolling Stone piece?

Fasten your seat belts.

http://www.blackelectorate.com/articles.asp?ID=92

Cedric Muhammad

Friday, June 01, 2001

Filed Under: archive articles, Rap Cointelpro Tagged With: Biggie, Cedric Muhammad, David mack, Death Row Records, east west coast war, Federal Bureau of Investigation, LAPD, Los Angeles Police Department, Notorious B.I.G, rap cointelpro, Rolling Stone, Russell poole, suge Knight, Tupac Shakur

Rap COINTELPRO PtV…The NYPD Zeros In On Hip-Hop

April 27, 2001 By mrDaveyd

Cedric Muhammad

The news out this week that the New York Police Department (NYPD) has been specifically watching the Hip-Hop community should come as no surprise to those of you who are regular readers of our “Hip-Hop Fridays” columns. For nearly a year now, we have been writing about the documented relationship between the FBI, local law enforcement and the media in the 1960s and 1970s and comparing that relationship with its real and potential counterpart today, in reference to the Hip-Hop industry. Any skepticism for what we have been arguing should have been swept away by Jay-Z’s arrest two weeks ago, by the NYPD street crime unit, and by this week’s admission from the NYPD, that its gang intelligence unit has been monitoring Hip-Hop artists and the nightspots that they and their fans frequent.

Having said that we hope that no one is really so naïve as to believe the NYPD’s explanation of their activities, that they are doing what they are, to protect Hip-Hop artists. We argue to the contrary and believe that their explained efforts to “serve and protect” the Hip Hop industry is a cover story, or a front to really arrest Hip-Hop artists on gang, drug and racketeering charges. This has been their aim for some time now.

To be sure, there are certainly a few who may be guilty of crimes. But a full-scale monitoring of an entire industry, in its biggest city, is evidence of more than good police work. After all, if drugs and gangs are what they are after, the police would be better staking out raves, heavy metal concerts and the homes of Rock artists in search of heroin, cocaine and ecstasy drug use, as well as ties to organized crime.

Black-Panthers-Huey-Bobby-brown Far from an effort to save rap artists, the effort is an indication of a return to the FBI’s Counter Intelligence Program – a program that was aimed at organizations like the Nation Of Islam, the 5% Nation Of Islam, the Black Panthers, SCLC and SNCC. Interestingly, two of the biggest files that the FBI kept during COINTELPRO, were its files on the NOI and the 5 Percenters – the two communities that arguably have had more impact on Hip-Hop than any other.

So now, an entire music industry joins that rarified air, previously the domain of activist and progressive organizations and those concerned with political consciousness, social change and community development. Now, that we have established this fact, we hope that the Hip-Hop community in general, and Hip-Hop artists in particular, are prepared for what awaits them and what has already been happening to them. We hope that they are prepared for their telephone lines to be tapped; their vehicles and homes to be bugged; agents to be placed within their organizations; their friends turned into government informants; letters and communications attributed to them, and even their forged signatures attached to such, without their knowledge; conflicts started between rivals and competitors; lies and half-truths about them planted in various media outlets, and yes, even violent action taken against them.

Every one of these acts, and much, much more were performed in COINTELPRO, with the help of the FBI and local police departments. In order to get an idea of how extensive the FBI’s efforts were, and for evidence of what we have described above, one should visit the FBI’s reading room, in person or online. foia.fbi.gov/foiaindex.htm .

photo credit: Panther 1619

You maybe surprised at some of the names the FBI has in its file index as part of COINTELPRO or other surveillance programs. The list includes several celebrities www.fbi-files.com/celebrities/index.html who the Bureau feared could move the public in ways counter to the desired direction of the status quo. Many of the most famous were White actors. The same fear exists today for Hip-hop artists who may have the most loyal fans in all of the entertainment industry.

The NYPD’s program is already being described as illegal and unconstitutional. Many believe that the program represents “profiling” – a practice that is increasingly coming under fire. It will be interesting to see if civil libertarians or the liberals and progressives which dominate the industry will come to the aid of the Hip-Hop community and defend them from what at the very least, is a massive invasion of privacy and at the most, an act of war.

We advise that Hip-hop artists should not be surprised to find little support from the labels that employ their services. For years, several record executives have been handing over marketing plans and providing information on a variety of artists to federal law enforcement officials. And on the local level, we know of at least two record label executives who have silent alarm buttons in their offices that connect them to the NYPD, in the case of an emergency or violent altercation. Of course these record label execs have their own artists in mind as the likely perpetrators of aggression.

Which leads us to a final point. If the Hip-Hop community is going to avoid the mistakes that the targets of COINTELPRO previously made, they will have to 1) begin to question their “friendships” with record label executives, lawyers and business managers who seem to have no problem providing privileged information to law enforcement officers 2) compare notes with one another 3) discontinue their recently increased leaning toward public disputes, 4) End any activities that can be construed as illegal and 5) they must seek ways to peacefully resolve conflicts and unite.

That is a tall order for rappers with enormous egos, and a disrespect for history, but if lives are to be saved today, a major change in the thinking of Hip-Hop artists and some of their fans must take place, in a hurry.

In light of the NYPD’s new program, if anybody can’t see what is happening by now, we don’t know what else will get their attention, before it is too late.

The more things change the more they stay the same. Hip-Hop…meet COINTELPRO.

http://www.blackelectorate.com/articles.asp?ID=34

Cedric Muhammad

Friday, April 27, 2001

Filed Under: archive articles, Rap Cointelpro Tagged With: Black Panther, Cedric Muhammad, cointelpro, FBI, Federal Bureau of Investigation, Hip Hop, New York City Police Department, NYPD, Police, rap cointelpro

Rap COINTELPRO Pt 3 (Five Percent Nation & the Golden Era)

June 30, 2000 By mrDaveyd

Cedric Muhammad

In the last of our three-part series on COINTELPRO and its possible application to the Hip-Hop Industry and Community we take a look at some of the work that the U.S. intelligence community has performed via media outlets. The purpose in doing so is to establish that in fact, there exists documented evidence that the U.S. government has used T.V. Stations, radio stations, newspapers and their editors and journalists to spread misinformation, lies and half-truths designed to destabilize Black and progressive organizations.

Furthermore, said reporters and editors have been used to actually spy on such organizations as well as on liberation movements in foreign lands – all on behalf of the U.S. government. The New York Times revealed some of this in 1977 – showing that Reuters, CBS and several newspapers had been used by intelligence agencies.

The most instructive example, relevant to the education of the Hip-Hop community, that I have been able to locate in regards to finding an example of how media outlets were used to destabilize Black groups and organizations, is the work the FBI accomplished through media outlets in the 50s, 60s and 70s against the Nation of Islam. This example should be combined with a thorough knowledge of what the FBI did to oppose the Five Percent Nation of Islam, particularly from 1965-1967. Why? Because these groups (NOI and Five Percenters) are still around today and arguably have had more impact on the evolution of Hip-Hop than any other force – spiritual, political, economic or cultural. That point is almost beyond debate, just weigh the impact that the NOI and Five-Percent teachings have had on Rakim, Public Enemy, Ice Cube, Wu-Tang Clan and Lauryn Hill. And then look at the impact these individuals and groups have had on Hip-Hop, America and youth culture in general.

Minister Farrakhan and Jabril Muhammad

In a book entitled This Is The One, written by Nation of Islam Minister Jabril Muhammad (he was known as Minister Bernard Cushmeer when he wrote This Is The One) the question of the coordination of media outlets in a propaganda war against the Nation of Islam was raised. Keep in mind that Minister Muhammad began writing this book in the late 60s when COINTELPRO was not known to be in existence by the general public. This kind of reminds me of the situation that we find ourselves in today, where, for the most part members of the Black and Hip-Hop Community don’t have public knowledge of any intelligence campaign being waged against them by the FBI, CIA or NSA. Here is the actual quote of what Minister Muhammad wrote in his book which he began in 1968:

Back In 1959, the white press, as if on signal, launched a furious attack on Messenger Muhammad and The Nation Of Islam, following the dishonest portrayal of us entitled: “The Hate That Hate Produced.” Through such publications as Time, U.S. News and World Report, Newsweek, The Reporter, Esquire, Confidential, True, Saga, and a host of other magazines and newspapers; white America spewed forth a flood of articles, both superficial, spurious and poisonous in nature. A few among them did a creditable job, as far as they went. But the bulk of what was written was insidious and rotten to the core. But it did not hurt us.

There is plenty of evidence to show that much of the material was deliberately misleading. There are instances when reporters found interpolations in the text of their stories that were altered, here and there, by their “bosses” so as to misrepresent their findings of the Messenger and his followers.

The white people – newscasters, commentators, etc.,–have lied in concert. The television newsmen were not, and are not, above editing their films in such manner as to actually tell lies to their viewers. They conspired to deceive the public regarding Messenger Muhammad. This can be proven with ease. Members of a large orchestra do not accidentally play the same tune.

Mattias Gardell

Was Minister Muhammad right? According to a White Swedish Scholar, Mattias Gardell, he was absolutely correct. In Mr. Gardell’s book, In The Name of Elijah Muhammad: Louis Farrakhan And The Nation Of Islam, published in 1996 (28 years after Minister Muhammad began his book) Gardell verifies the truth of what Minister Muhammad wrote. Gardell writes:

In 1959, the FBI launched a large-scale media campaign. In this first phase, the FBI briefed selected journalists who wittingly channeled the view of the bureau to the American public. The special agent in charge (SAC) in Chicago, wrote:

“Originally the program was centered around espousing to the public, both white and black, on a nationwide basis the abhorrent aspects of the organization and its racist, hatetype teachings. This was done in such leading magazines as Time, U.S. News and World Report, Saturday Evening Post etc., as well as through newspapers.”

The sudden outburst of media interest is commented on by NOI apologist Jabril Muhammad (then Bernard Cushmeer). His view might have seemed overly paranoid to some readers, but Cushmeer was correct: “Back in 1959, the white press, as if on signal, launched a furious attack on Messenger Muhammad and the Nation of Islam…white America spewed forth a flood of articles, both superficial, spurious and poisonous [sic] in nature…They conspired to deceive the public…Members of a large orchestra do not accidentally play the same tune.”

In the notes in his book, Gardell makes reference to the actual FBI files that he saw, on which he bases his statements.

For context, for those so inclined, get the Church Committee Report, go into the Congressional Record and look into the Second Session of the 94th Congress and get Senate Report Number 755. You will find, very clearly, the various lies, tricks and evil which the U.S. government directed at certain groups in order to destabilize and destroy them. All of which are maneuvers used in modern warfare.

Go to the FBI’s own online website and read the files that they have released pertaining to COINTELPRO and how they had virtually every organization that even thought of doing any good under surveillance. The address is http://foia.fbi.gov/room.htm

Many dope emcess were members of the Five Percent Nation

Again don’t forget to play close attention to the Five Percenter file which is available in two parts. And lastly, apply what you see to what happened to the Hip-Hop community, particularly what happened to the industry after the golden era of Hip-Hop consciousness, which in my opinion, ran from 1988-1992.

(*update Jan 2011* peep this article on Influence of Five Percent Nation)

Was it an accident that the industry moved so dramatically away from this era? Was and is there any interaction between intelligence officials and music industry executives like there is between the CIA and executives in other industries (I hope most of you are aware of this and are familiar with industrial espionage and how the government relies upon business executives to supply info on other countries, governments and citizens that it does business with in foreign lands – to the skeptics, if you don’t know anything about this please do some research of your own or reserve judgment until I write about this in a future A Deeper Look)?

What about the dramatic impact that marijuana and now ecstasy is having on the Hip-Hop community? To what degree has the FBI, Justice Department and DEA coordinated its crime fighting and war on drugs and “gangs” with those who work in the music industry? We already know that the U.S. Drug Czar Gen. Barry McCaffrey, works with news outlets and editors and “rewards” them for content that is viewed as helpful in the “war on drugs”. If you are unfamiliar with this please visit Salon Magazine‘s expose on this at

Propaganda for dollars

and

Prime-time propaganda

And never forget how the war on drugs has hurt and not helped Blacks and Black Youth in particular. This month a slew of studies came out about this.

And remember, Gen. McCaffrey’s position was made a cabinet-level position by President Clinton. He is officially part of the executive branch of the United States government.

Finally play particular attention to how the East Coast-West Coast feud was played up in the media and how freely the FBI and police departments gave info to journalists covering the supposed “feud” and the murders of Tupac and Biggie. Get your hands on old newspaper articles that came out in major cities the week after Biggie’s murder, in particular. And of course please re-read my series in its entirety, whenever your schedule permits, things that were a bit foggy when I first began this series may now be more clear, hopefully.

May we learn the lessons of history and not have to wait 28 years before we figure out what has been going on today. If I seem paranoid to some of viewers, then I consider myself to be in good company (smile).

Thanks for staying with me during this series.

Peace.

Cedric Muhammad

Friday, June 30, 2000

original article: http://www.blackelectorate.com/articles.asp?ID=139

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Filed Under: archive articles, Rap Cointelpro Tagged With: Cedric Muhammad, cointelpro, Five Percent Nation of Islam, Hate That Hate Produced, Muhammad, Nation of Islam, rap coinelpro, U.S. News & World Report, United States

Rap COINTELPRO Pt2 (Wu-Tang Clan & The Village Voice)

June 16, 2000 By mrDaveyd

Cedric Muhammad

Last week we raised the possibility that an organized attempt had been and still is being made to destabilize the Hip-Hop industry and thus the community. We briefly looked at the murder of the Notorious B.I.G. and raised some unanswered questions surrounding his death; introduced some important background information regarding the FBI’s COINTELPRO which was dedicated to destabilizing Black and progressive organizations, especially in the 1960s and 70s; and posed a challenge to Black intellectuals to apply their knowledge of the tactics used by the U.S. government to oppose Black leaders, to Biggie’s murder in particular, and to the Hip-Hop Industry/Community in general.

We also pointed you to a Brill’s Content article that shows how the L.A. Times has been involved in disseminating false information regarding Biggie’s murder. We also took pains to mention that it was this story and one prior to it that brought Suge Knight’s name into the mix as allegedly involved in Biggie’s death. We openly questioned that if the L.A. Times article is misinformation wouldn’t that point to Mr. Knight’s innocence and we asked who was the original source in the FBI/LAPD that fingered Suge Knight? What was their motive for doing this, through the media? I hope that some of you, in your study of COINTELPRO and other programs, are familiar with the manner in which the FBI and CIA used reporters and media outlets, print and TV, to plant stories, have articles written and spread malicious lies – much of which was directed at getting groups that otherwise could have worked together to fight one another.

Last week, I also openly stated that it was my opinion that the image and rumors of an East Coast – West Coast Hip-Hop “war” were a fabrication of the media and perpetuated by local and federal police departments prior to and during the investigations into Tupac and Biggie’s murders, in large part via information fed to reporters in various media outlets. We will conclude this series next week on this crucial point of the role of the media, in particular its role in COINTELPRO of yesterday and its possible continuation today. This week we take a very brief look at a more recent situation in Hip-Hop that again raises the possibility that the Federal Government has ill- intentions for the Hip-Hop Community.

A few weeks ago, the Village Voice published an article alleging that over the last year a white government informant was in some capacity representing members of the multi-platinum group, Wu-Tang Clan, while the group was under criminal investigation. After reading the article, it is readily apparent that it was a sensationalized story designed to reflect negatively upon Wu-Tang.

The story also appeared to be crafted in great part because while the headlines emphasized the supposed connection between this white individual and Wu-Tang, the article deals more substantively with the individual’s alleged real connection to white organized crime figures in New York and Miami. The individual is reportedly a government informant in a case involving Mob figures in New York and Miami. So while real evidence allegedly links the individual to Mob figures, the Village Voice cover and headlines and subtitles focused on a very unclear connection between the “informant’ and the Hip-Hop group. Most of the information on that front is anecdotal in nature that informs the reader of little.

The real story is this individual’s relationship with white underworld figures and the feds yet the Village Voice markets the piece, which was picked up by news services all over the world, as quality reporting that somehow connects this individual’s relationship with the U.S. Government with his relationship with Wu-Tang. The piece doesn’t live up to that billing. It never connects the dots but to an unsuspecting and innocent reader, it does open the Clan up to suspicion not only in terms of a link to the feds but also in terms of criminal activity. I found that to be peculiar and yes, the deliberate intention of the Village Voice. In the weeks that have followed the piece, many people have spread more rumors, gossip and innuendo regarding the Clan over the Internet and many people seem to have only read the sensational headlines but have not analyzed the story or the motive behind it with a critical mind.

To me, the aim of the Village Voice and/or whoever may have helped them craft the story, was to discredit the Clan inside of the unforgiving world of the New York Hip-Hop community and to discredit them among their core group of fans. It also attempted to portray the group as unintelligent but it definitely did not seek to prove that the individual was really working on behalf of the government specifically against the Clan, though the article and headlines imply otherwise.

This is one of the factors that makes me believe that someone bigger than just the Village Voice may have been behind the story – how else could the government come off clean and the Clan looking rather uncomplimentary. Remember, the story is supposed to be about feds, Wu and this informant but it ends up really only being about the informant and Wu. What happened to the feds?

Village Voice Article drew suspicion Capadonna & Ghostface

The reason why I stress that point is because I believe the writer(s) could have proved or disproved whether the informant was working against the Clan if they so desired and from reading the piece, I believe that the writer(s) has discussed the government’s surveillance of Wu-Tang with enough people in the know, to be able to determine whether or not this government informant is directly working against Wu-Tang or if he is only with the group strictly for business purposes as he gives evidence on the alleged Miami/New York crime figures. The writer(s) simply asks why the informant was working with Wu-Tang in any capacity and spends the majority of the article lampooning and mocking the group. And again, he leaves the feds unscathed.

The Village Voice sought to harm the group’s reputation by negative implication and innuendo. The story, to me, seemed designed to destroy the Clan’s street credibility not prove any thing about this informant working for the feds against the Clan. If they had done that (proved the informant was working against the Clan) the Village Voice would have proved the existence of COINTELPRO. No, the informant angle is the hook that draws you in to read garbage about the Clan. And I found it very interesting that no one in the community that prides itself on its “consciousness” came to the defense of the Clan, even to intelligently alert the public to the possibility that the Village Voice article may point to something bigger than Wu-Tang.

Lord Michael Caruso & Rza werte also targeted in Village Voice article

This could have helped others even those who I know do not like Wu-Tang personally or what they represent in music or ideology. If you are in the Hip-Hop community, personal dislike of the Clan won’t cut it on this one. The Hip-Hop community owes it to itself to defend itself from what many people, more than just myself, know to be a deliberate attempt to destabilize and destroy the real and potential cultural, economic and political impact of Hip-Hop. From my limited vantage point, everyone seemed caught up in the sensational aspects of the story and not the potential threat it posed to the entire community. This is another aspect of the indolence of the Hip-Hop community that I referred to last week.

I personally served as management to Wu-Tang a couple of years ago. I no longer do so. To the best of my knowledge, which I think is pretty good, the Clan was never involved in any of the criminal activities that they were or are currently under investigation for. I do not and never have, for one moment believed that they are guilty. Of course, I did not see everything that everyone was doing but I am confident that I was certainly in a position to know whether or not a gun-running operation was being organized and ran by the group. I am not afraid to go on public record in defense of the group or the truth of what I know.

But the Federal Government wants to pin these charges on the Clan.

What I can tell you that the Village Voice did not tell you, is that several individuals who have been arrested and/or charged with crimes in New York City and who have never had any affiliation with the group, have been offered reduced sentences or no time at all in exchange for either saying that they were connected with Wu-Tang when they committed their alleged crimes or in exchange for directly infiltrating the music group.

This is a fact. A fact that the Village Voice should know about with all of its connections in the entertainment community and law-enforcement. And these individuals being approached are young Black males not an alleged white informant who is linked to some white mobsters in New York or Miami. That is the real story if the Village Voice is so interested.

The goal of the Federal Government, the FBI included, is to lie and link Wu-Tang and others to a supposed Hip-Hop industry- wide crime network. I know that as early as 1995, several young Black music executives, other than Wu-Tang, and their actual places of business were under surveillance and “investigation” by the Federal Government allegedly for committing various crimes. Not only have individuals under the supervision of the criminal justice system been approached in an effort to make cases against high-profile individuals in the industry but so have white lawyers and white music executives who deal with these individuals. This is common knowledge inside of a few circles in the music industry; even marketing plans of certain artists have been taken by federal investigators. We also know that the IRS has been and is unfairly targeting several Hip-Hop artists and their business enterprises for audits. One day, this will all come out.

For those who persist in wanting to see all crime-fighting efforts as above reproach and legitimate, I can tell you that for whatever illegal activities that may or may not have been perpetrated by various individuals in the music business, the Federal Government has gone above and beyond what is fair in their investigation of the Clan. Asking individuals to straight up lie and say that they are connected to crimes that never occurred and to make up affiliations and even to ask suspects to infiltrate Wu-Tang is not legitimate crime fighting. I also do not see it as simply a case of a “few bad cops”. I see it as a deliberate attempt to destabilize and discredit not only an influential group but also an entire industry and cultural force.

To me, it is certainly reminiscent of COINTELPRO where the goal was not to arrest guilty individuals but to arrest a cultural and political movement. For those who have studied COINTELPRO, it is interesting to learn of all of the Black celebrities and entertainers who have/had government files. I hope everyone in the Hip-Hop community will become much more alert and those who have first-hand knowledge of what I am talking about will begin to compare notes with one another. This isn’t a game or fantasy although some will persist in doubting to the very end. Next week at http://blackelectorate.com/ we will look at some historical evidence that shows that the FBI and CIA used reporters to spread pieces of misinformation to the public and actually helped journalists write false stories. Could this be happening today?

Cedric Muhammad

Friday, June 16, 2000

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Filed Under: archive articles, Rap Cointelpro Tagged With: Capadonna, Cedric Muhammad, East Coast – West Coast Hip-Hop War, east west coast war, Lord Michael Caruso, Notorious B.I.G, rap cointelpro, Village voice, Wu-Tang Clan

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Economic Governance: The Organization Of Cooperation: Why Wu-Tang Clan and The Honorable Elijah Muhammad Could Have Won The 2009 Nobel Prize In Economics