The Matrix of Hip-Pop/Rap over Black & White Culture

By Maurice Ramos

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• Language: English
• Publisher: Xlibris US
• Release date: Oct 18, 2018
• ISBN: 9781984553393

Book preview

Chapter 1

Introduction

In the 1999 blockbuster movie, The Matrix, humankind lost the final battle with Artificial Intelligent (AI) computers. Humans became so dependent on (AI) computers that computers evolved and sustained a successful revolt against humankind. Consequently, (AI) machines eventually placed most humans in a stasis condition encased in cocoons maintained by electrically powered machines. The rest of the human population sought sanctuary in a deep underground cavern called Zion. During his explanation to Neo in the first Matrix film, Morpheus revealed how mankind believed that the machines were completely dependent upon solar energy; fortunately, humans found a way to scorch the sky and block out the sun to weaken them. Humankind’s attempt to block out the sun to stop the sun’s energy from reaching the machines failed because (AI) machines used an alternative power source. (AI) computers drained bioelectrical energy from those cocooned bodies to power their own needs. Furthermore, to keep humans alive; yet, ‘blinded from the truth’ of their enslavement, (AI) created the Matrix; a virtual reality to keep them functioning in what they believed was reality, when in fact, it was not. In this ‘virtual reality’, humans interacted in their artificial world through inter-neural simulation, while their solid body forms were encased in those very same cocoons maintained by (AI) machines. Readers will begin to ‘see’ a distinct Matrix comparison of inter-neural simulation when we discuss the ubiquitous media marketing in the record industry later in this treatise. (The Matrix. Dir. Andy Wachowski and Larry Wachowski. Warner Bros. Pictures, 1999. Movie.)

Thematic Analogies

Major features of this book are thematic comparisons to the illusions humans experienced in the Matrix movie to the illusions kids and some adults experience in their reality of Hip-Pop/Rap culture. We hope this will enlighten Hip-Pop/Rap fanatics enough to question the musical and cultural illusions they experience in their Hip-Pop and Rap reality. These truths could possibly lead to their Escape from their Matrix of Hip-Pop/Rap Cultural illusion. This escape, however, will necessitate the monumental task of social, musical, and political education of this sorely delusional and ‘miseducated’ population.

The first comparison will demonstrate how the culture and sound of Hip-Pop/Rap has an enormous dependence on machine-made or artificially produced music and behaviors. What we find in the fabrications of Hip-Pop/Rap compares to the enhanced, computerized manufactured world of the Matrix. We will also show the comparison of how the Hip-Hop record industry literally drains the financial, moral, educational, and cultural energy from both the Black and White populations in our reality. This is analogous to the bioelectrical energy drained from humans to power the (AI) machines in the Matrix.

Another comparison becomes evident when Morpheus welcomed Neo to … the dessert of the real, and an entire world is revealed to the audience: the real world outside of the virtual reality of the Matrix. It was a barren world with no substance, a direct comparison to the computer-generated illusion-filled world of Hip-Pop/Rap. The Matrix was earth in a virtual reality after the (AI) computer holocaust—illusions contrived by the Matrix; in reality it was global desolation. Unfortunately, as Morpheus said, … no one can be told what the Matrix is. You have to see it for yourself. (The Matrix Dir Andy Wachowski Perf Lawrence Fishburne. No one can be told what the Matrix is. Warner Bros. Picture 1999/2001. Film.)

Likewise, telling readers about the Matrix of Hip-Hop/Rap is futile; they need to see it for themselves. They need to see how the (AI) computerized record industry, assisted by the influence of corporate media, helped create the illusion of music called Rap, which can be lifeless and meaningless as Morpheus’ desert of the real. (The Matrix Dir. Andy Wachowski Perf Lawrence Fishburne. Desert of the real. Warner Bros. Pictures 19992001. Film.)

We will also address how machine-made rhythms, and the lack of human-made melody, has induced harmonic and melodic poverty and pushed the Hip-Pop/Rap genre into a musical abyss. We do this to highlight youth’s musical deprivation. We further attempt to edify musically those who are most at-risk to exist without genuine music, culture, education, and social justice; they are the Black & White youth of urban America. Music for them is all just an illusion of bio/psycho/political/social sounds and sights. Many consumers and artists alike, at some level of understanding, feel something is wrong with the world of Hip-Hop/Rap culture. As in the beginning of The Matrix film, when Morpheus explained the Matrix to Neo, he said, "You are here because you know something. What you know, you cannot explain, but you feel it. You have felt it your entire life; that there is something wrong with the world of Hip-Hop/Rap. You do not know what it is, but it is there…like a splinter in your mind, driving you mad. It is this feeling that has brought you to us. You know what I am talking about. (The Matrix Dir Andy Wachowski Perf Lawrence Fishburne. Warner Bros. Pictures:19992001. Film.) Just like in the movie, it is the same with the Hip Hop/Rap Matrix. It is everywhere.

We paraphrase Morpheus when we say that the Hip Hop/Rap … Matrix is everywhere; it is all around us, even now in this very room. You can see it when you look out your window or watch all the kids styling prison brand clothes, or when they turn on their television sets and watch Rap artists perform minstrel acts and playing one-dimensional sounds; they have been brainwashed to call it music. They can feel it when they ride to work or school and listen to ground shaking car speakers and rappers, who ‘spit’ vile and malevolent words about their sisters and mothers, words such as, ‘bitches and ‘Hoes’. They join their friends and repeat those words—even when they know they are wrong to say them.

They feel it every time White boys use the N-word right in their presence; they know there is something wrong with this picture, yet, they let them do it anyway. Just like the way White kids carbon copy black hip hop culture, i.e. wearing those oversized hats sideways, or when they’re ‘busting a sag’ (wearing pants below, or just on the butt-cheeks). Some youth are aware that something is drastically wrong with the world, but they just cannot put their finger on it; like Morpheus’ splinter in your mind concept, he uses at the beginning of the film.

The very first thing youth will say is There ain’t nothing wrong with my world…hip hop is for real, more commonly (fururl)…it’s got to be Denial is the psychological restraint that keeps them from asking, "Why do I buy clothes that do not fit me? Why am I prancing and dancing around looking like a brainless minstrel? Why do I keep walking like a monkey just to keep these pants from falling to the ground? Why am I so obsessed with ‘pissin—off’ older folk that I am willing to look this stupid? Is looking stupid the in-thing these days? Why do I call my sisters and mothers bitches and hoes?

The truth is, there are a few things going on at the same time; (1) if your friends are wearing, listening, or speaking Hip-Hop paraphernalia here is what will happen. You will have to conform. You will do the same thing for fear of being ‘ostracized’ or excluded, banished, or ignored by the ‘group’. (2) While it bothers you, at some levels of understanding, you cannot explain why you still do it! It is like a splinter in your brain, because of the ‘conflict’ going on in your mind called Cognitive Dissonance. That is to say, it is … the uncomfortable tension from two conflicting thoughts at the same time, or from engaging in behavior that conflicts with one’s beliefs. (Festinger, Leon. Cognitive Dissonance. A theory of cognitive dissonance. Stanford, Calif.: Stanford University Press, 1962. Page 2. Print.) The element of ‘popularity’, discussed later in this book, seems to be an addictive dilemma for adolescents and young adults discussed later in this book, seems to be an addictive dilemma for adolescents and young adults.

Additionally, the adolescent urge to be ‘cloned’, or to be like the myriad advertising marketers who, by virtue of their powers to project deceptive illusions, contribute to the global virtual reality of the Hip-Pop/Rap Matrix nurture the same as ‘everyone’ else. It is a world that has been pulled over your eyes to blind you from the truth. What truth? That you were born a slave. You were born into bondage,¹(The Matrix. Dir. Andy Wachowski.Perf.Lawrence Fishburne. Warner Bros. Pictures:,19992001. Film.) Comparably, it is a Hip-Hop/Rap world that … has been pulled over your eyes to blind you from the truth.² What truth; that Hip Hop/Rap is a prison that is musically, politically, and socially shallow and meaningless; a prison…for your mind. The choice is yours; you could take the Red pill to help you ‘see’ how far the rabbit hole goes in the ‘reality’ of Hip Hop/Rap and escape from this prison for your mind. On the other hand, you can take the blue pill, and go back to living in a world full of illusions and remain a prisoner in this Matrix of musical illusions.

Chapter 2

What Music is and is not

Pop music is an umbrella category for Rap, Rock, Grunge, Psychedelic and Synthetic sounds. Therefore, the term Hip-Pop/Rap could be a genuine way to reference this genre; since themes of illusion are simultaneously applicable to other pop culture music. Furthermore, this text will also demonstrate those illusions with as much objectivity as possible, using research that is both favorable and oppositional to this pop culture genre. Hopefully, readers will also see how the Rap component of Hip Hop follows the same decline in quality as the rest of pop-culture music, and has met the same fate as Rock & Roll, Jazz, and Blues did when they became involved with mainstream popularity. Nevertheless, a productive question to pose is What is music, and/or, what are some of the components that comprise music?

Music is …the science or art of combining tones into a composition having structure and continuity. In addition, music has vocal or instrumental sounds having rhythm, melody, and/or harmony according to psalmist, worship leader, songwriter, and author entrepreneur, Charles M. Smith. Smith notes how music can best be described as … the process of producing music more than it defines what music actually is. We must certainly agree with Mr. Smith, that music has been and remains an inspiration for war, peace, and for the entire gambit of … human emotions of love, joy, and celebration to sadness, anger and fear since the dawn of mankind. Smith’s commentary, moreover, suggests that music transcends science or definition since it … affects us the way that it does is because music is essentially spiritual. Consequently, with that spirituality, music possesses ‘power’, ‘purpose’ and ‘potential’ and we humans … could not imagine a world or an existence that did not include this dimension of life. It is also the inspiration for this book in terms of music’s transcendence over the machine; case in point, how many machines have you ever seen that show fear, love, laughter, cry, or even anger with ‘the sound of music’? (Smith, Charles M. The Potential and Power of Music. Quotes from the Dtab Worship Ministry Training. 01/03/2010. Print.) As Charles Smith informs readers of the three aforementioned qualities of music, we will leave the Power of sound for Joshua Leeds to discuss later in this dissertation. As for Purpose, Smith cautions readers, by quoting Myles Munroe When purpose is not known, abuse is inevitable especially when the performers have an agenda that is contrary to the intent of any art form.

Kids, for example, are more susceptible because they are most oblivious as to the purpose of music…it is ‘child’s play’ to ‘pull the whole world over their eyes to blind them from the truth.’ (Matrix quote) This piece brings us to the Potential component of music. Just as some music or musicians have the potential to induce romantic, melodious, harmonic, and rhythmically rich feelings and emotions; others perform and induce negative thoughts and feelings with additional inappropriate messages; particularly for children. Are we to understand we can select a healthier musical format with romantic, melodious, harmonic, and rhythmically rich feelings? If so, what kind of music should we try to listen to or which should we avoid? Let us try to resolve this dilemma with a logical approach with some musically enlightened experts.

The Need for Music

James R. Tobin, also known as Jim, serves as a Member of Advisory Council at Leerink Partners LLC. He served as the Chief Executive Officer and President of Boston Scientific Corporation from March 1999 to July 13, 2009. Mr. Tobin served as the Chief Executive Officer and President of BSC International Corporation, a subsidiary of Boston Scientific Corp. since 1999. Mr. Tobin served as the Chief Executive Officer and President of Biogen Inc. (Biogen Idec, Inc.) Tobin edifies readers with an analytical review of Julian Johnson’s Who Needs Classical Music: Cultural Choice and Musical Values. Johnson, a Professor of Music at Royal Holloway, University of London, acquired the Dent Medal of the Royal Musical Association for outstanding contributions to musicology. Johnson claims that Contemporary pop music demonstrates the same disparity: its computer technology exhibits an unprecedented capacity for the manipulation of sound, and yet the vast majority of the music it serves insists on a primitive, repetitive simplicity.¹ Tobin notes how Johnson writes with a sociological focus that associates with … mass culture and marketing aspects of music in general² therefore, avoiding tedious discourse on or around discussions of ‘taste’. One particular construct Johnson establishes is … that works of art require focus on the work itself rather than simply one’s reaction to it, thus ensuring a measure of objectivity.³ Johnson’s work also describes the methodology of how … other works of art…⁴ are complicated, reflective, and multi-dimensional with content and character; particularly, when compared to what Johnson refers to as elevator music. (Tobins, James R. Book Review. Who Needs Classical Music? Classical Net.com. Copyright © 2011.Print)

Since music was, and remains, so important to the human spirit, how does the quality of music affect this spirit? New research shows that musical training can help offset some academic gaps for disadvantaged kids. From Woods’ research of … hundreds of disadvantaged kids in public schools in Los Angeles and Chicago spotlights how learning to play a musical instrument or singing can help improve neural function and learning abilities over time.¹ Furthermore, Woods shows research from neuro-biologist Dr. Nina Kraus, reveals the … differences in the brains of children who are raised in impoverished environments that affect their ability to learn.² A positive note (no pun intended) is While more affluent students do better in school³ than those aforementioned impoverished students, … musical training can alter the nervous system⁴ this assists in learning and will … offset this academic gap.⁵ Dr. Kraus’s research demonstrates in her Harmony Projects program; a youth development and mentoring program targeting students with the greatest needs and the fewest resources, how … musical training appears to⁶ improve neural function and enhance memory and attention spans…affords better focus and communication skills.⁷ On the other hand, Kraus found that the children who had no musical training had diminished reading scores while Harmony Project participants’ reading scores remained unchanged over the same time span. The Harmony Project participants … were randomly selected from the program’s lengthy waiting list and received no musical training.⁸ This group received … diminished reading scores while Harmony Project participants’ reading scores remained unchanged over the same time span.⁹ (Wood, Janice. Music Training Can Strengthen Kids’ Learning Ability. PsychCentral. August 10, 2014. Print.)

Julian Johnson additionally maintains that music is more than just ‘a matter of taste’: while some music provides entertainment, or serves as background noise, other music claims to function as art. Additionally, we continue our search for convergent evidence improves our empirical value with a university research that shows how learning to play piano as early as grade one helps to develop the brain. Multiple experiments have been conducted that reveal how Early Music Lessons Boost Brain Development from Huffington Post by Lily Avnet on 02/18/2013. The research reports how "Being trained in music before age seven could hold major benefits, according to a new study published in the Journal of Neuroscience. (Avnet, Lily. Music Lessons Early In Life Could Boost Brain Development. Huffington Post. Journal of Neuroscience. 02/18/2013. Print.) To substantiate this research for convergent evidence we present Deborah Stampler’s research with Perfect Pitch: Music and Your Child’s Brain Development.

Parents have intuitively known that Music has a powerful and beneficial effect on kids; scientist, however, use what is called brain mapping techniques. Ms. Stambler notes a degree of intuitiveness when parents rock the kids to sleep singing a lullaby or witness the interaction of children drum-banging all the while student’s practicing piano.¹ Unfortunately, these observations are anecdotal and, again require empirical evidence; therefore, Stambler presents documented research to substantiate her report that explores Physical Brain Development. This portion is presented to indicate how teaching kids music at an early age increases … physical brain development² specifically, in the areas of … motor skills, auditory regions, neuroplasticity, cognitive skills, and sensor-motor integration.³ Stambler also shows how music develops an increased parent/child connectivity and feelings of security for children. In addition, parents increased feelings of security have increased in children when parents interact and sing together, … learning songs and musical games, soothing an upset child with a familiar lullaby, using songs as part of the daily routine are all ways that music directly contributes to a child’s sense of well-being.⁴ The research also includes how music is instrumental … for parents and caregivers to use in connecting with children at all ages, but especially in the early years." ⁵

Stambler cites music teacher, Heidi Swedberg, who endorses the need of social connections and engagement as critical to the … toddler-parent classes she teaches.¹ Those particular classes, Swedberg claims, is how parents’ social development also become cultivated just like language through a feedback loop. It requires interaction² and, since the parent is the child’s primary teacher it becomes the basic process … of learning through play, which is the seamless, joyful way children learn. ³ For example, there are benefits enjoyed by school-age children when they engage in school band participation, … such as discipline, collaboration, patience, persistence, and motivation⁴ the self-confidence and feelings of self-worth. Consequently, the aforementioned Physical Brain Development occurs with the advent of this enhanced Social Development that … impacts specialized neural circuitry and synaptic connections in the brain.⁵

Rhythm and Play in Brain Development

Zero to Three, a national, nonprofit organization that provides parents, professionals and policymakers the knowledge and know-how to nurture early development observes the way kids are attracted to musical patterns and structure⁶ to inform parents about early musical enjoyment and the promotion of … early learning, fun, and development.⁷ Besides learning the physical muscle control of … movement, coordination, and language development there are also researched …connections between music and math learning.⁸ A highly focused learning state is achieved by music is attributed to how … music aids in memorization⁹ and is common knowledge amongst elementary school teachers who have watched them … remember material like multiplication tables, state capitals, and rules of grammar.¹⁰Again, this adds to greater degree of focus and creates a … positive association with learning.¹¹ (Stambler, Deborah. "Perfect Pitch: Music and Your Child’s Brain Development From:Nanny Reviews 07/16/2013. Print)

The Mozart Effect

Is there truth regarding the construct of the Mozart Effect?

Does listening to classical music increase IQ?

Jessica Grahn, a cognitive scientist at Western University in London, Ontario says that a year of piano lessons, combined with regular practice can increase IQ by as much as three points. So listening to Mozart will not do you or your children any harm and could be the start of a life-long love of classical music.Jan 8, 2013

Here is compelling evidence that begs a somber question, If classical music helps children to learn, what kind of music is detrimental to educational growth? We will investigate this later using the psycho-acoustic research methods of Joshua Leeds, Dr. Albert Tomatis, and others, regarding the effects of music on the human condition. For now, let us just say that the improvement of intelligence or academics through music also shows the power of ‘natural enhancement’ through the Power of Sound (Leeds, Joshua. The Power of Sound: How to Be Healthy and Productive Using Music and Sound. Publisher: Inner Traditions/Bear & Co.2010. 320 Pages), as opposed to the artificially manufactured technology of (AI) computers as in the Matrix movie.

All of the above musical research regarding correlations of music and education is in college library databases; therefore, information is quite accessible for educational pundits and legislators. They seem so blatantly ignored, unless there is a purpose for this ignorance. Who has anything to gain by ignoring them, and who profits by manipulating youths musical education? Is this part of a social engineering or architecture? Is this why youth remain cocooned in a Matrix of musical and educational stasis? I hope that those and many more questions are addressed in this book. First things first—before we wake them, we need to know of any ethical dilemmas with their awakening.

Bustin’ Loose from the Matrix of Hip-Hop/Rap

What is the problem of trying to wake this population from their musical stasis? After all, is it not their choice to gain freedom or remain ‘blissfully ignorant’ as was Cypher’s choice in the Matrix film? (The Matrix.Dir. Andy Wachowski.Perf. Pantoliano, Joe. Warner Bros. Pictures, 1999.Film.)

Unfortunately, even if there were a choice factor, children must realize that once taken—there is no going back to the way things were before taking the red pill. Moreover, what kind of purpose for living is that? Should they serve as bioelectric fodder for some machine? For this author, waking folks from their stasis of ignorance happens to be the purpose of this book and why those, particularly in the umbrella of pop culture called Hip-Pop/Rap, need to know considerably more about music to become part of their wakening process. We offer the ‘Red Pill’ of awareness to help shake and wake those cocooned folk from their tyrannical Hip-Pop/Rap cultural stasis. Furthermore, because, in the words of American literary critic, author, and teacher, Lionel Trilling: A primary function of art and thought is to liberate the individual from the tyranny of his culture…and to permit him to stand beyond it in an autonomy of perception and judgment. (Swerling, Steven. Lionel Trilling Quote: No Way to Run Things. Behind the New York Times.12/31/2012.Print.)

So let us break these folks out of their Hip-Hop/Rap stasis and—uh oh, Houston, we have a problem. These people are stubborn as mules—they do not want their freedom—it looks like they want to remain cocooned in a stasis of virtual reality in a Hip-Hop/Rap Matrix. Why? It seems that they do not know they are in a prison for their minds. In addition, as William Burroughs once said, A man who doesn’t know he’s in prison can never escape…as soon as you know you are in prison – you have a possibility to escape. (William S. Burroughs –1982) It’s probably one of the reasons why they refer to prisons as The prison system.

Remember what Morpheus said to Neo in the Matrix film …The Matrix is a system, Neo. That system is our enemy. However, when you are inside, you look around, what do you see; businesspersons, teachers, lawyers, carpenters? The very minds of the people we are trying to save. Nevertheless, until we do, these people are still a part of that system and that makes them our enemy. You have to understand, most of these people are not ready to be unplugged. And many of them are so inured, so hopelessly dependent on the system that they will fight to protect it. This was Morpheus’s explanation to Neo as to why humans had difficulty escaping from the Matrix. This is pretty-much consistent with another former slave who once said, I freed thousands of slaves. I could have freed many more if they had known they were slaves. (Tubman, Harriet. 1822-to 10March1913)

Does this mean that youth, who are still plugged-in and dependent on the Hip-Hop/Rap system are to be considered our enemies? Never!!! They need our help more than ever; just like an alcoholic or junky, they are at the pre-contemplation stage of recovery—they have no idea they are in prison; therefore, as with the Burroughs quotation, … they can never escape. Consequently, for the ‘coppertop’ slaves in the Hip Hop/Rap system Ignorance is bliss; according to the traitorous, ‘Cypher’ in the Matrix. (The Matrix. Dir. Andy Wachowski.Perf.Pantoliano, Joe. Warner Bros. Pictures: 19992001.) However, here is some research to reveal what happens when youth are locked in that systemic cocoon called Hip Hop/Rap video viewing.

Chapter 3

From Science Reality to Science Fiction to Illusion, There Is No Spoon!

Our study of Hip-Pop/Rap reveals considerable artificiality, which we thematically compare to the same artificial intelligent (AI) virtual reality experienced by humans in the Matrix movie. For example, the Matrix had an Architect who built various programs with sentinels and agents to serve and protect it. Likewise, there are Architects in our reality who built political, financial, and more specific to Hip Hop/Rap, musical systems with guardians (agents) that serve and protect those systems as well. One powerful illusion they project for us is that we are free and equal to make choices in a Democratic society. The reality is that we are not really ‘free’, we are damn sure not equal, and what choices we have are co-opted in a sphere of artificiality; generated and maintained by anonymous Architects—we euphemistically call the ‘powers-to-be.’ Moreover, according to the Merovingian in the Matrix, "Choice is an illusion created between those with power, and those without." (The Matrix Film. Dir.Andy Wachowski. Perf: Wilson, Lambert. Producer.Warner Bros. film. 1999.)

Nevertheless, whatever we find that is artificial can also be considered unnatural—a fake or deception; in other words it can be considered an illusion. So let us continue to bridge the gap between reality and illusion with critical analysis of artificiality and illusion in both realities. We maintain the use of the Reality vs. Illusion theme, although it is nothing new. Many authors were fascinated with science fiction applications of the Power of Illusion-genre. Unfortunately, suggestions of illusions infer the use of bio-psycho-social control, which is painful for humans to bare. Since the human ego is rather fragile, it has problems accepting that we are not entirely masters of our own fate and rejects concepts of mind control. Most people will adamantly deny mind-control notions; particularly when someone infers that parts of their lives are an illusion. Furthermore, whenever, people become dependent on an illusion or system, they get defensive and are prepared, as Morpheus stated, to fight for it.(The Matrix.Dir. Andy Wachowski.Perf.Lawrence Fishburne.)

Likewise, Hip-Hop fans fight to defend the belief that their rap world is real and genuine. On the other hand, they retain a mind-gripping fear of disappointment and betrayal; in the case they find ‘the truth’. Similarly, they would feel the shock and disappointment Neo felt when he realized that all the things he believed were real were in fact, illusions; all the memories from his life that he ‘thought’ he experienced, likewise, never happened. Imagine his disappointment and the humiliating realization that his body was used, violated, and controlled to become electrical fodder for a machine. To translate the concept of being used and manipulated to the urban vernacular, he felt like he was being played big time! Neo was terrified and confused as they unplugged him from the Matrix construct; as he staggered back he said, No. I don’t believe it. It’s not possible. Don’t touch me. Stay away. I don’t want it. I don’t believe it. I don’t believe it.(The Matrix.Dir. Andy Wachowski.Perf.Reeves, Keanu. Warner Bros.Pictures: 19992001. Film.) The soul gripping fear and anxiety he felt was so powerful that he could no longer take it. He’s gonna pop, yells Cypher. (The Matrix. Film. Dir.Andy Wachowski. Perf: Pantoliano, Joe. Producer.Warner Bros.Film. 19992001. Film.) Neo started vomiting—a white fluid substance; digital bile. Acceptance would take some time.

When we are confronted with the possibility that we were duped by external forces, we immediately become defensive and lash out with all the rational-lies (rationalize) at our disposal to dismiss the venomous thought of being used or if someone were making a fool of us. Sometimes, we are just left with self-doubt and confusion. It follows, if the artificial digital feed of Rap is most or all of what this generation has ever heard; then Rap is all they will ever know, unless of course, they took the red pill of awareness.

It could also be called the pill of musical information that treats the symptoms of musical ignorance. It might also immunize kids from further induced illusions similar to those experienced in the Matrix flick. Unfortunately, the idea that they have been living in a world of illusions, or that they have been controlled for their entire lifespan would provoke understandable trauma upon their delicate psyche. Consequently, all threats to the authenticity of their perceived reality instinctively defaults as a defence mechanism in the ‘mainframe’ of their human psychological survival kit called denial. That is why so many of them … fight to protect it.

What is real?

How do we begin to know what is real? If real is what you can feel, smell, taste and see, then ‘real’ is simply electrical signals interpreted by your brain. (The Matrix.Dir. Andy Wachowski.Perf.Lawrence Fishburne. How do know what is real? Warner Bros. Pictures: 1999/2001. Film.) Ultimately, what we believe, or our belief system is formed from the information that is fed to our senses. It is the inter-neural activity that gives us perceptions through synaptic functions in our brain. Therefore, our ability to develop a logical and sound belief system is dependent upon the source of our information. It is through our belief system that we subsequently come to reasonable conclusions or decisions about our reality. We, therefore, contend that the majority of the Hip-Hop/Rap culture has little ability to criticize their source of information because artificial information has been projected to and for them for over the past 40 years. Consequently, they have already formed their entire ‘belief systems’ from an artificially projected worldview created by (AI) architects called the power-elite corporate funded marketers.

As we have stated, it would be quite painful for pop culture enthusiast to learn the truth about the virtual reality of Hip-Pop/Rap, however, the good thing is that the source of the illusion is now revealed. As in the The Wizard of Oz, the ‘man behind the curtain’ is exposed—the magicians’ secrets are now disclosed. Furthermore, these pop culture enthusiasts have every right to feel frightened when they realize that the source of all they know is artificial and someone or something might still be manipulating all their decisions. If or when they become aware that their knowledge base or world view or belief system is the product of a carefully devised program of lies, half-truths, and/or deceptions they will become paralyzed with fear and uncertainty. Descartes claims how things get pretty scary … when one’s ability to reason is no safer than the deliverance of the senses: the evil demon or malicious scientist could be ensuring that your reasoning is just as flawed as your perceptions. (Descartes, Rene.Deceiving God and Evil Demon arguments:Meditations. I. Jonathan Dancy. Introduction to Contemporary Epistemology (Blackwell 1985), p. 10) Their senses become numb with fear; unsure—they suffer the mind-boggling panic of not knowing what to do next. How would a person know whether each step or decision is their own choice; are they still being controlled or manipulated? Every step you take; every move you make…I’ll be watching you (Sumner, Gordon Matthew Thomas. Every Breath You Take: The Classics by Police. Last edited by Spaz91: 04-16-2013) Another harsh reality is the fact that this particular population is critically examined and monitored by high level entities called marketers.

Unfortunately, most Hip-Pop/Rap devotees know very little about advertising manipulation; consequently, they are most vulnerable and very much in-the-dark about such things as Corporate Record companies and elite power’s use of marketing strategies. No wonder they still believe their decisions are of their own free will. What would ever cause the Hip Hop/Rap community to doubt the substance of their reality? Obviously, they can have no doubts or considerations about something for which they are not aware. Even if someone could demonstrate how the entire Hip Hop scene was contrived by an external artificial source, what could they do about it? Why would they even try? Our point is how our senses can easily be deceived, and all our efforts to do anything could be sabotaged. There are, however, some things we can do to make better choices within the reality we have. Today’s youth can be educated to take a more critical look at their beliefs; their likes and dislikes and why they like or dislike something. In fact, they need to learn research methods to logically question from whom they get their information and question motives and the agenda of those sources. Furthermore, for greater authenticity, the only sources they need to consider reliable must come from ‘outside’ the constructed Matrix of the Hip-Hop/Rap community.

Chapter 4

From Science Reality to Science Fiction to a world of Illusions

The Matrix conceptualizes the known world as an illusion. It narrates the story of a character called Neo who realizes that there is something not quite right with the world he sees around him. Fishburnes’ character, Morpheus, compares this feeling like a splinter in your mind-(The Matrix. Dir. Andy Wachowski.Perf. Fishburne, Lawrence. Warner Bros. Pictures: 19992001. Film.) And he forewarns Neo, as we forewarn readers, no one can tell you about the Matrix of Hip-Hop/Rap—you have to see it for yourself.

Comparably, the Hip-Hop community suffers the same emotional pain of this ‘splinter’; consequently, they will eventually have to ask, Where did I get my thoughts and beliefs? A little later in this book, Professor Dark and Thomas Dodson will address that question with their seminal essays, Who Put These Fingerprints on My Imagination and The Culture Industry Has You."

Engaging the Matrix: by Thomas Dodson, 1999

In all honesty, the biggest trick of removing free will is getting people to believe that what they are doing, or to what they are listening to, is of their own free will—when, in fact, it isn’t. The line of logic follows; As long as they listen to the music, they will subject themselves to Culture Industry marketing strategies. With these methods they will actually be made to like the music to which they listen. They will have no choice. In the words of the cybernetic Borg, …resistance is futile…" (Star Trek: The Next Generation. First Contact. Perf: Patrick Stewart. American science fiction film. Paramount Pictures1996).

When Morpheus first met Neo in the Matrix, he stated, …By now you must be feeling a bit like Alice…tumbling down the rabbit hole…then, he offered Neo a red pill and blue pill and said, You take the red pill – you stay in Wonderland, and I show you how deep the rabbit hole goes. Metaphorically, the rabbit-hole can be construed as a new idea, concept, or opportunity; therefore, "chasing the rabbit/idea down the ‘rabbit-hole’ indicates following through with a quest or an adventure to solve a riddle or problem. In Neo’s case it was the opportunity to continue the chase or quest to answer the question: What is the Matrix?

The Matrix is defined as an environment or material in which something develops; a surrounding medium or structure. Within the structure for the film, a whole world of virtual reality is created individually by humans through artificially intelligent computers who vanquished most of humankind. Humans decided to blot out the sun (nuclear explosions) to keep the sun’s energy from the (AI) machines. However, AI figured out a way to live off the energy produced by the human’s body. (AI) started ‘farming humans’ by plugging their cocooned bodies like giant batteries for electrical fuel. To keep the humans alive, AI attached a computer program system of virtual reality. This system is the Matrix. People live out their entire lives inside the Matrix unaware of the truth of their enslavement. The rabbit-hole, coined from Lewis Carroll’s ‘Alice in Wonderland’, is the quest to find the answer. In the case of Hip Hop/Rap aficionados it is the quest to resolve the forever burning question Is it possible for Hip-Hop to exist as a Matrix in our reality? It only happens in the movies, right? After all, how can anyone create an illusion to look so real? Very few people would ever dare to ask, Is it possible for illusions to be created as in the movie, or is the question strictly couched in science fiction conversation?" If illusions cannot be created, (a likely preference for some) then there is no need for concern. However, if illusions do exist or can be projected, then would one prefer living in such a stasis-like environment such as the Matrix? In fact, as we progress our discussion, it will become painfully clear how the existence of illusions is quite probable. Nevertheless, we shall recruit some authors/writers to help establish how illusions have already been projected through various media; first through a science fiction format, then a science reality design.

War of the Worlds

It’s October 30, 1938; a Sunday night. About 8 p.m. You’re sitting in your living room waiting for your favorite Lamont Cranston introduction "Who knows what evil lurks in the hearts of men? The Shadow Knows. Everything is pretty calm and quiet; then, the radio blasts the following ominous report:

Ladies and gentlemen, we interrupt our program of dance music to bring you a special bulletin from the Intercontinental Radio News. At twenty minutes before eight, Central Time, Professor Farrell of the Mount Jennings Observatory, Chicago, Illinois, reports observing several explosions of incandescent gas, occurring at regular intervals on the planet Mars. The spectroscope indicates the gas to be hydrogen and moving towards the Earth with enormous velocity…

You sit up in your chair a little. A few minutes later, after several more news bulletins and an interview with a Princeton astronomer, you hear the following…

Ladies and gentlemen, this is Carl Phillips again, out at the Wilmuth farm, Grovers Mill, New Jersey…I hardly know where to begin…I guess that’s the thing buried in front of me, half buried in its vast pit.

You start to get uncomfortable. A few minutes later…

Ladies and gentlemen, this is the most terrifying thing I have ever witnessed…Someone’s crawling out of the hollow top…The whole field’s caught fire…It’s coming this way. About twenty yards to my right—

It caused serious panic and chaos throughout the country; however, the point of whether or not an illusion can be caused, in our reality becomes quite apparent just by a radio announcement.

Although what the radio listeners heard was just a portion of Orson Welles’ adaptation of the well-known book, War of the Worlds by H. G. Wells, many of the listeners believed what they heard on the radio was real; thereby, creating a terrifying pandemic illusion. (Kelley, Ray. PBS recalls ‘War of the Worlds’ radio broadcast of 75 years ago. Performer: Welles, Orson. Powered by: The Republican. 10/25/2013.Print.)

Milli Vanilli

It happened again in 1990, this time audiences around the world discovered that they were taken in by the ultimate Hollywood illusion in which two performers faked their own talent by lip-syncing; creating an illusion of singing. Millions of fans believed they heard two talented singers, but in reality they were actually a composite, seamless interweaving of sensory simulations in which two people provided the visuals, while vocalists provided the audio. Was this a new version of sight and sound?

Michele Catalano, a contributor for Arts and Entertainment, does a unique expose’ called, From Michael Jackson to Beyoncé, a Brief History of Lip Syncing. Catalano wonders why "People would still be arguing about whether or not Beyoncé lip synced the National Anthem at the Inauguration? 1

The illusion of the lip-syncing, disguised as entertainment has its’ history in the early days of variety distraction and it’s not a new one. It goes back a long way, back to the early days of variety shows (did you think the Beatles were singing live on those shows?) and is, whether you recognize it or not, weaved throughout our musical entertainment history, for better or worse. Here is some great" lip-syncing performances throughout the ages.

• One of the most famous lip-syncing scandals ever, Rob Pilatus and Fab Morvan – better known as Milli Vanilli – were outed as lip-syncers during a 1990 concert when their pre-recorded track started skipping. When it was revealed they didn’t even sing