The phrase “When these rappers get not incidental” highlights a troubling reality within the music industry, particularly in the rap genre. It suggests that the violence and tragedies surrounding many young rappers are not mere accidents but rather the result of a calculated and sinister business model. This model, as described in the given text, involves record labels and industry executives who profit immensely from the destructive lifestyles promoted by these artists. The idea is that these rappers, often young and from disadvantaged backgrounds, are being used as pawns in a larger game where their lives and careers are disposable, with their deaths or legal troubles often resulting in financial windfalls for those in power.
The text presents a chilling narrative about how the industry operates, with labels deliberately signing artists who glorify violence, crime, and a destructive lifestyle. These artists are encouraged, if not outright manipulated, to produce content that perpetuates a cycle of violence and death within their communities. This cycle is not just limited to the music itself but extends to real-life consequences, where rap beefs spill over into deadly confrontations, and young men lose their lives. The profits from these tragedies, according to the text, do not go to the artists or their families but to the label executives who no longer have to deal with the complexities of managing the artist or their contracts. Instead, they only have to deal with the grieving families, often just once a year, while the money continues to roll in.
The notion that these deaths are planned or orchestrated by those in power is supported by the idea that someone from the artist’s own community is often involved in their demise. This adds a layer of betrayal and personal devastation to the tragedy, making it all the more profitable for the industry. The text suggests that the industry thrives on this chaos and destruction, with the deaths of young rappers being far from incidental but rather a crucial part of a business strategy that prioritizes profits over human lives.
The text also touches on the broader implications of this business model, particularly in relation to the prison industrial complex. It mentions the alleged connection between record labels and private prisons, where the promotion of violent and criminal behavior in music is seen as a way to keep these prisons full. This theory is supported by an email from a supposed industry insider, who claimed that a secret meeting was held in the 1990s where it was decided that rap music would be used to increase the profitability of private prisons. The email suggests that the shift in rap music towards more violent and criminal themes was not a natural evolution but rather a deliberate strategy to influence young minds and perpetuate a cycle of crime and incarceration.
This theory, while often dismissed as a conspiracy, raises important questions about the ethics of the music industry and its role in shaping culture and society. The idea that record labels could be deliberately promoting music that leads to the destruction of young lives for profit is a deeply unsettling one. It challenges the notion of artistic freedom and raises questions about the responsibilities of those in power within the industry.
At the same time, the text also suggests that there is a level of accountability on the part of the artists themselves. While they may be influenced by their environment and the industry, they still have a choice in the kind of music they create and the messages they promote. This perspective is particularly emphasized by Charleston White, who argues that while the industry profits from destructive music, the artists themselves are responsible for what they write and the impact it has on their communities.
In conclusion, the phrase “When these rappers get not incidental” encapsulates a dark reality within the music industry, where the lives and deaths of young rappers are commodified and exploited for profit. It raises important ethical questions about the responsibilities of record labels, the impact of music on society, and the choices that artists make in their careers. The text presents a compelling argument that the violence and destruction seen in the rap industry are not mere accidents but rather the result of a deliberate and profitable strategy by those in power.
