American rap music, often called trap music, is the colonial trap in microcosm. Rappers—when they get money—often give it to European luxury merchants or Jewish diamond merchants. Thus they remain trapped within a colonial relationship, doing sponsored content for the White Empire. This trade—essentially a planetary pyramid scheme—was called the triangle trade back then and, as Rick Ross says, they stay schemin. Back then it was slaves sending resources to Europe to cycle manufactured goods into Africa. Now it's rich slaves selling music to White kids and spending it on luxuries from Europe (again). As the late, great Young Dolph said “All them diamond chains, he look like a rich slave.”

The slave singers of the singed land of America, they dispersed across the stolen continent, giving them the only culture they ever had. The Rock and Roll music they invented was co-opted by mid White boys and their cultural copyright over Rap music is still actually copyrighted by Jews and Whites. Most Black artists still labor on the pop plantation for liabilities more than assets. Diamonds are not rare and depreciate immediately. If you bust-down a watch you've devalued it. Foreign cars are not an asset, and fornication does not produce families. Pop careers are over in an instant, and this is not wealth building for the artists, but the interchangeable artists certainly build wealth for the capitalists.

Rap artists of today are largely doing sponsored content for European luxury brands. Hear all the shout-outs to airport brands like Gucci and Louis, as if they need the money. Young Dolph, like most rappers, loved this shit, but he was not unaware of it, and he was certainly aware of his spiritual suffering. As young Adolph (who was essentially a Memphis blues singer) said,

Got tired of re-in' up and trappin' (I wanna get away)
Now a nigga sick of rappin' (I wanna get away)
Livin' in hell, right here on Earth (I wanna get away)
All I do is get high and work (I wanna get away)

I taste Codeine when I burp (I wanna get away)
It feel like a nigga cursed (I wanna get away)
Been a while since I went to church (I wanna get away)
Hide my pain and tears in a verse (I wanna get away)

Rap, like Blues, is the popular distillation of American pain. The deep, deep, strain of being ripped from your roots and thrown into a capitalist plantation. Dehumanization of the worst sort to be fed to the machine, to spit out products. And now rap—more so than Blues, because it has been more commercially successful—becomes the id of capitalism. Get money. Fuck bitches. Buy things to numb the pain. When it still hurts, get more money, fuck more people, and buy more things again. Such is the capitalist refrain, refined through the griots in diamond chains.

It's fitting that Rap became the pop music of America because it is American culture shorn of hypocrisy. Sex, drugs, and rock and roll was still too demure. Sex, drugs, and rap is rock stars talking about the dirt they actually do. Whereas rappers would sing about love while fucking groupies, rappers openly talk about hoes. While Elvis would croon about love while brandishing guns and doing drugs, rappers talk about drugs and guns openly. Modern rap, the genre called trap, is the swan song of the opiated masses before they die deaths of despair. As Dolph said, “I taste Codeine when I burp (I wanna get away). It feel like a nigga cursed.”

Blues, Rap, Jazz, these are songs of a slave ship turned Titanic. The trapped screams of stolen generations turned into trap music. America uses its ghettos as sites of cultural and athletic production and then cites the few people that emerge from vicious competition as signs that the system is working. But just listen to what they're saying. Is anybody happy, even at the end of this rancid rainbow? The ego of rappers reflects the id of America, and it ain't pretty.

You can see refracted in rap how colonialism works. How it corrupts. How any attempt to rise within the system, however rebellious at heart, only makes the system itself rise via the pocketbook. Capitalism relentlessly devours its rebellions and monetizes them. Hence you get Marx on Amazon on Tupac as a hologram. Slave masters are nominally gone, but White people and Jews still own the masters of Black artists, and the money still flows as it's supposed to. Slaves can get richer than ever, but freedom remains an illusion, because they still work for the system. That's how the system works. You can rise within the system but not without it. The master's tools will not dismantle the master's house.

So today we get rappers who get visibly rich, while possessing risible assets. They, in fact, are assets for other, mostly White people, thrown away when they depreciate or overdose on drugs. A few of them might get private jet trips and codeine drips but no escape from the predations of capitalism that devoured their ancestors whole. And nothing to lift the community up. Young Dolph said “I wanna get away” but he never did. As much as he made it, he never made it. He was shot in the streets and died in Memphis. Trap music is what it says, a trap. Doing sponsored content for Louis Vuitton and Ferrari, they get the goods while rappers get the scraps. It is as it was, labor and natural resources go up the White Pyramid, and luxury goods flow down and eventually into the trash. The triangle trade rings like a dinner bell, but not for the artists dying of consumption, and dancing for production. No, rap music just marks more feeding time for the capitalist AI that devoured continents since the slave days, and which traffics in rich slaves even now.