Because no one on the outside really knows for sure, it's interesting that there's so been much talk recently about alleged Illuminati influence in Hip hop music. What about Illuminati in Rock, Country, Metal or House music? Maybe their presence in Jazz is even stronger. In regards to American music culture, Americans of European descent have been chastised for appropriating musical styles first developed by Americans of African descent. "Whites" hear music they like made by "Blacks" and basically copy or emulate it. While this is a naturally occurring course of musical development, one important step missing in this formula is how the actual, real secret society the Illuminati are involved. Like so many other things, this assertion is more true as a metaphor than literally. Musical styles are invented by the people, then stolen, reimagined and repackaged for general public consumption by the Illuminati.
Hip hop fans including myself love to think of their music as underground, counter-cultural, rebellious, even riotous. When it's done by true hearted people, free from influence and fear, that's absolutely the case. Unfortunately, like all media, whats trickles down to the masses is a diluted, convoluted and censored insult to artistry. None of Hip hop's famous forerunners had complete control over what output of theirs was widely heard. Their yearning for complete artistic freedom was suppressed. They knew their job was to fulfill a specific need, and if they wanted to further to careers they did so, however begrudgingly. The Illuminati are a force that every member of the entertainment business is aware of to at least some extent, others more, while others are actual members of this Legion of world architects.
Perhaps you feel like you knew this information already, or perhaps you think this is patently false. But, there's proof. Consider the following. Why would so many hip hop artists "independently" decide to include letters or numbers in their stage names? There's AG, AZ, The Notorious B.I.G., Bun B, C Rayz Walz, Pimp C, Heavy D, Run-DMC, D.M.X., Diamond D, The D.O.C., Eazy E, EPMD, Das EFX, G-Unit, Jay Z, Kool G Rap, KRS One, KMD, Big L, LL Cool J, NWA, OC, Master P, Schoolboy Q, Ice-T, T-Pain, X Clan, YG, Z-Ro. Then there's Spice 1, 2pac, 2 Chainz, 3rd Bass, 88-Keys, Nine, Tech N9ne, 9th Wonder, Mack 10, and D12. Various capitalizations, punctuations and trick spellings are designed to create the smoke and mirrors of deception. There's something bigger going on. People in the business know all about it, but the average music fan has no clue.
The Mass Media Alphabet Code is ubiquitous, occurring always, across all genres of music, film, and print. Hip hop is no exception. The Code is the worldly manifestation of Supreme Mathematics, so it's endlessly complicated, but based upon a remarkably simple principal, the "Rule of 3". Start with A, B, C = 1, 2, 3, etc. The "3" group of letters are those which contain a multiple of 3 according to their place in the alphabet: C (letter 3), F (6), I (9), M (13) , P (16), S (19), W (23), and Z (26). As the initials of media titles, this group of letters is used the vast majority of the time. This group is also combined with the catalyst group, A (1), B (2), D (4), J (10), K (11) and T (20). The code strengthens the "3" group because the Illuminati want our world to lean towards that side of Universal existence, that side of the yin-yang.
Outkast, arguably history's most visible hip hop group, has a number of choice examples. Their debut single "Player's Ball" follows the "Rule of 3" simply as P.B. (16-2). P (16) is a "3" letter which is strengthened by the catalyzer B (2). "So Fresh, So Clean" follows as S.F.S.C. (19-6-19-3), all "3" letters used in combination. "Ms. Jackson" is the common pairing M.J. (13-10). M (13) is catalyzed by J (10). "The Whole World" was bittersweet, released just after the attacks of 11 September 2001, but still follows the secret Illuminati alphabet code as T.W.W. (20-23-23). T (20) strengthens W (23). "I Can't Wait" follows as I.C.W. (9-3-23), all "3" initials. "Street Talkin'" is the common combination of the catazlyer T (20) and the important S (19). "International Players Anthem" follows as I.P.A. (9-16-1).
Two of history's most counter-cultural anthems are ironically the same exact use of this secret code. Public Enemy's anthem "Fight The Power" follows the "Rule of 3" as F.T.P. (6-20-16). F (6) and P (16) are "3" letters which are strengthened by T (20). N.W.A.'s "Fuck The Police" is identical.
Tupac's famous "Me Against The World" follows as M.A.T.W. (13-1-20-23). "Papa'z Song" does as P.S. (16-19). "I Ain't Mad At Cha" follows as I.A.M.A.C. (9-1-13-1-3) and "So Many Tears" follows as S.M.T. (19-13-20).
De La Soul's debut single "Plug Tunin'" also follows the code's "Rule of 3" as P.T. (16-20). "Me Myself And I" follows as M.M.A.I. (13-13-1-9). A (1) strengthens the "3" letters. The initials of their classic hit "Magic Number" might not follow the "Rule of 3", but is itself about the magic of the number 3.
Eric B. and Rakim's classic "Paid In Full" is another easy example. P.I.F. follows as 16-9-6, all "3" initials. "Move The Crowd" follows as M.T.C. (13-20-3). "Don't Sweat the Technique", a subtle reference to the code, follows as D.S.T.W. (4-19-20-23). S (19) and W (23) are "3" letters because they contain a multiple of 3 according to their place in alphabet. D (4) and T (20) act as catalyzers.
The Fugees' "Killing Me Softly" was a gigantic hit, and a subversive reference to how the code effects us all without our recognition. K.M.S. follows the "Rule of 3" as 11-13-19. K (11) is a catalyzer for the "3" letter M (13) and S (19).
Run-DMC's "Walk This Way", a reworking of the famous Aerosmith song, follows as W.T.W. (23-20-23). Tone Loc's "Wild Thing'" is similar and follows as the simple combination W.T. (23-20).
Kanye West's debut single "Through The Wire" follows as T.T.W. (20-20-23). His second single "Slow Jamz" also follows the "Rule of 3" as S.J. (19-10). "Touch The Sky" follows as T.T.S. (20-20-19). Even "Jesus Walks" follows as J.W. (10-23). W (23) is reinforced through combination with J (10), which basically symbolizes perfection.
A Tribe Called Quest had few hits but two of them are obvious uses of the code's "Rule of 3". "Find A Way" follows as F.A.W. (6-1-23). F (6) and W (23) are straightened by the primary letter A. "Can I Kick It" follows as C.I.K.I. (3-9-11-9). C (3) and I (9) are "3" letters which are strengthened by K (11), part of the catalyzer group.
The Notorious B.I.G.'s classic "Mo Money Mo Problems" follows the same rule as M.M.M.P (13-13-13-16), all "3" initials. "Big Poppa" also follows as the combination of the "3" letter P (16) and catalyst B (2).
The Pharcyde jam "Passin' Me By" follows as P.M.B. (16-13-2). P (16) and M (13) are strengthened by the primary letter B.
The joke that Busta Rhymes' "Pass The Covosier" became effectively trivialized its obvious use of the code. P.T.C. (16-20-3). P (16) and C (3) are strengthened by T (20).
50 Cent's biggest hits all follow the "Rule of 3" easily. "In Da Club" moves to I.D.C. (9-4-3). I (9) and C (3) are strengthened by D (4). "P.I.M.P." should attract attention because it's already initials. P.I.M.P. follows the "Rule of 3" as 16-9-13-16, all "3" initials. "Candy Shop" follows that rule as C.S. (3-19), and "Window Shopper" does as W.S. (23-19).
Biz Markie's sing-a-long "Just A Friend" follows as J.A.F. (10-1-6). F (6) is strengthened by the catalyzers J (10) and A (1).
Slick Rick's often quoted "Children’s Story" follows as C.S. (3-19), both "3" initials.
Young MC's "Bust A Move" follows as B.A.M. (2-1-13). M (13) is strengthened by the primary letters A and B.
Cypress Hill's "Insane In The Brain" follows as I.I.T.B. (9-9-20-2). B (2) and T (20) are both part of the catalyst group, strengthening I (9).
Boogie Down Productions' "My Philosophy" follows as M.P. (13-16), both "3" letters.
The Illuminati Code is of course not just limited to just the "Rule of 3". For example, A Tribe Called Quest's biggest hit was "Check The Rhyme", an interesting grouping. Three initials consist of two letter pairings. First, C.T. follows the "Rule of 3" as 3-20. T (20) strengthens C (3). Second, T.R. (20-18) is a common pairing in the mass media because it strengthens the S (19) which is in between. So, both pairings follow the code. Additionally, the code uses ratios to further strengthen the "3" group of letters. C (3) and R (18) are often used together because the ratio between them is exactly 6, further supporting the "3" group.
Even 1983's Style Wars, the quintessential hip hop film, thought to be independent, raw and uncensored, follows the "Rule of 3" as S.W. (19-23). If it was truly so indie, it simply would never had become so famous.
Many people know the story of how "Rapper's Delight", Hip hop's "first song" was born, through the unnatural, forced meeting of various unacquainted studio musicians. Before walking into the studio, many already secretly knew that out of this session an entirely new music genre would be born. The homogeneous nature of the code proves that this level of cooperative premeditation is not rare, but the standard.
Word Up! This is a phrase which only ever became mainstream because the Illuminati chose to popularize it. It may upset some that some credit is being taken away from the people. But who are the real sultans of slang, the real lieges of lingo? The Media. So, what does the phrase "word up" imply? There is an implicit corollary statement found by identifying what is also true if “word” is “up”. Letter down! The Illuminati want the people to narrow their perception by failing to see that words are made of up individual, vitalized, personified letters.