The Exploitation of Black Bodies: From Slavery to Modern Commodification
How Systems of Power Continue to Profit from Black Labor and Artistry
“Why should they ask me to put on a uniform and go 10,000 miles from home to drop bombs and bullets on Brown people in Vietnam, while so-called Negro people in Louisville are treated like dogs and denied simple human rights? No, I’m not going to help murder and burn another poor nation to continue the domination of white slave masters. The real enemy of my people is here.”
— Muhammad Ali
From Slavery to Military: Black Bodies as Cannon Fodder
Black bodies have long been commodified, initially through slavery and later through military service. Whether recruited, coerced, or motivated by a desire to prove their citizenship, Black individuals have been disproportionately pushed to the front lines in combat.
In the United States, this inequity was evident as Black soldiers historically received inferior equipment compared to their white counterparts. Similarly, France filled its armed forces with colonial troops, reinforcing the racist myth that certain African groups were "natural warriors." Military service was often framed as a path to equality for Black individuals; however, the military’s upper echelons have remained overwhelmingly dominated by white men. Disturbingly, African soldiers were two and a half times more likely to be killed in action than white French troops, reflecting how Black bodies became expendable cannon fodder—consumable goods sacrificed to protect others from enemy fire.
“During slavery, they bred the biggest, strongest slaves to create ‘super-slaves.’ Today, Black bodies dominate physical labor—like the NFL, which some jokingly call ‘Nigger Fucking Large.’”
— Chris Rock
From Slavery to Sports: The Plantation Never Ended
During slavery, enslaved people were bred selectively to create the strongest and most physically capable individuals, often referred to as "super-slaves." Today, Black bodies continue to dominate arenas of physical labor, particularly in professional sports such as the NFL, which has been cynically nicknamed "Nigger Fucking Large" by comedian Chris Rock. This enduring exploitation is evident in the way enslaved people were once forced to fight for the entertainment of plantation owners, while contemporary Black athletes perform primarily for the financial benefit of white-owned organizations. Young Black athletes are frequently funneled into sports instead of educational opportunities, treated as commodities who are traded, sold, and controlled through binding contracts.
The master-slave dynamic still lingers in society: while white culture rewards Black athletic excellence, it simultaneously punishes acts of defiance, as seen in the backlash against figures like Colin Kaepernick. The plantation, it seems, never truly ended— it merely transformed.
“Record contracts are just like… I’m gonna say the word: slavery.”
— Prince
From Slavery to Music: Hip-Hop’s Whitewashed Rebellion
Hip-hop began as a form of resistance music, a powerful voice for marginalized communities expressing their realities and struggles. However, over time, corporate interests, predominantly led by white-owned record labels, co-opted the genre. These corporations shifted the focus of hip-hop away from its roots by promoting themes that glorify gangs, drugs, and hyper-sexualized stereotypes, effectively sanitizing the music to make it more palatable for mainstream audiences. Today, over 70% of hip-hop consumers are white, a demographic that has shaped the genre into a product tailored for white comfort rather than authentic expression.
This commercial reorientation has marginalized artists who use their platform to address pressing issues such as police brutality and systemic racism. Musicians who confront these realities often find themselves sidelined or excluded from mainstream success. The unspoken rule within the industry seems to be that white audiences do not want to hear songs about oppression. To achieve commercial success, Black musicians frequently feel pressured to whitewash their art, diluting their messages to fit a sanitized mold that aligns with corporate and consumer expectations rather than the lived experiences of their communities. This dynamic reveals a broader tension between artistic integrity, cultural authenticity, and the demands of a commodified music market.
The Black body remains a commodity exploited in war, sports, and entertainment to sustain white wealth and power. True liberation requires dismantling these systems of control.