Aryan Skynet

Once Aryan Skynet Goes Live It Doesn't Matter Who Pulled The Switch

Quite Bootylicious

split screenObama whitewash

“He whitewashing”

This past week’s orgy of mass arson and looting in Ferguson furnishes yet another appropriate opportunity for Americans to remind themselves that the ongoing culture wars are real and not merely grist for Tipper Gore jokes. American blacks, whatever their innate weaknesses, have not always taken perverse pride in baring their buttocks in public, bragging about sodomizing each other, fathering bastards, peddling crack, posturing as devilish “Illuminati”, and excusing the most self-destructive behavior with a flippantly tweeted “YOLO!” What has brought about the change? Deric Muhammad, in a revealing essay at The Final Call, offers some insight into the matter:

Hip-hop as an art form and a culture is hands down one of the most powerful international social forces in the history of the world. There is no nation on Earth where its footprints cannot be found. Rap artists who create the soundtrack that fuels hip-hop culture become equally influential. They determine trends and the general course of youth culture globally. Yet while it appears these artists who often peddle images of invincibility are in control of hip-hop, we must look deeper to see who may be in control of them.

Rap in its infancy grew out of disco – happy, dance-oriented music about parties, girls, and gratuitous bragging about house-rocking and rhyming ability. The parent plants of what would overblow into gangsta rap were already present in those early years, however. (Forgive, please, a brief indulgence of hothouse metaphors inspired by USA Today’s poetic account of “the protest movement that blossomed” in Ferguson.) Grandmaster Flash’s epoch-defining “The Message” (1982), with its arresting and brilliantly colored broken-glass mosaic of ghetto squalor, is far from an endorsement of a life of crime, but does lay the groundwork for such a seduction with its depiction of young black men leading tragic existences constantly on the edge of survival. “Don’t push me ‘cause I’m on the edge,” Flash threatens before excusing himself with an air of helplessness: “I’m tryin’ not to lose my head” because “It’s like a jungle sometimes, it makes me wonder how I keep from goin’ under.”

Old school rap artists of the mid-to-late 80s like Funkmaster Wizard Wiz would push the genre closer to gangsta rap proper with cartoonish sex-and-violence lyrics. Though he recorded a haunting anti-drug track with “Crack It Up” (1986), Wiz gives an indication of “the community’s” attitude toward both their elders and property rights in his signature “Bellevue Patient” (1986) when he confesses and boasts as follows:

This little old lady was walkin’ by.

She was carryin’ a sweet potato pie,

So I ran past her, the pie I took.

She should be happy it wasn’t her pocketbook.

The lesson should be apparent to all. Whites and order-abiding non-whites – the race of the “little old lady” is unclear – far from getting themselves all upset over the spreading plague of black crime, should be rather grateful and even “happy” that criminal congoids’ depredations are so accommodatingly mild.

Gangsta rap crystallized in the late 80s and early 90s with Niggaz Wit Attitudes and the subsequent solo careers of Dr. Dre, Ice Cube, Snoop Doggy Dogg, and their ilk. Dr. Dre’s 1992 album The Chronic, released on Death Row Records, then a subsidiary of Interscope, serves as well as any music could as a document and a predictive program for the final degeneration of the black race in America. Apart from the catchy hits “Fuck Wit Dre Day”, “Let Me Ride”, and the unparalleled “Nothin’ But a ‘G’ Thang”, The Chronic is sociologically noteworthy for its lionization of the 1992 L.A. rioters in a surprisingly forthright track entitled “The Day the Niggaz Took Over”.  Along with the expected references to mother-son incest, the song (much of which Snoop for some reason delivers in a mock-Jamaican accent) proclaims that “nigga it’s time to rob and mob” and also has the following to say:

I got my finger on the trigger, some niggaz wonder why

But livin’ in the city it’s do-or-die

Hear that? Life is a matter of riot-or-death in the white supremacist meat grinder of Snoop’s neck of the ‘hood – and Grandmaster Flash had the nerve to wonder how he kept from going under? But moving on with the enlightening “Day the Niggaz Took Over” . . .

Dem wonder why me violent and no really understand

For de reason why me take me law in me own hand

Me not out for peace and me not Rodney King

De gun goes click, me gun goes bang [. . .]

Niggaz start to loot and police start to shoot

Lock us down at seven o’clock, barricade us like Beirut

The chronology is instructive here. “Niggaz”, who, as Snoop concedes, are “not out for peace”, attack and pillage and only then do the authorities respond with force. What, if not a desire for peace, motivates these “Niggaz” spirited resistance? Dr. Dre offers invaluable insight:

POP POP POP, another motherfucker drop

And I get relief like plop, plop, fizz

Smash, I crashed his head like a window

I ain’t Nintendo, I’m high off the indo

Creepin’ with the quickness to the cut

Bust one to his head while he munches on a donut

(But that cop was racist, so he had it coming.)

Considering how many blacks have been imbibing this poisonous message for decades now, can anybody still be surprised today when they go out and pull a Michael Brown or understandably take advantage of all the looting booty such a media-manufactured event affords them? As much as whites might like to point and have a private snicker at the most recent “chimpout” in Ferguson, the fact remains that a number of biological Aryans find themselves in sympathy with the destroyers. One wonders how many of these deluded “social justice” warriors cut their teeth as adolescents on the ethnomasochistic thrill of anti-white hip-hop peddled by Jews like Brooklyn-born Jimmy Iovine, the founder of Death Row’s field overseer and parent company Interscope Records. Deric Muhammad, the reader will recall, asserts that the purveyors of rap “determine trends and the general course of youth culture globally.”

Beloved meth abuser and tortured wigger Jesse Pinkman may only be a character played by Aaron Paul on Breaking Bad, but his type is a real one drawn from the times. Pinkman, whose name, like fellow protagonist Walter White’s, refers to his racially emblematic import, is less than reassuring in what he conveys not merely about white people’s taste, but the race’s collective trajectory into the blackest of civilizational holes. Why bother drudging up a topic as old-hat as the deleterious impact that rap music might have on the suburbs? Because (carjacking without checking privilege a recently popularized protest slogan) white lives matter.

RC von C

Interscope Records founder Jimmy IovineO.G. Jimmy Iovine

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About icareviews

Propaganda Minister of #AryanSkynet

8 comments on “Quite Bootylicious

  1. icareviews
    December 1, 2014

    Reblogged this on icareviews and commented:

    Droppin polemical Chronic plates on yo ass, beyatch!

    Like

  2. Hipster Racist
    December 2, 2014

    Reblogged this on Hipster Racist and commented:

    It really started with the “Niggas With Attitude” album, and one of the members, “Ice Cube,” had a great lyric. The record industry had no problem with “NWA” talking about shooting white cops, raping white women, dealing drugs, etc. But when “Professor Griff” of Public Enemy made some comments about Jews, all hell broke loose. He was fired and ads were put out in the industry publications denouncing “anti-semitism.”

    Let that sink in, folks. Jews were publicizing anti-white “rappers” but when those “rappers” went off script and started saying negative things about Jews, they were quickly reigned in.

    http://genius.com/274208/Ice-cube-when-will-they-shoot/

    They said I could sing like a Jaybird
    But nigga, don’t say the J-word

    It was the Jew band “Beastie Boys” that popularized hip-hop among white teenagers, then these Jews hired a handful of Negroes as front men, but most of it was actually produced by Jews.

    In this popular video from a few years ago, they pretty much show it explicitly: Negroes and Jews together. This was noticed all the way back in 1970s by Tom Wolfe in “Radical Chic” – rich Jews using Negroes as an indirect way to attack white people. Hell, the NAACP itself was run by Jews since its founding all the way until the 1970s.

    Steve Spielberg’s movies are essentially the same thing; ostensibly pro-Negro, but actually Jewish attacks on White people. See “Mississippi Burning.” Spielberg makes movies against Dixie segregation while supporting apartheid in his country, the Jew state of Israel.

    It’s consistent. Same as it ever was.

    Liked by 1 person

    • Peltast
      December 2, 2014

      “This was noticed all the way back in 1970s by Tom Wolfe in “Radical Chic” – rich Jews using Negroes as an indirect way to attack white people. Hell, the NAACP itself was run by Jews since its founding all the way until the 1970s.”

      Andrew Hamilton from Counter-Currents wrote a article about Tom Wolfe’s Radical Chic.

      The jewish elite is using Blacks as a battering ram against Whites for a long period and it worked extremely for the jews.

      Like

    • carlhauser412
      December 3, 2014

      Not only did the Beastie Boys (who I was a fan of when I was a young lemming in the 1980s) who popularized rap for Whites, but they ALSO inspired Gangsta’ Rap as well:

      ‘The Beastie Boys were one of the first groups to identify themselves as “gangsters”, and one of the first popular rap groups to talk about violence and drug and alcohol use, though largely in a more humorous manner.

      […]

      According to Rolling Stone Magazine, their 1986 album Licensed to Ill is “filled with enough references to guns, drugs, and empty sex (including the pornographic deployment of a Wiffleball bat in “Paul Revere”) to qualify as a gangsta-rap cornerstone.’

      Source: Wikipedia.

      Liked by 1 person

  3. Hipster Racist
    December 2, 2014

    Interesting too, that Final Call article is a take off of the seminal work on the Jewish slave trade, “The Secret Relationship Between Blacks and Jews.” Something similar happened in academia. A black history professor just did old fashioned historical research and found that the trans-Atlantic slave trade was essentially a Jewish business. He quoted extensively from an early 20th Century Jewish encyclopedia where Jews pretty much bragged about their involvement.

    But this was during the 1990s, when anti-white sentiment was being heavily promoted by the Jewish media and blacks were being held up as martyrs. Jewish involvement in the slave trade just did not fit in with the script, which was supposed to be Evil Southerners vs. Long Suffering Blacks.

    The American Historical Association even passed some resolution against the author. No one could argue the substance, his thesis was simply attacked as “anti-semitic” and they attempted to bury it.

    So, White Christians, Southerners, these people can be held collectively responsible for slavery. But Jews – although they were the driving force behind the trans-Atlantic slave trade – can’t be, because that would be “anti-semitic.”

    There have always been two strains of black political movements in America, the Nationalists (Marcus Garvey, Malcolm X, etc.) vs. the Integrationists (W.E.B De Bois, MLK, etc.)

    The Integrationists were basically puppets of Jews. Jews paid their salaries, Jews gave them media attention, and in the case of MLK, Jews literally wrote all of their speeches. They were nothing but Jewish puppets.

    The nationalist Blacks (like the Nation of Islam) have pointed this out forever.

    Liked by 1 person

    • icareviews
      December 2, 2014

      I don’t know much about DuBois, but Michael Collins Piper recently wrote an article claiming that a Boardwalk Empire character based on him was used to slander him because of his attitudes friendly to nationalism. Piper claimed that one motivation for scuttling DuBois in Hollywood is that he visited Nazi Germany, was treated with courtesy, and had some even-handed things to say about life there.

      That black history professor’s name is Tony Martin, and there are some good videos of him on YouTube:

      Like

  4. Don Juan Logan
    December 3, 2014

    Apparently Griff’s awakening to the Jewish Question was through reading the NOI-published Secret History Between Blacks & Jews. That book caused a firestorm and Jews enlisted kept Blacks like Henry Louis Gates to denounce the work.

    Take a look at Stitches to see the logical conclusion of wiggerism, which Jesse Pinkman only hints at.

    Liked by 2 people

    • icareviews
      December 4, 2014

      “Don Juan Logan”? What are you, one of these mysterious “white Hispanics” we keep hearing about?

      Like

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