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Give Me Your Tired Your Poor Rock Album I’ll Piss on It: A No-Holds-Barred Track-by-Track Analysis of Lou Reed’s Menschen Opus New York

Lou Reed Just Do It

[insert Nike slogan]

Recently I had the experience of listening to Lou Reed’s 1989 album, New York, unanimously revered among the pretentious and politically correct critics of rock and popular music. I had always been curious about the album due to the glowing reviews that it had received. While being no superfan of Lou Reed, I do count the Velvet Underground albums as favorites and have enjoyed a few of his solo albums from the 70s. I have not listened to a lot of his post-70s albums, but what I have heard was excruciatingly bad (Lulu with Metallica being the stinking worst), all of it bedecked with his stridently non-musical narrator-style “singing” voice which became more pronounced with age. So with a solid familiarity with the man and his media-scripted degenerate junkie myth, I delved into this heralded album released at the close of Reagan’s presidency, in some ways chronicling the basic bitch zeitgeist of that period from the Left. What I beheld was jaw-dropping: I could not have digested an album that was in any way more strikingly Jewish, unless perhaps it had included a rock version of “Hatikvah” replete with blaring shofars. This album was far more political and self-consciously Jewish than anything he had ever written to my knowledge. Lou, a Jew, of course had glorified drug usage, “genderbending,” and homo sex, the latter two obsessions emanating ultimately from a Jewish intelligentsia, but these subjects were similarly amplified by numerous non-Jewish artists of that era. I suppose you could say the common denominator was the Jewish makeup of the industry, but that is for another time.

So let Don walk you through Lou’s ((((New York)))):

Romeo Had Juliet is the lead-off track and offers a snapshot of multiracial life in a declining New York City. The entire album is thematically centered around the city, using it as the foundation for Lou’s characters and lyrical rants. We immediately meet the tragic miscegenating duo of Romeo Rodriguez (Puerto Rican?) and Juliette Bell (English surname = White), whose love, crudely expressed in sexually explicit terms, holds them together in the face of a crime-ridden city “sinking like a rock” with its “filthy Hudson,” “crack dealers,” and troublesome … “Italians”. Interestingly, the tableau begins with a reference to Columbus, a subtle indictment perhaps of the explorer and subsequent settlement by Whites of New York, the originator of the urban mess Lou loves and hates. Furthermore, the first anti-Christian note is sung, when our anti-hero Romeo “curses Jesus” for the unfair guilt he feels burdened with for sex outside marriage. Finally, the narrator celebrates the death of a cop by “dancing when his brains ran out on the street.” Is this an amoral allusion or are we to feel that the cop deserved it? Let’s look at the rest of the album first, but suffice it to say that I think Lou would be a supporter of Black Lives Matter and a friend of DeRay if he were alive today.

Halloween Parade is a non-judgmental rundown of various costumed Manhattanites celebrating the holiday while Lou laments the absence of his old girlfriend. Prostitutes party alongside a “black Jamaican stud,” a bizarrely eroticizing reference of no apparent significance. Lou’s only problem with the debauchery is that his girlfriend isn’t with him to soak up the enrichment like previous years.

Dirty Boulevard follows – this was the single. This is the track that inaugurates the feeling of deep bitterness that runs throughout the rest of the album like a nasty cold sore. First, we meet yet another “Hispanic,” this one named Pedro who lives in a squalid apartment and is abused by his father. We are led to believe it is an immigrant family (9 kids! – Nice attention to detail, Lou). His family is getting screwed by the landlord (don’t worry, no mention of the landlord’s ethnicity) and he has no future besides a life of crime and selling drugs on the boulevard. Then Lou gives his listeners a punch to the gut of hyperbolic pathos:

Give me your hungry, your tired your poor I’ll piss on ’em

that’s what the Statue of Bigotry says

Your poor huddled masses, let’s club ’em to death

and get it over with and just dump ’em on the boulevard

The hate-filled racists bring all these poor non-White people in and then racistly keep them down! Lou loved his “Statue of Bigotry” line so much he uses it again in another song.

Endless Cycle offers a negative critique of marriage: abusive couples beget abusive kids who get married and in turn abuse more kids. To hell with marriage.

Lou Reed Trump

There’s No Time is an anthemic manifesto that a communist or antifa could very well raise his (or her/its) skinny fists to. It decries “political speech,” “learned speech,” “saluting flags” and the crime of ignoring “Hate.” Lou thinks it’s high time for “action.” He deplores numbskull patriotism, which Don can get behind, if not exactly for his reasons: “This is no time for my country Right or Wrong, remember what that brought.” Lou the millionaire says there’s even “no time for private gain.” It’s all about the collective. Which collective though? Lou wants the crack smokers for his revolution; he urges them to put down their vials and “take dead aim and attack.”

Lou Reed 1989

Don’t tear his heart.

By this point, we are marching with the Red Guards ready to tear down institutional inequality and racism. But we need minority allies as all good communists know. So where does Lou look? Why, American Indians, Ke-mo sah-bee. Last Great American Whale weaves an Indian-inspired creation myth of a great whale into a full-blown Helter Skelter race war. It begins with the tale of an Indian chief who has been on death row since 1958 for murder. He’s actually not a bad guy though because he only deservedly killed the mayor’s racist son: “The mayor’s kid was a rowdy pig, spit on Indians and lots worse” (wedgies too?). The tribe consequently gathers in a lighthouse and conjures up the Great American Whale to dispense some righteous justice on behalf of oppressed POCs. It bursts forth from the stormy sea and “the whites were drowned, the browns and reds set free.” Genocide the Whites, everything will be cool – the wisdom of Rabbi Lou. But alas, it doesn’t end on a happy note because a “local yokel member of the NRA” slaughters the whale with a bazooka blast. That goddamned 2nd Amendment! After the denouement, Lou condemns White America in the strongest terms: they spoil nature (presumably unlike the harmoniously living Indians) and have no care for “human” or “animal life”; hell, they don’t “care for much of anything.” These barbarians even “shit in a river” which is something you will never see a Hindu or African do. All this injustice and cruelty Lou reminds us is for the “majority” (i.e. Whites). This song would really speak to Tim (((Wise))). I hope it’s his entry music for when he wrestles Richard Spencer.

The next song, The Beginning of a Great Adventure is the funniest. Lou never had children (how could you condemn them to this racist country?!) but fantasizes about being a parent in this song. Lou imagines molding his children into ideological warriors for vengeance and social justice and unleashes spit-flecked vitriol at devilish White children: “I’d breed a little liberal army in the wood. Just like these redneck lunatics I see at the local bar with their tribe of mutant inbred piglets with cloven hooves.” The highly inbred Jews always project. But Lou will have himself a small brood of anti-hunter neo-Weathermen: “I’d teach ’em how to plant a bomb, start a fire, play guitar, and if they catch a hunter, shoot him in the nuts. I’d try to be as progressive as I could possibly be (!).” Funnily enough, he lists potential names for his kids and includes his good buddy Bono’s name. However, in a later song, “Strawman,” he asks if “anybody else needs another self-righteous rock singer?”

Busload of Faith implores for an ill-defined “faith,” while rejecting an undependable God and worthless churches (no mention of worthless synagogues, mysteriously). Even if you have “faith”, though, Lou reassures us that the “worst will always happen.” He illustrates this with a rape victim who aborts her baby and is harassed by “pro-lifers,” who “attack her with rage.” You’re getting the picture by now; all the conventional enemies: Christians, Whites, right-wingers.

Sick of You is an absurdist take on the state of America and ratchets up the bitterness when you thought that was hardly possible at this stage. Lyrics detail the general degradation and injustice of White America. Rednecks feel Lou’s wrath again even though he seemingly would have some political agreement with them since he bemoans the Japs buying up New York. The other three-letter group that starts with a J and happen to be real estate mavens escape Lou’s notice, naturally. Warming up to his Jewish selfhood, he echoes the decades-long anti-Iran fearmongering and hardball ethnic politics of his tribe and calls out the Ayatollah for finally acquiring a “nuclear warhead” that Netanyahu and “war on terror” propagators have said is imminent since this writer can remember. Finally, NASA put Whitey on the moon and now Lou guesses they will probably just blow it up. He’s sick of the Ice Wizards!

Hold On paints a picture of a city riven by racial strife: “There’s Blacks with knives and Whites with clubs, fighting in Howard Beach. There’s no such thing as human rights, when you walk the N.Y. streets.” This song may be the best on the album and is a forthright acknowledgement of the problems of multiracialism. He thankfully doesn’t moralistically frame the combatants into good guys versus bad guys. The view of the future is bleak and he repeatedly warns us to “hold on.” Bernard Goetz is mentioned but we don’t get Jewish solidarity from Lou in this instance. Lou suggests he only got off due to a “mafia lawyer,” implying the gun-toting subway rider ought to be in prison.

Lou Reed PopeIn Good Evening Mr. Waldheim, Lou fully realizes the embattled, neurotic, vengeful Jewish consciousness that has so plagued the Western world. Lou takes on three “enemies” du jour for the Jews: Pope John Paul II, Kurt Waldheim (former UN Secretary General and President of Austria), and Jesse Jackson. Because Waldheim was Austrian and served in the Wehrmacht as an intelligence officer in Greece during World War II (or, as Arnold Leese dubbed it, the Jewish War of Survival), he came under heavy fire from the World Jewish Congress and allied associations and inveterate liar and self-proclaimed “Nazi hunter” Simon Wiesenthal. He apparently did get caught in a lie but Jews tried to position him as an essential coordinator for rides to the Auschwitz “death camp” for innocent Jews in Greece. He was later cleared of all “war crimes” allegations. Former Mossad officer Victor Ostrovsky discussed this in his book The Other Side of Deception. He claimed that Mossad doctored the file of the then UN Secretary General to implicate him in Nazi crimes. These allegedly false documents were subsequently “discovered” by Benjamin Netanyahu in the UN file and triggered the “Waldheim Affair”. Ostrovsky says it was motivated by Waldheim’s criticism of Israel’s war in Lebanon. Furthermore, the affair looks like it might have been part of a coordinated shakedown of Austria. At any rate, being an “enemy” of the Jews, he became Lou’s enemy. Lou recounts Waldheim’s meeting with the Pope, an infamy Lou felt artistically obligated to confront so that the Jews would “never forget.” This is Lou’s beef with the Pontiff. Notwithstanding the title, most of the lyrics deal with the treacherous Negro Jesse Jackson whose “anti-Semitism” caught the ire of Jews and hence Lou. Lou doesn’t mention Jackson’s infamous “Hymietown” comment though. He is disgusted that the good Reverend would meet with Arafat, the official representative of the PLO, the UN-recognized body representing the Palestinians at the time. We’re not talking Hamas here or another radical group; the PLO had stepped over the line and as far as Lou was concerned Jesse was getting uppity and guilty of forgetting his tribe’s momentous efforts on behalf of his people: “Jesse you say Common Ground, does that include the PLO? What about people right here right now, who fought for you not so long ago? … Remember those civil rights workers buried in the ground.” He also chastises Jesse for his associations with Farrakhan, who Lou equates with the “Klan”.

Lou Reed Trump Pivot

Xmas in February is a song about Vietnam War veterans. Not very interesting aside from the fact that Lou equated their horrors and degradation with that unfortunate time of the year, “Xmas.”

On Strawman, Lou again denounces the White man’s frivolous pursuit of space exploration. Christian hypocrisy also gets targeted by ironically taking on a strawman, corrupt televangelist pervert Jimmy Swaggart. Lou reminds America as well that it doesn’t “need another racist preacher.” Jewish supremacist rabbis escape denunciation, though, and are inferentially acceptable.

The final song of New York is Dime Store Mystery. What better way to end the tirade than to criticize the foundation of the modern West, the root of all the injustice, racism, and anti-Semitism: Christianity? The attitude here is more philosophical rather than polemical and at least wisely closes out the work without any petulant finger-pointing. Lou considers Jesus on the cross and finds it “easy to believe, that he might question his beliefs.”

The album is amusing, nauseating, and offers a peculiar insight into an aging Jew whose best work was over with and is embracing his unfortunate ethnic identity and its attendant petty hatreds in the last year of the Reagan decade. Musically it’s primitive, repetitive, and the instrumentation secondary, mainly serving as a vehicle for narration. I would recommend this album to screeching progressives and the Sarah Silvermans of the world.

Don Logan

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33 comments on “Give Me Your Tired Your Poor Rock Album I’ll Piss on It: A No-Holds-Barred Track-by-Track Analysis of Lou Reed’s Menschen Opus New York

  1. donlogansfortress
    March 19, 2017
  2. icareviews
    March 19, 2017

    Reblogged this on icareviews and commented:

    Aryan Skynet’s resident rock critic Don Logan autopsies Lou Reed’s super-Jewy 1989 release New York.

    Like

  3. Hipster Racist
    March 19, 2017

    Steve Sailer made a good point about the two guys from Velvet Underground. Both wound up being critically acclaimed.

    John Cale, the White guy, went on to make some pretty highbrow modernist classical music, real avant-gard and artsy, going deeper and deeper into the European musical tradition.

    Lou Reed, the Jew, basically mimicked Africans and just set his poetry to simplistic Black blues.

    I’ve listened to virtually everything Lou Reed has done. I would say, song wise, you’ve got Wild Side, Satellite of Love, Andy’s Chest and the Berlin album. Those aren’t the only good pieces but they are the only ones that really stand the test of time.

    Not really a great song, but a clever bit of doggerel over a pleasant tune, my actual personal favorite: The Power of Positive Drinking.

    Some people say, alcohol makes you less lucid
    And think that’s true if you’re kind of stupid
    I’m not that kind that get’s himself burned twice

    And some say liquor kills the cells in your head
    If that matters so does getting out of bed
    When I exit, I’ll go out gracefully, shot in my hand

    Liked by 2 people

    • icareviews
      March 19, 2017

      Berlin was a favorite of mine back when I was a morose college student, but the ones I’m probably most tempted to put on these days are Sally Can’t Dance and The Bells.

      Like

      • Hipster Racist
        March 19, 2017

        Oh yes Sally Can’t Dance, and maybe Rock And Roll is the best actual song altogether but I guess that was VU officially. It’s been a while. All my NYC memories are 20 years after the New York album, it’s what the aging punks listened to.

        I can’t help but like “Caroline Says,” it’s the sad version of this, also done by a Jew. Everyone has had one of these kinds of women before so I guess they really tapped into something universal. Maybe it’s just city life.

        Like

      • Don Logan
        March 19, 2017

        Berlin is great but a tough slog, especially “The Kids.” The theatrical element of the kids crying! It’s produced by the great Bob Ezrin who produced KISS’s best record Destroyer and did some great work with Alice Cooper. He’s more than just a producer, writes a lot of the music and his sound is immediately recognizable. Sally is awesome as well. Coney Island Baby is probably his best solo album. I’m also partial to the full 70s hard rock instrumentation of Rock and Roll Animal. It’s the same band that performed on Alice Cooper’s first solo album Welcome To My Nightmare.

        Liked by 1 person

    • Don Logan
      March 19, 2017

      Power of Positive Drinking is fantastic. Frankly, I’m not a Cale partisan and don’t think he added much to the VU beyond some noisy ornamentation. I used to think the first album was the best but now would go with Loaded. Once Cale was gone, it was just fantastic rock songs with hooks less the experimentation that didn’t always work.

      Liked by 1 person

  4. Hipster Racist
    March 19, 2017

    Yeah think of it. A Jew puts that stupid poem on the Statue of Liberty and we’re forced to import millions of third worlders – then a Jew lectures us about how we aren’t treating them fairly.

    He bitches about Hispanics in shitty NYC apartments being taken advantage of by landlords. Ok, who do you think those landlords are? Jews! But is that the stereotype? No, some how it’s “Whitey” that is to blame for NYC real estate prices. Yes, I’m sure Billy Bob the Southern Christian KKK Racist is the ones that owns all the slums in Queens and forces browns and blacks to live there, right?

    Steve Sailer, again: in the 1970s, Lou Reed used to pretend to be a homosexual junkie – until the AIDS crisis. Then all of a sudden sticking needles in your veins and dicks in your butt wasn’t “cool” anymore – so Lou Reed just dropped the act and got married and stop singing about heroin.

    Liked by 3 people

    • James OMeara
      March 19, 2017

      The idea that homosexuality “emanates from the Jewish intelligentsia” is self evidently absurd, but the Steve Sailer quotes gets it right: the Jew promoted the “gay” lifestyle first as promiscuity and drugs, and when that became impossible with AIDS, turned on a time and declared ‘gays” had always really wanted to marry and have children, “just like us.” Neither has anything to do with what Jews have always bitterly opposed, in Athens, Rome, and elsewhere.

      Like

      • Hipster Racist
        March 19, 2017

        Lou Reed really does lend weight to your theory O’Meara. He wasn’t actually gay (and never did heroin AFAIK) but did quite a bit to promote a certain lifestyle and image as “gay.”

        Although he mostly seemed to be aping David Bowie, who actually produced Transformer.

        Liked by 1 person

      • Don Logan
        March 19, 2017

        Sloppy writing on my part. In that context, I was referring to the normalization and glorification of homosexuality in popular and academic culture, which are both overwhelmingly spearheaded by Jews. Just look to the eminent authority that is Joe Biden if you don’t believe me.

        Liked by 1 person

  5. Hipster Racist
    March 19, 2017

    Lou Reed was one of those people I was pressured into thinking was “cool” even though it was obvious the music was second rate, at best. Having no idea what a Jew really was at the time, I just interpreted this stuff as “liberal.” Nice catch about the Zionazi anti-Arab, anti-Persian, even anti-Black stuff. Clearly, Reed was a stereotypical Jew and Zionist with the “liberal” and “progressive” stuff merely a vehicle to attack Whites and European culture.

    Others in a similar vein: Henry Rollins. Holy fuck, what an overrated gasbag. I never understood why this guy was help up as some sort of artistic genius. Black Flag was barely music and Rollins’ “spoken word” tripe is nothing but pretentious fart-smelling.

    Another one is Jello Biafra of the Dead Kennedys. Another guy who likes to smell his own farts – the Dead Kennedys were also barely music despite having a few songs that did count as pop just played poorly. In age, Jello Biafra has revealed the self-parody he always was – a limp-wristed and lisping bald old queen that everyone is shocked to discover isn’t actually a homosexual, he spouts the political party line of a typical “progressive” – while yes, despite not being a Jew, admits he tip-toes around “the Israel issue” and is uncomfortable with calling anyone a “Zionazi.” He refuses to rule out playing in apartheid Israel although he’ll give some lip service to not wanting to exterminate the Palestinians.

    Lou Reed is often considered “punk” at least in the larger sense. It shouldn’t be a surprise that the main guy promoting punk nostalgia these days is Gavin McInnes, who just got back from a trip to Israel, who hates White Nationalism but just loves Jewish nationalism.

    Everyone mocks the baby boomers but they do not hold a candle to the all time most self-important gasbags of a generation, the punk rockers of the 70s-90s. At least the baby boomers had some truly decent music – who actually listens to that punk crap anymore?

    Liked by 2 people

    • icareviews
      March 19, 2017

      Your comments under this post are cracking me up. You’ve flung some pretty good insults this weekend.

      Like

    • Sam J.
      March 20, 2017

      Black Flag was never their best with Rollins. He was never as good as the first two singers. One went to the Circle Jerks and the one in the video below stopped because said the audience was so violent he couldn’t take it anymore. He was an illegal alien like I think the drummer.

      I agree with you about Jello Biafra of the Dead Kennedys “except”, “A holiday in Cambodia” is a great classic. I used to tell Liberals all the time what they needed was a holiday in Cambodia. I think a lot liberals got a little something out of that song whether they would admit it or not.

      Could BF have seen the future on multi-cultural California way before every one else?

      As for Lou Reed he had a few good songs that are like most droning Negro music, not that I don’t like droning at times.

      Like

      • Hipster Racist
        March 20, 2017

        Rollins is one of those people that gets violently attacked by blacks and brown then uses his victimization as a way to signal his “tolerance.” He talks about growing up in DC getting beat up by the blacks but how he still isn’t “racist.” His best friend was literally murdered by a black but on the Howard Stern video he tries to downplay the race angle. He talks about getting molested as a kid but now is a big proponent of “gay marriage.” Yet he’s against “straight marriage” because he doesn’t want to share his record collection with his wife.

        So in other words he’s a complete cuck. He was one of the ones that was instrumental in making sure the various punk subcultures didn’t turn right wing by turning all that youthful white energy into nihilism and political correctness. And he’s successfully resurrected his career by becoming a Ted Talker promoting whatever the left-wing anti-white cause-du-jour is.

        And sure DK had a few decent pop songs like California Uber Alles and a few others but that is all it ever was, just some ok pop songs played rather poorly. “Nazi Punks Fuck Off” really shows what they were all about too, for all the posturing at “non-conformity” they sold “anti-swastika armbands” and the lyrics to NPFO talks about a … “jock inside your head.”

        Yeah, so the real oppressors are white athletes – you know like the Duke Lacrosse players – and it’s “sticking it to the man” to be … against the Nazi. So brave.

        I mean it, in hindsight the entire punk scene was laughably conformist, literally faux-rebellion marketed to working class urban white teenagers so they could get their frustration out after getting beat up by blacks and browns.

        Remember “Rock against Racism?” David Bowie and Eric Clapton had started making comments about non-white immigrants taking over England so they started staging “anti-racist” concerts to keep the youth from finding these dangerous ideas “cool.” In America we had “Rock against Reagan” which was basically the same thing.

        Plus punk really idealized everything loserish, sick, crippled, and bad. I just think if you take the substance of punk and compare it to the sky-high self-importance these people have, it really shows what was going on.

        And most of it is just shit music. Sure, not all of it but it really does not hold up well over time. People will still be listening to the Grateful Dead’s American Beauty and Workingman’s Dead 50 years from now. You grandkids will probably like some Eagles songs. AC/DC and and the Rolling Stones can still sell out concerts.

        But no one who wasn’t an angsty teen in the 1980s will care about any of those punk bands because unless you were emotionally imprinted by them as an angsty teenager, it’s mostly shit music that simply does not hold up well.

        Same with Lou Reed – VU and his early 70s albums had some really solid material that is still listenable. But New York has shit music and even the poetry, as deconstructed here, is basically “Rock ‘n Roll Rabbi Hates Whitey.”

        Liked by 1 person

      • Cora
        April 3, 2017

        “I mean it, in hindsight the entire punk scene was laughably conformist, literally faux-rebellion marketed to working class urban white teenagers so they could get their frustration out after getting beat up by blacks and browns.”

        Yes, in hindsight I think it was faux-rebellion but at the time it felt real. I think the problem is our race had just recently lost a culture war and we had no idea what the hell was going on. We knew *something* was wrong but didn’t know what it was so we couldn’t properly rebel. How do you express your anger about losing a war when everyone around you won’t even acknowledge that our race just got its ass kicked?

        Like

  6. Pingback: Give Me Your Tired Your Poor Rock Album I’ll Piss on It: A No-Holds-Barred Track-by-Track Analysis of Lou Reed’s Menschen Opus New York | Hipster Racist

  7. indravaruna
    March 19, 2017

    Rock’n’Roll is dead and buried as (((mainstream enterteinment))) but there still rockers out there and a lot of them are Right-Wing, from Neocons to Alt-Righters, that American rock band that had its concert attacked in Paris is made of Neocons.

    Like

    • Hipster Racist
      March 19, 2017

      That would be Eagles of Death Metal. The singer said he thought the Muslim security guards were in on it. Interestingly too, the hall had been long owned by a Jew and a community center for the overseas Israeli community – shades of 9/11, the ownership changed hands within months of the terrorist attack, this time the Israeli owners turned it over to another owner that apparently hired the Muslim security guards that collaborated in the attack.

      Liked by 1 person

  8. bob saffron
    March 19, 2017

    Great review, thanks. I’ll have to listen to the whole album. I still regard Reed as quite charismatic, regardless.

    I love Songs for Drella (1990) but I suspect that’s mainly due to John Cale’s classical input. Great lyrics. I’m even tempted to feel kindly towards Andy Warhol.

    Like

    • bob saffron
      March 19, 2017

      “…But people never listen you know that that’s a fact!”

      Like

    • bob saffron
      March 19, 2017

      Interesting the loving, supportive and functional family environment that seems common to virtually all Jewish social revolutionaries.

      Like

  9. Sam J.
    March 20, 2017

    More Jews. The singer is dead now. This used to be one my favorite bands in the 80’s or so. Still like their early stuff. Classics like Cave Man, Jungle Hop, Primitive, Garbage Man and many more. Here’s them playing at the NAPA State mental hospital. I might be in this video. If so you would see me on the left at 2:26.

    Like

    • bob saffron
      March 21, 2017

      You must have had the inmates a bit concerned, Sam, ha ha. Here’s a film that might be your thing:

      Like

      • Sam J.
        March 22, 2017

        I hate horror movies. I watch one every now and then but always regret it. I don’t like stress. I already have enough as it is. I don’t need anymore.

        Like

  10. guest
    March 20, 2017

    Speaking of Jewish social revolutionaries…

    Everyone has to read this article on the seventies!

    I like the real-talk part: “People tend to think that the Right will be an awesome, horrific force in political violence. The SPLC’s donations depend on that idea. Righties tell themselves that *of course* they’d win a war against Lefties. Tactical Deathbeast vs. Pajama Boy? No contest. Why, Righties have thought about what an effective domestic insurrection would look like. Righties have written books and manifestos!

    It’s horseshit.

    The truth: the Left is a lot more organized & prepared for violence than the Right is, and has the advantage of a mainstream more supportive of it.

    You think that’s unfair? Okay, well: imagine an abortion clinic bombing ring getting presidential clemency.

    Imagine an abortion clinic bomber getting a comfortable job at an elite university.

    Outrageous, right? No way the Right could get away with that. But the Left does! And the press gives them cover.”

    The mentioned book may or may not be found on bookzz dot org.

    Like

    • guest
      March 20, 2017

      Case and point, alt-right “superstar” Matt Forney running away from two homos:

      Antifa vs. Matt Forney [Cleveland RNC]

      The one homo is correct, don’t go protesting with weak ankles!

      Like

      • Hipster Racist
        March 20, 2017

        To be fair, Matt Forney isn’t a “superstar” to anyone. He’s not a White Nationalist. He’s a professional internet troll – he clowns for clicks. I don’t see why the alt right should have to be tarred with him.

        Liked by 1 person

  11. guest
    March 20, 2017

    Any thoughts on the “New wave of British heavy metal”? That’s the genre Metallica was inspired by, to say at least, they even started by playing new wave covers Lars got from Europe. I always joke that Bleak House – Rainbow Warrior is my favorite Metallica song, and those who “get it” become very pissed.

    Best New Wave of British Heavy Metal 4 hours compilation

    Like

  12. Cara
    April 1, 2017

    Yes Taylor Swift and Kristen Stewart are RACIST WHITE SUPREMACISTS 34445 They both supported TRUMP and defending ANDREW ANGLIN the neo-nazi from the DAILYSTORMER 511 also they use their WHITE PRIVILEGE and NECROPEDOSADOMASO to silence WOMEN OF COLOR and MINORITIES. STOP FASCISM stop hate!

    Like

  13. Pingback: Crochet Racist

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