Once Aryan Skynet Goes Live It Doesn't Matter Who Pulled The Switch
O’Shea Jackson, better known as Ice Cube, released his tenth solo album, Everythangs Corrupt, in December of last year. The effort has its moments of fun, but overall does not succeed in shaking a feeling of being contrived and inorganic. Having semi-abandoned his “gangsta” persona, Jackson spends much of the album posing as a positive role model for black youth and a sage elder statesman of hip-hop – or “Super OG”, as he puts it in the opener. Notably, tracks like “Don’t Bring Me No Bag” and “On Them Pills” promote an anti-drug message at odds with gangsta rap’s roots and the thug bounce that put Cube and his cohorts on the pop-cultural map. Jackson could be applauded for including such songs, devoid of entertainment as these are, if not for the my-mouth-is-for-sale content to be found elsewhere on the self-incriminatingly titled Everythangs Corrupt.
His counterfeit social consciousness notwithstanding, Jackson also includes oodles of the hip-hop braggadocio and the cartoonish violence that one expects, most notably on the album’s two most overtly political and anti-white raps, “Arrest the President” and “Chase Down the Bully”. If Jackson’s body of work as a lyricist demonstrates anything, it is that he is an intelligent person. Is he really stupid enough to believe in the substance of “Russiagate”? “Did you know the new white was orange?” he asks, conflating whiteness – “these devils” – with Donald Trump on “Arrest the President”, adding, “Boy, you’re showing your horns.” President Trump, Jackson insists, should be arrested because “you got the evidence. That nigga is Russian intelligence.” Probably just for legal reasons – so that his threatening language directed against the president is defensible as a fantasy – Jackson throws in the line “Let’s go apeshit in the matrix” before declaring “I make ‘em scream bloody murder” and suggesting, “Let’s meet at the White House” and “Run in and turn the lights out.” (“CIA is on the mic!”)
Jackson reacts to the Trump phenomenon, the Alt-Right, and Charlottesville on the ridiculous “Chase Down the Bully”, a violent rant that unabashedly calls for the genocide of Trump supporters and white nationalists. “String his ass up by his nuts with the pulley,” he recommends, directing the rage-impaired listener’s anger toward white masculinity and reproductive capacity specifically. “I kill you and I bury you with the steel that I carry. Now, if he a fascist, I’ma bash his head in,” he elaborates, signaling solidarity with the Antifa terrorists. “Cock it back, boy, and put the lead in,” he directs the idiots listening to his album. “All you evil forces wit’cha tiki torches,” he then says, addressing the Alt-Right directly, “Shove ‘em up your ass, freaky intercourses.” “Hit the Alt-Right with a fog light. See that red sheet?” he asks, conjuring a vision of massacred racists: “Used to be all white.” His anger is not reserved for white nationalists alone, however. “Fuck a Trump supporter talkin’ ‘bout law and order,” he says, warning his fellow blacks to arm themselves so as to get them “ready for the slaughter” that Trump has in store for them. “Ain’t no nigga shit, it’s some bigger shit. Who can give a shit about white privilege?”
Trump’s other offenses, Jackson explains in apostrophizing the president in “Chase Down the Bully”, are that “all you wanna do is go fuck up reporters. Build a damn wall then fuck up the borders.” The most interesting thing about Everythangs Corrupt is that it finds the artist proclaiming his chief loyalty not to his fellow blacks back in the ghetto – those with whose situation he continues to feign sympathy – but to the cosmopolitan corporate establishment, international capital, and the mainstream media. Jackson is not the black nationalist he has sometimes pretended to be. He is rather a globalist, as he states plainly in “Chase Down the Bully”: “More than an African, I am planetary,” Jackson boasts. “I’ma keep it gangsta always even in the hallways of corporate America” (which he presumably mops), he then situates himself in the self-aggrandizing “Non Believers”.
O’Shea Jackson’s pivotal role in promoting the “gangsta” ideal for black and white youths alike for the likes of manager Jerry Heller, Interscope’s Jimmy Iovine, and Viacom’s Sumner Rothstein is sufficient evidence of his lack of genuine social conscience; but the real giveaway that Jackson cares more about making money and serving his corporate masters than uplifting impoverished blacks is his pledge of allegiance to illegal immigrants with Everythangs Corrupt. “I’ma roll with the aliens,” he declares in “Arrest the President”, later adding “fuck these citizens.” The insulting irony here is that Compton – from which Jackson does not originally hail but which he helped to immortalize as a member of NWA – has been hit particularly hard by recent decades’ influx of Mexicans into the Southwest. Six years ago, the Los Angeles Times reported on “a series of violent incidents in which Latino gangs targeted blacks in parts of greater Los Angeles over the last decade”:
Compton, with a population of about 97,000, was predominantly black for many years. It is now 65% Latino and 33% black, according to the 2010 U.S. census. But it’s not only historically black areas that have been targeted.
Federal authorities have alleged in several indictments in the last decade that the Mexican Mafia prison gang has ordered street gangs under its control to attack African Americans. Leaders of the Azusa 13 gang were sentenced to lengthy prison terms earlier this month for leading a policy of attacking African American residents and expelling them from the town.
Similar attacks have taken place in Harbor Gateway, Highland Park, Pacoima, San Bernardino, Canoga Park and Wilmington, among other places. In the Compton case, sheriff’s officials say the gang appears to have been acting on its own initiative. […]
“This gang has always made it clear they have a racial hatred for black people,” said [Sheriff’s Lieutenant Richard] Westin, who has worked in the area for more than two decades. “They justify in their own sick minds because of their rivalry with the Compton black gangs. They repeatedly used racial epithets, they use racial hatred graffiti and they tag up the black church a lot.” […]
Compton Councilwoman Yvonne Arceneaux said she was deeply troubled […]
“I’m floored,” she said. “That’s blatant to tell a family you can’t live in this area because you are black. That’s just shocking.”
Two decades ago, when Arceneaux joined the Compton City Council, she said that older blacks occupied the well-maintained, small homes in the neighborhood. But as they died or moved away, Latinos moved in. […]
Latino gang attacks on African Americans have occurred periodically since the 1990s in Compton.
Johnathan Quevedo, a security guard and college student, said he was shot and wounded by four Latino gang members in 2007.
Quevedo, who has African American features he inherited from his Panamanian mother, said he was walking to the Metro to take a train to his job at the downtown Marriott Hotel one morning when four Latino youths with shaved heads jumped from an SUV and ran at him. One shot him in the head, and Quevedo spent the next year recuperating.
“They didn’t know who I was. I didn’t know who they were,” Quevedo said. “I got shot because of my skin color, because I’m a black male.”
“My motto is ‘Treat ‘em like a prostitute’,” Jackson spits in “When Will They Shoot?”, a hot track from his 1992 release The Predator. It would seem that at some point he reconciled himself to the Golden Rule.
Rainer Chlodwig von K.
Rainer is the author of Protocols of the Elders of Zanuck: Psychological Warfare and Filth at the Movies – the DEFINITIVE Alt-Right statement on Hollywood!