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No these were not the words of the BNP activists at the Christmas Social ( though the hacks in the Daily Mirror would like them to have been ) but the lyrics to The Smiths song ' Hang the DJ ' where Morrissey sang that the DJ/ Rap culture of Britain meant nothing to him and the culture in which he was raised. He saw that the DJ culture arising in Britain was a crass and pathetic invention of the Record Industry in which white middle aged men could go to gangster run nightclubs full of drugged up teenagers and pretend to be ' cool ' by playing a few crap records to a crowd of E'd up jaw gumming mugs in Oxfam clothing throwouts and then be able have sex with some of the drunk or drugged young women or men in the club.
It was sad and pathetic and and a lot of my friends fell for it. The whole rave scene of the early eighties was nothing more than the result of foreign gangsters in Israel manufacturing ecstasy and then needing a market to sell the drugs in Britain. This market was the rave scene. It was run by gangsters and scum.
It was as 'coolí as the old opium dens or Gin palaces of Victorian England; a squalid pathetic existence characterised by the endless drive to buy more drugs, to have a good time and then finally to just have a normal existence - the junkies lifestyle equivalent of the hamsters wheel.
From this 'drug cult' of the DJ arose the multi-Billion pound Rap and Reggae Industry where the DJ was feted as a 'cultural hero' for our times. In every council estate across Britain, every ten year old went out and bought a set of decks, some white vinyls and then pretended to be Fat Boy Slim when his mum and dad were out. In the old days the 'kids' danced in front of the mirror with a hairbrush and pretended to be Lulu. Now the 'kids' take a couple of ecstasy pills, then drink ten bottles of raspberry alco-pops and then try and get their twelve year old girlfriend pregnant to get a council flat whilst aspiring to be a drug dealer or a DJ in the local working menís club.
New Youth culture
Then the advertising industry got hold of the idea of selling rap to the public as a new Youth Culture. These fat, middle aged, middle class, overpaid idiots in their London offices started to use 'rap fashions' to sell a 'rap lifestyle' to the public. First the racist fetishisation of the Black Male was used to sell everything from trainers to yoghurts. The black male was tough, cool, sexy, urban and edgy in this advertising inspired world. With him in his convertible sports car were always at least five young, adoring, white and blonde females in tiny Bikinis ready to bear his afro-haired babies if he ever saw fit to impregnate them between smoking big fat joints and shooting at racist white cops with his uzzi.
The Black man was not ever seen in university or at school in this advertising inspired world. Now only guns, money and whores mattered - not raising a family or getting an education. Any black man with a degree was now a wimp and a sell out for he had been taught the 'white manís' ways in a white manís school and deserved zero respect for his degree in Law or teaching. Only the Black man with a gun, at least six illegitimate children and a conviction for selling drugs or shooting people was worthy of getting any ' respect ' in the black community anymore. The fact that this pathetic, racist notion of how Black males should live was being sold to the black community by a bunch of middle aged, middle class white men was forgotten. The white advertising industryís view of how blacks were and should be living in their own communities became the model for young black males to follow in their own communities. The MTV nightmare had come true.
Aural and Oral Terrorism
In the last few weeks in Britain we have had Beenie Man and Buju Banton and others attacked for their homophobic lyrics, press attacks on 'nasty video games' manufacturers who manufacture video games for middle aged men who like to play with themselves for entire weekends on their Play Stations. Across in Germany there have been raids on shops that sell jumpers with slogans the German State disapprove of and also the recent jailing of four members of the German nationalist band ' Landser ' who were thrown into prison for the crime of ' aural terrorism ' (This by the way is to be contrasted with 'Oral terrorism' a crime of which John Prescott should serve prison time for in relation to his rhetorical destruction of the beauty of the English language).
Yet the DJs who have made a career out of promoting violent and racist anti-white rap bands like the white DJ Tim Westwood have been allowed to play rap music on the radio that contains lyrics that call for the murder and rape of white women and men - and the Daily Mirror and the rest of the media say nothing. Once again hate seems to end when its ethnics hating white people or white people selling hate to ethnics.
The DJs that promote this anti-white rap rubbish are in the main always white, like rap DJ Tim Westwood. On July 18th 1999 Radio 1 DJ Tim Westwood was shot in a drive-by shooting. Westwood and five other people were travelling home from an event in Brockwell Park in South London. At 10.40 pm BST they were moving along Kennington Road when they got shot.
Tim Westwood survived as the 9mm bullets bounced of all the cheap gold necklaces he had around his neck, though a massive golden marijuana leaf the size of a 12 inch record with Ugandan diamonds in it on a gold chain he was wearing at the time was mortally wounded. It is now residing in the ' Museum of Rap ' as a holy icon for the generation of teenage kylies and Tupacs to visit with their kids along with the remains of Biggie Smalls last breakfast of ten bargain buckets of kentucky fried chicken and Tupacs last packet of used Rizla papers.
Below are some of the lyrics against white people that have been sold as ' rap ' records in this country by white record industry owners and producers like Rick Rubin the owner of Def Jam Records, Sumner Redstone of MTV ( Redstone was born Murray Rothstein ), David Geffen of Geffen Records.
When the Media issue a call to ban people for racism or for inciting violence against whites such as in these records then please wake me up when the latest homophobic witch hunt is over.
"Kill the white people; we going to make them hurt; kill the white people; but buy my record first; ha, ha, ha"
"Kill d'White People"; Apache, Apache Ain't Shit, 1993, Tommy Boy Music, Time Warner, USA.
"Niggas in the church say: kill whitey all night long. . . . the white man is the devil. . . . the CRIPS and Bloods are soldiers I'm recruiting with no dispute; drive-by shooting on this white genetic mutant. . . . let's go and kill some rednecks. . . . Menace Clan ain't afraid. . . . I got the .380; the homies think I'm crazy because I shot a white baby; I said; I said; I said: kill whitey all night long. . . . a nigga dumping on your white ass; fuck this rap shit, nigga, I'm gonna blast. . . . I beat a white boy to the motherfucking ground";
"Kill Whitey"; Menace Clan, Da Hood, 1995, Rap-A-Lot Records, Noo Trybe Records, subsidiaries of what was called Thorn EMI and now is called The EMI Group, United Kingdom.
"Devils fear this brand new shit. . . . I bleed them next time I see them. . . . I pray on these devils. . . . look what it has come to; who you gonna run to when we get to mobbing. . . . filling his body up with lead, yah; cracker in my way; slitting, slit his throat; watch his body shake; watch his body shake; that's how we do it in the motherfucking [San Francisco] Bay. . . . sitting on the dock of the dirty with my AK";
"Heat--featuring Jet and Spice 1"; Paris, Unleashed, 1998, Unleashed Records, Whirling Records.
"These devils make me sick; I love to fill them full of holes; kill them all in the daytime, broad motherfucking daylight; 12 o'clock, grab the Glock; why wait for night"
"Sweatin Bullets"; Brand Nubian, Everything Is Everything, 1994, Elektra Entertainment, Warner Communications, Time Warner, USA.
"A fight, a fight, a nigger and a white, if the nigger don't win then we all jump in. . . . smoking all [of] America's white boys";
"A Fight"; Apache, Apache Ain't Shit, 1993, Tommy Boy Music, Time Warner, USA.
"I kill a devil right now. . . . I say kill whitey all nightey long. . . . I stabbed a fucking Jew with a steeple. . . . I would kill a cracker for nothing, just for the fuck of it. . . . Menace Clan kill a cracker; jack 'em even quicker. . . . catch that devil slipping; blow his fucking brains out"
"Fuck a Record Deal"; Menace Clan, Da Hood, 1995, Rap-A-Lot Records, Noo Trybe Records, subsidiaries of Thorn EMI; called The EMI Group since 1997, United Kingdom.
"Now I'm black but black people trip [become upset] 'cause white people like me; white people like me but don't like them. . . . I don't hate whites, I just gotta death wish for motherfuckers that ain't right"
"Race War"; Ice-T, Home Invasion, 1993, Priority Records, Thorn EMI; now called The EMI Group, United Kingdom.
"To all my Universal Soldier's: stay at attention while I strategize an invasion; the mission be ssassination, snipers hitting Caucasians with semi-automatic shots heard around the world; my plot is to control the globe and hold the world hostage. . . . see, I got a war plan more deadlier than Hitler. . . . lyrical specialist, underworld terrorist. . . . keep the unity thick like mud. . . . I pulling out gats [handguns], launching deadly attacks"
"Blood for Blood"; Killarmy, Silent Weapons for Quiet Wars, 1997, Wu-Tang Records, Priority Records, The EMI Group, United Kingdom.
"Lead to the head of you devils"
"Lick Dem Muthaphuckas--Remix"; Brand Nubian, Everything Is Everything, 1994, Elektra Entertainment, Warner Communications, Time Warner, USA.
"This will all be over in '99, so, niggas, give devils the crime; gonna be more devils dying"
"No Surrender"; Bone Thugs-N-Harmony, Creepin on ah Come Up, 1994, Ruthless Records, Epic Records, Sony Music Entertainment, Sony, Japan.
"Won't be satisfied until the devils--I see them all dead. . . . my brother is sending me more guns from down South. . . . pale face. . . . it's all about brothers rising up, wising up, sizing up our situation. . . . you be fucking with my turf when you be fucking with my race; now face your maker and take your last breadth; the time is half-past death. . . . it's the Armageddon. . . . go into the garage; find that old camouflage. . . . cracker-shooting nightly"
"What the Fuck"; Brand Nubian, Everything Is Everything, 1994, Elektra Entertainment, Warner Communications, Time Warner, USA.
".44 ways to get paid. . . . I'm through with talking to these devils; now I'm ready to blast"
"44 Wayz--featuring Mystic"; Paris, Unleashed, 1998, Unleashed Records, Whirling Records.
"Like my niggas from South Central Los Angeles they found that they couldn't handle us; Bloods, CRIPS, on the same squad, with the Essays [Latino gangbangers] up, and nigga, it's time to rob and mob and break the white man off something lovelyĒ]
"The Day the Niggaz Took Over"; Dr Dre, The Chronic, 1993, Interscope Records, under Time Warner in 1993.
"Bust a Glock; devils get shot. . . . when God give the word me herd like the buffalo through the neighborhood; watch me blast. . . . I'm killing more crackers than Bosnia-Herzegovina, each and everyday. . . . don't bust until you see the whites of his eyes, the whites of his skin. . . . Louis Farrakhan . . . Bloods and CRIPS, and little old me, and we all getting ready for the enemy"
"Enemy"; Ice Cube, Lethal Injection, 1993, Priority Records, Thorn EMI; now called The EMI Group, United Kingdom.
"Devil, to gangbanging there's a positive side and the positive side is this--sooner than later the brothers will come to Islam, and they will be the soldiers for the war; what war, you ask; Armageddon; ha, ha, ha, ha, ha"
"Armageddon"; RBX, The RBX Files, 1995, Premeditated Records, Warner Brother Records, Time Warner, USA.
"Subtract the devils that get smoked. . . . we're people, black people; steal your mind back, don't die in their wilderness. . . . let's point our heaters [handguns] the other way"
"Dial 7"; Digable Planets, Blowout Comb, 1994, Pendulum Records, Thorn EMI; now called The EMI Group, United Kingdom.
"Get them devil-made guns and leave them demons bleeding; give them back whips, and just feed them bullets"
"Wicked Ways"; Sunz of Man, One Million Strong: The Album, 1995, Mergela Records, Solar/Hines Co., Prolific Records.
"It's time to send the devil to the essence. . . . this is a must because there ain't no reform or trust; you got a Glock and you see a devil, bust. . . . they'll be calling us the trigger men, the nappy-knotty red-beard devil-assassin; Lord make a law; at midnight I'll be bashing. . . . field niggas [are] locked in until 2005"
"Field N#gguhz in a Huddle"; Professor Griff, Blood of the Prophet; 1998, Lethal Records, Mercury Records, PolyGram, Philips' Electronics NV, Netherlands. PolyGram merged with Universal Music Group in 1998, the parent being The Seagram Company of Canada.
"He prays on old white ladies [who] drive the Mercedes with the windows cracked. . . . you should've heard the bitch screaming. . . . sticking guns in crackers' mouths. . . . the cops can't stop it. . . . remember 4-29-92, come on; Florence and Normandy coming to a corner near you, cracker; we've been through your area, mass hysteria; led by your motherfucking Menace Clan"