Tuesday, August 18, 2015

African Americans Who Support NWA’s “Straight Outta Compton” = “Good Germans” Who Ignored Nazi Atrocities

I’ve been watching the various online conversations in BW-centric spaces about the number of African-Americans, particularly African-American Black women (AABW), who ran out to support woman-beating, colorist NWA’s movie “Straight Outta Compton.” I’ve watched sane, sensible, and self-respecting AABW express shock and dismay at this depraved* behavior by the legions of braind-dead AABW. 

[*For an AABW to support this movie—and thereby subsidize a group of negro males who have spent the last 25 years degrading BW and marketing that hatred of BW to the entire planet—IS an act of depravity.]

Here’s what sane, sensible, self-respecting AABW need to understand about the Black female mammies who support this flick: 

These women are the ethical equivalent of the good German civilians who chose to ignore and turn a blind eye to Nazi atrocities. It's the same decision to knowingly support an evil ideology and evil individuals that have caused death and destruction to large numbers of people.

But first, you need to get clear about the nature of hip-hop/(c)rap “music.” After roughly 30 years of lies, let’s start telling the plain truth about hip-hop/(c)rap “music.”

Hip-hop/(c)rap “Music” Is Inferior Music That Encouraged AAs To Abandon Our Traditional Talents

I’ve talked about this before during the comments to a blog post.
Khadija said...


No, you're not over-analyzing this. I'm annoyed by this element of the packaging of these musicians.

However...let's consider what I believe are some of the harsh realities involved in this:

(1) If these women didn't look like fashion models, many prospective audience members would say that the only reason why they took the time to become REAL musicians is because they're too unattractive to be pop divas.

This is an extremely ignorant but common reaction. The same way people presume that, in terms of women, smart = unattractive. In the music context, people assume that only unattractive women choose NOT to pursue the "no-talent required" path.

(2) The audience's tastes have become thoroughly corrupted after several decades of no-talent trash being lifted up. We've had about 25 years of an almost entire roster of "music artists" that can't play instruments, read music, or sing. This lack of talent has become normal to us. Because our tastes are corrupted, we tend to shun music products that require skill and discipline on the performers' part.

Since most audience members have developed unnatural reactions to music that requires the performers to have skill and discipline, such music has to be heavily marketed to them.Quality by itself is NOT sufficient to capture the attention of most modern audience members. In fact, modern AAs actively shun quality.

A friend told me a horror story of watching some Negro music awards show where audience members (including some Negro/colored celebrities) looked bored while Gladys Knight was singing; and only perked up when some no-talent, colored girl, heavily-produced, video diva (I can't remember which one) came on stage to "perform."

Sex sells. Sex sells the new classical videos long enough for the audience to hear the music along the way. It's like the tag line to the old Bill Cosby cartoon: "If you're not careful, you might learn something."

Without using sex to capture the audience's attention, many audience members will click off once they figure out that: (a) the song is instrumental; (b) has violin-, viola-, and cello-playing in it; and (c) probably lacks Beyonce-type dance steps.

Things have reached a point that anything of quality has to be heavily marketed and "slipped in." And so, we have the new classical musicians who can "pass" as fashion models.

After modern audience members have become more accustomed to hearing quality music products, then it will be possible to remove some of these artifical crutches used to present the music to them. Crutches such as only selecting female musicians who can "pass" as fashion models.

Peace, blessings and solidarity.

Khadija said...


You said, "In my cynicism, I think modern day audiences have become so superficial that if the members of Bond chose the "talent over looks" approach, they would not even be capable of recognizing that the members of Bond are true musicians of talent."

RESPONSE: Exactly. This is absolutely insane. I can't get over the fact that most modern Negro "music artists" CANNOT play instruments, read music, or sing! Isn't having at least ONE of these skills a basic requirement before you can call yourself a musician?

Now that I think about it, I see where this sort of crazy thinking about music came from: It originated from AAs making excuses for defending/supporting no-talent rappers. "Oh, they're too poor to take music lessons...they're too poor to buy instruments...That's why they 'had to' express their 'creativity' in other ways...blah, blah, blah..." So here's the progression:

(1) At the beginning of hip-hop, AAs had the sense to realize that what these rappers were doing was INFERIOR, so we made the "they're too poor to do any better" excuses on their behalf.

(2) As time went on, no-talent products such as hip-hop (screaming and cursing over recycled beats from other people's work) became normalized as actual "music" to us.

(3) AAs started defending and justifying the hip-hop trash as if hip-hop is synonymous with "Blackness." I watched over the years as AAs who knew better were intimidated into silence (myself included) about just how INFERIOR this rap crap is. At this point, it's practically forbidden to point out the lack of actual talent or skill involved in creating rap trash.

(4) As more time went on, this garbage is all that most of us know.

We need to cleanse ourselves of this no-talent trash. Our defense of no-talent trash is the underlying reason why AA music has stagnated for the past 25 years. AAs used to come up with an entire NEW style of music every decade or so. Not any more. Not since the hip-hop trash took over. We went from being a people who could sing a cappella on street corners to no-singing, no-instrument-playing bums who steal 25-year old beats and melodies. Hmmph. 

Khadija said...


You said, "When I was coming up, the rap thing was just getting going, and I was such an iconoclast, nerdy kid, that I refused to be part of the pop culture my peers were into. I was listening to my parents' music and the oldies' stations."-------------------------------------------

RESPONSE: I was a teenager at the start of the rap crap. The thing is that a LOT of us HATED that mess from the very beginning. I remember my boyfriend and his male friends grumbling "This stuff they're chanting about is really degrading...and people are shaking their rumps to this?" My female friends and I were also grumbling about that mess at the beginning.

We all allowed ourselves to be silenced by accusations that we were just being "bourgie" (which, of course, is a bad thing---the very life circumstances that our grandparents prayed we would enjoy is a bad thing) when we expressed our dislike of that rap mess.

You're correct that a number of Black academics have a lot to answer for in defending this trash. Some of them have also sabotaged the academic careers of Black college students by pretending that this mess is worthy of serious, college level study. NOT!

NOBODY respects courses in Rap Video Vixen 203 or Hip-Hop Violence 101. And they shouldn't respect that, because it's an utter waste of time. It's also a diversion from studying things that are of actual value. Things like, I don't know...maybe learning how to read music and play an instrument.

Peace, blessings and solidarity.
I’m older than most of you in the reading audience. Most of y’all weren’t on the scene when hip-hop/(c)rap emerged. I was. I was there. I was a teenager in the 1980s when hip-hop/(c)rap started. The revisionist history spread by modern-day hip-hop/(c)rap fans who don’t know any better won’t tell you the truth. The revisionist liars want to pretend that most AA teens at that time liked that garbage from the very beginning. That’s NOT true. That’s not how things went down. 

Here’s what really happened:

Many of the other AA teens I knew (and all of my friends) hated that garbage when it started. As in hated it with a passion. Including the so-called “positive” hip-hop/(c)rap which has the same inherent flaws as the overtly violent gangster (c)rap:

All of that garbage steers AAs away from cultivating our traditional music talents and steers AAs toward lifting up mediocrity. As 1980s teenagers, we noticed the utter lack of talent involved in that mess. How do you call yourself a music performer when you can’t sing, can’t play an instrument and can’t read music?

In Chicago during that era, AA teens were listening to house music. But at age 15, 16, and 17 we allowed ourselves to be bullied into silence by the AA project kids and gang-influenced kids who liked that no-talent (c)rap mess. We didn’t want to be called “bougie.”

When we got to college, we allowed ourselves to be bullied into silence about the inferior nature of hip-hop/(c)rap by the misguided Black activists who had the knee-jerk reaction of supporting anything the Black underclass liked—even when it was something self-degrading and harmful, like most hip-hop/(c)rap.

A lot of young AAs from that era of the 1980s and 1990s knew better. Don’t let modern-day hip-hop/(c)rap fans trick you into believing that the only Black people “back in the day” who didn’t like hip-hop/(c)rap were old folks such as C. Delores Tucker. A lot of us who were young-uns back then knew better, but we let ourselves be bullied into silence by social pressure and fear of being called “bougie,” oreo, etc.

And so, the vast majority of AAs who knew better back then were cowards who allowed C. Delores Tucker to stand alone to face the slander and attacks from the (c)rappers and their supporters.

And so, the vast majority of AAs who respected our race, our ethnic group and ourselves enough to take exception to the violent anti-Black self-hatred being promoted by hip-hop/(c)rap were afraid of being perceived as oreos, Toms and traitors to our people. Meanwhile, an individual like Tupac could be considered “down with the cause”—even though he helped normalize mass dysfunction among AAs with his (c)rap and was screwing Madonna.

And now we have 2.5 generations of AAs who have NO ethical or moral compass whatsoever. We have masses of AAs who will knowingly support evil speech, evil actions and evil individuals who have caused great harm to AAs such as NWA and the pedophile R. Kelly.

I’ve had arguments with AABW child welfare workers who still support pedophile R. Kelly’s products. Including self-identified Christian AABW child welfare personnel. This sort of disconnect exists because the masses of modern-day AAs have no ethical compass whatsoever when it comes to holding BM accountable for anything. They have no ethical compass because they’ve spent their entire lives listening to anti-Black, anti-self-respect hate speech ideology that we refer to as hip-hop and rap. Which brings me to my next point.

Most Hip-hop/(c)rap “Music” Is Anti-Black Hate Speech Ideology

Let’s be clear: Most hip-hop/(c)rap “music” IS the equivalent of Radio Rwanda. Most hip-hop/(c)rap “music” is HATE SPEECH IDEOLOGY. Which is why hip-hop/(c)rap fans have to dig deep to come up with a few names of some so-called “positive” hip-hop/rap performersmost of whom are obscure and not at all representative of what that particular genre is about. 

As an aside, nobody is fooled by folks digging up a few so-called “positive” performers from 30 years ago. Because quite frankly, the so-called “positive” hip-hop/rap performers from 30 years ago weren't all that “positive” or politically aware. Not when you compare them to earlier performers such as Curtis Mayfield and Stevie Wonder. Or poet and proto-rapper Gil Scott-Heron. According to the Wikipedia entry:
Regarding hip hop music in the 1990s, he said in an interview:
They need to study music. I played in several bands before I began my career as a poet. There’s a big difference between putting words over some music, and blending those same words into the music. There’s not a lot of humor. They use a lot of slang and colloquialisms, and you don’t really see inside the person. Instead, you just get a lot of posturing.
Just sayin.

What sane, sensible and self-respecting AABW need to understand is that hip-hop/(c)rap isn’t just entertainment for the past 2.5 generations of AAs. It’s an evil ideology that the past couple of generations of AAs have been indoctrinated into—it’s the moral and practical equivalent of Hitler Youth. When it comes to atrocities committed and marketed by AABM, most modern day AAs are “Good Germans.”

When you talk to AA males and AA mammy mules who support R. Kelly, NWA’s “Straight Outta Compton,” etc. you’re talking to AAs who’ve grown up in the ethical equivalent of Hitler Youth. You can’t reason with Negro Slave Hitler Youth! Such folks are beyond reason.

When you try to reason with Negro Slave Hitler Youth about their active support of evil, they’ll tell you that woman-beating, colorism and lethal gangbanger violence existed before NWA and other gangster (c)rappers. Yeah, the same way genocide existed and had been carried out in various countries prior to Nazi Germany.

But here’s the difference these Negro Slave Hitler Youth graduates don’t understand: Genocide existed prior to Nazi Germany; but the Nazis mechanized and industrialized genocide.

Similarly, woman-beating, colorism and lethal gangbanger violence existed prior to NWA; but NWA and other gangster (c)rappers mass-marketed these evils to the AA collective and normalized these evils among the AA collective.

History shows that it takes extreme measures to cleanse indoctrinated people’s minds of that type of filth. Once that kind of filth is allowed to take root among a people, you have to actively stamp it out to get the people back to some level of sanity. [The Union’s failure to actively stamp out deranged racist Southern ideology after the U.S. Civil War was a major strategic mistake. Which is why there are still problems with that region of the U.S. today.]

You have to do things like physically destroying every symbol that supports a deranged ideology. Which is what American troops did in occupied Germany after WWII.  Like in the video below.

You also have to make examples of folks who collaborated with evil in order to get the masses back to some level of sanity. Negro Slave Hitler Youth act as if sane and sensible AAs verbally questioning their choice to financially support evil is some sort of an attack. I even saw one Hitler Youth Negro Mammy accuse those AAs who have enough self-respect to boycott evil such as NWA of “targeting” the mammies who ran out to support that movie.

These AA Slave Collaborators With Anti-Black Evil have no idea what “targeting” collaborators looks like in the real world. Here are some historical examples of how other folks dealt with the collaborators from among their nations:

Thankfully, in the modern day AA context, all of this isn’t really necessary in order to cleanse the AA collective of AA Slave Collaborators With Anti-Black Evil. Because in one way or another, most AA collaborators depend on the rest of us to feed them. The masses of everyday AA Slave Collaborators With Anti-Black Evil are not thriving. Because the AA collective is not thriving (in large part due to the self-destructive, dysfunctional values and behaviors that 25+ years of hip-hop/(c)rap culture has normalized among AAs).

After citing the article Where did 'Straight Outta Compton' make the mostmoney? Not where you'd think, Breukelen Bleu in a recent Facebook post made some observations about the general state of BW in Atlanta (a theater in Atlanta had the top ticket sales during the opening weekend of that movie):
The area that Straight Out of Compton made THE MOST MONEY in, was NOT Compton itself. It wasn't even in LA, Cali, or the west coast for that matter.
It was Atlanta, Georgia.
The ATL.
An area that has the 4th largest black population in the country; where single black WOMEN outnumber single black men by 80,000; where 60% of the black men could contract HIV by the age of 30; where a large portion of the black male population is closeted gay men living deceitful heterosexual lives; where only 29% of the black female population is currently married; where the black unemployment rate is almost 15%- almost 3 times the national average; where the crime rates are 232% higher than the national average; where reported rapes are 4x the national average; where a person has a 1 in 14 chance of becoming a victim of a crime; in a state where gun deaths are up 8%; where 56% of domestic violence deaths are caused by guns; where 42% of domestic violence deaths had children present during the killing; where 3000 domestic violence survivors are turned away from shelters per year; where the gap between the richest and the poorest is the highest in the country and the richest are worth 20 TIMES the poorest; where black women are contracting HIV rates at 5x the rates originally estimated for black women by the CDC; where the OOW rates top 74%..
THIS ^^^city, where all of the dysfunction, mayhem, poverty, violence, domestic abuse, family instability, rape and murder depicted in songs like "Bitches Aint Shit But Hos' & Tricks' and "One Less Bitch" plays out in REAL LIFE, affecting black women in DISPROPORTIONATE NUMBERS. is the same city who topped the list of ticket sales which demographics were....
"About 51% of ticket buyers were younger than 30, and 46% were black. More surprising: About 52% of the audience was female."
That means that there were LOTS of black women who spent their MONEY in support of a group who contributed to the belief that black women are little more than beasts and animals with graphs and charts having been created, to support the notion.
Now, think again about them Jewish Business men and then tell me again how this shit dont matter and how there isnt something extremely disturbing about the average black womans response to NWA and what they respresent. Fuck the emotionality. Fuck the politics and respectability concerns. Fuck the faux outrage and selective morality.
Just look at the NUMBERS.
If BW can look at those numbers I presented above, and reconcile them with that 56.1 MILLION dollar earnings for Straight Out of Compton this weekend and NOT see something wrong -
Well, then black women DESERVE the rapes, murder, oppression, mistreatment, degradation, poverty and shame we endure. Cuz any group too stupid to recognize the connection between those all of those numbers is too STUPID to expect be treated any other way.
We are supposedly one of the most educated demographics in the country. But we sure dont let them book smarts translate into common sense. Some of the women I have seen support this mess have surprised me - and saddened me. Because if even THOSE sistas caint see whats right in front of us, then what that says about the rest of black womanhood is scary.
You aint gotta be a feminist, anti-rap activist, BWE follower or PhD to add.
All you need is a decent calculator and some perspective.
For those of us who are sane, sensible, self-respecting AABW, the BW Collaborators With Anti-Black Evil who ran out to support this movie are not us; and we are not them. 

The bulk of these women are not thriving, and we don't owe them anything at all. 

These women deserve to continue twisting in the wind. As I've said before, the answer is very simple:

When you really want something to stop, you have to STOP feeding anybody and everybody who keeps it going.

Stop feeding the Black men who hate Black women. Stop feeding the Black women who persist in supporting these Black men.