The Unz Review: An Alternative Media Selection
A Collection of Interesting, Important, and Controversial Perspectives Largely Excluded from the American Mainstream Media
 BlogPaul Kersey Archive
Straight Outta Compton Symbolizes America’s New, Anti-White Cultural Establishment
🔊 Listen RSS
Email This Page to Someone

 Remember My Information



=>

Bookmark Toggle AllToCAdd to LibraryRemove from Library • BShow CommentNext New CommentNext New ReplyRead More
ReplyAgree/Disagree/Etc. More... This Commenter This Thread Hide Thread Display All Comments
AgreeDisagreeLOLTroll
These buttons register your public Agreement, Disagreement, Troll, or LOL with the selected comment. They are ONLY available to recent, frequent commenters who have saved their Name+Email using the 'Remember My Information' checkbox, and may also ONLY be used once per hour.
Ignore Commenter Follow Commenter
Search Text Case Sensitive  Exact Words  Include Comments
List of Bookmarks

Straight-Outta-Compton If, as poet Percy Shelley wrote, “poets are the unacknowledged legislators of the world,” America is in a lot of trouble. To understand where our country is headed, look no further than the artists that contemporary culture celebrates, such as N.W.A., the rap group featured in the new film Straight Outta Compton.

The movie was released in theaters last night with increased security outside theaters [LA Police Beef Up Patrols Around Theaters Ahead of ‘Straight Outta Compton’ Debut, by Matt Donnelly and Anita Bennett,The Wrap, August 13, 2015].

Of course, this is being denounced as you-know-what [Racism Is As Racism Does: Increased Security At Theaters Showing ‘Straight Outta Compton,’ by Kovie Biakola, Atlanta Daily World, August 15 2015]. And of course it’s not without good reason: in 1991, when the movie Boyz N the Hood opened in more than 800 theaters nationwide, there were more than 25 violent incidents [Boyz’ film opens to violence, by Scott Harris and Jim Herron Zamora, Los Angeles Times, July 14, 1991]. This lead to a famous article in Ebony bemoaning the constant shootings and fights at black-oriented films [What’s Behind the Black-on-Black Violence at Movie Theaters? by Aldore Collier, Ebony, October 1991].

At its height, N.W.A. (Niggas Wit Attitudes) were considered social lepers peddling a dangerous form of protest music that skirted the lines of legality [Compton Rappers Versus the Letter of the Law : FBI Claims Song by N.W.A. Advocates Violence on Police, by Steve Hochman, Los Angeles Times, October 5, 1989].

Even the New York Times noted:

NWA-Efil[1] The members of the Los Angeles rap group N.W.A. are despicable, misogynistic swine. What’s worse, they are proud of it. On their second album, “Niggaz4Life,” they advocate gang rape, forced oral sex and killing prostitutes who don’t do what they’re told. “The joke’s on you, jack!” they shout gleefully at the end of the album. “We did it again!”…

[RECORDINGS VIEW; For Adults Only: Love and Sorrow . . . Lust and Hate, by David Browne, June 22, 1991]

The New York Times’ Browne called N.W.A.’s debut album powerful but noted the group dismissed women as opportunistic “bitches” and referred to a policeman as “a sucker in a uniform waitin’ to get shot.” He noted that in N.W.A.’s second album, they “brag about the size of their sales figures, bank accounts and private parts and talk dirty, just like any other mediocre rap act.”

So basically, anti-white attitudes mixed with vulgarity and various proofs of high time preference among blacks [Race and psychopathic personality, by Richard Lynn, American Renaissance, July 2007]. The more things change…

Yet now cuckservative flagship National Review has proudly published review calling this look-back at N.W.A. an “extraordinarily positive sign of the times” [The Sentimentalizing of N.W.A., by Kevin Williamson , August 14, 2015].

It’s true that the formerly subversive members of N.W.A. are now pillars of the corporate establishment. Ice Cube was lampooned in The Boondocks as “the dude who makes family movies” and Dr. Dre is a celebrated entrepreneur who sold a glorified headphones company to that most white of companies, Apple, for the sum of $3billion [Dr. Dre sells Beat Electronics to Apple for $3billion, by Elizabeth Lazarowitz and Corky Siemaszko, Daily News, May 28, 2014].

Yet all this means is that the anti-white and anti-police premises of the band are now part of the governing system.

Even police in Alabama are afraid to defend themselves against blacks, lest they suffer the fate of Officer Darren Wilson. Recently, a Birmingham detective was pistol-whipped and mocked by a hostile black crowd because he hesitated to take action against a black suspect. Evidently, this was preferable to having his life destroyed by the Main Stream Media and the federal government [‘If the tables were turned, there would be rioting, by Dave Urbanski, The Blaze, August 9, 2015].

N.W.A.’s hit “F*ck the Police” isn’t edgy; it’s practically the policy of Obama’s Department of Justice.

It wasn’t always so. Twenty-three years ago, when Time Warner released Ice T’s (not to be confused with Ice Cube) “Body Count” album, it contained the notorious song “Cop Killer.” Actor and NRA president Charlton Heston confronted the corporate officials responsible at a shareholders’ meeting. He described the incident in his autobiography In the Arena.

Body_Count_Radio_EP[1] By this time President Bush, police across the country, members of Congress, and major religious and media figures had condemned the Body Count album. Ice T had weighed in with the comment, “I ain’t never killed no cop… I felt like it a lot.”

I had the floor for perhaps only eight or ten minutes, but it was enough. I spoke briefly and quietly to the meeting, then simply read, in full, the lyrics of “Cop Killer,” which almost no one in the room had heard or seen, they being too offensive for the media to quote.

“Mr. Levin [Gerald M. Levin, then chairman-CEO of Time Warner],” I said, “Jews and homosexuals are also sometimes attacked, though of course not as often as police officers. Let me ask you: If this piece were titled, ‘F*g Killer,’ or if the lyrics went, ‘Die, die, die, k*ke, die!’ would you still peddle it? It’s often been said that if Adolf Hitler came back with a dynamite treatment for a film, every studio in town would be after it. Would Warner be among them?”

The room was death-still. I gave them one more dose, a few lines from another cut on the CD, less notorious but even more disgusting. In this “song,” Ice-T fantasizes about sodomizing two 12-year-old nieces of the next Vice President of the United States.

I left the room in an echoing silence, then repeated much of what I’d said inside to the media. One or two journalists said, “You know, we can’t run that.”

“Yeah, I know,” I said. “But Warner is selling it.” A week or so later, the company pulled the album, pretending that Ice-T had asked them to. A month after that, they terminated his contract.

I asked the women’s organization NOW to join me in condemning the album, in view of the vicious lyrics about sodomizing little girls. It never did. I’ve never understood why. Perhaps NOW didn’t want to attack a black man.

Still, I’m proud of what I did, though now I’ll surely never be offered another film by Warner, or get a good review from Time. On the other hand, I doubt I’ll get a traffic ticket very soon.

[In the Arena: An Autobiography, by Charlton Heston, p. 567-568]

Heston was even more candid about his feelings for Ice T in his book T he Courage to Be Free (2000):

An entertainer of sorts, he is a minor young Hollywood character actor, a rapper who makes money by encouraging violence, pervasion, racist hatred, and bloodshed… His medium is raw, driving form of music known as rap. As a prominent musician I know defines it, “rap” is sung by people who can’t sing, can’t play an instrument, and can’t write lyrics. It’s vocal graffiti—just a temper tantrum with a beat. (p. 80 – 81)

Ice T, real name Tracy Marrow, admits that, now that he is wealthy, he needs police to protect his property [Ice-t: “I’m a hypocrite regarding police, by Wenn,ContactMusic, January 18, 2007]. He even plays a police officer on Law & Order.

Yet the celebration of N.W.A. and the apotheosis of people like Ice T reflects a deeper shift in American culture beyond gangster rappers making it big.

Today, no Hollywood actor, not even of Heston’s clout, would dare go into a shareholders’ meeting of a major corporations and condemn “verbal graffiti” against police and whites. The onetime defenders of traditional morality are now cultural outsiders.

What was counter-cultural even as late as 1992 is now mainstream and beyond criticism. Straight Outta Compton is a celebration of the new Establishment culture—a Minority Occupation Culture to match our Minority Occupation Government.

And a glance at formerly American communities such as Ferguson, Baltimore, and Detroit will tell you what that means for the future.

Paul Kersey[Email him] is the author of the blog SBPDL, and has published the books Opiate of America: College Football in Black and White and Second City Confidential: The Black Experience in Chicagoland. His latest book is The Tragic City: Birmingham 1963-2013.

(Republished from VDare by permission of author or representative)
 
• Category: Race/Ethnicity • Tags: American Media, Blacks, Race/Crime 
Hide 12 CommentsLeave a Comment
Commenters to Ignore...to FollowEndorsed Only
Trim Comments?
    []
  1. Truth says:

    Paul, don’t be a square.

  2. Chuck says:

    Remember when music could be dangerous? Damn I’m old.

  3. Insecure schoolteachers, desperate to curry favor with their uncontrollable students, assert that they really do enjoy a bit of rap – and on the anti-white BBC can be heard serious music critics actually taking time to assess rap offerings from an ‘intellectual’ viewpoint.

    May we just simply say that rap is s–t and degrading to the human race?

  4. Tom_R says:

    ANTI-WHITE RAP MUSIC—JEWISH MISTAKEN SELF-IDENTITY ON DISPLAY.

    Thanks for the interesting article, Sir.

    Levin and Time Warner are both Jewish. Their purpose in inciting blacks to sing rap attacking whites is because the Judaists believe they are a “special race” called “Jews”, from Africa (even though they are mostly whites whose ancestors converted to Judaism in the Middle Ages), and they must destroy white goyim first. It is this delusion that is at the root of their blancophobia.

    Even a Jewish magazine recently admitted that 90% of the Judaists are really white, based on a large survey:

    http://www.timesofisrael.com/survey-finds-1-in-6-jews-new-to-faith/#!

    Judaists are often behind rap music. See the online article by a member of the rap industry, called: “The Secret Relationship Between Rappers and Jews” at:

    http://www.finalcall.com/artman/publish/Entertainment_News_5/article_8500.shtml

    Also:

    https://www.radioislam.org/thetruth/blmusic.htm

    So when the rappers promote killing whites, the Jewish controlled media calls it “freedom of speech”. But if white rappers wrote or sang lyrics like this, saying to sexually assault Jewish girls, they would be arrested for crimes such as promoting violence, civil rights violations, transmitting threat by mail or wire, etc. But the black rappers, even though what they are singing is often illegal (violates federal obscenity statutes, conspiracy to commit crimes, etc., threats by wire, etc.), were never prosecuted, thanks to Jewish power.

    This is Jewish hate against whites by proxy.

  5. Yevardian says:

    Speaking of which, interesting how nobody paid any attention to Ice Cube’s anti-white antics until he mentioned Jews on his 2nd album. Same for Public Enemy.
    Interesting the craze over Eminem as the first serious “white rapper”, despite the Beastie Boys and an obscure outfit called 3rd Bass preceding him, both all-Jewish.

    I reckon rap left the exclusive realm of the black underclass around 1990, and had become fully co-opted into mainstream pop-culture by around 1997; after being mostly de-fanged and de-politicized.
    Anyone remember the period when rappers were prancing around wearing Africa pendants and dashikis, preaching to “only buy from black-businesses”?

    You learn a lot about black pathologies from rap. Practically every rapper out there boasts about the crimes he did, the people he killed, the drugs he sold, the girls he screwed over and then there’ll be a final track where he laments the state of black families and why the police unfairly harass him.

  6. Father O'Hara [AKA "rihanna"] says:

    Interesting note: I was young in those days and followed MTV & BET and such shite.I recall a big story among “the blacks” re a little woman named Dee Barnes who was brutally beaten by Dr Dre.Dee is upset that this was not in the movie.Nobody cares. Why? You got beat by a nigga! Next time get beat by a Cracka they’ll build a statue of you!

  7. Father O'Hara [AKA "rihanna"] says:
    @Yevardian

    LOL!Do you remember KRS-1?Very black and all BLACK nationalist and a little crazy.

  8. Father O'Hara [AKA "rihanna"] says:
    @Yevardian

    I remember 3rd Bass. Two idiots! I knew instantly the ugly guy was a jew,but the other idiot,the one with the cane,he looked a goy.He was one of them too?

  9. Jefferson says:

    I remember SWPL Feminists had a period over Eminem’s lyrics about raping and murdering women. Yet N.W.A were rapping about raping and murdering women about 10 years before Eminem did it. Yet N.W.A did not get as much backlash as Eminem did from SWPL Feminists. Maybe the SWPL Feminists were afraid they would be called racists, so they mostly left N.W.A alone.

  10. anowow says:

    The post 60’s American left was never about economic egalitarianism or even fairness. Indeed, it never truly posed a threat to elites, which was why it was and is allowed so much leeway.

    Black elites don’t want a more just or fair society. Like their African (or La Raza) counterparts, they want to wet their beaks, and if that also involves young whites steppin’ and fetchin’ and acting obsequious so much the better.

  11. @anowow

    “Indeed, it never truly posed a threat to elites, which was why it was and is allowed so much leeway.”

    Fair hasn’t anything to do with it, I think. If the threatened, the elite just move themselves and their power somewhere else.

  12. Tulio says:

    Gangsta rap of the NWA era largely died out by the turn of the millennium. Its heyday ran from about the late 80s to late 90s. While there are certainly still violent rap lyrics to be found, as someone who listens to rap, I’d say it’s declined dramatically since gangsta rap’s peak popularity in the mid-90s. As noted in this article, many of these former gangster rappers have long since left that world behind, matured and moved on to better things in life such as enterprise and charity. Even a guy like Snoop Dogg who started as a hardcore gangsta rapper act is now a completely harmless act whose songs are mostly fun and silly. Gangsta rap simply isn’t popular anymore. Rappers have moved on from that stuff and the most popular acts aren’t even close to gangsta.

    I haven’t seen the Straight outta Compton movie yet, but would like to as someone who came of age in Los Angeles during the time that the gang warfare was at its peak. I’m sure I’d find it intriguing.

Current Commenter
says:

Leave a Reply - Comments on articles more than two weeks old will be judged much more strictly on quality and tone


 Remember My InformationWhy?
 Email Replies to my Comment
Submitted comments become the property of The Unz Review and may be republished elsewhere at the sole discretion of the latter
Subscribe to This Comment Thread via RSS Subscribe to All Paul Kersey Comments via RSS
PastClassics
Which superpower is more threatened by its “extractive elites”?
What Was John McCain's True Wartime Record in Vietnam?
Are elite university admissions based on meritocracy and diversity as claimed?