Category Archives: Commentary

Refugees Of Rap: French-Funded “Hip-Hop” Tools For “Regime Change” In Syria

by Jonathan “Madd Cold” Azaziah

Goddamn do I hate these Judaized, Westoxified, colonized, House Arab, House Muslim motherfuckers, goddamn them all to hell. I’m sick right now. The reason? Allow me to introduce you to the Refugees of Rap, a “Hip-Hop” group which specializes in REGIME CHANGE RAP. No, you didn’t read that incorrectly. REGIME CHANGE RAP. Cut from the same cloth as the “emcees” funded by the US State Dept and Mossad-CIA tools Khaled M and Omar Offendum, Al-Jazeera says the Refugees of Rap are waging a “lyrical war” on Syrian President Bashar al-Assad. There are four quite glaringly disturbing things about these agent provocateurs, beyond the mere obviousness of how disgusting it is that Global South “MCs” are spewing bars in the name of a Zionist-Imperialist coup agenda. Continue reading Refugees Of Rap: French-Funded “Hip-Hop” Tools For “Regime Change” In Syria

The Hip-Hop Nakba: Just Like Palestine, Our Culture Needs Liberation From Its Jewish Occupiers

by Jonathan “Madd Cold” Azaziah

It’s about to get madd politically incorrect up in this muhfucka, so stop reading right now if you’re with that bullshit. On this 68th Nakba Day, I am oddly– or maybe not so oddly at all considering the context–thinking about the Nakba in Hip-Hop. Indeed our culture of Beats, Rhymes and Life is just as colonized as Palestine on both the cultural and political levels. My younger brother Jared Azaziah aka super-producer Dark Night sent me a video just last week of all-time great MC Joe Budden, the most personal and emotionally honest MC ever, speaking in no uncertain terms that the entire rap industry is not controlled by those personalities and figureheads that you see on the surface but an “underworld of Jewish bosses above them that we never see”. Continue reading The Hip-Hop Nakba: Just Like Palestine, Our Culture Needs Liberation From Its Jewish Occupiers

The “Prayers For Palmyra, Music Revives Ancient Ruins” Concert Was True Mouqawamah Music

by Jonathan Azaziah

The concert in liberated Palmyra was truly marvelous and heartwarming, wasn’t it? As I’ve grown fond of saying–because of its veracity not because it sounds pretty–music is the most powerful vibrational force on the planet. And when it comes to the advancement of a political-cultural objective, there is nothing which penetrates the hearts, minds, souls and beings of an oppressed, liberation-hungry people quite like music. The messages contained in the simple but potent strings of a violin, the softness of a flute, the sheer rage of an electric guitar or the relentless bars of a fierce MC ripping into a classic, soul-sampled beat with boom-bap drums, will always be more awe-inspiring and hope-instilling than any article, radio broadcast, post or book. Just the way it is. Continue reading The “Prayers For Palmyra, Music Revives Ancient Ruins” Concert Was True Mouqawamah Music

Long Live Syria II (Stay Silent O’ Cowards), Off 2015’s Son Of Kufa Vol. 1, Is Now Out

by Jonathan “Madd Cold” Azaziah

With the betrayers and haters of Syria continuing to vomit their hasbaranik lies a mile a minute, the time seriously couldn’t be more appropriate to let my joint “Long Live Syria II (Stay Silent O’ Cowards)”, off my 2015 album Son of Kufa Volume 1: Rise Of The Anomaly, rock as a single. No doubt the song is a bit of an epic, clocking in at 6 verses across 8 MADD COLD minutes and 59 seconds of pure freezer burn, but the meaning behind it–Long Live Syria in the face of an onslaught of ultra-Talmudic propaganda–is too powerful not to share. I actually wrote this joint during the Zionist-Turkish-Saudi chemical weapons false flag in Eastern Ghouta in August 2013 when everyone, and I mean EVERYONE in the “Palestine Solidarity” and “antiwar” movements were begging Zio-NATO for intervention on Syrian soil to implement “regime change”. I was astounded by their mental failure to peep the okey doke and see what ‘Israel’ was attempting to do as a means of changing the map of our whole region. It was like these “activists” didn’t learn a thing from Libya; like they didn’t learn a thing from Iraq; like they ain’t learn a damn thing from Afghanistan, Yugoslavia, etc. Their refusal to see the deception being perpetrated by the Jewish-Zionist media and the sheer hatefulness they expressed towards the Syrian Arab Army filled me with so, so, SO much fury. So much. And I took out all that rage on every bar I penned as I tore into the maggot hypocrites who claimed to care about Syria bit by bit. Upon completing the joint, there was enough frantic Mouqawamism and militantly volcanic vexation meshed together to fill up the Milky Way, wallahi. So for my Syrian brothers and sisters, for all the people of Bilad al-Sham, and for any brave, truthful soul who has defended Syrian President Dr. Bashar al-Assad, the people and the government of the Syrian Arab Republic, the Syrian Arab Army and Hizbullah online and offline from the get-go, LET IT KNOCK! “This is like that General Issam Zahreddine music, that Colonel Suheil Hassan music, you nah mean?! Long Live Syria, down with the rebels!”

Felicity Of The Oppressed Ain’t Just An Album, It’s A Lyrical Movie!

by Jonathan “Madd Cold” Azaziah

My ancient bruv from another muv Shan Cee FiftyOne aka He Who Signals The Truth asked me to write this so here goes. My fourth album, “Felicity Of The Oppressed”, is more than just an ode to Yemen in Beats-Rhymes-Life(form) or a mere collective of cohesive songs; it’s a lyrical movie… A Hip-Hop play in 3 acts that starts with a bang, tears your guts out, enrages you and then crescendos with a feeling of victoriousness that soothes and consoles. While every joint stands alone as an individual experience and I did indeed write it that way, F.O.T.O. is meant to be listened to in totality so you can grasp the fullness and connectedness of the concept: Yemen’s pain and suffering at the hands of Earth’s Most Evil, followed by Yemen’s struggle against these oppressors, followed by and concluding with Ansarullah’s triumph over the forces of Dajjal and the globalizing of their win which I am humbled to be part of. You don’t skip around when you’re watching a flick, do you? Because doing so, you lose critical plot points, right? Same idea applies here. Continue reading Felicity Of The Oppressed Ain’t Just An Album, It’s A Lyrical Movie!

Zionist Job, Off 2015’s Son Of Kufa Vol. 1, Is Now Out!

by Jonathan “Madd Cold” Azaziah

Any musician, writer, activist and especially MC running their mouths amuck about Saudi involvement in the 9/11 attacks, but keeping completely mum on the all-encompassing role of the mastermind ‘Israel’, ain’t nothing but a shill for International Zionism. Simple and plain. It’s 2016 b… If you don’t get it yet, that those towers came down in NYC from a controlled demolition because Mossad agents placed the bombs in the buildings, including WTC Building 7, and that the remote-controlled planes equipped with the flight termination systems of Rabbi Dov Zakheim–who also stole those trillions of dollars now reported as “missing” from the Pentagon and sent large chunks of his stolen prize to the usurping Jewish entity–were what hit the North Tower at 8:46 am and the South Tower at 9:03 am, then not only will you never get it, but you’re more than likely too much of a coward to say so because the idea of being falsely accused of “anti-Semitism” is too much for you to bear. This joint right here, “Zionist Job”, off my 2015 album Son of Kufa Volume 1: Rise Of The Anomaly, is my rebuke of such putrescent people and hands down the most comprehensive song about the ‘Israeli’-Jewish plot on 9/11 ever recorded. This is what Lowkey never had the guts to say. This is what the hypocrite Immortal Technique wouldn’t be caught dead spitting. These are the rhymes that filthy collaborators like Omar “I Love Takfiri Terrorism In Syria” Offendum and Khaled “I Love NATO Bombs in Libya” M avoid like the plague. This is Truth-Hop on a whole ‘nother level. In the eternal words of Eric B. and Rakim, and for the victims of 9/11 and all the martyrs of Palestine, Lebanon, Syria, Iraq, Afghanistan, Pakistan, Somalia, Yemen and Libya who lost their lives under the pretext of this Judaic false flag…. PUMP UP THE VOLUME!

Demented: Occupying, Usurping, Colonizing Ethiopian-‘Israeli’ Jews Cite Tupac Shakur As Inspiration

by Jonathan Azaziah

If this isn’t the very personification of cognitive dissonance, I seriously don’t know what is. Here we have Ethiopian-‘Israeli’ ‘rappers’ (or as my fam Khanverse likes to call them, wackers), who are part and parcel of the Zionist settlement project and squatting on Palestinian-Arab land that ain’t theirs, citing the late, great Tupac Shakur as their main influence, because, get this, he represented a struggle against racism and oppression. Astounding. Continue reading Demented: Occupying, Usurping, Colonizing Ethiopian-‘Israeli’ Jews Cite Tupac Shakur As Inspiration

Review of Gilad Atzmon and the Orient House Ensemble’s “The Whistle Blower”

by Trevor LaBonte, The Ugly Truth

Musician/author Gilad Atzmon and The Orient House Ensemble have returned with their eighth album to date, a delightful offering entitled “The Whistle Blower.”

ATZMON’S BACKGROUND:

Atzmon is a former Israeli, former Jew, who underwent a spiritual awakening as a result of hearing the great bebop masters. He was taught his whole life as an Israeli Jew that Jewish artists and thinkers are superior to all else, but he knew he had been lied to, by virtue of the fact that Charlie Parker and many other great jazz artists were black and not Jewish.

Atzmon cut all ties with the Jewish state over twenty years ago, expatriated to London and completed a Master’s degree in Philosophy there. His solidarity to the Palestinian cause is evidenced by his choice to name his band after the Palestine Liberation Organizations former headquarters in Jerusalem, called, “Orient House.”

His criticisms of his own former Jewish ideological collective are brutally honest and hard-hitting. Let it suffice to say that his mission to liberate the discourse has led him far, far from the world of “political correctness,” yet he somehow balances all this with a successful career in jazz. Continue reading Review of Gilad Atzmon and the Orient House Ensemble’s “The Whistle Blower”

Our rapper in Havana: USAID hijacked Cuban hip-hop scene trying to undermine govt

Young Cuban hip-hop musicians have been sucked into a USAID secret operation aiming at regime change in Havana. Rappers from underground circles were unwittingly supposed to promote anti-government sentiments, but the operation was haplessly executed.

A new AP investigation has exposed a secret program by America’s Agency for International Development (USAID) to infiltrate Cuba’s underground hip-hop scene to form a movement of “socially-conscious youth” opposing the Communist authorities. The operation lasted for over two years, in 2009-2011. Continue reading Our rapper in Havana: USAID hijacked Cuban hip-hop scene trying to undermine govt

The Secret Relationship Between Rappers and Jews

by Deric Muhammad, The Final Call

Hip-hop as an art form and a culture is hands down one of the most powerful international social forces in the history of the world. There is no nation on Earth where its footprints cannot be found. Rap artists who create the soundtrack that fuels hip-hop culture become equally influential. They determine trends and the general course of youth culture globally. Yet while it appears these artists who often peddle images of invincibility are in control of hip-hop, we must look deeper to see who may be in control of them.

Rap artist, Jay-Z and his business partner Damon Dash built a hip-hop powerhouse called Roc-a-fella Records. It was a Black-owned Record label that produced millions in sales. As is often the case, these two brothers reportedly had personal and business disagreements and decided to part ways. Legend has it that a Def Jam Records executive by the name of Lyor Cohen played the role of instigator, negotiator and “clean-up” businessman. What is clear is that Roc-a-Fella Records, once known as “The Dynasty”, is now owned by Def Jam. Cohen happens to be Jewish. Continue reading The Secret Relationship Between Rappers and Jews