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.
Firstly, the Yarmouk tripartite is funded by the UN and… wait for it… THE FRENCH REGIME, arguably the most active former colonialist power in agitating for Assad’s ouster, and were in fact granted asylum directly by Paris, which expedited their visas because it wanted them to “continue their project”. Imagine, “revolutionary Hip-Hop” artists fully backed by the usurping Zionist entity’s favorite instrument for international cover-ups, the UN, and Zionist-occupied France. Not to mention of course, they’re getting press coverage from the Qatari tyrant’s premier propaganda organ, Al-Jazeera, which just might be the single-most important element in brainwashing the Ummah’s youth and whipping up Arab-Muslim “popular” support for the entire assault on the Syrian Arab Republic. Colonialists, globalists and GCC despots, the very peaks of “resistance”, ain’t they? The irony is apparently more than lost on these fools.
Secondly, the Refugees of Rap invoked “Ibrahim Qashoush” as their inspiration for pursuing “regime change” in Syria through their music. “Qashoush”, as many of you may know, went viral with “his” song “Syrian Revolutionary Dabke”, also known as “Yallah, Irhal Ya Bashar”. It is said–repeated ad nauseam really, in near-robotic fashion–that he was killed by the Syrian government, which allegedly slit his throat and ripped his vocal chords out. Cool story, right? And that’s exactly what it is. A cool, calm, collected, calculated STORY cooked up in the bowels of Langley and Herzliya. The song attributed to “Qashoush” most definitely was and is (since Refugees of Rap continue its destabilizing legacy) part of the ongoing Zionist media war against Syria.
Just look at the language in the video’s description: “Response from the streets of Hama to Bashar’s speech, with additional music & translation added by the Creative Syrian Revolution.” There is no evidence of any singer whatsoever in the video. The “additional music” is in fact ALL of the music. I ran the song by numerous producers that I work with, all of whom are brilliant beyond measure and operate with the absolute top-of-the-line in recording software and equipment, and they confirmed to me that the song is indeed 100% studio produced, no ifs, ands or buts about it. The “Creative Syrian Revolution”, for the record, is a Facebook page operated by “activists” from none other than the Syrian Human Rights Committee, an organization I exposed in my very first Syria article, “Kiss Of ‘Democratic’ Death: Israel’s Plot To Take Down Syria I”. The SHRC is Mossad-linked as well as Soros-backed via HRW and Amnesty.
The nail in the coffin about “Qashoush” and the track itself though comes from the Sulzberger-owned New York Times: “No one in Hama seems to agree on who wrote the song”, indicating undoubtedly that the song did not come from inside Syria (even among the “revolutionist” turncoats and Takfiri sympathizers) but abroad. And, “He was relatively unknown before July 4, when his body was found, then buried in the city’s Safa cemetery, near the highway.” Yeah, relatively unknown because he doesn’t exist, hence why I put “Ibrahim Qashoush” in quotation marks. “Ibrahim Qashoush” is in fact a media creation and a myth used by the Anglo-Zionist Empire to coopt Arab-Muslim artists and weaponize their music as putschist hasbara. Getting REALLY deep into the dirt, even the pictures of “Qashoush” are fishier than fishy. If one compares the alleged “live” photo of “Qashoush” with the alleged “dead” photo of “Qashoush”, you don’t have to be a forensics expert to figure out this isn’t a matter of distortion/disfigurement in death but totally different photographs of totally different people! It’s astounding that not a single analyst has picked up on any of this! And it’s even more astounding that the Refugees of Rap are doing what they’re doing based on a fictional character spoonfed to them by the enemies of humanity!
Thirdly, Al-Jazeera’s profile of the “regime change” rappers reveals that they recorded much of their music “secretly” in Yarmouk, ostensibly to duck the Syrian government’s Moukhabarat (security services). But it is a well-established fact now, although the likes of Electronic “Intifada”, Mondoweiss and the other usual “Palestine Solidarity Movement” activist suspects continue to fail miserably on the topic, that Yarmouk was overrun by the Takfiri terrorist scourge–first the FSA and then Nusra followed by MossadDaesh–not the Syrian government, and these Wahhabi thugs subsequently looted businesses, occupied homes, carried out massacres and committed various other crimes that led to the mass exodus from the once-vibrant, Palestinian-Syrian city-camp. And considering the Wahhabi-Takfiri character of these rebels and their absolute hatred of music, how is it that Refugees of Rap were able to record their music without any hassle whatsoever while others who merely PLAYED music in their cars or boomboxes or stereo systems were at the very best lashed and beaten and at the very worst decapitated? It’s an amazingly relevant question. With the French regime being among the top backers of the Takfiris as well as the funders and asylum-facilitators of these putrid “Hip-Hop”pretenders, were the Takfiris placing their hateful, un-Islamic ideology aside and giving the Refugees of Rap protection because they shared the same “regime change” agenda? Certainly appears that way.
Which brings me to the fourth, final and perhaps most infuriating point of all. The members of the Refugees of Rap are Palestinian (Yaser and Muhammad Jamous), Algerian (Ahmad) and Syrian (Muhammad Jawad). What in the name of all that is good and proper in the world are Palestinians, an Algerian and a Syrian rapping about “regime change” in Syria for and taking money FROM THE FRENCH REGIME to further their careers along? It is the French regime which wiped out MILLIONS in its 132-year colonization of Algeria, not to mention millions of indigenous persons elsewhere, and it is the French regime which helped the usurping, genocidal, artificial Jewish entity build its illegal arsenal of nuclear weapons in Dimona, a program that threatens not only Palestine and the Ummah but the whole damn planet.
Meanwhile, it is the Syrian Arab Republic which remains the only Arab state to provide guns, bullets, missiles, rockets and other forms of military gear to the Palestinian Resistance and is also the only Arab state to treat Palestinians as equals and brothers, granting them the same benefits and human rights enjoyed by all Syrians. AND! Syria has backed Algeria fully during these most tumultuous times in which France and AFRICOM have attempted to destabilize the Algerian state on more than one occasion. It literally doesn’t get anymore ANTI-PALESTINIAN, ANTI-ALGERIAN and ANTI-SYRIAN than France! Are they not aware of how insanely backwards all this is? Or is it that they are actually very well aware and simply have no dignity or sense of history, homeland, identity and liberationist consciousness, thus making it perfectly okay in their colonized minds to go right along with the “regime change” plot. Whether they know it or not is ultimately extraneous, as these individuals have greatly betrayed their respective original and adoptive countries and brought forth a tsunami of disgrace upon them.
Hip-Hop, very similar to Jihad, is a vehicle for change, resistance, revolution and awakening when the target of such actions is legitimate. Just like there is no “Jihad” when the guns, ammo, media backing, medical treatment, logistics, intelligence and overall agenda are American and ‘Israeli’, there is no “Hip-Hop” when your beats, rhymes and message are bought and paid for by Empire Judaica and its vassals. Verily, it is this hypocrisy that unites Refugees of Rap and the Wahhabi-Takfiri filth that has occupied Syria: Despite all of the helping hands given to them by the Zionist Power Matrix, they still delusionally act as if they are legitimate “Jihadis” in regards to the latter and “emcees” in regards to the former. Takfiri-sympathizing has no place in revolutionary, anti-Zionist, anti-Imperialist discourse, and “regime change rap” has no place in Hip-Hop. Period. Expose the Refugees of Rap and tear them down as you would any other betrayer, hater and destabilizer of Syria. They made their bed–with French, UN and Qatari help–so now it’s time for them to lay in it. As for real Jihad, look no further than Hizbullah, Ansarullah, the IRGC and the Iraqi Resistance. And as for real Resistance Hip-Hop, where real Jihad just so happens to meet in a beautiful, Musical-Mouqawamist nexus, look no further than Blak Madeen (Yusuf Abdul-Mateen and Al-J), Rafiqi Green, Khanverse and Madd Cold. We got you more than covered.