Why Jewish Rap is Wack

by Khanverse (Mouqawamah Music EXCLUSIVE)

It’s no major secret in an expanding variety of circles that Jewish endeavors in the arts overwhelmingly result in subversive perversion. Regrettably, this vast subject has not been adequately dealt with since the Internets began and Mouqawamah Music indeed aims to fill this vacuum, eventually, God willing.

As we here at Mouqawamah Music no doubt descend from the spiritually fervent line of Sergei Yesenin, Pablo Neruda, Ghassan Kanafani and Kamal Nasser, we consider it our noble obligation to root out the invaders from whence they came.

This of course is the great challenge of all Mujahids in any line of Mouqawamah in this deceptive age. Undoubtedly spiritual filmmakers, directors, artists, intellectuals and philosophers must unite in common humanity and respond with dynamic force to the parasitic, manufactured cultural paradigms toxifying society’s moral sense and poisoning its inherent unity along embedded fault lines of divisions. Man vs Woman. Muslim vs. Christian. Science vs. Religion. This corrosive pattern ensures perpetual enslavement to the parameters of the Kosherized discourse. Hip-Hop is the exact anti-dote to this very phenomenon, which is why it is exceedingly grotesque to see vainglorious members of Organized Jewry making a mockery of it with traditional, distinctively crude expression. A Study in Parasitismindeed.

Why Jewish Rap is Wack

1) Oppressor Consciousness

Though Organized Jewry’s perpetual self-delusion in victimization is masterful, it is the very Oppressive force Hip-Hop was born to eliminate, as it comprises the uppermost elite and wealthy in Western nations and the domineering directorate of all colonial projects of exploitation in all their insidious manifestations.

Anyone who pridefully asserts his Jewish heritage in the modern world is indulging his ego in collective Jewish mythology, reinforced by all Jewish media, validating its delusional triumphant victim-redemption tale.

Jewish-Wackers have internalized Jewish culture and strategic identity politics to function, unscathed, in a generally somnambulant, comatose Hip-Hop society as perversion and exploitation remain pillars of their relations with the art form.

Hip-Hop is rooted in West African Islam, “Black Muslims”, the Mouqawamah Consciousness of Egypt and Iran, the Palestinian cause and the Afrocentric/Black Nationalist narratives of the 60s, 70s and 80s. World Jewry, and Western Jewry especially, never had minority oppressed consciousness, the very prism through which Hip-Hop developed.  Exactly the opposite in fact. Thus, Jewish-Wackers are a corrosive, invading force in the genre, exploiting the art-form, offering nothing to further the fiery political agenda inherent in Hip-Hop, while weakening and deteriorating the quality of the sound.

Surprise, surprise, they are blind to this irony.

2) Lyrical Content

After real Hip-Hop was betrayed by the early to mid 90s, Jews established a foothold over both the commercial, mainstream rap music as well as the underground and independent spheres. Jewish usurpers organized a wide variety of exploitative schemes to wrest control of record labels. Jewish intrigue was at the root of the acceleration of the degeneration in the art form, promotion of gangster-fratricidal rap, East Vs West “beef”, and the hedonistic ambition for  exponential materialism.

It is fascinating to observe the same latent Jewish drive to profane the sacred manifested in possibly the most revolutionary art form in history, lyricism and rap.

Arguably the most horrendously vile Jewish-Wacker, Necro (as in necrophiliac), displays his Talmudic-Israeli-Zionist heritage unapologetically with insanely grotesque imagery of orgies, rape and fantasies of having sex with the dead (as in his namesake).

Lyricism as judged in Hip-Hop has been comprised of a few key elements. Intricate multi-syllabic rhyme schemes, intelligent wordplay and a potent, coherent message formulate the triumvirate of  any high quality lyrical piece.

A sizable vocal minority comprised of mostly white suburbanite hipsters/backpackers have aggressively anointed Jewish Aesop Rock as the undisputed underground King of Lyricism.

Fanatic evangelists of this atrocious Jewish-Wacker go to extreme lengths to fabricate meaning in his complete nonsense ‘lyricism’.

He himself is quite insecure about his contrived nonsense given its flagrantly shrill, piercing effect on the naked ear.

Some of these unhinged lunatics cite a study that shows Aesop Rock has used the most vocabulary in rap with mind-numbing displays of nonsensical absurdity, to validate their genuflection and sycophancy.

3) Hasbara & Validation of Jewish Identity Politics

The ever-present toxicity of the vile Talmudic dystopia results in the mentally colonized arguing over who get to amusingly appropriate “gangster” Jewish identity. It’s hard to tell if this too is by design or if the brainwashed are merely ingratiating themselves to their masters, but it ultimately matters little. Jewish identity, with its demonstrable roots in child-rape, cowardly infanticide and extremely militarized, ethno-religious genocidal supremacy, is packaged as an irreproachably positive construct that enjoys tacit support as an effect of its undisputed position at the apex in Hip-Hop’s hierarchy of power.

The aforementioned flamboyantly satanic, Tough Jew Necro – who was molded as a child and young adult by Talmudic Jew-Deism and Zionism, as his father was a Jewish terrorist who partook in the ethnic cleansing of Palestine – started the “Jewish Gangsterz” trio with members of the Golani Brigades. The Golani  Brigades are a military order in the IOF that were at the tip of the Jewish spear during the Nakba and have been involved in an archive of genocidal campaigns against the terrorized and besieged Palestinians since then.

Intricately multi-syllabic and phony macho Jew, Rugged Intellect had a chance to escape the Jewish-Wacker label but after catching a couple fists in the jaw for bad-mouthing another local rapper, he quit rap and decided to become a Jewish Lawyer instead.

4) Jews are the SlaveMasters in Hip-Hop

Jews are the SlaveMasters of the industry as a whole but Hip-Hop, most insidiously. We say most insidiously because of the extreme satanic degeneracy and dense, suffocating concentration of soulless memes it squirts all over impoverished (“at-risk”) youth, brainwashed and programmed to be criminalized and re-enslaved by the Police State. Endless iterations of depression and misery all done in hopes of preventing the rise of the black messiah they fear.

As a simple but demonstrative example, RZA’s Jewish lawyer suffocated RZA with determined insistence and, as street legends in NYC’s Brooknam and Shaolin allege, financial blackmail, demanding his son, Remedy, be featured in The Wu’s projects. Ultimately, aspiring Jewish-Wacker, Remedy, was given a track on “The Swarm Vol. I”, an album featuring a collection of loosely affiliated Clan ‘family’.

Remedy, real name Ross Filler, [I know… SubhanAllah. You can’t make this stuff up] chose the Holofraud as the topic of his exceedingly wack and historically inaccurate track, “Never Again”, an ode to the pretentiously delusional Jewish victim-redemption narrative. Oozing with wackness, Remedy recycled this terrible song many times including at the end of his stupendously stupid and excruciatingly egregious 9/11 verse.

“Fight the Power” & The Shift

In the late 80s Public Enemy’s fiery anti-establishment tunes politicized the Black Liberation movements of the era on a national platform incorporating Panther lore and the NOI’s fiery independence.  In an interview in 1989, inspired by Farrakhan, Professor Griff, the non-emcee, Public Enemy’s Minister of Information, candidly revealed the gems from his research with swift but accurate throat chops to the Kehilla.

In a bewildered daze, Hip-Hop Jewry on the scene, Lyor Cohen, PE’s manager, and Bill Adler, PE’s publicist, were forced to defend Public Enemy to the entrenched hawkish Media Jewry. Ultimately Bill Adler, in tandem with these hawks and extortionist, racketeering, terrorist JDL, brought incredible force down on Chuck D to sacrifice ties with Professor Griff and cut him out of Public Enemy. Chuck D lamented about this on Public Enemy’s 1990 cut, “Welcome to the Terrordome” from the album “Fear of a Black Planet”:

Crucifixion ain’t no fiction / So called chosen frozen / Apology made to who ever pleases / Still they got me like Jesus

Chuck D still has some fervor left and would like to see more intelligent revolutionary emcees arise, especially from America. We anticipate his joyous elation. Professor Griff also still does his thing.

It was a struggle back and forth for a protracted time because brutally unapologetic frankness had characterized all the greatest Black leaders of the era. The NOI who inspired Public Enemy were veterans in slugging it out with Talmudists on the public intellectual plane. Rebellious young Hip-Hop was unaware of the largest power broker in the land and ever since this struggle, the undisputed sacred cow of Jewish identity remains sacrosanct. Ever since this public relations victory in 1989, Jewish power brokers have squeezed and suffocated all major outlets of urban rap culture with weak degenerate Hip-Pop. No one dares to point out the vultures. We insist.

Ultimately, these two qualitatively different anecdotal tales only serve to allude to the obvious fact that Jews control Hip-Hop, in outlets, form and message and this can be verified by observing the chains of command at all nodes of power in the industry.

We highly recommend the study of the NOI’s two volume masterpiece, “Secret Relationship Between Blacks and Jews” to discern why the mutual cooperation between oppressed peoples narrative is a devious fabrication that keeps Black artists domesticated and enslaved. Al Jolson and Jerry Heller all over again.

Interestingly, Bill Adler would go on to publish and help popularize the phrase “Jew on the Brain”, written by the deceptive polemicist Harold Brackman, in response to the NOI’s explosive analysis on Jewish-Black relations, which became a pop culture retort to revelations of Jewish criminality.

5) Normalization of Anti-Hip-Hop Memes

Hip-Hop is about legitimately manly men. It’s a masculine trait to be well-versed in a variety of subjects. It is manly to be working hard to ameliorate conditions, to be active, engaged, God-fearingly fearless, to protect the weak, and to sacrifice for family, tribe, nation and humanity. It is absolutely the manliest trait of all to stand up to the most enormous and sinister tyrants of All-Time with Fiery Transcendent Will.

And, no, it is not a masculine trait to wear expensive adornments, wear tight pink jeans, nor pink female boots nor is it a manly idea, carrying a pink murse nor wearing a mink fur.

These manufactured fashion standards pumped out by wack puppeteers partially fuel the raging competition in densely occupied housing projects in our major cities creating the vicious malaise and cyclical self-cannibalization present in some tragic neighborhoods.

Homosexuality has never had a place in Hip-Hop and for good reason. Clearly a Jewish organized and politicized ancillary tool to minimize successful nuclear families, in states where it is evangelized, The pulsating and encroaching undercurrents of homoeroticism in Hip-Hop have collaborated with Jewish-Hollywood’s process of grotesquely disfiguring the image of the black man transformed as a supine, feminine, soft, compliant servant of the Power Matrix. ALL non-Jewish puppeteers are working with them.

Hip-Hop was organic and grassroots. It came from, drew on, and gave back to the people. The narcissistic drive to obtain more and more for self while exploiting those who idolize you is not inherent in Hip-Hop. It engaged through the cipher with the DJ scratching and graffers spraying and the b-boys breaking. This slavish devotion to blind orgiastic hedonism has no place in purist Hip-Hop. This is what proud Jews enforce in the genre. Jewish-Wackers who express solidarity with this tribal supremacy have no place on any level in the revolutionary lifeblood of original Hip-Hop.

There is absolutely no tolerating phony oy veys nor jubilant mazel tovs of halakhic glory over our beloved, pimped and prostituted, comatose art form that has been rotted from the top down and from the outside in. Jew-Deism does not belong in rap nor in Hip-Hop and we will tirelessly aim to eliminate all ties and normalize a de-kosherized Hip-Hop discourse.

~ The End ~

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