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White Culture is everywhere on the decline, replaced by the values and styles of minority populations.
Despite the traditional White Nationalist view, this situation has less to do with crafty Jews hatching plots in misty, East-European graveyards, than it does with a single musical innovation: Hip-Hop.
When it began, Hip-Hop did not much seem like a revolution. Its basic idea – that of chanting rhyming lyrics over a fixed rhythm – was not even wholly original, having many lesser-known precedents both in Europe and Africa. And to be sure, the early output from the genre was unspectacular. Despite the pioneer label now retro-actively applied to the likes of Grand-Master Flash and Run DMC, nobody took them too seriously at the time. Hip-Hop was a fringe circus for more popular African-American disciplines like Jazz, Soul and Disco.
In the nineties this all changed, and shortly afterward, the West in its entirety changed with it. In Los Angeles, after a charged few years in which African-Americans were positioned in contest with local police forces, a new attitude was imposed on rap, differentiated by the prefix ‘Gangsta’.
Gangsta rap is in many ways a Black punk movement in that it glamourizes and endorses the same anti-Authority Jungen-Politik as its white predecessor. Unlike Punk however, Gangsta rap was and is markedly authentic. Whilst Jonny Rotten never really did believe in anarchy, and nor did Joe Strummer enact social revolution, Rappers really did (and do) shoot people. They really did (and do) go to jail, pimp prostitutes, smoke weed, and belong to gangs. This sincerity explains why it still flourishes as a music of rebellion across the world.
In his terrifyingly important article ‘The End of White America’, academic Hua Hsu felt compelled to mention the role of this genre in the downfall of the White establishment.
“Over the past 30 years” he wrote …”few changes in American culture have been as significant as the rise of hip-hop. The genre has radically reshaped the way we listen to and consume music, first by opposing the pop mainstream and then by becoming it. From its constant sampling of past styles and eras—old records, fashions, slang, anything—to its mythologization of the self-made black antihero, hip-hop is more than a musical genre: it’s a philosophy, a political statement, a way of approaching and remaking culture. It’s a lingua franca not just among kids in America, but also among young people worldwide. And its economic impact extends beyond the music industry, to fashion, advertising, and film.”
Indeed, Hip-Hop is not just a music genre. It is now a generational conquest of White majorities across the Western World. Just as Communism before it, Hip-Hop primarily seeks out youth, and like the Mao-ists of China, it disconnects each new generation from the one which precedes it, making children foreign to their parents.
If you’re over the age of forty, you might well listen to modern rap music with a giddy indignation. It will be entirely foreign to you, and, in many essential ways, it is designed to be. The younger generation, however, has a special sensitivity to concepts hidden in the philosophy of this art-form. Just like those special whistle pitches that only dogs can hear, Hip-Hop speaks an articulate language of incitement to the young generation which seems like mere nonsense to the old.
I have spoken elsewhere about the African-Americanisation of Miley Cyrus. To her I can now add Justin Bieber, the former darling of White pop music, who is now also hurriedly embracing the Hip-Hop lifestyle.
As to why this is happening so quickly, I will quote myself from the Miley post:
“The centre of White gravity is now conspicuously old in America, and getting older. By this same trend, White culture has become ever more morally stiff and disconnected from younger generations. If you are young and White in America, you are, whilst not yet in an ethnic minority, most certainly in a cultural one.
If that doesn’t matter to you and you just want to get a good job and have a family, then this isn’t a problem. But if you’re like the majority of young people in this digital age, and so not inclined to seek the same destiny as your parents, you must hop aboard a different ethnic train to escape it.”
We would be foolish to consider this process as being confined to America. Consider the following clip of the White Australian artist Iggy Azalea, whose racial transvestitism surpasses even that of Eminem.
The consequences of Hip-Hop’s dominant position are not just cultural but social. The field of education has been hugely affected by the lyrical conventions of rap music, leading to a progressive dilution of literacy with each successive generation. There have even been attempts to adapt the conventions of language downward to that of slang – an enterprise justified via the poisonous theory of cultural relativism. According to this idea, children can be taught ‘Shakespeare’ in the language of the ghetto and still profit as much as they would from the original. Sorry, although it’s open to metaphysical debate, can Shakespeare with all the language changed really be called ‘Shakespeare’ at all…?
Rap Music is distinctly political in spirit. Many of the leading figures from Hip-Hop’s golden era propagandized against the White establishment with such intense fervor that, were the roles reversed, they would almost certainly be indicted for ‘race-hate’.
The upshot of children (including White, middle-class kids with no logical gripe against traditional society) being indoctrinated in this way is that minority grievances have become universalized, graduating whole generations into a nihilistic, Left-wing habit of thought completely out of sync with their life and opportunities.
One cannot witness these trends without wondering fearfully for the future.
I am not (lest it be argued otherwise) a ‘racist’, but at the same time I do propose that it would be a tragedy of unlimited proportion if White cultures were to be replaced in their entirety, especially by such an aggressive, de-civilizing force as that of Hip-Hop.