1. Reuters. Seattle, WA. Monday, November 11, 2002. 10:09 PM ET. 2. Associated Press. Tiffin, Ohio. Friday, November 22, 2002. 11:48 AM ET. 3. In January 2001, a 13-year-old boy in Connecticut allowed two friends to pour gasoline on his legs and feet and set him on fire after seeing a similar stunt on Jackass. He suffered second- and third-degree burns. Later that year, a 16-year-old Kentucky boy was injured as two of his friends hit him with a car as they tried to re-create another of the show's stunts, and in Connecticut, a 19-year-old -- also inspired by the show -- ran through the streets with a chain saw. URL: http://seattlepi.nwsource.com/local/95068_burn11.shtml 4. See the Darwin Awards website @ www.darwinawards.com. "The Darwin Awards honor those who improve our gene pool by removing themselves from it in really stupid ways. We commemorate those who gave their all, adding a dose of chlorine to the pool." 5. Which is presumably why the Jews take no interest in controlling what is seen or heard and why advertising is not a multi-billion dollar business. 6. Ben Stein's book The View From Sunset Boulevard makes it perfectly clear that a) Jews run Hollywood, and b) they are consciously at war with white America. He writes, "The people who are in a position of creative authority in television feel very much at war with the power centers of American life, as they see them. They see the businessman class, the heir class, the military officer caste, the people from Grosse Pointe, the people in restricted communities, the people in small towns who continuously resist all the political guidance of the people in big cities, as their enemies." Stein's final thoughts are worth quoting at length: "It all came together for me only by using a Marxian analysis. ...[I] found that if I imagined the TV production community as part of a small but extremely energetic and militant class, sense could be made of everything. If the creative TV people are seen as a class that once was powerless, dominated by other classes...held in political thrall by an America dominated politically by small towns and their remnants, and that had then emerged into a position of power and influence, then certain things became clearer. The TV people see certain classes as their enemy from long ago. Moreover, they still see those people as enemies, except now a sea change has occurred. Instead of having to work out of nothing to become something, the TV people are now in a position to dominate society. They can contend with the businessman class, with the military class, with small town gentry, with anyone for the leadership role in society. But they realize that other power centers must be denigrated and humiliated if they are to take the top positions." . . . "No one in Hollywood seriously wants to do anything drastic to society; people are making out too well as it is. Rather, they are like newly rich dowagers. They simply want to be recognized as members of the leading stratum of society. They want their views to be looked up to. They want their way of life to be thought of as the best. They want to be unchecked and unthreatened by businessmen or others. They do not want their candidates to be beaten by rural votes. They do not want plots by military men against the free society. And so, they want their ideas of how society should be run to prevail. But those ideas are not radical or dangerous. There is no specific program. There is no threat to anyone, beyond loss of prestige. A contending power group in society, the TV people simply wants its hour in the sun. And so TV people resent anyone, or any institutions, that compete with them. This shows on television." Alex Linder's, "Strange View Indeed: A review of Ben Stein's The View from Sunset Boulevard." Available online: http://www.vanguardnewsnetwork.com/books2.htm 7. In this sense, it not only fails to fend off "religious extremism," it actually serves to empower a particularly virulent form of religious extremism -- namely, Judaism, the principle objective of which is to subvert and fleece the host gentile culture in which its Diaspora Jews find themselves. 8. I cite these examples from the late 80s because since then there has been no comparable controversy. In 1985, the RIAA (Recording Industry Association of America) reached an agreement with the National Parent Teacher Association and the Parents Music Resource Center "that music releases which contain explicit lyrics, including explicit depictions of violence and sex, be identified so parents can make intelligent listening choices for their children." After these initial tests, resistance dissolved. This formal gesture ultimately served to silence public outcry rather than restrain the subversive lifestyle being sold to kids via popular music. The "parental advisory" sticker shifts all responsibility onto the parent while freeing the record companies to go to ever further extremes. One example -- though two dozen could easily be provided -- is rap phenomenon Dr. Dre. Producer and member of the late 80s original mainstream "gangsta" rap group NWA (Niggaz With Attitude), Dre went on to become a successful solo artist and a now legendary producer. His 1992 CD The Chronic is not only named after a black street term for marijuana but the back of the CD features a marijuana leaf at the top, and the CD itself is designed with nothing but a giant pot leaf. Proving there's some truth in advertising, most of the songs on the CD, as well as the between-track filler, feature drug use and rhythmic tales of crime and prison life. Is there any question that this glamorizes, advertises, and advocates, at the very least, drug use? As anyone can buy any music in stores, and as most kids buy their own music (or dub it from friends), the parental advisory sticker acts as an enticement to kids while it feigns restriction. 9. From GamersMark, a popular videogame website: "BMX XXX is one of the most talked about titles for this holiday season. Combining outrageous Hollywood humor and characters, beautiful women from New York's famous Scores [strip] club and incredible arcade action, BMX XXX will deliver an unparalleled interactive entertainment experience." 10. Consider the unabashedly biased description of the program on the VH1 site: "VH1 News Special: Inside Hate Rock uncovers the frightening allure and danger of the music known as hatecore through the eyes of the bands who play it, the fans who listen to it, and the demagogues who hawk it for political and financial profit. The exclusive VH1 special explores the evolution of the movement, tracing the story of hatecore pioneer George Burdi, who left the movement, broadened his horizons and currently plays in a multicultural band in Toronto, as well as examining the rock against racism movement and the battle for the hearts and minds of young music fans. Skinhead rock may not be new, but the way it is increasingly marketed to young audiences worldwide is sounding alarm bells. Hate-filled lyrics, Nazi salutes, and the familiar pounding drums and searing guitars of mainstream rock has emerged as a key recruitment tool in the U.S. white power movement. And the transformation is not taking place on secluded farmland in backwater towns - it's happening in the global marketplace via the internet. Resistance.com, acquired by notorious American neo-Nazi William Pierce along with the fledgling label Resistance Records, pulls in an estimated $1.3 million annually for Pierce's racist National Alliance organization. While Pierce is not a fan of rock music - he prefers Wagner and Beethoven - he recognizes the importance of music as an emotional magnet that will influence 'the next generation.' VH1 News Special: Inside Hate Rock looks at bands such as Skrewdriver, Rahowa (Racial Holy War), Carolina Sons, Angry Aryans, and Max Resist, who may have developed out of a common love of music, but whose message is what keeps them pumping out songs. Interviews include Blink 182, ex-skinhead TJ Leydon, former white supremacist rocker and Resistance Records founder George Burdi, anti-racism activist Justin Massa, Marc Weitzman of the Simon Wiesenthal Center, National Alliance head William Pierce (who also owns Resistance Records), Resistance Records executive Erich Gliebe, and members of the rock bands Angry Aryans, the Carolina Sons and Max Resist, among others. Among the highlights of VH1 News Special: Inside Hate Rock: Josh of Carolina Sons: 'All the aggressions, all the emotions that I feel inside of me, that I can't get out in normal society - if I do, I'd probably be arrested and be in jail.' Justin Massa, anti-racism activist: 'White power music - they're doing pretty well. They're selling millions of dollars of CDs a year, they're having successful concerts a couple times a month, they're increasingly attracting a whole new generation of haters into the larger White Supremacy movement.' William Pierce, head of the National Alliance and owner of Resistance Records: 'I want to give them a target for their rage, so that it doesn't stay cooped up inside them and become self-destructive.' Jordan Kessler, Anti-Defamation League: 'William Pierce, at this point, is really the leading neo-Nazi in the United States.' TJ Leydon, former skinhead: 'If a kid listens to a white power song, and that song says 'white power' fifteen times in a minute, that's way better than a kid can read in any literature… It's about the overthrow of the United States government - pure and simple, a white world.' Jason Stevens of Intimidation One: 'We're endangered. It's a fight for our lives. It's serious, and the music is the forefront.'" URL: www.vh1.com/shows/dyn/vh1_news_special/56815/episode_about.jhtml 11. The ADL's criminal history is well known. As for the ARA's criminality, here's but one example: "Baltimore, MD -- On August 24, 2002, hundreds of pro-white Americans headed to Washington, DC for a lawful demonstration at the U.S. Capital. The protest centered on U.S. support for the terrorist state of Israel, and the U.S. Immigration policy. Persons traveled from all over the eastern seaboard to attend the rally, and many chose to stay at the Best Western travel plaza off I-95 in Baltmore which is only about an hour outside of Washington. Unbeknownst to many of the protesters, members of "Anti-Racist-Action," a group well-known for its violence, decided to go to the Best Western Travel Plaza as well. In the morning, as both groups headed to the hotel lobby to check out, they met; and A.R.A. attacked! In the ensuing melee, Baltimore Police sent almost 30 police cars to break up what had become a riot. ARA members used pepper spray, 2 x 4 pieces of wood, allegedly with nails hammered through them, and steel rods to allegedly attack the white crowd. In addition, ARA members allegedly smashed vehicles, broke windows and scrawled graffiti on cars in the parking lot. At least one car had three of its tires slashed and a chartered bus was damaged so badly that it could not be driven to Washington. Things got so violent that it took the Baltimore police - all of whom are well-trained, hardened, city cops -- about 30 minutes to quell the violence. When it was over, 22 ARA members were under arrest and three pro-white folks were taken to the hospital for treatment of injuries. No pro-whites were arrested." URL: www.halturnershow.com/ARAarrests.htm 12. Black author and music historian Nelson George covers the unparalleled Jewish influence in the inauguration and development of Rap music in Hip Hop America. New York: Penguin Books, 1998, pp. 57-58, 84-85. Even Public Enemy, a band known for supporting The Nation of Islam, and occasionally accused of being Anti-Semitic, was signed, promoted, produced by and partnered with Jews (p. 58). 13. The irony here is scalding the moment one recalls that the very heart of modern forms of American black culture (rap, hip hop, film, tv, comedy, etc) -- at least as it is mass-marketed -- is its sincerity, authenticity, its reality. "Bein' real," "keepin it real," "bein' real with you," being "for real," all these utterances represent the singular mantra of contemporary black culture. Hardcore rappers cultivate careers on the idea that they are "from the streets." The most prestigious figures in the black world are deemed so because they are "for real." The Tupacs, the Biggie Smalls (Notorious B.I.G.) are deemed "great" because they rapped what they lived. The once multi-platinum MC Hammer lost face when it became obvious he was simply a pop star and not a gangster. White rapper Vanilla Ice, once the hottest act around, melted after his middle class upbringing was brought to light. Current rap sensation Eminem has survived similar attacks because, it appears, he really did come from a dirt poor family stranded in a black-destoyed and dominated Detroit. In fact, it is extremely telling that in Eminem's smash hit film debut, 8 Mile, the culminating battle rap -- the lyrical equivalent of Rocky's bout with Clubber Lang (Mr. T) -- the black antagonist is defeated -- drum-roll please -- when it's revealed that he's not "hard," he's from a solid black family and even attended a private school. It's not just a "rap thing" either. Scholarly blacks (meaning college professors) like Angela Davis, Cornell West, and Henry Louis Gates, Jr. constantly appeal to "street knowledge" to authenticate their sociopolitical "voice." Meanwhile, black scholars like Thomas Sowell, Walter Williams, Larry Elder -- i.e., any black who does not use "street credibility" as a crutch, and who reproaches this black fetish with contempt -- are broadly dismissed by the black community as "sell outs" or "Uncle Toms." In other words, they aren't "for real" so what they say doesn't matter. VICTOR WOLZEK Note: This was VNN's first illustrated atricle. |
