Tonight I Have Just Discovered…

That supernazi website Chimpout, also known as, still exists.

Since my laptop is acting funny I’ll post the link below:

Rather than waste my energy being annoyed by these honky savages (what else are you going to call them?) I suggest that some people come up with the names of the scumbags who run this Nazi website, their web addresses, and I will post them here. Also, feel free to dig up any information about these savages and I will do the same. Furthermore, hacking the hell out of them would be a great idea.

Some people might find it hard to believe that after 12 years these savages are still hard at work spreading Nazi propaganda worldwide against Africans, but it doesn’t surprise me in the least–especially when their spiritual leader, Donald Trump, has never seen the inside of a criminal court, much less a fucking prison. (I predict that as long as the current regime exists in Washington, he never will.)

The racist cartoon and the old Kabyle myth in post-colonial Algeria

For the past week I’ve been digging up (NOT digging) shitty old racist cartoons from the 30s and 40s–junk like COAL BLACK AN’ DE SEBBEN DWARFS, ALL THIS AND RABBIT STEW and others. One thing I’ve noticed is that French racist caricatures of Algerians (and even sub-Saharan Africans) pales in comparison to the absolute viciousness of the American ones. This is saying something, because anybody who’s seen that silly crypto-Nazi rag Charlie Hebdo (or anything by racist French cartoonists both past and present) knows that the French racist can hold his own in the graphic arts. (French racist writing, on the other hand, is another matter altogether. Even Jim Goad’s proto-alt-right bullshit is no match for the utter racist vitriol of one Louis-Ferdinand Celine. But then again, white Americans have never really been very good at intellectual pursuits, anyway.)

All of this reminds me: I need to put out another Kaf’s Toons. Possibly a series of cartoons documenting the high times under Donald McRonald, and preferably in a book. But I definitely have a few ideas in mind. P.S. Fuck Bob Clampett, fuck Walter Lantz, fuck Jizz Freleng (even though his Pink Panther cartoons were pretty funny), fuck Charlie Hebdo and fuck this Algerian cac-lover. And once again, fuck Jim Goad.

Why Didn’t Anyone Else Think of That?

First off, a word or two about Earl Simmons.

He died about a month ago–I think it was a month. I’m not so sure. To be brutally honest, he’d never done much of value when he was alive, unless its value was completely in the negative. Earl was simply one of those lumpen-thug assholes who got Black America into the cultural cesspool that it’s in today. He was a poor man’s Tupac who spent his entire career upholding shitty stereotypes of Black men–namely, the drug-addled buffoon and Big, Burly Negro.

So, good riddance. Actually, it is rather sad that Earl died but he had to die in order to destroy DMX. He is not the topic of discussion anyway, but we can segue from DMX’s fraudulent con-art into the subject of “struggling.”

All his life this sad individual had been struggling not only with drugs, but (like Tupac) with the phony images of Black “masculinity,” Black “authenticity” and Black “culture”–images which he himself helped to reinforce. Sadly, Earl Simmons had built his entire self-image on these fake images. Earl Simmons was not a “nigger,” but he thought he was a “nigger”–hence, his wasted life and pathetic death. Too many Black men still see him as representative of an uncompromising Blackness. I’m not going to waste my energy explaining why all of this is absolute garbage. Re-read earlier posts I have made on the subject of this useless monkey culture, or if you feel insulted/triggered by everything I’ve said so far about “rap” and the late and unlamented DMX, listen to Eric Grimes’s take on it.

That is why I don’t give a shit about DMX. His “Blackness” was not organic; it was created by the same racist corporate white “Amerikkka” that you cats keep on shrieking about every hour of the fucking day. The same racist corporate white “Amerikkka” that you “struggle” against every hour of the fucking day (even as you put money in their pockets and seek out posh residences in their spaces–yes, I’m talking to you, Patrisse Cullors of fucking Los Angeles!!).

Baldwin addicts (there are a lot of them these days) please take note when he says that:

My own point of view, speaking out of black America, when I had to try to answer that stigma, that species of social curse, it seemed a great mistake to answer in the language of the oppressor. As long as I react as a “nigger,” as long as I protest my case on evidence of assumptions held by others, I’m simply reinforcing those assumptions. As long as I complain about being oppressed, the oppressor is in consolation of knowing that I know my place, so to speak.

Not only did Earl Simmons know his place in Cackistan, but so does “Black Lives Matter,” Incorporated.

A few nights ago I was listening to “House Hunters,” an episode of Champagne Sharks featuring “Trevor, Vida, Ken and Mario.” Somewhere around the thirty minute mark, Vida dropped a small ideological bomb when she explained why she left a so-called “revolutionary” group. Why? “Because,” she said, “they were rooted in struggle and not in progress.”


Who can improve upon this statement?

Furthermore, why didn’t I think of that? Hell, why didn’t anyone else?

It’s important to keep Vida’s statement in mind when regarding this huge rainbow of colorful, loud, impotent and empty “left” or “woke” movements. They are like weeds sprouting through the cracks of American neoliberalism. The vast majority of these movements are predicated around the same old tired theme of “struggle.” The word has such a powerful ring to it that when one hears that usual phrase “in the struggle,” very often one forgets exactly what a “struggle” really means.

Most importantly people have forgotten the whole purpose of a struggle: to move forward at all costs. Struggling is not an end in itself–not even for Trotskyites!!

I would also like to add that (and I didn’t hear part two of the podcast) “struggle” in and of itself has become a global cottage industry. In the United States, it has been for some time. Also the very term “struggle” has all but lost its original meaning. In Vietnam (as opposed to the USA) the “struggle” was an armed one, for the most part–like in Algeria, in Angola, in Cuba and today in certain parts of the Philippines, certain parts of Mexico, India, Israel-Palestine and other places. In the United States and other first world countries, “struggle” is a byword for hollow slogans, pasting up loud and empty posters (like, for instance, here in Berlin), wearing funky clothes, screaming obscenities at cops, etc.

In fact the First World Corporate Left has all but robbed the word “struggle” of any true meaning. George Soros and other corporate entities (such as Nestle) bankroll Black Lives Matter and in the process, they piss off professional Nazis the world over. This does not mean that Nestle is our friend. We should know damn well that these palm oil titans are not the sons of liberty–not when they are utilizing slave labor and destroying rain forests worldwide. This corporate-sponsored “struggle industry,” this Struggle-Industrial Complex, is simply a way of defusing righteous anger, a way of channeling mass discontent away from neoliberal hypernormalization and into online flippancy (re, the so-called “woke” and cancel cultures). BLM has long since exposed itself as a snob-ridden clique of uppity queens. They have succeeded brilliantly in using their homosexuality to guilt-trip/patronize those they feel are beneath them–and as alibis to maximize their own personal fortunes at the expense of their gullible and (quite possibly) somewhat ignorant followers.

That last has to be said, in order to emphasize how (for some people) being gay, black, transgender, a female, a Jew or a Muslim or Asian can be windows of opportunity for amoral and unprincipled assholes. Certain White supremacists have been doing this since the founding of the State of Israel–as if being Jewish gives one an alibi to be a flaming Breitbart. (Sheriff David Cl(d)ark(i)e pulls this same bullshit on behalf of the reactionary, bourgeois colored.)

But the gullible are equally guilty for falling for the same old political con. There is simply no excuse anymore for certain Black people to continue to be as ignorant of such things (and for the same reasons they patronize stores that treat them like shit). Apparently millions of African Americans have learned absolutely nothing since the end of the Black Power Era. Many never will, because they don’t care to; the will to change is just not there. That’s one major reason why the so-called “struggle-industrial complex” actually exists.

On a side note: why on earth are people still giving “Doctor” Umar (Shoemake) Johnson their fucking money? Ten years and counting and this coked-out walrus has yet to produce this “academy” he has been hyping for that time. He has spent a good deal of his time screaming at other assorted crackpots, ex-pimps, hotep-hustlers and the like, and all the silly drama/shenanigans is (again) lining his…

(On second thought, given his character, he’s probably better off (and we are definitely better off) just selling pipe dreams to gullible believers in pork-chop nationalism. Nobody really needs to have Mr. “Sniffles” Shoemake teaching anybody’s fucking kids–let alone some macho, misguided and reactionary cult-nat* bullshit.)


*For millennials who don’t know what a “cult-nat” or a “pork-chop nationalist”** is, it’s the same as a hotep. Gen-Xers like myself (I was born in 1967) used the term in the late eighties to describe “hoteps.” Likewise, “pork-chop nationalist” was used by the Black Panthers in a previous generation to describe the “hoteps” of their era (c.1965-c.1975)

**Interesting side note. After writing these lines, I just realized I had eaten pork-chops for dinner. However, this does not make me a reactionary nationalist.

Anti-Asian Racism: America Backsliding into “Yellow Peril” Bullshit in the 21st Century

Many people with brains are shocked at how Asians went from being the “model minority” one year to being moving targets the next. I’m not. Even as a kid I was well aware of the internment of Japanese-Americans during World War Two as well as Chinese Exclusion Acts and the late 19th Century massacres of Chinese Americans, of which (until very recently) virtually nobody in America wanted to discuss in a public forum. Other incidents–such as the Watsonville Riot of 1930 and the Bellingham Riots of 1907 (against Filipinos and South Asians, respectvely)–I’m just becoming aware of.

This whole Asian “model minority” myth was precisely that: a myth. That’s a very banal way of putting it, but what else can be said? Asian-Americans became a “model minority” only recently–well after World War Two, and after the Civil Rights Movement began to destroy that other “model minority”–the old-fashioned, humorous, humble “Southern Darky”–in the eyes of mainstream white America. Prior to World War Two, the average Asian American was perceived as a social menace by his mere existence. Economically, he was not much better off than the average African or Latino-American, and was further down the social-economic totem pole than he was on the cusp of the so-called Reagan Revolution. In fact “in 1960, Asian American men, who were born and raised in the United States, had much lower earnings than white Americans with similar years of schooling and experience”(Duleep and Sanders, The Economic Status of Asian Americans Before and After the Civil Rights Act).

Asian Americans became the “model minority” of post-1965 America as long as they toed the line (the thin white line) and accepted (or pretended to accept) the white American system of reality. Asians were considered “acceptable” as long as they voted Republican, were “hard workers” (read: hard at work reinforcing white American hegemony) and kept their heads down (read: being passive and “not complaining” about their lot, the same way those pesky nigs and PRs (Puerto Ricans) keep on doing in New York and elsewhere). Asians appeared—publicly, anyway—to accept their own double consciousness or at the very least, projected their own racial anxieties onto racial groups “beneath” them. Radical activists such as Yuri Kochiyama, and groups such as the Asian-American Political Alliance (which coined the term “Asian-American” as opposed to “Oriental,” which was another version of “Negro” or “colored”), “I Wor Kuen” or the Red Guard Party existed, but generally not commonplace.

When Soon Ja Du shot up Latasha Harlins (over a bottle of juice) or when Peter Liang defended himself by shooting up Akai Gurley, well—white America found all that perfectly acceptable. Why wouldn’t a hard-working, go-getting American defend him or herself against “Negroes”? (On the other hand Mohammed Noor shooting Justine Damond in Minneapolis was not: Noor was still a youknowwhat.)

(Below: a threatening letter written in 1930, from the Watsonville Riot; right: another threatening letter written this year)

The hollowness of the whole “model minority” myth was made evident after the COVID-19 epidemic. That COVID-19’s spread in the United States is primarily the fault of lazy whites who refuse to put on masks (as well as the Trump regime’s refusal to deal with the reality of COVID-19) mattered little. As usual. The epidemic became a clever alibi to attack Asians regardless of nationality. For whites, of course, the hidden alibi was Asian-Americans questioning their status on the American totem pole.

For the African-American and Latino-American, however, the alibi to beat up on Asians was slightly different. Blacks were and are knee-jerk reacting against Asian anti-Black racism (endemic in Asian-owned restaurants, nail salons, shopping centers and Asian-American minds/spaces in general). But when I see clips of Blacks terrorizing Asians they often look to me like a bunch of black-faced rednecks, pantomiming the same honky-shines they see in their Asian-American counterpart. In one of the most recent incidents, a middle-aged negro screeches at an Asian woman who tells him to put on a mask. “Smile for this, Chink!” the negro snarls, as he flips her the bird.

Alas, with incidents like the one above, the white mainstream media has decided (once again) to make Afro-Americans the face of anti-Asian racism. Note how in the above incident, the perpetrator’s face (as in several other incidents) was made public immediately. White liberals, who are no better than their conservative counterparts at the end of the day, did not mind (in their obscene hypocrisy) using their Asian tokens to call out African Americans and our supposed “hatred of Asians.” Yes, there are plenty of Afro-Americans who despise Asian-Americans; one sadly sees this playing out in the streets of North America every day; the above examples (including this most recent brouhaha) speak for themselves. But to paraphrase James Baldwin, in all seriousness, Black Americans are anti-Asian because they are anti-white; they rightfully perceive Asianness as being in closer social, economic and cultural proximity to whiteness, and as a result, they generally are–at the very least–as deeply suspicious of Asian-Americans as they are of anybody who isn’t, to them, recognizably Black. (The last emphasized statement is important, because many Black faces aren’t trusted, especially if they are foreign or of a lighter hue.)

#ADOS Dickhead Dwayne Grayson, February 28, 2020, after attacking an Asian man for kicks

All of which, of course, is not to excuse this New Black Fascism. Whether black-faced MAGATs or drunken hoteps, collectively it’s just reactionary black (bourgie) nationalism carried to its natural extreme. Nationalism begetting ultra-nationalism begetting chauvinism begetting bigotry begetting–fascism. Black fascists have taken the inherent (and sadly justifiable) paranoia of mainstream Black America and fashioned a new identity out of it, calling themselves #FBA (if they are on Papa Tariq’s side) or #ADOS (if they are on Quisling Carnell’s side) and other things. Since these clowns are more or less as racist as their reactionary, petty-bourgeois, Trump-supporting (or Hillary/Sanders/Biden-supporting) Asian counterparts, one should not be surprised to find them riding the crest of the Yellow Peril 2.0 wave. (Three decades ago, these same petit-bourgie coloreds were riding an anti-Semitic/anti-Korean wave with the same emotional lack of nuance, reacting to the same ugly responses from their equally fascist Jewish and Korean counterparts.)

The Biden Administration–in contrast to Trump dragging his paws last year–has been quick to step up to the plate and lobby for “anti-racist legislation.” But to be honest, the swiftness of Biden’s response to these racist attacks on Asians is because Asians, frankly, are much higher on the American totem pole–meaning, they are considered more acceptable to the white world than Blacks, and share ethnicity with nations that are either world powers or on the verge of becoming world powers. If it had been Senegalese, Haitians, Papuans (or Native Americans) being beaten up in New York or San Francisco, nobody would have given a shit.

Yet on second thought, neither white liberals nor white conservatives–to say nothing of white fascists–really give a shit about what is happening to Asian-Americans. After 21-year old incel Robert Aaron Long, white, Christian and sexually confused, murdered six Asian women in suburban Atlanta (plus two others), his massacre was lamely excused as a result of Long’s having had “a bad day.” (Equally lame excuses have been used to justify many other white moral failures, including the Charlottesville incident of 2017, the Dylan Roof Shooting and naturally the Capitol Insurrection of 2021.)

One of too many anti-Chinese cartoons of the 1880s

Michelle Malkin, who (all appearances notwithstanding) is really white, lay all the blame for these attacks (in her usual crude, clownish and stupid way) on “thugs of color“–niggers, of course. Please note that this is the same goofy bitch who has been the valve on the shrillest trumpets of pro-white bullshit for the past quarter-century. Michelle Malkin, who blamed the internment of Japanese-Americans on the Nisei themselves; Michelle Malkin, who goosesteps with the goddamn Groyper Army–recently exposed by the ADL as being a “white supremacist, anti-Semitic” organization, and whose own extreme right views essentially make her an enabler of domestic terrorism. (Years ago Margaret Cho, comedian and social commentator, felt compelled to come to her “defense”–if only to point out that Asian-Americans can be just as reactionary as coloreds like Thomas Sowell, Condoleeza Rice, Jesse Lee Petersen or the grandaddy of them all, Lawrence Dennis, the man whom Life magazine called in 1941 “America’s No. 1 Intellectual Fascist.”)

This kind of lunacy is equally common on the pseudo-left wing spectrum as well–especially in hip-hop. As Andrew R. Chow pointed out in an article three years ago, “Black and Asian artists too often use hip-hop to reduce each other into stereotypes at a time when genuine solidarity is needed more than ever.”

Han Fascist-Chauvinist Fuckery from Weibo…assuming the translations are correct.

“I love the Orientals,” spouted one of these toothless old white ethnics,* presumably some Italian guy who had hated “mulignans” his entire life–why, he probably didn’t want to know. He “loved” the “Orientals” because he saw them (the Chinese, of course) as one big race of Uncle Toms. “Moulies” and “spics” were a threat, no matter how hard-working, Republican or bourgeois. One can rest assured that during World War Two, this same fool was probably running through the jungles of Burma after the “Japs” (or were the “Japs” coming after him??). Today his junkie grandson is running through the jungles of New Jersey, Washington state, Oregon, or some other God-forsaken hole shrieking his white ass off about “China virus!” and “Fuck China” and all that other rubbish. In fact, one should not be surprised to find his grandfather right there with him, brandishing an axe-handle or a machete, screaming about “fucking Asians.”

Don’t even ask why such things happen. The answer is obvious. It doesn’t really have anything to do with the COVID-19 crisis, because as one can plainly see, “Yellow Peril” hysteria dates back at least 150 years. In fact possibly thousands of Chinese were massacred in the United States between 1870 and 1900. The official tally naturally is much lower, but sadly this is a universal phenomenon: when an oppressor massacres an oppressed group, one of the first things they do after the massacre is cover up shit, play down numbers, sweep embarrassing incidents and outrages under the historical rug. In my opinion the number of Asians (mostly Chinese) massacred between 1870 and 1900 is as high as the number of African Americans officially lynched between 1880 and 1950. (I said officially lynched. The true numbers are far higher, as they almost always are in these instances.) American “Yellow Perilism” was so intense that it even infected people north and south of its borders: for instance, the Torreon Massacre of 1911, in which over 300 Chinese were butchered at the hands of lynch mobs, occurred not in benighted Jim Crow America but more “tolerant” Mexico.

“Little Chink, what are you buying?”–two birds with one stone

This might sound far-fetched, but in my view one of the real reasons why Asian-Americans are being attacked–other than emotional fallout from COVID-19 quarantining, and an irrational fear of Chinese World Domination–is because in the past 15-20 years, a younger generation of Asians has emerged that is considerably more outspoken about American racism, and far more willing to call out the hypocrisy of white Americans calling them a “model minority” while at the same time hypersexualizing Asian girls (the more boyish the better), projecting onto Asian women their own unresolved conflicts with white American women.

The young, conscious Asian is no fool. He (or she) clearly sees that “Model Minority” and “Yellow Peril” are two sides of the same coin, one that’s being flipped all too easily. The conscious Asian sees “Yellow Fever” as being a symptom of “Yellow Perilism” just as he can now see that Negrophobia can’t exist without Aunt Jemima, or to be more precise, Cardi B and Candace Owens. (Again, two more sides…of a Cadbury Easter coin.) The conscious Asian can and will say something about the sorry state of affairs of his country, regardless of how ambivalent he might be towards other non-whites, particularly Blacks. However, everyone still assumes that no matter how indignant, even furious, young Asians get about the shitty state of affairs in the United States, they are less inclined to violently fight back against racist attacks than any other persecuted “minority” group.

*Johnathan Rieder, Canarsie: The Jews and Italians of Brookyln Against Liberalism, Harvard University Press, 1985

Why “Drill” Music is Absolute Trash

Why do white liberals love minstrels like Uncle Murda?

It’s a hypothetical question, really–one I already summed up about a decade ago when I wrote “Reactionary Rap and the Black Lumpenproletariat.” The answer to the question is the same answer as to why the record industry has been pushing this slop on the public (especially Black youth) for the past 35 years.

“Drill” Music, in reality, is just revamped and reconstituted Thug Rap for the 21st century. “Drill” music is simply Thug Rap unfiltered, with no ideological, cultural or spiritual pretenses (unlike, say, Tupac or Wu-Tang Clan). All attempts at sounding logical, lyrical or intelligent have been tossed out the window, and now all you have are unapologetically stupid, dirty, ignorant, sexually perverted, violent coloreds (such as the late King Von, to cite one pathetic example) who babble on and on about–well, killing each other. A few of the lyrics listed below should speak for themselves:

Fuckers in school telling me, always in the barber shop
“Chief Keef ain’t ’bout this, Chief ain’t ’bout that”
My boy a BD on fucking Lamron and them
He, he, they say that nigga don’t be putting in no work
Shut the fuck up, y’all niggas ain’t know shit
All y’all motherfuckers talkin’ about
“Chief Keef ain’t no hitter, Chief Keef ain’t this, Chief Keef a fake”
Shut the fuck up, y’all don’t live with that nigga
Y’all know that nigga got caught with a ratchet
Shootin’ at the police and shit
Nigga been on probation since fuckin’ I don’t know when
Motherfucker, stop fuckin’ playin’ him like that
Them niggas savages out there
If I catch another motherfucker talking sweet about Chief Keef
I’m fucking beatin’ they ass, I’m not fucking playin’ no more
Know them niggas roll with Lil Reese and them
(Young Chop on the beat)

From “Love Sosa” by Chief Keef

Niggas call me Bloodas just like Tee out here (Let’s get it)
Opps be calling Foenem phone, say I don’t be out here (L’s)
Catch him, knock his noodles back, just don’t tweak out here (B-r-r-r-ah)
Foenem slidin, late night hunting, ain’t no sleep out here (Skrt, skrt, skrt)
2 days back to back, that’s 50 racks to be out here (On God)
Can’t have no fefe on yo block as long as Steve out here (B-r-r-r-ah)
Can’t try to slide inside a fish bowl, you got beef out here (Psh)
Law keep wanting to get Zoo out the way, they say he a Chief out here
(Say he a chief out here)
Niggas hoes, they tuck they tails ’cause they be scared (They be scared)
In that Hellcat, on the e-way, off them meds (Off the meds)
Say his name inside this song, my bro said I better not say it
(I better not say it)
Niggas low key want that smoke, you do, you better not say it
(Better not say it)
Get yo ass back in that house, we got FN not 9’s (Not 9’s)
My credit so A1 with killas, I be payin’ my fines (My fines)
Opps be on my dick in songs but I don’t pay them no mind (Pussy)
All them hoes that be with the opps, gang done broke they spine
All the crackers get robbed for they shit, they buy it back (Buy back)
I keep my Glock in her Chanel, that shit cost 5 racks (Shit cost 5 racks)
All these hoes be goin’ for real low-key, just buy them X (Just buy ’em X)
He got shot up in his shit, I hear he tryna flex (Tryna flex)
Never care so much, ran out of woods, just pass the Dutch (Pass the Dutch)
Your homies died, you don’t never slide, it ain’t adding up (It ain’t addin’ up)
Get caught with a pipe, you out same night, you fed or what?
(You fed or what?)
New opp pack in the air, this gas or what?

From “No Auto Durk” by Only the Family

Just got some top, from this stripper bitch
She from Kankakee
Just bought a Glock, with a ruler clip
Boy, don’t play with me
This bitch a ho, met her at store
You know how it goes
She wanna smoke, so I bought some dope
And took her to the O
Just got some top, from this stripper bitch
She from Kankakee
Just bought a Glock, with a ruler clip
Boy, don’t play with me
This bitch a ho, met her at the store
You know how it goes
She wanna smoke, so I bought some dope
And took her to the O

From “Took Her to The O” by King Von

By contrast to this mindless, incoherent drivel T.I.–not one of the most enlightened minds in the Black Culture Industrial Complex (something which is not controlled by Black people)–literally reads like Shakespeare:

I’m the opposite of moderate,
Immaculately polished with the spirit of a hustler and the swagger of a college kid.
Allergic to the counterfeit, impartial to the politics.
Articulate but still would grab a nigga by the collar quick.
Whoever having problems with their record sales just holla tip.
If that don’t work and all else fails, then turn around and follow tip.
I got love for the game but ay I’m not in love with all of it.
Could do without the fame and the rappers nowadays are comedy.
The hootin’ and the hollerin’ back and forth with the arguing.
Where you from, who you know, what you make and what kind of car you in.
Seems as though you lost sight of what’s important when depositin’.
The cheques into your bank account and you up out of poverty.
Your values is a disarray, prioritizing horribly.
Unhappy with the riches ’cause your piss poor morally.
Ignoring all prior advice and fore warning.
And we mighty full of ourselves all of a sudden aren’t we?

T.I. (featuring Rihanna), Live Your Life

No explanation needed here, right?

I have noticed that precious few people have actively criticized Drill music. (Since “Thug Rap” is effectively dead, criticizing it doesn’t carry much weight these days.) There are several reasons for this, I suspect–one being that most of these so-called “rappers” are really cold-blooded killers actually boasting of the crimes they have either committed or will commit. They have absolutely no moral compass and no talent whatever (generally speaking) and the vast majority can’t even keep time–not that they actually give a fuck.

Having said that, I definitely do not believe in censoring these “rappers.” They should be allowed to spit out their retarded word salads unimpeded by censorship laws. Why? For the simple reason that the same people who wish to censor Drill also wish to censor Black Writer in Berlin. In fact the neocons are even more keen on censoring people like me because–let’s face it–we have brains. (Chief Keef clearly has none.) However, in the face of this obnoxious “cancel culture” (coming from both wings of the same dirty political bird) we who have brains will have to put up with this dumb darkie for the time being (at least until he winds up in prison).

Drill Rap is extremely popular in the UK for reasons that are more obvious to me than to the writer of this article. Never mind that Irish, Italian, Turkish, Thai, Chinese, Senegalese, Brazilian and Indian drill rappers pop up like dandelions all over the globe (and why not? One doesn’t need any talent at all to become a “drill rapper,” unlike, say, Hopsin or Immortal Technique, let alone Chuck D)–the main impetus behind this mushrooming of Drill is for the same reasons the zoomer’s grandparents wore Afro-wigs and platform shoes in the seventies: everybody loves The Negro, wants to act out The Negro fantasy–yet nobody really wants to be “The Negro.”


It’s a common saying, thrown about online–mostly by understandably cynical Black people leery of this odd love affair that the non-Black world has with “Black Culture” (which is, sadly, generally what everybody but Black people think of “Black Culture”). Ralph Ellison summed it up best 45 years ago when he wrote that to most non-Blacks (as well as many, many Blacks themselves) “Black Culture” was simply a “projection,” an “identification” of Afro-Americanness with what non-Blacks feel to be “socially unacceptable,” with their own “repressed psychological drives.” That’s why every time I see German cornballs over here in Berlin affecting what they think is “Blackness” my first impulse is to laugh in their fucking faces. This phenomenon isn’t really funny at all, but absurdity (and what else is racism but absurdity carried to its most extreme?) can make one chuckle from time to time.

Yes, it is absurd to see British educators resorting to using ignorant Drill music in order to keep Black British kids from killing each other. (Apparently, it works.) RoadWorks may be snatching these kids out of the jaws of the British penal system (or from an early grave) but they (and Kameron Virk) don’t seem to be keen on pushing Black British minds beyond the extremely narrow (and very primitive and childlike) confines of “Drill.” And naturally no one need question why such a thing as “Drill” needs to exist. Black people–contrary to what colored people think–certainly do not need it. It is not expressing their “reality;” Black reality is not defined by Chief Keef and his dumbass “Opps be on my dick in songs but I don’t pay them no mind (Pussy)“. No: Chief Keef defines NEGRO REALITY.

Negro Reality, in a nutshell, is defined by filth, violence, ignorance, ugliness, sin–precisely those components that make up the entirety of “Drill.” The Negro Reality, of course, is the polar opposite of White Reality. As Zia Sardar writes in Fanon and the Epidemiology of Oppression, “Whiteness, Fanon asserts, has become a symbol of purity, of Justice, Truth, Virginity. It defines what it means to be civilised, modern and human. That is why the Negro knows nothing of the cost of freedom; when he has fought for Liberty and Justice… these were always white liberty and white justice ; that is, values secreted by his masters. Blackness represents the diametrical opposite : in the collective unconsciousness, it stands for ugliness, sin, darkness, immorality. Even the dictionary definition of white means clean and pure.” Drill music, like its addle-brained predecessor Thug Rap, simply reinforces all the old slavery-time/colonial definitions of what means to be African–only this time, as I’ve said, all the intellectual and moral padding that one can find in Tupac, Biggie Smalls or even 50 Cent is sliced out.

They, white leftists and rightists, are in love with The Negro–a creature that most Black people (and not just leftists) have been at war with ever since white racists created him. Very often you will hear a Black person saying “I can’t stand niggers,” or that “niggers” make him/her sick. Actually it isn’t so much self-hate as it is an implicit and often unconscious rejection of that thing called The Negro. “The idealised Negro is equally a construction of the white man,” writes Sardar. “He represents the flip side of the Enlightenment : he is constructed not as a real person with real history but an image. The idealised Negro, the noble savage, is the product of utopian thinkers, such as Sir Thomas Moore, who comes from ‘No place’ and is in the end ‘No person’. This Negro was born out of the need of European humanism to rescue itself from its moral purgatory and project itself, and displace, the original inhabitants of Latin America and the Caribbean.” So it is only natural that any intelligent Black person looking at a fool like Chief Keef (or King Von) would turn up his or her nose. As I begin to recognize that the Negro is the symbol of sin, I catch myself hating The Negro.*

“Here, Fanon is articulating a common feeling,” Zadar continues. “If all you represent – your history, your culture, your very self – is nothing but ugly, naïve and wicked, then it is not surprising that you do not see yourself in a kindly manner. But this neurotic situation is not the route to emancipation. There is only one solution : to raise above the absurd drama that others have staged around me, to reject the two terms that are equally unacceptable, and, through one human being, to reach out for the universal.”

However, this last bit hasn’t happened–least of all with the African American. In America (as elsewhere) the Black person has remained trapped inside the disgusting image/reality/condition called The Negro–much like the figure in Baraka’s poem “An Agony. As Now,” a being stuck “inside someone who hates me,” endlessly turning round and round from generation to generation on the hamster wheel of an ugly, violent, nauseating fantasy…a fantasy that can only be numbed by intoxication or terminated by death. Hence: the very existence of “Drill” music.

*Zia Sardar, “Fanon and the Epidemiology of Oppression,” lundi 30 novembre 2009, Frantz Fanon Intrnational