The pictures below were taken in Gaza. This is how the people of Gaza bring food into their besieged and impoverished city by Jewish terrorists. This barbaric behavior illustrates to the world how sick and the cowardly are the Jews, who are a menace to society, who are intending to starve people to death. What is even more saddening is that no country in the world is trying to alleviate the pain and suffering of the Gazan people. What are you going to do? Where are those who sing the slogans of freedom, equality and justice. 750,000 people with no food, no medicine, no water, no gas, no petrol and no electricity all this under the watchful eyes of the world.

Israel’s Atrocity 60 Years Ago

An Israeli Army officer named Maltky, who was involved in the Kufru Qasim massacre in 1948, was interviewed by a journalist about his experience and role during the war. Amongst the outcome from the interview was as follows:

Journalist: Do you feel any regret over what you have done?

Maltky: Not at all. In fact the death of an Arab in Israel (Palestine) is a life for the Jews. The death of the Arabs anywhere outside Israel is a life for the entire Jews. What I have done was a duty to our religion and country.

Another high ranking Israeli Army officer who was involved in the massacre was Ghabrail Duhan.

Journalist: How many Arabs have you killed?

Duhan: 13 only.

Journalist: How did you feel the moment you killed them?

Duhan: I felt very thirsty for the Arab blood and I have drunk their blood till I got intoxicated!

Journalist: Are you not deciding to repeat the acts again?

Duhan: Yes definitely, if the circumstances allow!

Note: The Palestine-Israel war in 1948 had killed 2,000 people and thousands others wounded, mostly Palestinians. Because of the war, 750,000 Palestinian citizens had been expelled from their own homeland. The Palestinian land which had been stolen then changed ownership (illegally of course) to become a part of a new country called Israel, which was getting strong supports

waxaa dhex yaala luuqluuqyada xaafadda Xararyaale baqti badan oo itoobiyaan ah ayadoo ay ku dhiiran la’yihiin ciidamada itoobiya inay soo qaataan baqtigooda.

Ciidamada xabashida ayaa weli duqeyn xoog leh ku wada suuqa bakaaraha waxaana ay dhowr madafac ku soo dhaceen agagaarka shirkadaha isgaarsiinta, duqeyntaan ayaa ah mid ula kac loogu soo duqeynaayo goobaha ay dadka u badanyihiin balse allaah mahaddii maanta oo jumca aheyd daraadeed waxaan aad u badneyn dadka suuqa ku sugan taasoo qeyb ahaan fududeysay khasaaraha dadweynaha.

mujaahidiinta ayaa si rasmi ah u muujiyey inaysan soconeyn wax xabad joojin ah inta ay dalka ku suganyihiin ciidamo gaalo ah iyo kooxo murtadiin ah, mujaahidiinta ayaa ku celceliyey wax badan in ujeedada dagaalkooda ay tahay in gaalada dalka xoog looga saaro dalkana sharecada lagu xukumo.

Assalaamu ‘alaikum!

The financial/monetary summit which is now being arranged is certainly linked to Dajjal’s phase three.

It is through a study of events which led to the passage from Dajjal’s phase one to phase two that we can anticipate and recognize events now unfolding, and soon to unfold in the historical process, which would indicate the passage to phase three.

We have long anticipated that the creation of a new international monetary system to replace the tottering Bretton Woods Accord would be precisely such a sign.

We must now look carefully to seek to recognize what is still carefully concealed evidence that would confirm the transfer of the world’s financial capital from Washington to Jerusalem.

We must also anticipate that great wars would also erupt in which Israel would display its military superiority over the rest of the world – including UK and USA.

Not only does Obama’s election as US President now ‘whitewash’ a terribly-soiled US image in the world, but it also allows the cabal to exploit his commitment to widen the war in Afghanistan to their advantage. It is therefore a black Obama administration that would be led by the nose to attack Pakistan’s nuclear facilities (perhaps in concert with an Indian attack on Pakistan) while Israel exploits the opportunity to simultaneously attack Iran’s nuclear plants. The immediate result of such a war would be the astronomical rise in the price of both oil and gold and the consequent total collapse of the US dollar and the US economy in such wise as would cripple the Democratic Party for decades to come.

John McCain’s concession speech indicates that he (as well as the leadership of the Republican Party) are well aware that they have led Obama/Afro-America/the Democratic Party down a path to be sacrificed and slaughtered as a cow. Obama and the Afro-Americans have displayed complete innocence of the fact that they could never have succeeded unless the white cabal had made the choice to have a black man elected as President.

It was not by accident that the present phase of the financial meltdown commenced in early September and immediately impacted on the contest for the White House in a manner that eventually assured victory for Obama.

Imran N Hosein

Folks,

This is posted as part of my continuing studies of mass sociopolitical deceptions, of which we have been a victim…to learn how they are done, why they succeed, the methods used, and why it is sodifficult to correct them.

The reason I am putting so much time into this is that the same people are orchestrating the attacks on us…laying in the background, using fronts, as usual…but the methods are standard ‘modus operandi’ of the Lobby.

Jim

AIPAC (American Israeli Political Action Committee) helps birth the Christian Zionists…’bringing in the sheep’…… by Jim Dean

AIPAC-the American Israel Public Affairs Committee-is now the preeminent power in Washington lobbying…(Jewish Power, J.J. Goldberg, p 13)

I’ve got a Frankenstein story for you today. How, despite good intentions, a monster was created to walk among us.

Over the 2001 year end holidays I bought four of the key books on American Jewish/ Lobby power, all written my Jews who had spent years researching archives and interviewing the many key players.

Today I want to cover some of the story on where Christian Zionism came from, the real behind the scenes reasons for it, and how it has been manipulated to cover a terrible moral tragedy than includes the extermination of Christians in the Holy Land.

Before the invasion of the West Bank and Lebanon, where mass slaughters of civilians took place (20,000 killed in Beirut, primarily due to artillery bombardment) the American Left had been a driving supporter for Israel. They had intermingled for years with Jewish leftist activists in the civil rights battles, support for abortion, eliminating all Christian moral influence from the American civic and educational landscape, the radical feminism movement, gay rights, etc.

According to one AIPAC insider…’The other side is playing up the Palestinian issue as a human rights problem–a concern that touches Americans (but not enough…jd). We want to offset that Israel has been forsaken by the Left (i.e., the Lebanon invasion and atrocities); therefore we’re becoming more ‘neo-conservative.’ We want to broaden Israel’s support to the right–with people who don’t care what is happening on the West Bank (an accurate description of most neo-conservatives) but care a lot about the Soviet Union.’ [The Lobby...by Edward Tivnan, p 181]

‘Then Lobby was also seeking to create a new pro-Israeli coalition with the far right in the U.S. whose commitment to Israel has little to do with the U.S. government’s traditional support of the Jewish state’…[Ibid...p 181]. So, in other words, they were looking to get a rope on the far right, in a way where traditional American national interests would not be a ‘complicating’ factor. This is quite an indictment on the assumed hyper patriotism of the far right. The Lobby people see them as dumb schmucks who can be co-opted with a little smoke and mirrors game.

The key patsies in this ‘far right’ bamboozlement were….’the millions of American Protestant fundamentalists who support Israel as the key to the political–and spiritual–survival of the U.S. [Ibid..p 181]. I will cover in another article how this involves supporting the extermination of the remaining Christians in Palestine, an incredible moral tragedy for the Christians who have supported it.

When he was Prime Minister, Menachem Begin scooped the Christian Zionists by awarding Jerry Falwell–the ‘prestigious’ Jabotinsky Award for service to Israel. I would rename this the ‘Israeli Terrorist/American Traitor’ award. Let’s take a quick look at Brother Jabotinsky, father of the right wing Likud party, which is current PM and Israeli terrorist, Ariel Sharon’s party.

By 1925 Jabotinsky had formally founded the Revisionist movement as a faction within the World Zionist Organization, demanding immediately a Jewish state on both sides of the Jordan in all of Mandate Palestine and urging uncompromising militancy on the still embryonic Zionist organizations.

It was originally Jabotinsky who preached no compromise with the Palestinian Arabs and no partition of Palestine. It was Jabotinsky who insisted that the entire Jewish Diaspora must be liquidated, that the entire Jewish “race” must return to its rightful homeland in Eretz Yisrael….(Bruzonksy…Washington Post, 1980)

And what kind of man was Jabotinsky, that some of America’s top Christian leaders would accept a ‘prestigious’ award in his name? Let’s listen to him:

“Stupid is the person who believes in his neighbor, good and loving as the neighbor may be. Justice exists only for those whose fists and stubbornness make it possible for them to realize it . . . Do not believe anyone, be always on guard, carry your stick always with you — this is the only way of surviving in this wolfish battle of all against all.”

“There is no value in the world higher than the nation and the fatherland,” he wrote.
“Every race possessing a definite uniqueness seeks to become a nation … because only in its own state will it feel comfortable.” You guessed it. He’s a fascist, a Zionist fascist who spawned Zionist fascist terror organizations that live on today. And yes, Brother Falwell would support Jewish supremacy out of one side of his mouth and multiculturalism out of the other. Where would you imagine Southern heritage would fall in this pecking order? Do you think he would accept a Gen. Bedford Forrest award?

Two of Jabotinsky’s most fervent followers went on to gain notoriety as leaders of Zionist terror groups, and, later, as prime ministers of Israel: Menachem Begin, who once headed the Irgun group, and Yitzhak Shamir, who headed the Lehi group (Stern gang). Shamir, for example, played a crucial role in the Lehi murder in November 1944 of British Middle East envoy Lord Moyne, and in the September 1948 assassination of Swedish United Nations peace mediator Count Folke-Bernadotte. Begin’s terror group, the Irgun, blew up the King David Hotel in 1946, killing over a 100 British, Jews and Arabs. Ariel Sharon has continued this Jewish fascist tradition with his massacres at Qibya and the Sabra and Shatilla refugee camp slaughters. Demonstrated ability in Arab civilian killing has always been the path to advancement in Israeli politics.

Jewish terrorism came to America’s shores through the kind offices of the Jewish Defense League, founded in 1968 by Rabbi Meir Kahane. Born Martin David Kahane in 1932 in Brooklyn, New York, he was the first-born son of an orthodox rabbi who was active in the “revisionist” movement of Zionist hard-liner Ze’ev Jabotinsky. Kahane was kind of a handyman traitor, doing odd jobs for anyone he could, including being an FBI informant. Irv Rubin, one the JDL’s current leaders, was arrested last month for planning terror bombings on Arab targets in the U.S., to give them a ‘wake up call’. An Arab Congressman was one of the targets. By the way, Irv Rubin has usually been described as a ‘civil rights activist’ when he has appeared on media, another example of America’s upside down morality where everything is for sale, including religious leaders.

The Jewish Lobby has never been too worried about Christian Zionists using their own moral compasses to figure any of this out. They tend to be an audience that is inclined to vote as its ministers tell it. (‘Power, Glory, and Politics,’ TIME cover on TV preachers, Feb 17th, 1986)

Some of the Lobby Jews were troubled with getting into bed with 30 million evangelical Christians because of their stated goal of conversion of the Jews. (You can be arrested for this in Israel, just like the Taliban did…jd). Noting that these evangelical Christians have been against most of the liberal Jewish sociopolitical agenda, Nathan Perlmutter, the director of the ADL then remarked, “Praise God and pass the ammunition.” (Ibid…p 182) The ammunition, of course, was stupid Christians that could be fired as bullets against the Israeli’s appointed enemies. The highest awards that Hate Jews can get are for co-opting non-Jews to do their dirty work for them.

Lenny Davis, formerly AIPAC’s chief of research, had a pragmatic way of framing this irony. “Sure, these guys give me the heebie-jeebies. But until I see Jesus coming over the hill, I’m in favor of all the friends Israel can get. Let the defense organizations (ADL, AJC) worry about the domestic issues.” ( Ibid…p 182)

What we have displayed here is the old trick of playing both ends against the middle…one group of Jews to ally with this group to get their support, and another Jewish group to fight them. And fight traditional American values they do, as brother Philip Weiss confirms: ‘Weiss details with pride Jewish influence in the civil rights movement, feminism, the media, popular culture, and law and finance. He tops off his
sermonet by arguing that “the greatly diminished influence of the church on public mores wouldn’t have happened without secularized Jews gaining cultural power.” ‘ (Philip Weiss’s “Jews in Bush’s Cabinet? Don’t Hold Your Breath” (New York Observer, December 22, 2001)

So Jerry Falwell, wear your Jabotinsky terrorist medal with pride, but remember. The day will come when you will face the victims of your Zionist buddies, Jabotinsky, Begin, Shamir, and Sharon…and I don’t think they are going to buy it. Your Christian Zionist followers aren’t going to by it either, when they learn the truth. You have disgraced your God, your country, and you followers. May God have mercy on your soul.

And if you would allow me….may I present you something more suitable, the ‘Taliban John’ award, for distinguished service in the destruction of the Holy Land Christians, traditional American values, and the denigration of American Christianity.

Jim Dean
Heritage TV

Not long ago, I was having lunch in a KFC in Harlem, sitting near eight African-American boys, aged about 14. Since 1) it was 1:30 on a school day, 2) they were carrying book bags, and 3) they seemed to be in no hurry, I assumed they were skipping school. They were extremely loud and unruly, tossing food at one another and leaving it on the floor.

Black people ran the restaurant and made up the bulk of the customers, but it was hard to see much healthy “black community” here. After repeatedly warning the boys to stop throwing food and keep quiet, the manager finally told them to leave. The kids ignored her. Only after she called a male security guard did they start slowly making their way out, tauntingly circling the restaurant before ambling off. These teens clearly weren’t monsters, but they seemed to consider themselves exempt from public norms of behavior—as if they had begun to check out of mainstream society.

What struck me most, though, was how fully the boys’ music—hard-edged rap, preaching bone-deep dislike of authority—provided them with a continuing soundtrack to their antisocial behavior. So completely was rap ingrained in their consciousness that every so often, one or another of them would break into cocky, expletive-laden rap lyrics, accompanied by the angular, bellicose gestures typical of rap performance? A couple of his buddies would then join him. Rap was a running decoration in their conversation.

Many writers and thinkers see a kind of informed political engagement, even a revolutionary potential, in rap and hip-hop. They couldn’t be more wrong. By reinforcing the stereotypes that long hindered blacks, and by teaching young blacks that a thuggish adversarial stance is the properly “authentic” response to a presumptively racist society, rap retards black success.

The venom that suffuses rap had little placed in black popular culture—indeed, in black attitudes—before the 1960s. The hip-hop ethos can trace its genealogy to the emergence in that decade of a black ideology that equated black strength and authentic black identity with a militantly adversarial stance toward American society. In the angry new mood, captured by Malcolm X’s upraised fist, many blacks (and many more white liberals) began to view black crime and violence as perfectly natural, even appropriate, responses to the supposed dehumanization and poverty inflicted by a racist society. Briefly, this militant spirit, embodied above all in the Black Panthers, infused black popular culture, from the plays of LeRoi Jones to “blaxploitation” movies, like Melvin Van Peebles’s Sweet Sweetback’s Baadasssss Song, which celebrated the black criminal rebel as a hero.

But blaxploitation and similar genres burned out fast. The memory of whites blatantly stereotyping blacks was too recent for the typecasting in something like Sweet Sweetback’s Baadasssss Song not to offend many blacks. Observed black historian Lerone Bennett: “There is a certain grim white humor in the fact that the black marches and demonstrations of the 1960s reached artistic fulfillment” with “provocative and ultimately insidious reincarnations of all the Sapphires and Studds of yesteryear.”

Early rap mostly steered clear of the Sapphires and Studds, beginning not as a growl from below but as happy party music. The first big rap hit, the Sugar Hill Gang’s 1978 “Rapper’s Delight,” featured a catchy bass groove that drove the music forward, as the jolly rapper celebrated himself as a ladies’ man and a great dancer. Soon, kids across America were rapping along with the nonsense chorus:

I said a hip, hop, the hippie, the hippie,
to the hip-hip hop, ah you don’t stop
the rock it to the bang bang boogie, say
up jump the boogie,
to the rhythm of the boogie, the beat.

A string of ebullient raps ensued in the months ahead. At the time, I assumed it was a harmless craze, certain to run out of steam soon.

But rap took a dark turn in the early 1980s, as this “bubble gum” music gave way to a “gangsta” style that picked up where blaxploitation left off. Now top rappers began to write edgy lyrics celebrating street warfare or drugs and promiscuity. Grandmaster Flash’s ominous 1982 hit, “The Message,” with its chorus, “It’s like a jungle sometimes, it makes me wonder how I keep from going under,” marked the change in sensibility. It depicted ghetto life as profoundly desolate:

You grow in the ghetto, living second rate
And your eyes will sing a song of deep hate.
The places you play and where you stay
Looks like one great big alley way.
You’ll admire all the number book takers,
Thugs, pimps and pushers, and the big money makers.

Music critics fell over themselves to praise “The Message,” treating it as the poetry of the streets—as the elite media has characterized hip-hop ever since. The song’s grim fatalism struck a chord; twice, I’ve heard blacks in audiences for talks on race cite the chorus to underscore a point about black victim hood. So did the warning it carried: “Don’t push me, ’cause I’m close to the edge,” menacingly raps Melle Mel. The ultimate message of “The Message”—that ghetto life is so hopeless that an explosion of violence is both justified and imminent—would become a hip-hop mantra in the years ahead.

The angry, oppositional stance that “The Message” reintroduced into black popular culture transformed rap from a fad into a multi-billion-dollar industry that sold more than 80 million records in the U.S. in 2002—nearly 13 percent of all recordings sold. To rap producers like Russell Simmons, earlier black pop was just sissy music. He despised the “soft, unaggressive music (and non-threatening images)” of artists like Michael Jackson or Luther Vandross. “So the first chance I got,” he says, “I did exactly the opposite.”

In the two decades since “The Message,” hip-hop performers have churned out countless rap numbers that celebrate a ghetto life of unending violence and criminality. Schooly D’s “PSK What Does It Mean?” is a case in point:

Copped my pistols, jumped into the ride.
Got at the bar, copped some flack,
Copped some cheeba-cheeba, it wasn’t wack.
Got to the place, and who did I see?
A sucka-ass nigga tryin to sound like me.
Put my pistol up against his head—
I said, “Sucka-ass nigga, I should shoot you dead.”

The protagonist of a rhyme by KRS-One (a hip-hop star who would later speak out against rap violence) actually pulls the trigger:

Knew a drug dealer by the name of Peter—
Had to buck him down with my 9 millimeter.

Police forces became marauding invaders in the gangsta-rap imagination. The late West Coast rapper Tupac Shakur expressed the attitude:

Ya gotta know how to shake the snakes, nigga,
’Cause the police love to break a nigga,
Send him upstate ’cause they straight up hate the nigga.

Shakur’s anti-police tirade seems tame, however, compared with Ice-T’s infamous “Cop Killer”:

I got my black shirt on.
I got my black gloves on.
I got my ski mask on.
This shit’s been too long.

I got my 12-gauge sawed-off.
I got my headlights turned off.
I’m ’bout to bust some shots off.
I’m ’bout to dust some cops off. . . .

I’m ’bout to kill me somethin’
A pig stopped me for nuthin’!
Cop killer, better you than me.
Cop killer, fuck police brutality! . . .

Die, die, die pig, die!
Fuck the police! . . .
Fuck the police yeah!

Rap also began to offer some of the most icily misogynistic music human history has ever known. Here’s Schooly D again:

Tell you now, brother, this ain’t no joke,
She got me to the crib, she laid me on the bed,
I fucked her from my toes to the top of my head.
I finally realized the girl was a whore,
Gave her ten dollars, she asked me for some more.

Jay-Z’s “Is That Yo Bitch?” mines similar themes:

I don’t love ’em, I fuck ’em.
I don’t chase ’em, I duck ’em.
I replace ’em with another one. . . .
She be all on my dick.

Or, as N.W.A. (an abbreviation of “Niggers with Attitude”) tersely sums up the hip-hop worldview: “Life ain’t nothin’ but bitches and money.”

Rap’s musical accompaniment mirrors the brutality of rap lyrics in its harshness and repetition. Simmons fashions his recordings in contempt for euphony. “What we used for melody was implied melody, and what we used for music was sounds—beats, scratches, stuff played backward, nothing pretty or sweet.” The success of hip-hop has resulted in an ironic reversal. In the seventies, screaming hard rock was in fashion among young whites, while sweet, sinuous funk and soul ruled the black airwaves—a difference I was proud of. But in the eighties, rock quieted down, and black music became the assault on the ears and soul. Anyone who grew up in urban America during the eighties won’t soon forget the young men strolling down streets, blaring this sonic weapon from their boom boxes, with defiant glares daring anyone to ask them to turn it down.

Hip-hop exploded into popular consciousness at the same time as the music video, and rappers were soon all over MTV, reinforcing in images the ugly world portrayed in rap lyrics. Video after video features rap stars flashing jewelry, driving souped-up cars, sporting weapons, angrily gesticulating at the camera, and cavorting with interchangeable, mindlessly gyrating, scantily clad women.

Of course, not all hip-hop is belligerent or profane—entire CDs of gang-bangin’, police-baiting, woman-bashing invective would get old fast to most listeners. But it’s the nastiest rap that sells best, and the nastiest cuts that make a career. As I write, the top ten best-selling hip-hop recordings are 50 Cent (currently with the second-best-selling record in the nation among all musical genres), Bone Crusher, Lil’ Kim, Fabolous, Lil’ Jon and the East Side Boyz, Cam’ron Presents the Diplomats, Busta Rhymes, Scarface, Mobb Deep, and Eminem. Every one of these groups or performers personifies willful, staged opposition to society—Lil’ Jon and crew even regale us with a song called “Don’t Give a Fuck”—and every one celebrates the ghetto as “where it’s at.” Thus, the occasional dutiful songs in which a rapper urges men to take responsibility for their kids or laments senseless violence are mere garnish. Keeping the thug front and center has become the quickest and most likely way to become a star.

No hip-hop luminary has worked harder than Sean “P. Diddy” Combs, the wildly successful rapper, producer, fashion mogul, and CEO of Bad Boy Records, to cultivate a gangsta image—so much so that he’s blurred the line between playing the bad boy and really being one. Combs may have grown up middle-class in Mount Vernon, New York, and even have attended Howard University for a while, but he’s proven he can gang-bang with the worst. Cops charged Combs with possession of a deadly weapon in 1995. In 1999, he faced charges for assaulting a rival record executive. Most notoriously, police charged him that year with firing a gun at a nightclub in response to an insult, injuring three bystanders, and with fleeing the scene with his entourage (including then-pal Jennifer “J. Lo” Lopez). Combs got off, but his young rapper prot&#eacute;g#é Jamal “Shyne” Barrow went to prison for firing the gun.

Combs and his crew are far from alone among rappers in keeping up the connection between “rap and rap sheet,” as critic Kelefa Sanneh artfully puts it. Several prominent rappers, including superstar Tupac Shakur, have gone down in hails of bullets—with other rappers often suspected in the killings. Death Row Records producer Marion “Suge” Knight just finished a five-year prison sentence for assault and federal weapons violations. Current rage 50 Cent flaunts his bullet scars in photos; cops recently arrested him for hiding assault weapons in his car. Of the top ten hip-hop sellers mentioned above, five have had scrapes with the law. In 2000, at least five different fights broke out at the Source Hiphop Awards—intended to be the rap industry’s Grammys. The final brawl, involving up to 100 people in the audience and spilling over onto the stage, shut the ceremony down—right after a video tribute to slain rappers. Small wonder a popular rap website goes by the name rapsheet.com.

Many fans, rappers, producers, and intellectuals defend hip-hop’s violence, both real and imagined, and its misogyny as a revolutionary cry of frustration from disempowered youth. For Simmons, gangsta raps “teach listeners something about the lives of the people who create them and remind them that these people exist.” 50 Cent recently told Vibe magazine, “Mainstream America can look at me and say, ‘That’s the mentality of a young man from the ’hood.’ ” University of Pennsylvania black studies professor Michael Eric Dyson has written a book-length paean to Shakur, praising him for “challenging narrow artistic visions of black identity” and for “artistically exploring the attractions and limits of black moral and social subcultures”—just one of countless fawning treatises on rap published in recent years. The National Council of Teachers of English, recommending the use of hip-hop lyrics in urban public school classrooms (as already happens in schools in Oakland, Los Angeles, and other cities), enthuses that “hip-hop can be used as a bridge linking the seemingly vast span between the streets and the world of academics.”

But we’re sorely lacking in imagination if in 2003—long after the civil rights revolution proved a success, at a time of vaulting opportunity for African Americans, when blacks find themselves at the top reaches of society and politics—we think that it signals progress when black kids rattle off violent, sexist, nihilistic, lyrics, like Russians reciting Pushkin. Some defended blaxploitation pictures as revolutionary, too, but the passage of time has exposed the silliness of such a contention. “The message of Sweetback is that if you can get it together and stand up to the Man, you can win,” Van Peebles once told an interviewer. But win what? All Sweetback did, from what we see in the movie, was avoid jail—and it would be nice to have more useful counsel on overcoming than “kicking the Man’s ass.” Claims about rap’s political potential will look equally gestural in the future. How is it progressive to describe life as nothing but “bitches and money”? Or to tell impressionable black kids, who’d find every door open to them if they just worked hard and learned, that blowing a rival’s head off is “real”? How helpful is rap’s sexism in a community plagued by rampant illegitimacy and an excruciatingly low marriage rate?

The idea that rap is an authentic cry against oppression is all the sillier when you recall that black Americans had lots more to be frustrated about in the past but never produced or enjoyed music as nihilistic as 50 Cent or N.W.A. On the contrary, black popular music was almost always affirmative and hopeful. Nor do we discover music of such violence in places of great misery like Ethiopia or the Congo—unless it’s imported American hip-hop.

Given the hip-hop world’s reflexive alienation, it’s no surprise that its explicit political efforts, such as they are, are hardly progressive. Simmons has founded the “Hip-Hop Summit Action Network” to bring rap stars and fans together in order to forge a “bridge between hip-hop and politics.” But HSAN’s policy positions are mostly tired bromides. Sticking with the long-discredited idea that urban schools fail because of inadequate funding from the stingy, racist white Establishment, for example, HSAN joined forces with the teachers’ union to protest New York mayor Bloomberg’s proposed education budget for its supposed lack of generosity. HSAN has also stuck it to President Bush for invading Iraq. And it has vociferously protested the affixing of advisory labels on rap CDs that warn parents about the obscene language inside. Fighting for rappers’ rights to obscenity: that’s some kind of revolution!

Okay, maybe rap isn’t progressive in any meaningful sense, some observers will admit; but isn’t it just a bunch of kids blowing off steam and so nothing to worry about? I think that response is too easy. With music videos, DVD players, Walkmans, the Internet, clothes, and magazines all making hip-hop an accompaniment to a person’s entire existence, we need to take it more seriously. In fact, I would argue that it is seriously harmful to the black community.

The rise of nihilistic rap has mirrored the breakdown of community norms among inner-city youth over the last couple of decades. It was just as gangsta rap hit its stride that neighborhood elders began really to notice that they’d lost control of young black men, who were frequently drifting into lives of gang violence and drug dealing. Well into the seventies, the ghetto was a shabby part of town, where, despite unemployment and rising illegitimacy, a healthy number of people were doing their best to “keep their heads above water,” as the theme song of the old black sitcom Good Times put it.

By the eighties, the ghetto had become a ruleless war zone, where black people were their own worst enemies. It would be silly, of course, to blame hip-hop for this sad downward spiral, but by glamorizing life in the “war zone,” it has made it harder for many of the kids stuck there to extricate themselves. Seeing a privileged star like Sean Combs behave like a street thug tells those kids that there’s nothing more authentic than ghetto pathology, even when you’ve got wealth beyond imagining.

The attitude and style expressed in the hip-hop “identity” keeps blacks down. Almost all hip-hop, gangsta or not, is delivered with a cocky, confrontational cadence that is fast becoming—as attested to by the rowdies at KFC—a common speech style among young black males. Similarly, the arm-slinging, hand-hurling gestures of rap performers have made their way into many young blacks’ casual gesticulations, becoming integral to their self-expression. The problem with such speech and mannerisms is that they make potential employers wary of young black men and can impede a young black’s ability to interact comfortably with co-workers and customers. The black community has gone through too much to sacrifice upward mobility to the passing kick of an adversarial hip-hop “identity.”

On a deeper level, there is something truly unsettling and tragic about the fact that blacks have become the main agents in disseminating debilitating—dare I say racist—images of themselves. Rap guru Russell Simmons claims that “the coolest stuff about American culture—be it language, dress, or attitude—comes from the underclass. Always has and always will.” Yet back in the bad old days, blacks often complained—with some justification—that the media too often depicted blacks simply as uncivilized. Today, even as television and films depict blacks at all levels of success, hip-hop sends the message that blacks are . . . uncivilized. I find it striking that the cry-racism crowd doesn’t condemn it.

For those who insist that even the invisible structures of society reinforce racism, the burden of proof should rest with them to explain just why hip-hop’s bloody and sexist lyrics and videos and the criminal behavior of many rappers wouldn’t have a powerfully negative effect upon whites’ conception of black people.

Sadly, some black leaders just don’t seem to care what lesson rap conveys. Consider Savannah’s black high schools, which hosted the local rapper Camoflauge as a guest speaker several times before his murder earlier this year. Here’s a representative lyric:

Gimme tha keys to tha car, I’m ready for war.
When we ride on these niggas smoke that ass like a ’gar.
Hit your block with a Glock, clear the set with a Tech . . . .
You think I’m jokin, see if you laughing when tha pistol be smokin—
Leave you head split wide open
And you bones get broken. . . .

More than a few of the Concerned Black People inviting this “artist” to speak to the impressionable youth of Savannah would presumably be the first to cry out about “how whites portray blacks in the media.”

Far from decrying the stereotypes rampant in rap’s present-day blaxploitation, many hip-hop defenders pull the “whitey-does-it-too” trick. They point to the Godfather movies or The Sopranos as proof that violence and vulgarity are widespread in American popular culture, so that singling out hip-hop for condemnation is simply bigotry. Yet such a defense is pitifully weak. No one really looks for a way of life to emulate or a political project to adopt in The Sopranos. But for many of its advocates, hip-hop, with its fantasies of revolution and community and politics, is more than entertainment. It forms a bedrock of young black identity.

Nor will it do to argue that hip-hop isn’t “black” music, since most of its buyers are white, or because the “hip-hop revolution” is nominally open to people of all colors. That white buy more hip-hop recordings than blacks do is hardly surprising, given that whites vastly outnumber blacks nationwide. More to the point, anyone who claims that rap isn’t black music will need to reconcile that claim with the widespread wariness among blacks of white rappers like Eminem, accused of “stealing our music and giving it back to us.”

At 2 AM on the New York subway not long ago, I saw another scene—more dispiriting than my KFC encounter with the rowdy rapping teens—that captures the essence of rap’s destructiveness. A young black man entered the car and began to rap loudly—profanely, arrogantly—with the usual wild gestures. This went on for five irritating minutes. When no one paid attention, he moved on to another car, all the while spouting his doggerel. This was what this young black man presented as his message to the world—his oratory, if you will.

Anyone who sees such behavior as a path to a better future—anyone, like Professor Dyson, who insists that hip-hop is an urgent “critique of a society that produces the need for the thug persona”—should step back and ask himself just where, exactly, the civil rights–era blacks might have gone wrong in lacking a hip-hop revolution. They created the world of equality, striving, and success I live and thrive in.

Hip-hop creates nothing.

Theunjustmedia.com

Gordon Brown’s tax raid on pension funds has snatched £17,000 from every worker’s retirement pot, research says today Yet the value of public sector schemes – funded by taxpayers – has soared to an astonishing £1trillion. Opposition MPs, business chiefs and campaigners demanded an investigation into the growing ‘pensions apartheid’. The report, The UK Pensions Crisis, is the work of the TaxPayers’ Alliance and Terry Arthur, a fellow of the Institute of Actuaries. It says Mr Brown’s decision in 1997, when he was Chancellor, to axe tax relief on dividends paid to pension funds has cost private occupational schemes £175billion.

The growing gulf between private and public sectors has become an increasing source of bitterness over recent years and this is particularly acute in the current economic crisis. The average private sector worker retires with a pension pot worth £25,100 – enough to pay them about £1,700 a year. The average public sector worker will retire with a pot of £427,275 – worth £17,091 a year. Private sector workers pay £14billion a year into their own retirement funds, but contribute around £21billion through their taxes for the pensions of retired public sector workers. The cost of unfunded public sector pensions liabilities – what the bill would be if all workers were paid out today – has soared past £1trillion. The TaxPayers’ Alliance also discovered that 17,150 public sector workers have already retired with pension pots worth more than £1million. They include 10,500 NHS workers, 3,680 civil servants, 1,800 teachers and 815 judges.

Dhageso Halkan Riix

Sh Mukhtaar Robow (Abu Mansuur) Afhayeenka Dhaq Dhaqaaqa Al-Shabaab iyo Sh Xuseen Sh Cali Fiidow oo isna Dhaq dhaqaaqa Al-shabaab ugu qaabilsan Arimaha Siyaasada ee Gobolada ayaa galabta si wada jir ah u qabtey Shir Jaraa’id oo ay uga hadleen gacan siinta Dowla Keyna ee Murtadinta  ah iyo maamulo ay sheegeen in laga dhisayo Gobolada Dalka qaar oo ay ka digeen.

Dhageso Halkan Riix

Abu Mansuur oo ugu horeyn Shirka Jaraa’id ka Hadley ayaa digniin culus u jeediyay Dowlada Keyna oo uu sheegay in ay soo nooleyneyso oo ku talo jirto sidii Ciidamo cusub ugu soo taba bari laheyd Murtadinta ah ee sii dhaceysa sida uu hadalka u dhigey.

Waxa uu sidoo kale sheegay in dowlada Keyna horey 3 khalad uga gashey umadda Soomaaliyeed walina ku sii dhex jirto khalaadkii, arintaa oo uu si weyn u cambaareeyay uguna baaqey Keyna in arimaha Soomaaliya faraha kala baxdo.

Abu Masnuur, ayaa sidoo kale sheegay in Dalka iyo Dadka Keyna ayna dani ugu jirin, xasarad gudaha Dalka Soomaaliya laga abuuro, oo dowlada Keyna hormuud ka tahey, balse ay quman tahey in lagu wada noolaado nabad,xasilooni iyo daris wanaag ka dhaxeeya labada Dad iyo Dalba.

Waxa kale uu shirkisa Jaraa’id uu ku sheegay in Dowlada Keyna hadda ku guda jirto sidii ay Ciidamo cusub ugu soo taba bati leheyd Murtadinta ah ee sii dhaceysa waxa uuna ka digey in xuduudka Keyna,Soomaaliya ayna uga soo gudbin wax ciidan ah, hadii buu yiri arintaas dhacdo anaguna talaabada ku haboon ayaanu ka qaadeyna.

Wixii dhibaato ah ee ka dhasha faragelinta Keyna ee Soomaaliya ayuu sheegay in Mas’uuliyadeeda ay qaadeyso Dowlada Keyna sida uu hadalka u dhigey.

Shirkiisa Jaraa’id waxa kale uu ku sheegay in ay la dagaalamayaan cid walba oo dooneysa in Dalka iyo dadka Soomaaliya ku xukunto wax ka baxsan Shareecada Islaamka, waxa Keyna iyo Dowladaha kale ee la midka ah soo dhoo dhoobayaana ay yihiin waxba kama jiraan.

Dowlada Keyna ayuu sidoo kale ku eedeeyay in xilka Murtadinta ah ka la wareegtey Itoobiya ka dib markii ay ku fashinlantey oo ku jabtey, qarkana ay u saarantahey Murtadinta ah in ay kala tagto oo bur burto, wuxuuna tusaale u soo qaatey hadalkii Males Zenawi ee ahaa in hogaanka sare ee Murtadinta ah wax laga badalo maadaama ay ku fashilmeen howshii lo egmadey oo ka bixi waayeen is heys heysad dhexdooda ah.

Dhanka kale Sh Xuseen Fidow oo ah madaxa Arimaha Siyaasada ee Gobolada ee Xarakada Al-shabaab oo sidoo kale ka Hadley Shirka Jaraa’id ee galabta ayaa ka digey maamulo uu sheegay in laga Dhisayo Gobolada Dalka, kuwaas oo dhisidooda ay ku howlan yihiin Hay’ado aanu carabaabin waxa uuna ugu baaqey Shacabka Soomaaliyeed in ayna ku kadsoomin maamulo aan Shareecada Islaamka lagu saleyn, waxa uu sidoo kale ugu baadey in ay qaataan Shareecada taageeraana Mujaahiidiinta, Dagaalka kula jira Ciidamada Cadowga ee Dalka ku soo duuley.

www.somalimirror.com

Edited by Mamul

Tababarkan ay soo Bandhigeen xoogagga Mujaahidiinta Al-Shabaab ayaa si aad ah u muujinaya kartidooda iyo sida ay isugu kalsoon yihiin in ay dagaal xoogan kala hor tagaan ciidamada Gumeysiga Shisheeye iyo kuwa Soomaaliyeed ee Shacabkooda gumaada.

The US will be allowed to set up permanent military bases, if Iraq signs the agreement. Under the deal the US forces will also be granted immunity from legal prosecution inside their bases in Iraq.

Iraqi parliamentarians, including MPs from the Sadr movement, however, reiterated that they will not approve the deal that is going “to turn the country into a US colony”.

“We do not accept any agreement that disregards Iraq’s sovereignty” said MP Nassin al-Essawi, adding that “As an Iraqi lawmaker I believe this agreement is not in the interest of the Iraqi people.”

This is while a group of US officials arrived in Baghdad to discuss the controversial deal. But Prime Minister Nuri al-Maliki has warned that any interference by US officials would only complicate the situation and even could have negative results.

The Premier had earlier declared that any agreement with the United States should consider the country’s sovereignty and national interests.

SB/RE