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THE FOUR TOPS

WHO MURDERED BLACK MUSIC?
By Mike King

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"All The News That Sulzberger's  Propaganda Rag  Saw Fit To Distort"

A Daily Web Page Summary of the Dirty Lies, Glaring Omissions,

Half Truths & Globalist Bias of The NY Times Front Page Headlines

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New York Times: Jerry Heller, Music Manager Who Promoted N.W.A and Gangsta Rap, Dies at 75


REBUTTAL BY

More than a few superficial observers of America's rotten sub-culture must no doubt be surprised to learn that a recently deceased "White guy" was actually the driving force behind the promotion of decidedly anti-White "gangsta rap" music. Over the course of his miserable existence, Jerry Heller, the son of a low-level Jewish mobster, raked in many millions of dollars while corrupting and inciting Black youth.

From the Slimes' article which honors the bastard:

"Jerry Heller, a veteran music manager who helped introduce N.W.A to the masses and promoted gangsta rap to a mainstream audience, died on Friday in Thousand Oaks, Calif. He was 75."

 

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Heller's N.W.A. --- all grown up, filthy rich and still acting like Los Angeles street punks.

 

For the uncultured among you, N.W.A. was a popular 1990's "hip hop" group known for violent lyrics and anti-cop songs. The acronym stands for: "Niggaz Wit Attitudes" --- that's "Niggers With Attitudes" for the ebonically challenged. The musical marauders "outta Compton" consisted of the star-studded cast of Arabian Prince, Dr. Dre, Eazy-E, Ice Cube, DJ Yella and MC Ren. (rolling eyes)  Here is just a bit of the profane poetry puked out by Heller's badboys, and taken to heart by millions of frustrated young black males: (Warning!)

 

Fuck the police coming straight from the underground
A young nigga got it bad cause I'm brown
And not the other color so police think
they have the authority to kill a minority
Fuck that shit, cause I ain't the one
for a punk motherfucker with a badge and a gun
to be beating on, and thrown in jail
We can go toe to toe in the middle of a cell
Fucking with me cause I'm a teenager
with a little bit of gold and a pager..

-- From "Fuck the Police

 

It may be hard for the 30 and under crowd to conceive, but there was a time when Black music was clean, full of positive energy and pleasing to the ear (if one was fond of that particular genre). That was when it was Black-owned and Black-promoted. In addition to "Blues" and "Jazz", the most notable genre was "Motown" -- a term which came to represent both a style of music and an American record company. The company was founded by Berry Gordy, Jr. as Tamla Records in 1959, and incorporated as Motown Record Corporation in 1960, in Detroit, Michigan.

While Gordy was at the helm. Motown cultivated and promoted clean acts that often had wide "crossover" appeal to White audiences -- familiar names like Smokey Robinson, The Four Tops, The Jacksons, Diana Ross, The Temptations, Lionel Ritchie, Stevie Wonder et al. The upbeat songs and the well-dressed performers were non-offensive -- and singers spoke proper English. Imagine that!

 

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Smokey Robinson, The Four Tops, Lionel Ritchie -- mushy love songs and upbeat tunes --- nothing about fornication, drug dealing, bitches, ho's, or killing cops

 

So, what the bloody heck happened to Black music? How did it devolve so quickly from innocent and catchy tunes to the violent, sex-crazed, pro-drug, anti-cop, anti-White noise pollution heard today? If they don't already know, regular readers of The Anti-New York Times will no doubt hypothesize that the rapid descent of Black pop-music was engineered by the same usual suspects (cough cough) who took over and corrupted once-clean Disney, MTV, Nickelodeon, BET etc. Well, hypothesize no more, because any such suspicions are indeed correct! (surprise surprise)

Regarding Motown, which is just one example, in December 1998, after already having been sold to a company called Polygram, Motown was acquired by Seagram and absorbed into its Universal Music Group. Seagram, better known for its alcohol products, is owned by the Bronfman Family -- a Canadian-American Jewish dynasty who, in terms of sheer power and influence, rank right up there with the Sulzbergers and the Rothschilds. Needless to say, Motown, (by now relatively insignificant) and Black music in general, have never been the same. At the same time that the usual suspects continue to poison Black youths with their demonic music, they also incite Blacks against Whites and against the police.

It's the ultimate societal false-flag operation, and it's a "twofer" to boot! First, they ruin millions of young Black lives with moral poison, family dissolution and economic disintegration; then, using their wholly-owned Black Judas-Goats (Obongo, Black Lives Matter, Jesse JackAss, Al Charlatan, skanky Beyonce, et al), they sic the frustrated, fatherless and envious "Frankenstein monsters" -- which they themselves created -- against the big bad White Man and the evil "pō-leece." They've even got stupid suburban White kids hooked on this soul-crushing garbage now. 

What a dirty damnable game! Rot in hell, Mr. Heller (pun intended), rot in hell.

 

http://urbanbridgez.com/ubgblog/wp-content/uploads/2014/01/Berry_Gordy_suit_WD3K2406_by_Kal_Lee.jpg http://www.citynews.ca/wp-content/blogs.dir/sites/10/2013/12/bronfman.jpg http://pov-tc.pbs.org/pov/media/1997/blacksandjews/blacksandjews-648x330.jpg

1- Berry Gordy, the father of Motown, ran a clean operation.

2- Edgar Bronfman Sr., who later gained control of Motown, receives the "Medal of Freedom" from President Bill Clinton.

3- "The same White people keeping you down have been oppressing us Jews for centuries. We need to stick together, Tyrone, because we're your friends."

  

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Boobus Americanus 1: I read in the New York Times today about a guy named Jerry Heller. I didn't know that a White man was so instrumental in promoting gangsta hip-hop.

Boobus Americanus 2:  Some of the Black activists have a point when they complain about how Whites are appropriating Black culture in order to profit from it.

 

    

SugarHeller wasn't "White" --- you $#*^@& ass-clown! He was a  #*^@#*!^&!

Editor: Sugar never really cared much for the "cough cough" thing.
 
 
"Reach Out, I'll Be There" (1967) --The Four Tops sing about undying love and loyalty.

 

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