"Hip Hop is NOT for whitey," says whitejew in LENGTHY SCREED #jewprivilege

  \

The most prestigious law school admissions discussion board in the world. "Hip Hop is NOT for whitey," says whitejew in LENGTHY SCREED #jewprivilege SUMMON HitlerHitlerHitler: you didn't gas enough of them... ... ,.,;,;,.;,.;,.;,,,,;,.,;   12/05/20  Poast new message in this thread   Date: December 5th, 2020 10:09 PM Author: ,.,;,;,.;,.;,.;,,,,;,.,; SUMMON HitlerHitlerHitler: you didn't gas enough of them... https://medium.com/tartmag/dear-white-kids-hip-hop-isnt-about-us-d69ec83f11a8 Dear White Kids, Hip Hop is not About Us By: (((Delilah Friedler))) In 1998, SPIN writer Charles Aaron published “What the White Boy Means When He Says Yo,” an essay that investigates how white people came to love hip-hop. Rap shows were once underground, mostly attended by Blacks and Latinos. Any white kids present were anomalies, who risked the scorn of fellow whites by crossing racial lines. Now, says Aaron, “the racial lines are crossing us.” The country’s becoming more diverse, and everyone listens to hip-hop. Its “pervasive slanguage” is no longer a “racist punchline,” but “simply how kids communicate.” Twenty years later, hip-hop is America’s most popular genre, and Google’s research on “what kids think is cool” was recently titled, “It’s Lit.” On Twitter, hip-hop slang and memes are consumed in real-time by hungry white vernaculars. Still, as El-P argued in Aaron’s essay, many white hip-hop fans are kidding themselves. Listening to Black music, they start to think they can “identify with the experience of the [B]lack man or woman in America… and you can’t go there. Otherwise, you’re sabotaging and belittling the experiences of the people you claim to love.” Aaron predicts that white people’s embrace of hip-hop could spark a national awakening on race. Yet the economic gulf between Blacks and whites is worse today than it was in ’98, and the state’s war on Black lives continues. Surely some white people have been changed by hip-hop, but for many, it remains just aesthetic, the shit you bump when you’re “tryna turn up.” A portion of today’s wardens and cops must have grown up liking N.W.A. It is against this backdrop that Beyoncé and Jay-Z were set to ascend the throne of pop music at-large. Their recent joint album, Everything Is Love, blares with the triumph of reconciliation, capping a trilogy which led us through heartbreak (Lemonade) and atonement (4:44). This drama was heightened by the pair’s combined wealth: “of course sometimes shit goes down when it’s a billion dollars on the elevator,” sang Beyoncé in 2014, alluding to an incident that foreshadowed Jay’s infidelity. As of late, the pair has been descending to stages in sold-out stadiums using an elevator, as part of the intro to their On The Run II Tour. The lyrical heart of Everything Is Love is the hook on “NICE,” when Pharrell chants, “I can do anything.” Like many other Beyoncé or Jay-Z lyrics, these words offer secondhand empowerment. “I can do anything,” you start to think, as you bounce to the breezy, affirmative beat. But it’s not literally true. There are many things you can’t do — like shoot a music video in the Louvre, or keep pace with Beyoncé’s flow when she takes off like a jet on the third verse of “APESHIT,” over a beat that sounds like what it feels like to be richer than god. “And we still got love for the streets,” as Bey shrieks on “713,” a reminder perhaps needed amidst the copious references to designer bags and gold-coated faucets. “Who’s gon’ stop us?” Jay shouts in turn, quoting “little baby Blue,” whose voice the Carters sample the way most parents mark their kid’s height on a wall. Their exceptionalism is loud: you can sing along, until you can’t. The Carters are on a different level. Image for post Beyoncé grew up in Houston, in a “very nice house,” surrounded by her mother’s art collection. Jay-Z comes from the Brooklyn projects, and spent his teen years selling crack. On “SUMMER,” he describes the bullet rounds that punctuated his childhood. “It’s not lost on me,” he sings with gravity, checking the privilege he’s secured over time. “Music has my kids fast asleep.” He sounds like an anomaly, the exception that proves the rule. The Carters have made it, but the projects are still a nightmare. Jay loves to ask, “what’s better than one billionaire?”, and socialist Twitter loves responding, “none.” Poet Saul Williams says “the moon,” then adds, “becoming the system ain’t the same as beating it.” With awareness of their rare situation, the Carters strive to herald a collective ascent. On “FRIENDS,” Jay raps, “when I say ‘free the dogs,’ I free ‘em,” and mentions winning Meek Mill’s early release from prison. This was just one episode in Jay’s ongoing fight against mass incarceration. Later in the album, he shouts out the docuseries he’s bankrolled on Kalief Browder and Trayvon Martin, two young Black lives taken by the state. Beyoncé’s seminal Coachella performance, a tribute to HBCU’s, was followed by an expansion of her scholarship fund. The Carters bailed out protestors in Ferguson and Baltimore, and tend to put their money where their mouths are. On “BLACK EFFECT,” Jamaican choreographer L’Antoinette Stines gives name to the many shapes of love. There’s love “of self,” “of God,” “of a partner,” and “the love that is right now needed most, love of humanity.” It is this bold, transformational love that the Carters are striving to live. “Generational wealth, that’s the key,” said Jay on 4:44, alluding to groups, like the Jews, who won liberation by accumulating dough. In the context of the Carters’ philanthropy, and their palpable concern for the communities they represent, the watches and diamonds on Everything Is Love feel less like the album’s point and more like decorations on a deeper message. The worry is less that they’ve become “the system” and more that people who actually are the system — those who benefit from racist policing and prisons — might totally miss the point. White kids are out there trap-arming to “APESHIT,” as if it describes not an improbable come-up, but their lifestyles built on centuries of stolen wealth. Aaron speculates that the real thrill whites get from hip-hop is “the cheap buzz of spitting ‘bitch’ or ‘ho’ or ‘motherfucker’ into the pot-hazy night.” These words are scarce on the Carters’ latest effort; instead we hear “Lambo,” “Benzes,” and “bands.” Words like these mean one thing to Black kids in Brooklyn, who might triumph vicariously by picturing themselves on G8 jets. They mean something else in the mouth of a white boy puffing on blunts in a Benz his father bought him. Perhaps privileged white kids don’t hear much that speaks as truthfully as Everything Is Love. This was Beyoncé’s first album to not debut at number one. At the moment they could have crowned themselves king and queen of pop, the Carters instead turned back to their roots, investing in the discontent at the traditional heart of hip-hop. Solange once crooned to white people, “Don’t feel bad if you can’t sing along/Just be glad you got the whole wide world.” White privilege can take us seemingly anywhere — and yet, there are things we just can’t touch. Delilah Friedler is a non-binary writer based in New Orleans. Read more of their work at callmewhenurfree.tumblr.com.

Shourya Agarwal: 7 Racist Slurs Which You Should Use for the LULZ!

  \

The most prestigious law school admissions discussion board in the world. Shourya Agarwal: 7 Racist Slurs Which You Should Use for the LULZ! Odds are that you use these phrases every day Shourya Agarw... ,.,;,;,.;,.;,.;,,,,;,.,;   10/22/20  Poast new message in this thread   Date: October 22nd, 2020 8:13 PM Author: ,.,;,;,.;,.;,.;,,,,;,.,; Odds are that you use these phrases every day Shourya Agarwal Shourya Agarwal Follow Oct 20 · 5 min read Image for post Photo: Kelly Lacy/Pexels/License Political correctness has been one of the biggest learnings of this year. Amid a worldwide outbreak, voices from all over the world rallied against the age-old contagions that have been plaguing humanity. On this uphill climb to social justice, we have uncovered an underlying structure of discrimination that lurks beneath our milieu. As our language has been shaped alongside a predominantly racist climate, it has absorbed some of the recollections from that period. On our journey to free our system of its prejudice, we must also purge our lexicons of the scars of the past which stoke buried hatred. Here are some phrases that you should immediately remove from your usage. Cakewalk Cakewalk is a word very commonly used to describe a task that is extremely easy to perform. However, this word has a dark and completely antithetical connotation. The ‘cakewalk’ was the name of a pre-Civil War dance originally performed by slave-people on the plantations. The dance was often adjudicated by the owners who would be mocking the subaltern communities as they performed the task in chains. The winner of the contest was given a cake and hence the name. Strange enough, in certain instances, the dance was also performed during the auctions of the slave-people where it was used to indicate their ‘value’ to the bidders. The word alludes to some of the darkest times for the African-American communities and calling their ordeal ‘easy’ is extremely insensitive. Through macabre transmutations, the word has survived in our dictionaries and it is high time that we eliminate it altogether. Eskimo This term is a drastic oversimplification which the medieval European navigators used for huge swathes of different Native American nations living in the Arctic regions. Under this umbrella-term, the distinct identity of the people was fused together into an arbitrary collective noun. Linguists believe that the word came from the French word ‘esquimaux,’ referring to one who nets snowshoes. The Alaska natives have petitioned for the use of ‘Inuit’ over Eskimo to refer to them. Over the years, our media is fraught with a plethora of references that perpetuate this misnomer. Getting rid of this slur from our language allows for a more culturally inclusive discourse. Nitty-Gritty The expression is used to imply an examination of the basic facts of the situation. It originated to refer to the bottom portions of the ships used to transit the enslaved people across the Atlantic. Some scholars believe that the term was also used as a euphemism for the N-word at the beginning of the previous centuries. Recently, Sky Sports has banned the use of this word by its commentators in order to maintain political correctness. As global citizens, we should be cognizant of the slanderous history behind this phrase and steer clear of it. Master Bedroom The largest room in a house is called the master bedroom. However, the phrase is loaded with heavy colonial baggage. Though its origins are contested, the phrase most likely emerged from Dutch architecture in the 20th-century colonies. Inside the large colonial estates, a feudal hierarchy was maintained to run the affairs. Different roles were maintained with a strong sense of segregation, with only the upper echelons of staff allowed access to certain parts of the house. Furthermore, the terminology leaves independent women out of homeownership by not having room for a ‘mistress bedroom’. The ‘master bedroom’ represented a beacon of exclusion because it disbarred entry to people of color. Somehow, this sort of class-based pejorative stuck in our vocabulary and continues to feature in our written work, even the most prized novels of our times, include such a classification in their descriptions. In fact, recently, as an aftermath of the BLM protests, the National Association of Home Builders has opted to replace the phrase with ‘primary bedroom.’ Spirit Animal In common parlance, we use “spirit animal” to refer to something that we identify with. This phrase is a form of cultural appropriation that diminishes the true cultural significance of spirit animals. Some Native American tribes believe in spirit animals or totems which are sacrosanct spirits that guide and protect them. In their worldview, these signs have a religious significance. Using this phrase loosely constitutes enormous disrespect towards their sentiments. Often, online quizzes relegate the duty of assigning spirit animals, which was initially conducted by the most venerated native priests and elders. Such a diminution is extremely offensive to the indigenous tribes and we should be mindful of it. Fuzzy-Wuzzy Now, permeating through our conversations as a word for endearment, this expression has a dark past. This was originally a derogatory term used by 19th-century British colonial soldiers for the members of an East African nomadic tribe — the Hadendoa. It was a reference to a phenotype of curly hair found within the community. There are instances where this phrase was applied to the African communities in general where it's a cultural norm to keep long hair. Rudyard Kipling also uses this phrase as the title of his controversial poem which looks at the bravery of the Hadendoa people from a white gaze. We often look out for homophonic two-words to churn out epigrammatic and engaging speech. However, during this search, it is important to remember that this expression is ‘no-go’ territory. Hip-Hip Hurray Yes, even this seemingly infantile cheer has a dark origin behind it. Today, we commonly use it in fiction to reflect some jubilant or congratulatory emotion. However, it has a deeply anti-semitic history. The cry has its origins in the Latin phrase ‘Hieroslyma est perdita’ which means ‘Jerusalem has fallen’. The chant was used as a war-cry for the Hep-Hep riots of the 19th century Germany, where thousands of newly emancipated Jews were lynched. For numerous instances in the 20th century, European mobs would launch it as a call for an attack on the neighboring Jewish people. It is advisable to drop the ‘Hip-Hip’ while using the phrase, and only ‘Hurray’ be used to convey the speaker’s original intention. These words have survived in English largely because people are unaware of the hurtful context behind them. Only in recent times have we begun to sieve these disparaging remnants of that bygone era from our language. For times immemorial, language represents the entire thought process of the era where it is used. Even today, to reconstruct the past our historians undergo the grueling struggle of deciphering unknown languages. For the generations to come, the language we use today will reflect the kind of people we were. Hence, in order to reflect the plurality of our times, we must refrain from perpetuating racism by scrutinizing the weight of our words. While no seven-point list can instantly gouge out centuries of hatred, together, we shall overcome someday. For our larger edification, please share with us if there are any expressions in the English language which hurt your or your community’s sentiments. (http://www.autoadmit.com/thread.php?thread_id=4659067&forum_id=2#41167300)