Is NPR inciting a race war?
NPR’s Toxic Fixation with Race
The government-funded pundits at National Propaganda Radio (NPR) seem to have a toxic fixation with race.
On Tuesday, the outlet blamed the success of American country music on racial prejudice. In a podcast episode titled “How racism became a marketing tool for country music,” NPR brought on a historian to outline the myriad ways country music is a vehicle for white supremacy. The host, Britany Luse, introduces the episode by previewing questions to Amanda Martinez, a country music historian at the University of North Carolina Chapel Hill. Luse wants to know “how country music became this symbol of racism” and why country music stars remain popular despite artists who currently lead the charts “peddling racist rhetoric today.”
“Is racism really what it takes make country music number one?” Luse asks. “I wanted to know how country music became this symbol of racism.”
The episode went to air over recent allegations of racism against country music stars currently at the top of the charts. Jason Aldean’s recent number-one hit, “Try That In A Small Town,” drew controversy over the suggestion that inner-city riots such as the record-devastating outbursts that erupted in 2020 wouldn’t be tolerated outside major metropolitan areas.
Aldean didn’t try to hide the message, as if he even needed to.
“That sh-t may fly in the city. Good luck trying that in a small town.”
“Unfortunately, I think that these three very successful songs at the top of the charts only encourages the country music business to continue what it’s always done,” Martinez said, “which is making a product for a white conservative base.”
Aldean, Martinez added, is “calling for a suppression of those calls for greater freedoms” embedded in the 2020 riots.
According to NPR, the song is racist because of its condemnation of deadly uprisings brought about by Black Lives Matter under the righteous banner of social justice.
[READ:[READ:The Real Reason The Left Hates Jason Aldean’s New Song Has Nothing To Do With ‘Racism’]
The podcast host also brought up Morgan Wallen, because he used the N-word one time, and Luke Combs, because the song that has him in the number three spot is apparently adapted from a black queer woman. While social justice warriors might otherwise be flattered by Combs’ tribute to 1988 Grammy winner Tracy Chapman, the cancellers have to see victimization in everything, so they manufacture a narrative about race so they can continue to label everything “white supremacist.” NPR has now decoded country music as a primary pillar of systemic racism, courtesy of the taxpayer.
“I think we’re continuing to see conservatives kind of hold up country music as supposedly morally superior to an alternative, youth-oriented black popular music,” said Martinez.
But let’s examine the obscenity that’s come to define rap music.
“Fukumean,” currently the number one rap song in the country by Gunna, is an anthem about the rapper’s own superiority and unapologetic determination to stay at the top of the social hierarchy.
F-cking this b-tchh like a perv, smack from the back, grab her perm. Ice the burr, sh-tin’ on all you lil’ turds.
In 2020, Cardi B and Megan Thee Stallion’s “WAP,” which stands for “Wet A– P-ssy,” topped the Billboard charts for at least four weeks. The lyrics are so obscene that they are not suitable for publication. Readers can read them here.
But more specifically, let’s examine some rap lyrics about Jews. In 1989, a militant rap group called Public Enemy released “Welcome to the Terrordome.” The lyrics read, “Crucifixion ain’t no fiction: so-called chosen, frozen/Apology made to whoever pleases. Still they got me like Jesus,” followed by “Backstabbed, grabbed a flag from the back of the lab, told the ‘rab, get off the rag.”
In 2017, Jay-Z’s “Story of O.J.” played on Jewish stereotypes of financial dominance.
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