Rhymes with Crap: A Review of '8 Mile'

by T.C. Lynch


10 November 2002

I saw "8 Mile" this Friday. I am going to review the movie, but bear with me while I rant a bit. Let me assure you, though. None of my ranting rhymes.

I hate rap. It is the stupid, ugly, violent product of a stupid, ugly, violent race. A race whose behavior and tastes are stuck in a permanent state of childhood, no matter how old its bodies grow. Rap is nothing but nursery rhymes about crime, materialism, and fucking. Rap is nothing but playground taunting by foul-mouthed children who pack guns, drive flashy cars, and sport grotesque hairstyles. Rap is nothing but niggers running off at the mouth like Butterfly McQueen, with no sensible White people to smack them into silence.

But worse than Blacks in my book are the Jews who unleashed them on America and promote their filth and degeneracy. And worse than both are the White race traitors who made the Negro problem possible: the capitalists who brought Blacks here in the first place, the Puritan abolitionist fanatics who plunged this country into the Civil War (the only Jew involved in that debacle being the dead one on the stick), and the Establishment kapos -- from FDR to LBJ to Bill Clinton to Rush Limbaugh -- who sell out their own people for personal advantage in a Jew-rigged system bent on our extermination, who lie to us about what is happening, and who try to keep the process moving along in an orderly fashion. I long for the day when I can drive across America from coast to coast in a convertible . . . and see a White race traitor crucified on every single telephone pole. I want those fuckers to suffer.

The most damaging race traitors are respectable-looking, intelligent, successful White men. But to me, the most viscerally disgusting race traitors are the "Wiggers": the young White men who admire and ape the behavior of the lowest Nigger scum. There are plenty "Wiggers" where I live. They really are obscene: young White men, some of them quite handsome specimens of the handsomest of races, some of them from good families, affecting clownish clothing and a simian demeanor.

These young men have received the genetic heritage from which the greatest civilizations in world history have sprung. Yet they look to the guidance of savages so stupid that they never invented the well or the wheel or written language or something worth writing down.

These savages have contributed nothing to our civilization except mindless manual labor (like horses and mules, but less reliable and hard-working). But what they have taken away is immense. They have turned magnificent cities into wastelands, destroyed our educational system, murdered and raped and robbed countless Whites, and polluted our living spaces with filth, ugliness, stupidity, maddening inefficiency, and sheer chaos.

And your teenage son admires them as role models.

The Wigger phenomenon is so nightmarish, so detached from reality, so grotesque a perversion of reason and values, that it is proof positive that (1) most people are utterly passive, mindless receptacles for whatever programming they receive from their culture, and (2) modern mass popular culture is the greatest system of brainwashing ever invented. Nothing the Soviets did could even touch it.

Hollywood, the record business, radio, and MTV have perpetrated the greatest fraud in human history. Bigger than the holocaust. Bigger than convincing proud Aryans to worship a dead Jew as a living God. They have stormed the citadels of our civilization. They have smashed our idols, toppled our monuments, defamed our heroes, destroyed our history and culture, and profaned everything we hold sacred. Then, in the rubble of our highest sanctuaries, they have installed new idols in whose image we are supposed to remake our cities and our souls: Niggers.

And not the almost-safe, almost human-looking Denzels. These are the real missing links. Niggers with the lowest IQs, the highest propensity to violence, the most dysfunctional families and behavior patterns, and the worst possible taste. Niggers with gold teeth, cornrows, dreadlocks, and do-rags.

If I did not see it with my own eyes, I never would have believed it.

As disgusting as Wiggers are, though, I have to feel compassion for them. For the most part, they are pathetic victims of the system. I wonder if part of the Wigger phenomenon is the desire for masculine role models. In a world where most White men are emasculated wimps, the most visible form of masculinity is the strutting, moronic buck. But the bulk of the Wigger phenomenon is media generated. And when we take control of the country and the media, we will simply reverse the polarities on the brainwashing machine. Then the Wiggers will be falling over one another to dress and act like Mormons. Problem solved.

Given all of the above, I was surprised that I went to see "8 Mile." I was even more surprised that I liked it. I don't care for rap, but I liked "8 Mile." I don't care for disco, but I liked "Saturday Night Fever." At the risk of sounding like an advertisement, "8 Mile" is the "Saturday Night Fever" of a new generation. Both are serious and remarkably honest movies about people caught in a degenerate subculture. Both are studies of the traits of character that allow some and prevent others from crawling out of the gutter. (The fact that some people, after seeing these movies, want to immerse themselves in these subcultures is merely a test of character and IQ -- and they lose!)

A friend persuaded me to see "8 Mile" by playing a number of Eminem tracks, and I was impressed. His work is musical and witty, at least relative to other rap "artists." Which is not to say that it is good by absolute standards or that I would listen to it for pleasure. But nobody should be surprised that a White has quicker wits and greater musical inventiveness than a Black.

"8 Mile" is a chillingly accurate depiction of Detroit today. It is my idea of hell: Decaying neighborhoods with decrepit, abandoned, and burnt-out buildings. Filthy, dark underground clubs seething with violently gyrating savages. Trailer parks with "Sweet Home Alabama" wafting over the weeds and gravel. One of the most striking scenes is set in a large, deserted ballroom. It must have been quite splendid when White people first built it. But it is now filled with flashy pimpmobiles and loitering Blacks going about their typical senseless Nigger business.

Eminem's character, "Rabbit," is a White boy from the "8 Mile" trailer park who hangs out with three blacks and another White guy. (The White is the stupidest member of the group, but this does not seem like a propaganda lie. One would expect stupid Whites to be living in inner-city Detroit and hanging around with Niggers.) Rabbit, however, is not stupid. He is, moreover, a talented rapper who dreams of cutting a demo and becoming a star so he can get out of Detroit. All the characters in the film have similar dreams. Rabbit's Black friends want to become rich and famous and get lots of "bitches." Rabbit's mother, played by Kim Basinger, dreams of moving out of the trailer park when her boyfriend (who is about Rabbit's age and went to the same High School) gets his "settlement check." Until then, she is content to watch TV, drink beer, and play bingo. Rabbit meets an attractive, slutty blonde who dreams of going to New York City and becoming a model.

The trouble with all of their dreams, however, is they do not know how to realize them. None of them, you see, want to do an honest day's work. Instead, they want to get ahead by connections, cons, violence, and luck. And the women are quite willing to prostitute themselves. But none of these strategies work, so the people who follow them tend to be criminals, losers, and failures. These behavior patterns are extremely prevalent among Blacks, which is why so many Blacks are criminals, losers, and failures. They are less prevalent among Whites, but quite prominent among "White trash."

The propensity to these behavior patterns seems to be largely genetic, but the vagaries of heredity occasionally produce people with the capacity to rise above their surroundings. Rabbit is such a person. As the movie unfolds, he realizes that the most reliable way to get out of Detroit is to take responsibility for his life, get a job, work hard, save his money, and pay for his own demo.

The climax of the film at first seems to come when Rabbit finally overcomes his stage fright and beats his rivals in a rap contest. This is one of the most entertaining scenes in the film. But Rabbit's new-found confidence is just a result of his decision to take his life into his own hands.

The real climax is after the contest, when Rabbit leaves his friends to go back to work. As moral lessons go, it is not so earth-shattering. But given that this is a Hollywood product, and given the wholesale degeneracy in this film and in the culture at large, it is quite surprising.

The larger moral lesson I would like to draw from the film is this. "Rabbit" has an excuse for being a Wigger. He is the son of a trailer-park slut. There is no mention of his father. He grew up surrounded by Niggers. No wonder he acts like them. (However, White kids from affluent suburbs and intact families and decent schools have no excuse for acting like Niggers -- except sheer mental laziness and a craven desire to be "cool" according to standards set by people who want to destroy them.)

But because of his White genetic heritage, Rabbit has the brains to see that acting like a Nigger is not the way to succeed. Rabbit will succeed because he chooses to think and then act like a White man. Eminem may act like a Nigger on stage, but he never would have made his records or this movie by acting that way off stage.

So, in a way, Eminem is a positive role model for young Whites. "8 Mile" shows the kind of world one lives in when one acts like a Nigger -- and that the way out is to act like a White man.

T.C. LYNCH

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