Cuckservatives/republicucks often pander to negroes who hate white people.

Trump Pardons Rapper Kodak Black Whose Music Video Depicts Trump Supporter Being Choked

https://www.breitbart.com/entertainment/2021/01/20/trump-pardons-rapper-kodak-black-whose-music-video-depicts-trump-supporter-being-choked/

Trump commutes gang leader's sentence in flurry of pardons

 

30 May 2025

Mike Wendling BBC News, Chicago

As part of a spree of more than two dozen clemency actions this week, US President Donald Trump on Wednesday commuted the federal prison sentence of Larry Hoover, the founder of a notorious Chicago street gang.

Hoover was the leader of the Gangster Disciples and in the 1990s was given six life sentences on conspiracy, extortion, drug and other criminal charges.

In addition to his federal sentence, Hoover still faces a 200-year jail term in the state of Illinois for murder, and is unlikely to be released soon. A president is unable to commute state-level sentences.

(...)

Hoover has continued to publicly disavow gang life.

"I am no longer a member, leader, or even an elder statesman of the Gangster Disciples," Hoover wrote in a letter to a court in 2022. "I want nothing to do with it now and forever."

However, authorities have taken a different view, and prosecutors alleged in 2021 that he was still involved in promoting Gangster Disciples members while locked up in prison. They have argued that he is still effectively the leader of the group.

https://www.bbc.com/news/articles/crk27003pv7o

Larry Hoover, shown in this 1995 file photo, founded the Gangster Disciples organisation

Jews have a long history of promoting harmful, anti-white rap music in order to destroy traditional white society.

From Rick Rubin to Doja Cat, Jews have helped shape the first 50 years of hip-hop

 

Many Jewish rappers, managers and industry executives from different backgrounds and nationalities have left their mark on hip-hop culture.

By Andrew Esensten August 11, 2023 9:00 am

(JTA) — Like many parents, Mickey and Linda Rubin indulged their only child Ricky’s various hobbies — magic, photography, music — while he was growing up in the 1970s on Long Island. Ultimately, they hoped he would set his artistic interests aside and choose the sensible career of an attorney. Ricky famously stuck with music.

In 1983, when he was a junior at New York University, he borrowed $5,000 from his parents to record a song by a local rapper, T La Rock, and release it on his new label, Def Jam. The song, “It’s Yours,” was a hit and caught the attention of a businessman, Russell Simmons. The two would join forces and turn Def Jam into a hit factory. As a producer, Rick Rubin would go on to work with some of the most celebrated rappers of all time, including LL Cool J, Run-DMC, and Public Enemy.

(...)

Over the last five decades, many Jewish rappers from different backgrounds and nationalities have left their mark on hip-hop culture, from Drake to Doja Cat to Mac Miller to Nissim Black, to name just a few.

(...)

But the biggest contributions that Jews have made collectively to hip-hop may have been on the business side, as managers and record label executives.

(...)

In his 2010 book “The Big Payback: The History of the Business of Hip-Hop,” Charnas shares the stories of the record label executives who commercialized hip-hop, including several Jewish ones: Roy and Jules Rifkind, owners of the label that released one of the first rap records in 1979, “King Tim III (Personality Jock)” by Fatback Band; Aaron Fuchs, founder of Tuff City Records, the first rap label to secure a major-label distribution deal; Tom Silverman, founder of Tommy Boy Records, whose roster of musicians included Queen Latifah, Coolio, De La Soul, and Naughty By Nature; Jerry Heller, co-founder of Ruthless Records with rapper Eazy-E; and Julie Greenwald, Def Jam’s head of marketing in the ’90s (who now runs the Atlantic Music Group).

(...)

In response to a direct message on Twitter, Chuck D of the influential group Public Enemy shared the names of the Jews he believes have made the biggest impact in hip-hop, in addition to Rubin: the Beastie Boys; MC Serch of interracial rap group 3rd Bass; Lyor Cohen, the son of Israeli immigrants who started as Run-DMC’s road manager and went on to run Def Jam after Rubin’s departure; and Bill Adler, Def Jam’s onetime director of publicity who helped Public Enemy weather an antisemitism controversy in 1989.

(...)

Beyond the boardroom, Jews have also played a significant role in hip-hop as talent managers. Among the best-known are Heller (N.W.A.), Paul Rosenberg (Eminem, as well as Jewish rappers Action Bronson and The Alchemist), Leila Steinberg (Tupac Shakur, Earl Sweatshirt), and Todd Moscowitz (Gucci Mane).

Managers both inside and outside of hip-hop have long been vilified for profiting off of their artists’ creativity and labor, or worse. Some believe Heller stole from the members of N.W.A., but there is no evidence to support the claim. Steinberg’s story is different: She accepted very little money while working as Shakur’s first manager in Northern California because she did not want to be perceived as a white person taking undue credit for a Black person’s achievements.

(...)

Charnas connects Jewish involvement in so many different aspects of hip-hop culture to the historical alliance between Jews and Black people.

“I think we were around because of our place in the American totem pole, and because of our cultural affinities,” he said. “We had geographical proximity to each other, so that has a lot to do with it. Obviously, Blacks and Jews were aligned politically.”

https://www.jta.org/2023/08/11/culture/from-rick-rubin-to-doja-cat-jews-have-helped-shape-the-first-50-years-of-hip-hop

Not that Coward is saying this, but just to make the point: liking or admiring non-Whites or non-White music ain't being a cuck. So long as you are loyal to White blood and the understanding/non-understanding innate in it over all belief, you're fighting for the race.

Posted by: @george-witzgall

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Not that Coward is saying this, but just to make the point: liking or admiring non-Whites or non-White music ain't being a cuck.

Oh, absolutely. There are some admirable non-whites out there, and there's also some really good non-white music that deserves our appreciation, mainly Japanese anime soundtracks from the 80s and early 90s (especially to legendary anime series like Saint Seiya and Hokuto no Ken). However, seeing "conservatives" praise a disgusting and talentless negress who used to drug and rob men is pathetic.

Rhythm and blues: How Jews promoted and popularized Black music

 

Jonathan Karp’s research focuses on the complex relationship between Jews and the communities that surround them

By Jennifer Micale July 17, 2024

Jews have long been at the heart of America’s music business, from the early Tin Pan Alley days to the rise of indie labels specializing in rhythm and blues.

They were — and are — business people, composers and top-notch performers working with music genres connected to African American culture, from jazz to rock and roll, according to Associate Professor of History and Judaic Studies Jonathan Karp.

“Jews were extremely prominent as interpreters of Black music, as musicians themselves but also as entrepreneurs of Black music,” he said.

Currently, Karp is working on a new book that explores Black and Jewish relations through the lens of popular music and the music business. His research often focuses on the complex interaction of the Jewish community with other communities that surround them, including the roles played by Jews in modern economic life and the images and stereotypes that have accompanied them.

(...)

In the 1940s, Jews became important in the proliferation of small, independent record labels that specialized in rhythm and blues,

https://www.binghamton.edu/news/story/5049/rhythm-and-blues-how-jews-promoted-and-popularized-black-music

Cardi b makes fan eat her ass on stage !!360p

Cardi B Gets Her Booty Eaten On Stage

Cardi B let's fan eat her butt while she perform on stage

A Female Fan Eats Cardi B's Fine Ass

Posted by: @stewart-meadows

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Cardi b makes fan eat her ass on stage !!360p

Cardi B Gets Her Booty Eaten On Stage

Cardi B let's fan eat her butt while she perform on stage

A Female Fan Eats Cardi B's Fine Ass

They should invite Cardi B to the next republicuck convention. These pathetic sacks of shit love kissing nigger ass, so it seems like a perfect match.

Lyor Cohen: the man who brought hip-hop into the mainstream

 

The head of YouTube Music made his name building hip-hop stars. Now he cuts deals with labels and brings them into the tech fold — but insists he’s no tech bro

https://www.thetimes.com/business-money/companies/article/lyor-cohen-youtube-global-head-music-wsktz3rsr

Lyor Cohen (born October 3, 1959)[1] is an American music industry executive. He is YouTube's global head of music. He began his career in the 1980s at Rush Management and Def Jam, and later held senior positions at Island Def Jam and Warner Music Group. He also founded 300 Entertainment.

(...)

Cohen was born in New York City in 1959 to Israeli immigrants.

(...)

In the early 80s, after promoting a pair of rock and rap shows at The Mix Club in Hollywood (one featured Run-DMC, the other featured Whodini), Cohen moved to New York to take a job at Simmons' Rush Productions (later called Rush Artist Management). Beginning as Run-DMC's road manager, Cohen later worked with and/or signed Rush artists Kurtis Blow, Whodini, Run-DMC, LL Cool J, the Beastie Boys, and Public Enemy and signed artists including Slick Rick, DJ Jazzy Jeff & the Fresh Prince, Eric B. & Rakim, EPMD, Stetsasonic, De La Soul, and A Tribe Called Quest. He was mentored by Jam Master Jay.[4] In 1986 he helped broker Run-DMC's endorsement deal with Adidas; it was the first marketing deal between an artist and an athletic company.[5]

(...)

Cohen worked rappers including Redman, Method Man, Jay-Z, DMX, Ja Rule and Ludacris.

https://en.wikipedia.org/wiki/Lyor_Cohen

Black and Jewish Americans unite to talk about fighting antisemitism and all that jazz

 

The father of jazz, Louis Armstrong, got his first instrument from a Jewish family in New Orleans, and he later wore a Star of David to honor that family.

By Larry Luxner October 21, 20213:11 pm

 

In the late 1930s, Jewish clarinetist and jazz bandleader Benny Goodman, known as the King of Swing, invited two Black musicians — Teddy Wilson and Lionel Hampton — to play in his orchestra.

It was a watershed moment that marked the beginning of the end of racial segregation in the music business in America.

“That was unheard of,” said Greg Thomas, CEO and co-founder of the Jazz Leadership Project, based in Stratford, Connecticut. “It’s all part of a long tradition of Black and Jewish Americans working together, starting with the father of jazz, Louis Armstrong, who got his first instrument from a Jewish family in New Orleans, and who wore a Star of David all his life in honor of that family.”

Capitalizing on that shared history, Thomas, along with Israel-based educator Aryeh Tepper, will be hosting an upcoming online event meant to bring together Jewish and Black Americans in the fight against bias.

https://www.jta.org/2021/10/21/united-states/black-and-jewish-americans-unite-to-talk-about-fighting-antisemitism-and-all-that-jazz

Gerald Elliot Heller (October 6, 1940 – September 2, 2016) was an American music manager and businessman. He was best known for his management of West Coast rap and gangsta rap pioneers N.W.A and Eazy-E.

(...)

Born to a Jewish family in Cleveland, Ohio,[1]

(...)

In the 1980s, Heller began managing acts on the nascent Los Angeles hip hop scene, many of whom recorded for the now defunct Macola in Hollywood. He managed both C.I.A., of which Ice Cube was a member, and the World Class Wreckin' Cru, which included Dr. Dre and DJ Yella.[4] On March 3, 1987, he met Eazy-E, and the two became co-founders of Ruthless.[5] Under the direction of Heller and Eazy, Ruthless had six RIAA-certified Platinum or Gold releases in three years: Supersonic (J. J. Fad), Eazy-Duz-It (Eazy-E), Straight Outta Compton (N.W.A), No One Can Do It Better (The D.O.C.), Michel'le's self-titled debut, and Niggaz4Life (N.W.A).

https://en.wikipedia.org/wiki/Jerry_Heller

Muh homie Jerry be keepin' it real n' shit, knowmsayin'?

10/07/2024

The Story Of How One Lunch Meeting Mainstreamed Gangsta Rap Music

 

by Donovan Watkis

In the early 90s, rap music was coming of age with groups and solo acts popping up on both the East and West Coasts, and a few emerging in the Southern United States.

The genre had not yet gone mainstream, with only pockets of artists in different regions experiencing success. Many faced pushback from state legislators for creating what was deemed derogatory music. One meeting between Interscope label head Jimmy Iovine, Death Row CEO Suge Knight, and then-CEO of Warner Music Group Doug Morris changed the trajectory of street music forever.

Now, rap is among the top music genres in the world, competing with pop. Artificial intelligence is threatening rap’s longevity, but some speculate that hip-hop will return to its cultural roots. But how did it become mainstream in the first place?

The details were revealed in a candid discussion, with music industry titan Doug Morris, the only person to have been the CEO of the three major record labels—Warner, Universal, and Sony Music—recounting a defining moment in his career. He recalled a lunch meeting between the three executives to discuss a deal to distribute for California label Death Row Records as rap music was becoming more prominent.

(...)

The result of this meeting was monumental. Interscope picked up the distribution for Death Row Records, which included iconic artists such as Dr. Dre, Snoop Dogg, and a host of other influential rap figures to later include global rap superstar Tupac Shakur. “That was an incredible moment at the Warner Music Group,” Morris reflected. In another interview Audible titled “Captains of Industry: Doug Morris with Norman Pearlstine,” Morris admits that was how rap music became mainstream.

https://worldmusicviews.com/the-secret-meeting-that-mainstreamed-gangsta-rap-between-suge-knight-jimmy-iovine-and-doug-morris/

Doug Morris (born November 23, 1938) is an American record executive. He was chairman and chief executive officer (CEO) of Universal Music Group from 1995 to 2011 and Sony Music Entertainment from 2011 to 2017. In 2018, he founded the record label 12Tone, which was acquired by Warner Records in 2021.

(...)

Born to Jewish parents,[1]

https://en.wikipedia.org/wiki/Doug_Morris

My latest blog post on VNN's front page:

A reminder that jews are responsible for the degenerate rap music

https://www.vanguardnewsnetwork.com/2025/09/13/a-reminder-that-jews-are-responsible-for-the-degenerate-rap-music/

In the 1920s, jewish mobsters fought segregation and promoted and protected negro musicians that they used as a weapon to undermine and ultimately destroy traditional white society. Yes, even then.

Jewish organized crime made jazz noteworthy – but left Black musicians flat

 

In his new book ‘Dangerous Rhythms,’ author TJ English exposes a dark underside of the music industry, showing how mob-adjacent Jews fought segregation while exploiting the talent

 

By Rich Tenorio Follow 29 November 2022, 1:38 am

(...) There were pluses for jazz musicians performing at mobbed-up clubs, according to English. The lawless owners were surprisingly effective at protecting Black talent against the racial violence of the era. Illegal profits, including during Prohibition, paid for the expanding size of jazz orchestras and meant that the musicians did not need to turn a profit.

(...)

The Jewish part of the narrative is depicted through figures such as Joe Glaser, Armstrong’s longtime manager. English describes their relationship as a key part of the book.

An Ashkenazi Jew with family roots in the Pale of Settlement, Glaser became Armstrong’s advocate after meeting him in Chicago, where Glaser ran the Sunset Club in quiet partnership with Al Capone. When Glaser touted Armstrong as “The World’s Greatest Trumpeter” on the marquee, Capone sent an order to take it down through a henchman — which was refused. Yet Glaser was also indicted twice for statutory rape in the late 1920s, and many of the jazz talents he worked with, including Armstrong and Mary Lou Williams, came to regret their association with him.

 

El Judio Maravilloso

 

Jewish mobsters connected to jazz included some of the most legendary names in organized crime, from Arnold Rothstein to Meyer Lansky.

Rothstein is “kind of a legendary figure in the history of jazz,” English said. “What I always find amazing about Rothstein is, he was somewhat of a middle-class kid, not a criminal type, who was never arrested or prosecuted for any crime.”

Yet he made a fortune in illegal booze and gambling during Prohibition, an era that was “truly when jazz and the underworld could almost be one and the same,” English said, calling it “the pinnacle of the relationship.”

Rothstein used his illicit funds to finance not only jazz, but Broadway shows. Due to his untimely death in a 1928 shooting, he did not live to see the fulfillment of his last production — “Hot Chocolates,” an all-Black show featuring the music of Fats Waller, with Armstrong performing the song “Ain’t Misbehavin.’” Yet Rothstein left an impression on Lansky that lasted long after the end of Prohibition in 1933.

(...)

“Jazz Provides Background for Death,” screamed the Associated Press headline following the January 26, 1959, murder of Irving Levy at Birdland in New York. Levy was the manager of the popular jazz venue, located near the burgeoning musical mecca of West 52nd Street. His brother, Mo Levy, owned the club.

The Levy brothers grew up in a struggling Jewish family. Eventually, they ran one of the hottest jazz clubs in the country, named after one of the genre’s biggest stars, Charlie “Bird” Parker.

On the fateful night, Birdland was filled to its 500-person capacity. Irving Levy confronted an uninvited guest — a man he claimed was a pimp escorting a prostitute. The man fatally stabbed Levy, who bled out as the Urbie Green Big Band continued playing. This is a seminal moment from a new book that explores a complicated historical relationship, “Dangerous Rhythms: Jazz and the Underworld,” by veteran crime writer T.J. English.

From his base in Havana, Lansky played a key, if inadvertent, role in the popularization of Latin jazz.

“I think it’s kind of ironic,” English said. “He was not a guy who would hang out in the club anyway. It was not his lifestyle. But his business success created a gateway for this kind of incredible flavor of Latin influence on jazz.