Now as you know I do not use the word Nigger to define decent black people, as the word Nigger is a word reserved amongst black people for a specific type of person - criminals, deviants, psychopaths, crack dealers, gang bangers, rapists and black racists etc etc.
Nigger is a word that is used to depict a sub-set of black people, the deviants and criminals and is akin to calling a white person a Nazi in that the term applies not to a racial group but a specific criminal sub set of a racial group defined by their criminality.
The white liberals have sought to criminalise the word 'nigger' as a way to undermine criticism of criminal scum in the black community, as by attempting to depict the cultural use of the word nigger as a word that applies only in a racist context, then whites would not use it.
Yet at the same time the use of the racist word 'Nazi' is now applied freely to all whites whenever any liberal wants to use the word, and it is no longer applied solely against those who believe in National Socialism, who support the extermination of the Jews by the NSDAP in WW2 and who espouse racial supremacy.
Whilst the word Nigger has been demonised in order to ensure whites cannot use it to criticise black criminals, the word Nazi has been used to demonise anyone who stands up for the communal interests of whites even though in our multi-cultural society, every community has the right to organise to protect their communal interests without being a racist or a racist perjorative being applied against them - which is clear example of a sick racist double standard in action in our society.
Just as calling non-nazi white people a 'nazi' is racist, but sadly not regarded as such by the morons in the police and CPS that refuse to prosecute such cases of racism, calling a law abiding black person a 'nigger' is also racist.
Chris Rock said it best in his superb show Bring The Pain where he talked about the difference between decent law abiding and moral black people and niggers.
In Chris Rocks own terminology Niggers feed off black people, they murder them and steal from them and destroy their own community for money or in the name of Gansta Rap and Bling Culture.
Niggers are not black people, they are criminals.
Calling a black person a nigger because they are black is like calling a white person a 'Nazi' or a racist simply as they are white, it is racist and idiotic.
People need to understand the differences in language, such as the difference between Political Queers and homosexuals.
But white liberals are too stupid to understand the difference between moral and upstanding black people and niggers, and so idiot white people are going to put on a show in London glorifying the Black Panthers, a group of racist terrorists who killed, attacked and racially abused white people simply as they were white.
Here is what the Black Panthers Party believe today ;
The Black Panthers were and are scum of the first order, an organisation that hated white people, that were racist against whites and that preached the murder of whites and violent attacks on whites.
Yet the moronic far left filth that infest our country and who have infiltrated and subverted our institutions, now seek to depict the evil niggers in the Black Panther party as an equivalent to Martin Luther King or Rosa Parks.
This is low our society has degenerated, as today the Black Panthers and the racist evil scum that filled its ranks are now regarded as some trendy avant garde group that deserve a place alongside the civil rights protestors and Martin Luther King.
This is simply Negrophilia, the idiotic worship and adoration of all blacks and the black community as a collective without regard to their morality, decency and worth as individual human beings.
Negrophilia is as racist as the idea that all blacks are sub-human, as Negrophilia depends upon depicting black people not as individuals but as part of some oppressed collective who white people need to patrionise and pat on their heads with affirmative action plans and positive action plans.
Negrophilia dehumanises individual black people and only sees them as part of a community or a collective, and hence has no regard to their individual merit or individual humanity.
Black racism is acceptable in our society, but do you think Combat 18 will ever have a show in London with white liberals queuing up to celebrate their terrorism, race hate and nazism ?
No, of course not, as a clear double standard applies in relation to whites, in that black violence and terrorism is 'liberating' whilst when whites organise to defend their communities that is always 'nazism and racism'.
To glorify the Black Panthers is to inculcate into young Black kids that racism against whites is acceptable, trendy and cool.
It will increase the racism and crime against white people by sections of the black community and hence increase racial tensions in our society.
But the liberals do not care.
Fuck the liberals.
They are the enemies of all decent people regardless of their race.
Info on Black Panthers here ;
To anyone with an interest in the upheavals of the late Sixties, to anyone who lived through the era itself, one of its most indelible images must be that of the Black Panthers. It’s no accident that their memory endures. The defiant afros, the black quasi-military outfits, the droll sloganeering and funky artwork in which they couched their ideas amounted to a kind of super-effective branding, long before the term gained the currency it has today.
The far-reaching influence of Panther style and thinking – immortalised by writer Tom Wolfe in his satirical essay “Radical Chic” – can be traced directly to the election of Barack Obama as president. On Saturday at London’s Barbican centre, in a fascinating mixture of music, art and film, some of the most influential figures in American music will bring the Black Panther Party and that pivotal period in world politics back to life.
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The show, called Tongues on Fire, has been masterminded by jazz saxophonist David Murray and brings together musicians who span the decades. From the Sixties and Seventies are two members of the Last Poets, spoken-word performers who influenced the likes of Gil Scott Heron and were in many ways the first ever rappers. From the Eighties is Vernon Reid, guitarist with pioneering black rock band Living Colour. But the real coup for Murray is the presence of Ahmir Thompson, drummer with Philadelphia band the Roots. Their explosive rendering of intelligent and uplifting hip‑hop with live instruments has, since the Nineties, made them one of the world’s most in-demand bands.
The Wolfe story is well worth digging out. A hilariously biting description of a party for the Panthers that composer and conductor Leonard Bernstein held at his luxurious New York apartment in 1970, it nails unflinchingly the fascination that the exotic, intimidating and frankly sexy activists exercised over the white upper‑middle class. It would no doubt tickle Wolfe that the Barbican show will take place in its imposing main auditorium, host down the years to almost every big name in classical music.
But the version of the Panthers depicted by the waspish, white-suited Wolfe from his Park Avenue vantage point – which also highlights their anti-semitism and less than coherent Maoist leanings – could not be more different to the one that Tongues on Fire presents. As the unit put together by David Murray rehearsed last month in a studio just off Times Square in New York, the series of original lyrics and soul-jazz compositions that they ran through celebrated the Panthers as heroic figures, prepared to risk their lives to organise and motivate the millions of black people in America living in poverty.
“A lot of things that we take for granted were started by the Panther movement,” says Ahmir Thompson, who was born in 1970. “I was a living result of some of the changes they made in cities. The Panthers organised after-school programmes, art programmes, sports stuff – anything to build the community. Their goal was that we wouldn’t run idle and get into gang warfare. They’d run block clean-ups, an all-day thing where you’d sweep the neighbourhood. They’d have festivals, where they’d have poets come down and speak.”
As Thompson, Murray and the rest play, they will be accompanied by video footage and stills from the tumultuous period when the influence of the Panthers was at its peak. Alongside these will be the distinctive photo-montage, collage and screen-print illustrations of Emory Douglas. Described by one commentator as “a graphic agitator”, Douglas worked as the minister of culture for the Black Panther Party, producing on a tiny budget imagery full of wit and emotional impact.
“They had a strong presentation,” says Thompson. “But to me it was not about how they looked, it was about what they stood for. They took the best of Malcolm X and the best of Martin Luther King. It’s important to understand that they were less about protest, because protest was about asking for something. They were about organising – empowerment and getting things done the right way.
“That’s how Obama won. It wasn’t one man capturing a nation, it was a bunch of small communities organising themselves in some kind of back-porch way. It’s harder to achieve something by telling five million people 'Do this!’, than it is telling one person 'I want you to organise 10 people to do this’ and hope it’ll spread.
“Each one teach one – that’s what I’ve taken most from what they did. Sure, I have an afro now, but that’s not because I’m trying to emulate the Panthers. That is a result of having two parents who had a lot of hair.”
Tongues on Fire is at the Barbican Centre, London EC2 (020 7638 8891 begin_of_the_skype_highlighting 020 7638 8891 end_of_the_skype_highlighting begin_of_the_skype_highlighting 020 7638 8891 end_of_the_skype_highlighting begin_of_the_skype_highlighting 020 7638 8891 end_of_the_skype_highlighting begin_of_the_skype_highlighting 020 7638 8891 end_of_the_skype_highlighting begin_of_the_skype_highlighting 020 7638 8891 end_of_the_skype_highlighting begin_of_the_skype_highlighting 020 7638 8891 end_of_the_skype_highlighting) Saturday 11 September