Using Hip-Hop to Counter Jewish Power


This blog article was originally posted on Renegade Tribune:

The following article is taken from Addendum G of The Noble Protagonist’s 1,100 page E-book, “The Battle to preserve Western Civilization (European Folk Soul vs. Jewish Supremacy).

Free E-Book available at:

For more info on International Jewry and its influence over Hip-Hop music, check out Kyle Hunt’s video, “White Genocide, Anti-White Rap Music & Prison Profits”, linked here:


“Every existing racial (cultural) value of a people is ineffective, if not downright endangered, if the people do not consciously remember it, and cultivate it with the utmost diligence, base its collective hopes in the first place on it, and build on it.” -Hitler

The core mechanics of Hip-Hop Culture are Rapping (Emceeing), Breakdancing (B-Boying), Graffiti (Aerosol Art), DJing (Turntabling) and dropping “Knowledge of Self” (Racial Consciousness).

The platform of Hip-Hop Culture allows “cultural exchange” between youth from all over the planet. Like the Olympics, this platform has the power & potential to bring divergent people together in a peaceful & constructive manner.

Add to this development the appearance of the Internet and the ever-increasing globalization of commercial markets. The world has become much smaller & familiar in our times, than it ever was. This offers us all, as an upside, the opportunity, like never before, to create dialogue & peaceful mediation between the races.

On the downside, however, “White Genocide” is being fostered upon White nations via forced-diversity, and cultural exchange is happening at a much too rapid pace. The White Race has lost much of its racial consciousness & cultural identity, so any further “cultural exchange” could be destructive. What to do?

A return to Nature-based spirituality (Paganism) and National Socialism is the very best solution for homogenous societies, especially White nations founded upon Western Civilization, in order to protect its blood & soil.

If the White Race develops its own racial consciousness & cultural identity, then those positive attributes can be reflected in its “own” reflection of Hip-Hop Culture, and cultural exchange would not be a threat; provided that this exchange would be a mutually positive & rewarding experience, which pleases our Faustian Spirit of growth & adventure and improves human relations.

International Jewry stands in our way! The paradox is that Hip-Hop Culture, the established & official voice of today’s youth, is a tool of control for the criminal (Jewish) elite, yet at the same time, a potential tool in the hands of the oppressed (Gentiles) to expose the crimes of International Jewry and organize the youth accordingly; provided that the racial consciousness of the oppressed nations are not confused & diluted. White youth must wake up!

Out of respect to the “founders” of Hip-Hop culture, the history of its creation must be memorialized.

Hip-Hop Culture was created in the “Boogie Down” Bronx (NYC), in the early 1970’s as a creative, non-violent and positive outlet for ghetto youth. Hip-Hop Culture was “originated” by Black Culture. Its credo is Peace, Love, Unity and having fun.

A major gang truce, initiated by The Ghetto Brothers, a Puerto Rican community organization (gang), greatly contributed to the “party” environment that existed at the time of Hip-Hop’s founding. Hispanics in New York City, also had a big influence on the development of early Hip-Hop Culture, with some Whites and other races also in the mix.

This creative confluence of racial mixtures, in the early stages of Hip-Hop Culture, was a positive & constructive example of “cultural exchange”, during an era when inner-city crime, drugs, poverty, prostitution, violence, etc. was out of control and threatening to destroy an entire generation of ghetto youth, and setting fire to the urban cities of America.

By the 1980s, the Jewish-controlled media got their hands on Hip-Hop Culture and began marketing it to the world. During this decade, the culture, for the most part, continued to be a positive outlet for youth. By the early 1990s, however, International Jewry totally corrupted the culture and turned it into a morally destructive vehicle to sell degenerate “Pop Culture”.

“Jewish hegemony in the music world is about as American as apple pie.” -The Final Call

Jews are the big players (culture vultures) behind the scenes of “mainstream” commercial Hip-Hop, like Lyor Cohen of Def Jam, Steve Rifkind of Loud Records, David Mays of The Source, and Jimmy Iovine of Interscope (Aftermath). International Jewry owns the distribution of “commercial” Hip-Hop and manages, promotes and legally represents the bulk of Hip-Hop artists, in addition to supplying them with the latest fashion accessories. The Jewish presence in Hip-Hop is massive, and, for the most part, offstage.

“When Professor Griff (Public Enemy) went nuts in Montreux, Switzerland, talking about the Caucasus Mountains, monkeys and everything like that (anti-Semitism), every single Jewish executive told me to drop Public Enemy and not work with them. Do you know what I did? I brought Chuck (Public Enemy) to the Holocaust Museum.” -Lyor Cohen

The history of Black performers being denied musical credit & proper financial remuneration is a direct result of International Jewry’s control over Black Music. There has always been an intersection between the creative (the artists) and the muscle (the mob). Jews were on the muscle side.

“A lot of my business partners have been Jewish. As far as relationships in the industry go, I think we’re past any discrimination. The alliance between Blacks & Jews is a natural one.” -Russell Simmons (co-founder of Def Jam)

Get rich or die trying! Today’s “commercial” Hip-Hop promotes the culture of drugs, criminality & instant gratification. This is a recipe for incarceration. The Jewish-owned corporations & banks who control the “for profit” element of the U.S Prison Industrial System are some of the same corporations & banks that back the music recording industry. They make money inside & out of the prison system. Both industries make billions of dollars off those who the Jewish Talmud refers to as “goyim” (sheep).

“Our job would be to help make this happen by marketing (Hip-Hop) music which promotes criminal behavior.”
-The Secret Meeting that changed Rap Music and destroyed a Generation

Jewish Supremacy is extremely detrimental to the whole planet, and the youth are caught up in its death trap. With the rise of free-flowing information streaming out of the Internet, there is an inevitable point of no-return, when these youth will become “Jew-wise” and learn about the Jewish role in 911, the Holohoax, the transatlantic slave trade, the “for Profit” prison industry, etc. Not to mention, the exploitive control Jewish financing has over the “Hip-Hop” music recording industry. International Jewry, not the “White man”, will be exposed.

“We lost our (Native European) faith, our (Aryan) culture, our (Aryan)
gods & goddesses… Many of us, by the way we act, even lost our minds.”
-Fear of an “Aryan” Nation (ZOG Enemy #1)

As a whole, White youth have lost touch with their European Roots & Culture. Thus, these youth have turned to “commercial” Hip-Hop, which International Jewry has heavily promoted as a way to confuse & morally corrupt their White identity & racial consciousness.

Most White youth lack “knowledge of self”. They must learn that their ancient European (Aryan) culture consisted of “5 Elements”. They danced to the native drums in Ireland, spoke Eddic & Skaldic poetry in Scandinavia, painted sophisticated prehistoric cave art in France, scribbled hieroglyphics in Egypt and studied classical philosophy in Greece & Rome.

“The mixing of blood and the decline of the race are then… in the beginning… infrequently introduced by a so-called love for foreign things; in reality a under-appreciation of one’s own cultural value in comparison to that of a foreign peoples.” -Hitler

Music can be a weapon for truth! An act of cultural warfare! It’s time for White Youth to tap into their European Folk Soul and express themselves.

If Hip-Hop, for White youth, is their preferred artistic platform to reach the masses and speak their truth, then they should show respect to the New York “Old School” Bronx pioneers who originated the culture. If “truth” causes contention; battle the truth over the microphone, the turntables, the spray can, the dance floor and lecturer podium. Stay true to the 5 Elements of Hip-Hop!

Note: Many non-White youth around the world, like Whites, have lost connection to their nature-based ancestral Roots & Culture. The religion of Christianity has disconnected many indigenous cultures away from their Pagan traditional past.



Note: Three of the biggest & influential voices on the Internet that make commentary about today’s so-called “Hip-Hop” are of Jewish descent; DJ Vlad (Vlad TV) and Ibrahim “Ebro” Darden & Peter Rosenberg (Ebro in the Morning – Hot 97). Anti-White propaganda is often a highlight of their click-bait. Vlad & Rosenberg will often front as “White” DJ’s.

Note: The biggest & influential “voice of Hip-Hop” in the 1990’s was “The Source” magazine, co-founded by Jonathan Miles Shecter & David Mays; both Jews.

Note: Flyting (fliting) is a contest consisting of the exchange of insults, often conducted in verse, between two parties. Flyting is a ritual, poetic exchange of insults practiced mainly between the 5th-16th Centuries. The root is the Old English word, “flitan”, meaning quarrel. Examples of flyting are found throughout Norse, Celtic, Anglo-Saxon and Medieval, literature involving both historical & mythological figures. The exchanges would become extremely provocative. Norse literature contains stories of the gods flyting.

Note: One of the greatest “Classic” Rap groups of all time, are the Beastie Boys. Contrary to popular belief, they are not “White”, they are Jewish. One of the greatest Rappers of all time is Eminem; he is “White” but is serving the “anti-White” Jewish agenda.

Note: For more info on the “Untold relationship between Jews & Blacks”, refer to Addendum R, in the back of The Noble Protagonist’s free E-book:

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