Douglas Mercer
June 10 2021
We should shell them continuously like they shelled Leningrad.
Once the state had a good idea of how to deal with negroes:
Fire from above! They made up the helicopter nonsense about Tulsa but back in the day in the City Of Brotherly love they dropped so much hate from the sky that it warmed Frank Rizzo's heart.
The fire this time!
Something called The Knight Foundation lied about it and wrote: "On the run after a series of tragic incidents, five North Philly teens find refuge in an abandoned, condemned house in West Philadelphia at the exact location that served as headquarters of the MOVE organization, where a 1985 standoff with police infamously ended with a neighborhood destroyed and 11 people dead, including five children."
That's sixteen (count them) less problems for the white race, which is fully eugenic. If I ever happen to be in the neighborhood remind me to urinate on their graves.
What really happened was a group of black criminals holed up and the City decided to shell them like they shelled Leningrad.
"The 1985 MOVE bombing refers to the May 13, 1985, incident in Philadelphia when the police bombed a residential home occupied by the militant black anarcho-primitivist group MOVE and the Philadelphia Fire Department let the subsequent fire burn out of control following a standoff and firefight. Five children and six adults were killed. Sixty-one homes were burned to the ground over two city blocks."
Anarcho-Primitivist is a little exalted even for them; it's just misfit chronic criminal thugs all the way down to the bottom.
"From a Pennsylvania State Police helicopter, Philadelphia Police Department Lt. Frank Powell proceeded to drop two 1-pound (0.5 kg) bombs which the police referred to as "entry devices" made of Tovex, a dynamite substitute, targeting a fortified, bunker-like cubicle on the roof of the house."
More of this please, we're White. Exterminate or expel. One way or another, they shall be moved.
Just look at names alone and you can see this was fully justified:
"The names of those killed in the fire are as follows: John Africa, Rhonda Africa, Theresa Africa, Frank Africa, Conrad Africa, Tree Africa, Delisha Africa, Netta Africa, Little Phil Africa, Tomaso Africa, and Raymond Africa. The fire spread and eventually destroyed approximately 65 nearby houses. After the fire broke out, firefighters were held back and the high powered water cannons at their disposal, called squirts, were not turned on until one and a half hours after the bomb was dropped."
The only reason I mention this righteous killing zone (other than for the sheer pleasure of it) is because of late a misfit Haitian ape (who for some reason lives in America) who likes to ape White music has been in the news for being insufficiently deferent to his hosts. He got his poor negro feelings hurt when the Tulsa Opera authorities cancelled his gig writing a lurid hymn to that black Tulsa rapist of 1919. The lyrics, which he refused to change, were:
They still want to kill us
God bless America
God damn America
"They" of course is White folks. You can know for sure that that first line is not true because if it was they be dead.
From what I can glean from a casual perusal of his career, such as it is, consists of taking to twitter with blood libels on White people, hobnobbing with other famous uppity blacks, getting gigs where he writes music about evil Whiteness, and from time to time playing music that sounds an awful lot like a moose dying a particularly painful death.
Before he wrote his "Tulsa Opus" he wrote another "Opus" (Opus is a White word---for the eternal record) called "We Shall Not Be Moved", about that MOVE bombing where all those Africans named Africa got their just deserts. The shill blurbing for it declared:
"This self-defined family is assuaged and even inspired by the ghosts who inhabit this home and begin to see their squatting as a matter of destiny and resistance rather than urgent fear. This World Premiere chamber opera by Daniel Bernard Roumain, an acclaimed composer and performer whose work defies genre, and librettist Marc Bamuthi Joseph, an arts activist known for spoken‐word performance, is 'ambitiously interdisciplinary,' according to Bill T. Jones, the celebrated director, choreographer, dramaturge, and dancer. Combining spoken word, contemporary movement, video projection, classical, R&B and jazz singing, and a brooding, often joyful score filled with place, purpose, and possibility, We Shall Not Be Moved is a timely exploration of past and present struggles which suggests an alternate future through the eyes of its young protagonists."
"Experience this genre-defying opera that combines spoken word, contemporary movement, video projection, classical, R&B and jazz influences. Inspired by the 1985 MOVE crisis in Philadelphia where a standoff between police and a Black liberation group resulted in the deadly bombing of a residential neighborhood, we shall not be moved explores that legacy today through five Philly teens who find power in family and resistance."
Really?
"Black liberation group" is rich of course; you would think that when the absolute dregs of your race (and that's a mouthful for blacks) are so vile and pernicious, such hoodlums, that the government needs to go full Nagasaki on them you'd try to discretely sweep it under the rug, that they would be deeply ashamed and mortified about it; but no, not them, they parade their dysfunction proudly in the public square, they write operas about it, glorifying them like heroes.
I suppose it's tough that when it comes to heroes you have nothing to work with.
It's certainly not Rhine Maidens.
***
When our race enemies say that nothing is Whiter than classical music they are right of course, but they say it like it's a bad and oppressive thing. It is nothing of the sort. It's not something to discretely sweep under the rug, it's something to proudly and provocatively parade in the public square.
Bach and Beethoven are the quintessence of Whiteness. Elegant, powerful, complex, sophisticated, moving, charming, beautiful. They say Beethoven is black but everyone knows in their heart that monkeys can't create that. Here's another banana Leroy. Now put down that gun and stay away from our daughter.
Classical music is played on instruments made by White people, using notation created by White people, played by White people, and appreciated and studied by White people.
Nothing is Whiter than classical music; it is the apotheosis of our grandeur, pure sublime.
Daniel Bernard Roumain (pretentiously and preposterously known to the wider world as DBR) is a Haitian half breed born in America and, as such, was fortunate enough to have access to the full panoply of White culture, rather than sifting through detritus in search of dead and diseased rats to eat.
He plays the violin, not the drums. He benefits from a pure white instrument, rather than banding out monotonous jungle music on the tom-tom. The violin, that perfect artifact of Whiteness.
The violin in its present form emerged in early 16th-century northern Italy. The earliest pictures of violins, albeit with three strings, are seen in northern Italy around 1530, at around the same time as the words "violino" and "vyollon" are seen in Italian and French documents. One of the earliest explicit descriptions of the instrument, including its tuning, is from the Epitome musical by Jambe De Fer, published in Lyon in 1556. By this time, the violin had already begun to spread throughout Europe.
White from the ground up.
Daniel Bernard Roumain has clawed out a lucrative career for himself hating the White people who created the conditions for his lucrative career (something which must eat away at his negro soul late at night).
"He is on the boards of the League of American Orchestras and the Association of Performing Arts Presenters, as well as a faculty position at Arizona State University. He has been commissioned by Carnegie Hall and is working on film, TV, and opera scores."
That is, this lout who should be picking cotton in the midday heat is now a full fledged member of the American Ruling Class.
Still the stupid country.
"In September 2010 Roumain's Dancers, Dreamers, and Presidents — an orchestral tone poem inspired by Ellen DeGeneres and Barack Obama— premiered at the New World Symphony."
A new world indeed.
"As the composer explained onstage before the concert, the piece was inspired when he saw then Senator Barack Obama dance with Ellen DeGeneres on her TV show in 2007."
“Watching Obama and DeGeneres dance might not save or change our world,” Roumain has said, “but it certainly says many things about where we were, who we are, and how we will all get there.”
It does indeed say something about where we are when a gay mulatto dances with a disgusting dyke and the former can parlay that into the presidency. To hell in a handbasket.
"Characteristically, DBR draws on African American subjects and themes for his works, often using issues of race as his inspiration. For example, he dedicated a series of string quartets to prominent figures in the civil rights movement: Malcom X, Martin Luther King, Adam Clayton Powell, and Maya Angelou. Compared to classical composers Mozart and Beethoven, as well as to funk-rockers Prince and Lenny Kravitz, DBR appears onstage wearing dreadlocks, piercings, and tattoos, a look that captures the attention of younger audiences."
Naturally all these bogus accolades have only encouraged him; he know the typical arty farty section of the White race is particularly susceptible to hating themselves and their own kin in the name of humanity. So given the green light on his brand of insidious idiocy he knocks these pathetic White men clean across the kisser:
He's for "equity in orchestras."
"As a Black human being, I ask: who owns the BIPOC narrative to our bodies, blood, histories, and stories? I say we do."
"Another DAMN day in America for a BLACK American."
He's for "opera and social justice."
He is on record as saying that there is a "bloodlust sown deep within the American psyche.”
Here's hoping that comes to the fore, it is certainly long overdue.
“i am a white person who ____ Black people.”
Orchestras should “focus on BLACK artists exclusively”
He has solicited funding for a work written “EXCLUSIVELY for BIPOC (black, indigenous, and people of color members of ANY orchestra.”
"BIPOC musicians FACE racism everyday."
"White musicians’ contracts should be term-limited as reparations for decades of benefitting from orchestral racism."
And finally he has written the "String Quartet No. 5, Rosa Parks," about a communist agitator who didn't know her place in the world.
“The Tulsa Opera has revealed why the operatic field continues to be seen as racist and divisive. When a Black composer must endure the intrusions of a white composer—"
But you get the picture. So basically he's your average whiny little negro, playing White guilt like a pachinko machine. He's the awful offal and off scouring of a sick society. His very existence is a symbol of a country in moral free fall, and every time he opens his mouth to excoriate us and is rewarded for it show that the rot runs deep.
"Known for his signature violin sounds infused with myriad electronic, urban, and African-American music influences, DBR takes his genre-bending music beyond the proscenium."
Frankly, I like my White music behind the proscenium where it belongs. Not out among the illiterate black rabble who on their best day could never distinguish their backsides from a hole in the ground.
It's White music---sit down an listen. And show some respect.
When he said "God damn America" someone suggested as an alternative "God help America."
We don't need to be helped in the way they think we do; that would only drive us deeper into the abyss. But with the likes of Daniel Bernard Roumain roaming the land making a killing off of us and cashing his checks we sure could use a different kind of help.
To give us hope.
Are the helicopters coming?
A Haitian Apes White Music
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Douglas Mercer
- Posts: 10984
- Joined: Tue Mar 28, 2023 7:29 pm
Re: A Haitian Apes White Music
Smoke rises from the smoldering rubble of 61 homes destroyed by fire after a shootout and bombing at the black liberation group MOVE's house in West Philadelphia while police were attempting to force the group's eviction in May 1985.
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Douglas Mercer
- Posts: 10984
- Joined: Tue Mar 28, 2023 7:29 pm
Re: A Haitian Apes White Music
Frank Rizzo
