Hip-Hop's style, complete with its infectious groove and gritty poetry, enables men to keep their testicular fortitude while allowing women to shake everything God gave 'em, but imagine, if you will, a white nationalist rapper steppin' to the style and giving it his own flavor.
I know that sounds like the greatest mismatch between musical genre and lyrical content, and it seems to fly in the face of every sensibility possible, but ironically, the leftists' collective sensitivity about "cultural appropriation" enables the far-right to mindfuck their declared enemies. Leftists define their careers by condemning white rappers, especially those who aren't the least bit ashamed of their masculinity (just look at the incessant slating of Eminem from feminists), but by thriving on hysteria, they'll unintentionally provide racialist rap the necessary free press to generate an interest. I can only imagine the look on their faces if a white nationalist rapped about racialism and addressed issues affecting the white community with exceptional flow and style; the skeptical would have clean bowels for months.
Now THAT will be the start of a new revolution; a future generation rappin' for the Reich.
Onto the music at hand…
Believe it or not, there exists such a thing as white power hip-hop music, much of it being Polish in origin and a recent example being Woodpile, an Arizona based hardcore rap trio who boast of links to racist skinhead prison gang The Peckerwoods but claim to voice a message of ‘white pride’ rather than supremacy. Well, it’s certainly enough to convince C-Bo who despite being African-American has signed the group to his West Coast Mafia record label.
The origins of white power hip-hop lie with ‘N.R. Rap’ by venerable RAC outfit No Remorse from 1989, where the one and only Paul Burnley declares himself ‘MC Mugabe’. The group later went on to record ‘You Gotta Fight for Your Right to Party’ as ‘You Gotta Fight for a White Country’, and it’s worth keeping in mind that these songs were clearly intended entirely as parodies, albeit parodies that were about as funny as standing on a rusty nail.
Hope, a.k.a White Hope, from North Carolina is the first person to take the style seriously and though white power hip-hop is not something one would think could be taken seriously I can confirm that ‘Hope for the Future’ is no wind-up. Put out by White Terror Records, a label better known for handling US distribution of bands like Brutal Attack, Squadron and Skrewdriver, the intention was to create Aryan conscious rap to subvert the minds of young wiggers up and down the country. Conspiracy theories, anti-Semitism and homophobia is par for the course in most ‘political’ hip-hop but Hope adds a white, as opposed to black, nationalist flavour alongside these time-honoured themes in his rhymes.
Describing his music as ‘white funk’ should be a giveaway that he isn’t exactly the swaggest brotha on the block and samples from ‘I Want Candy’ and the Bee Gees confirm this. But ‘Born and Raised’ features the exact same J.Bs sample as ‘Let the Funk Flow’ by EPMD so there’s another head scratcher.
But truth be told this record ain’t half bad. White Terror Nazis making hip-hop should be a recipe for complete and utter disaster but the vibe and sound of these minimalistic beats (with perfectly competent sampling) makes one hanker for a bit of that old school hardcore rap. It sounds more like 1987 than 1994 but we gotta be nice here! Hope is certainly no Rakim on the mic, he ain’t even Tim Dog, but he still sounds alright and his unique (shall we say) lyrical perspective adds a level of twisted curiosity.
