Violently Racist Music

Black and Latin musicians issue forth violent racism and the target of their hatred is primarily whites. The web pages that follow expose some of the lyrics. The exposure is necessary because civil rights groups do little to bring attention to the violent racism of rap, left-wing rock, or raggae, and instead civil rights groups focus on violent racism of right-wing rock issued forth by white musicians.

WARNING:

This article contains lyrics that portray profanity and violence and that call for racial violence.

  • The Violent Racism of Ice Cube
  • Promotion of Ice Cube by Hollywood
  • The GRAMMY Awards and MTV’s Video Music Awards

Other Web Sites
Information about violently racist white rock can be found on the web site for an extremist publication called Searchlight, which is put out by a militant Marxist-Leninist group. Information about violently racist white rock can be found also through web sites provided by the following civil rights groups: Hatewatch; Anti-Defamation League; and Klanwatch of the Southern Poverty Law Center.

Information about general violence and profanity in all music genres can be found on the web site started by the Entertainment Monitor. The Entertainment Monitor reviews top-40 CD’s, and so as a result, reviews of violently racist white rock will not be found on their web site.

The Violent Racism of Ice Cube

Imagine a white country-western singer performing lyrics that call on whites to torture and kill blacks, and imagine him rising to fame with backing from major record labels. The image is not believable. If a white singer tried to build a career today by spewing out violently racist lyrics, the outcry would be immediate and overwhelming, with denunciations, pickets, and perhaps even violence at music stores. The double standards of the entertainment industry are such, however, that viciously racist lyrics do become popular when the artist is black.

For the past ten years now, the major music companies have promoted the black rapper Ice Cube who writes or performs lyrics that call for the killing of whites. Released late in the year after the 1992 Los Angeles Riots, The Predator album seethes with a tone of wild empowerment and describes the riots as righteous acts. Death threats are issued at the white police officers who participated in the beating of Rodney King, at the jurors who acquitted the officers, and at whites in general. The title track issues forth:

“Riots ain’t nothing but diets for the system. Fighting with the Beast, ‘no justice, no peace’. . . Niggas are sick of your white man tricks, with no treating us right. Now it’s on, on sight. . . . Farrakhan for president of white America. . . . Put my chrome* to your dome*, watch it bust like a cantaloupe. . . . So who’s Ice Cube? I’m a rapper, actor, macker. Got a little problem with the redneck cracker.”

The caveat that follows is printed on pamphlets inserted into The Predator CD’s: “Ice Cube wishes to acknowledge white America’s continued commitment to the silence and oppression of black men. . . . White America needs to thank black people for still talkin’ to them ’cause you know what happens when we stop.”

Ice Cube fills his lyrics with the beliefs held by members and followers of Nation of Islam, the Chicago-based black group which has mosques in cities across the nation. The group’s doctrine was built from racial interpretations of the Koran and the Bible, and it included the book called Message to the Blackman in America in which Elijah Muhammad, the group’s founder, proclaimed that whites, or “devils” as they are often referred to in the book, would be annihilated in racial Armageddon. First printed in 1965, Nation of Islam uses the book today as its founding doctrine. Louis Farrakhan, the group’s vocally racist leader, has an ability to get millions of blacks to listen to him, as demonstrated in the 1995 Million Man March. Some prominent black leaders such as former NAACP head Ben Chavis show allegiance to Nation of Islam. Many black leaders and ministers such as Jesse Jackson demonstrate a reluctance to denounce the extremist group and instead show a willingness to cooperate with it.

Becoming a follower of Nation of Islam by 1991, Ice Cube begins a 1993 track called “Enemy” with a speech by Khallid Muhammad in which the Nation of Islam officer scoffs at racial integration and refers to whites as the “enemy.” Ice Cube continues the track with indoctrinations about racial Armageddon, and he sees a need for blacks to assist Allah in killing off the whites: “When God give the word me herd like the buffalo, through your neighborhood. Watch me blast*, drive up your past, getting that ass.” When blacks commit crimes against whites, the rapper commands, they are “putting in work for Master Farad Muhammad,” the man of light complexion who, as Elijah Muhammad relates in his book, originally taught him the Nation of Islam doctrine during the 1930’s in Detroit, Michigan. Master Farad’s real name was W. D. Fard, and he disappeared during the 1930’s. Ice Cube advises blacks to be up close to whites when shooting them: “don’t bust ’till you see the whites of his eyes, the whites of his skin, the whites of his lies.” Nation of Islam professes that 1555 marked the beginning of whites enslaving blacks in America, and that shortly after 400 years, God would free the blacks in racial Armageddon. In the 1960’s, Elijah Muhammad gave 1965 as the beginning of the final conflict. On the 1993 “Enemy” track, Ice Cube gave 1995 as the ominous date: “After 1995 not one dev[il] will be alive. . . . 1995, Elijah is alive, Louis Farrakhan, NOI*, Bloods* and CRIPS* and little old me, and we all getting ready for the enemy.” Elijah Muhammad would have to have risen from the dead in 1995 for he died in 1975. Nation of Islam’s doctrines uphold that Farad Muhammad was Allah in human form and that Elijah Muhammad was a prophet. Ice Cube upholds the following on the “Enemy” track: “I know that Farrakhan is your baby Jesus.”

The pamphlets inserted into the 1991 Death Certificate CD, in fact, show a photograph of Ice Cube standing and reading a copy of Nation of Islam’s newspaper, The Final Call. The weekly newspaper’s title refers to the final warning God gives in order to get blacks to pledge to Nation of Islam doctrines just before the onset of racial Armageddon. In the background of the photograph, looking ominous behind Ice Cube, stand members of Nation of Islam’s security force, the so-called Fruit of Islam. On the pamphlet Ice Cube recruits: “The best place for a young black male or female is the Nation of Islam.”

Ice Cube puts onto CD’s his ideas of violence directed at law enforcement officers and white officers are singled out. In “U Ain’t Gonna Take My Life,” the rapper threatens: “Goddamn sheriff* can’t wait to tear him a chunk of a nigga ass. But watch a nigga blast* and get a white nigga fast.” He magnifies his personal commitment to his cause by placing himself in the song: “Just because you gotta badge did you think Ice Cube was gonna wave the white flag? Cracker, please.” Ice Cube cannot hold in his violently racist fantasies: “when I saw Rodney* it got me so hot it made me wanna go out and pop me a cop.” In the song the rapper refers to his own face as “the face of the original man,” referring to Nation of Islam’s belief that blacks were the original race on earth. On his 1991 track “The Wrong Nigga To Fuck Wit,” the Los Angeles rapper says that he will shoot off the head of former Los Angeles police chief Darryl Gates if the rapper catches him in a traffic jam.

The only common target besides whites and law enforcement officers is black men, in particular and most often those men who are rival rappers or drug dealers. In some songs drug dealers or gangbangers are threatened because the rapper views them as a detriment to predominantly black communities, yet in other songs either the same types are described matter-of-factly without faulting them or the rapper glorifies himself to be a drug dealer. Occasionally the lyrics attempt to persuade listeners that blacks who act too much like whites should be killed. Demeaning references to women are commonly made, and sometimes the rapper voices threats at them. In “You Can’t Fade Me” Ice Cube raps that he is thinking about shooting a woman in the head who tried to trap him falsely as the father of her child in order to make him pay for child support. In “Cave Bitch” white women are degraded and he suggests that blacks should kidnap white women and hold them for ransom. Demeaning synonyms for female are thrown at men also, as are derogatory synonyms for homosexual. Homosexuals, although rarely pointed at by the rapper, are threatened in “Enemy” and in a few lines of “You & Your Heroes,” the later being a song that claims black entertainers and athletes are superior to white ones; however, in both songs being white overrides being homosexual as the reason for targeting. Violence directed at white Jews occurs in one phrase of one song called “No Vaseline,” and at white Christians it occurs in many phrases of several songs including “When I Get To Heaven.”

The proliferation of Ice Cube’s violently racist lyrics among millions of consumers is ensured by all major music retailers and by mainly one distributor, the music giant EMI Group PLC of the United Kingdom. The EMI Group’s subsidiary, EMI Music Distribution, has manufactured and shipped all along for Priority Records, the company that has marketed over 11 million of the artist’s CD’s (SoundScan ®). Key titles spread around by the Priority/EMI Group team are AmeriKKKa’s Most Wanted (1990), Death Certificate (1991), The Predator (1992), Lethal Injection (1993), Bootlegs & B-Sides (1994), and Planet of da Apes (1994). Time Warner labels Elektra and Eastwest originally handled Guerillas in tha Mist. Viacom’s MTV promotes Ice Cube in music videos. If not in stock, consumers can order the titles through any retail store.

Lyrical References

*blast: discharge bullets from a gun.
*Bloods: black gangbangers loosely affiliated by the act of wearing red clothing, by the proximity of neighborhood streets, or by a history of retaliation between other gangs. In the Planet of da Apes CD inserts, Da Lench Mob rappers dedicate the CD’s to Bloods, referring to them as “Street Soldiers.”
*bust: shoot a firearm.
*chrome: handgun having a metallic luster, due to chrome plating, nickel plating, or made of solid stainless steel.
*CRIPS: black gangbangers loosely affiliated by the act of wearing blue clothing, by the proximity of neighborhood streets, or by a history of retaliation between rival gangs. In the Planet of da Apes CD inserts, Da Lench Mob rappers dedicate the CD’s to CRIPS, referring to them as “Street Soldiers.”
*dome: a person’s head.
*NOI: Nation of Islam.
*Rodney: Rodney King.
*sheriff: Los Angeles County sheriffs patrol pockets of South Los Angeles that are not incorporated but are as urban as the cities surrounding them, and the pockets often have black or Latino gangs.

Textual References

“The Predator” is from The Predator, 1992, Priority Records, EMI Group.

Message to the Blackman in America was authored by Elijah Muhammad. It was originally published in 1965, and later in 1992 by United Brothers Communications Systems of Newport News, Virginia. For a summary of the book go to (click on) Message to the Blackman in America.

Go to (click on) Reference Week1A for information about the reluctance of black ministers and Jesse Jackson to denounce Nation of Islam and about their willingness to cooperate with the group.

Ice Cube became a follower of Nation of Islam by 1991: Ice Cube attended a Farrakhan rally in 1989. (NY Times, 7-14-91.); Ice Cube intently watched Farrakhan on television during an interview (Rolling Stone, 10-4-90, page 83.); in a 1991 interview with the Chicago Tribune, Ice Cube said the following: “With my next record, Def Certificate, you’ll see how the Nation of Islam has influenced me. . . . I listen to Louis Farrakhan a lot because he teaches self-love. They say he teaches hate, but if we don’t hate somebody after all the stuff we’ve been through. . . . I think the Nation of Islam is the best organization for self-love when it comes to black people, and I listen and learn from that.” (7-14-91.); “Cube has joined the Nation of Islam.” (Chicago Tribune, 11-10-91.); Ice Cube “is also closely linked to the militant black nationalist group the Nation of Islam.” (Independent, London, 11-19-91, page 9.); paragraph seven of the present article explains how he recruits for Nation of Islam with his 1991 CD; Ice Cube said the following: “I’m hanging out with brothers from the Nation of Islam.” (Interview magazine, December 1991.); “Surrounded by security guards from the Nation of Islam, Ice Cube spoke” publicly at a Los Angeles high school. (Los Angeles Times, 12-16-93.); “Ice Cube, 24, who has become a follower of the Rev. Louis Farrakhan’s Nation of Islam . . .”. (NY Times Magazine, 4-3-94, page 42.); “After joining the Reverend Louis Farrakhan’s radical Nation of Islam sect, Ice Cube began to . . . “. (1995 Current Biography Yearbook, page 269.)

“Enemy” is from Lethal Injection, 1993, Priority Records, EMI Group.

Death Certificate, 1991, Priority Records, EMI Group.

Every issue of The Final Call has a column written by Elijah Muhammad. The columns are often excerpts from Message to the Blackman in America. Inside the last page of every issue there is a photograph of Elijah Muhammad, and the accompanying text is divided into two parts. The upper part, “What the Muslims Want,” lists Nation of Islam’s demands as follows: “Equal justice. . . . regardless of creed or class or color”; a separate territory for blacks; equal employment opportunities as long as blacks are not granted a separate territory; no taxes for blacks as long as they do not get equal justice; separate schools for blacks where their children are taught by “their own teachers”; and an end to racial integration. The lower part, “What the Muslims Believe,” gives a list of twelve beliefs and some of them are as follows: calls for cessation to racial integration and for creation of a separate territory are repeated; “the so-called Negroes in America” are the chosen people spoken of in the Bible and the Qur’an; blacks must change their names that were imposed upon them by their “former slave masters”; blacks should not fight in wars for America unless they are given a separate territory; and W. Fard Muhammad was a prophet.

“U Ain’t Gonna Take My Life” is from Bootlegs & B-Sides, 1994 , Priority Records, EMI Group.

“The Wrong Nigga to Fuck Wit” is from the Death Certificate album.

Violence directed at blacks who act too much like whites: blacks with PhD’s who do not “roll” with the blacks against the system will be killed, occurs on the “Endangered Species” track of the 1990 AmeriKKKa’s Most Wanted album and the 1990 Kill at Will album; “But is Willy Williams down with the pilgrims? Just a super slave, we’ll have to break his ass up like Super Dave,” are phrases that occur on the “Wicked” track of The Predator album. Willy Williams became the chief of the LAPD after the 1992 Los Angeles Riots; “Hang that police chief named Willy” is a phrase that occurs on the “My Skin Is My Sin” track of the Bootlegs & B-Sides album.

“You Can’t Fade Me” is from AmeriKKKa’s Most Wanted, 1990, Priority Records, EMI Group.

“Cave Bitch” is from the Lethal Injection album.

“You & Your Heroes” is from Guerillas in tha Mist, 1992, Eastwest and Elektra, Time Warner.

“No Vaseline” is from the Death Certificate album.

“When I Get To Heaven” is from the Bootlegs & B-Sides album.

Elektra and Eastwest labels: In 1992 when Guerillas in tha Mist came out, it was handled at Elektra and Atlantic through channels that specialize in the promotion of black music. Elektra was owned by Time Warner’s Atlantic Records in 1992. Other major record labels also have executives whose titles contain the phrase “black music.” Directors of “Black Music Marketing,” “Black Music Promotion,” “Black Music A&R,” or “Black Music Sales,” exist at the following companies: Columbia Records, Island Records, MCA Music Entertainment, RCA Records, and Warner Brother Records.

Promotion of Ice Cube by Hollywood

Ice Cube, writer and performer of rap songs that glorify drug dealing, murder, misogyny, and violent racism, has achieved musical fame and has gone on to carve out a niche for himself as one of filmdom’s angry young black men, and in more recent years to become one of its heroes. Last year he appeared in Anaconda, a big budget and highly successful movie put out by Sony Corporation of Japan. In his movie role he helped kill the beast, and the role is similar to the fantasy he has acted out musically in rap for the last several years, except that in his music the beast is not a giant snake, rather it is whites. The average viewer without knowing it puts money into the bank account of a violent racist. Time Warner’s New Line Cinema boosted Ice Cube from actor to director by investing $5 million into The Player’s Club, a film that opened April 8 and plays nationwide.

Ice Cube often calls for a race war, and an example comes from Da Lench Mob’s 1994 rap “Goin’ Bananas”: “We’re having thoughts of overthrowing the government. . . . It’s open season on crackers, you know. The morgue will be full of Caucasian John Doe’s.*” The rappers put their own names into the rap personalizing their commitment to the cause. Besides glorifying the murder of whites, they brag about being gangbangers and outrunning the police. While one of the rappers raps about drinking beer, another one says that he does not drink beer because he has joined Nation of Islam. The rap finishes with Nation of Islam doctrine: “Oh my God, Allah, have mercy. I’m killing them devils because they’re not worthy to walk the earth with the original black man.* They must be forgetting. It’s time for Armageddon, and I won’t rest until they’re all dead.”

Two years after meeting John Singleton at a rally for Nation of Islam’s Louis Farrakhan, Ice Cube took a role in director Singleton’s first movie, Boyz N the Hood, in which the rapper plays a former inmate who kills to avenge the murder of his brother. In 1995 and since then, Hollywood distributors and theaters nationwide featured Ice Cube as the good guy: the neighborhood protector (Friday 1995), the victim of a sheriff’s department full of racist, misogynist, anti-Jewish white male officers (The Glass Shield 1995), the victim of apartheid-era South African police and the victor over post-apartheid white skinheads (Dangerous Ground 1997), and the snake-killing hero (Anaconda 1997).

After acting as a murderous drug dealer in 1992 (Trespass), Ice Cube in his second role with Mr. Singleton in Higher Learning (1994) is the defender of black grievances. Ice Cube’s character starts fistfights with whites who had instigated earlier racist acts. Higher Learning is a film in which white characters spew out Nazi doctrines of racial hatred and white supremacy, and all the while, Ice Cube acts in camouflage–there is no mention of his recruitment for Nation of Islam or of his promotion of its racial hatred. Director Singleton displays swastikas on arm, neck, uniforms, flags, and apartment floor of white characters, yet he does not show a single “X” on Nation of Islam’s avid recruiter or in his character’s apartment. The one-sided treatment of racial extremism by Mr. Singleton leaves room for us to have suspicions about his intentions.

Away from the movie set during the same year, in his musical work “My Skin Is My Sin,” Ice Cube spouts the belief in black supremacy held in common by Nation of Islam followers: “not only mentally but physically the black man rules.” On the 1994 track, he advocates violence in the following ways: a vow to kill whites and a foreboding that black gangbangers will join in, a call for the hanging of Los Angeles’ then police chief Willy Williams who is black, and a warning to J. B. Stoner, former Imperial Wizard of the Ku Klux Klan, not to get caught on a street corner by Ice Cube. From his point of view he gives, in the song, the following justifications for the violence: whites kill blacks in churches; whites took advantage of his forefather and of Native Americans; whites took away the religion that blacks had and gave them Bibles; blacks are brainwashed by American education; and the white “devils” are all the same.

Ice Cube put kill-the-whites messages into a track that became part of a movie soundtrack. Not included in the movie Menace II Society, but put on the album version of the soundtrack for the movie, was a Da Lench Mob song called “Guerillas Ain’t Gangstas.” Ice Cube provided back-up vocals, and the rappers make the following threats at whites: “Bust a cracker into two. I shake you to the sewer. I gaffle [handcuff] your ass up and make it stink like manure. . . . I’m still much black, hitting devils with the bat.” The rappers used titles of songs from their 1992 album to pass along threats directed at whites. In particular, the rappers holler out the following: “‘Buck tha Devil’ [and] boom with the black fist”; and “‘Guerillas in tha Mist’ with the silent kill-skills.” The rappers continue with the following hatred: “I’m gotta buck you; plus I never trust you, a devil in drag. So fuck it. I’ll just cut you. . . . I got to cut his fucking throat.”

On the title track of The Predator album, Ice Cube raps the slogan “no justice–no peace” along with his calls for racial violence. Director Singleton promotes the “no peace” part of the chant not only as a warning of civil disobedience but also as a threat of racial riots.

Lyrical References

*devils: whites.
*John Doe: male cadaver without identity.
*original black man: Nation of Islam professes that blacks were the first race of peoples on the earth.

Textual References

Anaconda, 1997, Sony Pictures, Sony Corporation; domestic box office receipts were over $65 million.

The Player’s Club, New Line Cinema, Time Warner.

“Goin’ Bananas” is from Planet of da Apes, 1994, Priority Records, EMI Group.

Connection between Ice Cube, John Singleton, and Louis Farrakhan: two years before July, 1991, Ice Cube and Mr. Singleton meet at a rally for “the Black Muslim leader Louis Farrakhan”; (New York Times, 7-14-91; 1995 Current Biography Yearbook, page 271.)

Friday, 1995, New Line Cinema, Time Warner; box office receipts were over $27 million.

The Glass Shield, 1995, Mirimax, now owned by Walt Disney; box office receipts were over $4 million.

Dangerous Ground, 1997, New Line Cinema, Time Warner; box office receipts were over $5 million.

Trespass, 1992, Universal City Studios, The Seagram Company.

More information about John Singleton’s one-sided treatment of racial extremism in Higher Learning can be found at Reference Week1B 1.

Higher Learning, 1994, Columbia Pictures (now Sony Pictures), Sony Corporation; box office receipts were over $38 million.

Quote of black supremacy is from “My Skin Is My Sin” of the album Bootlegs & B-Sides; 1994, Priority Records, EMI Group.

Menace II Society, 1993, New Line Cinema, Time Warner. Not only is Nation of Islam thanked in the movie credits, but some of the movie’s characters promote conformity with the extremist group. Furthermore, one song included in the movie is by Brand Nubian, a black rap group which pushes Nation of Islam doctrines and which sends out kill-the-whites messages. Before 1993, Brand Nubian rappers became members of an offshoot of Nation of Islam called Five Percent Nation. The Brand Nubian track included in Menace II Society, called “Lick Dem Muthaphuckas,” issues forth the following threats at whites: “it’s the dread[locks] with the nine. Lead to the head of you devils. . . . Get hit by a dread who is fed up with the nonsense. Leave you red with my clip. Empty out his contents. Spill your guts.” Why do the directors of Menace II Society, The Hughes Brothers, include a song about blacks killing whites when there is no scene in the movie that shows blacks killing whites or that shows blacks threatening to kill whites? The only black against non-black violence shown is of a young black brutally murdering two Korean husband-and-wife shop owners. After the young killer steals the store’s security tape, he and his friends watch the video-taped killings over and over again at their apartment, shouting out victoriously as the young killer shoots the Korean husband in the head at point-blank range. The Hughes Brothers never indicate that black-on-Asian violence is wrong, except for a quickly flashed scene showing the killer being arrested; instead the directors have left it up to the audience to decide for themselves whether it is wrong or for them to assume it is wrong. What is telling about The Hughes Brothers’ choice of scenes, however, is the fact that they do not leave up to assumption the well-known view that blacks are treated unfairly in America. An older black character, who is portrayed as wise, tells a young black that it is not easy being a “black man” in America, and that the “hunt” is on for young blacks who are treated as “prey” by the system.

“Guerillas Ain’t Gangstas” is from Menace II Society Soundtrack, 1993, Jive Records, Zomba Recording Corporation. On the track, Da Lench Mob rapper Shorty, who is a member of Nation of Islam, lets everyone know that he is “a black man who was saved by a savior.” One of the writers for the track was Quincy D. III, who was awarded in 1990 with a GRAMMY for a song he did with rapper Ice-T.

Ice Cube raps the slogan “no justice–no peace” in the title track of The Predator album, 1992, Priority Records, EMI Group.

The GRAMMY Awards

While researching violent racism by black or Latino musicians, it was noticed that some artists who put out violent racism either were awarded GRAMMY’s or were promoted by other artists who won GRAMMY’s.
List of Black or Latin Artists Awarded GRAMMY’s Who Put Out or Promoted Violent Racism
List of Some Artists Who Were Promoted by GRAMMY Award Winning Artists
Of the artists at issue, hundreds of millions of copies of their CD’s have been sold over the last ten years. It should be kept in mind that the groups included below are a small sample of all the hip-hop groups which have put out kill-the-whites messages, and because there is way more out there than the researchers of this web site have time or resources to uncover, interested readers are encouraged to dig up violently racist lyrics and present them for public scrutiny. Here are some examples:

“Kill the white people; we gonna make them hurt; kill the white people; but buy my record first; ha, ha, ha”;
“Kill d’White People”; Apache, Apache Ain’t Shit, 1993, Tommy Boy Music, Time Warner, USA.

“Niggas in the church say: kill whitey all night long. . . . the white man is the devil. . . . the CRIPS and Bloods are soldiers I’m recruiting with no dispute; drive-by shooting on this white genetic mutant. . . . let’s go and kill some rednecks. . . . Menace Clan ain’t afraid. . . . I got the .380; the homies think I’m crazy because I shot a white baby; I said; I said; I said: kill whitey all night long. . . . a nigga dumping on your white ass; fuck this rap shit, nigga, I’m gonna blast. . . . I beat a white boy to the motherfucking ground”;
“Kill Whitey”; Menace Clan, Da Hood, 1995, Rap-A-Lot Records, Noo Trybe Records, subsidiaries of what was called Thorn EMI and now is called The EMI Group, United Kingdom.

“Devils fear this brand new shit. . . . I bleed them next time I see them. . . . I pray on these devils. . . . look what it has come to; who you gonna run to when we get to mobbing. . . . filling his body up with lead, yah; cracker in my way; slitting, slit his throat; watch his body shake; watch his body shake; that’s how we do it in the motherfucking [San Francisco] Bay. . . . sitting on the dock of the dirty with my AK”;
“Heat–featuring Jet and Spice 1″; Paris, Unleashed, 1998, Unleashed Records, Whirling Records.

“These devils make me sick; I love to fill them full of holes; kill them all in the daytime, broad motherfucking daylight; 12 o’clock, grab the Glock; why wait for night”;
“Sweatin Bullets”; Brand Nubian, Everything Is Everything, 1994, Elektra Entertainment, Warner Communications, Time Warner, USA.

“A fight, a fight, a nigger and a white, if the nigger don’t win then we all jump in. . . . smoking all [of] America’s white boys”;
“A Fight”; Apache, Apache Ain’t Shit, 1993, Tommy Boy Music, Time Warner, USA.

“I kill a devil right now. . . . I say kill whitey all nightey long. . . . I stabbed a fucking Jew with a steeple. . . . I would kill a cracker for nothing, just for the fuck of it. . . . Menace Clan kill a cracker; jack ‘em even quicker. . . . catch that devil slipping; blow his fucking brains out”;
“Fuck a Record Deal”; Menace Clan, Da Hood, 1995, Rap-A-Lot Records, Noo Trybe Records, subsidiaries of Thorn EMI; called The EMI Group since 1997, United Kingdom.

“Now I’m black but black people trip [become upset] ’cause white people like me; white people like me but don’t like them. . . . I don’t hate whites, I just gotta death wish for motherfuckers that ain’t right”;
“Race War”; Ice-T, Home Invasion, 1993, Priority Records, Thorn EMI; now called The EMI Group, United Kingdom.

“To all my Universal Soldier’s: stay at attention while I strategize an invasion; the mission be assassination, snipers hitting Caucasians with semi-automatic shots heard around the world; my plot is to control the globe and hold the world hostage. . . . see, I got a war plan more deadlier than Hitler. . . . lyrical specialist, underworld terrorist. . . . keep the unity thick like mud. . . . I pulling out gats [handguns], launching deadly attacks”;
“Blood for Blood”; Killarmy, Silent Weapons for Quiet Wars, 1997, Wu-Tang Records, Priority Records, The EMI Group, United Kingdom.

“Lead to the head of you devils”;
“Lick Dem Muthaphuckas–Remix”; Brand Nubian, Everything Is Everything, 1994, Elektra Entertainment, Warner Communications, Time Warner, USA.

“This will all be over in ’99, so, niggas, give devils the crime; gonna be more devils dying”;
“No Surrender”; Bone Thugs-N-Harmony, Creepin on ah Come Up, 1994, Ruthless Records, Epic Records, Sony Music Entertainment, Sony, Japan.

“Won’t be satisfied until the devils–I see them all dead. . . . my brother is sending me more guns from down South. . . . pale face. . . . it’s all about brothers rising up, wising up, sizing up our situation. . . . you be fucking with my turf when you be fucking with my race; now face your maker and take your last breadth; the time is half-past death. . . . it’s the Armageddon. . . . go into the garage; find that old camouflage. . . . cracker-shooting nightly”;
“What the Fuck”; Brand Nubian, Everything Is Everything, 1994, Elektra Entertainment, Warner Communications, Time Warner, USA.

“.44 ways to get paid. . . . I’m through with talking to these devils; now I’m ready to blast”;
“44 Wayz–featuring Mystic”; Paris, Unleashed, 1998, Unleashed Records, Whirling Records.

“Like my niggas from South Central Los Angeles they found that they couldn’t handle us; Bloods, CRIPS, on the same squad, with the Essays [Latino gangbangers] up, and nigga, it’s time to rob and mob and break the white man off something lovely”;
“The Day the Niggaz Took Over”; Dr Dre, The Chronic, 1993, Interscope Records, under Time Warner in 1993.

“Bust a Glock; devils get shot. . . . when God give the word me herd like the buffalo through the neighborhood; watch me blast. . . . I’m killing more crackers than Bosnia-Herzegovina, each and everyday. . . . don’t bust until you see the whites of his eyes, the whites of his skin. . . . Louis Farrakhan . . . Bloods and CRIPS, and little old me, and we all getting ready for the enemy”;
“Enemy”; Ice Cube, Lethal Injection, 1993, Priority Records, Thorn EMI; now called The EMI Group, United Kingdom.

“Devil, to gangbanging there’s a positive side and the positive side is this–sooner than later the brothers will come to Islam, and they will be the soldiers for the war; what war, you ask; Armageddon; ha, ha, ha, ha, ha”;
“Armageddon”; RBX, The RBX Files, 1995, Premeditated Records, Warner Brother Records, Time Warner, USA.

“Subtract the devils that get smoked. . . . we’re people, black people; steal your mind back, don’t die in their wilderness. . . . let’s point our heaters [handguns] the other way”;
“Dial 7″; Digable Planets, Blowout Comb, 1994, Pendulum Records, Thorn EMI; now called The EMI Group, United Kingdom.

“Get them devil-made guns and leave them demons bleeding; give them back whips, and just feed them bullets”;
“Wicked Ways”; Sunz of Man, One Million Strong: The Album, 1995, Mergela Records, Solar/Hines Co., Prolific Records.

“It’s time to send the devil to the essence. . . . this is a must because there ain’t no reform or trust; you got a Glock and you see a devil, bust. . . . they’ll be calling us the trigger men, the nappy-knotty red-beard devil-assassin; Lord make a law; at midnight I’ll be bashing. . . . field niggas [are] locked in until 2005″;
“Field N#gguhz in a Huddle”; Professor Griff, Blood of the Prophet; 1998, Lethal Records, Mercury Records, PolyGram, Philips’ Electronics NV, Netherlands. PolyGram merged with Universal Music Group in 1998, the parent being The Seagram Company of Canada.

“He prays on old white ladies [who] drive the Mercedes with the windows cracked. . . . you should’ve heard the bitch screaming. . . . sticking guns in crackers’ mouths. . . . the cops can’t stop it. . . . remember 4-29-92, come on; Florence and Normandy coming to a corner near you, cracker; we’ve been through your area, mass hysteria; led by your motherfucking Menace Clan”;
“Mad Nigga”; Menace Clan, Da Hood, 1995, Rap-A-Lot Records, Noo Trybe Records, Time Warner, USA.

“The black man is god. . . . buy a Tec [and] let loose in the Vatican. . . . I love the black faces; so put your Bible in the attic”;
“Ain’t No Mystery”; Brand Nubian, In God We Trust, 1992, Elektra Entertainment, Warner Communications, Time Warner, USA.

“Rhymes is rugged like burnt buildings in Harlem; the Ol Dirty Bastard. . . . I’m also militant. . . . snatching devils up by the hair, then cut his head off”;
“Cuttin Headz”; Ol Dirty Bastard, Return of the 36 Chambers: the Dirty Version; 1995, Elektra Entertainment, Time Warner, USA.

“Listen to this black visionary, bringing war like a revolutionary. . . . go on a killing spree, putting devils out their misery; hearing screams, sounds of agony; my hostility takes over me. . . . camouflaged ninjas avenging”;
“Under Seige”; Killarmy, Silent Weapons for Quiet Wars, 1997, Wu-Tang Records, Priority Records, The EMI Group, United Kingdom.

“Swing by on the pale guy. . . . break him in the neck. . . . the guerrilla with the poison tip. . . . shaking pinky up on a dull-ass ice-pick . . . this is Lench Mob. . . . devil, what you want to do; when you see the boot, knew your head is hoohoo “;
“King of the Jungle”; Da Lench Mob, Planet of da Apes, 1994, Priority Records, Thorn EMI; now called The EMI Group, United Kingdom.

“Dropping verses, casting curses, throwing these hexes on the devils. . . . respect to Farrakhan, but I’m the jungle-don, the new guerrilla, top-ranked honky killer. . . . what do blacks do; they just keep on blowing devils away. . . . evil fucking cracker. . . . I’m tightening up the laces to my steel-toed boots, so I can walk, stomp; we stomp this devil down in the park”;
“Planet of da Apes”; Da Lench Mob, Planet of da Apes, 1994, Priority Records, Thorn EMI; now called The EMI Group, United Kingdom.

“We’re having thoughts of overthrowing the government. . . . the brothers and sisters threw their fists in the air. . . . it’s open season on crackers, you know; the morgue will be full of Caucasian John Doe’s. . . . I make the Riot shit look like a fairy tale. . . . oh my god, Allah, have mercy; I’m killing them devils because they’re not worthy to walk the earth with the original black man; they must be forgetting; it’s time for Armageddon, and I won’t rest until they’re all dead”;
“Goin Bananas”; Da Lench Mob, Planet of da Apes, 1994, Priority Records, Thorn EMI; now called The EMI Group, United Kingdom.

“The crackers ain’t shit; chase them out of the jungle; now raise up off the planet. . . . we get the 12 gauge; shot to the chest. . . . we hitting devils up. . . . Da Lench Mob, environmental terrorist. . . . I gripped the Glock and had to knock his head from his shoulders. . . . I got the .30[6] on the rooftop; pop; pop; so many devils die. . . . make sure I kill them. . . . lynch a thousand a week if it’s necessary”;
“Environmental Terrorist”; Da Lench Mob, Planet of da Apes, 1994, Priority Records, Thorn EMI; now called The EMI Group, United Kingdom.

“Like an armed struggle. . . . I come with the New Wu Order. . . . waging war on the devils’ community. . . . whipped cardinals and one Pope”;
“Universal Soldiers”; Killarmy, Silent Weapons for Quiet Wars, 1997, Wu-Tang Records, Priority Records, The EMI Group, United Kingdom.

“Swinging out of the trees, is the blood-spilling, devil-killing, nappy-headed g.’s. . . . blacks and Mexicans must take a stand. . . . I’m down with Chico, and not with the man”;
“Set the Shit Straight”; Da Lench Mob, Planet of da Apes, 1994, Priority Records, Thorn EMI; now called The EMI Group, United Kingdom.

“Fuck them laws, because the Mob is coming raw; nigga, is you down because it’s the Final Call. . . . grab your gat; know the three will start busting; I’m trying to take them down. . . . the war of wars with no fucking scores. . . . April 29 was a chance to realize . . . the g.’s are out to kill. . . . we got crackers to kill; sending them back in on a ship to Europe. . . . they deserve it. . . . a nation-wide riot across America. . . . this is the Final Call on black man and black woman, rich and poor; rise up”;
“Final Call”; Da Lench Mob, Planet of da Apes, 1994, Priority Records, Thorn EMI; now called The EMI Group, United Kingdom.

“I come with the wicked style. . . . I got everybody jumping to the voodoo. . . . I got a gat and I’m looking out the window like Malcolm. . . . April 29 was power to the people, and we just might see a sequel”;
“Wicked”; Ice Cube, The Predator, 1992, Priority Records, Thorn EMI; now called The EMI Group, United Kingdom.

“Deal with the devil with my motherfucking steel [handgun]. . . . white man is something I tried to study, but I got my hands bloody, yeah. . . . I met Farrakhan and had dinner”;
“When Will They Shoot”; Ice Cube, The Predator, 1992, Priority Records, Thorn EMI; now called The EMI Group, United Kingdom.

“Actual fact you need to be black. . . . everyday I fight a devil. . . . I grab a shovel to bury a devil. . . . the battle with the beast, Mr. 666. . . . my mind rolled to a 7th level; grab my bazooka and nuke a devil. . . . with black, I build; for black, I kill”;
“Fightin the Devil”; RBX, The RBX Files, 1995, Premeditated Records, Warner Brother Records, Time Warner, USA.

“I pledge allegiance to only the black. . . . black, you had best prepare for the coming of war. . . . look at you devil; now you’re sweating; I’m telling you: you can’t run from the hand of Armageddon. . . . he eats his pig-steak rare so he can taste the blood”;
“No Time”; RBX, The RBX Files, 1995, Premeditated Records, Warner Brother Records, Time Warner, USA.

“Killing devils [and] scatter they ashes over the sea of Mediterranean. . . . open your eyes to the revolution. . . . unite with the black coalition”;
“Wake Up”; Killarmy, Silent Weapons for Quiet Wars, 1997, Wu-Tang Records, Priority Records, The EMI Group, United Kingdom.

“My own kind blind, brain-trained on the devil-level. . . . chasing down loot, Dole or Newt, who do you shoot. . . . rough stuff to the babies, spread like rabies”;
“Niggativity . . . Do I Dare Disturb the Universe”; Chuck D, Autobiography of MistaChuck, 1996, Mercury Records, PolyGram, Philips’ Electronics NV, Netherlands. PolyGram merged within Universal Music Group in 1998, the parent being The Seagram Company, Canada.

“Buck the devil; boom. . . . shoot you with my .22; I got plenty of crew; I take out white boys. . . . we got big toys with the one-mile scope, taking whitey’s throat”;
“Buck tha Devil”; Da Lench Mob, Guerrillas in tha Mist, 1992, Eastwest Records America, Elektra, Atlantic, Time Warner, USA.

“Little devils don’t go to heaven. . . . the AK forty . . . hold a fifty clip, and I’ll shoot until it’s empty. . . . I’m killing only seven million civilians. . . . one dead devil”;
“Freedom Got an AK”; Da Lench Mob, Guerrillas in tha Mist, 1992, Eastwest Records America, Elektra, Atlantic, Time Warner, USA.

“Grab your deep-ass crews. . . . we gotta make them ends, even if it means Jack and friends. . . . now you’re doomed, hollow-points to the dome; once again it’s on. . . . out comes my .22. . . . I’m the cut-throat; now I got to cut you . . . ’94 is the season for lynching; from out of the dark is the South Central g., ready-hand steady on a bloody machete. . . . a devil is on my shoulder; should I kill it; hell yah. . . . I slice Jack. . . . took an axe, and gave that bitch, Jill, forty wacks. . . . with my hip hop . . . it don’t stop, until heads roll off the cutting block”;
“Cut Throats”; Da Lench Mob, Planet of da Apes, 1994, Priority Records, Thorn EMI; now called The EMI Group, United Kingdom.

“A young fugitive soldier. . . . soon to make the devil kneel”;
“Not Promised Tomorrow”; Sunz of Man, Sunz of Man: The Last Shall Be First, 1998, Threat Records, Wu-Tang Records, Red Ant Entertainment, BMG Distribution, BMG Entertainment, Bertelsmann AG of Germany.

“Camouflaged for the mission. . . . become Bonnie and Clyde; carry .45’s in these last days. . . . an original black man with a plan to run these devils off our motherfucking land. . . . the Sunz of Man war track. . . . kept gun in hand, stalking the land”;
“Can I See You”; Sunz of Man, Sunz of Man: The Last Shall Be First, 1998, Threat Records, Wu-Tang Records, Red Ant Entertainment, BMG Distribution, BMG Entertainment, Bertelsmann, Germany.

“I may die in the scuffle but I’m taking forty devils”;
“The City”; Wu-Tang Clan, Wu-Tang Forever, 1997, Loud Records, Wu-Tang Productions, RCA Records, BMG Distribution, BMG Entertainment, Bertelsmann, Germany.

“Roping up the devils, have them hanging from my testicles”;
“Nowhere To Run”; Gravediggaz, 6 Feet Deep, 1997 reissue of a 1994 album, Gee Street Records, BMG Distribution, BMG Entertainment, Bertelsmann AG, Germany.

“Devils get baked. . . . devils are all defeated. . . . breaking devils down”;
“Blood Brothers”; Gravediggaz, 6 Feet Deep, 1997 reissue of a 1994 album, Gee Street Records, BMG Distribution, BMG Entertainment, Bertelsmann AG, Germany.

“I love black women and I hate fucking crackers. . . . I destroyed a whole city like Sodom and Gomorrah or Babylon. . . . devils choke from the gunsmoke. . . . I’m swelling devils’ melons. . . . send your asses to Kings County; solo pro-morgue supplier”;
“Graveyard Chamber”; Gravediggaz, 6 Feet Deep, 1997 reissue of a 1994 album, Gee Street Records, BMG Distribution, BMG Entertainment, Bertelsmann AG, Germany.

“I’m hanging devils’ heads on a evergreen bush”;
“Dangerous Mindz”; Gravediggaz, The Pick The Sickle and The Shovel, 1997, Gee Street Records, BMG Distribution, BMG Entertainment, Bertelsmann, Germany.

“Cloud, which means to overshadow the other man, mess up his game plan. . . . South Park Black Panther coming at last. . . . I need more brothers to roll over the government. . . . I got the nine [millimeter pistol], the mind, and the time to unwind new-school pro-black dope [great] rhymes. . . . there’s 10,000 of us; how you gonna stop this bum-rush, fool. . . . talk is cheap; you best believe that, black; actions speak louder than words, and that’s a fact”;
“Cloud on Suckas”; The Terrorists, Terror Strikes: Always Bizness Never Personal, 1991, Rap-A-Lot Records, Priority Records, Thorn EMI, United Kingdom. Rap-A-Lot Records was owned by Virgin Records for about four years before 1999, when it joined back with Priority. Thorn EMI changed its name in 1998 to EMI Group.

“I’m black with a bat, swinging at the head of a honky. . . . The Terrorists about to murder your ass”;
“Blow Dem Hoes Up”; The Terrorists, Terror Strikes: Always Bizness Never Personal, 1991, Rap-A-Lot Records, Priority Records, Thorn EMI, United Kingdom.

“Squeeze your nostrils tight and gag your mouth with a Bud Light; peace to all the blacks. . . . The Terrorists kicking political rough shit and we won’t quit until the other man’s throat slit from one ear to the other”;
“Bomb Threat”; The Terrorists, Terror Strikes: Always Bizness Never Personal, 1991, Rap-A-Lot Records, Priority Records, Thorn EMI, United Kingdom.

“A fight, a nigger and a white, if the nigger don’t win then we all jump in”;
“Ghetto Mentalitee”; Onyx, All We Got Iz Us, 1995, Rush Associated Labels Recordings, PolyGram Group Distribution, Philips’ Elecronics, Netherlands.

“Waiting for the crackers; smuggle; his mug is in the gutters. . . . so we need your participation in the Caucasian assassination; time is wasting. . . . so who is in association with the nigger retaliation; it needs your total cooperation. . . . a confrontation will be fought by the younger generation; because we got determination; all we need is organization”;
“Purse Snatchers”; Onyx, All We Got Iz Us, 1995, Rush Associated Labels Recordings, PolyGram Group Distribution, Philips’ Elecronics, Netherlands.

“The real black army is in jail. . . . come on my fellow prisoners, time to go to war. . . . what we need to do is point the guns in the right direction, aha. . . . me and my piece came to claim the brown man’s cut. . . . infiltrate until it burns down. . . . what we need to be talking about is what we gonna do to them; I’ll get revenge if it’s the last thing I do. . . . they got us brainwashed to be the minority, but when we kill them off we gonna be the majority. . . . if the whites speak up, then I’ll lead my people, because two wrongs don’t make it right but it damn sure make us equal; I’m inciting riots, so let’s start the looting. . . . in this revolution I loathe my enemy”;
“2 Wrongs”; Onyx, All We Got Iz Us, 1995, Rush Associated Labels Recordings, PolyGram Group Distribution, Philips’ Elecronics, Netherlands.

MTV’s Video Music Awards

The artists listed below were awarded or nominated for MTV Video Music Awards, and the artists either wrote kill-the-whites messages or promoted artists who did.

Lyrics by Black or Latin Artists Who Put Out Violent Racism and Who Were Either Awarded GRAMMY’s or Were Promoted by Artists Who Won GRAMMY’s.

Awarded

1999 MTV Video Music Awards: Lauryn Hill
1998 MTV Video Music Awards: Wyclef Jean
1996 MTV Video Music Awards: Coolio, Fugees
1995 MTV Video Music Awards: Dr Dre
1993 MTV Video Music Awards: Arrested Development
1992 MTV Video Music Awards: Arrested Development
1991 MTV Video Music Awards: LL Cool J

Nominated

1997: Dr Dre, Rage Against the Machine
1996: Bone Thugs-N-Harmony, Dr Dre, LL Cool J, Rage Against the Machine
1995: Public Enemy,
1994: Coolio, Dr Dre
1993: Naughty by Nature, Dr Dre, Digable Planets
1992: Sir Mix-A-Lot
1991: Ice -T
1989: Ice-T

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Updated: 18 November 2008 — 11:26