This won’t be popular. But then the truth very rarely is.

Taken from https://www.blacksheepmag.com/features/hoof-to-the-head/item/4872-jay-z-beyonce-when-sell-out-frauds-go-race-baiting

Jay-Z and Beyonce? Well, they’re contemporary cultural icons, in touch with their roots and their people, and torch-bearers for issues affecting black communities everywhere, right? It’s certainly what their new joint album, ‘The Carters: Everything Is Love,’ would have you believe. As ever, though, the truth of the matter when it comes to these two, where they came from, and the effect they’re really having on cultural values, tells a different story.

The fact that so many mainstream reviews are heralding the album as some sort of meaningful statement on behalf of black people everywhere, indicates either child-like, mind-controlled naivety on the part of the writers, or complicity in the social engineering programmes for which these two have long been used. Joshunda Sanders of Harpers Bazaar, for example, describes the album as “the ultimate ode to black freedom,” (insert facepalm here.) Rolling Stone, meanwhile, talks of their “responsibility to society as black billionaires,” and of the new LP as representing “their growing black family dynasty.”

Now the truth. Jay-Z long ago sold his soul to the white/ Jewish-controlled satanic record industry, naming his record label, Roc A Fella, after a German-Jewish millionaire oligarch/ eugenicist. At almost 50 years of age, rather than maturing and becoming more reflective, and delivering messages of hope and empowerment for young people, he still raps primarily about how much wealth he has, and waxes nostalgically about his days of selling crack to further decimate the very black communities from which he now seeks approval. It’s so ironic that his entire value system – that of chasing personal material gain at any cost – is the very same as that of the masters who enslaved and subjugated his ancestors.

‘Black Effect’ is a particularly grotesque outing, where he attempts to re-assert his blackness and endear himself to “his people,” (complete with a new semi-afro in the promo video – filmed, incidentally, at The Louvre in Paris, further cementing his Establishment credentials.) He states: “I’m good on any MLK Boulevard,” and “I’m Malcolm X.” That’s funny. I haven’t noticed any assassination attempts on him as a result of his political activism any time lately. Also talk of collard greens and corn rows in further attempts to show he’s “down” with his fellow brothers and sisters.

Conscious rapper DISL Automatic nailed it in the lyrics to his track ‘Here I Stand’ when he stated:

“You sold your soul for material things, I give a fuck if people say that you’re a lyrical king.
“Ain’t it funny how they love it when a grown man brags, ’bout the jewellery and money that none of his fans have?”

For a true insight into how much Jay-Z really values his wife when the official cameras aren’t rolling, meanwhile, check out his reaction to her worryingly bizarre behaviour at a sporting event in the video here.

For her part on this, Beyonce sounds about 60 years old, and with all her foul talk of ‘bitch”, “niggas” and “motherfuckers”, it’s a far cry from when she was presented to the world as one of the oh-so-sweet members of that nice, family-friendly Destiny’s Child.
The reality is that, in trying to portray herself as some kind of black goddess figure in the new promo shots, she’s merely doing what she’s told by her handlers – just as she has throughout her career – including the instruction to get together with Jay-Z to form a completely artificial black celebrity couple, rife for joint manipulation. And how the public – as well as mainstream writers who really should know better – have fallen for the con hook, line and sinker.

Just another day at the office in the sick, diseased entity that is the corporate “entertainment” industry.

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