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April 30th, 2021 
Awake Goy August 24, 2017Baxter DmitryNews, US3 Comments
John Homeston, a retired CIA agent, has admitted this week on National Russian Television (NTV) that the CIA was behind the creation of the 1980s hip hop scene and financed major hip hop acts including NWA, Afrika Bambaataa, and Grandmaster Flash & the Furious Five.
The government at the time spent “big money, serious money” on this covert operation destined to “further division” and “corrupt the American youth to nihilist, anti-establishment and anti-American ideologies”, he explained in a half hour interview broadcast on national television.
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Famous hip hop songs of the legendary hip hop outfit NWA were even scripted by a team of psychologists and war propagandists of the CIA. “F#ck the police,” and “When I’m called off, I got a sawed off / Squeeze the trigger, and bodies are hauled off,” and other nihilist and anti-establishment lyrics were intended to unleash a wave of cynicism towards authorities, promote the use of heavy drugs, and entice the youth with revolutionary, counter-establishment ideas.
The retired CIA agent claims the social engineering maneuver was “extremely successful.”
“We understood at the time that music was a powerful means of propaganda to reach the youth,” explained the 77-year-old man.This Odd Trick Restores Your Eyes To Perfect 20/20 VisionHealth TrendsAds by RevcontentFind Out More >34,156
“Our mission was to use teenage angst to our advantage and turn Generation X into a decadent, pro-drug and anti-establishment culture that would create uprisings and further division within society. We even infiltrated mainstream radio to promote their music and reach millions of people everyday,” he admitted, visibly proud of the accomplishment.
“For many of us in the CIA, infiltrating the 1980s hip hop scene was one of the CIA’s most successful experiments of propaganda to date,” he acknowledged during the interview.
“You could say Frankenstein’s monster got up off the table and started goose-stepping.”
The retired CIA agent, who has granted a Russian residence permit in 2011, also claimed Lyor Cohen, commonly known as “the Tall Israeli who runs hip hop,” is a CIA asset.
“When it comes to engineering culture, no-one touches Lyor Cohen,” Homeston admitted.
Hip hop artists signed and promoted by Cohen include Slick Rick, DJ Jazzy Jeff & the Fresh Prince (the latter better known today as Will Smith), Eric B. & Rakim, EPMD, Stetsasonic, De La Soul, and A Tribe Called Quest. He ended up promoting rappers such as Jay-Z And Kanye West, and more recently brought Migos and Young Thug to prominence.
Some experts openly admit hip hop nihilism, which was expressed in the use of harder, more self-destructive drugs like heroin, cocaine and methamphetamine, pushed United States President Richard Nixon into the War on Drugs, a campaign of prohibition of drugs and foreign military intervention, with the stated aim being to define and reduce the illegal drug trade within America and around the world.
“The chaos we caused in America helped the government justify overseas wars of plunder to middle America. The country wouldn’t be where it is today without hip hop.”
The news that hip hop was created and promoted by the CIA for social engineering purposes comes after it was revealed that American modern artists, including Jackson Pollock, Robert Motherwell, Willem de Kooning and Mark Rothko, were also secretly funded and promoted by the CIA.
Baxter Dmitry
Baxter Dmitry is a writer at News Punch. He covers politics, business and entertainment. Speaking truth to power since he learned to talk, Baxter has travelled in over 80 countries and won arguments in every single one. Live without fear.
Email: [email protected]
Follow: @baxter_dmitry
https://mindcontrolblackassassins.com/2010/05/30/gangsta-rap-cia-mossad-genocide-straight-outta-compton/The late Eric Wright, a.k.a Eazy-E, a Godfather of Gangsta Rap, of Compton, CA was a confessed street gangster, gangbanger and drug dealer. Gangsta Rap is a money-spinning genocidal sub-genre of hip hop particularly created to reflect, glorify, perpetrate and project subliminal and conscious implants of criminal, sadistic and demonic imaging of the Black inner-city.
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