012 Judaens Convince Russian Goy to Drink a Litre of Vodka and Litres of water for one dollar.
Russian arrogant goy drinks a litre of vodka and litres of water afterwards and then vomits it all up in an explosion
012 Judaens Convince Russian Goy to Drink a Litre of Vodka and Litres of water for one dollar.
Russian arrogant goy drinks a litre of vodka and litres of water afterwards and then vomits it all up in an explosion

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Santa Claus being arrested and taken to the security center.
At 2:23 am Israeli time, Israeli Air Force anti-aircraft forces in the north of the country, equipped with the United States’ new X-Band radar detected a high flying, fast moving object of concern flying from east to west. Fearing a Iranian ICBM attack, Israeli anti-aircraft missiles initiated and converged onto the target and successfully struck it.
Witnesses on Kibbutz Shelbogedeem located near the incident told JM reporters, “There was a loud explosion followed by many little pops. I looked outside my window and to my amazement I saw millions of falling colorful boxes on fire falling, stuffed rabbits flaming and charred Transformers twirling and burning deer carcases landing everywhere. It was horrifying. I covered my children’s eyes.” Resident of the area Moshe Shvur-Shmekel told JM: “I saw everything. It was like the fourth of July in America. Colorful explosions and falling stars everywhere. The pilot parachuted down in a beautiful green and red parachute with those colorful lights the goyim put on their Christmas bushes things on the fringes of the parachute.”
At 3:48pm, Israeli security forces apprehended the pilot, dressed in a felt and velvet, red and white military uniform, and took him to the security station for questioning. Upon questioning it was determined that IAF forces shot down Santa Claus, who according to anonymous security sources, was on his warm up run before the big night. Israeli forces credit the New America X-Band radar for tracking Santa.
Prime Minister Netanyahu announced in a press conference this morning that the IAF shot down Santa’s sleigh, but that he sustained no injuries in the incident, however all of the reindeer did die in the incident. Santa will be fined $10,000 dollars and have to sit in jail for the next few days for violating Israel airspace and for tax evasion.

Santa Claus arrested Xmas cancelled

Adam Sky: A Modern Day Tattooing HebrewThe traditional manner to becoming a professional tattoo artist is to find a working professional tattoo artist that is also a master at tattooing and to shmooze him/her into taking you on as his/her apprentice. To explain the shmoozing and the process of apprenticing-tattooing is entire article unto itself, but suffice it to be said, that being taught how to tattoo by the right person or people in the right tattoo studio with the right working atmosphere is like someone else in another field learning at esteemed elite learning institutions MIT or Harvard or Oxford or Israel’s Teknion. Not every tattoo apprenticeship is created equal and some apprentice tattoo artists that are taught by the tattoo world’s elite tattoo artists have serious advantages over other apprentices who learn from average tattoo artists. Adam Sky is a Jewish tattoo artist who learned how to tattoo from a master tattoo artist years ago, and he has since worked his way tattoo by tattoo to becoming a world class tattoo artist of international repute.
JM: Where were you born?
AS = In a hospital, weren’t you? I think it was Toronto…..
JM: Where did you grow up? What high school did you attend?
AS = I grew up in Toronto more or less, and I went to a variety of high schools although I was usually expelled from a new school every year. My parents on my mother?s side are gypsies. They taught me to steal (mostly pick pocket) and they insisted that I steal from other student?s lockers. I was in trouble with the law a lot as a kid. I hit a kid with a flaming 2X4 once and that was the last straw for me at high school. It was too bad because I was going to an art vocational school and getting good grades aside from my regular truancy.
JM: What is your Hebrew name?
AS = I don?t have a Hebrew name, but I was yelled at a lot in Hebrew….dads who caught me with their daughters….they called me a lot of names in Hebrew! You should ask them. I dated Rachael Rosen (daughter of Harry Rosen, as in Harry Rosen Clothes) when I was 14. Because my father?s name is Reichmann (as in the Toronto/New York Reichmann family), Rachael was excited to introduce me to her father. Rachael?s boob was the first boob I ever touched. It was truly a remarkable Jewish boob. We made out under her Boy George posters and turned The Young and the Restless waaaay up so her parents wouldn?t hear. Little did she know that although Reichmann was on my birth certificate, I was raised by gypsies as I was the gypsy love child in a secret scandalous Jew/Gypsy afair. To this day, I still get ?fuck off? money from the Reichmann family to not go forward and name names.
JM: Are/were both your birth parents Jewish?
AS = Both my parents are Jewish although my mother is half Jewish, half Gypsy. My mother was my father?s fortune teller.
JM: Where were they born?
AS = In hospitals…..why do you keep asking that?
JM: : |
AS = )
JM: Where your grandparents from?
AS = My father?s side (Reichmann) is from Germany, specifically the Black Forest region. My Great Grandfather was famous for hijacking an airplane to escape Nazi Germany just before the War. The Reichmann family owned textile factories in Germany leading up to WWII. His factories were seized by the Nazis and my Grandfather had enough money to hire a plane to fly to Austria when he was just about to lose his company for good. He took his family and hijacked the plane and had it flown to England. The rest is history that?s widely available in modern Canadian/American Jewish history books. My grandmother?s side is very poor Romanian/Polish Gypsy stock.
JM: Did you go to Hebrew, religious school?
AS = No, I was too busy trying to pick pockets. If I didn?t steal enough, my mother?s boyfriend would lock me in the trunk of his Cadillac for days at a time. My father?s family set aside money for me to go to Hebrew school but my parents secretly spent it on livestock for our circus shows.
JM: Did you celebrate anything Jewish growing up?
AS = I was forced to join the circus at one point. My mother?s boyfriend was in serious gambling debt so he sold me and my sisters to the circus. True story! I was forced to perform with Scamp the Wonder Pig. No shit you should have seen the tricks that Scamp did! Her trainer was this Carney freak named Harold. He was this old dude, but he had that pig dialed in. I tried my hand at working with the pigs, but it didn?t work out. I got fired for hitting on the boss? girlfriend. Hey, you know? Oh, so no I didn?t really celebrate many holidays, although I used them as an excuse to get out of doing work at the circus. No pig feedings on the high holidays and Saturdays, you know? You ever seen a pig in a tu-tu? That shit is funny! Although I always appreciated the irony of a Jew working with a pig, even at that young age.
JM: Have you traveled much?
AS = With tattooing, I have been around the States, Canada, and parts of Europe….hey; did you know that European women don?t shave their bits? Nasty! But you can phone up a hooker in Amsterdam and she will even bring you pizza and a bag of pot and even groceries!
JM: What were your artistic influences and what is your art background?
AS = My parents encouraged me to go to art school as early as 10 years old. I would reproduce my favorite comic book heroes all the time and I think they saw a future in art forgery that they could capitalize on. They had me forging cheques pretty early on. I liked art school because I could draw nude models and some of them were even pretty. I got thrown out of art school for pleasuring myself in the supply closet between classes. The models thought it was cute but the school director didn?t appreciate it. I got thrown out of 3 art schools in Toronto by the time I was 15. By the time I was in high school I was regularly failing my art classes as I found them not so challenging. Picking pockets was more challenging, as was stealing cars from the faculty parking lot. I once stole a vice-principal?s car and drove it as far as Halifax before being caught. I always appreciated Jackson Pollack. Early impressionism is my biggest motivator to produce tattoos.
JM: How did you come to learn how to tattoo?
AS = I was put in youth detention camp for stealing a car and driving it to Halifax when I was 15. My bunk mate encouraged me to learn how to tattoo as I was a very scrawny kid and an easy mark. I quickly applied my art background to makeshift tattooing. I love telling people I learned to tattoo in jail when they ask this question because it?s true! I only knew how to tattoo with soot scrapings from the cieling and a sharpened toothbrush for the first few years of my career. I eventually moved up to guns scavenged from Sony Walkman motors. Now I only use exclusive Buck Turgenson Irons. I?m one of the only tattooers in Canada to use these hard to find machines and my clients seek me out from all over because of this.
JM: Who were your teachers for tattooing?
AS = I got my first job at my first tattoo shop at Biff Cooper?s Tat Shack, Guns, Gold and Tackle shop on the Danforth in Toronto. I worked there until I was in my twenties after Biff turned the shop into a marijuana paraphernalia store. There was always an amazing assortment of characters in that shop and it was a primo learning experience all around. Plus you get a lot of cool shit that people pawn and never pick up. There was this old timer, famous Canadian tattooer who worked there named Chat Wooley. He was this half Japanese gentleman and although he spoke really bad English, he taught me how to fish, paint ?Precious Moments? figurines and be a better lover. Chat and I were an item for a long time. We?d go for long fishing trips on hot summer Ontario days. Those were probably the most joyous moments of my life. Chat had one eye, Biff had a peg leg and there was a girl who worked there named Cecelia who had one boob (the other was fake). I was the only person there with all of his body parts (knock wood).
JM: Where did you tattoo?
AS = Mainly in Vancouver at Sacred Heart and at New Tribe in Toronto. I worked for Crazy Ace at Way Cool a bit too. Now he has stories. I traveled through the U.S. and Europe as well under Crazy Ace?s wing. Ace once had sex on the hood of a rental car so hard that he broke the car. True story! When the car wouldn?t start, I though it was a biker plot to blow us up. I checked the car for IED?s (Improvised Explosive Devices). I?ve worked with a lot of great people.
JM: What was it like owning a tattoo studio?
AS = Fun and hell, all rolled into one. Its like being in an abusive relationship. That or getting a blowjob and a hug from your mom, all at the same time. It just feels wrong.
JM: Why did you sell it?
AS = After a few years of running my own shop, I got very disillusioned with tattooing. I left the tattoo shop to pursue a career in television. I was Johnny Depp?s stand in for two seasons of 21 Jump Street. The hours in working in television are killer and I eventually got fired for getting in a fist fight with Richard Dean Anderson (McGyver) about a video tape I had of him hitting on Catholic school girls. In the video, he?s so drunk, he falls into a snow bank and passes out. Richard Dean Anderson was such a hard core alcoholic that he?d sometimes film his scenes laying down because he was so loaded, he couldn?t stand. I gave up my TV career after getting offered to come back to Sacred Heart as an employee.
JM: Has your perception of being Jewish, the Jewish nation and of Judaism changed much since when you were younger?
AS = No. Judaism plays little to no role in my life or my identity. I strongly feel that organized religion is the most terrible invention ever devised by mankind and I encourage everyone to denounce it and live their lives in pursuit of their dreams with love for all human beings. The closest I come to agreeing with an organized ideology is Buddhism.
JM: Are you married, single, divorced? Any children? Is your wife/partner Jewish?
AS = Married and she is not Jewish. No children.
JM: Have you ever visited Israel?
AS = No.
JM: Would you ever consider visiting (again)?
AS = No. I try to steer clear of areas over run by religious fundamentalists.
20. Have you ever gone to a synagogue or celebrated a Jewish holiday?
AS = No.
JM: How do feel about anti semitism?
AS = I think they need a hug.
JM: Have you experienced much of it?
AS = Recently, everyone?s been calling me the Radical Jew at the tattoo shop – ever since someone from your office called me for the interview.
JM: What is your perception of anti semitism within the tattooing industry?
AS= It?s not really an issue.
JM: Have you had Jewish partners/ G.F.’s?
AS = Living in Vancouver, there are not many Jews to choose from and what Jews there are here, they really keep to themselves. I?m never invited to their parties. I had many Jewess girlfriends in Toronto growing up as I?d play the Reichmann card constantly. The parking lot of the Rabbinical Sisterhood Private School was a regular parking spot for my I-ROC as a teen. I think in the States, I-ROC?s were called Z28?s.
JM: How did you come to set up tattoodles?
A = I realized a consumer need. People kept asking where they could find tattoo designs online….well…..
JM: Did you have financing?
AS = Hell no. 100% me. Tattoodles was launched on $11,000 in 2001. We?re now the Web?s largest and most comprehensive tattoo site, selling over a half a million dollars in subscription sales every year. We have two employees and two computers. We?re keeping it real.
JM: How have you been able to make tattoodles a success?
AS = Being a reputable tattoo artist was a big part of it. Tattoo oriented businesses started by people who are not actually tattooers tend to crash and burn as they aren?t on the front lines with the tattoo artists and clients every day.
JM: What do you do for a living?
AS = I tattoo and run Tattoodles, and on the side I play harmonica in a jazz fusion band. I like to ride my motorbike up in the hills and play harmonica to relax. Stay with me people……
JM: What do you know of the Jewish conspiracy?
AS = I pay my Army of ZOG dues every month.
JM: How do you feel about the notion that Jews comprise less than 1% of the worlds population, and Israel is one of the smallest nations on Earth demographically, yet Jews and Israel are in the news disproportionately than their numbers suggest that they should be?
AS = The same way I feel about battered children that grow up to batter their own children.
JM: Do you like Gefilte fish?
AS = White fish am the debil.
JM: Have youever eaten cous cous or smoked a nargila?
AS = Lamest question ever.
JM: : |
AS = )
JM: What Hebrew or Yiddish words do you know?
AS = Only the bad things that fathers have yelled at me as I was running down the street holding my pants up……..its all a blur.
JM: Thank you Adam Sky
AS = Truly, Adam Sky
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Sandra Zichermann - Doctoral Candidate, University Professor
Hip-hop/rap can be traced back to New York City block parties in the 1970s, and N.W.A. (acronym for Niggas With Attitude) was one of the first popular groups that changed the face of rap, by exposing a new, incendiary, in-your-face brand of rap, which was quickly labelled “Gangsta.” Guns, drugs, and anti-police rhetoric became the favour of the day, a stylistic viewpoint that still persists to this day (Dyson, 2007, p.v-vi).
Hayes (2006) argues in his dissertation that hip-hop has become more mainstream through the process of being taken up by white, suburban audiences and has been integrated into television programming, movies, and other genres of music and literature. The dominance and power of hip-hop music as a cultural phenomenon is evident in fashion trends created by artists, in the design of cars, and even in political/consumer activism such as the ONE campaign espoused by artists such as Diddy. The MAC campaign to fight HIV/AIDS, which is supported by Mary J. Blige, is an example of many other initiatives that have been taken.
Davis (1992), Richardson & Scott (2002), Lusane (2004), and Dyson (2007) all argue that hip-hop/rap represents the voices of alienated, frustrated, and rebellious Black youth who are aware of their vulnerable, marginal positions in post-industrial America. They are forced to struggle to find their voices.
I see parallels between these researchers’ arguments, and the history of hip-hop/rap music in the sense that hip-hop can be traced to the need of young people to find an avenue of expression and to engage in resistance to white hegemony through the establishment of their own identities.
The argument about whether hip-hop/rap is a form of resistance, a form of service to white hegemony, or a combination of both, cannot be answered in a simple way, since various critical theorists have differing opinions. Ice Cube who explains his fondness for hip-hop/rap in a conversation with Angela Davis (1992) by stating, “Hip-hop/Rap is a culture, a school system and one of the best school systems that we have” (Davis, 1992, p.189). Richardson & Scott (2002) argue, “As offensive as some lyrics may be, they speak the ‘truth’ as constructed by an isolated black urban youth culture in a land of plenty” (p.188). I see similarities between the comment by Ice Cube in Davis’s work (1992) and the argument by Richardson & Scott (2002) in the sense that both believe that rap enables youth from the street to learn life lessons and express those experiences in their music.
Richardson & Scott (2002) argue, “Rap music, just one entertainment form, represents a small segment of the multi-billion dollar entertainment media industry” (p.176). Yet this “small segment” is still viewed as a powerful and dominant player in the overall music industry. These organizations do not just produce and distribute the music of artists; but they also shape the artists’ identities and, arguably, shape the perceptions of the listener and consumer (Binkowski, 1996; Cohen, 1997).
I have coined the term hiphoperization to specifically address the growing consumerism and commodification of hip-hop culture by Whites, Blacks and the “Other.” “White” refers to two groups of individuals: the White consumers, who can afford to consume the music, and the White executives (producers, distributors, record label heads), who create the image of the artist, package it, and distribute it via the media. Black people are also represented in one major group and two minor groups. They have more visible representation through the use of their labour as hip-hop/rap artists than members of any other minority group or any White individuals. Black consumers also play a role in hip-hop/rap, but their socioeconomic class does play a role in decisions about whether or not they can afford to purchase the music. Research has indicated that the majority of hip-hop/rap consumers are white youth. Therefore, the assumption may be made that these youth have higher socio-economic positions (class) than Black youth.
The emergence of Black executives directing hip-hop/rap labels such as Interscope/Death Row Records is becoming more visible. However, this movement into corporate positions has been slow. Even when Black individuals make the move into executive positions, they are usually with “smaller labels” (Kitwana, 2005, p.46) and the move may not be permanent. Frequently, such labels are taken over by larger enterprises.
I have developed the term “blingification,” which is defined as the commodification of bling culture. For the first time, this term gives a meaning to how “bling” (jewellery, cars, and material objects) are consumed and promoted in hip-hop/rap culture. Blingification is the over-arching use of “bling” to provide an image of wealth, power, prestige, and control (Boyd, 2002). The results of this promotion of “bling” within the hip-hop/rap music industry can differ in various circumstances. It can be seen as both empowering and disempowering; the paradox lies in the fact that the interpretation of experience may vary. One could view the promotion of “bling” as an overdue assertion of individual identity that signals emergence from the ghetto (empowering). Another observer might view the glorification of “bling” as an excessive valuation of products, which are used simply because they are prestigious and part of the “ideal” culture (disempowering). Dyson (2007) argues, “We can’t hypocritically condemn the younger generation for their bling and their materialism, especially since those are staples of American culture” (p.82).
Sandra Zichermann
Hip-Hop/Rap Scholar
sandra.Zichermann@gmail.com