“Nigger”, “Nigga”, Political Correctness, Hollywood  and the Conspiracy to Alter History

— Intended to be Thought-Provoking —

Once again, the “Nigger” word has been deemed “offensive” and not for the first time. This time it is returning to debates surrounding its erasure from the English Language and its usage. Dominated by “Political Correctness”, which has been positioning itself over the years as some sort of morality gauge, pointing society towards “right” and away from “wrong”, commanding it which language to incorporate or eradicate.

By chasing “Nigger” out of the dictionary, PC intends to literarily make it cease from “offending” the “good public” once and for all, thus steering it towards the axe that’ll once and for all strike “Nigger” out of not only the dictionary but linguistic existence.

If this sounds like a motion that hasn’t yet begun the deletion of “Nigger” from our common syntax and speech then it is a grave miscomprehension in the light of the progress that PC has made. Not only has it already banned “Nigger’s” common use but has also shifted its meaning to one that is no longer connected to its true origins or denotation. According to the OED’s current definition of “Nigger”, the word is a “term of contempt for a dark skinned person”.

Not only is this astonishingly incorrect, but beyond that it is a meaning concealing the word’s dark colonial past, slavery and the genocide of nations and Africa. It is a brazen and “contemptuous” act that is merely protracting the “offending” narrative in its pursuit of “Nigger”, but just how “Nigger” can actually offend remains unclear when it is as good as dead and having no effect, just lying in the dictionary, like a carcass-word that lost its flesh and usage long ago.

To assume otherwise would be a fallacy, and partly the reason why the
discussion continually returning, is pushing “Nigger”, and its time-locked-knowledge, letter by letter, ever closer to extinction should PC and its Spigots have their way.

Removing it from the dictionary phases out any associated memory and history that once glorified what was abhorrent, which PC is now seeking to transform from the darkest historical records into a brighter one via “Nigger’s” demise, once its ultimate kill-switch is activated.

Those underestimating PC’s knowledge of its own actions and ramifications only shows a social ignorance that may have also, so far, overlooked PCs previous historical alterations, never mind its current endeavours, ferociously charging after “Nigger”.

As a nation, we have been ill prepared for political correctness and have suffered tremendously thereby. The example of the ban on “black” plastic bags remind us just how society was affected in a way that the word “black” caused inner conflict and made its use questionable even today. Prior to that, one could not have cared less for, or felt “offended” by, a “black plastic bag” or the word “black”.

Then there is today’s sudden dropping of Gender-Specific words and phrases said to promote Equality and Inclusion, which to others represents only gender exclusion, the opposite of what is being claimed – Eg., considered words for future kill list include: “human”, “mankind”, “woman”,  “man” and  “manmade”, because “MAN”  and “Woman” offend PC, just as “black plastic bags” did and “Nigger” does.

It is beginning to feel like literature and social correction, if not a demonstration of Language-cleansing performed under PC’s synthetic evolutionary forces, during which words, are ritualistically lambasted and repeatedly held to account. But others, like “Nigger”, enter a deeper process of degradation and corruption before expiry. We are just scratching the surface in terms of language’s synthetic selection and its struggle to survive; words are being plucked out of the language like trees from the ground, and replaced by synthetic genetic modified ones.

All the while this New Language Order is terra-forming, from Political Correctness, the linguistic landscape, developing it mainly from old and existing terms or by neutralising those it dislikes, whilst precariously building upon “Equality”, “Diversity and Anti-Discriminatory” policies, the faulty pieces that are inherently ambiguous, and are in permanent conflict by exercising the very actions they exist to guard against, exclusion and discrimination, as seen in the treatment of “Nigger”.

Language is crucial to a developing and changing society, and in this current phase, PC doesn’t foresee the accommodation of “Nigger” as it forges ahead with its planned decimation of the word, justifying that by its potential to re-offend.

This act has been neither random nor spontaneous but has been plainly hanging on the targeted-performance board for decades, which is why the continuing scheduled debates keep whipping up hype against “Nigger”, spanning these times quickly marking off as “mission accomplished”. For history, that instance will serve not only as fatal heist, but the robbery of an epic event, aggravated by the execution of the deed – murder, considering that words are a living force. Excising “Nigger” from the text will do the same for memory; gradually diminishing it, but leaving it completely untraceable to succeeding generations.

When depleting memory of its knowledge, at stake is “Nigger’s” historical circumstances and the surroundings that conceived it—internalised from sub-humanistic colonial ideologies (master/slave, savage/noble, eugenics/natural selection) that were acted out by self-perceived “masters”, resulting in the enslavement and plundering of generations and of Africa.

With this in mind, PC’s decision to run “Nigger” out of town seems ever more urgent and abject in the extreme, when attempting to alter history, by erroneously holding the word to offence, implying harm and seeking relief by its removal.

This suggests that this kind of response must obviously be triggered by the word’s transparency and historic significance. “Nigger”, for PC, is marking the shameful history for all the wrong reasons but most likely motivating the multiple attempts at altering history by the deletion of its part (“Nigger”).

It’s not too far-fetched, considering the absurdity and ridiculousness of the matter. A respectable branch of the Establishment hurling accusations at an inanimate word, must be afflicted with delusional “obsessions” of criminality if it is able to see “Nigger” as a term of offence, while completely ignoring its violation, abuse and corruption that has transformed “Nigger” to “Nigga” in Hollywood.  This obliviousness makes PC’s efforts satirically fitting; there is a much-needed Dickensian humour in these Hard Times which is difficult to resist.

By turning a blind eye towards Hollywood’s use of “Nigga”, PC exhibits a “Nigger-position-aversion’” to its place in the English dictionary, not to the way in which “Nigger” has been implicitly flaunted through “Nigga” in Hollywood, and the Gaming and Music. Abused and ill-used this extreme corruption of the word (“Nigga”) is merely symptomatic of a darker source from where PCs invisible Master Plan is fuelling its killer elements.

Of which, PC and its Spigot drones who are out, blatantly pinning “Nigger”, through “Nigga” on TV screens, but crucifying “Nigger” in its stead, and by keeping our attention focused on ousting “Nigger”, PC is also simultaneously keeping it away from “Nigga” which is rightfully the word needing foregrounding and tossed out of Hollywood. Inversely and secretively, PC appears to be supporting “Nigga’s” sordid longevity until “Nigger” is eradicated, no doubt.

Silently and stealthily PC is aiding the sprawl of vulgarism and humiliation on the back of “Nigga” with all its colluding partners, who have been indirectly and negatively pimping and pumping “Nigger”.

Rap Music is at the fore-front of this “Nigga” fetish, of which it is the embodiment, largely characterised by an unsavoury and seedy world, where its protagonists are trapped and coerced into a deadly culture whether through Hollywood, peer pressure or brute force; where rawness and crudity are translated into demoralising lyrical themes obsessed with lewdness, nudity, misogyny, sexual slavery, depravity, female objectification, gang violence/knife crime and substance misuse, emitted globally from Hollywood, a place where crime elevates the spirit that it tramples. Paralleled in intensity only by PC’s incessant accompanying “Nigger” “beatings”, which is vibrating it out completely from our language and syntax like grains of sand on a blasting speaker. PC has severed “Nigger” from its true meaning and connotations, and debased it in Hollywood, personified it as “Nigga”, and trapped it in Rap, subordinating it to “Drill” before its final hour approaches.

Drill, is a form of rap with a beat known as “Trap”; it is music that is dangerously and primarily nihilistic, defined by its “dark, grim, violent…lyrical content and ominous trap-influenced beats” (Wikpidia), targeting, and ensnaring youth in violent, gang-led violence facilitating the corruption of youth, and the ultimate fracturing of society.

Usually Drill rap, with its “Nigga’ license, endorses violently settled scores, directed from Hollywood under PCs gaze, and released to the masses, while it should belong in Hollywood’s sadomasochistic dungeons. It would better serve society if this violent art were confined those recesses, hidden and not heard, along with “Nigga”. In that way it will cease this engineered public confusion between “Nigger” and “Nigga”, and no longer trigger children to engage in drug induced self-harm, or violence extended beyond the self sexually, emotionally, psychologically and physically to others, nor taking to guns and knives as per Hollywood’s glamorized perversions that are enabling this social fracturing.

At this point, it is noteworthy to highlight the huge contrast between the original Rap and Rappers forming the old school, who voiced expressions of discontent mingled with break-dance routines, decrying social injustice, while conveying the aspirations of a generation. Since grabbed rap, reduced and distorted its substance, Hollywood’s productions have shaped it into a deadly, glamourized “gangsta” culture.

Much earlier, “Nigga” was pivoted on black-on-black violence, and more recently violence on society in general irrespective of ethnicity or colour; this huge chasm between the early rap and rappers makes old school totally unrecognizable from today’s sacrilegious Hollywood’s rap scene. For example, how can drill like Mingi Manage’s, “Beefz in The Trap”, with Lil Mama and Lil Kim’s self-explanatory Deadliest Lines of 2017, be venerated along with “Nigga”? I certainly don’t know.  Trap’s shimmering words of finality promising torture and destruction to “Niggas” is beyond belief.

But what is worse is the “intent” behind “Nigga”, Trap and Hollywood painting the “Afro-Caribbean” Culture as anarchic, negatively linking with “Nigga”, with “whites”, “blacks”, “Asians” and “Europeans” emulating its descent in the street.

The Hollywood rap stage is an insipid rap genre/culture which is tarmacking and shaping street values.  “Nigga” is at its focal point, interchangeable with “violence”, whilst “Nigger” on the other is actually taking the rap, even though it never surfaces from the dictionary or ever comes out to play—in fact it is a prisoner of thought and text.

While Hollywood’s “Nigga” rampages our streets, and is being glorified as an apocalyptic social dystopia, extending its fold to the “white” rap scene and the cultural fragmentation that has been organised from a strategic form of chaos, produced in Hollywood.

Hollywood’s fetishism promotes nothing less than global Snuff music, videos, murder and torture, while grooming  youth for prison, normalising crime, incarceration, as well as prison-fashion trends  the beltless trousers falling below the buttocks, like letters falling from  “Nigger” resulting in “Nigga”, in the process, attacking the spirit and soul of entire cultures, more than any can endure.

“Nigga” is Hollywood’s “babe” and “bitch”, “ho’ed” to the masses through cultural distortions designed more relevantly to at the same time subordinate, the “Afro-Caribbean” culture that it is indirectly targeting and causing harm, while paradoxically mesmerising. As with others, nothing escapes Hollywood’s gilded cage when in line with PC’s axe.

PC’s brazen attack alongside the entertainment’s industry’s having adopted “Nigga” for the sole purpose of destruction, are indirectly subjecting “Black” values to the same attack, in unprecedented global strides because of a merger between state and corporation. The powers that be, lauding this cultural invasion make any obstructions or resistance to their plans futile. Vanquishing “Nigger” will be done, after having propagated, “Nigga”, its inferior copy; it has perhaps gone beyond the point of being halted or reversed.

Inversion and negation of  “Nigger”, are part of the ingredients that crippled “Nigger”, perverting and warping, it while distancing it from its real colonial flavours and imperial dominance, characterised, by slavery, abductions, appropriation, pilferage and rape. The proof of the eating is in the pudding; as mentioned above, Nigger now means “a contemptuous term for dark-skinned people”, which flagrantly omits any reference to its real origins, or its then colonial creators, those individuals who transgressed the moral boundaries or their victims.

“Nigger” is now completely divorced from its real Occidental roots. To a Millennial who’s not privy to its history, the word first and foremost associatively links with its Hollywood “Nigga” persona, being hash-tagged with “Afro-Caribbean” culture and not its Occidental evil or slavery.

Hollywood’s “Nigga” is rotten to the core, standing relatively distant from its present reality; and the colonial “Nigger” has no proximity to “Black Culture” at all. It signifies past crimes as is its referent, and Hollywood’s “Nigga” is in fact, constituting the present’s heinous crimes against “Nigger” and black culture.

Political Correctness is destroying true meanings, and rebuilding definitions as far as possible away from its old nuances.

By meshing “Nigger” with the corrupted “Nigga”, the latter dominating the former is unequivocally drawing ominous associations with “Afro-Caribbean Culture”, and exposing PC that is orienting a “deception perception” that is impossible to refute, unless, in “active denial” and wilful blindness coinciding with that of PC’s towards “Nigga’s” use.

If I remember correctly, corruption is a crime inextricably linked with deception and fraud as well as theft –  Yes, theft. Stealing “Nigger” from the dictionary is like irradiating an entire epoch. Viewed  either way, it is the thinning veil of political and corporate crime barely concealing the deceit and hypocrisy.

Political correctness is compromising the importance of “Nigger’s” historic contribution locked in its essential presence in Language, which guards against the possibility of its “denial” or “loss” and the archaeology of future knowledge from which it might never be unearthed.

“Nigger’s” scheduled extraction from language, not “Nigga’s” from Hollywood, deliberately veers away from its only real solution Nigga’s departure from Hollywood. By which, it would enable “Nigger’s” continued conservation in the English dictionary, as it should be.

But PC’s wish to expunge “Nigger” is opting for its decapitation so to speak when rehabilitation works, defies any general common sense or logic, showing it indeed to be a response generated by radicalism and nihilism.

Reinstating, Hollywood’s “Nigga” to its former Colonial state “Nigger”, ceasing its misuse in Hollywood and entertainments, would effectively obliterate the problem, not the word.

Obvious too, is PC’s inappropriate extremist climate, from which the important fate of an equally important word, and by far its biggest picture, history, is decided. Headway is being made but is unfortunately moving in the wrong direction towards PC’s axe.

Analysis

The reasons why “Nigger” really causes offence remain unclear, in other words what it’s actually guilty of to merit PC’s radical response. Seemingly, it is either the basis of madness or an elaborate plan. A word in itself is incapable of “offending” or being “derogative”. To quote Shakespear, “There’s nothing good or bad but thinking makes it so”.

Reducing “Nigger”, to its lowest common denominator, “the ‘n’ word”, is turning an ordinary show into a live mutilation horror show. Subjecting it to degradation by destroying it in order to recreate it, is an extremely distressing act which nations are forced to watch, making Hollywood no the better than the culture which had originally forged “Nigger” and the hands that helped temper it, not the other way round.

However, if “Nigger’s” ugly history, is really what PC and its spigots aren’t bearing well, and the suspicion is exactly that, then it is revealing a plethora of unsettling reminders as the true culprit and not the living word, which is also emerging as PCs unwanted colonial bastard that is spurring the acute bouts of rejection promising instant relief at the point of its expulsion.

“Nigger’s” criminality is being generated by its sheer presence in the Dictionary keeping a version of the real history that PC doesn’t care to remember, repeatedly undermining the portrayal of a brighter imperial glory, and the once-perceived sense of lofty colonial ethics that could, in future, be better interpreted without “Nigger’s” presence so that it can forge the society it’s changing.

What else could it be, if not imperial dissonance whose criminal pangs are still, today, unleashing the inner horror that is obscuring PC’s view of the word’s “zero” potential with “actual” offence while seeding it with its loathing? Left paining for nothing more than to thwart “Nigger” so that PC or others may never have to look upon the damned thing ever again. And, regrettably, in the course of time, none would be the wiser of the horror ever having taken place.

Given its contempt, and PC’s warped attachment, having spent years stalking “Nigger”, its cull making progress, it is almost about to sever that unhealthy attachment. But to its credit, PC’s reaction is somewhat natural, even if its behaviour is not, due to its psychopathic stamina unaffected by time’s failing to shift its victim-locked focus propelling it forward.

PC’s polarising oscillations between its ferocious desire to remove “Nigger” from the dictionary, and its apathy towards removing it from the entertainment industry confounds its own ant-discriminatory tenets. Such volatility is neither stable nor an heroic action offering no security to “Nigger”, particularly from Hollywood’s latest death-purveying rap bouts, which, in 2018, are going viral, and increasingly descending into satanism, idolatry, gender-bending, suicide, sacrificial deaths, and the promotion of pharmaceuticals (zentex, opioids etc drugs).  Who needs the Dark Web’s Silk Road when you have Hollywood’s Silk Robes, spun from Manipulation and control, the feats normalising the obscene predominantly building the symbolism contained in “Nigga”.

Darkness is shed from Hollywood’s dazzling but blinding light, exposing it as being as dark as the Spirit Cookers who are working on the opposite end of the spectrum from good, refracting the street with lyrically destructive RAP that is artistically dynamic, but “deadly”.

Lyrically weaponised, generatively violent and corruptively poignant, we have witnessed the cruelty imposed on the “Nigger” word, by passing broadcasting guidelines, failing to protect society, but beaming “Project Nigga” on to London’s streets which are catching the gleam of flicking blades, drawing blood, from knifing kids and downing adults.

Hollywood is fast-tracking this epoch of cultural devastation, proving a Venus fly trap for youth and toddlers, catching them when in a dystopian downward spiral, just when adults are being repulsed from the dangers ensnaring their children.

“Nigga” has shocked society and stupefied it into a reprehensible global silence, if not through lack of confidence, loss or shame, then surely through systematic desensitising. And the Media remaining Hollywood’s and PC’s mouthpiece in the face of its active silence, points out the collaborators perpetuating the abuse of “Nigger”, and highlighting PC’s clandestine but active support.

“Nigger’s” negative exposure implied by “Nigga”, and PC’s silence are ultimately presenting value, giving rise, not least to PC’s Spigots who are keeping it implicitly pinned on global TV screens and media for the potential viewing of millions if not billions. “Nigger’s” demonised and humiliated version—“Nigga”—is being tightly looped with “Nigger” and the “Black/Afro Culture”, causing not only distortion but confusion, and sometimes overwhelming disturbance in the way the two have become interchangeable.

How could such an excruciating death (of “Nigger”) be even glamorised, when it is but the ugly reflection of PC’s psychological operations drawing individuals into collective loathing, but thinking themselves offended by the word “Nigger” (not “Nigga”), which is barely visited in the dictionary, when it’s marauding and pervasive, constructed evil, Hollywood twin, “Nigga”, is being spewed from its jewelled bowels, satellites and digital networks around the clock, the coaxing charm of its spectacles of controversy and shimmering corruption seemingly too difficult to resist.

Bewitching, sleek and captivating marketing make poisonous and demonic ideals attractive, and sooner or later captivation becomes toxic, endangering impressionable youth with a conforming propensity into its lair, for whom “Nigger’s” roots already look as if they were somehow born out of a subversive “black/Afro-Caribbean” culture, NOT the product of colonial supreme perversity and cruelty, just as some might think that chicken comes from supermarkets not other chickens.

Having already witnessed the breaking down of “Nigger” to “Nigga”, and its social atomisation, “The ‘n’ Word”, Political Correctness continues ensuring its total demise and rejection without consensus or even scrutiny.

It is influential, but those who perceive themselves offended by “N. I. G. G.E. R” (“Nigger”)— a mere six letters—need to think again. Words are objective things, it is from the font of human projection, where introspection, intention and interpretation that subjectivity emerges, not the word; that is just a vehicle. And the case in point is that PC, the Master, is driving its meaning in the company it has bound up with the strings that it is pulling – for PC loves consolidating in misery the displays of public outrage – but truly it is the use of “Nigga” that’s offending them.

How dramatic it all seems, except that we are suspended in an element of reality not fiction, revved by Fake News, False Flags and Deep State’s fictitious concoctions and “Misinformation”, presenting a complexity which does not distinguish between reality and allusion. Between the striking similitude of “Nigger”, and Hollywood’s “Nigga”, which is the “real” figure of derision?  Not the dictionary’s “Nigger”, unless, its inherent criminal potency actually took an astro-leap beyond the pages of the dictionary, launching PC and those in its vanguards. PC and its spigots are thus left chasing a figurative assailant, with a section of society behind them—the so-called “good”, not the “general”, or “greater” public, unable to draw a distinction between “Nigger” and “Nigga”, but who are realising N.I.G.G.E.R not “Nigga” is a smooth criminal. Having repeatedly escaped justice over the years, the capture and ultimate demise of “Nigger” is now anticipated, happily jeering behind waving banners of Political Correctness, the spigots et al, are morally vacuous, and blinded by the ignorance of their own values, while aimlessly pursuing illusory codes of conduct unified in a Theatre of Absurdity.

Do they not realise that “Nigger’s” use is outlawed, taboo and a thing to be frowned upon apart from in academia or debate, that it has suffered already, being reduced to the “n” letter, which is hard not to describe as a literal dismemberment, woefully and pitifully deformed and maimed, and having created from it a different word altogether—”Nigga”—a fake version, leaves PC et al, pursuing the exotic phantoms of their own imagination.

“Nigger” is literally decaying, and is plainly writ. The axe has been gradually descending on the word, slowly killing it, letter by letter, before our eyes, and we have barely noticed, let alone registering its significance—which is the strengthening of “Nigga’s” noose around the “Afro-Caribbean culture”, and the loosening of “Nigger’s” imperial ties. Adding insult to injury without touching PC or its followers is reopening old wounds. Interestingly, there is a striking correlation in the spike of non-criminal deaths also, in the “Afro-Caribbean” community, which clearly needs to be investigated, especially when considering, also, the illigal ejection of the ‘Windrush’ generation from British soil.

“Nigger’s” fate was to be directly injected into the public’s perception as an alternative contextualised “Nigga”, which had its impetuous in Hollywood’s Gansta rap, the 1990’s initiative where the first seeds were shot that are today ricocheting these fatal rap bullets off Hollywood’s Genre of Harm that is authoring “Nigger’s” public destruction.

Added to which Hollywood’s spectacular engineering feats, the building of stereotypical blocks, as represented by constant images of the “The Hood”, for all to absorb. They, might as well be labelled as conceived in “Holly-Hood”, its brat-child being “Nigga” from the shining efforts of a deeper collective force. But sadly, “Nigger’s” roots are looking as if somehow, they were born from a subversive black/Afro‐Caribbean culture, NOT the product of Colonial Supreme Perversity and Cruelty.

Silence and Records

Going back to PC’s unacceptable silence and obliviousness, which are increasingly more of design and selection than unintentional blindness, its partners’ “collective” silence is also making the negative “Nigga” exposure spreads possible.

In comparison, where “Nigger” as such is socially used, escaping a criminal or media trial is rarely possible, shedding light on why “Nigga” in Hollywood goes without reproach or reprimand, but with “Nigger’s” life balancing at multiple crisis points. And as noted above when, the final hour arrives it would mark the changing of history forever, for reasons better summed by George Orwell:

“Who controls the past controls the future. Who controls the present controls the past”

If “Nigger” became obsolete, and PC succeeded, which it will for lack of power or fight, no one would be able to account for, or recall, the Slavery of Nations and of Africa under Occidental rule, as if it were a stain bleached from the language.

PC is fully conscious of this fact, and let’s not mince our words, “Nigger” is more than just a Historic Record, or the mark of genocide; it is an indicator of the capacity of that Evil, based on past events, but crucially, as a tool, it is signalling possible high-risk future recurrences.

If what criminology teaches us today about criminal pathology is correct, then it is highly damning of not only the conditions in which it (“Nigger”) was created but of its present and future.

In today’s society, the obsession with Records of Criminal Disclosure—and “Nigger” happens to be just that, a RECORD—is not only exposing Hollywood’s corruption and PCs Deception, but also a heinous Colonial criminal past and future risk, but beyond that, causing vulnerability to PC by virtue of its transparency.

And “Nigger’s” most damning factor, harks back to its “criminal” birthing conditions: neither Africa, nor the Caribbean, the “Ghetto”, its Latin origin, “Negro”, simply meaning “black”, but the Colonials’ who corrupted and tainted it to mean, a person of Africa, stripped of rights, dignity and pride, subjected to an Imperial regime of ultimate brutality from cradle to the grave.

As mentioned above, in the OED, “Nigger” is defined as “a contemptuous term for a black or dark-skinned person”: no mention of colonialism, criminality or slavery, which serves well in the Deception Perception concealing “Nigger” from its “White” roots, while yoking it with “black or dark- skinned persons” is in itself contemptuous of the truth and evidently deceptive.

If one is not justified calling political correctness a language and social cleansing machine, then it must be refuted as a flawed moral pointer.

It has done more harm than good, gradually denuding society of traditional words, morals and standards, religious expressions, and symbols of anything linked to our history. Whether terrible or noble, doesn’t matter, but what does matter is the pulling down of words like statues, just like the actions of invaders breaching a country’s defences, destroying and looting its assets and History. Except that in THIS case, the justification is on the grounds of PC – not “freedom fighting”.

The changing and rewriting of history is happening, compartmentalising and fixing into codes and letters such as “the ‘n’ word” so that we do not know whether it implies “Nigger” or “Nigga”, which PC and its Hollywood riggers could edit like genes, switching them around, creating new versions as desired.

Atomisation unbinds social cohesion, but permits a reorganisation after its separation into an unnatural state, and it is this that has spawned “Nigga”, the haters, the killers, and the over-load of crime, while overtly permitting the distortion of a culture that it has no right to represent in the name of creativity, innovation, political correctness and Kill-Rap.

The focus is on squeezing “Nigger” from the Record, and cleansing it from the dictionary which is pre-empting its fate: “Nigger” is the created “problem” and its deletion the “solution” in true Hegelian style: thesis, antithesis and synthesis.

Supporting “Nigger’s” dictionary status, does not imply dwelling on the ugly, provoking guilt, or eliciting an apology, but it is the desire to see the word undisturbed as it should be, and as per the findings of Lily’s focus group: that the older generation understand that what is done can’t be undone, or remedied; that “Nigger” is neither the exception nor rule, and is without restoration, retribution or reparation, since time has left the event perpetually remote—and what’s tangible, PC now seeks to make indivisible by its sheer power and the media tools at its disposal, together disposing of “Nigger” forever.

It is high time to call the police about PC and Hollywood, for this has article served a principle of predictive crime, the process of arresting thought that will turn into criminal action advising that, the hour is at hand to round up PC and its collaborators for the crime they are about to commit on “Nigger” by its deletion, on top of those already committed!

— The End —