"Kill Whitey" parties hosted by a white guy (washington post)

[Allah]

http://www.washingtonpost.com/wp-dyn...082501818.html

Deejay's Appeal: 'Kill The Whiteness Inside'

In Brooklyn, a Club Following Feels the Irony

By Michelle Garcia
Washington Post Staff Writer
Friday, August 26, 2005; Page A03

NEW YORK -- The dance floor throbs to the rapid thump-thump of the
hip-hop beat. The deejay, Tha Pumpsta, leans against his booth, and a
woman slides up from behind, grabs his narrow hips and rubs hard.

Tha Pumpsta hops onto the crowded dance floor of guys in big T-shirts
dangling from slight frames and ladies in short skirts and tasseled
boots.

"Kill whitey!" yells Tha Pumpsta into the microphone as he bounces to
the beat. "What . . . gonna . . . do dance . . ." he raps to the beat.
"Kill whitey!"

The kid by the bar busts out with a break-dancing move. Women drop
their booties and the guys slide in close. Tha Pumpsta struts around in
an all-white outfit from his headband to his high tops, shouting it
again: " Kill whitey!"

Tha Pumpsta, who happens be white, has built a following in the past
few years by staging monthly "Kill Whitie" parties in Williamsburg,
Brooklyn, for large groups of white hipsters. His proclaimed goal, in
between spinning booty-bass, Miami-style frenetically danceable hip-hop
records that are low on lyrical depth and high on raunchiness, is to
"kill the whiteness inside."

What that means, precisely, is debatable, but it has something to do
with young white hipsters believing they can shed white privilege by
parodying the black hip-hop life. In this way, they hope to escape
their uptight conditioning and get in touch with the looser soul within
them.

Of course, it also follows a long line of white entertainers, including
Elvis Presley, who sought to be cool by emulating black culture.
But in doing so, he pioneered something. These newest hipsters aren't
trying to be creative -- just ironic. And some think he might be
mocking black people.

"I'm throwing this party, and it's obvious that I'm white and I'm kind
of appropriating this culture but in an ironic way," said Tha Pumpsta,
whose name is Jeremy Parker. The 25-year-old takes his Pumpsta moniker
from his high-top sneakers. "Kinda poking fun at myself and my origins
and white people in general," he said.

"I'm trying to kill the whiteness inside," Parker added, although his
blue eyes, milk-white skin and blond hair might suggest he has some
work ahead of him.

A melanin-lacking hip-hop party might be a fact of demographics in a
few corners of the United States. But in New York, where hip-hop was
born in black and Latino neighborhoods, the all-white parody of black
culture can strike a jarring note.

A few months ago, 29-year-old Sharda Sekaran was hitting dance spots
with friends when she stumbled into a Kill Whitie party. "There was a
bunch of white people acting like a raunchy hip-hop video," she said.
"I don't get why that wouldn't be a characterization of black people
for the entertainment of themselves."

Sekaran, a native New Yorker from a mixed-race family -- part black,
part South Asian -- occasionally works as a deejay and knows all about
hipster irony. "That doesn't make it any less disturbing," Sekaran
said. "Their attitude is, 'It's our privilege to do this because we're
in our own little clique, in our own little world.' "

Booty bass is a product of the Miami hip-hop scene that fused throbbing
bass with up-tempo dance beats. It was made popular in the 1980s by
acts such as 2 Live Crew and 69 Boyz. These days white hipsters embrace
the genre, along with many trends of that era, in a city where that
strain of hip-hop is considered a foreign creation.

The dance floor at the Williamsburg club is a pastiche of all that was
hip and cool in the past 20 years, including faux hawks (mohawks with a
buzz on each side), jelly shoes and short shorts. A few young women
have permed-out hair and blue eye shadow a la Pat Benatar and vintage
clothes a la "Sixteen Candles." As for the tights and boots combos?
Think Madonna version 1.0.

Bianca Casady, a multiply-pierced woman with a scalp divided between
long dark hair and a buzz cut, grabs her female friend by the hips and
shakes her like a blender. She steps outside, catches some fresh air
and talks about the party.

"It's about being nasty, people come to grind on each other," said
Casady, 23. "It's like friends being sexual with each other."

Casady was raised in Santa Barbara, Calif., but quickly notes her
worldliness by listing the cities where she has lived along the trail
to Brooklyn. A regular Kill Whitie partygoer, she tried the
conventional (that is, non-hipster) hip-hop clubs but found the men
"really hard-core." In this vastly whiter scene, Casady said that "it's
a safe environment to be freaky."

Tha Pumpsta also moved here from somewhere else -- Cobb County, Ga. He
said he admired Martin Luther King Jr. and, at age 15, decided to
promote racial understanding by printing T-shirts with black and white
interlocking fingers. He keeps one of the shirts stuffed in his
closet.

Booty bass entered his life in a big way when he wandered into
Freaknik, the annual spring break blowout for thousands of African
American students. He came to see himself as part of post-racial
Generation Y, for whom whiteness was an outmoded, oppressive idea.

In his hipster world, the credo is to use irony to make light of
anything "sacred."

So Tha Pumpsta started throwing Kill Whitie parties about four years
ago, piggybacking on the hipster colonization of a swath of the
Williamsburg neighborhood on the border between the Hasidic Jewish and
Puerto Rican neighborhoods. There's nothing subtle about his
advertising.

His street fliers come emblazoned with the words "Kill Whitie" across a
woman's backside. Another flier offers free admission to anyone with a
bucket of fried chicken.

For Veronica Green, who is white, the irony thing just doesn't cut it.
She stood outside the club dressed in a flowing orange and yellow
summer dress puffing on cigarettes.

"You wouldn't see this in Atlantic City," Green said, scowling at a
white crew of hip-hop poseurs. "You have a lot of black bars and white
bars and a lot of diversity. Here, it's white kids dancing to hip-hop."

Step back inside the club, and the pace ramps down from an
amphetamine-like rate as Tha Pumpsta spins some old school hip-hop and
latter-day classics. The dance floor eases into the rap of
Brooklyn-born rapper Notorious B.I.G.

So what's the point of all these white hipster kids trying to imitate
black hip-hop?

Direct this question to Mark Grubstein, a 36-year-old artist, and he
says the Kill Whitie parties speak to something inside of him. "I make
art about that, that's my life," he said. "It's based on the idea that
things that are funny are the deepest."

He shrugs.

"If you don't see it's funny," he said, "I can't help you."

[Elisa Keisha]

Im wonderin if he can even help himself... coz he sure cant help me...

[Nesayem]

Peace,
First of all what is a white hipster? I will assume they mean white person that leeches off black culture. This DJ guy is offensive. I feel that these party's are exploiting our culture and basically trying to mock our struggle. As much as he screams,"kill whitey" he is still white. He isnt going back to his home in the projects or cant get hired because of his race. Look at this foolishness, like if you have a bucket of chicken you can get in free. Just reading this got my blood going...

[Akyeame Kwame]

Originally Posted by Allah

http://www.washingtonpost.com/wp-dyn...082501818.html

Deejay's Appeal: 'Kill The Whiteness Inside'

In Brooklyn, a Club Following Feels the Irony

By Michelle Garcia
Washington Post Staff Writer
Friday, August 26, 2005; Page A03

NEW YORK -- The dance floor throbs to the rapid thump-thump of the
hip-hop beat. The deejay, Tha Pumpsta, leans against his booth, and a
woman slides up from behind, grabs his narrow hips and rubs hard.

Tha Pumpsta hops onto the crowded dance floor of guys in big T-shirts
dangling from slight frames and ladies in short skirts and tasseled
boots.

"Kill whitey!" yells Tha Pumpsta into the microphone as he bounces to
the beat. "What . . . gonna . . . do dance . . ." he raps to the beat.
"Kill whitey!"

The kid by the bar busts out with a break-dancing move. Women drop
their booties and the guys slide in close. Tha Pumpsta struts around in
an all-white outfit from his headband to his high tops, shouting it
again: " Kill whitey!"

Tha Pumpsta, who happens be white, has built a following in the past
few years by staging monthly "Kill Whitie" parties in Williamsburg,
Brooklyn, for large groups of white hipsters. His proclaimed goal, in
between spinning booty-bass, Miami-style frenetically danceable hip-hop
records that are low on lyrical depth and high on raunchiness, is to
"kill the whiteness inside."

What that means, precisely, is debatable, but it has something to do
with young white hipsters believing they can shed white privilege by
parodying the black hip-hop life. In this way, they hope to escape
their uptight conditioning and get in touch with the looser soul within
them.

Of course, it also follows a long line of white entertainers, including
Elvis Presley, who sought to be cool by emulating black culture.
But in doing so, he pioneered something. These newest hipsters aren't
trying to be creative -- just ironic. And some think he might be
mocking black people.

"I'm throwing this party, and it's obvious that I'm white and I'm kind
of appropriating this culture but in an ironic way," said Tha Pumpsta,
whose name is Jeremy Parker. The 25-year-old takes his Pumpsta moniker
from his high-top sneakers. "Kinda poking fun at myself and my origins
and white people in general," he said.

"I'm trying to kill the whiteness inside," Parker added, although his
blue eyes, milk-white skin and blond hair might suggest he has some
work ahead of him.

A melanin-lacking hip-hop party might be a fact of demographics in a
few corners of the United States. But in New York, where hip-hop was
born in black and Latino neighborhoods, the all-white parody of black
culture can strike a jarring note.

A few months ago, 29-year-old Sharda Sekaran was hitting dance spots
with friends when she stumbled into a Kill Whitie party. "There was a
bunch of white people acting like a raunchy hip-hop video," she said.
"I don't get why that wouldn't be a characterization of black people
for the entertainment of themselves."

Sekaran, a native New Yorker from a mixed-race family -- part black,
part South Asian -- occasionally works as a deejay and knows all about
hipster irony. "That doesn't make it any less disturbing," Sekaran
said. "Their attitude is, 'It's our privilege to do this because we're
in our own little clique, in our own little world.' "

Booty bass is a product of the Miami hip-hop scene that fused throbbing
bass with up-tempo dance beats. It was made popular in the 1980s by
acts such as 2 Live Crew and 69 Boyz. These days white hipsters embrace
the genre, along with many trends of that era, in a city where that
strain of hip-hop is considered a foreign creation.

The dance floor at the Williamsburg club is a pastiche of all that was
hip and cool in the past 20 years, including faux hawks (mohawks with a
buzz on each side), jelly shoes and short shorts. A few young women
have permed-out hair and blue eye shadow a la Pat Benatar and vintage
clothes a la "Sixteen Candles." As for the tights and boots combos?
Think Madonna version 1.0.

Bianca Casady, a multiply-pierced woman with a scalp divided between
long dark hair and a buzz cut, grabs her female friend by the hips and
shakes her like a blender. She steps outside, catches some fresh air
and talks about the party.

"It's about being nasty, people come to grind on each other," said
Casady, 23. "It's like friends being sexual with each other."

Casady was raised in Santa Barbara, Calif., but quickly notes her
worldliness by listing the cities where she has lived along the trail
to Brooklyn. A regular Kill Whitie partygoer, she tried the
conventional (that is, non-hipster) hip-hop clubs but found the men
"really hard-core." In this vastly whiter scene, Casady said that "it's
a safe environment to be freaky."

Tha Pumpsta also moved here from somewhere else -- Cobb County, Ga. He
said he admired Martin Luther King Jr. and, at age 15, decided to
promote racial understanding by printing T-shirts with black and white
interlocking fingers. He keeps one of the shirts stuffed in his
closet.

Booty bass entered his life in a big way when he wandered into
Freaknik, the annual spring break blowout for thousands of African
American students. He came to see himself as part of post-racial
Generation Y, for whom whiteness was an outmoded, oppressive idea.

In his hipster world, the credo is to use irony to make light of
anything "sacred."

So Tha Pumpsta started throwing Kill Whitie parties about four years
ago, piggybacking on the hipster colonization of a swath of the
Williamsburg neighborhood on the border between the Hasidic Jewish and
Puerto Rican neighborhoods. There's nothing subtle about his
advertising.

His street fliers come emblazoned with the words "Kill Whitie" across a
woman's backside. Another flier offers free admission to anyone with a
bucket of fried chicken.

For Veronica Green, who is white, the irony thing just doesn't cut it.
She stood outside the club dressed in a flowing orange and yellow
summer dress puffing on cigarettes.

"You wouldn't see this in Atlantic City," Green said, scowling at a
white crew of hip-hop poseurs. "You have a lot of black bars and white
bars and a lot of diversity. Here, it's white kids dancing to hip-hop."

Step back inside the club, and the pace ramps down from an
amphetamine-like rate as Tha Pumpsta spins some old school hip-hop and
latter-day classics. The dance floor eases into the rap of
Brooklyn-born rapper Notorious B.I.G.

So what's the point of all these white hipster kids trying to imitate
black hip-hop?

Direct this question to Mark Grubstein, a 36-year-old artist, and he
says the Kill Whitie parties speak to something inside of him. "I make
art about that, that's my life," he said. "It's based on the idea that
things that are funny are the deepest."

He shrugs.

"If you don't see it's funny," he said, "I can't help you."

tell them that the best way to kill the whiteness inside is with a bullet...

AK

[Pain]

I suppose we're suppose to be gratefull for this "help" from "white people" as well. My diagnosis, once again, is that they are not doing the best they can (secret infiltration) as they have demonstrated world-wide for over 3,000 years to end the system of Racism White Supremacy. I want nothing but the best from my own people and I want nothing but the best from the others as well.