Jerry Heller (From Hell) The Zionist Murderer of Black Music: Only Thug Music Allowed on America’s Radios

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New York Times: Jerry Heller, Music Manager Who Promoted N.W.A and Gangsta Rap, Dies at 75


More than a few superficial observers of America’s rotten sub-culture must no doubt be surprised to learn that a deceased “White guy” was actually the driving force behind the promotion of decidedly anti-White “gangsta rap” music. Over the course of his miserable existence, Jerry Heller, the son of a low-level Jewish mobster, raked in many millions of dollars while corrupting and inciting Black youth.

From the Slimes’ article which honors the bastard:

“Jerry Heller, a veteran music manager who helped introduce N.W.A to the masses and promoted gangsta rap to a mainstream audience, died on Friday in Thousand Oaks, Calif. He was 75.”

Heller’s N.W.A. — all grown up, filthy rich and still acting like Los Angeles street punks.


For the uncultured and unrefined among you, N.W.A. was a popular 1990’s “hip hop” group known for violent lyrics and anti-cop songs. The acronym stands for: “Niggaz Wit Attitudes” — that’s Niggers With Attitudes” for the ebonically challenged. The musical marauders “outta Compton” consisted of the star-studded cast of Arabian Prince, Dr. Dre, Eazy-E, Ice Cube, DJ Yella and MC Ren. (rolling eyes)  Here is just a bit of the profane poetry puked out by Heller’s badboys, and taken to heart by millions of frustrated young black males: (Warning!)


Fuck the police coming straight from the underground
A young nigga got it bad cause I’m brown
And not the other color so police think
they have the authority to kill a minority
Fuck that shit, cause I ain’t the one
for a punk motherfucker with a badge and a gun
to be beating on, and thrown in jail
We can go toe to toe in the middle of a cell
Fucking with me cause I’m a teenager
with a little bit of gold and a pager..

— From “Fuck the Police


It may be hard for the 30 and under crowd to conceive, but there was a time when Black music was clean, full of positive energy and pleasing to the ear (if one was fond of that particular genre). That was when it was Black-owned and Black-promoted. In addition to “Blues” and “Jazz”, the most notable genre was “Motown” — a term which came to represent both a style of music and an American record company. The company was founded by Berry Gordy, Jr. as Tamla Records in 1959, and incorporated as Motown Record Corporation in 1960, in Detroit, Michigan — the “Motor City” (hence,”Motown”).

While Gordy was at the helm. Motown cultivated and promoted clean acts that often had wide “crossover” appeal to White audiences — familiar names like Smokey Robinson, The Four Tops, The Jacksons, Diana Ross, The Temptations, Lionel Ritchie, Stevie Wonder et al. The upbeat songs and the well-dressed performers were non-offensive — and singers spoke proper English. Imagine that!

Smokey Robinson, The Four Tops, Lionel Ritchie — mushy love songs and upbeat tunes — nothing about fornication, drug dealing, bitches, ho’s, or killing cops


So, what the bloody heck happened to Black music? How did it devolve so quickly from innocent and catchy tunes to the violent, sex-crazed, pro-drug, anti-cop, anti-White noise pollution heard today? If they don’t already know, regular readers of The Anti-New York Times will no doubt hypothesize that the rapid descent of Black pop-music was engineered by the same usual suspects (cough cough) who took over and corrupted once-clean Disney, MTV, Nickelodeon, BET etc. Well, hypothesize no more, because any such suspicions are indeed correct! (surprise surprise)

Regarding Motown, which is just one example, in December 1998, after already having been sold to a company called Polygram, Motown was acquired by Seagram and absorbed into its Universal Music Group. Seagram, better known for its alcohol products, is owned by the Bronfman Family (cough cough) — a Canadian-American Jewish dynasty who, in terms of sheer power and influence, rank right up there with the Sulzbergers and the Rothschilds. Needless to say, Motown, (by now relatively insignificant) and Black music in general, have never been the same. At the same time that the usual suspects continue to poison Black youths with their demonic music, they also incite Blacks against Whites and against the police.

It’s the ultimate societal false-flag operation, and it’s a “twofer” to boot! First, they ruin millions of young Black lives with moral poison, family dissolution and economic disintegration; then, using their wholly-owned Black Judas-Goats (Obongo, Black Lives Matter, Jesse JackAss, Al Charlatan, skanky Beyonce, et al), they sic the frustrated, fatherless and envious “Frankenstein monsters” — which they themselves created — against the big bad White Man and the evil “pō-leece.” They’ve even got stupid suburban White kids hooked on this soul-crushing garbage now. 

What a dirty damnable game! Rot in hell, Mr. Heller (pun intended), rot in hell.

1- Berry Gordy, the father of Motown, ran a clean operation. 2- Edgar Bronfman Sr., who later gained control of Motown, receives the “Medal of Freedom” from President Bill Clinton. 3- “The same White people keeping you down have been oppressing us Jews for centuries. We need to stick together, Tyrone, because we’re your friends.”

Boobus Americanus 1: I read in the New York Times today about a guy named Jerry Heller. I didn’t know that a White man was so instrumental in promoting gangsta hip-hop.

Boobus Americanus 2:  Some of the Black activists have a point when they complain about how Whites are appropriating Black culture in order to profit from it.



SugarHeller wasn’t “White” — you $#*^@& ass-clown! He was a  #*^@#*!^&!

Editor: Sugar never really cared much for the “cough cough” thing.
“Reach Out, I’ll Be There” (1967) –The Four Tops sing about undying love and loyalty.




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The Secret Relationship Between ‘Ice Cube’ and the Jews

note – besides increasing the PROFITS OF THE PRIVATE PRISON INDUSTRY, ‘gangsta rap’ was a Masonic Jewish ploy to convince black people to kill each other and corrupt their communities. As Masonic revolutionary Guiseppe Mazzini said, “we corrupt in order to rule.” To protect their fraudulent,feudalistic monopoly over our credit creation, the Masonic Jewish central bankers must distract,degrade and dehumanize us.


By the NOI Research Group

In one of the most gripping scenes in the blockbuster movie Straight Outta Compton, rapper Ice Cube at a poolside interview confronts a Jewish reporter who demands that Cube answer for his alleged “anti-Semitism.” With two Fruit of Islam (FOI) at his side Ice Cube reprimands the reporter, leaves him hanging on a handshake, and kicks him off his property.

It is a rare (read: non-existent) Hollywood flick that dares to depict the underbelly of the storied Black-Jewish relationship. But the surprisingly accurate portrait of the animosity that many Black artists have for their manipulative Jewish managers, agents, and lawyers remained a strong subtext of the group’s struggles in Straight Outta Compton.

This is not new to rap, but it has been successfully suppressed by powerful profiteers in the rap underworld. Deric Muhammad examines the issue quite handily in the book Defending Farrakhan, Book 2, in his article “The Secret Relationship Between Rappers and Jews.” Nelson George, in his book Hip Hop America, names about twenty of the ‘whites’ who control the Black rap artists, their images, and messages. “Interestingly,” he writes, “the majority of these men and women were Jews…” Seth Gitell romanticizes “the Jewish relationship with hip-hop, which was mostly a love affair.” He confirms that “a whole contingent of young Jew[s]…began working in the industry as producers, marketers and even a few attorneys.” As rap “focused more and more on violence,” Gitell asserts, “Jews remained involved.”


Jerry Heller and Easy E

That’s how Jews want it remembered.Straight Outta Compton—more than any other Hollywood production ever has—gives the Black side. In the film’s powerful climax NWA members break from the clutches of their exploitative Jewish manager Jerry Heller and bond again as Brothers who understand that their raw talent and unity are far more powerful than the myth of the magical Jewish money man.

But NWA didn’t come to that realization until Ice Cube left the group and made a very public outing of Heller’s financial malfeasance. In his song “Vaseline” Cube raps:


It’s a case of divide and conquer,

Cuz you let a Jew break up my crew …

Cuz you can’t be in the Nigga 4 Life crew,

With a white Jew tellin you what to do.

Oy Vey!

As depicted in the movie, Heller, played brilliantly by Paul Giamatti, goes ballistic and demands NWA respond to Ice Cube’s “anti-Semitism.” Heller is so shook up by Cube’s raw and truthful lyrics that he hires the Zionist terrorist group Jewish Defense League apparently for physical protection.

Straight Outta Compton

Jason Mitchell as Easy E and Paul Giamatti as Jerry Heller

This all leads to that poolside interrogation where Ice Cube—not Heller—is confronted by the Jews about his “bigotry.” When the reporter, who bears a resemblance to former Anti-Defamation League (ADL) national director Abraham Foxman, questions him about the song, Bro. Cube insists that he’s not anti-Semitic — he’s just “anti-Jerry Heller.”

So why aren’t the Jews screaming louder about this movie and its stab at Jewish exploitation of Black artists? Have they been outwitted by the movie’s producers Dr. Dre and Ice Cube? Jewish criticism of the film has been muted and underplayed. The ADL—which believes every Black human being is a born “anti-Semite”—has uncharacteristically said nothing.

Screen Shot 2015-09-23 at 3.44.45 PM

Cover of pamphlet by Jewish Rap profiteer Bill Adler

The fact is, the Jews decided to take the hit in this movie, rather than expose what really happened when Ice Cube responded to the “anti-Semitism” charge in an October 31, 1991, confrontation in Los Angeles. Cube may have left Jerry Heller, but his new publicist was Bill Adler, a Zionist Jew who was one of those powerful white Hip Hop businessmen named by Nelson George. Adler was at that October showdown, but it was not an interview—it was a press conference—and he recalled other details of that encounter:

At the conclusion of a press conference touting his then-new album, Death Certificate, the super-popular rap recording artist [Ice Cube] held up a hefty-looking tome and said, “I want everybody to find to find this book.” Flanked by two neatly-dressed but fierce-looking bodyguards, and reading from the cover of the book, he said, “It’s The Secret Relationship Between Blacks and Jewsand it’s written by the Nation of Islam. But all the pages have been written by Jewish scholars and Jewish leaders. [The Nation of Islam] just went into a library and quoted the articles and put them in their book. So I want chy’all to check this out ‘cause when they go after our brothers on this, uh, this B.S. — you know what I’m sayin’? — just look to this book. So try to find this book. Everybody!”

One can readily see why a truthful portrayal of the incident would never make it into any film coming Straight Outta Jewish Hollywood. Ice Cube was in reality saying to the Jews that before you point out the mote in my eye, take the beam out of your own. Never before had a Black notable stood up to fight the charge of “anti-Semitism” by confronting the Jews with their own history of deep involvement in the Black slave trade. And, certainly, they did not expect a rapper from Compton to lead his millions of fans into the libraries to destroy the myth that Jews were historical “friends” of the Black African.


above – read and see more about jews and slavery here


Professor Griff of Public Enemy

Ice Cube never told the Jewish reporter to “get out”—he told him to READ about the Jews who became slave traders, auctioneers, plantation owners, slave shippers, insurers, and financiers. And then study the Jewish politicians who helped create and enforce the Jim Crow laws; the Jewish merchants who targeted Black cotton sharecroppers, growing extremely wealthy in the process; and the Jews who became Ku Klux Klan members and even suppliers of guns, sheets, and hoods to the Klan!

Ice Cube followed The Honorable Minister Louis Farrakhan, who, when confronted by that wicked charge, led the Nation of Islam scholars to research and study, rather than to run, hide, bow, plead, or apologize. He called on Blacks to ELEVATE the debate to true, informed dialogue. Ice Cube took this advice where Public Enemy was trying to go. That group felt the same Jewish pressure, but when their Minister of Information Professor Griff deployed The Secret Relationship Between Blacks and Jews in their defense, the Jewish management forced him OUTTA the group.


Ice Cube was not deterred—and he neutralized and subdued the haters, and was thus able to create the space to create music free of the exploiters that haunt and hamstring too many of our Black artists.

With the success of Straight Outta Compton (costing $28 million to make, with revenues of $200 million after just seven weeks), maybe the sequel will set our artists free to tell the whole ugly truth of The Secret Relationship Between Rap and the Jews.

comment from Alice – 
The American Jewish-run Music industry and entertainment industry are destroying the youth Black Americans. All messages of hip hop and rap are for violence and not caring about yourself and always hate, hate society hate family… This same MTV and other channels are promoting all sexual perversion for young Blacks, Whites and other groups. It is really time to ban Jews from all sorts of media and entertainment and Music.. Just like Hitler did
see also –

related –
Ice Cube laughs at Jerry Heller’s claims of unfair portrayal in Straight Outta Compton
Illuminati Jews use mainstream hip-hop to dumb-down blacks
GANGSTA RAP, CIA, MOSSAD & GENOCIDE STRAIGHT OUTTA COMPTON (besides the misinformed hitler bs, still worth the read)
EXPLOSIVE: EXCERPT from The HipHop Nation: Willie Lynch’s Newest Slave (About Michael Jackson and the so-called Jews)
Rap Music’s Blatant Satanism
destroying the anti-white arguments – all blacks should read this
the conspiracy to defile
music industry is satanic jewish occupied territory
david duke talks about the jewish controlled music industry 

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