Black female ‘rapper’ Azealia Banks has announced her engagement to conceptual ‘artist’ Ryder Ripps — who gained his fifteen minutes of fame when he created “White People Suck” stickers:
[Azealia posted] a photo on Instagram of a ring with a menorah on it and writing “I’m Jewish now. MAZEL TOV BITCHES!” in the caption.
Some social media users took issue with the proclamation, implying that Banks could not assume a Jewish identity by marrying a Jewish person or that wearing a symbol of Judaism was disrespectful. Banks — who is known for getting into feuds with public figures on Twitter — shot back.
Here’s one representative exchange, which ends with Banks declaring, “I’m a jewcy diva now.”
In another exchange, Banks likened her connection to Judaism to the gender identity of transgender people, in an analogy that some decried as transphobic.
Banks is no stranger to controversy. In 2016, during one of her high profile Twitter rants, she directed racial epithets at Pakistani-English pop star Zayn Malik and lost her slot at a U.K. music festival.
Ripps is a 34-year-old art director and conceptual artist who has not made a Jewish identity part of his public persona. His father Rodney, also an artist, once showed some of his art in an exhibit at New York City’s Jewish Museum on “Jewish Themes.”
These two seem like a perfect pair — a power couple for the “Great Reset” — both aggressively “racist” but in a politically-correct, banal anti-White sort of way.
We’ve previously written about the uneasy alliance between Jews and Black rappers — a shaky relationship that has succeeded so far as Blacks have allowed Jews to exploit their common hatred for Whites in exchange for some shiny bling.
Jews have been intimately involved in rap music from its beginnings — and heavily promoted it because of its overt and aggressive anti-White messaging — which can be summed up in Ryder Ripp’s pithy “White People Suck” stickers — a fact that is conveniently omitted from Ripps’ Wikipedia entry.
Jews had been fueling overt anti-White hatred among American Blacks since the 1960s with the Civil Rights movement — and rap music merely set that irrational hostility to a monotonous, repetitious beat.
But for all intents and purposes Azealia Banks “conversion” to Judaism is merely a formality as she already embodies the Jewish zeitgeist — her arrogance, crass materialism, feral and cartoonish sexuality, and her intuitive understanding that Jews like her fiance are running the whole circus — all directed toward the subversion of White Christian culture.
One art critic described one of Ryder Ripps’ attempts at art as “unthinking, unethical, and dull” — which also aptly describes a recent collaboration between this new “power couple” — Ripps films Banks dancing and rapping in front of an ugly, demoralizing “sculpture” by another “dull” and talentless Jewish artist, George Segal: