Dec 1, 2015

Evidence Invader's Aren't "leaving conflict behind," but Are, in Fact, Bringing it with Them

via TradYouth

Mathangi “Maya” Arulpragasam,
unfortunately, in action
Mathangi “Maya” Arulpragasam–performance name MIA–is a perfect example of how the third world migrants claiming to leave conflict and depravity behind are actually bringing it with them. Her father is a Sri Lankan politician who happens to live in England. His blood is Sri Lankan. His concerns are Sri Lankan. His wife is Sri Lankan. Both of his daughters identify with and have built their lives and careers around Sri Lankan political issues. Even the extent to which they do assimilate is toxic, as with MIA’s romantic affair and child with a half-African, half-Jewish globalist financier hip-hop DJ, Benjamin “BZB” Bronfman.

No, …that’s not a vivid racist fever dream.  A Jewish heir to the Lehman Family fortune, a grandson of the president of the World Jewish Congress, is a Black hip-hop artist and financier. Google it.

MIA just rolled out her latest video, Borders, a propaganda piece which challenges us to check our privilege, reflect on our beliefs and values, then stop having borders ‘n rules ‘n shit. Despite being especially intelligent and British-born, her rap style mimics the vocal habits of people who can’t speak English. It’s a cloying mish-mash of contrived baby talk. This typifies the social structure of the new world order, one where the cosmopolitan elites strive to identify and ally with the poorest of the world’s poor against the middle.

The people who own bidets and the people who still go in the street are teaming up against you, toilet-owning scum.

In a refreshing bit of integrity in advertising, all of the refugees in the video are fit and feral adult males. MIA’s signals are decidedly mixed like that. She can’t quite decide whether to demand that we pity or fear her and her minions. Her breakout hit, Paper Planes, contains the following chorus…
All I wanna do is [gunshots]
And [cash register ka-ching]
And take your money
Generally, these two faces of the immigration crises are worn by separate people. One side is openly aggressive while the other side pleads for us to take pity on them. MIA attempts to pull off both at once, wearing a pouty face while confirming that all she’s here for is to kill us and take our money. We’ve all dealt with a sociopath at some point in our lives, the sort of person who plays your emotions like a fiddle to achieve his or her own selfish prerogatives. The oligarchs and their media playing off like the invaders are deserving objects of unlimited charity while the invaders systematically intimidate, harass, rob, and even gang rape their benefactors.

It’s sociopathy on an unprecedented global scale, not exactly the vibe White liberals had in mind.

MIA’s your classic counterfeit refugee, the privileged daughter of a powerful Sri Lankan guerrilla leader who leveraged his global connections to hook himself and his family up with refugee tickets to London when his military schemes fell through. Think of it as Warlord Welfare, where the losers and their extended family get golden tickets to the first world instead of the brutal death that MIA’s father meted out with impunity.

She attempts, unconvincingly, to identify with us, but only long enough to ask why “we” don’t give more of “our” stuff to them. A consistent theme throughout her career has been to humanize the Third World “other,” and she’s not afraid to dehumanize the White West in the process. We’re illegitimate in her eyes in every way. We’re hypocrites. We’re lazy. We’re undeservingly rich. We’re stupid. We’re even unsexy and lacking in vibrance.

One can’t help but wonder why MIA and all her cousins the world over are so eager to be with us, given that we’re a bunch of lifeless, soulless, despicable fuckboys and slags? Oh, wait. That’s right. She explained why she’s here. She’s here to kill us and take our money.

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