Wiggers.

In the mid-1980s there was a palpable cultural shift. Young white men from the U.S. and U.K. were confronted with the rise of Hip-Hop music in the mainstream. For the first time, white men began adopting black culture at scale. Some would argue that this cultural shift started before then, with the blues, rock ‘n’ roll, and disco. While this may be true, the type of cultural shift that washed over young white men with Hip-Hop was much different than what occurred with the popularization of the blues, rock n’ roll, and disco. Many white men attended clubs where these types of music were played and even changed their wardrobe to match what was popularized in each respective culture. There is one important distinction between those genres and Hip-Hop. Yes, some white men began to alter their dress significantly, but this was no change from previous cultural fads. With the rise of the Beastie Boys, young white men learned that it could be socially acceptable to sound culturally black. With the rise of the New York based all white[sic] rap group, the Beastie Boys, came the proliferation of black slang words in white culture. The Beastie Boys themselves still spoke, dressed, and looked (for the most part) like regular young white men of their era. Words like, “Fresh,” meaning good or stylish, “Bad,” meaning good, “Chill” meaning relaxing, “Ill” meaning exceptionally good, “Broke” meaning financially struggling, and many more phrases became the common vernacular of young white men who were captured by this movement. As the language penetrated sects of white culture, the style choices became more extreme.

The 1990s brought more extreme cultural shifts. White rappers such as Vanilla Ice, Mark Whalberg, and House of Pain, all hit the airwaves, emboldening young white men to express themselves through the lens of black culture. Hair styles, outfits, and attitudes all began to change among the afflicted young white men. As black Hip-Hop culture shifted to baggy pants, flat brim hats, excessive jewelry, expensive shoes, and sunglasses inside, the same young white men conformed.

Around the late 1990s a new term was invented to describe these young white men: “Wiggers”. A seemingly harmless shift in culture continued to follow along the same path as the mainstream Hip-Hop artists through the late 90s. With artists like Fred Durst, Eminem, and Insane Clown Posse gaining popularity, the haircuts, outfits and behavior became more extreme.

The population of Wiggers exploded in the early 2000s. With the invasion of Iraq in 2003, Wiggers were deployed to the front lines to fight a war without a clear objective. One of the most dangerous places in Iraq was a city called Balad.  A U.S. Military logistics hub, Camp Anaconda, nicknamed, “Mortaritaville” by the troops stationed there, sat just outside of Balad. The nickname was a tribute to the constant bombardment of mortar shells they faced on a daily basis. The base housed 13,000 soldiers and around 2,000 airmen. The U.S. Defense Secretary quickly realized that allowing a Jimmy Buffet themed camp to exist in the thick of the fighting in Iraq is neglecting to leverage the full potential of the U.S. Army. They realized they needed to energize and mobilize the Wiggers of Camp Anaconda.  Rapper 50 Cent, and his crew G-Unit, were flown to Camp Anaconda to perform. Thousands of service members attended and sang along, imagining the Iraqis as the many men wishing death upon them. Following this concert Wigger kill death ratios grew to numbers the U.S. military had never seen. Wiggers were deployed and weaponized for the very first time. The true power of the Wigger was realized.

Wigger ideology peaked in the mid-2010s. Young white men fully embraced what they believed to be black culture as they saw leading Hip-Hop artists not just as musicians, but as role models. High schools and colleges were riddled with white men with Air Force Ones, Line-Up haircuts with a skin fade, Echo Unlimited jorts, Jordan midcalf socks, and pierced left ears. Freestyle rapping became a popular pastime among young white men. They migrated away from iTunes, Spotify and YouTube, so they could connect with other Wiggers on apps like SoundCloud. The ease of uploading songs recorded on their wired Apple headphones to SoundCloud showed Wiggers that they might actually make it in this rap-game.  Many young white men from suburban towns gave up on their education or chances of mastering a profession to pursue a life in the rap-game, only to find out the world ain’t big enough for a Wigga like them.

Unknown forces have shifted the cultural trends in the 2020s and the breadth of Wigger Hysteria has shrunken drastically. Unfortunately, those who are still afflicted by Wigger Hysteria show far worse symptoms than those afflicted at Wigger Hysteria’s peak. It appears they no longer seek to emulate black culture but strive to break the mold of how crazy a white boy can be. The sad reality is that they go about it in all the wrong ways. Neck and face tattoos, nose piercings, joblessness, skinny pants, grills, dyed hair, a proclivity for overweight women coupled with addiction to weed, Xanax, and poor people drugs like cough syrup continue to ravage the few Wiggers still standing. Here at Redacted Media Co., we are not historians, but casual observers. We hope someday researchers uncover the full scope of impacts Wigger Hysteria has had on society since the great Wigger awakening of the mid-1980s.

Check out @alfonsofrfr on Instagram for in depth analysis of contemporary Wigger affairs. Alfonso himself is a former Wigger, and posts consistently about the perils of Hip-Hop hypnosis.