What Does 11,000 Abandoned Rape Kits, the Murder of Australian Landlord, and the Execution of a French Artist have in common? All Happened in 83% Black Detroit

An 83 percent black city.

Always, remember this highly pertinent fact when news is reported out of the city of Detroit.

In a city where 11,000 rape evidence kits sat ignored, what's the murder of one white French artist?

It's an 83 percent black city. [As Detroit rape kits sit untested, justice for victims is denied, Detroit Free Press, 4-21-14]:

Nearly five years after the discovery of 11,000 abandoned rape evidence kits in a Detroit police warehouse sparked outrage, only about 2,000 of the kits have undergone DNA testing, allowing serial rapists to remain free and in some cases commit more attacks.

All the kits are finally expected to get tested this year because the state Legislature appropriated $4 million to send them to private labs.

So the state of Michigan taxpayers are forced to cough up the money to pay for the 83 percent black city of Detroit's "lost" rape evidence kits to finally be analyzed.

Not one or two kits, but 11,000 abandoned rape kits. 

That's a lot of rape.

Americans living in not just Michigan, but throughout the country, are well aware something is dreadfully wrong in Detroit.

The resultant horrors are usually blamed on de-industrialization, out-sourcing, the limits of capitalism, racism fueled white flight, unions, Democrats, blah, blah, blah, blah, black f---ing blah.

The horror of Detroit is simply a byproduct of a city boasting an 83 percent black population, individuals who collectively overwhelm what remains of a once-thriving metropolis.

It's that simple.

Race.

No other community in the world would tolerate 11,000 rape kits sitting idle, or going missing, as an 83 percent black population did. Sure, we are supposed to feel bad for the resulting behavior of blacks, denuded of civility by white flight (never mind it was deleterious effects of black crime that caused white flight from Detroit), but never forget it's black people raping their own women in Detroit.

And the only outrage is from the outside world.

A few years ago, an Australian named Greg McNichols bought up some cheap property in Detroit (not because of the recession, lack of jobs, or bad schools, but the visible consequences of a city without whites), and found himself offering a glimmer of hope to the "blighted" city.

It would be short-lived.

One of his tenants, recently a millionaire thanks to winning the lottery, murdered McNichols over his impending eviction. This recent lotto winner was a 63-year-old black man, a long-time resident of Detroit.

An emigrant from Australia, his late wife, " told The Detroit News that her husband "believed in the American Dream; he believed in Detroit. He wanted to invest in Detroit and was really happy with what he'd done with this building so far."

Yes, owning a property dubbed by residents as a "rat-trap" is the quintessential American Dream.

It's this type of story that rarely makes it to far past the 8-Mile Road in Detroit. Though it might reinforce why white Detroit suburbanites steer clear of the city, it's not the type of story possessing any lasting permanence.

Whispers of it will be told to prospective real estate investors in the city, but McNichols death won't even haunt the dreams of his widow; remember, he, even at the moment of his death, was living the American Dream.

Perhaps the American Dream is to become the victim of black crime, especially after serving your limited time on this earth to enrich their lives through your hard work and investment.

 Or perhaps the American Dream is to travel to the former English colony, and see what happens when Africans colonize a formerly European city?

A French youth, an artist who went by the street "Zoo Project," was found dead in Detroit.

A bullet to the head.

His body was left for months, like those 11,000 rape kits, unidentified at the Wayne County Medical Examiner's Office in Detroit.

Bilal Berreni might have considered a radical intellectual, a left-leaning artist seeking something beside the conformist world, but he died in a city where the "winds of revolution" had long ago blown away civilization.

With absolute certainty, Berreni was murdered by a black man in Detroit. A quick reading of his curriculum vitae would confirm he probably considered this "a good death." [Bilal Berreni, 23, painted worldwide; why was French artist found shot dead in Detroit?, Detroit Free Press, 3-28-14]:

Three years ago, Bilal Berreni left France for Tunisia, where he painted images on cardboard of those who had fallen during the revolution.

He spent time in a camp on the Libyan border to paint images of refugees, and he lived for more than a month in a hut in northern Sweden, drawing and spending hours each day collecting wood to keep warm.

The young French street artist came to Detroit, too. He was here twice, but exactly what he did here still isn’t clear. But the trip he made to the city last year was his last, anywhere.

The 23-year-old painter was found dead at the dilapidated Brewster project on Detroit’s east side. He had been shot in the face, and his body was left lying in the street.

For months, his body was unidentified at the Wayne County Medical Examiner’s Office, as loved ones in France waited for word from him.

Authorities had little to go on because no identification was found with his body and some of the clothing he wore, though unique, had been purchased at a Salvation Army store.

But there was one clue: Michigan State Police Detective Trooper Sarah Krebs noticed he was wearing European-style boots. She had his fingerprints run through a federal database, and the hit came back this month.

Now his name is known, but his killing remains a mystery. Detroit police are seeking anyone in the local art community who knew Berreni or had contact with him. Meanwhile, his loved ones are planning a memorial service in Paris on Sunday.

Mourad Berreni, Bilal’s father, said his son created artwork with social messages. He said Bilal was drawn to Detroit.

“From what I understand, he was interested in what can be born out of chaos,” Mourad Berreni, speaking in French, said through a translator Thursday from Paris.

“For him, it represented the failure of capitalism and believed that from that chaos something can be born.”

Mourad Berreni said people will remember his son’s short but bright presence.
“He might not have been born at the right time,” he said of Bilal, who he said may have belonged “in a past century. He needed to discover the world and its truths; discover these things that give meaning to the world."

 To discover the world, the real world, one only needs to visit 83 percent black Detroit.

There, you'll find the true "End of History" Francis Fukuyama couldn't face.

Berreni, in death, found out the grand revolution he so longed to see birthed had already come to true in Detroit; conversely, McNichols, clinging to his American Dream (as a landlord in a crumbling building nicknamed "the rat-trap"...) found something worth celebrating in the ruins of Detroit.

He died trying to evict a 63-year-old black lottery winner, the victim of black-in-origin gun violence; the same type of violence that took the young French artist Berreni from this world.

The same type of violence that was the basis for 11,000 rape evidence kits to be gathered.

How do you blame unions, Democrats, capitalism, or [insert something, anything here to soak the blame] on the rape kits being abandoned?