White Supremacist Jews & the Ku Klux Klan

White Supremacist Jews & the Ku Klux Klan

Nation of Islam Research Group


“[T]here can never be any peace structured on injustice, thievery, lying and deceit and using the
name of God to shield your dirty religion under His holy and righteous name.”

—The Honorable Minister Louis Farrakhan

“Lying is your mother tongue.”

—Jesus to the Jews

It was a horrifying scene in Fairfield, Illinois, on that August day in 1924. A 74-year-old Jewish man named Emmanuel “Manny” Steiner, an immigrant clothing merchant, was paraded down the city’s main street by 40 hooded and robed Ku Klux Klansmen as 15,000 whites looked on. They brought the man to a city park in broad daylight and had him stand before them. That’s when one of the Klansmen—a Christian minister—pulled off his hood and spoke directly to Steiner:

The Knights of the Ku Klux Klan respect and revere you….As a citizen there is no better….On behalf of the klansmen of Wayne County, who hold you in high esteem and regard, we present you with this token [a basket of 50 red roses], realizing that you are a man. We hope that as you go down the twilight trail you will remember with kindness and generosity the men in the masks.

The Klansmen then knelt and prayed, after which they rose and in solemn procession filed past Steiner to take their turn shaking his hand. The men who the Southern Poverty Law Center declared to be “the historic symbol of racist terrorism” were not there in Fairfield to lynch or burn this Jew alive, or to cut off his body parts to display in a jar at the local Five & Dime, as they had done to 5,000 innocent Black Americans. They were instead honoring the Jewish merchant on his “golden business anniversary.”

“Manny,” as he was lovingly known, was no insignificant figure—he was a city councilor, a bank director, the treasurer of the Masons and the Odd Fellows, and a long-time member in good standing of his people’s St. Louis synagogue. And Steiner received this high honor from the white terrorists as his wife, children, and grandchildren proudly looked on.

August 23rd of 1924 was declared “Steiner Day” and was reported to be “the greatest outpouring of people in the history of Wayne County.” Congressmen and senators sang his praises before all partook in a massive barbeque of 60 sheep, 20 sides of beef and 50 hams (presumably kosher). It was a white supremacist Ku Klux Klan extravaganza for a Jew that even the Klan’s national founder and grand wizard, William Simmons, was never granted. But how could this be?

The history of white Jewish supremacy has been skillfully concealed for generations. And their planned and enforced ignorance has led Jews to an aggressive self-deception that has led them to believe that there were no Manny Steiners in their history. It is a Jewish racial delusion that is today crashing down around them.

The attack on a British rap artist has put white Jewish supremacy under the spotlight. The headline in the Daily Mail was forthright: “Wiley accused of antisemitism after likening Jews to Ku Klux Klan.” Bro. Wiley’s “crime” was as trivial as those “crimes” alleged against the 5,000 massacred Blacks—but no less deadly. He tweeted: “There are 2 sets of people who nobody has really wanted to challenge Jewish & KKK but being in business for 20 years you start to understand why.”

The Jewish reaction was beyond bizarre. Within hours Brother Wiley was banned by Twitter and Facebook, Instagram deleted him, YouTube suspended him, his Jewish manager dropped him, and, most fiendish, the Metropolitan Police opened an official investigation! Jews even forced the respected Black news outlet The Voice to remove the interview they did with Bro. Wiley seeking his perspective! It was all the proof anyone ever needed that the power of white supremacist Jews is all-pervasive and indisputable.

Joe Glaser controlled 70% of the Black entertainers in America

Brother Wiley was addressing two very significant issues that have long been an ugly part of the entertainment industry: (1) the exploitation of Black artists by white Jewish managers, agents, lawyers, and record executives; and (2) the Ku Klux Klan-like racism of white Jews in that business. In his now purged Voice interview the “grunge rapper” was circumspect:

 

“The things that need to change is the way that the system was set up, why all of these families are rich, or all of these people have heritage, not just England, like, worldwide….They still see us as slaves. Slavery hasn’t stopped it’s just dressed up in a million pound record deal …”

The first issue is an old complaint that was voiced most sharply by the early jazz musicians. Jewish gangster Joe Glaser controlled 70% of the Black entertainers in America and robbed every last one of them, including Louis Armstrong, Billie Holiday, and Duke Ellington. The Jewish Chess brothers robbed the blues greats blind, including Bo Diddley, Chuck Berry, and Muddy Waters. Jimi Hendrix was milked by Jewish thief Brian Epstein; murderer Phil Spector ripped off singer Darlene Love and his own wife, Ronny Spector; and Arthur Goldberg infamously stole millions from Little Richard. Prince had epic battles with Warner Brothers and began appearing with the word “SLAVE” written on his face. Michael Jackson publicly called Tommy Mattola (a Jewish convert) a “racist who exploited black talent.” Pharrell Williams complained that “It’s really weird: They own the fields where you and God have laid the seeds; you do the harvesting, but they have the ownership.” Wild & Out’s Nick Cannon claims “I created a billion-dollar brand” for Shari Redstone’s (nee’ Rothstein) Viacom, and “my ownership was swindled away from me….[T]hey have been mistreating and robbing our community for years.”

The problem with all these cases is that none of these Black performers apparently read or understood the real contract terms. In the Jewish world in which these Black gentile artists operate, the ancient Jewish “holy book” Talmud supersedes all other contracts and agreements. The 42-volume Talmud is thousands of years old and all-encompassing and binding in every respect. Its tractate (section) Bava Kamma 113b clearly states that Jews have every right to cheat gentiles in business. Bava Kamma 113a further stipulates that where a lawsuit arises between a Jew and a Gentile, it is permissible for the Jew to use lying and deception to achieve advantage. Blacks are just the latest to get tripped up by these strange Jewish Talmudic codes that have for many centuries caused often-violent rifts between Jews and Gentiles across Europe. There are no known cases of a Jewish manager being ripped off by a Black entertainer, and it is equally rare that a Jewish exploiter ever had to pay a criminal penalty for this open racial larceny, so obviously the more favorable Talmudic law is in full effect. It is only when Blacks come to understand the reality of these satanic Jewish ground rules that Blacks and Jews might come to a better, more equitable, relationship.

“6. He likes the devil because the devil gives him nothing.  7. Why does he like the devil?  8. Because the devil put fear in him when he was a little boy.” —English Lesson No. C1, The Supreme Wisdom

Wiley compared his exploitative business relationship with Jews to the experience Blacks have had with the terrorist Ku Klux Klan—and that exposure is what truly brought Jews to apoplexy. The Jews have been so successful in concealing their history of anti-Black violence and anti-Black hatred that it is found in but one publication—in a 73-page chapter in The Secret Relationship Between Blacks & Jews, Volume 2, released by the Nation of Islam in 2010. The chapter is titled “Jews, Lynching, and the Ku Klux Klan,” and it documents from Jewish sources some horrifying truths about their significant role in the American white supremacy movement.

Bernard Postal

But that is not a new revelation. Before the Civil Rights era, Jews readily called public attention to their unkosher KKK connection. In 1928, the Jewish Tribune newspaper actually published an article titled “Jews in the Ku Klux Klan,” in which the Jewish author, Bernard Postala B’nai B’rith official—boasted that Jews have had “a considerably more important hand [in the KKK] than Jews know about…” Postal reveals: [T]he attorneys for the dragons, kleagles and other officials have not infrequently been Jews….[T]here are unquestionably Jewish members of the Klan in many states.

The role of Jews in the KKK is surprising to no one who understands how Jews aided, reinforced, and profited from slavery and the trade in slave-produced commodities like sugar, tobacco, and especially cotton. And they performed their civic duty admirably. Prominent Jews fought to establish, maintain, and strengthen America’s slave codes and later Jim Crow laws. There were over 100 Jewish mayors and literally hundreds of Jewish public officials in the slavery and Jim Crow South. Jews served as police chiefs and as sheriffs, and as elected officials they faithfully upheld and reinforced White Supremacy and racial discrimination.

Reminder: The Ku Klux Klan gave their Jewish supporter “Manny” Steiner 50 roses in broad daylight. This is what they did to Blacks at night.

The Jew Klux Klan

Some important background: The Ku Klux Klan emerged in the post-Civil War and post-slavery era known as Reconstruction. Their role was entirely economic, namely, to force the emancipated Blacks from pursuing anything other than a plantation life as growers, cultivators, and pickers of that almighty crop that generated over eighty percent of the American economy—cotton. It was not easy for whites to wean themselves off a 300-year addiction to free Black labor and the violent means they had always used to maintain chattel slavery. They were not going to accept that Blacks would simply walk away from the central role that had built their world-leading empire.

Jews were particularly interested in how this post-war labor situation would resolve itself. Jewish businessmen flooded into the South to restart a collapsed and war-ravaged economy, with a particular focus on the cotton business. Jewish scholar Dr. Michael R. Cohen confirms and expands upon that core theme in his 2017 book titled Cotton Capitalists: American Jewish Entrepreneurship in the Reconstruction Era. He wrote that “Jews clustered in the cotton industry, and as a staggering number of Jews operated dry goods and general stores, Jews became deeply enmeshed in the nation’s—and perhaps the world’s—most important industry.” And so the re-enslavement mission of the Ku Klux Klan and the business aspirations of the Jews actually harmonized.

But it was even deeper than that. Dr. Cohen’s reference to the “staggering number” of Jewish-run general stores is key, because those ubiquitous country stores became the region’s ATMs—the hub of the sharecropping system in which ex-slaves were forced into low-wage service to the Jews’ cotton economy. The Jewish stores brought in the tools, the mules, the seed, and the finance, and likewise became the regional depots for the millions of cotton bales from Black sharecroppers all over the South. It is the ugly truth of how the Jews got so rich in America, and how the Blacks got stalled in abject poverty. So while the Ku Klux Klan and the Jewish business class were bosom buddies, Blacks were their perennial victims. When Black leaders—like Booker T. Washington, W.E.B DuBois, and Marcus Garvey—spoke up about this nasty economic injustice, they too were bludgeoned with the “anti-Semite” label. Today all those Black truth-tellers would have been banned from social media.

Were the Jews behind the formation of the Ku Klux Klan? Yes.

Early leaders of the Tennessee-born Klan sailed all the way to England to seek investment from an exiled Confederate Jewish banker named Judah P. Benjamin. A Louisiana  plantation owner with 140 enslaved Africans, Benjamin had arranged Jewish financing for the Confederate Army, a financial deal that extended the carnage for more than a year and earned him an honored portrait on their 2-dollar bill! The KKK emissaries told Benjamin of the “negro threat” to the South and that they needed horses and weapons to “control” Blacks and to reestablish the highly profitable slave system. Benjamin eagerly invested.

 

Another Jewish congressman, William M. Levy of Louisiana, said that freeing the slaves caused “despair and danger,” and he warned that “innocent maidens [and] helpless infants” were in imminent peril. It was Levy’s white supremacist rant in Congress in 1877 that put Rutherford B. Hayes into the presidency, ending Reconstruction and Black hopes of ever becoming truly free in America.

The respected Jewish scholar Harry Simonhoff wrote about the KKK with incredible irony. It had “A lingering tradition of religious tolerance [that] made it possible for Jews and Catholics to be members of the night-riding group.” Isaac Hermann of Sandersville, Georgia, was a Confederate veteran and a full-fledged Klansman. A Jewish scholar described him as a leader in the movement to “protect the whites against the Negro…” Philip Isenbaum of Mississippi identified himself as the “Grand Cyclops” of the Ku Klux Klan when he signed an 1871 notice threatening a lynching death for the white officials who had recommended “a big black nigger” for a position of authority. Isenbaum warned them to “beware, beware, beware, beware.” The father of Bernard Baruch, the influential banker who advised presidents from Wilson to Roosevelt, was a proud robe-wearing Klansman. The Supreme Court Justice Hugo Black, who was himself a Klansman, was invited to join by a Jew.

These are not just Southerners caught up in “southern traditions.” The most prominent Jew in America was New Yorker Rabbi Morris Raphall: he was the highest paid clergyman in America and in his most famous oration he declared to the world that God Himself supported slavery! Another Jewish leader asserted that “the Negro forms the mud at [the] base” of civilization. There were many Jews who believed as did Frank J. Cohen, editor of the Jewish Sentiment newspaper, when he said, in perfect harmony with Klan doctrine:

“The white man will rule by fair means or by foul….God Almighty never created the negro the white man’s equal and even an act of Congress will not change the trend of nature or swerve the white man from his determination to retain his supremacy.”

John Cohen was the longtime editor of the Atlanta Journal. He was the son of a rabbi and described as “high in the councils of the Ku Klux Klan.” He “whipped whites into a frenzy” of race hate that ultimately led to the Atlanta Massacre of 1906, in which 50 Blacks were murdered and 150 were wounded, forcing over a thousand to flee the city. White gangs met and organized at the O.H. Silverman Co. building, and pawnbrokers Morris and Samuel Greenblatt, at 123 Peters Street, supplied guns and ammunition.

In 1905, Cohen’s paper promoted Thomas Dixon’s racist novel Clansman, the book that became the inspiration for the most racially destructive movie ever made—The Birth of a Nation. So vicious was this Jewish-financed film that when it was released in 1915 it became the main driver in the rebirth of the Ku Klux Klan. It made so much money for its east coast distributor that he went to Hollywood and started the largest movie studio in history. His name was Louis B. Mayer and his studio was Metro-Goldwyn-Mayer, which became the fount of many of Hollywood’s racist movie images.

In 1896 a Jewish white supremacist named Adolph Ochs (pronounced ox) bought the New York Times and began publishing racist articles and editorials indistinguishable from Klan attitudes and beliefs. The Times freely used terms like “nigger,” “coon,” and “darkey” to describe Blacks, and it made a conscious point of never capitalizing the word Negro. The Ku Klux Klan capitalized “Negro” in its publications years before the New York Times would.

According to scholars, businesses showed their ideological solidarity with the racial terrorists by choosing names beginning with three K’s, and several Jewish merchants are found following that custom, especially in Klan strongholds: Kaufman’s Kampus Klothes, Kaufman’s Kosher Kafe, Harry Karp’s Kool Kwality Klothes, and Kadetz Kosher Kafe. In Columbia, South Carolina, there was Kohn’s Korrect Klothes and in Boise, Idaho, Kirshbaum’s Klever Klothes.

When Blacks gained a measure of political power in Wilmington, North Carolina, Jews were among the leaders that rallied the mob of whites in 1898 that massacred as many as 300 Blacks. According to the Encyclopedia of Southern Jewish Communities, Nathaniel Jacobi organized business owners to threaten to fire their Black employees.

“At a public meeting, both Jacobi and [Solomon] Fishblate spoke to a growing mob and supported a declaration that whites should rule Wilmington and North Carolina. This meeting later resulted in the violent Wilmington Race Riot of 1898, in which white mobs terrorized the city’s black population and forcibly installed Democratic Party rule.…Jews like Fishblate and Jacobi supported this effort to overturn ‘black rule,’ showing how much Jews had assimilated into the local culture of white supremacy.”

 

It is well known that the Nazis forced Jews to carry “Jewish passports” stamped with an identifying letter “J”. The most prominent and wealthy Jew in Atlanta, Oscar Pappenheimer, actually proposed a similar plan for all Southern Blacks—30 years before Hitler! His close business associate was a man named Leo Frank, the president of the Atlanta B’nai B’rith. Frank advocated that Blacks be barred from giving testimony in court because, as Frank’s lawyer said, “If you put a nigger in a hopper he’ll drip lies.” When charged with murder, Leo Frank—the Father of the Anti-Defamation League—argued that murder is a “negro crime” and so he, a white man, could not be guilty.

Attorney Dale Schwartz, a national board member of B’nai B’rith’s Anti-Defamation League, grew up in a merchant family in Georgia that knowingly sold disguises to Ku Klux Klan members. He said that “whenever we sold a lot of white sheets we knew there was going to be a Klan meeting.” Said one Jewish merchant: “I used to sell ’em the sheets, and Sam the tailor made them into robes. Let me tell you we had a good business going.” A Jewish storeowner reportedly paid the Klan initiation fees for his employees.

 

In the early 1900s the most prominent Jew in America was Louis Marshall. A top attorney, he was founder and first president of the American Jewish Committee. Lesser known was that he was also the “main legal advisor” to the American Breeders Association, a pre-Hitler organization of whites committed to eugenics and the racial cleansing of America. Marshall opposed the anti-lynching bill proposed by the NAACP and fought to undermine it, calling it “unconstitutional” and a violation of “state’s rights.” He defended the KKK as a secret fraternal organization like his own.

The fact is, one is hard-pressed to find any Jew of any historical significance voicing any support for Black freedom, justice, or equality. The reality is that white supremacy is as Jewish a tradition as is corned beef and Hanukkah. Racism works for Jews—it is highly PROFITABLE and has sustained them over many centuries and in many lands. Find those societies in history where Black slavery forms the economic foundation—the Caribbean, Brazil, Mississippi Delta, South Africa, Rhodesia, Surinam, India—and Jews will be there also, not as an oppressed underclass but as a thriving and vital community. White supremacy will continue to uphold Jews and their white gentile partners as long as Blacks continue to play a passive and supporting role, giving them unfettered access to our children’s minds and a controlling interest in our Black talent and labor. 

What we see in Wiley, in Jay Electronica, in Nick Cannon, in Ice Cube, in Tamika Mallory, in DeSean Jackson, in Professor Griff, and what we see in all of those who have endured this latest round of Jewish lynchings, is NOT “anti-Semitism”—but our strongest and most conscious voices demanding to be free.

 


The Secret Relationship Between Blacks & Jews series is available at the Final Call: https://store.finalcall.com/collections/the-secret-relationship-between-blacks-and-jews

 

Blackface History is Jewish History

[Latest Article: “Operation “Israel Cyber Shield”: The Attack on Black America, Minister Louis Farrakhan, and the Nation of Islam” is here ]


The recent spate of blackface outings seems to have started with the Megyn Kelly debacle a few months ago. She didn’t actually wear blackface—she just wasn’t sufficiently disgusted by it; and though she apologized for the gaff, the harsh reaction quickly unemployed her. Now Virginia’s Governor Ralph Northam and Attorney General Mark Herring have been caught up in blackface scandals: many years ago Herring blacked up to mock rapper Kurtis Blow, and Northam tarred up for his yearbook page, teaming with a classmate who donned the hood-&-robe regalia of American terrorism—a photo that school authorities apparently thought appropriate.

Whether or not one accepts the rounds of sorrowful apologiesit is essential to note that the Christian offenders—Kelly, Northam, and Herring—are apologizing for a Jewish crime.

Blackface, as a form of American “entertainment,” started out in the early 1800s, most notably through a highly popular minstrel show performer by the name of Thomas “Daddy” Rice, a white entertainer who blackened his face with burnt cork to ridicule Blacks and their culture. White minstrel shows lampooned Black people, presenting them as dim-witted, lazy, buffoonish, superstitious, criminal, but nonetheless prodigiously musical. Rice’s popular blackface character was named Jim Crow—a name that came to describe the racially repressive era after the Civil War in which white society was determined to violently force Blacks back into plantation slavery. Blackface died a well-earned death, but was revived when Jews became perversely connected with this racist “art form” as performers and as fans, filling auditoriums to watch blackface stage shows in Jewish neighborhoods all over America.

Jewish History of Blackface Hate

Dr. Irving Howe

From the time of the earliest American colonies Jews had always been a formidable presence in the slave-based economy, where they became important slave traders and international marketers of slavery’s products, especially sugar, cotton, and tobacco. But after the Civil War Jewish immigration to America increased dramatically. Their history in Europe with Gentiles over many centuries was one of conflict and violence, and so in America they saw distinct advantages in helping to create a society that made but one distinction based entirely on skin color. Brandeis’s Irving Howe, author of the most popular book on American Jewish history, World of Our Fathers, is one of many Jewish scholars that admitted that Blacks were scapegoats for Jews:

“For decades American blacks had served…as a kind of buffer for American Jews. So long as native hatreds were taken out primarily on blacks, they were less likely to be taken out on Jews.”

So, for Jews, anti-Black racism was a benefit and a valuable asset to their own goals of gaining power and influence. Jews saw blackface minstrelsy as a vehicle to claim their whiteness and to ensure that racism—and not religious ethnicism—would become the American way. It was this conscious Jewish need to use Blacks as scapegoats that drove their involvement in that atrocious “art form” known as blackface minstrelsy. Jewish film scholar Lester D. Friedman is even more direct in his book Hollywood’s Image of the Jew:

“In actuality, many Jewish performers gained early and continued success using [blackface]….Indeed, it is too easy to ignore the derogatory aspects of such activities, the unconscious racism accepted and nourished by such cruel parodies, by citing historical contexts. The undisguised elements of ridicule in such blackface portrayals by Jews mimicking the outlandish stereotypes of blacks now looks suspiciously like one group’s desperate need to assert its own superiority by mimicking another.”

University of California religious studies professor Dr. Michael Alexander received a National Jewish Book Award for his book in which he asserts that minstrelsy—the public ridicule and mockery of the Black race—became identified with Jewish entertainers: “Jews performed this kind of minstrelsy in the 1910s and 1920s better and more often than any other group in America. Jewish faces covered in cork were ubiquitous.

In fact, blackface and a singing style pioneered by Jews known as “coon shouting” were mainstays of Jewish entertainment, with their most popular performers, like Eddie Cantor, Sophie Tucker, Al Jolson, Irving Berlin, George Burns, and Florenz Ziegfeld, using Black-race mockery as a dominant theme. Dr. Michael Rogin wrote in his book Blackface, White Noise that these Jews 

had pretty well taken over blackface by the early twentieth century. Jewish songwriters—Irving Berlin, George Gershwin, and Jerome Kern, to name only the most famous—created melting-pot American music in the Jazz Age from African American sources.”

Dr. Jeffrey Melnick

Jewish historian Dr. Jeffrey Melnick, of the University of Massachusetts, writes that Jews played “a major role in the manufacture of the racial stereotypes on which American popular culture depended.” But blackface Jews had an even more devious design. According to Melnick,

The first significant Jewish uses of “Blackness” came in the early part of this century, with the blackface of Al Jolson and Eddie Cantor, and the “ragtime” productions of Irving Berlin. Both Cantor and Jolson cultivated what Cantor called ‘the cultured, pansy-like negro’; Cantor also made an early blackface appearance in drag. The production of effeminacy—which is, in this context, another way of saying homosexualityas a major modality for these Jewish men in blackface was also tied up with their display as children…

What blackface represents, then, is not simply Jewish ridicule of Blacks, but a purposefully malicious destruction and redefinition of the Black character fronting as entertainment. And it is a formula that has permeated the film output of Jewish Hollywood for generations.

Al Jolson Sings “Mammy” in blackface

This treachery was not limited to the Jewish actors on stage and screen. B’nai B’rith is seen as the most prestigious of Jewish organizations, and it is the parent of the notorious den of spies and racists, the Anti-Defamation League. In the 1920s their monthly magazine printed meticulously crafted examples of what they considered “jokes.” Here is a B’nai B’rith “joke” the Jewish editors titled DARKTOWN

Rastus: Whuffo’ yo’ ‘jeculate yoself to me in dat onery manner?

Cicero: Whoffo’? Nigguh, who do yo’ calkerate yo’ is?

Rastus: Yo’ nigguh! mah family am quality folks an’ ahm a pusson of rank.

Cicero: Huh! ah’ll have yo’ triflin’, Rastus, to know that ah’m ranker than you is.

And this B’nai B’rith Magazine “joke” is titled “Good Enough”:

Mose: Dat’s a purty shirt you has on, Rastus, How many yards does it take for one ob dem shirts?

Rastus: What you all talking about, Nigger? I done got three like them in one yard last night.

In the age of Black leaders and thinkers of such intelligence and prestige as W.E.B. Du Bois, Marcus Garvey, Booker T. Washington, Nannie Burroughs, William Monroe Trotter, Ida B. Wells-Barnett, and Noble Drew Ali, among many, many others, the Jewish leadership preferred to invent “nigguhs” they named “Rastus,” “Cicero,” and “Mose.”

B’nai B’rith’s blackface depictions occurred in the 1920s, more than a decade after that same organization set up the Anti-Defamation League to counter what it saw as the prevalent public ridicule of Jews! According to the ADL’s 1913 charter:

“For a number of years a tendency has manifested itself in American life toward the caricaturing and defaming of Jews on the stage, in moving pictures. The effect of this on the unthinking public has been to create an untrue and injurious impression of an entire people and to expose the Jew to undeserved contempt, and ridicule. The caricatures center around some idiosyncrasy of the few which, by the thoughtless public, is often taken as a pivotal characteristic of the entire people…”

So the highest levels of the American Jewish leadership were keenly aware of the negative power of these blackface images, and even forced their own Hollywood brethren to cleanse the Jewish image, while these same Jews ran the image and reputation of Blacks into the gutter. Jews smeared black shoe polish on their faces and assaulted the consciousness of the entire world with anti-Black racism in its purest and most concentrated form.

 

It gets worse.

At the same moment the ADL began, a number of Jewish businessmen from the Boston area were plotting to finance the most degrading and hateful blackface movie ever made—The Birth of a Nation. The silent movie epic released in 1915 was the first movie blockbuster, smashing all box office records. It rewrote the history of the Civil War to make the Ku Klux Klan terrorists the heroes and saviors of a grateful white nation. It depicted all Blacks as notorious criminals, uncontrollable rapists of white women, and intellectual, social, and spiritual inferiors who had no useful or rightful function in America except as slaves. So racially hateful were its blackface portrayals of the Black man that the Ku Klux Klan used this Jewish production as its recruitment film! How many of the thousands of American lynchings this Jewish-financed film was responsible for may never be known. For the many white immigrants pouring in to America by the millions at the time, it was the first “black” image they would see and it depicted an American racial system they could believe in.

The NAACP condemned The Birth of a Nation in the harshest words, whilst Jewish reviewers trumpeted the virtues of the film, Jewish-owned movie theaters premiered it, and Jewish distributors spread the debased Black stereotypes to theaters around the world. Louis B. Mayer made so much money distributing this blackface hatefest that he started Metro-Goldwyn-Mayer (MGM), the “greatest” of the Jewish movie studios, where he continued to make movies that trafficked in the ugliest stereotypes of Native Americans, Asians, Blacks, Latinos, and Arabs.

Jewish music publisher Isidore Witmark created and distributed disgraceful “coon” images of Blacks for world consumption. Witmark, along with his Hollywood brethren, were leaders in institutionalizing anti-Black racism.

The Jewish-dominated media takes a hard line with whites who have been blackface-outed, but they are careful to conceal the Jewish role in the history of this truly American hate phenomenon. Kelly, Herring, and Northam were certainly racially naïve, but the treacherous blackface Jews had something far more diabolical in mind.

 


Megyn Kelly Unwittingly Exposes Jewish Role in Blackface

To most, Megyn Kelly’s on-air apology for her blackface blunder was sincere and heartfelt. “I realize now that such behavior is indeed wrong, and I am sorry,” Kelly wrote on Twitter. “The history of blackface in our culture is abhorrent; the wounds too deep.”

To say the least.

Whether or not one accepts Kelly’s mea culpa, it is essential to note that Kelly, who is Roman Catholic, was apologizing for a Jewish crime.

Blackface, as a form of American “entertainment,” started out in the early 1800s, most notably through a highly popular minstrel show performer by the name of Thomas “Daddy” Rice, a white entertainer who blackened his face with burnt cork to ridicule Blacks and their culture. White minstrel shows lampooned Black people, presenting them as dim-witted, lazy, buffoonish, superstitious, criminal, and musical. Rice’s popular blackface character was named Jim Crow and was so beloved among whites that the name came to describe the racially repressive era after the Civil War in which white society was determined to violently force Blacks back into plantation slavery. Generations later, Jews would become perversely connected to this racist “artform” as performers and as fans, filling auditoriums to watch blackface stage shows in Jewish neighborhoods all over America.

Jewish History of Blackface Hate

Dr. Irving Howe

From the time of the earliest American colonies Jews had always been a formidable presence in the slave-based economy, where they became important slave traders and marketers of slavery’s products, like sugar, cotton, and tobacco. But after the Civil War Jewish immigration to America increased dramatically. Their history in Europe with Gentiles over many centuries and in many nations was one of conflict and violence, and so in America they saw distinct advantages in helping to create a society that made but one distinction based entirely on skin color. Brandeis’s Irving Howe, author of the most popular book on American Jewish history, World of Our Fathers, is one of many Jewish scholars that admitted that Blacks were scapegoats for Jews:

For decades American blacks had served…as a kind of buffer for American Jews. So long as native hatreds were taken out primarily on blacks, they were less likely to be taken out on Jews.

So, for Jews, anti-Black racism was a benefit and a valuable asset to their own goals of gaining power and influence. Jews saw minstrelsy as a vehicle to claim their whiteness and to ensure that racism—and not religious ethnicism—would become the American way. It was this conscious Jewish need to use Blacks as scapegoats that drove their involvement in that atrocious “art form” known as blackface minstrelsy. Jewish film scholar Lester D. Friedman is even more direct in his book Hollywood’s Image of the Jew:

In actuality, many Jewish performers gained early and continued success using [blackface]….Indeed, it is too easy to ignore the derogatory aspects of such activities, the unconscious racism accepted and nourished by such cruel parodies, by citing historical contexts. The undisguised elements of ridicule in such blackface portrayals by Jews mimicking the outlandish stereotypes of blacks now looks suspiciously like one group’s desperate need to assert its own superiority by mimicking another.

University of California religious studies professor Dr. Michael Alexander, received a National Jewish Book Award for his bookin which he asserts that minstrelsy—the public ridicule and mockery of the Black race—became identified with Jewish entertainers: “Jews performed this kind of minstrelsy in the 1910s and 1920s better and more often than any other group in America. Jewish faces covered in cork were ubiquitous.”


In fact, blackface and a singing style pioneered by Jews known as “coon shouting” were mainstays of Jewish entertainment, with their most popular performers, like Eddie Cantor, Sophie Tucker, Al Jolson, Irving Berlin, George Burns, and Florenz Ziegfeld, using Black-race mockery as a dominant theme. Jewish historian Dr. Jeffrey Melnick says that Jews played “a major role in the manufacture of the racial stereotypes on which American popular culture depended.”

Al Jolson Sings “Mammy” in blackface

But blackface Jews had an even more devious design. According to Melnick,

Both Cantor and Jolson cultivated what Cantor called “the cultured, pansy-like negro”; Cantor also made an early blackface appearance in drag. The production of effeminacy—which is, in this context, another way of saying homosexuality—as a major modality for these Jewish men in blackface was also tied up with their display as children…

Dr. Jeffrey Melnick

What blackface represents, then, is not simply Jewish ridicule of Blacks, but a purposefully malicious destruction and redefinition of the Black character fronting as entertainment. And it is a formula that has permeated the film output of Jewish Hollywood for generations. This treachery was not limited to the Jewish actors on stage and screen. B’nai B’rith is seen as the most prestigious of Jewish organizations, and it is the parent of the notorious den of spies and racists, the Anti-Defamation League. In the 1920s their monthly magazine printed meticulously crafted examples of what they considered “jokes.” Here is a B’nai B’rith “joke” the Jewish editors titled DARKTOWN

Rastus: Whuffo’ yo’ ‘jeculate yoself to me in dat onery manner?

Cicero: Whoffo’? Nigguh, who do yo’ calkerate yo’ is?

Rastus: Yo’ nigguh! mah family am quality folks an’ ahm a pusson of rank.

Cicero: Huh! ah’ll have yo’ triflin’, Rastus, to know that ah’m ranker than you is.

And this B’nai B’rith Magazine “joke” is titled “Good Enough”:

Mose: Dat’s a purty shirt you has on, Rastus, How many yards does it take for one ob dem shirts?

Rastus: What you all talking about, Nigger? I done got three like them in one yard last night.

In the age of Black leaders and thinkers of such intelligence and prestige as W.E.B. Du Bois, Marcus Garvey, Booker T. Washington, Nannie Burroughs, William Monroe Trotter, Ida B. Wells-Barnett, and Nobel Drew Ali, among many, many others, the Jewish leadership preferred to invent “nigguhs” they named “Rastus,” “Cicero,” and “Mose.”

B’nai B’rith’s blackface depictions occurred in the 1920s, more than a decade after that same organization set up the Anti-Defamation League to counter what it saw as the prevalent public ridicule of Jews! According to the ADL’s 1913 charter:

For a number of years a tendency has manifested itself in American life toward the caricaturing and defaming of Jews on the stage, in moving pictures. The effect of this on the unthinking public has been to create an untrue and injurious impression of an entire people and to expose the Jew to undeserved contempt, and ridicule. The caricatures center around some idiosyncrasy of the few which, by the thoughtless public, is often taken as a pivotal characteristic of the entire people…

So the highest levels of the American Jewish leadership were keenly aware of the negative power of these blackface images, and even forced their own Hollywood brethren to cleanse the Jewish image, while these same Jews ran the image and reputation of Blacks into the gutter. Jews smeared black shoe polish on their faces and assaulted the consciousness of the entire world with anti-Black racism in its purest and most concentrated form.

It gets worse.

At the same moment the ADL began, a number of Jewish businessmen from the Boston area were plotting to finance the most degrading and hateful blackface movie ever made—The Birth of a Nation. The silent movie epic released in 1915 was the first movie blockbuster, smashing all box office records. It rewrote the history of the Civil War to make the Ku Klux Klan terrorists the heroes and saviors of a grateful white nation. It depicted all Blacks as notorious criminals, uncontrollable rapists of white women, and intellectual, social, and spiritual inferiors who had no useful or rightful function in America except as slaves. So racially hateful were its portrayals of the Black man that the Ku Klux Klan used this Jewish production as its recruitment film. How many of the thousands of American lynchings this Jewish-financed film was responsible for may never be known. For the many white immigrants pouring in to America by the millions at the time, it was the first Black image they would see and it depicted an American racial system they could believe in.

The NAACP condemned The Birth of a Nation in the harshest words, whilst Jewish reviewers trumpeted the virtues of the film, Jewish-owned movie theaters premiered it, and Jewish distributors spread the debased Black stereotypes to theaters around the world. Louis B. Mayer made so much money distributing this blackface hatefest of a film that he started Metro-Goldwyn-Mayer (MGM), the “greatest” of the Jewish movie studios, where he continued to make movies that trafficked in the ugliest stereotypes of Native Americans, Asians, Blacks, Latinos, and Arabs.

Blacks in the media took a hard line with NBC’s Megyn Kelly for her racial blunder. “She owes a bigger apology to folks around the country of color…because these minstrel shows demean and denigrate a race…[it] wasn’t right,” Al Roker said. And Today anchors called her comment “stupid and indefensible.” But in truth they really should have thanked her for helping to expose and hold responsible the true—Jewish— originators of the most hateful of American “traditions,” blackface minstrelsy. Kelly was certainly racially naïve, but the treacherous blackface Jews had something far more diabolical in mind.

 


Rabbi’s Words Connect Jewish Talmud to Anti-Black Violence, Police Killings

Student Minister Demetric Muhammad, NOI Research Group

The Bible and the Holy Qur’an describe the creation of man as a sacred act. The Holy Qur’an states that Allah (God) created man of Black mud. The Bible states that man is created in the image of God. 

In the Bible David states that “you are all gods, children of the Most High God.” David’s son Solomon states, “I am Black but beautiful, oh you daughters of Jerusalem.”

What emerges from these various scriptural passages is a picture of humanity as divine, beautiful and Black.

The image of Black people in America has always been controversial. A pure and honest examination of scripture and world history reveals a persistent negative image portrayal of Black people. In fact, the Times of Israel reported just a few days ago that the Sephardic Chief Rabbi of Israel referred to Black people as monkeys. His office defended him by stating that the Chief Rabbi was only quoting a passage from the Talmud.

During the Honorable Minister Louis Farrakhan’s magnificent Saviours’ Day 2018 message, he cited instances that had taken place in Israel where spray-painted on churches were the graffiti words “Jesus was a monkey.” The Minister’s audience was shocked at learning of the Jewish hostility for Jesus coming out of Israel.

Most of the Minister’s audience is oblivious to the existence of the Jewish Talmud, the source where the Chief Rabbi learned to refer to Black people as monkeys.

“Jesus was a monkey” scrawled on Christian monastery in Israel.

It was the Jewish Talmud—a voluminous collection of rabbinical interpretations of the Torah—that introduced to the world the Hamitic Curse as an explanation for the origins of black skin and physical features. Even staunch critic of the Nation of Islam Harold Brackman of the Simon Wiesenthal Center tells us in his doctoral dissertation, “The Ebb and Flow of Conflict: A History of Black–Jewish Relations Through 1900,” that

There is no denying that the Babylonian Talmud was the first source to read a Negrophobic content into the episode by stressing Canaan’s fraternal connection with Cush. The Talmudic glosses of the episode added the stigma of blackness to the fate of enslavement that Noah predicted for Ham’s progeny…

The Minister also reminded his attentive Saviours’ Day audience of the many scandalous depictions of President Barack Obama by racist cartoonists, who portrayed him and his lovely wife, Michelle Obama, as monkeys or apes.

Rep. Todd Rokita

Indiana Representative Todd Rokita has sponsored a resolution that condemns our beloved Minister “for promoting ideas that create animosity and anger toward Jewish Americans and the Jewish religion.”

As a Black man, I find Congressman Rokita’s resolution ridiculous, offensive and wicked. It is especially offensive because he has never issued a resolution to condemn those who “promote ideas that create animosity and anger toward Black or African Americans.”

If he did, he would understand the sentiments being expressed by Minister Farrakhan and Black Americans who know all too well that in America no group has been the victim of “ideas that create animosity and anger” more than the American-born Black man and woman.

The record of history is clear: Minister Farrakhan’s words have never produced harm, suffering or the loss of life among the Jewish people. But the globally exported view that Jewish leaders have of Black people has been deadly!

In fact, a direct line of correlation can be drawn from the recent police killing of Stephon Clark in Sacramento, California, to the Jewish Talmud’s views of Black people as subhuman.

In an eye-opening and groundbreaking 2014 study titled “The Essence of Innocence: Consequences of Dehumanizing Black Children we learn about how Black children, especially Black boys, are on the receiving end of harsher punishments and longer prison sentences when they enter the criminal justice system. The abstract of the study defines its scope with the following:

The social category “children” defines a group of individuals who are perceived to be distinct, with essential characteristics including innocence and the need for protection. The present research examined whether Black boys are given the protections of childhood equally to their peers. We tested 3 hypotheses: (a) that Black boys are seen as less “childlike” than their White peers, (b) that the characteristics associated with childhood will be applied less when thinking specifically about Black boys relative to White boys, and (c) that these trends would be exacerbated in contexts where Black males are dehumanized by associating them (implicitly) with apes.

In describing a central aspect of their research and results, the authors state:

In this research, White participants who were subliminally exposed to images of apes before watching a video of police beating a Black man were more likely to endorse that beating, despite the extremity of the violence. Participants did not, however, endorse the same beating when the suspect was White or when they had not been primed with the ape image. In a follow-up study, Goff et al. coded newspaper articles about death-eligible criminal cases in Philadelphia for ape-related metaphors. They found that the frequency of ape-related imagery predicted whether or not criminals were executed by the state. Of importance, in neither study was racial prejudice (explicit or implicit) a significant predictor. That is, dehumanization uniquely predicted violence and its endorsement.

The researchers, whose article appears in the Journal of Personality and Social Psychology, cite the histories of Emmett Till and George Stinney Jr. to highlight the importance of their study tounderstanding the all-too-frequent phenomenon of violence against Black children:

In 1944, a Black 14-year-old, George Junius Stinney Jr., became the youngest person on record in the United States to be legally executed by the state (electrocuted without the benefit of a lawyer, witnesses, or a record of confession; Jones, 2007). And, notoriously, in 1955, a 14-year-old Black boy named Emmett Till was dragged from his bed, disfigured, and lynched for allegedly whistling at a White woman (Crowe, 2003). What psychological context could explain this treatment of children?

Prior to participating in this profound research report, one of the researchers, Phillip Atiba Goff, conducted research to examine the impacts of Blacks being associated with apes and monkeys. His team of researchers produced a report titled “Not Yet Human: Implicit Knowledge, Historical Dehumanization, and Contemporary Consequences.” Among their conclusions, the researchers state:

…the implicit association between Blacks and apes can lead to greater endorsement of violence against a Black suspect than against a White suspect. Finally, in Study 6, we demonstrated that subtle media representations of Blacks as apelike are associated with jury decisions to execute Black defendants.

This scientific study brings to light the danger of the Talmudic dehumanization of Black people that the Israeli chief rabbi articulated. And long before the Chief Rabbi of Israel, the revered twelfth-century rabbi Moses Maimonides, in his Guide for the Perplexed—considered the “greatest work of Jewish religious philosophy”—reinforced the racism of the Talmud when he said Black Africans were “irrational animals,” “lower than the rank of man but higher than the rank of the apes.” Whether it is classifying Blacks as subhuman “strange creatures” or associating black skin with a divine curse, the Talmudic view of Black people is bizarre, ignoble and grotesque. For Black people, it is a deadly view.

The danger of the Talmudic view of Black people becomes especially important when we consider the globally exported and highly influential entertainment and pop culture industry of America. At the center of American popular culture is the motion picture industry, better known as Hollywood. Author Neal Gabler discusses thehistory of Hollywood in his book An Empire of Their Own: How the Jews Invented Hollywood. Prof. Gabler’s description of the Jewish founding, control and influence of Hollywood is illuminating. He writes:

What is amazing is the extent to which they succeeded in promulgating this fiction throughout the world. By making a “shadow” America, one which idealized every old glorifying bromide about the country, the Hollywood Jews created a powerful cluster of images and ideas—so powerful that, in a sense, they colonized the American imagination….Ultimately, American values came to be defined largely by the movies the Jews made.

As to what role the Talmud has played in the creation of this “powerful cluster of images and ideas” that have “colonized the American imagination, we reference the words of Pulitzer Prize-winning author Herman Wouk.   In his book This is My God: The Jewish Way of Life, he wrote:

The Talmud is to this day the circulating heart’s blood of the Jewish religion.  Whatever laws, customs or ceremonies we observe — whether we are Orthodox, Conservative, Reform or merely spasmodic sentimentalists — we follow the Talmud.  It is our common law.

The powerful images and ideas that include the Talmudic dehumanization of Black people have been referenced and described by screenwriter Dalton Trumbo when he wrote:

[Hollywood made] tarts of the Negro’s daughters, crap shooters of his sons, obsequious Uncle Toms of his fathers, superstitious and grotesque crones of his mothers, strutting peacocks of his successful men, psalm-singing mountebanks of his priests, and Barnum and Bailey side-shows of his religion.

Jewish authors Barry Schwartz and Robert Disch, of the book White Racism: Its History, Pathology, and Practice, point exclusively to Hollywood as the fount from which the sewage of anti-Black racism and dehumanization have flowed and infected the world:

This statement should surprise no one, since Hollywood, more than any other institution, has been responsible for the glorification of the South, past and present, and for creating the image of black inferiority. It created the lying, stealing, childish, eyeball-rolling, feet-shuffling, sex-obsessed, teeth-showing, dice-shooting black male, and told the world this was the real Negro in the U.S.A. It invented the Negro “mammy” whose breasts were always large enough to suckle an entire nation, and who always loved old massa’s chilluns more than she loved her own. The men of Fake-town have brainwashed America and the entire world with the brush of white supremacy.

According to a report titled Diversity in Film and Television, authored by the diversity-monitoring entity called Media Scope, scientific studies have proven that the constant exposure to dehumanizing images of Black people in the media negatively impacts how whites view Blacks.  The Media Scope report states:

Considerable public concern has arisen over the issue of media diversity, as it is generally accepted that mass media has strong social and psychological effects on viewers. Film and television, for example, provide many children with their first exposure to people of other races, ethnicities, religions and cultures. What they see onscreen, therefore, can impact their attitudes about the treatment of others. One study found, for instance, that two years of viewing Sesame Street by European-American preschoolers was associated with more positive attitudes toward African and Latino Americans. Another study found that white children exposed to a negative television portrayal of African-Americans had a negative change in attitude toward blacks.

These disrespectful images of Black people, which permeate all forms of entertainment, serve a hidden role in psychologically programming the hatred of Black people into the thinking of all who are exposed to them. Hard-wired, now, into the thinking of even some in the Black community is the Hollywood-created, Talmudic-based image of Black humanity as subhuman, evil and shameful.

The negative stereotypes and images of Black people that have long been staples of Hollywood movie production are mirror reflections of the Jewish Talmud’s “ideas that create animosity and anger toward Black or African Americans.” Research studies have proven the dangerous effect of those views. Yet Congressman Rokita has done nothing to interfere with the proliferation of these ideas that remain in Hollywood and the music industry.

The significance of what we have presented in this essay is the role that the Talmudic view of Black people has played in what happened to Trayvon Martin, Tamir Rice, Michael Brown, DeAunta Terrell Farrow and most recently Stephon Clark. All of these were young Black males who were murdered by either police or a private citizen who looked at these beautiful young men and saw them as older, menacing and threatening. And now we understand how these corrupt images of Black males got into the minds of their murderers.

I say that if Congressman Rokita will not sponsor a resolution to condemn all who promote “ideas that create animosity and anger toward Black or African Americans,” he proves that his sensitivity to dangerous ideas only applies to the Jewish community. He proves that at the heart of his condemnation of Minister Farrakhan is his hatred of the Minister for loving the long-vilified and dehumanized Black people enough to challenge all who mean us harm!

What Billy Graham & Nixon Whispered, Farrakhan Roars

The death of the Reverend Billy Graham has brought to the fore a long-standing and troubling reality now facing the religious world. It is significant indeed that the man known as “America’s Preacher”—a man who has counseled 12 Christian presidents as far back as Harry Truman—has been silenced just as religious conflict and discord descend upon the world. But secretly recorded White House audiotapes show that Reverend Graham’s public preaching of the Gospel concealed the depth of his concern over the Jewish threat that faces America and the world.

Pres. Richard Nixon ordered that all White House conversations be secretly recorded, and when he reached out to the Rev. Billy Graham shortly after Israel’s shooting down of an unarmed civilian airplane in 1973—a brutal terrorist act that angered both men—Graham offered the president some very earnest, powerful, and private advice:

The Bible talks about two kinds of Jews. One is called the Synagogue of Satan. They’re the ones putting out the pornographic literature. They’re the ones putting out these obscene films.”[1]

The Rev. Graham is here referring to the powerful distinction made in the Bible’s Book of Revelation 2:9, which says: “I know the blasphemy of them which say they are Jews, and are not, but are the synagogue of Satan.…” It is the passage that warns the Gentiles that they must be careful to view those who identify as Jews as two separate people: righteous Jews that adhere to the Old Testament teachings of Moses, and a second group—an errant cabal—that have always concealed their wicked activities under the false claim that they are the Chosen People of God. Jesus Himself confronted them in the notorious passage from John 8, in which he said, “Ye are of your father the devil, and the lusts of your father ye will do.”

The historical record is filled to the brim with these imposter Jews, who for centuries dominated the slave trade and its atrocities and all manner of vice and degeneracy.[2] The Rev. Graham was warning Nixon of those Jews, and both agreed that those Jews have done serious damage to the country.

In 2017, the Honorable Minister Louis Farrakhan rolled up into the Watergate Hotel—a landmark location in Nixon-era political history—in order to emphasize his very open and public advice to the current president Donald Trump:

“[T]here are righteous Jews, good Jews, Jews that want to practice the teachings of the prophets. But then there are others who do not wish to practice…”[3]

Quietly, Graham offered the exact same advice to Nixon, but it was offered in hushed tones and framed by fear. Who were they scared of and why? The Minister was fearlessly crystal clear:

“I don’t hear you preaching that full Gospel. You are afraid of consequences. But no man can say he’s a Jew and promote homosexuality. No man can say he’s a Jew and promote that which is against the commandments of God. No man can say he’s a Jew and run the despicable, degenerate movies. The filth and degenerate language.”

On the subject of homosexuality the Rev. Graham opined to his last day that “The Bible provides God’s blueprint for marriage and for His good gift of sex in Genesis 2:24. The gift is only to be enjoyed within a marriage between a man and a woman.”[4] Billy Graham’s wife, Ruth, who helped him craft and research his sermons and books, actually took it a step further than her husband would go:

“If God doesn’t soon bring judgment upon America, He’ll have to go back and apologize to Sodom and Gomorrah!”[5]

Rev. Graham and Min. Farrakhan say the Synagogue of Satan is responsible for America’s apocalyptic downfall, and both received official White House backing. Pres. Barack Obama’s second-in-command, Vice President Joseph Biden, told Jewish leaders in the media that they are in large part responsible for American acceptance of gay marriage:

“I bet you 85 percent of those changes, whether it’s in Hollywood or social media are a consequence of Jewish leaders in the industry….The influence is immense, the influence is immense.”[6]

In another conversation with President Nixon, Graham complained about what he saw as Jewish domination of the news media:

“This stranglehold has got to be broken or this country is going down the drain.”

“You believe that?” Nixon asked in response.

“Yes, sir,” Mr. Graham said.

“Oh, boy. So do I,” Nixon said. “I can’t ever say that, but I believe it.”

“No, but if you get elected a second time, then we might be able to do something,” Mr. Graham said.[7]

The Minister is not elected—except by God—and he spoke publicly and powerfully, not into a bugged telephone, but into a very live and open microphone:

“The enemy that owns [reality TV] is the same people that own Hollywood, the same people that control your press, the same people that control your media, the same people who are the publishers, the same people who are the distributors, the same Synagogue of Satan, and they put you before the world in this disgraceful manner.”

At that time Nixon was Commander in Chief of what was claimed to be the greatest military machine on the earth. He had an army, a navy, an air force, the marines, and a space program; the crusading Billy Graham claims to have preached to “nearly 215 million people in more than 185 countries and territories.” Yet these two “powerful” Christian men fretted over a force so powerful that neither is known to have ever publicly spoken the term “Synagogue of Satan”!

So errant were these Satanic Jews that Nixon wondered out loud if the Israelis and their Zionist supporters had a death wish:

“Can’t figure it out. Can’t figure it out. Well, it may be they have a death wish. You know, that’s been the problems with our Jewish friends for centuries….It’s unfortunate, but this has happened to the Jews: it happened in Spain, it’s happened in Germany, it’s happening. And now it’s gonna happen in America, if these people don’t start behaving.“

The whispering Reverend Graham has now fallen silent at age 99. Despite the Revelation of his private condemnation of Jewish behavior, he is being honored with a state funeral that only four people have ever had, whilst the roaring Brother Minister Farrakhan is being pilloried for the very same condemnation of Jewish misdeeds. The pungent hypocrisy of the selective Jewish outrage reeks indeed. Nixon never repudiated his beliefs and Graham claimed to have a faulty memory, but the trepidation they both expressed in those phone calls betrays a fear that one would never expect from two of the most powerful men in the world. The “Synagogue of Satan” had both of them trembling. Said Graham:

“A lot of Jews are great friends of mine. They swarm around me and are friendly to me because they know that I am friendly to Israel and so forth. But they don’t know how I really feel about what they’re doing to this country, and I have no power and no way to handle them.”

Nixon replied, “You must not let them know.”

Let both of these men stand aside. A true leader is now present and fully able to do what the 12 presidents and their Christian pastor could not: speak truth to the hidden power; to that one in the shadows, the one that cowed presidents—the Synagogue of Satan. The Honorable Minister Louis Farrakhan is that man and that leader who speaks Truth to that power.

 


[1] https://noirg.org/articles/billy-graham-warned-nixon-of-synagogue-of-satan/

[2] https://5j6062.a2cdn1.secureserver.net/wp-content/uploads/2018/11/HKP.37pgs.2018.final_.pdf

[3] https://www.noi.org/press2017/

[4] https://billygraham.org/answer/does-the-bible-approve-of-some-homosexual-relationships/

[5] https://www.huffingtonpost.com/2012/07/26/billy-grahams-prayer-lett_n_1705811.html

[6] https://www.washingtonpost.com/news/post-politics/wp/2013/05/22/biden-jewish-leaders-helped-gay-marriage-succeed/

[7] http://www.nytimes.com/2002/03/03/us/billy-graham-apologizes-to-jews-for-his-remarks-on-nixon-tapes.html

Hollywood’s Racist History: Did They Know What They Were Doing?

The treatment of Blacks in movies was horrendous from the start. The very first blockbuster, Birth of a Nation, glorified the Ku Klux Klan and placed blame for all the nation’s problems on the Black man and woman. The effects of these images forced Blacks to the defensive at every turn. Certainly, many of the whites who resisted Dr. Martin Luther King and the civil rights crusaders were reacting to the highly negative criminal images of Blacks they knew only through Hollywood movies. The question is not whether the images were racist—they were. The question is whether the image makers knew the damage those images could—and did in fact do—to the Black man and woman.

The most potent testimony to this question pre-dates the worst of the anti-Black images and comes from an unassailable source—the founding charter of the Anti-Defamation League. In 1908, Sigmund Livingston, a Bloomington, Illinois lawyer, initiated a B’nai B’rith division to counter the prevalent public ridicule of Jews. According to the Anti-Defamation League’s 1913 charter:

For a number of years a tendency has manifested itself in American life toward the caricaturing and defaming of Jews on the stage, in moving pictures. The effect of this on the unthinking public has been to create an untrue and injurious impression of an entire people and to expose the Jew to undeserved contempt, and ridicule. The caricatures center around some idiosyncrasy of the few which, by the thoughtless public, is often taken as a pivotal characteristic of the entire people…

The League’s “ultimate purpose,” the charter read, “is to secure justice and fair treatment to all citizens alike and to put an end forever to unjust and unfair discrimination against, and ridicule of, any sect or body of citizens.” Jewish scholar Nathan Belth writes that

The stage and screen especially were to be watched carefully. If it was “apparent that a play gives an unfair or untrue portrayal of a Jew,” the vigilance program “would endeavor to prevent its production in its offensive form, or if already staged…secure the elimination of the objectionable matter.” The image of the Jew stamped into the minds of Americans was that of the cheater, the arsonist, the deliberate bankrupt, the lecher, liar and miser—a man to whom a penny dishonestly earned and greedily saved was the purpose of life. As we shall see, such stereotypes were laying the groundwork for mob violence and organized hate groups.

The ADL was keenly aware of the power of images and indeed was formed with the expressed purpose of stopping them. It tasked itself to view, examine and analyze EVERY movie and staged image for its racially slanderous content and then to actively move to suppress it. From their inception in 1913, the ADL knew exactly what they were looking for.

 


NATHAN GLAZER, Jewish sociologist, taught at UC Berkeley and Harvard.

“If the Establishment acts stupidly to increase race prejudice and hatred, Jews must bear part of the responsibility. For it is not only in the mass media and as intellectuals that Jews play a significant role in shaping what this country thinks and does; they also play such a role as part of the major power centers of the nation—business, government, the universities.”