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.

 


The Scapegoating of Blacks is an Old (very old) Jewish Trick

To a room “packed with Israeli diplomats,” Judith Varnai Shorer, the Israeli consul general in Atlanta, Georgia, is filmed saying this: “The major problem with Israel is with the young generation of the black community— Black Lives Matter starts there…

 

The recent attack on The Honorable Minister Louis Farrakhan and his supporters by what is left of the aging old-line “Jewish leadership” is revealing much more about Jewish history than about Farrakhan. For the latest Jewish onslaught shows that the Satanic gangsters at the Anti-Defamation League and their media operatives are merely rehashing a racist Jewish tradition that was so profitable for them that they are loath to give it up.

From slavery on forward, Jews historically have earned the largest benefits from scapegoating Blacks for all of society’s ills. In fact, Blacks have been such a useful lightning rod for Jews that much of their massive wealth acquisition in America is directly attributable to the twin cash cows of Black slave labor and the presence of the Black man and woman to absorb the white animosity and violence that had previously targeted Jews. The intra-community conflicts that kept white Jews and Gentiles in almost a constant state of war in Europe were redirected in America to the Black slave as Jews and Gentile whites teamed up to keep afloat the most profitable enterprise in world history.

Jews grew the wealthiest where Black oppression was most vicious, such as in the plantation South. As Jeffrey Goldberg of the Atlantic Magazine just revealed, “The presence of the southern Jews complemented the system of slavery; their mercantilistic interest made slavery a more effective labor system.” And it made them the wealthiest of ALL white European immigrant communities! In effect, admits Goldberg, African slavery was in the Jewish businessman’s wheelhouse—it was his comfort zone, his stock in trade.

So the targeting of Blacks who might disturb this highly lucrative revenue stream has become a Jewish business in itself, and since 1913 the Jewish ADL has become the Amazon.com or Apple of the anti-Black scapegoating industry. And Jewish scholars have never been loath to admit the obvious historical benefits of racist scapegoating for Jews.

Dr. Henry Feingold

Baruch College professor Dr. Henry Feingold penned one of the most popular books on Jewish American history wherein he wrote that for Jews there was a “concealed advantage in living in a society which reserved most of its fear and rancor for its blacks.” Dr. Harold Brackman of the Simon Wiesenthal Center wrote that Blacks in the Civil War era “bore the main brunt of the war-heightened social tensions that, had there been no black scapegoats, would certainly have [been] borne much more heavily [by] the Jews.” The popular Jewish writer and historian Eli Evans wrote that Southern Jews

attribute the lack of personal anti-Semitic incidents to the presence of the Negro, whom they refer to as “the lightning rod for prejudice.”

Dr. Louis Schmier

Dr. Louis Schmier, an Anti-Defamation League researcher, uses the same language in his analysis:

the presence of blacks acts as a lightning rod to attract antagonistic attitudes which otherwise might be directed against the Jews…

Jewish folklorist David Max Eichhorn wrote that the Southern Jew

was spared some of the indignities suffered by the Jews in more northern states, mainly because of the ubiquitous presence of a convenient scapegoat, the black.

Leon Harris discusses the remarkable rise of Jewish-owned department stores in the South, like Neiman-Marcus and Rich’s, and reasons that

After the War and Reconstruction, the exploitation and consequent hatred of the “niggers” on the part of many Southern whites diverted much of the hostility that might otherwise have been directed at Jews.

Dr. Irving Howe

Brandeis’s Irving Howe, author of the most popular book on American Jewish history, World of Our Fathers, added that

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.

The winner of the Southern Jewish History Book Prize, Dr. Clive Webb, stated:

No doubt white animosity towards African-Americans continued to deflect criticism of an ethnic minority which might otherwise have found itself more openly despised and discriminated against.

There is a wealth of testimony captured in great scholarly detail in the Nation of Islam’s The Secret Relationship Between Blacks and Jews, Vol. 2, wherein the value of Black scapegoats for Jews is presented in all its ugliness. The illiteracy of the major Jewish leaders and their ignorance of what their own scholars have written should not be a deterrent to our understanding of the Jewish role in Black oppression.

Dr. Clive Webb

Blacks are now waking up to the reality that Jews have NEVER had any compelling interest in seeing Blacks emerge from their degraded political, economic, and social station at the bottom of American society. White Supremacy has worked so well for them that Jews as a group have always been the richest of all whites in America. Only the Nation of Islam—an independent Black organization founded in faith and truth—is capable of upsetting this twisted and exploitative Black-Jewish, slave-slave master relationship. So it stands to reason that Jewish leaders are “all in” to maintain and reinforce America’s racial status quo.

So make no mistake—the latest wave of anti-Black invective directed at Farrakhan and the Nation of Islam by the Synagogue of Satan is not motivated by Jewish fear of “Black anti-Semitism.” It is just the dog returning to its vomit.