BlacKkKlansman and the Khazarian Mafia

…by Jonas E. Alexis

JEA: Spike Lee said of his movie Da Sweet Blood of Jesus that it “is a re-imagination of a cult classic that came out during the Blaxploitation classic. The film is called Ganja & Hess, directed by the late great Bill Gunn.” The questions are: who was Bill Gunn, and what was Blaxploitation about?

Gunn was a native of Philadelphia who began his movie career by playing a role in The Immoralist on Broadway in 1954. The Immoralist was a play written by Jewish playwright Ruth and Augustus Goetz.

Blaxploitation was another subversive movement which was logically the culmination of the Black/Jewish alliance in America. E. Michael Jones put it best in our interview in 2016.

EMJ: For 60 years—from 1909 with the founding of the NAACP to 1969 when the FBI shut down the Black Panthers—influential Jews in organizations as diverse as the NAACP and the Communist Party tried to turn the Negro into a revolutionary. They created a monster instead. This is precisely what Tom Watson predicted in the aftermath of the Leo Frank trial:

“The National Pencil Factory, owned by Frank’s people, fought our Child Labor bill fiercely and helped to kill it—and in God’s mysterious way, it cost the Superintendent his life.”[1] In closing ranks behind Frank, the nation’s wealthy Jews had “blown the breath of life into the Monster of Race Hatred; and this Frankenstein, whom you created at such enormous expense, WILL HUNT YOU DOWN![2]

In the aftermath of Ferguson, it looked as if Tom Watson’s warning was coming true. As a result of the Frank case, the Jews declared war on the South. The same influential Jews who had taken up the banner of Leo Frank went on to create the Anti-Defamation League.

But more importantly for our purposes they infected the Negro with the virus of revolution. The Negroes of the South Side of Chicago now act the way they do because of an idea that was planted in their mind by Jewish revolutionaries.

The main vehicle for this transformation in the black mind (from rural sharecropper to urban revolutionary) was the civil rights movement, which was the most successful part of the Black-Jewish Alliance, which was the 60-year-long attempt on the part of Jews at organizations like the NAACP and the Communist Party to turn Negroes into revolutionaries.

After months of preliminary work, Martin Luther King arrived in Chicago to kick off his housing drive in June 1966. Chicago had been a racial battlefield since the Chicago Housing Authority, the Quakers, B’nai B’rith/ADL and Louis Wirth redoubled their efforts at to complete the social engineering of Chicago’s ethnic neighborhoods that had begun during World War II.

But things started to go wrong from the beginning, and they never ended up going right. When King stepped out of his car to lead a march through “segregated” Marquette Park, he was greeted by a hail of rocks and bottles, one of which hit him on the head and staggered him to his knees.

The Lithuanians who would later set fire to the marchers’ cars and chase Jesse Jackson down 63rd St. were outraged by the fact that people from another part of the country would come into their neighborhood and tell them to sell their homes.

That wasn’t precisely King’s message, but the simple fact of the matter was that no one, not even the Chicago Tribune, knew exactly what King’s message was. According to an editorial in the Chicago Tribune, the message of the “paid professional agitators” who made up the march was “give up your homes and get out so that we can take over.”[3]

King was befuddled, as Mayor Daley indicated, because he didn’t understand Chicago. Dorothy Tillman, one of King’s lieutenants, only strengthened this suspicion when she said, in effect, Chicago was different than what they had expected. “Down South,” the SCLC’s Dorothy Tillman opined, “you were black or white. You wasn’t Irish or Polish or all of this.”[4]

The regime had promoted revolution when it suited them. In 1967 Sargent Shriver, as head of the Office of Economic Opportunity, had given the Blackstone Rangers, a Chicago gang which was one of the predecessors of the Gangster Disciples, a grant for over $900,000 to engage in, well, gang-related activity, which is to say criminal behavior, which at the time was a convenient way of driving Catholics out of the ethnic neighborhoods they had established on the South Side of Chicago.

When the regime realized that the civil rights movement had morphed into a monster, the FBI was sent in to kill the Black Panthers. They created a COINTELPRO operation to take out the Chicago branch, then headed by Fred Hampton.

The image that succeeded the Black Panther as revolutionary in the Negro mind was the pimp. In his article “The Myth of the Great Black Pimp,” (8/21/01) Adissa Banjoko sees a connection between the revolutionary Black Panthers of the ‘60s and the pimps of the ‘70s. The latter succeeded the former as ghetto role model. When the Negro got scared, he became a pimp, or, as Banjoko put it,

“Black America was tired of fighting with their white oppressors and on top of that were SCARED to fight back. The F.B.I.’s COINTELPRO orchestrated assassination and imprisonment of our most courageous soldiers like Bobby Hutton, Fred Hampton, Geronimo Pratt and others left us ‘shook’ as a people.”

The pimp is a classic example of one of the groups which make up what Karl Marx termed the Lumpenproletariat, a group of people who are good for nothing but making trouble. The Lumpenproletariat was incapable of becoming what Marx considered true revolutionaries because they lacked the necessary discipline.

By the late ‘60s, when the Jews had backed out of the Black-Jewish alliance and when the threat of Black Revolution had become too real for the regime which had promoted it to destroy the South and Catholic neighborhoods in places like Chicago, the FBI was called in to destroy the Black Panthers. After that, Hollywood was called in to ratchet the revolution back to its Lumpenproletariat origins and promote the pimp as the ideal Negro.

When the pimp as a cultural phenomenon appeared in the ‘70s it was a tacit, if cryptic, admission that the revolution had failed. When the Black Panthers got shut down in 1969, Gordon Parks noted their demise from his vantage point as a famous Negro photographer and reporter for Time/Life on Black issues.

In Chicago before dawn came the most celebrated shoot-up of the ongoing warfare. In December 1969, 14 cops shot up a Black Panther’s apartment. When the melee ended, the Chicago’s party leader, Fred Hampton, and Mark Clark had been gunned to death.

Hampton, asleep when the attack came, never got out of his blood drenched bed. . . . To more and more young blacks, the romantic appeal of their bold image was becoming irresistible. The Panthers had dared to use the word “revolution” because they wanted the system destroyed, not repaired. And they had lost faith in the ability of the system to repair itself.[5]

In 1970 Gordon Parks left Life to become the director of Shaft. In his memoir, Parks hints that his access to Hollywood was dependent on his article on the Black Panthers: “Before I could pursue my newfound interest in the movies, I was called back by Life to cover the Black Panthers.”[6] Betray the Black Panthers is what Parks meant to say.

The creation of the pimp as black cultural hero coincided with the eradication of the Black Panthers in late ’69 early ’70. The real change came in 1971 when Parks launched the film genre known as Blaxpoitation.

Parks was a photographer with Life Magazine, who had worked for the OWI during the war. After the war, Time/Life became a CIA front. The CIA liaison at Time/Life was a man by the name of C.D. Jackson. Gordon Parks was the man Time/Life and the CIA used to “penetrate” black organizations which the regime considered subversive, something he brings up in his memoir A Hungry Heart.

Shortly after leaving Time/Life, Parks met with, Jim Aubrey, whom he describes as “the tough inflexible boss at MGM Studio,” who “handed me my second Hollywood film. Titled Shaft, it was the story of a virile, suave, black Harlem detective.”

GeneYoung, Parks’ third wife, sums up Parks’ career as a Hollywood director by saying, “He did what people paid him to do.” When I mention Jim Aubrey’s name, Gene Young blurts out that he was probably a CIA agent. Parks makes clear in his memoir that the point of the film was to provide Black youth with a role model:

“It was a film that could give black youth their first cinematic hero comparable to James Cagney or Humphrey Bogart, but not the least of the persuasion was the salary I was to receive.”

Parks leaves unmentioned the type of behavior which Shaft and Superfly were to inspire as the new role models for “black youth.” He also never mentions the disruption this behavior was to cause in the black community by further weakening the already weak black family. He also never mentions the effect that emulation of these cinematic heroes is going to have on the black women, who were on the receiving end of the pimp culture he was paid to promote.

If Parks were willing to betray black organizations like the Black Panthers and the Nation of Islam, why not the black community as a whole? Why not steer it down the path of self-destruction, as long as he was paid well to do it?

Superfly became the Blaxploitation hit of 1972. Before Shaft and Superfly, the ideal Negro was a revolutionary, of the sort symbolized best by the Black Panthers. After Blaxploitation, the ideal Negro was a pimp.

Blaxploitation was Jewish revenge against the anti-Jewish resentment which had spread throughout the civil rights movement during the late ‘60s and found its culmination when Stokely Carmichael expelled the Jews from SNCC.

For over 60 years, the Jews in this country, through organizations and institutions like the NAACP, the Communist Party, the Civil Rights Movement, and the entertainment industry, have tried to turn blacks into revolutionaries.

In order to do that, they had to undermine their faith and corrupt their morals. When the revolution failed and the black-Jewish alliance fell apart in the late ‘60s, those revolutionaries eventually turned into the “gangstas” celebrated by rap music, thugs who prey on their own people because they are still carrying the revolutionary image they acquired at the feet of the Jews around in their minds.

JEA: Bill Gunn was certainly part of that Blaxploitation cult, which always portrayed blacks as whores, pimps, and gangsters. Ganja & Hess was an essentially seditious film, and Spike Lee is treading on that subversive path by producing Da Sweet Blood of Jesus, which is teaching black men to follow their sexual and lustful desire instead of submitting their passion to the moral law. Lee defends the movie by saying: “As human beings we all have our addictions, whether it would be sex, alcohol, drugs, power, money, nicotine…so the blood is really a metaphor for addiction.”

Granted, human beings struggle with their problems and addictions, and this is why the moral law is important because it is our only defense against addiction. But what gives Spike Lee the license to project a concupiscent ideology on the rest of the black population in general? Does he mean to tell us all that sexual debauchery on the big screen has no detrimental consequences?[7]

You see, Lee is simply following the commands of his oppressors. In his movie Do the Right Thing, Lee depicts an internal bigotry and conflict between blacks and Italians, and ethnic insults are imbedded in the movie itself, but nobody ever came out of the woodwork and declared that Lee was anti-Italian. Yet in Mo’ Better Blues, Lee surreptitiously portrays Jews in a negative light. All of a sudden, Lee realized that he was the new anti-Semite on the block. The New York Times declared way back in 1990:

“There is nothing that reasonable in the stereotypical portrayal of two Jewish characters in Mr. Lee’s new film, ‘Mo’ Better Blues,’ the story of an obsessed and troubled black jazz musician. In creating the minor characters of Josh and Moe Flatbush, club owners who exploit the black musicians in the film, Mr. Lee has elicited charges of anti-Semitism from many critics, a charge the film maker disputes.”[8]

David Ansen of Newsweek declared that Lee intentionally portrayed the Jews in the movie as “Shylocks.” The Village Voice said that the movie is “undoubtedly anti-Semitic.”[9] Abraham Foxman of the Anti-Defamation League added that “Spike Lee’s characterization of Moe and Josh Flatbush as greedy and unscrupulous club owners dredges up an age-old and highly dangerous form of anti-Semitic stereotyping.”[10] The ADL said that they were

“disappointed that Spike Lee – whose success is largely due to his efforts to break down racial stereotypes and prejudice – has employed the same kind of tactics that he supposedly deplores.”[11]

Foxman continued: “Here’s a man who’s creative, yet he falls back on these stereotypes that are so simplistic and crude. There are many ways to portray greedy people. He had all kinds of choices. That’s the choice he made.”[12]

This is very important here. Success, for the ADL, is when people like Spike Lee articulate what Nietzsche called the transvaluation of all values, start social and cultural insurrection, and even produce movies which completely mock the morals and values of the black family and portrays blacks as pimps, whores, and rebels—as in the case of Da Sweet Blood of Jesus, Do the Right Thing, and Mo’ Better Blues. The ADL is perfectly happy whenever directors like Lee pervert, subvert, and invert the moral order at the expense of everyone else.

The ADL doesn’t even complain about Lee portraying “anal rape for laughs in ‘She’s Gotta Have It.’”[13] These are all fine; they show that Lee is a creative director. But whenever Spike Lee steps out of bound and declares that the Khazarian Mafia exploit blacks, then Lee’s head needs to be placed on a silver platter.

What we are seeing here is that Lee is doing exactly what his masters and oppressors want him to do. Lee remorsefully defended his position in Mo’ Better Blues by saying that his father, the bass player Bill Lee, “worked for a majority of jazz club owners who were Jewish; this is not an indictment of them. When I wrote the film, I wanted to put in how black artists had to fight against being exploited.”[14] Lee continued:

“I am not anti-Semitic. Do you think Lew Wasserman, Sidney Sheinberg or Tom Pollock would allow it in my picture?”[15]

Wasserman, Sheinberg and Pollock are the Jewish bosses who produced Mo’ Better Blues.

BlacKkKlansman: The Old Alliance Returns

Spike Lee has recently made an alliance with his bosses again by directing BlacKKlansman. Jewish organizations couldn’t be happier. The Times of Israel declares: “Spike Lee’s depiction of Jews improved since ‘Mo’ Better Blues.’”[16] We read:

“In his subsequent films, there was evidence he [Spike Lee] was listening to Jews and trying to understand what it was to be Jewish in the American landscape. His Jewish characters morphed from offensive stereotypes into thoughtful considerations of complicated people.”[17]

Lee had his chance to change the cultural dynamics by showing who the real oppressors are, but over the years he continued to play his ideological game. He is the director and producer of Malcom X. Yet throughout the entire movie, Lee never even remotely quoted what Malcolm X said about Jews. Malcolm X once declared:

“Many Jews have guilt feelings when people talk about ‘exploitation.’ This is because they know that they control 90 percent of the businesses in black communities, from the Atlantic to the Pacific. And they benefit more from black buying power than blacks do from other parts of the white community. So they feel guilty about it.”

Malcom X moved on to say that organizations like the NAACP are Jewish towns, and interestingly added: “the same Jews won’t let you become president of B’nai B’rith, or any of their other organizations.”[18]

• [1] Steve Oney, And the Dead Shall Rise: The Murder of Mary Phagan and the Lynching of Leo Frank (New York: Pantheon Books, 2003), 599.
• [2] Ibid.
• [3] David J. Garrow, Bearing the Cross: Martin Luther King, Jr. and the Southern Christian Leadership Conference (New York: William Morrow and Company, Inc., 1986), 500.
• [4] John McGreevy, Parish Boundaries: The Catholic Encounter with Race in the Twentieth-Century Urban North (Chicago: University of Chicago Press, 1996), 197.
• [5] Gordon Parks, A Hungry Heart: A Memoir (New York: Washington Square Press, 2005), 290, 293.
• [6] Ibid., 297.
• [7] For studies on TV violence, see David Grossman, Stop Teaching Our Kids to Kill: A Call to Action Against TV, Movie & Video Game Violence (New York: Harmony Books, 2014); E. Michael Jones, Monsters from the Id: The Rise of Horror in Fiction and Film (Dallas: Spence Publishing, 2000); Jews and Moral Subversion (South Bend: Fidelity Press, 2016); Kelly Lawler, “Has violence on TV finally gone too far?,” USA Today, December 20, 2016; Gail Gross, “Violence on TV and How It Can Affect Your Children,” Huffington Post, August 15, 2013.
• [8] Caryn James, “Critic’s Notebook; Spike Lee’s Jews and the Passage From Benign Cliche Into Bigotry,” NY Times, August 16, 1990.
• [9] Ibid.
• [10] “ADL Criticizes Filmmaker Spike Lee for Stereotyping Jewish Characters,” Jewish Telegraphic Agency, August 7, 1990.
• [11] Ibid.
• [12] Ibid.
• [13] Ron Kampeas, “Spike Lee’s depiction of Jews improved since ‘Mo’ Better Blues,’” Times of Israel, May 16, 2018.
• [14] “ADL Criticizes Filmmaker Spike Lee for Stereotyping Jewish Characters,” Jewish Telegraphic Agency, August 7, 1990.
• [15] James, “Critic’s Notebook; Spike Lee’s Jews and the Passage From Benign Cliche Into Bigotry,” NY Times, August 16, 1990.
• [16] Ron Kampeas, “Spike Lee’s depiction of Jews improved since ‘Mo’ Better Blues,’” Times of Israel, May 16, 2018.
• [17] Ibid.
• [18] Quoted in Eddy Portnoy, “Malcolm X and the Jews,” Jewish Daily Forward, June 1, 2013.

Jonas E. Alexis, Senior Editor

Jonas E. Alexis has degrees in mathematics and philosophy. He studied education at the graduate level. His main interests include U.S. foreign policy, the history of the Israel/Palestine conflict, and the history of ideas. He is the author of the book, Kevin MacDonald’s Metaphysical Failure: A Philosophical, Historical, and Moral Critique of Evolutionary Psychology, Sociobiology, and Identity Politics. He teaches mathematics in South Korea.

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