…by Jonas E. Alexis
When Jordan Peele’s Get Out came out in 2017, Liel Leibovitz of the Jewish magazine Tablet declared that the movie was “terrifying” and “essential” for “American Jews.” Why? Leibovitz told us that it was because of “the toxic strain of liberalism that makes blacks—and Jews—invisible.”
What Leibovitz was inadvertently saying is that Get Out is essentially a reverberation of the Black/Jewish alliance which got its start in the 1960s which arguably destroyed the black family in America.
Leibovitz moved on to say:
“The dread evoked by Get Out is not entirely unfamiliar. In most of polite society, Jewishness is treated in much the same way as the murderous Armitages treat blackness: an idea to be celebrated while the actual people who embody it are destroyed.”
Totally false! Anti-Jewish reaction has always been a response to subversive movements. A classic example is the Israeli settlements. The interesting thing is that that Leibovitz will never include the Israeli treatment of Palestinian in his political equation. It pains me to beat a dead horse here, but is apropos here. Israeli historian and flaming Zionist Benny Morris made it very explicit when he stated:
“A Jewish state would not have come into being without the uprooting of 700,000 Palestinians. Therefore it was necessary to uproot them. There was no choice but to expel that population. It was necessary to cleanse the hinterland and cleanse the border areas and cleanse the main roads. It was necessary to cleanse the villages from which our convoys and our settlements were fired on.”
Israeli historian Ilan Pappe has said pretty much the same thing. Israeli historian Neve Gordon has argued in his scholarly study Israel’s Occupation that Israel is largely responsible for much of the chaos that we see in Gaza. Scholars like Sara Roy argues that Hamas is largely a response to Israel’s relentless crimes against humanity.
The sad thing is that if a person even dares to question Israel’s motive in the region, or that Israel was built on stolen lands, then suddenly that person would be labeled a vicious anti-Semite. As I have argued in the past, if Israel stopes its perpetual wars and its crimes in the Middle East, then there won’t be an anti-Israeli backlash. As Cornel West rightly put it,
So it is silly to even remotely suggest that “The dread evoked by Get Out” is similar to what Jews have gone through over the centuries. But instead of addressing the central issues in a rational fashion, Leibovitz marshalled one straw man after another, such as the following:
“The Jewish State, our intellectual and moral betters [anti-Semites] insist, is the home of the bad Jews, murderous thugs who massacre innocent Palestinian babies and therefore can expect nothing less than the knife, the bomb, and the rocket, while the good Jews are those who nod in agreement, smile politely, think little, and say less.”
Leibovitz wanted to revive the black/Jewish alliance when he said: “Watching Get Out, then, I felt the old sense of dread that gnawed at me every day of my academic career creep back. I know what it’s like to be in a room full of people who smile but don’t really believe you matter. And in life, just like in that fine movie, there’s really only one thing to do in such situations: acknowledge that the threat is real, refuse to play the game, and get the hell out.”
Does Leibovitz really believe that the central problem we are facing right now is “racism”? The irony is that Leibovitz even cited a Chicago Tribune article saying that “2016 ends with 762 homicides; 2017 opens with fatal Uptown gunfight.” Can “white racism” even compete with those figures?
“In 2014 there were 432 homicides in the city of Chicago. During the week beginning October 18, 2015, four people were shot and killed in the city of Chicago and 34 people were shot and wounded. During the month of October 2015, as of October 24, 21 people have been shot and killed and 136 people have been shot and wounded.
“In 1974, two years after blacks on the south side of Chicago lined up around the block to see Superfly, Hollywood’s glorification of the black pimp, there were 970 homicides in the city of Chicago, an all-time record. Eighty percent of those victims were black.”
In any event, it must be concluded that Get Out (and indeed Us) is an ideological movie which seeks to divide and then conquer. This is very congruent with what the 1960s were about. As E. Michael pointed out in our interview in 2016:
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.” 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!
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.”
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.”
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.
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.” 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?
Shaft was a big success. According to Parks’ account, it
“opened on July 2, 1971, to lines around the block and audiences who stood up screaming at its conclusion. It was a particular hit with young Blacks, who for the first time, had a Black hero to identify with. On reviewer called Shaft, “the ultimate in suave Black detectives.”
Shaft was breaking attendance records all over the country, but it was especially popular in Chicago, where one theater, the Roosevelt, took in a million dollars during its run there.
Needless to say, the Hollywood moguls were pleased that social engineering was proving to be so lucrative. “Joel,” Parks tells us, was “all happiness” when he “came to my office. . . . Now Hollywood had the green light for black suspense films. . . .”
Jim Aubrey was happy too. Parks went on to collaborate with Aubrey on two more films—The Super Cops and Shaft’s Big Score—but for some reason not on the other Ernest Tidyman novel in the Shaft series, Shaft among the Jews.
Aubrey then upped the ante by handing Parks the screenplay for Superfly, a film in which the new role model for young blacks is the pimp not the detective. In the end, Parks did not direct Superfly.
During the summer of 1971, when Shaft was becoming a box office hit throughout the world, Parks passed the baton to his son, Gordon Parks, Jr. “I was on a week’s leave from Hollywood when he [Aubrey] handed me a screenplay titled ‘Superfly.’”
For some reason Parks could not bring himself to direct this film, but for some reason he couldn’t quite pass up the opportunity either. So rather than turn down the film project altogether, Parks “took a deep breath” and “wrote out a big check and thrust it into his [son’s] pocket.”
Superfly became the Blaxpoitation 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.
Harold Cruse’s book The Crisis of the Negro Intellectual and the Ocean Hill-Brownsville teacher strike, which broke out in 1967, were two more reasons for Jewish resentment against the ungrateful shvartzas who had received so much Jewish money when Martin Luther King had been running the civil rights movement.
In many respects, the rise of the Black Panther as the premier black power organization came about because the Panthers were willing, if not avid, to accept Jewish/Hollywood money. One of their biggest sources of funds, as David Horowitz has pointed out, was Bert Schneider, the producer of Easy Rider.
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.
No one can hope to understand the anomalous nature of the disturbances in Ferguson and Baltimore without an understanding of the Black/Jewish alliance as a psy op gone bad. The Jews did to the blacks what the Americans and the Saudis did to the mujahideen in Afghanistan during the ’80s. They turned them into proxy warriors who, like the mujahideen, then got totally out of control and, as Tom Watson predicted at the time of the Leo Frank case, the black proxy warriors became a Frankenstein monster.
The untold story behind Ferguson involves what one reporter described as the “encyclopedia of grievance” which these Jewish campaigns have created in the minds of this nation’s black population. The Jewish Revolutionary Spirit has created a nation full of psychic time bombs, which can go off at any moment, like the unexploded ordinance in the fields of Europe left behind by the bombing campaigns of World War II.
Ever since John Brown, someone in this country has been paging through the “encyclopedia of grievances” trying to stir up a slave rebellion. Ever since Leo Frank got lynched, the Jews have been the main party involved in promoting slave rebellions under their various guises, whether it was the NAACP, which set out to destroy Marcus Garvey, the Communist Party, who tried to use the Scottsboro Boys as the pretext for their uprising, the Southern Christian Leadership Conference, which according to Murray Friedman, succeeded in launching a “true revolution” in the South, or David Horowitz and Burt Schneider, who created the Black Panthers.
Alexis: Powerful assessment. Race hustlers are now everywhere looking through the “encyclopedia of grievances” in order to insurrect a race riot.
The Jussie Smollett debacle is a recent case. After his charges were dropped, Smollett had the audacity to say that he was innocent! “I have been truthful and consistent on every single level since Day 1,” Smollett said. He has been nominated for an NAACP Award.
-  Liel Leibovitz, “‘Get Out’ Is Terrifying and—for American Jews, in Particular—Essential,” Tablet, March 10, 2017.
-  Ibid.
-  For a full discussion on this, see E. Michael Jones, The Jewish Revolutionary Spirit and Its Impact on World History (South Bend: Fidelity Press, 2008).
-  Leibovitz, “‘Get Out’ Is Terrifying and—for American Jews, in Particular—Essential,” Tablet, March 10, 2017.
-  Ari Shavit, “Survival of the Fittest? an Interview with Benny Morris,” Haaretz, January 9, 2004.
-  Ilan Pappe, The Forgotten Palestinians: A History of the Palestinians in Israel (New Haven: Yale University Press, 2011); The Ethnic Cleansing of Palestine (Oxford: One World, 2006).
-  Neve Gordon, Israel’s Occupation (Berkeley: University of California Press, 2008).
-  Sarah Roy, Hamas and Civil Society in Gaza: Engaging the Islamist Social Sector (Princeton: Princeton University Press, 2011).
-  Leibovitz, “‘Get Out’ Is Terrifying and—for American Jews, in Particular—Essential.”
-  Ibid.
-  Katherine Rosenberg-Douglas and Tony Briscoe, “2016 ends with 762 homicides; 2017 opens with fatal Uptown gunfight,” Chicago Tribune, January 2, 2017.
-  Steve Oney, And the Dead Shall Rise: The Murder of Mary Phagan and the Lynching of Leo Frank (New York: Pantheon Books, 2003), 599.
-  Ibid.
-  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.
-  John McGreevy, Parish Boundaries: The Catholic Encounter with Race in the Twentieth-Century Urban North (Chicago: University of Chicago Press, 1996), 197.
-  Gordon Parks, A Hungry Heart: A Memoir (New York: Washington Square Press, 2005), 290, 293.
-  Ibid., 297.
-  Ibid., 317.
-  Ibid., 318.
-  Hannah Yasharoff, “Jussie Smollett is nominated for an NAACP Award, and host Anthony Anderson hopes he wins,” USA Today, March 29, 2019.