Unakceptable_views (@Unakceptabke_views)

**jewish History of Blackface** “… [F]or 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 [hmmm… kind of but jews were thought of as race too.] 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.” • • • • • 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 homosexuality—as 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**. • • • • • 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” such 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! [Why is this shocking to them after Leo Frank?? ] • • • • • **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. […] • • • • • jewish music publisher Isidore Witmark created and distributed “coon” images of blacks for world consumption. Witmark, along with his Hollywood brethren, were leaders in institutionalizing anti-black racism. [Yeah, this really wasn’t the issue.] 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.” More screenshots/memes in comments … https://noirg.org/articles/blackface-history-is-jewish-history/ IMAGES: Music printed by M. Witmark & Sons