{"id":31009,"date":"2019-02-10T12:02:35","date_gmt":"2019-02-10T16:02:35","guid":{"rendered":"https:\/\/cosmicconvergence.org\/?p=31009"},"modified":"2019-02-10T12:03:02","modified_gmt":"2019-02-10T16:03:02","slug":"blackface-a-fundamentally-jewish-creation-and-divide-conquer-strategy","status":"publish","type":"post","link":"https:\/\/cosmicconvergence.org\/?p=31009","title":{"rendered":"BLACKFACE<\/b>: A Fundamentally Jewish Creation and ‘Divide & Conquer’ Strategy"},"content":{"rendered":"

Blackface History Is Jewish History<\/strong><\/h1>\n

NOI Research Group \u2022 The UNZ Review<\/p>\n

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The recent spate of blackface outings seems to have started with the Megyn Kelly debacle a few months ago. She didn\u2019t actually wear blackface\u2014she just wasn\u2019t sufficiently disgusted by it, and though she apologized for the gaff the harsh reaction quickly unemployed her. Now, Virginia\u2019s Governor Ralph Northam and Attorney General Mark Herring have been caught up in blackface scandals\u2014many 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\u2014a photo that school authorities apparently thought appropriate.<\/span><\/p>\n

Whether or not one accepts the rounds of sorrowful apologies , <\/em>it is essential to note that the Christian offenders\u2014Kelly, Northam and Herring \u2014are apologizing for a Jewish <\/em>crime<\/strong>.<\/span><\/p>\n

Blackface, as a form of American \u201centertainment,\u201d started out in the early 1800s, most notably through a highly popular minstrel show performer by the name of Thomas \u201cDaddy\u201d 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\u2019s popular blackface character was named Jim Crow\u2014<\/em>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 \u201cart form\u201d as performers and as fans, filling auditoriums to watch blackface stage shows in Jewish neighborhoods all over America.<\/span><\/p>\n

Jewish History of Blackface Hate<\/strong><\/span><\/p>\n

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Dr. Irving Howe<\/div>\n<\/div>\n

From the time of the earliest American colonies Jews had always been a formidable presence in the slave-based economy<\/a>, where they became important slave traders and international marketers of slavery\u2019s 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\u2019s Irving Howe<\/strong>, author of the most popular book on American Jewish history, World of Our Fathers<\/em>, is one of many Jewish scholars<\/a> that admitted that Blacks were scapegoats for Jews:<\/span><\/p>\n

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\u201cFor decades American blacks had served\u2026as 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.\u201d <\/span><\/p>\n<\/blockquote>\n

So, for Jews, anti-Black racism was a benefit<\/em> and a valuable asset to their own goals of gaining power and influence<\/strong>. Jews saw blackface minstrelsy as a vehicle to claim their whiteness and to ensure that racism\u2014and not religious ethnicism<\/em>\u2014would become the American way. It was this conscious <\/em>Jewish need to use Blacks as scapegoats that drove their involvement in that atrocious \u201cart form\u201d known as blackface minstrelsy<\/strong>. Jewish film scholar Lester D. Friedman <\/strong>is even more direct in his book Hollywood\u2019s Image of the Jew<\/em>:<\/span><\/p>\n

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\u201cIn actuality, many Jewish performers gained early and continued success using [blackface]\u2026.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\u2019s desperate need to assert its own superiority by mimicking another<\/strong>.\u201d <\/span><\/p>\n<\/blockquote>\n

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University of California religious studies professor Dr. <\/strong>Michael Alexander<\/strong> received a National Jewish Book Award for his book in which he asserts that minstrelsy\u2014the public ridicule and mockery of the Black race\u2014became identified with Jewish entertainers: \u201cJews 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<\/strong>.\u201d<\/span><\/p>\n

In fact, blackface and a singing style pioneered by Jews known as \u201ccoon shouting<\/strong>\u201d were mainstays of Jewish entertainment, with their most popular performers, like Eddie Cantor, Sophie Tucker, Al Jolson, Irving Berlin, George Burns<\/strong>, and Florenz Ziegfeld<\/strong>, using Black-race mockery as a dominant theme. Jewish historian Dr. Jeffrey Melnick<\/strong> says that Jews played \u201ca major role in the manufacture of the racial stereotypes on which American popular culture depended.\u201d<\/span><\/p>\n

Al Jolson Sings \u201cMammy\u201d in blackface<\/em>
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