Archive for Blacks and Jews

Beauty and the Beast!

Posted in Cultural Matters with tags , , on May 16, 2014 by playthell

Donald-sterling-v-stiviano1

Beauty and the Beast: An Ugly Old Jew and his Gorgeous Young Afro-Latino Concubine

 On Racism, Privilege and Power

After watching Donald Sterling, the disgraced owner of the L.A. Clippers basketball team, attempt to explain away his racist comments in a television interview two things are apparent: You can make a lot of money and yet know nothing of the world beyond business deals, and Donald Sterling is just what Snoop Lion  said he is: “A racist piece of shit!”

It is also obvious that no one told him when you are in a hole you should stop digging, or in any case he didn’t take the advice. Sterling sat there on CNN, with the whole world watching, and spouted mindless babble that was part self-serving apologia and part racist diatribe, while trying to convince us that he is not a racist but a jealous lover driven to distraction by his envy of black men.  The only part of his story that is believable is that he is “jealous” of black men; which I believe is an inadvertent admission that he suffers from acute penis envy.

Alas, this is a widespread phenomenon among white males that has deep roots in American history.  When I was a boy growing up in Florida, if a white woman chose a black lover she was condemning him to a certain death by mob violence if their relationship was discovered by white men, but many of those same white men kept black concubines just like Donald Sterling while promoting racist policies against the black community.

The most notorious examples of this in American history are Thomas Jefferson – a founding father who sired seven children by his slave concubine Sally Hemmings – and Strom Thurmon, the longest serving senator in the history of the senate who led the fight to maintain racial segregation in the South while secretly siring a black daughter.  In St. Augustine Florida, my home town, it was Jimmy Brock, the manager of the Monson Hotel.

Brock had sired children by two black women in the town; yet he was such a staunch defender of racial segregation – the cornerstone of “white supremacy” the ideological undergirding of the system of institutionalized racism – that he poured acid in the hotel’s pool when Dr. Martin Luther King led a party of interracial citizens for a swim!

It was such a notorious act it attracted the attention of the national media, and pictures of this vicious racist attack published in the nation’s newspapers appalled people around the world – just as the sound track of Sterling’s covert racist hostility is shocking people everywhere as they listen to it on the internet.

 Racist Hypocrite Jimmy Brock
Jimmy Brock - Copy
Donald Sterling’s Soul Brother

Donald Sterling is cut from the same cloth as Jimmy Brock.  The difference between them was well understood by the wise Afro-Americans who raised and tutored me about the ways of the white world.  “The only difference between racist white men in the north and south,” they would say, “ is that the southern white man will tell you how he feels up front, while white men up north will smile in your face and stab you in the back.”

This is the reason why many of them preferred to remain in the south, choosing to deal with the devil they knew to the demons they didn’t.  Sterling’s comments to Anderson Cooper on CNN provides evidence that this is still true…except now, when racism is unfashionable and it’s corollary racial discrimination is illegal, covert racism is the preferred tactic in every section of the US.

Ironically the white Anglo-Saxon and Scotch Irish Protestants who ruled the American south didn’t like Jews either, as is evidenced by the anti-Semitic proclamations of the Ku Klux Klan. So the question arises as to why Sterling appears to have chosen these white racist as his role models…or at least adopted their values. This is the critical question in understanding Donald Sterling’s attitudes about race.

I think the answer lies in his own experience as a Jew in America.  Sterling is 81 years old, which means that he was born during the great depression in the US and the Nazi holocaust in Germany.  It was a time when Jews faced serious anti-Semitism in America and Europe. However unlike Europe, where Jews had experienced centuries of oppression, in the US there was a pigmentocracy based on skin color.

In this deranged skin game people of color were America’s “untouchables” – especially those of African descent no matter how slight – and those designated as “white” enjoyed special privileges.  Hence the trick was to be included among those defined as “white.”  The difference in the life’s chances and life styles of those who were considered white and those considered Negroes were like heaven and hell.

Walter White
Walter White
He Could have “Passed” but Chose to Remain “Black”
Jack Johnson
Jack Johnson as a young fighter
Both White and Johnson were classified as “Negroes”

The arbitrary nature of racial designation in America in which a person of white skin like NAACP leader Walter White and the ebony complexioned World Heavy-Weight Champion Jack Johnson could both be classified as “Negroes” – due to an irrational social construct called “the one drop rule” – made it possible for people legally defined as “black” who looked “white” to secretly “pass” over the color line and become “white.”

And considering the difference in one’s opportunities based on this superficial distinction it is no wonder that some people chose to “pass;” it was literally a choice between freedom and quasi-slavery. The wonder is that everybody who could pass didn’t.  However many Afro-Americans who were light enough to pass chose not to because they grew up with black people, loved their cultural inheritance, and hated the arrogance and racism of whites, which they understood better than their darker brothers because whites, believing themselves to be talking to a fellow white American, would share their deepest feelings about race with them.

This is why Walter white, who could easily have passed, chose to remain in the “world behind the veil” as Dr. Dubois described black life in the early twentieth century. For Jews, who were also outsiders to the Anglo-Saxons who ruled America, “passing” was a lot easier.  They only had to change their names from obviously Jewish ones like Benjamin Swartz, to Anglo names like Tony Curtis.

Many of the biggest movie stars of my youth were Jews who anglicized their names: Jeff Chandler, Edward G. Robinson, Kirk Douglass, et al.   And the titan of television Jack Benny was also an anglicized Jew. Ironically the pressure to pass as Anglo-Saxons was placed on these Jewish actors in and industry owned and controlled by Jews!

Kirk Douglass
Kirk_douglas_photo_signed
Born: Issur Danielovit  
Jeff Chandler
Jeff Chandler
Born: Ira Gossell
Tony Curtis aka Bernard Schwartz                  
Tony_Curtis_as_Houdini
Playing the Leading man with blond Shiksa Tony Curtis with
Blond Movie Goddess Marilyn Monroe
Tony Curtis and Marylin Monroe
As Benny Schwartz “Tony” would have offended white southerners 

The distinguished Jewish film historian Neal Gabler deals with this question with candor and insight in his seminal text “An Empire of their Own.”  Among the many important revelations offered up in this book is the fact that the Jewish movie Moguls who created Hollywood and made it the jewel in the crown of American popular entertainment, were European immigrants who desperately wanted to become real Americans and succeed in business.

It is not hard to understand why a man like Samuel Goldwyn, a self-educated Polish immigrant who was born Shmuel Gelbfisz and raised as a Hasidic Jew in a Warsaw ghetto, was not anxious to become a crusader for Jewish causes in America. In his native Poland Jews faced a hellish existence akin to that of Afro-Americans.  After observing their lot in Europe first hand when he was a student in Germany in the late 19th century, Dr. Dubois thought it might be worse.

Samuel Goldwyn
Sam goldwyn-portrait
Hollywood Movie Mogul

After making his way to America and assuming a new identity, first as Sam Goldfish, and then Samuel Goldwyn, he quickly recognized that despite anti-Semitism America offered great opportunities to “white” men so long as he didn’t make his Jewishness an issue. Hence he assimilated into “white” America as much as possible, went into the developing moving picture business and became a rich and powerful Hollywood Mogul.

Goldwyn and his Jewish colleagues achieved tremendous wealth and influence by producing films that appealed to the major market; which was white, Anglo-Saxon and Protestant.  It is these little swarthy Jews who created the blond sex goddess: May West, Gloria Swanson, Marylyn Monroe, et al.  By glorifying the fantasies of white America they became the arbiters of popular taste and the shapers of the American dream.

The price of success in their business was to completely camouflage their Jewish identity to the extent that they not only required Jewish actors to disguise their ethnic identity, but name changes were sometimes accompanied by “corrective” cosmetic surgery to change their noses to fit the Nordic ideal.  And movies addressing the Jewish experience, especially anti-Semitism, were taboo!

It was so bad that Jewish organizations called them out on their game of ethnic hide and seek.  However another critical component in the quest of the Jewish movie moguls to become “real” white Americans and give the public what it wanted was the projection of racist stereotypes of Afro-Americans in their films.

Before movies were invented in the early 20th century the most popular form of American entertainment was the blackface minstrel show, in which white men “blacked up” by smearing burnt cork on their faces, painting on ludicrous big red lips, and engaged in racist parodies of Afro-Americans.  It was such a rage among whites in the 19th century that the great song and dance men Bert Williams and George Walker named their act “Two Real Coons” when they got together in San Francisco during 1994.

However they were the first Afro-American act that refused to wear the burnt cork mask that white audiences insisted black performing artist don, in order to assume the identity that had already established by white Minstrels.

The Great Bert Williams and George Walker
Williams-Walker-opener
Two Real Coons?

The black face Minstrel tradition, although begun by WASP like “Daddy Dan Rice” with his famous “Jump Jim Crow” act – which is where the term “Jim Crow” used to describe institutional racism originated – it was taken over by white ethnics and immigrants.  Irishmen dominated Minstrelsy by the late 19th century and Jews followed their lead.

Hence by the time the first “talkie” appeared – the first film where the characters spoke, bringing an end to the silent film era that was dominated by the Englishman Charlie Chaplin – it was Al Jolson, an immigrant Eastern European Jew, who starred in the movie which was titled “The Jazz Singer.               

Al Jolson Singing his famous tune “Mammy”
Al Jolson
The World’s Greatest Entertainer?

 

By blacking up Al Jolson – who was dubbed “The Greatest Entertainer in the World” before he appeared in the 1927 film – became a cultural hero in white America, a status he would never have acquired had he simply presented himself onstage as Asa Yoelson, the Russian born Jew.  Hence by donning the black face mask Joelson was engaging in a double masquerade: an immigrant Jew solidifying his “white American” identity by masquerading as an Afro-American while denigrating black culture and character; a role that was quintessentially white American.

The movie was based on a Jewish play, “Day of Atonement,” with the screenplay and direction by Jews. When blackface acts went out of style the Jewish movie moguls brought the same obsequious comic domestic figure that was so popular in the live “Coon Shows” to the silver screen with real black actors.  The most famous of these was Lincoln Perry, aka “Stepin Fetchit,” whom white Americans found a much more fetching personality than the Jack Johnson “Bad Nigger” type.

The Jewish businessmen who ran Hollywood understood the seemingly insatiable appetite of white Americans for grotesque images of Black Americans, and they delivered them in abundance.  However according to his biographer Mel Watkins, in real life Lincoln Perry was far more like Jack Johnson than Stepin Fetchit; to whom he bore no resemblance, just as the American society portrayed by the Jews in Hollywood bore no resemblance to social reality.

It was a world of make believe in which Anglo-Saxon protestant heroes and heroines were the ideal, Jews didn’t exist, and black Americans lived to serve whites with a smile, whether cleaning house or tap dancing.  In any case Afro-Americans were simple minded happy go lucky darkies who could gleefully sing, as indeed the Jewish composer George Gershwin had a black character sing in his opera Porgy and Bess: “I’ve  got plenty of nothing/ and nothing’s plenty for me.”

Stepin Fetchit aka Lincoln Perry with Will Rogers
Stepin Fetchit
The black faced Minstrel Character brought to film played by real blacks

The Real Lincoln Perry

Stepin Fetchit book cover

A Tough Guy and Militant Fighter for the rights of Black Actors

This is the Los Angeles in which Donald Tokowitz – Donald Sterling’s given surname – grew up as a poor and powerless Jew.  Born in Chicago to immigrant Jewish parents’ in 1934, just after Hitler had come to power in Germany, the family moved to an economically depressed, racially mixed, LA neighborhood called Boyle Heights in 1936, where his father eked out a living as a produce peddler.

There were blacks, Mexicans and several white ethnic groups living there at the time.  Ironically, Sterling’s girlfriend Saviano also lived there. In a May 6, article on Sterling in the Boston Globe, “Becoming white: Donald Sterling’s past offers clues to current outcry,” Journalist Farah Stockman quotes sociologist Bruce Phillips, whose father had also grown up the neighborhood during the same period as Sterling.

““During the Depression, no one had any hope of getting out of Boyle Heights,” Phillips observed, and he described the position of the Jews in the racial stratification system Boyle Heights: ““On the ‘social distance scale, Jews were in the middle, between people of color and white ethnic groups. They were either the most acceptable non-white ethnic group, or the least acceptable whites.”  Outside of Boyle Heights the most conspicuous achievement of Jews in Los Angeles, Hollywood, was not promoted as a Jewish triumph by the movie moguls but consciously portrayed simply as an American, i.e. white American, success story.

This was especially true in this period when white racist groups like the Ku Klux Klan and Nazi sympathizers argued that Hollywood was a Jewish conspiracy to corrupt the morals of white Christian youths. By 1960, when Donald Tokowitz graduated from law school and set out to make his fortune in the rich and glamorous city of Los Angeles, where the Hollywood Jews had found fame and fortune, he had learned his lesson well and followed a tried and true path to the privileged position enjoyed by successful white men in America.

Thus it is not surprising that one of the first things he did upon graduation was to scrap Tokowitz and formally change his name to “Sterling.”  Although he has attempted to put the name change on his father, court documents examined by enterprising reporters tell a different tale. In the legal papers submitted to the court Don Tokowitz claimed he wanted the change his name to Sterling because his colleagues had a hard time pronouncing Tokowitz.  He went on to say that this could hinder him professionally.

Reborn as Donald Sterling

Donald Sterling as young lawyer

Donald Tofowitz became a Rich LA Lawyer/Businessman

Thus by changing his name – which is a ritual of rebirth – his intention was to blend in with the rest of his white countrymen.  For being a Jew at mid-twentieth meant exclusion from the major law firms that were known in the legal community as “White Shoe” firms, where the high powered corporate deals were packaged. While not subjected to the kind of racial oppression that Afro-Americans suffered, many Anglo-Saxons regarded Jews as not quite white.

Ms. Stockman observes that this “almost white status” led many Jews “to focus feverishly on full acceptance. As they grew more prosperous, nearly all of the Jews in Boyle Heights moved to white suburbs in places like the San Fernando Valley, where blacks and Hispanics couldn’t follow.” And when Sterling became a big real estate owner he adopted illegal racist discriminatory practices that made sure even those Afro-Americans who could afford it would be denied entrance into those neighborhoods – and he was not alone, it was a common practice among racist white realtors.  Yet according to the government agencies that heard the complaints against him, Sterling is one of the worse and received the highest fines ever awarded in a housing discrimination case.

It was yet another bid by sterling to be a “real” white man. When viewed from this historical perspective the comments to his Afro-Latina concubine V. Stiviano makes perfect sense.  In essence he was telling her to do what he did: escape her ethnic identity and all the problems it brings.  This is abundantly clear when Sterling tells her not to bring black men to the games or be seen “associating with black people” online, and she reminds him she is part black.  “It bothers me that you want to broadcast that you’re associating with black people” says a furious Sterling.  “I just saying, in your lousy instagrams, you don’t have to have yourself with, walking black people.” At another point he says to her why can’t she just project herself as a nice Latina.

I guess when you have run away from your own heritage in search of, rejected your birthright for fool’s gold, it seems reasonable to demand it from your concubine – whom he describes as “a street girl” with fifteen Mexican brothers and sisters to support.  It is all too obvious that Donald Sterling is a sad deluded old fool, a shameless liar and hypocrite who burst into tears on world-wide television when he recounted how much he had done for his young Afro-Latina concubine who he “thought really cared” for him.

From all appearances this guy is a perpetual trick, a pathetic clueless Putz who thinks he can buy some young love that is only slightly soiled, and his “girl” V. Stiviano, which is one of several aliases she has used, is a hard hearted hustler out to take this chump for all she can get. It is a tawdry tale about racism, privilege and power in contemporary America in which beauty conquers the beast.  Alas, they deserve each other.

***********************

Playthell G. Benjamin
Harlem, New York
May 16, 2014

On Dov Hikind, Black Face and Jews

Posted in Cultural Matters, Playthell on politics with tags , , , , on February 27, 2013 by playthell
Dov Hikind
Assemblyman Hikind and Family

Is this Guy Really that Stupid?

I bet Dov Hikind is pissed with his son for putting this picture on the internet so the whole world can see it; otherwise it would have remained and inside joke between Hikind – a Brooklyn  Democrat who is New York State Assemblyman – and his constituents.  Did he learn nothing about the perils of the web from the fall of Congressman Andy Weiner, a brilliant politician who was forced to resign his office when he got busted flashing his weenie in cyberspace.  Did he not warn his son about the consequences of putting the wrong stuff out there?  Evidently he did not.

But to dress up in black face, put on a basketball jersey and say that he was just choosing a costume to celebrate the Jewish holiday of Purim, is dumber .  And Hikind’s response to complaints that his actions are offensive is dumber still.  For a smart Jew this guy does some really dumb things. Consider his initial reaction.

“I was just, I think, I was trying to emulate, you know, maybe some of these basketball players. Someone gave me a uniform, someone gave me the hair of the actual, you know, sort of a black basketball player…I can’t imagine anyone getting offended. You know, anyone who knows anything about Purim knows that if you walk throughout the community, whether it’s Williamsburg, Boro Park, Flatbush, Forest Hills, Kew Gardens Hills, people get dressed up in, you name it, you know, in every kind of dress-up imaginable. Purim, you know, everything goes and it’s all done with respect. No one is laughing, no one is mocking. It’s all just in good fun with respect always, whatever anyone does it’s done with tremendous amounts of respect and with dignity, of course.”

Really Dovie?  Are you really that clueless?  For a guy who is a super Jewish Nationalist who was once a follower of the rabid racist Rabbi Mier Khane, founder of the Jewish Defense League, a militant Zionist organization here in the US, then immigrated to Israel.  After settling in Israel Kahane advocated openly racist policies.  The late great Jewish investigative reporter with the Village Voice, Robert I. Freedman, pulled the covers off the Hikind-Kahane relationship in penetrating articles a couple of decades ago.  But Hikind’s tawdry past has now been forgotten in a country with a short memory that disdains the study of history.

For a Jewish Nationalist of Hikind’s vintage to claim that he does not understand why black people are offended by his black face get up exposes him as a duplicitous fraud.  And he has been called to task on this by thoughtful honest Jewish critics – he even offended the Anti-Defamation League, who rarely criticizes Jews about anything.  But given the experience of the Jews and their tradition of criticism and debate, as well as their long tradition of speaking out for social justice, it is not surprising.  One of the most penetrating critiques comes from Ehav Ever, an Israeli who lives in Jerusalem.  Writing on the comment thread of the Politicker, Ehav observes:

 

There are a lot of Jews who are offended by non-Jews doing things, as a joke against Jews. Especially, when said joke has a long history of use by Anti-Semites. There are Jews who get offended by xian missionaries who started pretending to be Jewish in order to get Jews to convert.
Blackface jokes have a long and racist history behind them and for a Jew to claim to be connected to Torah and first take part in a tradition derived from Avodah Zara and then to take on a custom, blackface, started by those who used it as a part of systematic social degradation is anti-Torah to begin with. It is what the Torah warned against about taking on the practices of the nations.  
The choice is simple a Jew can either cast his/her lot with the Ovdei Avodah Zara who created the blackface fad or a Jew can cast her/her lot with Hashem, Torah, and Halakha.”

Isn’t it incredible that a Jew living in faraway Israel can see the issue so clearly, who is aware of the pernicious racist history of whites “blacking up,” as it was called during the era in American history when black faced minstrel shows parodying black American life and culture was the most popular form of mass entertainment in the nation, but a politician representing a borough with hundreds of thousands of black people does not?  What does it say about the educational system in this country?

It tells us that the system has failed in teaching Americans their true history. This of course comes as no revelation to those of us who have been fighting for decades to get the complete story of American race relations properly taught in our public schools.  The problem lies in the fact that the history of Afro-Americans and Native Americans contradict the great American myth of “the home of the brave and land of the free,” which is the central theme in the master narrative of American civilization upon which the American Exceptionalists based their claims that Americans are morally superior to all the other nations.

Hence this is a willful ignorance designed to avoid unpleasant truths; psychologists call it “living in denial.”  This is the most generous explanation for Assemblyman Hikind’s behavior.  But given his history one cannot truly know what motivates him, so I won’t venture further into an attempt at psychoanalysis, a task for which I am unqualified.  Rather I shall remind Mr. Hikind that there is a long history of his racist role playing by whites in black face who defamed Black Americans for the entertainment of fellow whites.  And although this tradition was started by white Christians Jews, would play a major role in projecting it around the world.

In 1991 I was invited to present a lecture at Harvard on the relationship between blacks and Jews.  The lecture was sponsored by the WEB DuBois Institute, which was headed by Dr. Henry Louis Gates Jr., who extended the invitation.  At the time there is a big uproar over a skit held at the exclusive Friar’s Club in which a Roast was held for the black comedienne who goes by the stage name Whoopi Goldberg.  It is customary for the honoree to become the object of derisive but good natured jokes told by friends and colleagues.  It’s a showbiz thing.

However there is an understanding that the jokes told are designed for the audience to laugh with the object of the roast not at them, which is the difference between good humor and ridicule.  It is a thin line that all comedians who use personal insult as a subject of jokes must be aware of; crossing it can result in real offense.  This is what happened when Whoopi’s Jewish boyfriend Ted Danson appeared in black face and Afro-wig then proceeded to call her a bunch of “niggers.”  The black people in the room were shocked and outraged; television host and former Naval Intelligence Officer Montel Williams said he felt like he was at a Ku Klux Klan meeting and New York Mayor David Dinkins said it was way over the top.

I wrote a column about it in the Daily News and I began my Harvard speech, “Strange Bedfellows: On blacks and Jews in America,” by reading it.  The point was to show how Jews, enjoying the racial privilege bequeathed by white skin in America, were given license  to exploit the Afro-American image in public venues that Afro-Americans were not allowed to do with the Jewish image without being labeled “anti-Semitic” and paying a big price.  Yet the Sambo image represented by burnt cork faces and Afro-wigs is an offensive a symbol to Afro-Americans as the Swastika is to Jews.

Titled “Dear Whoppi & Ted: Sambo is Still Not Funny,” I offered the following observations.   “Like Jim Crow Sambo has had a strange career.  He was last seen in black tux and tails, high hat, burnt cork face and grotesquely large lips professing his love for his Whoopi at the Friars Club.  Not everyone at the party was amused….This incident raises serious issues and poses fundamental questions about how the Afro-American image is exploited in the public arena.”

Danson had offered an apology, just as Dov Hikind has now done, only much faster.  “Words by themselves are not racist; racism is a matter of intent” he said.  My response was “No matter how well intended, Danson’s apologia is sophistry.  Negative images of African Americans are deeply embedded in the national culture, collective memory and imagination of Euro-Americans.”

I went on to review the history of the Sambo figure, quoting Professor Joseph Botkin’s authoritative study, Sambo: the Rise and Demise of an American Jester.  ‘The life of Sambo began with the early colonization efforts of the 17th century…Sambo’s existence gradually evolved as western Europeans directed the energies of blacks on the Sugar plantations in the West Indies and the Tobacco fields of Virginia and Maryland.  Sambo was born during the infancy of the American Republic and over a period of time, Sambo became an integral part of the colonial family…Sambo was the first truly indigenous American humor character throughout the culture.”

By the middle of the 19th century the Sambo figure reached the height of popularity in the Blackface Minstrle show, when it was first Anglo-Saxon performers like Thomas “Daddy Dan” Rice who “blacked up,” then the role was dominated by Irishman, and by the early twentieth century the major black face stars were the Al Jolson and Eddie Cantor, both Jews.   And their acts were a big hit; Jolson was the biggest act of his time after he made the first “Talkie” movie with sound: “The Jazz Singer.”  It was a complete rip off of Afro-American culture that the world witnessed first as a parody of the real thing.

The movie was a big hit, grossing almost four million and almost two million in profits.  With the great success of Al Jolson the Jewish movie Moguls who built Hollywood made many movies with the Sambo figure, even when they began to employ real black  actors  – like Stepin  Fetchin, Willie Best, Mantan Moreland, Eddie Rochester Anderson, etc. – which froze the black actor in that role for decades.

Hence Jews in Blackface is no joke, it is a tawdry tale that cost the black community dearly.  When the sensational song/dance/comedy team Bert Williams and George Walker formed their act in San Francisco during 1893, there were so many white acts performing in blackface the billed themselves as “Two Real Coons.”  George Walker, a handsome dark skinned man who sometimes billed himself as “Mr. Chocolate Drop,” refused to black up, but Bert Williams was forced to paint his face with burnt cork in order to work in the Ziegfeld Follies – which was then the greatest show in the country…if not the world!

This is the painful history that Dov Hikind has conjured up.  And if he doesn’t know it, then he should study the history of this country more carefully instead of just the Jewish experience.  But I don’t think he really wanted to know.  If he did he need only reference the  big blow-up in this city after former Mayor “Crazy Eddie” Kotch performed a blackface routine with Afro-wig while he was serving as the Mayor.  And that’s unacceptable for an elected official in a city with a large Afro-American population.  And we won’t stand for it!

Like Crazy Eddie, “Dumb Dovie” is an ultra-nationalist Jew, and they guard the Jewish image very carefully; ever ready to do battle with anyone who insults the Jewish community.  Hence he should understand that Afro-Americans are as jealous of our image as American Jews are of theirs.  Furthermore this is the 21st century, not the 19th or 20th, and we will not stand for racist insults by public officials.

That’s why Hikind ended up apologizing profusely after first doubling down. His “wrong and strong” routine sparked a fury from the Black community who were joined by anti-racist from all communities including the Jewish community, and he was roundly rebuked. A bit of free advice Dovie: You better Check yo self before yo wreck yoself!  ”

*********************

 Al Jolson

Al Jolson

This Jew Became the Biggest Star in Show business Blacking Up

Eddie Cantor

WhiteEddie_Cantor

A Major Jewish Star All Blacked Up

Bert Williams

Bert 

Forced to Black Up to work in the Ziegfeld Follies

 

Stepin Fetchit and will Rogers 

 Stepin-Fetchit-and-Will-Rogers

Jewish Movie Moguls ferred the Sambo Image to real Black Actors!

*****************

(Double click to view)

Al Jolson In “The Jazz Singer”

http://youtu.be/PIaj7FNHnjQ

Eddie Cantor On Stage

http://youtu.be/AfaVanFZA_o

Playthell G. Benjamin
Harlem, New York
February 27, 2913