As I recently wrote, America’s racial Cultural Revolution is, much to their shock, now coming for America’s Jews. Worse still for America’s left-voting Jews, they’re suddenly realising that they’ve been sharpening the cultural pitchforks for a leftist progrom in the heart of the citadel that they built: Hollywood.
Just as the left want to erase the Jews in their homeland, Israel, they’re busily scrubbing them from their home-away-from home.
What’s happening now is that Jews are being dispossessed from a world of their creation. This ain’t like being kicked out of Madrid or Vienna; over the centuries Jews got used to being expelled from other people’s kingdoms. But this is their kingdom; everyone else is the immigrant.
It’s not some conspiracy for slack-jawed skinheads to assert that Jews built Hollywood: it’s just a fact of history. It was Jewish entrepreneurs who established Hollywood and made it into the financial and cultural powerhouse that it is, and good luck to them.
Hollywood’s Jews have also had a long, proud history of black representation. The “Colored Movies” of the early 20th century might not be politically correct today, but they were an early recognition of Black America: one that worked around and subverted segregation.
Between the 1920s and 1950s, over 500 full-length all-black movies, produced by Jews like Leo Popkin and Alfred Sack, were filmed and distributed to “colored” theaters in Southern states where millions of blacks paid to see “their people” in Hollywood films remade with a black cast.
It was a hugely successful racket, but to the Hollywood Jews, it wasn’t personal, in that, it’s not that these Jews liked segregation. But there was money to be made in the South, and the sound business move was to milk both sides of “separate but equal,” with white films in which blacks were relegated to funny sidekicks or dance acts, and black films in which handsome (usually light-skinned) blacks played all the roles.
The politically-correct sneering that has relegated “Colored Movies” to the dustbin of history also ignores just how good many of them were. Manton Moreland was, frankly, a comedy genius, who certainly didn’t deserve the derision he copped later in his life. His routines with Ben Carter are masterpieces of comic timing to rival Abbott and Costello. The Charlie Chan movies Moreland and Carter appeared in were also groundbreaking: a good-looking Chinese hero against the Yellow Peril stereotype of the day.
When society changed, Hollywood Jews put their money and talent into socially conscious mainstream black films, and schlocky blaxploitation fare. Again, it was just business.
But Hollywood’s Jews underestimated the vengeful ignorance of schwartzes drunk on CRT. The same ignoramuses who praise the ludicrous 1619 Project and smash statues couldn’t give a rat’s about what Jewish Hollywood ever did for them. All they see is, in Whoopi Goldberg’s words, “two groups of white people”.
It turns out that Jews underestimated their soul brothers. The Substack piece details how black producers are using the caps and quotas, along with heavy-handed strong-arm tactics, to become the new power brokers and kingmakers in town (Jews are used to being mugged by schvartzes in the street, but not on the studio lot!).
50 years ago, Jewish writer Norman Podhoretz wrung his hands about My Negro Problem—And Ours. Podhoretz, deeply inculcated as a boy in the leftist dogma of vicious, oppressive whites (including Jews) and noble, oppressed blacks, couldn’t help but notice something inconvenient: the Negroes who were doing the only persecuting I knew about—and doing it, moreover, to me.
It would be easy to chuckle unsympathetically at what’s happening to Hollywood’s Jews, to spout some kind of snarky “chicken soup’s coming home to roost” one-liner. But that kind of reasoning is unhelpful. Racial apartheids are always bad, and if you take a “serves ’em right” attitude for one, you’re just encouraging more of them, until eventually you’re on the ass end of one yourself […] the goal isn’t diversity but punishment. Retribution. Study any racial cap-and-quota system throughout history: Jim Crow South, Nazi Germany, apartheid South Africa, 20th-century Fiji. It’s always about keeping one group down. It’s never about “equity.”
Takimag
To repeat Albert Camus’ timeless wisdom: When the oppressed take up arms in the name of justice, they take a step toward injustice.
