Black Face, Jewish Pockets

By Ilia Rashad Muhammad -Guest Columnist- | Last updated: Apr 17, 2014 - 9:31:20 AM

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‘Since the days of slave-minstrels when Whites profited from the dehumanizing depictions of Black people, this relationship is still perpetuated by those who control the entertainment industry.’
The recent production called The Black-Jew Dialogues has been touring the country claiming to spread “diversity” and “promote discussion” among Blacks and Jews, but it is no more than an updated version of blackface minstrelsy, a century-old mainstay of Jewish entertainment. According to its own literature, the two performers—one Jewish and one Black—“find humor in ... the Jewish involvement in the Dutch slave trade,” and they mock and demean the only TRUE advocate of justice, the Honorable Minister Louis Farrakhan.

Unlike The Black-Jew Dialogues’ sketches, actual history shows how powerful media magnates have promoted and paid Black celebrities to serve as buffers for the White power structure. Just as one may use toys and trinkets to pacify an annoying toddler, many talented Black artists have been strategically placed in front of the people to prevent any mass awakenings and to quell potential upheavals. Since the days of slave-minstrels when Whites profited from the dehumanizing depictions of Black people, this relationship is still perpetuated by those who control the entertainment industry.

Jewish theatrical businessmen exploited the talent and suffering of Blacks throughout the turn of the century. Some of those early exploited Black entertainers included Bert Williams and George Walker. Although seldom mentioned today, Bert Williams and George Walker were the first African-American superstars. They were talented entertainers whose rise to fame was bolstered by their degrading portrayals and stereotypes of their own people. Knowing this, Whites purposely promoted these negative portrayals of Blacks because they were considered non-threatening to the White status quo. In 1918 The New York Dramatic Mirror hailed Williams as “one of the great comedians of the world.” Those who wielded influence over the industry promoted such buffoonery among Black entertainers. In many cases these minstrels were propped up as leaders of the Black race.

While being marketed as the “Two Real Coons,” Williams and Walker were booked into Koster and Bial’s Theater in New York. According to the Jewish Current, “Koster and Bial’s was a major vaudeville theater owned by two German Jews that was demolished in 1901.” The Jewish-operated theater had no problem capitalizing on the humiliating condition of Black people. The duo’s stint with Koster and Bial’s Music Hall helped popularize the “coon” stereotype among Blacks. 

Much of Bert Williams and George Walker’s exposure was furthered through Hammerstein’s Victoria Theater, developed by the Jewish theater impresario Oscar Hammerstein. The Victoria Theater propelled the Black minstrel duo into the spotlight by feeding their depictions of Black buffoonery to the public. White audiences basked in revelry as Black minstrels with blackfaces further justified the stereotype of Blacks being jubilant, yet feeble-minded, coons. With this in mind, it’s rather easy to deduce why the majority of today’s gangsta rap albums are bought by Whites. As long as celebrities don’t threaten the power of Jewish authority, their artistry can be promoted—especially if it’s detrimental to the Black community.

One of the duo’s recorded bits was titled “The Phrenologist Coon,” published by the Jewish businessman Joseph W. Stern. The title alone strongly indicates the racially degrading material that was strategically being purveyed by the industry. There should be no surprise that one of their greatest acts was Sons of Ham. The title and message convey the false, yet widespread, belief that Black people are divinely cursed to be servants—a wicked notion invented by Jews that dominate their beliefs, customs, and business practices today. There is no wonder that many Black celebrities are controlled by Jewish agents, managers, directors, producers, and executives. Even Joel Stein (Jewish writer for the LA Times) felt obligated to acknowledge, “Jews totally run Hollywood.” There is no coincidence that the exploitation of Black talent has been linked to Jewish profits—then and now.

Bert Williams’ buffoonery catapulted around the country and was furthered by another theatrical baron, Florenz Ziegfeld, the mastermind behind the famous Ziegfeld Follies. Like many Jews in the early twentieth century, Florenz Ziegfeld was believed to have hidden his Jewishness under the guise of various Christian denominations. Author Henry Bial, in his book “Acting Jewish: Negotiating Ethnicity on the American Stage & Screen,” notes that Ziegfeld is distinctly identified as Jewish and “he is listed in several Jewish biographical dictionaries, including American Jewish Historical Society, The American Jewish Desk Reference... [and] The Concise Dictionary of American Jewish Biography.”

With Jewish support, Williams became the highest-paid Black performer during the early 1900s, reeling in well-over $120,000 annually (several millions in today’s currency). The obvious implication here is that industry moguls will pay and promote Blacks to express concepts that are destructive to their own people.

Like so many Black entertainers, Williams died brokenhearted in his mid-40s, but the Jewish business empires lived on—a classic case of exploited Black talent filling Jewish pockets.

If we examine how some of the most self-destructive messages being conveyed by Black artists are buttressed throughout the world, the question must be asked, “Who has been orchestrating this destructive agenda?” Who are the masterminds behind the industry’s widespread promotion of artists who feed filth and debauchery to the Black community? While it’s easy to point the finger at the misguided Black face on stage, the reasonable thinker can easily conclude that the primary power-players are White, mostly Jewish, personnel.

It’s interesting how Jews make such a fuss over the negative images that Nazi Germany’s propagandist Joseph Goebbels made of them, yet Jews have been applying far worse depictions of Blacks before, during, and after the Jewish Holocaust. The Black-Jew Dialogues adds to this hypocrisy claiming, “Blacks and Jews have been arm-in-arm in their fight for social justice.” A more accurate history shows that Jews have been the primary masterminds behind the deliberate, widespread unjust exploitation of Blacks in entertainment and other spheres. Not only have these portrayals been used to enslave, mistreat, mis-educate, and harm Blacks worldwide, but Jews have been the primary profiteers of this exploitation.

The Black-Jew Dialogues is just another comedic attempt to conceal the harsh truth between the two groups by erasing the evidence of their swindling activity perpetrated against Black performers. Until the true history of Black-Jewish relations is brought to the forefront, there can never be any progressive dialogue between Blacks and Jews!

While most leaders can only vaguely and generally acknowledge that there are secretive groups that control and manipulate the entertainment industry, Minister Farrakhan is distinguished as the only Black leader bold enough to expose these persons and entities by name.

-Secret Relationship Between Black And Jews-

It becomes obvious why those who control the media deem Minister Farrakhan as a threat to their power and their pockets. The Bert Williams and George Walker stories give a vivid picture of the controlled misdirection of Black talent at the hands of Jewish industry manipulators, but who will have the courage to stand with Minister Farrakhan today in his quest to free Black talent from their present-day masters?

(Ilia Rashad Muhammad is a member of the NOI Research Group and author of the book UFOs And The Nation Of Islam: The Source, Proof and Reality of The Wheels, available at