Triggered by Beethoven: The Cultural Politics of Racial Resentment

2020 was meant to be a year of celebration for Beethoven who was baptized 250 years ago (his exact date of birth is unknown) in Bonn on December 17, 1770. COVID-19 prompted the cancelation of commemorative concerts of Beethoven’s music, but the pandemic didn’t quell efforts by anti-White activists to attack the composer’s reputation and dominant place in the cultural pantheon of the West. Rather than a year full of performances of the great composer’s sonatas, string quartets, concertos and symphonies, 2020 saw repeated attacks on Beethoven for the crime of being a White male genius and for embodying the European musical tradition.

Beethoven is the most-performed composer in the repertoire, and his anniversary year was planned to be no exception. Before the widespread cancellation of concerts, 15 to 20 per cent of the repertoire programmed by leading orchestras was music by Beethoven. Widely regarded as the greatest composer of all time, Beethoven is inescapable because he remade almost every genre of concert music that matters. The concerto and symphony in his hands became driving musical narratives of heroic struggle. His late string quartets open a profound window on to the soul. Unlike his predecessors who were craftsmen who supplied a commodity to a paymaster, Beethoven ushered in the age of Romanticism by insisting on his creative independence and the absolute importance of self-expression: “What is in my heart must come out so I write it down.” This was manifested in his refusal to take a secure, salaried position like his one-time tutor Joseph Haydn who was the master of music for a feudal landowner in what is now Hungary.

Beethoven’s heroism in overcoming the worst thing that can happen to a composer — worsening deafness from young adulthood — to compose some of the greatest music ever has awed generations and become emblematic of triumph over adversity. All the stories of Beethoven’s misanthropy, his eccentricity and wildness, date from the decline in his hearing, which often caused him acute physical pain. Only his art prevented him from taking his own life: “It seemed to me impossible to leave the world until I had brought forth all that I felt was within me.” While Beethoven’s confidence as a pianist and conductor gradually diminished with his creeping deafness, his imaginative powers as a composer grew stronger and stronger, and he cast a daunting shadow over his successors: Brahms did not feel confident tackling a symphony until he was in his forties.

Beethoven excelled at his trade because he was born with a gift and worked at it as hard as it is possible to work. Swafford notes how his sketches and manuscripts reveal that:

Nothing came easily to him, least of all composing. Where Mozart could dream up a whole piece in his head while playing billiards, Beethoven had to worry and whip every note into place in his sketches. The sketchbooks are amazing documents: gold being refined from raw ore, pedestrian ideas becoming revolutionary concepts, incoherence being forged into clarity and purposefulness. Even the final manuscripts are a morass of scrawls and blots and revisions on top of revisions.[1]

Beethoven’s Faustian spirit made him into the kind of figure that dominated the imagination of nineteenth century Europeans: the superhuman genius, the revolutionary hero, the master of his own fate and transformer of the world. This reputation carried over into the twentieth century with the influential French writer Romain Rolland holding the composer up as a role model for a less heroic age, epitomizing personal sincerity and self-denial — in a word, authenticity.[2]

Attacks on Beethoven

Laudatory references to White male geniuses like Beethoven inevitably trigger rage from anti-White commentators who huff that it has “long been an argument of white supremacists, Nazis, Neo-Nazis, and racial separatists that ‘classical music,’ the music of ‘white people,’ is inherently more sophisticated, complicated, and valuable than the musical traditions of Africa, Asia, South America, or the Middle East, thus proving the innate superiority of the ‘white race.’” Seen through the Cultural Marxist lens of critical race and gender theory, Beethoven’s music dominates the concert repertoire not because of its exceptional quality, but because White-male privilege and assumptions about White-male genius keep it there. Linda Shaver-Gleason insisted Beethoven’s dominant place in the canon was the result of a White supremacist conspiracy which “intentionally suppressed” the music of non-White composers “in the service of a narrative of white — specifically German — cultural supremacy (because, alas, that too is part of Western culture).”

Slate online recently rebuked Beethoven for his mononym: the fact he is known by a single name, like Michelangelo or Shakespeare. This practice supposedly gives the pedestal of nomenclature to “straight white men at the expense of everyone else.” White male composers, it is claimed, “became so ensconced in elite musical society’s collective consciousness that only one word was need to evoke their awesome specter. Mouthfuls of full names became truncated to terse sets of universally recognized syllables: Mozart. Beethoven. Bach.” The works of composers with mononyms are therefore assumed to be “on a different plane,” whereas this assumption is, we are told, actually the product of “centuries of systematic prejudice, exclusion, sexism and racism.”

In a recent Vox podcast and article, musicologist Nate Sloan and songwriter Charlie Harding claim the opening bars of Beethoven’s Fifth Symphony (the famous da-da-da-DUM motif) should not be given their traditional interpretation — the sound of fate knocking on the door and Beethoven’s resilience in the face of encroaching deafness — but should be construed as the sound of the gate slamming shut on minorities, such as “women, LGBTQ+ people, people of color.” They assert (without evidence) that “wealthy white men” embraced the Fifth Symphony as a “symbol of their superiority and importance.” Black clarinetist Anthony McGill agrees, likening the inescapability of the Fifth Symphony to a “wall” between classical music and new, racially-diverse audiences.

Jewish music writer Norman Lebrecht defended Beethoven against Sloan and Harding’s polemic by citing Beethoven’s “liberal” credentials, claiming, for example, that they “fail to explore how Beethoven’s Fifth served for millions as a symbol of freedom in the war against Nazism.” Unmentioned by Lebrecht is the fact that, despite Beethoven’s politics — which were liberal for their time (he had republican sympathies) — the composer made repeated comments critical of Lebrecht’s own ethnic group. On one occasion, he rejected the idea of selling his Missa Solemnis to the Jewish music publisher Adolf Schlesinger in favor of the German publisher C.F. Peters, informing the latter that: “In no circumstances will Schlesinger ever get anything more from me, because he too has played me a Jewish trick.” Beethoven’s disgust with Schlesinger was prompted by repeated experiences of being short-changed with “such insulting niggardliness, the like of which I have never experienced.”[3] In a letter of 1823, Beethoven called Schlesinger “a beach peddler and rag-and-bone Jew.” In his negotiations with another publisher, Beethoven noted the publisher was “neither Jew nor Italian” and that as he himself was also neither of these, “perhaps we shall come to some agreement.”[4]

Sloan and Harding are on stronger ground in arguing the thematic complexity of the Fifth Symphony necessitated unprecedentedly close listening to fully grasp, and this, in turn, led to the establishment of new norms of concert behavior. These norms — sitting still, staying quiet and not clapping mid-piece — led to the strict culture of classical music that persists to this day, and which allegedly oppresses non-Whites who cannot reasonably be expected to conform to such standards of behavior. Sloan and Harding lament that classical concerts are the sole remaining American institution that typically insists on starting on time. Rather than a sign of respect for all parties involved, these behavioral and procedural norms are, they insist, symbols of White supremacy which alienate “diverse audiences,” and their origins can be traced to Beethoven.

Jewish music writer for The New Yorker, Alex Ross, labelled the planned 2020 Beethoven celebrations “a gratuitously excessive celebration of the two-hundred-and-fiftieth birthday of a composer who hardly needs any extra publicity.” He insists that, in the wake of the Black Lives Matter riots, an examination of the relationship between classical music, which he labels “blindingly white, both in its history and present,” and racism is “sorely needed” because of the genre’s “extreme dependence on a problematic past.” Ross claims that when the classical music tradition was transplanted to the United States, the “white majority tended to adopt European music as a badge of its supremacy. The classical-music institutions that emerged in the mid- and late nineteenth century — the New York Philharmonic, the Boston Symphony, the Metropolitan Opera, and the like — became temples to European gods. … Little effort was made to cultivate American composers; it seemed more important to manufacture a fantasy of Beethovenian grandeur.”

For Ross, classical music can only “overcome the shadows of its past” if it commits itself to a “much more radical confrontation with the white European inheritance,” and by programing more non-White composers like Julius Eastman — a Black composer whose “improvisatory structures, his subversive political themes, and his openness about his homosexuality give him a revolutionary aspect, yet he also had a nostalgic flair for the grand romantic manner.’”

In the frontline of attacks on Beethoven in 2020 was Black music writer and Hunter College academic Philip Ewell, who penned an article titled “Beethoven was an Above-Average Composer — Let’s Leave it at That.” Ewell begrudges the laudatory epithets routinely applied to White composers like Beethoven and their works. For Ewell, adjectives like “genius” and “masterwork,” evoke slavery (master-slave) and sexism (master-mistress), and the classical music lexicon is, in his assessment, overflowing with euphemisms that disguise and reinforce the “white-male frame.”

In addition to “master’ and its derivatives, here are some of the other common euphemisms for white and whiteness in music theory’s white racial frame: authentic, canonic, civilized, classic(s), conventional, core (“core” requirement), European, function (“functional” tonality), fundamental, genius, German (“German” language requirement), great (“great” works), maestro, opus (magnum “opus”), piano (“piano” proficiency, skills), seminal, sophisticated, titan(ic), towering, traditional, and western. Even terms such as “the long nineteenth century” and “fin de siècle” can be considered euphemisms for whiteness and white framing for their close associations with dates and events (and languages) significant to Europe and Europeanism. Such euphemisms are intended to sublimate whiteness into less objectionable forms, thus mitigating the effect of whiteness on music theory and hiding its existence.

Rather than enjoying a merited reputation for the brilliance and originality of his oeuvre, Ewell insists Beethoven’s fame has been upheld by such lexical scaffolding, claiming Beethoven, “along with countless other white males, has been propped up by the white-male frame, both consciously and subconsciously, with descriptors such as genius, master and masterwork.” In Ewell’s jaundiced assessment, Beethoven’s Ninth Symphony is “no more a masterpiece” than Esperanza Spalding’s 12 Little Spells (click the links and judge for yourself). The status of Beethoven’s Ninth is purely, he argues, a product of music theory’s “white-male frame” which “obfuscates race and gender.”

Ewell’s attack on Beethoven is an adjunct of this broader hostility to classical music’s “white racial frame” which, he insists, reinforces the hierarchy of White male composers, and “works in concert with patriarchal structures to advantage whiteness and maleness while disadvantaging POC and non-males.” This frame purportedly encompasses Western tonality itself (with its major-minor harmony and its equal-tempered scale) which is assumed to be the “master” language. Ewell even regards the Gregorian calendar as “white racial framing writ large,” insisting “no one can deny the racial element behind how the world now understands the linear and cyclic nature of time.”

Phillip Ewell

In an article for the journal Music Theory Online entitled “Music Theory and the White Racial Frame,” Ewell argues that “music theory is white [it is]” and the discipline is undergirded by a deep-seated ideology of White supremacy calculated to thwart Black and Brown (but strangely not East Asian) achievement in classical music. The main target of Ewell’s critique is the early twentieth-century music theorist Heinrich Schenker (1868–1935) who initiated the parsing of musical structures into foreground, middle-ground and background to tease out the tonal formulas that underpin large-scale movements. Drawing on poststructuralist critiques of Western civilization, Ewell claims this kind of score-driven analysis of musical works as part of Western musicology (what he dubs the “drive to scientificize music analysis”) represents an effort to “shore up whiteness in music theory’s white frame” and to insulate “whiteness from potential criticism.” In attacking Schenker (who was an Austrian Jew), Ewell inadvertently strayed into forbidden fields of inquiry and faced unexpectedly fierce blowback and accusations of “Black anti-Semitism.”

Ewell’s “white racial frame” purportedly extends to musical education where, in the most commonly used theory textbooks in the United States, only 1.63% of musical examples come from non-White composers. This is also problematic for Linda Shaver-Gleason because studying a particular piece “reaffirms its canonical status; enshrining it in a textbook is deeming it worthy of study.” Constantly referencing White composers “reinforces the idea that they’re the ones who deserve the most respect, as if to say, ‘Marvel at the many techniques Mozart used so perfectly!’” Ethan Hein, a (presumably Jewish) doctoral fellow in music education at NYU, likewise decries the stubbornness of music teachers in teaching “European-descended” classical music over that of “music descending from the vernacular traditions of the African diaspora.” Orienting music education towards the European classical tradition, an “implicit racial ideology,” is, he declares, “insidious” in its “affirmations of Whiteness.”

In 2020, college-level music pedagogy responded to Black Lives Matter by “dramatically reconsidering which composers and musical traditions we do and don’t discuss in the classroom.” Similar dynamics were at work within other musical institutions. The Metropolitan Opera, upon cancelling its 2020–21 season, announced that it would begin its next season with Black composer Terence Blanchard’s Fire Shut Up in My Bones, the first opera by a Black composer to appear on the Met’s stage. Despite such gestures, for Slate journalist Chris White, musicians, academics, and teachers still “have a lot of work ahead to confront the racist and sexist history of classical music.”

Music theory’s white racial frame is also sustained, according to Ewell, by the “citational chain” of white men citing other white men in the musicological literature. He wants to break this chain “in which whiteness begets whiteness and maleness begets maleness.” Meanwhile, Ewell’s own utterly conventional and establishment beliefs are the unreflective product of his engagement with a group of predominantly Jewish critical race and gender theorists: he borrowed the term “white racial frame” from Harvard sociology professor Joe Feagin. Arguing that the entire Western art music tradition is inherently White supremacist, Ewell advocates “overthrowing the existing structure and building a new one that would accommodate non-white music a priori [prior to listening to it??] no reaching for ‘inclusion’ necessary because non-white composers would already be there.”

Beethoven and the “New Musicology”

Ewell postures as an outsider bravely challenging sinister norms entrenched in Western musicology when, in reality, his perspective has been utterly conventional since the advent of the “New Musicology” in late 1980s — when Cultural Marxists to a significant extent overran the discipline. Musicology was one of the last frontiers for poststructuralism and critical theory which had already infested most of the humanities and social sciences by the early 1980s. The New Musicology was founded by the Jewish-American critic and musicologist Joseph Kerman (born Zukerman) whose journalist father William Zukerman (1885–1961) was a prominent figure in the Jewish media and author of the 1937 book The Jew in Revolt: The Modern Jew in the World Crisis.

A key figure in the ascent of the “New Musicology” was Susan McClary whose 1991 book Feminine Endings: Music, Gender and Sexuality is considered a trailblazing text for the movement. McClary gained fame and notoriety for her feminist “analysis” of the first movement of Beethoven’s Ninth Symphony, where she claimed: “The point of recapitulation in the first movement of the Ninth is one of the most horrifying in music, as the carefully prepared cadence is frustrated, damming up energy which finally explodes in the throttling murderous rage of a rapist incapable of attaining release.” This risible statement was an elaboration of her belief the Western musical convention of sonata form is inherently sexist, misogynistic and imperialistic: that “tonality itself — with its process of instilling expectations and subsequently withholding promised fulfilment until climax — is the principle musical means during the period from 1600 to 1900 for arousing and channeling desire.” The primary “masculine” key (or first subject group) is said to represent the male self, and the secondary “feminine” key (or second subject group) represents the “other,” a territory to be explored and conquered, assimilated into the self and stated in the tonic home key.

Virtually all Cultural Marxist critiques of Western classical music fall back on these kind of entirely speculative metaphors. While purporting to offer additional insight into music, the New Musicology systematically imposes an anti-White male ideology on its subject, and, in this endeavor, happily discards all standards of proof and evidence. The conceit that, before the advent of the New Musicology, the discipline was limited to the rigid boundaries of empiricism and positivism is false; awareness of the context and reception of music has always been a core topic of musicology. There was, however, also a belief in purely musical elements and in the value of studying them. The problem with such “objective” technical analysis, for the likes of McClary and Ewell, is that it invariably leads to “White supremacist” conclusions about the relative quality of different musical traditions. The “problematic dimension” of analyzing “music as simply music,” McClary notes, is that people inevitably point to Western classical music “as evidence of the superiority of European and European-descended people, which marginalizes the rest of the world and, also, minority groups in the U.S.”

Constructing Beethoven as Black

The main alternative to the Cultural Marxist deconstruction (and proposed anti-White reconstruction) of the Western musical canon, has been attempts by Blacks to appropriate Beethoven for themselves. Given Beethoven’s status as the archetypical musical genius, it is unsurprising that aggrieved Blacks have, since the early twentieth century, attempted to propagate the myth that Beethoven had some African ancestry. The basis for this entirely spurious claim was the composer’s slightly swarthy complexion, and the fact part of his family traced its roots to Flanders, which was, for a period, under Spanish monarchical rule. Because Spain had a longstanding historical connection to North Africa through the Moors, a degree of blackness supposedly trickled down to the great composer — this despite the fact the Moors as an ethnic group weren’t even Black.

The myth was eagerly disseminated by Jamaican “historian” Joel Augustus Rogers (1880–1966) in works like Sex and Race (1941—44), the two-volume World’s Great Men of Color (1946–47), 100 Amazing Facts About the Negro (1934), Five Negro Presidents (1965), and Nature Knows No Color Line (1952). Rogers, whose intellectual rigor was basically non-existent, claimed that Beethoven — in addition to Thomas Jefferson, Johann Wolfgang von Goethe, Robert Browning, and several popes, among others — was genealogically African and thus Black. Despite being thoroughly debunked, the myth still lingers in contemporary culture: in 2007 Nadine Gordimer published a short story collection called Beethoven Was One-Sixteenth Black: And Other Stories. The determination, contrary to all available evidence, to make Beethoven Black is, of course, a desperate attempt to make the composer and his oeuvre a glorious symbol of Black accomplishment.

A pearl of wisdom from Jamaican historian Joel Augustus Rogers (1880–1966)

Otherwise sympathetic commentators have cautioned that such efforts are self-defeating, merely serving to treat the Western canon as fundamental and all other styles as deviations from this norm, thus reinforcing “the notion that of classical music as a universal standard and something that everyone should aspire to appreciate.” Trying to make Beethoven Black and desperately scouring the historical records for examples of non-Whites who wrote symphonies is to accept “a white-centric perspective that presents symphonies as the ultimate human achievement in the arts.”

Among those routinely cited by those desperate to prove the racial diversity of the Western art music tradition are the mixed-race composers Chevalier de Saint George, Samuel Coleridge-Taylor and George Bridgetower. These figures are remembered solely because they were non-White, not because of the excellence of their compositions. Beethoven personally knew Bridgetower, a talented violinist whose father was from the West Indies. Indeed, Bridgetower was the original dedicatee of one of Beethoven’s most celebrated violin sonatas. Beethoven called it the “mulatto sonata” after Bridgetower (before the word took on a more pejorative sense) and the pair gave the first performance but fell out soon afterwards, whereupon Beethoven renamed the piece for another violinist, Rudolphe Kreutzer.

Conclusion

Classical music, like other aspects of Western culture, has been a casualty of the anti-White diversity mania that now infests Western intellectual life. The Cultural Marxist critique of classical music (and of Beethoven) wallows in bad faith arguments and cognitive dissonance: Western classical music is nothing exceptional, yet cannot be invoked to praise White people because this necessarily implies the inferiority of other races; a White supremacist conspiracy thwarts Black and Brown achievement in the genre, but utterly fails to prevent East Asian interest and success; Black composers have written symphonies (and, indeed, Beethoven himself was Black), yet the Western classical music tradition is inherently White supremacist and needs radical deconstruction.

Ultimately, the reason the classical music canon (and Beethoven’s status as a titan of European civilization) is so keenly resented by anti-White activists, is because the gap in civilizational attainment it underscores is an embarrassing affront to regnant egalitarian assumptions. Western art music (with Beethoven as its leading exponent) stands as a glaring testament to the pre-eminence of European high culture, and implicitly of the race responsible for it. The attacks on Beethoven in 2020 are yet another example of warfare waged against White people through the construction of culture.

Brenton Sanderson is the author of Battle Lines: Essays on Western Culture, Jewish Influence and Anti-Semitism, available here and here.


[1] Jan Swafford, The Vintage Guide to Classical Music: An Indispensable Guide for Understanding and Enjoying Classical Music (Knopf, 1993), 184-85.

[2] Romain Rolland, Beethoven the Creator (Rolland Press, 2008)

[3] Jan Swafford, Beethoven: Anguish and Triumph (Faber, 2015), 760.

[4] Lewis Lockwood, Beethoven: The music and the Life (Norton, 2005), 533.

Julien Langella’s Catholic and Identitarian


Catholic & Identitarian: From Protest to Reconquest
Julien Langella
Arktos, 2020.

“The absence of anger is a sign of the absence of reason.”
Saint Thomas Aquinas

For better or worse, I’m fairly certain there hasn’t been a Catholic in my family tree since the Reformation, and I remain unsure about a strict definition of “Identitarianism.” It was with an ambivalent but open mind, then, that I recently read Julien Langella’s Catholic & Identitarian, a furious lament on the present condition of France and a firm apologetic for ethnic activism among Christians. Such a text is surely needed. In May 2016 I wrote a scathing essay on Christian attitudes to, and activism on behalf of, mass migration, prompted by the foot-kissing antics of Pope Francis, described in the essay as “the personification of a sick glorification of humility and weakness.” Although I focused for the most part on the Catholic Church, I took aim at all denominations with the demand that “Those who describe themselves as Christian White advocates need to become more vocal in articulating a more ethnocentric or culture-based theology that their co-religionists will find convincing. It is simply not enough to hope that Nationalists can achieve something politically and then come to the rescue of the churches.” Julien Langella, one of the co-founders of Génération Identitaire and whose text first appeared in French in 2017, has provided an admirable response to this problem that will appeal to, and educate, readers of all religious backgrounds and none.

Is this a Catholic book? Yes and no. Religious elements of the text are, thankfully in my opinion, framed as a backdrop to the primary concern: the French are facing the gradual but imminent replacement of their ethnic group in their own homeland. Langella’s central ambition in the book is therefore to explain and condemn this Great Replacement while stressing how Catholicism (and other important facets of the traditional and ancestral life of the French) could and should be used as an underpinning for a resurgent French “Identitarianism.” Langella helpfully avoids some of the clichés of the “TradCath” social media scene by demonstrating an impressive grasp of historical Catholic literature as well as a mature and wide-ranging understanding of many of the contemporary political, ideological, and economic currents that have combined against the European peoples. Most important of all, he is honest in his criticisms of the prevailing attitudes of the Catholic Church on mass migration and ethnicity, devoting one section of the book to a dissection of Pope Francis himself. Unashamedly local in concern, yet avoiding a parochialism that ignores the need for Europeans to unite on some level, Catholic & Identitarian is the most impassioned warning and call to action that I’ve read since Guillaume Faye’s blistering Ethnic Apocalypse (2019).

The book is divided into five chapters, each of which is subdivided into lesser sections. Some of the latter are just a few paragraphs long, which gives the book a sense of fast pacing despite the heavy subject matter often under discussion. The writing style is punchy and straightforward, and mercifully devoid of jargon. The text opens with an interesting Preface from Abbot Guillaume de Tanoüarn, who has previously made headlines in France for resisting the police-enforced demolition of churches. Abbot Guillaume uses his Preface to make the moral and spiritual case for ethnocentrism among Europeans, commenting that “the crisis we face is a moral crisis, and because of its rootedness, because what is at stake is the identity of each of us, one can even say that, deep down, it is also a spiritual crisis.” Individualism is regarded as a cancer, because the common good, or communicatio, of a nation is “not founded on individuals who are magically stuck together, but on families who, in the Christian model of society which prevailed in the West, represent a union of two sexes in “one flesh,” according to the law of love.” Against the organic community, “it has become fashionable in the media to question identity, to stigmatise attachment to soil and traditions. It is almost as if any prior spiritual wealth, anything greater than the Individual, has become suspicious, or has transformed into some new bizarre metaphysical paradigm.” Abbot Guillaume laments the arrival of a perception that individual “freedom encounters no other limit, no other boundary than the liberty of others in a world where neither good nor evil has the slightest meaning.”

Abbot Guillaume dragged from St Rita church, Paris by riot police in 2016

For Abbot Guillaume, “identity is inherited,” and “among the facts that condition individuals, ethnic origin has its place. … There obviously exist different ethnic origins.” He pours scorn on “the ideology of mandatory miscegenation, which includes an infatuation with quotas and the compulsive glorification of diversity on the “American model,” for which one carefully fails to set limits and ignores in particular the violence it often entails,” and endorses the message of Langella that “miscegenation does not enrich; it impoverishes.” The Abbot closes his Preface with the wish that “the ideology of globalism, as all ideologies, will one day explode like a bubble in response to the urgency of natural politics.”

Julien Langella’s brief introductory chapter sets the scene. Catholicism is on the decline in France, and rather than being incremental, “the collapse is brutal.” More than just a lack of faith and adherence, French society has turned radically to open effronteries to the historical faith: “working on Sundays, homosexual parody of marriage, legalisation of euthanasia, consecration of abortion as a fundamental right, trafficking of women’s bodies through surrogate mothers etc.” The religious decline has occurred alongside massive demographic change, with 20% of the French population now of foreign origin. Langella makes the argument that “De-Christianisation and the Great Replacement go hand in hand,” with Western spirituality, if it exists at all, now being replaced by “an obsession with ‘well-being,’ a kind of Westernized Buddhism” (which I have demonstrated elsewhere is heavily Jewish) and “the cult of the god Consumerism.” Against this spiritual and moral decline, Langella proposes a militant Catholicism typified by the statements of Dom Gérard Calvet, founder of the Sainte Madeleine du Barroux abbey in Le Barroux, who declared his violent antipathy to “the globalist heresy” that wants to “simultaneously eradicate the faith and dissolve the people into a consumerist blob.” Langella asserts that “multicultural societies, sinking ever more each into violence, are doomed to perish,” and celebrates the fact that Catholic voters in France are increasingly turning to ethnocentrism, voting for the Front National in higher percentages than the national average. Langella argues that these voters and activists should gather under the banner of “Identitarianism.”

Why Identitarianism? Langella explains that “nationalist” is a tainted word in France that has “never won general support.” While there is “no academic definition” of Identitarianism because “it does not correspond to any specific school of thought or specific doctrine,” it amounts to an “awareness”: “multicultural societies are multi-conflictual societies, and the homogeneity of a nation determines its survival.” He adds, “to be Identitarian is to reject the commercial standardisation of way of life at the global level, immigration through non-European settlement, and the increasing Islamisation of our streets.” All of which can be summed up in Langella’s stark statement: “If the French disappear, then France dies. … Globalism is a culture of death, and the Identitarian struggle is a march for life.” The introduction closes by making the claim that Christian charity and the struggle for identity are not contradictory:

To claim to accommodate all the misery of the world is not charity. At best, it is weakness and laxity. At worst, it is a calculation in favour of the interest of those who profit from servile labour and a cheap market. The foreigner also has a homeland and a right to live well there, a right to rootedness. Therefore, to accept an uncontrolled flow of immigrants into our country is not the solution to the miseries of Africa and the Middle East. On the contrary, it gives a moral guarantee to those who would transform these unfortunate people into urban slaves. Between the false generosity of pro-immigration lobbies and the cynical “compassion” of certain shady employers, there lies a world of hypocrisy.

The book’s first, and most Catholic, chapter, “Catholic and Indentitarian, Universal and Rooted,” is a prolonged argument against those who have asserted that “total open borders is the only possible Christian position on the subject.” Langella describes the “twisting” of scriptures to defend such an agenda as an act of “moral terrorism,” “perverse ideological manipulation,” and “an idolatry of humanity, a new golden calf, rather than faith in the incarnate God.” For Langella, and the many Catholic thinkers he cites, unity in the Church is not equivalent to the “absurd relativism which prides itself in loving everyone, while it despises everything by placing them on the same level under the pretext of equality.” For Dom Gérard Calvet, such an idea is an example of “ancient Christian virtues twisted into foolishness,” while Cardinal Joseph Ratzinger, the future Pope Benedict XVI, once wrote that “Man absolutely cannot by himself bring about world unity, for division is imposed upon him by the sovereign will of God.” Both were echoing the sentiments of Pope Pius XII, who declared that it was not the position of the Church “to attack or underestimate the particular characteristics that each people, with a jealous piety and an understandable pride, retains and considers as a precious heritage. Her purpose is the supernatural unity in universal love felt and practiced, and not in an exclusively exterior, superficial, and thus debilitating, uniformity.”

Identitarian activist and father-of-three: Julien Langella

While Langella proves himself very capable of selecting some choice Traditionalist quotes, he is equally at pains to admit that “certain clergy — priests, bishops, and even cardinals — are among the first to uphold an unnatural Manicheism that opposes the Gospel to patriotism.” These clerics, spouting “nonsense” and endlessly agitating against the Front National, empty France “of much of her substance, reducing her to a collection of principles, at best “Christian values,” which is to say welcoming migrants, while “remaining more indulgent with the politics supportive of the legalisation of divorce, contraception, and abortion.” Citing Pius XII, Augustine, and Thomas Aquinas, Langella makes the argument that Christian charity must always begin at home, in “an order established by God.” In fact, Langella posits that “National preference is a fundamental Christian virtue.” What follows is a brief but interesting historical tour of Catholic mystics and clergy who undertook war against Islamic incursions, with Langella concluding that “defense of the homeland and defense of the Faith are a single entity in the face of the invading Muslim.”

The chapter closes with a survey of the facts demonstrating the reality of race, and the assertion that Catholicism cannot, and should not, deny it. Incorporating everything from Edmund Burke to Pope Pius XI and the findings of modern genetic studies, it’s a powerful apologetic for prejudice, with Langella asserting that “refusing prejudice is a moral blackmail, a weapon of intimidation against Europeans who are disgusted with invasion-migration. … In forbidding us from exercising the virtue of prejudice, the globalists want to force us to consent to our own disappearance under the wave of the Great Replacement.” He closes with a statement from Benedict XVI: “Nations should never accept to witness the disappearance of what made their own identity.”

The text’s second chapter, “The Religion of Miscegenation,” largely departs from spiritual discussion and context, and provides a very interesting exploration of multiculturalism that will provide food for thought for Whites of all religious persuasions —or none. For Langella, “Gender theory and multiculturalism have the same philosophical origin: liberal narcissism. … To fight gender theory and to ignore multiculturalism is totally contradictory.” The chapter moves on to a lengthy exploration of the nature and extent of miscegenation propaganda in France, which includes a national campaign poster promoting breastfeeding featuring blonde women with Black infants pressed to their chests. Langella describes this phenomenon as a “cult of miscegenation” embraced at all levels of society but promoted especially by hostile elites who have ensured that “what was formerly a purely private choice has become a virtue in and of itself.” Langella cites as one example the Jew Bernard-Henri Levy who once wrote: “Everything that’s local, berets, butter, bagpipes, in short anything French, is foreign to us, even repugnant. … I like race-mixing and I hate nationalism.” Langella is blunt in his response: “Miscegenation is a war. By its obsessive nature, it’s even a jihad.” He then describes the links between globalism and the military-industrial complex, arguing that “military imperialism is the enforcement arm for the globalist project, that of a world where the United States and its lackeys can behave like ghetto rats on an international level.” These elites comprise a “nomadic oligarchy” that treats Europeans like sub-humans “and the rest of the world like replacement livestock.”

One of the book’s great strengths is its focus on the role of international finance in advancing globalism and multiculturalism. International money power demands that the peoples of the earth become “an inexhaustible reserve of servile workers and compulsive buyers.” Multiculturalism, “a weapon of mass subversion,” is “indispensable to the good order of a consumer society: without identity, without fixed landmarks, men are empty inside, so they try to fill this void with material goods.” Nations composed of interlinked and rooted families are inferior, in marketing logic, to nations of transient homosexual couples with two incomes and no children. Against the rise of consumerism, Langella calls for a resurgence in activism in areas that are now seen as old-fashioned — like protest against work on Sundays. Pointing to the number of days off work during the Middle Ages (around 190 a year) due to feast days and religious events, Langella argues that reclaiming even one day of the week from consumerism would be a foothold in the struggle that would at least make Catholic activists appear “more credible.” As things stand, Western youth are in chaotic rebellion against all forms of Tradition since “Capitalism encourages young people to rebel against all authority except one: money.” He closes the chapter by remarking:

The arrival of this liquid society, composed of human beings with barely any willpower, is the anthropological sine qua non for the development of the liberal economy. … This is why, everywhere they can, with the complicity of their Left-wing proxies in education and culture, the hyper-nomads propagate the ideology of multiculturalism. And when people like the Serbs try to resist, “humanitarian” bombs rain down upon them. For as a last resort, there always remains armed force to impose through fire and tears what they could not achieve with advertising and moral lessons.

The book’s powerful third chapter, “The Migration Hurricane and the Church,” offers an unflinching look at the Catholic response to the waves of mass migration into Europe that has accelerated since 2015. Langella stresses that we are witnessing an ongoing colonisation of Europe, “for this is indeed an immigration of settlement.” The author posits three main causes of the migration wave: “globalist ideology as a consequence of the Enlightenment and Jacobin Republicanism; the need for a servile labour force, encouraged by the liberal desire to abolish borders; and the dependency promoted by the welfare state.” Faced with this trifecta, and in a pattern witnessed throughout the West, the French “Right” “has always been the first to betray the French people. Large corporate interest in cheap labour and international Marxism go hand in hand to promote a world without borders where the rule of money can extend without limit.” This combined power has been catastrophic, with one ancient village in the Loire region consisting of 188 inhabitants subjected to a dumping of 100 immigrants (in effect, a total destruction of the life of the village) in the name of “population distribution” to areas “without housing shortages.” In “disgusting displays of cynicism,” Big Capital has been propagandizing such new values while crushing native employment, with Uber running campaigns to collect clothing and toys for illegal immigrants while ruining local cab drivers, and Starbucks announcing their intention to employ 10,000 refugees. For Langella,

This is the typical liberal double-game: on one hand, fracture the workers by exacerbating competition among them, and on the other, acquire a brand image in supporting the current humanitarian cause. It’s a win-win for them in terms of profitability and moral reputation.

Following this discussion is a very disturbing exploration of anti-White activity in France, culminating in an exploration of the rape of French women by migrants. Some of the stories are among the most horrific that I’ve encountered, and there’s no benefit in my repeating them here. The predictable result of this endless ethnic crime has been a form of White flight, and the rise of ethnic segregation in France. As Langella puts it, “You can eliminate land borders all you want; ethnic borders will remain. … We are witnessing genuine ethnic division on French territory.” Langella, to his great credit, always retains a grander vision, and is always at pains to avoid degenerating into a Counter-Jihad caricature, which to be honest is something that I, in my ignorance of Langella and his activism, expected prior to actually reading his text. This broader vision is exemplified when the author finally reaches the subject of Islamic terrorism toward the middle of the chapter, where he concludes: “Islamism is the tree that hides the forest: the true cause of the attack in Paris was immigration.” I couldn’t agree more.

From here Langella moves to a discussion of Church attitudes to mass migration. Setting out his case, Langella argues that the Church “does not have a political program, but she offers a moral framework.” The Church’s record in activism on behalf of refugees and migrants is, however, very mixed. In 1914, Pope Benedict XV instituted the World Day of Migrants and Refugees, but this was primarily in response to the Armenian genocide, and was not “a justification of immigration in itself.” A “migrant” in the ecclesiastical language of the time, was always assumed to be fleeing genuine persecution, rather than being an immigrant in a general sense. Over time, argues Abbot Guillaume, the Church has passed from a teaching of duty of charity to the oppressed to the “ideological value of immigration as an absolute.” For Abbot Guillaume and Langella, this is a heresy that essentially posits immigration as “a trampoline for the Second Coming,” and is “profoundly anti-Christian.” Both point to the “universal destination of goods” as “the foundation of the Catholic critique of capitalism.” This idea always posits that social actions must always take place within the context of uplifting the common good. This “Common Good,” argues Langella, should be the compass of political action and is infinitely more important than “diversity.” He cites Pope John Paul II as saying the right to emigrate “should be regulated because applying this right in an uncontrolled way can be dangerous and harmful to the common good of the communities welcoming the migrants.” Pope Benedict XVI, meanwhile, asserted that “States have the right to regulate migratory flows and to defend their borders.”

Langella then moves to a discussion of “the elusive Pope Francis.” Langella is probably correct in stressing that due to media distortions, especially the media’s desire to portray Francis as a Leftist Pope with relaxed attitudes on gays and open arms for migrants, a full picture of the current Pope’s ideological positions is more difficult than usual to discern. That being said, Langella critiques Francis for being intentionally ambiguous, and for “offering to journalists on a platter” an ambiguity that has led to him becoming “the darling of the intellectual Left.” Langella further criticizes the Pope for “improperly appealing to emotion, and more often in favour of illegal immigrants rather than those who pay the price of accepting the migrants, though no one ever asked if the latter wanted to do so.” The author also sees validity in claims that Francis has shown “indifference towards the victims of crimes committed by illegal immigrants” and “a certain disdain for Europeans as well as a kind of preference for the migrant.” Langella is clear:

Pope Francis is more than ever a pope of images and gestures. He knows the media impact of a good phrase, a good word. The Pope likes to disarm his interlocutors. Not to detract from his refreshing spontaneity, but we have to recognise that he is a “good customer,” as they say in the trade.

Faced with such a situation, Langella offers common sense to his fellow Catholics: “The Pope is not infallible when he discusses social questions. … We can — with prudence — criticise the political speech of the Pope if it hurts the common good.” Closing the chapter, Langella appeals to the writings of a host of cardinals that support the right to strong borders and oppose the globalist project of mass migration. In the meantime, Langella suggests waiting for a shift in leadership rather than encouraging division in the Church, opining that “the best way to save the position of the Pope is to refrain from commenting on it.” I don’t agree, but then I’m not Catholic and I will concede that Langella may have a better appreciation of the situation.

The fourth, and in my view most interesting, chapter of the book is titled “What To Do?” As you might expect, it’s a program of action. The first step is to attempt to change terminology, or the interpretation of it. Langella stresses that “migrant/refugee” is a piece of terminology designed to inculcate sympathy where it is not deserved. What most of these foreigners want is not safety but “comfort and modernity. What they wanted was superfluous shiny objects.” Europeans must strip themselves of sentimentalism, of a love devoid of truth. For Langella, most Black and Middle Eastern migrants are mere cowards seeking luxury, and this is the vision of these foreigners that he believes must become endemic among Europeans if a genuine sea-change in attitudes is to take place.

The next step is the return to fundamental notions of homeland as “a bridge between God and men, a gateway between Heaven and earth.” This ecological outlook locates Man firmly inside his habitat, in opposition to liberal anthropocentrism which places Man above all, and in opposition also to “Deep Ecology” (see the work of Pentti Linkola) that posits Man as an animal no higher than any other. In Langella’s view of a Christian ecology, Man’s culture and traditions and his age-old links to the soil are as worthy of preservation as the habitat itself, reversing the trend of deranged leftists to campaign on behalf of endangered squirrels while entire villages are handed over to foreign peoples.

The third step is the fostering of genuine European unity based on common ethnic and cultural feeling rather than on strictly economic and military interests. What Langella proposes is a “European policy of rootedness” resembling the Visigrad Group (Poland, the Czech Republic, Slovakia, and Hungary) which together has been described as “the most secure region on the continent.”

The fourth step is a reversal of the endless quest for increased GDP which has contributed to an “evident form of moral underdevelopment.” Langella is opposed to international finance and posits a return to forms of corporate social financial order resembling the medieval guilds based on local self-sufficiency and accountability. Explaining this turn to Localism, Langella explains:

It is not the extreme Left-wing globalists who are inciting migratory flows, it’s not even the No Border types who help illegal immigrants to cross the borders. It’s global industrial capitalism. The sole alternative to global uprooting is localism. We don’t need to make everyone in the world a farmer, but we do need to allow people to have food sovereignty, which is also economic and political sovereignty. In other words, we must give them back their dignity. This is the best antidote to uprooting.

Finally, Langella moves to the ethnically foreign population residing in France. He asserts that assimilation is an unachievable myth, and that France is not merely an “idea” but a biological reality that is under threat. The only real response, he argues, is forceful repatriation. Here there is no room for sentimentality: “Mass immigration is a cancer. … It is a profound injustice. … It’s a collective kidnapping. It’s murder. They’re killing us.” Repatriation should begin with a return to the law of blood and the end of birthright citizenship, along with a moratorium on labor migration and a ban on family reunification. This would be swiftly followed by the non-renewal of residence permits with automatic deportation at the end of their period of validity. All construction of non-Christian places of worship would cease. All Islamists would then be targeted for systematic expulsion “to the country of their family history.” After this, specialist units of the police and army should be employed in the rapid and massive forceful removal of foreign populations: “Without a show of force on our part, a general explosion will be imposed on us at any rate, because multiculturalism carries within it the seeds for war like clouds carry the storm.”

Prior to this sequence of events, Langella advocates the building of networks of the ethnically aware in rural France, where localism can be seeded and where defense zones can be efficiently constructed. This will be necessary because “France has learned well that from now on, the state is its enemy and that, despite our calls for unity, the police will never side with us.” He therefore advocates the attitude of the partisan, described by Carl Schmitt as someone who “defends a piece of land for which he has a native attachment,” and whose primary strength is “his bond with the land, with the native population, and with the geographic configuration of the country, mountains, forests, jungle, or desert.” Langella expects no sudden collapse of the System, and is prepared to play the long game.

I have to admit that the book’s fifth chapter, “Fall and Reconquest,” struck a bum note with me, and it would have been my preference, had I been editor, to have omitted it entirely. The entire chapter is a re-run of the Book of Maccabees, which Langella offers as a blueprint of reconquest for us to follow. It didn’t resonate with me at all, or indeed with the approach of the rest of the book, and its inclusion continues to baffle me. The book closes with a somewhat poetic two-page conclusion, the central message of which is that we must “kill the bourgeois inside us” and engage in a “crusade of an integral and permanent love. An eternal fire in our heart, a feast of every moment and of every day.”

Julien Langella is to be commended for producing an impassioned, and often furious, message from a dying France. Some bum notes and petty criticisms aside, there is much here to enthuse and enrage the committed Catholic, and to educate and inspire the non-Catholic. Of course, I could critique the lack of engagement with Jewish matters, but I think it’s already a minor miracle, given France’s array of harsh speech laws, that he ever managed to publish this remarkable work. I think Julien Langella is a very intelligent and capable activist who needs no reminding of the influence of certain elements in the tragedy unfolding for his nation. My demand for total honesty, in this instance, therefore wavers somewhat at the prison gates that inevitably loom in France for anyone daring to question that which lies behind so many of the labels (globalists, nomadic oligarchs, etc.) employed in this very mature text.

I’d be dishonest if I didn’t mention that the total collapse of Catholic Church credibility, much of it mired in seemingly endless sex abuse scandals, hasn’t contributed in some part to the massive swing to the Left in nations like Ireland. I don’t think it’s the sole cause, of course, and I believe at least some of these scandals have become a kind of media meme for a reason, but I do believe that the Catholic Church has a credibility issue to address before it can in any way become a focal point for the ethnic revival of its faithful. But, to Langella’s credit, he appears to be planning for a Catholic revival somewhat outside the Church. This strikes me as eminently sensible. For the record, my own experiences in France are limited to a couple of trips to Paris, some seven years apart. The first was disappointing, the second utterly heartbreaking, as I witnessed some of the world’s most beautiful sites and streets sunk in the degradation and filth of mass migration. I sincerely wish Julien Langella the very best of luck in his quest to redeem his homeland for his people and indeed his God.

Lest We Forget: Codename Zebra, the Anti-White Murders of the “Death Angels”

170 days of racial terrorism struck the White residents of San Francisco from October 20, 1973 until April 16, 1974. Known as the Zebra murders or Zebra killings, four Black men—Jessie Lee Cooks, Larry Craig Green, Manuel Moore, and J.C.X. Simon murdered 15 Whites. 13 victims were shot to death, while the killers hacked the other two to death with machetes. Other victims suffered paralyzing bullet wounds, rape, and robbery, plus one survivor managed to cling to life despite being repeatedly hit in the head and left for dead after suffering several deep slashes to his face. The killers sometimes took trophies, including Polaroid pictures of their victims. The motivation for these murders was the same in every case: the killers viewed their White victims as “devils” to be eradicated to make up for the history of African slavery and oppression.

Mystery writer Clark Howard’s history of the case, The Zebra Killings (1979) , exposes some unsettling facts about the Zebra killers. Larry Green, nicknamed Yellow in Howard’s account, “came from a decent home and was a high-school basketball star” [1]. While Jessie Lee Cooks fit the archetypal mold of the career criminal, Simon, called Skullcap, rose above an impoverished background in Texas (where he developed pinworms because of his habit of spreading fecal matter on his face) and became a married father with a good job in a grocery supply warehouse. However, despite never experiencing racial oppression himself, Simon joined the Nation of Islam in 1970 as a devoted believer in Black supremacy [2]. Another member of the killer gang, Anthony Harris, aka Judo, became a member of Nation of Islam despite having a White wife.

True to his first calling of fiction writing, Howard’s The Zebra Killings is full of dramatic recreations, made-up dialogue, and supposition. For instance, one of the characters, Vandyke, is a composite character based on anti-White street preachers and Black Muslims in the National of Islam. Howard portrays Vandyke as the man most responsible for the radicalization of the Zebra killers. Again, no such man existed. On top of that, Vandyke’s relationship with the Nation of Islam, and therefore the relationship between the Zebra killers and the NOI, is uncertain [3]. Despite these flaws, The Zebra Killings is a well-written work. You just have to take it with a massive dollop of salt.

Religion, specifically the Nation of Islam, radicalized these men, both in prison and on the streets. NOI leaders pumped their heads full of nonsense about how slave masters cut Black babies out of wombs to use them as hog feed. NOI “ministers” also told their flocks that the religions of Christianity and Judaism were created by Whites in order to destroy “superior” Black men and their culture. Cooks, Green, Moore, Simon, and Harris proved to be enthusiastic students of the teachings of the NOI. Vandyke dazzled the men with stories about the so-called “Death Angels.” NOI called men Death Angels if they killed nine White men, five White women, and four White children [4]. The Death Angels scattered throughout California killed as many as 135 White men, 75 White women, and 60 White children [5].

The first known murder carried out by the Zebra killers occurred on October 20, 1973. On that day, Cooks, Green, and Harris kidnapped Richard and Quita Hague while the married couple enjoyed an evening walk along Telegraph Hill in San Francisco. The group sexually assaulted Quita in the back of their van. They forced Richard to watch. Then, after reaching some train tracks outside of the city, the group beat and slashed Richard with a wrench and hacked him with a machete. He somehow managed to survive. As for Quita, detectives later struggled to determine which of her “countless wounds might have been fatal.” All told, she suffered stab wounds to her head and neck. She also suffered cuts to her throat that came close to decapitation, plus a series of hacking-like wounds to her spine [6].

A week later, Cooks shot and killed college student Frances Rose, 28, as she tried to get to class on the University of California’s Extension School campus on Laguna Street. 53-year-old Jordanian immigrant Sammy Erakat, the owner of Erakat’s Grocery near the Civic Center, greeted shooter Simon as a fellow Muslim before Simon shot him to death in the store’s bathroom. Artist Paul Dancik, 26, took three bullets to the chest as he used a payphone. Two days after this murder, Art Agnos, the man who would later serve San Francisco as mayor from 1988 until 1992, walked out of a meeting in the majority Black neighborhood of Portrero Hill only to be shot in the back. That same night (December 13, 1973), 31-year-old Marietta DiGirolamo walked three blocks from her apartment at 651 Scott Street to Divisadero. Simon got out of a Black Cadillac and shot DiGirolamo to death. The fact that the victim had a Black boyfriend did not save her [7]. The last to die in 1973 included 81-year-old Ilario Bertuccio (shot to death while walking home from his shift at the 7-Up bottling plant), 19-year-old Neal Moynihan (shot to death while shopping at the Civic Center), 50-year-old Mildred Holser (shot to death while waiting for a bus), and an unidentified homeless man whose remains were not found until February 10, 1974.

This final victim, called John Doe No. 169 by the San Francisco Police Department, experienced the full savagery of the Black Muslim murderers. The unidentified White man suffered prolonged torture. The killers then decapitated him. His hands and feet were removed postmortem, plus the killers cut his torso from hipbone to hipbone [8].

In response to the rash of murders, the SFPD created a special task force codenamed “Zebra” after their use of the “Z” radio frequency (in the phonetic alphabet used by the SFPD in 1973, “zebra” denoted the letter Z). Detectives Gus Coreris and John Fotinos led the task force. Howard’s account presents Coreris as gruff and Fotinos as more humane. Both proved to be dogged investigators who saw the racial implications of the murders early on. Mayor Joseph Alioto, a San Francisco native and a representative of the city’s blue-collar Democrats, took an active role in the investigation. Alioto’s tenure as mayor coincided with some of the worst crimes in the Bay Area’s history. The Zodiac Killer and the Symbionese Liberation Army occurred under his watch. Mayor Alioto tried to crack down on the Zebra killers by instituting a stop-and-frisk policy that targeted young Black men between the ages of 20 and 30 for random questionings by police. The policy proved controversial. Black Panthers leader Bobby Seale called the policy “a vicious and racist action” that threatened the lives of all Black men in the Bay Area [9]. Liberals in the city protested. Reverend Cecil Williams of the Glide Church, a Black pastor, pointed out publicly that White men had not been stopped at random during the hunt for the Zodiac Killer. Ultimately, Judge Alphonso Zirpoli struck the policy down a week after its implementation.

More Zebra murders appeared in the winter of 1974. Black reporter Chauncey Bailey of the San Francisco Sun Reporter would later tie the second round of Zebra murders to the police shooting of Larry “3X” Crosby on January 25, 1974. Crosby and other members of the NOI were stopped by Berkeley, California police officers as they sold fish door-to-door. Crosby fought the officers and even disarmed one before pistol-whipping him. The other officers opened fire on Crosby, striking him in the back and thereby paralyzing him for life [10]. (Crosby still denounces the shooting to this day.) The shooting of Crosby led to a protest at the city’s Mosque No. 26, which Zebra killers Simon, Cooks, Moore, Green and Harris attended. Bailey was the first to connect the Crosby shooting with the string of murders carried out by the Zebras on January 28, 1974. On that day, 32-year-old Tana Smith, 69-year-old Vincent Wollin, 84-year-old John Bambic, and 45-year-old were all shot to death. 23-year-old Roxanne McMillan survived her shooting on the 100 block of Edinburg Street, but was left paralyzed.

In a sick twist of fate, Bailey, who did much to uncover the full extent of the Zebra crimes, would himself fall victim to Zebra wannabes in 2007. On July 12th of that year, Devaundre (some sources spell it Devaughndre) Broussard admitted to Bailey that he and other members of the Your Black Muslim Bakery murdered White restaurant worker Michael Wills in Oakland after the group’s leader, 25-year-old Yusuf Bey IV, hyped his men up with tales about the Zebra murders [11]. 19-year-old Broussard would later shoot Bailey to death with a Mossberg shotgun as the reporter left a McDonald’s. The execution came because of Bailey’s investigation into the Your Black Muslim Bakery’s welfare fraud, as well as its 2006 bankruptcy and allegations of sexual abuse [12].

As for the Zebra murders, they came to an end in April 1974. In that month alone, the murderers gunned down 19-year-old Thomas Rainwater, a Salvation Army cadet, and 23-year-old Nelson T. Shields IV, the son of a DuPont executive. Harris, after seeing a composite sketch of himself, decided to turn his fellow “Death Angels” in. The city’s $30,000 reward money also helped to sway Harris’s mind [13]. The trial of Zebra killers Cooks, Green, Moore, and Simon would be one of the longest and most expensive in California’s history. All four were convicted in 1976 for multiple murder and conspiracy to commit murder. Simon died at age 69 at San Quentin Prison in 2015. The 75-year-old Moore died in 2017 while serving time at the California Health Care Facility in Stockton. As for Cooks, he has admitted his role in the murders (Moore maintained his innocence until his death). Simon told a parole board in 2007 that his conviction constituted a “legal lynching” [14] and died unrepentant. Green, on the other hand, admitted to a parole board last year that he indeed hated Whites as “devils” in the 1970s, but now believes in the equality of all races [15].

The horrific story of San Francisco’s Zebra killers is far from over. The murderous group were not alone in their hatred of Whites during the 1970s. Mark Essex used a Rugger .44-caliber carbine and .38-caliber pistol to murder nine White people in New Orleans between December 31, 1972 and January 7, 1973. Later monsters include the Beltway Snipers John Allen Muhammad and Lee Boyd Malvo, Frederick Demond of Kansas City, and Micah X. Johnson, the former Army Reservist who used a Saiga AK-74 rifle to ambush Dallas police officers and kill five of them during a Black Lives Matter march in that city. Indeed, BLM can be considered the heirs of the Zebras. They have a similar thirst for blood, as BLM-adjacent terrorists like Johnson and Gavin Eugene Long coexist alongside the criminal underclass of rioters who have been destroying America’s cities since May.

Like the Zebras and the NOI, BLM believes in Black supremacy and keeps its members agitated by spewing hatred towards Whites, including harebrained ideas about how Whites have always hated and mistreated blacks. Such rhetoric has already inspired or likely inspired several murders of White innocents this year: the murder of 5-year-old Cannon Hinnant by 25-year-old neighbor Darius Sessoms; the murder of young mother Jessica Doty Whitaker in Indianapolis on July 5th for the crime of saying “all lives matter”; the August 25th stabbing of an AutoZone employee by 19-year-old Jayvon Hatchett, who was inspired to kill a White man by watching hours of police brutality videos (Hatchett subsequently murdered his White cellmate Eddie Nelson, Jr.); and last month’s shooting at Louisville’s Bungalow Joe’s restaurant that killed 26-year-old Toreon Jermaine Hudson, 48-year-old William Scott Smallwood, and 24-year-old Steven Matthew Head. The killer, 33-year-old Michael E. Rhynes Jr., was apprehended by police wearing a “Justice for Breonna” t-shirt, thus indicating that the murders were done in the name of Breonna Taylor, a Black woman with direct ties to illegal guns and drugs who was shot by Louisville police officers on March 13, 2020 following a firefight possibly involving both Taylor and her boyfriend, Kenneth Walker.

The NOI, the Zebras, and BLM all exist because of anti-White hatred engineered by consistent lying. Black supremacists lie about Whites—their history, their accomplishments, etc. Black supremacists are also allowed to lie because the media covers for them while chasing after White supremacist phantoms. The infernal marriage between the liberal media and Black supremacists is built upon one lie after the other. Because of this, innocent Whites and other non-Black Americans will continue to be sacrificed to appease liberal White guilt and the Black desire for endless revenge. This is no hyperbole; as researcher Anthony Walsh uncovered in 2005, 90 of the 413 serial killers who were active between 1945 and 2004 were Black, indicating that Blacks were overrepresented in the ranks of serial killers by a factor of about 2. As far back as the 1980s, the FBI has known that Black killers are more likely to target non-Black victims than vice versa. Add to this mixture the high Black criminality in general, and you have truly toxic mix.


It is surprising that there have not been more Zebra-like murders in American history.

 

 

[1]: Clark Howard, The Zebra Killings (London: New English, 1981): 77.

[2]: Howard, Zebra Killings, 84-85.

[3]: C.F. Robinson, “The San Francisco Zebra Killings,” Counter-Currents, Oct. 27, 2016.

[4]: Peter Vronsky, Serial Killers: The Method and Madness of Monsters (New York: Berkley Books, 2004): 157.

[5]: Vrosnky, Serial Killers, 158.

[6]: Prentice Earl Sanders and Ben Cohen, The Zebra Murders: A Season of Killing, Racial Madness and Civil Rights (New York: Arcade Publishing, 2006): Kindle edition.

[7]: Howard, Zebra Killings, 127.

[9]: Howard, Zebra Killings, 185.

[10]: Nate Gartrell, “Last two living ‘Zebra’ killers denied parole; tied to massive California murder spree targeting Whites at random,” Mercury News, Jan. 28, 2020.  <https://www.mercurynews.com/2020/01/28/last-two-living-zebra-killers-denied-parole-tied-to-massive-california-murder-spree-targeting-Whites-at-random/>

[11]: Ibid.

[12]: Ibid.

[13]: Lee Romney, “Two convicted of murder in shooting of Oakland journalist,” Los Angeles Times, Jun. 10, 2011.

[14]: “Zebra Murders: Remembering Fear That Gripped San Francisco 40 Years Later,” KPIX CBS, Nov. 6, 2014. <https://sanfrancisco.cbslocal.com/2014/11/06/remembering-the-zebra-killings-40-years-later-racially-motivated/>.

[15]: Gartrell, “Last two living ‘Zebra’ killers denied parole.”

European Magazine Interviews James Edwards

I granted an interview to a magazine last week that will available in European newsstands when it goes to press in a few days. Below is a transcript of the Q and A. – James

Magazine: Mr. Edwards, these days America is an exciting field of political observation, but first of all, let’s talk about you and your radio program The Political Cesspool. For years you have been highly political, for example, you campaigned for the presidential candidate Pat Buchanan and also hosted him on your show. So, please, introduce yourself and The Political Cesspool – can you sketch for our readers the history of it and the concept behind?

James Edwards: I am an advocate for European Americans.

On a personal level I am a husband. I have a wife. I have three children.

The radio program was founded in 2004 to express ideas and facts suppressed in the main stream (“System”) media and to give an audience to those who are excluded, who because of their views are effectively silenced.

It is important that someone – even in a small way – tells the truth in contradiction of the System narrative. I am known for discussing matters of faith, heritage and racial reality.

Over the course of the past decade, my work on the radio has been the subject of interest in hundreds of newspaper and magazine publications, as well as television and other radio broadcasts around the world.

In 2016, I was listed alongside Bill O’Reilly, Sean Hannity and Ann Coulter as one of the “Top 20 Right Wing media fixtures” responsible for Donald Trump. I was later specifically named by Hillary Clinton as one of the “extremists” who would shape our country in a Trump administration.

My first book, Racism Schmacism: How Liberals Use the “R” World to Push the Obama Agenda, was published in 2010.

Magazine: How would you describe the media landscape in the USA? What idea should we have of the situation, especially regarding the process of opinion-forming?

JE: The System media displays an unanimity that Goebbels and Stalin could only have dreamed of.

American mainstream media apes and mimics a handful of media giants – The New York Times, The Washington Post, CNN. In this way the same line is repeated in the “American” media from top to bottom. Each journalist is his own censor.

Dissent does not exist. It is not tolerated. Opinions are the same. The same stories are put center stage and repeated over and over again. The same stories are excluded and not reported. All reporting and commentary are the same. The American media speaks with a single voice.

Magazine: One could, for example, witness a concerted Trump-bashing by the establishment and how the mainstream media promoted a cancel culture and even instigated polarisation up to public unrest. Are conservatives in the USA capable or even willing to fight left totalitarianism?

JE: So-called “Conservatives” are psychologically unable to fight “left totalitarianism” (as you call it).

“Conservatives” pose no threat to the dominance of the Left.

R.L. Dabney, a great theologian from the American South, said the following about “conservatism” in the 1800s:

Its history has been that it demurs to each aggression of the progressive party, and aims to save its credit by a respectable amount of growling, but always acquiesces at last in the innovation. What was the resisted novelty of yesterday is today one of the accepted principles of conservatism; it is now conservative only in affecting to resist the next innovation, which will tomorrow be forced upon its timidity and will be succeeded by some third revolution; to be denounced and then adopted in its turn. American conservatism is merely the shadow that follows Radicalism as it moves forward towards perdition. It remains behind it, but never retards it, and always advances near its leader.

Its impotency is not hard, indeed, to explain. It is worthless because it is the conservatism of expediency only, and not of sturdy principle. It intends to risk nothing serious for the sake of the truth, and has no idea of being guilty of the folly of martyrdom. It always when about to enter a protest very blandly informs the wild beast whose path it essays to stop, that its “bark is worse than its bite,” and that it only means to save its manners by enacting its decent role of resistance: The only practical purpose which it now serves in American politics is to give enough exercise to Radicalism to keep it “in wind,” and to prevent its becoming pursy and lazy, from having nothing to whip.

That was true in Dabney’s day and is twice as true now.

Magazine: What is your analysis of the election result and can you give a forecast of what the Biden presidency will bring to the USA?

JE: The surprising thing about the election is the large number of votes – almost 50% – Trump won.

Trump was subjected to Systematic media vilification of the vilest, most unscrupulous and shrill kind for 4 years. Did a single newspaper, radio or television station in America endorse him?

He was outspent by Biden by a factor of 4 to 1.

His supporters were censored and silenced on social media. Even the President himself was eventually censored by Twitter.

The capitalists and the labor unions were against him.

He was opposed by the clergy of most of the churches.

Despite all of this Trump got about 48% of the counted vote and a little higher percentage of the cast vote.

Trump’s showing in the face of these head winds is a very encouraging sign that Whites are increasingly thinking for themselves.

Here’s what I expect from Biden:

Substantial increase in immigration – both legal and illegal. Amnesty and family reunification for illegal aliens. Bemused tolerance of illegal immigration.

Government violation of civil liberties in an effort to suppress dissident speech. FBI harassment of Whites who oppose the System agenda. Crony capitalism.

Corruption as seen in the history of influence peddling by Biden’s son, Hunter Biden.

Higher taxes on small businessmen and professionals. Transfers of wealth from White Americans to other groups, possibly including “reparations” to Blacks whose ancestors were slaves 6 generations ago.

In foreign policy a reversal of Trump’s efforts to withdraw from failed interference in the Middle East.

Revival of the civil war in Syria with American support. Possible intervention in Syria. Confrontation with and provocation of Russia.

All this and more.

Magazine: It seems that America is becoming quite balkanised and increasingly a criminal ghetto (autonomous zones) in the metropolitan areas of blue states. Could secession for Republican states of still White majority be an option? Can the GOP be expected to help in this regard?

JE: America is irreversibly balkanized. The United States is occupied by several competing and hostile nations. A White European nation, an African-American nation, a Jewish nation, an Hispanic nation, an Asian nation, and so on.

We must break up and the sooner the better. The optimum outcome would be a peaceful separation such as that presided over by Gorbachev when the Soviet Union disintegrated with very minor loss of human life.

The GOP is hopeless as a remedy. The GOP will not support secession. Now that Trump is gone expect to see a stampede of Republican leaders to support immigration and other anti-White polices.

Fortunately, demographics will soon cause the GOP to fade away and cease to distract people’s attention.

Magazine: The slogan “Make America Great Again” brings about the question of how to interpret “greatness” with regard to America’s international reputation. That, in turn, depends essentially on the geopolitical ambitions in which the USA is often seen as an imperialist hegemon. Do you think a strategical shift towards an attitude of more non-interventionism would improve America´s international relations?

JE: In foreign relations we need to return to a policy of non-intervention in other nations’ affairs. We need to mind our own business for a change.

Imperialistic interventions need to stop.

And, yes, this would be conducive to better relations and good for the world and good for us.

Magazine: In the recent times, the issue of trade conflicts frequently dominate the news. Did an overstrained zeal of globalisation reveal its damages regarding regio-economical substance and what does that mean for economic nationalism – is this term becoming a synonym for de-globalisation?

JE: The “American” government has facilitated and supported the “de-industrialization” of the country. Biden has been a strong advocate of globalism.

When the Coronavirus hit earlier this year, Americans did not have the ventilators or the masks the government claimed were needed to treat virus victims or to curb its spread because production of medical supplies had been outsourced to China. China decided to keep such things for itself.

No nation can long exist without producing within inside its borders all critical products necessary to its independent existence.

Is it “anti-Semitic” to say there is war on Christmas?

Editor’s note: This article was originally posted on December 26, 2019.

Dan Rosenberg, writing in the Canadian Jewish News, claims that it’s “anti-Semitic” to say that there’s a war on Christmas. He also says that “terms such as ‘New York lawyers (and bankers),’ and ‘Hollywood culture’ refer to Jews. When people speak of the ‘secularists’ and ‘internationalists’ who are behind conspiracies like the War on Christmas, they are also referring to Jews.” And I suppose any mentions of globalists, George Soros’s influence, or the Israel Lobby are similarly off limits. In fact, for the likes of Rosenberg (and pretty much every Jew with a high position in the media), any mention that Jews are an elite or have any influence at all (or at least not any influence that is not utterly benign and good for everyone) is horrifying and utterly irrational.

Activists like Rosenberg are not limited by having to deal with actual data and facts. It’s simple. They can claim anything they want because any assertion that Jews have anything to do with changing Christian culture of America is automatically labeled as evil.

So what evidence does Rosenberg come up with?

The idea of the War on Christmas started with one of the founding fathers of American anti-Semitism: automaker Henry Ford. Back in the 1920s, he published a newsweekly called the International Jew. It frequently featured blatantly bigoted accusations such as, “Last Christmas, most people had a hard time finding Christmas cards that indicated in any way that Christmas commemorated someone’s birth.… People sometimes ask why three million Jews can control the affairs of 100 million Americans. In the same way that 10 Jewish students can abolish the mention of Christmas and Easter out of schools containing 3,000 Christian pupils.”

In modern times, Fox News has been airing segments such as Bill O’Reilly’s 2016 “Naughty or Nice” list, which praised businesses that use “Merry Christmas” and condemned others that say “Happy Holidays.”

That’s it. No heavy lifting required. Of course, it ignores Eli Plaut’s academic book A Kosher Christmas which proudly claims, in the words of a reviewer:

Jews have been the vanguard of an effort to “transform Christmastime into a holiday season belonging to all Americans,” without religious exclusivity.  The most important Jewish mechanisms of secularization are comedy and parody, for laughter undermines religious awe.  Take, for example, Hanukkah Harry from “Saturday Night Live”, who heroically steps in for a bedridden Santa by delivering presents from a cart pulled by donkeys named Moishe, Hershel, and Shlomo.  Remarkably, Hanukkah Harry has emerged as a real Santa-alternative for many American Jews.  Plaut sees such things not as attempts at assimilation but as an intentional subversion of Christmas traditions.  “Through these parodies,” he writes, “Jews could envision not having to be captivated by the allure of ubiquitous Christmas symbols.”  And it isn’t just Jews: for Americans in general, Jewish parody helps ensure that Christmas “not be taken too seriously” and that the celebrations of other traditions “be accorded equal respect and opportunity.”

As I note in my comment, “there seem to be two messages here. One is the message of subversion utilizing ridicule among other methods. The other is that Jews are seen as high-mindedly making Christmas  ‘into a holiday season belonging to all Americans.’ The end result is that Christmas is not ‘taken too seriously’ and the Christian religious aspect central to the traditional holiday is de-emphasized.”

So is it “blatantly bigoted” to make claims such as that Jews have been instrumental in getting Christianity removed from the public square? Of course not. In Chapter 7 of The Culture of Critique I noted: “One aspect of the Jewish interest in cultural pluralism in the United States has been that Jews have a perceived interest that the United States not be a homogeneous Christian culture. As Ivers (1995, 2) notes,

Jewish civil rights organizations have had an historic role in the postwar development of American church-state law and policy.” In this case the main Jewish effort began only after World War II, although Jews opposed linkages between the state and the Protestant religion much earlier. … The Jewish effort in this case was well funded and was the focus of well-organized, highly dedicated Jewish civil service organizations, including the AJCommittee, the AJCongress, and the ADL. It involved keen legal expertise both in the actual litigation but also in influencing legal opinion via articles in law journals and other forums of intellectual debate, including the popular media. It also involved a highly charismatic and effective leadership, particularly Leo Pfeffer of the AJCongress.

But, since Rosenberg focuses on Henry Ford, let’s take a look at what Ford’s The International Jew (TIJ)had to say (see my review). This was around 1920, well before the post-World War II era when Jewish influence crescendoed. The International Jew had a lot to say about Jewish efforts to eradicate the idea that America ought to be a Christian culture. Rosenberg writes that any mention of “Hollywood culture” is an unacceptable reference to Jews. Ford’s writers were well aware of this:

TIJ notes that to advocate censorship is construed as anti-Semitism: “Reader, beware! if you so much as resent the filth of the mass of the movies, you will fall under the judgment of anti-Semitism” (2/12/1921).

But, after noting that “90% of the production is in the hands of a few large companies, 85% of which “are in the hands of Jews” (2/12/1921), there was enough resentment about the movies that in fact attempts to control Hollywood were created shortly thereafter:

TIJ is careful to note that its concerns with the moral messages in movies are not idiosyncratic but part of a larger kulturkampf between the movie industry and large segments of the American public: “In almost every state there are movie censorship bills pending, with the old ‘wet’ and gambling elements against them, and the awakened part of the decent population in favor of them; always, the Jewish producing firms constituting the silent pressure behind the opposition” (2/12/1921). Indeed, the Motion Picture Producers and Distributors of America, headed by Will H. Hays, was created in 1922 in response to movements in over thirty state legislatures to enact strict censorship laws, and the Production Code Administration, headed by Joseph I. Breen, was launched in response to a campaign by the Catholic Legion of Decency (Gabler 1988). TIJ’s reservations about the moral content of movies was indeed widely shared among the American public.

The effectiveness of these organizations in influencing the content of Hollywood culture lasted until the 1960s’ counter-cultural revolution, a social transformation, that as argued in Chapter 3 of The Culture of Critique, was the product of a new Jewish-dominated elite that remains dominant today. Moreover, “the assertions of TIJ are congruent with recent studies indicating that Jews remain in control of the movie industry and that the movies often portray Christians and Christianity negatively and Jews and Judaism positively (e.g., Medved, 1992/1993; MacDonald, 2002a).” For recent examples, see Edmund Connelly’s updated War on Christmas series.

As also noted in the quote above from The Culture of Critique, TIJ was also well aware of Jewish influence in removing Christianity from the public square:

Besides the cultural influences described above, TIJ devotes a great deal of attention to the Jewish political campaigns against public expressions of Christianity and for official recognition of the Jewish religion (e.g., recognizing Jewish holidays). “The St. Louis Charity Fair in 1908 planned to remain open on Friday evening; a great outcry; did the managers of that fair mean to insult the Jews; didn’t they know that the Jewish Sabbath began on Friday night?” (6/04/1921). TIJ presents a history of Jewish activism against public expressions of Christianity based on Kehillah records [see TIJ‘s account of the Kehillah], beginning with an attempt in 1899–1900 to remove the word “Christian” from the Virginia Bill of Rights and culminating in 1919–1920: “In this year the Kehillah was so successful in its New York campaign that it was possible for a Jewish advertiser in New York to say that he wanted Jewish help, but it was not possible for a non-Jewish advertiser to state his non-Jewish preference. This is a sidelight both on Jewish reasonableness and Jewish power” (3/12/1920). “The Jews’ interference with the religion of the others, and the Jews’ determination to wipe out of public life every sign of the predominant Christian character of the United States is the only active form of religious intolerance in the country today” (3/21/1920).

Indeed, the focus of Jewish activism was that the United States was not a Christian civilization but an “unshapen mass of potentiality”:

Based on pronouncements of Jewish organizations and intellectuals, TIJ makes the important point that Jews promote “one of the dangerous doctrines being preached today” that “the United States is not any definite thing as yet, but that it is yet to be made, and it is still the prey of whatever power can seize it and mold it to its liking. It is a favorite Jewish view that the United States is a great unshapen mass of potentiality, of no particular character which is yet to be given its definite form. . . . We are not making Americans; we are permitting foreigners to be educated in the theory that America is a free-for-all, the prize of whatever fantastic foreign political theory may seize it” (3/05/1921). This comment on Jewish attitudes fits well with a great deal of evidence that Jews have consistently opposed the notion that the U.S. has any ethnic overtones or that it is a European or Christian civilization (see MacDonald, 1998/2002, Ch. 7). …

What strikes the reader of TIJ is its portrayal of Jewish intensity and aggressiveness in asserting its interests. Jews were unique as an American immigrant group in their hostility toward American Christian culture and in their energetic efforts to change that culture (see also MacDonald 1998b, 2002b). From the perspective of TIJ, the United States had imported around 3,500,000 mainly Yiddish speaking, intensely Jewish immigrants over the previous 40 years. In that very short period, Jews had had enormous effect on American society.

Fundamentally, TIJ was correct in all of its important assertions. I conclude:

Mainstream scholarship supports the following contentions of TIJ regarding Jewish influence on the U.S. as of the early 1920s:

  1. Jews had achieved a great deal of economic success, even to the point of dominating certain important U.S. industries.

  2. Jewish organizations had launched highly successful campaigns to remove references to Christianity from U.S. public culture and to legitimize Judaism as a religion on a par with Protestantism and Catholicism.

  3. Jewish organizations had been able to impose their ethnic interests on certain key areas of domestic policy. As TIJ noted, Jews were the main force behind maintaining the policy of unrestricted immigration; by 1920, unrestricted immigration policy had continued nearly 20 years after U.S. public opinion had turned against it (see MacDonald 1998b, Ch. 7). Jews had also shown the ability to have a great deal of influence in the executive branch of the U.S. government, as indicated by their influence in the Wilson administration.

  4. Jews had also been able to impose their ethnic interests in the area of foreign policy despite widespread feelings among the political establishment that the policies advocated by the Jewish community were often not in the best interests of the United States. The main examples highlighted by TIJ were the abrogation of the Russian trade agreement in 1911 and post-W.W.I policy toward Eastern Europe where Jewish attitudes were entirely dictated by their perceptions of the interests of foreign Jews rather than the economic or political interests of the U.S. Jews achieved their goals on these issues despite the views of the Taft Administration on the Russian Trade Agreement and the views of a wide range of military and diplomatic figures that the U.S. should support post-W.W.I Poland as a bulwark against Bolshevism and that Jewish complaints against Poland were exaggerated (see Bendersky 2000).

  5. Jews had been a major force behind the success of Bolshevism and its incredibly bloody reign of terror in the Soviet Union and in the abortive Communist revolutions in Hungary by Kun and Germany by Eisner.

  6. Jews were the main component and by far the most energetic component of the radical left in the United States, a movement that advocated a massive political, economic, and cultural transformation of the U.S.

  7. Jews had attained a substantial influence over the U.S. media via a virtual monopoly on the movie production business, domination of the theater and music businesses, their influence in journalism, ownership of some newspapers, and their ability to apply economic pressure on newspapers because of their importance as advertisers. In turn, the ability of Jews to pressure non-Jewish newspapers depended on Jewish ownership of department stores in major cities. Jews used this media influence to advance their domestic and foreign policy agendas, portray Jews and Judaism positively while portraying Christianity negatively, and promote a sexual morality at odds with the traditional culture of the United States.

In turn, these consequences stemmed from critical features of Judaism as a group evolutionary strategy

But for an activist like Rosenberg, all that is necessary is to scream “bigoted,” “anti-Semitic,” and the vast majority of people, unaware of the history of Jewish activism, acquiesce. This is unsurprising because the history of Jewish activism and influence can’t even be discussed in polite circles much less be disseminated in the mainstream media or the educational system.

Or they are well aware of  the Jewish role in transforming the culture of the United States, but they also aware of the Jewish power to ruin their lives.

In short the present situation is an excellent marker of Jewish power in contemporary America. And yes, Christianity remains in their crosshairs.

Hallelujah

The War on Christmas Updated

A dozen years ago I wrote two essays showing that the War on Christmas in recent times has in fact been conducted by Jews out of their historic hatred of Christ, Christians, and European Whites. Recently, I was a guest on Guide to Kulchur, hosted by Frodi Midjord, and we talked about my 2008 essays “Merry Christmas Movies … NOT!” Today I will update those essays.

Jewish columnist Burt Prelutsky bluntly explained my point in his 2004 column “The Jewish Grinch who Stole Christmas,” beginning with “I never thought I’d live to see the day that Christmas would become a dirty word. … Schools are being forced to replace ‘Christmas vacation’ with ‘winter break’ in their printed schedules.” We all know about that, as a whole generation now has become inured to the horrid greeting, “Happy Holidays.”

“How is it, one well might ask, that in a Christian nation this is happening?” asks Prelutsky. In plain English, he spells it out: “I blame my fellow Jews. When it comes to pushing the multicultural, anti-Christian agenda, you find Jewish judges, Jewish journalists, and the American Civil Liberties Union, at the forefront. . . . But the dirty little secret in America is that anti-Semitism is no longer a problem in society — it’s been replaced by a rampant anti- Christianity.” Amen to that, brother.

Next, we turn to Prelutsky’s fellow Jew, Neil Gabler, an expert on Hollywood whose 1988 book title alone tells us all we need to know: An Empire of Their Own: How the Jews Invented Hollywood. Prelutsky didn’t mention Hollywood in his War on Christmas, so I’ll show how Jews are busy there destroying the spirit and intent of that sacred day for Christians. It’s not pretty, either.

This undermining of the Christian meaning of Christmas began early in America, before and during World War II, but it was subtle enough that few goyim noticed, let alone objected. We had, for instance, the huge hit “White Christmas,” written by Irving Berlin, born ביילין ישראל, or “Israel Beilin” for those who don’t read Hebrew.

Mark Steyn (“A Triumph of Miscegenation,” The Spectator, December 17/24, 1994) light-heartedly described how Jews created a gradual division between religious and secular Christmas symbols, making America a society where “Jesus, Mary and Joseph are for home and for church; Santa, Rudolph and Frosty the Snowman — the great secular trinity — are for everybody.” For instance, “Rudolph the Red-nosed Reindeer,” was first a book created by Robert May in 1939 and a decade later inspired his brother-in-law Johnny Marks to write a song about Rudolph. Both men were Jewish.

Also Jewish were Jule Styne and Sammy Cahn, who together wrote the lyrics

Oh, the weather outside is frightful
But the fire is so delightful
And since we’ve no place to go
Let it snow! Let it snow! Let it snow!

Of course this “compromise” to take Christ out of popular culture was a great victory for Jews, for it allowed the hostility many Jews felt toward a Christian majority to find vent without the Gentiles really noticing. Novelist Philip Roth, however, knew exactly what it meant:

The radio was playing ‘Easter Parade’ and I thought, But this is Jewish genius on a par with the Ten Commandments. God gave Moses the Ten Commandments and then He gave to Irving Berlin ‘Easter Parade’ and ‘White Christmas.’ The two holidays that celebrate the divinity of Christ — the divinity that’s the very heart of the Jewish rejection of Christianity — and what does Irving Berlin brilliantly do? He de-Christs them both! Easter he turns into a fashion show and Christmas into a holiday about snow. Gone is the gore and the murder of Christ — down with the crucifix and up with the bonnet! He turns their religion into schlock. But nicely!

Nicely! So nicely the goyim don’t even know what hit ’em. They love it. Everybody loves it. The Jews especially. Jews loathe Jesus.

In the context of the times, however, such songs were not obviously anti-Christian. It was not until Jews achieved cultural hegemony in the late 1960s that the underlying sentiment of hostility toward Christians in America came out into the open, led first and foremost by the just-mentioned Philip Roth, whose 1969 blockbuster novel Portnoy’s Complaint was shockingly candid about the prevalence of Jewish hatred toward Gentiles. Somehow, few Gentiles (Whites) of the time even noticed, so in an important sense the book served as a litmus test for how explicit Jews in America could be about their contempt for goyim. And that contempt turned out to be immense. Still, it took time for this hostility to emerge, then dominate.

Obviously, “Happy Holidays” and “Season’s Greetings” were not always ubiquitous during the month of December, nor were real Christmas songs in any way unwelcome. Quite the contrary. Criticism of Christmas was not easily tolerated. For instance, back in 1952, George S. Kaufman appeared on a popular television show one week before Christmas and was asked what he wanted for the holiday. He replied, “Let’s make this one program on which no one sings ‘Silent Night.'” The response from the audience (largely Gentile, one would presume) was fast and furious: Kaufman was removed from the show and exiled from the TV screen for a year thereafter.

Fast-forward to 1982 and the popular Saturday Night Live Show featured a skit called “Merry Christmas, Dammit!” This skit portrayed the relationship between Donny and Marie Osmond, two non-Jewish sibling pop singers, as incestuous, and the Virgin Mary was described as “that virgin chick” in a jazzed-up version of “Silent Night.” Eddie Murphy — in his popular “Gumby” guise — read a children’s story in which Santa tears out the lungs of one of his elves because the elf asked for a sip of Santa’s hot chocolate. He ends the skit by saying “And to everyone out there — a Merry Christmas! And to my producer, my director, my manager, and my lawyer — Happy Hanukkah, boys!” Obviously, sensibilities had changed by then, and the people calling the shots were Jews.

Again, beginning in 1969 and the huge success of Roth’s Portnoy’s Complaint, with its lusty protagonist prone to masturbating into pieces of raw liver, we eventually witness a parade of degraded images of excretory functions paired with Christmas imagery. Thus, we had Jewish illustrator Art Spiegelman trying to get this drawing onto the cover of The New Yorker:

Sadly, the drawing was rejected, but Spiegelman and the art editor of The New Yorker (his wife) were able to use the image as their 1993 Christmas card instead. And The New Yorker did run Spiegelman’s Easter cover picture of the Easter Bunny being crucified, but that’s another story.

Jump ahead four years and Santa urinating is upstaged by South Park’s Mr. Hankey, the Christmas Poo.” In this recurrent theme, Mr. Hankey “emerges from the toilet bowl on Christmas Eve and brings presents to good boys and girls whose diets have been high in fiber. He is especially close to Kyle [a Jewish boy], consoling him during his Christmas-Hanukkah depression and generally appears to help the boys out with something or gives them advice.”

Mr. Hankey was introduced in a 1997 episode that showed the young Kyle brushing his teeth. Mr. Hankey, wearing a Santa hat, jumps out of the toilet bowl and sings a song about Santa and Christmas. The starkest comment in the scene comes when this animated feces writes “Noel” in excrement on the mirror.

Two years later, the more extensive Mr. Hankey version was released as Mr. Hankey’s Christmas Classics. (A parallel CD of the songs includes the delightful “Merry Fucking Christmas”). Here Mr. Hankey besmirches the faces of children singing Christmas songs. He then introduces us to the next scene, “Christmastime in Hell,” where Hitler is shown crying over his Christmas tree. Later, when Jesus and Santa sing a duet, Santa gets miffed that there are far more songs about Jesus than about him, so he leaves the stage. When Jesus implores him to return, Santa speaks the cheery words, “Aw, fuck you, Jesus!”

This episode is a parody of the Charlie Brown Christmas Special in which everyone yells out “Merry Christmas, Charlie Brown!” only after Charlie has realized the true meaning of Christmas — which has Christ at its center. In the South Park version, the characters wish the Jewish boy Kyle a Merry Christmas only after he has taught everyone, through Mr. Hankey the Christmas Poo, that Christmas and Christianity are shit.

I feel compelled here to provide a slightly tangential account of Jewish attitudes toward Christmas, fairly tinged with scatological associations, in order to show that the above representations are not simply generically juvenile creations. To do this, we must scurry over to the Israeli site Haaretz for the skinny – For them, it’s wholly unholy:

Christmas Eve is one of the few occasions when Hasidim refrain from Torah study, do not conduct weddings or go to the mikveh [ritual bath for women]. But they do play chess and work on their bills.

On Christmas Eve, known in Jewish circles as Nitel Night, the klipot (shells) are in total control. The klipot are parasitical evil forces that attach themselves to the forces of good.

According to kabbala (Jewish mysticism), on the night on which “that man” — a Jewish euphemism for Jesus — was born, not even a trace of holiness is present and the klipot exploit every act of holiness for their own purposes.

For this reason, Nitel Night, from nightfall to midnight, is one of the few occasions when Hasidim refrain from Torah study. On this horrific night, they neither conduct weddings nor do they go to the mikveh (ritual bath). An entire folkloric literature has developed around the unusual recreational activities of Nitel Night.

Oh, there’s the usual disclaimer that not all Jews follow this custom, but in three decades of research on Jews I’ve found that it’s simply a truism that Jews have an exceedingly negative view of Jesus, Mary, Christians, and Christmas. No wonder so many spit when passing a church . . . or even spit on Christians themselves in Israel.

But in the Haaretz story, this passage about Kabbalistic toilet paper really stood out:

The Knesset correspondent of the ultra-Orthodox newspaper Hamodia, Zvi Rosen, relates that celebrated Hasidic admorim (sect leaders) would cut a year’s supply of toilet paper for Sabbath use (to avoid tearing toilet paper on Sabbath) on this night. Actually, this disrespectful act has profound kabbalistic significance, because kabbalistic literature extensively discusses Christianity as waste material excreted from the body of the Jewish people.

 

Honestly, I couldn’t make this stuff up. And get this: One of their commandments recommends that they attempt procreation on Friday night, which is a holy time. “Yet on Nitel Night, which has no holiness, it is customary to refrain from observing the commandment, because of the fear that a Jewish child conceived on Jesus’ birthday could become an apostate.”

Gentiles have no idea what they are dealing with when we talk about Jewish ascendency in the creation and control of Western culture. Often, I too simply shake my head.

When I wrote these essays in 2008, I included plenty of links, but a surprising number of them are now dead, so I’ve had to learn to use the Wayback Machine. Still, some sources are beyond locating now, such as Christmas movie reviews by a Jewish individual named Austin Pearl. My links were rock solid in 2008, so I’m going to continue to use Pearl’s Jewish views because they tie together many of the films discussed here.

Pearl gleefully explained his motive for collecting anti-Christmas films: “It’s my wanting to recognize things that are deliberately anti-Christmas. It’s my wanting to take a big you know what on everyone’s Christmas spirit. . . . Each one of them is so anti-Christmas that I want to share them with the world, thereby forcing everyone to realize how liberating it is to rip off the Christmas mind control device and have some laughs in the process.” There is the scatological reference again — “wanting to take a big you know what on everyone’s Christmas spirit.” Clearly we are seeing a pattern emerge.

Humor such as in South Park is juvenile, but in reality it rests upon a long Jewish tradition of hatred of and disrespect for Christmas. Still, it doesn’t really rise to the level of successful cultural subversion. For that, we need to consider a raft of anti- Christmas films. To put this into its proper context, let’s consider the broader circumstances of the modern era. As Kevin MacDonald demonstrates in The Culture of Critique, “The Judaization of the West means that the peoples who created the culture and traditions of the West have been made to feel deeply ashamed of their own history — surely the prelude to their demise as a culture and as a people.” To being ashamed, we can now add that we Western people — Whites — have been subjected to subliminal conditioning that tries to associate positive Christmas symbols with terrifying experiences, thus subverting the beauty and even worship attached to traditional Christmas images, songs, etc.

While Hollywood Christmas movies were almost exclusively positive in the past, like Christmas songs, they have been stripped of religious meaning — and then turned into visual horror shows. Perhaps the best example of this is Silent Night, Deadly Night.

This is a 1984 slasher film that begins with a young boy named Billy witnessing the murder of his parents by a man dressed as Santa Claus. Billy ends up at St. Mary’s Orphanage, where he is beaten by Mother Superior. Later, morphing memories of his punishment at her hands with images of Santa, Billy grows up to become a killer teenage Santa. At work, for example, he strangles a co-worker with Christmas lights and then dispatches the girl with whom the co-worker was having sex.

After a string of other Santa murders, Billy returns to the orphanage, with the police hot in pursuit. Tragically, they shoot and kill Father O’Brien, a deaf priest dressed as Santa. Sneaking into the orphanage, Billy, dressed as Santa, swings his ax at Mother Superior, but a policeman shoots him down. Imparting his central message, Billy assures viewers, “You’re safe now … Santa Claus… is gone.” Not exactly a happy message at Christmastime.

In 1984, such imagery was still able to rile the public. Siskel and Ebert condemned the film, going “so far as to read the film’s production credits on air, saying ‘shame, shame’ after each one.” Angry mothers protested the movie around the nation, and TriStars Pictures, its distributor, quickly ceased advertising the film.

Silent Night, Deadly Night did have antecedents. Black Christmas was a 1974 movie set in a sorority house during Christmas break. A maniac is making calls from within the house, killing the coeds one by one. The movie also takes every opportunity to pair beloved Christmas songs with chilling scenes, a phenomenon that was later repeated in Gremlins, as we will see.

Another, Christmas Evil (1980), features a delusional Santa stand-in who murders three church-goers in front of a church. (He stabbed one man in the eye with a toy.) Later, while wearing a ragged Santa outfit and being chased by an angry mob, our main character drives his van off a bridge, imagining himself to be Santa in his flying sleigh.

Austin Pearl, our Jewish reviewer, approvingly wrote, “Christmas Evil ruins Christmas unlike any other movie.” In particular, this reviewer liked “all the vividly disturbing images of Santa sprinkled throughout the movie.”

It’s no surprise that Pearl also liked the 2003 Billy Bob Thorton film Bad Santa, which was a concerted ethnic effort to trash Christmas. Jewish director Terry Zwigoff made the film under producers Ethan and Joel Coen for the Disney subsidiary Miramax, run by two Jewish brothers, Bob and the notorious Harvey Weinstein. Billy Bob Thornton starred as the bad Santa of the title, going about his life boozing and swearing with abandon. At one point he has anal sex with an overweight woman in a changing room, while elsewhere he goes to a mall drunk and destroys a reindeer display in a drunken rage. Ho ho ho.

Near the end of this dark film, he is shot by a group of policemen but survives. Despite his obvious guilt in numerous crimes, he is pardoned because “the Phoenix police department [thought that] shooting an unarmed Santa Claus in front of children was more fucked up than Rodney King.”

According to Wikipedia, critics generally liked the film, with one describing it as an “evil twin” of “Miracle on 34th Street,” the inspirational Christmas classic. According to reviewers’ consensus on Rotten Tomotoes, it’s “A gloriously rude and gleefully offensive comedy, Bad Santa isn’t for everyone, but grinches will find it uproariously funny.” No wonder Austin Pearl wrote glowingly that “Bad Santa is perhaps the most subversive, offensive Christmas movie ever made — with Thornton as a truly despicable character who, for once, does not receive a total personality transplant by the movie’s end.”

Director Zwigoff intended this film for impressionable teenagers, the vast majority of whom are, one would assume, Christian.

When asked if he thought the film would do well, Zwigoff answered, “I think it might. Every teenager in America is dying to see this film. Though they won’t be able to get in unless they have a very open-minded parent.” Clearly he was aware of the film’s subversive content.

Two years later came another Jewish-directed anti-Christmas movie. The Ice Harvest, Harold Ramis’s “grisly black comedy/film-noir,” sees Billy Bob Thornton return to a mayhem-filled Christmas. One reviewer intoned that The Ice Harvest “is a must-see for fans . . . in the mood to see one of the worst Christmas Eves in the history of cinema.” Roger Ebert (page has been taken down) was also impressed. “I liked the movie for the quirky way it pursues humor through the drifts of greed, lust, booze, betrayal and spectacularly complicated ways to die.” In other words, Hollywood’s version of Merry Christmas stuff.

Gremlins

In my personal view, the most unsettling Christmas movie was the original Gremlins (1984). Though directed by Joe Dante, Steven Spielberg’s production company Amblin Entertainment released it. TIME magazine characterized the film as being “developed and ‘presented'” by Spielberg and being one of his “children too.” Stylistically, too, this film is completely Spielbergian, beginning with a typical suburban paradise. Snow is on the ground as local residents prepare for Christmas.

The drama begins when protagonist Billy receives a cute “mogwai” from his inventor father, but the creature spawns siblings that are far from full of holiday cheer. On the contrary, they bring violence, mayhem, and death to this otherwise happy time of year. Their mischief is methodically paired with normally positive symbols of Christmas. For instance, when Billy’s mom is home alone making Christmas cookies and listening to Christmas music, she is attacked by a squad of ghoulish gremlins with murder on their minds. After stabbing one through the heart, she dispatches another with a deft push of the blender switch, turning the previously Christmas-cookie-aroma-filled kitchen into a bloodbath.

More blood is added when a gremlin foolishly hides in the microwave. A few minutes on high power and his head delightfully explodes. Retreating to the living room, the mother is literally attacked by the Christmas tree, which is full of gremlins. This conflation of joyful Christian symbols with diabolical evil is a central device to the whole movie.

Another example comes when the police pass by Billy’s neighbor’s house and are greeted by the neighbor, dressed as Santa Claus, running about helplessly as gremlins eat into his brain. Next, Christmas-caroling gremlins arrive at grouchy old Miss Deagle’s door, only to send her flying out the second-floor window of her house in a malfunctioning motorized chair.

I call this movie “most unsettling” because I remember when it came out, and the trailers and ads were specifically aimed at children — young children, as I recall, 4–8 years old. I also recall many tales of parents angrily leading their shrieking children out of theaters because families had been led to believe this was a fun Christmas movie. Tell me if you think the following is fun.

In two scenes I thought were totally extraneous, protagonists Billy and his girlfriend Kate pass a group of Christmas carolers singing “Silent Night,” when Kate suddenly and soberly states that Christmas is a time when “a lot of people get really depressed. . . . While everybody else is opening up their presents, they’re opening up their wrists. It’s true. The suicide rate is always the highest around the holidays.” When she volunteers that she doesn’t celebrate Christmas, Billy asks, “What, are you Hindu or something?” Historically, the non-Christian group in America with mixed feelings toward Christmas is not Hindus, but Jews. Here the mask is in place but the true message is easily discernible. It is Jews who hate Christmas.

Much later in the movie, after the gremlins have wreaked havoc on Kingston Falls, Kate launches into a startling horror story about Christmas, one that seems completely gratuitous since it is independent of the blood-thirsty gremlin theme. Surveying the rubble left by the marauding gremlins, Kate relates how she now has another reason to hate Christmas. It seems that when she was nine, she and her mother were decorating the tree on Christmas Eve, waiting for her father to come home from the office. They waited, but he never came.

Then, four or five days later, as the temperature dropped, Kate went to make a fire. “And that’s when I noticed the smell.” Thinking it was a dead cat or bird, they called the fire department to clean it out, but instead “they pulled out my father. He was dressed in a Santa Claus suit. He’d been climbing down the chimney on Christmas Eve, his arms loaded with presents. He was going to surprise us. He slipped and broke his neck, died instantly. And that’s how I found out there was no Santa Claus.”

Now that you’ve read my account of Gremlins, go back and watch it again. Note the systematic pairing of Christmas songs with things negative, a Christmas tree with violence, Christmas carols with monsters. And of course, not the slightest hint whatsoever that Christmas has anything to do with a religious holiday celebrating a divinity that Christians traditionally believe to be God.

There’s actually a dizzying array of Christmas films available—over 100 since 2010, including 26 horror films—and too many to review here. Not all Christmas movies are subversive—Hollywood is well aware that there is money in appealing to particular audiences, such as viewers of Hallmark or the Lifetime Movie Network. One such is the popular Elf (2003), by screenwriter David Berenbaum and director Jonathan Favreau, who is half Jewish, with Ed Asner starred as Santa, and James Caan as the elf’s biological father. I invite readers to comment about this film and, because of the glut of films, I’ll need to do that with some other Christmas films as well.

 

A recent film that looked highly promising as far as my thesis goes is The Night Before (2015) starring Jewish actors Seth Rogen and Joseph Gordon-Levitt, along with Anthony Mackie, who is Black. (This lack of White males fits into my recent photo essay showing how in 2020 Whites males have been almost completely airbrushed out of commercials.) Further, the film is “a successful collaboration between Seth Rogen and Evan Goldberg”; the director is Jonathan Levine.

More to the point, reviewer Ben Kendrick strongly suggests that this movie also shows great disrespect for Christmas. The Night Before is “irreverent,” “nor is it a Christmas movie for all audiences” (such as believing Christians, for example?). The film blends “stoner hijinks and holiday spirit.” It is a “raunchy comedy set against a holiday backdrop,” and, in a key description, Kendrick admits that “It’s a surprisingly subversive tale, playing off Christmas movie tropes in unique (and often hilarious) ways.” Again, I need to ask readers to see how this Jewish-inflected film approaches traditional Christmas.

Other films that caught my eye were Black Christmas (2006), a “Canadian-American slasher film,” Four Christmases (2008), The Christmas Chronicles (2018) and Last Christmas (2019). Comments on them are also welcome.

Santa’s Slay

I put aside all of these films, however, when I hit pay-dirt yesterday with the film Santa’s Slay (2005). I’m going to start with Wikipedia’s description:

Santa’s Slay is a 2005 Canadian American Christmas slasher comedy film that stars professional wrestler Bill Goldberg as Santa Claus. The film was written and directed by David Steiman, a former assistant to [Jewish] Brett Ratner; Ratner served as a producer….

On Christmas Eve, the Mason family (played by a cast of all Jewish celebrities in bit roles) is bickering about their wealth and material possessions while eating Christmas dinner when Santa Claus (Bill Goldberg, also Jewish) comes down the chimney and kills them all in various graphic displays of Christmas-themed violence, such as drowning the matriarch Virginia (Fran Drescher) in eggnog, using the star atop a Christmas tree as a ninja star and stabbing the patriarch’s hands to the table with silverware and suffocating him by stuffing a leg of turkey in his mouth. Riding on his sleigh driven by his “hell-deer,” the Buffalo-like Beast, Santa arrives at Hell Township and decimates the locals in various holiday-themed ways. In one of his kills, Santa slaughters the occupants of a local strip club, frequented by Pastor Timmons (Dave Thomas), a crooked minister, who manages to survive the massacre.

Yes, this “gift” was dropped right in my lap as I perused Jewish-created anti-Christmas films. You have to watch this selection of scenes to believe it.

Typical goys are celebrating a traditional Christmas scene with carols and a creche. “Santa” on his sleigh comes through, beheading the statue of Joseph. The actual opening, however, begins with a beautiful rendition of “Joy to The World” against a shot of a well-decorated millionaire’s home, and then zooms into the well-appointed dining room of a large “Gentile” family.

James Caan plays the patriarch, and the whole skit is reminiscent of the typical Hollywood ploy of mocking the goyim, as in the old Caddyshack series. Childishly tasteless and gauche, Caan criticizes the dry turkey, mock praying, “Let it be tender and moist,” to which his wife (played by Fran Drescher) retorts, “Yeah, moist, it’s called foreplay.” Then one family member sodomizes his wife under the table. Lots of laughs. Soon, however, we get bulked-up former wrestler Bill Goldberg as a Viking Santa coming down and through the chimney for some Christmas murder.

More goy mocking comes a little later when Mrs. “Talbot” bullies Jewish Mr. Green at his deli, insisting that he use “Merry Christmas” rather than “Happy Holidays.” Immediately after this, the miserly biddy is driven off the road by Goldberg in his sleigh, and she dies in a fiery inferno. Ah, revenge.

Surprisingly, however, the attack on Christians doesn’t go much beyond that. Yes, later two Gentile boys dressed in red and green pajamas ask their parents if they “can open our mother f**king presents now?” When they open the presents, there are explosions and the boys’ heads are blown off, to which goy Grandma slowly replies “F**k.” In the milieu of 2005, this does not rise to the level of high offense, let alone blasphemy. In addition, Jesus Christ is never mentioned, let alone attacked.

I can’t explain why this is. By 2005, Jews held such a lock on American culture that they could pretty much do what they wanted, as we saw in Quentin Tarantino’s 2009 film Inglourious Basterds. Though director Tarantino is not Jewish, Eli Roth is, and as Sergeant Donny “The Bear Jew” Donowitz, he executes Nazis with his baseball bat. Roth famously said that such filmic revenge amounted to “almost a deep sexual satisfaction of wanting to beat Nazis to death, an orgasmic feeling. My character gets to beat Nazis to death. That’s something I could watch all day.” In addition, Lawrence Bender, one of the producers, told Tarantino that “As your producing partner, I thank you, and as a member of the Jewish tribe, I thank you, motherf**ker, because this movie is a f**king Jewish wet dream.”

Screenwriter and director David Steiman, et al. could have accomplished something similar with Santa’s Slay but for some reason they didn’t even come close. Instead, we ended up with a stupidly juvenile and unprofessional film that was a real chore to watch. Given the coarse level our society has fallen to this century, though, it is hardly surprising that untalented reviewers could write that Santa’s Slay was “simultaneously vulgar and wholesome, stupid and satirical, violent and lighthearted.” Or that “overall it is just a fun, brainless movie that has a ton of violence in it.” Another wrote that “Admittedly, the film doesn’t quite keep up the relentless pace the entire time, but it’s mostly one hell of a slay ride, full of cheesy dialogue, colorful characters, and plenty of laughs.”

“Plenty of laughs.” You can do that with Christmas, of course, but try it with a comedy about the Prophet Muhammad … or the Holocaust. You know, make a “brainless movie” with “colorful characters, and plenty of laughs” about Auschwitz or something. But plan to start looking for a new job the next day.

In any case, Santa’s Slay hardly bothered me, unlike the way Gremlins did. Though Santa’s Slay is clearly patterned on Gremlins, beginning with the use of the song “Christmas (Baby, Please Come Home)” at the opening of both films, it’s a different film (perhaps because the filmmakers were untalented).

Throughout Santa’s Slay the mood mimics Gremlins, plus we have the same type of teenage protagonists, along with a quirky inventor in the family.

Beyond that, however, Santa’s Slay doesn’t come close to the subversion of the Christmas spirit the way Gremlins did. What it did, oddly, was begin to subvert Jews themselves, which really surprised me.

Here I’m going to go out on a limb and attempt a reading of Santa’s Slay worthy of Jay Dyer or Mark Brahmin. While I’ve never really understood Michael Hoffman’s “Revelation of the Method,” I sort of get that it means producers of messages deliberately reveal who they are and what they are doing. And in watching Santa’s Slay, I kept asking myself “Are the Jews making this movie revealing themselves as satanic”?

Yes, I know at this point you are going to cry “WHAT?!!!” But consider that when the credits begin to roll, we are treated to the wordplay of seeing the title first as Satan’s Slay then morph into Santa’s Slay. And throughout Goldberg certainly plays a satanic Santa. What really cements this view, however, is the fact that a central part of the story refers to two virgin births: that of Christ and that of Satan, with Santa Claus being the resulting issue.

Finally, though Goldberg’s Santa wreaks massive havoc and leaves a long trail of people quite dead, in the end a (Christian) angel prevails, and the Gentile teenage couple happily escapes, while satanic Santa is again remanded to the control of the angel. Jews had free rein in this film, yet it turned out to empower Christian Whites. Curious.

And with that happy turn of events, I’ll end this discussion by giving readers a heartwarming review of the 2015 Hallmark film, ‘Tis the Season for Love, which I called “a pro-White, pro-natal TV movie.”

Merry Christmas. I look forward to reader comments on modern Christmas films.