Reader 04/27/2022 (Wed) 20:15:05 Id: 9fc48b No.18329 del
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The book opens with a series of examples of antisemitism failing to register as a cause for concern; the cumulative impact of these is to make a forceful case for the existence of double standards. “Double standards,” meaning jews don’t get proper credit for being a minority. But jews complaining about double standards is like the patricide-matricide complaining about being an orphan. When it comes to double standards, jews are past masters giving a perpetual master class — one standard for them, another for everyone else — always. A telling instance relates to the 2019 musical production of Alice Walker’s The Color Purple. While the actress, Seyi Omooba, was sacked from playing the role of Celie because of her homophobic views, antisemitic statements made by Alice Walker herself don’t seem to have registered as a deal-breaker.

Now Alice Walker is a mutant freak herself, so she’s no exemplar of sanity. But even as the blind squirrel catches a nut now and again, she honed in on the jews as the singular face of evil. "In a 2018 interview with the New York Times, Walker promoted Icke’s book And the Truth Shall Set You Free which argues that jews control the world and quotes extensively from the discredited Protocols of the Elders of Zion." (It seems they now have an algorithm which, when you type in the words “Protocols of the Learned Elders of Zion,” automatically inserts the word “discredited” before them.) Walker also would not allow The Color Purple to be translated into Hebrew, after which both Steven Spielberg and Whoopi Goldberg were not available for comment. "Baddiel fears that antisemitism is increasingly being seen as a second-class racism." Nothing but top-drawer, first-class racism will do for jews when it comes to their suffering.

"Baddiel goes on to engage with the familiar argument that jews are excluded from the category of oppressed groups because they are themselves associated with the oppressors – with money and power." Familiar indeed. It is like the day before yesterday, the morning sun, and the sky above us, perennial and true. It’s a pesky fact that jews have inordinate power, and wield it exclusively for their own benefit — but they want you to think they just emerged reeking from the ghetto, fleeing the latest pogrom, wearing their black coats and black hats, all poor and greasy and barking out a snarling Yiddish. You’re tempted to say they’ve cleaned up nice, but we all know that’s not true. It’s simply no longer the ordeal of civility they undergo, but the ordeals they inflict on their hosts. "Leftists need, as Baddiel puts it, a jewish rear-view mirror The same people who would usually insist on any minority group’s right to define what is racist are often the first to react indignantly if one of their own is charged with antisemitism."

Jews look at rear-view mirrors to see all the damage they’ve done — just like Kamala Harris reads Sir Walter Scott. "The Mear One mural saga is described in full, he highlights the racism of that artist’s response to the controversy – ‘some of the older white jewish folk in the local community had a problem with me portraying their beloved Rothschild or Warburg’ – and offers a pithy analysis explaining just why this is so vile." Mear One (believe it or not) is a person, not an entity — a “street artist,” in the same category as Basquiat. While Basquiat is a low-rent nonentity, Mear One did put up some truth on the streets of Merry Old England on one occasion, much to the consternation of the British Sanhedrin. The mural, which was subsequently scrubbed off, pictured several apparently jewish bankers playing a game of Monopoly, with their tabletop resting on the bowed naked backs of several workers.

It must really rile jews when “street artists,” who are always communists, always left wing lunatics, always little better than vagabonds spraying graffiti on buildings — when even they start scoring on you and riffing on your greed. [continued]