The Little Jew
Posted: Wed Feb 26, 2025 8:32 pm
Douglas Mercer
February 26 2025
Who is the Playboy Man? He reads a little Nietzsche, he smokes a little dope, listens to Jazz—Hugh Hefner
Officially at least American culture from 1950 to 1990—ending say with Seinfeld—was Jewish culture. All those Jewish comedians and novelists and sitcom stars and writers taught the great White masses how to think and act like a Jew, and all in the name of culture or entertainment. But from then on out our culture has been saturated with black culture to such an extent that it is a black culture, fully degraded and jungle like. In music, the last heyday of White culture was Grunge Rock and they were nothing to write home to mother about, those flannel wearing misanthropes, but since then it’s been hip hop and gangsta rap, with every White traitor in the musical industry wants to ape the apes and be that most scandalous of things: a wigger. If you saw that baboon Serena Williams doing the crip dance you know what I mean, it’s all become shucking and jiving and an outrageous minstrel show.
How did this come to pass?
Well, as with everything we can look to our Uncle who said that behind every social disease—if you look hard enough, or look at all—what do you find? The Little Jew. And a good place to start looking for the ideology behind this super saturation with all things African is from that little Jew Norman Mailer—and his infamous 1957 essay The White Negro.
The White Negro? Did you hear that? I’m sure you did, it’s right there in the title.
“One is Hip or one is Square (the alternative which each new generation coming into American life is beginning to feel) one is a rebel or one conforms, one is a frontiersman in the Wild West of American night life, or else a Square cell, trapped in the totalitarian tissues of American society, doomed willy-nilly to conform if one is to succeed.”
Hip or square—did you catch that?—and this is a Jew talking you understand---and to be square is to be employed, to be hard working, to save for the future, to have a family and a long future, to be a good neighbor, and in general to observe the proprieties of what makes a civilization work in the first place. What does it mean to be hip? It means to be sullen, to be a lay about, with or without artistic pretensions, it means to smoke a lot of dope, and hang out all the time, and speak in a degraded form of English, so much so that what you look like most is some kind of mutant come to contaminate the land.
“So it is no accident that the source of Hip is the Negro for he has been living on the margin between totalitarianism and democracy for two centuries. But the presence of Hip as a working philosophy in the sub-worlds of American life is probably due to jazz, and its knife-like entrance into culture, its subtle but so penetrating influence on an avant-garde generation—that post-war generation of adventurers who (some consciously, some by osmosis) had absorbed the lessons of disillusionment and disgust of the Twenties, the Depression, and the War.”
You get it, the black man is hip, and the White man is square, this is what the so called great Jewish sage, social critic, and novelist was peddling at mid-century The black man is hip and the White man is square but if the White man or woman is willing to degrade him or herself, and begin slouching and saying “man” and aping the atrocious manners and disgusting mores of the negro then all will be well, at least according to Norman Mailer who, like all Jews was seeking the overthrow of White Society. And the thing is that in terms of culture—and everything else for that matter—the negro represents the lowest common denominator, the negro blazes a path along the lazy and the easy route, in terms of decline and fall they are all-stars. And over time as more and more of the members of our White race lost that moral fiber of their ancestors it became quite tempting for them just to slide down the slippery path to perdition, joint in hand, and yeah yeah yeah on their lips. If there has ever been a spectacle more atrocious than this I’m sure you’ve never seen it.
***
“Many people have wondered whence come the waves upon waves of musical slush that invade decent parlors and set the young people of this generation imitating the drivel of morons. Popular music is a Jewish monopoly. Jazz is a Jewish creation. The mush, the slush, the sly suggestion, the abandoned sensuousness of sliding notes, are of Jewish origin. It was worth noting, in view of the organized eagerness of the Jew to make an alliance with the Negro, that it was Jewish jazz that rode in upon the wave of Negro rag-time popularity, and eventually displaced the rag-time.”
So said Henry Ford way back in 1921 and he was a prophet. He called this culture product—if that is not too august a term—to be slush, an ill-defined mixture of ragged odd and ends all of it swirling down the drain at an ever more rapid rate and turning those who consume it into little more than drooling imbeciles. If this was all apparent way back in 1921—and it most certainly was—how much more apparent is it now, over a century later? Enormously more so is the answer, and if you turn on the screen and see the endless parade of slags upon slags trying to imitate the flat nose chimps, you’ll see why.
***
“So no wonder that in certain cities of America, in New York of course, and New Orleans, in Chicago and San Francisco and Los Angeles, in such American cities as Paris and Mexico, D.F., this particular part of a generation was attracted to what the Negro had to offer. In such places as Greenwich Village, a ménage-à-trois was completed—the bohemian and the juvenile delinquent came face-to-face with the Negro, and the hipster was a fact in American life. If marijuana was the wedding ring, the child was the language of Hip for its argot gave expression to abstract states of feeling which all could share, at least all who were Hip. And in this wedding of the white and the black it was the Negro who brought the cultural dowry.”
To think that this essay was considered epoch making and seminal and deep and powerful shows just how fare America had fallen by the year 1957, which is pretty damn far. For what the negro had to offer was what the negro always has to offer, the dregs of life, the easy way out, broken homes, drug binges, mind numbing jungle music, the old soft shoe of death and destruction, and the entire panoply of civilizational demise. That’s really not any wedding that should be celebrated and as for the dowry not only would any self-respecting father turn it down on spec, but he would also make sure it never got near his family. But you know how that generation thought, they were on the road, and would soon be lost in space, and the deleterious results one can see all around, if you are not smart enough to simply turn if off like one would a disease of the mind.
“The Negro could rarely afford the sophisticated inhibitions of civilization, and so he kept for his survival the art of the primitive, he lived in the enormous present, he subsisted for his Saturday night kicks, relinquishing the pleasures of the mind for the more obligatory pleasures of the body, and in his music he gave voice to the character and quality of his existence, to his rage and the infinite variations of joy, lust, languor, growl, cramp, pinch, scream and despair of his orgasm. For jazz is orgasm, it is the music of orgasm, good orgasm and bad, and so it spoke across a nation.”
This of course is all puerile fantasy, and some god-awful prose to boot. Here Mailer is putting in his own pose of the Juvenile delinquent and play acting the criminal who he secretly wants to be. But then again he’s the guy who was so crazed out of his mind that he nearly stabbed his wife to death (how hip!) and then, in his allegedly more “mature” years became so enamored of the drivel like writing of an incarcerated inmate that he lobbied for and was successful in getting him released. What do you think happened? Well, just what you knew would happen, the sprung criminal killed someone, but at least Mailer wasn’t being subject to a totalitarian regime, or at least that how he deluded himself. When in fact he was the wicked slush in the belly of the beast. But what he was above all was the little Jew, working according to the Jew program.
“So there was a new breed of adventurers, urban adventurers who drifted out at night looking for action with a black man’s code to fit their facts. The hipster had absorbed the existentialist synapses of the Negro, and for practical purposes could be considered a white Negro.”
And there you have it: The White Negro. Is anything more redolent of Jewish dreams? For as John Kaspar said it is always the kike behind the nigger. And they can race mix with us, which is an abomination, and they can commit their crime sprees, which puts us in mortal danger, and they can drain our wealth with their leeching, and they can shoot off their big lipped mouths, which annoys us to no end. But for the Jews the plan is even more insidious and sinister than all of these monstrosities. They want to and have been quite successful in corrupting our young, for they don’t just want us to have a nigger for a neighbor, they want us to let down all guards and become the black man, become the black man by submitting to the siren call of his depravity. That is they see a White society and what their goal is that it will turn black, kind of spiritual, mental and cultural Coal Burning. And behind it always is nothing other than the little Jew and his big mouth. It’s hard to believe that such a nonentity as Mailer was considered a heavy-weight intellectual in midcentury America but then what did Ezra Pound say about this time? He said that all America is an insane asylum, which is as true now as the day he said it.
February 26 2025
Who is the Playboy Man? He reads a little Nietzsche, he smokes a little dope, listens to Jazz—Hugh Hefner
Officially at least American culture from 1950 to 1990—ending say with Seinfeld—was Jewish culture. All those Jewish comedians and novelists and sitcom stars and writers taught the great White masses how to think and act like a Jew, and all in the name of culture or entertainment. But from then on out our culture has been saturated with black culture to such an extent that it is a black culture, fully degraded and jungle like. In music, the last heyday of White culture was Grunge Rock and they were nothing to write home to mother about, those flannel wearing misanthropes, but since then it’s been hip hop and gangsta rap, with every White traitor in the musical industry wants to ape the apes and be that most scandalous of things: a wigger. If you saw that baboon Serena Williams doing the crip dance you know what I mean, it’s all become shucking and jiving and an outrageous minstrel show.
How did this come to pass?
Well, as with everything we can look to our Uncle who said that behind every social disease—if you look hard enough, or look at all—what do you find? The Little Jew. And a good place to start looking for the ideology behind this super saturation with all things African is from that little Jew Norman Mailer—and his infamous 1957 essay The White Negro.
The White Negro? Did you hear that? I’m sure you did, it’s right there in the title.
“One is Hip or one is Square (the alternative which each new generation coming into American life is beginning to feel) one is a rebel or one conforms, one is a frontiersman in the Wild West of American night life, or else a Square cell, trapped in the totalitarian tissues of American society, doomed willy-nilly to conform if one is to succeed.”
Hip or square—did you catch that?—and this is a Jew talking you understand---and to be square is to be employed, to be hard working, to save for the future, to have a family and a long future, to be a good neighbor, and in general to observe the proprieties of what makes a civilization work in the first place. What does it mean to be hip? It means to be sullen, to be a lay about, with or without artistic pretensions, it means to smoke a lot of dope, and hang out all the time, and speak in a degraded form of English, so much so that what you look like most is some kind of mutant come to contaminate the land.
“So it is no accident that the source of Hip is the Negro for he has been living on the margin between totalitarianism and democracy for two centuries. But the presence of Hip as a working philosophy in the sub-worlds of American life is probably due to jazz, and its knife-like entrance into culture, its subtle but so penetrating influence on an avant-garde generation—that post-war generation of adventurers who (some consciously, some by osmosis) had absorbed the lessons of disillusionment and disgust of the Twenties, the Depression, and the War.”
You get it, the black man is hip, and the White man is square, this is what the so called great Jewish sage, social critic, and novelist was peddling at mid-century The black man is hip and the White man is square but if the White man or woman is willing to degrade him or herself, and begin slouching and saying “man” and aping the atrocious manners and disgusting mores of the negro then all will be well, at least according to Norman Mailer who, like all Jews was seeking the overthrow of White Society. And the thing is that in terms of culture—and everything else for that matter—the negro represents the lowest common denominator, the negro blazes a path along the lazy and the easy route, in terms of decline and fall they are all-stars. And over time as more and more of the members of our White race lost that moral fiber of their ancestors it became quite tempting for them just to slide down the slippery path to perdition, joint in hand, and yeah yeah yeah on their lips. If there has ever been a spectacle more atrocious than this I’m sure you’ve never seen it.
***
“Many people have wondered whence come the waves upon waves of musical slush that invade decent parlors and set the young people of this generation imitating the drivel of morons. Popular music is a Jewish monopoly. Jazz is a Jewish creation. The mush, the slush, the sly suggestion, the abandoned sensuousness of sliding notes, are of Jewish origin. It was worth noting, in view of the organized eagerness of the Jew to make an alliance with the Negro, that it was Jewish jazz that rode in upon the wave of Negro rag-time popularity, and eventually displaced the rag-time.”
So said Henry Ford way back in 1921 and he was a prophet. He called this culture product—if that is not too august a term—to be slush, an ill-defined mixture of ragged odd and ends all of it swirling down the drain at an ever more rapid rate and turning those who consume it into little more than drooling imbeciles. If this was all apparent way back in 1921—and it most certainly was—how much more apparent is it now, over a century later? Enormously more so is the answer, and if you turn on the screen and see the endless parade of slags upon slags trying to imitate the flat nose chimps, you’ll see why.
***
“So no wonder that in certain cities of America, in New York of course, and New Orleans, in Chicago and San Francisco and Los Angeles, in such American cities as Paris and Mexico, D.F., this particular part of a generation was attracted to what the Negro had to offer. In such places as Greenwich Village, a ménage-à-trois was completed—the bohemian and the juvenile delinquent came face-to-face with the Negro, and the hipster was a fact in American life. If marijuana was the wedding ring, the child was the language of Hip for its argot gave expression to abstract states of feeling which all could share, at least all who were Hip. And in this wedding of the white and the black it was the Negro who brought the cultural dowry.”
To think that this essay was considered epoch making and seminal and deep and powerful shows just how fare America had fallen by the year 1957, which is pretty damn far. For what the negro had to offer was what the negro always has to offer, the dregs of life, the easy way out, broken homes, drug binges, mind numbing jungle music, the old soft shoe of death and destruction, and the entire panoply of civilizational demise. That’s really not any wedding that should be celebrated and as for the dowry not only would any self-respecting father turn it down on spec, but he would also make sure it never got near his family. But you know how that generation thought, they were on the road, and would soon be lost in space, and the deleterious results one can see all around, if you are not smart enough to simply turn if off like one would a disease of the mind.
“The Negro could rarely afford the sophisticated inhibitions of civilization, and so he kept for his survival the art of the primitive, he lived in the enormous present, he subsisted for his Saturday night kicks, relinquishing the pleasures of the mind for the more obligatory pleasures of the body, and in his music he gave voice to the character and quality of his existence, to his rage and the infinite variations of joy, lust, languor, growl, cramp, pinch, scream and despair of his orgasm. For jazz is orgasm, it is the music of orgasm, good orgasm and bad, and so it spoke across a nation.”
This of course is all puerile fantasy, and some god-awful prose to boot. Here Mailer is putting in his own pose of the Juvenile delinquent and play acting the criminal who he secretly wants to be. But then again he’s the guy who was so crazed out of his mind that he nearly stabbed his wife to death (how hip!) and then, in his allegedly more “mature” years became so enamored of the drivel like writing of an incarcerated inmate that he lobbied for and was successful in getting him released. What do you think happened? Well, just what you knew would happen, the sprung criminal killed someone, but at least Mailer wasn’t being subject to a totalitarian regime, or at least that how he deluded himself. When in fact he was the wicked slush in the belly of the beast. But what he was above all was the little Jew, working according to the Jew program.
“So there was a new breed of adventurers, urban adventurers who drifted out at night looking for action with a black man’s code to fit their facts. The hipster had absorbed the existentialist synapses of the Negro, and for practical purposes could be considered a white Negro.”
And there you have it: The White Negro. Is anything more redolent of Jewish dreams? For as John Kaspar said it is always the kike behind the nigger. And they can race mix with us, which is an abomination, and they can commit their crime sprees, which puts us in mortal danger, and they can drain our wealth with their leeching, and they can shoot off their big lipped mouths, which annoys us to no end. But for the Jews the plan is even more insidious and sinister than all of these monstrosities. They want to and have been quite successful in corrupting our young, for they don’t just want us to have a nigger for a neighbor, they want us to let down all guards and become the black man, become the black man by submitting to the siren call of his depravity. That is they see a White society and what their goal is that it will turn black, kind of spiritual, mental and cultural Coal Burning. And behind it always is nothing other than the little Jew and his big mouth. It’s hard to believe that such a nonentity as Mailer was considered a heavy-weight intellectual in midcentury America but then what did Ezra Pound say about this time? He said that all America is an insane asylum, which is as true now as the day he said it.
