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harlem

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The text argues that the Harlem Renaissance, also known as the New Negro movement, was a covert project orchestrated by wealthy elites, primarily Jewish families, rather than a genuine artistic and cultural flourishing of black Americans. The author, Donny Ahzmond, suggests that key patrons like Charlotte Osgood Mason, who had ties to the Rockefellers and an alleged “Intel spook” husband, Rufus Osgood Mason, used their wealth, some of which was attributed to Rockefeller money, to influence the Harlem scene.

The author questions the need for a “new negro” movement, implying it was a deliberate attempt to reshape the black community into a fragmented and amoral demographic by importing the negative traits of the moneyed class. A central argument is that many of the movement’s leaders were not black, or were of mixed heritage with significant Jewish ancestry, and therefore did not genuinely represent the black community.

The text scrutinizes several prominent figures associated with the Harlem Renaissance. Arturo Alfonso Schomburg is presented as a key example, with his name and apparent wealth suggesting Jewish roots, possibly linked to wealthy German-Jewish physicians and Barbadian slaveholder John Gay Alleyne and Mount Gay Distilleries. His educational background and early activism are questioned as fabrications designed to obscure his true identity. The author also casts doubt on the existence of St. Thomas College where Schomburg supposedly studied “Negro Literature.” Schomburg’s association with Freemasons and Bankers Trust Company, a J.P. Morgan-controlled institution, further fuels suspicion. His marriages to white women are also highlighted as significant.

The text asserts that Harlem itself was originally a wealthy Jewish community, named after a Dutch city with similar origins, and suggests the name’s etymology (“secret stronghold”) points to Phoenician influence. The author lists numerous prominent Jewish figures associated with Harlem to support this claim, questioning the narrative of wealthy Jews leaving and selling to black residents at a discount.

Philip Payton, Jr., dubbed the “Father of Harlem,” is portrayed as a front man for wealthy Jewish families who used his Afro-American Realty Company to facilitate the movement of African Americans into Harlem. His financial success is deemed improbable given his alleged background.

Other figures like Langston Hughes, Zora Neale Hurston, James Weldon Johnson, Grace Nail Johnson, and Maya Angelou are similarly scrutinized. Hughes is alleged to be Jewish and a relative of a Jewish slave trader, with his poetry deemed superficial and self-aggrandizing. Hurston’s ancestry is extensively traced, suggesting aristocratic Scottish and English connections, with fabricated childhood photos and inconsistencies in her educational and personal history presented as evidence of a manufactured persona. James Weldon Johnson’s ancestry is also questioned, with his grandfather Stephen Dillet suggested to be Spanish or Sephardic, not black, and potentially a slave owner. Grace Nail Johnson’s elite African-American status is reinterpreted as a cover for Jewish heritage. Maya Angelou’s family tree is also linked to aristocratic British families, suggesting her perceived hardships and success were orchestrated. Her biography is riddled with plot holes, including the story of her childhood and the circumstances surrounding her early career.

The author also implicates Hubert Harrison, the founder of the New Negro Movement, as an Intelligence asset and “radical internationalist” working for Jewish internationalists, referencing his potential connection to the Rothschild family through Rothschild Francis. Joel E. Spingarn, a Jewish leader of the NAACP and Military Intelligence officer, is presented as an example of Jewish control over black organizations. W. E. B. Du Bois is also identified as an Intelligence agent involved in undermining black radicals and pushing concepts like “double consciousness,” which the author interprets as a tool for social fragmentation.

The text concludes by suggesting that the transition of Harlem from a Jewish to a black neighborhood was a planned urban renewal project, with the construction of Penn Station displacing black residents and herding them into Harlem, which was then controlled by Jewish interests. The funding for Harlem’s real estate development is linked to the Pennsylvania Railroad Company (PRR) and ultimately to taxpayers. The author also touches on Louis Armstrong’s upbringing by a Lithuanian Jewish family and the influence of Klezmer music on jazz.

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