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Marvel Comics, Ethnicity, & Race

4,250 words

German translation here

I’d like to follow in the footsteps of Jonathan Bowden and discuss race and ethnicity in the context of Marvel comics. I used to be a collector, and, ironically enough, share with Bowden an appreciation of the Zukula’s daughter story. There are some who believe that this topic is merely “juvenile drivel,” but I disagree.

While this is not my usual topic of discussion, the truth is that the “culture wars” are fought through varied media, such as pop culture, which includes comic books.  The powers that be have long targeted impressionable youth with multiculturalist messages through the comic book medium.  As the culture is the “sea” in which our genotypes and phenotypes “swim,” it is useful to examine and evaluate aspects of that culture, and therefore comic books are a legitimate topic of analysis.

Stan Lee

It must be noted that the Marvel Comics empire was predominantly built upon the work of two men, both of Jewish ancestry — writer Stan Lee (Stanley Martin Leiber) and artist Jack Kirby (Jacob Kurtzberg).  Of course, other writers and artists, including later younger ones who rose in rank to editor, were important, and many of these were Gentiles.  However, it was Lee and Kirby who laid the groundwork for all that followed, and who set Marvel down the particular ideological paths outlined here, emphasizing racial tolerance, opposition to bigotry, and a wholly aracial form of American constitutional patriotism.

For the record, I’d like to briefly comment on the Lee-Kirby method of story production, which was adopted by Marvel as a whole and revolutionized the creative process.

Jack Kirby

Here, the writer (e.g., Lee) comes up with the general story, and then the artist (e.g., Kirby), based on the original broad outline, draws the panels and by so doing essentially establishes plotline and the details of the story. The writer then comes in and writes the actual script, filling in the text.

In this system, the artist is an equal contributor to plot and storyline, and tensions related to Kirby’s desire for equal credit later caused problems for Marvel, leading to Kirby eventually leaving the company, ending the so-called “Silver Age” of (Marvel) comics.

The Fantastic Four

The Fantastic Four (issue #1 – Nov. 1961) was the first “superhero” comic produced by Marvel and by the famed Lee-Kirby combination; Marvel (including Lee and Kirby) having previously produced a series of monster comics in the 1950s.  Here was a paradigm shift in the comic book world, in that the heroes were portrayed – mentally and emotionally – as “normal” people, not as godlike heroes; we observe characters with all the problems and foibles of ordinary folks, a concept developed to its fullest extent in the subsequent Spider-Man character.

The Fantastic Four movie cast: Left to Right: The Human Torch, the Thing, the Invisible Girl, Mr. Fantastic

The Fantastic Four is led by Reed Richards (Mr. Fantastic), a super-genius with the ability to stretch (similar to Plastic Man), and is also composed of his wife Susan Storm Richards (the Invisible Girl), her young brother Johnny Storm (the Human Torch), and their friend, Ben Grimm (the Thing).

Ethnically/racially, they can be described as follows. Richards and the two Storms, based on surname, background, and physical appearance, seem to be founding stock Americans (i.e., of British derivation).  Richards is a brown-haired, brown-eyed, fair-skinned Nord-Atlandid, while the two Storms are blonde, blue-eyed Nordics. I’ll pass over without detailed commentary the casting of half-Mexican (one-eighth Amerindian) actress Jessica Alba as Sue Storm in the Hollywood version of this comic. The Johnny Storm character was also slightly darkened in the movie version as well, but remains White; how he and Alba/Sue Storm make a credible brother/sister combination I do not know.

Ben Grimm, “the Thing,” is an interesting case.  In his super-powered form he is a massive mutate with orange bricks for skin. In his human form, he was a rough-hewn, coarse-featured former football player and war hero. Given these facts, and his surname “Grimm,” it was reasonable to assume he was, perhaps, of German ancestry, with a Borreby phenotype. But, no. Fairly recently, it was revealed that the noble Grimm, college football star and fighter-pilot hero, is Jewish. Indeed, it is said that Kirby modeled Grimm after himself, for whatever that’s worth. Interesting though, that, if this is so, Grimm’s ethnicity was not revealed at the time of the Fantastic Four’s creation, but instead decades later. Were Lee and Kirby afraid this revelation would hurt sales in the 1960s?

From the above link, we read the following, emphasis (and “sic”) added:

“Kirby always thought of the Thing as being Jewish,” said Marvel senior editor Tom Brevoort. According to Brevoort, Kirby (born Jacob Kurtzburg) kept in his house, but never published, an early drawing of the Thing in full rabbinical regalia.

But while Kirby might have intended from day one for the Thing to be Jewish, and fans familiar with Kirby’s career might have suspected as much, the superhero’s Judaism had never been revealed in the pages of Marvel.

“It had never shown up in a Fantastic Four [issue], so was not what we considered canon,” Brevoort said.

The decision to reveal the Thing’s Jewish roots came almost whimsically, he added, when Carl Kesel, the co-author of the recent issue, said that he would like to write a story about the Thing’s past.

Brevoort noted that a high percentage of the early comic book artists were Jewish (Stan Lee, for example was born Stan Lieber). “Quite a few of them disguised themselves — that’s what you did to get your foot in the door,” Brevoort said, adding that the creations of these closeted Jews were, quite often, disguised personal stories.

In “Remembrance of Things Past,” the Thing provides his own explanation for why it took so long for his Judaism to come out.

Mr. Sheckerberg, a pawnbroker from the old neighborhood, says to the Thing: “All these years in the news, they never mention you’re Jewish. I thought maybe you were ashamed of it a little.”

“Nah, that ain’t it,” replies the Thing. “Anyone on the internet can find out, if they want. It’s just . . . I don’t talk it up, is all. Figure there’s enough trouble in this world without people thinkin’ Jews are all monsters like me.”

But, in fact, it seems fans are taking the news quite well, Brevoort said. “We had no idea that the response would be like this,” Brevoort told the Forward.

He said that since the issue came out, Marvel has been inundated with hundreds of positive letters and e-mails, with responses ranging from “Wow! I never knew that — cool, like me!” to “I always suspected.”

“The closest thing we got to a negative response was [a reader who said], ‘It was a good story — but wasn’t there a 1974 issue in which the Fantastic Four were all celebrating Christmas together?'”

But the new issue makes it clear that the Thing is no mere token Jew; he’s not some Jew who’s never seen the inside of a synagogue. Although the Thing no longer attends services, he still remembers his prayers. Kneeling over Mr. Sheckerberg, who appears to be dead, the Thing recites the Sh’ma.

Of course, let’s face it, the Thing doesn’t look Jewish. Nor does he exhibit qualities — studiousness, passivity (sic!), intelligence — that many readers probably associate with Jews.

“He certainly doesn’t fit that stereotype,” Brevoort said.

I find it hard to believe though that Jewish writers and artists had to “disguise themselves” in order to “make it” in the comics world, as individuals of Jewish ancestry were prominent in the field from the earliest days of the “Golden Age” of comics (e.g., creation of Superman by DC comics etc.).

Perhaps not unrelated to this concern for ethnicity, in one early comic the Fantastic Four battled “the Hatemonger,” who incited White Americans to attack (innocent, of course) foreigners. The Hatemonger, when unmasked, turned out to be . . . you guessed it, Adolf Hitler (more on Marvel’s treatment of Hitler below).  Years later, the Fantastic Four battled a different Hate-Monger, but again with the theme of “hate” being evil and psychotic, with the noble heroes battling for “truth, justice, and the American way” – which, according to Marvel, is tolerance, diversity, and constitutional patriotism.

The Fantastic Four’s greatest foe — and one of the greatest villains in comic book history – is Dr. Doom, tormented genius, monarch of the mythical East-Central European nation of “Latveria,” a man hiding behind a metal mask after being allegedly disfigured in an explosion (or by putting the hot mask on his face before it properly cooled).

The interesting thing about Doom from the ethnoracial perspective is that he is supposed to be an ethnic Gypsy. I have traveled in Eastern Europe, and have seen real Gypsies. Unmixed Gypsies are dark-skinned South Asians, who resemble – in physical appearance, dress, and mannerisms – their racial cousins from the Ganges. More admixed Gypsies have a Near Eastern appearance; both types are usually easily distinguishable from the indigenous Eastern European stock.

Doom, however, is portrayed (before his accident) as having a completely (Eastern) European phenotype. Thus, Marvel portrays Gypsies as if they were like, say, Irish Travelers – racially indistinguishable from the host people, but merely characterized by a different lifestyle and culture. Whether this racial distortion is ignorance or malice on the part of Marvel, I do not know.

The Incredible Hulk

With respect to The Incredible Hulk (Bruce Banner), Bowden has given an excellent appraisal of the Hulk vs. Leader dynamic. Of particular interest was a comment to that article, concerning Jewish hero Doc Samson:

How about an analysis of the first appearance of the Jewish super-hero Doc Samson? Samson cures the Hulk by draining his gamma radiation, turning him back to Bruce Banner. Samson uses a fraction of that radiation to transform himself into a superhuman muscleman with long green hair. He then starts dating Betty Ross (shiksa), essentially stealing her away from the now scrawny Banner. Banner gets angry, re-irradiates himself, becomes the dumb Hulk, fights Samson, and wins. Betty Ross watches the battles and makes her choice . . . she runs to help the brainy Jew Samson who is being “persecuted” by the dumb brutish gentile Banner/Hulk. The gentile Hulk – too stupid to understand “what it is he has lost” – leaps away, leaving Samson with the shiksa woman. Later of course, Ross returns to Banner, but this story is intriguing. Of course, Samson’s Jewishness was only implied in the first appearance, to make it more palatable to the reader, but was openly revealed later, and the intention of his ancestry was obvious all along.

Another take on this story is here.

Doc Samson

Some more information on Doc Samson is here. Relevant excerpts (emphasis added, except for names at beginning):

Leonard Samson was born Leonard Skivorski, Jr. in Tulsa, Oklahoma. His father, Dr. Leonard “Leo” Skivorski, was a popular psychiatrist in his hometown who specialized in treating young women, often conducting extramarital affairs with them. . . . Mrs. Skivorski had nicknamed her husband “Samson” after his long hair. Leonard Jr. initially expressed disinterest in becoming a psychiatrist, perhaps because he resented his father’s philandering. Despite this, he became a college professor and psychiatrist. After Robert Bruce Banner was temporarily cured of being the Hulk by siphoning off the gamma radiation that caused his transformations, Samson, who had been working with Banner/Hulk in his job as a psychiatrist, exposed himself to some of the siphoned radiation, granting him a superhumanly strong and muscular physique and causing his hair to turn green and to grow long, reminiscent of his biblical namesake. Initially, Samson’s physical strength depends upon the length of his hair, though his gamma mutation eventually stabilized, making the length of his hair no longer a factor. Shortly afterward, his flirting with Betty Ross causes a jealous Banner to re-expose himself to radiation, becoming the Hulk once more to battle Samson.

 Samson’s Jewish heritage is discussed in the non-fiction book From Krakow To Krypton


Another well known Marvel comic is the X-Men, which became wildly popular in the 1980s, and was then characterized by convoluted and “mature” plotlines, often intersecting varied related comic lines, and populated by a whole host of “complex” characters, both heroes and villains.

As mutants (“Homo superior”), viewed with discriminatory hostility by normal human society, the X-Men are put into situations allowing Marvel to explore issues of race, racism, discrimination, and tolerance from the liberal, multiculturalist perspective. After all, the X-Men, who value mutant-human harmony, are heroes, while mutant-hating humans and the elitist, anti-human “evil mutants” are villains. This dynamic carries over to the movie series. In Bowden’s Hulk article, the following comment was left:

This ideological battle between the humanist superheroes and the elitist villains is summed up quite nicely in a dialogue between Professor X and Magneto in the newest X-Men film. Professor X says, “We have it in us to be the better men.” Magneto responds, “We already are.”

Elsewhere in the film Professor X tells Magneto that he can have peace within himself, but he is rebuked with, “Peace was never an option.” A line that recalls Nietzsche’s summation of his morality in The Anti-Christ: “What is good? . . . Not contentment, but more power; not peace at any price, but war.”

Note that Magneto is a Jewish Holocaust survivor. Note as well that both the normal human and mutant factions are multi-racial: there are White, Black, Brown, Yellow, and Red humans and White, Black, Brown, Yellow, and Red mutants. Thus, the X-Men comic, in a clever manner, lessens, even eliminates, the importance of actual race. The fundamental human subdivision of race is replaced with a mythical human/mutant boundary, which transcends racial differences and is itself the subject of moralizing about discrimination and tolerance.

Captain America

Captain America has always been a rather “political” comic book, with the lead character representing Marvel’s liberal, tolerant, diversity-friendly, constitutional patriotic view of America. Captain America is Steve Rogers, of similar phenotype and ancestry as the Fantastic Four’s Storm siblings. Originally a prototypical “98 pound weakling,” Rogers was transformed into the “perfect physical specimen” by the “super soldier serum” invented by a Jewish scientist. This was during WWII, and Captain American represented Marvel’s America against the dreaded Nazis, Hitler among them.

According to the Marvel Universe, Adolf Hitler is intentionally, knowingly evil. In other words, while the real world Hitler, although reviled by polite society as evil, perceived himself as on the side of good, the Marvel Hitler knows he is evil, revels in it, and bases his actions upon what he believes will not only increase his personal power, but also on what will spread evil. Hence, according to Marvel, Hitler and National Socialism, and the battle of these against liberal democracy, were not the result of Hitler’s  perverted sense of good, or even conflicting worldviews of the ideal society, but, rather, Hitler’s active and knowing embrace of evil, his choice to be bad. Hence, Hitler and his followers are the agents of darkness. The Red Skull (Johann Schmidt) surpasses Hitler, as he rises above Adolf’s “banal evil” to embrace “cosmic evil;” here, coming from Marvel, is the ultimate dehumanization of one’s ideological (and ethnic) opponents as incarnations of evil, rather than as fully formed human beings.

The Red Skull character has often been used by Marvel to score racial-political points. Amusingly, however, the Nazi Skull accused the Jewish Magneto of hypocrisy here; Magneto subsequently used his powers to imprison the Skull in an underground dungeon, where he almost died before being rescued by followers. Also, in the mid-1970s Captain America #185, the Red Skull, enraged by a Black male-White female couple, has the two captured and tortured. Well . . . the Skull is the personification of evil, is he not? Only pure evil would object to such a couple, no? At one point, Captain America had as his sidekick a noble and heroic Black man, the Falcon; at another time, Rogers was dating a Jewish woman. Thus, in the epic Captain America #300, during a showdown between Captain America and the Red Skull, the Skull castigates Rogers as to why a “superior man” (Rogers) associates with minorities and other such inferiors. Johann, Johann, don’t you know the Marvel agenda?

One must also add that most “evil conspiratorial organizations” in Marvel, and always prominent in the pages of Captain America, tend to be right-wing and fascistic, from HYDRA to AIM to the Secret Empire to the racist Sons of the Serpent. Yes indeed, the all-American Steve Rogers deals harshly with such un-American haters!


The comic book Thor is also somewhat interesting, being reasonably true to the ancient Norse legends. In contrast to the movie, the comic’s Asgardians are all essentially of Scandinavian physical appearance, although there are some minor differences between the comic portrayals and the original mythological descriptions. Thor’s main enemy is his adopted “brother” Loki. The comic origin of Loki has the Asgardians, led by Odin, warring against the Giants, slaying all the men, including the Giant King. Surviving this bloodbath is the King’s infant son, Loki, born at normal size and thus scorned by the Giants.

Odin adopts Loki and raises him as his own son, alongside his actual biological son, Thor. Blood wins out, though. In contrast to the cheerful, golden-haired Thor, Loki is a slouched, black-haired, sullen malcontent, savagely jealous of his “brother,” and constantly plotting mischief. Loki grows up to be the “god of evil,” sometimes depicted with a vaguely Semitic countenance – a demonstration of the havoc caused by bringing the alien into the fold, and ignoring differences of blood. This was indeed a remarkable and anomalous story coming from Lee-Kirby and one wonders if either man ever realized the various ways such a story could be interpreted.

Iron Man

The Paleo-Atlantid “wealthy playboy industrialist” Tony Stark, apparently of similar ethnic derivation as most of Marvel’s heroes, is the hero known as Iron Man. Originally, a strong Cold War character, Iron Man tended to fight East Asian and Slavic villains, some of whom had communist connections. Later, in the 70s, Stark “reformed” and moved to the “left”;  his company stopped making war supplies and his enemies became less overtly political (although at that time he did fight the revolutionary leftist villain Firebrand, a White man too radical for Marvel’s constitutional patriotic tastes). At one point, Stark became a hopeless drunk and there have been times he has been unable to serve as Iron Man. Never fear! Stark had a noble, tough, powerful, intelligent, charming, and wonderful Black friend who was able to take over the Iron Man role when needed; this individual was once depicted in a sexual relationship with a White woman – perhaps one of the perks of the job?

Marvel on White America

Probably Marvel’s most famous character is Spider-Man, “real name” Peter Parker, apparently of similar ethnic origins and phenotype as Reed Richards. Originally a troubled teen-aged nerd, Peter Parker/Spider-Man was and still is the epitome of Marvel’s attempt to depict their characters as real life “men in the street,” rather than as Superman-like demigods.

Since Spider-Man and many of these other heroes are stationed in New York, one must comment on how Marvel deals with the world’s most cosmopolitan city. Judging from these comics, New York City is overwhelmingly White, Euro-American, with most people apparently being founding stock American. If we look at the surnames of many Spider-Man characters, we see, for example: Parker, May, Stacey, Thompson, Watson, Jameson, Dillon, Osborn, etc. One would never believe New York is actually a city that is predominantly Black, Hispanic, and Jewish, with a sprinkling of Asians and White ethnics. Of course, most of Spider-Man’s villains, as well as street criminals, are White men, and his most persistent foe, Norman Osborn (the Green Goblin) is red-haired.

On the other hand, blind super-hero Daredevil (Matt Murdock) is also red-haired, so perhaps that evens things out? Daredevil is also stationed in New York, and, historically, leading characters in this comic have been surnamed, for example: Murdock, Nelson, Page, Fisk, etc. We see again the general Marvel pattern of obscuring racial realities. It should come as no surprise that most of the villains and criminals that Daredevil encounters are also White men. Who would have ever guessed that New York City is so overrun by White crime?

By the way, and alluded to by Lee himself in one of his books, Stan Lee was a big fan of alliteration in choosing character names: Peter Parker, Susan Storm, Reed Richards, Matt Murdock, Victor von Doom, Bruce Banner, etc. Certainly Lee, with the sure touch of his co-ethnics in Hollywood, knew how to market his brand and make names and images stick in the mind of the reader. In addition, similar to Hollywood, comic book creators understand how to utilize appealing White characters to promote destructive multicultural memes, while making nationalists and preservationists into, literally, the personification of pure evil.

Non-Whites in Marvel’s Universe

Compared to the ever present White criminals and villains, Marvel’s Black characters tend to be noble and heroic, from the Black Panther to “tough guy” Luke Cage, and a whole slew of others. As we can see, Marvel is not shy about promoting Black male-White female coupling/marriage and the consequent production of hybrid offspring. Are we surprised?

The Yellow Claw

On the other hand, Marvel’s East Asian characters had a more troubled history, originally going through the buck-toothed, claw-handed, yellow peril phase, before a more modern interpretation in recent decades. This in a sense parallels Marvel’s take on the Vietnam war and politics in general. In the early-mid 1960s, particularly in Iron Man and Fantastic Four, Lee and Kirby promoted staunch American constitutional patriotism, anti-communism, and support for the Vietnam War. At this time, Oriental racial stereotypes were more common.

Later, younger writers came along with more liberal ideas on war and politics, and East Asian portrayals were adjusted accordingly (although the Mandarin and Yellow Claw continued as buck-toothed villains for a while).

Marvel on White Ethnics

Finally, some words about Marvel’s treatment of “White ethnics.” One amusing case is the mutant Banshee, who is, not surprisingly, Irish. Portrayals of this character back in the 1960s appear to be lifted from anti-Irish nativist cartoons of the mid-19th century – a facial phenotype looking like a hybrid of ape and leprechaun. Later depictions, in more “enlightened” later decades, gave him a more Celtic Brunn, normal human appearance.

With respect to Italians, Marvel’s version of the Mafia is the Italian-staffed “Maggia,”  violent thugs always causing trouble for the heroes. Perhaps the most prominent Italian-American character in Marvel is Frank Castle (Francis Castiglione), of Sicilian ancestry, phenotypically Atlanto-Mediteranean, the vigilante anti-hero known as “The Punisher.” In contrast to the noble Jew Ben Grimm or Negro Black Panther, Castiglione is described thus:

The Punisher is a vigilante who employs murder, kidnapping, extortion, coercion, threats of violence, and torture in his war on crime. . . . The Punisher’s brutal nature and willingness to kill . . .

Brutal and violent.  We see interesting parallels to Hollywood there.

Other “Med” characters include the Daredevil villain “Matador” (Spanish of course) and the Greek-ancestry “Elektra” who is a female assassin (a trend is apparent).  Eastern European/Slavic characters tended to be villains, particularly during the Cold War. These include: the Red Ghost, Titanium Man, Crimson Dynamo, the Abomination, the Gargoyle and his son the Gremlin, Kraven the Hunter, the Black Widow (later a heroine, after defecting), etc. Many of these characters are laughable stereotypes. What to make of “Boris Bullski” (Titanium Man) for example? That’s he’s angry at “moose and squirrel?” No, Slavs have not been treated by Marvel with the respect and sensitivity they’ve given to, say, the Negro.  Or, to Ben Grimm.

Marvel as Multiracial Propaganda

While I will agree that Marvel comics (and comic books in general) have been becoming more multiracial and “politically correct” in recent years (never mind the comics-based  movies, which are often worse), my essay makes clear that I do not believe that Marvel ever was a “bastion of whiteness” in a racial nationalist sense. Sure, most of the characters were, and still are, White, but the most appealing White characters have always been strong supports of aracial constitutional patriotism, with an opposition to the values of “intolerance” (sic) that nationalists would favor.

One can argue that the racially liberal White Marvel of the past set the stage for the more multiracial Marvel of today. If Peter Parker were not such a bleeding heart racial liberal (reflecting the attitudes of his creators), then his “Ultimate” (but not original) version would never have been killed off to make way for a “person of color.” Steve Rogers, Captain America, may represent “Whiteness” physically, but did he ever represent nationalist values? That comic characterized racial nationalists as the very personification of evil, and showed Rogers with a Negro partner and a Jewish lover. “Whiteness”?

Similarities between Marvel Comics and Hollywood with respect to their treatment of ethnicity and race are not surprising, given the similar ethnic origins of both institutions. Films, TV, books, comics, or whatever the medium, the extended phenotypes of particular ethnic groups are always expressed, and it is clear that these extended phenotypes are incompatible with the long-term well-being of European-derived peoples.


  1. Posted August 30, 2011 at 8:14 am | Permalink

    “Grimm’s ethnicity was not revealed at the time of the Fantastic Four’s creation, but instead decades later. ”

    Football hero, fighter pilot, what’s to reveal? He’s obviously Jewish [snark]

    “In his super-powered form he is a massive mutate with orange bricks for skin.”

    I assume this would make him a “real life” Golem. If so, he would be secretly controlled by the rabbis.

  2. Joe Owens
    Posted August 30, 2011 at 1:16 pm | Permalink

    Thank God someone is beginning to talk some sense on the poison passed as entertainment. For far too long now, Nationalists have been taken in by the garbage produced by our enemies. From Clockwork Orange to AC/DC, being just two examples of skewed Nationalist interpretation.

    The Superheroes are an ego ideal that cannot be attained. All ego ideals that cannot be attained are psychologically bad for kids. Also, all the kid is then left with is a Clarke Kent or Peter Parker, whose self-obsessions with rejection, inadequacy, and loneliness shine through. Not exactly what you want your kids to hero worship, is it???

    “Spider-Man has a terrible identity problem, a marked inferiority complex, and a fear of women. He is anti-social, castration-ridden, racked with Oedipal guilt, and accident-prone … [a] functioning neurotic”. Agonizing over his choices, always attempting to do right, he is nonetheless viewed with suspicion by the authorities, who seem unsure as to whether he is a helpful vigilante or a clever criminal”

    The Transformation of Youth Culture in America
    – Bradford W. Wright

  3. Joe Owens
    Posted August 30, 2011 at 3:15 pm | Permalink

    How the Jews stole the comic book industry:

    In 1935 Wheeler-Nicholson brought in two new writers, Jews, Jerry Siegel and Joe Shuster, the future creators of Superman. Now, this is where things seem to go downhill for Wheeler- Nicholson and National Allied Publications. After hiring Siegel and Shuster, newsstands began refusing to stock his magazines. Due to this Wheeler – Nicholson began having problems paying printers and banks. By 1937 Wheeler-Nicholson was in dept to printing-plant owner and magazine distributor, Harry Donenfeld. Due to this financial burden Wheeler-Nicholson was compelled to take (Romanian Jew) on Donenfeld as a partner in order to keep publishing Detective Comics. Detective Comics, Inc. was formed, with Wheeler-Nicholson and Jack (Jacob) S. Liebowitz, Donenfeld’s accountant, listed as owners. However, things went from bad to worse with Wheeler-Nicholson having to sell his publishing business to Harry Donenfeld and Jack Liebowitz in 1937.

    Comic’s historian Gerard Jones describes the events:

    “In early 1938, Harry Donenfeld sends him and his wife on a cruise to Cuba to ‘work up new ideas’. When they came home, the major found the lock to his office door changed. In his absence, Harry had sued him for non-payment and pushed Detective Comics, Inc. into bankruptcy court. There a judge named Abe Mennen, one of Harry’s old Tammany buddies, had been appointed interim president of the firm and arranged a quick sale of its assets to Independent News. Harry gave the major a percentage of More Fun Comics as a shut-up token and wished him well.”

  4. Eumaeus
    Posted August 30, 2011 at 5:53 pm | Permalink

    Hold on Joe what the hell is supposed to be wrong with acdc?

    I mean other than the fact that their songs are mostly about drinking and screwing.

    Pretty similar to a lot of other Oi! music I have heard.

    Maybe you object to bagpipes?

    • Joe Owens
      Posted August 30, 2011 at 11:33 pm | Permalink

      Eumaeus, do I really need to answer that?

      No I don’t object to bagpipes. Bagpipes are part of our White Western Culture. Rock music is not! Rock music (in all its forms) is another form of attack being waged against our people and culture. Rock music has our people fractured and splintered into negative sub – cultures. AC/DC are part of the format of music created by Phil Spector (wall of sound), back in the 1960’s. It’s loud, idiotic and meaningless! They sing about trivial crap that’s destructive to our people!

      Like Ted Sallis rightly says, the “culture wars” come in many disguises…

  5. barbara
    Posted August 30, 2011 at 6:17 pm | Permalink

    Why don’t we do something to create our own entertainment rather than always talking about jews having control? Merlin Miller is trying to start a movie production studio and he has written a script about the israeli attack upon the USS Liberty. He is trying to find funding to produce it which has proven to be impossible.

    Why will White men not invest in a White movie industry rather than just bitch and complain about jews? Invest in Miller’s efforts to make his script into a movie. If you know of investors please tell them about Miller. I don’t understand why there is not more mutual support among our White men since you are always talking about how the tribe sticks together for their own interests. You might try it sometime. It seems like you just want to protect your own little domain rather than supporting others and the entire movement.

    I have written a script but its impossible to get a script read by any studio unless you are an insider or know someone in the movie business. I was told by Mel Gibson’s agent that my script could not be sent to Icon for Gibson since it doesn’t have a director or producer attached and isn’t funded.

    This reluctance of our White people to actually take action is the problem. It seems to me that writing articles such as this is basically preaching to the choir and after a while it is no longer satisfying to simply let off steam and have a place to release our frustrations. I think others feel the way I do and we want ACTION.

    Why not train our young people in using Maya software so an online industry could be created to animate our own stories? Why not create a website for animated features? That would be a moneymaking situation for White people and the profits could be used on several fronts.

    Netflix and tv producers are using the internet to show movies. Making animated features would be relatively cheap compared to real life movies which average a hundred million dollars. Soaps are being put online and everyone believes that the internet will be important for the movie industry and yet Whites are complaining about jews at the same time we sit back and let them take control of internet entertainment.

    Its getting to the point where I don’t much blame the jews, the White men do nothing.

  6. Joe Owens
    Posted August 31, 2011 at 12:30 am | Permalink

    The fact the likes of Spider Man was created (1962) at the height of the “Teenage Rebellion” is very telling. What better way to get their message across to kids via a Superhero fighting society’s injustices and power structure (who viewed spider man with suspicion)! Also, the amount of death the Superhero genre deals with is bad for kids.

    The Superhero genre also began replacing REAL FIGHTING KIDS HEROES like Davey Crocket and Daniel Boone. They deviously replaced REAL HEROES with a fantasy and alter – ego nerd and geek!

    The statement below by children’s author Sterling North is very telling. This may now explain why the Jew created Simpsons and Family Guy has bright colours of orange, yellow, red and blue etc.

    “Badly drawn, badly written, and badly printed – a strain on the young eyes and young nervous systems – the effects of these pulp-paper nightmares is that of a violent stimulant. Their crude blacks and reds spoil a child’s natural sense of colour; their hypodermic injection of sex and murder make the child impatient with better, though quieter, stories. Unless we want a coming generation even more ferocious than the present one, parents and teachers throughout America must band together to break the `comic’ magazine.”

    Sterling North

    Chicago Daily News

    May 8th, 1940

    • JoeShlabotnik
      Posted September 2, 2011 at 3:48 am | Permalink

      Matt Groening, creator of The Simpsons, isn’t jewish.

  7. Posted August 31, 2011 at 12:16 pm | Permalink

    Thanks for your reply Joe but I disagree. Rock is originally a negro idiom but at what point can something taken over by whites be considered part of “our” culture? I would say whites have fully owned rock and roll, for good or for bad.

    There is a point of moderation here, when it comes to tracing all the origins of one cultural form or another. The conversations about Chrsitianity go this way too. At what point of thousand plus years of white ownership and operation do we consider it finally white?

    Anyhow I like AcDc and I dont really care if the frizzy headed Jew helped them along or not. If you are going to start excising contributions of Jews to western music then you are going to have a busy day burning stuff up in the memory hole because in case you havent noticed, in serious music at least, jews are left and right and all around.

    Judaism is a wicked religion and itself a something like a multigenerational crime syndicate along family lines, but, you have to give the hebes their due when it comes to music, or any other thing that is verifiably proven to have been contributed by some jew.

    We arent going to ever be successful in addressing the JP if we sound like philistines or people who are in make believe fairly land. If you make the local jewish dentist to be part of some grand cabal then you undermine the case by overstating it. Likewise music, medicine, or any of those thigns they have taken as tribal specialties.

    Meanwhile, let millions of young white men have their fun listening to ac dc and cut them some slack. Its a long way to the top if you want to rocknroll.

    • Joe Owens
      Posted September 1, 2011 at 2:34 am | Permalink

      Alan Freed (Lithuanian Jew) was the pioneer of rebranding Negro music into Rock music. Then Mike Stoller and Jerry Leiber sold it to a bigger (white) audience. Infact, they were the ones behind Elvis Presley. Phil Spector (apprentice to Stoller and Leiber), then came along and gave it a bigger and louder sound, with his Wall of Sound. This then created a generation gap.

      No one is saying the “local Jewish dentist” is part of any conspiracy.

      Eumaeus, millions of AC/DC fans are not joining the ranks of White Nationalism, are they? Infact, they are too busy with meaningless lyrics and clown like idiots in a school uniform (Angus is it?). Come on, this garbage is insulting to any Real Man! Sorry, but time to GROW UP!

      Like with Superhero (Batman and, Superman etc) films, Rock music is keeping adults in a child like state (not literally). Also, Rock stars are bad ego – ideals for kids to look up to.

      When I attack Rock music I only do it to the converted. I do not go preaching to those who don’t know any better. Sadly, you don’t seem to appreciate how destructive modern music has been on our people. Modern music has created a rebellion against order, morals, decency and common sense. One look at that clown in the kid’s school uniform confirms this. Modern music has our people dancing away to rubbish, while their country is being invaded and taken from them. A new reality (ego) and conscience (superego) has been crated for the pleasure principle (id).

      When Rock n Roll first hit the stage, the older generation knew it was stupid and childlike (see ye later alligator and splash, I was taking a bath, just two examples). It was only through mass promotion of this crap did the young become addicted to it. Those who opposed it were labeled old fashioned and square. Older people had healthy instincts back in the 1950’s. But the enemy dumbed down the lyrics and increased the beat. The young at that time never stood a chance.

      In Theodore Adorno’s The Authoritarian Personality he makes it quite clear what it is that makes people fascist. It was a strong Superego from an Authoritarian father. Do you really believe it was just a coincidence his book was written in 1950, just several years before Rock n Roll, The Wild One, Blackboard jungle and Rebel without a Cause??? ? All these mediums attacked the FATHER, didn’t they???

      Rock n Roll of today is still bridging the gap between young and old. Eumaeus, this cannot be good for our people, can it?

  8. Fourmyle of Ceres
    Posted September 1, 2011 at 7:14 pm | Permalink

    barbara and Joe Owens make excellent comments that can be tied together.

    barbara in blockquote:

    This reluctance of our White people to actually take action is the problem. It seems to me that writing articles such as this is basically preaching to the choir and after a while it is no longer satisfying to simply let off steam and have a place to release our frustrations. I think others feel the way I do and we want ACTION.

    “ACTION” is an very ADULT response. Unlike many, you have actually proposed one means to take action. (Another is to contribute to Counter-Currents financially! Very effective!) I would like to address one of your proposed outlets, and place them in context with Joe Owens’ comments.

    Why not train our young people in using Maya software so an online industry could be created to animate our own stories? Why not create a website for animated features? That would be a moneymaking situation for White people and the profits could be used on several fronts.

    What stops them is, well, nothing. They can download sketching software for free, and do solid drawings that they could storyboard up with plots. That they choose not to do so seems to prove they have been so demoralized as to be ineffective to the point of impotence. Alternatively, they have chosen the dreams of Others. rather than developing their dreams. What can compete with WoW, or HALO, for action and adventure? The mental bandwidth these PROGRAMS occupy, and the share of Mind these PROGRAMS control, work to drain off the potential Creative class, on the one hand, and the potential Warrior caste, on the other. Everything is, well, not so Archie, after all.

    To quote George Carlin, “There’s a reason for this.”

    Joe Owens in blockquote (1):

    This then created a generation gap… A new reality (ego) and conscience (superego) has been crated for the pleasure principle (id)… It was only through mass promotion of this crap did the young become addicted to it… “The young at that time never stood a chance.

    Note that this was the time of mass media; radio was a mature MASS medium, and needed content that turned the suggestible into consumers. This was before televison became an effective mass medium – that began with widespread color television in 1964 – and radio was cheap, and pretty much ubiquitous.

    1961 saw the birth of the Fantastic Four, and 1962 gave us Spider-Man – new psyches for a manufactured mass consciousness. Adolescents became a true mass market, and Marvel legitimized perpetual adolescence. Boys, clever, bright, alienated, smarter-than-the-Others boys, used science to become supermen, as seen by the adolescent male. Adolescence became a mass market, and The Owners had a tool they were looking for to control the Children in (almost) Adult bodies, something that legitimized them, and validated the way they felt, the way they believed. They became Peter Pan with slide rules and computers, when they were nice, and Peter Pan with magical powers, when they were… themselves, as they wanted to be.

    The sole focus of The Owners is control. Adolescents are easy to manipulate. Keeping Americans as eternal adolescents – the Eternal Children, as described by Jung – was pretty easy. How to have the powers of an Adult? Well, being bitten by a radioactive spider was one, a super soldier serum was another. No work of any kind was necessary. In fact, it was entirely, magic disguised as science, harnessed to materialism. How very good for the people in Marketing!

    Remember, the first priority of The Owners is to destroy the Warrior Caste. This is founded on a culture where boys want to become men, want to accept Adult Masculine roles, but need the company of Men to do so. The only REAL Men in the Marvel Universe were magic men. No spiritual development necessary, no psychological growth required, exposure to radiation or a bite from a radioactive spider was enough.

    Joe Owens in blockquote (2):

    In Theodore Adorno’s The Authoritarian Personality he makes it quite clear what it is that makes people fascist. It was a strong Superego from an Authoritarian father. Do you really believe it was just a coincidence his book was written in 1950, just several years before Rock n Roll, The Wild One, Blackboard jungle and Rebel without a Cause??? ? All these mediums attacked the FATHER, didn’t they???

    Again, destroy the Male, destroy the Warrior, destroy the Warrior Caste, destroy the Mssculine foundation of Civilization. By incessantly critiquing Fatherhood as “the Patriarchy,” the goal of The Destroyers was fulfilled.

    Adorno’s “The Authoritarian Personality” is a footnote to the foundational work, “Dialectic of Enlightenment.” Their Goal is the destruction of Civilization, with the destruction of the nation-state (except for Israel) as part of the Plan. Destruction of all of the invisible support systems transforming Culture into Civilization, all under the guise of attacking “Fascism” and “The Patriarchy,” is well under way. Hell, it seems to be all but a fait accompli, so effective has been their process of demoralization.

    Yet, there is Hope. The remoralization of Western Civilization is possible, and even probable. All we need is a Restatement of Christianity, with New Gods. A Northwest Republic is the temporal bridge for the vehicles needed for the Race to transcend the Enemy.

    More to follow.

    What’s In YOUR Future? Focus Northwest!

  9. Posted September 2, 2011 at 10:53 am | Permalink

    I see this comment thread has been hijacked [kidding] into a discussion of rock music and its suitability for White Culture.

    Over on my own blog, I’ve frequently discusses various aspects of this rather tricky matter.

    Those on the Left who admire Rock will accuse Whitey of once more stealing from the Noble Negro. To them, it needs to be pointed out that this is no different than the general phenom of the White man stepping in a making something out of a raw material the negro has sat on for centuries — viz, gold, jewels, oil, etc.

    Moreover, as will all “African American Culture,” it is only made possible by existing White Culture; parasitic, if you will. Real ‘African’ music is nothing but relentless drumming [which has now been brought to the subway platforms in NYC, thanks to ‘diversity’] and as for dancing, ever seen Africans dancing? Jumping up and down in lines. Hmmm, actually not unlike punks.

    But all “black music” is really White music: da blooz, Scottish-Irish folk tunes taught to slaves by their overseers [who had no interest in ‘world music’ but bought slaves to perform OUR music for us] played on Italian guitars. Led Zep is the greatest rock band because Jimmy Page understood the nexus of blooz and Celtic folk and mixed both forms [and had no PC qualms about “stealing” from the likes of Willie Dixon etc.] That they became the biggest act of all time on Atlantic Records, a “soul” label founded by a Turk, is sweet justice.

    Jazz, or to give it its original name, ‘jizz’ music is played on European instruments like saxophones, originally to accompany Christian funerals. And gospel music, well, self-evidently non-African, Palestine via Rome.

    Moreover, the Hegelian culmination of rock, Metal, is implicitly White, as they say over at Occidental Online, which is why, at the height of its popularity, it was banned from MTV and treated from then on as beneath contempt, while [c]rap music became the ‘hip’ music of the day. Its underground continuance, including bootleg cassettes in the early days, is an excellent model for the survival strategies White culture needs to cultivate. [Bestselling artist of all time? Metallica, though don’t expect the MSM to ever mention it].

    On the other hand, no less than legendary Death Metalist Varg Vikernes has said that all guitar-based music is negroid and must be expunged. The music he produces now from prison is more in lines with dark ambient or even New Age [minus the cheeriness, of course]. He makes the useful distinction between negroid music with useful lyrics and symbols from the White struggle point of view [eg, implicitly White metal] and negroid music without such — viz, top 10 pop and crap.

    I’ve speculated that what we need to do is grasp the stereotype of “White music has no rhythm” and “New Age music has no beat” and do the math: the real music for Whites is beatless New Age ‘space music’ minus the White guilt of course and with an emphasis on the Faustian ‘space exploration’ angle.

  10. Posted September 2, 2011 at 11:03 am | Permalink

    As for what Wagner called “The Jew in Music.”

    I thought it was already settled that the only Jews to make any contribution were Mendlesohn and Mahler, and I can certainly live without either. Otherwise, they’d monopolized the performance end of things [as well as, of course, the financial, promoting, manufacturing, etc.]

    But the Early Music movement has pretty much put an end to all the Judaic hysteria and “showmanship” falsely called ‘virtuosity’ that made the “Romantic” period so dreary in retrospect. How could anyone, any White person at least, have listened to all that whining and squealing, all that ‘soulful’ portamento, etc.? And of course, the Romantic notion of the conductor as “interpreter” had nothing to do with the Aryan Hero, whose submission to Fate and aversion to “theatrics” would have dictated fidelity to the composer’s intent, but rather everything to do with the revenge of the Judaic ‘performer’ on Aryan music. Search Bernstein and Mahler on my blog to see a wonderful picture of Lenny in the 60s, in full leisure-suited orgasmic frenzy.

    Can’t eliminate Jews from Western Music? Well, if you do what I’ve done, and eliminate anything from Bach onward, you can go pretty far, although it would be interesting to research the Judaic identities of Early Music performers.

  11. Lew
    Posted September 3, 2011 at 5:55 pm | Permalink

    Studying Jewish influence on culture is akin to wringing a dirty mop. No matter how many times you wring it, you will always squeeze out just a little more dirt and grime.

  12. Posted September 28, 2011 at 5:08 pm | Permalink

    Seth MacFarlane, creator of Family Guy, isnt jewish. Though judging by the content one does wonder.

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