Why Must We, The Natives, Beg Our Oppressors?: On “Homeland”, Mental Colonization And Jewish Hollywood

by Jonathan Azaziah (Mouqawamah Music EXCLUSIVE)

Begging one’s oppressor to stop engaging in oppression is the logical equivalent of demanding a mosquito to kindly cease with the sucking of your blood. Regardless of your line of questioning, be it soft or ferocious, both creatures are going to proceed with what it is they do, for it is their nature. And yet, we Natives, i.e. the Brown, Black and Yellow peoples of the world along with our Irish and Russian brothers and sisters in Eurasia, cannot seem to stop going out on a limb and requesting of Zionists and Imperialists to just be nicer and treat us, well, like human beings. This is a symptom of mental colonization and cultural imperialism; it stems from an inferiority complex that has been installed in all of us, in one way or another, by the hegemonic forces of colonialism which deceptively seek to convince us they can somehow be reformed and made kinder as long as we don’t resist their savagery and don’t express our anger over being invaded, colonized, mass murdered, raped, usurped and pillaged.

Out of all the various forms of colonialism, each and every one of them perfidious and unconscionable, the most dangerous, hands down, is Morphing Zionism. Originally identified by Palestinian luminary Nahida Izzat and expounded upon by this author several years ago in an essay entitled “The Tribal Nexus: Zionists And ‘Anti-Zionists’ Unite To Ensure The Survival Of ‘Israel’ (1)”, Morphing Zionism is an amalgamation of “spiritual” Zionist godfather – and raging supremacist – Ahad Ha’am’s Cultural Zionism and the “liberal” Zionists’ Post-Zionism, and its function is to impose Jewish culture on the Palestinian people as well as the other peoples of the region, and to not only legitimize but also internationalize the Jewish squatter presence in Palestine in the name of “peace” or “one state” while making believe that the Nakba and all other “Israeli” crimes against humanity are simply inconsequential. There is another function of Morphing Zionism however, one that is just as treacherous as the aforementioned and which has never been discussed previously. Nevertheless, it requires dedicated attention and vigorous analysis.

While attempting to grind the liberationist character of the Palestinian cause into the sawdust of a lackadaisical “human rights” issue or the boringness and incompleteness of a “social justice” issue, Morphing Zionism also seeks to instill in the minds of the oppressed peoples of the world, be they Arab, African, Iranian, Afghan, Pakistani, Kashmiri, Indian, Latino, Pnaci/Indigenous (in America, Canada or Australia), etc., that the Jew is just as oppressed as they are.

Morphing Zionism wants the Black, Brown and Yellow peoples of the globe, all of whom have faced Jewish-Zionist terror at some point in their histories, including in an ongoing capacity right now, to look at the Jew as a friend and ally of their struggles, instead of the lying, conniving, capitalistic, imperialistic, tribalistic, anti-Brown, anti-Black, anti-Yellow, anti-Christian, anti-Muslim supremacist wretch that he is. Morphing Zionism has been successful in the endeavor as this phenomenon has already taken root in myriad ways, most prominently in the way that the Native refuses to see corrosive Jewish preeminence in banking, media, entertainment and Western policymaking as a conspiratorial, destructive and pernicious force, despite that all of this is to his grave detriment.

This sensitive subject is grandiosely exemplified by the – past and recent – Arab-Muslim reactions to the hit TV series “Homeland”. In an October 15th op-ed for the Jewish-Zionist-Sulzberger-family-owned New York Times (2), Pakistani author Bina Shah expressed her dismay at the “Homeland” depiction of Pakistan. The mental colonization in the piece runs deep. At one point in the article, Shah apologetically remarks, “We look to see if we come across to you [in the West] as monsters, and then to see what our new, monstrous face looks like. Again and again, we see a refracted, distorted image of our homeland staring back at us. We know we have monsters among us, but this isn’t what we look like to ourselves,” as if the “monsters” in Pakistani society, the Tehrik-I-Taliban in particular, aren’t the creation of the US-“Israeli” Empire and its junior Hindutvadi partner in New Delhi, brought to life through a Zion-designed covert program called the “Dragon Policy (3)”. It’s a disgracefully blatant nod to the oppressors – an acknowledgment of their xenophobia masquerading as faux wisdom – that yes, yes, absolutely, “monsters” exist in *our* societies but not in theirs.

Elsewhere she writes, “And we in Pakistan long to be seen with a vision that at least approaches the truth,” in an unequivocal invocation that the Native needs validation from her oppressor and her colonizer to feel human, to feel normal, to feel *part* of the wider family of nations. Who is this “we” she is speaking for? What Pakistanis feel this need, this longing for recognition from the imperialist madmen who drone and subvert their country? The Pakistanis that this author knows, from his two Mouqawamah Music comrades and colleagues Khanverse and Assad al-Liftawi to numerous other friends in the Diaspora, as well as other brothers and colleagues from Karachi, Islamabad, Rawalpindi, Lahore, Quetta and Mirpur in Azad Kashmir, feel no such desire. In actuality, what they “long” for is to stop being droned, stop being terrorized by World Zionism’s proxies and to stop being ruled by CIA-Saudi-backed puppets. How they’re depicted on “Homeland” isn’t exactly a concern of note.

In her conclusion, Shah laughably and rather embarrassingly provides a verse from the Holy Qur’an, about the different nations made by the Creator coming together and knowing one another, to seemingly back up her point that Hollywood should be bridging the gap between East and West, North and South, not dividing it, “All of us, in the outside world as well as in Pakistan, need art — film and television, story and song — that closes that gap between representation and reality, instead of prying the two further apart.” What she fails to realize however is that Hollywood has always been in the business of propagandizing for the powers that be and dividing nations and peoples who may be a threat to those powers. Hollywood’s destructive purpose is indeed primordial.

From the opposite end of the critique spectrum, we have Palestinian thinker Joseph Massad offering a blistering assault on “Homeland”, tearing it to pieces bit by bit and exposing all of its Zionist, Imperialist, Ashkenazi-centric, white supremacist and sexist tropes (4). Unlike Bina Shah, Massad also notably and correctly pointed out that “Homeland” is an “Israeli” product – the creator Gideon Raff is a former IOF paratrooper, and thus, a war criminal — hence why Zionist propaganda is featured so prominently throughout the program.

However, in lockstep *with* Shah, Massad, like Edward Said before him in his broken critique of American imperialism (5), fails to point out the massive, screeching, stomping Jewish elephant in the room. Massad’s conclusion is a confirmation of this failure, as he writes, “That American shows are now equal-opportunity offenders in their racism against internal and external others is hardly news, but that the first black American president is a fan of them should be.” No it certainly should not. At all. Obama is not some sort of beacon of radical Black consciousness. Obama is not Malcolm X’s second coming or the modern-day Kwame Ture. He is a half-Anglo tool of Chicago’s Jewish political mafia who nurtured his career from jump street and lovingly referred to him as America’s “first Jewish president (6)”, why wouldn’t his favorite show be an “Israeli”-created, Judeocentric, Zionist-Imperialist hasbara festival like “Homeland”?

Again, Hollywood’s destructive purpose is primordial, and its anti-Arab, anti-Muslim stances are by design as Hollywood is a Jewish institution through and through and has been so since the beginning. And this is not up for debate. Anyone who would foolishly disagree merely needs to read Neil Gabler’s  unparalleled work “An Empire of Their Own: How the Jews Invented Hollywood (7)”, a book that even actor Gary Oldman invoked in his pathetic apology to the ADL and American Jewry at large after he stated, accurately, that Jews run Hollywood (8). Additionally, the relationship between the usurping Zionist entity and Jewish Hollywood is that of a perfect union, with “Israelis” having premier sway over decisions made throughout Tinseltown. Hollywood has also been an integral cog in the World Zionism war machine’s plans against Sudan and Syria, and in the past, has served as a front for illegal Zionist nuclear activities and gun running (9).

With these facts noted, it’s obvious that “Homeland”, despite being the trashiest, most Islamophobic and racist show on television, isn’t the root of the problem. Nor are its fanatical Zionist creators and producers. Jewish Hollywood itself is. Demolish Jewish Hollywood and all of its bigoted shows, movies and other appendages of hate and hasbara will come tumbling down into nothingness like a house of cards.

So while there undoubtedly is a dichotomy between fawning House Muslim quislings like Bina Shah and articulate anti-imperialist voices like Joseph Massad, there is a convergence between the two when it comes simply to the mentioning of Jewish power, let alone the fight against it. Both, and both is not only a reference to these two individuals alone but both categories of the Arab-Muslim Diaspora who fall in line with their thinking, have a blind spot on the matter and it is most dangerous as there is no thing in the world more important to discuss, understand, analyze, combat and defeat.

What we, the Natives, must scream at the top of our lungs, is that until the Jew – be he Ashkenazi or Mizrahi – abandons the supremacism embedded in his culture and religion, cuts off his attachment to the marauding Jewish gangster “state” and denounces the domineering, conspiratorial behavior of his coreligionists in numerous criminal sectors across this earth from Wall Street to the underground world of the Russian-Jewish mafia, he, like his Anglo-American and European colonialist counterparts, is no friend of ours, and we will resist him until his reign of tyranny is brought to its knees. As martyred anti-apartheid visionary Steve Biko famously said, “The most potent weapon of the oppressor is the mind of the oppressed.” We must decolonize our minds first, purging all traces of Morphing Zionism, and once this has been accomplished in fullness, decolonizing our homelands – pun intended – should be a walk in the park.

~ The End ~


(1) The Tribal Nexus: Zionists And “Anti-Zionists” Unite To Ensure The Survival Of “Israel” by Jonathan Azaziah, Mask of Zion

(2) A ‘Homeland’ We Pakistanis Don’t Recognize by Bina Shah, The New York Times

(3) The Salala Massacre: NATO’s Naked Aggression Against Pakistan And The Hegemonic Israeli-Indo-American Strategy Behind It by Jonathan Azaziah and Assad al-Liftawi, Mouqawamah Music

(4) ‘Homeland,’ Obama’s Show by Joseph Massad, Al-Jazeera English

(5) Anti-Zionist Wit Vs. “Chosen” Gutterisms: Dieudonné and Imperialist Subservience To Jewish Supremacy by Jonathan Azaziah, Mask of Zion

(6) Obama and the Jews by Pauline Dubkin Yearwood, The Chicago Jewish News

(7) An Empire of Their Own: How the Jews Invented Hollywood by Neil Gabler, Anchor Books

(8) Oldman says Hollywood is ‘run by Jews,’ then offers over-the-top apology by Philip Weiss, Mondoweiss

(9) Natalie Portman Shills For The Zionist War Machine And Spews Lies On Syria: Jewish Hollywood’s Power In Action by Jonathan Azaziah, Mask of Zion

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