Black People : Harlem Fraud by Tony Brown (the t.v. journalist)


Mar 8, 2006
A Passage From



From the moment that the Rev. Martin Luther King was shot on the
Memphis hotel balcony, conspiracy theories arose. But in the history
of Black and White relationships in this country, there are many
other incidents in which insidious forces have endeavored to thwart
self-sufficiency and economic development in the Black Community.

In most history books, the Harlem Renaissance of the 1920s is
heralded as a triumphant period in which Black culture was finally
and fully recognized.
Let me offer you a different perspective: It was
an artistic and political fraud.
The Harlem Renaissance was a smoke
screen in which Black art and artist were used by elitist Blacks and
their White manipulators to divert the Black masses from their
growing efforts to become self-reliant.

This theory that the Harlem Renaissance was a counterfeit cultural
movement was developed by a Black historian David Levering Lewis. He
described it as a "forced phenomenon organized by the Black and White
leaders of the Black protest movement..."38 Lewis has noted that at
the time many Black advocates of self-sufficiency such as Marcus
Garvey saw through a "renaissance" that was largely staged and
manipulated by outside forces interested in distracting Blacks from
far more important matters.
Garvey wrote that White liberals in the
NAACP were "disarming, dis-serving, dis-ambitioning and fooling the
Negro to death."

Garvey and others recognized that the Harlem Renaissance was mostly
subsidized by Jewish liberals, whether mis-guided or
purposeful. "Nothing could have seemed to most educated Afro-
Americans more impractical as a means of improving racial standing in
the 1920s than writing poetry and novels or painting,"40 Lewis has

Even the elitist assimilationist W.E.B. Du Bois, who hated Garvey and
worked to discredit him, came to realize just how corrupt and vulgar
Black elitism and its Renaissance charade had become. Lewis recounts
Du Bois's exasperated recantation: "Although is own magazine had
helped promote the {Harlem Renaissance} movement, Du Bois came to
disapprove of a racial program offering poetry in the place of
politics and Broadway Musicals in the place of jobs."

Many of its participants later considered the Harlem Renaissance more
a rich White man's trendy adventure into Black bohemia.
Harlem writer
Claude McKay lamented that "the Harlem Renaissance movement of the
artistic' 20's was really inspired and kept alive by the interest and
presence of white bohemians. It faded out when they became tired of
the new plaything."

The Harlem Renaissance was designed as a fatal distraction for Blacks
to be diverted from the fact that the very sponsors of the Harlem
Renaissance had just destroyed the head of the largest Black mass
movement in history, Marcus Garvey
, and the most viable vehicle that
Blacks had, no matter how immature, for Black economic development.

However, the aristocrats' fatuity cut them off from their own
reality. The Harlem Renaissance demonstrated the extremes the
Talented Tenth (ten thousand of ten million Blacks in 1920) went to
in using rank-and-file Blacks as a footstool for the advancement of
certain colored people.
They felt entitled to this privilege because
they descended from either free Blacks or Whites or both. They
developed separate institutions such as the American Negro Academy,
headed at one time by Du Bois for intellectuals and exclusive social
clubs like the Mu-So-Lit in Washington, D.C., the Agora in Nashville,
and the Crescent in Cincinnati.

Out of this elitism grew the conceptual bias for noneconomic
socialism: the belief that the vast majority of the Black population
was not biologically (because they were dark-skinned) or
environmentally (because they lived in squalor) capable of competing
economically and educationally with White people.

Du Bois and his Talented Tenth minions were guided by this philosophy
as the assumed command of the Black community. Naturally, as
noneconomic socialism dictates, they advocated dependence on White
people and the government.
This antieconomic policy of "the better
class Negroes" worked successfully for the well-educated Talented
Tenth, which had four or five generations of freedom and often a
college education at the turn of the twentieth century. Failure, of
course, became an inevitability for the common people; it devastated
and underdeveloped the largely down-and-out Black masses who had been
freed from slavery for only one generation or less.
In effect, this
treachery of elitism and non-economic socialism re-enslaved Black
people. And it does to this very day.
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