"SWINDLER'S LUST": PUBLIC ENEMY ANTI-SEMITIC? DON'T BELIEVE THE HYPE By Victor Wolzek ONCE AGAIN, THE ADL is whining. This time about a song on rap group Public Enemy's latest album, There's a Poison Goin' On, called "Swindler's Lust," an obvious play on the title of Spielberg's propaganda piece, "Schindler's List." The song blasts the music-industry for what Public Enemy front man Chuck D sees as 50 years of unfair compensation for Black artists. And to the rhythm of this funky fresh beat, the PR sand-dance begins, to the secret tune of dollar signs. Here's how it plays out. First, the CD with the "controversial" song gets released - note how it is not stopped at any point in the long process of recording, post-production, marketing and distribution. Then, after it's for sale, a Jewish henchman like the ADL's Abe Foxman suddenly hears about it and takes his turn at the mic, shucking and jiving about how the song "contains anti-Semitic overtones" and "those overtones…take a backdoor approach to blaming Jews for the plight of poor Blacks." Wick-wick-whaaack. It's Chuck D's turn on the mic again, and this time he "demands an apology." The duet continues as the inches of free press grow. Articles on the "controversy" appear in all the music magazines, on all the music networks, and in all the dailies that cater to Jewish and Black racial supremacist groups like the ADL and Nation of Islam. Is it a scam? Everybody in the house say, "Yeahhhhh Boyyyeeeeee!" Public Enemy has been notorious for its "anti-Semitism" since its start. Militant Nation of Islam-style politics is the band's signature. In the now infamous May 22, 1989, interview with the Washington Times, Public Enemy's "Minister of Information" Professor Griff plainly stated that "Jews are wicked." He went on to say -- again, to the Washington Times! -- that Jews are responsible for the "majority of the wickedness that goes on across the globe." This was a month after a TV interview in which Griff said, "I think that's why they call it 'jewelry,' because the Jews in South Africa, they run that thing." Did this ruin Public Enemy? Did Public Enemy's career suffer the same fate as, say, David Irving's or Fred Leuchter's? Were they banished from mainstream media and relegated to the nether regions of underground "hate" music? Hardly. A year later, Public Enemy used the Griff controversy to torque up "Welcome to the Terrordome," a single off their 1990 album Fear of a Black Planet. In it Chuck D raps: "Crucifiction ain't no fiction/ So called Chosen frozen/ Apology made to whoever pleases/ Still they got me like Jesus"). Despite being condemned as anti-Semitic, the song was immensely successful. Unlike real victims of true Jewish wrath, for Public Enemy the "bad" press converted into great sales. The dirty little secret hidden beneath all the hype is that Public Enemy has always been neck-deep in Jews. So much so, in fact, that it would not be too strong of an exaggeration to say they -- like most successful rap acts -- are a "Jewish creation." Jew Rick Rubin (arguably the number-one creative force behind rap) signed Public Enemy to Def Jam Records. Rubin also executive produced their first two albums, Yo! Bum Rush The Show and It Takes A Nation Of Millions To Hold Us Back. A Jew at Rush Artist Management, the humorously named Lyor Cohen, organized their tours. Jew Bill Adler at Rush Management did much of their early "spin-doctoring." And, believe it or not, the supposedly "hardcore" pro-Black front man Chuck D and producer Hank Shocklee were partners in Rhythm Method Productions with two Jews, Ed Chalpin and Ron Skuller. The current hoopla about Public Enemy's anti-Semitism is what it has always been: controlled "controversy," fake rebellion, harmlessly feigned opposition to Jewish power in which, as expected, Jews benefit most. As the story gets press the CDs sell, filling lots of Jewish pockets. And at the same time Jewish crime syndicates like the ADL use the scare of growing anti-Semitism to fill their coffers and fund their murder of the White race. At the end of the day all involved parties -- the music industry Jews, ADL Jews, and their fake-opposition Black tool -- pat each other on the back, cash their checks, and go home smiling. Their swindler's lust fulfilled. ¨