Chasing Windmills by Maya Butalid is a deeply moving memoir about identity, migration, and transformation.
From her early activism in the Philippines to her life as a migrant in the Netherlands, Maya reflects on belonging, purpose, and the search for home. A must read for anyone who’s ever started over.
Visit now: https://www.mayabutalid.com/
#ChasingWindmills #Memoir #MigrationStories #CulturalIdentity #NonFiction
Artist / Art Educator in Residence in Kooperation mit exploring visual cultures (EVC)
In Kooperation mit dem kunstpädagogischen Netzwerkprojekt exploring visual cultures (EVC) fand im September das erste Artist / Art Educator in Residence Programm an der Pädagogischen Hochschule Weingarten statt. Eine Woche lang arbeiteten Studierende der Pädagogischen Hochschule Weingarten mit der südafrikanischen Künstlerin Mellaney Roberts im Rahmen des Artist and Art Educator in Residence-Programms zum Thema „Call and Response - Art Beyond Borders“.
Im Mittelpunkt stand die künstlerische Auseinandersetzung mit Erinnerung, Sprache und kultureller Identität - umgesetzt im Medium Ton.
Die Teilnehmenden erarbeiteten in intensiver Atelierarbeit keramische Werke, die persönliche Erinnerungen und Geschichten sichtbar machen. Dabei diente ein selbst gewähltes Wort oder Satzfragment als Ausgangspunkt für eine individuelle gestalterische Antwort - eine künstlerische „Response“.
Den Abschluss bildete eine Ausstellung im Audienzsaal, die zahlreiche Besucher :innen anzog. Präsentiert wurden authentische, emotionale Werke, die Vielfalt sichtbar machten.
Mellaney Roberts an die Studierenden: “Your clay works are not just objects; they are bridges - between past and present, between self and community, and between all of us here.”
Was alle Beiträge verband, war der gemeinsame Gedanke, dass Kunst Beziehungen stiften und Grenzen überwinden kann – zwischen Kulturen, Generationen und Erfahrungen.
#PHWeingarten #ArtistInResidence #ArtBeyondBorders #Kunstpädagogik #ArtEducation #CulturalIdentity #Tonkunst #Kunstverbindet #Weingarten
New Boundaries = Adding some rhythm to your day! - #Music #Popular #Pop #Rock #Music #Song #BobbyPulido #TejanoMusic #PoliticalActivism #TexasRedistricting #DemocraticCampaign #Gerrymandering #LatinaRepresentation #Change #CulturalIdentity #Resilience #MusicAndPolitics #FightingForBeliefs #DistrictBoundaries #PoliticalJourney #SouthTexas #MidtermElections - https://www.youtube.com/watch?v=R8Ka0-eMTz0
CONFERENCE CALL FOR PAPERS
› Extended Deadline for Abstract Submission: 12 October 2025
THE ARCHIVAL TURN IN MUSIC SOCIOLOGY
5-6 February 2026
mdw - University of Music and Performing Arts Vienna
Keynote speakers:
› Kate Eichhorn (The New School, USA)
› Uchenna Ngwe (Trinity Laban Conservatoire of Music and Dance & Royal Academy of Music, UK)
Organisers:
Tianyu Jiang, Rainer Prokop, Rosa Reitsamer, Lis Vovka
More info: 👉 https://www.mdw.ac.at/ims/events/the-archival-turn-in-music-sociology
#musicsociology #culturalsociology #sociology #popularmusicstudies #culturalstudies #genderstudies #socialsciences #humanities #music #archives #archivalturn #socialinequalities #inequality #class #race #ethnicity #gender #feminist #queer #antiracist #migrant #postmigrant #histories #culturalmemory #culturalheritage #culturalidentity #identity #mdw #Vienna
My new article is out! 🎶
Afghan Folk Music: Reflecting the Historical and Social Identity of a Nation
In this piece, I explore how Afghan folk songs are not only artistic expressions but also mirrors of the nation’s historical memory and social identity. Music, in its purest form, carries the stories, struggles, and cultural values of the Afghan people across generations.
🔗 Read the full article here: https://ethnomusicafg.blogspot.com/2025/09/afghan-folk-music-reflecting-historical.html
Māori man refused entry to Gold Coast venue due to cultural tattoo
By Julia André
Caleb Pokai says he was banned from entering the Burleigh Pavilion while out dinner with friends due to his tā moko.
#CulturalIdentity #Discrimination #BodyArt #IndigenousOtherPeoples #JuliaAndr
💙 Zulu baby names are more than just words; they’re stories of love, heritage and identity.
Rooted in centuries of tradition, each name reflects values, emotions, and the hopes families hold for their children.
📖 Discover our guide to the most meaningful traditional, royal and modern Zulu baby names here: https://zurl.co/pBsGw
#BabyYumYum #BYY #ZuluNames #BabyNames #AfricanHeritage #CulturalIdentity #ParentingSupport #NamingTraditions #BYYParenting
American Woman Kaura Taylor and her ‘Lost African Tribe’ in Scotland Flee to a Different Place: ‘We Move, We Smile’ https://shinemycrown.com/american-woman-kaura-taylor-and-the-lost-african-tribe-in-scotland-flee-to-a-different-place-we-move-we-smile/?utm_source=dlvr.it&utm_medium=mastodon #AfricanTribe #KauraTaylor #LostTribe #Scotland #CulturalIdentity
#PeterSantenello is on #hawaii where the last local indigenous family lives amongst only 70 remaining islanders, isolated from our capitalist imperialist circus of war.
#GifsArtidote: we should learn from these indigenous cultures, & follow their way of life.
it's shameful that i don't even know #dutch pagan cultural & spiritual history.
as i'm trying to recover from #burnout this man's wisdom confirms i have some research to do #CulturalIdentity
“My wife made me more Indian.” Suketu Patel’s emotional journey of rediscovering his culture through love is winning hearts across the internet. A beautiful reminder that the right partner helps you become more you https://english.mathrubhumi.com/news/nri/my-american-wife-made-me-more-indian-mans-viral-post-on-cultural-reconnection-wins-hearts-online-prypa05p?utm_source=dlvr.it&utm_medium=mastodon #IndianAmerican #CulturalIdentity #InterracialMarriage
'Weaponisation' of Australian flag denounced in wake of divisive rallies
By Meg Whitfield
A history expert says this Australian National Flag Day there should be pause for concern in the wake of the anti-immigration rallies at the weekend.
https://www.abc.net.au/news/2025-09-03/australian-flag-as-a-symbol-after-march-rallies/105720848
#NationalIdentity #RaceRelations #CulturalIdentity #Immigration #CommunityandSociety #Multiculturalism #Refugees #History #Discrimination #MegWhitfield
From Snowtown to Leongatha, how tragedy can redefine a town
By Daniel Miles
In the aftermath of two police officers' deaths, the tiny Victorian town of Porepunkah finds itself grappling with an unwelcome transformation: from peaceful mountain gateway to the epicentre of a manhunt that has gripped the nation.
#RegionalCommunities #Shootings #CulturalIdentity #DanielMiles
Nhà văn hoá dân tộc Bàu Chinh ở TPHCM là nơi sinh hoạt cộng đồng, gìn giữ văn hoá, lễ hội và phong tục truyền thống của đồng bào Chơ Ro. 🏘️
#ChơRo #VănHóaViệtNam #TPHCM #BảnSắcDânTộc #ChoRo #VietnameseCulture #HoChiMinhCity #CulturalIdentity
On Tejano Music 8: J.D. Mata, Music Pioneer and Performer
Author(s): Scott Douglas Jacobsen
Publication (Outlet/Website): The Good Men Project
Publication Date (yyyy/mm/dd): 2025/
A seasoned Musician (Vocals, Guitar and Piano), Filmmaker, and Actor, J.D. Mata has composed 100 songs and performed 100 shows and venues throughout. He has been a regular at the legendary “Whisky a Go Go,” where he has wooed audiences with his original shamanistic musical performances. He has written and directed nerous feature films, web series, and music videos. J.D. has also appeared in various national T.V. commercials and shows. Memorable appearances are TRUE BLOOD (HBO) as Tio Luca, THE UPS Store National television commercial, and the lead in the Lil Wayne music video, HOW TO LOVE, with over 129 million views. As a MOHAWK MEDICINE MAN, J.D. also led the spiritual-based film KATERI, which won the prestigious “Capex Dei” award at the Vatican in Rome. J.D. co-starred, performed and wrote the music for the original world premiere play, AN ENEMY of the PUEBLO — by one of today’s preeminent Chicana writers, Josefina Lopez! This is J.D.’s third Fringe; last year, he wrote, directed and starred in the Fringe Encore Performance award-winning “A Night at the Chicano Rock Opera.” He is in season 2 of his NEW YouTube series, ROCK god! J.D. is a native of McAllen, Texas and resides in North Hollywood, California. Tejano music shaped Mata’s artistic identity, influencing his career in music, acting, and filmmaking. As a founding figure, he dedicated himself to the genre, writing original music and pioneering the synthesizer sound that defined Tejano. He emphasizes its authenticity, contrasting it with inauthentic artists. Mata highlights Tejano’s broad reach, from weddings to festivals, and the emotional depth in its lyrics. He reflects on Tejano’s role in his journey, from early performances to navigating Hollywood, using intuition honed in the music industry. Despite challenges, he sees Tejano as an enduring legacy that inspires artists and audiences alike.
Scott Douglas Jacobsen: So, it’s been a while. I want to discuss incorporating various elements to form a perspective on contemporary Tejano music. We discussed some of the major figures and families in Tejano music and the German and Mexican influences.
We also talked about being in Texas, making your way to California, and the difficulties there. People may know that you have a dual career in acting and music. Additionally, we discussed your long history of choir conducting.
How do these various elements—acting, choir conducting, directing, and producing with Lance and Rick in their long-standing Republican-Democrat debates—come together to influence Tejano? You have diverse skills in many areas, but your main focus has not always been Tejano music. Instead, your career has evolved, with Tejano music emerging as a central element.
J.D. Mata: Tejano music was like a birth in terms of my career. Learning to play the piano and guitar could be considered the “sperm,” while my first stage production in sixth grade could be the “egg.” I auditioned for the lead role in Funky Christmas, a musical Christmas program at Seguin Elementary in McAllen, and got the part. That was the moment where, metaphorically speaking, the sperm met the egg—where my journey as an entertainer truly began. But the “baby” was born when I started playing Tejano music professionally.
That experience informed everything. It was when I had to apply my musical skills—skills my dad taught me on the guitar, my piano abilities from the band, and my natural singing talent. I also had to incorporate my stage presence and acting experience because, as the frontman of a band, you are not just a musician—you are a performer.
It’s a production. There has to be charisma, animation, and energy. You must engage the audience, keep them excited, and make the performance come alive. Stagecraft is an essential part of that.
Beyond that, Tejano music is also a business. As the founder and leader of my Tejano band, I had to learn the business aspects—determining fair rates and managing finances. For example, what goes into setting the rate if we are hired to play a wedding? We must consider factors such as how much to pay the musicians, travel expenses, equipment costs, and venue requirements.
Obviously, any company CEO earns more than the employees because they assume more risk and have more at stake.
For me, it was about ownership and responsibility. I owned all the equipment—I had to buy it myself. I was the founder of the band and the writer of all the music. I assumed all the risk. It was my name on the business and on the music itself. It was my van that transported all the equipment. I was the one setting up everything before each show.
So, there’s that aspect of it. How much do the musicians get? What percentage do I get as the founder, lead singer, and band leader? Then, you also have to factor in gas expenses—how far are we travelling? That needs to be accounted for as well. How many hours are we playing? Many people think, “Oh, you’re only playing for two hours,” or, “We’re just hiring you for a one-hour performance.”
But they don’t consider the time it takes to drive to the venue, unload and set up the equipment, do the sound check, perform, break everything down, and then load everything back up. That’s where the rate comes from. These are principles I learned from my experience in Tejano music. Being an entertainer shaped everything I do now—as a filmmaker, actor, musician, and even as my publicist. I had to promote the band. I was often my own manager.
And through those experiences, I developed a strong intuition for spotting people who are not genuine—what I call “bullshit artists.” Whether it’s within the band or in the business side of the industry, there’s always one person who disrupts the harmony. It could be envy, entitlement, or just being disgruntled, but there’s always one person who ruins the synchronicity of the group. I’ve learned to recognize those patterns quickly.
All of this—my time as a Tejano artist, band leader, entrepreneur, and performer—has shaped me. It has guided my ability to navigate Los Angeles as an actor, filmmaker, choir director, and even dancer.
Most recently, I played at an Oscar afterparty in Beverly Hills. This guy came up to me and said, “Hey man, I love your look. Are you signed with anyone?” Because of my experience, I’ve developed an intuition for who is legit and who isn’t—something I honed in my Tejano days and continue to sharpen. This guy seemed legit. Sure enough, today, I met with him. He’s a film director, and he cast me in his movie.
Of course, it took effort. I had to drive all the way to Beverly Hills from North Hollywood. Before that, I had just played in Simi Valley. But that’s part of the hustle, and it’s all informed by my journey in Tejano music.
I played at an assisted living facility. I’m the ‘rock god of assisted living homes.’ Then, I drove to Beverly Hills and met with the director. I spent about three to four hours on the road, and I used a lot of gas, but I knew it would be worth it.
I could tell this guy was legit, and it played out that way. It’s interesting to analyze my Tejano experience and dissect how it has influenced everything I do. I’m still the same entertainer I was back in my Tejano roots. But now, I also recognize that there is a business aspect to what we do as artists.
As I told you earlier, when I started, Tejano music didn’t exist in the way we know it today. My first band was one of the pioneers of Tejano music. The name “Tejano” first became associated with our type of band, which featured a keyboard, synthesizer, and bass guitar. These instruments replaced the traditional horn section and accordion, which had previously defined the sound.
Different phases of my career incorporated various elements. At times, we included horns and trumpets. Still, for the most part, we were a genuine, bona fide Tejano band because we embraced the synthesizer sound as a key element of our music.
Jacobsen: Who were your influences as a pianist?
Mata: We didn’t have influences—we were the influencers. I was one of the first to form a Tejano band in 1981, and the genre itself didn’t gain recognition until around 1983 or 1985. When I was a senior in high school, the term “Tejano” still wasn’t widely used to define our style of music.
People ask what kind of music we played. The truth is we wrote our own material. We performed all original songs and adapted traditional standards—accordion-driven conjunto music, mariachi songs, and other regional influences—into Tejano music.
For example, if a melody was originally played on a trumpet or accordion, we translated it into a synthesizer line, which became a defining characteristic of Tejano music. Just as the accordion is synonymous with conjunto, and the trumpet is essential in orchestral or mariachi genres, the synthesizer became the signature sound of Tejano.
Because I developed that creative muscle early—starting in junior high, high school, and college—when I came to Los Angeles and couldn’t immediately find work as an actor, I instinctively created my own opportunities. It felt natural. I started making my own films just like we had created a genre from scratch.
I had already been a writer—first for music—so transitioning into filmmaking was a natural extension of what I had done since my early years.
That’s what I’ve been doing my whole life. I didn’t discover The Beatles until I was in college. I became a huge Beatles fan, but it wasn’t until college because I was playing Tejano music, man. I was doing my own thing. I was my own Beatles. I was Billy Joel.
I was rock, rock and roll, rhythm and blues, and Tejano music. That genre has had a huge impact on me and shaped who I am. I am one of the most interesting Mexican American entertainers and artists in the world.
Jacobsen: Your efforts in co-developing Tejano in its early days weren’t just about blending Mexican and German influences. They were about contributing to American music culture.
Mata: 100%. That’s interesting you say that, Scott. In the 1980s, when Tejano music was emerging, there was no Internet. There were small digital rumblings—bulletin board systems, early forms of online communication—but nothing like social media.
I remember my friend, Juan Mejia, who is now a dean at a university, telling me, “Man, you can talk to people around the world or in the U.S.” I was like, “What?” This was in 1985. But there was no widespread Internet, no way to instantly share music beyond local radio stations and word of mouth.
And where we lived in South Texas—Texas is huge. I grew up five miles from the Mexican border, way down south. The nearest big city was San Antonio or Austin, a five-hour drive. Corpus Christi was closer, but there was a lot of nothing between South Texas and the rest of Texas, let alone the rest of the U.S. And then you had Mexico.
So, we were our own country. We weren’t fully Mexican, but we weren’t fully American either. We were true Mexican Americanos—American Mexican Americans. And that was beautiful because it allowed us to create our own identity.
As you said, that identity has become authentic—a recognized and beautiful strand of American culture. I’d say I’m a part of that because I’m now sharing my movies and my music with a broader American audience.
And, of course, Selena.
She was the queen of Tejano music. The beauty that she brought from Mexican-American Tejano culture—the music, the melodies, the lyrics, the emotions—are intangibles that, when you listen to her, create feelings of euphoria. She is now woven into American culture. She was a real artist—a key figure, a peak voice in the development of Tejano.
Jacobsen: One other mission—you’ve talked about being able to identify not just the real ones but also the real ones by proxy. That is, identifying the bullshit artists. So, the nonreal ones—in more polite terms. When you sense bullshittery in artists, even in full Tejano presentation—people who think they have the right stuff but aren’t truly playing Tejano—what do you look for? What are your indicators?
Mata: That’s a good question. First of all, the instrumentation. I’m a purist. I’m a textualist.
I’m one of the founding fathers, baby, so you can’t bullshit me. If you’re going to play Tejano in its pure form, I don’t want to see a band consisting of just an accordion, bass, and guitar. That’s not a Tejano band. That’s panto music.
You cannot call yourself a Tejano artist if you have a big horn section without keyboards or synthesizers. I’m sorry—that’s not Tejano music. Authentic Tejano music must have a keyboard playing synthesizer lines in a jazzy, syncopated, harmonic way. That’s bona fide Tejano music. If you don’t have that, you’re not playing Tejano.
Now, I’m painting with broad strokes here, but I’ll say this: if you’re not from Texas, you’re not playing Tejano music. That being said, if you are from Texas and you’re Caucasian but play authentic Tejano music, then you are a Tejano artist.
Jacobsen: So, that’s your standard—Tejano music, exactly. It’s a big discussion—kind of like in the rap community, where people debate who should be accepted as a great artist or not. I’m not deeply involved in that world, so I can’t comment much. But I do know that hip-hop’s originators were DJ Kool Herc, Grandmaster Flash and the Furious Five, Afrika Bambaataa and the Soulsonic Force, and the Sugarhill Gang. So, in a way, you’re talking about yourself in those terms—vis-à-vis Tejano music.
Mata: Right.
Tejano music has experienced highs and lows. It has gone through a rough period over the last fifteen to twenty years.
And going back to spotting bullshittery—this is the real deal I’m giving you. These are thoughts and analyses I’ve never seen written anywhere. But I’m telling you now because it’s authentic.
One of the things about a true Tejano artist is that they will play anywhere. A real Tejano artist will play weddings, quinceañeras, church festivals, concerts—you name it. You’ll even see a Tejano artist performing at the freaking market.
Catholic War Veteran halls.
We play everywhere.
That’s what’s fascinating about Tejano artists—we can adapt. Meanwhile, a punk rocker or a thrash artist? They’re limited in where they can play. Tejano music is freaking homogeneous, man.
Tejano music can be played anywhere because of its danceable vibe. It’s not like rap, where some of the lyrics can be explicit. I don’t want to say raunchy, but they can be more aggressive.
Tejano music is different. It’s about emotions—wanting your girl back, but she doesn’t want to take you back. That’s authentic Tejano music.
It’s pure. It’s pure in its form. That’s why Selena brought it back to the forefront. One of the key ingredients of a genuineTejano artist is the lyrics.
Tejano’s lyrics carry a sense of wholesomeness. It’s not necessarily as poetic or verbose as a Bob Dylan song, but in terms of the message—it’s heartfelt and authentic. If you’re out here rapping about f**ing someone and claiming to be a Tejano artist, then you aren’t one.
Jacobsen: It’s like the difference between Slick Rick telling a story, Coolio’s Gangsta’s Paradise, or DMX narrating his experiences—versus modern rappers who pretend to be gangsters. They don’t live necessarily what they’re talking about. A lot of them are putting on an act.
I dated a Bolivian-Japanese person who had a deep appreciation for Karol G. She described Karol G’s music in a way that sounded similar to how you’re describing Tejano’s music. It wasn’t just quite romantic or sentimental—it carried a deep longing without being forlorn. It’s about evoking emotions without necessarily saying them directly.
Mata: Exactly—100%.
Jacobsen: That’s the poetic nature of it.
Mata: There’s an ethos to it, right? Ethos is tied to Tejano culture itself. It’s deeply Roman Catholic. That background informs the music, the values, and the way emotions are expressed. And Tejano music has impacted me to this day. I’m 59 years old now, and I started when I was 13. It’s been with me my entire life.
Jacobsen: How would you describe what Tejano means to you and what you mean to Tejano?
Mata: Tejano is part of my identity.
In terms of what’s important to me, my higher power—whom I call God—comes first. Then, my family. Then, my career.
And the birth of that career was Tejano music.
To me, Tejano is part of my existence.
Tejano music is part of everything I do. If it weren’t for Tejano music—if it wasn’t in my metaphorical genetic makeup as an artist—I wouldn’t be here in Los Angeles. That’s why I speak so affectionately about it and why I try to be as authentic as I can in this series. Tejano music isn’t just something I do—it’s in me. It’s in my blood. It’s part of me like an extra limb, an extra eye—an artistic eye that I was born with, that I grew into, that I helped shape. I was one of its founders, and that means something. It means love. It means passion. It even means hate—not hate in the literal sense, but in the sense that Tejano music has brought me pain. It has brought me anguish. Maybe that’s another discussion for another time, but Tejano has been the source of everything—joy, pain, struggle, success.
To answer the second part of your question—what Tejano means to me and what I mean to Tejano—I would say this: Tejano gave me everything, and I gave everything to Tejano. I was one of the founding fathers. Of course, there were many founding fathers, but I was there at the beginning. My music was on the radio. We played countless concerts, festivals, church events, and weddings. We played everywhere. And who knows who was in those audiences? Maybe some kid saw us and got inspired. Maybe my music influenced a young musician watching in the crowd. Maybe my piano band—my music—sparked something in someone. I don’t know. But I do know that I gave everything I had to it. Every dollar I made went back into the band. Every ounce of creativity I had was poured into my music.
I was so dedicated to Tejano music that I didn’t even listen to The Beatles until college. I was too busy creating Tejano music. I wasn’t just influenced by something—I was creating something. And what did I give back to it? Well, it’s not just me—we, the early pioneers of Tejano, gave everything. And the proof is in the fact that Tejano music still exists. It’s still here. It’s still thriving. The genre didn’t fade away—it grew. And I’m not saying this to be arrogant or grandiose. It’s just the truth. We were the founders. We played all over South Texas, from the Rio Grande Valley to San Antonio. I don’t know exactly who we impacted, but I know we did. Maybe one person. Maybe a hundred. Maybe a thousand. Maybe even performers who went on to have their own careers. Maybe fans who became lifelong lovers of the music.
And then, of course, there’s the other side of it—the struggles, the setbacks. We were so close to making it big. But, as I mentioned earlier, sometimes all it takes is one person to ruin the chemistry of a band. And that happened to us. One dimwit ruined what could have been something even bigger. That’s just how it goes sometimes. But the truth is, we were the seed that sprouted Tejano into something more. And we didn’t just grow—we pollinated. We spread our sound. We influenced future Tejano artists. We reached people who fell in love with the genre.
Jacobsen: Pollination.
Mata: Right. That’s a good way to put it. That’s a good way to end this. That’s enough for me. How about you?
Jacobsen: I agree.
Mata: I’ll see you then. Take care.
Jacobsen: See you then. Take care.
Last updated May 3, 2025. These terms govern all In Sight Publishing content—past, present, and future—and supersede any prior notices. In Sight Publishing by Scott Douglas Jacobsen is licensed under a Creative Commons BY‑NC‑ND 4.0; © In Sight Publishing by Scott Douglas Jacobsen 2012–Present. All trademarks, performances, databases & branding are owned by their rights holders; no use without permission. Unauthorized copying, modification, framing or public communication is prohibited. External links are not endorsed. Cookies & tracking require consent, and data processing complies with PIPEDA & GDPR; no data from children < 13 (COPPA). Content meets WCAG 2.1 AA under the Accessible Canada Act & is preserved in open archival formats with backups. Excerpts & links require full credit & hyperlink; limited quoting under fair-dealing & fair-use. All content is informational; no liability for errors or omissions: Feedback welcome, and verified errors corrected promptly. For permissions or DMCA notices, email: scott.jacobsen2025@gmail.com. Site use is governed by BC laws; content is “as‑is,” liability limited, users indemnify us; moral, performers’ & database sui generis rights reserved.
#culturalIdentity #musicalAuthenticity #performanceLegacy #synthesizerSound #TejanoMusic
Man frustrated after being denied entry to hotel for Māori facial tattoo https://www.abc.net.au/news/2025-08-21/man-denied-entry-for-maori-facial-tattoo/105646590 #CulturalIdentity #Discrimination #Travel #Tourism
Man frustrated after being denied entry to hotel for Māori facial tattoo
By Justin Huntsdale and Nick McLaren
A former professional rugby league player says being denied entry to a licensed venue because of his traditional Māori facial tattoos left him hurt and angry.
Tyla’s 3.7K First-Week Album Sales Spark Debate: Did Her 'Colored' Identity Affect Sales? https://www.youtube.com/watch?v=qpQRRxKqEBI&utm_source=dlvr.it&utm_medium=mastodon #Tyla #AlbumSales #MusicIndustry #CulturalIdentity #Debate
Irina Tsukerman, End of Conversational Antisemitism Glossary
Author(s): Scott Douglas Jacobsen
Publication (Outlet/Website): The Good Men Project
Publication Date (yyyy/mm/dd): 2025/04/19
Irina Tsukerman, a New York-based human rights and national security attorney, examines obscure and evolving forms of antisemitism, including conspiracy theories like the New World Order, QAnon, and Zionist Occupied Government (ZOG). She explores how these narratives falsely depict Jews as global manipulators and blame them for political shifts, social unrest, and economic crises. She highlights how historical antisemitic tropes—such as Judeo-Bolshevism, accusations of dual loyalty, and exaggerated physical caricatures—have persisted and adapted across different cultural and political contexts. She also examines modern antisemitic rhetoric, including the Deadly Exchange conspiracy, which falsely blames Jews for oppressive policing tactics, and Holocaust distortion, which ranges from minimization to outright denial. The discussion touches on the resurgence of slurs like “kike” and the misrepresentation of kosher certification as a Zionist scheme. Lastly, she analyzes the genocidal implications of slogans like “From the river to the sea” and the targeting of Jews in pandemic-related conspiracies.
Scott Douglas Jacobsen: Hey! Oh my gosh, it’s Irina Tsukerman! Once again, we’re talking to a smart and insightful lady. Today, we’ll be covering more obscure forms of antisemitism that we haven’t yet discussed, and this should probably wrap up our conversation on the topic. We’ve gone from a comprehensive overview of antisemitism to bizarre forms of it, and now we’re moving into what I’d call “leftover antisemitism.” Of course, this isn’t the last word on the subject, because antisemitism tends to evolve—it’s fluid.
Once again, as you explained yesterday or the day before, we are dealing with the idea of a cabal. This concept has been falsely linked to Kabbalah, which led to its distorted interpretation. So, what is this supposed secret group that is allegedly trying to establish an all-powerful global regime? The New World Order: I’ve even heard it referred to as the Jew World Order. However, the reasoning behind that seems to lack real depth—these conspiracy theorists appear to have no taste.
Irina Tsukerman: And because their imagination is limited, they fail to recognize that, if they were trying to be accurate, they would be looking at actual major state actors that are actively shaping global structures—multipolarity, Eurasianism, and other geopolitical shifts. But I suppose conspiracy thinking only takes you so far. The New World Order is an idea that keeps getting recycled, and sometimes, it even makes its way into mainstream contexts.
For example, when President George H.W. Bush used the term “New World Order,” he wasn’t promoting an antisemitic conspiracy. He signalled a shift in policy structure—a new direction for U.S. foreign policy as the Cold War ended. The Soviet Union was collapsing, and there was an opportunity to capitalize on presumed liberalization and unipolarity, with the U.S. emerging as the world’s sole superpower.
However, conspiracy theorists—who are fixated on Jewish influence—seize on every major shift or potential change as proof that Jews are orchestrating events to consolidate their power. No matter what happens, they always reach the same conclusion: Jews must be behind it. Whether the issue at hand is globalism or anti-globalism, globalization or de-globalization, the conspiracy always morphs to fit the narrative, even when it’s completely contradictory.
The term New World Order itself is rarely clearly defined. In any world order, there will always be an elite with more power, wealth, and access than the average person. Whether it’s a monarchy, oligarchy, democracy, technocracy, or republic, there will always be those with privilege and influence. Some people strive for power, some resent those in power, and others accept the system for what it is.
The idea that the world was once “perfect” and that sinister forces—in this case, Jews—are now trying to change it into something radically different and dystopian is, quite frankly, simplistic, bizarre, and cartoonish.
Jacobsen: You briefly mentioned QAnon in a previous interview but haven’t discussed it in depth. While QAnon is no longer uniquely American, it originated within American conspiracy culture and political discourse—or at least, that’s how I understand it.
Tsukerman: I would argue that it is important because the first mention of QAnon in common popular lore, as far as I know, came from two South African bloggers. Yes, which would make sense, given that South Africa is generally filled with all sorts of conspiracies, including homegrown ones—such as the false belief that raping a virgin can cure AIDS. I’m not even joking. It’s a common misconception, which is one reason for the high prevalence of sex crimes in South Africa.
Jacobsen: That’s horrifying.
Tsukerman: It is. It is. South Africa has a high crime rate, and of course, what happens is the opposite—AIDS is transmitted through sexual contact, so all this myth does is create more AIDS patients. So that’s one homegrown conspiracy, which essentially comes from a lack of basic education about AIDS.
But QAnon is not one of those witchcraft-type conspiracies. It is probably tied to Russian influence within South Africa. More likely, it was fed to these bloggers through Russian intelligence services, similar to Operation INFEKTION—a Soviet disinformation campaign that originated in obscure publications in Germany and India before being increasingly normalized, “news-laundered,” and mainstreamed until it reached specific demographics in the United States, such as the African American community and various left-wing groups.
At the time, Operation INFEKTION pushed the false claim that the U.S. deliberately invented and spread AIDS to eliminate African and Black populations and that it only affected Black people. This QAnon trajectory appears to follow a similar disinformation pattern—it started as a foreign import, emerging in an obscure online source before spreading like wildfire until it reached the top echelons of U.S. politics.
For example, former National Security Adviser Michael Flynn became one of its main proponents, as did Jack Posobiec—a former intelligence officer who later founded the conservative media company ONN in the U.S. He was also one of the main figures behind Pizzagate, which focused on baseless pedophile sex trafficking allegations involving Washington and Hollywood elites.
Jacobsen: Some younger audiences might have assumed that Pizzagate involved the Teenage Mutant Ninja Turtles fighting the Shredder—but no, it’s much worse.
Tsukerman: Yes, it’s literally wild—oh my gosh. This conspiracy theory somehow linked Washington and Hollywood sex offenders to Hillary Clinton and other prominent Democrats, accusing them of running a child sex trafficking ring.
According to these claims, this ring operated out of a Washington, D.C., pizzeria called Comet Ping Pong, and conspiracy theorists alleged that a terrorist attack would expose these criminals. This specific version of Pizzagate began on dark web troll networks, including 4chan and the “HNs,” platforms notorious for criminal activity, disinformation, and Russian conspiracy tools.
They claimed that Clinton’s associates were paid in both money and children by foreign donors to the Clinton Foundation. Now, while it is true that the Clinton Foundation—like many NGOs and think tanks in Washington—had a “pay-to-play” element, there is zero evidence linking it to sex trafficking.
However, what is true is that Clinton, Donald Trump, and many other prominent individuals—both Democrats and Republicans—had connections to Jeffrey Epstein, who was involved in trafficking young and sometimes underage women and using blackmail against prominent individuals from all political backgrounds.
So ironically, we’re seeing that QAnon conspirators are mirroring the Russian method of projection and diversion—essentially accusing others of exactly what they are doing. The people participating in blackmail schemes and MeToo-type activities are the same people who also spread conspiracy theories—but only against their political opponents.
Jacobsen: We have one last topic in this category: Zionist Occupied Government (ZOG)—the assertion that Jews secretly control Western governments.
It’s not just the claim that Jewish organizations or Israel influences democracies through lobbying. It’s not merely arguing that Western governments are democracies with Jewish involvement. It’s asserting that Western governments themselves are mere covers for secret Jewish control.
Why?
Tsukerman: This idea is widely spread in the Middle East and undoubtedly builds on Soviet-era conspiracy theories.
The Soviet Union deliberately worked to merge anti-Zionism and antisemitism, fusing antisemitic narratives with Middle Eastern paranoia about U.S. foreign policy, xenophobia, pan-Arabism, and nationalism—especially in Ba’athist-dominated states like Syria and Iraq.
This was an intentional Soviet foreign policy strategy. The goal was to foster governmental and non-governmental opposition to Western nations, primarily the U.S. and the U.K. It was a deliberate geopolitical tactic designed to build social resistance against Western foreign policy—using paranoid, antisemitic conspiracy theories to polarize populations and weaken diplomatic cooperation between Western governments and Middle Eastern societies.
Jacobsen: Let’s discuss Judeo-Bolshevism—the claim that Jews were behind communist revolutions and other left-wing, authoritarian, or subversive movements.
Tsukerman: This belief originated from early communist movements, such as the Mensheviks. Still, it was also heavily promoted by the Nazis. While communists blamed Jews for capitalism, the Nazis weaponized antisemitism to accuse Jews of being traitors, communists, and agents of international socialism.
Let’s not forget that the Nazi Party was socialist—but with a nationalist twist. Unlike international socialism, which sought to export revolutions globally, National Socialism (Nazism) was ethnocentric, chauvinistic, and focused on territorial expansion and annexation.
Slightly different variations—same expansionist, hegemonic, authoritarian, and antisemitic ideology. Both communists and Nazis accused each other of being controlled by Jews, and both used Jews as scapegoats for their perceived political enemies.
Historically, many Jews did join the Communist Party in Germany and the Soviet Union, often due to their opposition to historical oppression and the belief that communism could create an equal society where they would no longer face discrimination.
So, essentially, it was a deliberate political strategy—to separate Western governments from any chance of successfully engaging Arab and broader Muslim-majority Middle Eastern populations.
And, frankly, the same antisemitic narratives were exported to other parts of the world, including Latin America. This concept still survives in different forms today and is still fueled by the same sources.
Now, you have Islamist movements and groups feeding into this and helping fan the flames. These conspiracy theories persist despite greater openness, dialogue, and increased U.S. influence and presence in the Middle East. They haven’t been completely—nor partially—eliminated on the ground.
Of course, the worst governments in Iraq and Syria have been removed. Still, the conspiracy theories continue—often outlasting specific regimes. These ideas persist in the public consciousness, media, and intelligence agencies, maintaining institutional continuity even as political leadership changes.
Jacobsen: Now, what about the phrase “Jew Down”—the stereotype that Jewish people are miserly or cheap?
Tsukerman: It’s absurd. This kind of racial slur should have faded away along with many other offensive phrases that were common in past centuries. And yet, it still survives.
I’ve seen online celebrities use it, and for some reason, it doesn’t trigger the same backlash or “cancellation” response that similar racial slurs would if they were directed at African Americans or other minorities.
The stereotype of Jewish greed and economic control is tied to historical misconceptions about money lending and usury. In medieval Europe, Christians were forbidden—by religious law—from charging interest on loans. However, Jewish law did not impose this restriction when lending to non-Jews. As a result, Jews could offer loans with interest, which allowed them to earn money that way.
At the same time, Jews were barred from participating in many so-called “legitimate” professions—such as law and government—unless they converted to Christianity. In response, many Jews focused on banking and finance because those were the few areas where they could work.
This perception of Jewish thriftiness was also linked to the extravagance of Christian monarchs. Many European rulers were expected to display wealth, to splurge on entertainment, and to spend vast sums on warfare.
Jews, however, had practical reasons for being financially cautious:
Because of these factors, Jews were less likely to spend lavishly and instead focused on preserving wealth. This clashed with European cultural norms, leading to the stereotype of Jewish stinginess.
Jacobsen: Now, what about Jewish Lightning and the Kosher Tax?
The fundamental premise behind Jewish Lightning and the Kosher Tax conspiracy theory is essentially the same—it’s rooted in the belief that Jews operate through deception and hidden schemes.
These conspiracy theories are just as absurd as claims about subterranean tunnels, secret moon bases, and hidden Antarctic fortresses.
They all rely on the same kind of paranoid thinking—that Jews supposedly say one thing publicly while secretly manipulating events for their benefit.
Tsukerman: Jewish Lightning is the false claim that Jewish business owners commit arson on their properties to collect insurance money—a baseless and antisemitic trope.
The Kosher Tax conspiracy alleges that consumers are forced to pay extra for kosher certification on food products—a myth commonly spread by white supremacists and right-wing extremists.
Both of these conspiracies reflect the same underlying stereotype: the idea that Jews cannot be trusted, that they operate through dishonest financial practices and that they secretly control economic systems.
Another example of antisemitic projection, then.
Look, to some extent, there is a monopoly on kosher food certification in the U.S., which does make it significantly more expensive than non-kosher food. However, most people who consume kosher food are Jewish, except for the occasional non-Jewish patron dining at a kosher restaurant. Non-Jewish consumers generally do not purchase kosher food, which is more expensive. The higher cost of kosher certification is due to religious oversight requirements, which involve certifying bodies and inspectors, making the process more labour-intensive.
Naturally, as with any product that requires specialized certification, the cost gets passed on to the consumer. But there is no conspiracy—it is simply a standard business practice when high demand, limited supply, and additional production costs are involved. Most people are not affected because they do not buy kosher food. So, it’s unclear what the conspiracy theory even alleges since this market is entirely voluntary and affects only those who actively seek out kosher-certified products.
However, the second part of this conspiracy theory claims that the extra cost of kosher products is not just compensation for the certification process but that these additional costs are secretly funnelled into Jewish organizations, Zionist causes, or the Israeli government. Of course, there is no evidence to support this claim. While some Jewish organizations that offer kosher certifications support Jewish causes in the U.S. or Israel, they do not redirect kosher certification fees specifically for political or nationalist purposes. There is no secret exchange taking place. These organizations exist in the same communal space. They may, separately, engage in charitable or advocacy efforts related to Jewish interests. The idea that kosher certification fees are some covert Zionist taxes is a classic antisemitic trope designed to fuel distrust toward Jewish businesses and institutions.
Now, moving on to cultural and social stereotypes, let’s talk about the claim that Jews are clannish—that they only associate with their kind. In most cases, this is a patently absurd notion, especially in modern cosmopolitan societies where exclusivity is impractical. The irony is that this stereotype originates from the very same Christian societies that historically segregated Jews. In medieval Europe, Jews were forced into ghettos. They were legally barred from socializing with non-Jews unless they converted to Christianity. They were also restricted from many professions, often relegated to roles such as moneylenders and physicians—professions that required limited interaction with the broader Christian population. So, to the extent that Jewish communities were insular, it was not by choice—it was the direct result of discriminatory policies imposed by Christian rulers.
There was generally more social integration in Muslim-majority societies, but significant restrictions still existed. Intermarriage, for instance, was culturally and religiously discouraged in both Jewish and Muslim communities, but this was not unique to Jews—it was simply a common cultural norm across many societies at the time. However, when it came to friendships and social associations, Jews were not precluded from interacting with non-Jews. The one major limitation was food consumption—strictly religious Jews required kosher food, which was not always readily available. As a result, Jewish families often socialized within their communities simply because it was logistically easier to maintain religious dietary practices. But this was not due to hatred or a desire to exclude others—it was a practical necessity. The idea that Jews deliberately isolate themselves from non-Jews is simply a distorted reading of history.
Jacobsen: What about the idea that Jews lack real patriotic commitment?
Tsukerman: That stereotype is closely tied to the concept of “rootless cosmopolitanism,” which was aggressively propagated by the Soviet Union. It is also connected to the dual loyalty accusation, which became more pronounced after establishing the State of Israel. The claim suggests that Jews, because of their distinct ethnic and religious identity, cannot fully be loyal citizens of the countries they live in. Historically, this accusation was used as a political weapon—whether by European nationalists, Soviet communists, or modern-day antisemites—to frame Jews as outsiders, regardless of their actual level of civic participation. This idea implies that Jews are inherently disloyal to their home nations, particularly in times of war or political crisis.
But this argument falls apart under scrutiny. Jews have served in their respective nations’ militaries, governments, and leadership roles for centuries. They have fought in wars, contributed to national economies, and played significant roles in science, arts, and politics. The accusation of dual loyalty is simply a convenient way to single out Jews for suspicion. At the same time, other ethnic or religious groups with transnational ties (such as Catholics with the Vatican or Muslims with Mecca) are not subjected to the same scrutiny.
Ultimately, these antisemitic tropes persist because they offer simplistic, scapegoating explanations for complex historical and social dynamics. Whether it’s economic stereotypes, social exclusion myths, or accusations of political disloyalty, these narratives serve to isolate and vilify Jewish communities rather than engage with the real history and realities of Jewish life in different societies.
It’s blatantly false to claim that Jews lack patriotism or have no national loyalty. Jews have served in governments and militaries of their respective countries for centuries, including in the Ottoman Empire, the United Kingdom, various European nations, and the United States—whenever they were not prohibited from doing so. When given the opportunity, they participated equally alongside everyone else and often displayed strong patriotic leanings. Of course, Jews also faced discrimination, and when the chance arose to relocate to Israel, many chose to leave—but at times, they were actively forced out. The idea that Jews lack rooted national loyalty is not just a falsehood—it is an outright libel, historically used to justify exclusion, discrimination, and expulsion.
Online antisemitic discussion forums and message boards have developed a coded language filled with tropes and insider terminology meant to obscure their bigotry from outsiders. Much of this language exists to ensure that, when outsiders peek in, they struggle to understand what’s being discussed. It creates an exclusive, insular environment, reinforcing their ideological bubble. It is almost as if they are speaking their secret language, similar to a specialized jargon one might hear at CERN. Still, in this case, it serves a malicious purpose.
Jacobsen: This isn’t the only example of coded language online. What about the triple parentheses, the echo symbol, e.g., “(((echo))),” or the use of words enclosed in triple parentheses?
Tsukerman: Much of this originates from the dark web and fringe online communities before being mainstreamed into social media discourse. The purpose of coded language is twofold. First, it allows users to bypass content moderation, evade anti-discrimination filters, and avoid being flagged by social media algorithms. Some platforms have automated systems designed to detect and remove antisemitic hate speech, so these users develop workarounds—using slang, memes, and coded symbols to keep their conversations hidden from automated detection and casual observers.
However, the second reason is more ideological. These coded signals are meant to reinforce the idea that shadowy forces are suppressing antisemitic discourse. This plays into the victimhood narrative—that those who spread antisemitic conspiracy theories are the “truth-tellers” who are being marginalized and persecuted. The same false grievance fuels the “War on Christmas” myth—the notion that people are forbidden from saying “Merry Christmas,” even though no such ban exists.
The same logic applies here—antisemitic groups claim that they are “not allowed” to talk about Jews, even though antisemitism has existed in public discourse for centuries. While it may not be encouraged or celebrated, it has never been fully silenced or erased. However, these groups falsely equate the lack of mainstream promotion of antisemitism with censorship, deplatforming, and political persecution.
This is why coded language is so effective—it fuels conspiracy thinking, strengthens group identity, and fosters a sense of persecution. It creates an illusion of an underground resistance movement, where members see themselves as truth-seekers fighting against an oppressive system. In reality, they are simply reinforcing their delusions and manufacturing a sense of victimhood to justify their bigotry.
Jacobsen: We discussed this before, but it’s striking how deliberate this strategy is.
Tsukerman: It’s not just about hiding antisemitism—it’s about making it feel subversive and rebellious so that followers believe they are engaged in some grand struggle rather than simply peddling age-old hatred.
Jacobsen: There is the stuff around the exaggerated big nose, smirking expression, and the rubbing of hands—the smirking merchant trope. Where does that stereotype reach its highest pitch? More generally, have exaggerated physical features been a consistent feature of antisemitic media for a long time?
Tsukerman: Absolutely. A lot of these visual tropes originate from Nazi propaganda. Still, they also predate that era, going back to medieval Christian portrayals of Jews in anti-Jewish conspiracy theories and artwork. Historically, Jews—including Ashkenazi Jews—had distinct Middle Eastern features, making them visibly different from traditionally white European populations. This natural ethnic difference was exaggerated grotesquely to emphasize otherness and foster polarization. The goal was to alienate Jews from the broader society by making them appear physically distinct and repulsive.
Later, right-wing white supremacist movements and the Nazis took this further. They deliberately depicted Jews as vermin-like creatures, portraying them as ugly, unhealthy, physically weak, and inferior to the so-called “Aryan race.” This dehumanization strategy became a core part of Nazi propaganda, reinforcing the belief that Jews were not only socially undesirable but biologically subhuman. These ideas did not disappear after World War II—they continued to spread. They were later adopted by some Middle Eastern cultures, particularly in antisemitic portrayals of Israeli leaders.
In these depictions, grotesque physical exaggerations were often combined with bloodthirsty imagery, playing into age-old blood libel accusations—the false claim that Jews murder Christian or Palestinian children for ritualistic purposes. This imagery functions effectively as propaganda because people instinctively react aggressively toward ugliness. When an enemy is made to appear monstrous, it is much easier to justify violence or discrimination against them. Conversely, when someone looks similar to you, there is an inherent sense of shared humanity, making dehumanization more difficult.
This is why visual distortion in propaganda is so powerful—if someone perceives their enemy as ugly, alien, or monstrous, it reinforces pre-existing bias and makes them easier to hate. Furthermore, in regions where direct interaction with Jews and Israelis is limited, these caricatures become the dominant perception of Jewish people. Without real-life engagement, it is much easier to believe in negative stereotypes, to vilify an entire group, and to imagine them as inherently evil—rather than recognizing their humanity and common concerns.
Jacobsen: The idea of globalism and George Soros has been widely discussed. This builds into the dual loyalty accusation—the claim that Jews are transient cosmopolitans, the well-to-do “gypsies” of the world, with no real national allegiance.
This idea intersects with multiple antisemitic narratives. The accusation of dual loyalty suggests that Jews are never truly committed to their country of residence and that they serve a foreign agenda, whether it be Israel or a globalist conspiracy. At the same time, the reverse accusation exists—the claim that Jews have no loyalty at all, that they are rootless, transient elites who operate above nations and manipulate world affairs for their benefit.
These are contradictory narratives, but they serve the same function—to portray Jews as untrustworthy, disloyal, and fundamentally different from the majority population. Whether they are accused of controlling global capitalism, secretly running communist revolutions, or manipulating world politics, the result is the same—a scapegoat for society’s problems.
The key difference between these two narratives—”dual loyalty” versus “no loyalty”—is that dual loyalty assumes Jews are working for another state (usually Israel). In contrast, the “no loyalty” claim paints them as opportunistic globalists with no national allegiance. However, both accusations lead to the same conclusion: that Jews are outsiders who cannot be trusted.
Tsukerman: This is why these tropes persist across different political ideologies. Whether it’s far-right nationalists, far-left anti-globalists, or Islamist movements, the accusation shifts to fit the context. But the underlying purpose remains unchanged: to frame Jews as a permanent “other”—a group that exists outside the national fabric and is working against the interests of the majority population.
The underlying theme here is distrust—the idea that Jews cannot be trusted, that they have ulterior motives, and that their true intentions are unknowable. Even if those motives are not tied to any specific country, the accusation remains: “You never really know what these people are thinking.” This fosters a sense of suspicion and alienation, reinforcing the belief that Jews should not be included in society.
This narrative suggests that Jews cannot be your friends, that you cannot defend them, and that they should not be included in elite institutions. It perpetuates exclusionary policies—justifying why Jews should be barred from private clubs, prestigious universities, top law firms, and high-ranking positions. The justification? “They are not like us.” Their motivations are unclear, their allegiances are questionable, and their values are fundamentally different. This belief does not necessarily rely on physical differences. Instead, it suggests that Jews are internally distinct—culturally, religiously, and psychologically.
This fuels the desire to fabricate even more ambiguous suspicions—because as long as their true nature remains undefined, it provides an excuse to exclude them. There is also a deeper psychological element at play. Once a society opens the door to including culturally or religiously distinct people, it forces self-reflection. It challenges people to question their cultural identity, which can be deeply unsettling. As a result, some people project their insecurities onto Jews, questioning their motives and their loyalties rather than confronting their uncertainties.
Jacobsen: There is also the notion of blaming Jews collectively for the death of Jesus. The phrase “30 pieces of silver” appears in the Bible, referencing Judas Iscariot, who was portrayed as the ultimate betrayer who sold out Jesus to the authorities. How does this portrayal contribute to what could be considered biblical antisemitism?
Tsukerman: It’s a strange contradiction. First, according to Christian tradition, the crucifixion of Jesus was prophesied—it was predestined and unavoidable. If that is the case, who can truly be blamed for it? If it was meant to happen, then the idea of “Jewish complicity” in deicide becomes self-defeating.
Second, Christian theology holds that Jesus sacrificed himself to cleanse humanity of sin. Suppose that sacrifice was a necessary and redemptive act. Shouldn’t those who played a role in it be seen as fulfilling God’s plan rather than as villains? If Jesus had not been killed, then there would be nothing to celebrate in Christianity—no resurrection, no redemption. Yet, for centuries, this paradox has been ignored, and the blame has been placed squarely on the Jews.
The idea that Jews collectively bear responsibility for the crucifixion was explicitly rejected by the Second Vatican Council (Vatican II) in the 1960s. However, this decision only applies to the Catholic Church—it does not erase centuries of Christian antisemitic narratives, nor does it affect non-Catholic denominations that still perpetuate these beliefs. Even within Catholicism, older traditions and cultural biases remain deeply ingrained.
On a theological level, the accusation of deicide is nonsensical. If God is all-powerful and eternal, then God cannot be killed—the very concept of “killing God” is self-contradictory. The blame placed on Jews is not based on logical reasoning but rather on a need to scapegoat an entire group for a foundational event in Christian history.
This brings us to the Pharisees, often portrayed negatively in Christian texts. The ultimate accusation against the Jewish authorities of the time was that they did not accept Jesus as the Messiah. At its core, this is not a crime but simply a difference in religious belief. Yet, this theological disagreement has been weaponized for centuries and used as a justification for antisemitism, exclusion, and persecution.
The accusation isn’t just that Jews killed Jesus—but rather, that they never accepted him. The deicide claim is essentially an exaggerated resentment, even though it makes no sense in many ways. The notion of betrayal is equally absurd, as it assigns historical and eternal collective responsibility to all Jewish people for the actions of one individual—Judas Iscariot.
Ironically, Judas was one of Jesus’s disciples—meaning he was a follower, not one of the Jews who originally rejected Jesus. Those who did not accept Jesus as the Messiah owed him no loyalty to begin with. From the Jewish perspective, he was a potential heretic, making claims that did not align with Jewish theology. Judaism has specific messianic criteria, and by Christian accounts of the story, Jesus did not fulfill them.
Jacobsen: This brings us to a related antisemitic trope: the accusation that Jews use their influence to silence criticism. This stereotype suggests that Jews manipulate public discourse, suppress dissenting opinions, or smear critics through negative information campaigns.
The “poisoning the well” comes in—the idea that Jews preemptively discredit people before they can even present their argument? Poisoning the well is a rhetorical tactic where negative information is introduced about a person or group before they even have a chance to speak. It’s like introducing a new colleague to others by subtly implying they are unpleasant or untrustworthy—but applied to an entire group. This tactic sets up bias in advance, making people dismiss the group’s perspective without engaging with it fairly.
Tsukerman: One of the most common antisemitic claims is that Jews deliberately engineer criticism against themselves to avoid accountability. This is inherently bigoted because it targets an entire group with a sweeping accusation, denying individual choice or personal agency. That dehumanization is the essence of group-based bigotry, no matter the religion, ethnicity, or cultural identity involved.
Furthermore, this idea that Jews manufacture accusations of antisemitism to shield themselves from legitimate criticism is often used to perpetuate harmful stereotypes. Instead of acknowledging that Jewish communities—like all groups—are diverse and full of debate, these narratives present them as a monolithic bloc with a hidden agenda. In reality, Jews do not universally agree on anything, let alone on political issues like Israel or Zionism. However, antisemitic rhetoric erases these differences to create a single, caricatured enemy.
Jacobsen: And then there’s the stereotyping of Israel as 100% Jewish—as though everything Israel does represents all Jewish people, regardless of reality. This is a tactic to frame Israel as a stand-in for all Jews—which, in turn, makes anything Israel does a Jewish action and, therefore, by antisemitic logic, bad by default. The language used around this often includes derogatory shorthand like “Zionist” or “Zio,” which are frequently used as pejoratives.
Then there are thought-terminating clichés, like “Zionism is racism,” which shut down discussion rather than engaging with historical and political complexities. Another phrase central to this discourse is “From the river to the sea.”
That phrase confused me when I first heard it. “From the river to the sea” has been used in different contexts. Still, in the most common political interpretation, it implies the elimination of Israel as a Jewish state—a call for Palestinian sovereignty over the entire land between the Jordan River and the Mediterranean Sea.
Tsukerman: Many people who repeat this slogan believe it represents a call for Palestinian liberation. Still, its historical and militant context suggests the removal of Jews from the region altogether.
At the same time, this projection of fear and dispossession is often inverted. The same people who accuse Israel of planning to take over Palestinian territory entirely use “From the river to the sea” to imply that Israelis are the ones threatening Palestinians with elimination. In reality, the phrase has been a rallying cry for groups that openly advocate for Israel’s destruction, making it a clear example of how antisemitic narratives can be repackaged as political slogans.
At its core, the phrase is a placeholder for a broader antisemitic argument—one that frames Israel as an extension of Jewish global power and claims that the Jewish state exists purely as a tool of domination rather than as a nation with a complex history and diverse population.
The implication behind these arguments is clear: Jews should not have the right to a nation-state, even though other groups do. First, Israel is not an exclusively Jewish state, even though it is a Jewish nation-state. As we have seen with the recent Hamas release of prisoners, hostages included people of all backgrounds, including Bedouin Muslim Arabs, who were tortured and broken simply for holding Israeli citizenship—despite having no religious or cultural connection to Judaism.
Additionally, Israel is a pluralistic state, home to various ethnic and religious groups, including migrants, refugees, and asylum seekers from Sudan, South Sudan, Eritrea, and other countries. Many of these non-Jewish residents live in Israel without citizenship and have no direct ties to Judaism or Israeli nationalism. Furthermore, Israel has small but historically significant minority communities, such as the Samaritans, who are quasi-Jewish but reside in Palestinian territories and other regions.
Despite these realities, the claim that Israel is exclusively Jewish is often weaponized to delegitimize its existence. This is particularly troubling given the Holocaust, centuries of Jewish persecution, and the fact that Jews possess a unique, distinct cultural and religious identity. The outright opposition to Jewish self-determination, while other ethnic and national groups are granted the right to their states, is inherently bigoted and antisemitic. There is no other way to describe it.
What about Zionism? It seems that most Jews identify as Zionists, even if they criticize Israel heavily. Most Jews are Zionists, even if they are highly critical of Israel. The reason is that Zionism is deeply ingrained in Jewish history and tradition.
From a religious perspective, Zionism is not separate from Judaism—it is one of its core tenets. Many Jewish religious commandments can only be fulfilled in Israel under a Jewish-led government. This is a fundamental part of Jewish religious law. However, many people outside the Jewish community may be unaware of it.
Even secular Jews, who do not practice religiously, often feel a distant connection to Israel—even if they criticize its policies or governance. Zionism is not a political ideology alone—it is also a cultural and historical movement rooted in the belief that Jews deserve self-determination, like any other people.
Additionally, Zionists are not exclusively Jewish—many non-Jews support Israel’s right to exist for the same reason they support the national aspirations of other groups. There are diverse visions of what Israel should be, but the fundamental principle of Jewish self-determination remains the same.
The idea that Zionism is inherently shameful or evil is itself a form of antisemitism. The claim that “Zionism is racism” was aggressively pushed by the Soviet Union, the Islamic Republic of Iran, and other hostile actors. This false narrative was heavily promoted at the Durban Conference in South Africa, which was boycotted by Israel’s allies because of its clear antisemitic overtones.
This rhetoric is designed to frame Zionism as a uniquely oppressive ideology rather than recognizing it as one of many national liberation movements. The goal of these campaigns has always been to defame Zionism, delegitimize Jewish self-determination, and portray Israel as a colonial project rather than a historical homeland for an indigenous people.
Jacobsen: What about the phrase “From the river to the sea”?
Tsukerman: “From the river to the sea” is a slogan that many college students and activists repeat without fully understanding its origins or implications—some don’t even know which river and which sea it refers to. But its meaning is clear in militant and extremist contexts: it is a call for the destruction of Israel.
The phrase is not about converting Israel into a pluralistic state or reversing colonial structures. It is a euphemism for mass ethnic cleansing—the extermination or forced removal of all Jews living in Israel. The literal meaning of the phrase is that Israel must cease to exist, with its Jewish population eradicated or expelled.
This slogan has been used by terrorist organizations, including Hamas, whose charter explicitly calls for the destruction of Israel and the killing of Jews. While some activists ignorantly repeat it, believing it to be a call for Palestinian liberation, the historical and militant context of the phrase makes its meaning undeniably genocidal.
This is why the slogan is so dangerous—it is not merely a political statement but a rallying cry for violence used by those who openly advocate for Israel’s destruction. When people use it without understanding its origins, they inadvertently lend credibility to an extremist ideology that calls for mass murder.
A lot of this rhetoric originates from Hamas’s charter, which is explicitly genocidal and calls for the complete elimination of the State of Israel. It goes beyond opposition to Israel’s existence—Hamas’s ideology includes the claim that all Jews are cursed. According to this worldview, cursed people have no right to protection or inclusion in society. This rhetoric is not just anti-Israel—it is fundamentally antisemitic, targeting Jews worldwide.
Jacobsen: Let’s cover Deadly Exchange, Holocaust distortion, and the slur “kike” all at once. Deadly Exchange is an antisemitic conspiracy theory that falsely links Israel and Jewish organizations to oppressive police tactics worldwide. The idea is that whenever police behave ethically, Jews are absent from the conversation—but whenever police engage in brutality, Jews are somehow to blame. This narrative paints Jews as responsible for systemic police violence despite zero evidence to support this claim.
This conspiracy theory operates on selective framing. If the police act justly, Jewish involvement is ignored. If police engage in misconduct, it is attributed to a so-called Jewish connection—often linked to training programs or collaborations between U.S. and Israeli law enforcement. This follows the classic antisemitic pattern of collective blame, where individual Jews or institutions are held responsible for broader social injustices.
Of course, Israel is not immune to criticism regarding police misconduct—but police abuse exists in every country and affects Jews as well as non-Jews. In Israel, cases of police violence are investigated, and there are legal mechanisms for prosecuting misconduct. The idea that Jews or Israel are somehow responsible for global police brutality is completely baseless. Historically, Jews have advocated for police reform, including abolishing harsh punishments in military and law enforcement systems. In the U.S., Jewish activists have been at the forefront of civil rights and criminal justice reform.
And the slur “kike”—where does that come from?
Tsukerman: “Kike” originated during the mass migration of Eastern European Jews to the United States. Many Jewish surnames ended in “-ski” or “-ky,” and some non-Jewish immigration officials shortened these names to “kai”—a pronunciation that evolved into the slur “kike”.
It was not a common slur in Eastern Europe—there, other antisemitic epithets were more prevalent. In Western Europe, “Jude” or “Juden” was often used derogatorily. While “kike” has become less common in recent years, there has been a rise in modern antisemitic rhetoric, where Jews are smeared based on their perceived connection to Israel. Many contemporary antisemitic insults center around accusations of Zionism or conspiracies about Jewish global influence.
Jacobsen: And then there’s Holocaust distortion with holocough—not just denying it, but twisting it into something else.
Tsukerman: Yes, Holocaust distortion comes in several forms. Some minimize the Holocaust, claiming it was exaggerated, while others deny it outright. Another tactic is to accuse Jews of exploiting the Holocaust to whitewash alleged Israeli abuses or gain sympathy for political purposes.
Now, there is also an emerging trend of blaming Jews for COVID-19—as part of a long history of scapegoating Jews for plagues, pandemics, and natural disasters. Conspiracies about the pandemic deflect from real issues, such as China’s initial handling of COVID-19 and its lack of transparency. Instead, these theories redirect anger toward Jews, portraying them as manipulators of global health policies or profiteers of the crisis.
This is not new—Jews have been blamed for everything from the Black Death in medieval Europe to financial crises in modern history. These conspiracy theories lack any scientific or historical basis. Yet, they persist because they provide an easy scapegoat for complex global events.
Jacobsen: We made it. Excellent. Thank you so much.
Tsukerman: Yes! Thank you.
Last updated May 3, 2025. These terms govern all In Sight Publishing content—past, present, and future—and supersede any prior notices. In Sight Publishing by Scott Douglas Jacobsen is licensed under a Creative Commons BY‑NC‑ND 4.0; © In Sight Publishing by Scott Douglas Jacobsen 2012–Present. All trademarks, performances, databases & branding are owned by their rights holders; no use without permission. Unauthorized copying, modification, framing or public communication is prohibited. External links are not endorsed. Cookies & tracking require consent, and data processing complies with PIPEDA & GDPR; no data from children < 13 (COPPA). Content meets WCAG 2.1 AA under the Accessible Canada Act & is preserved in open archival formats with backups. Excerpts & links require full credit & hyperlink; limited quoting under fair-dealing & fair-use. All content is informational; no liability for errors or omissions: Feedback welcome, and verified errors corrected promptly. For permissions or DMCA notices, email: scott.jacobsen2025@gmail.com. Site use is governed by BC laws; content is “as‑is,” liability limited, users indemnify us; moral, performers’ & database sui generis rights reserved.
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When Plans Fall Apart Because Your Body Says No
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