The 14 Words

Thursday, 1 May 2014

Rubin “Hurricane” Carter and the Jewish Media

Rubin “Hurricane” Carter

Two Black men walked into the Lafayette Bar and Grill in Paterson, New Jersey on June 17, 1966 and gunned down everybody inside, all of whom were White. Three people were killed, including a 56-year-old soon-to-be grandmother, and one was seriously wounded but survived.

Two eyewitnesses saw the suspects get into a white car and drive away. The witnesses were Alfred Bello, who was coming out of a convenient store next to the bar and Patty Valentine, who lived in an apartment above the bar and came down after hearing the shots.

A half hour after the murders, police pulled over two men in a car matching the description given by the two witnesses Bello and Valentine, and arrested them. One of these two men was the somewhat well-known boxer Rubin “Hurricane” Carter, and the other was Rubin’s friend, 20-year-old John Artis. After being tried and convicted for the horrific murders, both received three life sentences as punishment.

Two of the victims: On the left is patron Bob Nauyoks, who was shot point blank in the head by a .32 caliber revolver and died instantaneously, with his feet still on the barstool and a burning cigarette still in his hand. On the right is bartender Jim Oliver, who was killed by a shotgun blast that severed his spinal cord after throwing a bottle toward the gunmen.

Rubin Carter published a book in 1975 called The Sixteenth Round which gave his version of the events and proclaimed his innocence. Popular musician Bob Dylan recorded a folk/rock song titled “Hurricane” based on Carter’s story later that same year. A Hollywood movie, also titled “Hurricane,” was produced in 1999, and was also based on Carter’s version of the story.

Rubin Carter was eventually released from prison in 1985, after serving 19 years. He recently died on April 20, 2014 at age 75, and is now being eulogized in the media as a “wrongly convicted” man. This assertion can be found in virtually every online news article about his death. His story is generally looked at as an inspirational tale of a man who overcame injustice and adversity in the face of overwhelming persecution.

The problem is, Rubin was never found to be innocent of those murders. He was actually convicted of the triple murder not once, but twice. After winning a chance at a third trial in 1985, the prosecutors just decided to throw the case out and have Carter released. Most of the witnesses were dead by that time, and Carter was nearing parole anyway, so they decided not to bother with it. That is a far cry from being “proven innocent” as the media would like us to believe. Him being a wrongly convicted, innocent man is simply a fairy tale story that has been spun by the media, Hollywood, Bob Dylan, and Rubin himself. The evidence of his guilt is so conclusive and overwhelming, he probably could have had a hundred trials, a thousand even, and still have been convicted every single time.

In his book, Carter unsurprisingly claimed that he was “in the wrong place at the wrong time” and ended up becoming the victim of a racist conspiracy. He claimed that the entire White dominated establishment, from the CIA to the arresting officers, all conspired to railroad him into jail for because he was a big shot civil rights activist, and thus a thorn in their side.

Well, a lot of people say a lot of things, but that doesn’t make them true. Two lengthy trials, nearly 40 years and an ongoing $200 reward challenge still hasn’t produced even one shred of evidence that Carter was ever an activist of any sort. That fact alone undercuts his whole entire story by removing the motive that this so-called racist conspiracy was alleged to have had.

Like most conspiracy theories, Carter’s side of the story relied on the that fact that 90% of the people who were to read his book would believe it without checking out the facts for themselves. This rule also applies to the song by Dylan, and most certainly to the Hollywood movie.

Bob Dylan and his song were instrumental in bringing Carter and his story to the attention of the American public.

Though his song was supposedly based on Carter’s book, Dylan certainly didn’t hesitate to take what his apologists call “poetic license” with the details. In other words, he made up his own lies on top of Carter’s lies. Any thinking person who really listens to the song “Hurricane” will notice that the lyrics don’t really make any coherent sense. It, like Carter’s book, is just another ridiculous conspiracy theory about how every White person even remotely involved in the case, from the witnesses on up, all coalesced into a gigantic sinister plot to get Carter convicted, for no clear reason except that they were White and Carter was Black.

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