The True Story of Rubin “Hurricane” Carter

Rubin “Hurricane” Carter’s fist smashed into the little woman’s face and Carolyn Kelly went flying across the hotel room like a rag doll. Then the prizefighter began to kick the small woman. After this savage attack Carolyn’s son found her curled on the floor in a fetal position. She had a swollen cheek and black eyes. She would need traction for her injured back. Carter denied everything.

In 1975 Ms Kelly, a devout Muslim, had been asked by Muhammad Ali to help in an effort to win a new trial for Rubin Carter, who insisted that he had been framed for a triple murder. She had devoted a year of her life to raising funds for a legal appeal of Carter’s conviction. That effort had succeeded, and in March 1976 Carter was let loose pending a new trial. Six weeks later, in Maryland, Carolyn Kelly had attempted to telephone Carter to resolve a minor financial arrangement. She was surprised when Carter hung up on her. She thought he hadn’t understood who she was, so she went to his hotel to see him in person. This is how she described their meeting:

“So I immediately got dressed, got in my car, drove...to the Sheraton, knocked on his door, and he asked who was it. I told him. He opened the door; I went in. He just started laughing, just laughing, laughing. So naturally I relaxed. I thought it was some kind of joke or something... Then he went into the bathroom. He left the [bathroom] door open, and I walked to the edge of the [bathroom] door, and as I was asking him what the hell is the matter with you, what’s wrong. At that point he was gargling with a bottle of Charlie cologne. He spit the cologne out, he came out of the bathroom and I was standing by the edge of the bed and he just burst out laughing again. The next thing I knew he had hit me in my face and spun me around. I felt myself turning and spinning and felt myself going down and fighting to hold onto consciousness... I went between the wall and [the bed]. And then he raised his foot to kick me, still laughing all the time... and he started kicking me in my back. Things were vague... he wasn’t laughing...he was in a stooped position with his hands around my throat telling me he was going to kill me.”

She had become the latest of hundreds of victims of Rubin Carter, whose life of anti-social behavior began in early childhood. For almost thirty years Rubin Carter had exhibited an extremely hostile and violent personality.

In the seventh grade he attended Public School #6 in Paterson, but was sent several times to the Adjustment School for students with behavioral problems. School records describe Carter as “very wild” with a “bullying attitude” and state that he “terrorized boys and girls in class.” These earliest records reveal his proclivity for violence, threats and retaliation which characterize his unchanging personality. Carter was first referred to the Juvenile Division of the Paterson Police Department in 1946, at age 9, when he was only four years out of kindergarten! Three years after that he was arrested for larceny.

Though Carter’s parents were hard-working people who provided well for their son, Carter enjoyed stealing. In May of 1951 he was convicted of looting money from parking meters. He was given probation. The following month, at age 14, he smashed a bottle over a man’s head and relieved him of his wristwatch and fifty-five dollars. He was sent to the State Home for Boys in July 1951 and paroled in December 1952. He was returned to the Home after a parole revocation in September 1953. He escaped from the State Home July 1st, 1954.

The following month Rubin Carter enlisted in the Army. The Army booted him out after he was convicted by court-martial four times in 21 months. Years later, in 1973, while serving a sentence for triple murder, Rubin Carter authored a book titled The Sixteenth Round. In it he reflected on his Army experience:

“...This Army life was not making me any nastier than what I was, but it wasn’t making it any easier for me either. It just made me care a little less than usual, which wasn’t a helluva lot in the first place.”

Two months after his separation from the Army, Carter was arrested in Paterson on the escape charge after he fled the State Home for Boys. He was returned to Jamesburg and then transferred to Annandale on March 29, 1957. He described his state of mind on that day: “On that Tuesday morning when Annandale set me free, they might not have known it (or maybe they did) but they had just unleashed a walking, ticking, short-fused time bomb set to explode on contact with an unsuspecting public.”

Three months after his release, Rubin Carter attacked three strangers at two different crime scenes. This is how tough-guy Rubin Carter described his crimes: “We snatched a pocketbook off a woman June 30th, on a street in Paterson. Then we seen a man and got him too, a young fellow about 30, got his money, he was knocked down. We was running away from the last fell [victim] and another fell [victim] was standing in the middle of the sidewalk and I hit him and he fell up against a tree and we kept running... It was unnecessary. I had nine dollars or ten dollars in my pocket and the next day was pay day. It just come on the impulse.” [Emphasis added]

By his own admission, Rubin Carter was not driven to criminal behavior by any pressing need for money. He had money in his pocket. Tomorrow was pay day. He attacked three strangers because “It just come on the impulse.” In other words, he was a violent creature with no impulse control. On September 20, 1957, Carter was convicted on all three charges and sentenced to a term totaling 2 to 6 years in State Prison. He served his maximum sentence because of his continual tumultuous behavior in prison. As prison records go, Rubin Carter’s was exceptional for its consistent belligerence and hostility. While in prison he repeatedly picked fights, stole from other inmates and incited a riot.

After the attack in which Carter robbed a woman and seriously injured two men, Carter was evaluated by a psychologist in September 1958. The psychologist described Carter as “an emotionally unstable and aggressive individual”. He concluded that Carter “manifests a total lack of insight.” He reported that Carter had a strong paranoid orientation and was prone to projecting his own failures onto society. The psychologist saw Rubin Carter as “a potential threat to the community.” This same psychologist understood that Carter’s boxing activity created a socially acceptable means for releasing his almost super-human hostility. He predicted that when Carter’s boxing career was in decline “he will become more aggressive and it is predicted that a repetition of the present involvement (anti-social violence) will occur.”

Carter lost his fight for the middleweight title on December 14, 1964. In 1965 and 1966, he fought fifteen matches and won fewer than half of them. His boxing career was in steep decline and he was no longer a contender for the middleweight crown. The exact circumstances that the psychologist predicted would trigger heightened violence in Rubin Carter existed in 1966.

Slaughter at the Lafayette Grill

At 2:30 in the morning of June 17, 1966, Rubin Carter and John Artis burst into the Lafayette Bar and Grill on Paterson’s East 18th Street. Carter was toting a double-barreled shotgun; Artis was holding a 32 caliber revolver. The bartender, James Oliver, was standing by the cash register. Fred Nanyoks was seated at the bar, near Oliver. At the end of the bar, Hazel Tanis sipped her drink. She was a friend of the bartender and she had stopped in to chat with him after her hard-day’s work as a waitress. Bill Marins sat two stools away from Mr. Nanyoks. When the bartender saw the two gun-toting blacks he knew exactly what the score was. Jim Oliver hurled a beer bottle at the gunmen. It smashed harmlessly against the air conditioner. Oliver turned to flee. It was then that Rubin Carter shot the unarmed bartender in the back. The blast severed his spine and killed him on the spot. John Artis immediately shot Mr. Nanyoks behind the ear, killing him. Then Artis shot Mr. Marins above the eye. Mr. Marins, one eye blinded and his skull fractured, stumbled around the bar and then collapsed. Carter and Artis left him for dead. As they were leaving, the gunmen caught sight of Hazel Tanis who was helplessly trapped in the corner. She screamed as Carter fired a shotgun blast into the terrified mother of four. Artis fired four shots at her. They left her fatally wounded.

Carter and Artis walked out onto the 18th Street sidewalk and turned right; walked around the corner onto Lafayette where their big white getaway car was waiting. They were in high spirits and laughing loudly.

Fifty feet away, a small-time crook named Alfred Bello was walking toward them. Bello had heard the gunshots. He mistakenly believed that the armed men coming toward him were police detectives. When he was within fifteen feet of them he realized what he had stumbled upon. Bello turned and ran. The gunmen, whose firearms were empty, drove away in the big white car. It was Bello who discovered the dead and wounded inside the Lafayette Grill. He alerted the police.

Alfred Bello got a good close-range look at Carter and Artis. He identified them to the police. He also gave police a description of the getaway car. Another eyewitness, Pat Valentine, was looking down from her bay window and saw the two killers enter the white car and flee the crime scene. She notified the police at 2:34. A general call was issued to the Paterson police to look for a white car with “two colored occupants.” Sgt Theodore Capter and his partner stopped Rubin Carter’s big white Dodge at 2:40, only ten minutes after the killing. Twenty-year-old John Artis was behind the steering wheel and Rubin Carter was lying down in the shadows in the back seat. A well known barfly named John “Bucks” Royster was sitting in the front passenger seat beside Artis. The officers checked the car’s registration and let them go because there were three men in the car, not two. Soon thereafter, Carter and Artis dropped off Royster. Later, at the crime scene, the officers received a detailed description of the white getaway car from eyewitness Alfred Bello. Sgt Capster recalled that moment: “I looked at my partner and he looked at me and we took off looking for the car again.” Both Alfred Bello and Patty Valentine were able to describe the distinctive tail lights of Carter’s white car in considerable detail. Carter and Artis were apprehended by Officers Capter and DeChellis at 3 a.m. and brought to the murder scene for questioning.

A search of Carter’s car found a shotgun shell and a 32 caliber bullet. Carter and Artis gave conflicting stories about their activities the evening of the murders. Carter failed a lie detector test miserably. Hazel Tanis, who died 27 days after the Lafayette Grill attack, identified Rubin Carter from photographs and helped the police draw a sketch of Artis. Hazel Tanis’ daughter quoted her mother thus: “You don’t look a person in the eyes, plead for your life and forget what he looks like.”

The Trials

Juries twice found Carter guilty of triple murder (the fourth gunshot victim survived). There was, as Carter’s own lawyer said, “a mountain of evidence” against Rubin Carter. Carter won the right to a second trial because of a media campaign that focused on Alfred Bello’s recantation of his eyewitness identification of Carter and Artis. Unfortunately for Carter, when Bello took the witness stand at the second trial he blabbed the reason for his recantation: He had been promised $27,000 by Carter’s defense team to lie about what he had witnessed. That’s called witness tampering. Bello wasn’t alone. At the second trial in 1976, four of Carter’s other alibi witnesses also swore under oath that they had lied at Carter’s first trial at Carter’s request. Among them was Catherine McGuire who had testified that she had been with Carter at the time of the killings. A letter exists, written in Carter’s own hand, which he sent to Catherine McGuire from the Passaic County Jail, in which he coaches her on how she and her mother should lie before the jury. Carter was convicted a second time.

At the 1976 trial the prosecution had argued that Carter’s motivation for the murders was revenge. Earlier on the evening of the murders a black bar owner in Paterson had been shot dead by a white man. After this killing Carter had spoken to one of the dead man’s relatives. He had also inquired about a shotgun. No attempt was made to rob the Lafayette Grill. The day’s cash receipts were still in the cash register.

After almost two decades of judge shopping, Carter’s defense team had the good luck to present their arguments to ultra-liberal Judge Lee Sarokin. Sarokin ordered a new trial for Carter on the grounds that the prosecution should never have been permitted to argue that racial animus was Carter’s motive. In Sarokin’s words: “For the state to contend that an accused has the motive to commit murder soley because of his membership in a racial group is an argument which should never be permitted to sway a jury or provide the basis of a conviction.”

This is junk jurisprudence at its worst! The successful prosecution of racially-motivated assassinations would end abruptly if prosecutors were barred from suggesting racial animus as a possible motive. What, after all, motivated the assassin of Martin Luther King? Of Medger Evers? Of James Byrd, Jr.?

The Passaic County Prosecutor’s Office chose not to try Carter a third time because Carter was nearing a parole date and some witnesses had died. The fact remains that there was “a mountain of evidence” against Rubin Carter. There were eyewitnesses who placed him at the crime scene. His alibi witnesses admitted that they had lied at his request. Carter was convicted twice by fair-minded juries. There were black people in both of his jury pools and blacks served on the second jury that convicted him for the triple murder. There is no doubt that Carter, who had been terrorizing others almost since kindergarten and who enjoyed sadistically stabbing and shooting total strangers merely for amusement, was capable of committing murder.

Enter the Liberal Liars & Fools

All of this would be of no more than historical interest, but for one thing: In 1973, while serving time for the Lafayette Grill murders, Carter wrote a book. It was nothing more than a bound volume of self-serving lies, but he used all the electric buzz words: racism, oppression, police brutality, etc. It was like so much bloody chum in the water, drawing to him a school of gushing left-leaning Hollywood celebrities, corrupt academics, a fading folk singer and a host of hopeful, but uncritical, people eager to do a good deed. Their collective mission was to free Rubin Carter and to prove that America was a hateful racist nation in the bargain.

The intellectual droppings of Carter’s supporters included a gawky ballad by Bob Dylan called “Hurricane.” Two books Lazarus and the Hurricane (1991) and Hurricane (1999) both embraced the falsified version of events that Carter had laid out for them like a blueprint. The authors repeated Carter’s pumped-up self-serving descriptions of events even when they were contradicted by court testimony and even photographic evidence. Carter and the others simply omitted evidence when it contradicted their intent. Their intent was to deceive you with pulp fiction propaganda.

Because most people avoid the effort of reading anything, the most influential tool for spreading falsehoods about Carter and about America’s judicial system was the slick 1999 movie called The Hurricane, starring Denzel Washington as Rubin Carter.

From the opening credits onward this movie is a web of lies and distortions and omissions by its creators Bernstein and Jewison. It is a vehicle for the hostility of the Hollywood Left. Their purpose is to deceive you into believing that a life-long sociopath is really a saint, and that American law enforcement is a monstrosity.

For example: In the movie, the scene where the gunmen exit the Lafayette Grill is carefully crafted so that the gunmen are mere shadowy figures who sprint across the sidewalk and enter a darkened automobile. This is Norman Jewison’s conscious attempt to deceive you into believing that all of the eyewitness testimony against Rubin Carter is worthless. The truth is that the getaway car was parked around the corner from the Lafayette Grill. To get to the car Carter and Artis had to turn right and walk around the corner. They came face to face with Alfred Bello at a distance of 10 or 15 feet. Fifteen feet is four feet less than the length of a Cadillac. When Bello realized that they weren’t gun-toting cops, he ran for his life. The excellent detailed descriptions of the getaway car by eyewitnesses Alfred Bello and Patty Valentine matched Carter’s white 1966 Dodge perfectly.

Another example: In the movie Jewison creates a scene where a group of Canadian Carter supporters stumble upon a slip of paper, handwritten by a racist cop, that suggests that the murders took place at 2:45, instead of 2:30. The implication is that the police changed the stated time of the crime so that they could frame poor innocent Rubin Carter . It’s all a cunning Jewison lie. Both Pat Valentine, who witnessed the killers’ getaway and Officer Jim Lawless, who was the first policeman to arrive at the crime scene, were certain that the murders occurred at 2:30. Pat Valentine’s call to the police was sent and received at 2:34. That’s when a call went out on the police radio to be on the lookout for a white car with “two colored occupants.” Six minutes later Officers Capter and DeChellis stopped Carter’s 1966 white Dodge. They checked the registration and then let the car go because there is a third man in the car, even though Carter had been lying down in the darkened backseat. Twenty minutes after that, after receiving a better description of the getaway car, the officers once again stopped Carter and Artis and brought them to the crime scene.

The movie scene where police cars and armed police converge on Carter’s car was carefully contrived by Bernstein and Jewison to convince you that Carter was framed and that his apprehension was planned well in advance. It’s all a lie. No such event ever happened. Bernstein and Jewison are two skilled Left-wing propagandists. They know that “seeing is believing”; if you “see” the scene, you will believe it. But this scene never happened in real life. This is the truth: Officer Capter requested assistance and a single squad car came to his aid. Capter told Carter to follow him back to the Lafayette Grill. The second police car followed them.

Carter’s description of the scene back at the Lafayette Grill as being “like a lynch mob” is another attempt to deceive you. Photographs taken at the scene show the area around the Lafayette Grill to be quiet, well lit, and almost unpopulated. It was three in the morning and most of Paterson’s population was sound asleep. But why shouldn’t Bernstein and Jewison lie about it? Their purpose, after all, is to look like proper leftists to the rest of the orthodox Hollywood Left. They believe in a “higher” truth, that America is a bad place and all black men are martyrs to white racism.

The dirtiest indecency that Bernstein and Jewison commit is their slanderous depiction of Detective Vincent DeSimone, who is presented to you, the viewer, as the fictional character Lt. Vincent Della Pesca. In the movie, the obscenity-spewing Della Pesca is obsessed with nailing Carter for the triple slaying. This character pursues the “innocent” Carter from the time he was eleven years old; he is on hand as a glowering demonic presence the day Carter is released from prison.

The real Vincent DeSimone was a religious man who did not use profanity. He had no contact with Carter until after the Lafayette murders. Jewison portrays him as a foul-mouthed racist Neanderthal who lies, cheats and forges a signature in an effort to frame Rubin Carter. None of these things happened in real life. Carter was never found to have been framed. Bernstein and Jewison get totally down in the gutter when they make a big point of DeSimone’s less than perfect appearance. In fact, Detective DeSimone was a good-looking salesman before the Second World War, but then he answered the call to defend democracy and was shot on the face by a Nazi. He had nineteen reconstructive surgeries on his face. That’s just a big laugh to Bernstein and Jewison whose fat asses DeSimone helped to save from Heinrich Himmler.

After the war, DeSimone was too self-conscious about his appearance to continue life as a salesman, so he became a police officer. He started as a street cop in Paterson and worked his way up to become the chief detective in the county. Bernstein and Jewison even descend so low as to have the Della Pesca character threaten the lives of the saintly Canadian commune members who worked on Carter’s defense. It’s another dirty lie. In fact, Vincent DeSimone died in 1979. But that didn’t stop these leftist propagandists from showing the long-dead detective sabotaging the wheel of the Canadians’ Volvo, causing a near-fatal crash. Jewison’s message to you: the cops are the real menace.

So how did Bernstein and Jewison get away with telling so many grotesque lies about an honorable policeman? Well, they went to the legal department of their Hollywood movie studio and were told by their slick Hollywood lawyers that under American law a dead person cannot suffer a defamation of character. In other words, anyone can say any slimy thing about any dead person without fear of legal retaliation. After they heard that, Bernstein and Jewison threw human decency to the winds.

This utterly false portrayal has caused the DeSimone family great pain. Vincent DeSimone’s son, Jim, has said “I came out of the theater and I was absolutely appalled. I was his only son. I went through a life of him telling me about honesty and integrity. He was regarded as the most honest guy around. I sat there and I said to myself, ‘What is Denzel Washington thinking?’ He should have some conscience as to what he’s doing here.”

Denzel Washington, for the record, has no conscience, no intellectual curiosity and no moral courage. He told a reporter that when he sees a newspaper article about the “Hurricane,” he just closes the newspaper. Washington also chose to close his eyes to the credible evidence and to Carter’s life-long history of ultra-violence against the innocent. He accepted Carter’s self-serving version of all things without reservation. Washington called Rubin Carter the embodiment of love. Washington used his celebrity stature to disparage the honest efforts of the police, prosecutors and twenty-four jurors. Carter is clearly Denzel’s kind of guy. And besides, Denzel was padding his bank account with his conscience-free portrayal of Rubin Carter.

Another dirty Jewison deception occurs in the scene where Al Bello is shown sitting before a tape recorder while Lieutenant Della Pesca promises not to prosecute him for burglary and then proceeds to ask Bello some very leading questions. Bello seizes the chance for freedom and tells the detective that it was Carter whom he saw fleeing the Lafayette Grill.

Jewison places an actor depicting Arthur Dexter Bradley, Bello’s sometime accomplice, in plain view behind Bello during the interrogation. Jewison wants you to believe that Bello falsely accused Carter to beat a burglary charge and that Bello and Bradley conspired with dishonest policemen to create a unified case against Carter. It’s all a lie.

The truth is that Alfred Bello identified Carter to the police on October 3, 1966. Paterson Detective LaConte had seen Bello’s car outside a bar and he had gone inside to chat with Bello. Bello told the detective that he had been threatened and told to keep his mouth shut about the Lafayette murders. Bello complained that the police once had the killers in custody, but had let them go free. He told LaConte that Carter was the killer. LaConte persuaded Bello to meet with LaConte’s boss, Sergeant Mohl. Bello once again identified Rubin Carter as the killer. Later, on October 11th, Bello met with Lt. Vincent DeSimone at which time Bello identified Rubin Carter a third time as the killer. This was the meeting that is so falsified in the movie. During the interrogation of Bello the tape recorder was hidden; Bello did not know that he was being recorded. Arthur Bradley was not present; he was miles away in the Bordentown Reformatory. Bradley had identified Carter five days before, on October 6th. Bradley had no opportunity to coordinate his story with Bello’s story; he had not seen Bello for months. Nonetheless, their detailed stories about what happened at the Lafayette Grill were the same. Because the disruption caused by the Lafayette Grill murders had frustrated a nearby burglary planned by Bello and Bradley, the police had no evidence to use against the would-be crooks. Jewison invented all of that coercive dialog in an attempt to deceive you.

Jewison goes all-out to win sympathy for Carter by carefully crafting a boxing scene in which Carter pounds the Middleweight Champion Joey Giardello to a messy pulp, only to have the judges declare Giardello the victor. You are supposed to be stung by the injustice of it all, but it’s all a load of crap!

“Hurricane” Carter had only one title fight in his career and he lost it decisively! The more experienced Giardello bobbed and weaved through fifteen rounds with Carter, with the champ consistently scoring with his left. Giardello won a unanimous decision in front of six thousand spectators. Experienced sports reporters Jerry Izenberg, Bob Lipsyte and Jesse Abramson all agreed with the decision. Carter would never go fifteen rounds again. He had only fifteen more fights and he lost most of them. His career was in steep decline at the time of the Lafayette murders. A mental health professional had predicted that Rubin Carter would become more violently anti-social as his boxing career went down hill.

Jewison attempts to portray Rubin Carter as an innocent man with nothing to hide at the time of his apprehension. He is shown in the movie sitting in the front seat of his car when the police stop him only ten minutes after the murders. It’s just more Hollywood con-artistry. In truth, Carter was trying to remain hidden by lying down in the darkened back seat of the car. He knew that a witness had stared straight into his face only minutes earlier.

In a blatantly propagandistic scene that would have made Leni Riefensthal blush, Jewison contrives a courtroom setting that practically shouts that Carter was denied justice by a racist white jury and a corrupt American court system. The truth of the matter is that the jury was selected from Hudson County, rather than Passaic County where the murders were committed, so as to improve Carter’s chances of an unbiased jury. There were black people in both of Carter’s jury pools. Black people served on Carter’s second jury. Both juries voted unanimously for his conviction. As Carter’s own lawyer admitted, there was “a mountain of evidence” against Carter. Jewison slyly avoids exposing the audience Carter’s second racially mixed jury.

Jewison used his slick Hollywood craftsmanship to present Carter to us as an honorable serviceman who returns home, orders a soda pop, and falls in love. It’s almost a Norman Rockwell painting. But it’s totally bogus. After four courts-martial in only twenty-one months, the Army booted Carter’s useless ass out of the service. He was a chronic troublemaker, just as he had been in civilian life.

Jewison consciously falsifies the historical record when he shows Rubin, then age eleven, defending a childhood friend from a molester. Jewison carefully sets up this scene by showing the audience the gritty mean streets of Paterson, so as to explain why little Rubin is so tough. In truth, eleven-year-old Rubin was sent to a reformatory because he smashed a bottle over a man’s head, and then stole the man’s wristwatch and fifty-five dollars. The innocent stranger required four sutures to close his head wound. So ask yourself, what sort of eleven-year-old would attack a grown man with a bottle? He didn’t need the money. Carter came from an intact supportive family. Both of his parents were usefully employed. Little Carter simply enjoyed assaulting strangers.

Rubin Carter, by his own admission, was just plain evil. In a Saturday Evening Post article published in 1964 Carter bragged about his unprovoked knife attack on a stranger: “That’s right, atrocious assault at age eleven. I stuck a man with my knife. I stabbed him everywhere but the bottom of his feet.”After his release from Jamesburg Reformatory for that offense, Rubin Carter and a partner would go out on the streets of Paterson and “shoot at folks” just for the fun of it. “Sometimes just to shoot at ‘em, sometimes to hit ‘em, sometimes to kill ‘em.” If you had crossed his path, Rubin Carter might have pumped a bullet into you. “I couldn’t begin to tell you how many hits, muggings and stickups,” Carter continued, “We’d just use the guns like we had a license to carry them.”

Like Leni Riefensthal before him, Norman Jewison used his craft to create an evil myth that is corrosive and subversive to his nation. This film should have been called Triumph of the Swill.

Four years after the Lafayette Grill murders, Rubin Carter assaulted a slightly-built inmate named Wallace and declared openly that “he would kill Wallace” and that “if he had a weapon today Wallace would be dead.” Carter’s psychiatric folder began to fill up with references to grandiose paranoia; he referred to himself as “God”. At about this time Dr Sidney G. Fine stated that Rubin Carter “is beginning to show psychotic behavior.” Another mental health professional described Carter as “very unstable” and “extremely aggressive” and “almost completely lacking in controls” and a person who is likely to act out “the tremendous amount of hostility and aggression that is continuously boiling within him.” In August of 1960 Doctor Henri M. Yaker declared that Rubin Carter “Continues to be assaultive, aggressive, hostile” and “sadistic.” Dr Yaker diagnosed Carter as a sociopath.

Rubin Carter was at liberty briefly in 1976, thanks to the vocal support of numerous celebrities and the efforts of Carolyn Kelly, a righteous Muslim woman who became the head of the Carter Defense Fund at the behest of the boxer Muhammad Ali. A few weeks after his release he savagely assaulted Ms Kelly. In a brief to the court, the Passaic County Prosecutor’s Office said:

Carolyn Kelly had been part of the triumphant Carter entourage that journeyed about to fundraisers and public appearances. She had ample opportunity to see Carter up close. He guzzled large amounts of vodka and when he drank he became nasty. Nonetheless, she turned a blind eye to what he was. She says of the punch that floored her: “I didn’t see it coming. I felt everything getting dark. I remember praying to Allah, ‘Please help me’. . .Allah saved my life.” She had extensive injuries. Journalist Chuck Stone, named one of the leading black reporters of the century by the National Association of Black Journalists, is convinced that Carter attacked Carolyn Kelly. Stone quoted Kelly as saying: “Rubin used to tell me time and time again, ‘You’ve met Rubin and you know Carter, but you’ve never met the Hurricane. The Hurricane’s bad The Hurricane’s mean.’”

She is appalled by the gushing fawning acceptance of Carter’s falsehoods by on-air media personalities representing ABC, CBS, NBC, NPR, the Pacifica Stations, the Workers’ World News Service and the like. America’s “journalists” fell all over themselves like a bunch of silly star-struck school girls in their eagerness to believe every lie and distortion of Jewison’s cunning anti-American propaganda film. Again and again they yattered on about how Carter had been “framed” or “jailed for a crime he didn’t commit.” The facts say otherwise; it’s all in the historical record, in court records, in old newspapers. The media research people had only to look for it. Instead they went to the movies.

Carolyn Kelly has seen the light of truth. “If he could do that to me, a woman who was not a threat to him, then he has erased from my mind any doubt that he could kill three or four innocent people.”

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Thomas Clough
Copyright 2001