By David Miller
Kneecap, a popular Irish hip-hop group, has been the target of a massive cancellation campaign by the Zionist movement in both the United States and the United Kingdom.
All the usual suspects have been involved, including public letters from the Board of Deputies of British Jews and the misnamed Campaign Against Antisemitism.
However, there is another key Zionist group that prefers to operate undercover whenever possible.
Sometimes it mobilizes openly, as it did on 12 October 2023, when it called for support of the Israeli regime as it “takes the necessary steps to defend its citizens.”
In other cases, it conducts its bullying campaigns — supporting genocide — in the shadows.
Press TV show Palestine Declassified obtained private correspondence sent to the Glastonbury Festival, attempting to intimidate the organizers into cancelling Kneecap.
Marked “Private and Confidential,” the email states that the authors wanted to “raise” Glastonbury’s “awareness” about Kneecap. The message further claims the band is “propagating hate” and therefore should not be protected by “free speech,” a notion the letter writers claim to support.
The message continued: “The silence of our allies has sadly at times been a contributory factor to the way anti-Israel rhetoric has become a proxy for anti-semitism.”
The message also patronisingly claimed, “I feel it is incredibly important… to raise your awareness around your booking of the band Kneecap”.
It goes on to moan that “whilst we all support free speech, we cannot accept it when it drifts into whipping up hateful rhetoric that is essentially denying Israel’s right to exist”.
This illustrates how removed from reality Zionists are. The end of the Zionist entity is a simple first demand of anyone sentient who has watched the genocide unfold over the past 20 months, claiming more than 54,000 innocent lives, most of them children and women.
Indeed, a majority of young people in the UK now appear to share this sentiment.
The first signatory of a slew of industry insiders (34 in all) was David Levy of talent group WME Agency.
Levy is widely known as a genocidal racist who even objects (in the letter) to the waving of Palestinian flags at Glastonbury and has condoned Israeli war crimes over the past 600 days in Gaza.
He is the agent for a range of artists including AIR, Björk, Calvin Harris, Dua Lipa, LCD Soundsystem and Willow. As with many Zionists, he squats on the territory of genuine anti-racists.
This is visible, for example, when he was asked if he could go back in time, and see any concert. Who would you see and when?” His reply: “Bob Marley at the Rainbow, London, 1977.”
He was a prominent signatory to the “Israel Under Attack” letter published by Creative Community for Peace (CCfP) on 11 October 2023. This provides a clear clue that the letter was organized by industry insiders working with CCfP, as David Levy is an advisory board member of the group.
CCfP is a US-based Zionist organization that operates within the music and entertainment industry. However, it carefully conceals the fact that it is actually a front group for StandWithUs (SWU), a long-established anti-Palestinian, pro-settler lobby group.
Official registration documents reveal that StandWithUs and Creative Community for Peace are simply alternate names for a single IRS-registered non-profit: the Israel Emergency Alliance.
StandWithUs is known to have received direct grants from the Israeli government. According to former Israeli Deputy Foreign Minister Danny Ayalon, Israel uses groups like these to “amplify our power” and for “leverage.” In other words, it is a regime cat’s paw.
One name that stands out in the Zionist pressure campaign against Kneecap is Paul Samuels. It is said that Samuels once wanted to sign the group, as recently as 2023, in fact. But now, here he is, covertly attempting to have Kneecap cancelled to better support the genocide in Gaza.
So, who is Paul Samuels? He is a longtime music industry executive.
Samuels began his career at Atlantic Records. He reportedly helped to launch Estelle’s global success with her multi-million-selling hit “American Boy.”
At Atlantic UK, Samuels signed a number of acts, including Craig David and Spiller for North America, as well as Sinead O’Connor and Estelle on global deals.
Remarkably, Samuels has also had a long-standing presence in Britain’s anti-racist movement. He was, in fact, one of the founders of the Love Music Hate Racism campaign.
Here he is describing his role in the anti-racist movement:
Hi, my name is Paul Samuels. I run Love Music Hate Racism. I also work at Atlantic Records—I have done for the last 25 years. The reason behind the rebrand from Rock Against Racism to Love Music Hate Racism was purely based on the idea that I didn’t want it to be genre-specific. I also wanted a really simple, clear message—that anyone who loves music should hate racism. Because you know music has so many different influences, and you can’t really, hopefully, be a racist and dance to a Stormzy record.
The problem, of course, is that one can—apparently—believe in the racist ideology of Zionism and still pose as an anti-racist.
Samuels has been somewhat coy about his support for Israel’s actions. In 2024, he was exposed on X (formerly Twitter) as a Zionist figure in the music industry.
Screenshots of his Instagram account were circulated as evidence, including the fact that he followed StandWithUs — the very organization behind the secret letter to Glastonbury that Samuels himself had signed.
In response to this exposure, he promptly made his account private.
The role of Zionists in infiltrating anti-racist groups is becoming increasingly visible due to the ongoing genocide. In previous research, we demonstrated how one of the earliest anti-racist groups in the UK — the 43 Group, founded in the 1940s — affiliated en bloc with the Revisionist Zionist terror organization, the Irgun, and sent members to participate in the Nakba in Palestine.
Those involved, along with their descendants, have continued to play prominent roles in various effectively Zionist “anti-racist” groups up to the present day.
Notably, a follow-up organization to the 43 Group — the 62 Group, active in the 1960s — served as a springboard for many of these efforts. Key figures from the 62 Group included head of intelligence Gerry Gable and head of finance Gerald Ronson (a convicted fraudster).
Among the Zionist groups they went on to establish were the Jewish Aid Committee of Britain, Searchlight, the Community Security Trust, Hope Not Hate, and Tell Mama.
Alongside these explicitly Zionist “anti-racist” groups, broader alliances also emerged, many of which were either co-opted, infiltrated, or ultimately sabotaged by Zionist influence.
One such example is Love Music Hate Racism, which came out of the tradition of grassroots, broad-based anti-racist movements aimed at building genuine unity.
The history of these groups — starting in the 1970s with the Anti-Nazi League, followed by Unite Against Fascism, Stand Up To Racism, Rock Against Racism, and ultimately Love Music Hate Racism — has consistently included Zionist infiltration from the very beginning.
That infiltration always comes at a cost. First, there is a particular form of racism that cannot be challenged: Zionism. Second, it becomes impossible to offer genuine support for Palestinians, to properly address Islamophobia, or to effectively confront institutional and state racism.
Instead, attention is diverted toward a politically and practically less threatening target: the “far right.”
This dynamic is clearly illustrated in the intervention by Paul Samuels in the campaign to cancel Kneecap.
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