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“To write the history of neighborhood strife during this period of time without describing the efforts of people like Louis Wirth and his collaboration with the psychological warfare establishment during World War II, or the American Friends Service Committee and their work in both Philadelphia and Chicago, or Paul YIvisaker and his creation of the Gray Areas grants for the Ford Foundation and their subsequent takeover by a quintessential establishment figure like McGeorge Bundy, or Leon Sullivan, one of the players created by the Ford Foundation, and his collaboration with Robert Weaver while head of the Federal Housing Administration, is to tell less than half of the story. It is to do a remake of King Kong without the gorilla. It is also a bad example of whiggish history, a genre depressingly familiar to anyone who has done any reading in the conventional accounts of the sexual revolution and the civil rights movement, where effects have no causes and actual people making actual decisions in actual rooms are replaced by broad historical forces and Enlightenment melodramas like the triumph of liberation over bondage and light over darkness.” — E. Michael Jones

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To write the history of neighborhood strife during this period of time without describing the efforts of people like Louis Wirth and his collaboration with the psychological warfare establishment during World War II, or the American Friends Service Committee and their work in both Philadelphia and Chicago, or Paul YIvisaker and his creation of the Gray Areas grants for the Ford Foundation and their subsequent takeover by a quintessential establishment figure like McGeorge Bundy, or Leon Sullivan, one of the players created by the Ford Foundation, and his collaboration with Robert Weaver while head of the Federal Housing Administration, is to tell less than half of the story. It is to do a remake of King Kong without the gorilla. It is also a bad example of whiggish history, a genre depressingly familiar to anyone who has done any reading in the conventional accounts of the sexual revolution and the civil rights movement, where effects have no causes and actual people making actual decisions in actual rooms are replaced by broad historical forces and Enlightenment melodramas like the triumph of liberation over bondage and light over darkness.
— E. Michael Jones