John Wood Campbell Jr. (June 8, 1910 - July 11, 1971) was an American science fiction writer and editor. He was editor of Astounding Science Fiction (later called Analog Science Fiction and Fact) from late 1937 until his death and was part of the Golden Age of Science Fiction. Campbell wrote super-science space opera under his own name and stories under his primary pseudonym, Don A. Stuart. Campbell also used the pen names Karl Van Kampen and Arthur McCann.

Editor T. O'Conor Sloane lost Campbell's first manuscript that he accepted for Amazing Stories, entitled "Invaders of the Infinite". "When the Atoms Failed" appeared in January 1930, followed by five more during 1930. Three were part of a space opera series featuring the characters Arcot, Morey, and Wade,. A complete novel in the series, "Islands of Space", was the cover story in the Spring 1931 Quarterly. During 1934-35 a serial novel, The Mightiest Machine, ran in Astounding Stories, edited by F. Orlin Tremaine, and several stories featuring lead characters Penton and Blake appeared from late 1936 in Thrilling Wonder Stories, edited by Mort Weisinger.  The early work for Amazing established Campbell's reputation as a writer of space adventure. When in 1934 he began to publish stories with a different tone he wrote as Don A. Stuart, a pseudonym derived from his wife's maiden name.  From 1930 until the later part of that decade, Campbell was prolific and successful under both names. Three significant stories published under the pseudonym are "Twilight" (Astounding, November 1934), "Night" (Astounding, October 1935), and "Who Goes There?" (Astounding, August 1938). "Who Goes There?", about a group of Antarctic researchers who discover a crashed alien vessel, formerly inhabited by a malevolent shape-changing occupant, was published in Astounding almost a year after Campbell became its editor and it was his last significant piece of fiction, at age 28. It was filmed as The Thing from Another World (1951), The Thing (1982), and again as The Thing (2011).  Campbell held the amateur radio call sign W2ZGU, and wrote many articles on electronics and radio for a wide range of magazines.  The Encyclopedia of Science Fiction wrote: "More than any other individual, he helped to shape modern sf." After 1950, new magazines such as Galaxy Science Fiction and The Magazine of Fantasy & Science Fiction moved in different directions and developed talented new writers who were not directly influenced by him. Campbell often suggested story ideas to writers (including "Write me a creature that thinks as well as a man, or better than a man, but not like a man"), and sometimes asked for stories to match cover paintings he had already bought.  Campbell had a strong formative influence on Asimov and eventually became a friend. Asimov said of Campbell's influence on the field: "By his own example and by his instruction and by his undeviating and persisting insistence, he forced first Astounding and then all science fiction into his mold. He abandoned the earlier orientation of the field. He demolished the stock characters who had filled it; eradicated the penny dreadful plots; extirpated the Sunday-supplement science. In a phrase, he blotted out the purple of pulp. Instead, he demanded that science-fiction writers understand science and understand people, a hard requirement that many of the established writers of the 1930s could not meet. Campbell did not compromise because of that: those who could not meet his requirements could not sell to him, and the carnage was as great as it had been in Hollywood a decade before, while silent movies had given way to the talkies."  One example of the type of speculative but plausible science fiction that Campbell demanded from his writers is "Deadline", a short story by Cleve Cartmill that appeared during the wartime year of 1944, a year before the detonation of the first atomic bomb. As Ben Bova, Campbell's successor as editor at Analog, wrote, it "described the basic facts of how to build an atomic bomb. Cartmill and Campbell worked together on the story, drawing their scientific information from papers published in the technical journals before the war. To them, the mechanics of constructing a uranium-fission bomb seemed perfectly obvious." The FBI descended on Campbell's office after the story appeared in print and demanded that the issue be removed from the newsstands. Campbell convinced them that by removing the magazine "the FBI would be advertising to everyone that such a project existed and was aimed at developing nuclear weapons" and the demand was dropped.  Campbell was also responsible for the grim and controversial ending of Tom Godwin's short story "The Cold Equations". Writer Joe Green recounted that Campbell had "three times sent 'Cold Equations' back to Godwin, before he got the version he wanted ... Godwin kept coming up with ingenious ways to save the girl! Since the strength of this deservedly classic story lies in the fact that the life of one young woman must be sacrificed to save the lives of many, it simply would not have the same impact if she had lived."  Green wrote that Campbell "enjoyed taking the 'devil's advocate' position in almost any area, willing to defend even viewpoints with which he disagreed if that led to a livelier debate." As an example, he wrote, Campbell "pointed out that the much-maligned 'peculiar institution' of slavery in the American South had in fact provided the blacks brought there with a higher standard of living than they had in Africa ... I suspected, from comments by Asimov, among others - and some Analog editorials I had read - that John held some racist views, at least in regard to blacks." Finally, however, Green agreed with Campbell that "rapidly increasing mechanization after 1850 would have soon rendered slavery obsolete anyhow. It would have been better for the USA to endure it a few more years than suffer the truly horrendous costs of the Civil War."  In a June 1961 editorial called "Civil War Centennial," Campbell argued that slavery had been a dominant form of human relationships for most of history and that the present was unusual in that anti-slavery cultures dominated the planet. He wrote, "It's my bet that the South would have been integrated by 1910. The job would have been done - and done right - half a century sooner, with vastly less human misery, and with almost no bloodshed ... The only way slavery has ever been ended, anywhere, is by introducing industry ... If a man is a skilled and competent machinist - if the lathes work well under his hands - the industrial management will be forced, to remain in business, to accept that fact, whether the man be black, white, purple, or polka-dotted."  According to Michael Moorcock, "He also, when faced with the Watts riots of the mid-sixties, seriously proposed and went on to proposing that there were 'natural' slaves who were unhappy if freed. I sat on a panel with him in 1965, as he pointed out that the worker bee when unable to work dies of misery, that the moujiks when freed went to their masters and begged to be enslaved again, that the ideals of the anti-slavers who fought in the Civil War were merely expressions of self-interest and that the blacks were 'against' emancipation, which was fundamentally why they were indulging in 'leaderless' riots in the suburbs of Los Angeles."  On February 10, 1967, Campbell rejected Samuel R. Delaney's Nova a month before it was ultimately published, with a note and phone call to his agent explaining that he didn't feel his readership "would be able to relate to a black main character". There reputedly exists a letter from him to horror writer Dean Koontz in which Campbell argues that a technologically advanced black civilization would be a social and a biological impossibility.

Answer the following question by taking a quote from the article: Why did he believe that?
he pointed out that the worker bee when unable to work dies of misery, that the moujiks when freed went to their masters and begged to be enslaved again,