Monday, March 12, 2012

376 Marilyn Monroe in Jewish Hollywood: she converted to Judaism (Elizabeth Taylor too)

Marilyn Monroe in Jewish Hollywood: she converted to Judaism (Elizabeth Taylor too)

(1) Marilyn and the Jews
(2) Marilyn Monroe’s Certificate of Conversion to Judaism
(3) Elvis Presley was born Jewish; Marilyn Monroe & Elizabeth Taylor converted to Judaism
(4) Hollywood's 'Soft Assault' on Christianity

(1) Marilyn and the Jews
From: Denver Media Service <ron@denvermediaservice.com> Date: 23.09.2010 01:40 PM

http://library.flawlesslogic.com/monroe.htm
http://wakeupfromyourslumber.com/node/7331

JTR {Jewish Tribal Review}

Marilyn Monroe is one of many Gentile actors who fell under the dominance of a string of Jewish psychoanalysts, including, most famously, Ralph Greenson (born: Romeo Greenschpoon) who was her therapist when she allegedly committed suicide. "Like many of his colleagues at the time," notes a review of Donald Spoto's biography of Marilyn, "Greenson relied heavily on drug therapy for his patients, routinely prescribing barbiturates and tranquilizers or having patients' other doctors do so. He referred Marilyn to [Jewish] internist Hyman Engelberg, who prescribed many of the medications Greenson ordered for her ... Her friends noticed that the more Marilyn saw Greenson, the more miserable she became ... Greenson encouraged Marilyn's deep dependency on him (he was seeing her twice daily)" (Good Housekeeping, 1993, pp. 212, 214).

The incestuous nature of Hollywood life may be observed in Greenson's case: his sister Elizabeth was married to Milton 'Mickey' Rudin, a Jewish entertainment attorney who was one of the town's major powerbrokers. Rudin was Monroe's lawyer.

Marilyn's publicist, Arthur Jacobs, was also Jewish. So were her agents at MCA, Jay Kanter and Mort Viner. Many of the directors of her films were Jews (for example, Billy Wilder of Some Like It Hot and George Cukor of Let's Make Love). Natasha Lytess, her personal manager and the subject of speculation about Monroe's rumored lesbianism, was Jewish, from Austria. Their relationship, says Barbara Leaming, was "mutually exploitive" (Leaming, 31). Milton Greene, a Jewish fashion photographer "with whom she'd reportedly had a fling during the late forties," was another early personal manager.

Monroe had resolved to sleep with anyone who could help her attain fame and fortune in Jewish-dominated Hollywood. Close friend Ted Jordan notes that she had "sex with anybody she thought might be able to advance her career" (Jordan, 121). "It is clear," says Anthony Summers in his biography, "that Marilyn made judicious use of her favors. A key beneficiary was the [Jewish] man who got Marilyn that vital first contract at Fox -- Ben Lyon. According to writer Sheila Graham, Lyon had been sleeping with Marilyn and promising to further her career ... Lyon called the casting director for Sol Wurtzel, a [Jewish] B-movie producer of the time [and Monroe was awarded a small part in the 1947 film Dangerous Years]" (Summers, 35).

In olden times," Upton Sinclair once remarked, "Jewish traders sold Christian girls into concubinage and into prostitution, and even today they display the same activity in the same field in southern California where I live." Or as F. Scott Fitzgerald summed up the Hollywood scene of his era -- "a Jewish holiday, a Gentile tragedy" (Gabler, 2).

Garment millionaire Henry Rosenfeld was another Jewish sex partner on Marilyn's road to fame. "She would join Rosenfeld at his home in Atlantic City for trips in his speedboat and for quiet evenings of talk and laughter" (Summers, 45). Jewish mobster Bugsy Siegel, himself a Hollywood powerbroker, also slept with her (Jordan, 84, 87). Ted Jordan (born Edward Friedman) even wrote a book about his early sexual experiences with Monroe -- they began on his fourth date with her when she was 17. Then known by her real name, Norma Jean, Monroe was soon sleeping with Friedman's uncle, Ted Lewis (original name also Friedman), who, "with his clarinet and distinctive style of old favorites, was among the hottest acts in show business" (Jordan, 73). It was Lewis who introduced the then-unknown model to narcotics.

"I learned," says Jordan, "that at one point in their little backstage meeting, Ted had slipped Norma Jean a piece of paper with his telephone number on it. Soon they were meeting in hotel rooms whenever Ted was in town ... Soon he was pulling strings for Norma Jean, trying to hook her up with an agent who would do her the most good ... As Norma Jean had vowed to me, whoever she had to fuck, she was prepared to do it. And, for good measure, she did the same with [prominent Jewish gossip columnist] Walter Winchell" (Jordan, 75).

Early in Monroe's career as a struggling actress, the Jewish head of Columbia, Harry Cohn, invited her to an overnight cruise on his yacht. Monroe was required to strip naked for Cohn in his office. As she bent over, at his direction, he approached her, penis in hand. When she declined his advances, said Monroe, "I had never seen a man so angry" (Jordan, 91; Wolfe, 211-212). Cohn then "banned her from the [Columbia] lot after she refused to accompany him on a yacht to Catalina Island" (Leaming, 8). "You know," Monroe once said, "that when a producer calls an actress into his office to discuss a script that isn't all he has in mind ... I've slept with producers. I'd be a liar if I said I didn't" (Summers, 34-35). In 1955, 20th Century Fox awarded Monroe the richest per-film contract of any actress. "It means," remarked Monroe, "I'll never have to suck another cock again!" (McDougal, 217).

The network of Jewish men that controls Hollywood has always been characterized by an intense sexual fixation on the shiksa -- shiksa being a derogatory slur for a Gentile woman, literally signifying "unclean animal" according to its Yiddish etymology. Hence the ubiquitous "casting couch," a Hollywood institution that provided Jewish powerbrokers access to otherwise unavailable non-Jewish women, whom they despised as non-Jews yet idealized as avatars of alien sexual desirability. The shiksa thus became the ultimate sexual trophy. The Jews who ruled Hollywood, noted Hollywood rabbi Edgar Magnin, "were men who made all that money and realized they were still a bunch of Goddamned Jews. Sleeping with a pretty gentile girl made them feel, if only for a few minutes, 'I'm half gentile.' No wonder they made idols out of shiksa goddesses."

A key agent in accelerating Monroe's early career was Johnny Hyde (like many Hollywood Jews, born in Russia, and a veteran of vaudeville.) She was also his mistress; he was 53, she was 23. Hyde "not so coincidentally ... was Ted Lewis' personal manager" (Jordan, 85). "In making Marilyn known," says Fred Guiles, "[Hyde] flexed a lot of muscle. The simple fact is that Johnny Hyde was the chief architect of her fame and her eventual legend" (Guiles, 147).

"By 1953," Jordan reports, "... [Monroe] could be virulently anti-Semitic (a prejudice that grew as she got older). To my discomfort she would sometimes refer to Joe Schenck, the mogul [and another sexual stepping stone], as 'that Jew shit' and to other Hollywood personalities as 'Jew' this or that. Occasionally I would have to remind her that I was half Jewish" (Jordan, 188). Monroe's anti-Semitism did not prevent her from later converting to Judaism, at the behest of her Jewish husband, playwright Arthur Miller, who (despite his vocal anti-racialism) would not wed an uncoverted Gentile.

The Hollywood world and its pressures of being a sex goddess of course destroyed her. Monroe's physician Hyman Engelberg and her therapist Ralph Greenson were the first to her death scene, reported to be the result of a drug overdose, but they did not call police for four hours. One investigative author, Donald Spoto, in a 1993 work, even burdens Greenson with the responsibility for killing her, directing that a female employee "administer [to Monroe] ... a fatal barbiturate-laced enema." (In this scenario, Greenson's motivation was that Monroe was trying to free herself from his influence and control, and had fired him [Wolfe, 99]).

A friend of Monroe's recalls that she was beginning to feel that Greenson was "trying to substitute himself for everything she'd built up those past years. She decided he was anti-everything she wanted. She was radically turning on Greenson and Mrs. Murray, the woman he'd put with her, she felt, to spy on her" (Strasberg, 250-251).

The famous movie star's alleged suicide has always been controversial, and there are various conspiracy notions about who would want her dead. Greenson's secret life is much clouded. As well as being a therapist, he was an activist Communist Party member and part of its international Comintern. Greenson, as his sister Elizabeth has reported, was also a Zionist with "strong ties to Israel" (Kelley, 305).

Whatever Greenson's role as a listener of movie star's confessions, his communist ties have profound implications because Monroe had romantic affairs with President John F. Kennedy and knew a great deal about behind-the-scenes politicking, perhaps including plans against communist Cuba and Fidel Castro. Everything Monroe knew she undoubtedly told her psychotherapist. As Donald Wolfe writes:

Once Marilyn Monroe became Greenson's patient, he became one of the most important Comintern operatives in America; he had access to the mind of a woman who often shared the bed with the president of the United States and was an intimate of the attorney general [Kennedy's brother, Robert] ... As Greenson has correctly stated, Marilyn Monroe had a tendency to 'get involved with very destructive people, who will engage in some sort of sado-masochistic relationship with her.' Ironically, among these people was her psychiatrist [Greenson], her physician [Engelberg], and her housekeeper, Eunice Murray [who was appointed by Greenson to live with Ms. Monroe and report back to him], who joined in a conspiracy to survey Marilyn Monroe within a sphere of influence designed to gather intelligence from her relationship with the president of the United States and the attorney general (Wolfe, 386).

Marilyn Monroe's road to psychoanalysis was directed by the influential Jewish acting teacher, Lee Strasberg, who is usually credited with spawning "method acting," made famous by the likes of Marlon Brando and James Dean. Brando's first Jewish analyst, early in his career, was Bela Mittelman, "the coldest man I've ever known." ... "Acting afforded me the luxury of being able to spend thousands of dollars on psychoanalysts, most of whom did nothing but convince me that most New York and Beverly Hills psychoanalysts are a little crazy themselves, as well as highly motivated to separate patients from their money while making their emotional problems worse" (Brando, 124, 243). Brando was not much endeared to Lee Strasberg either, calling him "an ambitious, selfish man who exploited the people who attended the Actors Studio, and he tried to project himself as an acting oracle and guru. Some people worshiped him, but I never knew why" (Brando, 85).

Strasberg's daughter, Susan, notes that her father "sent numerous actors to psychiatrists, and many doctors sent their patients to class because they felt his work helped theirs in analysis" (Strasberg, 31). Susan Strasberg herself used to argue with Marilyn Monroe about whether she or the famous sex goddess "needed therapy more" (Strasberg, 138). As Barbara Leaming observes:

It was said that the master teacher Lee Strasberg could open inner doors that one scarcely knew existed. Some admirers called him the Rabbi. Some compared him to a psychiatrist or a highly judgmental Jewish father ... Strasberg focused on psychology. He ran his workshop as though they were group therapy sessions... Strasberg often advised actors to enter psychoanalysis in order to put them in touch with emotionally-charged material they could use in their work" (Leaming, 156-157).

Under Lee Strasberg's influence Marilyn became an earnest devotee not just of method acting, but of Freudian analysis as well. Monroe's one-time husband, Jewish playwright Arthur Miller, also had his own Jewish psychoanalyst: Rudolph Loewenstein. Monroe even had sessions with Sigmund's Freud daughter, Anna, also a therapist, in London. "The significance of [Monroe's reliance on psychoanalysts] for psychoanalysis," notes Jeffrey Moussaieff Masson, "was that Monroe left a substantial part of her estate to further the work of Anna Freud, whom she had seen briefly for analytic help in 1956 (Anna Freud wrote about her that she was paranoid with schizophrenic traits), and this bequest was undoubtedly achieved through her analysts, who were intimately connected to Anna Freud" (Masson, 129).

As Masson, a former offical at the Sigmund Freud Archives, further notes about the ethical undercurrent of such funding:

It is not, in fact, uncommon for analysts to solicit, usually through roundabout methods, former patients for money to support analytic projects. Chairs of psychoanalysis in medical schools at various universities have been partially endowed through former patients. There was also the case of the Centenary Fund, named for the centenary, in 1956, of Freud's birth. [Marilyn Monroe's therapist Ralph] Greenson had organized this fund for psychoanalytic research in Los Angeles ... I felt then, and still do now, that it is an exploitation of the emotional relationship with a patient to solicit money, in whatever form, directly or indirectly. It seems to me that the patient, or ex-patient, is in no position, emotionally speaking, to refuse ... I find it wrong and morally distasteful" (Masson, 130).

A Monroe friend once stated that "I felt [Ralph Greenson] had a big ego, like a lot of doctors he wanted to be God, and of all the analysts in L.A. she found him. Inger Stevens was his patient too. She killed herself later" (Strasberg, 250).

As Greenson once claimed, "I can count [on] Marilyn to do anything I want her to do" (Wolfe, 422).
 
Works Cited
Brando, Marlon. Brando: Songs My Mother Taught Me. Random House, Toronto, 1994.
Gabler, Neal. An Empire of Their Own: How the Jews Invented Hollywood. Crown Publishers. New York, 1988.
Good Housekeeping. "Marilyn Monroe." May 1993, pp. 162-163, 212-216.
Guiles, Fred Lawrence. Legend: The Life and Death of Marilyn Monroe. Stein and Day, New York, 1989.
Jordan, Ted. Norma Jean: My Secret Life with Marilyn Monroe. William Morris & Co., New York, 1989.
Kelley, Kitty. His Way: The Unauthorized Biography of Frank Sinatra. Bantam Books. New York, 1986.
Leaming, Barbara. Marilyn Monroe. Crown Publishers, New York, 1998.
Masson, Jeffrey Moussaieff. Final Analysis: The Making and Unmaking of a Psychoanalyst. Addison-Wesley, New York, 1990.
McDougal, Dennis. The Last Mogul: Lew Wasserman, MCA, and the Hidden History of Hollywood. Crown Publishers, New York, 1998.
Strasberg, Susan. Marilyn and Me: Sisters, Rivals, Friends. Warner Books, New York, 1992.
Summers, Anthony. Goddess: The Secret Lives of Marilyn Monroe. MacMillan, New York, 1985.
Wolfe, Donald H. The Last Days of Marilyn Monroe. William Morrow, New York, 1998.

The preceding text is excerpted and edited from When Victims Rule, online at Jewish Tribal Review: http://www.jewishtribalreview.org/open.htm

(2) Marilyn Monroe’s Certificate of Conversion to Judaism

{visit the link to see the Conversion Certificate}

http://www.jewwatch.com/jew-entertainment-news-monopoly-marilyn-monroe-converted-to-judaism.html

Marilyn Monroe (1926-1962)

When the prolific Jewish playwright Arthur Miller initially met Marilyn Monroe at a cocktail party in Hollywood. When they met some years some years later, after her divorce from Joe DiMaggio, love blossomed. But when a dinner discussion regarding marriage plans cropped up, Marilyn made an unusual request: "I think I'd like to have a rabbi."

Thus, Marilyn converted in June of 1956, flanked by Rabbi Robert Goldberg, Miller, and his family. She even got a musical menorah that played Hatikvah as a gift.

According to The Jewish Times of Brookline, Massachusetts:

"Is it of your own free will that you seek admittance into the Jewish fold?" the rabbi asked.
"Yes", Marilyn said.
"Do you renounce your former faith?"
She had had none so she renounced her lack of faith. "Yes".
"Do you pledge you loyalty to Judaism? Do you promise to cast in your lot with the people of Israel amid all circumstances?"
It is good, she remembered, to suffer — if you share with others … "Yes."
"Do you promise to lead a Jewish life?"
She thought of her new family, holding each other close in a bond of love. "Yes."
"Should you be blessed with children do you agree to rear your children according to the Jewish faith?"
Her children, who would forever know who they were, who would have an answer to their questions. "Oh, yes," she said.
The Rabbi smiled at her. "Repeat after me," he said, and together they spoke the ancient words of the convert.
"I do herewith declare in the presence of God and the witnesses here assembled that I … seek the fellowship of Israel.
"I believe that God is one Almighty, Allwise, Most Holy …
The Rabbi took her hand and gave her solemnly a name chosen from the Bible — a name which she keeps entirely to herself. "With this name as token you are now a member of the household of Israel and have assumed all its rights, privileges and responsibilities." His hand was on her head.

On June 29th, 1956 she married Arthur Miller. On July 1st, 1956 they had another, Jewish, wedding ceremony.

(3) Elvis Presley was born Jewish; Marilyn Monroe & Elizabeth Taylor converted to Judaism

http://www.amuseum.org/jahf/nomination/elvis_article.html

Elvis Presley, Marilyn Monroe, Elizabeth Taylor and Sammy Davis, Jr. could all be in the Jewish-American Hall of Fame!

Elvis Presley (1935-1977)

According to rabbinic law, a Jew is defined as either a person born of a Jewish mother or one who has been converted to Judaism. Thus Elvis Presley was Jewish the old fashioned way – through maternal descent, while Marilyn Monroe, Elizabeth Taylor and Sammy Davis Junior all converted.

Historian and biographer Elaine Dundy writes about Elvis Aron Presley’s Jewish heritage in her book "Elvis and Gladys":

"...Nancy Burdine was married to Abner Tackett (Elvis’ great great maternal grandmother). Nancy was of particular interest to Gladys for her Jewish heritage, often remembering Nancy's sons for their Jewish names Sidney and Jerome. Nancy and Abner had a daughter Martha who married White Mansell. The daughter which they named Octavia, nick-named Doll, who was Elvis' maternal grandmother."

"...Doll and Robert had nine children. Gladys Love was the fifth daughter born followed by 3 more brothers and one sister. After his mother died, Elvis personally sought to design his beloved mother’s gravesite which included a Star of David on Gladys Love Presley's tombstone. The decision was made by him in honor of his Jewish heritage. Something his mother was proud of and acknowledged to Elvis at a very early age.

Later in life, when Elvis discovered the teachings of Judaism, Zen Buddhism and the occult teachings through his hairdresser Larry Geller he became familiar with the Hebrew alphabet and its symbols. From then on part of his on-stage wardrobe throughout most of 1977 Elvis wore a "Chai" necklace. When Charlie Hodge asked Elvis why this particular piece of jewelry was so important, Elvis replied, "I don’t want to miss out on goin' to heaven on a technicality." Note that two letters form Chai, the Hebrew word for “life.”

Star of David on Gladys Love Presley’s tombstone

"Aron" was the spelling the Presley's chose, to resemble his twin brother's middle name "Garon". Toward the end of his life Elvis sought to change the spelling to the traditional and biblical "Aaron", in the process he learned that the official state records had listed it as "Aaron" anyway, and not "Aron" as on his original birth records. "Aaron" is the spelling his family chose for his tombstone. ... 

Elizabeth Taylor (born 1932)

On the January 15, 2001 "Larry King Live" show, Elizabeth Taylor was asked "You are Jewish, are you not?" and she replied "I am, I am."(She had converted after the death of her husband Michael Todd, the producer and impresario, and before her marriage to singer Eddie Fisher.)

Elizabeth Taylor narrated portions of “Genocide,” produced by the Simon Wiesenthal Center, that went on to received the 1981 Academy Award® for best feature documentary, the first Holocaust documentary to be given this honor.

Rabbi Marvin Hier, Director of the Wisenthal Center, describes how he “ flew to Washington, D.C., to ask United States Senator John Warner if he would show the script to his then wife, Elizabeth Taylor. Warner, a good friend of the Center, had worked closely with us on a number of social action issues; he promised he would take the script home to Elizabeth, but cautioned me against overoptimism. "You know stars; you can't tell which scripts they will accept. I'll call on Monday either way," Senator Warner promised.

“On Monday, Warner called excitedly. "Rabbi, I've got both good and bad news. The good news is that Elizabeth will do it without remuneration. The bad news is you ruined my weekend - she couldn’t stop crying from Friday to Sunday night."

“A week later, Elizabeth Taylor and I had lunch at the Polo Lounge in the Beverly Hills Hotel. A Greyhound bus driver spotted her coming in and alerted his bus load of tourists, who soon found the secluded window table where we were seated. When Elizabeth noticed them and turned around to wave, I told her that they did not come to see her, but that what attracted them was the sight of an Orthodox rabbi at the Polo Lounge! At this meeting, Elizabeth made it clear that this project was very special to her, since she regarded the Jewish people as her people, and wanted to identify personally with the tragedy of the Holocaust. She asked if we could record in London while she was filming Agatha Christie's The Mirror Cracked. She also asked if I could coach her in the correct Yiddish and Hebrew pronunciations that were part of her narration. We agreed to record in London in June with two days set aside for rehearsal.

I flew to London to record Elizabeth Taylor's segments. Elizabeth Taylor pronounced "Mir velen zei iberleben " ("We shall outlive them") like a Jewess from Warsaw, and her perfectly accented "Hazak F' Ainatz" ("Be Strong and Brave") drew compliments from Israel's ambassador to the United States. She was deeply moved during the recording of one of the stories. She wept and could not continue recording Leon Kahn's description of the murder of the residents of Elsiskes at the hands of their Ukrainian tormentors.”

Sammy Davis, Jr. (1925-1990)
 
In 1954, entertainer Sammy Davis, Jr. almost died in a car accident where he lost his left eye. While in the hospital, his friend Eddie Cantor enlightened him on the similarities between the Jewish and black cultures. While he convalesced, Davis had time to reflect and to engage in long conversations with a rabbi at the hospital. Davis later said that he found many parallels between the challenges Jews and black Americans faced, both historically and contemporarily. This deep reflection led Davis to convert to Judaism, a calling he embraced throughout his life--and characteristically worked in as fodder for his act, joking that he was entertainment's only one-eyed Jewish black man.

It was not long after his conversion, and he refused to work on Yom Kippur. The director of the movie “Porgy and Bess” got angry and called the legendary producer Samuel Goldwyn. Goldwyn immediately called Sammy and wanted to know if it was true about his refusing to work. Sammy said that, as a Jew he could not work on the Day of Atonement. There was silence for a moment, with Goldwyn no doubt noting that stopping production would cost $30,000, a large sum then. Finally, Goldwyn (who was also Jewish) said, "Bless you." Production on the film was stopped for Yom Kippur.

© 2000-2007 Jewish-American Hall of Fame, All Rights Reserved

(4) Hollywood's 'Soft Assault' on Christianity

HOLLYWOOD ADVANCES 'SOFT ASSAULT' ON CHRISTIAN IMAGERY

Subliminal propaganda radiates from Big Screen

By Mark Green and Wendy Campbell
April 20, 2005

"I believe there are more instances of the abridgment of the freedom of the people in gradual and silent encroachments by those in power than by violent and sudden usurpations." -James Madison, 1788

Edison may have invented the 'motion picture', but Jewish immigrants from Europe "invented Hollywood". Remarkably, in the century since Meyer, the Warner brothers and a handful of other Ashkenazi Jewish immigrants began the "studio system", Hollywood still maintains a distinctly Yiddish accent. Some critics, however, posit that Hollywood doesn't play fair, since it employs the mesmerizing power of cinema to manipulate the mindset of complacent viewers. How? By relentlessly injecting sordid scenarios and denigrating images of once respected American archetypes and institutions. Latest targets: the Catholic Church and, as usual, Arabs.

One very recent example (out of many) is the comic-book-styled action flick "Sin City". In it we witness numerous oddball villains, many adorned with multiple layers of crucifixion crosses (a symbol revered by many Christians) as they go about their merry, murderous ways. Indeed, the film's arch-villain turns out to be nothing less than a satanic, cannibalistic Catholic cardinal! OK, this is fictional entertainment, but Hollywood knows that these scenarios have a visceral, even subliminal, impact. That's basically why we don't see any Hollywood-fabricated demons sporting Stars of David (a symbol revered by many Jews) nor do we see any 'rabid rabbis' dished up for popular entertainment.

The unspoken code of Hollywood is this: Jewish archetypes and religious sensitivities are to be respected. Others may be casually smeared.

Although Catholics and Arabs are expected to survive this non-lethal onslaught, when one considers the laudatory treatment Hollywood grants Jewish and Israeli characters, it's becoming an insult. How is it that Jews, Arabs and Christians receive such different treatment under Hollywood's gaze?

In polite terms, the Jewish presence in American film and media is "without peer".

In many ways, Hollywood is an "insider" kind of business. While talent is essential, there is a political element to success in Hollywood. One must pass muster with the specifically Jewish dictates of political correctness. Otherwise, one may find oneself very unemployed. It took an actor/producer with the stature of Mel Gibson to buck this kosher Hollywood code and produce his controversial, but wildly successful film, "The Passion". Even Gibson however had to endure a tidal wave of organized Jewish protest, including death threats to his family.

To no one's surprise, Bob and Harvey Weinstein of Miramax Films declined to distribute Gibson's "The Passion", in no small part because it offended many Jews and was accused of stoking the "eternal flames" of anti-Semitism. On the other hand, the Weinstein brothers did distribute "Sin City" as well as Michael Moore's much ballyhooed "Fahrenheit 9/11". Why? Both films respected the unwritten kosher code: vilification of Arab and/or Christians is acceptable, but one must never --- even in the context of analyzing terrorism or U.S. foreign policy in the Middle East--- demonize Israel or Zionism.

Indeed, in "Fahrenheit 9/11", Michael Moore's controversial "expose" actually managed to keep Israel, Zionism (and even neo-conservatism) completely off the cinematic radar. Moore did provide acceptable doses of Saudi-bashing as well as enough innuendo to bolster the Leftist, politically correct view that U.S. Mid East policies are "ALL about oil". He's been the darling of liberal Hollywood circles ever since.

With that in mind, it's important that the aspiring film-maker should remember these three things:

One: Jews tend to occupy the top of the Hollywood food chain.

Two: They intend to remain there.

Three: Don't forget those first two things.

Like it or not, the "gatekeepers" of American mass media are disproportionately 'Israeli-American'. Though Tinseltown famously disdains "white (non-Jewish) racism", prevailing Hollywood customs affirm industry-wide Jewish networking. The results are nothing less than astounding.

America, many now acknowledge, has come to "think Jewish", as attitudes have magically shifted on matters such as race, "minority rights", school prayer, "abortion rights", celebrating "the holidays", and "promoting our nation's values" via militant democracy-building in all Mid-East countries except Israel. OK, Israel may qualify as a "democracy" in the same way that white, apartheid South Africa did, but there's one huge difference: concerted intervention from around the world finally brought the segregated, apartheid system to its knees. White racial discrimination has been declared "evil". Significantly, Jewish activists played a decisive role in the anti-apartheid movement. Yet Israel suffers no similar opprobrium. Pressures on the Jewish state to abandon its commitment to legally sanctioned segregation are also virtually non-existent. Israel is in a class by itself.

Further, it is no accident that Israeli "security" is now the centerpiece of U.S. foreign policy.

How are the highly placed "friends of Israel" able to bamboozle so much of the world? ---Through a complicated but interconnected array of propaganda, political pressure, complex legalisms, victim identity ... and raw political muscle. In today's America, just an allegation of "anti-Semitism" can damage the career of any public figure. And to sustain this perspective, Americans are supplied a daily dose of Holocaust lore. ...

Although reportedly less than 3% of our population, Jewish per capita income is unsurpassed, as is their presence at our nation's top universities and think tanks. As noted, American Jews make up a majority of Hollywood's ruling class and beyond that, Jewish "over-representation" is an accomplished fact in law, journalism, and publishing. This is no small matter. With the average American watching over four hours of TV or film every day (and perusing mainstream newspapers and magazines, too) these figures are evidence of a profound ethnic imbalance in the management and dissemination of news and information. For America's Jewish community, this translates into unrivaled political power.

The enduring fact remains that who ever owns and manages the media, can also leverage public opinion, and from there, government policies.

Indeed, Jewish media mavens have the means to easily advance their particular view of history, with far-reaching consequences. And with the Jewish state of Israel embroiled perpetual conflict since its founding in 1948, the question must be posed: might many of our country's most accomplished producers, editors and story-tellers have at least a minor conflict of interest?

Put another way: how can they NOT?  ...

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