*Harvey Weinstein at Algemeiner Gala dinner: ‘I Am an Israeli in My
Heart
and Mind’*
Newsletter published on 16 October 2017
*(1) Harvey Weinstein at Algemeiner Gala dinner: ‘I
Am an Israeli in My
Heart and Mind’ *
*(2) Youtube video of
Weinstein’s remarks *
*(3) The Fall of Harvey Weinstein is a major event
in the Culture War *
*(4) Jews Run Hollywood: So What? - Moment Magazine,
August 1996, front
cover *
*(5) Is Hollywood Run by Jews? You bet! -
by Joel Stein, LA Times,
December 19, 2008 *
*(6) Why Hot, WASPy
Chicks Love Jews, by Joel Stein (LA Times)*
*(7) Harvey Weinstein’s
Catholic-Bashing Films *
*(8) France to strip Weinstein of the Legion of
Honor award *
*(9) Chelsea Clinton evades Reporters asking whether
Clinton Foundation
will return Harvey Weinstein’s Donations *
*(10)
Rose McGowan: Hollywood Blacklisted me because I got raped,
because I said
something *
*(11) Marilyn Munroe and the Jewish men who ran Hollywood -
sexually
fixated on the Shiksa*
*(12) Luke Ford & William Cash on
Jewish Hollywood - the Spectator
debate. Jews replace WASPs as New
Establishment*
*(13) Rabbi Dresner blames 'the Hollywood crowd' for
Destruction of the
Traditional Family - E. Michael Jones*
*(14)
Playboy's Jewish Editors: "The whole staff, practically, was
Jewish"*
*(15) Rabbi Daniel Lapin blamed Jews for America's* "*rapidly
deteriorating culture*"**
*(16) Norman Podhoretz blames Allen
Ginsberg for promoting Sodomy*
*(17) Luke Ford (Jewish himself) explains
Why do Jews dominate Porn? *
**
*(1) Harvey Weinstein at
Algemeiner Gala dinner: ‘I Am an Israeli in My
Heart and
Mind’*
**
Algemeiner bills itself as "the fastest growing Jewish
newspaper in
America".**
**
https://www.algemeiner.com/2017/09/20/oscar-winning-producer-harvey-weinstein-at-algemeiner-gala-i-am-israeli-in-my-heart-and-mind/**
**
SEPTEMBER
20, 2017 1:06 PM**
**
Oscar-Winning Producer Harvey Weinstein at
Algemeiner Gala: ‘I
Am**Israeli in My Heart and
Mind’**
**
avatar by Algemeiner
Staff**
**
Oscar-winning film producer Harvey Weinstein expressed
his deep
love**and appreciation for the Jewish state on Monday, saying, “*I
am an
Israeli in my heart and mind*.”**
**
Speaking on the red
carpet at The Algemeiner‘s fourth annual gala
in**New York City, Weinstein
emphasized, “I love that country, I love
what**it stands for, *I am proud to
be Jewish*.”**
**
The Hollywood mogul recounted his appearance at
The Algemeiner’s
gala**in 2013, when he presented Holocaust survivor and
Nobel Peace
Prize**laureate Elie Wiesel with the “Warrior for Truth” award.
Wiesel
served**as chairman of The Algemeiner’s Tribute Committee until his
passing in**2016.**
**
“This is one of the most influential
presses we have, not only in**[the]
Jewish world, but all [the] world,”
Weinstein observed.**
**
He also spoke of his upcoming movie “Mila
18,” an adaptation of
Leon**Uris’ acclaimed novel on the Warsaw Ghetto
Uprising.**
**
“When people see ‘Mila 18,’ they can subtitle it
‘Jews with
guns,’**because this is not about going into the night quietly,”
Weinstein**said. “This is the birth of the modern Israelis, these were
the guys**in the ghetto who said we are not going to walk into the
concentration**camps and get herded like cattle. They said, we’re going
to kill some**Germans instead.”**
**
*(2) Youtube video of
Weinstein’s remarks*
**
{Best save this to your computer, before
it's taken down. Save the link
too - Peter M}**
**
https://www.youtube.com/embed/kAt7ZPtCtxM**
**
Q:
Lastly, does Israel advocacy play any part in your life? Are
you**supporting
it at all?**
**
Weinstein:*I'm an Israeli in my heart and mind. I
love that country. I
love what it stands for. I'm proud to be
Jewish*.**
**
*(3) The Fall of Harvey Weinstein is a major event
in the Culture War -
Peter Myers, October 16, 2017 *
**
The
fall of Harvey Weinstein is a sequel to the fall of Dominique
Strauss-Kahn.
Both were powerful Jews at the top, who used lawyers to
suppress evidence of
their rapes and other sex crimes against women.
Weinstein used
"non-Disclosure clauses" in contracts to intimidate
victims from speaking
out.**
**
For highlighting *Harvey Weinstein's Jewishness, some*
people will call
me 'anti-semitic'. But he trumpeted that Jewishness and his
identification with Israel, despite having committed such crimes for
decades. And Jewish media feted him, despite the rumors that
circulated.**
**
I have provided evidence (below) from Jewish
sources, that Hollywood is
run by Jews, and that they have been destroying
traditional values and
Christian America.**
**
Weinstein made
many anti-Catholic films. He dished it out in the name of
Judaism; so the
stigna will stick to Judaism too. It's up to Jews to
reform their culture,
as Rabbi Sam Dresner and Rabbi Daniel Lapin long
urged.**
**
Moment Magazine, which billed itself as "The
Jewish Magazine for the
'90s", ran a front cover saying Jews Run Hollywood:
So What?**
**
The LA Times of December 19, 2008 ran an article Is
Hollywood Run by
Jews? You bet! - by Joel Stein.**
**
Photos
of both originals are
at**https://wikispooks.com/wiki/Document:Jews_Boast_of_Owning_Hollywood_-_But_Slam_Gentiles_Who_Say_the_Same_Thing**
**
The
LA Times one is still online - but WITH a CHANGED
HEADLINE.**
**
Weinstein's fall will be a turning point in the
Culture War, because the
New Left (Feminist, Gay Rights, Trans) claims the
Moral High Ground in
matters of sex and gender; and this is no longer
tenable. The Catholic
Church has long been a target, while Hollywood has
been busy corrupting
the youth. Now Hollywood is itself being exposed by the
very Feminist
movement it championed. The women are determined that this
issue will
not be buried; the media can no longer maintain silence about it;
and
Weinstein may only be the first of many to be
outed.**
**
Jews are not the only ones who can claim
Victimhood.**
**
France has taken steps to strip Weinstein of the
Legion of Honor award;
but the Simon Wisenthal Center has still not revoked
the award it issued
to Weinstein.**
**
*(4) Jews Run
Hollywood: So What? - Moment Magazine, August 1996, front
cover*
**
see it
at**https://wikispooks.com/wiki/Document:Jews_Boast_of_Owning_Hollywood_-_But_Slam_Gentiles_Who_Say_the_Same_Thing**
**
Front
Cover, Moment Magazine**
**
The Jewish Magazine for the
'90s**
**
August 1996/ AV 5756**
**
"It makes no
sense at all to try to deny the reality of Jewish power and
prominence in
popular culture. Any list of the most influential
production executives at
each of the major movie studios will produce a
heavy majority of
recognizably Jewish names."**
**
http://theunhivedmind.com/UHM/jews-run-hollywood-so-what/**
**
Jews
Run Hollywood – So What?**
**
May 25,
2016**
**
“Jews Run Hollywood – So What?”**
**
– is
a brazen “shove it down your throat article”**
**
Marlon Brando
complained on the Larry King Live show on april 5th 1996
that, “Hollywood is
run by Jews – it is owned by Jews!” He added that
the Jews have slandered
every other racial group, “but are ever so
careful to insure that there is
never any negative image of the Kike.”**
**
For this Marlon Brando
was labelled “anti-Semitic” and forced to
apologize to the Jews running the
Simon Wiesenthal Holocaust Tourist
Center in Los
Angeles.**
**
Now organized Jewry has become so brazen and
powerful that they are no
longer making any secret of this
fact!**
**
Jews Run Hollywood – So What? The American Moment
Magazine is subtitled,
“The Jewish Magazine for the ’90s”. Its edition of
Aug. 1996 carries the
startling headline “Jews Run Hollywood – So What?” The
author is the Jew
Michael Medved who states:**
**
“It makes no
sense at all to try to deny the reality of Jewish power and
prominence in
popular culture. Any list of the most influential
production executives at
each of the major movie studios will produce a
heavy majority of
recognizably Jewish names.”**
**
The article then describes how
the Jew Michael Eisner, the Head of Walt
Disney studios only hires “highly
paid Jewish moguls” as producers such
as Jeffrey Katzenberg, Michael Ovitz,
Joe Roth (former head of 20th
Century Fox). Medved emphazises the point
that, “The famous *Disney
organization*, which was founded by Walt Disney, a
gentile Midwesterner
who allegedly harboured anti-Semitic attitudes,*now
features Jewish
personnel in nearly all its most powerful
positions.”*
**
Medved continues: “Men and women of Jewish
background enjoy a vastly
disproportionate – if not dominate – influence in
Hollywood.” He adds
that even studios which were bought out by the Japanese
Sony Corp. and
by the Australian Jew Rupert Murdoch, still had to hire, “a
Yiddish team
of long-time industry leaders in all the most powerful
positions. When
Mitsushita took over MCA-Universal, they did nothing to
undermine the
unquestioned authority of Universal’s legendary – and
all-Jewish –
management triad of Lew Wasserman, Sid Scheinberg and Tom
Pollack.”**
**
Medved further writes that most of today’s movie
moguls graduated from
Ivy League colleges, “where Jews are vastly
over-represented – just as
they are in Hollywood.”
[...]**
**
Medved says that such *anti-Christian films as “The
Last Temptation of
Christ”* by Lew Wasserman, “gives tactic approval to what
most Americans
consider as a damaging influence of the entertainment
industry.”**
**
Medved ends with this statement, which should be a
warning to all
non-Jews:**
**
“The combined weight of so many
Jews in one of America’s most lucrative
and important industries gives the
Jews of Hollywood a great deal of
political power. They are *a major source
of money for Democratic
candidates*. The industry’s informal patriarch, MCA
chairman Lew
Wasserman, wields tremendous personal clout in state and
national
politics. So do Barbara Streisand, Norman Lear and
others.”**
**
*(5) Is Hollywood Run by Jews? You bet! - by Joel
Stein, LA Times,
December 19, 2008*
**
Is Hollywood Run by
Jews? You bet!**
**
By *Joel Stein*
**
LA Times,
December 19, 2008**
**
see it
at**https://wikispooks.com/wiki/Document:Jews_Boast_of_Owning_Hollywood_-_But_Slam_Gentiles_Who_Say_the_Same_Thing**
**
{online
(with a changed headline) at
http://articles.latimes.com/2008/dec/19/opinion/oe-stein19}**
**
I
have never been so upset by a poll in my life. *Only 22% of Americans
now
believe "the movie and television industries are pretty much run by
Jews,"
down from nearly 50% in 1964*. The Anti-Defamation League, which
released
the poll results last month, sees in these numbers a victory
against
stereotyping. Actually, it just shows *how dumb America has
gotten*. Jews
totally run Hollywood.**
**
How deeply Jewish is Hollywood? When
the *studio chiefs took out a
full-page ad in the Los Angeles Times* a few
weeks ago to demand that
the Screen Actors Guild settle its contract, the
open letter was signed
by: News Corp. President Peter Chernin (Jewish),
Paramount Pictures
Chairman Brad Grey (Jewish), Walt Disney Co. Chief
Executive Robert Iger
(Jewish), Sony Pictures Chairman Michael Lynton
(surprise, Dutch Jew),
Warner Bros. Chairman Barry Meyer (Jewish), CBS Corp.
Chief Executive
Leslie Moonves (so Jewish his great uncle was the first
prime minister
of Israel), MGM Chairman Harry Sloan (Jewish) and NBC
Universal Chief
Executive Jeff Zucker (mega-Jewish). If either of the
Weinstein brothers
had signed, this group would have not only the power to
shut down all
film production but to form a minyan with enough Fiji water on
hand to
fill a mikvah.**
**
The person they were yelling at in
that ad was SAG President Alan
Rosenberg (take a guess). The scathing
rebuttal to the ad was written by
entertainment super-agent Ari Emanuel (Jew
with Israeli parents) on the
Huffington Post, which is owned by *Arianna
Huffington (not Jewis*h and
has never worked in
Hollywood.)**
**
The Jews are so dominant, *I had to scour the
trades to come up with six
Gentiles in high positions* at entertainment
companies. When I called
them to talk about their incredible advancement,
*five of them refused
to talk to me, apparently out of fear of insulting
Jews*. *The sixth*,
AMC President Charlie Collier, *turned out to be
Jewish.*
**
As a proud Jew, I want America to know about our
accomplishment. Yes, we
control Hollywood. Without us, you'd be flipping
between "The 700 Club"
and "Davey and Goliath" on TV all
day.**
**
So I've taken it upon myself to re-convince America that
Jews run
Hollywood by launching a public relations campaign, because that's
what
we do best. I'm weighing several slogans, including: "Hollywood: More
Jewish than ever!"; "Hollywood: From the people who brought you the
Bible"; and "Hollywood: If you enjoy TV and movies, then you probably
like Jews after all."**
**
I called ADL Chairman Abe Foxman,
who was in Santiago, Chile, where, he
told me to my dismay, he was not
hunting Nazis. He dismissed my whole
proposition, saying that the number of
people who think Jews run
Hollywood is still too high. *The ADL poll, he
pointed out, showed that
59% of Americans think Hollywood execs "do not
share the religious and
moral values of most Americans,"* and 43% think the
entertainment
industry is waging *an organized campaign to "weaken the
influence of
religious values* in this country."**
**
That's a
sinister canard, Foxman said. "It means they think Jews meet at
Canter's
Deli on Friday mornings to decide what's best for the Jews."
Foxman's
argument made me rethink: I have to eat at Canter's more
often.**
**
"That's a very dangerous phrase, 'Jews control
Hollywood.' What is true
is that there are a lot of Jews in Hollywood," he
said. Instead of
"control," Foxman would prefer people say that many
executives in the
industry "happen to be Jewish," as in*"all eight major
film studios are
run by men who happen to be Jewish."*
**
But
Foxman said he is proud of the accomplishments of American Jews. "I
think
Jews are disproportionately represented in the creative industry.
They're
disproportionate as lawyers and probably medicine here as well,"
he said. He
argues that this does not mean that Jews make pro-Jewish
movies any more
than they do pro-Jewish surgery. Though other countries,
I've noticed,
aren't so big on circumcision.**
**
I appreciate Foxman's
concerns. And maybe my life spent in a New
Jersey-New York/Bay Area-L.A.
pro-Semitic cocoon has left me naive. But
I don't care if Americans think
we're running the news media, Hollywood,
Wall Street or the government.*I
just care that we get to keep running
them.*
**
*(6) Why Hot,
WASPy Chicks Love Jews, by Joel Stein (LA Times)*
**
Why Hot,
WASPy Chicks Love Jews**
**
by Joel Stein**
**
no
longer at
**http://www.latimes.com/news/opinion/sunday/commentary/la-op-stein9jan09,1,4621281.column**
**
but
is at http://articles.latimes.com/2005/jan/09/opinion/op-stein9**
**
January
9, 2005**
**
This is embarrassing to admit, but we thought you
didn't like us. So
*while we Jews were controlling the media, we tried to
avoid putting
actual Jewish characters in front of you*. Seinfield, sure.
But we made
George Costanza Italian. We gave Craig Kilborn a talk
show.**
**
But now that you've spent about $200 million to laugh
at *Ben Stiller's
mega-Jewish parents dealing with his WASPy
soon-to-be-in-laws* in "Meet
the Fockers," we feel comfortable showing you
our big Jewish selves.
Philosemetism, which is so new we had to invent a
word for it, has led
to a whole new genre:
Jewsploitation.**
**
In addition to "Fockers," there's the movie
"The Hebrew Hammer," Heeb
magazine, Jewcy clothing, Adam Sandler's "Hanukkah
Song" and his
animated film "Eight Crazy Nights," and an upcoming collection
of bar
mitzvah stories called "Bar Mitzvah Disco." **
**
The
fact that young Jews in Hollywood feel comfortable creating Jewy
characters
isn't surprising. That's what happens when you forget to stop
scaring us.
You let us into your country clubs, gave us your women and
encouraged our
most annoyingly self-righteous member to run for
president. So now that
*we've assimilated to the point where we're
completely the same as white
people*, we're trying to *re-create a
community by shoving our culture down
your throats*. The bizarre part is
that*the same masses who saw "The Passion
of the Christ" are into it.
*[...]**
**
And I love
Jewsploitation. It's what we were doing already anyway. When
you belong to a
people who can *completely pass as white*, you have the
luxury of
*exploiting your difference when it's to your advantage and
hiding it when
it's not*. It's why we crafted this clever but adorably
harmless image.
We've infantilized ourselves. Because hot WASPy chicks
love
babies.**
**
*(7) Harvey Weinstein’s Catholic-Bashing
Films*
**
http://www.ncregister.com/blog/astagnaro/a-litany-of-harvey-weinsteins-catholic-bashing-films**
**
OCT.
14, 2017**
**
A Litany of Harvey Weinstein’s Catholic-Bashing
Films**
**
Angelo Stagnaro**
**
[...] while the
polecat**Weinstein abused women, he donated money to
women’s causes because
of**his “undying respect” for them. And,
throughout his best efforts
are**luring women to his casting couch,
Weinstein was financing films
that**attacked and denigrated the Catholic
Church, including such
priceless**cinematic gems as:**
**
Priest (1995), a film which
centers around a vampire-killing parody
of**the Church in which priests are
depicted as misanthropic atheists.**
**
The Butcher Boy (1998) is
about a young boy who is molested by a**priest
in a reform school and is
fascinated by delusional fantasies**about a
foul-mouthed Virgin Mary played
by everyone’s favorite bigot,**Sinéad
O'Connor. Birds of a feather flock
together.**
**
Dogma (1999), a confusing pastiche of Catholic
beliefs, pagan myths**and
atheist Black Legend slapped together about the
end of the world**in
which a descendant of Blessed Virgin Mary and St.
Joseph who works**in
an abortion clinic.**
**
40 Days and 40
Nights (2002) ridicules Catholics who remain
celibate**for Lent treating
sacrifice and abstention as if it was feat
of**strength rather than a
spiritual offering to God.**
**
The Magdalene Sisters (2002)
depicted lies about Irish nuns
falsely**portraying them as abusive toward
young wayward women they
had**“enslaved” in their laundries. In reality, the
Irish
secular**government, dumped these women with the nuns as their
families
had**already disowned them. The nuns gave them food, board and
spiritual**guidance and showed them love saving these young women from
having to**prostitute themselves.**
**
Bad Santa (2003)
depicted a mall Santa who was a vulgar,
drunken,**suicidal, chain-smoking,
sex-addicted thief. Some have drawn
parallels**between this mockery of this
children’s icon and Weinstein
himself.**
**
Sin City (2005)
which depicted a Catholic bishop who aides and abets
a**serial murderer and
engages in cannibalism.**
**
Black Christmas (2006) is a tiresome
slasher film replete
with**gratuitous sex and foul language. Both Harvey and
his brother Bob
were**remarkably hands-on with this
film.**
**
Philomena (2013) was another set of lies reminiscent of
the
Black**Legend that insisted that “evil” nuns had kidnapped a woman’s
child.**Actually, Philomena Lee abandoned her out-of-wedlock son when
she was**a teenager. It was the actions of the nuns, who often run
orphanages**around the world and throughout the past two millennia, who
gave the**child to an American couple who adopted him. Weinstein lobbied
the**Academy in the hope of getting an Oscar for Philomena. Thankfully,
he**failed. [...]**
**
*(8) France to strip Weinstein of the
Legion of Honor award*
**
https://frontnews.eu/news/en/15557**
**
Macron
proposed to revoke Weinstein's Legion of Honor**
**
Paris: *France
began the process of depriving Harvey Weinstein of the
Order of the Legion
of Honor*, the highest civilian difference in**France.**
**
This
was reported in the press service of President Emmanuel
Macron.**
**
*(9) Chelsea Clinton evades Reporters asking whether
Clinton Foundation
will return Harvey Weinstein’s
Donations*
**
http://www.breitbart.com/big-journalism/2017/10/15/chelsea-clinton-evades-reporters-asking-whether-clinton-foundation-return-harvey-weinsteins-donations/**
**
by
KATHERINE RODRIGUEZ15 Oct 201731**
**
Chelsea Clinton evaded
reporters outside of Northeastern University
in**Boston on Saturday asking
whether the Clinton Foundation would
return**donations from alleged sex
offender Harvey Weinstein.**
**
The Daily Mail reports that the
Clinton Foundation board member
and**former first daughter ran from
reporters after a Clinton
Global**Initiative event asking if the Clinton
Foundation would
return**$250,000 worth of donations from
Weinstein.**
**
“Chelsea, will the foundation give back the
donations from
Harvey**Weinstein?” the reporter asked Chelsea as she left
the CGI lunch
event**through a side door. “Do you plan to return the
$100,000?”**
**
Clinton Foundation press staff blocked a Daily
Mail reporter
from**asking former President Bill Clinton questions at a
public event
the**night before.**
**
Bill and Chelsea appeared
at Northeastern University to headline
CGI’s**annual student
conference.**
**
Democratic politicians including Senate Minority
Leader Chuck
Schumer,**Sen. Elizabeth Warren (D-MA), and Sen. Cory Booker
(D-NJ) have
all**pledged to donate Weinstein’s political contributions to
charity
in**light of the rape accusations.**
**
The University
of Southern California also said it would
return**Weinstein’s donations as
more women came forward accusing him
of**sexual
assault.**
**
Hillary Clinton said this week that she would return
the more
than**$35,000 Weinstein donated to her 2016 campaign but the
Clinton**Foundation has been largely silent on the subject of
Weinstein’s**donations.**
**
Records show that Weinstein gave
between $100,000 and $250,000 to
the**foundation.**
**
The
Clinton Foundation is no stranger to accepting contributions
from**donors
with questionable reputations. The foundation has
accepted**millions of
dollars from countries with records of treating
women**horribly, such as
Qatar and Saudi Arabia.**
**
Breitbart News Editor-at-Large Peter
Schweizer’s book Clinton
Cash**exposed a lot of the shady deal-making
between the
Clinton**Foundation’s donors, Bill Clinton’s six-figure
speeches, and
the U.S.**State Department’s actions while Hillary Clinton was
secretary
of**state.**
**
The Clinton Foundation laid off a
good chunk of its staffers and**closed
the Clinton Global Initiative as a
result of Schweizer’s book.**
**
*(10) Rose McGowan: Hollywood
Blacklisted me because I got raped,
because I said
something*
**
https://www.theguardian.com/film/2017/oct/14/harvey-weinstein-rose-mcgowan-rape-film**
**
Rose
McGowan: ‘Hollywood blacklisted me because I got
raped’**
**
Lawyer told Charmed star that she was unlikely to win
against Harvey
Weinstein**
**
Mark
Townsend**
**
Sunday 15 October 2017 10.05 AEDT Last modified on
Sunday 15
October**2017 11.51 AEDT**
**
The actor Rose McGowan
has said she was *“blacklisted” because she “got
raped”*, and has vowed to
chase down the individuals in the
film**industry who are “aiding and
abetting” sex crimes.**
**
On Thursday she publicly accused the
Hollywood producer
Harvey**Weinstein of raping her.**
**
In a
remarkable interview recorded in January 2017, obtained by
the**Observer and
published for the first time, McGowan sheds more light
on**the allegation
while explaining that she never reported the rape
to**the police because a
criminal lawyer advised her that she was
unlikely**to win. “Also, I didn’t
want his name next to mine in my
obituary; his**name doesn’t deserve to be
mentioned in the same breath
as mine when**I’m dead,” she
said.**
**
McGowan is one of more than 30 women who have come
forward since
the**New York Times revealed sexual harassment and rape
allegations
against**Weinstein going back decades. In a series of tweets
last week
she also**accused Roy Price, the head of Amazon Studios, of
ignoring her
when**she made the allegation earlier.**
**
The
accusations have raised questions over who knew about the
details,**with
McGowan, 44, claiming in the interview that she was
directly*threatened
after reporting that she had been raped*. “They
threatened**[me] with being
blacklisted. I was blacklisted after I was
raped,**because I got raped,
because I said something … but only
like**internally, you know,” she
said.**
**
*(11) Marilyn Munroe and the Jewish men who ran
Hollywood - sexually
fixated on the Shiksa*
**
http://www.whale.to/c/marilyn_monroe8.html
**
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). [...]**
**
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]). [...]**
**
The preceding text is excerpted and
edited from When Victims Rule,
online at Jewish Tribal Review: http://holywar.org/jewishtr/**
**
*(12)
Luke Ford & William Cash on Jewish Hollywood - the Spectator
debate.
Jews replace WASPs as New Establishment*
**
by Peter Myers,
October 16, 2010**
**
The following is ONE file, by Luke Ford,
with one link. But Ford quotes
other material, for which I have added the
links to its sources. I have
also added information omitted by Ford, such as
publication details.**
**
The parts I have added, within quoted
text, are shown {...}.**
**
Luke Ford is a convert to Judaism, who
has ran porn gossip websites:
http://lukeford.net/blog/?page_id=10
and
http://en.wikipedia.org/wiki/Luke_Ford**
**
The
following webpage by Luke Ford is undated. However, its history can
be
examined in the Internet Archive.**
**
This shows that the webpage
was created on or before October 2,
2002:**http://web.archive.org/web/*/http://www.lukeford.net/essays/contents/Hollywood_Jews.htm**
**
Hollywood
Jews**
**
Luke Ford**
**
http://www.lukeford.net/essays/contents/Hollywood_Jews.htm**
**
Jews
invented Hollywood. **
**
While Thomas Edison invented the motion
picture camera, immigrant Jewish
entrepreneurs (like Sam Goldwyn, Jack and
Harry Warner, Louis B. Mayer)
created *Hollywood*. Jews created the three
major American *television
networks*, William Paley's CBS, David Sarnoff's
NBC and Leonard
Goldenson's ABC. **
**
Today about *two-thirds
of leading TV and movie producers are Jewish*.
Jewish domination of
entertainment is little discussed in the
*mainstream media, which is also
dominated by Jews*, out of fears of
arousing hatred of
Jews.**
**
In December 2002, the National Lampoon came out with
the spoof "The
Hollywood Retorter", with Jews in Hollywood as the main joke.
Nikki
Finke writes: "Lampoon editor in chief Scott Rubin, who is quick to
point out he himself is Jewish, says the subject of Hollywood Jews was
chosen because it's *such a taboo in this town*. Even the L.A. Times, in
a news brief, shied away from mentioning the "Jewish" articles. "Well,
who are we kidding? There're a lot of Jews in Hollywood. But no one
wants to admit that. This was just having fun with the fact that a
disproportionate amount of Jews are in the entertainment business."" (LA
Weekly, 12/12/02)**
**
Jews in Hollywood, like most Jews in
the *media, academia and
pornography*, tend to be secular Jews, rooted
neither in Judaism nor in
the majority Christian
culture.**
**
In his 1998 book Work in Progress, *Disney CEO
Michael Eisner* writes
about *Joe Roth* (head of movie production *at
Disney* Corp): "Joe was
raised in Roslyn Heights on Long Island. His father
made a modest living
running a plastics manufacturing business, but his
passion was *social
activism*. In 1958, when New York State began requiring
children to
recite the Regent's Prayer at school each day, Joe's father
viewed it as
a violation of the separation of church and state and recruited
an ACLU
lawyer to file a lawsuit. Joe, then ten, and his thirteen-year-old
brother became two of the plaintiffs in the case. In 1962, the Supreme
Court finally ruled that *enforced prayer in schools was
unconstitutional*. Joe and his brother became pariahs at school. The
family's house was picketed by the American Nazi Party and a cross made
of kerosene-soaked rags was set on fire in their driveway. By his own
description, the experience fueled his self-image as an outsider." (pg.
304)**
**
British journalist *William Cash* wrote about
*Hollywood's Jewish cabal*
in an *October 1994* issue of the *British*
journal *Spectator*. The
article drew hysterical reactions denouncing Cash
and the Spectator for
anti-Semitism. William Cash
writes:**
**
{omitted by Luke Ford: **Kings of the Deal**William
Cash investigates
the increasing influence and success of Hollywood's new
Jewish
Establishment**http://www.olimu.com/Notes/KingsOfTheDeal/KingsOfTheDeal.htm**The
Spectator**October 29, 1994}**
**
Los Angeles. WHEN Mr. Mike
Ovitz, or His Most Powerfulness (as he is
also known here), shows up at a
press conference in LA and sits in the
audience, you know something big is
going on: in this case the founding
of a new multi-billion-dollar Hollywood
studio by Steven Spielberg,
record mogul billionaire David Geffen and their
best friend, the
recently dumped chief of Disney Studios, Jeffrey
Katzenberg. [...]**
**
But in one respect at least this particular
combination of talents, or
'talent combo', in the local argot, will start
out on the right foot.
Like the old mogul founders of the early studios and
unlike most other
failed build-your-own studio merchants *they are
Jewish*.**
**
The significance of this fact cannot be simply met
by the inevitable
shrieks of 'anti-Semitism'. A rare glimpse of the *feudal
power
structure of Hollywood* at work was given by the *Wall Street
Journal*'s
front-page report of the new studio launch. Before any contracts
could
be signed,*a private 'blessing' was required from *81-year-old *Lew
Wasserman*, the long-time *chairman of MCA* (which owns Universal) and
the last surviving Jewish Founder-builder of a studio. To quote the
Journal, he is*treated in Hollywood 'like a tribal chieftain'.
*
**
Spielberg, Geffen, Katzenberg and Spielberg's 30-year
personal mentor,
MCA president Sidney Sheinberg, gathered at the house of
the 'Godfather
of the Show' (as Time called Wasserman). After getting his
rabbinical
blessing, they spoke in '*hushed, reverential tones* about the
industry
potentate', about how he 'spun stories about the history of
Hollywood
and showed them artifacts'. Geffen and Katzenberg, who have no
formal
connections with MCA or Wassemman, were reported as being 'nervous'
before the meeting. 'The whole thing could have gone sour,' said
Katzenberg.**
**
Turn now to pages 202-3 of last month's
*Vanity Fair* and a curious
'group portrait' will grin back at you. Sixteen
middle-aged men are
decked out in a mixture of nylon jogging anoraks, fluffy
white socks,
digital watches and faded jeans. You'd probably guess they were
a bunch
of Californian dentists.**
**
They are, in fact, the
magazine reliably informs us, *the New
Establishment*, 'the leaders of the
computer, entertainment and
communication industries, whose collective power
has eclipsed that of
Wall Street and Washington'. In his 'Editor's Letter',
Graydon Carter
confidently boasts that his 30 page 'Special Report'
redefines 'the
power center of America... as (it) has moved *from *its role
as
*military-industrial giant to* a new supremacy as the world's
*entertainment-information superpower*'.**
**
*There again,
bottom left, is Hollywood super-agent Mike Ovitz*,
chairman of the Creative
Artists Agency (presumably he won't sign
non-creative artists); in the
middle is his buddy David Geffen
(interests listed as 'Aids, Israel and
other causes'); behind them is
another close pal, Barry Diller, another Aids
activist and chairman of
the home-shopping network QVC. In a Warner Bros.
Fitness Center' T-shirt
is Gerald Levin, chairman of Time Warner Inc.; in a
denim shirt is
Jeffrey Katzenberg. Banker Herbert A. Allen their host for
this 'Sun
Valley Conference of Corporate Leaders' has on his running shoes.
Steven
Spielberg, snapped by Annie Leibovitz a few pages on, is gazing out
to
sea, his white sneakers and socks by his
side.**
**
Throughout their report, the magazine is repeatedly
troubled by the
question: 'Is there anything that binds this group of men?'
According to
Walter Isaacson, Time Inc.'s media editor,*the old White
Anglo-Saxon
Protestant hegemony* was linked through shared educational (i.e.
'class') bonds and beliefs: 'What binds these guys is a sense of
interlocking ventures and relationships. The Old Establishment was a
club. The New Establishment is a network.'**
**
Up to a point.
Again, there is something very obvious (apart from white
socks) that does
bind together most of the leading members of the
so-called 'New
Establishment' or the Titans of Tripe, as Auberon Waugh
recently called
them. Only*no magazine in America *(especially a Conde
Nast publication
owned by Si Newhouse) *would point it out: they are
predominantly
Jewish*.**
**
Whilst part of the blame for the *fall of the
eastern Establishment* is
placed on its exclusive good old-boy network and
elitist *Wasp mentality
which excluded outsiders*, a delicate question
remains. Has the usurping
of the white-shoe Establishment by the *white-sock
meritocracy* anything
to do with a similarly invidious and protective
culture? *Now that Jews
govern the New Establishment* (their official
mouthpiece is the *New
York Times*), does any sort of reverse form of class
or racial
discrimination operate against outsiders trying to get access to
the
entertainment highway - Wasps, blacks, Brits (there is only one Brit, of
any level of executive significance in all the major studios, and he is
Jewish) and others not so favored?**
**
It should first be
said that there is nothing remotely surprising about
all this. As *Neal
Gabler* clearly demonstrated in his acclaimed book,
*An Empire of Their Own,
How the Jews Invented Hollywood*, the early
Jewish movie pioneers such as
Louis B. Mayer and Irving Thalberg
(Fitzgerald's model for The Last Tycoon)
who founded the studios of
today came to Hollywood because they felt barred
from power in the east.
Although fiercely competitive, the Hollywood Jews
worked closely
together to build a close-knit empire that shamelessly
imitated the
social hierarchy of the very East Coast society that they felt
alienated
and patronized them.**
**
'If the Jews were
proscribed from entering the real corridors of
gentility and status in
America, the movies offered an ingenious
option,' wrote Gabler. 'Within the
studios and on the screen, the Jews
could simply create a new country, one
where they would not only be
admitted, but would govern as
well.'**
**
And govern they always have. That *every major studio
head is Jewish*
today is no different from 60 years ago. 'Of 85 names
engaged in
production,' a 1936 survey noted, '53 are Jews. And the Jewish
advantage
holds in prestige as well as numbers.' In a recent Premiere
magazine
'Special Power Issue' ranking the 100 most powerful people in the
'Industry' the top 12 were Jewish. There were no black or British
industry executives ranked. **
**
*George Steiner* once
famously said that *to be Jewish is to be a member
of a club from which you
cannot resign*. In Hollywood, the most obvious
examples of the Jewish Club
are in the side-shows, the lawyers, talent
agencies and management and
production offices.**
**
Birgit Cunningham, is a glamorous
Benenden-educated, 28-year-old,
blue-eyed blonde. Her father, who owns one
of Hitler's pianos, is
German. She told me that when she worked as a
personal assistant to Vic
Sutton, the Jewish head of the fast-track LA
commercials talent agency,
Sutton, Barth & Vennari, her boss would
often, if signing a deal,
bluntly ask if they were
Jewish.**
**
'I was surprised,' she said. 'I mean, in England,
you'd never hear
someone ask "Are you Anglican?" On the other hand, he liked
to boast
that he had this hot young Nazi working for him. When I told him my
family flew in the Luftwaffe he was ecstatic.'**
**
As
small-time professional incest it is probably no worse than, say,
public
schoolboys in the City (an analogy used by one senior Jewish
executive to
rebut the charge of Jewish favoritism in Hollywood). The
'network' manifests
itself in the Jewish country clubs such as the
Hillcrest, the one Groucho
Marx refused to join or tennis clubs
(application forms always say 'state
religion'). *Hollywood* Jews are
not notably religious. Although the town
*closes down on Jewish
holidays*, business happily continues at pool-side
barbecues, the deli
at the Brentwood Country Mart, endless bar mitzvahs and
$500-a-plate
*Jewish causes or political
fund-raisers*.**
**
Feeling a bit left out of the loop, some
non-Jews have been going to
extreme measures to get on. Bill Stadiem, a
former Harvard-educated Wall
Street lawyer who is now a screenwriter in LA,
told me that he recently
came across an old Wasp friend in an LA restaurant
who had been
president of the Porcellian at Harvard the most exclusive
undergraduate
dining club. His friend, a would-be producer, was dressed in a
black
nylon track suit and had gold chains on his wrist; dangling around his
neck was a chunky Star of David. Stadiem asked, 'Why the hell are you
dressed like that? ' The Wasp replied, 'I'm trying to look
Jewish.'**
**
Just as in the Eighties people were known to *fake
being homosexual or
bisexual* as a way of getting on in the entertainment
business (it is
estimated that around *35 per cent of the film community are
gay*), it
has long been a standing joke in L.A that the *way to get on is*
to
*convert to Judaism*. Simon Kelton, an Eton-and Oxford-educated
screenwriter friend with whom I used to share a house, and who was short
listed last year for the Samuel Goldwyn film-writing award, always
stresses his Jewish 'ancestry' whenever he gets a chance in LA;
something few had ever heard about before.**
**
The extent to
which this adds up to any sort of Jewish cabal behind the
building of the
21st-Century Entertainment Superhighway is difficult to
assess. Jews, always
*compulsive story-tellers* and talented
negotiators, are extremely
compatible with the executive side of the
movie business. They are good at
it.**
**
The crucial fact that Vanity Fair seems to have blindly
swerved past in
its 'challenge of redefining the power center of America' is
that the
whole point of the 'Establishment', as Henry Fairlie noted when
coining
the phrase in The Spectator back in 1955, is that *its power is
exercised socially*. That the socially maladroit and *culturally
nihilist* white-sock meritocracy is now anointed the Power Elite by a
'smart' glossy magazine only serves to confirm how the divide between
social and professional lives in the United States has become blurred to
the point of irrelevance. The important thing about New Establishment
power in America is that it is*exercised corporately*.
**
**
What is wholly new about today's generation of moguls is
that they have
made a radical social departure from their Jewish forebears.
The likes
of Mayer, Cohen, Selznick and Thalberg headed west at a time when
the
entertainment business was regarded as disreputable, and they went to
extreme lengths in their quest for social respectability. Louis Mayer
comically attempted to live like a 19th-century aristocrat, forcing his
daughter to have riding lessons every day. He himself joined the
Griffith Park Riding Academy and even very nearly converted to
Catholicism. **
**
The movie Jews joined the Hollywood Polo
and Riding Club in droves; they
paid their expensive dues at the West Hills
Hunt Club with its own pack
of Irish foxhounds, whose (mostly Jewish)
members still gallop every
Saturday in season around the hills around Los
Angeles in sunglasses and
full British hunting gear. **
**
The
idea of 'New Establishment' players like David Geffen (who refuses
to wear a
suit), Mike Ovitz or Steven Spielberg dressing up in a
tail-coat to go
fox-hunting is ludicrous. **
**
*Now that they are the Power
Elite, they view* the creaky *East Coast
Wasp* institutions and such
reserves as the LA Country Club (which still
proudly excludes Jews and
showbiz types') *as anachronistic jokes.*
Whilst Louis Mayer would have been
trying everything to get a photograph
of himself shaking hands with Prince
Charles during his three-day visit
(or escape) to LA, today's breed of
super-mogul couldn't care less.**
**
The rise of the white-sock
mediocracy, of course, is only another
example of how driven Jews have
always dealt with exclusion. Barred from
one form of Establishment, they
have ended up helping to create their
own. **
**
{last line is
omitted by Luke Ford:**----- William Cash writes for the
Daily Telegraph
from Los Angeles}**
**
_________________
LETTERS**
**
THE SPECTATOR 5 November
1994**
**
SIR:The total dominance of the American film industry by
the Jewish
Establishment, past and present, is admirably related by *William
Cash
(Kings of the Deal*, 29 October)...Cash illustrates the attempts by the
pre-war studio bosses to copy the mores of the old East Coast
Establishment, and he notes that this is no longer so.**
**
In
fact, one can detect a distinct hostility. *The same industry which
produced
the elegant high society comedies*, featuring a Cary Grant or a
David Niven,
will *now systematically portray well-to-do gentiles as
caricatures*...This
is not done as ignorance. It is just reverse
discrimination. Claus von
Bulow, 109 Onslow Square, London SW7 19
November
1994**
**
SIR: William Cash worries about inevitable shrieks of
anti-Semitism as a
consequence of his anti-Semitism. Not to worry. People as
powerful as us
have no need to shriek. We will bide our time and silently
see justice
done. Maybe before Passover. You run a filthy magazine. Leon
Wieseltier
Literary Editor, The New Republic, Washington,
DC**
**
SIR: William Cash's article about Jewish influence in
Hollywood has
caused a great deal of offense and outrage. His suggestion
that the
founders of a new studio venture are more likely to succeed if they
are
Jews is bizarre... The reference to a 'rabbinical blessing' from an
individual who is a Jew but has no pretensions to rabbinical status is
crudely offensive...**
**
Mr. Cash refers to a possible
'Jewish cabal' and asks pointedly whether
this cabal seeks to exclude or
discriminate against non-Jews. This
language perpetrates the discredited old
myth about a Jewish conspiracy
and a Jewish monopoly of power which is
allegedly used to disadvantage
and exclude non-Jews. There is no credible
evidence to support the
evidence of a 'Jewish cabal' operating to exclude
non-Jews. The deeply
offensive reference to a 'Jewish cabal' is compounded
by sneering
references to 'a socially maladroit and culturally nihilistic
white sock
meritocracy' or a 'white sock
mediocracy'.**
**
Overall this is a deeply unpleasant and
distasteful article...It should
not have found a place in a serious
journal.**
**
Neville Nagler Chief Executive, The *Board of
Deputies of British Jews*
London**
**
SIR: *The reaction to my
article* pointing out that Hollywood's feudal
power structure is
predominantly Jewish ('Kings of the deal', 29
October) has been wholly
misconstrued. If I have injured any feelings, I
apologize but certainly no
anti-Semitism was intended or felt. The
purpose of the article was to
*contrast and challenge Vanity Fair's
criteria of the New Establishment*
with the original definition of the
Establishment by The Spectator in 1955.
Since Vanity Fair made so much
play about the *Protestant religion of the
old Wasp Establishment*, it
seemed legitimate to observe that the majority
of the 'New Boys'
Network' shared a common Jewish
background.**
**
Unfortunately, Americans don't understand what is
meant by the term
Establishment. According to The Spectator in 1955, it was
by definition
exclusionary, and exercised its power socially. My 'point' was
that 'the
leaders of the computer, entertainment and communication
industries'
were not a real Establishment as their power was exercised
corporately.
Far from constituting any sort of 'cabal', I stated that Jewish
influence in Hollywood was to quote Barry Isaacson's own words when I
called him up 'no worse than public schoolboys in the
City'.**
**
The *attacks on me in the American media have been led
by Neal Gabler*,
author of An Empire of Their Own: How the Jews Invented
Hollywood. What
is so galling is that all the historical data I present in
my article
about how Jews have always worked together in the movie business,
along
with the very words that have been objected to, came *straight from
his
book*, including the red-flag phrase 'Jewish cabal', which he employs
almost with relish on page 263.**
**
On the first page of his
book he states how the industry was
'supervised' by Jews, goes on to detail
the workings of the 'Jewish
network', specifies how the studios 'preferred
to deal with other Jews'
(p.272) and admits precisely the firebrand question
raised by my article
namely, does Hollywood *exclude
outsiders*?**
**
Gabler asserts that the Hollywood Jews practiced
'reverse discrimination
Those goyim!" Harry Warner would yell in derision,
or "He's *a nice
fellow for a goy*" a Jew might say but only in their inner
sanctums,
when they were safe among fellow Jews, and only verbally' (p.280).
*Gabler's book was described as an 'enthralling* book of social history'
*by the New York Times*.**
**
The subtext of this is that *a
double standard* seems to exist. While it
is *acceptable for a Jewish
writer*, like Gabler, to use words like
'network' or 'reverse
discrimination', when a Brit (the English are
invariably cast as villains in
Hollywood today) uses similar phrases he
is barbecued. Again, whilst it is
fine for the Wall Street Journal to
refer to MCA chairman Lew Wasserman as
Hollywood's 'tribal chieftain', a
Brit cannot. Again, it is acceptable for
Time magazine to call Wasserman
Godfather of the Show' but not for The
Spectator. Instead of sucking up
to Hollywood Michael Williams Jones
(Letters, 12 j November) should
learn to read. I stated that almost all the
major studio and talent
agency heads' were Jewish, not their owners. That
Hollywood is a
Jewish-run town, despite only 4% per cent of the country
being Jewish,
is, indeed, always joked about.
[...]**
**
William Cash **Woodrow Wilson Drive, Hollywood,
California 90046**
**
*TABOO OR NOT TABOO, THAT IS THE QUESTION
*
**
A recent article in The Spectator has caused consternation in
America.
Dominic Lawson explains how two nations are becoming increasingly
divided by a common language.**
**
{Lawson was editor of The
Spectator, which published Cash's article}**
**
THE SPECTATOR,
Nov. 19, 1994**
**
http://archive.spectator.co.uk/article/19th-november-1994/9/taboo-or-not-taboo-that-is-the-question**
**
OCCASIONALLY
I receive plaintive letters from our small but loyal
expatriate readership
in Saudi Arabia. Usually, they complain that their
enjoyment of an issue of
The Spectator has been diminished by the
actions of the Wahabbi religious
censors of Riyadh, who had taken their
scissors to an article in the
magazine, and removed some offending
passages before they could be read by
the intended recipients. I am
beginning to wonder how long it will be before
The Spectator will
receive similarly subtle vetting at the hands of the
arbiters of
political correctness in the United States of America. ...It is
clear
that the American public, as befits a great democratic nation, knows
when it is being fed what Damon Runyon called 'the old phonus balonus'.
Were such papers as the New York Times and the Washington Post not
companies with gerrymandered share structures there is little doubt that
the ordinary shareholders would be clamoring for some relief from the
dead hand of liberal self-censorship.**
**
. ..The point is
that if the mainstream media jointly and severally
decide to censor
themselves, then the only people who question that
orthodoxy will tend to be
those at the extremes. In many ways this is
undesirable, and destabilizing
for American society. It would be far
better if part of the mainstream media
were to take up the task of
challenging the Washington Post/New York
Times/Boston Globe consensus.
The debate would at least then be civilized,
and possibly even
interesting.**
**
But, in the meantime,
another article written out of America for The
Spectator has caused
consternation among the grand folk of the media in
that country, while
passing almost unnoticed here, where the
overwhelming majority of our
readership live. The article ('Kings of the
deal', 29 October) was written
by *William Cash* as a response to a
'Special Report' in the October issue
of the American magazine Vanity
Fair called '*Redefining Power in America:
The New Establishment'*.**
**
The Vanity Fair piece took as its
starting point the *classic definition
of Establishment* in The Spectator by
the American journalist Henry
Fairlie in 1955, then purported to prove that
the most powerful men in
America were *now centred on the West Coast* and
particularly around
Hollywood (this is Vanity Fair, remember), and tried to
find common
factors among the men (and Barbra Streisand) it termed ' The New
Establishment'.**
**
Prominent among this new elite were
Hollywood big-shots such as Michael
Ovilz, the town's top agent, Gerald
Levin the president of Time Warner,
David Geffen, chairman of the eponymous
company, Jeffrey Katzenberg, the
former chairman of Walt Disney Studios,
and, of course, Barbra. Of
course Barbra.**
**
Vanity Fair,
with a certain panache and preening, made the point (and
made it, and made
it) that these people were anything but the *old White
Anglo-Saxon
Protestant* (herein after known as Wasp) establishment.
'It's their world
now. Welcome to it,' concluded Vanity Fair's sortable
editor in chief,
Graydon Carter.**
**
What struck William Cash, was that, while
strenuously pointing out that
the New Establishment was not Wasp, *Vanity
Fair had at no point* in a
survey the size of a small book *mentioned that
most of the* members of
the soi-disant *'New Establishment', particularly in
Hollywood, are
Jewish*.**
**
In his article, Cash went on to
point out that there was in fact nothing
new in this, that Hollywood had for
well over 50 years been the scene of
triumphs on the part of the most
talented Jewish businessmen. He
concluded that the main difference was that
whereas the old moguls such
as Warner and Mayer craved acceptance by the old
Wasp establishment, and
mimicked the staid clubs and horsey pastimes of the
Anglophile East
Coast elite, the new Hollywood moguls were more secure in
their own
identity, and needed no such reassurances.**
**
As I
say, the article caused little comment in Britain when it was
published.
However, Mr. Michael Williams-Jones, the chief executive of
United
International Pictures in London, which distributes films abroad
for MGM,
Paramount and Universal, took the trouble to send faxes of the
article to
his contacts in Hollywood. Mr. Williams-Jones wrote in an
accompanying note,
'The article is odious in its innuendo and inaccurate
in its facts.' At the
other end the moguls got in touch with Mr.
*Bernard Weinraub*, the highly
experienced *Los Angeles correspondent of
the New York Times*. While none of
them wished to be quoted personally,
Mr. Weinraub reported that they were
collectively of the view that the
Cash article was 'disgusting'
'despicable', 'bigoted' and 'odious'.**
**
The most upsetting
words which Mr. Weinraub was able to quote from
Cash's article were that he
described Jews as *'fiercely competitive',
'compulsive storytellers' and
'talented negotiators'*. Mr. Weinraub
appended to these exact extracts from
Cash's article his own comment:
'Few in Hollywood could recall such an
anti-Semitic article in a
mainstream
publication.'**
**
Following Mr. Weinraub's article, the
*Anti-Defamation League* swung
into action from its New York office As a
result of this *one of our
valued advertisers canceled its contract* with us
and the *Los Angeles
Times ran a leader page article to denounce young
William Cash*. The New
York Times article appeared on Monday 7 November, and
was given the
honor of the front page in the paper's Arts section. It quoted
me,
absolutely accurately, as saying to Mr. Weinraub that The Spectator
seeks to be 'highly polemical and highly controversial. There is *a
difference between what is deemed acceptable in an American paper and*
what is deemed acceptable *in a British paper*. American papers have a
code of political correctness. It's simply impossible to run views
counter to that product.'**
**
Mr. Weinraub added, '*Mr.
Lawson, who said he was Jewish*, remarked that
he did not necessarily agree
with the views of authors in his magazine.
He said he was "well aware of the
sensitivities of Jews" but had had no
second thoughts about publishing the
article.'**
**
*Mr. Weinraub had called me* on Sunday evening (the
6th). He seemed a
little agitated. I suspect he was most offended by William
Cash's remark
that the*New York Times was the 'official mouthpiece' of the
new Jewish
establishment*. I now accept without reservation that this
allegation is
totally without foundation...**
**
Mr.
Weinraub's own article was very well written. I would have been
happy to
have published such a piece in The Spectator, although I didn't
agree with
it. But it did not quite do justice to the spice of our
telephone
conversation, part of which went as follows:**
**
Self (after
being told, at length, how offended le tout Hollywood was by
Mr. Cash's
article): I am quite sensitive to the attitudes of Jews to
this sort of
thing.**
**
Weinraub: Why do you say that? Self: Because I am
Jewish.**
**
Weinraub: What does that mean? Self: It means I am a
Jew.**
**
Weinraub: *Jews put Jews in gas
ovens!*
**
Self: What a very pleasant
analogy.**
**
...Now we are getting to the point, and it is one
which lifts the
current Spectator controversy quite out of the range of mere
matters of
political correctness. Anti-Semitism has an ancient and foul
history,
and American Jews, many of whom can name relatives who were
exterminated
in the Holocaust, are understandably highly sensitive to even
the
faintest whiff of anti-Jewish prejudice. But it is simply wrong, and
hysterical, to equate what we can at worst call British snobbery with
the genocidal impulses and actions of the Third Reich.
[...]**
**
The question is whether Jews should be as robustly
unparanoic in their
response to Cash's article as Catholics have been to
Mount's
deliberately provocative polemic. Perhaps the best example of a
mature
response to mild anti-Semitism was expounded in The Spectator by
Barbara
Amiel, before, I should add, she was married to our proprietor,
Conrad
Black.**
**
In 'Jews your partners' (3 November 1990)
Miss Amiel reported her
embarrassment when, at a ball she was seated next to
a man who drew
attention to the Jewishness of a number of businessmen who
had recently
been convicted of financial misdemeanors, such as Gerald
Ronson, Ernest
Saunders and Michael Milken. Ms. Amiel's tedious interlocutor
did not
realize that she was Jewish. [...]**
**
Charles
Fleming of Newsweek, who wrote a report on this great outrage
perpetrated by
William Cash, told me that what had most galled Hollywood
were Cash's
remarks that the Jews are 'always compulsive story-tellers
and talented
negotiators, are extremely compatible with the executive
side of the movie
business'. When I showed Cash's entire article to my
grandmother, to gain
the opinion of a Jew whose historical memory goes
back far further than
Barbara Amiel's or mine, she merely commented.
'*All facts: we are better at
some things*.' According to modern
American political discourse therefore,
my grandmother is an
anti-Semite. Am I allowed to say that I find that
offensive?...**
**
*LETTERS _ THE SPECTATOR 26 November
1994*
**
SIR: The 29 October issue of The Spectator, was marred by
the inclusion
of an article ('*Kings of the deal*') which advanced the
basest of
anti-Semitic stereotypes. Far from being the thought-provoking
discourse
usually found in your magazine, this appeal to the worst kind of
'group
think' also crosses the line into very dangerous territory.
Conspiracy
theories, 'facts' with little or no basis in truth, code words
like
'Jewish cabal', all the usual *canard*s are rounded up in this
'investigation' into the supposed dominance by a new elite. There is,
however, nothing new here. We have seen it all before, from the
Inquisition in 13th-century Spain to the Holocaust of 20th-century
Germany.**
**
We have seen the results of hateful
scapegoating, of ascribing group
traits, of baseless charges of
exclusionism. What we have not seen
lately is this type of racist creed
aired in distinguished journals such
as The Spectator. When, to the editors
of magazines like The Spectator,
racist cant becomes indistinguishable from
thoughtful commentary, it
should sound a loud warning that we have not
progressed so very far
after all. The demons of religious and racial hatred
which have wreaked
such havoc throughout the course of human existence are
with us still.
When these demons show themselves, however distinguished the
venue, they
must be condemned, publicly and immediately, lest these ancient
hatreds
find fertile ground once again in our communities. *Kevin Costner
*Actor/director/producer Tom Cruise Actor/producer Bob Daly Chairman,
Warner Bros. *Kirk Douglas *Actor/director/producer Charlton Heston
Actor/director Jim Hilvert Executive Director, NCCJ Frank Mancuso
Chairman, MGM Michael Ovitz Chairman, CAA Sidney Poitier
Actor/director/producer Bruce M. Ramer Attorney Sidney J. Sheinberg
President, MCA Steven Spielberg Director/producer Barbra Streisand
Actress/director/producer Jack Valenti Chairman, MPA Lew Wasserman
Chairman, MCA**
**
Arthur J. Magida writes in the Baltimore
Jewish Times 11/11/94:**
**
*Hollywood movie executives are
"outraged" and "disgusted" *about an
article in the British magazine, The
Spectator, that revives a
stereotype from the early days of filmmaking that
a "Jewish cabal"
controls the entertainment industry. The article by William
Cash, a
Hollywood correspondent for the British conservative newspaper The
Daily
Telegraph, describes Jews as "fiercely competitive," "clannish" "and
compulsive storytellers and talented negotiators." The "invidious and
protective culture" they have created in Hollywood denies employment to
non-Jews, according to Mr. Cash, who answered in the positive this
question that he posed:**
**
"Now that Jews govern the New
Establishment does any sort of reverse
form of class or racial
discrimination operate against outsiders trying
to get access to the
entertainment high-ways — WASPS, blacks, Brits, and
others not so
favored?"**
**
Neal Sandberg, former head of the western region of
the American Jewish
Committee and currently head of AJC's Pacific Rim
Institute, said Mr.
Cash's article was "overstated, even in terms of genteel
anti- Semitism.
It's a classic portrayal of Jews that goes back to an
embellished image
of Shylock." Jews now function in Hollywood, he said, "not
as an ethnic
or cultural group, but as individuals answerable to banks and
foreign
and corporate sponsorship. These are business people, like anywhere
else, trying to make a profit. They're not defending ethnic or cultural
interests."**
**
Mr. Cash's article appeared at the same time
that an anonymous Sony
executive in Tokyo was quoted in the Japanese
business weekly Keizaikai
as saying, "... The U.S. film business is almost
completely controlled
by Jews. This is true of what we are doing as well and
our job is to use
them in an efficient manner."**
**
The
Japanese magazine then concluded, "What this person is saying is
that you
cannot ignore Jews if you do business in the U.S."**
**
*Neal
Gabler wrote in the 11/13/94 Los Angeles Times*:**{also see
http://www.lukeford.net/profiles/profiles/neal_gabler.htm}**
**
The
article might be dismissed as an anti-Semitic bleat from a
reactionary
crackpot if it didn't have a respectable platform in the
Spectator and
didn't play to a pre-existing*prejudice - that Jews
control the U.S. media*.
But here the *canard* is given new impetus in
an environment of
anti-political correctness, where hostility often
passes for honesty. Cash
realizes his discovery will trigger the
"inevitable shrieks of
anti-Semitism"-and it has-though he seems willing
to brave these attacks in
the interest of social science. This New
Establishment is a "culturally
maladroit and culturally nihilist (sic)"
band, Titans of Tripe, Cash calls
them after Auberon Waugh, who wear,
"nylon jogging anoraks, fluffy white
socks, digital watches and faded
jeans." You call this a power
structure!**
**
Once upon a glorious time, Cash laments, *power
was in the hands (or the
feet) of a white-shoe aristocracy*. These were
well-born, well-educated,
well-dressed men (at least when wearing
wingtips)-culturally adroit and
not at all nihilistic. They looked and acted
the part of the
Establishment-in fact, very much like the British
Establishment. Nothing
arriviste here. They ruled seigneurially and
sartorially.**
**
But now the big feet of the *New Establishment
wear white socks-and
sneakers*. These power brokers-including Rupert Murdoch
of Fox Film and
Television, Bill Gates of Microsoft computer-operating
systems, John C.
Malone of the Tele-Communications cable empire, not to
mention the Jews
among them-have not only nudged aside the Old
Establishment. Their cabal
practices, in Cash's analysis, are a "reverse
form of class or racial
discrimination," denying access to "Wasps, blacks
and Brits." French, too?**
**
Can it be that the godfather of the
*Jewish cabal that excludes Wasps,
blacks and Brits* pays obeisance to a
higher authority? It can, because
the studios and telecommunications empires
that Cash identifies as
predominantly Jewish are owned and controlled by
non-Jews: MCA by
Mashushita, Columbia and Tri-Star by Sony, Fox by Murdoch,
Time-Warner
by stockholders and a corporate board. Ignoring the facts to
suit his
myth of Jewish control, Cash is in a long tradition of anti-Semites
who
began smiting Jewish movie executives almost from the moment the Jews
entered the film industry in the 1910s.**
**
One reform group
demanded that movies be liberated "from the hands of
the devil and 500
un-Christian Jews." Another religious zealot blasted
Hollywood Jews for the
"seduction of hundreds of thoughtless girls every
day," which he ascribed,
euphemistically, to a general "Europeanization"
of the country. Henry Ford,
in his Dearborn Independent, cited Jewish
control of the film industry and
said, "It is the genius of that race to
create problems of a moral character
in whatever business they achieve a
majority."**
**
The idea
was that Jews were somehow different from the majority of
Gentile Americans.
Jews didn't subscribe to the same values. They had
taken control of this
powerful instrument of social control, but they
couldn't use it responsibly.
Whether by design or sheer ignorance, they
were said to be using the movies
to subvert so-called traditional
values, though anyone who studies film
history knows, no group was more
conscious of traditional values or more
eagerly sought to purvey them
than the Jewish movie pioneers-who regarded
themselves as American
first, Jewish second.**
**
He obviously
believes Hollywood and the world would be better places if
the New
Establishment and its nine Jews would hand culture back to the
people who
deserve it-people presumably like Cash. At the very least,
they should share
their power. He closes by citing the "white-sock
mediocracy" as "another
example of how driven Jews have always dealt
with exclusion. Barred from one
form of Establishment, they have ended
up helping to create their
own."**
**
Similarly, an article like Cash's is another example of
how powerless
elitists have always dealt with exclusion. Barred from one
form of
Establishment, they end up spewing anti-Semitic
bile.**
**
{end of Neal Gabler letter}**
**
[...]
Phil Reeves writes from Los Angeles for the British newspaper
Independent
11/06/94:**
**
London-Los Angeles fax lines have been humming with
copies of an article
by William Cash which has been variously described by
Hollywood players
as ``odious, despicable and fascist garbage. As a shaken
Mr Cash admits:
``All hell has broken loose. Mr Cash, son of the right-wing
Tory MP Bill
Cash, claims that Hollywood is controlled by a ``Jewish cabal
and
suggests that it may operate reverse discrimination against outsiders,
including blacks, Wasps and Britons. He characterises Hollywood's Jewish
leaders as vulgar (a ``white-sock mediocracy), ``compulsive
story-tellers and talented negotiators.**
**
*Few have
disputed that the industry has been dominated by Jews* since
the days of
Adolph Zukor, Louis B Mayer and Harry Cohn - although it
includes many
others. But these days its moguls and powerbrokers are
answerable to banks,
stockbrokers andinternational coporations based in
Japan and
Australia.**
**
``Few in Hollywood (can) recall such an
anti-Semitic article in a
mainstream publication, wrote Bernard Weinraub,
the New York Times'
Hollywood correspondent. Others appear to agree. The
writer-director
Lionel Chetwynd described the piece as the work of a
``certain
upper-class Brit . . . what they are really saying is: `We may not
be as
important and powerful as you, but we're more
civilised'.**
**
Mr Cash, a correspondent for the Daily Telegraph,
is unrepentant. He
denies anti-Semitism, insists he was only seeking to
raise questions,
and points out that Dominic Lawson is Jewish, and that the
Spectator' s
proprietor, Conrad Black, owns the Jerusalem Post. And he has
found an
unexpected ally. This week's Spectator includes a letter from Claus
von
Bulow, whose acquittal on charges of attempting to murder his wife was
made into the Hollywood film Reversal of Fortune.**
**
``The
same industry which produces the elegant `High Society' comedies
featuring a
Cary Grant or a David Niven will now systematically portray
well-to-do
Gentiles as caricatures, and their homes as hotel lobbies, he
wrote.**
**
Miles Kington makes this sensible response in the
12/06/94 Independent:
But then my wife reminded me that it is still possible
to touch a nerve
by pointing to the recent furore over William Cash's
Spectator piece on
the supposed Jewish domination of
Hollywood.**
**
If you missed this, you didn't miss much, but if
you did follow it, you
would have been amazed to see how one muddle-headed
piece could bring
the hornets out. Now, if you or I read an article about
the Jewish
domination of Hollywood, I think we would react sensibly by
saying:
Well, if the Jews are so clever and are so much in charge, how come
Hollywood isn't making any good films these days? Maybe the wrong Jews
are in charge!**
**
But that wasn't the reaction in the
Spectator. The l*etter columns* were
filled with horrified reactions,
including a letter from Hollywood
whose*list of well-known signatories
(Kevin Costner, Sidney Poitier, Tom
Cruise, etc) was actually longer than
the letter itself*. The letter
warned against racist cant and raised the
spectre of the Holocaust and
the Spanish Inquisition. Another letter voiced
the same thought, though
negatively: No doubt there has been an over-
reaction to Cash's article;
it is a long way from gas ovens . . .'
'**
**
Indeed, you might think, so why mention it? Because, I
suppose, the
awful*trump card of the Holocaust is such a powerful card to
play*, and
the Jewish community finds it tempting to play it, or even just
to get
it out and wave it around without actually playing
it.**
**
*Mark Lawson wrote in the 12/06/94
Independent*:**
**
"Writing about television, I have regularly
received letters asking me
to point out the number of Jews in positions of
influence in British
broadcasting. Generally underground, this allegation
occasionally goes
public: some of the Catholic agitators protesting against
the recent
Christopher Hitchens polemic against Mother Theresa of Calcutta
on
*Channel 4* saw fit to mention the *Jewish background of the station's
chief executive, Michael Grade*. This implication was at least as
slanderous as anything Hitchens said about the nun. (*I write this as a
Catholic*, a fact which had perhaps better be declared as there is
enough anti-Semitism in Britain for it to be assumed that any defence of
Judaism comes from within.)"**
**
Lawson admits that Jews do
dominate the entertainment industry but this
does not lead to our movie and
TV screens filling with Jewish culture.
"Jewish movies - Crossing Delancey,
Yentl, Brighton Beach Memoirs - have
been relatively few. Zionist conspiracy
theorists are limited to such
exhibits as the two films about the Entebbe
rescue produced in 1976 and
the obscure 1971 US/Israeli co-production, The
Jerusalem File, a
thriller about the Six-Day War.**
**
"In
general, Hollywood movies reflect Middle American Christian values.
For
example, Forest Gump, this year's smash hit and likely 1995 Oscar
winner, is
a fairly standard weepie but, like most American films of
this genre, a
Jesus-weepie... The two big family releases in 1994 - The
Lion King and The
Nightmare Before Christmas - were also submerged
sermons: in the latter,
various forces of negativity are trying to
destroy the spirit of Christmas,
until taught a lesson by military force.**
**
"Baddies in action
films do often have an Arab aspect, but this panders
less to Zionism than a
general American prejudice, as demonstrated in
the Gulf
War.**
**
"The gags in Nora Ephron's When Harry Met Sally are
Jewish; the ending
is Middle American. Jewish humour has saved Hollywood
from a complete
surrender to the mawkish sentimentality of American
Christian culture:
its tendency towards - to use, appropriately, a Yiddish
word - schmaltz.**
**
"...In mainstream cinema and television,
content is dictated by
consumers not producers, and there are onlylimited
ticket sales in
Judaism. The second is that Jews in Hollywood have been keen
to
assimilate and avoid self declaration, a parallel to the paradox that
although the movie business contained numerous homosexuals, there was
scarcely a gay film before the
1980s."**......................................................**
**
When
*Marlon Brando* held a news conference at the Museum of Tolerance
(MOT, a
state-funded Holocaust museum operated by Orthodox rabbis) to
apologize for
his comments about Jews on the Larry King Show, William
Cash leaped on stage
and started babbling about his desire to repent for
his article. *Cash was
led away by security guards*. Later, Cash was
told by Jack Valenti and the
honchos at the MOT that he was forgiven.
Cash now lives in Great Britain and
Italy. **
**
Addendum (Peter Myers)**
**
Also see
Hollywood's Homosexual Mafia, by Luke Ford (undated, but it was
uploaded by
September 25,
2002):**http://www.lukeford.net/essays/contents/homo_mafia.htm**
**
*(13)
Rabbi Dresner blames 'the Hollywood crowd' for Destruction of the
Traditional Family - E. Michael Jones*
**
Rabbi Dresner's
Dilemma: Torah v. Ethnos
by E. Michael Jones
E. Michael Jones,
Ph.D. is the Editor of Culture Wars magazine, as well
as author of several
books available from Fidelity Press.**
**
This article was
published in the May, 2003 issue of Culture Wars
magazine.**
**
http://www.culturewars.com/2003/rabbidresner.html**
**
I
never liked the title of Rabbi Dresner's book. It was called Can
Families
Survive in Pagan America? and was published in 1995 by
Huntington House out
of Lafayettte, Louisiana. ...**
**
Families was an American book,
but it was different than the plethora of
jeremiads about the moral decline
of America in the Bill Bennett mode.
Dresner's book was about something
else. It had a subtext that escaped
its title. *Families was really about
American Jews*, or, better, the
effect that America had had on the Jews who
came here largely in the
aftermath of the Russian pogroms of the 1880s.
Families was about how
many modern Jews, in their search for passion and
pleasure and power,
have lost themselves in the kingdom of Caesar.
...**
**
*If 'the traditional family is under siege' in America,
it is largely
because of the influence of *what Dresner calls *'the
Hollywood crowd,*'
a group of people who praise 'rebellion,
self-fulfillment, and
promiscuity' and a 'debased view of the human body and
spirit' which
finds acceptance by 'none of the great religions of the world
- and
certainly not Judaism.' The Hollywood film, according to Dresner, has
become a 'school from which one neither graduates nor needs to leave
home to attend.' That school had a profound effect on American attitudes
and behavior in the second half of the 20th century. According to
Dresner, any study of the films which got produced from 1945 to 1985
would reveal '*a radical shift in values*,' one which turned the world
upside down. 'Hollywood came to adopt a *permissive*, value-free
attitude in the course of a few decades,' and when it went down the
drain, it dragged the rest of America with it. *'The underground has
taken over. *... the avant-garde has become the man on the street.
*Bohemia is Broadway*. The filthy jokes formerly restricted to burlesque
houses and certain nightclubs' are now available on 'films and TV for
the millions. Las Vegas is no longer a city but a condition' (pp.
316-7). Hollywood, in short, got corrupted around 1945 and is now
responsible for the moral decline of American culture.
...**
**
Today about*two-thirds of leading TV and movie producers
are Jewish*.
Four of the five companies that dominate American entertainment
are run
by Jews (Gerald Levin, who once considered a rabbinic career, runs
Time
Warner, Michael Eisner runs Disney, Mel Karmazin and Sumner Redstone
run
Viacom-CBS, and the Bronfmans run Universal).**
**
This
fact is*rarely discussed in the mainstream media because Jews
control that
as well*. When British journalist William Cash wrote about
Jewish control of
Hollywood in the October 1994 issue of the Spectator,
Hollywood and its
academic support troops reacted with rage verging on
hysteria. In the
November 13, 1994 issue of Los Angeles Times, *Neal
Gabler attacked Cash's
article as 'an anti-Semitic bleat* from a
reactionary crackpot' which could
have been dismissed out of hand 'if it
didn't have a respectable platform in
the Spectator and didn't play to a
pre-existing prejudice - that Jews
control the U.S. media.' Neal Gabler,
it should be noted, is the author of
An Empire of their Own: How Jews
Created Hollywood. Gabler, in other words
was attacking Cash, for saying
what Gabler had said in his own book.
According to Cash,**
**
That every major studio head is Jewish
today is no different from 60
years ago. 'Of 85 names engaged in production,
53 are Jews,' a 1936
survey noted. And the Jewish advantage holds in
prestige as well as
numbers. In a recent Premiere magazine 'Special Power
Issue' - ranking
the 100 most powerful people in the 'Industry' - the top 12
were Jewish.
There were no black or British industry executives
ranked.**
**
Jewish domination of Hollywood, however, cannot be
limited to numbers.
The numbers simply give a pale approximation of the
extent to which
*Jews determine the cultural matrix* out of which the
nation's films get
made. Cash cites an instance of the 'extreme measures'
non-Jews engage
in to succeed in Hollywood: **
**
Bill
Stadiem, a former Harvard educated Wall Street lawyer who is now a
screenwriter in LA, told me that he recently came across an old WASP
friend in an LA restaurant who had been president of the Porcellian at
Harvard - the most exclusive undergraduate dining-club. His friend - a
would-be producer - was dressed in a black nylon tracksuit and had gold
chains on his wrist; dangling around his neck was a chunky Star of
David. Stadiem asked: 'Why the hell are you dressed like that?' The WASP
replied: 'I'm trying to look Jewish.'**
**
One need only think
back to Jay Gatsby's attempts to pass as a WASP in
F. Scott Fitzgerald's
novel, The Great Gatsby, to see how the cultural
equation changed over the
course of the 20th century. As media and
entertainment came to dominate the
political and cultural landscape, the
Jew eventually succeeded the WASP as
the country's culturally dominant
ethnic group, the group which set the
styles for the rest of the nation.**
**
But here as elsewhere the
term Jew has to be defined. 'Jews in
Hollywood,' according to one
commentator 'like most Jews in the media,
academia and pornography, tend to
be *radical and alienated Jews, rooted
neither in Judaism nor in the
majority Christian culture*. They tend to
be *rootless and politically left*
of center, seeking to create a
*rootless cosmopolitan society* to reflect
their own non-Judaic
traditionless values.' *They don't cease being Jews
because of that
fact*, however, nor do they cease to act like Jews, as
Cash's article
makes clear. Cash describes then 81-year-old Lew Wasserman as
at the top
of Hollywood's 'feudal power structure.' When Stephen Spielberg,
David
Geffen and Jeffrey Katzenberg decided to form their own production
studio, they first gathered at Wassenberg's estate to gain his
'rabbinical blessing,' after which 'they spoke in ‘hushed, reverential
tones about the industry potentate,' and how he 'spun stories about the
history of Hollywood and showed them
artifacts.'**
**
*Wasserman had been Stephen Spielberg's mentor
for over almost 30
years*. Jews, according to Cash, govern the New
Establishment, but they
govern it like rootless and alienated Jews, which is
to say, according
to no Torah but the one of their own making. That means
the application
of traditional Jewish prejudice against majority culture
with none of
the restraint imposed by rabbinical interpretation of moral
norms. That
means, in short, moral subversion of the sort which Hollywood
promulgated during the cultural revolution of the ‘60s, complicated by
the fact that *anyone who objects or even describes the situation, as*
the reaction to *Cash's article showed, gets demonized as an
anti-Semite*.**
**
'Few in Hollywood (can) recall such an
anti-Semitic article in a
mainstream publication,' wrote Bernard Weinraub,
the New York Times'
Hollywood correspondent in response to Cash's article.
Hollywood in
general concurred, filling the letters columns of local papers
with one
horrified reaction after another. One letter to the editor, whose
list
of prominent signatories included Kevin Costner, Sidney Poitier, and
Tom
Cruise worried that a new Holocaust and Spanish Inquisition could not be
far behind.**
**
The Battle over the Sexualization of
America**
**
William Cash's and Joe Breen's candor about Hollywood
fills in what Sam
Dresner's account leaves out. It shows that the battle
over the
sexualization of American culture was largely if not exclusively a
battle between America's Jews and Catholics. From 1934 to 1965,
Hollywood's Jews were forced to repress their 'permissive, value-free
attitude' in matters sexual, or at least they were prevented from
expressing that attitude in the films that they made. The golden age of
Hollywood which Dresner indirectly praises was a collaborative effort;
it was Catholics saving Hollywood's Jews from their own worst instincts.
The Catholics eventually lost that battle, with dire consequences for
the entire nation. Indeed, Rabbi Dresner's book is one of those
consequences. His book is also an indication that the history of
American Culture in the 20th century is in many respects a history of
the sexual degeneration of the American Jew. That means the decline of
the Rabbi Dresner Jew and the Rise of the Woody Allen Jew in his place
as an icon for the entire culture. The Catholics lost the culture wars
because they internalized Woody Allen Jewish values on sexuality, just
as much as they adopted WASP values on birth
control.**
**
That, of course, leads to a dilemma for Rabbi
Dresner. If we're talking
about Boston's Puritans as the first and foremost
influence in America,
*America was founded by a group of Judaizers, who
followed a distinctly
Old Testament version of Christianity*, making America
one of the most
'Jewish' of all of the 'Christian' nations.
**
**
Dresner is concerned that others have noticed the same
thing. He cites a
letter to the California Lawyer which claims that 'the
progressive
*deterioration of morality can be directly attributable to the
growing
predominance of Jews* in our national life.' Dresner is, of course,
appalled, but his book is saying essentially the same thing. Is Rabbi
Dresner, then, an anti-Semite? Given the canons of contemporary
discourse, it depends on how we define the term. Israel Shamir, writing
in the Israeli newspaper H'aaretz, recently said that anyone who
objected to American global cultural imperialism could now safely be
termed an anti-Semite. Unless, of course, he is Jewish, in that instance
he is referred to as a 'self-hating Jew,' a term which can be defined as
referring to anyone who disagrees with the party line as articulated by
Abe Foxman, the Bronfmans, the ADL, the AJC and all of the other leaders
and organizations that have tried to turn Jews into the avant garde of
the Cultural Revolution.**
**
How then can Rabbi *Dresner
claim that Jews can bring about a reform of
family life and morals when he's
saying that Jews are responsible for
that moral decline in the first place?
*The answer lies in defining the
word 'Jew,' and that means distinguishing
between the Rabbi Dresner Jew
and the Woody Allen Jew. 'Jews,' Dresner tells
us in a passage I have
already cited, 'have . . . played a less than
admirable role in the
sexual revolution. That, however does not mean that
they speak for
Judaism, any more than antifamily Jewish feminists do.' The
issue, in
other words, revolves around the question, 'who speaks for the
Jews?'
Rabbi Dresner is a conservative, for whom the Torah is normative.
That
means that 'homosexuality is a violation of the order of creation' (p.
81). That, in turn, means that, on the issue of homosexuality, Rabbi
Dresner is at odds with the majority of American Jews. That, in turn,
leads to a paradox: *America has become more Jewish over the course of
the 20th century, but Jews have become less Jewish* at the same time, if
we define the Jew the way Dresner does, as a follower of the Torah. The
Jew has become an American Cultural Hero, but he has become that largely
by espousing sexual degeneracy. As a result, America is becoming
simultaneously more Jewish, but less representative of what Rabbi
Dresner believes. 'Twenty years ago,' Dresner
writes,**
**
Time magazine ran an article claiming that 'the
United States is
becoming more Jewish . ... Among American intellectuals the
Jew has even
become a culture hero.' It went on to quote poet Robert Lowell,
who
declared that 'Jewishness is the center of today's literature much as
the West was in the ‘30s.' Twenty years later (26 February 1990), Time
repeated the same theme, informing us that 'Jews are news. It is an
axiom of journalism. An indispensable one, too, because it is otherwise
impossible to explain why the deeds and misdeeds of a dot-on-the-map
Israel get an absurdly disproportionate amount of news coverage around
the world.' (p. 275). ...**
**
Even if Judaism was forged in
opposition to pagan fertility cults (Rabbi
Judah said in the name of Rav:
'The Israelites knew there was no
substance to pagan idolatry. They took it
up only to engage more freely
in forbidden sexual practices.' ), Israel's
'victory over pagan idolatry
was never complete. ... The Book of Kings . . .
demonstrates how closely
Israel came to being swallowed up by the powerful
cults' (p. 140). ...**
**
The conclusion which Dresner draws is
inescapable. If Woody Allen speaks
for the majority of American Jews, then
American Jews have been
corrupted; they are now no longer followers of Moses
but rather
followers of Shabbetai Zevi. In the process of succumbing to that
corruption, they have played a major role in the corruption of American
morals and culture. American cultural life in the last half of the 20th
century, in other words, has been dominated by Jewish rebellion against
the Torah and the adoption of the sexual practices and worldview of
Shabbetai Zevi. The overwhelming majority of American Jews-as evidenced
by the surveys Dresner cites-have defined themselves as sexual
revolutionaries, and because of the disproportionate role which Jews
play in publishing and the media, they have, in effect, established
Sabbatian sexual degeneracy as the American cultural norm.
...**
**
Luke Ford**
**
*Luke Ford was raised as a
Seventh Day Adventist* in Australia. He came
to Los Angeles to study and
after coming down with chronic fatigue
syndrome, spent his time in
convalescence listening to Dennis Prager's
radio program. As a result of
listening to Prager, he converted to
orthodox Judaism. Since Los Angeles is
the center of the pornography
industry and since Ford was also interested in
pornography, he noticed
that Jews dominate the porn industry in Hollywood
and decided to discuss
the issue on his website, lukeford.com (Since this
discussion - and
perhaps because of it -*lukeford.com has been taken over by
the porn
industry*. Luke Ford's lucubrations on things Jewish, things
pornographic, and things in general are *now available only at
lukeford.net*) Luke Ford noticed that 'secular Jews play a
disproportionate role throughout the sex
industry':**
**
Leading modern Jewish pornographers include Ron
Braverman, John Bone,
Wesley Emerson, Paul Fishbein, Herbert Feinberg AKA
Mickey Fine, Hank
Weinstein, Lenny Friedlander, Bobby Hollander, Rubin
Gottesman, Fred
Hirsch and his children Steve and Marci, Paul 'Norman'
Apstein, Steve
Orenstein, Jack Richmond (Legend CEO), Theodore Rothstein,
Reuben and
David Sturman, Ron Sullivan, Jerome Tanner, Armand Weston, Sam
and Mitch
Weston (Spinelli).**
**
*Jews accounted for most of
the leading male performers* of the 1970s
and '80s. Hebrew studs include
Buck Adams, Bobby Astyr, (Bobby Charles)
R. Bolla (Robert Kerman), Jerry
Butler (Paul Siderman), Seymore Butts
(Adam Glasser), Roger Caine (Al
Levitsky), David Christopher (Bernie
Cohen), Steve Drake, Jesse Eastern,
Jamie Gillis (Jamie Gurman), Ron
Jeremy (Hyatt), Michael Knight, William
Margold, Ashley Moore (Steve
Tucker), David Morris, George Payne, Ed Powers
(Mark Arnold aka Mark
Krinski), Harry Reems (Herbert Streicher), Dave Ruby,
Herschel Savage
(Harvey Cowen), Carter Stevens (Mal Warub), Marc Stevens,
Paul Thomas
(Phil Tobias), Marc Wallice (Marc Goldberg), Randy West (Andy
Abrams)
and Jack Wrangler.**
**
*Jewish female performers*
include Avalon, Jenny Baxter (Jenny Wexler),
Busty Belle (Tracy Praeger),
Chelsea Blake, Tiffany Blake, Bunny Bleu
(Kim Warner), J.R. Carrington, Lee
Carroll (Leslie Barris), Blair
Castle/Brooke Fields (Allison Shandibal),
Courtney/Natasha/Eden (Natasha
Zimmerman), Daphne (Daphne Franks), Barbara
Dare (Stacy Mitnick), April
Diamond, Jeanna Fine, Alexis Gold, Terri Hall,
Heather Hart, Nina
Hartley (Hartman), C.J. Laing (Wendy Miller), Frankie
Leigh (Cynthia
Hope Geller), Gloria Leonard, Traci Lords (Nora Louise
Kuzma), Amber
Lynn, Tonisha Mills, Melissa Monet, Susan Nero, Scarlett O.
(Catherine
Goldberg), Tawny Pearl (Susan Pearlman), Nina Preta, Tracey
Prince,
Raylene, Janey Robbins (Robin Lieberman), Mila Shegol, Alexandra
Silk,
Susan Sloan, Annie Sprinkle (Ellen Steinberg), Karen Summer (Dana
Alper), Cindy West, Zara Whites (Amy Kooiman) and Ona Zee (Ona Simms).
(This citation, as well as all of the subsequent citations have been
taken from the discussion of *Jews and pornography at the lukeford.com
website*, all of which have been*removed *by the cite's new
owners.)**
**
If, as Ford notes, 'the Torah [Pentateuch] commands
Jews ‘to be a
kingdom of priests and a holy nation,' and Judaism strongly
opposes
porn, *why do Jews dominate porn?*' Is the ethnic connection purely
fortuitous? Is it like the fact that many policemen in New York are
Irish? Is there an ethnic connection between being Irish and law
enforcement? Perhaps all of the Irish who got arrested in New York in
the nineteenth and early twentieth century for drunken brawling were
impressed with how policemen handled themselves. In other words,
probably not. Is there some necessary ethnic connection between being
Irish and putting out fires? Probably not. ...**
**
Outraged
Response**
**
When William Cash wrote his already cited article in
the British
magazine The Spectator discussing Jewish dominance in Hollywood
and,
therefore, the pornography industry, the discussion prompted an
outraged
response from Abraham H. Foxman, head of the Anti-Defamation
League. To
raise the issue meant that one was guilty of propagating an
anti-Semitic
canard, even though, in the case of Luke Ford, it was a Jew who
raised
the issue. 'Those Jews who enter the pornography industry,' Foxman
opined, 'have done so as individuals pursuing the American dream, not as
representatives of their religious group. Moreover, anti-Semites never
seem to take note of the fact that the*most prominent pornographers in
America are Hugh Hefner and Larry Flynt, neither of whom is the least
bit Jewish*. Finally, though individual Jews may play a role in
pornography, Jewishness does not.'**
**
Foxman then fell back
on the same justification for obscenity that
Irving Thalberg used in his
fight with the Legion of Decency.
Pornography is controlled by 'consumers,'
most of whom are Gentiles.
Therefore, Gentiles are ultimately responsible
for pornography.
According to Foxman, even if Jews dominate a particular
field, as is the
case with both Hollywood and the related pornography
industry, that
bears no relationship to the fact that they are Jews, no
matter how one
defines the term. To say otherwise is to be an
anti-Semite.**
**
Foxman is being more than a little disingenuous
here. In mentioning
Larry Flynt and Hugh *Hefner* as the paradigmatic
Gentile pornographers,
he failed to point out that 1) that Hugh *Hefner
would object to being
called a pornographer* and 2) that *Larry Flynt is a
significant
contributor to the ADL*. He also failed to mention, as Rabbi
Dresner
points out in his book, that *Hugh Hefner received the ADL's freedom
award *in 1980. Taking a less partisan view of the question, Dresner
feels that**
**
The religion of impulse likewise found
significant Jewish involvement.
*An unusually high percentage of the
material on sexual liberation was
written by Jews*, as well as among its
advocates. On a more commercial
level, for example, Jews have been *strongly
represented in the Playboy
enterprises*. *B'nai Brith*'s Anti-Defamation
League had no problem, for
example, when some years back they *presented
their American Freedom
Award* at a fashionable black-tie dinner-dance *to
Hugh Hefner*. ...
About the honoree, the ADL says, with an apparent straight
face, that
the empire he founded has had a far-reaching impact, not only on
the
publishing industry, but on the mores of American society as
well.**
**
In other words, the *ADL was rewarding Hefner for* the
role he played in
bringing about widespread *moral corruption and the spread
of sexual
deviance* in America. The question remains, why would the Jews at
the
ADL be interested in rewarding this sort of behavior? Why, as Dresner
asks in his book, did American Jewry remain silent when the ADL
conferred its freedom award. 'Both the Jewish establishment and
nonestablishment observers,' Dresner laments, 'took it in stride,
raising not a finger of protest. It was Catholic William Buckley of
National Review who pointed to the Jewish issue.'**
**
And
what exactly is the 'Jewish issue' here? The answer depends a lot on
how the
term Jew gets defined, especially by the Jews themselves. Ford
claims that
the Jews who dominate pornography are what Rabbi Dresner
would call
'advocates of Woody Allen,' which is to say, Sabbatian in
their orientation.
It's, in other words, not a coincidence that they are
Jewish and involved in
pornography. Their involvement in pornography
flows naturally from the way
they define themselves as Jews. Luke Ford,
according to one report, 'insists
that pornography constitutes a
deliberate attempt by ‘non-Jewish Jews,'
alienated from normative
Judaism and Christian mores, to undermine Western
civilization.'**
**
According to Luke Ford's discussion, the
animus of the Jewish Cultural
Revolutionary is historical and ethnic.
*Pornography is just one weapon
in* a panoply of *cultural warfare* which
gets waged half in
self-defense, half in residual animus *against
traditional majority
Christian cultures*, even when, as is the case of the
United States, the
original prescription no longer fits the actual
situation. According to
Ford,**
**
that is their aim because
they are Jews, and they are reaching for even
more control than they already
have. This is the historic modus operandi
of the Jews. They are outsiders
everywhere except in Israel, and when
they first appear in any Gentile
society and begin reaching for power
they are resisted. The society treats
the Jews as outsiders, as aliens,
and attempts to keep them from gaining
control. The Jewish method of
countering this opposition is to work quietly
to accumulate as much
wealth as possible. At the same time they work to
corrupt the society's
leaders with money and to sow dissension among the
masses, to set one
social class against another, to *break up the society's*
solidarity and
its *cohesiveness*, so that there will be less resistance to
their
penetration of the society. ...**
**
Jewish Porn
Star**
**
Nina Hartley (nee Hartman) also *sees a connection
between being Jewish
and being a porn star*. As Rabbi Dresner might have
noted, it's a long
way from the Torah to Debbie Duz Dishes, in which she
plays 'a sexually
insatiable Jewish housewife who enjoys sex with anyone who
rings the
doorbell.' Debbie Duz Dishes is Hartley's biggest selling, Jewish
themed
porn video. Hartley tried to articulate the *connection between being
Jewish and being a porn star* in an interview with Jewish pornographer
Sheldon Ranz in the Spring 1989 edition of the left-wing Jewish journal
Shmate. She begins by making the sort of morphological distinction that
Rabbi Dresner made in his book. She begins by explaining that *she is
'Jewish culturally but not religiously.'* That means that being Jewish
gets defined in an essentially negative sense. *Being Jewish means being
anti-Christian*. That means that 'I'm generally less subservient than a
typical WASP female. And I've discovered certain gender interactions are
different between Jewish and non-Jewish couples.' Hartley was born in
1956 and grew up in Berkeley, 'which is heavily influenced by [secular]
Jewish culture. It's an intellectual town. A lot of the people who set
the political agenda are Jewish.' Hartley, in other words, can see
*pornography as the fulfillment of 'Jewish values' *because those values
reflect not the Torah but rather the *mores of secular Jews* living in
Berkeley in the ‘60s, a time of social upheaval. That means that 'there
are things that you learn and ways that you think that you don't
understand are more Jewish than not until you go into mainstream America
and realize that other people don't think this
way.'**
**
*Jews*, in other words,*are different than 'mainstream
America,'
something she defines as vaguely Christian*. Since Jews like
Hartley are
not Christians, they *define themselves as the opposite of
Christianity*. Forgetting that Christianity and Judaism both view the
Torah and the moral code it expresses as canonical, Hartley then goes on
to *define the Jew as someone who opposes morals as the Bible defines
them*. Once again she makes a stab at justifying pornography as
something essentially compatible with being Jewish. She can only do
this, of course, by taking as normative not the Torah but rather the
history of Jews as she has lived that history by coming of age in
Berkeley during the ‘60s, which means, of course, accepting the history
of Jewish secularization in the wake of the Enlightenment, and that
means, of course, taking into account the *influence that communism had
on her parents' generation*.**
**
'I'm proud,' Hartley
continues, 'of my heritage's intellectual history
and its empathy with the
persecuted. But I'm no Zionist. Politically,
I'm left-wing. I want everyone
to have a job, everyone to have food,
clothing, shelter, medical care and
education. Utopia might be communist
but in the meantime we have to have
socialism. I want everyone to have a
piece.' ...**
**
At some
point, the baby boomer Jewish revolutionaries redefined the
revolution.
Unlike their communist parents, who saw the revolution as
revolving around
economic issues, the baby boomer Jewish revolutionaries
saw the essential
issues as sexual. Like Richard Pacheco, they took
Wilhelm Reich as their
guide, instead of Trotsky or Lenin, the
quintessential revolutionary figures
for their parents' generation. As
Igor Shafarevich noted, socialism at its
most basic has always had a
sexual component. It has always meant the
communality of wives as well
as the communality of property. So the idea of
'democratic' sex has been
part of the socialist tradition from the
beginning. But the idea of
sexual liberation has also been refined in the
course of history as
well, and the Jewish porn stars who see pornography as
an expression of
their Jewishness are aware of those refinements as well. In
fact it was
the *earlier Jewish infatuation with socialism which made the
Jewish
justification of pornography possible*. Hartley 'descends
ideologically
from the Marxist Jewish philosopher Herbert Marcuse who
prophesied that
a socialist utopia would free individuals to achieve sexual
satisfaction. Nina descends literally from a line of radical Jews. Her
grandfather (a physics professor) and her father (a radio announcer)
belonged to the Communist party.' One of Hartley's brothers is an
Orthodox Jew who is not pleased with her vocation as porn star. As a
result, they don't speak to each other. Rather than leave it at that,
Hartley goes out of her way to portray him as the black sheep of the
family. Ranz echoes her animus: 'I don't understand how a family where
the parents have a Communist background can raise a kid who grows up to
be an Orthodox Jew. How did that happen?'**
**
It is a classic
instance of the transvaluation of values that is part of
contemporary Jewish
identity. Who gets to excommunicate whom? The
Sabbatian Jews will naturally
try to excommunicate the Orthodox as
deviant. The fact that they outnumber
the Orthodox so considerably makes
their attempt less laughable than it
might otherwise seem. The
*connection between Jews and pornography is like
the connection between
Jews and Bolshevism*. Both are forms of revolutionary
activity,
ultimately traceable to Jewish concepts that have been
secularized. Jews
become involved in pornography for reasons similar to why
they become
involved in Communism, which is to say, not just because they
happened
to be Jews but because being Jewish as they and Sabbatai Zevi and
Wilhelm Reich defined it found logical expression in producing
pornography as a form of*cultural warfare through moral subversion*.
Ultimately, the relationship between Jews and pornography is similar to
how Marx described the relationship between the communist party and the
proletariat. Just as the Jews were the *vanguard of revolutionary*
activity in Russia, so they are in the*vanguard of sexual revolution* in
the United States. The Jewish concept of the *chosen people naturally
transformed itself into the concept of the revolutionary vanguard* as
soon as the Torah evaporated as the core of Jewish identity. Messianic
politics replaced waiting for the Messiah. **
**
In *The
Politics of Bad Faith*, David Horowitz described how *a
religious paradigm,
the Exodus, became a political paradigm*, in other
words, how the eschaton
got immanentized and transformed into a
Messianic political movement.
Dresner sees much the same thing. In
becoming, in Dresner's words, 'the
chief advocates of modernity,' Jews
have dedicated themselves to Communism
with a messianic fervor:**
**
They became, for example, disciples
of the new politics of communism.
Some 30 percent of the early leaders of
the revolution were estimated to
have been Jewish. Emancipated from their
ancient faith by the onslaught
of modern thought, which the antiquated
Judaism of the time was
ill-prepared to refute, they transferred their yet
unexpended messianic
fervor into the new religion of Marx. (p.
325).**
**
And when the attraction of communism began to pale they
dedicated
themselves just as fervently to sexual liberation. It would be
naive, or
as Haberer says, 'shortsighted' to claim in light of the
overwhelming
amount of evidence that Jews just happened to be
revolutionaries just as
Abe Foxman at a later date would claim that Jews
just happened to be
involved in pornography.*Both communism and pornography
are forms of
revolutionary activity*, and Jews were drawn to both precisely
because
of the hold that both Messianic Socialism and Sabbatianism acquired
over
them once this group of Jews abandoned traditional religious practice,
something which happened to large numbers of them after they arrived in
America. Nathan Glazer describes the process: **
**
Judaism is
even more vulnerable to the unsettling influence of modernity
than is
Christianity. Judaism emphasizes acts, rituals, habits a way of
life. ...
Once one had found-as so many immigrants did-that it was more
convenient to
work on Saturdays of to shave or to abandon traditional
dress, one had no
body of doctrine to fall back upon that could explain
what remained really
important in Judaism-indeed, the question was
whether anything was really
more important than the rituals established
by God's word. Under these
circumstances, an entire way of life
disintegrated.
**
**
'Jews who came to America,' Elliott Abrams writes, 'were
usually... not
the most devout people in their communities' anyway. The
decline in
faith and morals, however, did not mean that they stopped
defining
themselves as Jews. Socialism and sexual liberation simply filled
up the
religious vessels from which the Torah had evaporated. Revolution, in
other words, was another way of being a Jew, a secular humanist Jew of
the sort Leo Pfeffer praised. **
**
Irving Kristol, in his
youth a follower of Trotsky and now a
neoconservative, gives expression to
the Messianic, universalist vision
that both neoconservatism and Trotskyism
have in common. *The Jewish
revolutionaries, according to
Kristol:*
**
did not *forsake their Jewish heritage to replace it
with* another form
of cultural identity or ethnic belonging. What they
sought can best be
described as an abstract and futuristic idealism of
assimilation qua
*emancipation in a denationalized and secularized
democratic society,
ideally of universal scope*. Leaving the world of their
childhood did
not necessarily imply its total abandonment in one act of
irreversible
forgetfulness. For many this departure under the sacred halo of
socialism was the next best solution to their own existential problems -
a solution that was enormously attractive since it also held out the
utopian promise of the 'genuine emancipation' of all Jews in *a
socialist republic of universal brotherhood* devoid of national,
religious, and social *discrimination or even
distinctions*.**
**
As Irving Kristol, and other Jews have made
clear, Secular Humanism is
the continuation of revolutionary thought in a
America. Just as
socialism was attractive to significant numbers of Jews in
Russia during
the 19th century, Secular Humanism has a certain attraction
among Jews
now - indeed, if Kristol is right, among most Jews. Kristol's
description of Secular Humanism highlights the similarities it shares
with Jewish revolutionary thought in Russia: **
**
where
emancipation unleashed within the Jewish community latent
messianic passions
that pointed to a new era of fraternal 'universalism'
of belief for mankind.
What is now called 'prophetic Judaism' gradually
edged out 'rabbinic
Judaism' - the distinction itself being a derivative
of the secular-humanist
impulse. By the time the mass of Jews, mostly
Central and East European,
came to the United States, they were already
secular-humanist in their
politics, i.e., somewhere Left of Center-if
not in other respects (Irving
Kristol, Neoconservatism: The
Autobiography of an Idea [New York: The Free
Press, 1995], p. 448.**
**
*Secular Humanism*, no matter how
corrosive it is of faith and morals
and a health social order is, as Kristol
puts it, 'good for Jews,'
because it ... *permits individual Jews a civic
equality* and equality
of opportunity dreamed of by previous Jewish
generations. It is natural,
therefore for American Jews to be, not only
accepting of
secular-humanist doctrines, but enthusiastic exponents. That
explains
why American Jews [like Leo Pfeffer] are so vigilant about
*removing all
the signs and symbols of traditional religions* from 'the
public
square,' so insistent that religion be merely a 'private affair,' so
determined that separation of church and state be interpreted to mean
the separation of all institutions from any signs of a connection with
traditional religions. The spread of secular humanism throughout
American life has been 'good for Jews,' no question about it. So the
more, the better (p. 449).**
**
In her recent memoir, An Old
Wife's Tale, Midge Decter notices the same
phenomenon, but with a little
more Angst. 'It is no secret,' she writes:**
**
that some
significant part in the emptying of the [moral-religious]
public square had
been played by Jewish liberals. It was understandable
to me why this was so,
because their long history had left many Jews
with *an atavistic fear of
Christian authority* - so the more public
life could be kept strictly
secular the safer they felt. But understand
it or not, I believe that the
religion-free public condition to which
they have made such a vital
contribution had left American society, and
particularly American culture,
vulnerable to pernicious influences.**
**
Influences like
pornography? Suddenly Nina Hartley's description of
herself as 'the blonde
Jew' porn star from 'a long line of radical
Jews,' who 'wants everyone to
have a piece - a piece of sex, a piece of
the means of production, a piece
of a warm communist community' and 'a
piece of the promised Messianic Age -
now' doesn't seem as far-fetched
as it does on first reading. The link
between the Torah and pornography
- in other words between the Jewish law
and its antithesis - is Russian
Jewish Bolshevism - with a big assist from
Wilhelm Reich - and its
American legacy, brought here by the refugees from
the pogroms which the
revolutionaries set in motion when they killed the
Czar. Daniel
Goldhagen's demonization of Pius XII is part of that ongoing
struggle
between the Jewish revolutionary mind and *its main
counter-revolutionary opponent, the Catholic Church*. Then as now, the
same dynamic applies. The revolutionaries by their actions generate
animus against all Jews. When someone has the temerity to criticize the
excesses of people like Goldhagen, the Jewish organizations like the ADL
turn what is an issue of scholarship and truth into a an
ethnic/religious issue, thereby creating the very thing they purport to
oppose, namely ethnic animus.**
**
Pornography is, in other
words, one of the weapons which 'Jews with an
atavistic fear of Christian
authority' have turned to to *weaken the
dominant culture *in a country and,
thereby, *assure that the Jews*,
always a minority, *will go unmolested by
their 'Christian' neighbors. *
**
The Israelis have recently shown
themselves well-versed in what one
could call the military use of
pornography. At 4:30 PM on March 30,
2002,*Israeli military forces took over
Palestinian TV stations* when
they occupied Ramallah in the West Bank,
immediately shutting them down.
What followed was a little more unusual.
Shortly after occupying the
Al-Watan TV station, the Israeli forces
began*broadcasting pornography*
over its transmitter. Eventually, according
to a report from The
Advertiser, an Australian newspaper, the Israelis
expanded their
cultural offensive against the Palestinian people by
*broadcasting
pornography over two other Palestinian stations*, the Ammwaj
and
Al-Sharaq channels. One 52-year-old Palestinian mother of three
children, according to the report in the The Advertiser, complained
about 'the deliberate psychological damage caused by these broadcasts.'
The only Palestinian station not taken over by the Israelis ran a
written message at the bottom of its screen claiming that 'Anything
currently shown on Al-Watan and other local TV channels has nothing to
do with Palestinian programs but is *being broadcast by the Israeli
occupation forces.* We urge parents to take precautions.'
[...]**
**
Luke Ford makes a similar point in his discussion of
Jewish involvement
in pornography. 'Why does porn attract so many non-Jewish
[i.e.,
Sabbatian] Jews?' Because *'even when Jews live in a society that
welcomes them* instead of harassing them, *many Jews hate the majority
culture.' *Pornography is a way of weakening the majority culture by
moral subversion. Hence, Jewish involvement in pornography.
[...]**
**
When *Luke Ford asked Al Goldstein, the publisher of
Screw*, why so many
Jews were involved in pornography, Goldstein, unlike Abe
Foxman, did not
say the connection was fortuitous. He instead got to what
one might call
the theological heart of the matter. '*The only reason that
Jews are in
pornography*,' Goldstein responded, 'is that *we think that
Christ
sucks. Catholicism sucks*. We don't believe in authoritarianism.'
[...]**
**
*(14) Playboy's Jewish Editors: "The whole staff,
practically, was Jewish"*
**
http://www.tabletmag.com/*Jewish*-arts-and-culture/books/26418/my-son-the-pornographer**
**
Books**
**
My
Son, the Pornographer**
**
By the 1960s, Playboy and its founder
had become household names. But
while *Hugh Hefner* was out making his brand
synonymous with the good
life, *a team of Jewish editors* made his magazine
one of the liveliest,
sexiest, and most progressive reads
around.**
**
By Josh Lambert**
**
February 24,
2010**
**
In his tennis whites on the courts of a retirement
community in
Sarasota, Florida, Nat *Lehrman* doesn’t fit the image of an
aging
sexual revolutionary: he’s no jowly Hugh Hefner in a red silk robe,
nor
Al Goldstein, homeless and pathetic. But then *Lehrman, the editor
responsible for transforming Playboy* in the 1960s from just another
spicy Esquire knockoff into a path-breaking national forum for the
discussion of sexuality, has always been less a sex fiend than an
old-school Brooklyn journalist.**
**
If a magazine’s history
can be divided into eras, the 1960s should be
remembered as *Playboy’s
Jewish decade*. Those were the years in which a
cadre of young *Jewish
editor*s, including *Lehrman*, reinvigorated the
publication, embracing and
*fomenting the sexual revolution*. Yet
*Playboy has often been thought of as
an essentially WASP phenomenon*,
because Hefner, the magazine’s founder,
served back then, and always, as
*Playboy’s public face*—and also because,
thanks to neurotic icons like
Alexander Portnoy and Alvy Singer, it has been
difficult to imagine nice
*Jewish* boys convincing a different perky co-ed
to strip her clothes
off every month. [...]**
**
*(15) Rabbi
Daniel Lapin blamed Jews for America's* "*rapidly
deteriorating
culture*"**
**
Jewish Tribal Review**
**
http://holywar.org/jewishtr/**
**
Excerpts
from: **When Victims Rule. A Critique of Jewish Pre-eminence in
America**
**
*Pornography, drugs, Hollywood, and Jewish
influence upon the values of
mass culture*
**
[...] Hollywood
movies and television at-large have been
increasingly*attacked in recent
years for propagating a range of
decadent values*.
[...]**
**
Not even focusing on the Hollywood world, in 1999,
*Rabbi Daniel Lapin*
wrote an extraordinarily unusual, and stunning,
appraisal of the
collective negative effects of the modern Jewish community
upon the
values of America: **
**
"My firm conviction is that
we must engage in an honest exploration of
the problems and shortcomings of
the Jewish community and Jewish
communal leadership. Instead of focusing on
imagined enemies, we should
ask whether dogmatic commitment to a
secular-liberal vision is
encouraging *dislike for the Jewish community.
*Without such honest
self-appraisal, Jews will become more and more disliked
-- not by crazed
individuals but by decent Americans distressed over their
*rapidly
deteriorating culture* and the *role of Jews* in that agenda. It
cannot
escape the notice of ordinary Americans coping with the challenge of
*raising responsible children* in a hostile world that many *Jewish
names and groups lead *the fight for policies these Americans see as
causing*the country's decline*." [America's Real War, 1999, p. 42]
[...]**
**
*(16) Norman Podhoretz blames Allen Ginsberg for
promoting Sodomy*
**
My War with Allen Ginsberg
**
**
Commentary Magazine 1997 (reprinted in
Ex-Friends)**
**
https://www.commentarymagazine.com/articles/my-war-with-allen-ginsberg/**
**
As
the 60's wore on, I came more and more to see all this [hippie era]
as a new
kind of plague ... I ended with a lament for the victims it had
claimed
among the 'especially vulnerable' young ... [There were] shades
of
antinomian propaganda Ginsberg had done as much as anyone else in
America to
spread ... Ginsberg was also fulsomely praised as a pioneer
of the
gay-rights movement, which indeed he was. Yet so far as I have
been able to
determine, no one thought to draw a connection between the
*emergence of
AIDS and the rampant homosexual promiscuity promoted by
Ginsberg* (with
buggery as an especially 'joyful' feature that is
described in loving detail
in poem after pornographic -- yes,
pornographic -- poem. And I could find
only one mention (in the Weekly
Standard) of Ginsberg's active sponsorship
of the abominable North
American Man Boy Alliance (NAMBLA), an organization
devoted to the
legalization of homosexual pedophilia. ('I don't know exactly
how to
define what's underage,' he once explained, quickly adding that he
himself had 'never made it with anyone under
fifteen.')**
**
*(17) Luke Ford (Jewish himself) explains Why do
Jews dominate Porn? *
**
Luke Ford had a webpage Jews in
Porn.**
**
It was at http://www.lukeford.com/subjects/content/jews_in_*porn*.html
**
**
But lukeford.com is now a porn
website.**
**
His new site is http://www.lukeford.net/**
**
Most
of his essays are at http://www.lukeford.net/essays/**
**
eg
Hollywood's Homosexual
Mafia**http://www.lukeford.net/essays/contents/homo_mafia.htm**
**
Hollywood
Jews**http://www.lukeford.net/essays/contents/Hollywood_Jews.htm**
**
Rabbinic
Sex
Abuse**http://www.lukeford.net/essays/contents/clergysexabuse.htm**
**
Some
of Luke Ford's essays are also at
http://www.lukeisback.com/essays/essays/**and
http://www.lukeisback.com/essays**
**
But
his webpage on Jews in Porn is nowhere to be found**
**
... except
at the Internet Archive:
http://web.archive.org/web/*/http://lukeford.com/subjects/content/jews_in_porn.html**
**
I
suggest that you save a copy.**
**
This version was archived on
*December 16, 2000*:**
**
http://web.archive.org/web/20001216054700/http://www.lukeford.com/subjects/content/jews_in_porn.html**
**
Jews**
**
*Secular
Jews dominate the production and distribution of porn*. Just
like they've
had a disproportionate role in the "white slave trade," and
other forms of
sex commerce.**
**
In his 1992 book "Oh Canada! Oh Quebec! Requiem
for a Divided Country,"
Mordacai Richler writes about Jew hatred in Quebec:
The late Abbe Lionel
Groulx, patron saint of the sovereignty advocates, is
revealed as an
admirer of Mussolini who wrote in 1954 that Jews have "a
natural passion
for money" and could "be found behind all businesses, all
shady
enterprises, all the pornography operations. . . ."
**
**
*Leading modern Jewish pornographers include *Ron Braverman,
John Bone,
Wesley Emerson, Paul Fishbein, Herbert Feinberg AKA Mickey Fine,
Hank
Weinstein, Lenny Friedlander, Bobby Hollander, Rubin Gottesman, Fred
Hirsch and his children Steve and Marci, Paul "Norman" Apstein, Steve
Orenstein, Jack Richmond (Legend CEO), Theodore Rothstein, Reuben and
David Sturman, Ron Sullivan, Jerome Tanner, Armand Weston, Sam and Mitch
Weston (Spinelli). **
**
*Jews accounted for most of the
leading male performers of the 1970s and
'80s*. Hebrew studs include Buck
Adams, Bobby Astyr, (Bobby Charles) R.
Bolla (Robert Kerman), Jerry Butler
(Paul Siderman), Seymore Butts (Adam
Glasser), Roger Caine (Al Levitsky),
David Christopher (Bernie Cohen),
Steve Drake, Jesse Eastern, Jamie Gillis
(Jamie Gurman), Ron Jeremy
(Hyatt), Michael Knight, William Margold, Ashley
Moore (Steve Tucker),
David Morris, George Payne, Ed Powers (Mark Arnold aka
Mark Krinski),
Harry Reems (Herbert Streicher), Dave Ruby, Herschel Savage
(Harvey
Cowen), Carter Stevens (Mal Warub), Marc Stevens, Paul Thomas (Phil
Tobias), Marc Wallice (Marc Goldberg), Randy West (Andy Abrams) and Jack
Wrangler. **
**
A Jewish male performer writes Luke: "Why are
most of the men that do
porno Jewish? JEWISH MOTHERS!
**
**
"Jewish men are taught to respect women and help them (very
codependent)... They also are nonthreathening to most women. Let's face
it, Ron Jeremy is not exactly Mike Tyson... You'll usually find that the
real mean bastards (physically violent) in the industry are NOT Jewish
(that includes, producers, directors, boyfriends, agents, etc). Jewish
guys are more manipulative...." **
**
*Jewish female
performers include *Avalon, Jenny Baxter (Jenny Wexler),
Busty Belle (Tracy
Praeger), Chelsea Blake, Tiffany Blake, Bunny Bleu
(Kim Warner), J.R.
Carrington, Lee Carroll (Leslie Barris), Blair
Castle/Brooke Fields (Allison
Shandibal), Courtney/Natasha/Eden (Natasha
Zimmerman), Daphne (Daphne
Franks), Barbara Dare (Stacy Mitnick), April
Diamond, Jeanna Fine, Alexis
Gold, Terri Hall, Heather Hart, Nina
Hartley (Hartman), C.J. Laing (Wendy
Miller), Frankie Leigh (Cynthia
Hope Geller), Gloria Leonard, Traci Lords
(Nora Louise Kuzma), Amber
Lynn, Tonisha Mills, Melissa Monet, Susan Nero,
Scarlett O. (Catherine
Goldberg), Tawny Pearl (Susan Pearlman), Nina Preta,
Tracey Prince,
Raylene, Janey Robbins (Robin Lieberman), Mila Shegol,
Alexandra Silk,
Susan Sloan, Annie Sprinkle (Ellen Steinberg), Karen Summer
(Dana
Alper), Cindy West, Zara Whites (Amy Kooiman) and Ona Zee (Ona Simms).
**
**
If the Torah [Pentateuch] commands Jews "to be *a kingdom of
priests and
a holy nation*," and Judaism strongly opposes porn, *why do Jews
dominate porn? *
**
The main answer is simple. Jews in porn,
like most Jews in academia,
media and entertainment, are Jewish in name
only. They do little in
Jewish life, rarely belong to a synagogue and ignore
the Torah. Neither
rooted in their own tradition or in that of the majority
Christian
tradition, they live in *a community of rebels.
*
**
Why does porn attract so many non-Jewish Jews?
**
**
· Used to hatred from society, Jews will do its dirty work -
such as
money lending in the Middle Ages or porn today - to make money.
Persecuted for millennia in the various societies they've lived in, many
Jews developed an allegiance to their own survival as their highest
value and care little about the survival of the persecuting society.
Even when Jews live in a society that welcomes them instead of harassing
them, many *Jews hate the majority culture. *
**
· Because
Jews frequently *despise the majority culture*, and despite
being
traditional in most of their values and rituals, Jews seem open to
new ways
of doing business. Not rooted in the status quo that frequently
hates them,
Jews often lead the way in the application of new technology
- such as
printing presses, radio, TV, cable television, VCRs and
computers. And the
most popular application of new technology for
millennia has been porn.
**
**
· Because of Judaism's emphasis on education and *verbal
dexterity, Jews
dominate academia*, entertainment and media generally.
**
**
· Belonging to the "Chosen Ones" brings *self-confidence*,
and it takes
a strong sense of self to thrive in an industry like porn that
is
disdained by the public. Male performers particularly need confidence to
achieve on camera erections.
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