Click on this text to watch: A Modestly Priced Weapon (Our JEW Controlled Press)
Who runs Hollywood? C'mon
THE WORLD'S FOREMOST LIARS ARE IN TOTAL CONTROL OF
HOLLYWOOD AND TELEVISION...!
Click on this text to watch: Insight - Hollywoodism: The Ideology that has Devoured Western Culture...
"Whatever definition we may give to the term 'public opinion',
only a very small part of
it originates from personal experience or individual insight.
The greater portion of it results from the manner in which public matters have
been presented to the people through an overwhelmingly
impressive and persistant system of 'information'. "
Click on this text to watch "Hollywood - An Empire Of Their Own" (1 of 3)...
Hollywood - An Empire Of Their Own (2 of 3)...
Hollywood - An Empire Of Their Own (3 of 3)...
gives us an overview of the Mainstream Media and takes us through a brief history of the Hollywood "Studio System"
up to today's "Star System." We discover how the creative "mom and pop" studios run by Jewish
movie moguls fell on hard times and eventually were purchased by the "money men" from corporate America.
The New Hollywood is now a ruthless, profit-driven oligopoly that lacks diversity at not only the corporate level, but
the executive, talent and crew levels.
explores how executives in the New Hollywood, were infected by a European strain of cultural Marxism known as Androgyny,
and as a result now produce endless movies that have corrupted the youth, destroyed the traditional family, undermined
the American Middle Class and compromised free-market capitalism. Also, while defaming entire populations, promoting
the War of Terror and profiteering from violence, Hollywood now suppresses any movie that fails to align with the interests,
values, cultural perspectives and prejudices of the control group that dominates the studios and networks.
Images explores how the control group of the New York networks -- now infected by corporate fascism in addition
to cultural Marxism from Hollywood -- uses mass media to push only a narrow spectrum of products, issues and causes.
Drug-pushing pharma, oil-burning cars, poverty-creating debt, sickness-exploiting insurance, brain-killing liquor and butt-kissing
Zionists are almost all that's promoted by the New York Networks and the Hollywood studios. Marlon Brando, Ben
Stein, Abe Foxman and Gary Oldman explain why.
Control the media and you can control entire nations while
playing the overwhelming majority of the population the exploited fool. You can even completely convince everyone, with
few exceptions, that your mortal enemy is your ally and your best ally is a mortal enemy.
You can convince a society that an inconsequential puppet, dangling from the strings of his sinister master, is the best
person to lead a nation that is slowly sinking into oblivion. You can convince a society to slaughter some other innocent
society as a moral and military necessity. You can convince a society that some other society rounded-up 6,000,000 Jews
and "gassed" them all. You can even convince a society that cutting the foreskin off of a male infant, without
the somewhat beneficial application of anesthetic, is a good idea...
founded 20th CENTURY STUDIOS in
1933 with two Jewish partners, Joseph Schenck and
William Goetz. The new studio was
successful with the film, House of Rothschild (of all
ironies), in 1934. In 1935 Zanuck
and Schenck bought
FOX STUDIOS to form 20th CENTURY FOX.
Click on this text to watch: "The House of Rothschild" 1934. Full Movie
“I don’t care if Americans think were running the news
Wall Street or the government. I just
care that we get to keep running them.” ...Joel Stein
from a Los Angeles Times article by Stein titled:
How Jewish is Hollywood - December 19 th 2008).
Now let’s have a look at Jewish ownership of the
Hollywood movie industry.
than list all the Jewish movie studio owners,
it’s far easier to say that all major Hollywood studios
were, and are, owned and operated by Jews with only a
few exceptions; those three exceptions being: Darryl
Zanuck- Walt Disney- and Howard Hughes.
Darryl Zanuck founded 20th
CENTURY STUDIOS in
1933 with two Jewish partners, Joseph Schenck and
William Goetz. The new studio was immediately
successful with the film, House of Rothschild (of all
ironies), in 1934. In 1935 Zanuck and Schenck bought
STUDIOS to form 20th CENTURY FOX.
Walt Disney was another non-Jewish studio head and
American icon who spent a lot of money, effort, and time
at war with Hollywood Jews trying to maintain control of
his own studio. Control the media and you can control
the message. Control the message and you control anything
and everything, even history, the present, and the
It was essential to the success
of gaining control of
America to have ALL media outlets under Zionist
control. There could not even be
controlled major Hollywood studio, or ONE major
television network not under Zionist control
or else the
message would not be controlled. And that is why there
was such a war waged against Walt Disney
control of his studio from him... and Disney knew this.
Jewish-Hollywood’s War on Walt Disney
Unknown to most Americans is the fact that the first
motion picture camera was
invented by Thomas Alva
Edison in East Orange, New Jersey. Edison was a
lifelong inventor who held over a thousand
patents on his
inventions when he died in 1931. Inventing the motion
picture camera was the easy part for Edison
Jewish exploiters from using his camera without paying
him his due royalties was the hard part.
As soon as German born Jew, Carl Laemmle, found out
about motion pictures he began
figuring out ways to
exploit the new invention. Efforts by Laemmle and his
fellow Jews to deprive Edison
of his camera use fees
forced Edison and other movie makers such as William
Kennedy Dickson, Hermann Casler,
George Albert Smith, William Klein (Jewish), and
Frances Marion to form a protective association
the TRUST. As fast as Laemmle and his exploiter
associates could get their hands on Edison’s
started using them, the TRUST would file lawsuits
against them to stop their using Edison’s
be discouraged, Laemmle and his Jewish
associates acquired cameras in Europe that were based on
invention and smuggled them and raw film into
the U.S. Edison had made arrangements with the
Company to exclusively manufacture
film for use by only those sanctioned to use it by the
When the U.S. courts moved too slowly, or refused to
stop people like Laemmle from exploiting Edison’s
cameras and film patents, the TRUST would send their
enforcers to seize and smash any illegal equipment.
Lookouts were then needed by the exploiters while
to warn of the approach of TRUST enforcers. If
enforcers were spotted, the camera crew would quickly
up and move to an alternative filming location.
Hollywood, California was about as far away as
Laemmle, William Fox, Marcus Loew,
Harry Cohn, and others could get from the TRUST and
that’s where filming and film
centered. Southern California’s climate
and scenery was
also perfect for filming.
By the early twenties, all that remained of the power of
Edison’s TRUST was its raising the issue of
content in motion pictures. The federal government
indeed kept an eye on Hollywood to make sure that
movies produced there remained socially acceptable but
the new Jewish movie moguls had no idea about
was morally or socially acceptable and couldn’t have
cared less about morality as long as pictures
money. Sex, violence, cynicism and low-brow humor
sold tickets back then... the same as today.
The major reason why Edison and his cohorts lost
control of the fledgling film industry was because they
did not understand what was at stake. They
in much more than an economic battle for film industry
profits; the battle was more importantly
CONTROL of CULTURE, PHILOSOPHY,
HISTORY, RELIGIOUS INDOCTRINATION,
FOREIGN and DOMESTIC POLICY...
In other words: MASS THOUGHT CONTROL.
After Jewish control of film making and distribution was
largely complete, they began lowering the standards
morality and exploited sex to the point that some
members of Congress felt that film censorship was
necessary. Legislation to create a board of film
censorship was introduced, but Hollywood Jews moved
to create their own self-regulating organization
called the Motion Picture Producers and Distributors of
A non-Jew, former Postmaster
General Will Hays, was chosen to head the MPPDA as
means of improving the image of the industry.
By the late 1920s it was
nearly impossible for a non-Jew
to get a break as an executive in the movie industry. One
person who fought
the system was Walt Disney.
Disney was born in the Midwest and was a self-taught cartoon
animator. His attempts to
get his cartoons marketed
through Jewish controlled Hollywood distributors ran
into constant roadblocks.
He did have some limited success by selling a few
featuring Felix the Cat. Then Disney invented
and produced Oswald the Rabbit and contacted a Jewish New
distributor, Margaret Winkler, to
help in getting his work distributed. Ms. Winkler, who
got her start
in the film business as Harry Warner’s
personal secretary, was interested and contracted Disney
a series of cartoons based on Alice in
Wonderland. Harry Warner being one of the founders of
A former Jewish Warner Brothers
Charles B. Mintz, was courting (and eventually
married) Winkler at the time, saw the Oswald the Rabbit
cartoons and saw dollar signs. Mintz got on Disney’s
good side and got in on the production of Oswald the
Rabbit by advancing Disney $1,800 and agreeing to pay
for eighteen cartoons in the Alice’s Wonderland
Walt and his brother,
Roy, accepted the money and the
contract deal, purchased a building, and built a modest
studio on Hyperion
Ave. in Hollywood. Then Mintz
announced that, due to lack of interest, the Alice’s
Wonderland series would
have to be cancelled.
while Mintz had been traveling between New
York and Hollywood making deals under the table with
Carl Laemmle. Laemmle wanted a cartoon character to
compete with Felix the Cat.
Mintz now owned Disney’s
Oswald the Rabbit and all the merchandising related to
Oswald the Rabbit
because Disney hadn’t paid much
attention to the contract with Mintz, and in fact, had
all rights to his own creation.
Disney faithfully carried on and produced Trolley Troubles
featuring Oswald the Rabbit
and produced a new cartoon
in the series every week for Mintz at $2,500 per episode
and a piece of the box office
Walt eventually found out that
Mintz had made a deal
with Laemmle behind his back to market Oswald
merchandise and was outraged. When
his brother Roy mollified him by pointing out that
merchandise sales would enhance box office receipts.
When Walt travelled to New York in 1928 to negotiate a
new contract with Mintz, he was informed that his pay
for each cartoon installment was being reduced to $1,800
from the original $2,500; and if he didn’t like it, then
Disney’s employees would be hired away
from him to
begin producing Oswald installments for Mintz’ Snappy
called his brother Roy for
advice, he was reminded that Mintz owned Oswald the
Rabbit and in fact, all of the Jewish
Disney had hired in Hollywood had suddenly quit and
were going to work for Mintz, leaving
only the loyal non-
Jewish animators that Walt had brought with him from
the Midwest to Hollywood.
By the way, before you think to yourself that Jews
were/are simply “good business people” remember this:
good business is when both parties win;
bad business is
when one party wins at the detrimental expense of the
other party. Of course, this way of thinking can be
considered the folly of the Christian-Occidental
mindset... as if it’s a bad thing to include ethics
when conducting business.
being cut out of the Oswald deal, Walt
returned to Hollywood and created what would become
known as Mickey Mouse and made a deal
with the Jewish head of Columbia Pictures, Harry Cohn,
Mickey... and keep the other wolves at bay.
Cohn was Jewish, but actually put being Jewish aside in
many instances. But soon Disney became
with Columbia’s handling of Mickey Mouse and cut a
deal with a Jew, Julius Schenck,
at United Artists.
that Disney had to deal with, as did
everyone else in Hollywood, was organized criminals
who had seized
control of the International Alliance of
Theatrical Stage Employees as a means of gaining
control of Hollywood.
The mobsters were headed by
Jewish gangsters Meyer Lansky and Benjamin “Bugsy”
plus the Sicilian gangster, Charles “Lucky”
Luciano, who had massacred many of his fellow Sicilian
in order to join forces with the Jewish mobsters.
During Walt’s relationship with Schenck at United
Artists he introduced
one his most successful cartoons,
Three Little Pigs. In the original episode of Three Little
characterized the Big Bad Wolf disguised as
a Jewish peddler who attempted to trick the Pigs into
the door to their cottage. But Jewish pressure to
remove the scene was too great to ignore and Disney
it while explaining that the Jewish wolf
character was a representation of Mintz who had cheated
him out of ownership of Oswald the Rabbit and tried to
blow down the house of
After dealing with more
walkouts by Jewish employees
and union agitators trying to stunt the growth of Disney
Productions, Walt teamed
up with other Hollywood
notables such as William Cagney (producer and brother
of movie star James Cagney),
Mary Pickford and Orson
Wells to form the Society of Independent Motion Picture
Producers (SIMPP) to try
to break the control of the
Majors (largest studios) over Hollywood.
There were a few Jewish studio moguls
such as David O. Selznick and
Sam Goldwyn, who had been cut out of the action by the
original Edison TRUST
busters, who also threw
in with SIMPP. The original Edison TRUST busters now
firmly controlled film distribution
and virtually every
first run movie theater in America.
Hollywood in the 1920s, 1930s, and through the 1950s was
swarming with Jewish Communist and Socialist
members and sympathizers, as was the rest of America
where Jewish influence dominated businesses.
fact became publically apparent, foreign-born Jewish
Congressman Samuel Dickstein of New York took steps
to protect his co-racialist Commie brethren by forming a
special Congressional committee, the House Committee
Un-American Activities (HUAC) that was voted into
existence by Congress in 1934.
Dickstein used the
HUAC as a bully
pulpit to minimalize anyone who dared
to criticize any Jews or Jewish groups by denouncing
them as "Nazis"
and investigated German influenced
activities in America.
Ironically, it took Joe McCarthy’s exposé of Commies in
the early 1950s, using the
HUAC, to drive the mostly
Jewish Communists out of business, or underground,
whereby Disney took advantage of the so called “red scare”
minimalize the Jewish-Communist stranglehold on
Hollywood and his studio.
Of course, McCarthy has gone
down in Jewish controlled history as a misguided paranoid idiot.
Walt also raised the ire of the Majors by publically
attending anti- Communist, anti-war, America First
rallies and even stood beside aviator Charles Lindbergh
at a well-publicized America First rally in Los Angeles
on June 20th, 1941. He also attempted to use his Motion
Picture Alliance for the Preservation of American Ideals
(MPAPAI) to break the Hollywood Major’s dominance.
LINDBERGH’S 9/11/1941 Speech
Speaking of Charles Lindbergh... The following is an
from a speech he gave on September 11th, 1941
in Des Moines, Iowa identifying the forces that were
America into World War II as being the British,
the Roosevelt administration and the Jews.
he expressed sympathy for the plight of Jews in Germany,
he argued that America’s entry into the war would
inflame their predicament. He said in part:
"It is not difficult to understand why the Jewish
people desire the overthrow of Nazi Germany.
persecution they suffered in Germany would be
sufficient to make bitter enemies of any race. No
person with a sense of the dignity of mankind can
condone the persecution the Jewish race has
suffered in Germany.
But no person of honesty and
vision can look on the pro-war policy here today
without seeing the dangers involved in such a
policy, both for us and them.
Instead of agitating for war the Jewish groups in
this country should be
opposing it in every
possible way, for they will be the first to feel its
consequences. Tolerance is a
virtue that depends
upon peace and strength. History shows that it
cannot survive war and devastation.
A few far-sighted Jewish people realize this and stand
opposed to intervention. But the majority still do
not. Their greatest danger to this country lies in
their large ownership and influence in our motion
our press, our radio, and our government."
...Of course, after December 7th, 1941, all peace and
isolationist movements in America, such
First, disbanded. Lindbergh accepted his failure to keep
America out of the war and ceased his
peace efforts lest
he suffer the label of being a traitor.
But back to Walt Disney who openly vowed to keep the commies out of
his studio and informed the
press that the ongoing strikes
against his studio were perpetrated by the octopus-like
The Communist Party of the
United States of America (CPUSA) indeed made its
presence felt by championing
the rights of the film
industries workers and played a vital role in the Screen
Writers Guild’s long
battle to exist.
Jewish guy Moses Koenigsberg,
who managed William
Randolph Hearst’s King Features Syndicate (a comic
strip syndicator), took a swipe at
Disney by accusing
him of being a "Nazi" because of a supposed swastika
(appearing in the form of two
crossed musical notes) that
appeared in the last panel of a Mickey
comic strip that ran on June 19 th, 1940. But it was a very
unconvincing stretch of the
Another swastika supposedly appeared
in an animated
Mickey Mouse cartoon titled "The Wayward Canary" that
was spotted on a cigarette lighter
that ignited when a
berserk canary landed on it. But this cartoon was released in
1932. Hitler wasn’t
elected Chancellor of Germany until
January 30th, 1933 and wasn’t yet considered to be
the time... so throw that "swastika" out.
And speaking of swastikas... The swastika design had
been around for thousands of years before
it for his Reich symbol. It dates back to the ancient Indus
Valley civilization as well
as Mediterranean Classical Antiquity.
The swastika was considered a good luck sun
symbol by indigenous peoples in the ancient
hemisphere. Many European military units used the
swastika as their symbol. The American Army’s
Infantry Division wore the swastika as their symbol patch
on their left shoulder from 1923 until 1939 when
politically correctly changed to a thunderbird.
The Finnish Air Force still uses a swastika as their symbol
the flags of the Karelian, Lapland and Satakunta Air
Commands to this day.
Anyway... Efforts to influence Disney to support
Roosevelt’s pro war
movement failed as long as Walt
kept tight control over his studio. So, in a scheme to get
Walt away from
his studio and away from the country,
Roosevelt instructed Nelson Rockefeller to draft Walt as
a contingent heading to South America to
influence the locals to resist Nazi influence there.
Rockefeller had been named the Official Coordinator
the State Department’s Inter-American Affairs
Roosevelt was particularly concerned about
Walt’s appearance at the America First rally standing
to Charles Lindbergh.
was keen on Walt being absent so he could
settle that latest strike himself and clear all the charges of
Walt’s being a "Nazi" sympathizer.
During Walt’s absence,
Roy met with Labor
Department arbitrator, James F.
Dewey, and the strike was settled by Roy by agreeing to
allow the commie
dominated Cartoonists Guild to have
power at Disney Studio. When Walt heard about Roy’s
vowed that he would close the studio forever
rather than have commie animators on the payroll.
Of course, Roosevelt got his war by setting
military assets at Pearl Harbor to take a contrived
whipping. Disney’s studio was then occupied
troops on December 8th, 1941 to be used as a defense
staging facility to protect the nearby Lockheed
Disney’s studio was the only
Hollywood studio to be thus occupied and Walt
of a job until the Navy Bureau of Aeronautics contracted
him to make a series of twenty aviation
training films. Walt
had little choice but to cooperate because of the crippling
circumstances. And he
produced propaganda cartoons for
the government at the behest of Jewish Secretary of the
Der Fuehrer’s Face
(originally titled: Donald Duck in
Nutzi Land) starring Donald Duck is the most notable
product of that
era that mocked Hitler and won the Oscar
for best animated short film at the 15th Academy Awards.
Incidentally, Spike Jones and His City Slickers enjoyed
popular hit in 1942 with their novelty song called "Der
Face" that became the inspiration for the cartoon.
Disney’s cooperation did result in his regaining full
control of his studio eight months
after it had been
occupied by the Army.
Walt was so incensed at the National Council of
Christians and Jews, who were pressuring him to
a cartoon to promote unity in America by
depicting human prejudices, that not only did he flatly
but he became inspired to help found the Motion
Picture Alliance for the Preservation of American Ideals
(MPA-PAI) whose membership included John Wayne,
Ward Bond, Robert Taylor, James Colburn, Hedda
Gary Cooper, Adolph Menju and sixty-five other
stellar Hollywood personalities.
As vice-president of the MPA-PAI, Walt wrote to Robert
Rice Reynolds, the
activist-isolationist Commie hunter
and Democratic Senator from North Carolina to get
support; and he asked
the HUAC to investigate the
Communist control and influence in Hollywood.
Walt had had enough of the Jewish Commies
and was ready to
take on the “Big Five” (Paramount, Loews, Warner
Brothers, 20 th Century Fox
and RKO) head on.
was instigated against the “Big Five” with
Paramount in the legal sights of the Supreme Court. The
Supreme Court ruled that Paramount, and the other
Majors, were part of a Hollywood monopoly. They were
from expanding their holdings and control
over the production, distribution, and exhibition of
So Walt finally had his day... for a while.
The actions taken by Disney, and the actions taken by the
various associations and patriots in Hollywood,
eventually led to the House Committee on Un-American
investigating hundreds of Commies (mostly
Jewish). Many of the most notorious Communists were
“blacklisted” by Hollywood, including the
Big Five, as a means of deflecting HUAC scrutiny that
could be directed at themselves. The ban on out-right
Communists lasted until about 1965 when many of the
“blacklisted” persons returned to Hollywood and began
assisting in the making of movies that “exposed”
A Woody Allen's (real name: Allen Stewart Konigsberg)
movie titled, "The
Front", was one such movie that
described how blacklisted Hollywood screenwriters used
the names of
front-men to circumvent the blacklist and
kept on working.
By 1966 all of the blacklisted Jewish
Commies were back
in a Hollywood that was firmly
under the control of Jews.
Walt was notorious for always being financially strapped,
hard as it may be to believe, but he
found an ally in
billionaire Howard Hughes. Hughes had dabbled in the
motion picture business since the
1920s. He gained 25%
ownership of RKO Studios in 1948 and took a real
interest in movie making. By 1954
he had acquired near
total ownership of RKO and during his RKO years he
became a good friend and backer
of Walt Disney.
Hughes loaned Walt millions
of dollars, interest free, that
Walt used to expand his Buena Vista film distribution
company and Walt was able
to pay back every penny he
had borrowed from Hughes along the way.
tired of his RKO money-losing toy and sold it off
six months after acquiring total control and realized a
personal profit of $6.5 million dollars; thus ending his twenty-five year affair with Hollywood.
had nearly run
RKO into the ground before the General Tire and Rubber
Company, which purchased RKO from Hughes,
killed the studio off through “mismanagement.”
Walt, having become weary of fighting Jewish controlled
Hollywood all the
time, turned over control of Disney
Studios to his spineless brother, Roy, and pursued his
dream of creating
an amusement theme park.
Disneyland, located in Anaheim, California, opened in 1955. But
before turning total control
over to Roy, Walt realized
success in the new television phenomena of the 1950s
with his Mickey Mouse Club,
amongst other television
ventures, that were basically excellent advertisements for
his hugely successful
Walt died in 1966 leaving
spineless Roy without an
advisory mentor and by 1984 the Disney empire had
become completely owned and
controlled by Jews such
as Michael Eisner, Frank Wells, Jeffrey Katzenberg,
Richard Frank and David Hoberman.
So, in summation, it was Darrell
Zanuck, Walt Disney,
and Howard Hughes who were the only major
studio owners in the history of Hollywood
and it isn’t likely that there will ever be any
the Jewish cronyism in Hollywood is dismantled.
Mickey Mouse, And The Nazis (A JEW POINT OF VIEW)
... Even half a century after his death, Walt Disney's iconic images,
stories, and characters continue to leave an indelible mark on culture ... Considerable evidence exists to support the
proposition that Walt Disney was an anti-Semite, although, as we shall see, the record is decidedly muddled ... When Walt
visited Munich in 1935, Nazi newspapers warmly welcomed him as a hero who stood up to the Jews of Hollywood ... In 1938,
just a few weeks after Kristallnacht, Leni Riefenstahl, Hitler's personal filmmaker and propagandist, came to the United
States seeking an American studio to work with her .. She was boycotted by all Hollywood studio leaders, except one -
Walt - who expressed admiration for her work and gave her a personal tour of his studio.
Jews Who Fought Hitler in Hollywood
... Laura B. Rosenzweig's Hollywood's Spies (2017) and
Steven J. Ross' Hitler in Los Angeles (2017) both document the Hollywood moguls' undercover response to the Nazi
menace within Los Angeles. The books' primary focus is transplanted Chicago lawyer Leon Lewis, who convinced the studio
elite - Samuel Goldwyn, Louis B. Mayer, Irving Thalberg, and Harry Cohn - of the very real threat posed by domestic fascism.
Both books contextualize an era when, in the wake of Hitler's seizure of power in 1933, Los Angeles was full of fascist
supporters, and hundreds of local Nazi and allied "radical right" nativist and extremist "Christian"
groups ... With studio money, Leon Lewis put together the Los Angeles Jewish Community Committee (LAJCC), whose public
face was improving "community relations," but also infiltrated the radical right with spies.
Disney: A Great Artist
Walt Disney was one of the great American artists of the 20th century.
This needs to be recognised. So here I am, Walt, coming to the rescue, aided by an exhibition at the Grand Palais in Paris
that celebrates Disney's films as visual art... What Disney actually achieved was not to diffuse an American banality
worldwide but, in a world that was becoming ever more banal and forgetful, to preserve the old oral storytelling of the
pre-industrial world. Few artists have done as much as Disney to humanise modernity; the magical proof of this is one
of his last films.
the Disney Legacy
For more than 40 years, the company founded and built by Walt Disney
offered popular, well-crafted entertainment that upheld American values and traditions. Its films and television programming
-- even if sometimes sugary -- epitomized, to use the much-mocked phrase, wholesome family entertainment. It was the work
largely of one man, Walter Elias Disney (1901-1966), a gifted illustrator, brilliant filmmaker and genial entrepreneur
who left a lasting mark on American popular culture.
the major American film studios are all Jewish
owned and controlled. Those being:
COLUMBIA TRISTAR MOTION PICTURE GROUP –
MIRAMAX FILMS – Harvey Weinstein
DISNEY – Robert Iger
DREAMWORKS – Steven Spielberg, David Geffen,
WARNER BROTHERS ENTERTAINMENT – Barry
Meyer, Jordan Levin
LIONSGATE – Jon Feltheimer, Rob Friedman
UNIVERSAL STUDIOS – Adam Fogelsong, Rick
MGM – Harry Sloan, Jonathan Glickman, Adam
(a VIACOM Company) –
FOX SEARCHLIGHT – Stephen Gilula, Nancy Utley
SONY PICTURES – Michael Lynton, Amy Pascal
So the percentage of Jews controlling American cinema
is indeed around 100%.
And be advised that studio heads
come and go frequently depending on the fortunes of the
studio, and the
all too frequent mergers and acquisitions.
So the list of studio heads above could completely
but Jewish control will remain.
It was a rather bizarre and revealing skit that was
performed by actor Mark Wahlberg and the animated
character, "Ted" (voice by Seth MacFarlane) at the
2013 Oscar Awards Show.
The dialog was written by ed movie co-writer
Wellesly Wild and honed by Seth MacFarlane.
Wellesley and MacFarlane are the
brains behind the animated TV show,
The dialog went like this:
Ted: "Look at all this talent, all his talent in
spot. There’s Daniel Day-Day Lewis...
there’s Alan Arkin... there’s Joaquin Phoenix.
And you now what’s interesting? All those
I just named are part-Jewish."
about you? You got a berg at the end of your
name. Are you Jewish ?"
Wahlberg: "Am I Jewish? No, actually, I’m Catholic."
Ted: (whispering to Wahlberg) "Wrong answer. Try
Wahlberg: "What ?"
Ted: (still whispering to Wahlberg) "Do
you want to work
in this town or dontcha? (Then addressing the audience
directly) That’s interesting, Mark,
because I’m Jewish."
Wahlberg: "No you’re not."
Ted: "I am. I am. I was born Theodore Shapiro and I
would like to donate money to Israel and continue
work in Hollywood forever. Thank you, I’m Jewish."
Wahlberg: "You’re an idiot."
Ted: "Yeah, well, we’ll see who the idiot is when they
give me a private
plane at the next secret synagogue
meeting." (end of sketch).
Abe Foxman, National Director of the Jewish Anti-
Defamation League, condemned the
"Not remotely funny.
It only reinforces stereotypes
which legitimize anti-Semitism. For the insiders at
the Oscars, this kind
of joke is obviously not taken
seriously. But when one considers the global
audience of upwards of two
there’s a much higher potential for the ‘Jews who
control Hollywood’ myth to
be accepted as fact."
agree with Foxman about the sketch not being at
all funny. But ya can’t fool me Abe, Jews do totally
control Hollywood and always have. It’s no “myth,” it’s
a fact, and there must be
something very uncomfortable
about that fact in your mind or else why would you deny it?
Is it because Hollywood is basically a
propaganda machine when it’s called for?
Is it because Hollywood is guilty of race-baiting and
inciting divisions amongst
Is it because Hollywood rewrites history at will?
Is it because Hollywood pumps out a lot of
pure pulp fiction gore-lasher-tits & ass crap
to dehumanize youth and
reduce Americans to the level of Rome
the height of its decadence to ultimately
bring America down?
The Wahlberg Oscars skit made it to #3 on the Top 10
Jewish Hollywood Moments of 5773 (the Jewish year
5773 being the Christian
equivalent of 2013) published in
Israel’s Haaretz newspaper on August 29, 2013.
#1 on the Jewish Hollywood moments list is "Princesses:
...Bravo TV's (A Jew, Bonnie Hammer, is
Chairman) new reality show that follows six young
living at home with their parents as they
seek the perfect Jewish boy to marry. Episode titles
"Shabbocalypse Now", that features a scene where
Team Manischewitz and Team Verklempt battle it out
a Jewish trivia game with shots of arak (a potent anise
flavored spirit) imported from Israel as the prize.
#2 on the Jewish Hollywood moments list is an episode
of "Mad Men" titled, "Ginsberg and the Manischewitz
Account" (season 6, episode 10). Louis
by Jewish actor Ben Feldman, is a complex Jewish adman born
in a concentration camp who
has anxiety related to
creating material for his Manischewitz account.
#4 is an appearance by Sarah Silverman on Jay Leno
where she smacks down
an Orthodox rabbi for criticizing
her for being an “unmarried, childless woman wasting
her time neglecting
the most basic desire of the feminine
#5 is black rappers such as Killer Mike and Vince Staples
saluting their Jewish lawyers. Evidently, having
lawyer is a status valued by black rappers the way bling,
babes and BMWs are.
#6 is Edon Pinchot, a kippah-wearing Orthodox Jewish
musical prodigy, who made it to the semi-finals of
NBC’s America’s Got Talent television show. A kippah
is also known as a yarmulke or skull cap.
#7 is Israeli super-model Bar Refaeli kissing a nerd in a
Super Bowl commercial for GoDaddy (a domain-name
#8 is Ukrainian born Jewish actress, Mila Kunis, being
named the “sexiest woman
in the world” by British
magazine FHM ...as if.
#9 is the season two finale episode of Showtime’s
"Homeland", where Jewish character,
(played by Jewish actor Mandy Patinkin) recites the
Mourner’s Kaddish (a Jewish prayer
for the dead).
Homeland is based on the Israeli TV series "Hatufim".
And #10 on the Top 10 Jewish Hollywood moments for
5773 is an episode of House of
Cards (a Netflix series
starring Kevin Spacey) that satirized the ADL (Jewish
Anti-Defamation League) as
an over-the-top, paranoid
organization, accusing the Secretary of State in the
episode of being anti-Semitic
for criticizing illegal
Israeli settlements on Palestinian land.
But anyway...getting back to rewriting history at will...
Steven Spielberg of DreamWorks totally
history of slavery in America with his production of
"Amistad", a 1997 “historical”
drama that completely
erases the Jewish fingerprints all over the American slave
trade. Jews were very
involved in all aspects of the slave trade.
And Spielberg’s depiction of Amon Goeth (in the movie
List" that is based on a NOVEL), commandant of the Krakow-Plaszow
concentration camp in Poland, shooting inmates
villa’s balcony during breakfast is unnecessary malarkey
that did not occur (there was no shot afforded
the villa’s actual location away and below the camp).
you present falsehoods, then everything else you present
will be assumed to be a probable falsehood.
If you want to blame someone for the
contents of the Academy Award’s TED-Wahlberg
sketch, blame the
producers of the Oscar show, Craig
Zadan and Neil Meron, the director of the Oscar show,
Don Mischer, or the
President of the Academy of Motion
Picture Arts and Sciences, Tom Sherak; or partial blame
must go to Marvin
Levy and Rob Friedman who are the
public relations specialists at the Academy of Motion
Picture Arts and
Sciences. All of these afore mentioned
guys are Jews and could have pulled the plug on the
Oscar skit at
any time. The skit was filmed a month
before the televised Oscar show! I wonder what the Screen
Guild’s Jewish president at the time, Alan
Rosenberg, thought of the skit?
Jews are proud of the fact that they own Hollywood
(especially owning Disney,
as a delicious irony) and
enjoy crowing the fact through “humor” making Abe
job, at the Anti-Defamation League, of blanket
denial that Jews own Hollywood a lot tougher.
I admire Joel Stein for being brutally honest
in his article,
“How Jewish is Hollywood?”... that appeared in the Los
Angeles Times on December 19
th , 2008. The following
are quotes beginning with his opening statement:
"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.
Defamation League, which released the poll results
see in these numbers a victory against
stereotyping. Actually, it just shows how dumb
America has gotten.
Jews totally run Hollywood."
along in the article Stein said:
Jews are so dominant; I had to scour the trades
to come up with six Gentiles in high positions at
companies. When I called them to
talk about their incredible advancement, five
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
flipping between ‘The 700 Club’ and ‘Davey and
Goliath’ on TV all day."
Stein really tips his hand by stating the following at
end of the article:
“But I don’t care if Americans think
were running the news media,
Hollywood, Wall Street or
the government. I just care that we get to keep running
them.” ...Now go
read the entire article available to you
through a web search: <LA Times - December 19 th 2008
Jewish is Hollywood – Stein>.
Stein has nothing to be proud of except for the fact that
Jewish tribal-cronyism has gone
unchecked for a century
in America. Remember folks, it’s all about unethical TRIBAL
CRONYISM, not superior
intellect or work ethic. The
Sicilian Mafia is another good example of tribal
cronyism up to the point when the
compromised by its association with Jewish gangsters
headed by Meyer Lansky.
of course, the best picture Oscar for 2013 went to a
crappy Iran-basher called "Argo". The two best
documentaries, "5 Broken Cameras" and "Gatekeepers"
didn’t win anything, of course,
because they were both
critical of Israel, even though they were both produced by
reasonable Israelis (a Palestinian
co-produced "5 Broken
Here is an excerpt from the biography of Harry Cohn
(founder-owner of Columbia Pictures who died in 1958)
"King Cohn", by Bob Thomas. It was lifted from
chapter 10 titled, "World War II and Harry Cohn":
"The war evoked curious attitudes from Harry
Cohn, as did all matters requiring an altruistic
response. He resisted attempts to enlist him in
causes. One afternoon Louis B. Mayer
[head of MGM] spent an hour on the telephone
before he was able to
evoke a contribution from
Cohn to Jewish relief. Mayer used all his
considerable power of persuasion to
Cohn’s loyalties as a Jew, but Cohn had none.
After he had committed himself to a sizeable
donation, Cohn complained to an aide, ‘Relief
the Jews! Somebody should start a relief from the
Jews! All the trouble in the world has been caused
by the Jews and Irishmen'."
don’t really know why Cohn included Irishmen in his
assessment. Maybe he included the Irish because of
ins with New York City cops who were largely Irish
when he was growing up there. Maybe it’s
Thomas Edison’s TRUST organization’s goons were
largely Irish and ran the illegal Jewish
film business out Of New York.
Anyway... I was inspired by Cohn’s blaming Irishmen
for the world’s troubles to see if any Irishmen had a hand
in 9/11. There weren’t many non-Jews
involved in 9/11
and the few that include, Cheney, Rumsfeld and the Bush
gang aren’t Irish. The Cheney’s
have some Irish blood,
but it’s dominated by English blood. Rumsfeld is German
and the Bush gang
is English-German. That’s that.
Let’s have a look at who owns and/or controls American Television broadcasting. Televisionbeing the most important and influential media format byfar.
look at the top TV/Media enterprises in the
U.S. and some large and influential side bar networks.
consolidation of media ownership was conveniently
enabled by the Telecommunications Act of 1996 that was
into law by the Zionist-puppet, Bill Clinton. It
ostensibly was designed to encourage competition in the
media market but actually had the completely opposite
result. The act was basically a “corporate welfare”
giveaway. Broadcast licenses were handed out freely to
existing companies to broadcast digital signals on
Title 3 of the Telecommunications Act
specifically allowed the cross-ownership (ownership
television-radio-newspapers) of media in any market
nationwide. The actual result of the Act was that
ownership went from fifty companies in 1983, to ten
shortly after the Act went into effect, to just
five companies controlling American television by 2006.
interesting side-bar to the Telecommunications Act of
1996 is that by 2002 all cell phone service providers
to be allowed to track cell phone customers for the
purpose of “enhancing 911 emergency service
capabilities”... If you carry a cell phone, your provider
knows where you are...for better or worse.
Republican Senator Larry Pressler of South Dakota was
the author and sponsor of the Telecommunications Act of
1996 who was promptly voted out of office by his South
Dakota constituents who strongly resented his ignoring
South Dakota issues while working exclusively on the
He was the only incumbent Republican
to lose his
seat in the 1996 elections. He did enter politics again as a
member of the House representing
South Dakota’s 1 st
district from 1975 to 1979, and then was replaced by
Tom Daschle. Pressler went
on to pursue a successful
law practice centered on telecommunications and
lobbying. He also serves on the
boards of several telecommunications companies.
The top five media conglomerates,
in terms of
audience reach, are currently owned/or
controlled by Jews and those are (of course listd of this nature
change often, but Jewish control remains constant):
WALT DISNEY COMPANY
– Robert Iger, Alan
Braverman, Anne Sweeny (Jewish spouse)
– Sumner Redstone (born: Sumner Murray
VEVINDI UNIVERSAL – Edgar Bronfman Sr., Edgar
NEWS CORP. – Rupert Murdoch
WARNER - Jonathan Miller, Jeffrey
Bewkes (Jewish spouse), Gary Ginsberg, Eric Kessler,
Top TV Networks are:
ION MEDIA – Stephen Appel, Marc Zand, Brandon
CBS – Leslie Moonves, Nina Tassler, Nancy Tellem,
Kelly Kahl... Don Hewitt (Exec-Director
The CBS morning news program has nothing but Jewish
talking heads such as John Miller, Rebecca
Jeff Glor, Gail King and David Bernard with the weather
informing you about current events.
20 th FOX TELEVISION – (A News Corp. Company)
Gary Newman, Dana Walden, Dave
NBC UNIVERSAL – Robert Greenblatt, Bonnie
Ted Harbert, Neil Shapiro (president of NBC
News), Jeff Gaspin (Exec-VP NBC Programming)
COMCAST – Brian Roberts, David Cohen
TRIBUNE – Sam Zell
ABC – (A Disney company)
Paul Lee, Barry Jossen,
David Westin (president ABC News)
SINCLAIR BROADCASTING – Steven Marks, David
Amy, Barry Faber
HEARST ENTERTAINMENT – Scott Sassa (Jewish
spouse), Neeraj Khemlani (Jewish
– Mike Rosen, Jeffrey Lieberman, Karl
MGM TV – Bruce Tuchman
PUBLIC BROADCASTING SERVICE (PBS) – Paula
Kerger, Geoffrey Sands
RAINBOW MEDIA – Joshua Sapan, Charlie Collier
(American Movie Classics),
Evan Shapiro (Sundance
Channel), Jonathan Sehring (IFC Entertainment)
SHOWTIME NETWORKS – Matthew Blank, David
SONY PICTURES TELEVISION – Steve Mosko, Andy
Kaplan, Jamie Erlicht
– Philip Kent, Andrew
Heller, Steve Koonin
WARNER BROS. TELEVISION – Bruce Rosenbloom,
Peter Roth, Ken Werner
ACADEMY of TV ARTS & SCIENCES (EMMYS) –
John Shaffner, Kevin Hamburger,
Bruce Paisner, Fred
Cohen, Larry Gershman, Darryl Cohen, Malachy
Wienges, Norman Felsenthal
ENTERTAINMENT TELEVISION – Abbe
Raven (Ravnitsky), David Zagin, Steve Ronson
HBO – Richard Plepler, Eric Kessler
DISCOVERY CHANNEL – David Zaslav
CW TV (Warner Bros TV) – Dawn Tarnofsky-Osteroff
FOX NEWS (A NEWS CORP. Company) – Roger Ailes
LIEBERMAN BROADCASTING – Jose and Lenard
Even the AL JAZEERA AMERICAS television network,
which is headquartered in Doha, Qatar, and supposedly
owned by Sheikh Hamad bin Thamer Al Thani, is
by a self-described “New York Jewess”,
JoAnne Levine (who replaced Jewess Rebecca Lipkin
she died in 2009).
Jew Avram David (Avi) Lewis is
the host of the Al Jazeera program, Fault Lines (Lewis is
married to Jewish-American lefty-activist author Naomi
The first reporter-journalist hired by Al Jazeera was
Jewish guy Arthur
Neslen. Iraqi Jewess and author,
Rachel Shabi, is an Al Jazeera contributor. In summation,
Jazeera would not be allowed by the Federal
Communications Commission to broadcast in the U.S. if
it was not
Jewish controlled and is supposedly giving us
“the other side of the story.”
Federal Communications Commission (FCC)
Chairman was until recently, Julius Genachowski, the
of immigrants who was selected by President
Obama to lead the U.S. delegation to Poland for the
of the 65 th anniversary of the liberation
of Auschwitz concentration camp. He attended yeshiva (a
educational institution that focuses primarily on
the study of the Talmud and the Torah) and studied in
He worked for Jewish Zionist Senator Chuck
Shumer and worked as an editor for the Harvard Law
Obama was its president. He joined The
Carlyle Group on January 6, 2014.
Former legal advisor to former FCC Commissioner
Michael J. Copps, Jessica
Rosenworcel, is also Jewish
and has replaced Genachowski.
The #3 largest TV broadcasting network is Trinity
Broadcasting of Garden Grove, California. It
owned by shyster-for-God guy, Paul Crouch (died on
November 30, 2013), and his laughably ridiculous
wife Jan. Go look at some photos of her and watch 5
minutes of her show to get an idea of my idea of
You would imagine that
Trinity would be the exclusive
domain of your typical pseudo-Christian TV money
hucksters, but no... There
are Jewish fingerprints all over
Trinity Broadcasting and Jewish money evidently flows
like wine into Trinity’s
bank account. Just have a look at
the typical daily programming; such as on Monday,
March 11 th , 2013:
2:00 AM – Israel, A Journey Through Time
Dr. John Tweedie
AM – Supernatural with Sid Roth (Jew)
10:30 AM – Jewish Voice with Jonathan Bernis (Jew)
1:30 PM – The Jewish Jesus with Rabbi Kirt Schneider
10:00 PM – Live From the Holy Land (Israel)
So we have Jewish propaganda strategically interspersed
between multi-millionaire Evangelist hustlers
the wonderfulness of Israel and the Jewish people all day.
Trinity has evangelist hustlers
such as the ever-smirking
Joel Osteen and his employee Israel Houghton (who
rocks out for Jesus), jet setter
Joyce Meyer (who has her
own jet), Benny Hinn (born in Israel), Texas cattle baron
Kenneth Copeland, and
uber-Israel supporter John Hagee
all touting the “godliness” of the Holy Land, aka: Israel.
evangelical imbecilic fools actually believe that
Jews will renounce Judaism and all become Christians
Jesus returns. This is a concept that Jews find
laughably insulting. Evangelicals raise millions of dollars
a year by fleecing their flocks and sending some of the
money to Israel for Israeli causes. The Israelis take
money but are ever wary of the obligatory strings
An hour doesn’t go by without Trinity reminding the
flock of sheeple watching
that Jesus isn’t coming back
until Israel has been firmly established, is safe, and
secure. And if Jesus is
indeed “returning,” I doubt that he
would be concerned with the security of a nation that
him and the religious institutions that he
inspired into existence in the first place.
At 10:00 PM you can watch Live From the Holy
The Holy Land Experience is a Christian
theme park near
Disney World in Orlando, Florida that opened on
February 5 th , 2001. This quote can be found at
Land Experience website:
“The Holy Land Experience
was born in the heart of a Jewish believer named Marvin
...I have no doubt whatsoever that Marvin’s
only idea was to fleece the sheeple who would flock to
his synthetic “holy land” and he only believes in
scam when he sees it.
In summation, Trinity Broadcasting is wholly owned by the
Crouch family; the controllers are people working
diligently on the Judeo-Christian agenda of global
Jan Crouch is being royally compensated
renting out her network... but in fairness I will point out that
Jan does give away a lot of Chinese
to little girls, and her dogs live in an air-conditioned
manufactured home and not a
It’s a fair estimate
that 90% of American television
networks are owned and/ or controlled by Jews. One of
the repulsive things
about Zionist control of media is the
many semi-pornographic references to sodomy, fellatio,
habitual masturbation, bondage, multiple
sex partners, whore mongering and other perversely
that are referred to at dinner
time during the course of many “situation-comedy” TV
Two and a Half Men and The Exes are the best, or
worst, examples of what I’m talking about.
Being a greying and jaded American male, I’m used to
depictions of adult themes and I get a big
kick out of Two and a Half Men (or used to before the
of Charlie Sheen, whereby the show’s writershave
redoubled on their
efforts to be a “sexual gross-out”
forum to make up for the loss of the main character). I’m
often amazed at what the show gets away with and
sometimes I’m uncomfortably embarrassed to be
the show with my wife, or any other female for
that matter. But what is very disturbing to me is the fact
that my 8 year old granddaughter, or my ten year old
grandson, can tune-in and watch the show anytime
5:00 and 6:00 P.M. (dinner time) daily.
Kids say the darndest things and they sometimes ask the
darndest questions that a grandparent can’t answer such
as: “Hey granpa! What’s an erection?” or, “What are
semen and how do they get on the walls?”
...All you can
answer is, “go ask your Mom.”
And, speaking of erections, has anyone noticed the
prevalence of advertisements for “boner
pills” such as
Viagra? They are run day and night and children must
wonder what they are all about.
The aging so called baby
boomer market must buy a lot of erection aids.
Anyway... Two and a Half Men was co-created by Chuck
Lorre (b. Charles Michael
Levine) and Lee Aaronson.
The producers are most often Lorre, Aaronson, plus Eric
and Kim Tannenbaum who
are all Jews... but if you
watch the credits for just about any TV show, you will
notice that Jews are most often
the producers, directors,
writers, actors and so forth... after all, Jews own
Hollywood, lock-stock and
barrel, and tribal cronyism is
the rule there with few exceptions. If you think non-Jews
could not do a
better job of things in Hollywood or
anywhere else... think again?
It’s interesting to know
that Two and a Half Men cast
member, Angus T. Jones, who plays the boy character,
Jake Harper, made statements
in November 2012
referring to himself as a “paid hypocrite” for appearing
on an adult themed
TV show. He claimed that his
religious beliefs (Jones is a Christian) conflict with the
on the show and since he had been
baptized, he didn’t want to be associated with “filth”...
but, of course, he was still on the show making huge
bucks until September of 2013 when he was replaced by
Charlie Harper’s (the former Charlie Sheen character
who was replaced by Ashton Kutcher) alcoholic-lesbian-
disturbing, or should be, to realize that American kids
receive not only a steady diet of televised sexual
sexual references, and perversely sexual
depictions daily, but they also are exposed to thousands
and tens of thousands acts of violence before
they finish elementary school; the numbers double before
finish high school.
violent and graphic video games being
played by grade school children and even pre-school
children is even more
disturbing... or should be. These
graphically violent video games usually depict our
glorious armed forces
murdering sinister looking Arabs.
You noticed that Chuck Lorre changed his name to Lorre
from Levine. Levine being
as easily identifiable as
Goldberg, Silverman, Perle, or Bloomberg as being
Jewish surnames. Jewish entertainers
may be proud of
their heritage, but they sure as hell weren’t proud of their
surnames and wanted to be falsely
identified as gentiles
or else they wouldn’t have changed them.
Anti-Semitism and prejudice
against Jews was more prevalent in
America before the 1970s brainwashing of Americans
began in earnest,
so most Jewish entertainers, movie
producers, screenplay writers, novelists and so forth
names to avoid discrimination... Such as:
Harry Houdini-Erich Weiss
George Burns – Nathan Birnbaum
– Allen Konigsberg
Lauren Bacall – Joan Perske
Rodney Dangerfield – Jacob Cohen
Garfield – Jules Garfinkle
Judy Garland – Frances Gumm
Sophie Tucker – Sonya Kalish
Paul Reubens – Paul Rubenfeld (Pee Wee Herman)
Edward G. Robinson – Emanuel Goldenberg
Lorre – Laszlo Lowenstein
Al Jolson – Asa Yoelson
Victor Borge – Borge Rosenbaum
Lewis – Joseph Levitch
Mike Nichols – Mikhail Igorevich Peschkowski (film
Ayn Rand –
Alisa Zinov’yevna Rosenbaum (author,
Walter Matthau – Walter Matasschanskayasky
Lorne Greene – Chaim Leibowiz (Ben Cartwright on
Michael Landon - Eugene Maurice Orowitz
(Little Joe on
Joan Rivers – Joan Molinsky
Joey Bishop – Joseph Abraham Gottleib
Estelle Getty – Estelle Gettleman (Golden Girls)
Shelly Winters – Shirley Schrift
Andrew Dice Clay
– Andrew Clay Silverstein
Tony Randle – Arthur Leonard Rosenberg
Mauldin – Maiden Sekulovitch
Danny Kaye-David Kominsky
Hal Linden – Hal Lipshitz (TV’s
Steve Lawrence – Sidney Leibowitz
Eydie Gorme – Edith Gormezano
Dorothy Lamour –
Ann Landers – Eppie Lederer
Abigail Van Buren-Esther Lederer (Ann Landers’
Larry King – Larry Zeigler
Tina Louise – Tina Blacker
Judy Holliday – Judith
Jill St. John – Jill Oppenheim
Elliott Gould – Elliott Goldstein
Bob Dylan –
Brad Garrett - Bradley Gerstenfeld
Ione Skye – Ione Skye Leitch
Samantha Harris -
Selma Blair - Selma Blair Beitner
Michael Ian Black - Michael Ian Schwartz
- Jerome Silberman
Howard Cosell - Howard Cohen
Lee J. Cobb – Leo Jacob
Dinah Shore - Frances Rose Shore
Jason Alexander - Jay Greenspan
Barbara Hershey - Barbara Herzstein
Jack Benny - Benjamin Kubelsky
Jon Stewart - Jonathan Stuart Leibowitz
Dr. Joyce Brothers - Joyce Bauer
Lainie Kazan - Lanie Levine
Mel Brooks - Melvin Kaminsky
Lenny Bruce – Leonard Alfred Schneider
Soupy Sales – Milton
Milton Berle - Milton Berlinger
Michael Savage - Michael Weiner
Kenny G - Kenneth Gorelick
Albert Brooks - Albert Einstein
Peter Coyote - Rachmil Cohon
- Samile Friesen
Jane Seymore - Joyce Frankenberg
Elliot Gould - Elliot Goldstein
Anson Williams - Anson William
Heimlick (Potsie on
Frank Oz - Frank Richard Oznowicz
Lee Grant - Lyova Haskell Rosenthal
Leslie West - Leslie Weinstein (guitarist for
Gene Simmons – Chaim Witz (KISS)
– Stanley Eisen (KISS)
Tony Curtis – Bernie Schwartz
Sophie Tucker - Sonya Kalish
Mama Cass Elliot
– Ellen Naomi Cohen
Totie Fields – Sophie Feldman
Kirk Douglas – Issur Danielovitch
Hall – Monte Helperin
Charles Bronson – Charles Buchinsky
Leslie Howard - Leslie Steiner
Hackett – Leonard Hacker
Mary Hart - Mary Harum
Red Buttons – Aaron Chwatt
- Robin Segal
Joan Crawford - Lucille Le Sueur
Sean Kanan - Sean Perelman
Winona Ryder – Winona
Eddie Albert – Eddie Heimberger
Geraldo Rivera - Gerald Riviera (mother: Lillian
Moe Howard – Moses Horwitz of The Three Stooges
Shemp Howard-Samuel Horwitz of the Three Stooges
Horwitz of the Three Stooges
Larry Fine – Louis Feinberg (The Three Stooges)
Jeezus....! This list goes on for a while, so just net-search
<Jewish Entertainers> and see for
yourself.... I’m tired
of listing them.
Jewish entertainers changed their names to become
palatable for the predominantly Christian-American
to mask the tribal cronyism that is and has
always been predominate in Hollywood.
The Marx Brothers were Jewish, did not change their
surname, and were not
related to Karl Marx as far as I
know. William Shatner as Captain Kirk and Leonard
Nimoy as Dr. Spock on Star Trek
didn’t change their
names either but the names, Shatner and Nimoy, don’t
reveal themselves as being
particularly Jewish in the first
place. Blonde Southern belle Dinah Shore never struck
me as being Jewish, nor did
Sammy Davis Jr.
Actually, Las Vegas being
founded by Jewish and Italian
mobsters was early on an entertainment market where
being either Jewish or
Italian was a big plus if you
wanted to play the showrooms on the Strip. Italian Dean
Martin (Dino Crocetti)
and Jewish Jerry Lewis (Joseph
Levitch) was the perfect fit for early Las Vegas.
African Americans were not allowed on the Strip in the
1940s and most of the 1950s, so Sammy Davis Jr.
declare that he had converted to Judaism as a leg up. And
it helped that Sammy had powerful friends
such as Frank
Sinatra and Dean Martin lobbying for his inclusion as
The so called “Rat Pack” was basically Italians
(Martin and Sinatra) and Jews (Joey Bishop and Sammy)
whooping it upon the Strip... I’m not sure how
Englishman Peter Lawford was welcomed to the Rat
Pack... besides his ties to the Kennedys
President Kennedy’s brother-in-law.
Anyway, so called comedian Sarah Silverman didn’t
change her given name either; but she
did actually say,
“Good! I hope the Jews did kill Christ, I’d do it again. I’d
do it again in a second” and taking the statement
out of context isn’t an issue here because her
routine is totally offensive to non-Jews who haven’t been
twisted ...yet. Check out her 2006,
seventy two minute
movie, "Jesus is Magic", to hear for yourself what is
to be shockingly funny, then try to
imagine what Sarah actually thinks of non-Jewish
control of Hollywood and the media
explains why such a repulsive “entertainer” as Silverman
in the media.
movie production of "Jesus is Magic" was a
total flop; although it did have some success in New
York City playing to predominately Jewish audiences.
Sacha Baron Cohen is another Jewish so-called comedian
who didn’t change his name except
when he plays a
character in one of his repulsively unfunny movies such
as "Borat". The “Borat”
character spends all of his time
crapping on people who are simply trying to be nice to
him (did Cohen
make a contraction out of “bore” and
“rat?”). And check out his character “Bruno”
who is so
extremely hostile and distastefully mocking of gays that
it’s a wonder Cohen hasn’t
been murdered by someone in
the gay community... yet. Or maybe Gays enjoy being mocked?
is very successful in Hollywood as the go-to guy
for low-brow potty humor that American youth-culture
been de-sensitized to embrace. Cohen and Silverman
are the litmus paper for just how low-brow and
young Americans have become while
Hollywood gladly rakes in the bucks on these “artists.”
watching Bruno all the way through sometime... I
dare ya! ...then tell me there’s nothing rotten in Denmark.
phrase, “something rotten in Denmark” is
from Shakespeare’s Hamlet, Act I, scene IV where
Marcellus uses the phrase alluding to the top of the
political hierarchy that is rotten from the top, or head, on
down; like how a fish rots, starting with the head first.
Denmark was and is famous for their fishing industry.
An interesting Sasha Cohen stunt can be seen
YouTube titled: Borat – Throw the Jew Down the Well.
As a “cowboy from Kazakhstan” Cohen takes the stage at
a genuine redneck honky-tonk in Tucson,
sings a two minute toon he introduces as “In My Country
There Is Problem.” It only
takes Cohen one minute to
get the audience engaged and singing along to the chorus:
"Throw the Jews down the well,
So my country can be free.
You must grab
him by the horns,
Then we have a big party."
Cohen indeed exposes this microcosm of a particularly
large segment of the American population that will
happily support throwing Jews down a well; although I
don’t think that any redneck would actually be
enough to foul a hand-dug well with a carcass. The video
7,053,060 views as of 12/19/2013. The viewer
comments accompanying the video are mostly anti-
supportive of the song’s proposition... go
see for yourself.
If you net search: <jewishhollywood directors> ...you
can click on the IMDB.com website that pops-up
top of the choices to click onto to see the Top 100 Jewish
But if you net search: <non-Jewish
directors> ...no such list exists (probably because there
aren’t 100 non-Jewish directors);
but a lot of chatter will
appear in the accompanying comments denying that
Hollywood is dominated by Jews.
Again, Hollywood is TOTALLY controlled by Jews
for Jews to deny this fact only makes serious
questions arise...Such as: What are they trying to
just how stupid do they think ALL of us
really goyim are?
Television’s strong male heads of households of the past
have been replaced by weak, befuddled
by women, in-laws and children. Recall the widower Ben
Cartwright on "Bonanza",
Ward Clever in "Leave it to
Beaver", the widower Lucas McCain in "The Rifleman", the
in "Lassie", "Marcus Welby M.D"., "Dennis the Menace"
dad Henry Mitchell, widower
Andy Griffith on his
shows, the dad on the "Donna Reed Show", "Ozzie and
Danny Thomas on "Make Room For Daddy",
widower Steve Douglas on "My Three Sons", the dad
"Family Affair", ...and who can forget "Father Knows Best...
These were all stand-up guys who were
of security and able providers for their families.
later we got Archie Bunker in "All In The Family", who
was always beaten down by his immediate family and
whoever else was around. Then Roseanne Barr came
along in "Roseanne" and beat down any and everybody
the wise, down-to-earth, super strong uber-mom.
And now American men only have the choice to watch weak
bumbling fools totally dominated by their wives and
others on shows such as "Everybody loves Raymond" with
Ray Romano, Kevin James in "The King of Queens" and
the pathetic quasi-homosexual character Alan Harper
(John Cryer) in "Two and a Half Men"; not to mention
Al Bundy (Ed Alexander) in "Married With Children",
Bryan Cranston’s very weak father figure in "Malcolm in
the Middle". I won’t even
mention the long-suffering
Did you enjoy watching "Broke Back Mountain" with your
adult family members at the
movie theater? Did you
especially enjoy the scene in the tent at the shepherd
camp where the two cowboys
engage in anal sex? One
cowboy applies his saliva to the anus of the other as a
lubricant. What a beautiful
moment in Hollywood
Homosexuality and references to “gays” permeates
contemporary television shows for good reason.
Christian heterosexual American men’s noses in
homosexuality is just another way of defiling and
weakening the once dominant power structure in
America. American heterosexual men are now afraid to
against homosexuality for fear of being labeled
as a “homophobic” gay basher... as if this is a
implies that someone “fears”
homosexuals, whereas they don’t “fear” them at all;
are simply NATURALLY repulsed by homosexuals and
the sexual acts
they engage in. A man inserting his penis
into another man’s rectum, or taking another man’s penis
in his mouth is repulsive to me personally. There is a
significant difference between fear and repulsion.
I fully realize that God made homosexuals the way they
are... and God made
me the way I am. So, the way for
myself and homosexuals to get along is to have
homosexuals keep their “lifestyle”
out of my face. It is
NOT OK with me that homosexuals can now marry. It’s
a mockery of marriage.
What’s next?? I DO NOT want
to see photos of Olympic diver Greg Louganis kissing his
at their wedding on CNN.
lesbians should have the right to cohabitate as God’s
creatures and enjoys rights as a household, but
don’t call it a marriage, call it a civil union or
something... but that’s just me.
And you can thank the four Jews on the Supreme Court
for nationalizing gay marriage.
American males have been emasculated and
reduced to bumbling fools on television or often
fools on steroids in cinema ...in
Hollywood’s designs anyway.
The headline for an article that ran in Israel’s Haaretz
offered by the Associated Press that ran on
May 22, 2013 read:
Biden: Jewish Leaders Drove Gay Marriage Changes
Speaking at a Jewish American Heritage Month
reception, U.S. vice president says
Jewish values are
an essential part of who Americans are.
Biden praised Jewish leaders for helping change
attitudes about gay marriage and other issues.
So, to hell with Biden and Jewish leaders ...I ain’t
board and I’m proud of it! If this makes me repulsive to
you, then simply scratch me off of your
list...or whatever. I could not care less.
Biden says culture and arts change people’s attitudes. He
cites social media and the old TV series
"Will and Grace"
as examples of what helped change attitudes on gay marriage.
A Biden quote: “Think ...behind
all that, I bet you 85%
of those changes, whether it’s in Hollywood or social
media are a consequence of Jewish
leaders in the
...I do not doubt that at all.
Biden is an abject
lackey-puppet of the Jews and knows
who actually wields power
in America. He fancies himself as a “realist” who is
from his insight.
Joe Biden is a traitor.
BTW: "Will and Grace" is set in New York and focused on
the relationship between a gay male
Cherokee-Scottish Eric McCormack) and his Jewish gal-
pal (Jewess Debra Messing) who
owns an interior design
"Will and Grace" ran from September, 1998 until May,
2006, was created by David Kohan and Max Mutchnick,
and was directed by James Burrows. Kohan, Mutchnick
and Burrows also functioned as executive producers
Jhoni Marchinko, Jeff Greenstein, Alex
Herschlag, Adam Barr, and David Flebotte. Jonathan
the theme music. All these people are
Jews; so Biden is correct when he made the statement
about 85% of
American social changes being brought
about by Jews and Biden was shrewed to use "Will and
Grace" as a prime example of the fact. "Will and Grace"
as “Jewed-up” as "Seinfeld".
The power of lies, deceptions and disinformation as Americans pay the price of collective stupidity.
know very well, and the stupid Americans know equally well, that we control their government,
irrespective of who sits in the White House. You see, I know it and
you know it that no American president
be in a position to challenge us even if we do the unthinkable. What can they (Americans) do to us?
We control congress, we control the media, we control show biz, and
we control everything in America.
In America you can criticize God, but you can’t criticize Israel…” Israeli
spokeswoman, Tzipora Menache
Facts of Jewish Media Control
The largest media conglomerate today is Walt Disney Company, whose chairman
and CEO, Michael Eisner, is a Jew. The Disney Empire, headed by a man described by one media analyst as a “control
freak”, includes several television production companies (Walt Disney Television, Touchstone Television, Buena Vista
Television), its own cable network with 14 million subscribers, and two video production companies. As for feature films,
the Walt Disney Picture Group, headed by Joe Roth (also a Jew), includes Touchstone Pictures, Hollywood Pictures, and Caravan
Pictures. Disney also owns Miramax Films, run by the Weinstein brothers. When the Disney Company was run by the Gentile
Disney family prior to its takeover by Eisner in 1984, it epitomized wholesome, family entertainment. While it still holds
the rights to Snow White, under Eisner, the company has expanded into the production of graphic sex and violence. In addition,
it has 225 affiliated stations in the United States and is part owner of several European TV companies. ABC’s cable
subsidiary, ESPN, is headed by president and CEO Steven Bornstein, a Jew.
This corporation also has a controlling share of Lifetime Television
and the Arts & Entertainment Network cable companies. ABC Radio Network owns eleven AM and ten FM stations, again in
major cities such as New York, Washington, Los Angeles, and has over 3,400 affiliates. Although primarily a telecommunications
company, Capital Cities/ABC earned over $1 billion in publishing in 1994. It owns seven daily newspapers, Fairchild Publications,
Chilton Publications, and the Diversified Publishing Group. Time Warner, Inc, is the second of the international media leviathans.
The chairman of the board and CEO, Gerald Levin, is a Jew. Time Warner’s subsidiary HBO is the country’s largest
pay-TV cable network. Warner Music is by far the world’s largest record company, with 50 labels, the biggest of which
is Warner Brothers Records, headed by Danny Goldberg. Stuart Hersch is president of Warnervision, Warner Music’s video
production unit. Goldberg and Hersch are Jews. Warner Music was an early promoter of “gangsta rap.” Through
its involvement with Interscope Records, it helped popularize a genre whose graphic lyrics explicitly urge Blacks to commit
acts of violence against Whites. In addition to cable and music, Time Warner is heavily involved in the production of feature
films (Warner Brothers Studio) and publishing. Time Warner’s publishing division (editor-in-chief Norman Pearlstine,
a Jew) is the largest magazine publisher in the country (Time, Sports Illustrated, People, Fortune).
Turner, a Gentile, made a bid to buy CBS in 1985, there was panic in media boardrooms across the nation. Turner made a fortune
in advertising and then had built a successful cable-TV news network, CNN. Although Turner employed a number of Jews in
key executive positions in CNN and had never taken public positions contrary to Jewish interests, he is a man with a large
ego and a strong personality and was regarded by Chairman William Paley (real name Palinsky, a Jew) and the other Jews at
CBS as uncontrollable: a loose cannon who might at some time in the future turn against them. Furthermore, Jewish newsman
Daniel Schorr, who had worked for Turner, publicly charged that his former boss held a personal dislike for Jews.
To block Turner’s bid, CBS executives invited billionaire Jewish theater, hotel, insurance, and cigarette magnate
Laurence Tisch to launch a “friendly” takeover of the company, and from 1986 till 1995 Tisch was the chairman
and CEO of CBS, removing any threat of non-Jewish influence there. Subsequent efforts by Turner to acquire a major network
have been obstructed by Levin’s Time Warner, which owns nearly 20 percent of CBS stock and has veto power over major
deals. Viacom, Inc, headed by Sumner Redstone (born Murray Rothstein), a Jew, is the third largest megamedia corporation
in the country, with revenues of over $10 billion a year. Viacom, which produces and distributes TV programs for the three
largest networks, owns 12 television stations and 12 radio stations. It produces feature films through Paramount Pictures,
headed by Jewess Sherry Lansing. Its publishing division includes Prentice Hall, Simon & Schuster, and Pocket Books.
It distributes videos through over 4,000 Blockbuster stores. Viacom’s chief claim to fame, however, is as the world’s
largest provider of cable programming, through its Showtime, MTV, Nickelodeon, and other networks. Since 1989, MTV and Nickelodeon
have acquired larger and larger shares of the younger television audience. With the top three, and by far the largest, media
companies in the hand of Jews, it is difficult to believe that such an overwhelming degree of control came about without
a deliberate, concerted effort on their part. What about the other big media companies? Number four on the list is Rupert
Murdoch’s News Corporation, which owns Fox Television and 20th Century Fox Films. Murdoch is a Gentile, but Peter
Chermin, who heads Murdoch’s film studio and also oversees his TV production, is a Jew. Number five is the Japanese
Sony Corporation, whose U.S. subsidiary, Sony Corporation of America, is run by Michael Schulhof, a Jew. Alan Levine, another
Jew, heads the Sony Pictures division. Most of the television and movie production companies that are not owned by the largest
corporations are also controlled by Jews. For example, New World Entertainment, proclaimed by one media analyst as “the
premiere independent TV program producer in the United States,” is owned by Ronald Perelman, a Jew. The best known
of the smaller media companies, Dreamworks SKG, is a strictly kosher affair.
Dream Works was formed in 1994 amid great media hype by recording
industry mogul David Geffen, former Disney Pictures chairman Jeffrey Katzenberg, and film director Steven Spielberg, all
three of whom are Jews. The company produces movies, animated films, television programs, and recorded music. Two other
large production companies, MCA and Universal Pictures, are both owned by Seagram Company, Ltd. The president and CEO of
Seagram, the liquor giant, is Edgar Bronfman Jr., who is also president of the World Jewish Congress. It is well known that
Jews have controlled the production and distribution of films since the inception of the movie industry in the early decades
of the 20th century.
This is still the case today. Films produced by just the five largest motion picture
companies mentioned above-Disney, Warner Brothers, Sony, Paramount (Viacom), and Universal (Seagram)-accounted for 74 per
cent of the total box-office receipts for the first eight months of 1995. The big three in television network broadcasting
used to be ABC, CBS, and NBC. With the consolidation of the media empires, these three are no longer independent entities.
While they were independent, however, each was controlled by a Jew since its inception: ABC by Leonard Goldenson, CBS first
by William Paley and then by Lawrence Tisch, and NBC first by David Sarnoff and then by his son Robert. Over periods of several
decades, these networks were staffed from top to bottom with Jews, and the essential Jewishness of network television did
not change when the networks were absorbed by other corporations. The Jewish presence in television news remains particularly
strong. As noted, ABC is part of Eisner’s Disney Company, and the executive producers of ABC’s news programs
are all Jews: Victor Neufeld (20-20), Bob Reichbloom (Good Morning America), and Rick Kaplan (World News Tonight). CBS was
recently purchased by Westinghouse Electric Corporation. Nevertheless, the man appointed by Lawrence Tisch, Eric Ober, remains
president of CBS News, and Ober is a Jew. At NBC, now owned by General Electric, NBC News president Andrew Lack is a Jew,
as are executive producers Jeff Zucker (Today), Jeff Gralnick (NBC Nightly News), and Neal Shapiro (Dateline).
The Print Media After television news, daily newspapers are the most influential information medium in America. Sixty million
of them are sold (and presumably read) each day. These millions are divided among some 1,500 different publications. One
might conclude that the sheer number of different newspapers across America would provide a safeguard against Jewish control
and distortion. However, this is not the case. There is less independence, less competition, and much less representation
of our interests than a casual observer would think.
The days when most cities and even towns had several independently
owned newspapers published by local people with close ties to the community are gone. Today, most “local” newspapers
are owned by a rather small number of large companies controlled by executives who live and work hundreds or ever thousands
of miles away. The fact is that only about 25 per cent of the country’s 1,500 papers are independently owned; the
rest belong to multi-newspaper chains. Only a handful are large enough to maintain independent reporting staffs outside their
own communities; the rest depend on these few for all of their national and international news. The Newhouse empire of Jewish
brothers Samuel and Donald Newhouse provides an example of more than the lack of real competition among America’s
daily newspapers: it also illustrates the insatiable appetite Jews have shown for all the organs of opinion control on which
they could fasten their grip.
The Newhouses own 26 daily newspapers, including several large and important
ones, such as the Cleveland Plain Dealer, the Newark Star-Ledger, and the New Orleans Times-Picayune; the nation’s
largest trade book publishing conglomerate, Random House, with all its subsidiaries; Newhouse Broadcasting, consisting of
12 television broadcasting stations and 87 cable-TV systems, including some of the country’s largest cable networks;
the Sunday supplement Parade, with a circulation of more than 22 million copies per week; some two dozen major magazines,
including the New Yorker, Vogue, Madmoiselle, Glamour, Vanity Fair, Bride’s, Gentlemen’s Quarterly, Self, House
& Garden, and all the other magazines of the wholly owned Conde Nast group.
This Jewish media empire was
founded by the late Samuel Newhouse, an immigrant from Russia. The gobbling up of so many newspapers by the Newhouse family
was in large degree made possible by the fact that newspapers are not supported by their subscribers, but by their advertisers.
It is advertising revenue–not the small change collected from a newspaper’s readers–that largely pays the
editor’s salary and yields the owner’s profit. Whenever the large advertisers in a city choose to favor one
newspaper over another with their business, the favored newspaper will flourish while its competitor dies. Since the beginning
of the 20th century, when Jewish mercantile power in America became a dominant economic force, there has been a steady rise
in the number of American newspapers in Jewish hands, accompanied by a steady decline in the number of competing Gentile
newspapers–primarily as a result of selective advertising policies by Jewish merchants. Furthermore, even those newspapers
still under Gentile ownership and management are so thoroughly dependent upon Jewish advertising revenue that their editorial
and news reporting policies are largely constrained by Jewish likes and dislikes. It holds true in the newspaper business
as elsewhere that he who pays the piper calls the tune.
Three Jewish Newspapers
The suppression of competition and the establishment of local monopolies
on the dissemination of news and opinion have characterized the rise of Jewish control over America’s newspapers.
The resulting ability of the Jews to use the press as an unopposed instrument of Jewish policy could hardly be better illustrated
than by the examples of the nation’s three most prestigious and influential newspapers: the New York Times, the Wall
Street Journal, and the Washington Post. These three, dominating America’s financial and political capitals, are the
newspapers which set the trends and the guidelines for nearly all the others. They are the ones which decide what is news
and what isn’t, at the national and international levels. They originate the news; the others merely copy it, and
all three newspapers are in Jewish hands. The New York Times was founded in 1851 by two Gentiles, Henry Raymond and George
Jones. After their deaths, it was purchased in 1896 from Jones’s estate by a wealthy Jewish publisher, Adolph Ochs.
His great-grandson, Arthur Ochs Sulzberger, Jr., is the paper’s current publisher and CEO. The executive editor is
Max Frankel, and the managing editor is Joseph Lelyveld.
Both of the latter are also Jews. The Sulzberger family also
owns, through the New York Times Co., 33 other newspapers, including the Boston Globe; twelve magazines, including McCall’s
and Family Circle with circulations of more than 5 million each; seven radio and TV broadcasting stations; a cable-TV system;
and three book publishing companies. The New York Times News Service transmits news stories, features, and photographs from
the New York Times by wire to 506 other newspapers, news agencies, and magazines. Of similar national importance is the
Washington Post, which, by establishing its “leaks” throughout government agencies in Washington, has an inside
track on news involving the Federal government.
The Washington Post, like the New York Times, had a non-Jewish origin. It was
established in 1877 by Stilson Hutchins, purchased from him in 1905 by John McLean, and later inherited by Edward McLean.
In June 1933, however, at the height of the Great Depression, the newspaper was forced into bankruptcy. It was purchased
at a bankruptcy auction by Eugene Meyer, a Jewish financier. The Washington Post is now run by Katherine Meyer Graham, Eugene
Meyer’s daughter. She is the principal stockholder and the board chairman of the Washington Post Co.
she appointed her son Donald publisher of the paper. He now also holds the posts of president and CEO of the Washington
Post Co. The Washington Post Co. has a number of other media holdings in newspapers, television, and magazines, most notably
the nation’s number-two weekly newsmagazine, Newsweek. The Wall Street Journal, which sells 1.8 million copies each
weekday, is the nation’s largest-circulation daily newspaper. It is owned by Dow Jones & Company, Inc., a New York
corporation which also publishes 24 other daily newspapers and the weekly financial tabloid Barron’s, among other
things. The chairman and CEO of Dow Jones is Peter Kann, who is a Jew. Kann also holds the posts of chairman and publisher
of the Wall Street Journal. Most of New York’s other major newspapers are in no better hands than the New York Times
and the Wall Street Journal. The New York Daily News is owned by Jewish real-estate developer Mortimer B. Zuckerman. The
Village Voice is the personal property of Leonard Stern, the billionaire Jewish owner of the Hartz Mountain pet supply firm.
The story is pretty much the same for other media as it is for television, radio, and newspapers. Consider, for
example, newsmagazines. There are only three of any note published in the United States: Time, Newsweek, and U.S. News and
World Report. Time, with a weekly circulation of 4.1 million, is published by a susidiary of Time Warner Communications.
The CEO of Time Warner Communications, as mentioned above, is Gerald Levin, a Jew. Newsweek, as mentioned above, is published
by the Washington Post Company, under the Jewess Katherine Meyer Graham.
Its weekly circulation is 3.2 million. U.S. News & World
Report, with a weekly circulation of 2.3 million, is owned and published by Mortimer Zuckerman, a Jew. Zuckerman also owns
the Atlantic Monthly and New York’s tabloid newspaper, the Daily News, which is the sixth-largest paper in the country.
Among the giant book-publishing conglomerates, the situation is also Jewish. Three of the six largest book publishers in
the U.S., according to Publisher’s Weekly, are owned or controlled by Jews. The three are first-place Random House
(with its many subsidiaries, including Crown Publishing Group), third-place Simon & Schuster, and sixth-place Time Warner
Trade Group (including Warner Books and Little, Brown). Another publisher of special significance is Western Publishing.
Although it ranks only 13th in size among all U.S. publishers, it ranks first among publishers of children’s books,
with more than 50 percent of the market. Its chairman and CEO is Richard Snyder, a Jew, who just replaced Richard Bernstein,
also a Jew.
The Effect of Jewish Control of the Media
These are the facts of Jewish media
control in America. Anyone willing to spend several hours in a large library can verify their accuracy. I hope that these
facts are disturbing to you, to say the least. Should any minority be allowed to wield such awesome power? Certainly, not
and allowing a people with beliefs such as expressed in the Talmud, to determine what we get to read or watch in effect
gives this small minority the power to mold our minds to suit their own Talmudic interests, interests which as we have demonstrated
are diametrically opposed to the interests of our people. By permitting the Jews to control our news and entertainment media,
we are doing more than merely giving them a decisive influence on our political system and virtual control of our government;
we also are giving them control of the minds and souls of our children, whose attitudes and ideas are shaped more by Jewish
television and Jewish films than by their parents, their schools, or any other influence.
Robert Redford's 'Quiz Show'
1994 film Quiz Show tells the story of the Twenty-One game show scandal of the late 1950s.
Featuring a superbly literate and psychologically
subtle script and outstanding performances by Ralph Fiennes,
Paul Scofield, John Turturro, and Rob Morrow, Quiz Show dramatizes important moral issues
and explores the
force of television in American life ... Quiz Show is not just a nostalgic portrayal of the self-confident,
normatively white America of the 1950s, it is also
a remarkably acute meditation on the role that television
played in the fall of America's WASP elite and the rise of today's Jewish hegemony ...
The subject on which I've
spoken with you most often is the dominant Jewish influence in the mass media of news and entertainment. I've spoken most
often about this because it is the most important problem with which we must deal. It's also a subject on which I receive
a lot of flak. One of the most common forms of flak is the objection that it doesn't matter. Sure, the Jews control the
media, but it doesn't make any difference, critics tell me. They're just good businessmen, and they know how to run the
media profitably. That's why they've gained control, and it's no worse than it would be if a bunch of Irishmen or Mormons
were in their place.
Now, really, I think that many of the people who tell me this don't actually believe
it. They just want to be Politically Correct, and it's Politically Correct to absolve the Jews of blame for anything. Even
many of the people who are distressed about what Jewish media control is doing to our society don't want to identify that
control as Jewish. The Baptists, for example, who have launched a boycott of the Disney Corporation because of the raunchy
movies its Miramax films division has been turning out, refuse to identify either Disney boss Michael Eisner or the Miramax
bosses Bob and Harvey Weinstein as Jewish. The Baptist protest is against immorality in films, they insist, not against
the Jewish control of the film industry.
You know, that's a bit like saying you're against syphilis
but you have nothing against spirochetes. And it's not really honest, this determination to be Politically Correct. Political
Correctness is based on a denial of reality, on the substitution of a deliberately falsified picture of the world in the
place of reality. And this dishonesty, this refusal to admit Politically Incorrect truths, does have very serious consequences
for all of us. If we refuse to talk realistically about the Jewish control of the mass media, we may as well give up on
trying to do anything about the negative effects this Jewish media control is having on our society.
Let me give you a specific example of refusal to face a Politically Incorrect truth. Steven Spielberg has a new film
out, Saving Private Ryan, and it's been getting a lot of attention by the reviewers. They say that the film
is good because it is so realistic, because it gives such an honest portrayal of the Second World War. And of course, the
film does show the blood-and-guts aspect of the war a bit more starkly than other films have. But honest it is not. It propagates
the same lies about the Second World War that every film -- and I mean every film -- made by the Jewish film industry in
Hollywood for nearly 60 years has propagated. And the reviewers, regardless of what else they say about these films, all
repeat these same basic lies.
These lies are that the Second World War was a "necessary" war -- that is, that there was no way
we could have avoided it -- and that it was a "good" war -- that is, a morally justified war. We were forced to
fight Germany in order to protect America. We could not have stayed out of the war or fought on the other side, because
that would have been immoral. The other side was evil. We fought against evil. By destroying Germany and Hitler we saved
the world, Hollywood tells us. We saved freedom. We saved the world from slavery and tyranny. Hitler was an evil man, the
most evil man who has ever lived, and with his evil SS troops he intended to enslave the world and destroy everything beautiful
and good. But we stopped him. We saved America. We saved the world.
unvarying story, and it's a lie: an extremely dangerous and destructive lie. But unfortunately, it is a lie which is accepted
unquestioningly, uncritically, by almost everyone, and not just by the lemmings. We hear that lie today in connection with
Spielberg's new movie; and in fact, we hear it from television news anchormen and from politicians and from other authority
figures every time the war is mentioned. No dissent is permitted. But that's the case only for the Second World War. One
can have dissenting views about the Spanish-American War or about the First World War or about the Korean War. One can question
the morality or the necessity of those wars without being considered an evil person. And as for the war in Vietnam, one
can even take the position of America's enemies, as film actress Jane Fonda and a student activist named Bill Clinton did.
But it has not been the government's hard line against dissenters which has kept people parroting the dogma that
the Second World War was a war which was both necessary and good. And it hasn't been any reluctance to offend the veterans
of the Second World War, because we have more living veterans of the Vietnam war in our society, and those opposed to the
Vietnam war have never worried about offending them.
No, the dogma that the Second World
War was necessary and good, that it saved the world or that it preserved our freedom, is entirely the creation of Jewish
propagandists. Of course, the Second World War didn't preserve America's freedom. America's freedom was never threatened
by Germany. Hitler could not even have imagined taking away America's freedom. His war against America was entirely defensive.
We were the aggressors. The U.S. Army invaded Germany and took away Germany's freedom, not the other way around. There was
never the slightest danger that Hitler would invade America.
And we certainly didn't
save the world; what we did was turn half of the world over to rule by communist butchers for nearly 50 years. We didn't
even defend America's vital economic interests by destroying Germany. The only people whose vital interests were defended
by America's participation in the Second World War were the Jews.
And these facts really aren't even disputed by serious
and knowledgeable people today. No reputable historian or military leader would make the claim today that the United States
was in danger of being invaded by Germany or that our vital interests were threatened by Germany. In other words the war
was not necessary. Every knowledgeable person understands that, but very few will say it.
for the claim that Hitler and his SS were evil monsters, and that America was on the side of righteousness in destroying
them, we can simply look at the facts again: look at what the two sides actually did during and after the war. It is generally
conceded that the Germans treated American prisoners of war about as well as they could under the circumstances. And it
also is generally conceded that Hitler's troops, SS or otherwise, behaved themselves better toward the civilian populations
of the countries they occupied than did the armed forces of any of the other combatants, including the Americans. Hitler's
SS troopers did not rape civilians, for example. Contrast this behavior with that of the Americans and our allies, such
as the Red Army.
The Red Army, our comrade in arms, was notorious for raping and murdering civilians;
in fact, Red Army men were encouraged to engage in atrocious behavior by their own government, our ally. And the U.S. Army
itself engaged in several massacres of German prisoners of war: for example, the massacre of more than 500 disarmed SS prisoners
at Dachau by members of the U.S. Army's 45th Division on April 29, 1945. And then there was the mass starvation of German
POWs in prison camps after the war. And there was the massive ethnic cleansing, in which more than 2 million German civilians
were murdered after the war. The U.S. government approved of this mass murder, of this ethnic cleansing -- we gave the OK
-- and our allies carried it out.
If we consider the mass rape and murder of civilians to be evil, if we consider the
mass execution of prisoners of war to be evil, and if one of our motives for going to war was to fight evil, then clearly
we were fighting on the wrong side. And it's not as if we didn't know how our gallant Soviet ally would behave before we
began our effort to destroy Hitler and his forces. We had plenty of evidence of massive Soviet atrocities even before the
war began. Our government knew what the communists had done in Ukraine. Our government knew about the mass arrests and executions
in the Soviet Union. And before we crossed the English Channel to invade Europe we knew about the mass executions of Polish
officers by the Reds at Katyn and elsewhere. And yet we allied ourselves with the mass murderers. We helped the mass murderers
and mass rapists murder and rape millions of more Europeans. And so the claim that we were going to war to fight evil is
simply a lie. The Second World War was not a good war. It was not a moral war. It was the most atrocious war of modern times.
And we were on the side of those committing nearly all of the atrocities during that war: we were deliberately on the side
And there is just one reason that we fought on the side of evil. It was because that
was the Jewish side. In the years before the war Hitler wasn't rounding up people by the thousands and shooting them the
way the communists were. Hitler wasn't shooting anybody. His SS troops weren't raping or terrorizing anyone either. Hitler
was doing one thing which resulted in a huge, lying hate-propaganda effort against him from Hollywood. That one thing was
Hitler's campaign to break the grip of the Jews on Germany. In Germany Hitler took the news and entertainment media away
from the Jews. He kicked them out of the legal profession, which they had monopolized. He kicked them out of the teaching
profession, where they had been pumping their ideas into the heads of German children. And Hitler did all of this peacefully,
non-violently. He didn't round Jews up and shoot them. He simply made it illegal for them to own German newspapers and German
radio stations. He made it illegal for them to practice law or to teach in German schools. And so the Jews were leaving
Germany. Between 1933 and 1939 two-thirds of the Jews in Germany emigrated. At the same time Jewish commissars in the Soviet
Union were butchering millions of people. But the hate propaganda coming out of Hollywood was entirely anti-German, not
anti-Soviet. The Jews' only concern was the welfare of their fellow Jews. They didn't care how many Russians or Ukrainians
were murdered. But they screeched at the top of their lungs when Hitler took the German media away from them.
lied to the American people about what was happening in Europe. They lied in order to try to make us hate the Germans the
way they did. When a Jew assassinated a German diplomat in Paris in 1938 and the German people reacted by smashing up Jewish
department stores and synagogues in several German cities, the Jewish news media in the United States reported the incident
as if Jews were being massacred wholesale in Germany. That was the famous "Crystal Night," which the Jews still
continue to remind us of every year in order to milk a little more sympathy from us. The picture of Germany painted by Jewish
hate-propaganda in the United States during the years preceding the Second World War was a complete distortion of reality.
Americans were told that Germans lived in constant fear of the Gestapo and the SS, that Hitler was a madman who terrorized
the German people and who fell to the floor and chewed the edge of his carpet when he became angry. Americans were told
that Germany was a land of concentration camps and barbed wire and police dogs. Our invasion of Germany was to be a "liberation"
of the German people from the tyrannical rule of Hitler and the SS. That's actually the word the Jewish propagandists used
to describe the American and Soviet terror bombing, rape, and dismemberment of Germany: "liberation." The American
and Soviet invaders were to be the "liberators."
Of course, the Jews didn't control
all of the mass media before the Second World War. They didn't control the National Geographic Magazine, for example, and
this magazine, with its articles and photographs on life in Germany flatly contradicted the hate-propaganda coming from
Hollywood. A good example, if you have access to old National Geographics, is the February 1937 issue. But the National
Geographic Magazine really wasn't a mass medium, and Jewish Hollywood had a much stronger grip on the average American's
mind. And so the image of Germany most Americans had was the Jewish image of a land of terror and fear and brutality and
repression controlled by Hitler's SS automatons, a land which needed to be "liberated" and which was a deadly
menace to America. The hate-propagandists of Hollywood lied us into the most murderous and destructive war of all time solely
because they hated the Germans, and they wanted us to destroy the Germans for them.
they have maintained their pre-war lies even to this day, their portrayal of Hitler as a crazed carpet chewer and the SS
as a gang of sadistic thugs, and they have added to this their postwar hate-propaganda of gas chambers and of lampshades
and soap supposedly made from the bodies of murdered Jews. Most Americans still believe that their fathers or grandfathers
"liberated" Germany and "saved" the world. They still believe that the Second World War was a "necessary"
war and a "good" war. And the reason they believe it is that they have seen hundreds of Hollywood films and television
shows which have repeated these same lies to them over and over and over again, and no public figure has ever had the courage
or honesty to contradict them. We're still hearing the same lies in films like Steven Spielberg's Saving Private
Ryan and in the reviews of that film in the controlled media: Americans as "liberators."
is that Hollywood's lies about Germany led to millions of White Americans and Europeans being slaughtered solely for the
sake of punishing the Germans for throwing the Jews out of Germany. And we are put at a great disadvantage even today by
those same lies, because they prevent so many of us from examining the past honestly. And if we cannot understand what happened
in the past, we are much less likely to choose a wise course into the future. But the real point of my example of Hollywood
hate-propaganda about Germany before and during the Second World War is that the Jews, with their control of so much of
the mass media today, are able to sway the attitudes of the whole country to suit themselves. They are able to persuade
us to give precedence to their interests and concerns instead of ours. They are able to change the course of history to their
advantage and to our disadvantage by changing the way the American masses see the world. They were able to do that in the
1930s and 1940s, even before television. Today, with television, they are even more able to change American attitudes and
opinions to gain advantages for themselves.
And today there are plenty of other examples of the
Jews' misuse of their media power to manipulate the opinions and attitudes of our people to our disadvantage. There is the
current prospect of another war in the Middle East. Saddam Hussein and Iraq are being held up as a threat to America, a
threat to the world, just as Germany was represented as a threat to the world before the Second World War, when in fact Iraq
is a threat only to the Jews' plans for the Middle East, and Germany was a threat only to the Jews' plans for controlling
Europe. But the prospect of another war is very real, and it will remain real as long as the Jews retain their control of
the media and of U.S. government policy. Iraq certainly is no threat to America and never has been, but if the Jews become
worried about Saddam Hussein's ability to thwart Israel's further expansion, you can be sure that we will be called on again
to save America, to save freedom, and to save the world by "liberating" Iraq. And unfortunately, most Americans
will respond to the call. They will believe that they are being patriotic by responding, just as most of the veterans of
the Second World War still believe that they were being patriotic in responding to the call to save America from Hitler.
the way it should be. Our people's patriotism shouldn't be abused like that. Our mass media shouldn't be used to manipulate
our people to our disadvantage. Of course, most people being what they are, they will be manipulated one way or another.
Most people will believe what they're told to believe by their television. Which means that it is essential that the people
who control the mass media, the people who decide what the masses should be told -- these must be our people, people with
our interests not people with an entirely different agenda of their own. The mass media could be a powerful force for good,
a powerful force for enlightening and uplifting and guiding our people rather than for exploiting them.
You know, a lot of people understand that; they understand the power of the mass media. Our political leaders certainly
understand that. Many academics understand it. But they won't buck the Jews. They prefer to go with the flow, to get what
advantage they can for themselves, but not to speak out against the way the media have been and are being misused to exploit
our people. They are afraid of becoming targets of Jewish hate-propaganda themselves. And they understand the difficulty
of convincing the public of the truth after the public already has been convinced of a lie; the public is fond of its myths,
especially its patriotic myths, and hardly any patriotic myth is more cherished than that of the Second World War being
a necessary and a moral war.
And so the politicians and the academics won't point
out the lies inherent in Spielberg's Saving Private Ryan. And that means that we'll have to do it ourselves,
the hard way. We'll have to continue building our own media: media like these American Dissident Voices programs. That's
a long and difficult job. And while we're doing that we'll be hearing and seeing a lot more romanticized propaganda from
Steven Spielberg and the Weinstein brothers and the rest of the Jewish media establishment. But at least we are reaching
more people with the truth this month than we did last month, and we'll reach more still next month.
ADV broadcast of August 15, 1998.
Hollywood’s Agenda, and the Power Behind It
By Mark Weber
Text of address given at the “Hollywoodism”
conference in Tehran, Iran, on Feb. 6, 2013
September, during my first visit to Iran, an incident occurred that underscores the importance of our meeting here this week.
eight of us -- men and women from several different countries who were attending the “New Horizon” conference
-- were sitting together for a meal at a large, round table at the top of the Milad Tower, high above central Tehran. As
the conversation turned to customs and lifestyles in our different countries, a younger Iranian in his 20s remarked, almost
in passing, that Americans are slender and thin. I was surprised by this, and responded by saying that, by all accounts,
Americans are the most overweight people in the world. I asked him why he thought Americans are slender and thin. Well,
he replied, that’s how they look in American movies.
Now, this young man was not stupid or foolish. And what people think about
the average weight of Americans is not a critically important matter. But his remark was another reminder of Hollywood’s
tremendous, global influence, and of how misleading its imagery can be.
During one-on-one talks with Iranians, I’ve been surprised by how
many have a strangely idealized impression of the US and American society that’s based on their viewing of American
movies and television. This is especially remarkable given that, in the United States at least, we’re told that Iranians
hate America. Actually, it seems that often the most hostile view of the US and Americans is by people in countries that
are supposed “friends” of the US, and that a much more positive view of the United States can sometimes be found
in countries that are supposed enemies of America.
If even many Iranians, whom one might suppose would be particularly skeptical of
Hollywood imagery and propaganda, can be so readily swayed or misled by it, how much more easily influenced and misled might
people be in countries that are under the direct shadow of Washington, New York and Hollywood.
Well, we certainly have our work cut out
understands that American motion pictures and television, and, more broadly, the US mass media, play an important role in
shaping the outlook, values and behavior, of many millions of people around the world, especially, of course, in my homeland,
the United States. But even many of those who readily acknowledge this influence seem not to fully comprehend the formidable
power behind Hollywood, or the outlook and agenda of those who wield that power.
Last September, during my first visit to Iran, I was a bit surprised that
at one session of the “New Horizon” conference, a few of the participants objected to describing Hollywood as
“Zionist controlled” or “Zionist dominated.” The discussion became so heated that a special session
was scheduled to further debate this issue and, hopefully, to reach a consensus on it. This question is not a peripheral
or academic one. An awareness of who holds power in Hollywood is essential for an understanding of the outlook, ideology
and agenda of those who wield such great influence.
During a television interview in 1996, actor Marlon Brando spoke bluntly on this
subject. He said: “I am very angry with some of the Jews ... They know perfectly well what their responsibilities are
... Hollywood is run by Jews. It’s owned by Jews, and they should have a greater sensitivity about the issue of people
who are suffering.” / 1
For making those remarks, Zionist voices in the US quickly and severely denounced the veteran actor. He was sternly
rebuked, for example, by the “Anti-Defamation League,” one of the most powerful and influential Jewish-Zionist
groups in the US. The ADL called Brando’s remarks a “slur.” In fact, statements, at least by non-Jews,
that affirm Zionist or Jewish domination of Hollywood are routinely denounced by the ADL and similar groups as groundless,
“anti-Semitic,” and intolerably offensive “hate” speech. / 2
But what’s the reality of the matter? Was Marlon Brando telling the
truth? How accurate is it to describe Hollywood -- and, more generally, the US mass media -- as Jewish or Zionist controlled?
the most knowledgeable and seasoned observers of Hollywood is Michael Medved, a well-known Jewish author and political commentator
who is also a prominent film critic. On this subject, he has written: “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.” / 3
One person who has carefully studied this
subject is Jonathan J. Goldberg, editor of the influential Jewish community weekly Forward. In his 1996 book, entitled
Jewish Power, he wrote: / 4
“In a few key sectors of the media, notably among Hollywood studio executives, Jews are
so numerically dominant that calling these businesses Jewish-controlled is little more than a statistical observation ...
the end of the twentieth century is still an industry with a pronounced ethnic tinge. Virtually all the senior executives
at the major studios are Jews. Writers, producers, and to a lesser degree directors are disproportionately Jewish -- one
recent study showed the figure as high as 59 percent among top-grossing films.
“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.”
Another person who has commented with some
authority on this matter is Joel Stein, a Jewish Hollywood producer, and a writer for Time magazine and other periodicals.
In a column that appeared in December 2008 in the Los Angeles Times, he wrote: “As a proud Jew, I want America
to know about our accomplishment. Yes, we control Hollywood ... 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.” / 5
Several years ago,
Bishop Desmond Tutu of South Africa, who was awarded the 1984 Nobel Peace Prize, told an audience in Boston: "... You
know as well as I do that, somehow, the Israeli government is placed on a pedestal [in the US], and to criticize it is to
be immediately dubbed anti-Semitic ... People are scared in this country, to say wrong is wrong because the Jewish lobby
is powerful -- very powerful." / 6
Bishop Tutu spoke the truth. Although Jews make up only about two or three percent of the US
population, they wield immense power and influence — vastly more than any other ethnic or religious group.
As Jewish author and
political science professor Benjamin Ginsberg has pointed out: / 7
“Since the 1960s, Jews have come to wield considerable influence in
American economic, cultural, intellectual and political life. Jews played a central role in American finance during the
1980s, and they were among the chief beneficiaries of that decade's corporate mergers and reorganizations. Today, though
barely two percent of the nation's population is Jewish, close to half its billionaires are Jews. The chief executive officers
of the three major television networks and the four largest film studios are Jews, as are the owners of the nation's largest
newspaper chain and the most influential single newspaper, The New York Times ... The role and influence of Jews
in American politics is equally marked ...
“Jews are only three percent of the nation's population and comprise eleven percent of
what this study defines as the nation's elite. However, Jews constitute more than 25 percent of the elite journalists and
publishers, more than 17 percent of the leaders of important voluntary and public interest organizations, and more than 15
percent of the top ranking civil servants.”
Two well-known Jewish writers, Seymour Lipset and Earl Raab, went into this in their
1995 book, Jews and the New American Scene. They wrote: / 8
“During the last three decades Jews [in the United States] have made
up 50 percent of the top two hundred intellectuals ... 20 percent of professors at the leading universities ... 40 percent
of partners in the leading law firms in New York and Washington ... 59 percent of the directors, writers, and producers
of the 50 top-grossing motion pictures from 1965 to 1982, and 58 percent of directors, writers, and producers in two or
more primetime television series.”
This intimidating power is not a new or recent phenomenon. Thirty years ago, the anti-Zionist
Jewish American scholar Alfred M. Lilienthal -- whom I knew well, and for whom I once worked -- dealt with this in his detailed
study, titled The Zionist Connection. He wrote: / 9
“The extent and depth to which organized Jewry reached -- and reaches
-- in the U.S. is indeed awesome … The most effective component of the Jewish connection is probably that of media
control … Jews, toughened by centuries of persecution, have risen to places of prime importance in the business and
financial world… Jewish wealth and acumen wields unprecedented power in the area of finance and investment banking,
playing an important role in influencing U.S. policy toward the Middle East … In the larger metropolitan areas, the
Jewish-Zionist connection thoroughly pervades affluent financial, commercial, social, entertainment, and art circles.”
In 1972, during a private
White House meeting, President Richard Nixon and the Rev. Billy Graham, the nation's best-known Christian evangelist, spoke
together frankly about the Jewish grip on the media. Their secretly recorded one-on-one conversation was not made public
until 30 years later. During their talk, Graham said: "This stranglehold has got to be broken or the country's going
down the drain." The President responded by saying: "You believe that?" Graham replied: "Yes, sir."
And Nixon said: "Oh, boy. So do I. I can't ever say that, but I believe it." / 10
Even though President Nixon, supposedly
the most powerful man in the world, believed that America was, as he put it, "going down the drain" unless what
he regarded as the Jewish "stranglehold" on the US media is broken, he was afraid to speak publicly about this
matter. As powerful as he was, President Nixon feared a power greater than his own.
A characteristic feature of unethical or illegitimate power is a pattern
of lies and deceit. For more than 70 years one of the main pillars of Jewish Hollywood has been Metro Goldwyn Mayer. The
familiar roaring lion trademark of this great motion picture and television production company appears at the beginning
of MGM films. Around the roaring lion of the trademark are the words, in Latin, of the MGM motto, “Ars Gratia Artis,”
which means “Art for the sake of art.” This motto is supposed to suggest that, at least for Hollywood and MGM,
film and television productions are made, or should be made, only to promote art or culture for its own sake.
In fact, this MGM motto
-- this liberal watchword -- is a lie. For MGM, as for all of Hollywood, “art”, or, more precisely, motion pictures
and television shows, are produced and marketed not for the sake of “art” or “culture,” but rather,
above all, for the sake of money, for profits -- but also to promote the interests, ideology and goals of those who control
and run Hollywood. An important and socially harmful consequence of Hollywood’s furious scramble for dollars is the
production of motion pictures and television shows aimed at the largest possible markets, and which, therefore, often pander
to a base cultural level. That’s bad enough. But in addition, Hollywood has a long record of turning out films that
are made to further ideological, ethnic or political goals.
A good example is “Exodus,” a 1960 epic about the founding of
the State of Israel. It’s based on a best-selling novel of the same name, written by Leon Uris, an ardent Jewish Zionist.
The film’s producer and director was the Jewish immigrant, Otto Preminger. With a memorable, soaring musical score,
and starring such prominent actors as Paul Newman and Eva Marie Saint, the film was enormously successful.
In the film, and in
the book on which it was based, Jews are portrayed as high-minded, sensitive, idealistic, resourceful and courageous. The
British are shown as cynical and rather ignorant. And the Palestinian Arabs, insofar as they are depicted at all, are portrayed
as treacherous, cruel and murderous. For an entire generation of Americans, including myself as a youth, along with millions
in other countries, the “Exodus” film was perhaps the single most important factor in shaping our view of Zionism
and the Palestine-Israel conflict.
During the second half of the last century, one of America’s most popular entertainers
was Steve Allen. He was also a gifted and noted musician, composer and writer. In 1992 -- some twenty years ago -- he said:
“Everyone -- left, right and middle -- is perfectly aware that we are in a period of cultural and moral collapse. But
some people don’t want to concede that the popular media bear part of the responsibility.” / 11 Allen was right.
Few people, I think, will dispute that Hollywood has played a major role in lowering, even debasing, the cultural level
of the United States, and, to a certain extent, of much of the rest of the world.
Michael Medved, the Jewish American author and film critic I mentioned
earlier, took a critical look at this issue in a widely-discussed 1992 book titled Hollywood vs. America. While
Hollywood continues to produce works of technical brilliance, dazzling camera work, stunning special effects, impressive
sets, skilled editing, and creative writing, the great problem of America’s cultural-entertainment center is what
Medved calls a “sickness of the soul.” Hollywood today, he says, is a “poison factory,” where what
he calls a “pattern of honoring ugliness “ has become “pervasive.” “The most influential leaders
of the entertainment industry,” Medved goes on, demonstrate what he describes as a “preference for the perverse.”
“One of the symptoms of the corruption and collapse of our popular culture,” he wrote, “is the insistence
that we examine only the surface of any piece of art or entertainment. The politically correct, properly liberal notion
is that we should never dig deeper -- to consider whether a given work is true, or good, or spiritually nourishing -- or
to evaluate its impact on society at large.” / 12
Those who defend Hollywood, and the “American way of life,”
will sometimes argue that -- however base or perverse some Hollywood productions may be -- they do not represent “official”
or institutional Hollywood. A distinction, they say, should be made between the few admittedly deplorable productions --
a small number of “rotten apples” -- on the one hand, and “official” or institutional Hollywood,
on the other. However valid this argument may be, there’s also no question but that Hollywood, as an institution,
all too often sanctions and promotes a cultural ethos that is debased, degenerate, and inhuman.
There is no more prestigious or universally
acknowledged expression of “official” Hollywood than the Academy Awards ceremony, a highly publicized annual
event at which the elite of Hollywood honors itself, and gives recognition to what it regards as the outstanding productions
and personalities of the preceding year. At the Academy Award ceremony of early 2006, institutional Hollywood bestowed its
highest honor for the best original song in a motion picture on a rap song -- if such sound even deserves to be called music
-- entitled “It’s Hard Out Here for a Pimp,” about the laments and travails of a man who makes a living
on the money brought in by his whores.
Here is a portion of the lyrics of this rap song -- these are the least offensive lines --
which I’ll try to give in English that is more understandable than the original:
“It's blood sweat and tears when it
come down to a lick. I'm tryin' to get rich 'fore I leave up out it. I'm tryin' to have thangs but it's hard for a pimp.
So I'm prayin' and I'm hopin' to God I don't slip, yeah.
“Man, it seems like I'm duckin' dodgin' bullets everyday. Niggaz
hatin' on me cause I got, girls on the tray. But I gotta stay paid, gotta stay above water. Couldn't keep up with my girls,
that's when things got harder
“North Memphis where I'm from, I'm 7th street bound. Where people all the time end up lost and never found.
Man, these girls think we prove thangs, leave a big head. They come hopin' every night, they don't end up bein' dead.
“Wait I got a
snow bunny, and a black girl too. You pay the right price, and they'll both do you. That's the way the game goes, gotta keep
it strictly pimpin'. Gotta keep my hustle tight, makin' change off these women, yeah”
Is this what Hollywood means by “Art
for the sake of art”? Is this really an exemplary product of American culture? Is this the music of a healthy society?
What does this tell us about Hollywood? And what does it say about America?
In the aftermath of Hollywood’s prestigious honor for “It’s
Hard Out Here for a Pimp,” no major political figure or leading newspaper raised a voice of protest or shame. That’s
because in today’s America, this rap song is regarded not as outrageous or perverse, but instead is embraced as an
acceptable, praiseworthy expression of US culture.
Another example of Hollywood’s notion of cultural distinction is a very profitable
and widely acclaimed 2009 motion picture entitled “Inglorious Basterds.” In this absurdly fanciful production,
actor Brad Pitt plays a Jewish US Army lieutenant during World War II who leads a team of eight Jewish American Army men
whose mission behind enemy lines is to kill as many Germans as possible, and to kill them in the most cruel, painful and
hideous way possible. Each team member, he says with joyful pride, must collect 100 “Nazi” scalps, and he tells
them that no prisoners will be taken -- that is, every captured German soldier must be murdered. In one dramatic scene,
a US Army sergeant, who calls himself the “Bear Jew,” kills a prisoner of war by bashing in his head with a
This vile glorification of a band of vengeful Jewish sadists was honored by institutional Hollywood with multiple
awards, including an Academy Award and eight Academy Award nominations. Years of conditioning by Hollywood filmmakers and
American educators had primed audiences to approve and even applaud the sadistic violence of these criminals in US military
uniform, because the victims are, after all, evil “Nazis” who deserve to be killed in the most hideous and cruel
way possible. Over the years, Hollywood and American public officials have worked together to stigmatize Japanese, Germans,
Arabs and others as expendable, evil sub-humans who deserve to be eradicated as vermin.
Hollywood and Washington seem always to
be on the lookout for new nations and nationalities for targeting as “evil,” and therefore worthy of eradication.
Not long ago, you’ll recall, an American president proclaimed Iran to be an “axis of evil” country, and
his successor, the current US president, tells the world that in dealing with Iran, “all options are on the table”
-- which is an indirect way of threatening Iran with bombing, invasion, war and even nuclear obliteration.
American motion pictures
and television, along with the rest of the US mass media, play an important role in shaping people’s basic assumptions
about life and the world, in setting social-ethical standards, and in delineating the boundaries of what’s politically
possible. Together with America’s still very formidable financial, economic and military power, Hollywood and its
products have real impact on the lives of millions, not only in the US, but around the globe.
Along with the rest of the Jewish-Zionist
dominated media, Hollywood sensationalizes and distorts current events, systematically falsifies history, promotes debased
“entertainment” and perverse cultural standards, and makes possible the Jewish-Zionist hold on American political
life, thereby enabling Israel’s wars and decades-long oppression of Palestinians.
Today there is no more important or urgent task than to clearly identify and effectively counter
this Jewish-Zionist power.
I want to emphasize here that to deal candidly with this reality is not, as some claim, “anti-Semitism”
or “hate.” We should not, and we do not, wish harm to anyone because of his or her ancestry, ethnic background,
religion or privately held beliefs. At the same time, we should not -- we must not -- let smears or malicious name-calling
keep us from affirming the truth, and doing what is right.
We are meeting here this week at a conference that brings together men
and women of diverse nationalities, races and cultures, and with a broad range of political and religious views. But regardless
of our background, nationality or worldview, and regardless of the particular passion or cause that most moves each of us,
we share a sense of responsibility for the future of our own nations, and of the world.
We are engaged in a great, global struggle
-- one in which two distinct and irreconcilable sides confront each other -- a world struggle that pits an arrogant and
malevolent power that feels ordained to rule over others, on one side, and all other nations on the other. It is a struggle
not merely for justice or the well-being of the peoples of this or that nation or region, but a great historical battle for
the soul and future of humanity itself.
1. Interview with Larry King, CNN network, April 5, 1996. "Brando Remarks,"
Los Angeles Times, April 8, 1996, p. F4 (OC). A short time later Brando was obliged to apologize for his remarks.
H. Foxman, Never Again?: The Threat of the New Anti-Semitism (Harper San Francisco, 2003), p. 251.
3. M. Medved, “Is
Hollywood Too Jewish?,” Moment, Vol. 21, No. 4 (1996), p. 37.
4. Jonathan Jeremy Goldberg, Jewish Power: Inside the American Jewish
Establishment (Addison-Wesley, 1996), pp. 280, 287-288. See also pp. 39-40, 290-291.
5. J. Stein, “How Jewish Is Hollywood?,”
Los Angeles Times, Dec. 19, 2008.
( http://www.latimes.com/news/opinion/commentary/la-oe-stein19-2008dec19,0,4676183.column )
D. Tutu, “Apartheid in the Holy Land,” The Guardian (Britain), April 29, 2002.
( http://www.guardian.co.uk/israel/comment/0,10551,706911,00.html )
Benjamin Ginsberg, The Fatal Embrace: Jews and the State (University of Chicago, 1993), pp. 1, 103.
8. Seymour Martin Lipset
and Earl Raab, Jews and the New American Scene (Harvard Univ. Press, 1995), pp. 26-27.
9. A. Lilienthal, The Zionist Connection
(New York: Dodd, Mead, 1978), pp. 206, 209, 212, 218, 228, 229. See also: M. Weber, “A Straight Look at the Jewish Lobby.”
“Nixon, Billy Graham Make Derogatory Comments About Jews on Tapes,” Chicago Tribune, March 1, 2002 (or
Feb. 28, 2002)
( http://www.fpp.co.uk/online/02/02/Graham_Nixon.html );
“Billy Graham Apologizes for ’72 Remarks,” Associated
Press, Los Angeles Times, March 2, 2002. “Graham Regrets Jewish Slur,” BBC News, March 2, 2002.
( http://news.bbc.co.uk/2/hi/americas/1850077.stm) The conversation apparently took place on Feb. 1, 1972.
11. Michael Medved, Hollywood vs. America (Harper Collins, 1992),
back cover dust jacket.
12. M. Medved, Hollywood vs. America (1992), pp. 11, 25, 26, 21.