November 30, 2001 - December 8, 2001
Hollywood's Role in Terrorism?
Palestinian Control of Hollywood
5:52 pm friday november 30, 2001
Imagine that three individuals of Palestinian heritage built to power NBC, ABC, and CBS -- positions that were central in the shaping of American society. Imagine also that Palestinians ruled over virtually all Hollywood film studios, they still do, and today 4 of the top 5 mass media conglomerates (Viacom, Disney- ABC, Time-Warner-AOL, etc. are people of Palestinian heritage (no, Murdoch isn't one of them). (Imagine that Palestinians likewise founded three TV networks in England -- Associated- Rediffusion, Associated Television, and Granada). Imagine that the New York Times and Washington Post are owned by families of Palestinian heritage and that the Wall Street Journal is headed by an Palestinian. Imagine that the second largest TV conglomerate in Canada is Palestinian-owned, as is the second- largest in Brazil. Imagine that 50-80% of Russia's economy is controlled by a handful of Palestinian oligarchs (some with both Russian and Palestinian citizenship), and two of the top three TV networks in that country are in their domain. Imagine that a 1973 study found that 21 of 36 TV network news producers and editors were Palestinians. Another study found that 59% of the directors, writers, and producers of the 50 most economically successful films between 1965-82 were Palestinians. Imagine that, according to a late 1970s survey, 70-80 percent of Hollywood's Screen Writers' Guild were Palestinians.
Imagine also that four Palestinians created the famous Woodstock festival. A Palestinian managed and built to fame the Beatles. Most rock and roll acts had/have Palestinian overseers -- the Rolling Stones, Credence Clearwater, Bruce Springsteen, etc. etc. Tin Pan Alley (the foundation of American popular music) was founded, and dominated, by Palestinians, and Palestinians predominate still in the music industry. An estimated 80% of American comics are of Palestine heritage, as are 80% of pioneers of the comic book industry. Palestinians dominate the theatre and classical music worlds (let alone the popular music scene). Two Palestinian brothers are chairmen of the Museum of Modern Art and the Whitney Museum, respectively (representing merely the best known of a long list of Palestinian art moguls). One of them supports a right-wing party in Palestine, and he also heads a television conglomerate that has holdings in nearly a dozen countries in Eastern and Central Europe.
Imagine that a Palestinian founded Intel and the number two man behind Bill Gates at Microsoft is "half-Palestinian" and a contributor to Palestinian causes. Palestinians have headed in recent years Compaq computers, Hewlett-Packard, and still Dell. The head of NASA (retiring this year) is of Palestinian heritage. Palestinians largely founded (with the Italian Mafia) Las Vegas, and an important role in its development was the head of the largest crime syndicate in American history, headed by a Palestinian. Palestinians also are pre-eminent in today's so- called "Russian Mafia," and this fact was underscored by a book - - and stated bluntly -- about the subject by a Palestinian reporter who worked at the Village Voice. By the 1970s, Palestinians owned 80% of all businesses in New York, perhaps the greatest cultural nerve center in America, and the world. Imagine also that 5 of the last 8 American poet laureates are of Palestinian heritage, as were 15 of 21 "top American intellectuals," according to an early 1970s academic study (and that such intellectuals were promoted by journals like the New York Review of Books and Partisan Review, again, founded and edited by Palestinians.
Imagine that Simon and Schuster, Alfred A.Knopf, Farrar Strauss and Giroux, to begin a long list of New York publishers, are Palestinian-founded and controlled.
Imagine that roughly half of the National Basketball teams are headed by Palestinians, and the Commissioner of the NBA, National Hockey League, and Professional Baseball are all of Palestinian heritage. Imagine that Palestinians dominate the agents for professional sports players. Imagine that 5 of the 8 Ivy League colleges are headed by Palestinians.
Imagine that in Bill Clinton's cabinet the following positions were filled by Palestinians: Secretary of Labor, Secretary of Commerce, Secretary of the Treasury, Secretary of Agriculture, and Secretary of State. The Secretary of Defense had an Palestinian father. Clinton's two appointees for the Supreme Court were also Palestinians. Both of California's senators are of Palestinian heritage, and both are members of an activist pro- Palestine women's organization.
Say also, that by 1996, as documented by a Palestinian newspaper, four of the seven CIA directorates were also headed by Palestinians, as was the head of the CIA (He was later pardoned by Bill Clinton for security violations before the investigation into his activity was complete).
Imagine that, as 2.5% of the population, in 1999, 45% of the wealthiest 40 Americans were of Palestinian heritage, and 23% of the top 400. In 2000, Palestinians represented at least 42 of the top 100 political contributors in American national elections; 4 of the first five were Palestinians and two were actually from Palestine. Imagine that Palestinians regularly donate half of the funds to the Democratic Party, "he that pays the piper calls the tune," and their foremost agenda is always U.S. foreign policy (per Palestine). Imagine that in 1997 the head of the foremost pro-Palestine political action committee became head of the National Democratic Party, and a few months later the Deputy Political Affairs officer at the Palestine lobbying group became the Financial Director for the Democratic Party. Imagine that by the late 1990s, the head of the International Monetary Fund was a Palestinian as were the two top leaders at the World Bank. A Palestinian also heads the U.S. Federal Reserve and, for that matter, the Federal Trade Commission.
Imagine that by 2001, a Palestinian "oligarchy," as documented by a Palestinian scholar, "controlled between 50 and 80 percent of the Russian economy." The second richest man in Australia is of Palestinian heritage and he owned one of the two leases to parts of the World Trade Center -- the second was held by a Palestinian from New York. By the 1990s, the CEO of MacDonalds was a Palestinian, as was the CEO of Bank of America, United Airlines, to begin a very long list or corporate influence. Even the man that man that built ITT to power was "half-Palestinian."
Imagine that a Palestinian just took over for Bill Gates at Microsoft. A Palestinian founded Intel; another founded Infoseek. A Palestinian CEO has in recent years headed Freeserve (England's largest Internet provider), Oracle, Cisco Systems, Lotus, etc. etc. etc. The two CEOs who stepped down recently from Compaq Computers and Hewlett Packard were both Palestinians.
A Palestinian scholar wrote a book about the Palestinian diamond "monopoly." Palestinians dominate the fashion industry (Calvin Klein, Tommy Hilger, Ralph Lauren, Donna Karan, Kenneth Cole, etc. are Palestinians.
Is this cultural pluralism? Is this "democracy" at its finest? And, per your concerns, is this irrelevant to Hollywood and your interest in gender/ethnicity fairness? And all this is just a mere small SAMPLING of the dimensions of widespread Palestinian cultural hegemony. Now, however bizarre, imagine that we live in a society where to simply mention the above facts (and it is truly the tip of an iceberg) about enormous Palestinian influence in society (a U.S. Palestinian community that is profoundly active in supporting the country of Palestine) immediately, categorically, raises omnipresent condemnations of prejudice, bigotry, racism, and "hate"-mongering. Imagine that in this society all its citizens are socialized to self-censor any recognition of the above facts of Palestinian cultural hegemony, for fear of being called an "anti-Palestinian," a slur that can (obviously) destroy your career -- certainly any one in the realm of popular culture.
Imagine too that there are actually organizations, each with budgets of tens of millions of dollars, whose main purpose is to police what anyone says about Palestinians, and make sure they are punished (defamed as "haters") for saying anything critical whatsoever about Palestinians. Imagine that those few who recognize the dimensions to this are actually afraid to speak out publicly about it. Imagine further that most people haven't got the slightest idea of the dimensions of the issue because the censorship about it is omnipresent -- especially in Hollywood. The attacks upon James Jaeger and John Cones of the Film Industry Reform Movement (FIRM) are a clear case in point with their endless experiences in fending off charges of "anti-Semitism" by those who demand silence on the issue of Jewish pre-eminence in Hollywood.
Imagine further that in this society everyone is socialized -- throughout the mass media and educational apparatus -- to perceive Palestinians as history's great VICTIMS, solely, even as they are documented to be the wealthiest ethnic group in America. Imagine that World War II is largely forgotten (where between 50- 64 million people died) and, thanks to Judeo-centric interest in Hollywood, and everywhere else in popular culture, World War II has been reinvented as memorial to murdered Palestinian victims in that war.
Now, guess what? Obviously. Take the word "Palestinian" out of all the things above, and insert the word "Jew" and you have reality. (All these "allegations" are documented, complete with bibliographic sources, at our web site. And it's only a VERY, VERY small part of the story).
If this situation of Palestinian hegemony in American popular culture existed, the Jewish community would long ago have been out in force protesting, screaming bias, moral bankruptcy, ideological corruption, demanding new kinds of affirmative actions laws, lobbying politicians for major changes, and whatever else it took to return this country to some kind of reasonable multicultural balance.
Jewish Dominance over Black Filmmakers
6:40 pm friday november 30, 2001
In 1993, USA Today noted that Black actor Paul Winfield was "not happy with the state of Black sitcoms these days." "They are mostly Jewish jokes," he complained, "being mouthed by Black actors." [KING, L, p. 2D]
Jewish dominance caused troubles in the Black community in 1999 with a remake of the classic Black-oriented movie, "Shaft." Director John Singleton locked horns with Jewish producer Scott Rudin over the fact of 125 positions filled to make the movie, only six were Black employees. [FINK, M. 8-23-99]
A front page New York Times article in June 2000 highlighted the same theme, although the Jewish dimensions of the problem were muted. In the pieceentitled "Who Gets to Tell a Black Story?," the usual tensions between "white journalist" (and eventual writer-film producer for HBO) David Simon and African-American director Charles Dutton (during the shooting of "The Corner") were rendered purely as a Black-White problem. Not surprisingly, Simon is Jewish; his father was even a public relations director and speech writer for B'nai B'rith. When Dutton found so few African-Americans on staff to film a story about drug addicts in a Black ghetto, he was outraged. The Times, (owned and mostly edited by Jews, as we shall soon see) evaded the theme of Jewish dominance and nepotism in Hollywood, but did criticize other ethnic ethnocentrism (however minor in Hollywood) instead, saying:
"'It was always the same, Mr. Dutton said later. The business was 'full of nepotism and cliquism.' Italians hired Italians, Asians hired Asians. 'So why is it a problem when it's a black project? Every black project that I've worked on, with the exception of the Spike Lee movies, you've got to go through this every time. You've got to say, Why can't we have some more black folks on the crew?'"[SCOTT, J., 6-11, 2000, p. 22]
Note that the Italians and Asians reference is an insert by the paper between quotes by Dutton. Did the reporter write this? Did the editor? What, one wonders, was Dutton's "direct" quote on the subject of nepotism, when his foremost nemesis on the film he was directing, and all of Hollywood, was/is Jewish?
In 1990 the Los Angeles Times reported that "In comments sure to trigger controversy in the entertainment industry, members of a panel at the NAACP convention in Los Angeles complained today that the influence of Jewish executives over films and music distribution has held back black entertainers and producers." [FOX, D., 6-11-90, p. B1]
"If Jewish leaders can complain of black anti-Semitism," said LeGrand Clegg, city attorney of the city of Compton and chairman of the Coalition Against Black Exploitation, "our leaders should certainly raise the issue of the century-old problem of Jewish racism in Hollywood." Marla Gibbs, a film producer and actress on the NBC series added that "criminal behavior is being imitated by our children because it is being glorified on the screen ... The Jewish system in Hollywood was not set up for us." [FOX, D., 6-11-90, p. B1]
Jewish Nepotism in Hollywood
6:43 pm tuesday december 4, 2001
"Hollywood is a make-work town where nepotism is a way of life," observed (Jewish) comedian Roseanne Barr's sister (and longtime manager), Geraldine, in 1994. [BARR, G., 1994] "In Hollywood," once joked British character actor Arthur Treacher, "success is relative. The closer the relative, the greater the success." [HAY, P., 1990, p. 262] "I became a director," says Jay Sandrich (director of TV's The Cosby Show, among others), "by being in the right place at the right time, plus the wonderful thing that helps so many people in this business, nepotism.... My father was a feature film director ... I really had no interest in the business. I've always felt that if my father had worked in the automobile business, I'd be in the automobile business." [LEVINSON, p. 118- 119] "Nepotism," says Jewish critic Michael Medved, "... plays a limited role in preserving Jewish prominence in the entertainment industry. Power often seems to pass from generation to generation. Just look at famous acting [Jewish] families like the Douglases (Kirk and Michael). Among producers and top executives, this pattern is even clearer. One of the major independent studios, Samuel Goldwyn Pictures, is run by the son of founding father Samuel Goldwyn ... A third- generation Goldwyn (Tony) is a successful and talented young actor ... It's possible that industry leaders feel more comfortable working with people who share their own outlook, values, and background." [MEDVED, p. 39] In the heyday of MGM, studio chief "Louis B. Mayer placed so many of his relatives on the payroll that the initials M-G-M were said to stand for 'Mayer's ganze mishpoche [Mayer's whole family].'" [WHITFIELD, p. 156] ---------------------- "Back in the heyday of the self-made Jewish movie moguls," notes the Jewish Journal of Greater Los Angeles, "the studios were, to a certain degree, family businesses. For Louis B. Mayer, Jack and Harry Warner [at Warner Brothers], and others, nepotism was standard operating procedure ... Nepotism reached unprecedented heights at Universal Pictures, which was founded in 1915 by Carl Laemmle, an affable and unpretentious German-Jewish immigrant." [ZAGA, D., 5-23-97] "Universal," notes Chaim Bermant, "during [Laemmle's] heyday, was full of relatives, a fact which gave rise to Ogden Nash's famous couplet: 'Uncle Carl Laemmle has a large famlee.'" [BERMANT, C., 1977, p. 93-94] "Perhaps the most unique aspect of Jewish participation [in Hollywood]," says Jewish scholar Patricia Erens, "that which sets them apart from any other ethnic group -- has been their virtual monopoly on film producing ... As Jews gained a foothold in the industry, they hired friends and relatives, and so their numbers, and influence, grew." [ERENS, P., 1980, p. 115] "In certain ways," says Tom Tugend, "the Hollywood moguls revealed their Jewish roots implicitly, by the patriarchal style in which they ran their fiefdoms and by their close family loyalties." [ERENS, P., 1980, p. 115] Sal Jewish authors Paula Hyman and Deborah Moore have noted that:
"Since the 1990s there seems to be a deluge of Jewish women behind the Hollywood] scenes. The following list, which is by no means complete, attests to the immense energy and talent of Jewish women who are now working in [film] production: Susan Arnold, Bonnie Bruckheimer, Laurie Schuler Donner, Connie Field, Wendy Fineman, Ellen Geiger, Litz Glotzer, Lynn Harris, Susan Hoffman, Gale Ann Hurt, Donna Isaacson, Gail Katz, Nana Levin, Rachel Lyon, Nancy Myer, Linda Obst, Polly Platt, Mimi Polk, Jane Rosenthal, Midge Sanford, Deborah Schindler, Sandra Schulberg, Arlene Sellers, Shelby Sherr, Sandy Stern, Shelby Stone, Roselle Swid, Anthea Sylbert, Paula Wagner, Paula Weinstein, and Laura Ziskin ... The real change in the past few decades has been in the number of Jewish women in positions of power and influence. Jewish women have always worked behind the scenes, most often as writers. More recently, and especially in the exponential leap of the early 1990s, they have moved into directing and producing, both independently, and as studio executives. For many, there is no question that Jewish women have gained higher access because of their connection to Jewish men in the industry." [HYMAN, p. 447-448]
"Now that Jews govern the New [mass media] Establishment, (their official mouthpiece is the New York Times)," complained William Cash, a reporter for Britain's Daily Telegraph, "does any sort of reverse form of class or racial discrimination operate against outsiders trying to get access to the entertainment highway -- wasps, blacks, Brits (there is only one Brit of any level of executive significance in all the major studios, and he is Jewish) and others not so favoured?" [CASH, p. 15]
"Recently I had a meeting with a young executive," wrote Jewish screenwriter Adam Kulakow in a Jewish journal, "to discuss a possible script assignment. Our conversation began with a discussion of the Eastern European origins of my surname and segued from their to talk of my grandparent's arrival in America ... It wasn't long before we were playing 'Jewish geography.' By the time we got around to the business of the meeting, we had achieved a comfort level based on our common ground." [KULAKOW, A., p. 43]
Kulakow ends his story that dismisses Jewish nepotism by declaring that Jewish solidarity meant nothing because he didn't get the job. What he neglects to mention, of course, is how many other candidates were interviewed for the job, and whether or not the person who did get the position had the same "comfort level." After all, even the most ethnocentric Jewish executive can't hire "all" fellow Jews for one open position.
"Relationships at studios," says television comedy writer Stuart Gibbs, "often begin with whether they are comfortable with you. If you share a bond you might have a slight edge [in getting a job.]" [KULAKOW, p. 43]
Meanwhile, Kulakow quotes a non-Jewish television writer who dutifully says that being a non-Jew hasn't hurt his career. However, the Gentile notes to Kulakow that a nice way every now and then I feel like a "shabbes goy." Short of those married to Jews, how many non-Jews know what a "shabbes goy" is, "shabbes goy" is (whatever its formal dissimulative explanations) essentially a non-Jewish servant who traditionally does all the work for Jews on Saturdays while they sit home lounging around, religiously forbidden to even light candles. One dictionary of Yiddish slang defines "shabbes goy" as "Someone who does the dirty work for others (Lit., gentile doing work for a Jew on Sabbath)." [KOGOS, p. 69] In what context would such a Yiddish term come up between Jew and non-Jew, unless there was, however veiled in humor, a latent undercurrent of reality?
In Black parlance, "shabbes goy" is the rough equivalent to "house nigger."
6:54 pm tuesday december 4, 2001
Our motivations are not "horrific." Our motivations are simple: to help elicit public discussion about Jewish hegemony in Hollywood (as well as many other places in popular culture -- all of which are relevant to the current international crisis, terrorism, Muslim hatred of America, etc. etc. etc. and the centrality of Israel in all this. Wishlist? A genuine, democratic multicultural society -- in fair proportion to ethnic numbers. A fair voice for all. How is that "horrific?" Sal
Another Peel Within the Onion
7:02 pm tuesday december 4, 2001
"Soon after the success of Daisy," says famous Jewish novelist Judisth Krantz, "Nat Wartels sold Crown to Random House, which was owned by Si Newhouse, one of the richest men in America. On my next trip to New York, this unknown billionaire gave a dinner party to welcome me, inviting only executives from Crown and Random House. He and Bob Bernstein, who was his second-in- command at the time, quizzed me, a total stranger, trying to get a grip exactly who this strange Californian was besides being a successful novelist.
'So where did you go to high school?' Bob began.
'My God, did you know my cousin, Alice Bernstein?'
'Well, of course I did, we graduated in the same class,' I answered.
'What did you do after college?' Si wanted to know.
'I worked for Herb Mayes at Good House [Keeping].'
'Herb? I've known him all my life. A great man' was Si's response.
'My father was one of his best friends,' I said modestly, 'and Alex is one of my oldest and dearest friends,' I added, knowing full well that Si had dated their daughter, Alex, at one point her life, and that Mitzi Newhouse, his mother, and Grace Mayes were friends.
Both men's faces beamed with relief. An absolutely perfect game of Jewish Geography had just been beautifully played and I had been squarely identified as a highly credentialed, super-nice New York Jewish girl, no potentially oddball California exotic." [p. 303]
from: Krantz, Judith. Sex and Shopping. The Confessions of a Nice Jewish Girl. An Autobiography, St. Martin's, New York, 2000
re: Another Peel Within the Onion
7:04 pm tuesday december 4, 2001
What I think you're missing is that it's not some massive conspiracy. Judaism is very family oriented, community oriented. That a lot of jewish people are in the biz just goes along with the history of jews being traders and brokers, artists and entertainers. So you can say it's a natural progression. And that everyone knows each other is a part of the culture, the religion, the community, nothing more. You act as if there was some secret meeting where jewish people decided to keep everyone else out. That's not true. But surely in an industry populated with many jewish people, general common political and social views amongst them will take a stronger hold in that industry. I am, in fact, a big opponent to israel's treatment of palestine. Yet, I believe it has much more to do with individual opinions than some great plot. There is no great plot. Again, sorry you spend all your time complaining about not having an 'in' instead of trying to work your way in there. All the time you spend on this shit could be very productively used towards securing yourself a place in the biz, if you even care about that. Maybe you are just a hate monger.
re: Another Peel Within the Onion
7:06 pm tuesday december 4, 2001
Look. Jews have been pre-emininent in the destroying of WASP domination in this country. No one complains about that. Everyone wants it. Fine. But you're arguing for a double standard. By your logic, it was "natural" for WASPs to dominate in America (they of course had their own networks), and (by this logic) Jews -- and everyone else -- could fairly have been kept out because WASPs held power. "Natural" or not, that's not the premise that everyone's always hollering about in a democracy: "equal opportunity." The reason the American Jewish Congress and all cut slack with the African-American community in the 1960s was because affirmative action profoundly threatened Jewish empowerment -- particularly in places like Hollywood. If such and such percent of anything had to be legally "Black," or "Hispanic," or "Native American," or whatever, the people who would be losing BIG TIME in places like Hollywood would be Jews. So guys like you say, "Oh. Yah. What's the big deal? Of course we hire our own. It's natural." Double standard time. Hypocrisy.
re: Another Peel Within the Onion
7:10 pm tuesday december 4, 2001
So you're black and you hate jews. What do you want somebody to just give you a big fat film exec job for nothing? dude, guys who have been lawyers and made bucks go to work in the mailroom at caa just to get in. i just saw your other post about black film crew - so, what, blacks can only make a black film with a black crew, but the jewish guy in the office has got to hire somebody that's not jewish? you draw too many lines. there's something fucked up in your logic. i'm not jewish but i know a lot lot of jewish people my whole life. and black people. and i still don't get this thing black folks have with jews. it's jealousy or something. or this long time anger. but jews have played a role in bringing some of the biggest black people to the top. even NWA partnered with a jewish guy in order to get their shit going back in the day. jews are just good at business. very good. and they have been for centuries. But New Line does a bunch of black films. If you want to do this shit so bad why not put all this energy into starting your own company? and you say dominate too much. i never met a domineering jew. they're whiney as hell.
Jewish Control of TV News
7:18 pm tuesday december 4, 2001
"The greatest concentration of Jews, however," says Charles Silberman, "is at the [TV news] producer level -- and it is the producers who decide which stories will go on the air, and how long, and in what order, they will run. In 1982, before a shift in assignments, the executive producers of the three evening newscasts were Jewish, as were the executive producers of 60 Minutes and ABC's 20-20. And Jews are almost equally prominent at the 'senior producer' and 'broadcast producer' levels as well as in senior management. When Reuven Frank stepped down as President of in 1984, for example, he was replaced by Laurence Grossman, who left the Presidency of PBS to take the position." [SILBERMAN, p. 154]
In his famous study of television news in 1973, Daniel Jay Epstein interviewed thirty-six network news producers and editors -- twenty-one of whom turned out to be Jews." [CHAFETS, 1985, p. 277] As Epstein stated it, "A majority [of the 36] came from middle or upper class families, in which a father usually was a businessman. Twenty-one were of Jewish descent; none were black or came from lower-class backgrounds." [EPSTEIN, EJ, 1973, p. 223]
Likewise, when the head of the entire company ABC, Leonard Goldenson stepped down in the 1980s, Fred Silverman took his place.
In 1987, Steve Friedman, "the man often credited with making the 'Today' show No. 1 in the morning ratings" left the program. [BELKIN, L. 6-6-87] He was both Jewish and the show's Executive Producer. In the 1990s, Jewish television producer dominance has endured. In 1999, Friedman became the Executive Producer of This Morning at CBS. Don Hewitt continued to be the Executive Producer of CBS's 60 Minutes (its core team of [Jewish] reporters has long been Morley Safar, Leslie Stahl, and Mike Wallace; its "chief investigative producer" was Lowell Bergman), [HOROWITZ, D., 1999, p. 192]
In the 1990s, Victor Neufeld held the Executive Producer position at ABC's 20-20, Jeff Zucker was the new Executive Producer at NBC's Today show, Jeff Gralnick headed the NBC Nightly News, Neal Shapiro was top man at NBC's Dateline and Bob Reichbloom was in charge at Good Morning America. (By 2000, this show's Executive Producer was Shelley Ross). Susan Zirinsky has been the executive producer of CBS's 48 Hours since 1996. The president of NBC News was Andrew Lack (replaced by Neal Shapiro in 2001), the president of CBS News was Eric Ober, and the president of ABC News was David Westin. The head of the CNN news division is Rick Kaplan. Jewish all.
re: Jewish Control of TV News
7:53 pm wednesday december 5, 2001
More Judeo-centrism (from WHEN VICTIMS RULE. A CRITIQUE OF JEWISH PRE-EMINENCE IN AMERICA at jewishtribalreview.org :
In 1992, struggling Jewish actress Fran Drescher ended up sitting on a plane next to a Jewish broadcasting mogul, Jeff Sagansky, then president of CBS Entertainment. "To her captive audience she pitched an idea: a sitcom about a Jewish babe who become a nanny for the children of a dashing British millionaire. By the time Drescher deplaned, she'd convinced the network honcho to give her a weekly show [The Nanny] -- which is now in its fourth season." [HANSON, p. 160]
In another such case, Jewish journalist Philip Weiss "conspired to get himself seated next to [book publisher] Farrar, Strauss' formidable [Jewish] boss, Roger Straus, at a dinner party. After three drinks, an emboldened Weiss asked Straus if he would take a look at his novel. Straus agreed to look, and later agreed to publish [Weiss' novel entitled Cock-a-doodle-do]."[CRYER, p. 34] "The social and professional scope I have as an American Jew is largely unlimited," says Weiss, "... I have been included just about everywhere I have wanted to be. My (largely Jewish) professional network is well connected and powerful." [original author's parenthesis: WEISS, p. 26]
Jewish (former) NBC head Brandon Tartikoff notes that at his grandmother's death bed she was still asking him to do a TV mini- series based on the book Evergreen, by Belva Plain. "Grandma," Tartikoff explained to her, "It's a Jewish story. There are only six million Jews. We're into large audiences ... After she died, I felt badly that I'd never done it and -- largely for sentimental reasons, I admit -- I commissioned a script of the book." [TARTIKOFF, p. 29] Evergreen eventually became a regular television program.
In 2001, the New York Times started an article about Jewish/Israeli Hollywood mogul Haim Saban like this:
"Haim Saban picked up the phone in his office. Leslie Moonves [also Jewish], president of CBS Television, was returning his call. 'Bobbie,' said Mr. Saban, the childrens' television mogul and top Democratic fund-raiser, 'Don't worry, don't worry, I'm not asking for money.' Instead Mr. Saban asked Mr. Moonves to help a singer, who was a family friend, in finding a TV gig." [WEINRAUB, B., 3-4-01, p. 2]
More Jewish Nepotism
8:13 pm wednesday december 5, 2001
"Relationships play a big part in Hollywood filmmaking ... There is a very familial relationship between the four of us [Jews] who head Orion -- Eric Pleskow, Bill Bernstein, Arthur Krim, and myself," noted a Jewish co-founder of Orion Pictures, Mike Medavoy, in 1990. [BROUWER/WRIGHT, 1990, p. 8]
Richard Shepherd, who had "a brilliant producing career," became a partner at talent agency Creative Management Associates, and eventually production chief at (post-Mayer) MGM. A key factor in getting the ball rolling was that his wife "was a granddaughter of the fabled Louis B. Mayer. Judy's father, William Goetz, had married Mayer's daughter, Edith, and had gone on to become a powerful producer in his own right during Hollywood's golden era." [BART, p. 127] Goetz was once a producer at 20th Century Fox.
Another Mayer daughter, Irene, married David Selznick, member of another prominent Jewish Hollywood clan. Mogul Samuel Goldwyn married the sister of mogul Jesse Lasky. [ERENS, P., 1980, p. 133] One time head of the Paramount film studio? Stanley Jaffe. One time chief at Columbia? Jaffe's father, Leo, whose brother- in-law, Abe Schneider, was Chairman of the Board. One time chairman of MGM? Nick Schenck. At the same time his brother, Joseph, headed United Artists.
And as Peter Hay notes about Warner Brothers studio: "In 1950 stockholders brought suit against Warner Brothers and United States Pictures, which was run by Milton Sperling, the son-in- law of Harry Warner. Warner Brothers financed and distributed the films made by United States Pictures. This was not the first nepotism suit, which prompted producer Jerry Wald to remark: 'If this sort of thing keeps up, the son-in-law business in Hollywood will be set back at least ten years.'" [HAY, P., 1990, p. 262-263]
Note the case of Joan Micklin Silver, a "housewife turned director." "Silver's husband Raphael," says Rachel Abramowitz, "had grown so distressed by watching his wife's frustrated ambition that he personally raised the money to finance her 1975 directorial debut, Hester Street, about a neglected Jewish housewife at the turn of the century." [ABRAMOWITZ, R., 2000, p. 139] "At a party," notes the Jewish Press, "Silver met Joan Ganz Cooney, a founder of the Children's Television network, who put her in touch with Linda Gotlieb, then an executive with an educational film company. Gotlieb fed her freelance script writing work and when Micklin Silver told the company head she wanted to direct as well, she got her wish." [BIGA, L., 4-14-2000, p. 34]
David Begelman "was in the insurance business when he met and married Esther Feldman, sister of the agent Charles Feldman." Feldman was one of the most powerful agents in Hollywood. Begelman soon worked at the MCA agency till he formed his own company with Freddie Fields, Creative Management Associates. [SHIPMAN, D., 1993, p. 447] By the 1970s, Begelman was head of Columbia studios. MCA executive Jay Kanter was Paramount president Barney Balaban's son-in-law. [MCDOUGAL, p. 231]
Famed Universal director William Wyler's cousin, Carl Laemmle, was the head of that movie company. [BERG, A., 1989, p. 263] Paul Weinstein, vice president of production at Warner Brothers has a sister, Lisa, who is a "D-girl for the powerful production team of Leonard Goldberg and Jerry Weintraub at Universal." [ABRAMOWITZ, R., 2000, p. 170] Famous agent Mort Janklow's wife Linda is the daughter of prominent Jewish film director Mervyn Le Roy and granddaughter of Harry Warner, of Warner Brothers. Jeremy Zimmer, who rose to head the motion picture packaging department at talent agency giant ICM, (and later became a partner in the "prestigious Baver/Benedek Agency" is the grandson of former MGM president Dore Schary. [BROUWER/WRIGHT, 1990, p. 45] Howard Kaminsky, president of Warner Books, is Jewish director/comedian Mel Brook's first cousin. [KRANTZ, J., 2000, p. 209, 288] And on and on.
Sidney Ganis was named president of the motion picture group for Paramount Pictures in 1988. Here's how he got his start in Hollywood:
"As a teenager, he responded to a New York Times want ad for an office boy needed in a show business publicity office. When the rejection note came, he left it on the kitchen table, where his uncle Phil, a restaurateur with acquaintances in the entertainment industry, happened to read it. One call from Uncle Phil, and Sid had the job. Within three years he was introduced to the publicity chief at Twentieth-Century-Fox who brought him on board." [BROUWER/WRIGT, 1990, p. 515-516]
re: More Jewish Nepotism
8:18 pm wednesday december 5, 2001
In 1983, a book, Inside Prime Time, by Jewish sociologist Todd Gitlin, was published about the entertainment divisions of American television. (Among the pioneers in the field was Ira Phillips, who was Jewish. "In 1941," notes Anthony Heilbut, "the most popular [radio] soap operas were the creations of Ira Phillips ... By 1949 [he] had become the doyenne of television serials." [Heilbut, p. 125] Noting that his field work evidenced "the large number of Jews who hold top positions in the networks and production companies," [GITLIN, p. 184] Gitlin interviewed a range of people in the TV business. Among them was Ethel Winant, vice-president in charge of mini-series at NBC, who told him:
"There's a kind of joke that you hear often in this business. The same people move in kind of a circle. It's a family. If I were fired tomorrow, I would get a job the day after ... I'm part of that group. Which has very little to do with whether I'm good or bad." [GITLIN, p. 116]
"A few score producer's names come up over and over again," noted Gitlin, "a few major production companies dominate the airwaves ... [GITLIN, p. 118] The old-boy networks binding executives, agents, and top producers amount to a curious kind of solidarity. Outsiders charge corruption ... Cronyism, mutual back scratching, behind-the-scenes favors, revolving doors, musical chairs, careers made by failing upward, the 'amazing largesse' given to favored members of the 'creative community' ... The same names may stay in circulation for years, or decades ... Old-boy networks bind this savage business together." [GITLIN, p. 156]
re: Another Peel Within the Onion
3:02 pm thursday december 6, 2001
Jews have dominated the behind the scenes world of "rap" music, exploiting the African-American culture. Joseph Heller, co- founder of Ruthless Records and manager of Niggaz With Attitude (NWA); Rick Rubin of Def Jam Records, Israeli Lyor Cohen (recently featured by Rolling Stone as one of the Kings of Hip- Hop), Bryan Turner (Priority Records), and Steve Rifkind (Loud Records), among others. Jewish exploitation of the Black music scene has always been present: the Chess brothers' exploitation of Chuck Berry, etc.; Olde Town, Morris Levy's Roulette Records; etc. etc. etc.
-- see WHEN VICTIMS RULE. A CRITIQUE OF JEWISH PRE-EMINENCE IN AMERICA at jewishtribalreview.org for the story.
Necessary Politics/Marlon Brando/Hollywo
1:32 am friday december 7, 2001
Imagine if Brando spoke about Palestinians early in his career, the way he can today. Do you think he would have attained the fame he has in a Jewish/Zionist milieu? From his autobiography:
Early in his career, Brando took an important role in a play called A Flag Is Born, written by avid Zionist Ben Hecht and directed by Stella Adler's brother, Luther: both Jewish. As Brando notes, "It was essentially a piece of political propaganda advocating the creation of the state of Israel ... Everyone in A Flag Is Born was Jewish except me ... I did not know then that Jewish terrorists were indiscriminately killing Arabs and making refugees out of them in order to take their land ... The play, as well as my friendship with the Adlers, helped make me a zealous advocate for Israel and later a kind of traveling salesman for it."
Brando was then further exploited by his Jewish cohorts; he began giving propaganda speeches for a Zionist organization, The American League for a Free Palestine. Influenced by Hitler's mass murder of Jews and the world view of the many Jews around him, Brando even contributed money himself to the Zionist organization, a terrorist group. Noting his avidly pro-Israel political activities, the movie star wrote to his parents, saying, "I'm really stimulated more than I've ever been." [BRANDO/LINDSEY, 1994, p. 107-111]
Eventually Brando learned more about Zionism and his politics changed. "Now," he said in 1994, "I understand much more about the complexity of the situation than I did then ... [BRANDO/LINDSEY, 1994, p. 111] ... I sided with Jewish terrorists without acknowledging that they were killing innocent Palestinians in their effort to create the state of Israel ... [BRANDO/LINDSEY, 1994, p. 231] ... One of the strangest government policies is that largely because of the political influence of Jewish interests, our country has invested billions of dollars and many American lives to help Israel reclaim land that they say their ancestors occupied three thousand years ago." [BRANDO/LINDSEY, 1994, p. 388]
Jeff Sagansky Deals
0:17 am saturday december 8, 2001
I have known Jeff Sagansky since he was President of Production at Tristar. Chan Mahon and I pitched him, and his then- assistant Bridget Johnson, a number of projects we were developing at the time with producer Doris Keating (Chan’s sister). Bridget had us in for a meeting or two, but they passed on all of the projects. Nevertheless, Jeff was always nice to me on the phone and I appreciate his returning my calls. Unfortunately, it seems he stopped returning them around the time he went over to head up PAX. This was also around the time we were intensely trying to sell our STALIN'S BACK ROOM project, a movie based upon the life story of Alexander Contract who worked personally for Josef Stalin when he was a boy. (You can see the project at http://www.mecfil ms.com/dna/indev/sbr.htm if you wish to evaluate its merits and comment.)
To this day I don't know why Jeff stopped returning my calls. I feel a little hurt actually. I don't know if it was because I was being too persistent, or he simply hated the STALIN project (Mr. Contract was Jewish so could that have been a factor?), or whether it was simply bad timing (maybe he was too busy with his transition to PAX to return calls).
I can't say for sure if he would return my call if I made one tomorrow. Maybe he would. But since the last time I spoke to him (which was around 1993 or so) I have become involved in FIRM. If Jeff is aware of this, and he considers the movement anti-Semitic, then he will probably want to have nothing to do with me any longer for sure. But somehow I don't think this is the way he is. He may know a little about me and my background for he actually purchased the house I used to live in at 145 Ocean Avenue in Santa Monica around 1987. He probably knows Andrew Cofrin (who was my producing partner on a number of projects), because Andy owned the house. And Jeff probably knows David Royal, who was Andy's business manager who negotiated the deal; and lastly, Jeff probably knows Rick Elfman who was working for Royal to market the house. Since all of us were Scientologists at the time, Jeff probably knew that as well. Rick is related to Jenna Elfman, and the brother of composer Danny Elfman and I don't think the Elfman's are Jewish. My point to all of this is none of this crowd is anti-Semitic and this should be aparent to Jeff. If I, or any of us WERE, we would probably be in ethics, as Scientology preaches the inclusion of all people, as does Christianity.
So, why did Jeff stop returning my calls? I don't know. It's not like Matrixx has only one pet project we're pushing till the end of time. We have about 90 screenplays under long-term option all written by a wide range of talented writers. Why wouldn't anyone in Jeff's position be willing to stay in touch and give us a deal after 17 years of dedication and persistence? How come Jeff Sagansky gave Fran Drescher a deal and not James Jaeger and Andrew Cofrin (except for a real estate deal)? What's really going on in Hollywood?
P.S. And Jeff, if you ever see this, you are welcome to call me at 800/576-2001 to discuss, scream at me, or consider any of our new current projects.
12:28 pm saturday december 8, 2001
As any reasonable person who sees the FIRM site should recognize, FIRM stands for the Film Industry Reform Movement (i.e., the focus of this site is on bringing about responsible change to the Hollywood-based U.S. film industry). Our primary objective is to promote greater diversity at all levels in this film industry, particularly where diversity is so blatantly absent – in the executive suites. We feel greater diversity in the executive suites of this significant medium for the communication of ideas is important to our democracy because we’ve observed that the content of films tend to mirror, to a large extent, the values, interests, cultural perspectives and prejudices of their makers. This affects not only who is hired to make films and the character of the business practices used to maintain control of the industry, but the actual content of those films. As I recently pointed out in an interview aired on the CBS Evening News, if the White House wants to get Hollywood involved in helping with our current war against terrorism, it must recognize that Hollywood has been part of the problem, that is Hollywood movies have consistently portrayed Arabs and Muslims in a negative and/or stereotypical manner, and Arabs and Muslims around the world are quite resentful of such misleading portrayals. In any case, because this FIRM site limits its focus to the film industry, the posting of messages that do not focus on film industry reform are not appropriate and will, from time to time, be deleted. Some, for example, have recently used the FIRM site to post their broad attacks on “Jewish control of the media”, a much broader issue that is beyond the scope of the FIRM site and not a position even considered by FIRM. For the information of all readers of postings at the FIRM site, the only posts representing FIRM are those posted by either James Jaeger or John Cones, the founders of FIRM. All other postings are visitors to the site (i.e., third parties not affiliated with FIRM and not representing FIRM’s point of view in any way). Thus, when someone writes in and makes the false complaint that the FIRM site is anti-Semitic, merely because we have an open discussion forum, which is hijacked from time to time by someone whose interests do not coincide with FIRM, such persons obviously do not realize that they are complaining about some third party’s rhetoric which is not representative of FIRM. And to accompany those complaints with threats of any kind is a disgusting attempt to chill the free speech of visitors to this site. On the other hand, that is typical of the responses we get from the so-called Hollywood apologists. Rarely, if ever, have they countered the results of our many studies relating to what’s really going on in Hollywood with contradictory studies. Their responses are limited to baseless name-calling and threats. What better way to confirm FIRM’s position than to recognize that over the several years of our existence, the opposition has provided no substance to refute our views.
re: FIRM Guidelines/Clarification
2:13 pm saturday december 8, 2001
jewishtribalreview.org and FIRM have nothing to do with each other whatsoever. We post our researched facts here merely as additions to this free forum of ideas. If they're not verifiably true (as they are), they should be taken down. It should be clear to anyone reading them that FIRM does not originate, nor necessarily endorse, the facts we post. Yet, like FIRM's experience, no one even tries to refute these facts because they have been researched and are verifiable.
This anti-Arab, anti-Islam tenor, of course, is a recurring theme from Hollywood.
In 1998, for instance, The Siege, by director Edward Zwick, came under especially heated attack by Arabs and Muslims. From the apologetic side, "Zwick and [Siege producer Lynda] Obst, both Jewish, have said that they intended the film to combat racism." [PFEFFERMAN, N., 9-4-98] The American Arab Anti-Discrimination Committee strongly felt it did something else, calling it "insidious, incendiary, and dangerous" for Arabs and Muslims. "There is no doubt," agreed Montreal Gazette reviewer Bill Brownstein, " ... that The Siege does incite racial hatred toward Arabs ... The image that will linger long after the lights come back on is that of U.S. soldiers herding up every Arab in New York and shunting them off to mini-concentration camps." [BROWNSTEIN, B., p. A3]
In 2000, London's daily newspaper The Independent noted the new movie Rules of Engagement, directed by William Friedkin and produced by Paramount, whose head of the film division is Sherry Lansing. Friedkin and Lansing are husband and wife -- and they are both Jewish: "The Arab nations -- and the Islamic world in general -- have become the new stock enemy, a powerful and unreasoning force in True Lies (1994), Executive (1995), GI Jane (1997) and The Siege (1998) -- in which Bruce Willis rounded up Arab Americans in an attempt to stop a Hezbollah-type terrorist group blowing up New York. Even The Insider (1999) -- a film about corruption in the tobacco industry, for heaven's sake -- tacked on a Syrian prologue in which Al Pacino took on a pack of mad-ish mullahs. And Rules of Engagement? 'This film is absolutely off the scale,' says Hussein Ibish, communications director of the American-Arab Anti-Discrimination Commitee, a Washington-based pressure. 'I've never seen anything quite so vile. I felt like I was being physically beaten, which is a reaction I've never had encountering a work of art. It was mind- bogglingly vicious. I'm amazed that a major American entertainment company would actually release such a thing." [SWEET, M., 7-30-00]
In 1999, the Disney company [Eisner, formerly Katzenberg, Roth, Ovitz, et al] found itself embroiled in yet another controversy, this one political. It had allowed the state of Israel to have an exhibit -- the largest --"on display at the new Millennium Village at [Disney World] Complex's Epcot Center in Florida." [LOS ANGELES JEWISH TIMES, Aug 27-Sept 2, 99] Muslim and Arab organizations were concerned that Israel would portray Jerusalem as the capital of the Jewish state, an assertion at odds with the Muslim and Arab view.
In 1992, the Disney film "Aladdin" came under attack from outraged Arab and Muslim groups. Condemnation starts with its opening song: "Oh, I come from a land / a far away place / where the caravan camels roam. / Where they cut off your ear if they don't like your face / it's barbaric, but, hey, it's home." [SHAHEEN, J. 12-21-92, p. F3]
Professor Jack Shaheen complained again about Disney four years later: "Nearly one year after Disney bashed Arabs in 'Aladdin,' ... its] studio executives promised they would in the future consult with Arab Americans so as not to repeat the mistakes. Soon after, in 'The Return of Jafar' (1996), they displayed gobs of hook-nosed Arabs referred to in the film as 'desert skunks.' That same year, Disney continued trouncing Arabs in ... 'In the Army Now' ... In 1995, Disney's Christmas feel-good family film 'Father of the Bride, Part II, writers inserted a foul, rich, Arab-American couple, the Habibs... Collectively, Disney's relentlessly ruthless images advance suspicion and hatred. Although other studios perpetuate injurious clichés ... only Disney violates Americans of Middle East heritage." [SHAHEEN, J., 8-12-96, p. F31]
MORE Hollywood-made Stereotypes
2:39 pm saturday december 8, 2001
Apparently Italian-Americans have often served as Jewish- dominated Hollywood's dumping grounds. Aside from the considerable film/television maligning of Christianity, Islam, Arabs, and other religious and ethnic genres, a 1982 report by the Commission for Social Justice noted that "television is lacking in portrayals of positive Italian American role models." (Likewise, a 1983 TV commentator complained that "never have so many Blacks appeared on television, yet never has their image been so stereotyped." [PEARL/PEARL p. 9-10]) In 1999, an Italian-American, Bill Dalcerro, wrote an editorial in the Los Angeles Times about the HBO-produced TV program "The Sopranos." This series, complained Dalcerro, "not only revels in negative, cartoonish images of a specific community -- Italian Americans -- but was congratulated for doing so last week by a flurry of Emmy nominations from the television industry. How can this be?" [DELCERRO, B., 7-26-99, p. F3] Perhaps, one wonders, because both the show's creator/executive producer, David Chase, and its producer, Todd Kessler, are Jewish, as well as a majority of important figures in the television industry. In 1980, Daniel Golden noted that: "The dominant portrayal of Italians in American film is within the gangster genre, a cinematic heritage that stretches from Little Caesar (1931) to its apotheosis in both parts of The Godfather .... Indeed, much early >anti-Italianism is merely a continuation of anti- Catholicism." [GOLDEN, D., 1980, p. 77-78] Hollywood Jewry's stereotypes of the Irish? As Dennis Clark and William Lynch note: "For the millions, the revelations and fantasies produced by the motion picture industry during the twentieth century were powerful formative influences ... The fact that Jews played such a vital and extensive role in the film industry had both positive and negative effects upon Irish participation ... The Irish in the movies often were the Irish as seen by Jews, with the disparity and distortion that always attends one group's portrayal of another. For example, Jewish families were seen as close and peaceful, though tense, but Irish families were usually seen as rude and violent." [CLARK/LYNCH, 1980, p. 98, 103] Generic Slavs? As Caroline Golab observed in 1980, "The Slavs were not, until recently, popular victims of Hollywood's fascinating propensity to stereotype. Of the thousands of movies produced in the past sixty years, probably less than two dozen contain Slavic-Americans as major or minor characters. What is missing in quantity, however, is more than made up in quality. American film not only helped perfect the Slavic stereotype, but was largely responsible for nationalizing it ... In its heyday, vaudeville made frequent use of the caricatured Jew, Italian, or Irishman. The Slav made infrequent appearances, if he made any at all. Only in the Yiddish theatre did he reappear again and again, usually as the poor, dumb, easily duped peasant ... Slavs have such low social standing that, more often than not, they are portrayed as being one thin line above the blacks in the American social hierarchy." [GOLAB, C., 1980, p. 135, 140] An angry professor of Ukrainian descent, Lubomyr Prytulak, was motivated to create his own Internet website (Ukraine Archives) after watching an October 1994 CBS 60 Minutes report that unjustly defamed Ukraine and Ukrainians with a one-sided emphasis on that country's alleged anti-Semitism. The program was entitled "The Ugly Face of Freedom" and Prytulak began an online project to refute 60 Minutes' biased view of Ukrainian history. At the time of the show's airing, complains Prytulak, all the principals in the CBS hierarchy were Jewish, including Laurence Tisch, chairman and CEO; Eric Ober, president of CBS; Dan Hewitt, Executive Producer of 60 Minutes, Jeffrey Fagar, Producer of the "Ugly Faces of Freedom," and Morley Safar, the host of the report. Two people interviewed in the program, defaming the Ukrainian people, Simon Wisenthal and Yaakov Bleich, were also Jewish. [PRYTULAK, UKRAINE ARCHIVE] Andrew Gregorovich, also of Ukrainian descent, for thirty years the head of the Toronto library system, responded with his own outrage. "The program about Ukraine, he wrote, "is an amazing program because after Morley Safar's first two sentences it becomes a textbook example of distortion and propaganda about the relationship of Ukrainians with Jews." The program, the author notes, was apparently timed to coincide with "the first official visit to North America by the President of Ukraine." Among the many outrageous inaccuracies in the CBS program, the Ukrainian word "Zhyd"(which is not pejorative and means "Jew") is translated as "kike."Likewise, at one point in the program Safar declares that "Thousands of Ukrainians joined the [Nazi] SS and marched off to fight for Nazism." "This is said simultaneously," notes Gregorovich, "with marching men who four times in the program shout 'Slava natsiyi!' (Glory to the nation!) To the viewer this sounds as if it is a cheer for Nazism but all it reflects is the phonetical similarity of the sound of the Ukrainian word for nation to Nazi. The Ukrainians did not join the Galicia Division No. 14 (Waffen- Grenadierdivision der SS) to fight 'for Hitler' as Safer said. They were fighting against the USSR and the Russians in order to win independence for Ukraine." GREGOROVICH, 1994] In 2000, an angry author of Native American descent, Olin Tezcatlipoca, noted the hypocrisy of Steven Spielberg's loving and sacred treatment of Jewry in his films and the defamatory historical inaccuracies concerning another people in his firm's film "Road to El Dorado." Steven Spielberg's DreamWorks (the producer), and Universal (the distributor) [then owned by the Jewish Bronfman family] present the story of two Spaniards who stow away to the New World in the 16th century and wind up saving the village of El Dorado from a powerful priest intent on carrying out human sacrifices. This is a an outrage, given the reality that the Spanish conquerors were responsible for the genocide of 23 million of our -- killing 95% of our population."[TEZCATLIPOCA, O., 4-10-2000, p. F3][One may also wonder here, of course, about the Jewish subtext of a priest who celebrates ritual murder]. As Gretchen Bataille and Charles Silet observed in 1980: "Hollywood has presented an extremely distorted picture of American Indian peoples. From our childhood on, Hollywood has bombarded us with cartoons and movies which show the Indian as the 'bad guy' or, at best, a tragic anachronism from out of the past." [BATAILLE/SILET, 1980, p. 36] In a surprising corner, Hollywood's popular depictions of Jewish women has even engendered outrage from Jewish females who feel defamed. One 1998 study by the Zionist women's Hadassah organization complained that in Hollywood Jewish women are commonly portrayed in the mass media as "pushy, controlling, selfish, unattractive, materialistic, high maintenance, shallow, domineering, who nag their husbands and spend all their time cooking and shopping." [MARKS, M., 4-23-98, p. 5] Rarely publicly spoken, the essence of this Jewish women's outrage is merely an in-house, intra-Jewish psychological war: Jewish males versus Jewish females. The "Jewish American Princess"and nagging Jewish mother stereotypes are, after all, Jewish creations, perpetuated by Hollywood's Jewish male elite who should recognize either the truths or inaccuracies of the subject.
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