Hollywood Window Dressing
by James Jaeger

One of Hollywood's favorite tricks to hide its bigotry in the studio executive echelons is to heap praise on films and filmmakers of diverse ethnic backgrounds. Don't be fooled: this is just WINDOW DRESSING. Films like BROKEBACK MOUNTAIN, CRASH and the Oscars of 2004 (when the Black community was being heavily awarded) are mostly window dressing in an attempt to "show" the public that Hollywood, its studios and award machinery are NOT bigots, and by implication, are not dominated by a control group of any specific nature, especially Jewish.

Jon Stweart, who stated he was Jewish while hosting the recent Oscars, made one of the usual jokes about Jews running Hollywood. This is a running technique of counter-programming used knowingly or subtly by agents and apologists for the Hollywood Establishment. As you watch Hollywood output in the media, take note how often this technique comes up. Note how often a Jay Leno and other entertainers/comedians make "Jews running Hollywood" a joke. If it's a JOKE, it couldn't possibly be true. Right? Or if it's a "joke" -- who cares. Here's a perfect example of what Ted Turner calls "Big Media" being used to indoctrinate the American public into submission to the Hollywood control group's agenda of socialization. As L. Ron Hubbard put it, "reality is the agreed upon aparency of existence." Applied here, it means that, if it's said or implied enough times, that "Jews run Hollywood" is just a "joke," it becomes true. Thus anyone that fails to agree with this "truth" must be unreal or "mental" or, taken to an extreme: an anti-Semite or a bigot.

Thus, all this propaganda and joking is happening to simply diffuse the subject with the public. This is standard operating procedure (SOP) for the Hollywood insiders' PR spin control. The reality is: the feature motion picture is arguably the most powerful instrument of propaganda and cultural influence ever devised. Who controls WHAT features are made and WHO gets to make them is not a joke. And when any narrowly defined demographic has that control, to the exclusion of others, we have a serious situation.

Thus, any challenge to the status quo -- i.e., the control group that dominates the MPAA studio/distributors -- will be met with counter spin tactics and quickly "handled." FIRM, since 1997, has been representing a challenge to the status quo -- and this is why its founders and associates have occasionally been attacked. This is also why John Cones has not yet been given any awards for HIS research on bigotry in the Hollywood control group whereas Paul Haggis has been awarded several Oscars for HIS movie on bigotry in the Hollywood streets. When put into perspective, CRASH covers the subject of bigotry in a very superficial manner. If executives in the studio/distributors were not so bigoted themselves, we would not have so many movies being produced that stir up violence and endlessly use Arabs, Blacks, Christians, Whites from the American South, Latinos, Iranians, Asians and Persians (but seldom Jews) as the bad guys.

When we see the demographics of the 7 MPAA studio/distributors move from liberal, not very religious, Jewish males of European heritage, to a balance of other ethnic, religious and socio-political groups, then, and only then, will we be able to trust that Hollywood is earnestly rewarding those who were once but window dressing to conceal the control group's influence and political agenda. See http://www.homevideo.net/FIRM/bginfo.htm for more information on this subject.

08 March 2006

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