Untitled Document

[Atoosa Rubenstein. "Raised Muslim." Married to a Jew?]
Seventeen: Girls' fashion bible gets religious with faith section,
The Daily News (Longview, Washington) Sep 4, 2004
"Faiza worships five times a day, while Rhianna is as likely to believe in God as in the Easter Bunny. Kristin prays too, but to the God and the Goddess. This teenage religion debate can be found on the pages of a magazine better known for explaining how to match lipstick to blush -- not exploring the concept of a higher power. But under editor-in-chief Atoosa Rubenstein, the venerable girls' publication Seventeen has added a faith section that includes inspirational messages, personal stories of spiritual struggle and testimonials on issues ranging from prayer to gay teens who attend church. The content is serious. Verses from the New Testament are printed beside sayings from the Prophet Muhammad. The teachings of Pope John Paul II and the Dalai Lama are also featured. Rubenstein said she started the section not to spread a religious message, but to provide a forum on an issue she believes is important to this generation of girls. "I feel, and had sensed that my readers felt, that there was an entire magazine that wasn't speaking to a part of them," Rubenstein said. "I just noticed more and more our readers were talking about their faith." Experts on religion and youth trends agree. They theorize that teens are rebelling against the broad, undefined spirituality of their baby-boomer parents, and are seeking out environments -- like those in church -- with clearer rules that help them cope with day-to-day problems. In a recent study by Teenage Research Unlimited, a market research firm in Northbrook, Ill., 58 percent of teens ranked faith as among the most important parts of their life, said Michael Wood, the company's vice president. Still, he knew of no other teen fashion magazine with a religion section. Rubenstein, who was the founding editor of CosmoGirl!, said she first proposed a faith section several years ago when she was just starting out in magazine publishing. The response from the other editors, she said, was that a fashion magazine was no place for God. A year ago, she took over at Seventeen with a mandate to revamp the publication and she revived the religion idea. For guidance, she formed an interfaith advisory board that includes an evangelical Christian preacher, a priest from the Roman Catholic Archdiocese of New York, a Reform Jewish rabbi, a Buddhist teacher, an Episcopal youth minister and two Muslims. The only nationally known member is Irshad Manji, author of "The Trouble with Islam: A Muslim's Call for Reform in her Faith," who has won several awards for her popular book, but has also become a target for criticism by some conservative Muslim leaders. Rubenstein, whose mostly beige office is punctuated with bright pink chairs and zebra pillows, said she considers herself spiritual. She was raised Muslim, the daughter of Iranian immigrants, and said she prays for help and inspiration in difficult times. "It's a part of my life that is important," she said. "Yes, I'm into fashion. Yes, I'm into makeup, but at the same time my faith is very important to me."

[Powerful Jewish-Zionist links also from India:]
The Jewish general who beat Pakistan,
By Amnon Barzilai, Haaretz (Israel), September 6, 2004
"A victory by the Congress Party under the leadership of Sonia Ghandi in the elections to be held in India in May will not lead to any change in India's policy toward Israel. The good relations will continue, and in certain area even grow deeper," assesses Lieutenant General J.F.R. Jacob, a former senior Indian army officer and a Jew, who yesterday completed a five-day visit to Israel. "If I had to rank the present-day level of relations between India and Israel," Jacob adds, "I would give them a 9 out of 10." General Jacob has close ties to the National Party (BJP), which in the course of its four years in power has tightened relations with Israel and expanded defense cooperation with it. For many years, Jacob served as the party's security adviser. Nevertheless, he says, "based on my personal acquaintanceship with the current foreign minister, I see that the Congress Party, like the National Party, has an interest in maintaining very good relations with Israel." Jacob notes that it was the Congress Party that in early 1992 established diplomatic relations with Israel, "and since then, every Indian government has found Israel to be a friend on which they can rely." ... General Jacob gained prominent fame in his homeland when he headed the Indian army forces that vanquished the Pakistani army in the war that broke out between the two countries in 1971, over control of the Bangladesh region (which after the war became an independent state, having formerly been East Pakistan). For his decisive role in the sweeping victory, Jacob was granted a commendation of merit. Jacob is proud to say that his illustrious military career is the indelible proof of the tolerance of Indian society. That is the only way to explain how he succeeded as a young Jew, the scion of a family that migrated some 150 years ago from Iraq and settled in Calcutta, to be appointed to one of the most senior command positions in the army ... He retired from the military in 1978, following 37 years of service. Jacob tried his hand in the business world, but remained in close contact with government echelons. In the late `90s, he became the governor of the Goa province, and subsequently became the governor of the state of Punjab, which borders Kashmir. Since the establishment of diplomatic relations between India and Israel, Jacob has paid many visits to Israel. Prime minister Yitzhak Rabin invited him to attend the Jerusalem 3,000 celebrations. On his recent visit here, he even contributed items of Judaica from his parent's home to the Museum of Babylonian Jewry in Or Yehuda. His home in New Delhi has for years been a pilgrimage site for Israeli diplomats, researchers and security officers."

The pilfered Christian holy term "Madonna," close to her natural state, applied with gusto to sacred Jewish Mysticism: "Me Tarzan. You Jane." And here's the Jewish Road to Success? At Sire Records, an affiliate of Warners, Seymour Stein's artist stable has included Madonna, Talking Heads, the Ramones, and many other premiere talents. But in the beginning, "before long," says Christopher Anderson, "[producer Mark] Kamins and Madonna became lovers ... After a few days together, Madonna felt comfortable enough to spring her tape on Kamins ... He had become friendly with an up-and-coming artist and repertorie man at Warner's Sire label named Michael Rosenblatt ... Rosenblatt took the tape to the mercurial [Seymour] Stein." Madonna also got her start in movies in Susan Seidelman's Desperately Seeking Susan. [ANDERSON, 1991, p. 96-98, 121] Guy Oseary, born in Jerusalem, is "a partner in Madonna's Maverick Records" and he wrote a book called Jews Who Rock, about Jewish performers in the rock and roll world. "I keep getting calls," he says, "And they say, 'Why wasn't I in your book? I rock. And I'm Jewish.'" [BOUCHER, G., 4-17-01, p. 62; TAYLOR, L., 12-27-00, p. F5] Oseary "as Maverick's chief talent finder has become one of Madonna's most trusted confidants." [FURMAN, P., 6-17-98, p. 12]

[JTR Contributor's comment: "This is a few months old, but a good example of ethnocentrism. What the author doesn't write is that *all* these french men belongs to the same tribe: guess which one? [This exerpts is the translation of the first visible lines of the search result I made today in the newspaper archives. Anyone can check without paying."]-----------
"Spielberg wants french men Jean Reno, Mathieu Kassovitz, Richard Berry, Yvan Attal, Niels Arestrup and Jonathan Zaccaï : here are the six french movie actors Steven Spielberg discreetly met while he stayed in Paris, at the end of April [for his future movie about the Munich Olympic Games]." Le Parisien Libéré (French newspaper), 08/05/2004

[This web site has a number of excellent videos about Zionism and Israel]
Flashpoint: Decyphering Jewish Intellectual Movements", an interview with Prof. Kevin MacDonald,
by TV talk-show host and producer, Mark Green, Marwen Media
"Prof. Kevin MacDonald is the author of three groundbreaking books on Judaism, the most recent being "The Culture of Critique". In it, MacDonald concludes that Jewish intellectual movements including Freudian psychology, Marxism (including other radical, Leftist politics), the Frankfurt School of Social Research, the New York intellectuals and others, including right-wing NeoConservatism, have all been designed to advance specifically Jewish interests—often at the expense of non-Jewish interests. MacDonald’s incisive analyses offer an alternative view of western history and has the potential to change the course of major events still unfolding. It is likely that MacDonald’s reputation will grow as his insightful ideas reach larger audiences. Historically important. VHS or DVD (60 mins.)"

Steyn’s way. Write, twist, smear, and sneer. Repeat! Meet Mark Steyn, the most toxic right-wing pundit you’ve never heard of,
BY DAN KENNEDY, Boston Phoenix, June 18 - 24, 2004
"WITHIN THE TIGHT little world of conservative punditry, there are lines of demarcation that are rarely, if ever, crossed. Respectable commentators such as Paul Gigot, George Will, and David Brooks work for respectable outlets such as the Wall Street Journal, the Washington Post, and the New York Times. When they appear on television or radio, they carry that aura of respectability with them. Right-wing carny barkers such as Rush Limbaugh, Ann Coulter, and Sean Hannity, on the other hand, play it strictly for laughs, even when they swear they’re not. And even though the Gigots and Wills and Brookses of the world may often agree with the freak-show politics of talk radio and the Fox News Channel, they would never sully their reputations by actually taking part. Then there is Mark Steyn, a pungent columnist, essayist, and critic who’s not well known in the United States, but whose political screeds are published in English-speaking countries around the world. A native of Canada who divides his time among New Hampshire, Quebec, and London, Steyn is a self-described right-wing warmonger. Like a respectable conservative, he has some high-tone affiliations. Steyn writes obituaries of the famous and not-so-famous for the Atlantic Monthly. He pens theater reviews for the New Criterion, a conservative arts-and-culture journal with a vaunted reputation. And he reviews movies for the Spectator, a venerable, classy London weekly magazine owned by the Hollinger media empire, his principal benefactor. But if Steyn’s sharp, clear writing, quick mind, and wide-ranging curiosity appeal to the pretensions of the intelligentsia, there is another side to him as well. Steyn may possess more depth and range than Limbaugh or Coulter, but he shares much in common with them. To wit: a shrill, mocking tone of moral certainty that consigns those who disagree with him to the status of appeasers or even terrorists; and a willingness to distort, misrepresent, and omit facts in order to advance his argument."

[This article is a year and a-half-old, but it's poignant. Jewish-Israeli usurpation of western culture is astounding. I ran across an Encyclopedia Britannica set (4-5 years old) the other day, I opened it up, and was astounded to see two Jewish names staring at me on the title page of the volume. It was the chairman and the CEO of the company. What the Hell were these names doing on the title page of the venerated old encyclopedia? Was it their bathroom? Their doormat? Was the entire history of that encyclopedia and the repository of western knowlege so much now their little fiefdom that no one ever thought (or dared) to challenge their obnoxious chutzpah to slap their pompous names where they didn't belong? A quick google search turned up this:]
Book View,
Publishing Trends (June 2003)
"Ilan Yeshua, CEO of Encyclopedia Britannica, is leaving EB to return to Israel, according to the tom-toms."

[As always, in the avalance of Jews seizing power and control in every direction, we wondered how did an Israeli zoom to the top of EB? A little google searching and we get the usual: the world Jewish Network. A billionaire Jew bought EB, hired an Israeli as his co-partner, and the two Vanity Freaks spit their names on their encyclopedia title pages. Why not? A rich Jew bought it. Encyclopedia Brittanica was now a Jewish decoration -- sort of like hanging a Rembrandt painting over a Jewish bath tub. ]
Britannica CEO goes for profits,
By Julie Johnsson, Chicago Business, July 2, 2001
"Other executives dispense Montblanc pens as gifts. Jacob "Jaqui" Safra showers full, 32-volume sets of the Encyclopaedia Britannica on friends and business associates. The Swiss billionaire, nephew of deceased international financier Edmond Safra, invests in his passions. He bankrolled filmmaker Woody Allen for years, owns boutique Napa Valley, Calif., wineries and purchased Chicago's Encyclopaedia Britannica Inc. in 1996. Mr. Safra has since pumped an estimated $500 million into the venerated but money-losing encyclopedia and its Britannica.com foray into the digital age. Now, Mr. Safra is moving to salvage his investment. The publicity-shunning, fiftysomething investor has scrapped much of Britannica.com's splashy strategy as an Internet portal for the bookish set and this spring hired CEO Ilan Yeshua, a 20-year veteran of Israel's largest educational technology firm, which sold several divisions to Encyclopaedia Britannica earlier this year."

[The comic book industry, like the music industry, like Hollywood, like the publishing mafia, etc. etc. has always been Jewish-dominated.]
Marvel Names Isaac Perlmutter as CEO,
Yahoo! Financial News, Oct. 15, 2004
"The Board of Directors of Marvel Enterprises, Inc.,a global entertainment licensing company, today announced that Isaac Perlmutter, 61, Marvel's Vice Chairman and largest shareholder, has been named Chief Executive Officer, effective January 1, 2005. He will replace President and Chief Executive Officer, Allen S. Lipson, 61, who has decided to retire after over five years with the Company ... Mr. Perlmutter has been actively involved in the management of the Company since acquiring its predecessor in 1990. He has served as a director of the Company since 1993, served as Chairman of the Board from 1993 to 1995, and was named Vice Chairman of the Board in 2001 ... Prior to joining Marvel, Mr. Lipson was Vice President, Administration, General Counsel and Secretary of Remington Products Company L.L.C. Morton E. Handel, non-executive Chairman of the Board, commented, "Isaac Perlmutter's appointment as CEO is an acknowledgement of his drive, talent and contributions which have enabled Marvel to emerge as a powerful global competitor with an unparalleled library of intellectual property and creative talent and a unique and highly profitable business model' ... With a library of over 5,000 characters, Marvel Enterprises, Inc. is one of the world's most prominent character-based entertainment companies. Marvel's operations are focused in three areas: licensing and entertainment (Marvel Studios), comic book publishing and toys (Toy Biz). Marvel facilitates the creation of entertainment projects, including feature films, DVD/home video, video games and television programming based on its characters and also licenses its characters for use in a wide range of consumer products and services including apparel, collectibles, snack foods and promotions."

[BOTH Gutmann and Rodin are Jewish].
Oct. 15 Is Inauguration Day for Amy Gutmann, New University of Pennsylvania President,
University of Pennsylvania, September 22, 2004
"The Trustees of the University of Pennsylvania will officially confer the presidency on Amy Gutmann Oct. 15. Gutmann, who will serve as Penn's eighth president, is a world-renowned scholar committed to the core values of democratic societies life, liberty, opportunity and mutual respect -- and has a passion for improving access to higher education. Gutmann, 54, assumed the office July 1, succeeding Judith Rodin."

[Jews own American culture. They control it. They dictate it. Broadway, Hollywood, the music industry, television ... Unbeknownst to you, as if absorbing invisible TV radiation, Judeocentrism buries you in a constant barrage. Most of what you know, most of what you believe, is what Mass Culture has shaped for public absorption through its vast filtration system. The ethnocentric Jewish network/tribalism is central to this web.]
The Great White (Jewish, Gay) Way,
by Wayne Hoffman, [Jewish] Forward, October 15, 2004
"Vladimir Horowitz once famously quipped that there are three types of pianists: homosexual pianists, Jewish pianists and bad pianists. It's a short leap to extend his theory to musical composers. Certainly the men -- and they are nearly all men -- behind the American musical fall overwhelmingly into these categories (Indeed, they fall frequently into two or occasionally all three at once). Yet despite the fact that [the documentary film] 'Broadway' brings up the Jewish background of many individual composers and the sexual orientation of several gay composers, the series never notices the pattern. This omission seems clear enough when examining one man at a time, but when given a list -- Irving Berlin, Marc Blitzstein, George Gershwin, Richard Rodgers, Lorrenz Hart, Jerry Herman -- it become almost obvious to ask if it was merely coincidental that they were all Jewish. Indeed, at time, avoiding the subject takes a concerted effort. 'West Side Story' brought together Arthur Laurents, Stephen Sondheim and Leonard Bernstein. Three Jewish gay men created the all-American musical about hetereosexual, Christian romance. Were they simply three individuals, or was something larger, something culturally significant, drawing Jews and gay men to the theater? The subject begs the question, but the documentary enver answers."

[JTR contributor's comment: "What might be the strange cause of this obsession? Who might be held most responsible for this degradation of American public discourse? What group profits most from this "universal cultural language" of the movies? I guess we'll just never know...."]
US 'obsessed' by celeb culture. Americans are more "obsessed" than ever by celebrity culture, the editor of magazine Vanity Fair has told the BBC,
BBC, October 3, 2004
"Graydon Carter said he believes the interest in the US in the lives of celebrities stems from an unwillingness to engage with the realities of the global situation. Shortly after 9/11, Carter said that he believed America would become more serious and less "frivolous," declaring it "the end of irony." But he told BBC World Service's The Interview programme that the prediction had patently not come true. "That lasted for as long as it took the words to come out of my mouth," he said. "Americans are by and large obsessed with crummy reality TV, and the lives of Britney Spears and Paris Hilton."

[The magic key to deconstruct modern Western culture and to understand its true components is to examine its Jewish foundation -- whether Christ, pop culture, porno movies, Zionism, Hollywood, or -- as this article emphasizes -- Jacques Derrida. A Jewish journal screams that Derrida was Jewish, and that defined him. If a non-Jew says this, he's condemned as an "anti-Semite." One, two, three, go: deconstruct that.]
Deconstructing Derrida The Jew,
by Liel Leibovitz, The Jewish Week, October 15, 2004
"Jacques Derrida would have been suspicious of this obituary. For one, the eminent and elusive French philosopher, who died last weekend at 74 of pancreatic cancer, approached all texts suspiciously. He was the father of Deconstruction, an intellectual theory that called for the systematic disassembling of history, art, philosophy — any and every text — in order to expose the inherent contradictions and impossibilities of language itself. Herein lies another element that would probably have infuriated Derrida: eulogizing him, one is compelled to explain his theories, and, attempting to do that, one often finds oneself staring at the abyss. Derrida refused to explain Deconstruction, or even define it. He practiced it in over 50 books he had written, but mostly he watched in horror as his obtuse term became a bon mot among ever-widening circles, from academics to movie directors, often abused, mostly misused. Yet, the main offense that Derrida would have taken with this obituary is the following: this obituary morns not Derrida the mighty intellectual, not the man whose thought shaped two generations of American academia, not Derrida the midwife of postmodernism, but Derrida the Jew. Tracing Derrida’s ethnic roots is often an exercise in frustration. He was born, it is known, in El-Biar, Algeria, in 1930, a time when Jews were heavily discriminated against. When he was 12, he was expelled from his French school, due to the Vichy regime’s anti-Semitic ordinances. Yet here, it seems, ends Derrida the Jew and begins Derrida the Frenchman, or, more accurately, Derrida the Universalist. Save for his early memories of persecution, which he had always conveyed clearly, Derrida approached his Judaism as he did his theories, touching on a myriad of subjects, from Abraham to circumcision, yet never once providing a lucid definition. This is as close as he came: “I am the last and the least of the Jews,” he was fond of saying, enigmatically, often also referring to himself as a Marrano, a term for Jews forced to convert during the Spanish Inquisition. In an essay on the Jewish Egyptian writer Edmond Jabès, Derrida took another step, commenting on “the difficulty of being a Jew, which coincides with the difficulty of writing; for Judaism and writing are but the same waiting, the same hope, the same depletion.” Deconstructed, perhaps, it all makes perfect sense. The Jews are the People of the Book, a statement that, taking a page from Derrida, could be interpreted thusly: the Jews are the people born of the book, emerging from the book like characters suddenly coming to life. Judaism and writing, then, are merely different words for the same thing. Still, if he came up short of discussing his heritage — he married a non-Jewish woman, and neither of his sons was circumcised — he nonetheless supplied an abundance of controversy, associating himself on two separate occasions with raging anti-Semites. The first was his spiritual father and intellectual hero, National Socialist Party cardholder No. 312589, the philosopher Martin Heidegger. Writing in defense of the master, Derrida concocted a rather convoluted argument, claiming, among other things, that the blame for Heidegger’s warm embrace of Nazism lies, in part, in the latter’s succumbing to rationalism and humanism rather than transcending metaphysics. In other words, for Derrida and his followers, Nazism, a form of universal totalitarianism, was nothing but a subspecies of universal humanism. It was the second anti-Semite, however, who would posthumously trap Derrida in scandal. Paul de Man, an imperial literary critic and Yale professor Derrida met while teaching there, de Man was one of Derrida’s early champions and a major contributor to the Frenchman’s rapid popularity in the United States. A few years after de Man’s death in 1983, a collection of some 171 articles he had written between 1941 and 1942 was made public. All articles had been written for Le Soir, a Belgian newspaper run by the Nazis, and most were vehemently anti-Semitic. One, for example, read, “A solution to the Jewish problem that aimed at the creation of a Jewish colony isolated from Europe would entail no deplorable consequences for the literary life of the West.” Once again, Derrida brandished deconstruction as a sword. De Man’s article, he wrote, was surrounded on the page by other anti-Semitic articles, which “coincide in a literal fashion, in their vocabulary and logic, with the very thing that de Man accuses.” Therefore, went the logic, it was really as if de Man’s articles were “denouncing the neighboring articles.” As was the case with his defense of Heidegger, Derrida’s explanation appeared contrived and senseless, helping to make him a controversial, often reviled, figure. And if for some he wasn’t Jewish enough, other deemed him too Jewish. Jorgen Habermas, for example, referred to him as a Jewish mystic, whose difficult writings aim to overthrow logical, disciplined, western order in favor of an ephemeral, Jewish method of approaching art and life."

"The Boas Conspiracy": The History of the Behavioral Sciences as Viewed from the Extreme Right,
by Andrew S. Winston, University of Guelph, Paper presented at the 33^rd Annual Meeting of CHEIRON, The International Society for the History of Behavioral and Social Sciences, Indiana University, Bloomington, IN, June 21-24, 2001,
"In 1966, American Nazi leader George Lincoln Rockwell wrote an editorial on "propaganda" for his magazine, National Socialist World. He dealt with a number of poor propaganda strategies, and contrasted the feeble efforts of the "right-wing" with what he saw as the highly successful efforts of the Jews: To give an example of this incredible process, let me cite the method they have used to make it a dogmatic "fact" that there are no measurable, scientific differences between races and, therefore, no races at all! The Jews first got a few of their boys into top university spots (Columbia University being an outstanding, but by no means unique, example) with the express purpose of giving academic respectability to their "there-is-no-such-thing-as-race" lie. One of the first and most important of these was Franz Boas, a Jew heavily involved in communist causes, who sent congratulations to Stalin on his birthdays {Jewish Voice, January, 1942} and whose red record cannot be doubted by any objective observer. This communistic Jew began teaching anthropology at Columbia University in 1896 and dominated the anthropology department there until his death in 1942. Meanwhile he produced one book after another "proving" that there were no such things as racial differences among men.... The whole of Jewry pitched in to boost their boy. Boas was praised in every Jewish-owned newspaper and periodical and given every academic prize they could promote. Little by little, Boas gained such "stature" by this Jewish mutual-admiration society technique that he became an "acknowledged authority" in social anthropology and ethnology. His students and colleagues at Columbia -- Herskovits, Klineberg, Ashley Montagu, Weltfish - as unsavory a collection of left-wing Jews as one might hope for -- spread his doctrines far and wide, deliberately poisoning the minds of two generations of American students at many of our largest universities {Carleton Putnam, Race and Reason (Washington, 1961), pp. 18, 47}. (Rockwell, 1966, online HTML edition, par. 12) Rockwell's words summarize a view of the development of anthropology and psychology which can usefully be termed the "Boas conspiracy theory." Although the powerful influence of Franz Boas (1858-1942) and the "Boasians" is a part of the standard historiography (e.g., Degler, 1991; Herskovits, 1973; Stocking, 1968, 1979), these conspiratorial notions regarding Boas place him at the center of an imagined effort by Jews to defeat White European Civilization ... First, it might be assumed that these views are from the fringe of American life and have no connection with mainstream activities or with the disciplines of anthropology and psychology. If this were true, "Boas conspiracy theory" would be of little interest to historians of the behavioral sciences. However, the "Boas conspiracy theory" was neither generated by, nor exclusive to such marginal figures in American life as Rockwell and his rather ineffective American Nazi Party (see Simonelli, 1999). As Rockwell indicated, he was heavily influenced by Carleton Putnam's (1961) important segregationist pamphlet, "Race and Reason," which outlined the role of Boas and his students, although not in the crude terms that Rockwell used. Putnam (1902-1998), former chairman of Delta Airlines, received scholarly guidance from his cousin, Harvard anthropologist Carleton Coon (Jackson, 2001). Although Coon (1904-1981) did not necessarily share the conspiratorial view of Boas, he shared Putnam's concern over the supposed "excessive influence" of the Boasians and the de-legitimization of race as a scientific concept. Coon, like others, complained of the "cult leadership" of Boas and the deformation of anthropology by his students (e.g., Coon, 1981). Putnam was also assisted by Henry E. Garrett (1894-1973), former chair of psychology at Columbia and 1946 APA president (see Winston, 1998). Garrett's International Association for the Advancement of Ethnology and Eugenics (IAAEE) served as an important group for rallying academic resistence to school integration and the Civil Rights movement, and as a place for interchange between committed neo-Nazi leaders and academics who shared their concerns over race. For Putnam and many other members of this small community, the "Boas conspiracy" was a shared understanding that served to explain how their views of race, heredity, and culture had lost both academic and popular support in what Barkan (1992) called "the retreat of scientific racism." Garrett provided "insider" information from Columbia regarding the activities of Klineberg and other Boas students, and he also wrote of the "Boas Cult" (Garrett and George, 1962). The Jewish identity (often described euphemistically as "minority group membership") of Boas, Otto Klineberg, Gene Weltfish, Ashley Montagu, and others, was critical to Garrett's understanding of the situation. FBI (1951) files indicate that Garrett provided information to the FBI on the alleged Communist sympathies of Klineberg, Weltfish, and Benedict. Thus the views held by Rockwell and other neo-Nazi leaders had important sources within academia, and were not the products of diseased minds but of a group effort ... Third, it would seem likely that the "Boas conspiracy theory" would vanish in both extremist and academic circles by the 1990s, no longer useful in a changed social landscape. However, this did not happen. There are a number of paths and institutions by which modern variations of "Boas conspiracy theory" have been maintained. In particular, the continuation of the Mankind Quarterly has permitted its publisher, Roger Pearson (1995) to promote a version which centers on radical politics in the Boas family history. Such ideas were not manufactured holus-bolus; Boas remained close to, and received help from his uncle Abraham Jacobi, who in his youth had ties to German Socialist movements of the mid 19^th century (Cole, 1999). Jacobi's continued assistance of Boas when both had relocated to America is taken to be evidence for the conspiracy, despite a distinct lack of revolutionary politics in the life lead by Boas or Jacobi in America. For Roger Pearson, who published extreme antisemitic material in the 1950s (see Winston, 1998), the Boas students remained part of the conspiratorial efforts. Ashley Montagu's attempt to remove the concept of "race" from anthropology was, to Pearson, tied to Montagu's not-so-secret Jewish origins. Born Israel Ehrenburg, the change to an Anglo-Saxon name made Montagu a symbol of the Jewish "chameleon," an old theme in antisemitic discourse. Within extremist political groups, ideas about Boas and his students were preserved in the writings of classics professor Revilo P.Oliver (1908-1994) of the University of Illinois, whose work had a tremendous influence on later neo-Nazi groups, such as William Pierce's National Alliance ... Not all versions from the far right were as crude as this. Wilmot Robertson's (1972) The Dispossessed Majority, which became a "bible" for many "White Power" movements and was also admired by academics such as Raymond B. Cattell, gave a much more polite and intellectualized version of the influence of Boas. Nevertheless, the message was clear: by seeking to destroy "race consciousness," the work of Boas and his students paved the way for uncontrolled immigration, the end of ethnic homogeneity, and disaster for Western Civilization. This message regarding Boas and immigration has been revived in the recent work of psychologist Kevin MacDonald (e.g., 1998). His writings present old ideas of Jewish control over both social science and immigration policy, but cast within a contemporary framework of evolutionary psychology. For MacDonald, the work of Boas helped bring about a Jewish "plan" for a multicultural society in the US. While denying a conspiracy, MacDonald simultaneously argued that Jews acted as an organized, destructive force in America to delay and defeat immigration restriction for the advantage of Jews, while deceptively claiming to work for an end to racism. Other versions of the Boasian domination of social science and alleged "suppression" of the study of race also appear in the work of Philippe Rushton (1995). To understand the importance attached to Boas, Klineberg and Montagu by neo-Nazi and other extreme groups, it is necessary to see the "Boas conspiracy theory" in the context of Jewish-Bolshevik conspiracy theories dating from the early 20^th century (Bronner, 2000; Cohn, 1996; Winston, 2000). Within this view, the Bolshevik revolution was seen as under direct Jewish control and was viewed as the most recent step in the secret and ancient Jewish plot to control the world, outlined in the Protocols of the Learned Elders of Zion. In America, the strategy of the Jews was seen as the encouragement of race-mixing, thereby destroying the intellectual and cultural superiority of White America. The result would be chaos, paving the way for total cultural domination that had begun through alleged Jewish control of both Hollywood and Wall Street."

[Vast $ philanthropy in land conservation dictated by one man's view of immigration (?). Jewish Money now runs the Sierra Club. Always with strings attached:"Follow my politics on other issues or you don't get a cent from me." Jewish Money talks. Democracy walks. It's curious (?), a coincidence (?), that the youngest Sierra president ever (in 1997) was Adam Werbach. Werbach: ["I remember planting trees and raising money to plant trees in Israel." Is the Jewish Lobby even aiming to swallow the Sierra Club?] [KARFELD, M., 2-6-98, p. 16]
The Man Behind the Land. David Gelbaum has shunned publicity while giving millions to preserve California wilderness and teach youths about nature,
By Kenneth R. Weiss, KTLA (from Los Angeles Times), October 27, 2004
"He has given more money to conservation causes in California than anyone else. His gifts have helped protect 1,179 square miles of mountain and desert landscapes, an area the size of Yosemite National Park. His donations to wilderness education programs have made it possible for 437,000 inner-city schoolchildren to visit the mountains, the desert or the beach — often for the first time. Over a decade of steadily growing contributions — including more than $100 million to the Sierra Club — this mathematician turned financial angel has taken great pains to remain anonymous. In manner and appearance, David Gelbaum has maintained a low profile for someone who can afford to give away hundreds of millions of dollars. At age 55, retired from the rarefied world of Wall Street hedge funds, he lives in Newport Beach with his wife and two of his five children in a large home where visitors on occasion have mistaken him for the gardener. Bespectacled, 5 feet 5 and slightly built, he speaks softly, barely above a hoarse whisper. He drives a Honda Civic hybrid, wears jeans and T-shirts to business meetings and helps the kids clean up at the wilderness camp-outs he sponsors. Those who know him say he is never more uncomfortable than when asked to talk about his wealth or how much of it he has given away. His donations, which according to public records and other sources total at least $250 million, have preserved hundreds of miles of wildlife corridors across mountains and deserts, tying together once-isolated national parks and wilderness areas. One conservation deal, land trust experts say, is the largest single purchase of private land ever handed over to the U.S. government for one purpose: to leave it alone. He has given more than $20 million to schools in Orange County and handed over 108 rolling acres in the foothills of the Santa Ana Mountains for use as an outdoor-education camp. He has contributed $3.5 million to Orange County Sheriff Michael S. Carona's foundation to help the poorest children attend the camp's wilderness programs. Carona is both grateful and a bit mystified by the benefactor. "He's one of these strange guys who doesn't want any publicity but wants to take care of kids and the community," Carona said. "When you look him in the eye and say, 'You've made a positive change in these kids' lives,' he does not want to take any credit for it. He's almost embarrassed when you say thank you to him." (A federal grand jury recently subpoenaed financial records of Carona's foundation. Federal officials have not disclosed why they want the documents.) Gelbaum, a native of Minnesota who moved to California as a teenager, was a math prodigy who parlayed his talents into a highly lucrative three-decade career using mathematical formulas to pick stocks and bonds for wealthy investors in hedge funds. He won't say how much he made. He started giving his money away in ever-larger amounts in 1994 ... Some charitable foundations have given more money to conservation causes, but much of it is aimed at saving tropical rain forests or other overseas ventures. The only individual whose contributions to California conservation rival Gelbaum's is Caroline Getty, granddaughter of oil tycoon J. Paul Getty. She recently donated $150 million to the Preserving Wild California project of the Resources Legacy Fund Foundation ... When making donations, Gelbaum usually insists that his identity not be revealed — out of concern, he says, for his family's security ... Gelbaum has made his largest contributions to the 10-year-old Wildlands Conservancy, an Oak Glen, Calif.-based group that he co-founded with David Myers, who has remained the group's executive director ... Gelbaum now acknowledges that he has been the biggest benefactor of the conservancy and its sister organization, the Wildlands Endowment Fund, which has taken in $157.8 million for land preservation, outdoor education and related programs. But for the last decade, Myers avoided revealing the identity of his reclusive angel, despite growing curiosity about who was bankrolling this obscure conservation organization that was buying and swapping real estate with the gusto of a 19th century land baron. Beginning in 1995, the group began making strategic land purchases, now totaling 70 square miles, in order to link the San Bernardino, San Jacinto and Big Horn Mountains with Joshua Tree National Park ... In 2001, Gelbaum branched out with two back-to-back anonymous gifts to the Sierra Club Foundation that dwarfed all previous individual contributions to the club. The $101.5 million in donations led to a 10-fold increase in the club's Youth in Wilderness programs and expansion of many other club activities. But the windfall caused a stir internally. Gelbaum's identity, known only to a few Sierra Club officials, became an issue in a bitter struggle for control of the club's board of directors. A slate of candidates, which wanted the club to call for tighter controls on immigration to stabilize the U.S. population and its impact on the environment, demanded to know the source of the donations. The candidates contended that the club's leadership opposed their election partly because of pressure brought by the secret donor. "Is this foreign money? Is it money that comes with special obligations? I would want to know I'm not running a laundry or being a front group for an entity that doesn't have the best interests of the United States at heart," said former Colorado Gov. David Lamm.Lamm and other like-minded candidates were soundly defeated in a vote of club members last April, and the source of the money was not revealed. But clues surfaced during the flap. A Sierra Club official let slip a comment about a pair of unnamed brothers. That and other bits of information led The Times to Gelbaum, who, with his brother, Daniel, sat on the Wildlands Conservancy's board of directors, along with Sierra Club Executive Director Carl Pope. David Gelbaum insisted that he played no role in the election. He dismissed allegations that he is calling the shots at the club in any other way ... But he said Pope long had known where he stood on the contentious issue. "I did tell Carl Pope in 1994 or 1995 that if they ever came out anti-immigration, they would never get a dollar from me." Gelbaum said he was a substantial donor at the time but not yet the club's largest benefactor. Immigration arose as an issue in 1994 because Proposition 187, which threatened to deny public education and health care to illegal immigrants, was on the state's ballot. He said he was so upset by the idea of "pulling kids out of school" that he donated more than $180,000 to the campaign to oppose Proposition 187. After the measure passed, he said, he donated hundreds of thousands of dollars to civil rights lawyers who ultimately got the measure struck down in court. Gelbaum, who reads the Spanish-language newspaper La Opinión and is married to a Mexican American, said his views on immigration were shaped long ago by his grandfather, Abraham, a watchmaker who had come to America to escape persecution of Jews in Ukraine before World War I. "I asked, 'Abe, what do you think about all of these Mexicans coming here?' " Gelbaum said. "Abe didn't speak English that well. He said, 'I came here. How can I tell them not to come?' "I cannot support an organization that is anti-immigration. It would dishonor the memory of my grandparents." Born in Minneapolis, the second of four sons, Gelbaum moved to California when his father, Bernard Gelbaum, became founding chairman of the UC Irvine math department."

[Gelbaum made his hundreds of millions in "hedge funds." What are hedge funds?]
Hedge Funds Are Everyone's Problem. Whether or not you're a direct investor, these behemoths have a huge impact on the market. Regulators need to get moving,
by Amey Stone, Business Week, August 6, 2004
"The wild swings in the oil markets in August have been attributed in part to the speculative bets of hedge fund managers. And throughout most of 2004, stock markets have experienced sharp intraday price swings, even as closing-day prices have remained within a narrow band. In a July 30 report, Charles Schwab market strategist Liz Ann Sonders attributed part of the reason to "the dominant participation in trading by the burgeoning hedge fund community" ... Even as they contribute to short-term volatility, hedge funds affect ordinary investors in other ways. Perhaps more importantly -- and here's where the lack of regulatory oversight is becoming more an issue -- hedge funds often employ strategies that are, shall we say, less than on the up and up. Case in point: The mutual-fund world is still reeling from a scandal in which fund companies allowed select hedge-fund managers to trade in and out of mutual funds in a way that allowed them to skim profits from those funds. Although not overtly illegal in most cases, the so-called market-timing activity was unethical and essentially prevented long-term mutual-fund investors from earning returns they easily should have, experts say. Hedge fund Canary Capital settled New York Attorney General Eliot Spitzer's case against it for $40 million, and as many as 40 other hedge funds have been implicated in such activities, according to Morningstar ... It's inevitable that these sought-after investment vehicles will continue to reshape the markets. But the potential for individual investors and the markets as a whole to be hurt by the lack of oversight is there. Spitzer's actions are a step in the right direction as is the SEC' move to require registration. But more needs to be done in the months and years ahead."

[Jews are flooding the upper eschelons of every field. Why? Jewish Networking. Jewish Power. Jewish Money. Jewish Materialism. Jewish Hustling. Jews are also held to be beyond criticism. And giving Jews special advantages and awards is popularly held to be (especially per the incessant Jewish complaints of historical persecution and endless whining about the Holocaust) an act of required moral benevolence.]
A Foundation,
by Julia Goldman, Jewish Week, January 16, 2004
"With Jewish architects behind high-profile designs, it seems that the biggest building projects today — from the World Trade Center site to the “Jubilee Church” in Rome — come furnished with a Jewish storyline. Reviewing architecture’s boldface names irresistibly invites contemplation that falls somewhere between sociological study and parlor game: Does a “Jewish architecture” exist? “A Jewish architecture? No, I don’t think so,” Peter Eisenman, who designed the Memorial to the Murdered Jews of Europe currently under construction in Berlin, said. “Am I influenced by my heritage? Of course. We all are.” By our toilet training too, he said. Yet the interplay of Jewish identity and architecture continues to provoke comment and discussion. [David] Libeskind, forced to collaborate with the architect David Childs on the Freedom Tower, played up his Yiddishkeit, saying, “I come form a tradition of chasidic, arranged marriages.” Santiago Calatrava, the Spanish architect chosen to design the transportation hub at the Trade Center site, reveled in The New York Times that his maternal ancestors were probably crypto-Jews. Frank Gehry, alternately described as “the king” and “a titan” of the architectural world, was hailed most recently for his Walt Disney Concert Hall in Los Angeles. There’s nothing obviously Jewish about the stainless-steel clad building, yet reviews have described him as “a Jewish immigrant form Toronto,” and profiles note that he arrived on the West Coast as Frank Owen Goldberg (a name change he later said he regretted). And he has related his undulating steel forms to the live carp his grandmother kept in a bathtub before turning it into gefilte fish. The New York architect Richard Meier downplayed the relevance of his Jewish identity when speaking about his modernist design for Dives in Misericordia, a parish church in Rome. But he was prepared for questions about it. “Regardless of one’s religion, I think most of us acknowledge that there are things in this world outside our realm,” he told reporters when the church, which was conceived to mark two millennia of Christianity, was consecrated in the fall. “That so many of the great architects doing some of the most publicly visible and renowned work today are Jewish does raise the question,” James Young, an expert on memorial architecture who sits on the 13-member jury for the WTC memorial competition, said. But dividing the world into Jews and non-Jews is “a perilous game,” he said. “We have to handle it very carefully so that we don’t fall into the trap of essentializing Jewish identity, experience and forms,” said Young, who is chair of Judaic and Near Eastern Studies at the University of Massachusetts at Amherst. That is something “anti-Semites have always done for us.” Historically, arguments that identify an essential “Jewish mindset” or a sensibility have fueled anti-Semitic assessments of modern art and architecture as having a “degenerate” and “Jewish” nature. Noting the dangers of such an examination, in 1996, the Times’ architecture critic Herbert Muschamp wrote about the work of prominent Jewish American architects, including the influential Louis Kahn and his protégé Moshe Safdie, as well as Eisenman, Gehry and Meier.
Muschamp concluded that these architects’ Jewishness is indeed relevant to their work. But his clearest statement of why that is important was that Jewish experience has much in common with the experience of most Americans ... “I was thrilled to see people talk about their Jewishness,” said David Gissen, an architect and assistant professor of architecture at Pennsylvania State University. Doing so was a bold move in what had long been a profession dominated — at times to great exclusivity, by white Anglo-Saxon Protestants ... Still, Gissen is fascinated by the relationship between Jewishness and architecture. He is organizing a conference to take place in March on “Architecture, Urbanism and the Jewish Subject.” Architectural historians and architects will to explore the idea of “Jewish space” including recent artists’ building projects designed specifically for Jewish use, for example, a mikveh or sukkah, and tailored to contemporary Jewish practice."

[Jewish domination of the fashion (or is it fasci-on?) world, here. Fashion, jewelry, and all such Jewish-dominated crap is total artifice. The true value of objects from the ephemeral trend factory is nothing. The Jewish-owned (Oppenheimer) De Beers diamond monopoly even invented the fabrication that diamonds have something to do with marriage. Why is garbage like the article below "news?' Why are we all subjected to a Judeocentric consumer culture that heralds tawdry materialist fetishes and denigrates longevity, integrity, the spiritual -- the real?]
Rami Kashou Rings His Southern Belles,
by Elizabeth Snead and Tom Julian, Yahoo! News, October 29, 2004
"Designer Rami Kashou was born and raised in Jerusalem. He moved to the States in 1996 to study fashion design, working briefly as a buyer at an upscale Los Angeles boutique. He started his own line in 2001. His list of celeb fans already includes Jessica Alba, Amy Smart, Portia De Rossi, Shiva Rose and Jennifer Lopez. Not too shabby for a starter kit! Theme: With Calla lilies tossed on the seats, you know you've stepped right into a garden party. Rami calls his collection "Smells Like Summer" otherwise known as adding an "edge" to the traditional, flirtatious Southern Belle. A torch singer opened the show singing "My Funny Valentine." Elements: A well-edited collection of delicate, feminine sensual dresses, gowns, tops, long and short skirts and crisp polished cotton pantsuits. More adorable flounces and ruffles than you can shake a stick at. And by the end of Fashion Week, that's precisely what the fashion press feels like doing. Colors: Vibrant garden and floral hues like mango, raspberry, grass, raspberry lavender and pink hydrangea. Best in Show: Loved Rami's black cotton voile halter top with a black cotton voile high-waist ruffled slit skirt. Call it the new Little Black Summer Dress. And his elegant long Black Dahlia gown would literally rock the Oscar red carpet. Fashion Flop: Some of his high-neck tops and dresses with stiff stand-out shoulders felt like How Thierry Mugler Spent His Summer Vacation. And some shorts and skirts were so darn short, we never even saw them! Thank God, the bolero-sleeved gathered tank and blouse were long enough to cover the model's cheeky bits. Market Moves: Rami Kashou's collection is in Aero & Co., Tryst and Karizma in Los Angeles, Big Drop and Some Odd Rubies in NYC and Steam in Miami. This season Kashou introduces swimwear with his "Lounge Suit" — a layered, pleated and ruffled collar routine that resembles a budding tulip. Perfect for planting, if you know what we mean."

Controversial feminist writer wins Nobel Prize,
by Nigel Reynolds, Telegraph (UK), October 8, 2004
"The book world responded with amazement yesterday - after an Austrian feminist writer was awarded the Nobel Prize for Literature. Elfriede Jelenik, a 57-year-old recluse, is barely-known outside the German-speaking world and her few novels published in English sell only a few hundred copies a year in this country. She strongly divides her own countrymen and has become a hate figure to Austria's Right and the middle classes whom she satirises in her writing. A novelist, poet and playwright, she frequently deploys sex in her writing - notably sadomasochism and voyeurism - to demonstrate how women are dominated by men and capitalism. In her best known and autobiographical book, The Piano Teacher, turned into a film starring the French actress Isabelle Huppert, the middle-aged heroine indulges in violent sex and mutilates her own genitalia with a razor. Pete Ayrton, her British publisher, said yesterday: "She is difficult. She is controversial and I don't think that her books are the sort you would chose to read with a cup of Horlicks." Jelenik's victory - and cheque for 10 million Swedish crowns (£1 million) - was a shock at the Frankfurt Book Fair, where the world's leading publishers are meeting. Despite the Nobel jury's reputation for picking obscure writers, there had been widespread expectation that this year's award would see a contest between two distinguished Americans, Philip Roth and John Updike, and Margaret Atwood, a Canadian. "I have absolutely no idea who Jelenik is," said one prominent British publisher at Frankfurt, who asked to remain anonymous. "I thought it would go to an Albanian this year, so I am only slightly wrong. But I bet it'll be an Indian next year." "This is so typical of the Swedes," said a leading British literary agent. "I have just come from a lunch with four top British publishers and not one of us had heard of her. The Swedes are so perverse that the prize doesn't count for much any longer." Jelenik lives quietly with her elderly mother in a large house in Vienna. Her father, of Czech-Jewish descent, is dead. A former music student and a member of the Communist Party from 1974 to 1991, she started writing in the 1960s and has written more than a dozen novels. Mr Ayrton, whose small firm The Serpent's Tail, has published her in Britain for 15 years, said: "She is a very controversial figure in Austria. She is at the forefront of the fight against the Fascist Right, she is a feminist and she writes about sex.'"

[JTR contributor's comment: "The doctor mentioned by Dr. Graves as having the patent for the cure for AIDS, is Rabbi Dr. Marvin Antelman, whose website is here.]
Perspectives: AIDS is man-made - Interview with Dr. Boyd Graves,
By FinalCall.com News, Oct 5, 2004, 11:42 pm
"Boyd Graves (BG): The 1971 Flow Chart is the blueprint for the development of AIDS. It is the quintessential missing link document which provides absolute proof of the U.S. origin of HIV/AIDS. It is located in one of the 15 progress reports of the federal program entitled “The U.S. Special Virus Cancer Program.” I believe the term “cancer” was a misnomer to misdirect the actuality of the HIV development. It provides, again, absolute, absolute evidence of the U.S. origin of HIV as a synthetic biological agent. We are currently bringing the lawsuit again with respect to the origin of AIDS/U.S. manufacture of AIDS, vis-à-vis through a federal complaint which we now have pending in the San Diego Federal Court ...
SM: What is this cure called?
BG: Tetrasil. It has a second name, which is Imusil. The patent number is 5676977.
SM: Who has the patent on this drug?
BG: The patent was issued to Rabbi Dr. Marvin Antelman of Morantech Corporation in Providence, Rhode Island. In my research and contact with Rabbi Dr. Antelman, he told me he had a college relationship with Dr. Gallo, who had stolen something that he and others had been working on. That led me to think that perhaps Dr. Antelman was given the AIDS cure as a payback by Dr. Gallo. There is a connection between the AIDS invention and the AIDS cure patent program ... (Dr. Graves earned his Juris Doctor degree from the Ohio Northern University College of Law in May 1993, almost 20 years after receiving a B.S. degree in Engineering from the U.S. Naval Academy in Annapolis, Maryland in 1975. He has been a Director of AIDS Concerns for the international medical research foundation, Common Cause, headquartered in Sudbury, Ontario, Canada for the last five years.)"

[JTR contributor's Note, per the above article: "First a note about Rabbi Marvin Antelman's claim to fame: 'Ironically, Dr. Henry Kissinger, supported by the mass media, and respectfully hailed by Jews around the world, was excommunicated from the Jewish religion on June 20, 1976 during a religious ceremony presided over by five member Rabbis of the Supreme Rabbinic Court of America. Rabbi Marvin S. Antelman, the Court's Chief Justice, said it was his responsibility to execute the Writ of Excommunication and a Bill of Particulars following an in depth investigation into Dr. Kissinger's behavior....'"]
An Open Letter to the Anti-Defamation League,
by Leonard G. Horowitz, Tetrahedron, August 31, 1998
"The Star article (July 19), that alleged an omnipresence of radical, neo-Nazi, and anti-Semitic elements at the event, intentionally censored my appearance and message. Mentioning me, Dr. Leonard Horowitz - a Harvard trained, internationally recognized authority in public health and AIDS education, who just happened to be Jewish, apparently did not fit the editor's bias. Details of my presentation, admittedly attended by the article's reporter, Judy Thomas, and submitted for publication, was also censured by the editor. My lecture dealt largely with the theory that AIDS was man-made. Contaminated vaccines, I advanced, transmitted the virus to New York's gay men and Black Central Africans."

[Why does this poet surface, in 2004, as suddenly important? It's the same way the "Holocaust" surfaced in the late 1960s -- after two decades of neglect -- as a distinctly American theme. Jewish Power. Jewish Networking. Jews at the heart of the American publishing industry. And the endlessly expanding culture of American Judeocentrism. What is quality poetry, or quality anything in the Jewish-dominated literary world? It's all word voodoo. Those entrenched in power will dictate its ultimate significance for you. Don't read a Zukofsky poem for its "meaning alone." Read the thing for, uh, its "handsome reward."]
Literary scholars to reassess writings of poet of obscurity,
by Jennifer Carnig, University of Chicago Chronicle, November 4, 2004
"Louis Zukofsky is one of the most influential poets you have never heard of. A poet’s poet, or maybe even a poet’s poet’s poet, Zukofsky produced work that is mostly unknown, but that does not mean it is without consequence. Though he was largely ignored during his lifetime, Zukofsky (1904-1978) is now acknowledged as one of the most important American poets of his generation ... Since his death, Zukofsky also has become extremely influential. “For poets under 40, he’s hugely important,” von Hallberg said. “He is now somebody young poets go to, even though he’s not being taught in universities. But that gives him the extra cachet of being a sort of secret source.” The secret will be revealed Thursday, Nov. 11, and Friday, Nov. 12, when the University’s Poetry and Poetics Program sponsors “Around Zukofsky,” a conference honoring the birth centenary of the avant-garde poet. This is the first conference put on by the new Humanities program Poetry and Poetics, an umbrella program that seeks to unite faculty members from all departments who share an interest in poetry. Von Hallberg, who has been at the University since 1973, said the commitment the division and Richard Saller, University Provost, have shown by encouraging the creation of the Poetry and Poetics Program makes this “the best moment for studying poetry at Chicago, by far. Addressing the importance of holding the conference on Zukofsky at this moment, von Hallberg said, “For years, academics disregarded him, but young poets have brought him back to life.” He added, “It’s time to go back and reassess Zukofsky’s work, to study its importance and impact.” Born in New York to Russian-Jewish immigrant parents, Zukofsky’s first language was Yiddish ... In 1931, Zukofsky was invited, with Ezra Pound’s encouragement, to edit a special issue of Poetry magazine, the Chicago-based publication that helped establish and popularize young poets. Though never a card-carrying member of the Communist Party, Zukofsky was a sympathizer, and in his issue he presented a group of left-leaning avant-garde poets, the Objectivists. Included were William Carlos Williams, George Oppen, Carl Rakosi and Charles Reznikoff. The Objectivists initially received attention because of the rapid growth of the American left after the 1929 stock market crash. “But it wasn’t just that they were leftists,” von Hallberg said. “It was that they were leftist avant-gardeists, which nobody had ever seen before. Ezra Pound and T.S. Eliot were on the right' ... 'He wrote difficult, obscure poetry,” von Hallberg said, explaining that one cannot read Zukofsky’s poems for meaning alone, but must listen for their lyrical nature, which challenges readers, yet offers a handsome reward."

[Tonight, November 9, 2004, I heard an interview on ESPN radio with journalist Tom Friend, regarding this article. It's not mentioned here, but Friend expressly noted that among the classes this Ohio State football star took and did virtually nothing for his grade was "Yiddish Culture."]
My Side,
by Tom Friend, ESPN, November 9, 2004
"To hear him talk, his college classes were a sham. Maurice Clarett graduated from high school a semester early and arrived at Ohio State in January 2002. Before long, he says, his grades were literally guaranteed. He describes a system that kept him and other players eligible and was overseen by the football program. He says his "grades were messed up" early on, that he wasn't supposed to be eligible for spring practice or the opening of training camp, but that his coaches simply fixed the problem. "As soon as they'd seen me struggle, they switched academic advisers for me," Clarett says. "He turned me on to a tutor, and then we were cool. "The tutor is a professor at the school. I'd sit there with a notepad, and I'd be playing or talking on the phone, and he'd just outline everything in the book, and say, 'This is what you write for your paper.' He'd take a notepad and say, 'Write this, write that.' "And they'd tell you like, the old test from winter '02 is going to be the test for January '03. Or the fall of '01 is going to be the next test. They tell you how the tests rotate." As Clarett moved into his debut season in the fall of 2002, about to be the first true freshman running back to start a season opener at Ohio State, he realized everything was aligned to prevent his academic failure. If it wasn't tutors doing "research" for him, it was academic advisers registering him in courses friendly to the football program. My classes were all independent study," he says. "So I'd show up in like the eighth week of the quarter and do something for the last two weeks, and I'd be fine. A lot of times, during classes, I'd be in the weight room lifting. The coaches would be like, 'You get your class done?' I'd be like, 'I'll get it done the last two weeks.'" Clarett says his adviser mapped out his course schedule, put him in easy classes and told him which teachers were on his side. For example, he says he almost never attended one African-American and African studies class, and when he did, it wasn't difficult to cheat. "It was probably like a 40-person class, and 30 of them were football players," he says."

[JTR contributor's note: "Read about this billionaire who like the Ghermezians, is an Iranian Jew who hasn't sent a red cent to help out his country of origin, Iran, but uses the capital he managed to sneak out of his poor country, Iran, to create an empire." Our comment: The Barbie doll that socializes little girls is the product of Ruth Handler (who is of course Jewish) and her Mattel toy company. Barbie's new competitor, the "multicultural" Bratz, below, is also of course a Jewi$h invention.]
The Queen is dead. For decades there has been only one doll that little girls have wanted - golden-haired, long-legged Barbie. So how did a three-year-old upstart with drugged-up eyes and an oversized head knock her off the top spot in the UK? Tanya Gold meets the Bratz ,
The Guardian (UK), October 6, 2004
"Toytown is tottering ... [A]n interloper has stepped in to imperil Barbie's $3.6bn annual turnover and the welfare of her 48 pets. The upstart's name is Bratz, and she is three years old. In 2003, Bratz generated $2.5bn in global revenue and last month secured 45.1% of the British fashion-doll market, making it the No1 bestseller. Barbie has fallen off her plastic throne. Dolls are both imago and icon for little women; they tell us what we fear, desire and, also, what we might become ... Barbie was inspired by a German sex-kitten doll called Lilli. Lilli was sold to men only at tobacconists in Germany in the 1950s. But this geisha incarnation is long forgotten ... Barbie has many careers, but, if you look at her face, you know she doesn't need them. She oozes a sugary, pre-sexual revolution status quo. There is no crimson lipstick, no thigh-high boots, and certainly no fuck-me-Ken shoes. She is a smaller, less talkative Nancy Reagan ... Bratz is 11.5in high (one inch shorter than Barbie) and voluptuous. Were she human, she would stand 5ft 6in tall. She has an oversized head, thigh-length hair and slanting, opiate-drugged eyes. These are dolls that Martin Amis would recognise. Her lips are huge, painted and parted. You can take Cloe, Dana, Jade, Sasha, Yasmin, Fianna, Neura or Meygan home. These dolls are red-, brown- or indigo- haired; just one blonde glares out. Bratz are "multi-ethnic". There is a black Bratz, an Asian Bratz, and a Eurasian Bratz. Standing beside them are their lovers: Cade, Dylan, Eitan, Camero and Koby ... There is no dream castle in Bratz World, no dull and honourable marriage to Ken. These are a gang of groovy, careless singles. They party in the Bratz sushi lounge, the internet cafe and the Big Brother hot tub. They own mobile phones, plasma screens and an entire Harvey Nichols-ful of call-girl ruffs and feathers, thigh-high leopard boots, black leather miniskirts and pink silk camisoles. Bratz drink espresso and smoothies. This corner of Hamleys is a mini episode of Footballers' Wives, a plastic representation of a party at Beckingham Palace. These are dolls for children who watch television, read Heat, surf the internet and worship Britney Spears ... The Bratz were created by Isaac Larian, an Iranian Jew described in the toy industry as "a charismatic entrepreneur". Larian came to America to become a structural engineer in 1971 but instead he founded MGA, now the biggest privately owned toy company in the world. In 2000, the designer Carter Bryant walked into his California office with a drawing of a Bratz doll. Larian's seven-year-old daughter Yasmin (now immortalised as a doll) liked the drawing. Larian commissioned a prototype and the cold wind began to blow through Princess Barbie's realm. Why does Larian believe he has sold 80 million Bratz? First, he cites the Death of the Blonde. "Bratz are not all blonde and busty like Barbie," he says. "I decided to make Bratz multicultural. A Mexican child thinks her Bratz is Mexican, a Brazilian child thinks her Bratz is Brazilian. The multiculturalism is their magic' .... "We go to fashion shows every year to identify trends and we change the clothes the dolls wear three or four times a year, just like in the full-sized fashion industry," says Larian, who produces his dolls in Southern China, where careful attention is paid to makeup. "Each doll goes through 16 rotations - that is workers - just to paint the eyes" ... There are 36 Bratz licences in the UK - for magazines, posters, perfume, sweets, hats, tissues, underwear, jewellery, games, socks and stickers - and an animated Bratz movie entered the shops last last month. In 2005, comes a TV series; in 2006, a live action movie. "We want to take Bratz out of the toy aisle and into lifestyle," says Lisa Shapiro, who is in charge of licensing."

[Um, but WHAT IF WE DON'T WANT TO BECOME JEWISH and modern materialist, Mafia-Judeocentric-Capitalist-Zionist Civilization is shit? The resistance to it in Palestine and Iraq may be prelude to a far greater, long-lasting battle (literally and figuratively) than most people yet understand.]
Salwa -- The Jewish Century -- A conversation with Yuri Slezkine,
i nteresting Q & A with UC Berkeley prof. of History Yuri Slezkine on his new book the Jewish Century,
"Q&A: A conversation with Yuri Slezkine
In the 20th century, we all had to become literate, urban, mobile, and occupationally flexible. In other words, we all had to become Jewish,
by Russell Schoch, Beaver Group, November 7, 2004
"A few years ago, historian Yuri Slezkine set out to write a book about the early Soviet elite. He focused on a residential building in Moscow that housed the leaders of the Soviet Union of the 1930s. When he figuratively looked inside that building, a prototype of communist living, he found that it had been occupied in large part by Jewish immigrants from the Pale of Settlement, the restricted region in which Jews were allowed to settle in the Russian Empire. In attempting to understand their internal movement, and the two other great migrations of Russian Jews in the 20th century--to the United States and Israel--he was forced to step back and examine more broadly the role of Jews in the modern age. The result, The Jewish Century (published by Princeton University Press), has been called “a passionate and brilliant tour de force” and “an extraordinary book with continual surprises” about modernity, the 20th century, and the history of the Jews. One of Slezkine’s metaphoric points is that all of us have had to become “Jewish” in the modern age because Jews have long been urban, mobile, literate, articulate, and occupationally flexible--traits the 20th century demanded. Slezkine uses the characters and writings of Pushkin, Joyce, Proust, and the Yiddish writer Sholom Alecheim to illuminate his beautifully written book ... Daniel Boyarin, the Taubman Professor of Talmudic Culture in the Department of Near Eastern Studies at Berkeley, calls Slezkine’s new book “a brilliant addition to Jewish studies” and says that “it provides the best explanation I know of anti-Semitism" ...
[Q:] Why were Jews so successful in the early Soviet state?
[Slezkine:] The story of the Jews in the early Soviet Union is similar to the story of the Jews in America. That is, they were especially successful in the realms of education, journalism, medicine, and other professions that were central to the functioning of Soviet society, including science. J ews in the Soviet Union were much more literate than any other group, they were untainted by any association with the imperial regime, and they seem to have been very enthusiastic about what the Communist Party was doing. This was to some extent a conscious commitment to ideology, but mostly it was just because there were no more legal barriers against Jews. The doors opened, and they flooded in and did exceedingly well in the 1920s and the first part of the 1930s. My belief is that you can’t understand the second part of the Jewish story in Russia--the anti-Semitic policies, and what happens to Soviet Jews later, their desire to emigrate, for example--unless you know the first part of the story, which is mostly about amazing success.
[Q:] You write that Jews were important members of both the secret police and those who ran the gulag. This was news to me.
[Slezkine]: The fact was not known to me when I was growing up in the Soviet Union. Most people found out about it when they read Solzhenitsyn’s The Gulag Archipelago. He didn’t make a point of it at the time, but he talks about the people who were running the White Sea Canal labor camps, and they were virtually all ethnic Jews.
[Q:] W hat was your reaction?
[Slezkine:] Mostly surprise, because it seemed so incongruous to those of us who thought of Jews as the primary victims and primary opponents of the Soviet regime. But later I discovered that the role of communism in modern Jewish history was tremendously important. I don’t think you can understand modern Jewish history without considering the Russian Revolution or understand communism without considering the role of the Jews.
[Q:] W hat accounts for Jewish success more generally?
[Slezkine:] J ews belong to a certain community of peoples that engage in certain occupations in similar ways--and provoke similar resentments. Looking at it comparatively, one discovers that this specialization is very old and fairly common ... [T]he Jews, the most accomplished of all Mercurians, are still playing a very special role in the modern world--as the models of both success and victimization .... With the rise of the modern world, the Gypsies have continued to ply their trade in the diminishing world of folk oral culture, while the Jews have gone on to define modernity ... [T]here are similarities between Jews and Gypsies and a whole lot of other peoples who engaged in similar pursuits that go beyond their common fate under the Nazis, or the hostility that they encounter wherever they go. This could change the way one understands anti-Semitism. In my book, I tried to contextualize the Jewish experience, to explain both the Jewish victimization and the Jewish success. On the particular question of anti-Semitism, my book makes the argument that anti-Semitism is not a disease, not mystical, not inexplicable. It makes the argument that the beliefs and perceptions and actions usually associated with anti-Semitism are very common, and that they are applied not only to the Jews.
[Q:] Does your argument give you, personally, a different understanding of what it means to be a Jew, and of anti-Semitism?
[Slezkine:] Sure! Of course it does. I didn’t write the book to preach anything in particular. But I hope that one conclusion people draw from this part of the book is that something that is understood is easier to combat. If you think of anti-Semitism as a mysterious epidemic, then it’s hard to know what to do about it. When you feel you understand what brings it about, then it becomes more intelligible. And less dangerous ... The Holocaust created an aura around Israel that made it different from all other modern states, that excluded it from some of the expectations that are usually associated with modern states--and from certain criticisms. Because of its very special role, history, and moral claims, Israel became the state to which standard rules don’t apply ... Israel has been transformed from an attempt to get away from the ghetto into a new kind of ghetto, which is the only place you can say certain things.
[Q:] For instance?
[Slezkine:] It’s the only place in the Western world where a member of Parliament can say--and get away with it--“Let’s deport all Arabs from Israel.” Or where so many people can say, as part of a routine political conversation: “We should create more Jewish children because we want this to be a pure ethnic state.” Imagine someone saying the same thing in Germany: “Let’s procreate to make more Germans because we have too many Turks here."
[Q:] A nd Israel also can do things other states cannot do?
[Slezkine:] Yes, like build walls. There was an attempt to build a wall in a town in the Czech Republic--to separate the Gypsy area from the rest of the town.
[Q]: What happened?
[Slezkine:] T here was an outcry. It couldn’t be done. So, this seems to me to be yet another tragic irony in the history of the Jews: The attempt to create a state like any other led to the creation of a state that is remarkably different from the family of states it set out to join ...
[Q] A nd, using your Mercurian metaphor, you say that all of us in the modern age have had to become Jewish.
[Slezkine:] A central part of my argument is that the modern world has become universally Mercurian. Mercurianism is associated with reason, mobility, intelligence, restlessness, rootlessness, cleanliness, crossing boundaries, and cultivating people and symbols as opposed to fields and herds. We’re all supposed to be Mercurians now, and traditional Mercurians--especially Jews--are better at being Mercurian than anyone else."

Jewish comic books, part 1,
by Mark Mietkiewicz, Canadian Jewish News, November 2004
"Superman, Spider-Man, Alfred E. Neuman. They are some of the most enduring and powerful characters in popular culture. And they all have Jewish roots. Thanks to Jack Kirby (Fantastic Four), Will Eisner (The Spirit), Joe Kubert (Ragman), Art Spiegelman (Maus) and many others, the face of comic book publishing has had a Jewish flavour since comics books first appeared seven decades ago. In his impressive three-part series in Reform Judaism magazine, “How the Jews Created the Comic Book Industry,” Arie Kaplan traces the giants (and lesser-knowns) of the industry from 1933 to the present. He begins with the story of an unemployed Jewish novelty salesman named Max Gaines (formerly Ginzberg). Gaines figured that if people enjoyed reading comics in their newspapers, why not sell them separately. He shared his idea with his friend Harry L Wildenberg at Eastern Color Printing and in February 1934, Eastern’s Famous Funnies #1 became the first American comic book sold to the public. [http://uahc.org/rjmag/03winter/] Gaines was the father of William M. Gaines, creator of a slew of horror comic book titles as well as Mad Comics and later, Mad Magazine (with the legendary Harvey Kurtzman). The National Foundation for Jewish Culture sums up their contribution in the article “Jews in Pen and Ink.” [http://tinyurl.com/6q3qd] In a lovely twist of fate, Arie Kaplan, the author who documented the role of Jews in comics, now writes regularly for Mad Magazine. [www.ariekaplan.com/] As for the superheroes, whether you are a fan of DC comic’s Superman or a disciple of rival Marvel Comic’s Spider-Man, the origins are still Jewish. SuperMan’s well-known creators were a couple of guys named Joe Shuster and Jerry Siegel. Over at Marvel, Stan Lee and Jack Kirby (formerly Stanley Lieber and Jacob Kurtzberg) were responsible for Spider-Man, the X-Men and many others. Although these characters didn’t wear kippahs or sport Magen Davids, author Arie Kaplan argues that the characters were imbued with Jewish symbolism and allusions to the plight of Jews in the 1930s and ’40s. Superman, he explains, “is a child survivor named Kal-El (in Hebrew, ‘All that is God’) from the planet Krypton, whose population, a race of brilliant scientists, is decimated. His parents send him to Earth in a tiny rocket ship, reminiscent of how baby Moses survived Pharaoh’s decree to kill all Jewish newborn sons.” Don’t expect to find unanimity in the comic book universe. Steve Bergson is a librarian at the Albert and Temmy Latner Jewish Public Library of Toronto and has a collection of about 600 Jewish comic books, one of the largest in the world. But he doesn’t buy the Superman-is-Jewish theory. [http://tinyurl.com/4nwrk] As for which characters do count as Jewish, check out Bergson’s huge website. [http://tinyurl.com/4nhq4] "

["Talmudic scrolls?" It gets past the censor! Subtext: we all know who runs Hollywood and is screwing up American culture. Wink, wink. More and more people know, but can't openly say it.]
What It's All About. Hollywood now handles abortion with breezy self-righteousness. It didn't use to,
by Meghan Cox Gurdon, Opinion Journal (Wall Street Journal), November 12, 2004
"Who knows what drives Hollywood to make movies in little thematic clusters? Something starts to itch in the back of various minds, scripts get written, investors pitch in, film is shot and presto... Now, one probably shouldn't make too much of any of this. These are movies, not Talmudic scrolls, and are a reliable expression less of American culture than of the half-dozen or so creative minds involved in writing and directing them. Still, it is worth noting that the moral qualms that make it to the big screen are unfailingly those of people who favor abortion."

[Yeah, we know Jewish "counter-culture" sleazebag Paul Krassner who formed the 1960s revolutionary "Yippies" with himself, Jerry Rubin, and Abby Hoffman as a kind of Jewish Menage A Trois. And we know his contributions to American culture. Here's what one of the things he wrote in his autobiography:
"[Walt] Disney's death occurred a few years after Time magazine's famous 'God is Dead' cover, and it occurred to me that Disney had indeed served as God to that whole stable of imaginary characters who were now mourning in a state of suspended animation. Disney had been THEIR Creator and he had repressed all their baser instincts, but now that he had departed, they could finally shed their cumulative inhibitions and participate together in an unspeakable Roman binge, to signify the crumbling of an empire. I contacted Wally Wood and, without mentioning specific details, I told him my general notion of a memorial orgy at Disneyland. He accepted the assignment and presented me with a magnificently degenerate montage. Pluto was pissing on a portrait of Mickey Mouse, while the real, bedraggled Mickey was shooting up heroin with a hypodermic needle. His nephews were jerking off as they watched Goofy fucking [KRASSNER, P., 1993, p. 142] Minnie Mouse on a combination bed and cash register. Dumbo was simultaneously flying and shitting on an infuriated Donald Duck. Huey, Dewey, and Louie were peeking at Daisy Duck's asshole as she watching the Seven Dwarfs groping Snow White. The prince was snatching a peek at Cinderella's snatch while trying a glass slipper on her foot. The three little pigs were humping each other in a daisy chain. Jiminy Cricket leered as Tinker Bell did a striptease and Pinocchio's nose got longer ... [This] became so popular that I decided to publish it as a poster. The Disney corporation considered a lawsuit but realized The Realist was published on a proverbial shoestring, and, besides, why bother causing themselves further public embarrassment? They took no action on me, and the statute of limitations finally ran out." [KRASSNER, P., 1993, p. 142]
Latest News,
Artemis Records
"The Zen Bastard Rides Again is the new CD by investigative satirist Paul Krassner. Dubbed 'the father of the underground press' by People magazine and called a 'raving, unconfined nut' by the FBI Paul Krassner is a counter-culture legend and a comic genius ... Krassner, a crucial figure in the development of America's alternate press, edited and published The Realist from 1958 to 1974, and reincarnated it as a newsletter in 1985. He began his career writing for Mad magazine ... He even served as editor of Hustler for a brief time ... A counter-culture legend, Krassner co-founded the Yippies with Abbie Hoffman and Jerry Rubin. He published material on the antiwar movement as well as the psychedelic revolution then went on to task LSD with Tim Leary, Ram Dass, Ken Kesey and later accompanied Groucho Marx on his first acid trip."

[A considerably older article. JTR contributor's comment: "Speaking of Paul Krassner, another Jew crucified the Easter Bunny on a magazine cover .."]
The Creativity of Tina Brown,
by Richard John Neuhaus, First Things, August-September 1995
"Is there a bathroom or den in any university town in America that is not graced with Saul Steinberg's New Yorker cover of a map showing Manhattan as the center of the world? For more than sixty years, the magazine demonstrated a genteel genius for providing the sensation of being safely sophisticated, not entirely removed from cultural and intellectual chic. Then Tina Brown was brought over from Vanity Fair to inaugurate a new era, to lift up the stones and expose another New York, presumably a more real New York of strident leftist partisanship, of polymorphous perversities, of flaunted contempt for those Americans to whom Harold Ross pitched his product ... Today the specious, spurious, meretricious, and dishonest pretty well summarizes what Tina Brown is doing with the magazine. Ms. Brown and those she has brought on board to create the new New Yorker are of the arrested adolescent school of journalism in which "creativity" never gets beyond self-congratulatory daring in defying putative taboos. It is a difficult enterprise to maintain in a time when taboos lie strewn across the cultural battlefield, but Ms. Brown, being British, knows that there is still a giggle to be milked from an audience that only vaguely remembers what was supposed to be sacred about the institutions and ideas now so casually mocked. Witness the former Church of England as an object of British humor, or television's Bennie Hill dropping his pants, which is always good for a hearty har- har from a people once held up to Americans as the embodiment of sophistication. Quickly into her tenure as editor, a New Yorker cover pictured a Hasidic Jew making out with a sexy black lady. That occasioned much comment in the local press, and at the dinner tables of the chattering classes Ms. Brown was remarked as a lady of great daring. Soon, an acquaintance observed a while ago, the New Yorker would have cartoons (the magazine insists upon calling them "drawings") with naked people in bed. Sure enough, that very week such a cartoon appeared, the subject being, if we recall, impotence. Look for the appearance of more New Yorker cartoons in men's washrooms. Also outstanding in the trash department have been long articles by David Remnick, who had earlier written a fine book about the collapse of Soviet Communism in which he evidenced great insight and respect for Jews and Judaism. In his more recent efforts, Remnick has deployed his talents in bashing the Pope and celebrating Elaine Pagel's polemical outbursts against Christian hangups about good and evil. Call It Tacky Among the other instances of "creativity" at the new New Yorker, the cover of the issue coinciding with Holy Week this year was notable. It was a crude cartoon of an Easter bunny crucified on an IRS return. Unlike the cover with the amorous Hasid, this occasioned little comment locally. One might think that has something to do with the Jewish presence in New York publishing, but it possibly has more to do with people having become accustomed to Ms. Brown's juvenile delinquencies. It's just Tina being daring again, don't you know. The cover was titled "The Theology of the Tax Cut," and the editors explained that it is "a pointed allegory about faith, fantasy, and the politics of the moment." Uh huh. Of course the Catholic League protested, as well it should have, but not much attention was paid to such "special interests" that object to the trashing of the most sacred symbol of the faith of the great majority of Americans. Can't those people take a joke? The cartoonist, Art Spiegelman, said he didn't know why the Catholic League was upset, since all he was trying to do was criticize Republican proposals for a tax cut that would "crucify" the average American. Ah well, that's different. We thought it was an egregious trashing of the cross of Christ but, now that Mr. Spiegelman explains that it was all in the good cause of scoring a partisan point against those dreadful Republicans, that puts it in a quite different light ... For the Christmas issue, Mr. Spiegelman had done a cover of a urinating Santa Claus, but Ms. Brown killed it. Some things are still sacred, after all. As for the crucified rabbit, the highfalutin' talk about "a pointed allegory" was undermined when the New York Observer noted that Hustler magazine had published a similar cover in 1978 showing a plush bunny nailed to the cross. After overtaking the Village Voice, Ms. Brown, it seems, is now aspiring to compete with Hustler. Toward that end, the April 1 issue featured Annie Leibovitz photos of the crowd around the O. J. Simpson trial, including a shirtless Kato Kaelin blowdrying his hair, and a bare-bottomed Paula Barbieri. How far will the daring Tina Brown dare to go?"

[The next three articles about Jewish dominance of the comic book world are a microcosm of modern Jewish influence throughout American society. There is the usual: Jewish assault upon -- and subversion of -- non-Jewish values, public condemnation of Jewish media efforts as corrupting, a strong undercurrent of explicitly Jewish subtext in many storylines, and the eventual subsuming of pop culture ideology into a Judeocentric framework (i.e., increasing acceptable vulgarity in the public sphere, subtextual reference to the Holocaust, etc.) What is needed today is a directly parallel deconstruction of all the myths of Jewish history and identity. We've begun our own modest cartoon series in this direction with The Adventures of Rabbi Rabbit.]
Part 1: The Golden Age (1933-1955), (pt. 1)
By Arie Kaplan, Reform Judaism, Fall 2003
"The comic-book industry was built from the ground up at the height of the Great Depression by enterprising American Jews who fashioned a pantheon of the world's most famous superheroes ... Max Gaines (née Max Ginzberg) ... shared his brainstorm with his good friend Harry L. Wildenberg ... The brainchild of two prolific, innovative Jews from Cleveland, Jerry Siegel (writer) and Joe Shuster (artist), Doctor Occult captured the imagination of young readers with his supernatural exploits ... In 1937 McClure employee Sheldon Mayer told his boss Max Gaines about this caped, muscled "Superman" in red-and-blue tights who could lift an automobile above his head, causing criminals to scatter like frightened rats. The strip had been rejected by every New York newspaper as being too fantastic even for juvenile audiences, but Mayer assured Gaines (now DC Comics' print broker) that this "Man of Tomorrow" would be "the next big thing" in comic books. Gaines agreed, and within days he, Mayer, Siegel, and Shuster were hastily cutting and pasting "Superman" strips into comic-book format. Gaines then sent the boards on to his friend Harry Donenfeld, who with Jack Liebowitz had recently become publishers of DC Comics, taking over the company from the financially strapped Wheeler-Nicholson ... Cartoonist, writer, and comic-book historian Will Eisner (creator of The Spirit) also views Superman as a mythic descendant of the Golem and thus a link in the chain of Jewish tradition. "[Jews needed] a hero who could protect us against an almost invincible force," Eisner says. "So [Siegel and Shuster] created an invincible hero' ... The Superman narrative is also rich in Jewish symbolism. He is a child survivor named Kal-El (in Hebrew, "All that is God") from the planet Krypton, whose population, a race of brilliant scientists, is decimated. His parents send him to Earth in a tiny rocket ship, reminiscent of how baby Moses survived Pharaoh's decree to kill all Jewish newborn sons. In the context of the 1930s, the story also reflects the saga of the Kindertransports--the evacuation to safety of hundreds of Jewish children, without their parents, from Austria, Germany, Poland, and Czechoslovakia to Great Britain. Angst-ridden adolescent fans, Jewish and not, shared Siegel and Shuster's feelings of helplessness and yearned for a super-savior--a fact that was not lost on the comic-book publishers, who responded with a succession of new superhero creations, among them Wonder Man (created in May 1939 by Will Eisner) and Captain Marvel (created in February 1940 by writer Otto Binder and artist C. C. Beck) ... After Superman, notes former Marvel Comics publisher and Spider Man co-creator Stan Lee (Stanley Martin Lieber), "if artists wanted to be successful, they thought, 'I guess we better give our characters costumes and double identities' ... In 1939, in the wake of the tremendous success of Siegel and Shuster's Superman, Max Gaines joined forces with Harry Donenfeld and Jack Liebowitz in a new publishing venture called All-American Comics (the AA Group). The new group would expand the DC universe of characters with titles such as Flash Comics and All-American Comics--featuring, among others, the adventures of Hawkman, aka millionaire antiques collector (and reincarnated Egyptian prince) Carter Hall; and Green Lantern, secretly radio announcer Alan Scott (aided by a magic ring). Other comic-book companies, like Timely Comics, Archie Comics, Whiz Comics, and Quality Comics, were now competing with the AA Group, hiring a great many Jewish artists, writers, and editors to create the next big superhero hit. Publishers who could not afford in-house staffs contracted with the Eisner-Iger Studio, founded in 1937 by Will Eisner and Jerry Iger, which "packaged" comics--in other words, maintained a crew of artists who would write, draw, letter, color, edit, and design comic-book stories. In so doing, Eisner and Iger helped launch the careers of future X-Men and Fantastic Four co-creator Jack Kirby (Jacob Kurtzberg), Batman co-creator Bob Kane (Bob Kahn), and Al Jaffee and Dave Berg of MAD magazine fame ... Even Siegel and Shuster, creators of the world's first comic-book superhero, were bilked, earning a paltry $130 from Harry Donenfeld for the first thirteen-page Superman story and having to negotiate for meager financial and creative participation in subsequent Superman strips and spin-offs (all Superman licensing fees were paid to Donenfeld's corporation, "Superman, Inc.") ... In 1939 comic-book artist Bob Kane bid farewell to his short-lived stint at the Eisner-Iger Studio to create adventure features for DC Comics. DC wanted a follow-up character to their golden boy, Superman, and Harry Donenfeld offered Kane eight instead of five dollars a page. Recalls Eisner: "I said to Bob, 'You can't do adventure, you can't draw that well!' And Bob said, 'No, I can do it, and I got a guy who can write it!' That guy was Bill Finger, a Jew from Denver, Colorado" ... "Bob Kane had made a deal with DC that he [Kane] would write and draw Batman," Robinson explains, "so he kept Bill's involvement quiet." In addition, Kane made extensive use of uncredited "assistants," or ghost artists, such as Robinson, Sheldon Moldoff, and Dick Sprang, all of whom were Jewish, and would sign Bob Kane's name to their work. "I think I signed Bob Kane's name more than he did," Robinson notes. Robinson also takes credit for having created, in 1940, the most famous super-villian in comic-book history--the clown prince of crime known as the Joker--for which Kane took official credit. "Kane stated for years that he created the Joker and that he based him on the Conrad Veidt film The Man Who Laughs," Robinson says ... With America's entry into World War II, Superman, Batman, and other comic-book superheroes were pressed into action. "As comics writers," Stan Lee says, "we had to have villains in our stories. And once World War II started, the Nazis gave us the greatest villains in the world to fight against. It was a slam dunk." Captain Marvel fought Captain Nazi, the Aryan assassin and super-soldier. Captain America, created in 1941 by Jewish cartoonists Joe Simon and Jack Kirby, took on the Nazi agent Red Skull. "Two Jews created this weak little guy named Steve Rogers who gets shot in the arm [by scientist Dr. Reinstein, a reference to Albert Einstein] and, by way of a 'secret serum,' becomes this super-strong hero who starts destroying Nazis," explains political cartoonist Peter Kuper (World War Three Illustrated, The New Yorker, MAD magazine's "Spy Vs. Spy"). "What a distinctly empowering image." Simon and Kirby also created the Boy Commandos, a strip about an international group of patriotic children from Allied countries who aided in the war effort; the stories' final panels often depicted caricatures of Hitler being foiled by the children's covert operations. The lesson: even children--like those who read comics--could play a heroic role in the battle against evil.To demonstrate their patriotism, Jewish comics creators were careful to fashion superheroes they perceived as super American. The all-powerful Steve Rogers, for example, was blond and blue-eyed. "When you're sitting down to write about an American hero within an American culture, you begin to devise those characters or characteristics that you regard as gentile," Eisner explains. By 1943 comic-book publishing had become a multimillion-dollar industry, with monthly sales reaching a record 25 million copies ... Confronted with the growing popularity of comic books, in 1941 the General Federation of Women's Clubs and other organizations concerned with preserving "the innocence" of America's youth launched a campaign against the increasingly popular genre of "true crime" comics, which featured titles like "Boston's Bloody Gang War" and "Murder, Morphine and Me." Anticipating the coming storm, AA Group chief Max Gaines invited a number of prominent educators and psychologists to serve on his board of advisers. One of them, psychologist William Moulton Marston, invented a comic-book character he believed would set a positive example for America's children.His creation, Wonder Woman--a crime-fighting, whimsical Amazon princess renowned for her highly ethical character--became the industry's first major female superhero ...In 1945 Gaines sold out his one-third stake in the AA Group to his partners Liebowitz and Donenfeld for a half-million dollar ... .Max's son, Bill Gaines, a 25-year-old NYU student, took charge of EC comics, at the urging of his mother. Trying to get the company out of the red, he issued a line of teen romance comics with sappy titles like Modern Love, A Moon, A Girl...Romance and Saddle Romances; they failed, miserably. Then, with the help of writer/artist/editor Al Feldstein, who shared Bill's passion for radio horror programs, Gaines dropped EC's line of detective comics (Crime Patrol, Against Crime) in favor of lurid science- fiction comic titles such as Weird Science and Weird Fantasy as well as horror comics such as The Vault of Horror and The Haunt of Fear, which featured such gory tales as "Coffin Spell" and "Ooze in the Cellar." Educational Comics was renamed Entertaining Comics, and EC began making money. Writer/artist/editor Harvey Kurtzman joined the staff, creating two antiwar comics destined to become classics: Two-Fisted Tales and Frontline Combat... Gaines' successful turnaround of his father's failing company led to scores of imitators that produced horror, crime, and science-fiction comics with no redeeming social qualities. Alarmed parents who vehemently objected to the "filth" their children were reading found an ally in psychologist Dr. Frederic Wertham, author of The Seduction of the Innocent, a study on the negative effects of comic books. Wertham condemned most of the genre--especially crime and horror comics--for contributing to juvenile delinquency and cited dozens of cases of children who had committed murders, injuries, and suicides after reading comics. He also portrayed Batman, Robin, and Wonder Woman as closeted gay and lesbian superheroes, a damning accusation in those deeply homophobic times, and ironic, given the fact that Wonder Woman had been created as a positive role model by a fellow psychologist.Much of the slander directed against Gaines and his fellow comic-book publishers was motivated by antisemitism. A Hartford Courant editorial, for instance, referred to comics as "the filthy stream that flows from the gold-plated sewers of New York"--a code phrase for "Jewish businesses." Comic-book burnings became a familiar sight across the country, and some of the so-called "disgusting" literature was seized by police. The attorney general of Massachusetts called for the banning of Gaines' humor comic Panic after it ran a spoof of "A Visit From St. Nicholas" (commonly known by its opening line, "'Twas the Night Before Christmas"), charging that it was actually stirring up a bona fide panic by "desecrating Christmas." New York police seized and quarantined issues of Panic until Gaines went to court and won their release.As the outcry following the publication of Seduction of the Innocent grew, so did the call for government intervention. On April 21, 1954, the Subcommittee to Investigate Juvenile Delinquency of the Committee on the Judiciary opened in Manhattan federal court. Gaines was the only comic-book publisher willing to testify, but due to the effects of a strong cold medicine, his performance on the witness stand was less than stellar. The more Senator Estes Kefauver and his committee grilled the groggy Gaines, the more his speech slurred. "The media jumped on that," says MAD cartoonist Drew Friedman of the televised hearings. "It was so unfair. They portrayed him as some slovenly Jewish pornographer. "Reeling from this debacle, Gaines called an emergency meeting of his fellow comic-book publishers, who agreed with him that immediate action was necessary--but instead of fighting back, they decided to form a self-censoring comics authority. They also voted to ban the words "crime, horror, terror, and weird" from comic books, effectively casting EC as the scapegoat for the entire industry. As most of Gaines' titles contained at least one of these words, he had no choice but to suspend publication of his horror and suspense comics .... By 1955 the only EC publication still in print was MAD, which had dodged the axe through a clever maneuver--Gaines had transformed the comic book into a magazine (issue #24, 25 cents), exempting it from CCA regulations.MAD had been created as a comic book three years earlier by the socially crusading Harvey Kurtzman, who'd written, edited, and helped illustrate the first several issues. Subtitled "Humor in a Jugular Vein" and designed to appeal to both teens and adults, it was the first satirical comic book to address the nation's social ills and challenge its sacred cows. In 1954, for example, MAD #17 attacked Senator Joseph R. McCarthy's televised hearings on Communist infiltration of the U.S. Army with "What's My Shine?," a parody of the TV game show What's My Line?, which had been preempted by the hearings; Kurtzman was deriding the hearings as having as much validity as a Hollywood game show. MAD also gave a wink to Jewish readers with the constant use of Yiddishisms, such as "fershlugginer," "schmaltz," "oy," and "feh" --Kurtzman's way of tossing matzah balls at the white-bread WASPy veneer of his competitors' comics. Explains Al Jaffee: "MAD made fun of pretentiousness; they made fun of the nobleman. Because none of them were noblemen. It's basic irreverence.""

How Jews Transformed the Comic Book Industry. Part II: The Silver Age (1956-1978), (pt. 2)
by Arie Kaplan, Reform Judaism, Winter 2003
"By the mid-'50s, the comic book industry was in a sorry state. Allegations that the genre was promoting juvenile delinquency and illiteracy had "done in" the popular and groundbreaking horror and crime comics, and superheroes were now bland incarnations of their former selves ... Desperate to revitalize sagging sales, DC began to revamp its second-string lineup of superheroes, such as Green Lantern (now test pilot Hal Jordan) and The Flash (aka police scientist Barry Allen). Editor Julius ("Julie") Schwartz, along with writer John Broome (not Jewish) and cartoonist Gil Kane (born Eli Katz), introduced hundreds of new, identically costumed Green Lantern superheroes, each from a different planet, who patrolled the galaxy as part of an interplanetary peacekeeping force. The Green Lantern of Earth, Hal Jordan, was modeled on actor Paul Newman, and the Guardians of the Universe, little blue men who served as masters of the Green Lantern Corps, were designed by Kane to resemble Israeli Prime Minister David Ben-Gurion! Schwartz and his creative team also conceived a makeover for The Flash--a more modern crew cut and a sleeker costume--and Jewish writer Bob Kanigher cranked out more complex stories emphasizing The Flash's character development ... I In 1961, Stan Lee (born Stanley Martin Lieber) was facing a career crisis. After twenty-one years in the business, the comic book writer, editor, and production manager at the Goodman Publishing Company was tired of being perceived as being at "the bottom of the cultural totem pole." He aspired to be "a great writer, someday." It was time, Lee decided, to consider a career change. But before he made his move, his boss Martin Goodman called Lee into his office and ordered him to come up with a new superhero concept that would outperform DC's The Justice League of America (which combined the revamped Flash and Green Lantern with mainstays like Superman, Batman, and Wonder Woman to form a team of superheroes) ... Lee heeded her advice, and what happened next may have saved the comic book industry from extinction. In November 1961, he and Jewish artist/co-creator Jack Kirby unveiled Fantastic Four #1, a crime-fighting series with four heroes who exhibited complex human emotions and often fought with each other, a rarity in the usually chipper, ultra-friendly superhero world... One of their early hits, The Incredible Hulk--a conflicted hero who could not control the rage swirling inside of him--had a metaphorical affinity to the legendary Golem of Prague, a monster who was both a powerful protector and a potential danger to everyone in his path ... Stan Lee was no longer thinking about leaving the comics world. He was too busy thinking up new superheroes--like Spider-Man. ... The next major breakthrough for Marvel came in September 1963, when Lee and Kirby introduced The X-Men--a superhero team of five men and women born with an extra "mutant" gene that endowed each with a different superpower (telepathy, super-strength, flight, and the ability to emit deadly optic blasts) ... By 1975, sales of The X-Men were falling fast. It was time, Marvel execs decided, to revitalize the series. Jewish comics writer Chris Claremont was picked for the job. Claremont decided to rewrite the backstory of The X-Men's saga. "I was trying to figure out what made Magneto tick," says Claremont. "And I thought, what was the most transfiguring event of our century that would tie in the super-concept of The X-Men as persecuted outcasts? It has to be the Holocaust!" Claremont--who'd once lived for two months on a kibbutz in Israel, where he had met Holocaust survivors--eventually cast Magneto as a Holocaust survivor embittered by humanity's silence in the face of Nazi barbarity. He now had a complex villain with a motive ... In Uncanny X-Men #129 (1979) he introduced Katherine "Kitty" Pryde, a young Jewish girl who possessed the mutant ability to walk through walls. Kitty, he says, was modeled after an Israeli teenager wearing a miniskirt and carrying an Uzi whom he'd seen one day while walking down a street in Tel Aviv. An immigrant from England, Claremont understood "what it's like to be different, and what it's like to be Jewish. So that became my window through which I could present The X-Men universe to a broader audience ... In 1970, Jack Kirby (Jacob Kurtzburg) shocked the comic book industry when he defected from Marvel and rejoined rival publisher DC. Simply put, he had felt unappreciated and unacknowledged for the many Marvel characters he'd helped to create ... The Fourth World, says Jewish writer/ cartoonist Jon Bogdanove (Alpha Flight, Power Pack), is, in part, Jack Kirby's commentary on the Holocaust. "You have a 'fuhrer' character, whose name is Darkseid [pronounced Darkside], but the 'seid' is spelled like a German word. And then there's the image of sooty Apokolips, with its open fire pits, which is evocative of the industrialized war machine of Nazi Germany. Armagetto (the slums of Apokolips whose wretchedly impoverished denizens were known as 'Hunger Dogs') was really about the ghettos in Poland and elsewhere. All these people who slave and die for Darkseid are subjected to dispiriting slogans, like 'Work Is Life, Death Is Freedom,' a clear allusion to the Nazi's 'Work Will Make You Free.' ... A more current film series influenced by Kirby's oeuvre is the Matrix trilogy, in which the protagonist Neo journeys to the peaceful city of Zion (safe haven from tyrannical machines which have overtaken the world), much like the peaceful city of Supertown (safe haven from the tyrannical Darkseid) in the Fourth World's Forever People title ... While superhero comics were undergoing a revolution in character development--the happy, friendly characters of the Golden Age having been replaced with conflicted, dark ones--the burgeoning hippie counterculture was producing a new genre of comic books. Starting in 1962, countercultural or alternative newspapers such as Yarrowstalks and the Chicago Mirror began to showcase their own underground comic strips. These often sexually charged, sometimes drug-fueled, always edgy works featured the lives of young, anti-establishment types. If superheroes showed up at all, they were parodies.The new generation of underground comics creators--most of whom had grown up devouring Harvey Kurtzman's MAD and Will Eisner's The Spirit--took root in the Haight-Ashbury section of San Francisco, where Diane Noomin and Trina Robbins, among others, drew cartoons for newspapers like the Berkeley Barb and the San Francisco Oracle; and in New York City, where newspapers like the East Village Other and The Realist featured the works of Jewish cartoonists Art Spiegelman and Sam Gross. The comic strips soon evolved into underground comic books ("comix"), published by such alternative presses as Ron Turner's Last Gasp, Denis Kitchen's Kitchen Sink Press, and Don Donahue's Apex Novelties. Given the books' "adult" content and graphics, they were sold in "head shops" alongside psychedelic posters and drug paraphernalia.The alternative comix world also pioneered the rise of female comic book writers and artists. In 1970, Last Gasp's It Ain't Me, Babe became the first comic book to be published with an all-female editorial and creative staff. One of its popular strips was written by a Jewish woman--Diane Noomin--about DiDi Glitz, a character who parodied the postmodern Jewish American Princess stereotype. Aline Kominsky, the future wife of legendary cartoonist Robert Crumb, soon followed with her own autobiographical underground comic strip, "Love That Bunch," in which she detailed her adventures as a self-proclaimed sex-crazed Jewish neurotic. Trina Robbins, daughter of a Yiddish newspaper journalist, moved the Jewish women's experience into political terrain with her commemoration of the deadly Triangle Shirtwaist Factory Fire, presenting it in comic book form in Lilith, the Jewish feminist magazine.Another comix innovation of the early '70s was the publication of Art Spiegelman's three-page version of "Maus," about his father's Holocaust experience--the villainous Germans depicted as cats and their Jewish victims as mice ... The Splendor of Being an Ordinary American"Serious readers have never, for the most part, looked to comics for good literature because, in fact, there are so few good comics that are well-written" ... By 1972, the underground comix market had gone into a tailspin ... There were a few exceptions--and one of them was American Splendor, the self-published comic book series by Harvey Pekar, a homely Jewish file clerk in Cleveland who imagined that his "everyman" trials and tribulations might have a certain appeal. Impressed by the concept, Pekar's longtime friend, underground comix artist Robert Crumb, made an exception to his policy of drawing only his own work and illustrated many of Pekar's true-to-life tales (Pekar could draw only stick figures)--including when Harvey's wife-to-be announced on their first date that they should forget about the courtship and just get married. ... A milestone in the evolution of the comic book was reached in 1978 with the publication of the first graphic novel: Will Eisner's A Contract With God."

Kings of Comics: How Jews Transformed the Comic Book Industry, (pt.3)
by Arie Kaplan, Reform Judaism, Spring 2004
"Established underground cartoonists such as Robert Crumb still made the occasional appearance, but the spotlight was on newer talent, including Jewish artists Drew Friedman, Ben Katchor, and Mark Newgarden. Typical of RAW's sharp-edged social criticism was Friedman's parody of "The Andy Griffith Show," which depicted how an African American motorist might have been treated had he driven through a real southern town in the 1950s, not the gentle, sanitized "Mayberry" depicted on TV ... In his most recent graphic novel, Fagin the Jew (2003), [Will] Eisner tells the tale of Oliver Twist from the vantage point of Moses Fagin, the leader of a band of thieves in 19th-century England. "Charles Dickens contributed to the stereotyping of Jews," says Eisner. "He referred to Fagin as 'The Jew' throughout [early editions of] the book. I take exception to that." In truth, he asserts in the book's Afterword, "[Dickens] never intended to defame the Jewish people...but he abetted the prejudice against them. Oliver Twist became a staple of juvenile literature, and the stereotype was perpetuated" ... Determined to humanize Fagin, Eisner crafted a backstory for the character, chronicling how a sweet child whose father is killed by antisemitic hoodlums becomes increasingly hardened as he is victimized because of his Jewish and lower-class origins. ("I am Fagin, a member of a dispersed but noble breed!" the protagonist proclaims. "Jews who are often forced by circumstance to survive in the foul frowsy dens and squalid misery of midnight London are not thieves by choice!"). Along the way, Eisner touches on issues of assimilation (Mr. Isaac D'Israeli, a leader of England's Sephardic community, decides to have his children baptized because "as a gentile, my son Benjamin could one day become Prime Minister!") and Jewish pride (young Fagin watches the great Jewish boxer Daniel Mendoza defeat Joe Ward and hears his father exclaim, "Thank God!! Now all England will know that Jews can fight back!"). Eisner also portrays Fagin, hardened criminal that he is, as somehow still retaining the Jewish values and traditions he learned as a child: at the very end of his life, knowing he will soon be hanged before a cheering mob for a crime he did not commit, Fagin reveals to Oliver the secret location of a long-buried locket, knowing that its contents will forever change the boy's life. Kneeling in prayer on a hard pavement, he recites "Shema Yisroel Adonai Elohenu Adonai Echod," and proclaims to Oliver: "I give you a future" ...The cartoonist Joe Kubert (Ragman, Sgt. Rock) also confronted antisemitism in his recent graphic novel Yossel: April 19, 1943, a fictional portrayal of the Warsaw Ghetto Uprising ... What was in the '70s a trickle of openly Jewish superheroes (such as Chris Claremont's X-Men character Shadowcat, aka Kitty Pryde; and Paul Kupperberg's Supergirl villain Blackstarr, aka Rachel Berkowitz) became a flood in the '80s ... Meanwhile, at DC Comics, publisher and writer Paul Levitz decided to fashion a Jewish genealogy for the company's 30th-century superhero Colossal Boy, who in Legion of Superheroes grows to a gigantic size in order to fend off evil. Knowing that Colossal Boy's real name is Gim Allon, a name that reminded him of former Israeli Cabinet member Yigal Allon, Levitz decided to expand Colossal Boy's backstory by making the outsized hero a Jew--and in so doing, Colossal Boy's mother Marthe Allon, the president of Earth, became Jewish as well ... In the '90s, even Superman got into the Jewish act. Comics artist/writer Jon Bogdanove (Man of Steel, Alpha Flight) joined writer Louise Simonson (Power Pack) in crafting a three-part story in the Superman title Man of Steel (issues #80-82, 1998) in which the superhero becomes a Golem who defends the Jews of the Warsaw Ghetto ... Explicit Jewish references in mainstream comics are now the norm."

[Whine, whine, whine! This Judeocentric article is another one that is completely fraudulent. Another Jew points the finger at an entire mass of "anti-Semites," growling: "Muslims must go." Jewish-created political correctness has always dictated that it is categorically immoral to single out any ethnic, religious, racial, etc. group for criticism. But now that they have something to lose in the current Culture War equation, their perspectives are changing. Arabs and Muslims are a growing political mass in the West and they are, to Jewish sensibilities, categorically "anti-Semites," primarily because of Israel's destruction of the Palestinians.
Of course, modern American immigration policy is a direct result of the Jewish Lobby's efforts to flood America with Jewish immigrants (a large part from Russia, who were afforded special immigration status to the U.S. because of -- what else? -- alleged Russian "anti-Semitism") and diffuse the "white Christian" majority with enough "non-white Christian" faces so the Chosen People can always skulk and hustle for world Jewish tribalism and Zionism without undue attention. If now a troubling question (once a taboo) has become popularly kosher (i.e., "Who is screwing up Western civilization?"), we may fairly say that, with a little investigation into the subject with minimal self-censorship, the answer is Jews. Not Muslims. There are plenty of Jewish-inspired blights in America, but among the worst is the Jewish "Russian mafia" that has entered the American mainstream thanks to Jewish lobbying efforts to flood the U.S. with Russian Jews and beef up the Zionist ranks at the heart of the "Superpower." Also, about 300,000 Israelis -- somewhere in the neighborhood of 1 of every 12-13 Jewish Israelis -- live in America, bringing with them the world Zionist mafia. If for Jews it's now kosher to start pointing fingers at ethnic, racial, and religious communities they don't like, then we are fast approaching the day when pointing the Finger at those who deserve it is becoming not only acceptable, but necessary. Our lovely Jewish trasher below is irritated that Mexicans and Palestinians have dual American citizenship. And she has the audacity to ask "why?" Why, Ms. Mercer? Because of Jewish demands, as usual, configured to benefit Jewish, Israeli, and Zionist interests. The origin of dual American (and other) citizenship is an American Jew who moved to Israel and voted there in the 1960s. The guy filed suit (Efroyin v. Rusk) when the American government tried to cancel his American citizenship (he moved to Israel, after all) and on May 29, 1967 the United States Supreme Court "ruled that Congress did not have the power to pass laws depriving Americans of their nationality without their consent.' [ISAACS, p. 6] "The Israeli government quickly revised its immigration laws to enable Americans to 'back into' Israeli citizenship without having to give up their American rights.' [UROFSKY, M., 1978, p. 362] On the other hand, in 1987 the U.S. State Department repeatedly protested "discrimination" in Israeli passport policy, especially "the confiscation of passports and other restrictions on American citizens of Palestinian Arab origin when they arrive in Israel.' [JEWISH WEEK, 5-22-87]
Result of all this? An American-born citizen can't have two state driver's licenses but a Jew can, if he/she wishes, have passports to TWO different nations.
And as the Jewish Week noted in 1988, "thousands of immigrants from the United States [living in Israel], holding dual United States-Israeli citizenships, are voting in two elections this month. As Americans they will have a say in the November 8 presidential elections; as Israelis, they voted November 1 for prime minister. On domestic issues in the United States they may be poorly informed, but when it comes to Israel and the Middle East, they know better than most American Jews." [REBIBO, p. 7]
The Jewish author below declares that Jews are at risk. Jews at risk? Jews are always at risk, because of their own blindness, arrogrant chutzpah, endemic two-faced hypocrisy, and incessant tribal fetishism.
Muslim Immigration Time Bomb Ignored by American Jews ,
by Ilana Mercer, VDare, November 13, 2004
"It was the most crucial question in the American election, yet it remained largely unspoken. It is the issue that will decide whether American values and institutions endure, yet Messrs Bush and Kerry did not see fit to debate it. Unfortunately, it’s a debate American Jews can put off no longer—although it’s too late for their European, British, and Canadian brethren ... "[T]he stock of Abraham," which has flourished in the New World, producing uniquely entrepreneurial, creative, and philanthropic citizens, is now threatened by what it perversely promotes: mass immigration—in particular, immigration from Muslim countries. The history of immigration to the U.S. is very different from the misty myths that surround it. Before 1965, immigration occurred in manageable ebbs and flows, ensuring the new arrivals were thoroughly assimilated and integrated. Multiculturalism was unheard of. But in 1965, with no real debate or voter participation, the U.S. Congress replaced the national-origin immigration criterion (which ensured newcomers reinforced the historical majority) with a multicultural, all-nations-are equal quota system, which effectively resulted in an emphasis on mass importation of people from the Third World. The new influx was no longer expected to acculturate to liberal democratic Judeo-Christian traditions ... Stephen Steinlight of the Center for Immigration Studies—in High Noon to Midnight: Does Current Immigration Policy Doom American Jewry— courageously (for it runs counter to the views of most of his fellow American Jews) highlights the bizarre situation where entire villages from rural Mexico—and on the West Bank in Israel—have U.S. citizenship. Why? One member qualifies and then brings in the entire town. Jews don’t benefit in the least from open-door immigration, having long since settled in the US, Israel, and other First World countries. But the Jewish community has continued to generously support this unsustainable policy. Why the totemic attachment? ... The Jewish immigrant experience, however, is better compared to that of refugees or asylum seekers. Like Steinlight’s father, my grandfather fled the Latvian town of Riga after the pogroms that followed the Bolshevik Revolution. Grandfather Jack, RIP, settled in South Africa, where Jews thrived until the recent ascendancy of the pro-PLO and pro-Islamist ANC. Our forefathers typified the Jewish immigrant experience in that they assimilated entirely, becoming productive, loyal citizens. Unlike today’s immigrants, they were not encouraged by self-serving politicians and identity-politics activists to cling to a militant distinctiveness. In Canada, Muslims now greatly outnumber Jews. What remains of a European Jewry devastated by the Holocaust comes under daily assaults and threats, mostly from the 20-million strong Muslim community. American Jewry is next. Second only to another immigrant constituency—Latinos—the relatively new (roughly 30-year-old) Muslim community is the most anti-Semitic community in the U.S. But its exponential growth through immigration has failed to alarm Jewish leaders. Listening to them, you would think that the chief dangers to Jewish continuity are marauding Mormons (their sin is converting dead Jews) or Mel Gibson, whose movie The Passion of the Christ, they predicted, would unleash "pogroms in Pittsburgh." ... As Steinlight writes:

"It is virtually impossible to be reared in classical Islam and not be educated to hate Jews—based on a literalist reading of the Koran, where many of the Suras concerning Jews are monstrously hateful, murderous, terrifying, as well as the literature of the Sunnah. These texts also regard Jews as a spiritually fraudulent entity—all the prophets and great figures of the Hebrew Bible, according to Islamic teaching, were Muslims, not Jews … With the exception of a tiny group of courageous American Muslims…who have spoken out and condemned … anti-Semitism, the ‘Muslim Street’ in the U.S. has yet to show its disapproval of this philosophical and political agenda." High Noon to Midnight

Thanks to mass immigration—and the $5 billion spent annually by the Saudi regime—Wahabi mosques that preach "one of the most extreme, violent, atavistic, anti-Western forms of Islam" operate throughout Western Europe, including Britain. And they are spreading rapidly in the U.S.To be fair, Jewish organizations are tracking this menace. But they have not yet discharged their duty by joining America’s equally endangered cultural majority in the fight to forestall the lemmings’ lunatic fate that is our current mass immigration policy."

[By the way, this article above cites Stephen Steinlight and then has the audacity to claim, in the same breath, that Jews have "assimilated [in America] entirely." Oh, please! Give me a break! Here's what Steinlight wrote three years ago about the subject of Jewish "complete assimilation" into America, which is typically a primal loyalty to apartheid Israel:]
The Jewish Stake in America's Changing Demography, by Stephen Steinlight, formerly Director of National Affairs at the American Jewish Committee, Center for Immigration Studies, October 2001
"We cannot consider the inevitable consequences of current [immigration] trends -- not the least among them diminished Jewish political power -- with detachment ... We Jews need to be especially sensitive to the multinational model this crowd (many of them Jewish) is promoting. Why? Because one person’s 'celebration' of his own diversity, foreign ties, and the maintenance of cultural and religious traditions that set him apart is another’s balkanizing identity politics. We are not immune from the reality of multiple identities or the charge of divided loyalties, a classic staple of anti-Semitism, and we must recognize that our own patterns are easily assailed, and we need to find ways of defending them more effectively as the debate goes on. Much public opinion survey research undertaken in recent years continues to indicate that large numbers of Americans, particularly people of color, assert that Jews are more loyal to Israel than the United States. For Jews, it is at best hypocritical, and, worse, an example of an utter lack of self-awareness, not to recognize that we are up to our necks in this problem. This has been especially true once we were sufficiently accepted in the United States to feel confident enough to go public with our own identity politics. But this newfound confidence carries its own costs; people are observing us closely, and what they see in our behavior is not always distinct from what we loudly decry in others. One has to be amused, even amazed, when colleagues in the organized Jewish world wring their hands about black nationalism, Afrocentrism, or with cultural separatism in general — without considering Jewish behavioral parallels. Where has our vaunted Jewish self-awareness flown? I’ll confess it, at least: like thousands of other typical Jewish kids of my generation, I was reared as a Jewish nationalist, even a quasi-separatist. Every summer for two months for 10 formative years during my childhood and adolescence I attended Jewish summer camp. There, each morning, I saluted a foreign flag, dressed in a uniform reflecting its colors, sang a foreign national anthem, learned a foreign language, learned foreign folk songs and dances, and was taught that Israel was the true homeland. Emigration to Israel was considered the highest virtue, and, like many other Jewish teens of my generation, I spent two summers working in Israel on a collective farm while I contemplated that possibility. More tacitly and subconsciously, I was taught the superiority of my people to the gentiles who had oppressed us. We were taught to view non-Jews as untrustworthy outsiders, people from whom sudden gusts of hatred might be anticipated, people less sensitive, intelligent, and moral than ourselves. We were also taught that the lesson of our dark history is that we could rely on no one."

Isaac Mizrahi Unveils Fashion Forward Doggy Adoption Vest,
Yahoo! News, November 17, 2004
"Animal Care & Control (AC&C), New York's largest pet rescue organization, and Biscuits & Bath, the leading provider of dog care services to New York's dogs and their parents, have joined forces to launch a new dog adoption program to help AC&C achieve its five year goal to end pet euthanasia. A launch party celebration of the new adoption program will feature fashion designer Isaac Mizrahi, who adopted his dog from Biscuits & Bath. Mizrahi will unveil a colored rendering of the new doggy adoption vests on Wednesday, November 17th at Biscuits & Bath's Upper East Side Doggy Gym Location, 1535 First Avenue (80th St.) from 6:00 PM to 9:00 PM. The adoption dogs will wear the trendiest vests designed by Isaac Mizrahi with a "Bow-wow-Bow" inspiration. The pink mesh jackets feature a grosgrain bow at the neck and will be worn by adoptable dogs as they take their daily walks to attract the attention of NYC residents looking for that special someone to share their life with."

Famed Paris cafe awards literary prize to US writer,
Yahoo! News, November 18, 2004
"Le Cafe de Flore, the famous Paris hangout once frequented by the likes of Jean-Paul Sartre and Ernest Hemingway, has awarded its annual literary prize to a gay US novelist for his story about a homosexual tryst in Romania. Bruce Benderson, a New York-based writer, won the Prix de Flore -- and its 6,100-euro (7,900-dollar) purse -- for "Autobiographie Erotique", a book that so far has been published only in France, the jury said Thursday. It presents a fictionalised account of a nine-month relationship the author had in Romania and his experiences in that country, interwoven with various historical figures and references. Benderson, who has two previous novels to his name, also works as a translator for prominent French writers and as a literature lecturer in US universities."

[Older article for context to the one above: "Are you a Jewish homosexual?" That's a fair question for any celebrity to ask of his/her interviewer right away, for the Jewish/gay paradigm is a fairly common skewing through which the interviewee will be stuffed in today's mass media -- certainly in the arts.]
A rightwing ideologue in Bohemian clothing,
by Bruce Benderson, Shout magazine, June/July 2002
"I really want to hate you, Vincent Gallo. You're an uncontrolled ranter who spits out right-wing ideology. You use words like spic, dyke, Jew and commie in interviews. As a matter of fact, a journalist told me not to talk to you in person. He claimed you'd once punched an interviewer. Rumor has it that Anjelica Huston, your co-star in Buffalo 66, isn't even speaking to you. Still, I can't stop thinking about that scene in Buffalo 66, where you curl into a fetal position and nestle your head against Christina Ricci's belly. Instinct tells me there's a more vulnerable Vincent hiding in there. Every time I think I hate you, I start looking for him. UNRAVELING THE COMPLEX PERSONALITY KNOW AS VINCENT GALLO ISN'T EASY ... But most of Gallo's fans probably also don't know that he's a Ronald Regan-loving, full-blooded right-wing reactionary ... He's an ex Calvin Klein model with brains, a visceral actor who quit acting lessons on his first day, a sinister-looking though with the face of Rasputin and the sweet voice of a boy, an alleged womanizer who wants to find that special woman, and a downtown bohemian with right-wing views and a love for Patrik Buchanan ... BEFORE I CALLED HIM TO INTERVIEW HIM IN LOS ANGELES, WHERE HE'S preparing for his new film, Brown Bunny, I did some legwork. I read dozens of articles in magazines and on the internet in which he trashed commercial films, skewered Christina Ricci for doing more publicity on The Opposite of Sex than on his film, comically put his parents on trial or lambasted bilingual education and the pro-choice movement. To my surprise, when I wasn't wincing with distaste, I suddenly found myself thinking, "Vincent, you're kind of cool." I may be a queer anarchist and he may make Mussolini seem liberal, but we had a lot in common. For one thing, we both love Pasolini and the 80s films of Eric Mitchell for which he wrote a musical score. We both mourn the loss of a once-creative Manhattan. Both of us were fans of the punk band James White and the Blacks in 1980. We both spit flames when we contemplate the trend of normalcy in gay culture today, and neither of us can hack lesbian rage. A love-hate conflict about Vincent Gallo was brewing inside me, even before we spoke. "ARE YOU A JEWISH HOMOSEXUAL? WELL, ARE YOU?" THE QUESTION came up ten seconds after he answered the phone. I hadn't even asked my first interview question. Meekly I answered, "Uh, yeah." "I would've made one of the greatest gays of all time!" he boomed. So I one-upped him. "I heard you used to hustle in Times Square." "I did all my go-go dancing in Times Square," he answered matter-of-factly, "but all my hustling on 53rd Street." He was referring to his lean-and-hungry years when he came to New York at the age of sixteen, and was living out of his car, break-dancing and, later, playing in a band with Jean-Michel Basquiat. He was also referring to the time I used to frequent those same streets, picking up hustlers. "Sorry I missed you," I quipped. "Think what this interview would have been like if I'd tricked with you back then." He just chuckled. ... And I thought I could "crack" him before our conversation was over. "Come on, Vincent," I kibbutzed. "This right-wing crap has got to be a pose. Haven't you noticed all the rents soar sky-high when there's a conservative regime in power?" "Most Jewish people I've known are Democrats," said Vincent imperturbably. "They're the only people who've ever raised my rent." "Aren't you part Jewish, Vincent?" I was out for blood. A strange pause, then a hearty cackle. "What a frightening thought! Actually, a lot of people have accused me of having the Jew gene." "Don't you know Gallo is often a Jewish-Italian name?" I insisted, still hopping to press some buttons. But all he said was, "Buffalo had some of the greatest Jews I've ever known." We were getting nowhere fast, so Vincent decided to take another track. "You know," he grumbled, "when I'm reading James Madison, he speaks for me. I don't feel disenfranchised."

[History, especially in film, is completely malleable. History is, by definition, whatever those in power decree it to be. So, um, Mr. Stone, you who have had the moral shallowness to be funded for some of your projects by controversial Israeli producer Arnon Milchan. Perhaps it's time to select a prominent old rabbi, preferably some sort of Jewish hero, and do a major motion picture depicting him as a child molester. Or how about Moses? Abraham? Even Ariel Sharon.]
Angry Greeks Deny Alexander the Great Was Bisexual,
By Karolos Grohmann, Yahoo! News, November 19, 2004
"A group of Greek lawyers are threatening to sue Warner Bros. film studios and Oliver Stone, director of the widely anticipated film "Alexander," for suggesting Alexander the Great was bisexual. The lawyers have already sent an extrajudicial note to the studio and director demanding they include a reference in the title credits saying his movie is a fictional tale and not based on official documents of the life of the Macedonian ruler. "We are not saying that we are against gays but we are saying that the production company should make it clear to the audience that this film is pure fiction and not a true depiction of the life of Alexander," Yannis Varnakos, who spearheads the campaign by 25 lawyers, told Reuters on Friday. Stone was quoted on the MSNBC.com Web Site as telling the upcoming edition of Playboy magazine that the film's depiction of Alexander could offend some. "We go into his bisexuality. It may offend some people, but sexuality in those days was a different thing," he was quoted as saying ... "We have not seen the film but from the information we have already there are references to his alleged homosexuality, a fact that is in no historical document or archive on Alexander," [Varnakos] said. "Either they make it clear that this is a work of fiction or we will take the case further." This is not the first time Greeks have been angered by suggestions Alexander was homosexual and had affairs with young men. Two years ago hundreds of northern Greeks from the province of Macedonia, where he was born, stormed an archeological symposium after one speaker presented a paper on the homosexuality of Alexander. Police were called in to evacuate the participants ... "We cannot come out and say that (former U.S.) President John F. Kennedy was a shooting guard for the Los Angeles Lakers basketball team and so Warner cannot come out and say Alexander was gay," Varnakos said."

[See later article about 15 Greek lawyers suing to underscore that this film isn't reflective of authentic history, but merely Oliver Stone's homosexual fiction.]
FULL-FRONTAL FARRELL,
By LOU LUMENICK, New York Post, November 9, 2004 "Actor Colin Farrell's manhood - which made headlines when it was excised from another film earlier this year - finally turns up in a full-monty scene in Oliver Stone's "Alexander," opening Nov. 23. Journalists who attended the sword-and-sandals epic's press junket over the weekend in Los Angeles report that there's a brief full-frontal glimpse of Farrell in a scene depicting the Macedonian emperor's wedding night with his wife, Roxane, played by Rosario Dawson. "It's nothing to be ashamed of," said one male scribe of the Irish actor's flaccid appendage, "but people weren't gasping at it, either." Audience members of both sexes reportedly cheered the member's appearance in "A Home at the End of the World," prompting producers to cut the scene as too distracting - it hasn't even surfaced in deleted scenes in the film's recent DVD release. As in the earlier film, Farrell plays a bisexual character in "Alexander," but there are no steamy man-on-man scenes with Alexander's lover, Hephaestion, early audiences say. "It's clear from context and the way they look at each other that he's the love of Alexander's life," said one journalist. "But while they share a few hugs, there's no sex or even a single kiss." Alexander does kiss an effeminate-looking male servant full on the mouth while dancing in front of his troops."

Was Einstein a Plagiarist?
by Lucy Sherriff, The Register (UK), November 15, 2004
"A theoretical physicist at the University of Nevada has published a paper alleging that Einstein did not derive the gravitational field equations at the heart of the General Theory of Relativity, and might in fact have copied key equations from fellow physicist David Hilbert. The two scientists were working in the same area in 1915, and were developing their theories independently but concurrently. Each submitted papers for publication throughout November of that year. The two were also corresponding about their research, making it hard to unravel exactly who knew what, and when. As a consequence the question of which researcher can claim priority has been the subject of some debate. Prof. Friedwardt Winterberg says that contrary to the conclusions in a paper published in Science in 1997, Einstein did have the opportunity to plagiarise Hilbert's work. He claims that printer's proofs of Hilbert's paper have been tampered with, and that a key part of the derivation had been excised."

[[JTR contributor's comment: "The Amercian Conservative book review by Paul Gottfried, "Bourgeois Radical", fails to mention that "The Authoritarian Personality" was a study sponsored by the American Jewish Committee. He makes it sound as if Adorno and Horkheimer just wrote it on a whim."]
Bourgeois Radical,
by Paul Gottfried, American Conservative, December 6, 2004
"Lorenz Jäger’s biography of Theodor Adorno (1903-1969) is a useful study of an unpleasant but influential figure. From the 1920s until his death, Adorno was the prime mover behind the aggregation of cultural and social iconoclasts known as the Frankfurt School. Together with his more down-to-earth co-organizer Max Horkheimer, who contributed family wealth to their enterprise, Adorno took his socially radical think tank, the Institute for Social Research, in 1934 from its interwar home in Frankfurt to New York and later Los Angeles. In 1949, at the urging of Horkheimer, who was then rector at the University of Frankfurt, he returned to his native city to resume their research activities uncovering the bourgeois sources of “fascist” and “pseudo-democratic” pathologies. During their American wartime stay, the two friends also collaborated in the compilation of a bulky anthology of disquisitions dealing with the allegedly fascist mentality of the American population. This work, The Authoritarian Personality (1950), had far-ranging consequences for American educators and social reformers despite its turgid and preachy prose and the dubious proofs extracted by the authors from primitive interview techniques ... Despite having a Jewish father—whose name, Wiesengrund, he exchanged for his mother’s maiden name, Adorno—it is hard to find evidence of the writer’s exposure to anti-Jewish discrimination before suffering dismissal as a university instructor by the Nazis. Adorno was raised in a wealthy home as a Catholic and during his youth was deeply drawn to the religion of his French mother. Despite a professional setback under the Nazis, he was not personally harmed and freely left and then returned to Germany before deciding to immigrate to the United States. This fact should be duly noted in view of the unceasing references in Adorno’s work, and in that of his colleagues and disciples, to an omnipresent Nazi danger, which they imagined to be well established in the United States ... What has been called “cultural Marxism” (inaccurately, given its lack of Marxist substance), and which flourishes in Europe and to a lesser extent here as political correctness, would be unthinkable without Adorno and the Frankfurt School. Thanks largely, albeit not exclusively, to their activities, bourgeois normality, belief in God, and patriotism have come to be linked in academic culture and among social reformers to a slippery slope leading to fascism. Marxism, which had previously been primarily concerned with economic revolution, was transformed through Frankfurt School guidance into an unrelenting war against patriarchy, Christianity, and traditional community. By means of their translated writings and the infusion of their attitudes and grievances into American professional psychology in the 1930s and into pop social science thereafter, Adorno and his circle made themselves dramatically felt in the New World."

Marc Cherry, Desperate Housewive's gay creator, holds court,
Queer Day, November 8, 2004
"Marc Cherry, the gay creator of ABC's hit television series "Desperate Housewives," was busy holding court at the Los Angeles Gay and Lesbian Center's 33rd Anniversary Gala. Cherry said, "It's wonderful to have a hit. I haven’t had a hit since The Golden Girls, and that credit was starting to get a little old." Apparently he's so busy he hasn't even had time to enjoy the success. "Every once in a while I lift my head up and they tell me the show is doing great," he said with a laugh. "And I go, 'Great! Maybe soon I’ll get to appreciate it!'"

["Without ... honest self-appraisal, Jews will become more and more disliked -- not by crazed individuals but by decent Americans distressed over their rapidly deteriorating culture and the role of Jews in that agenda. It cannot escape the notice of ordinary Americans coping with the challenge of raising responsible children in a hostile world that many Jewish names and group lead the fight for policies these Americans see as causing the country's decline." -- Rabbi Daniel Lapin, America's Real War, 1999, p. 42]
Boycotts and catty girls,
by Brent Bozell, Townhall, October 22, 2004
"Television advertisers not only sell their brand by advertising, they make television itself possible. Absent the pay-per-view formulation of the likes of HBO, or taxpayer-funded PBS, anything viewed on television, both broadcast and cable, requires corporate sponsorship. It follows, then, that these advertisers bear direct responsibility for the double-scoops of raunchy sex, obscene language and graphic violence that are flooding the airwaves, oftentimes aimed directly at children, children whose parents are then expected to purchase their wares at K-Mart. Here and there one will find the more idealistic advertiser that is troubled by the polluted popular culture it is not just subsidizing, but promoting. It's gratifying to learn that companies here and there will withdraw their sponsorship -- sometimes quite publicly -- when they see the awful content they are buying. Sad to say: When these responsible corporations do withdraw their support, often their money is immediately replaced, and the message of dissent nullified, by other businesses that often eagerly take their place on the latest fashionable bandwagon of sludge. It's happening right now with the hottest new TV hit, ABC's Sunday night soap opera "Desperate Housewives." After a few over-the-top episodes, Lowe's Home Improvement and Tyson Foods stepped off the sleazy-go-round. Tyson found the show was "not consistent with our core values," and Lowe's said their ad guidelines include avoiding "programming with gratuitous sex and violence." Lowe's even admitted apologetically the show "fell through the cracks in terms of being evaluated." Good for them. But what happened next? News reports revealed that thanks to boffo ratings, ABC doubled the ad rate it charges for 30 seconds from $156,000 to $300,000, and other advertisers are lining up to sponsor the program. K-Mart, Maybelline, Carnival Cruises, Aquafresh toothpaste and 1-800-Flowers.com are some of the corporations eager to underwrite this slimy program. "Desperate Housewives" really should have an even more obvious title, like "Cynical Suburban Sluts." It's just the latest in a long series of shows that aims to pulverize the cartoonish 1950s black-and-white stereotype of "Leave It to Beaver," creating in its ancient wake a catty, snarky, amoral cesspool. The program premiered with the desperate-housewife narrator shooting herself in the head. Soon, we flash back to see the narrator sitting around with the other leading housewife characters, cracking wise at the awful husbands they married. "It's like my grandmother always said, 'An erect penis doesn't have a conscience.'" Another housewife replies: "Even the limp ones aren't that ethical." Bree, the scary Martha Stewart wannabe character, insists, "This is half the reason I joined the NRA," so that when her husband went out of town for conferences, "I wanted it in the back of his mind that he had a loving wife at home with a loaded Smith & Wesson." There, within a few brief minutes, is the tone of the whole trashy enterprise. Love and marriage aren't real, just Potemkin villages people hide behind. Children aren't a source of joy and pride, just an aching sore of need. Men are thoughtless cads. How proud of this are you, Maybelline? These wives and mothers hate their lives. "Ease up, you little vampire," says one as she breast-feeds. Her older boys are so nasty they run over ladies with shopping carts. The divorced housewife tells her 12-year-old daughter, "Tell me again why I fought for custody of you?" The girl says, "You were using me to hurt Dad." Mom kisses her on the forehead: "Oh, that's right." Maybe the daughter should buy her some roses at 1-800 Flowers.com. The things they do to their husbands are even worse. One is cheating on her husband with the 17-year-old gardener. Scary Bree accidentally gives onions to her onion-allergic husband Rex. He said, "I can't believe you tried to kill me." She casually replies, "Yes, well, I feel badly about that." In another show, as the assembly of still-married neighbors is racily sharing laughs over their sexual adventures, Bree brings the party to a dead stop by saying: "Rex cries after he ejaculates." Let no one say this show isn't lewd and crude. It's capturing both soap-loving women and men who like the nudity and sex scenes, and if this is what it takes to capture an audience, Carnival Cruises will pay for it. The advertisers are happy -- everyone from Pontiac and L'Oreal to, how appropriate, the anti-depression drug Wellbutrin -- and so what if the culture rots. This show's writers might think they're not moralizers, but they are. The moral of this story is: Life's too short and love's too fake to behave with honor."

[If Albanians ran Hollywood there would still be so many films about the Holocaust and the Nazis? Even the Jewish interviewer can't believe Roth's denial. "Jewish outlook," indeed.]
Roth’s ‘Kranky’ Little X-Mas,
by Tom Tugend, Jewish Journal of Greater Los Angeles, November 26, 2004
"Tom Lehrer once noted that there were no American pop Chanukah tunes because Jewish composers were busy writing the nation’s sentimental Christmas and Easter favorites. The observation came to mind when we talked to Joe Roth, about his movie “Christmas With the Kranks,” which opened Nov. 24. Mr. and Mrs. Krank (Tim Allen and Jamie Lee Curtis) live on Hemlock Street, famed for its great annual Yuletide decorations. So when the empty-nester Kranks decide to skip the tradition and head for some balmy Caribbean island instead, the neighbors rise in indignation. Roth, head of Revolution Studio and former chairman of the Walt Disney and 20th Century Fox studios, selected and directed the movie, based on the John Grisham novel, “Skipping Christmas.” He is also one of Hollywood’s more prominent Jews, who was recently honored by the American Jewish Committee. The first time he was in the news was as a 10-year-old boy whose parents sued his Long Island public school for requiring Joe and his brother to recite the daily prayer prescribed by the state Board of Regents. “It was a traumatic experience,” Roth said. “We were ostracized and someone burned a cross on our lawn.” However, the Christmas film, he maintained, has really nothing to do with religion ... Roth said the large Jewish presence in Hollywood makes little difference in what movies are made or how they’re presented ... Then what accounts for the large number of movies dealing with the Holocaust and the Nazi era, his interviewer persisted. Would they be produced if most of Hollywood’s decision makers were, say, Albanians? “I think they would,” Roth responded, “because they are simply compelling stories.” Yet, Roth draws one line. “I would never make a movie with the least hint of anti-Semitism,” he said. “The fact that I grew up in a Jewish home informs my entire outlook.”

Understanding Jewish Influence III: Neoconservatism as a Jewish Movement,
by Kevin MacDonald, Occidental Quarterly, Volume 4, Number 2
"Over the last year, there has been a torrent of articles on neoconservatism raising (usually implicitly) some difficult issues: Are neoconservatives different from other conservatives? Is neoconservatism a Jewish movement? Is it “anti-Semitic” to say so? The thesis presented here is that neoconservatism is indeed a Jewish intellectual and political movement. This paper is the final installment in a three-part series on Jewish activism and reflects many of the themes of the first two articles. The first paper in this series focused on the traits of ethnocentrism, intelligence, psychological intensity, and aggressiveness. These traits will be apparent here as well. The ethnocentrism of the neocons has enabled them to create highly organized, cohesive, and effective ethnic networks. Neoconservatives have also exhibited the high intelligence necessary for attaining eminence in the academic world, in the elite media and think tanks, and at the highest levels of government. They have aggressively pursued their goals, not only in purging more traditional conservatives from their positions of power and influence, but also in reorienting US foreign policy in the direction of hegemony and empire. Neoconservatism also illustrates the central theme of the second article in this series: In alliance with virtually the entire organized American Jewish community, neoconservatism is a vanguard Jewish movement with close ties to the most extreme nationalistic, aggressive, racialist and religiously fanatic elements within Israel. Neoconservatism also reflects many of the characteristics of Jewish intellectual movements studied in my book, The Culture of Critique3 ... Conclusion The current situation in the United States is really an awesome display of Jewish power and influence. People who are very strongly identified as Jews maintain close ties to Israeli politicians and military figures and to Jewish activist organizations and pro-Israeli lobbying groups while occupying influential policy-making positions in the defense and foreign policy establishment. These same people, as well as a chorus of other prominent Jews, have routine access to the most prestigious media outlets in the United States. People who criticize Israel are routinely vilified and subjected to professional abuse. Perhaps the most telling feature of this entire state of affairs is the surreal fact that in this entire discourse Jewish identity is not mentioned. When Charles Krauthammer, Bill Kristol, Michael Rubin, William Safire, Robert Satloff, or the legions of other prominent media figures write their reflexively pro-Israel pieces in the New York Times, the Wall Street Journal, or the Los Angeles Times, or opine on the Fox News Network, there is never any mention that they are Jewish Americans who have an intense ethnic interest in Israel. When Richard Perle authors a report for an Israeli think tank; is on the board of directors of an Israeli newspaper; maintains close personal ties with prominent Israelis, especially those associated with the Likud Party; has worked for an Israeli defense company; and, according to credible reports, was discovered by the FBI passing classified information to Israel—when, despite all of this, he is a central figure in the network of those pushing for wars to rearrange the entire politics of the Middle East in Israel’s favor, and with nary a soul having the courage to mention the obvious overriding Jewish loyalty apparent in Perle’s actions, that is indeed a breathtaking display of power. One must contemplate the fact that American Jews have managed to maintain unquestioned support for Israel over the last thirty-seven years, despite Israel’s seizing land and engaging in a brutal suppression of the Palestinians in the occupied territories—an occupation that will most likely end with expulsion or complete subjugation, degradation, and apartheid. During the same period Jewish organizations in America have been a principal force—in my view the main force—for transforming America into a state dedicated to suppressing ethnic identification among Europeans, for encouraging massive multiethnic immigration into the U.S., and for erecting a legal system and cultural ideology that is obsessively sensitive to the complaints and interests of non-European ethnic minorities—the culture of the Holocaust. All this is done without a whisper of double standards in the aboveground media. I have also provided a small glimpse of the incredible array of Jewish pro-Israel activist organizations, their funding, their access to the media, and their power over the political process. Taken as a whole, neoconservatism is an excellent illustration of the key traits behind the success of Jewish activism: ethnocentrism, intelligence and wealth, psychological intensity, and aggressiveness. Now imagine a similar level of organization, commitment, and funding directed toward changing the U.S. immigration system put into law in 1924 and 1952, or inaugurating the revolution in civil rights, or the post-1965 countercultural revolution: In the case of the immigration laws we see the same use of prominent non-Jews to attain Jewish goals, the same access to the major media, and the same ability to have a decisive influence on the political process by establishing lobbying organizations, recruiting non-Jews as important players, funneling financial and media support to political candidates who agree with their point of view, and providing effective leadership in government. Given this state of affairs, one can easily see how Jews, despite being a tiny minority of the U.S. population, have been able to transform the country to serve their interests. It’s a story that has been played out many times in Western history, but the possible effects now seem enormous, not only for Europeans but literally for everyone on the planet, as Israel and its hegemonic ally restructure the politics of the world. History also suggests that anti-Jewish reactions develop as Jews increase their control over other peoples. As always, it will be fascinating to observe the dénouement."

[Wherever there's a buck to be made ...]
Kurt S. Adler, 83, Importer Who Created a Santa's World, Dies,
by Jennifer Bayot, New York Times, December 4, 2004
"Kurt S. Adler, who helped change the look of Christmas décor as a major importer of handcrafted ornaments and convincing artificial trees, died on Nov. 25 at his home in Manhattan. He was 83 ... Mr. Adler, whose products are often sold under the brand name Santa's World, helped restore a European sensibility to Christmas decorations after World War II, when glass balls and other adornments from Germany were boycotted. A Jewish refugee from Hitler's Germany who did not celebrate Christmas, Mr. Adler recognized the holiday's commercial potential after importing hand-carved angels from his native Bavaria. He began providing American retailers with elaborate European snow globes and figurines that often became collectibles. In the 1950's, he began selling artificial trees from Nuremberg that looked so real a fire marshal demanded that he remove them from his Broadway showroom. In the late 1960's, he was among the first to sell strands of miniature lights from Italy. He later helped start a trend by featuring images licensed from Walt Disney, Warner Brothers and even the Vatican Library. Now run by his four children, his company, Kurt S. Adler Inc./Santa's World, offers more than 20,000 knickknacks for Christmas, Halloween, Easter, Thanksgiving and, most recently, Hanukkah."

Jerry Rubin: Activist changed his rap,
by Barry Horstman, Cincinnati Post, May 4, 1999
"The man famous for saying ''Don't trust anyone over 30'' became - to use another phrase he popularized in his youth - a capitalist pig in his 40s. He went from being a hippie to a yippie and finally a yuppie, trading his Che beret and anti-establishment tirades for short hair, a suit and Wall Street. But Jerry Rubin insisted he hadn't sold out to the Man, man. ''I would be copping out if I stayed in the myth of the '60s,'' Rubin said two decades later. So, when he changed his rap from ''Money is violence'' to ''Money is power,'' he said this radical transformation reflected growth, not inconsistency. ''Some of the greatest social reformers of our time,'' he added, ''were wealthy.'' A clean-cut, bow-tied Walnut Hills High graduate of the '50s, Rubin was one of the New Left's most audacious figures during the tumultuous '60s - when his wild-haired, shirt-less protests, counterculture rhetoric and starring role in the 4 1/2-month national soap opera known as the Chicago Seven kept him at the core of the decade's social and political maelstrom ... Left with a 13-year-old brother to bring up, Rubin discarded his journalistic ambitions - having concluded reporters are ''too much the observer'' - and took his sibling to Israel, where he studied sociology. By 1962, he was back in the States, turning up at Berkeley to join the embryonic Free Speech Movement, the wellspring of much of the activism of the '60s. A rousing orator who once took a Dale Carnegie public-speaking course, Rubin emerged as a leader of the Bay Area's fledgling hippie and anti-war movements. He led protesters onto rail tracks in failed attempts to block trains carrying troops to Oakland en route to Vietnam, prodded college students to shut down their ''voluntary prisons'' and even ran for mayor of Berkeley - finishing second. Masterfully manipulating the media, Rubin used ever more outrageous rhetoric and pranks to become a national poster boy for the often surrealistic '60s. To disrupt the 1968 Democratic National Convention in Chicago, Rubin and fellow radicals Abbie Hoffman and Paul Krassner formed the Youth International Party - Yippies. With the help of the viciously aggressive Chicago police, they succeeded beyond all expectations ... In the late 1970s, he indulged in most of the Me Decade's nostrums, turning to yoga, rolfing, est, meditation and massage to get in touch with his inner feelings. By the '80s, he had decided that what he really wanted to get in touch with was money. He became a Wall Street marketing analyst and venture capitalist, using one of his specialities - hosting weekly ''networking salons'' at New York City's famed disco, Studio 54 - to earn nearly $600,000 one year from people who paid $8 a head to swap business cards. It was quite a change for someone who once tossed dollar bills from the visitors gallery at the New York Stock Exchange to display contempt for America's economic system. ' ... In the early 1990s, Rubin - in his 50s, married and with a young daughter - moved to Los Angeles as an independent marketer for a company that sold a nutritional drink called Wow."