Jews and Hollywood

Jeff Gates Revisited: Deception at the Oscars

It was like meeting an old friend after a long absence. I’ve been listening to this top-notch radio interview show for about a year now, going back further and further into their archives for new interviews. Lo and behold, I found one from Feb. 2015 that featured the author of one of my favorite books!

First, I was elated that the author is still focusing on the same topic. Second, I learned that a new book on this topic is in the offing. Trust me, this is reason for celebration for the Occidental Observer crowd.

GuiltIn early 2009, I ran across the book Guilt by Association: How Deception and Self-Deceit Took America to War. The author of this 2008 book is Jeff Gates, and he’s a fascinating  — and very rare — Washington insider, because he is heavily on page with respect to Jewish issues.

I wrote a review of the book seven years ago here and followed it up with a shorter blog here.  Today, I’ll draw from both of those reviews, as well as last year’s Internet radio interview. Without a doubt, Gates is a man worth listening to.

For starters, he’s a highly accomplished man, having served as a convoy commander in Vietnam, followed by law school. Later, he spent seven years as counsel to the U.S. Senate Committee on Finance, and in that capacity he was responsible for much of the federal law on pensions and on employee stock ownership plans, which are now in place in roughly ten thousand U.S. corporations, covering approximately 10 percent of the U.S. workforce. He later practiced law with Senator Russell Long of Louisiana and Senator Paul Laxalt of Nevada, who chaired Ronald Reagan’s three presidential campaigns. In addition, he has been an investment banker, advising the governments of thirty-five countries on financial matters. Read more

How They (Continue to) Lie to Us — The Richard Gere Film “Arbitrage”

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In a fairer world, I’d have won accolades for my analysis of Hollywood movies, including my current series that shows how consistently Hollywood conceals the facts about massive Jewish involvement in Wall Street finance — including immense malfeasance and endless instances of shady practices. Not only does Hollywood conceal these facts, it then projects them onto innocent, often Nordic looking Whites. Consistently.

Let me explain further by making a very bold claim: Leonardo DiCaprio, John Travolta, Brad Pitt, Richard Gere, Susan Sarandon, Tim Roth, Jeremy Irons, Kevin Spacey, Danny DeVito and Gregory Peck are all involved in a tight-knit conspiracy to utterly whitewash an ongoing theft of wealth, one transferring mind-boggling amounts of money to Jews.

Of course, this should be no surprise, really. Anyone paying even the slightest bit of attention to Jews and money over the last, oh, thousand years would actually expect this sort of thing. And why be shocked that Jews have tried to hide this conduct? Read more

Merry Christmas Movies . . . NOT! Part 2 — Anti-Christmas Movies

In Part One of this column about the War on Christmas, I wrote that “the Jewish dominance of Hollywood is so obvious and undeniable that Los Angeles Times’ columnist Joel Stein recently made it official. What else can you say when all eight major film studios are run by Jews.” I’ve written on this theme extensively in The Occidental Quarterly (here, here, and TOQ Spring 2008). Or you could read Jewtopia: The Chosen Book for the Chosen People, based on the surprise hit play by Bryan Fogel and Sam Wolfson. Or you could listen to  David Mamet: “For those who have not been paying attention, this group [Ashkenazi Jews] constitutes, and has constituted since its earliest days, the bulk of America’s movie directors and studio heads.”

In The Culture-Wise Family: Upholding Christian Values in a Mass Media World, Theodore Baehr and Pat Boone argued that “whoever controls the media controls the culture.” And a lynchpin of that media is Hollywood and its associated TV studios and networks.

Why does it matter that Jews control Hollywood? In essence, it matters because it represents the loss of power of one group—majority white Christians—to a group with a long history of hostility toward the people and culture of the West. Jewish control of Hollywood has been a crucial means for dispossessing majority whites from their place in the country they built. As some have argued, the twentieth century was “a Jewish century,” and much of this was because Jews controlled the image factory known as Hollywood. Read more

Jill Soloway and the “Transgender” Agenda, Part 2

Part 1.

Promoting the idea of “gender fluidity”

The ideological glue that holds Jill Soloway’s Transparent together is the deconstruction of the whole concept of gender. What does it mean to be a man? What does it mean to be a woman? As one character in the show puts it, “We’re just a bunch of bodies, that’s it. No penis, no vagina, what does it matter?” According to Soloway, “The show questions the binary; trans people question the binary. Trans-ness demands that people live in the gray. The word ‘trans’ is about traveling the space between the binary. Judaism/feminism/trans politics — they can all really be woven together. Living at that ground zero place of otherness is inspiring to me.” Soloway is passionate about normalizing the concept of “gender fluidity”: Paste Magazine notes that: “In Transparent sexual identity loses its ‘statehood’ and becomes fluid, treated like an ongoing process with its own ebbs and flows.”

As Dr. Paul McHugh, the former psychiatrist-in-chief for Johns Hopkins Hospital, noted, the reality, as distinct from Soloway’s ideologically-driven fantasies, , is that far from being a normal healthy behavior, “transgenderism” is a “mental disorder” that merits treatment. Noting that changing sex is “biologically impossible,” McHugh observes that “people who undergo sex-reassignment surgery do not change from men to women or vice versa. Rather, they become feminized men or masculinized women. Claiming that this is civil-rights matter and encouraging surgical intervention is in reality to collaborate with and promote a mental disorder.” Read more

Jill Soloway and the “Transgender” Agenda, Part 1

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Jill Soloway and son Isaac

 

In a recent article I explored the Jewish role in the hyper-sexualization of Western culture. I made the point that this phenomenon — the most obvious result of the Jewish takeover and virtual monopolization of the Western media and entertainment industries — represents the deliberate ethno-political application of psychoanalytic theory to a Western culture regarded as inherently authoritarian, fascistic and anti-Semitic due to its “repressive” sexual morality. This hyper-sexualization agenda, which has had disastrous social consequences for White people, operates in tandem with the Jewish-led “civil rights” movements which demand deference for non-Whites and sexual non-conformists — these serving as proxies for Jews as the prototypical outsiders in Western societies. With the legality of “gay marriage” seemingly secured (largely as a result of Jewish efforts) the focus of the “identity politics” agenda has now shifted to deconstructing traditional Western views about what it means to be a man or a woman.

As with the other “civil rights” movements dominated by Jews, the motivations underlying the  “transgender” rights movement are ultimately grounded in the subversive doctrines of the Frankfurt School — and in particular The Authoritarian Personality which found that those who ranked highly on the ethnocentrism scale (i.e., those more likely to harbor “anti-Semitic” views) tended to live in worlds with rigid gender boundaries, where attractiveness was grounded in traditional conceptions of masculinity and femininity, and where sexual mores were clearly delineated. Kevin MacDonald notes that “Jews, as a highly cohesive group, have an interest in advocating a completely atomistic, individualistic society in which ingroup-outgroup distinctions are not salient to gentiles.”[i] It is therefore in Jewish interests to subvert all non-Jewish social categories — whether these be based on race, religion or gender boundaries and roles. Hence their recent championing of the concept of “fluidity” which is the very antithesis of anything separate, homogeneous, or with clear boundaries. All cohesive (and evolutionarily adaptive) social categories that have characterized Western civilization have been subverted by Jewish activists. White masculinity has been a particular target. In his book Theorizing Masculinities the Jewish intellectual Michael Kaufman notes that:

If the hypotheses so patiently investigated by the Frankfurt School were right, this was a masculinity particularly involved in the maintenance of patriarchal ideology — marked by hatred for homosexuals and insistence on the subordination of women. But it was not the only show in town. The Authoritarian Personality analysed this character type in contrast to a “democratic character” that could resist the appeals of fascism. Inadvertently, therefore, the research documented different types of masculinity, distinguished along lines other than the normal-versus-pathological categories of clinical psychoanalysis.[ii]

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The Indoctrination Game, Part 2: Jewish media influence as decisive in creating a positive public culture of homosexuality

Part 1

The recent Jewish sanctification of Alan Turing as noble gay victim and Nazi nemesis is the photographic negative of pre-and post-World War II Jewish efforts to smear Hitler and his National Socialist comrades as “sexual perverts.” For decades the supposedly sordid sex lives of Hitler and the Nazi leadership filled tomes. Allegations of homosexuality were often repeated in Social Democratic and Communist newspapers (often Jewish-owned and -controlled) in the years leading up to Hitler becoming German chancellor in 1933.

Jewish attempts to brand Hitler and other National Socialist leaders as sexual perverts have since been largely abandoned with the ascendant cultural Marxist assault on White heterosexual normativity since the 1970s. Two Harvard-educated (non-Jewish) homosexuals, Marshall Kirk and Hunter Madsen, authored what can only be described as an incredibly successful blueprint for marketing the radical homosexual agenda in the United States. In their 1990 book entitled After the Ball: How America Will Conquer Its Fear & Hatred of Gays in the 90’s, they advocated the demonization of those opposed to homosexuality, painting them as evil as possible until the general public comes to view such people as moral pariahs and avoids them. The authors suggested that Christians and others opposed to homosexuality should be labelled Klansmen, Nazis, racists or unbalanced freaks. Obviously, this approach draws on the long history of the media demonizing and pathologizing Whites who identify as Whites and see pursuing White interests as legitimate, a tradition that has its intellectual roots in the unholy nexus of the Frankfurt School and psychoanalysis.

Although TOO has emphasized that homosexuality should not be condemned by White advocates and that White homosexuals should also realize they have interests as Whites (see, e.g., here), the movement to promote a public culture of homosexuality is injurious for a variety of reasons, and certainly does not further the biological/ethnic interests of White homosexuals. It is deplorable that sexual non-conformists have become a central component of the “culture of the aggrieved” that permeates all Western societies and is a pillar of the political left.

Typical of the left, it has used its power to go beyond vilification to direct infringement on the freedoms of speech and religion of those who disapprove of homosexuality. With “gay marriage” legalized in Canada, Catholic Schools are having a difficult time teaching Catholic precepts on marriage and sexuality and an Ontario statute compels Catholic schools to host “Gay-Straight Alliance” clubs. In the U.S., many individuals and groups are being punished for what amount to thought crimes, such as the couple from Oregon (the same state that allows 15-year old children to have a state-funded sex change operation without parental consent) who were ordered to pay $135,000 for “emotional suffering” to two lesbians when they refused to provide a wedding cake for a gay wedding.  Read more

The Indoctrination Game, Part 1: Constructing Alan Turing as Jewish Proxy

The Imitation Game is a 2014 historical thriller film based on the biography Alan Turing: The Enigma by the mathematician and gay rights activist Andrew Hodges. It stars Benedict Cumberbatch as the British cryptanalyst Alan Turing, who, working with a team of experts at the country estate Bletchley Park, devises a machine that, after much trial and error (and official interference) cracks the Germans’ notoriously difficult Enigma communications code. This breakthrough turns the tide of World War II and hastens Germany’s defeat. Turing is later prosecuted by a British court for his homosexuality and commits suicide as a result of the hormone treatment he is forced to endure.

The film was a huge commercial success (grossing $219 million against a $14 million production budget), received many award nominations, and won an Oscar for Best Adapted Screenplay. However, while The Imitation Game was critically acclaimed, it was also slated for its many historical inaccuracies. Largely neglected in all the commentary about the Weinstein Company’s historical drama is the Jewish ethno-political agenda that runs through the film.

One Jewish source notes that, despite Benedict Cumberbatch being “so gentile it’s almost shocking,” the film has “significant Jewish angles” while being about “a non-Jewish mathematical genius from Cambridge University, Alan Turing, and his efforts to crack Nazi codes in the bucolic British countryside.” It admits that, given the Jewish domination of Hollywood, “perhaps it’s not shocking that the film’s producers are Jews (the clues are there in ‘film’ and ‘producers’)”—these producers being Ido Ostrowsky, Nora Grossman, and Teddy Schwarzman (the son of billionaire Jewish financier Stephen Schwarzman) who “were drawn to Turing’s story as a tale of a brilliant outsider forced to work with others to win the war against German evil.” Ah, the venerable heroic Jew as outsider theme. Read more