While Thomas Edison invented the motion picture camera, immigrant Jewish entrepreneurs (like Sam Goldwyn, Jack and Harry Warner, Louis B. Mayer) created Hollywood. Jews created the three major American networks, William Paley's CBS, David Sarnoff's NBC and Leonard Goldenson's ABC.
Today about two-thirds of leading tv and movie producers are Jewish. Four of the five companies that dominate American entertainment are run by Jews (Gerald Levin, who once considered a rabbinic career, runs Time Warner, Michael Eisner runs Disney, Mel Karmazin and Sumner Redstone run Viacom-CBS, and the Bronfman's run Universal).
Rupert Murdoch (News Corp) is the one non-Jew and the only political conservative.
Jewish domination of entertainment is little discussed in the mainstream media, which is also dominated by Jews.
Jews in Hollywood, like most Jews in the media, academia and pornography, tend to be radical and alienated Jews, rooted neither in Judaism nor in the majority Christian culture. They tend to be rootless and politically left of center, seeking to create a rootless cosmopolitan society to reflect their own non-Judaic traditionless values.
In his 1998 book Work in Progress, Disney CEO Michael Eisner writes about radical Jew Joe Roth (head of movie production at Disney Corp): "Joe was raised in Roslyn Heights on Long Island. His father made a modest living running a plastics manufacturing business, but his passion was social activism. In 1958, when New York State began requiring children to recite the Regent's Prayer at school each day, Joe's father viewed it as a violation of the separation of church and state and recruited an ACLU lawyer to file a lawsuit. Joe, then ten, and his thirteen-year-old brother became two of the plaintiffs in the case. In 1962, the Supreme Court finally ruled that enforced prayer in schools was unconstitutional. Joe and his brother became pariahs at aschool. The family's house was picketed by the American Nazi Party and a cross made of kerosene-soaked rags was set on fire in their driveway. By his own description, the experience fueled his self-image as an outsider." (pg. 304)
British journalist William Cash wrote about Hollywood's Jewish cabal in an October 1994 issue of the British journal Spectator. The article drew hysterical reactions denouncing Cash and the Spectator for antisemitism. Here are excerpts from Cash's piece:
WHEN Mr Mike Ovitz, or His Most Powerfulness (as he is also known), shows up at a press conference in Los Angeles and sits in the audience, you know something big is going on: in this case the founding of a new multi-billion-dollar Hollywood studio by Steven Spielberg, record mogul billionaire David Geffen and their "best friend", the recently dumped chief of Disney Studios, Jeffrey Katzenberg.
Although the Hollywood survival rate for studio start-up schemes has been poor - Francis Coppola's American Zoetrope Studios is the most notable recent casualty - this ambitious venture has been widely hailed as having more chance of success than any similar enterprise for 50 years. Since Katzenberg is to run the company, this may seem odd: as head of Disney he was personally responsible for a disturbing proportion of some of the dullest and crassest films (Aspen Extreme, Love Trouble) of the past five years. He once told a journalist (on the record): "Our movies are s---."
But in one respect at least this particular combination of talents, or"talent combo" in the local argot, will start out on the right foot. Like the old mogul founders of the early studios - and unlike most other failed build-your-own studio merchants - they are Jewish.
The significance of this cannot simply be met by the inevitable shrieks of"anti-Semitism". A rare glimpse of the feudal power structure of Hollywood at work was given by the Wall Street Journal's front-page report of the new studio launch. Before any contracts could be signed, a private "blessing" was required from 81-year-old Lew Wasserman - the long-time chairman of MCA (which owns Universal) and the last surviving Jewish founder-builder of a studio. To quote the Journal, he is treated in Hollywood "like a tribal chieftain".
Spielberg, Geffen, Katzenberg and Spielberg's 30-year personal mentor, the MCA president, Sidney Sheinberg, gathered at the house of the "Godfather of the Show" (as Time called Wasserman). After getting his rabbinical "blessing", they spoke in "hushed, reverential tones about the industry potentate", and how he "spun stories about the history of Hollywood and showed them artefacts". Geffen and Katzenberg, who have no formal connections with MCA or Wasserman, were reported as being "nervous" before the meeting. "The whole thing could have gone sour," said Katzenberg.
Turn now to pages 202-3 of last month's Vanity Fair and a curious "group portrait" will grin back at you. Sixteen middle-aged men are decked out in a mixture of nylon jogging anoraks, fluffy white socks, digital watches and faded jeans. You'd probably guess they were a bunch of Californian dentists.
They are, in fact, the magazine reliably informs us, the New Establishment, "the leaders of the computer, entertainment and communication industries, whose collective power has eclipsed that of Wall Street and Washington". In his "Editor's Letter", Graydon Carter confidently boasts that his 30-page"Special Report" redefines "the power centre of America ... as (it) has moved from its role as military/industrial giant to a new supremacy as the world's entertainment-information superpower".
There again, bottom left, is Hollywood super-agent Mike Ovitz, the chairman of the Creative Artists Agency (presumably he won't sign non-creative artists); in the middle is his buddy David Geffen (interests listed as "AIDS, Israel and other causes"); behind them is another close pal, Barry Diller, another AIDS activist and chairman of the home-shopping network QVC. In a"Warner Bros Fitness Centre" T-shirt is Gerald Levin, chairman of Time Warner Inc; in a denim shirt is Jeffrey Katzenberg. Banker Herbert A. Allen - their host for this "Sun Valley Conference of Corporate Leaders" - has on his running shoes. Steven Spielberg, snapped by Annie Leibovitz a few pages on, is gazing out to sea, his white sneakers and socks by his side.
Throughout the report, the magazine is repeatedly troubled by the question: "Is there anything that binds this group of men?" According to Walter Isaacson, Time Inc's media editor, the old White Anglo-Saxon Protestant hegemony was linked through shared educational (that is, class) bonds and beliefs: "What binds these guys is a sense of interlocking ventures and relationships. The Old Establishment was a club. The New Establishment is a network."
Up to a point. Again, there is something very obvious (apart from white socks) that does bind together most of the leading members of the so-called"New Establishment" - or the Titans of Tripe, as Auberon Waugh recently called them - only no magazine in America (especially a Conde Nast publication owned by Si Newhouse) would point it out: they are predominantly Jewish.
While part of the blame for the fall of the eastern Establishment is placed on its exclusive "good old-boy" network and elitist WASP mentality which excluded outsiders, a delicate question remains. Has the usurping of the white-shoe Establishment by the white-sock meritocracy anything to do with a similarly invidious and protective culture? Now that Jews govern the New Establishment (their official mouthpiece is The New York Times), does any sort of reverse form of class or racial discrimination operate against outsiders trying to get access to the entertainment highway - WASPs, blacks, Brits(there is only one Brit of any level of significance in all the major studios, and he is Jewish) and others not so favoured?
IT should first be said that there is nothing remotely surprising about all this. As Neal Gabler clearly demonstrated in his acclaimed book, An Empire of Their Own, How the Jews Invented Hollywood, the early Jewish movie pioneers such as Louis B. Mayer and Irving Thalberg (Fitzgerald's model for The Last Tycoon) who founded the studios of today came to Hollywood because they felt barred from power in the east. Although fiercely competitive, the Hollywood Jews worked closely together to build a close-knit empire that shamelessly imitated the social hierarchy of the very East Coast society that they felt alienated and patronised them.
"If the Jews were proscribed from entering the real corridors of gentility and status in America, the movies offered an ingenious option," wrote Gabler. "Within the studios and on the screen, the Jews could simply create a new country - one where they would not only be admitted, but would govern as well."
And govern they always have. That every major studio head is Jewish today is no different from 60 years ago. "Of 85 names engaged in production, 53 are Jews," a 1936 survey noted. And the Jewish advantage holds in prestige as well as numbers. In a recent Premiere magazine "Special Power Issue" -ranking the 100 most powerful people in the "Industry" - the top 12 were Jewish. There were no black or British industry executives ranked. George Steiner once famously said that to be Jewish was to be a member of a club from which you could not resign.
As small-time professional incest it is probably no worse than, say, public schoolboys in the City in London (an analogy used by one senior Jewish executive to rebut the charge of Jewish favouritism in Hollywood). The"network" manifests itself in the Jewish country clubs - such as the Hillcrest, the one Groucho Marx refused to join - or tennis clubs (application forms always say "state religion"). Hollywood Jews are not notably religious -although the town closes down on Jewish holidays, business happily continues at poolside barbecues, the deli at the Brentwood Country Mart, endless bar mitzvahs and $500-a-plate Jewish causes.
Feeling a bit left out of the loop, some non-Jews have been taking extreme measures to get on. Bill Stadiem, a former Harvardeducated Wall Street lawyer who is now a screenwriter in LA, told me that he recently came across an old WASP friend in an LA restaurant who had been president of the Porcellian at Harvard - the most exclusive undergraduate dining-club. His friend - a would-be producer - was dressed in a black nylon tracksuit and had gold chains on his wrist; dangling around his neck was a chunky Star of David. Stadiem asked: "Why the hell are you dressed like that?" The WASP replied: "I'm trying to look Jewish."
Just as in the '80s people were known to fake being homosexual or bisexual as a way of getting on in the entertainment business (it is estimated that about 35 per cent of the film community is gay), it has long been a standing joke in LA that the way to get on is to convert to Judaism. Simon Kelton, an Eton- and Oxford-educated screenwriter friend with whom I used to share a house, and who was short-listed last year for the Samuel Goldwyn film-writing award, always stresses his Jewish "ancestry" whenever he gets a chance in LA, something few had ever heard about before.
The extent to which this adds up to any sort of Jewish cabal behind the building of the 21st Century Entertainment Superhighway, is difficult to assess. Jews, always compulsive storytellers and talented negotiators, are extremely compatible with the executive side of the movie business. They are good at it.
THE crucial fact that Vanity Fair seems to have blindly swerved past in its"challenge of redefining the power centre of America" is that the whole point of the "Establishment", as Henry Fairlie noted when coining the phrase in The Spectator back in 1955, is that its power is exercised socially. That the socially maladroit and culturally nihilist white-sock meritocracy is now anointed the Power Elite by a "smart" glossy magazine only serves to confirm how the divide between social and professional lives has become blurred to the point of irrelevance. The important thing about New Establishment power in America is that it is exercised corporately.
Arthur J. Magida writes in the Baltimore Jewish Times 11/11/94:
Hollywood movie executives are "outraged" and "disgusted" about an article in the British magazine, The Spectator, that revives a stereotype from the early days of failmmaking that a "Jewish cabal" controls the entertainment industry.
The article by William Cash, a Hollywood correspondent for the British conservative newspaper The Daily Telegraph, describes Jews as "fiercely competitive," "clannish" "and compulsive storytellers and talented negotiators." The "invidious and protective culture" they have created in Hollywood denies employment to non-Jews, according to Mr. Cash, who answered in the positive this question that he posed:
"Now that Jews govern the New Establishment does any sort of reverse form of class or racial discrimination operate against outsiders trying to get access to the entertainment high-ways -- WASPS, blacks, Brits, and others not so favored?"
Neal Sandberg, former head of the western region of the American Jewish Committee and currently head of AJC's Pacific Rim Institute, said Mr. Cash's article was "overstated, even in terms of genteel anti- Semitism. It's a classic portrayal of Jews that goes back to an embellished image of Shylock."
Jews now function in Hollywood, he said, "not as an ethnic or cultural group, but as individuals answerable to banks and foreign and corporate sponsorship. These are business people, like anywhere else, trying to make a profit. They're not defending ethnic or cultural interests."
Mr. Cash's article appeared at the same time that an anonymous Sony executive in Tokyo was quoted in the Japanese business weekly Keizaikai as saying, "... The U.S. film business is almost completely controlled by Jews. This is true of what we are doing as well and our job is to use them in an efficient manner."
The Japanese magazine then concluded, "What this person is saying is that you cannot ignore Jews if you do business in the U.S."
Jew Neal Gabler wrote hysterically in the 11/13/94 Los Angeles
The article might be dismissed as an anti-Semitic bleat from a reactionary crackpot if it didn't have a respectable platform in the Spectator and didn't play to a pre-existing prejudice-that Jews control the U.S. media. But here the canard is given new impetus in an environment of anti-political correctness, where hostility often passes for honesty.
Cash realizes his discovery will trigger the "inevitable shrieks of anti-Semitism"-and it has-though he seems willing to brave these attacks in the interest of social science. This New Establishment is a "culturally maladroit and culturally nihilist (sic)" band, Titans of Tripe, Cash calls them after Auberon Waugh, who wear, "nylon jogging anoraks, fluffy white socks, digital watches and faded jeans." You call this a power structure!
Once upon a glorious time, Cash laments, power was in the hands (or the feet) of a white-shoe aristocracy. These were well-born, well-educated, well-dressed men (at least when wearing wingtips)-culturally adroit and not at all nihilistic. They looked and acted the part of the Establishment-in fact, very much like the British Establishment. Nothing arriviste here. They ruled seigneurially and sartorially.
But now the big feet of the New Establishment wear white socks-and sneakers. These power brokers-including Rupert Murdoch of Fox Film and Television, Bill Gates of Microsoft computer-operating systems, John C. Malone of the Tele-Communications cable empire, not to mention the Jews among them-have not only nudged aside the Old Establishment. Their cabal practices, in Cash's analysis, are a "reverse form of class or racial discrimination," denying access to "Wasps, blacks and Brits." French, too?
Can it be that the godfather of the Jewish cabal that excludes Wasps, blacks and Brits pays obeisance to a higher authority? It can, because the studios and telecommunications empires that Cash identifies as predominantly Jewish are owned and controlled by non-Jews: MCA by Mashushita, Columbia and Tri-Star by Sony, Fox by Murdoch, Time-Warner by stockholders and a corporate board.
Ignoring the facts to suit his myth of Jewish control, Cash is in a long tradition of anti-Semites who began smiting Jewish movie executives almost from the moment the Jews entered the film industry in the 1910s.
One reform group demanded that movies be liberated "from the hands of the devil and 500 un-Christian Jews." Another religious zealot blasted Hollywood Jews for the "seduction of hundreds of thoughtless girls every day," which he ascribed, euphemistically, to a general "Europeanization" of the country. Henry Ford, in his Dearborn Independent, cited Jewish control of the film industry and said, "It is the genius of that race to create problems of a moral character in whatever business they achieve a majority."
The idea was that Jews were somehow different from the majority of Gentile Americans. Jews didn't subscribe to the same values. They had taken control of this powerful instrument of social control, but they couldn't use it responsibly.
Whether by design or sheer ignorance, they were said to be using the movies to subvert so-called traditional values, though anyone who studies film history knows, no group was more conscious of traditional values or more eagerly sought to purvey them than the Jewish movie pioneers-who regarded themselves as American first, Jewish second.
He obviously believes Hollywood and the world would be better places if the New Establishment and its nine Jews would hand culture back to the people who deserve it-people presumably like Cash. At the very least, they should share their power. He closes by citing the "white-sock mediocracy" as "another example of how driven Jews have always dealt with exclusion. Barred from one form of Establishment, they have ended up helping to create their own."
Similarly, an article like Cash's is another example of how powerless elitists have always dealt with exclusion. Barred from one form of Establishment, they end up spewing anti-Semitic bile.
From the 11/11/94 St. Louis Dispatch:
Anti-Semitism is as old as the hills. Even in today's enlightened age, it endures. The latest addition comes from William Cash, Hollywood correspondent for Britain's The Daily Telegraph. He has written an article for another British publication, The Spectator, titled "Kings of the Deal," asserting that Jews control Hollywood.
He is entitled to his opinion, of course, though it is flat wrong. Most Hollywood studios are owned either by foreign interests or New York banks. What Mr. Cash is not entitled to, if he is to retain any respect from civilized people, is his opinion that Jews are the authors of "an invidious and protective culture" that bars work to non-Jews. It is neither true nor fair.
Worse, Mr. Cash goes on to picture Jews as "clannish" and "vulgar." That's way beyond serious analysis. It is nothing but unadulterated anti-Semitism. Mr. Cash convicts himself with his own words. He says his motive for writing the piece was a Vanity Fair article about the new video establishment and its executives that didn't reveal how many of them were Jewish. He insists that keeping silent on this point is "so politically correct." That shows how little Mr. Cash understands either America or Jews. Failure to mention the religion of U.S. executives isn't political correctness, but moral and cultural virtue.
From the 12/05/94 New Republic:
The Spectator of London has always mistaken the expression of prejudice for an intellectual activity, and found it invigorating; but this time the journal has surpassed itself. In its issue of October 29, there appears a piece called "Kings of the Deal," which reveals that "Jews govern the New Establishment," that is to say, Hollywood and the new communication technologies. The piece might have been translated from, well, the English of the 1920s and 1930s. It is the kind of rank social anti-Semitism that has always characterized a type of British snob on his or her way down. "The idea of `New Establishment' players like David Geffen (who refuses to wear a suit), Mike Ovitz or Steven Spielberg dressing up in a tail-coat to go fox-hunting is ludicrous," writes William Cash. The Hollywood hebes, he notes, prefer to wear white socks. It's an observation from which they are unlikely to recover. According to Cash, who covers l.a. for The Daily Telegraph, the Jews in Hollywood created an "invidious and protective culture" in which they generally hire each other. Cash even has people in Hollywood trying to pass for Jews. We have been unable to verify this; but we have been able to verify that there are people in Hollywood trying to pass for journalists.
Phil Reeves writes from Los Angeles for the British newspaper Independent 11/06/94:
London-Los Angeles fax lines have been humming with copies of an article by William Cash which has been variously described by Hollywood players as ``odious, despicable and fascist garbage''. As a shaken Mr Cash admits: ``All hell has broken loose.''
Mr Cash, son of the right-wing Tory MP Bill Cash, claims that Hollywood is controlled by a ``Jewish cabal'' and suggests that it may operate reverse discrimination against outsiders, including blacks, Wasps and Britons. He characterises Hollywood's Jewish leaders as vulgar (a ``white-sock mediocracy''), ``compulsive story-tellers and talented negotiators''.
Few have disputed that the industry has been dominated by Jews since the days of Adolph Zukor, Louis B Mayer and Harry Cohn - although it includes many others. But these days its moguls and powerbrokers are answerable to banks, stockbrokers andinternational coporations based in Japan and Australia.
``Few in Hollywood (can) recall such an anti-Semitic article in a mainstream publication,'' wrote Bernard Weinraub, the New York Times' Hollywood correspondent. Others appear to agree. The writer-director Lionel Chetwynd described the piece as the work of a ``certain upper-class Brit . . . what they are really saying is: `We may not be as important and powerful as you, but we're more civilised'.''
Mr Cash, a correspondent for the Daily Telegraph, is unrepentant. He denies anti-Semitism, insists he was only seeking to raise questions, and points out that Dominic Lawson is Jewish, and that the Spectator' s proprietor, Conrad Black, owns the Jerusalem Post. And he has found an unexpected ally. This week's Spectator includes a letter from Claus von Bulow, whose acquittal on charges of attempting to murder his wife was made into the Hollywood film Reversal of Fortune.
``The same industry which produces the elegant `High Society' comedies featuring a Cary Grant or a David Niven will now systematically portray well-to-do Gentiles as caricatures, and their homes as hotel lobbies, '' he wrote.
Miles Kington makes this sensible response in the 12/06/94 Independent: But then my wife reminded me that it is still possible to touch a nerve by pointing to the recent furore over William Cash's Spectator piece on the supposed Jewish domination of Hollywood.
If you missed this, you didn't miss much, but if you did followit, you would have been amazed to see how one muddle-headed piece could bring the hornets out. Now, if you or I read an article about the Jewish domination of Hollywood, I think we would react sensibly by saying: ''Well, if the Jews are so clever and are so much in charge, how come Hollywood isn't making any good films these days? Maybe the wrongJews are in charge!''
But that wasn't the reaction in the Spectator. The letter columns were filled with horrified reactions, including a letter from Hollywood whose list of well-known signatories (Kevin Costner, Sidney Poitier, Tom Cruise, etc) was actually longer than theletter itself. The letter warned against racist cant and raised the spectre of the Holocaust and the Spanish Inquisition. Another letter voiced the same thought, though negatively: ''No doubt there has been an over- reaction to Cash's article; it is a long way from gas ovens . . .' '
Indeed, you might think, so why mention it? Because, I suppose, the awful trump card of the Holocaust is such a powerful card to play, and the Jewish community finds it tempting to play it, or even just to get it out and wave it around without actually playing it.
Mark Lawson wrote in the 12/06/94 Independent:
"Writing about television, I have regularly received letters asking me to point out the number of Jews in positions of influence in British broadcasting. Generally underground, this allegation occasionally goes public: some of the Catholic agitators protesting against the recent Christopher Hitchens polemic against Mother Theresa of Calcutta on Channel 4 saw fit to mention the Jewish background of the station's chief executive, Michael Grade. This implication was at least as slanderous as anything Hitchens said about the nun. (I write this as a Catholic, a fact which had perhaps better be declared as there is enough anti-Semitism in Britain for it to be assumed that any defence of Judaism comes from within.)"
Lawson admits that Jews do dominate the entertainment industry but this does not lead to our movie and TV screens filling with Jewish culture.
"Jewish movies - Crossing Delancey, Yentl, Brighton Beach Memoirs - have been relatively few. Zionist conspiracy theorists are limited to such exhibits as the two films about the Entebbe rescueproduced in 1976 and the obscure 1971 US/Israeli co-production, The Jerusalem File, a thriller about the Six-Day War.
"In general, Hollywood movies reflect Middle American Christian values. For example, Forest Gump, this year's smash hit and likely 1995 Oscar winner, is a fairly standard weepie but, like most American films of this genre, a Jesus-weepie... The two big family releases in 1994 - The Lion King and The Nightmare Before Christmas - were also submerged sermons: in the latter, various forces of negativity are trying to destroy the spirit of Christmas, until taught a lesson by military force.
"Baddies in action films do often have an Arab aspect, but this panders less to Zionism than a general American prejudice, as demonstrated in the Gulf War.
"The gags in Nora Ephron's When Harry Met Sally are Jewish; the ending is Middle American. Jewish humour has saved Hollywood from a complete surrender to the mawkish sentimentality of American Christian culture: its tendency towards - to use, appropriately, a Yiddish word - schmaltz.
"...In mainstream cinema and television, content is dictated by consumers not producers, and there are onlylimited ticket sales in Judaism. The second is that Jews in Hollywood have been keen to assimilate and avoid self declaration, a parallel to the paradox that although the movie business contained numerous homosexuals, there was scarcely a gay film before the 1980s."
WHO RULES AMERICA?
Luke says: This excerpt about "The Alien Grip on Our News and Entertainment Media Must Be Broken" comes from the Research Staff of National Vanguard Magazine [a far right anti-Jewish Nazi-like group], PO Box 330, Hillsboro, West Virginia 24946 USA. FAX# 304-653-4690 http://ww.natall.com:
There is no greater power in the world today than that wielded by the manipulators of public opinion in America. No king or pope of old, no conquering general or high priest ever disposed of a power even remotely approaching that of the few dozen men who control America's mass news and entertainment media.
Their power is not distant and impersonal; it reaches into every home in America, and it works its will during nearly every waking hour. It is the power which shapes and molds the mind of virtually every citizen, young or old, rich or poor, simple or sophisticated.
The mass media form for us our image of the world and then tell us what to think about that image. Essentially everything we know -- or think we know -- about events outside our own neighborhood or circle of acquaintances comes to us via our daily newspaper, our weekly news magazine, our radio, or our television.
It is not just the heavy-handed suppression of certain news stories from our newspapers or the blatant propagandizing of history-distorting TV "docudramas" which characterizes the opinion-manipulating techniques of the media masters. They exercise both subtlety and thoroughness in their management of both the news and the entertainment which they present to us.
For example, the way in which the news is covered: which items are emphasized and which are played down, the reporter's choice of words, tone of voice, and facial expressions; the wording of headlines; the choice of illustrations -- all of these things subliminally and yet profoundly affect the way in which we interpret what we see or hear.
On top of this, of course, the columnists and editors remove any remaining doubt from our minds as to just what we are to think about it all. Employing carefully developed psychological techniques, they guide our thought and opinion so that we can be in tune with the "in" crowd, the "beautiful people," the "smart money." They let us know exactly what our attitudes should be toward various types of people and behavior by placing those people or that behavior in the context of a TV drama or situation comedy and having the other TV characters react to them in the Politically Correct way.
Molding American Minds
For example, a racially mixed couple will be respected, liked, and socially sought after by other characters, as will a "take charge" Black scholar or businessman, or a sensitive and talented homosexual, or a poor but honest and hardworking illegal alien from Mexico. On the other hand, a White racist -- that is, any racially conscious White person who looks askance at miscegenation or at the rapidly darkening racial situation in America -- is portrayed, at best, as a despicable bigot who is reviled by the other characters, or, at worst, as a dangerous psychopath who is fascinated by firearms and is a menace to all law-abiding citizens. The White racist "gun nut," in fact, has become a familiar stereotype on TV shows.
The average American, of whose daily life TV-watching takes such an unhealthy portion, distinguishes between these fictional situations and reality only with difficulty, if at all. He responds to the televised actions, statements, and attitudes of TV actors much as he does to his own peers in real life. For all too many Americans the real world has been replaced by the false reality of the TV environment, and it is to this false reality that his urge to conform responds. Thus, when a TV scriptwriter expresses approval of some ideas and actions through the TV characters for whom he is writing, and disapproval of others, he exerts a powerful pressure on millions of viewers toward conformity with his own views.
And as it is with TV entertainment, so it is also with the news, whether televised or printed. The insidious thing about this form of thought control is that even when we realize that entertainment or news is biased, the media masters still are able to manipulate most of us. This is because they not only slant what they present, but they establish tacit boundaries and ground rules for the permissible spectrum of opinion.
And who are these all-powerful masters of the media? For a partial answer, consider television broadcasting, which undoubtedly has become the most powerful medium for determining the way Americans think and behave. Not counting certain specialized cable news systems, virtually all national and international TV news broadcast in the United States is gathered, filmed, edited, and put on the air by just three companies: American Broadcasting Companies (ABC), Columbia Broadcasting System (CBS), and National Broadcasting Company (NBC). Most televised entertainment programs viewed by Americans are broadcast by the same three networks. Each of these three has been under the absolute control of a single man over a long enough period of time -- ranging from 32 years to 55 years -- for him to staff the corporation at every level with officers of his choosing and thus to place his imprint finally, totally, and indelibly upon it. In each case that man has been a Jew.
Until 1985, when ABC merged with Capital Cities Communications, Inc., a New York-based media conglomerate, the chairman of the board of directors and chief executive officer (CEO) of the network was Leonard Harry Goldenson, a Jew. He had headed the network since he became president of the predecessor corporation, American Broadcasting-Paramount Theaters, Inc., in 1953. (The name was changed to American Broadcasting Companies, Inc., in 1965.) In an interview published in the April 1, 1985, issue of Newsweek, Goldenson boasted, "I built this company [ABC] from scratch." Under the 1985 merger terms, Goldenson became chairman of the executive committee of the new company, Capital Cities/ABC, Inc. Although the chairman and CEO of Capital Cities now is Thomas Murphy, a Gentile, he has made no move to replace the men at ABC who served Goldenson, and the network retains its Jewish character today.
CBS was under the domination of William S. Paley for more than half a century. The son of immigrant Jews from Russia, Paley left the family cigar business in 1928, when he was 27, to buy United Independent Broadcasters for $500,000. He renamed it Columbia Broadcasting System and made himself president. He became chairman of the board in 1946 and held that post until his partial retirement in 1983.
When independent broadcaster Ted Turner, a Gentile, made a bid to buy CBS in 1985, there was panic in media boardrooms across the nation. Turner had made a fortune in advertising and then had built a successful cable-TV news network, CNN. Although Turner employed a number of Jews in key executive positions in CNN and had never taken public positions contrary to Jewish interests, he is a man with a large ego and a strong personality and was regarded by Paley and the other Jews at CBS as uncontrollable: a loose cannon who might at some time in the future turn against them. Furthermore, Jewish newsman Daniel Schorr, who had worked for Turner, publicly charged that his former boss held a personal dislike for Jews. To block Turner's bid CBS executives invited billionaire Jewish theater, hotel, insurance, and cigarette magnate Laurence Tisch to launch a "friendly" takeover of the company, and since 1986 Tisch has been the chairman and CEO of CBS, removing any threat of non-Jewish influence there.
NBC was formerly a subsidiary of Radio Corporation of America (RCA), which was controlled for 40 years, beginning in 1930, by David Sarnoff, another Jewish immigrant from Russia. When Sarnoff died in 1970 his son Robert took over. In 1986 General Electric Co. merged with RCA, and now NBC is a wholly owned subsidiary of General Electric. There has been no move by top G-E management to change the Jewish "profile" of NBC or to replace key Jewish personnel. To the contrary, new Jewish executives have been added: examples are Steve Friedman, hired in May 1990 as executive producer of NBC Nightly News and succeeded in January 1993 by Jeff Zuker.
The extraordinary concentration of Jews in the TV industry certainly explains much of the bias of television news. As important as the control of television news programming is, however, television entertainment is even more decisive in determining the way Americans think. Tens of millions of Americans, especially younger ones, never watch network TV news broadcasts, but instead keep their sets tuned to the entertainment programs. And it is in the entertainment field that Jews have maintained the firmest control.
The man in charge of the television entertainment division at CBS is Jeff Sagansky. At ABC the entertainment division is run by two men: Ted Harbert handles the business end of the division, and Stuart Bloomberg is in charge of entertainment programming. Brandon Tartikoff became president of NBC Entertainment in 1980 and held that post for a decade, until he was promoted to chairman in 1990. When he left NBC in July 1991 to take the post of chairman at Paramount Pictures the new president of NBC Entertainment, Warren Littlefield, assumed control. Sagansky, Bloomberg, and Littlefield pick the programs their networks will broadcast: the game shows, the interview shows, the situation comedies, the historical "docudramas," the family series, the adventure series, the specials. They tell the program developers what they want to see in the programs. They veto anything they don't like. They determine the slant each program will have. They decide just how hard to push various propaganda themes in their network programming: interracial marriage, homosexuality, feminism, gun control, "Holocaust" re-enactments, the menace of "White extremism."
Only one in 36 U.S. citizens (2.8 per cent) is a Jew. But nearly all of the men who shape young Americans' concept of reality, of good and evil, of permissible and impermissible behavior are Jews. In particular, Sagansky and Bloomberg are Jews. So is Tartikoff. Littlefield is the only Gentile who has had a significant role in TV entertainment programming in recent years. This Jewish control of the American entertainment industry and its influence on the American psyche goes far beyond television programming for the major networks; it also includes virtually everything which comes out of Hollywood's film studios.
The May 1990 issue of American Film magazine listed the top 10 (in terms of gross revenues in 1989) U.S. entertainment companies and their CEOs and ranked them by size. They were, in descending order, Time Warner Communications (Steven J. Ross), Walt Disney Co. (Michael D. Eisner), NBC (Robert C. Wright), Paramount Communications (Martin S. Davis), CBS (Laurence A. Tisch), 20th Century Fox Film Corp. (Barry Diller), Columbia Pictures Entertainment (Victor A. Kaufman), Viacom Inc. (Sumner Redstone), Capital Cities/ABC (Thomas S. Murphy), and MCA Inc. (Lew Wasserman). Of the 10 top entertainment CEOs listed above, eight -- Ross, Eisner, Davis, Tisch, Diller, Kaufman, Redstone, and Wasserman -- are Jews. Only two of the top-10 entertainment companies have Gentile CEOs -- NBC and Capital Cities/ABC -- and one of those -- Capital Cities/ABC -- has a Jew in charge of its entertainment division.
There have been a few personnel changes since the 1989 survey, of course. When Japan's Sony Corporation of America bought Columbia Pictures in October 1989, Victor Kaufman was replaced by Peter Guber, also a Jew. Guber's overseer is Sony's vice-chairman Michael P. Schulhof, who arranged the takeover; he is a Jew too. In 1991 MCA was bought by Matsushita, one of Sony's Japanese rivals, but Wasserman remains in his old post.
As a general rule, the Japanese are motivated solely by economic interests in their buying of American media, and they leave the propaganda to the Jews. More often than not, in fact, Jews are the brokers of such Japanese media buyouts. Just as Schulhof handled the Sony takeover of Columbia, the Matsushita-MCA deal was arranged by Jewish media magnate Michael Ovitz and Texas-Jewish wheeler-dealer Robert Strauss, later appointed as George Bush's ambassador to Moscow. Steven J. Ross died in December 1992, and now the top post at Time Warner is held by CEO (and chairman) Gerald Levin, also a Jew. Barry Diller left Fox in February 1992.
Rupert Murdoch, owner of News Corporation, Fox's parent company, took a hand in the management of Fox for a few months, but in November 1992 Peter Chernin, formerly head of the Fox Entertainment division, moved up to the top job as chairman of 20th Century Fox Films Corp. Chernin is a Jew. Under him, as president of Fox Entertainment Group since November 1992, is Sandy Grushow, also a Jew.
And Sumner Redstone (born Murray Rothstein) has gained much prominence since 1989, as two of his Viacom subsidiaries, MTV and Nickelodeon, have acquired larger and larger shares of the juvenile television audience. Redstone, who actually owns 76 per cent of the shares of Viacom ($3 billion), is the largest single purveyor of race-mixing propaganda to White teenagers and sub-teens in America and Europe.
MTV pumps its racially mixed rock and rap videos into 210 million homes in 71 countries and is the dominant cultural influence on White teenagers around the world. Nickelodeon has by far the largest share of the four-to-11-year-old TV audience in America and also is expanding rapidly into Europe; most of its shows do not yet display the blatant degeneracy which is MTV's trademark, but Redstone is gradually nudging the fare presented to his kiddie viewers toward the same poison purveyed by MTV. It is difficult to believe that such an overwhelming degree of control of the entertainment industry by Jews came about without a deliberate, concerted effort on their part.
The "big three" TV networks -- ABC, CBS, and NBC -- not only have a virtual monopoly on commercial network television broadcasting in the United States; they account for most of commercial network radio broadcasting as well -- or they did until recently. For many years their only significant competitor in the latter arena, Mutual Broadcasting System (MBS), with 941 affiliated radio stations (but no TV stations) across the country, was headed by Martin Rubenstein, a Jew.
In 1985 Norman J. Pattiz, also a Jew, took over MBS as chairman and CEO. Two years later Pattiz, through his holding company, Westwood One, Inc., bought the NBC Radio Network from General Electric. The MBS and NBC stations together make Pattiz the number-two radio broadcaster in the nation, behind only Capital Cities/ABC. The current MBS vice-president in charge of news broadcasting, Ron Nessen, who formerly held the position of White House press secretary under Gerald Ford, is also a Jew.
After television, daily newspapers are the most influential mass medium in America. Sixty-three million of them are sold (and presumably read) each day. These millions are divided among some 1,640 different publications. One might conclude that the sheer number of different newspapers across America would provide a safeguard against minority control and distortion. Alas, such is not the case.
There is less independence, less competition, and much less representation of majority interests than a casual observer would think. Only 412 (25 per cent) of the 1,640 publications are independently owned; the rest belong to multi-newspaper chains. Only 121 of the total number have circulations of more than 100,000. Only a handful are large enough to maintain independent reporting staffs outside their own communities; the rest must depend on these few for all of their national and international news.
In only 54 cities in America are there more than one daily newspaper, and competition is frequently nominal even among them, as between morning and afternoon editions under the same ownership. Examples of this are the Huntsville, Alabama, morning News and afternoon Times; the Birmingham, Alabama, morning Post Herald and afternoon News; the Mobile, Alabama, morning Register and afternoon Press; the Springfield, Massachusetts, morning Union, afternoon News, and Sunday-only Republican; the Syracuse, New York, morning Post-Standard and afternoon Herald-Journal -- all owned by the Jewish Newhouse brothers through their holding company, Advance Publications.
The Newhouse media empire provides an example of more than the lack of real competition among America's daily newspapers; it also illustrates the insatiable appetite Jews have shown for all the organs of opinion control on which they could fasten their grip. The Newhouses own 31 daily newspapers, including several large and important ones, such as the Cleveland Plain Dealer, the Newark Star-Ledger, and the New Orleans Times-Picayune; the nation's largest trade book publishing conglomerate, Random House, with all its subsidiaries; Newhouse Broadcasting, consisting of 12 television broadcasting stations and 87 cable-TV systems, including some of the country's largest cable networks; the Sunday supplement Parade, with a circulation of more than 22 million copies per week; some two dozen major magazines, including the New Yorker, Vogue, Mademoiselle, Glamour, Vanity Fair, Bride's, Gentlemen's Quarterly, Self, House & Garden, and all the other magazines of the wholly owned Conde Nast group.
This Jewish media empire was founded by the late Samuel Newhouse, an immigrant from Russia. When he died in 1979 at the age of 84, he bequeathed media holdings worth an estimated $1.3 billion to his two sons, Samuel and Donald. With a number of further acquisitions, the net worth of Advance Publications has grown to more than $8 billion today. The gobbling up of so many newspapers by the Newhouse family was in large degree made possible by the fact that newspapers are not supported by their subscribers, but by their advertisers. It is advertising revenue -- not the small change collected from a newspaper's readers -- that largely pays the editor's salary and yields the owner's profit.
Whenever the large advertisers in a city choose to favor one newspaper over another with their business, the favored newspaper will flourish while its competitor dies. Since the beginning of this century, when Jewish mercantile power in America became a dominant economic force, there has been a steady rise in the number of American newspapers in Jewish hands, accompanied by a steady decline in the number of competing Gentile newspapers -- primarily as a result of selective advertising policies by Jewish merchants. Furthermore, even those newspapers still under Gentile ownership and management are so thoroughly dependent upon Jewish advertising revenue that their editorial and news reporting policies are largely constrained by Jewish likes and dislikes. It holds true in the newspaper business as elsewhere that he who pays the piper calls the tune.
Three Jewish Newspapers
The suppression of competition and the establishment of local monopolies on the dissemination of news and opinion have characterized the rise of Jewish control over America's newspapers. The resulting ability of the Jews to use the press as an unopposed instrument of Jewish policy could hardly be better illustrated than by the examples of the nation's three most prestigious and influential newspapers: the New York Times, the Wall Street Journal, and the Washington Post. These three, dominating America's financial and political capitals, are the newspapers which set the trends and the guidelines for nearly all the others. They are the ones which decide what is news and what isn't, at the national and international levels. They originate the news; the others merely copy it. And all three newspapers are in Jewish hands.
The New York Times is the unofficial social, fashion, entertainment, political, and cultural guide of the nation. It tells America's "smart set" which books to buy and which films to see; which opinions are in style at the moment; which politicians, educators, spiritual leaders, artists, and businessmen are the real comers. And for a few decades in the last century it was a genuinely American newspaper. The New York Times was founded in 1851 by two Gentiles, Henry J. Raymond and George Jones.
After their deaths, it was purchased in 1896 from Jones's estate by a wealthy Jewish publisher, Adolph Ochs. His great-grandson, Arthur Ochs Sulzberger, Jr., is the paper's current publisher and CEO. The executive editor is Max Frankel, and the managing editor is Joseph Lelyveld. Both are Jews. The Sulzberger family also owns, through the New York Times Co., 33 other newspapers, including the Boston Globe, purchased in June 1993 for $1.1 billion; twelve magazines, including McCall's and Family Circle with circulations of more than 5 million each; seven radio and TV broadcasting stations; a cable-TV system; and three book publishing companies. The New York Times News Service transmits news stories, features, and photographs from the New York Times by wire to 506 other newspapers, news agencies, and magazines.
Of similar national importance is the Washington Post, which, by establishing its "leaks" throughout government agencies in Washington, has an inside track on news involving the Federal government. The Washington Post, like the New York Times, had a non-Jewish origin. It was established in 1877 by Stilson Hutchins, purchased from him in 1905 by John R. McLean, and later inherited by Edward B. McLean. In June 1933, however, at the height of the Great Depression, the newspaper was forced into bankruptcy. It was purchased at a bankruptcy auction by Eugene Meyer, a Jewish financier and former partner of the infamous Bernard Baruch, industry czar in America during the First World War. The Washington Post is now run by Katherine Meyer Graham, Eugene Meyer's daughter. She is the principal stockholder and the board chairman of the Washington Post Co. In 1979 she appointed her son Donald publisher of the paper. He now also holds the posts of president and CEO of the Washington Post Co. The Washington Post Co. has a number of other media holdings in newspapers, television, and magazines, most notably the nation's number-two weekly newsmagazine, Newsweek.
The Wall Street Journal, which sells 2.1 million copies each weekday, is the nation's largest-circulation daily newspaper. It is owned by Dow Jones & Co., Inc., a New York corporation which also publishes 24 other daily newspapers and the weekly financial tabloid Barron's, among other things. The chairman and CEO of Dow Jones is Peter R. Kann, who is a Jew. Kann also holds the posts of chairman and publisher of the Wall Street Journal. New York's other major newspapers are in no better hands than the New York Times and the Wall Street Journal.
In January 1993 the New York Daily News was bought from the estate of the late Jewish media mogul Robert Maxwell (born Ludvik Hoch) by Jewish real-estate developer Mortimer B. Zuckerman. The Village Voice is the personal property of Leonard Stern, the billionaire Jewish owner of the Hartz Mountain pet supply firm. The New York Post, suffering from severe financial problems, has been bouncing back and forth for a year among a succession of especially sleazy Jewish billionaires -- Peter Kalikow, Steven Hoffenberg, Abraham Hirshfeld -- and Australian newspaper mogul Rupert Murdoch.
Other Mass Media
The story is pretty much the same for other media as it is for television, radio, and newspapers. Consider, for example, newsmagazines. There are only three of any note published in the United States: Time, Newsweek, and U.S. News & World Report. Time, with a weekly circulation of 4.1 million, is published by a subsidiary of Time Warner Communications, the new media conglomerate formed by the 1989 merger of Time Inc. with Warner Communications. The CEO of Time Warner Communications, as mentioned above, is Gerald Levin, a Jew. Newsweek, as mentioned above, is published by the Washington Post Co., under the Jewess Katherine Meyer Graham. Its weekly circulation is 3.2 million. U.S. News & World Report, with a weekly circulation of 2.3 million, is owned and published by the aforementioned Mortimer B. Zuckerman, who also has taken the position of editor-in-chief of the magazine for himself. Zuckerman also owns the Atlantic Monthly and New York's tabloid newspaper, the Daily News. Or consider books.
There are literally thousands of publishers in the United States, and among these thousands are many with little or no direct Jewish control; there are some which actually dare to publish books not approved by the Jewish Establishment. But all of the latter publishers are very small, and their books seldom reach the great mass of Americans who buy their reading material from drugstore news racks or from the chain bookstores.
Among the giant publishing conglomerates, however, the situation is quite kosher. Three of the six largest book publishers in the United States, according to Publishers Weekly, are owned or controlled by Jews. The three are first-place Random House (with its many subsidiaries, including Crown Publishing Group), third-place Simon & Schuster, and sixth-place Time Warner Trade Group (including Warner Books and Little, Brown).
As pointed out above, the Newhouse family owns Random House, and Gerald Levin is CEO of Time Warner Communications, of which Time Warner Trade Group is a division. Simon & Schuster is a subsidiary of Paramount Communications, Inc. (formerly Gulf and Western, Inc.), of whom the chairman and CEO is Martin S. Davis, as already noted. Another publisher of special significance is Western Publishing. Although it ranks only 13th in size among all U.S. publishers, it ranks first among publishers of children's books, with more than 50 per cent of the market. Its chairman and CEO is Richard Bernstein, a Jew.
Those are the facts of media control in America. Anyone willing to spend a few hours in a large library looking into current editions of yearbooks on the radio and television industries and into directories of newspapers and magazines; into registers of corporations and their officers, such as those published by Standard and Poors and by Dun and Bradstreet; and into standard biographical reference works can verify their accuracy. They are undeniable, and when confronted with them Jewish spokesmen customarily will use evasive tactics. "Ted Turner isn't a Jew!" they will announce triumphantly, as if that settled the issue. If pressed further they will accuse the confronter of "anti-Semitism" for even raising the subject. It is fear of this accusation which keeps many persons silent who know the facts. But we must not remain silent on this most important of issues!
The Jewish control of the American mass media is the single most important fact of life, not just in America, but in the whole world today. There is nothing -- plague, famine, economic collapse, even nuclear war -- more dangerous to the future of our people. By permitting the Jews to control our news and entertainment media we are doing more than merely giving them a decisive influence on our political system and virtual control of our government; we also are giving them control of the minds and souls of our children, whose attitudes and ideas are shaped more by Jewish television and Jewish films than by parents, schools, or any other influence. The Jew-controlled entertainment media have taken the lead in persuading a whole generation that homosexuality is a normal and acceptable way of life; that there is nothing at all wrong with White women dating or marrying Black men, or with White men marrying Asiatic women; that all races are inherently equal in ability and character -- except that the character of the White race is suspect because of a history of oppressing other races; and that any effort by Whites at racial self-preservation is reprehensible.
We must oppose the further spreading of this poison among our people, and we must break the power of those who are spreading it. It would be intolerable for such power to be in the hands of any alien minority, with values and interests different from our own. But to permit the Jews, with their 3,000-year history of nation-wrecking, from ancient Egypt to Russia, to hold such power over us is tantamount to race suicide. Indeed, the fact that so many White Americans today are so filled with a sense of racial guilt and self-hatred that they actively seek the death of their own race is a deliberate consequence of Jewish media control. Once we have absorbed and understood the fact of Jewish media control, it is our inescapable responsibility to do whatever is necessary to break that control. We must shrink from nothing in combatting this evil power which has fastened its deadly grip on our people and is injecting its lethal poison into their minds and souls. If we fail to destroy it, it certainly will destroy our race. Let us begin now to acquire knowledge and take action toward this necessary end.