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Oct 8, 2010

Rick Sanchez are you reading this: The Big Hollywood Lie: Denying that Jews Control the Film Business

 

Disinformation

This essay is reprinted from the April 1, 1994, issue of New American View, a newsletter edited by Victor Marchetti. (It is no longer published.) Marchetti served for 14 years with the CIA, where he rose to be executive assistant to the deputy director. His book, The CIA and the Cult of Intelligence, co-authored with John Marks, was the first critical account of the agency written by an insider. Marchetti's presentation at the Ninth IHR Conference, "Propaganda and Disinformation: How the CIA Manufactures History," was published in the Fall 1989 Journal of Historical Review.


April 1994

The Big Hollywood Lie: Denying that Jews Control the Film Business

When country singer Dolly Parton told Vogue magazine a couple of months ago that her idea for a TV series about a country singer who becomes a gospel singer was turned down by Hollywood, she said that "everyone's afraid to touch anything that religious because most of the people out here are Jewish, and it's a frightening thing for them to promote Christianity." Truer words were never spoken.

But the ADL's chief troublemaker, Abe Foxman, immediately flew into one of his by-now tiresome furies and fired off a letter (which he made available to the news media, of course) to Dolly, scolding her for her innocent, honest comment. Foxman charged that Ms. Parton was invoking "the old antisemitic stereotype of Jewish control of Hollywood and hostility toward Christianity." He did not, however, directly contradict her or deny that Hollywood is controlled by his fellow Jews.

Being the nice person she is and knowing on which side her bread is buttered, Dolly dutifully and publicly apologized. She wrote to Foxman, "I regret that my words could have conjured up an impression of Jewish 'control' of Hollywood." Ever the arrogant, whining bully, Foxman accepted Ms. Parton's atonement, informing the media that is was a "refreshing capitulation." And the Hollywood lie lives on. 

The Jewish denial that Hollywood is controlled by Jews is a great lie which can be attested to by anyone who has ever been associated with the film industry. Here is but one example.

In the late 1970s, New American View editor Victor Marchetti was working as a screenwriter on a spy movie. The producer, the director, Marchetti's agent and just about everyone else was Jewish. The proposed film was shopped around to several major studios. All the executives at all the studios with whom the project team met, with one exception -- Alan Ladd, Jr., then head of 20th Century Fox -- were Jewish.

At one meeting, at MCA-Universal (the studio which produced "Schindler's List"), the discussion was interrupted when a latecomer entered the studio head's office and took a seat next to Marchetti. He was a little, nondescript person who seemed out of place in the production meeting. The studio head halted the discussion and, turning to the little man, asked if he had any problems with the project after having read the treatment, an abbreviated script. The man, speaking with a foreign accent, said no, smiled at Marchetti, and departed.

"Who is he?" Marchetti asked the studio head.

The powerful Hollywood boss answered, "He's an Israeli. I just wanted to make sure there was nothing in this movie that he would not like." As the meeting continued, Marchetti began to count noses. Of the nine people in the office, Marchetti was the only non-Jew. It reminded him of many meetings he had attended in the publishing world in New York, where often he had been the only Gentile out of a dozen or more people discussing a book project.

Marchetti's Jewish agent leaned over and asked in a whisper, "What are you thinking about?"

"Everybody in the room is Jewish except me." "Forget about that," the agent said. "You just better hope that your Jews are smarter than the studio's. We're talking big bucks."

Since then, Marchetti has had several other involvements with the Hollywood movie crowd. It was always the same. The Jews were, and remain, in control of Tinsel Town. To say otherwise is to lie.

It is bad enough when a group representing less than three percent of the American population -- and many of whose members have a self-proclaimed first loyalty to a foreign nation -- should be in control of so many of America's cultural, financial and governmental institutions. But it is positively insulting for them to deny their influence and power -- particularly when they themselves are continually boasting in their own circles about their "overrepresentation" in these fields. And it is absolutely infuriating when this denial reaches the point that non-Jews are attacked by Jewish agitators and Zionist zealots for stating obvious facts and truth.

Most Americans have always been suspicious of too much power in too few hands. That's what the Constitution is all about. And that is why we have never trusted elitist groups which have tried to dictate to us. So, if we don't trust the old-line establishment, the old elite, why should we not be suspicious of the new elite -- the Jewish establishment -- and its excessive power in America.


This essay is reprinted from the April 1, 1994, issue of New American View, a newsletter edited by Victor Marchetti. (It is no longer published.) Marchetti served for 14 years with the CIA, where he rose to be executive assistant to the deputy director. His book, The CIA and the Cult of Intelligence, co-authored with John Marks, was the first critical account of the agency written by an insider. Marchetti's presentation at the Ninth IHR Conference, "Propaganda and Disinformation: How the CIA Manufactures History," was published in the Fall 1989 Journal of Historical Review.


--

Being happy–is it good for the Jews? "Before Professor Dershowitz accused me of being an anti-Semite (news to me), I was a happy person. Since then, I'm still a happy person". –Michael Santomauro

An antisemite condemns people for being Jews, I am not an antisemite.--Michael Santomauro

Most of us are mentally trapped to think Jewish. Actually, it is safe to say that virtually every mainstream publication or or other type of media organ is "nothing more than a screen to present chosen views." The great battle over the last century has been a battle for the mind of the Western peoples, i.e., non-Jewish Euros. The chosen won it by acquiring control over essentially the complete mainstream news, information, education and entertainment media of every type, and using that control to infuse and disseminate their message, agenda and worldview, their way of thinking, or rather the way they want us to think. Since at least the 1960s this campaign has been effectively complete. Since then they have shaped and controlled the minds of all but a seeming few of us in varying degree with almost no opposition or competition from any alternative worldview. So now most of us are mentally trapped in the box the chosen have made for us, which we have lived in all our lives. Only a few have managed to avoid it or escape it, or to even sometimes see outside of it, and so actually "think outside of the (Jewish) box." --Michael Santomauro

Thank you and remember: 

Peace is patriotic!

Michael Santomauro
253 W. 72nd Street
New York, NY 10023

Call anytime: 917-974-6367

E-mail me anything:
ReporterNotebook@Gmail.com

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Rick Sanchez are you reading this: An Empire Of Their Own -- How The Jews Invented Hollywood (review)

 


An Empire Of Their Own: How The Jews Invented Hollywood

  • by Neal Gabler. New York: Crown Publishers, Inc., 1988. Hardcover, 502 pp., illustrated, $24.95, ISBN 0-51746808 X.
Reviewed by Jack Wikoff
Summer 1989

Much of An Empire of Their Own reads like a press agent release for the stereotypical Hollywood movie producer. Having originally subtitled his book How Zukor, Laemmle, Fox, Cohn and the Warner Brothers Invented Hollywood, author Neal Gabler provides valuable information about those Jews who came to dominate the film industry during the nineteen-twenties, thirties and forties.

Undoubtedly the subtitle was changed to How the Jews Invented Hollywood to promote more effectively the myth that Jews singlehandedly created the film industry. Reading An Empire of Their Own may cause one to be ultra-conscious of whether a film producer, director, actor or technician is Jewish or not. One reviewer has written that "if misread, the book could provide fuel for anti-Semitism." This may or may not be true. What is certain is that the history of cinema is now old enough for us to see the extraordinary power this medium has had upon the political and moral values of the masses. Many Jews have persistently sought, and gained, this power throughout the twentieth century.

In concentrating upon the lives and personalities of these Jewish producers, mostly of Eastern European birth, the author glosses over or completely ignores the achievements of gentile, Christian pioneers of the film industry. It can safely be said that the earliest cameras, projectors, sound and lighting equipment, and raw film stock were developed primarily by gentile inventors. The same can be said of those artists who were the first to create artistic movies with true narrative content, creative lighting and special effects, panoramic scenic settings and fast-paced editing. Certainly Jews made many valuable contributions to early film, but Gabler vastly exaggerates their innovation. Creative individuals such as W.K.L. Dickson, William Friese-Greene, Thomas Armat, Georges Melies, Louis and Auguste Lumiere, and Charles Pathe are not even mentioned. Edwin S. Porter, the director of the early narrative film and first western, The Great Train Robbery (1903), was also an engineer who developed cameras, projectors and special effects devices. In An Empire of Their Own, Porter is dismissed as a Projectionist-turned-director." Thomas Edison is portrayed as a villain for his great power in the early industry. Edison and his partners created the Motion Picture Patents Company in 1908, which until 1918 held an almost complete monopoly in camera and projection equipment licensing.

What these Jewish producers did achieve was to move very quickly from owning a few nickelodeons to controlling complete monopolies consisting of production, distribution and exhibition facilities. These men acquired this control because of an excellent sense of what the public would buy, intense personal drive, group solidarity as Jews, a willingness for hard work-and -- a lot of shady dealing. Gabler describes how Adolf Zukor and Carl Laemmle illegally used Edison cameras without paying the royalities and how Louis B.Mayer cheated the producers of Birth of a Nation by falsifying his bookkeeping, thereby making as much as $500,000 on the exhibition of that one film in 1915.

These Jewish producers moved to Hollywood from the East Coast in the teens and twenties because of the abundant sunlight, cheap non-union labor and distance from the enforcers of the Edison Patents Company. Zukor and his associates arrived relatively late in Hollywood. A woman from Illinois had given Hollywood its name in remembrance of her native state's holly bushes; several Englishmen, the Horsley brothers and Charles Rosher, created the first film factory in Hollywood, the Nestor Studio, in 1910. The Jews did not invent Hollywood, but they certainly did come to dominate it.

Throughout An Empire of Their Own Neal Gabler contends that Hollywood "was founded and for more than thirty years operated by Eastern European Jews who themselves seemed to be anything but the quintessence of America" and that "above all things, they wanted to be regarded as Americans, not Jews; they wanted to reinvent themselves here as new men."

For Gabler The Jazz Singer (1927), starring Al Jolson, epitomizes in cinematic terms the conflict of the Jew in America. The elderly cantor of a synagogue on the Lower East Side of New York City assumes that his only son will follow in his footsteps and retain the orthodox traditions. But the son would prefer to be an entertainer and goes against his father's wishes. Years pass and Jakie Rabinowitz, the cantor's son, has become Jack Robin, a nightclub singer. The crisis comes when the elder Rabinowitz cannot sing the "Kol Nidre" on Yom Kippur and the congregation pressures the young jazz singer to fill in for his father. But Jack's Broadway opening happens to be the same night.

As Gabler describes this situation: "Jack's quandary is that he can bring Judaism to show business, but he cannot bring show business to Judaism Ö which is to say that Judaism cannot be reinvigorated or revitalized in America or by America. It is alien to it."

The Jazz Singer has a happy ending. Jack's producers allow his Broadway premier to be postponed a night so he can sing the "Kol Nidre" in the synagogue. Then, in his show business triumph, the young Jewish entertainer appears in blackface, "one minority disguised within another," singing "Mammy" to his mother seated in the enthusiastic audience. The son of the immigrant gets the best of two worlds.

Viewed from outside the Jewish subculture, the anxiety and conflict that "assimilation" produced in these men does not seem as extreme as Gabler would have us believe. Although the Jewish movie moguls rarely kept kosher and seldom went to synagogue, it does not mean that they ever really stopped being Jews. Assimilation often simply meant acquiring ostentatious symbols of wealth and success such as country club membership, the breeding of thoroughbred racehorses, compulsive gambling and sexual highjinks in Las Vegas and Havana, season tickets at the opera and palatial mansions on both coasts. Many of these "role models" dumped their old Jewish wives and married younger gentile women. In retrospect these Jewish men never truly wanted to join the culture of the Anglo-Saxon Protestant elite. What they sought was entree into those domains of power and influence which had once been exclusively gentile.

The most important question in historical and political terms is to what extent the Jewishness of these movie executives affected the content of motion pictures. An Empire of Their Ownprovides a number of valuable answers to this question. Gabler also reveals inside information on the East Coast boards of directors and stockholders who were the true powers behind the movie producers. A number of passages cite the various Jewish lobbying groups which also influenced film content. Several chapters are devoted to the Hollywood executives' response to the investigations of congressional committees into Jewish and Communist influence in motion pictures in the 1940's and 1950's.

In spite of Neal Gabler's ethnocentric prejudices (and partly because of them!) An Empire of Their Own will be a valuable addition to any collection of books about the political and cultural history of the twentieth century.


About the author

JACK WIKOFF is a writer and researcher living in central New York State.


--

Being happy–is it good for the Jews? "Before Professor Dershowitz accused me of being an anti-Semite (news to me), I was a happy person. Since then, I'm still a happy person". –Michael Santomauro

An antisemite condemns people for being Jews, I am not an antisemite.--Michael Santomauro

Most of us are mentally trapped to think Jewish. Actually, it is safe to say that virtually every mainstream publication or or other type of media organ is "nothing more than a screen to present chosen views." The great battle over the last century has been a battle for the mind of the Western peoples, i.e., non-Jewish Euros. The chosen won it by acquiring control over essentially the complete mainstream news, information, education and entertainment media of every type, and using that control to infuse and disseminate their message, agenda and worldview, their way of thinking, or rather the way they want us to think. Since at least the 1960s this campaign has been effectively complete. Since then they have shaped and controlled the minds of all but a seeming few of us in varying degree with almost no opposition or competition from any alternative worldview. So now most of us are mentally trapped in the box the chosen have made for us, which we have lived in all our lives. Only a few have managed to avoid it or escape it, or to even sometimes see outside of it, and so actually "think outside of the (Jewish) box." --Michael Santomauro

Thank you and remember: 

Peace is patriotic!

Michael Santomauro
253 W. 72nd Street
New York, NY 10023

Call anytime: 917-974-6367

E-mail me anything:
ReporterNotebook@Gmail.com


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Rick Sanchez are you reading this: How Michael Eisner Has Transformed the 'Magic Kingdom'

 

Fall 1998

'Culture War' Profile

Subverting the Disney Legacy

How Michael Eisner Has Transformed the 'Magic Kingdom'

Mark Weber

For more than 40 years, the company founded and built by Walt Disney offered popular, well-crafted entertainment that upheld American values and traditions. Its films and television programming -- even if sometimes sugary -- epitomized, to use the much-mocked phrase, wholesome family entertainment.

It was the work largely of one man, Walter Elias Disney (1901-1966), a gifted illustrator, brilliant filmmaker and genial entrepreneur who left a lasting mark on American popular culture. His cartoon characters, animated films, and amusement parks, are recognized around the world.

In 1928 he launched the beloved Mickey Mouse character in an animated film, "Steamboat Willie," that became an immediate hit. In the decades that followed, Disney dominated animation art with such innovative and hugely popular films as "Snow White and the Seven Dwarfs" (1937), "Pinocchio" (1940), "Fantasia" (1940), and "Bambi" (1942). He also oversaw the production of such enduring feature films as "Treasure Island" (1950), "Robin Hood" (1952), "20,000 Leagues Under the Sea" (1954), "The Swiss Family Robinson" (1960), "The Absent-Minded Professor" (1960), and "Mary Poppins" (1964).

Politically conservative and ardently anti-Communist, the hard-working Disney was habitually involved in every stage of production and management. He and his work were honored with 39 Academy Awards, and hundreds of other awards and tributes.

Under New Management

A period of stagnation that followed the founder's death came to an end in September 1984 when Michael Eisner became the Disney company's Chairman and Chief Executive Officer. Eisner moved quickly to install fellow Jews in top positions throughout the Disney operation, and soon Hollywood's last gentile-run studio passed into Jewish hands.

As media critic Michael Medved has pointed out, "The famous Disney organization, which was founded by Walt Disney, a gentile Midwesterner who allegedly harbored anti-Semitic attitudes, now features Jewish personnel in nearly all its most powerful positions." ("Jews Run Hollywood. So What?," Moment magazine, August 1996.) Under the new management, Disney company sales and profits soared, and the revitalized company reclaimed a leading place in the entertainment world.

A Mighty Media Empire

With its acquisition in 1995 of Capital Cities/ABC, Disney became the world's largest entertainment company. The Walt Disney Company today is a sprawling and highly profitable international business empire. (Revenue for fiscal year 1998 was $23 billion, and net income $1.9 billion.) With major holdings in film, television, radio and publishing, the company has a tremendous impact on the mindset and behavior of hundreds of millions around the globe.

Through Walt Disney Pictures (headed by Joe Roth), Touchstone Pictures, Hollywood Pictures, Miramax (run by the Weinstein brothers), and Caravan Pictures, it is one of the world's largest film producers and distributors.

Through the 1995 merger, Disney acquired the ABC Television network, which owns ten television stations outright. It also has 225 affiliated TV stations in the United States, and is part owner of several European television companies. Among its other TV holdings are Walt Disney Television, Touchstone Television, and Buena Vista Television. Disney also controls three major cable television networks with more than 100 million subscribers: ESPN (headed by Steven Bornstein), Lifetime Television, and Arts & Entertainment (A&E and the History Channel).

Through its 1995 ABC acquisition, Disney owns 26 AM and FM radio stations, and has more than 3,300 ABC radio affiliates. The company also owns daily newspapers and glossy consumer magazines (including Discover), and Hyperion Press book publishers.

In addition to Disneyland -- the "Magic Kingdom" amusement park in southern California opened by Walt Disney in 1955 -- the company today owns Disney World (Florida), Epcot Center, Tokyo Disneyland, and Euro Disney (France), as well as the "Mighty Ducks" hockey team and the "Anaheim Angels" baseball team. Each year Disney also sells well over a billion dollars worth of consumer products -- toys, books and clothing -- through more than 500 Disney stores.

Wealthy and Machiavellian

Michael D. Eisner, born in 1942 into a well-to-do Jewish family, was raised on Manhattan's Upper East Side and educated in private schools. His father was a Harvard lawyer who served as a high-ranking official in President Eisenhower's administration.

As Disney chairman, Eisner has been fabulously -- some might say obscenely -- compensated. His annual base salary of $750,000 is only a small portion of his Disney income, which is mostly from stock option profits. In 1993, for example, Eisner's total compensation was a staggering $203 million, while in 1997 he exercised options on 21.9 million shares for a profit of $550 million.

Since 1984, chairman Eisner has received nearly $1 billion from Disney, including base salary, bonuses, and stock options (Los Angeles Times, Dec. 4, 1997). In January 1997 he signed a ten-year extension contract with the company valued at some $200 million.

Eisner has cultivated a public image of himself as friendly, trustworthy, and even boyish. But those who know him well regard him as treacherous and Machiavellian. David Geffen, a fellow Hollywood mogul who has known Eisner well for years, said of him in a 1995 interview: "Michael is a liar. And anyone who has dealt with him, genuinely dealt with him, knows he's a liar."

Cultural Revolution

Since 1984, Michael Eisner and his colleagues have refashioned Hollywood's most culturally conservative and family-oriented studio into one of its most culturally seditious and anti-traditional. In doing so, they betrayed the founder's legacy, degraded his values, and demeaned the company's defining spirit.

Under Eisner's direction, the Disney company has turned out motion pictures packed with graphic violence and killing (such as "Pulp Fiction"), as well as rock music albums loaded with gross obscenities (such as "Insane Clown Posse" by "The Great Malenko" "hip hop" band).

Even Commentary, the magazine of the American Jewish Committee (March 1998), was moved to lament: "If the old Disney tells us something inspiriting about who we were not so very long ago, the new and even more hugely lucrative Disney is just another signpost marking our long, steep cultural descent."

'Pink Triangle' Disney

While support for homosexuals has been widespread in Hollywood for years, under Eisner the Disney company -- in the words of the American Family Association -- has become "one of the leading promoters of the homosexual lifestyle, as well as the homosexual political and social agenda in America today." Eisner himself is a board member of "Hollywood Supporters," an influential and aggressive homosexual advocacy organization. The Disney company advertises in homosexual publications such as Out magazine, and has given financial support to at least one benefit for the "National Gay and Lesbian Task Force."

In 1996, actress Ellen DeGeneres "came out" as openly homosexual, both personally and as the lead character on the "Ellen" sitcom series, broadcast on the Eisner-controlled ABC television network. Eisner introduced insurance benefits for same-gender partners of Disney's homosexual employees. For some years now, he has sanctioned "Gay Day" at Disney World, an event that each year draws throngs of boisterous "in your face" homosexuals.

"In the interest of full disclosure," quipped Boston Herald columnist Don Feder, "Disney should change its corporate logo to show a pink triangle flying over Cinderella's castle." He went on to refer to Disneyland as "The Magic Kink-dom."

Assault Against Christianity

Under Eisner, the Disney company has waged a "cultural war" against Christianity, scorning the religious sensibilities of the vast majority of Americans.

In a 1995 statement, the American Catholic Lawyers Association indignantly declared

We all remember the Disney Company from the days when it produced films your children could actually watch without losing their innocence -- films which showed a decent respect for Christianity and Christian values. But that was before Mr. Michael Eisner took the helm of the Disney conglomerate. Now the Disney Company has joined the rest of Hollywood in obsessively attacking the Catholic Church and pumping R-rated filth into our culture -- under cover of its subsidiary, Miramax Films, whose co-chairmen are Bob and Harvey Weinstein.

A particularly offensive example of the Eisner/Disney assault is "Priest," a 1995 motion picture released by the company's Miramax subsidiary. It tells the story of four Roman Catholic clergymen: one is homosexual, another is alcoholic, a third has a mistress, and the fourth is insane.

One of the strongest voices protesting this movie, and Disney's anti-Christian productions generally, has been that of the Catholic League for Religious and Civil Rights, a New York-based civil rights organization. "Priest," said League president William Donahue, "displays the most profound hostility to the Catholic Church that I have seen in the last 15 years of reviewing movies." Eisner, Donahue added, would never approve a film that similarly portrays depraved Jewish rabbis or morally bankrupt homosexuals, or which contains cruel caricatures of African-Americans.

Anti-Arab

Reflecting the Zionist sentiments of its top management, the Eisner-run Disney company has produced a number of anti-Arab motion pictures in recent years. In a 1994 movie, "The Return of Jafar," for example, hook-nosed Arabs are referred to as "desert skunks." "The Father of the Bride, Part II" (1995), includes a loathsome Arab-American character named Habib (played, ironically, by Eugene Levy). "Kazaam" (1996), produced by Disney's Touchstone pictures, includes an assortment of villainous Arab characters, including a black marketer named Malik. Other recent anti-Arab Disney films include "In the Army Now" and "GI Jane."

In August 1996 the American-Arab Anti-Discrimination Committee organized a demonstration outside the Disney studios to protest the company's pattern of anti-Arab productions.

White America Under Fire

For some years now, Hollywood and American television have churned out numerous films and television productions that distort European-American history and disparage white America's racial-cultural heritage. Under Eisner, Disney has moved to the forefront of this "politically correct" assault.

Among the recent Disney films that misrepresent and malign America's European heritage has been "Pocahontas," a 1995 animated film that portrays Indians ("native Americans") as liberated, nature-loving, wise and noble, while depicting Europeans as narrow-minded, ignorant, bigoted and greedy.

Under the "Hollywood Records" label, Eisner/Disney has issued CD albums with anti-white lyrics, including one by black "rap" singer "Prince Akeem," who blames black poverty on a "white conspiracy." In April 1996 Eisner fired New York City's most popular radio talk show host, Bob Grant, from his job at Disney-owned WABC for allegedly white racist rhetoric.

'Economic War'

Some of the millions of Americans whom Eisner and his colleagues have affronted are fighting back. Most notably, the nation's two largest Christian groups -- the Roman Catholics and the Southern Baptists -- have declared "economic war" against Eisner/Disney.

In 1996 the Catholic League for Religious and Civil Rights announced a "nationwide charge against Disney, making use of every legal means available -- from boycotts to stockholder revolts," to pressure the company into ending its hostility to Christianity and Catholicism. Roman Catholic dioceses across the country and the Catholic fraternal association Knights of Columbus sold off millions of dollars in Disney stock.

The Southern Baptists -- with 16 million members, the largest Protestant denomination in the United States -- voted overwhelmingly in 1996 and again in 1997 to boycott Disney films and products. The group cited the company's trashing of traditional and family values, and in particular its support for homosexuality.

The Assemblies of God church -- an evangelical Christian denomination with 2.5 million members -- launched its own anti-Disney boycott campaign in 1996. It criticized the company for "abandoning the commitment to strong moral values."

Such boycott efforts seem to have had little lasting impact, however, because Disney company products and services are so widely available, often under non-Disney labels, because pre-Eisner Disney images are still so beloved, and, more generally, because of public apathy.

Seductive and Dangerous

Because Eisner and the others who run the motion picture and television industries are able to shape the public's barely conscious basic assumptions about life and society, thereby profoundly influencing the thinking and actions of millions, they wield greater power than even our elected lawmakers.

A lust for profits does not adequately explain the social-cultural agenda of Eisner and the others who control the American media. Rather, they seem driven by priorities that are fundamentally hostile to this nation's most vital traditions and basic values.

Precisely because the Eisners of Hollywood and New York beguilingly pose as friends, they are more insidious, and ultimately more dangerous, than even a military threat from a foreign power.

Eisner's transformation of Disney parallels, and contributes to, the cultural, social and political transformation of the United States as a whole. Like America's political leaders, Eisner and his Disney colleagues reassuringly display familiar symbols and trademarks from an earlier era, exploiting reputations and good-will painstakingly built up over decades. Those who patronize Disney are reassured that such beloved symbols as Mickey Mouse and Snow White are still in place, just as millions of credulous Americans are reassured about the future of the United States because such icons as the American flag and the US Constitution are still in place. But in each case, the spirit that gave life to these venerable symbols has been driven out by a very different one -- a spirit that has not yet dared to show its real face, or speak its real name.


From The Journal of Historical Review, Sept. — Oct. 1998 (Vol. 17, No. 5), pages 10-13.


--

Being happy–is it good for the Jews? "Before Professor Dershowitz accused me of being an anti-Semite (news to me), I was a happy person. Since then, I'm still a happy person". –Michael Santomauro

An antisemite condemns people for being Jews, I am not an antisemite.--Michael Santomauro

Most of us are mentally trapped to think Jewish. Actually, it is safe to say that virtually every mainstream publication or or other type of media organ is "nothing more than a screen to present chosen views." The great battle over the last century has been a battle for the mind of the Western peoples, i.e., non-Jewish Euros. The chosen won it by acquiring control over essentially the complete mainstream news, information, education and entertainment media of every type, and using that control to infuse and disseminate their message, agenda and worldview, their way of thinking, or rather the way they want us to think. Since at least the 1960s this campaign has been effectively complete. Since then they have shaped and controlled the minds of all but a seeming few of us in varying degree with almost no opposition or competition from any alternative worldview. So now most of us are mentally trapped in the box the chosen have made for us, which we have lived in all our lives. Only a few have managed to avoid it or escape it, or to even sometimes see outside of it, and so actually "think outside of the (Jewish) box." --Michael Santomauro

Thank you and remember: 

Peace is patriotic!

Michael Santomauro
253 W. 72nd Street
New York, NY 10023

Call anytime: 917-974-6367

E-mail me anything:
ReporterNotebook@Gmail.com


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Rick Sanchez are you reading this: How the Jewish-Zionist Grip on American Film and Television Promotes Bias Against Arabs and Muslims

 


How the Jewish-Zionist Grip on American Film and Television Promotes Bias Against Arabs and Muslims

Abdullah Mohammad Sindi

Abdullah Mohammad Sindi, a native of Saudi Arabia, lives and works in California. He received bachelor's and master's degrees from California State University, Sacramento. In 1978 Sindi received a doctorate in international relations from the University of Southern California. He has also studied at the University of Grenoble (France), the University of Poitiers in Tours (France), the University of Liege (Belgium), and at Indiana University (Bloomington). He also conducted research at the United Nations Institute for Training and Research (New York).

In Saudi Arabia Sindi served as a professor at the Institute of Diplomatic Studies (Jeddah), and as an assistant professor at King Abdulaziz University. In the United States he has taught at the University of California, Irvine, California State University in Pomona, Cerritos Junior College, and Fullerton Junior College.

This essay is adapted from the first chapter of his forthcoming book, The Arabs and the West: The Contributions and the Inflictions (1999).


Start:

Unquestionably the most powerful molder of opinion in the world today is the American global media, and especially the Hollywood motion picture industry. Ever since Zionist Jews forcibly established the State of Israel on the land of Arab Palestine in 1948 (with a great deal of American help), and as Arabs and Israelis have struggled for control of this land in the years since, Hollywood and the rest of American mass media have carried out a campaign to disparage Arabs and tarnish their image.

American motion pictures and television -- which have promoted negative images of non-Caucasians, including Native Americans, African-Americans, Hispanic-Americans, and Asian-Americans -- since the 1950s have singled out Arabs and Muslims, more often than any other ethnic-religious group, as objects of hatred, contempt, and derision. (Because Arabs are the world's most numerous Semitic group, this hostility against them is literally anti-Semitic.)

'Villain of Choice'

In American television, writes Professor Shaheen, "the villain of choice today is the Arab." He also says: "To be an Arab in America today is to be an object of contempt and ridicule by television under the guise of entertainment. To me this anti-Arab image on entertainment manifests itself in the politics of America." note

Misconceptions

This media campaign fosters numerous misconceptions about Arabs and their prevailing religion, Islam. For example, although Arabs have lived for centuries in thriving metropolitan centers such as Rabat, Algiers, Alexandria, Cairo, Damascus, Jerusalem, Beirut, Mecca (Makkah) and Baghdad, and have built complex, civilized societies across the Arab world, as well as in Europe's Iberian Peninsula, many Westerners have been persuaded to believe that Arabs are typically uncultured nomads who live in desert tents.

Similarly, while many Americans regard OPEC -- the Organization of Petroleum Exporting Countries -- as synonymous with Arabs and the Arab world, and while the US media routinely blames Arabs whenever OPEC decides to raise oil prices, in fact six of the 13 OPEC member states are not Arab.

Also typically, American television and motion pictures often depict Arabs and Muslims, uniquely, as religious bigots, lacking any tolerance for the religious sensibilities of others. In fact, for much of history, Islam has been more tolerant of Christianity (and of Judaism) than vice versa. Moreover, it was Jewish Zionists who established Israel, in the "promised land" of Palestine, as a state exclusively for the "chosen people."

While the Arabic word "Allah" is often invoked in American films in a way designed to evoke derision and cynicism, conjuring an image of some weird pagan deity, in fact "Allah" is simply the Arabic word for God. Not only Arab Muslims, but Arab Christians and even Arab Jews, use this word as their term for God.

Although officially classified by US government agencies as "White" or "Caucasian," Arabs (and particularly Arab men) are sometimes depicted in American television and movies as Negroid blacks, reinforcing a derogatory image of Arabs as so-called "sand niggers."

"Terrorists" are active all over the world, in countries as diverse as Britain, Italy, Ireland, Russia, Germany, Spain, Japan, Israel, and the United States. (The terrorist record of the Jewish Defense League, for example, is well documented. In 1985 the FBI named the JDL as the second most active terrorist groups in the US.)note However, Hollywood has done much to encourage Americans to associate "terrorists" with Arabs (especially Palestinians), and Muslim "militants."

Arab Takeover?

Highly-publicized Arab purchases of some US corporations in the 1970s and 1980s set off hysterical cries in this country's periodical press and electronic media about the danger of Arabs allegedly "buying up" America. In reality, these purchases were unexceptional, no different than numerous other cross-border investments carried out routinely around the world over the last century. Actually, during the 1980s Canada, Britain, Germany, France, the Netherlands, Switzerland and Japan accounted for nearly 90 percent of direct foreign investment in the US. Direct foreign investment from OPEC member countries, the US Department of Commerce reported, accounted for less than one percent of the total.note

Jewish Power in Hollywood

Negative images of Arabs in American motion pictures are hardly surprising given the major role played by Jews and other supporters of Zionism in Hollywood. In his 1988 study, An Empire of Their Own: How the Jews Invented Hollywood, Jewish author Neal Gabler shows that Jews established all of the major American film studios, including Columbia, Metro-Goldwyn-Mayer, Warner Brothers, Paramount, Universal, and Twentieth-Century Fox. The American film industry, writes Gabler, note

was founded ... and operated by Eastern European Jews ... And when sound movies commandeered the industry, Hollywood was invaded by a battalion of Jewish writers, mostly from the East. The most powerful talent agencies were run by Jews. Jewish lawyers transacted most of the industry's business and Jewish doctors ministered to the industry's sick. Above all, Jews produced the movies ... All of which led F. Scott Fitzgerald to characterize Hollywood carpingly as "a Jewish holiday, a gentiles [sic] tragedy."

So rapidly did Jews come to dominate Hollywood that as early as 1921 Henry Ford's Dearborn Independent was moved to fulminate that American motion pictures arenote

Jew-controlled, not in spots only, not 50 percent merely, but entirely; with the natural consequence that now the world is in arms against the trivializing and demoralizing influences of that form of entertainment as presently managed ... As soon as the Jews gained control of the "movies," we had a movie problem, the consequences of which are not yet visible.

In his detailed 1994 study, Sacred Chain: A History of the Jews, New York University professor Norman F. Cantor, pointed out that Hollywood film production and distribution was "almost completely dominated in the first 50 years of its existence by immigrant Jews and is still dominated at its top level by Jews ... The last Gentile bastion in Hollywood, the Disney studio, came under Jewish executive leadership in the early 1990s."note

Jewish historian and journalist Jonathan J. Goldberg, makes a similar point in his 1996 survey, Jewish Power: Inside the American Jewish Establishment. He writes: note

... Jews are represented in the media business in numbers far out of proportion to their share of the population ... In a few key sectors of the media, notably among Hollywood studio executives, Jews are so numerically dominant that calling these businesses Jewish-controlled is little more than a statistical observation.

Hollywood at the end of the twentieth century is still an industry with a pronounced ethnic tinge. Virtually all the senior executives at the major studios are Jews. Writers, producers, and to a lesser degree directors, are disproportionately Jews -- one recent study showed the figure as high as 59 percent among top-grossing films.

The combined weight of so many Jews in one of America's most lucrative and important industries gives the Jews of Hollywood a great deal of political power. They are a major source of money for Democratic candidates. The industry's informal patriarch, MCA chairman Lew Wasserman, wields tremendous personal clout in state and national politics ...

Hollywood's Jewish executives greeted the founding of Israel in 1948 with ecstasy. One Jewish film executive, Robert Blumofe, later recalled the euphoric mood of the time: "And suddenly Israel, even to the least Jewish of us, represented status of some sort. It meant that we did have a homeland. It meant that we did have an identity ... All of this was terribly, terribly uplifting." note

In the decades since, Hollywood has presented an image of Arabs that is often cruel and barbaric. Manifesting its support for Israel, and its opposition to the Arab and Muslim worlds, which have strongly opposed the invasive Zionist state, Hollywood developed a cinema genre around the Arab-Israeli conflict. In this spirit, Hollywood has produced numerous "good guy/bad guy" films over the last 50 years, simplistically portraying heroic and righteous Israeli Jews prevailing against treacherous and barbaric Arabs. During the 1960s alone, at least ten such major Hollywood films were produced. note

In such films, Israeli Jews and their American friends are frequently played by popular and good-looking Jewish-American actors such as Paul Newman, Tony Curtis, and Kirk Douglas, as well as handsome non-Jewish actors such as Yul Brynner, John Wayne, Jane Fonda, Frank Sinatra, Charlton Heston, George Peppard, Rock Hudson, Sal Mineo, and Arnold Schwarzenegger. Arabs, predictably, are routinely portrayed as and cruel, cynical, and ugly.

During a publicity interview for her 1981 film "Rollover" (in which "the Arabs" destroy the world financial system), actress Jane Fonda, "the progressive leftist" of the 1960s, bluntly expressed her own bigoted view of Arabs: "If we are not afraid of the Arabs, we'd better examine our heads. They have strategic power over us. They are unstable, they are fundamentalists, tyrants, anti-women, anti-free press."note

It is not possible to recount here all of Hollywood's many anti-Arab or anti-Muslim pictures over the last several decades, but here are some representative productions:

In "Exodus" (1960), brutal Arabs kill an attractive 15-year-old Jewish girl played by Jill Hayworth; in "Cast a Giant Shadow" (1966), Arabs leer and laugh as they shoot an Israeli woman trapped in a truck; in "Network" (1976, and winner of four Academy Awards), a crusading television news commentator warns that Arabs, "the medieval fanatics," are taking control of the US; in "Black Sunday" (1977) an Israeli plays the hero, while Arabs are the villains and terrorists who want to kill Superbowl spectators, including the President of the United States; in "The Delta Force" (1986), "Iron Eagle" (1986), and "Death Before Dishonor" (1987), Hollywood shows viewers how to deal decisively with the low-life, no-good, dirty Arab terrorists; in the Disney studio's animated film production, "Aladdin" (1992), the theme song brazenly refers to Arabia as barbaric ("It's barbaric, but hey, it's home"); in "True Lies" (1994), an Arab terrorist with nuclear weapons has to be stopped; in "Executive Decision" (1996) yet another group of Arab militants hijacks an American plane; and in "Kazaam" (1996), an Arab criminal and a black genie enjoy eating a "centuries-old Arab delicacy," a plate of goats' eyes.

More recent motion pictures with negative images of Arabs or Muslims include "Not Without My Daughter" and "The Siege." In "The Siege," Muslims wage a bombing campaign against innocent Americans. In response, federal authorities declare martial law and carry out mass arrests of Muslims and Arabs across the United States.note

Television

It is difficult to exaggerate the role played by television in shaping the mindset and outlook of the American people. Dr. George Gerbner, former Dean of the Annenberg School of Communications at the University of Pennsylvania, put it this way: "Television, more than any single institution, molds American behavioral norms and values. And the more TV we watch, the more we tend to believe in the world according to TV, even though much of what we see is misleading."note

Like the US motion picture industry, American television is dominated by Jews and supporters of Zionism. While American Jews constitute only about two or three percent of the US population,note Irving Pearlberg, a Jewish-American television writer, maintains that no less than 40 percent of American television writers are Jewish.note During the early 1990s, notes New York University professor Norman Cantor, "one TV network was already headed by a Jew (Laurence Tisch at CBS), and Jews are prominent executives and producers at the other two major networks as well."note

Ben Stein, Jewish-American author of The View From Sunset Boulevard, forthrightly acknowledged: note

A distinct majority, especially of the writers of situation comedies, is Jewish ... TV people have certain likes ... and dislikes ... and these likes and dislikes are translated into television programming. In turn, this problem raises the public acceptance of the favored groups and the public dislikes of the resented groups.

Given this reality, it is hardly surprising that one rarely, if ever, sees a Jewish or Israeli figure portrayed as a villain on American television. On the contrary, Israelis in particular and the Jews in general are routinely portrayed in the American mass media as heroic, insightful, sophisticated, witty, intelligent, compassionate, physically attractive, confident, humane, and successful.

On the other hand, like the Arab in Hollywood movies, the US television Arab is often physically unappealing, wealthy, stupid, sexist, crude, lazy, uncultured, cruel, rude, greedy, fanatical, anti-American, and anti-Christian. He is often portrayed as a terrorist, a plane hijacker, a polygamist, a sex-maniac, a hostage-taker, a murderer, a kidnapper of young blond-haired, blue-eyed women, an as an oil sheikh blackmailer, and oddly dressed (often in a red-checkered kuffiyyah headdress, or in ungainly gowns or robes).

News reporting on American television, as well as its presentations of history and other serious subjects, routinely has a distinctly pro-Israeli or pro-Jewish slant. This is understandable, of course, given the prominent role of Jews in television news departments, and the many Jews (often with obvious Zionist biases) employed as reporters, frequently covering the Arab-Israeli conflict or the Middle East generally.

Seldom does America's Zionist-oriented media fairly present the Arab or Muslim point of view, particularly on such issues as the plight of displaced Palestinians, oil politics, or the struggle against Western imperialism. For example, the Zionists who invaded Arab Palestine during the 1930s and 40s, are frequently (and misleadingly) referred to as "homeless" Jews. Similarly, Israeli military actions against Arabs over the last 50 years are routinely justified as acts of "retaliation" against Palestinian and Arab aggression or terrorism.

Whereas the Zionist-Jewish point of view is frequently presented on American television without challenge, the Arab or Muslim point of view (when is even adequately given) is often presented only together with a "balancing" Zionist-Jewish perspective.

In addition to producing films and programming that are supportive of Israel, and distorting the views and positions of Arabs and Muslims (especially with regard to the struggle against the Zionist occupation of Palestine), Hollywood and the American television networks effectively censor pro-Arab and pro-Muslim motion pictures and television programming. During the 1970s, for example, American motion picture theaters and television networks boycotted and "killed" a pro-Palestinian film produced by Vanessa Redgrave, the well-known British actress and leftist activist.

James McCartney, a veteran American journalist, once said what many Arabs and Muslims have thought for decades: note

It is my personal belief that if the media as a whole in the western world had done an adequate job in reporting from the Middle East, it would not have been necessary for the Palestinians to resort to violence to draw attention to their case.

Christian Apologists

Many non-Jews also help promote a distorted pro-Zionist and anti-Arab portrayal of the past and present on American television. This is especially true of the Christian fundamentalist "televangelists" -- such as Pat Robertson, Jimmy Swaggert, Jim Bakker, Jerry Falwell, and Oral Roberts -- who have dominated America's "religious" broadcasting. These passionate defenders of Israel and Zionism show no sympathy for the plight of fellow Christians under Zionist rule, but even castigate Christian and Muslim Palestinians for resisting Zionist oppression and the Jewish subjugation of their historic homeland. This is not only tragic, but ironic in light of the fact that Israel treats the Christians (and Muslims) under its rule essentially as second-class citizens.

Such apologists for Israel often engage in gross distortions of history. For example, some Christian televangelists cite alleged massacres of Hebrews in ancient times (portrayed as the equivalent of modern Israelis) at the hands of the Assyrians (who are portrayed as the equivalent of modern-day Arab Syrians), and at the hands of the Babylonians (portrayed as the equivalent of modern-day Arab Iraqis). Ignored, however, is any mention of the numerous ancient Hebrew massacres of Philistines (the ancestors of today's Palestinians), as reported in the Hebrew Bible (Old Testament). In the Sixth Chapter of the book of Joshua, for example, we read as follows: "And they [Hebrews] utterly destroyed all that was in the city, both man and woman, young and old, and ox and sheep and ass, with the edge of the sword." note

Pervasive Negative Images

In his detailed study, The TV Arab, Arab-American scholar Jack G. Shaheen -- professor emeritus of broadcast journalism at Southern Illinois University -- documents pervasive negative imagery of Arabs by all American television networks, and by practically all leading newscasters and personalities working for them. For this book, Dr. Shaheen examined more than 100 popular television programs, totaling nearly 200 episodes, and interviewed numerous television executives, producers, and writers. American television, concludes Dr. Shaheen -- including popular entertainment, comedy, drama, documentaries, news, and even sports and religious and children's broadcasting -- across the board has, at one time or another, presented distorted and demeaning images of Arabs.

In addition to Hollywood movies and scripted television programming, viewers can also find "humorous" Arab bashing on live, unscripted television broadcasting, even by prominent TV personalities. To get a laugh from a television talk show audience, Merv Griffin (who is not Jewish) once brazenly equated Arabs with animals: "If you lie down with Arabs, [you] get up with fleas." Once, referring to traditional Arab dress and fashion, Jewish television comedienne Joan Rivers laughingly told her viewers: "I can never tell if it's the wife or the husband because they're all in bedsheets." And Jewish comedian Alan King once disparagingly frowned when describing the traditional clothing of Sultan Qaboos of Oman, saying: "What the hell is he dressed up for? Oman's got eleven people and a goat." note

Even programming aimed at children has not been free of demeaning portrayals of Arabs. Among the popular animated cartoon characters who have fomented derogatory or hateful images of Arabs, Dr. Shaheen shows, have been Bugs Bunny, Yosemite Sam, Goofy, Woody Woodpecker, Popeye, Scooby-Doo, Heckle and Jeckle, Porky Pig, Plastic Man, Richy Rich, Pinky and the Brain, Animaniacs, and Duck Tales.

Pressing for Explanations

In interviews with American television executives, Dr. Shaheen pressed for an explanation for the hypocrisy and lack of decency and self-restraint in this pattern of Arab stereotyping on TV. Many of those questioned, he reports, were "embarrassed," and reluctantly acknowledged the widespread disparagement of Arabs, without, however, explaining the reasons for such prejudiced imagery.

Donn O'Brien, CBS vice president of broadcast standards, sheepishly admitted to Shaheen that he had never seen a "good Arab" on American television, and that Arabs are routinely presented as covetous desert rulers or as warmongers. "Arabs are rarely portrayed as good guys," acknowledged Frank Glicksman, a Jewish-American TV producer in Los Angeles. "I've never seen them portrayed as anything but heavies in melodrama. That, I feel, is unfair." Another Hollywood television producer, Don Brinkley, conceded: "The depiction of the Arab on television is generally horrendous." And George Watson, vice president of ABC News, admitted: "Arabs have not been seen to be as real, as close, or as tangible, either as individuals or as a group, as the Israelis ..." note

Not all television executives were as forthcoming, however. Jewish television producer Meta Rosenberg, for example, bluntly responded to Shaheen's inquiry by saying that she did not care about the Arabs, and considered the Arab-American community -- which now numbers well over three million -- to be "insignificant." Shaheen also contacted Norman Lear, one of America's most successful and influential television producers. Among his popular and innovative hit shows have been "All in the Family," and "The Jeffersons." In none of his numerous productions, Shaheen notes, has this Jewish executive ever presented a humane Arab. Lear simply refused to meet with Shaheen, answer any of his multiple letters, or even talk to him by phone. note

More than a few of those who work in the media, including some Jews, have expressed concern over the pattern of Arab bashing in American motion pictures and television. Journalist John Cooley, for example, acknowledged that "no other ethnic group in America would willingly submit to what Arabs and Muslims in general have faced in the United States media."note Columnist Nicholas Von Hoffman, writing in the Washington Post, told readers that "no national, religious or cultural group... has been so massively and consistently vilified" as the Arabs. Jewish writer Meg Greenfield, a veteran Washington Post columnist, expressed the view that "there is a dehumanizing, circular process at work here. The caricature dehumanizes ... [But the caricature] is inspired and made acceptable by an earlier dehumanizing influence, namely an absence of feeling for who the Arabs are and where they have been." And Steve Bell of ABC News said simply: "The Arab is no doubt a current victim of stereotyping not only on television, but throughout the mass media in the United States." note

High Price of Speaking Out

Although criticism of specific Israeli policies is permissible in the United States, it is more or less forbidden to express fundamental criticism of the Zionist state, of America's basic policy of support for Israel, or of the Jewish-Zionist grip on the US media or America's political and academic life. (Remarkably, this is in contrast to the situation in Israel itself, where Jews and even Arab citizens of the Zionist state have much greater freedom than Americans publicly to criticize Zionism and Israeli policies.)

Prominent persons who dare to violate this prohibition are immediately castigated as "anti-Semitic" (that is, anti-Jewish), and pay a heavy price in damage to their reputations or careers. Politicians who publicly speak out against America's support for Zionism risk almost certain political ruin. Among the political or governmental figures whose careers were destroyed because they violated the powerful taboo have been US Senators William Fulbright, Adlai Stevenson III, and Charles Percy, Congressmen Paul McCloskey and Paul Findley, and Deputy Secretary of State George Ball. note

Those who merely "slip up" are obliged to recant. Thus, Marlon Brando was promptly and severely chastised after criticizing Jewish Hollywood producers and executives for promoting vicious racist stereotyping of minorities. Even though what the well-known actor had said during an April 1996 broadcast interview with Larry King was demonstrably true, a short time later Brando was forced to issue a craven apology.

Sometimes the price for speaking out is more severe than the defaming of one's reputation or the ruin of one's career. On October 11, 1985, Alex Odeh, the West Coast regional director of the American-Arab Anti-Discrimination Committee, was killed in a bomb blast when he entered his group's office in Santa Ana, southern California. The previous evening the Palestinian-born Odeh had appeared on a local news show to present an Arab perspective on the Arab-Israeli conflict. The FBI announced that the Jewish Defense League (JDL) was responsible for the murder of Odeh, and at least two other terrorist incidents. The three JDL associates who were suspected of carrying out the killing fled to Israel to avoid punishment. No one has ever been tried for the murder of Alex Odeh. note

Hate Crimes

Unlike other minority groups in the United States, Arab-Americans have had to endure hostility not only from ignorant and prejudiced individuals, but in addition from powerful Jewish-Zionist elements in the mass media.

For one thing, television and print journalists often identify Arab-Americans or Muslim-Americans who are suspected of crimes by their ethnic or religious origin, a practice that incites already latent public prejudice and hatred. Thus one can find newspaper reports with headlines such as "Arabs Battle Police" or "Muslims are Arrested." Non-Arab criminal suspects are rarely, if ever, similarly identified by ethnic or religious origin.

Whenever acts of terrorism take place against the US or Israel, or the US or Israel is involved in military conflicts with Arab countries or groups, ordinary Arab-Americans become victims of hate.

As a result of the US-led military action against Iraq in late 1990 and January 1991, for example, hate crimes against Arab-Americans and Muslim-Americans, including arson, bombings, and assaults, tripled.note Incidents of harassment and physical attacks against Arab-Americans similarly increased across the country in the wake of the February 1993 bombing of the World Trade Center in New York City, and of the April 1995 Oklahoma City federal building bombing. Arab-Americans were targeted as if they were personally responsible for these terrorist attacks.

Immediately following the Oklahoma City bombing, some reporters, such as CNN's Wolf Blitzer, accused Arabs of this act of terrorism. Similarly, CBS newswoman Connie Chung declared: "US government sources told CBS News that [the bombing] has Middle East terrorism written all over it."note Even after Timothy McVeigh was arrested and indicted for the Oklahoma City bombing, New York Times columnist A. M. Rosenthal baldly asserted that "most other attacks against Americans came from the Middle East." note

As a result of such hasty and false accusations, in the wake of the Oklahoma City bombing there were 227 reported incidents of hostility, both violent and non-violet, against Arabs and Muslims across the US. note Men and women of Arab origin were insulted, threatened, cursed, picketed, spat on, and, in a few cases, physically attacked. Vandals broke into homes of Arab-Americans and destroyed property. Other hoodlums vandalized Arab-American businesses and other properties, spray-painting hateful slogans such as "Why don't you terrorists go back to your own country," "Get out of America," "You're not Americans," "You dirty Arabs," "You don't belong here," "Go back home," and "You will pay for this." note

In 1997, reports the Council on American-Islamic Relations (Washington, DC), there were 280 incidents of anti-Muslim violence, discrimination, stereotyping, bias and harassment last year in the United States. This is an increase of 18 percent in such incidents over the previous year.note The full scope of the and anxiety, fear and humiliation endured by individual Arab-Americans is obviously impossible to measure, but unquestionably many individual Arab-Americans have suffered in their personal, social, and professional lives, particularly if they are immigrants or first-generation citizens who (like this writer) speak English with an accent. note

Some Arab-Americans have chosen to endure such bigotry and prejudice in silence. Others have responded by returning to their countries of origin, or by denying or concealing their heritage. Quite a few have "Americanized" or "Westernized" their first and last names, in an effort to "pass" as southern- or eastern-Europeans. Early in his career acclaimed motion picture actor F. Murray Abraham (who received an "Oscar" for his role in "Amadeus"), sought to escape prejudice by hiding his Arab identity.

Ominous Implications

Summing up the deplorable situation, Professor Shaheen has stated: note

Because Arabs and Arab civilization are held in contempt by many in Hollywood, many Americans and their political representatives have few if any positive feelings about Arabs. Their impressions are based in part on the clouded image of the TV screen ... Stereotyping tends to be self-perpetuating, providing not only information but ... "pictures in our heads." These pictures of Arabs reinforce and sharpen viewer prejudices. Television shows are entertainment, but they are also symbols ... A villain is needed in [television and motion picture] conflicts that pit good against evil. Today's villain is the Arab... depicted as the murderous white-slaver, the dope dealer, the fanatic ... To make matters worse ... America's TV image of the Arab is marketed throughout the world ...

Non-Jewish Americans are also victims of the Jewish-Zionist grip on America's motion picture and television industries, propagandistically manipulated by alien interests that foment artificial distrust and enmity between peoples who, objectively, have no conflicting interests.

The hostility and prejudice against Arabs and Muslims engendered by Hollywood and US television infects not only tens of millions of Americans, but also hundreds of millions of credulous viewers worldwide. Such noxious propaganda over a period of decades inevitably has grave long-term consequences. This flood of ethnic-religious poison understandably produces deep resentment among hundreds of millions of Arabs and Muslims around the globe -- creating a vast and growing reservoir of resentment and rage that one day will almost certainly erupt with terrible fury.

Notes

  1. Jack G. Shaheen, The TV Arab (Bowling Green, Ohio: Bowling Green State Univ. Popular Press, 1984), p. 11; Quoted in: Richard H. Curtiss, A Changing Image: American Perceptions of the Arab-Israeli Dispute (Washington, DC: American Educational Trust, 1982), p. 153.
  2. Mark Weber, The Zionist Terror Network: Background and Operation of the Jewish Defense League and Other Criminal Zionist Groups (Institute for Historical Review, 1993), p. 6.
  3. J. G. Shaheen, The TV Arab (1984), p. 13.
  4. Neal Gabler, An Empire of Their Own: How the Jews Invented Hollywood (New York: Doubleday [and Crown], 1988), pp. 1-2.
  5. Quoted in: N. Gabler, An Empire of Their Own (1988), p. 277.
  6. Norman F. Cantor, Sacred Chain: A History of the Jews (New York: HarperCollins, 1994), pp. 390, 401.
  7. Jonathan J. Goldberg, Jewish Power: Inside the American Jewish Establishment (Addison-Wesley, 1996), pp. 280, 287-288. This book was reviewed in the March-April 1998 Journal, pp. 37-38.
  8. Quoted in: N. Gabler, An Empire of Their Own (1988), p. 350.
  9. Michael Parenti, Make-Believe Media: The Politics of Entertainment (New York: St. Martin's Press, 1992), p. 30.
  10. Quoted in: M. Parenti, Make-Believe Media, p. 30.
  11. Faisal Kutty, Bushira Yousuf, "Hollywood's View of Arabs, Muslims," Toronto Star, Sept. 14, 1998. Reprinted in "Other Voices" supplement to The Washington Report on Middle East Affairs (Washington, DC), December 1998, p. S-10.
  12. Quoted in: Jack G. Shaheen, The TV Arab (1984), p. 7.
  13. 1997 Britannica Book of the Year (Chicago: Encyclopaedia Britannica), pp. 311, 739.
  14. Quoted in: J. G. Shaheen, The TV Arab (1984), p. 127.
  15. Norman F. Cantor, Sacred Chain (cited above), p. 401.
  16. Quoted in: J. G. Shaheen, The TV Arab (1984), pp. 127-8.
  17. Quoted in: Richard H. Curtiss, A Changing Image: American Perceptions of the Arab-Israeli Dispute (citied above), p. 145.
  18. Joshua 6: 21-14. See also, for example, Exodus 32: 26-29; Numbers 21: 2-3, 31-35; Deuteronomy 2: 34-35, 3:6, 7: 1-5, 20: 13-17; Joshua 8: 24-29, 10: 28-40, 11: 7-8, 14, 21-23; 2 Kings 10: 17, 30. For more on this, see: Mohammad T. Mehdi, Terrorism: Why America is the Target (New York: New World Press, 1998), p. 66.
  19. Quoted in: J. G. Shaheen, The TV Arab (cited above), pp. 67, 57.
  20. J. G. Shaheen, The TV Arab (1984), pp. 114, 70, 111.
  21. J. G. Shaheen, The TV Arab (1984), pp. 127, 62.
  22. Quoted in: R. H. Curtiss, A Changing Image (1982), p. 153.
  23. Quoted in: J. G. Shaheen, The TV Arab (1984), pp. 122, 7, and back cover.
  24. For details see: Paul Findley, They Dare to Speak Out: People and Institutions Confront Israel's Lobby (Westport, Conn.: Lawrence Hill & Co., 1985). See also: Alfred M. Lilienthal, The Zionist Connection (New York: Dodd, Mead, 1978).
  25. M. Weber, The Zionist Terror Network (1993), esp. pp. 5-6.
  26. Richard Wormser, American Islam: Growing Up Muslim in America (New York: Walker & Co., 1994) p. 121.
  27. Quoted in: Terry Allen, "Professional Arab-Bashing," Covert Action Quarterly, No. 53, Summer 1995, p. 20.
  28. Quoted in: T. Allen, "Professional Arab-Bashing," Covert Action Quarterly, Summer 1995, p. 21.
  29. T. Allen, "Professional Arab-Bashing," Covert Action Quarterly, Summer 1995, p. 21.
  30. Ann Talamus, "War in the Gulf, Repression at Home: FBI Targets Arab-Americans" Covert Action Quarterly, No. 36, Spring 1991, pp. 4-8; R. Wormser, American Islam (cited above), p. 4.
  31. F. Kutty, B. Yousuf, "Hollywood's View of Arabs, Muslims," Toronto Star, Sept. 14, 1998 (cited above).
  32. As an Arab I have faced ethnic-based hostility, from both Jews and Christians, in my academic career. During the 1980s and 1990s, when I taught at four different southern California universities and colleges, I was denied promotion.
  33. Quoted in: R. H. Curtiss, A Changing Image (cited above), p. 153.

Abdullah Mohammad Sindi, a native of Saudi Arabia, lives and works in California. He received bachelor's and master's degrees from California State University, Sacramento. In 1978 Sindi received a doctorate in international relations from the University of Southern California. He has also studied at the University of Grenoble (France), the University of Poitiers in Tours (France), the University of Liege (Belgium), and at Indiana University (Bloomington). He also conducted research at the United Nations Institute for Training and Research (New York).

In Saudi Arabia Sindi served as a professor at the Institute of Diplomatic Studies (Jeddah), and as an assistant professor at King Abdulaziz University. In the United States he has taught at the University of California, Irvine, California State University in Pomona, Cerritos Junior College, and Fullerton Junior College.

This essay is adapted from the first chapter of his forthcoming book, The Arabs and the West: The Contributions and the Inflictions (1999).


--

Being happy–is it good for the Jews? "Before Professor Dershowitz accused me of being an anti-Semite (news to me), I was a happy person. Since then, I'm still a happy person". –Michael Santomauro

An antisemite condemns people for being Jews, I am not an antisemite.--Michael Santomauro

Most of us are mentally trapped to think Jewish. Actually, it is safe to say that virtually every mainstream publication or or other type of media organ is "nothing more than a screen to present chosen views." The great battle over the last century has been a battle for the mind of the Western peoples, i.e., non-Jewish Euros. The chosen won it by acquiring control over essentially the complete mainstream news, information, education and entertainment media of every type, and using that control to infuse and disseminate their message, agenda and worldview, their way of thinking, or rather the way they want us to think. Since at least the 1960s this campaign has been effectively complete. Since then they have shaped and controlled the minds of all but a seeming few of us in varying degree with almost no opposition or competition from any alternative worldview. So now most of us are mentally trapped in the box the chosen have made for us, which we have lived in all our lives. Only a few have managed to avoid it or escape it, or to even sometimes see outside of it, and so actually "think outside of the (Jewish) box." --Michael Santomauro

Thank you and remember: 

Peace is patriotic!

Michael Santomauro
253 W. 72nd Street
New York, NY 10023

Call anytime: 917-974-6367

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Stay on top of your group activity without leaving the page you're on - Get the Yahoo! Toolbar now.


Get great advice about dogs and cats. Visit the Dog & Cat Answers Center.

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