Cont'd from Part 1.. (13) Playboy's Jewish Editors: "The whole staff, practically, was Jewish" (14) Rabbi Daniel Lapin blamed Jews for America's "rapidly deteriorating culture" (15) Norman Podhoretz blames Allen Ginsberg for promoting Sodomy (16) Luke Ford (Jewish himself) explains Why do Jews dominate Porn? (17) Jews invented Hollywood; they have replaced WASPs as the New Establishment - Luke Ford (18) Kings of the Deal: William Cash investigates Hollywood's new Jewish Establishment - The Spectator (19) The Spectator publishes letters critical of William Cash, and his Reply (20) Editor Dominic Lawson (Jewish) says Advertisers threatened to withdraw their business  ** (13) Playboy's Jewish Editors: "The whole staff, practically, was Jewish" http://www.tabletmag.com/Jewish-arts-and-culture/books/26418/my-son-the-pornographer {The Tablet is a Jewish magazine} Books My Son, the Pornographer By the 1960s, Playboy and its founder had become household names. But while Hugh Hefner was out making his brand synonymous with the good life, a team of Jewish editors made his magazine one of the liveliest, sexiest, and most progressive reads around. By Josh Lambert February 24, 2010 In his tennis whites on the courts of a retirement community in Sarasota, Florida, Nat Lehrman doesn’t fit the image of an aging sexual revolutionary: he’s no jowly Hugh Hefner in a red silk robe, nor Al Goldstein, homeless and pathetic. But then Lehrman, the editor responsible for transforming Playboy in the 1960s from just another spicy Esquire knockoff into a path-breaking national forum for the discussion of sexuality, has always been less a sex fiend than an old-school Brooklyn journalist. If a magazine’s history can be divided into eras, the 1960s should be remembered as Playboy’s Jewish decade. Those were the years in which a cadre of young Jewish editors, including Lehrman, reinvigorated the publication, embracing and fomenting the sexual revolution. Yet Playboy has often been thought of as an essentially WASP phenomenon, because Hefner, the magazine’s founder, served back then, and always, as Playboy’s public face—and also because, thanks to neurotic icons like Alexander Portnoy and Alvy Singer, it has been difficult to imagine nice Jewish boys convincing a different perky co-ed to strip her clothes off every month. [...]  (14) Rabbi Daniel Lapin blamed Jews for America's "rapidly deteriorating culture" Jewish Tribal Review Excerpts from:  When Victims Rule. A Critique of Jewish Pre-eminence in America Pornography, drugs, Hollywood, and Jewish influence upon the values of mass culture [...] Hollywood movies and television at-large have been increasingly attacked in recent years for propagating a range of decadent values. [...] Not even focusing on the Hollywood world, in 1999, Rabbi Daniel Lapin wrote an extraordinarily unusual, and stunning, appraisal of the collective negative effects of the modern Jewish community upon the values of America: "My firm conviction is that we must engage in an honest exploration of the problems and shortcomings of the Jewish community and Jewish communal leadership. Instead of focusing on imagined enemies, we should ask whether dogmatic commitment to a secular-liberal vision is encouraging dislike for the Jewish community. Without such honest self-appraisal, Jews will become more and more disliked -- not by crazed individuals but by decent Americans distressed over their rapidly deteriorating culture and the role of Jews in that agenda. It cannot escape the notice of ordinary Americans coping with the challenge of raising responsible children in a hostile world that many Jewish names and groups lead the fight for policies these Americans see as causing the country's decline." [America's Real War, 1999, p. 42] [...]  (15) Norman Podhoretz blames Allen Ginsberg for promoting Sodomy My War with Allen Ginsberg Commentary Magazine 1997 (reprinted in Ex-Friends) https://www.commentarymagazine.com/articles/my-war-with-allen-ginsberg/ As the 60's wore on, I came more and more to see all this [hippie era] as a new kind of plague ... I ended with a lament for the victims it had claimed among the 'especially vulnerable' young ... [There were] shades of antinomian propaganda Ginsberg had done as much as anyone else in America to spread ... Ginsberg was also fulsomely praised as a pioneer of the gay-rights movement, which indeed he was. Yet so far as I have been able to determine, no one thought to draw a connection between the emergence of AIDS and the rampant homosexual promiscuity promoted by Ginsberg (with buggery as an especially 'joyful' feature that is described in loving detail in poem after pornographic -- yes, pornographic -- poem. And I could find only one mention (in the Weekly Standard) of Ginsberg's active sponsorship of the abominable North American Man Boy Alliance (NAMBLA), an organization devoted to the legalization of homosexual pedophilia. ('I don't know exactly how to define what's underage,' he once explained, quickly adding that he himself had 'never made it with anyone under fifteen.')  (16) Luke Ford (Jewish himself) explains Why do Jews dominate Porn? Luke Ford had a webpage called Jews in Porn. It was at http://www.lukeford.com/subjects/content/jews_in_porn.html . His new site is http://www.lukeford.net/. Most of his essays are at http://www.lukeford.net/essays/ eg Hollywood's Homosexual Mafia http://www.lukeford.net/essays/contents/homo_mafia.htm Hollywood Jews http://www.lukeford.net/essays/contents/Hollywood_Jews.htm Rabbinic Sex Abuse http://www.lukeford.net/essays/contents/clergysexabuse.htm Some of Luke Ford's essays are also at http://www.lukeisback.com/essays/essays/and http://www.lukeisback.com/essays But his webpage on Jews in Porn is nowhere to be found ... except at the Internet Archive:http://web.archive.org/web/20001216054700/http://www.lukeford.com/subjects/content/jews_in_porn.html I suggest that you save a copy. == Secular Jews dominate the production and distribution of porn. Just like they've had a disproportionate role in the "white slave trade," and other forms of sex commerce. In his 1992 book "Oh Canada! Oh Quebec! Requiem for a Divided Country," Mordacai Richler writes about Jew hatred in Quebec: The late Abbe Lionel Groulx, patron saint of the sovereignty advocates, is revealed as an admirer of Mussolini who wrote in 1954 that Jews have "a natural passion for money" and could "be found behind all businesses, all shady enterprises, all the pornography operations. . . ." Leading modern Jewish pornographers include Ron Braverman, John Bone, Wesley Emerson, Paul Fishbein, Herbert Feinberg AKA Mickey Fine, Hank Weinstein, Lenny Friedlander, Bobby Hollander, Rubin Gottesman, Fred Hirsch and his children Steve and Marci, Paul "Norman" Apstein, Steve Orenstein, Jack Richmond (Legend CEO), Theodore Rothstein, Reuben and David Sturman, Ron Sullivan, Jerome Tanner, Armand Weston, Sam and Mitch Weston (Spinelli). Jews accounted for most of the leading male performers of the 1970s and '80s. Hebrew studs include Buck Adams, Bobby Astyr, (Bobby Charles) R. Bolla (Robert Kerman), Jerry Butler (Paul Siderman), Seymore Butts (Adam Glasser), Roger Caine (Al Levitsky), David Christopher (Bernie Cohen), Steve Drake, Jesse Eastern, Jamie Gillis (Jamie Gurman), Ron Jeremy (Hyatt), Michael Knight, William Margold, Ashley Moore (Steve Tucker), David Morris, George Payne, Ed Powers (Mark Arnold aka Mark Krinski), Harry Reems (Herbert Streicher), Dave Ruby, Herschel Savage (Harvey Cowen), Carter Stevens (Mal Warub), Marc Stevens, Paul Thomas (Phil Tobias), Marc Wallice (Marc Goldberg), Randy West (Andy Abrams) and Jack Wrangler. A Jewish male performer writes Luke: "Why are most of the men that do porno Jewish? JEWISH MOTHERS! "Jewish men are taught to respect women and help them (very codependent)... They also are nonthreathening to most women. Let's face it, Ron Jeremy is not exactly Mike Tyson... You'll usually find that the real mean bastards (physically violent) in the industry are NOT Jewish (that includes, producers, directors, boyfriends, agents, etc). Jewish guys are more manipulative...." Jewish female performers include Avalon, Jenny Baxter (Jenny Wexler), Busty Belle (Tracy Praeger), Chelsea Blake, Tiffany Blake, Bunny Bleu (Kim Warner), J.R. Carrington, Lee Carroll (Leslie Barris), Blair Castle/Brooke Fields (Allison Shandibal), Courtney/Natasha/Eden (Natasha Zimmerman), Daphne (Daphne Franks), Barbara Dare (Stacy Mitnick), April Diamond, Jeanna Fine, Alexis Gold, Terri Hall, Heather Hart, Nina Hartley (Hartman), C.J. Laing (Wendy Miller), Frankie Leigh (Cynthia Hope Geller), Gloria Leonard, Traci Lords (Nora Louise Kuzma), Amber Lynn, Tonisha Mills, Melissa Monet, Susan Nero, Scarlett O. (Catherine Goldberg), Tawny Pearl (Susan Pearlman), Nina Preta, Tracey Prince, Raylene, Janey Robbins (Robin Lieberman), Mila Shegol, Alexandra Silk, Susan Sloan, Annie Sprinkle (Ellen Steinberg), Karen Summer (Dana Alper), Cindy West, Zara Whites (Amy Kooiman) and Ona Zee (Ona Simms). If the Torah [Pentateuch] commands Jews "to be a kingdom of priests and a holy nation," and Judaism strongly opposes porn, why do Jews dominate porn? The main answer is simple. Jews in porn, like most Jews in academia, media and entertainment, are Jewish in name only. They do little in Jewish life, rarely belong to a synagogue and ignore the Torah. Neither rooted in their own tradition or in that of the majority Christian tradition, they live in a community of rebels. Why does porn attract so many non-Jewish Jews? · Used to hatred from society, Jews will do its dirty work - such as money lending in the Middle Ages or porn today - to make money. Persecuted for millennia in the various societies they've lived in, many Jews developed an allegiance to their own survival as their highest value and care little about the survival of the persecuting society. Even when Jews live in a society that welcomes them instead of harassing them, many Jews hate the majority culture. · Because Jews frequently despise the majority culture, and despite being traditional in most of their values and rituals, Jews seem open to new ways of doing business. Not rooted in the status quo that frequently hates them, Jews often lead the way in the application of new technology - such as printing presses, radio, TV, cable television, VCRs and computers. And the most popular application of new technology for millennia has been porn. · Because of Judaism's emphasis on education and verbal dexterity, Jews dominate academia, entertainment and media generally. · Belonging to the "Chosen Ones" brings self-confidence, and it takes a strong sense of self to thrive in an industry like porn that is disdained by the public. Male performers particularly need confidence to achieve on camera erections. [...]  (17) Jews invented Hollywood; they have replaced WASPs as the New Establishment - Luke Ford by Peter Myers, October 17, 2017 Luke Ford is a convert to Judaism, who ran porn gossip websites: http://lukeford.net/blog/?page_id=10 and http://en.wikipedia.org/wiki/Luke_Ford The following webpage by Luke Ford is undated, but was created on or before October 2, 2002: http://web.archive.org/web/20021002194141/http://www.lukeford.net/essays/contents/Hollywood_Jews.htm Hollywood Jews, by Luke Ford Jews invented Hollywood. 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 television 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. Jewish domination of entertainment is little discussed in the mainstream media, which is also dominated by Jews, out of fears of arousing hatred of Jews. In December 2002, the National Lampoon came out with the spoof "The Hollywood Retorter", with Jews in Hollywood as the main joke. Nikki Finke writes: "Lampoon editor in chief Scott Rubin, who is quick to point out he himself is Jewish, says the subject of Hollywood Jews was chosen because it's such a taboo in this town. Even the L.A. Times, in a news brief, shied away from mentioning the "Jewish" articles. "Well, who are we kidding? There're a lot of Jews in Hollywood. But no one wants to admit that. This was just having fun with the fact that a disproportionate amount of Jews are in the entertainment business."" (LA Weekly, 12/12/02) Jews in Hollywood, like most Jews in the media, academia and pornography, tend to be secular Jews, rooted neither in Judaism nor in the majority Christian culture. In his 1998 book Work in Progress, Disney CEO Michael Eisner writes about 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 school. 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 anti-Semitism. William Cash writes: Los Angeles. WHEN Mr. Mike Ovitz, or His Most Powerfulness (as he is also known here), shows up at a press conference in LA 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. [...] 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 fact cannot be simply 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, 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', about how he 'spun stories about the history of Hollywood and showed them artifacts'. Geffen and Katzenberg, who have no formal connections with MCA or Wassemman, 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 center 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, 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 Center' 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 their 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 (i.e. '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. Whilst 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 executive significance in all the major studios, and he is Jewish) and others not so favored? 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 patronized 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,' a 1936 survey noted, '53 are Jews. 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 is to be a member of a club from which you cannot resign. In Hollywood, the most obvious examples of the Jewish Club are in the side-shows, the lawyers, talent agencies and management and production offices. Birgit Cunningham, is a glamorous Benenden-educated, 28-year-old, blue-eyed blonde. Her father, who owns one of Hitler's pianos, is German. She told me that when she worked as a personal assistant to Vic Sutton, the Jewish head of the fast-track LA commercials talent agency, Sutton, Barth & Vennari, her boss would often, if signing a deal, bluntly ask if they were Jewish. 'I was surprised,' she said. 'I mean, in England, you'd never hear someone ask "Are you Anglican?" On the other hand, he liked to boast that he had this hot young Nazi working for him. When I told him my family flew in the Luftwaffe he was ecstatic.' As small-time professional incest it is probably no worse than, say, public schoolboys in the City (an analogy used by one senior Jewish executive to rebut the charge of Jewish favoritism 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 pool-side barbecues, the deli at the Brentwood Country Mart, endless bar mitzvahs and $500-a-plate Jewish causes or political fund-raisers. Feeling a bit left out of the loop, some non-Jews have been going to extreme measures to get on. Bill Stadiem, a former Harvard-educated 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 track suit 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 Eighties people were known to fake being homosexual or bisexual as a way of getting on in the entertainment business (it is estimated that around 35 per cent of the film community are gay), it has long been a standing joke in L.A 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 story-tellers 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 center 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 in the United States has become blurred to the point of irrelevance. The important thing about New Establishment power in America is that it is exercised corporately. What is wholly new about today's generation of moguls is that they have made a radical social departure from their Jewish forebears. The likes of Mayer, Cohen, Selznick and Thalberg headed west at a time when the entertainment business was regarded as disreputable, and they went to extreme lengths in their quest for social respectability. Louis Mayer comically attempted to live like a 19th-century aristocrat, forcing his daughter to have riding lessons every day. He himself joined the Griffith Park Riding Academy and even very nearly converted to Catholicism. The movie Jews joined the Hollywood Polo and Riding Club in droves; they paid their expensive dues at the West Hills Hunt Club with its own pack of Irish foxhounds, whose (mostly Jewish) members still gallop every Saturday in season around the hills around Los Angeles in sunglasses and full British hunting gear. 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. Now that they are the Power Elite, they view the creaky East Coast Wasp institutions and such reserves as the LA Country Club (which still proudly excludes Jews and showbiz types') as anachronistic jokes. Whilst Louis Mayer would have been trying everything to get a photograph of himself shaking hands with Prince Charles during his three-day visit (or escape) to LA, today's breed of super-mogul couldn't care less. The rise of the white-sock mediocracy, of course, is only 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. [...](18) Kings of the Deal: William Cash investigates Hollywood's new Jewish Establishment - The Spectator Kings of the Deal William Cash investigates the increasing influence and success of Hollywood's new Jewish Establishment The Spectator October 1994 Los Angeles. View p.1: https://web.archive.org/web/20061021122345/http://www.olimu.com/Notes/KingsOfTheDeal/Cash_01.htm View p.2: https://web.archive.org/web/20061021122357/http://www.olimu.com/Notes/KingsOfTheDeal/Cash_02.htm text at http://www.lukeford.net/essays/contents/Hollywood_Jews.htm WHEN Mr. Mike Ovitz, or His Most Powerfulness (as he is also known here), shows up at a press conference in LA 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 last five years. He once told a journalist (on the record), 'Our movies are shit. ' 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 fact cannot be simply 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, 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', about how he 'spun stories about the history of Hollywood and showed them artifacts'. Geffen and Katzenberg, who have no formal connections with MCA or Wassemman, 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 center 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, 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 Center' 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 their 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 (i.e. '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. Whilst 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 executive significance in all the major studios, and he is Jewish) and others not so favored? 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 patronized 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,' a 1936 survey noted, '53 are Jews. 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 is to be a member of a club from which you cannot resign. In Hollywood, the most obvious examples of the Jewish Club are in the side-shows, the lawyers, talent agencies and management and production offices. Birgit Cunningham, is a glamorous Benenden-educated, 28-year-old, blue-eyed blonde. Her father, who owns one of Hitler's pianos, is German. She told me that when she worked as a personal assistant to Vic Sutton, the Jewish head of the fast-track LA commercials talent agency, Sutton, Barth & Vennari, her boss would often, if signing a deal, bluntly ask if they were Jewish. 'I was surprised,' she said. 'I mean, in England, you'd never hear someone ask "Are you Anglican?" On the other hand, he liked to boast that he had this hot young Nazi working for him. When I told him my family flew in the Luftwaffe he was ecstatic.' As small-time professional incest it is probably no worse than, say, public schoolboys in the City (an analogy used by one senior Jewish executive to rebut the charge of Jewish favoritism 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 pool-side barbecues, the deli at the Brentwood Country Mart, endless bar mitzvahs and $500-a-plate Jewish causes or political fund-raisers. Feeling a bit left out of the loop, some non-Jews have been going to extreme measures to get on. Bill Stadiem, a former Harvard-educated 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 track suit 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 Eighties people were known to fake being homosexual or bisexual as a way of getting on in the entertainment business (it is estimated that around 35 per cent of the film community are gay), it has long been a standing joke in L.A 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 story-tellers 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 center 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 in the United States has become blurred to the point of irrelevance. The important thing about New Establishment power in America is that it is exercised corporately. What is wholly new about today's generation of moguls is that they have made a radical social departure from their Jewish forebears. The likes of Mayer, Cohen, Selznick and Thalberg headed west at a time when the entertainment business was regarded as disreputable, and they went to extreme lengths in their quest for social respectability. Louis Mayer comically attempted to live like a 19th-century aristocrat, forcing his daughter to have riding lessons every day. He himself joined the Griffith Park Riding Academy and even very nearly converted to Catholicism. The movie Jews joined the Hollywood Polo and Riding Club in droves; they paid their expensive dues at the West Hills Hunt Club with its own pack of Irish foxhounds, whose (mostly Jewish) members still gallop every Saturday in season around the hills around Los Angeles in sunglasses and full British hunting gear. 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. Now that they are the Power Elite, they view the creaky East Coast Wasp institutions and such reserves as the LA Country Club (which still proudly excludes Jews and showbiz types') as anachronistic jokes. Whilst Louis Mayer would have been trying everything to get a photograph of himself shaking hands with Prince Charles during his three-day visit (or escape) to LA, today's breed of super-mogul couldn't care less. The rise of the white-sock mediocracy, of course, is only 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. William Cash writes for the Daily Telegraph from Los Angeles  (19) The Spectator publishes letters critical of William Cash, and his Reply LETTERS THE SPECTATOR 5 November 1994 text at http://www.lukeford.net/essays/contents/Hollywood_Jews.htm SIR:The total dominance of the American film industry by the Jewish Establishment, past and present, is admirably related by William Cash (Kings of the Deal, 29 October)...Cash illustrates the attempts by the pre-war studio bosses to copy the mores of the old East Coast Establishment, and he notes that this is no longer so. In fact, one can detect a distinct hostility. The same industry which produced the elegant high society comedies, featuring a Cary Grant or a David Niven, will now systematically portray well-to-do gentiles as caricatures...This is not done as ignorance. It is just reverse discrimination. Claus von Bulow, 109 Onslow Square, London SW7 19 November 1994 SIR: William Cash worries about inevitable shrieks of anti-Semitism as a consequence of his anti-Semitism. Not to worry. People as powerful as us have no need to shriek. We will bide our time and silently see justice done. Maybe before Passover. You run a filthy magazine. Leon Wieseltier Literary Editor, The New Republic, Washington, DC SIR: William Cash's article about Jewish influence in Hollywood has caused a great deal of offense and outrage. His suggestion that the founders of a new studio venture are more likely to succeed if they are Jews is bizarre... The reference to a 'rabbinical blessing' from an individual who is a Jew but has no pretensions to rabbinical status is crudely offensive... Mr. Cash refers to a possible 'Jewish cabal' and asks pointedly whether this cabal seeks to exclude or discriminate against non-Jews. This language perpetrates the discredited old myth about a Jewish conspiracy and a Jewish monopoly of power which is allegedly used to disadvantage and exclude non-Jews. There is no credible evidence to support the evidence of a 'Jewish cabal' operating to exclude non-Jews. The deeply offensive reference to a 'Jewish cabal' is compounded by sneering references to 'a socially maladroit and culturally nihilistic white sock meritocracy' or a 'white sock mediocracy'. Overall this is a deeply unpleasant and distasteful article...It should not have found a place in a serious journal. Neville Nagler Chief Executive, The Board of Deputies of British Jews London SIR: The reaction to my article pointing out that Hollywood's feudal power structure is predominantly Jewish ('Kings of the Deal', 29 October) has been wholly misconstrued. If I have injured any feelings, I apologize but certainly no anti-Semitism was intended or felt. The purpose of the article was to contrast and challenge Vanity Fair's criteria of the New Establishment with the original definition of the Establishment by The Spectator in 1955. Since Vanity Fair made so much play about the Protestant religion of the old Wasp Establishment, it seemed legitimate to observe that the majority of the 'New Boys' Network' shared a common Jewish background. Unfortunately, Americans don't understand what is meant by the term Establishment. According to The Spectator in 1955, it was by definition exclusionary, and exercised its power socially. My 'point' was that 'the leaders of the computer, entertainment and communication industries' were not a real Establishment as their power was exercised corporately. Far from constituting any sort of 'cabal', I stated that Jewish influence in Hollywood was to quote Barry Isaacson's own words when I called him up 'no worse than public schoolboys in the City'. The attacks on me in the American media have been led by Neal Gabler, author of An Empire of Their Own: How the Jews Invented Hollywood. What is so galling is that all the historical data I present in my article about how Jews have always worked together in the movie business, along with the very words that have been objected to, came straight from his book, including the red-flag phrase 'Jewish cabal', which he employs almost with relish on page 263. On the first page of his book he states how the industry was 'supervised' by Jews, goes on to detail the workings of the 'Jewish network', specifies how the studios 'preferred to deal with other Jews' (p.272) and admits precisely the firebrand question raised by my article namely, does Hollywood exclude outsiders? Gabler asserts that the Hollywood Jews practiced 'reverse discrimination Those goyim!" Harry Warner would yell in derision, or "He's a nice fellow for a goy" a Jew might say but only in their inner sanctums, when they were safe among fellow Jews, and only verbally' (p.280). Gabler's book was described as an 'enthralling book of social history' by the New York Times. The subtext of this is that a double standard seems to exist. While it is acceptable for a Jewish writer, like Gabler, to use words like 'network' or 'reverse discrimination', when a Brit (the English are invariably cast as villains in Hollywood today) uses similar phrases he is barbecued. Again, whilst it is fine for the Wall Street Journal to refer to MCA chairman Lew Wasserman as Hollywood's 'tribal chieftain', a Brit cannot. Again, it is acceptable for Time magazine to call Wasserman Godfather of the Show' but not for The Spectator. Instead of sucking up to Hollywood Michael Williams Jones (Letters, 12 j November) should learn to read. I stated that almost all the major studio and talent agency heads' were Jewish, not their owners. That Hollywood is a Jewish-run town, despite only 4% per cent of the country being Jewish, is, indeed, always joked about. [...] William Cash Woodrow Wilson Drive, Hollywood, California 90046  (20) Editor Dominic Lawson (Jewish) says Advertisers threatened to withdraw their business If Conrad Black was a bully, I never saw it By Dominic Lawson 12:01AM GMT 25 Jan 2004 [...] When I was at The Spectator I published an article in November 1994 by William Cash, then The Daily Telegraph's Los Angeles stringer, called "Kings of the Deal". The sub-headline read "William Cash investigates the increasing influence and success of Hollywood's new Jewish Establishment". The idea that Jewish film producers and agents dominated Hollywood was as old as Hollywood itself but, even so, The Daily Telegraph had thought the article too risky to publish. "Don't worry," I told William, "I'm Jewish. I can get away with it." How wrong I was. Once Tom Cruise, Steven Spielberg, Barbra Streisand and Kevin Costner had written letters to Conrad denouncing me as the new Torquemada the row caught the imagination of the entire North American media, and then ricocheted into Israel, where Conrad Black was immensely vulnerable through his ownership of the Jerusalem Post. Advertisers threatened to withdraw their business across the length and breadth of Conrad's empire. But again he never gave me any sense of the pressure he was under; still less did he rebuke me. [...]- Peter Myer website: http://mailstar.net/index.html ** |
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