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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



In 1995 another Jewish garment mogul, Calvin Klein, who had a serious problem with cocaine and Quaaludes over the years [GAINES/CHURCHER, p. 208], was condemned by a range of parent and social welfare groups for an advertising campaign featuring images by Jewish photographer Stephen Meisel. Adolescent models, notes Henry Giroux, were photographed "in various stages of undress, poised to offer both sexual pleasures and the fantasy of sexual availability ... Angry critics ... called the images suggestive and exploitive, and condemned Calvin Klein for using children as sexual commodities. Other critics likened the ads to child pornography." [GIROUX, p. 16-17]

This was an old theme for Klein. Earlier suggestive commercials with and adolescent Brooke Shields had garnered condemnation from a variety of groups, including a feminist group called Women Against Pornography. (Klein's key partner in his initial years was fellow Jewish entrepreneur Barry Schwartz. Another Jewish friend, described as Klein's "mentor," was Nicholas de Gunzburg, the "fur and fabric editor" of Vogue magazine). [GAINES/CHURCHER, p. 97-98] The Guess company (founded by the Jewish Marciano brothers, who share control of the firm with the Nakash family, who are also Jewish) has also followed the same advertising strategy to sell jeans. "Media Watch," noted the Los Angeles Times in 1990, "a feminist group in Santa Cruz, has called for a boycott of Guess, charging that its ads demean women, integrating sex with violence." [SCHACTER, J., 1990, p. D1]

************

In 1992 the Jewish film critic and talk show host, Michael Medved, was taken aside by an unnamed” best-selling author" and "popular television commentator" at a "media accountability" conference for a heart to heart talk. "What I don't get," the unnamed Gentile said, "when I look at Hollywood, is why is it that so many of the people who are responsible for the worst garbage turn out to be Jews? It's sort of become an obvious question, but nobody likes to talk about it, because nobody wants to sound like a bigot ... How come they're so set on trashing everything that the rest of us care about? I'm afraid we've got more and more people out there who are wondering about the same thing." [MEDVED, p. 315]

"To hear this sophisticated and dynamic public figure draw a connection between Jewish involvement in Hollywood and the current degradation in Hollywood," says Medved, "hit me with the force of a blow to the chest. No one could ever accuse him of anti-Semitism; for many years he had compiled an admirable record of service to Jewish causes and he'd made several trips to Israel." [MEDVED, p. 315, p. 70] (Jewish assault on non-Jewish and Christian values is an old theme. In 1927, Bishop Joseph Schrembs of Cleveland, remarking on the pornography, prostitution, and general mass media trades, noted the "large and influential group of Jews who are attempting to break down Christian morality. Let us go to the decent Jews -- and thanks be to God there are decent Jews and lots of them -- and ask them to join hands with us to solve the common problem of commercialized vice." [FRIEDMAN, A., 2000, p. 142]

Hollywood movies and television at-large have been increasingly attacked in recent years for propagating a range of decadent values. 82% of Americans polled in a 1989 Associated Press/Media General survey felt that today's movies had too much violence, 80% felt there was too much profanity, and 72% too much nudity. 72% of a Parents magazine survey supported prohibition "against making fun of religion" in the mass media. A 1991 Gallup poll showed that 58% of Americans were "offended frequently or occasionally" by prime-time programming. A 1989 Time/CNN survey documented that 67% of the American public believes the violence in movies was "mainly to blame" for rising teenage violence; 70% supported "greater restraints on the showing of sex and violence" in the movies. [MEDVED, Hollywood, p. 4]

In the 1992 Presidential election both Bill Clinton and Robert Dole criticized Hollywood for glorifying drugs. In 1999 the U.S. Department of Health and Human Services and the Office of National Drug Control Policy released the results of a joint report that studied the content of the top movie rentals and 1,000 most popular songs of 1996-99. 98% of the films and 27% of the songs "contained reference to either alcohol or drugs, 26% of movies portrayed illicit drug use in a humorous context." [OLDENBERG, p. 8B] And in a 2000 report, the Federal Trade Commission "accused the entire [entertainment industry] of aggressively selling violent and sexually explicit films, video games and music to kids." [MSNBC, 4-24-01] "That this [film and TV] industry," says Michael Medved, "more firmly associated with Jews than any other business in the world, is almost universally viewed as a destructive force in our society should be viewed with concern." [MEDVED, p. 42]

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." [LAPIN, D., 1999, p. 42]

Jewish-dominated Hollywood and its movie and music world has always been a hotbed for all sorts of vices, including drugs. All sorts of people partake in these realms, and there can be created long lists of Tinseltown drug addicts and dealers, of course, but Jews are to be found -- as in so many fields -- profoundly disproportionate in them (Jewish mobster Arnold Rothstein, in the early 20th century, is even credited by some with beginning the syndicated drug trade in America). As early as the 1930s, actress Lana Turner notes her surprise at the drug interest of her Jewish husband, famous band leader Artie Shaw: "When I came back Artie and Phil [Silvers, a well-known Jewish comedian] were smoking what they called 'reefers.' I'd heard of marijuana, of course, but I'd never seen it before. It was associated mainly with jazz musicians. Artie and Phil offered me some, and I said no." [TURNER, L., 1982, p. 58]

Debbie Reynolds, another "shikseh" innocent, notes he drug world of her Jewish husband, singer Eddie Fisher: "After his stint in Vegas, Eddie came back to Los Angeles to do a concert at the Hollywood Bowl, with Andre Kostelanetz. He had arranged for me to attend the show with Irving Berlin and General David Sarnoff, the founder of RCA, which owned NBC. There were often a number of much older, very successful men around Eddie, including Eddie Cantor, who is generally credited with having discovered him ... (REYNOLDS, D., 1988, p. 101) ... Whenever Eddie was working, he was surrounded by people. Milton Blackstone, Eddie's manager was always there, along with several of Eddie's childhood pals -- like Joey Forman and Bernie Rich -- who were now part of what was, I would soon learn, the inevitable entourage ... (REYNOLDS, 1988, p. 101)... The night at the Bowl there was also a strange man whom I had seen briefly in passing every night at the Sands. A frumpish-looking character, always in an unpressed navy suit. He was sinister, like a Vincent Price character in a murder movie. 'This is Dr. Max Jacobson,' Joey said as the doctor extended what was a warm, yet clammy hand ... 'He just gives Eddie a vitamin shot before the performance, to give him a little more energy ... It's just vitamins. Gives you a lift. We all get 'em. Even Milton, You should have Eddie get the doc to give you a shot sometime." [REYNOLDS, D., p. 101] [All these men described by Reynolds were Jewish. Max Jacobson is the notorious doctor who led many Hollywood stars to drug addiction, injecting them with amphetamines.]

In more recent years cocaine has become an especially popular Hollywood drug. In 1974 Paramount Pictures' head of production Robert Evans was replaced, largely because of his continuous problem with cocaine. In 1980 he was convicted for cocaine possession. [MCDOUGAL, p. 393, WICK, S., 87] In 1982 Jewish actor Richard Dreyfus "was arrested and charged with possession of cocaine and 31 tablets of Percodan." [WOODWARD, 1984, p. 418] Likewise, in the 1990s actor Robert Downey, Jr. spent a year in prison for drug abuse. In an extreme case, in 1983 Hollywood agent Roy Radin, also Jewish, was found murdered, a result of his involvement in a drug ring. [WICK, p. 144] Radin, " a six-foot, three-inch, 300-pound cocaine addict ... made a fortune producing traveling vaudeville shows for Police Benevolent Associations across the country. 'The Roy Radin Review,' as it was called, headlined the likes of Georgie Jessel and Tiny Tim ... [Radin] sometimes took 75 percent of the proceeds." [GAINES, S., 1998, p. 246] Radin, notes singer Eddie Fisher, "was the sleaziest person I'd ever known. He was guzzling cocaine." [FISHER, E., 1999, p. 312] Bert Schneider's and Bob Rafelson's film BBS company "ethic was the raucous parties, with bags of dope and bowls of coke openly displayed on coffee tables." [MCGILLIGAN, 1994, p. 202]

Rachel Abramowitz notes the post-1960s elite that has come to rule Hollywood: "[Executives Paula] Weinstein and [Mark] Rosenberg and their radical friends typified the leftists with the cause manqué who poured into Hollywood from the [political] battlefields of Columbia and Stanford, ready to take on life on the studio expense account. Unlike their forebears, they weren't self-made scrappers but tended to be well-tended progeny of the upper-middle class with down-home hippie roles ... They drank Perrier, did coke and grass [cocaine and marijuana] ... Paula Weinstein was one of the new breed of Hollywood executives ... [Their] intoxicants were cocaine and work." [ABRAMOWITZ, R., 2000, p. 79, 134]

In 1991, Jewish academy award-winning film producer Julia Phillips (among her products: The Sting, Taxi Driver, Close Encounters of the Third Kind) wrote an autobiographical book about her life in the upper echelons of Hollywood movie making. Here are some snippets from her expose about her experiences in the behind-the-scenes real-life world of Tinseltown that makes America's movies and molds popular culture, helping towards an answer, perhaps, to the question 'Where does Hollywood's on-screen interest in drugs come from?’:

* "[Backstage at a Rolling Stones concert at Madison Square Garden] there is a smelly Israeli named Freddie who seems to be very important to everybody. He carries two medium sized bottles filled with rock cocaine. He offers some to Goldie [Hawn] and some to me. Fuck you, Mr. Under-Assistant West Coast Promo Man. We turn him down; I've got my own." [PHILLIPS, p. 197]

* "Our little baby [is] asleep innocently in another room while we, two smart New York Jews, are imbibing in [heavy drugs]." [PHILLIPS, p.235] * "Jack Spratlin is a middle-echelon Hollywood drug dealer ... [He] is an acid casualty. He was meant to be one thing -- an upwardly mobile street Jew from New York who came to Hollywood to be an agent and a luminary -- but he became another because of drugs." [PHILLIPS, p. 235]

* "I let Spratlin fuck me from behind in the closet in front of the mirror just before I leave for the morning." [PHILLIPS, p. 327]

* "The seductive thing about freebase, for me anyway, is that at first I have the illusion that I am doing substantially less cocaine than if I toot it ... I learn a rough [drug] recipe from a nice Jewish dealer in the Valley." [PHILLIPS, p. 358]

* "One morning Rottweiler wakes up in bed in a bad mood. We've run out of blow the night before and he's down downed himself out with Quaaludes. Like all male junkies, he uses dope as a reason not to bathe. Like all Jewish girls, there is nothing in the world to keep me from a daily shower and shampoo. Not even freebase." [PHILLIPS, p. 358]

* "I actually smoke freebase in the hospital, right up to the abortion." [PHILLIPS, p. 376] * "I sleep with Michael Brandon, but I do a taste of this and that as sexual aids. Basically, I mix Quaaludes and Atvion and pot ... Upon awakening the next morning, I look at him and he is cute, but I surprise both of us by bursting into terrible heaving sob/tears. Being Jewish and funny, Michael defends himself with some pretty good jokes." [PHILLIPS, p. 453]

Ned Wynn (of partial Jewish heritage: actor, screenwriter, and son of comedian Keenan Wynn), recalls his first encounter with cocaine in the Hollywood world, thanks to singer Cass Elliot (born Ellen Naomi Cohen): "I had been introduced to cocaine by Cass Elliot, the lead female singer with the Mamas and the Papas. An enormous woman of appetites yet unfathomed, Cass had literally chased me around at a party John had taken me to one night. She had cornered me and actually spooned coke into my nose. Caught like a rabbit in the glare of Cass's eyeballs, I wrinkled and twitched and snorted and lit up like a little light bulb. Cass, you dog. I was in." [WYNN, N., 1990, p. 199]

In 1995, Marvin Shick wrote an article in the Jewish Week, saying that: "Much has been made of the abundance of high-profile Jews in the lower-depths of the entertainment industry. While it won't do to simply say it ain't so, for it is, ... I do not feel especially guilty because of the wrongful behavior of certain Jews, whether they are secular sleaze merchants or chasidim ... But I am embarrassed, even hurt, when wrongdoers are honored, which happens too often in our fervid world of organizations and fund raising. It is my understanding that in Hollywood 'humanitarian' awards are handed out promiscuously, with Jewish organizations well in the lead ... It's ... a mistake for our community to have so little to say about the cultural depravity all around us ... It is insufficient for us to act like a community of amateur constitutional lawyers whenever someone shouts 'First Amendment' to protect the cesspool of moral corruption." [SCHICK, p. 5]

Jewish film critic Steve Walz noted with concern the rise of violently and morally reckless "teenager films" in the late 1990s. "The most controversial teen flick [Cruel Intentions]," he observes, has "several Jewish and half-Jewish stars, writers, producers, etc. involved in this flick, which basically depicts wicked teenagers trying to bed each other based on vicious dares ... Teenage crime figures are on the rise and anyone who tells you that there ISN'T a direct correlation between what teens see on the big screen or small screen and their anti-social relations is a flat out liar." [WALZ, 3-1-98] The plot of Cruel Intentions, noted the Los Angeles Times, "revolves around a rich New York City high school girl who snorts cocaine from her crucifix and bets her stepbrother he can't deflower a certain virgin. She offers him sexual relations with her as the prize, if he wins." [JENSEN, E., p. F1]

Jews in fact have a long history of testing the limits of popular morality and exploring sexuality's potential for profitability. They dominated the early 1900s vaudeville scene and were prominent in the development of the striptease as entertainment, as part as the package known as burlesque ("the most sexualy suggestive and sexually explicit of all of New York's popular media"). [FREIDMAN, A., 2000, p. 62] After all, as an earlier chapter evidences, and as Yale professor Donald Davis phrases it, "the Jewish pimps and vice lords ... dominated the white slave trade traffic and its 'sex industry' in the early twentieth century." [DAVIS, D., p. 29] "Jewish male comics," also notes Andrea Most, "regularly appeared in drag on the Broadway and vaudeville stage." [MOST, A., 1999, p. 322]

In the early to mid-20th century, a number of anti-vice organizations sought to curtail some trends in the New York entertainment industry, which was largely Jewish. (Sometimes underscoring ethnic/religious undercurrents, these included expressly Catholic organizations like the Legion of Decency and the National Organization for Decent Literature). "New York's position as the nation's cultural mecca," notes Andrea Friedman, "and the important role played by entertainment industries in the city's economy, made the conflicts over obscenity that occured there unique in their importance to municipal life ... The substantial role played by Jews in New York's entertainment industries made debates about obscenity especially important to many Jewish leaders." [FRIEDMAN, A., 2000, p. 10]

In 1942, New York City refused to renew city burlesque theatre licenses, shutting them all down. [FRIEDMAN, A., 2000, p. 62] "Jews," notes Jewish scholar Friedman, "were also well represented among New York's theatrical producers, and burlesque in particular was notable for the presence of Jews among producers, managers, and entertainers ... The visibility of Jews in these industries nourished Christian fears that commercial culture in the metropolis would become even more corrupt and corrupting than it already was. Their association with an entertainment world built around the commodification of sexuality seeemed to sustain a preexisting paradigm of antisemitism that fused prejudices regarding Jewish greed and sexual immorality in the conviction, as historian Edward Bristow had phrased it, that Jews 'organized widespread conspiracies to corrupt and pollute the Christian world.' In the United States, as in Europe, many Christians subscribed to the view that Jews were so avaricious that they would permit neither legalities nor morals to stand in their way of their accumulation of wealth." [FRIEDMAN, A., 2000 , p. 141]

Friedman also notes the main reason for eventual Jewish religious activism in some anti-obscenity groups -- fears of anti-Semitism: "Some of New York's Jewish religious leaders also became more vocal in debates | about obscenity during the 1920s and 1930s. To a greater degree than Protestants and Catholics, however, their participation came in response as much to the existence of anti-obscenity campaigns as to the existence of obscenity. Rabbis entered into anti-obscenity activism in the attempt to counter Christians' perceptions of Jews as a different, alien, and more primitive people, by demonstrating that they shared the 'Christian' morals of their Protestant and Catholic brethren and by trying to control the behavior of other Jews. Prompted by the concern that Christian condemnations of obscenity might fuel antisemitism (and vice versa), they sometimes joined in such condemnations in self-defense. For Jews, anti-obscenity activism became a strategy for protecting the Jewish community by policing it." [FRIEDMAN, A., 2000, p. 140-141]

The most famous stripper of all time, Gypsy Rose Lee (real name: Rose Louise Hovick) was Jewish, as was her early forum -- Minsky's Theatre (of "The Night They Raided Minsky's" fame). The theatre founders were Abe and Billy Minsky, grandsons of the chief rabbi of the Russian city of Minsk. Another Minsky, Herbert, was the "maestro of burlesque." [COOPER, p. 42] (The Minsky's New Gotham Burlesque House was raided on April 8, 1937, and its Jewish manager, Sam Kraus, jailed. Other Minsky venues included the Republic and Oriental Burlesque sites. As Jay Maeder observes, "New Gotham operator Abe Minsky was one of numerous Minsky brothers who had largely cornered the stripper business in New York." Jewish "civil rights" lawyer Morris Ernst declared that the raid was a "step in the direction of fascism.") [MAEDER, J., 6-26-2000]

Elsewhere in New York City, among many other Jewish madams, was "Polly Adler, the Polish-born madam of New York's most famous bordello of the 1920s and 1930s." [MCDOUGAL, p. 92] A little earlier, "the most famous madam in turn-of-the century New York was Rosie Hertz. Saving enough from her own prostitution, she and her husband, Jacob, opened several brothels on the Lower East Side during the 1880s ... The epitome of the 'white slaver,' Hertz was called by one judge the 'godmother for prostitutes.' Another critic considered her 'as much a public feature of the lower East Side ... as the Brooklyn Bridge." [GILFOYLE, T., 1992, p. 295]

Dallas, Texas? When Jack Ruby (Rubenstein) murdered Lee Harvey Oswald in 1963, he owned the Carousel, a local strip tease joint. As Gerald Posner notes, "Ruby's main competition was from the Theatre and Colony Clubs, owned by two brothers, Abe and Barney Weinstein. In 1961, they had introduced amateur strip-tease dancing." [POSNER, p. 362]

Atlanta, Georgia? By 1999, owner Steve Kaplan's Gold Club "nude dancing" business had been "indicted on federal racketeering charges that included prostitution, credit card fraud, money laundering, police corruption and ties to the Gambino organized crime family." His lawyer, Alan Begner, was also Jewish. "Since 1982," noted the Atlanta Journal and Constitution, "Begner has carved a lucrative niche as a lawyer of adult entertainment establishments," representing about half of the 45 in metropolitan Atlanta. "I knock out laws," he explained to the newspaper. Begner's interest in strip joints began when another Jewish owner (Emmanual Isaacs of the "She Club") asked him to represent him. [RANKIN, B., 12-5-99, p. 2D] The Associated Press further noted in 2001 that Gold Club owner Steven Kaplan (club manager: Norbert Calder) was "accused of building a $50 million fortune in part by providing prostitutes for celebrities. Atlanta's Gold Club is one of the most profitable nude clubs in the country, popular among convention-goers and visiting celebrities. Federal investigators say it is also a high-priced brothel that pumps cash into the Gambino crime family ... [The Federal indictment against Kaplan] says Kaplan ordered more than 20 beatings of people who did not repay loans at high rates of interest." [COURT TV, 4-2001]

The most famous "sex club" in history (prospering in the 1970s and 1980s before the AIDS epidemic) is probably Plato's Retreat, based in New York City. Its owner was also Jewish: Larry Levenson. As Jewish scholar David Allyn describes it: "First of all, you have to picture the Ansonia Hotel, which is a late 19th century wedding-cake of a building in the heart of the upper west side in New York. In the basement of the Ansonia was Plato's Retreat, then the world's most famous sex club. Men and women would stroll about the Ansonia lobby in nothing but towels. In the club, they would have sex with possibly a dozen or so people in a single night. Plato's Retreat represented the commercial version of what was happening in people's apartments and living rooms across the country." [BOOKMARK, 2000]

In the early movie world, seminal Jewish "vamp" film actress Theda Bara "scandalized the mores of the middle-classes ... Local boards issued edicts condemning her films." [HYMAN, p. 118-119] "The first sex symbol [Bara] in movie history," says M. H. Goldberg, "was Jewish. (It is interesting to note that two other sex symbols in movie history -- Marilyn Monroe and Elizabeth Taylor -- converted to Judaism.)" [GOLDBERG, H. M., 1976, p. 166] A little earlier, Anna Held, of Polish Jewish descent, celebrated a "naughty French persona" in the Ziegfield Follies and "was an early icon" of "America's burgeoning cult of celebrity at the turn of the century." [LAVITT, P., 2000, p. 263, 268] Vienna-born Jewish actress Hedy Lamarr (Hedwig Kiesler) pushed mores in the movie world with the European film Ecstasy (1933), featuring partial nudity and daringly new degrees of eroticism. The film was banned in the U.S. till 1940.

In the early years of the 20th century, Sholom Asch's play "God of Vengeance" was performed in New York in Yiddish and then in English off-Broadway without incident. "Asch's tale centers on Yankel, a Jew who runs a shady downstairs brothel with his ex-whore wife, yet is obsessed with protecting the chastity and piety of his young daughter." When the play was finally performed to a broader public on Broadway, it was "shut down by New York police, a landmark censorship case ... The actors, producer, and owner of the Apollo Theatre" were all arrested and their court trial became "the first jury conviction of American entertainers charged with presenting 'immoral' fare." Variety magazine called the play "the most disgusting play every presented on Broadway." [BERSON, M., 4-2-2000]

Cartoon character Betty Boop? The Fleischer brothers, Max and Dave, notes Amelia Holberg, "created and controlled one of the great 30s sex symbols, animated Betty Boop. Betty's cartoons, remembered vividly for their overt sexuality and often grotesque imagery, are even more provocative when viewed in relation to the lives of her working-class Eastern European immigrant, Jewish creators ... Betty's initial disappearance can be traced to the Hays Production Code Office, which determined Betty Boop to be too racy for general audiences in 1934." [HOLBERG, A., 1999, p. 290-291] [Chaim Bermant notes a little more about Will Hays and the tearing down of popular mores: "The Jewish dominance of Hollywood did not, of course, pass without comment. By the end of World War I it became clear that the cinema was becoming, if it had not already become, the supreme influence in the cultural life of America, affecting its tastes, its habits, its outlook. There was a growing clamour -- to quote the words of one influential pressure group -- 'to rescue the motion pictures from the hands of the Devil and five hundred un-Christian Jews.' To defend themslves against such criticism, Mayer, Laemmle, Goldwyn and the other un-Christian Jews grouped themselves into the Motion Pictures Prodducers and Distributors of America Inc., and invited Will H. Hayes to preside over them. In doing so they were not merely attempting to buy-off criticism, they were buying respectability."] [BERMANT, C., 1977, p. 102]

***********

In the 1950s, the Jewish-dominated comic book industry raised familiar issues -- public concern that they were influential in the degradation of popular morals and values. In 1955-56 the U.S. Senate held investigations into the matter, releasing a report entitled "Comic Books and Juvenile Delinquency." The Senate document noted that "on first impression, the present comic book industry would seem to comprise many different publishing firms with no apparent relationship to one another ... On closer scruutiny, however it is found that the picture is entirely different ... The 676 comic book titles [that were examined] are published by 111 companies owned by only 121 persons or families in addition to 1 corporation ... The majority of the publishers maintain editorial offices in New York City." [U.S. Senate, 1955-56] Subsections of the report included "Techniques of Crime Taught by Crime and Horror Comics," "Criminal Careers as Glamorous in Crime and Horror Comic Books, and "Defenders of Law and Order [Are] Frequently Represented as All Powerful Beings Who Kill and Commit Other Crimes to Defend 'Justice.'" Jewish comic book entrepreneurs who are singled out by the report include direct-mail advertiser Samuel Roth "who has for many years been engaged in using the mail to advertise lewd and lascivious material," and Alex Segal who "testifed that 'by mistake' one of his trays of addressograph plates bearing the names of 400 children was routed to the publisher of sex literature." In the listings of owners and distributors of comic book businesses, among the best known are Marvel Comic group (owners: Martin and Jean Goodman) and Archie Comic Group (owners: Maurice Coyne, John Goldwater, and Lewis H. Silberkleit). [U.S. SENATE, 1955-56]

Mad magazine's William Gaines also produced "the greatest of the under-the-covers-with-a-flashlight genre." These comics, featuring new explorations of gore, include Tales from the Crypt, Weird Science, Shock Suspensestories, Frontline Combat, "and a few other titles [that] made the struggling company profitable and Gaines a fully employed pop culture mentor of the first magnitude. But this upstart Jewish kid was soon put out of business by a crusading psychiatrist from the old country, a nasty bunch of Senators, and a coalition of PTA and American Legion, sheriffs and bishops, editors and aldermen. The Comics Code that was created to deflect the heat couldn't help Gaines. The slander was so thorough that his books were returned unopened by retailers even after the Code seal was applied. By the end of 1954, after just a four year run, the EC [Gaines' company] comics were all gone, except for the satirical Mad." [TEBBEL, J., 1999]

As Jacob Heilbrunn notes, in a review of a book about comic books by scholar Bradford W. Wright, "EC comics offered something of a precursor to the upheaval of the 1960s, questioning authority before it became fashionable to question anything. In perhaps the most notorious panel printed by EC comics, a murderous baseball team plays a midnight game with the limbs and entrails of a victim. Little was left to the imagination ... Another issue depicted a man hodling a bloody ax in one hand and a woman's severed head in the other. 'Corpses in various states of decay and reanimation,' Wright says, 'regularly adorned the covers.' 'A commercial expression of cultural defiance ,' he writes, 'EC brilliantly perceived the alienated generation among young people and recognized youth dissatisfaction as a marketable commodity.' The reaction came quickly. By 1948, Catholic schools were conducting bonfires of comic books ... Soon enough, William M. Gaines, the publisher of EC, found himself facing off against a Senate investigative committtee headed by Estes Kefauver. It was a rout. Kefauver delcared that a panel in the July issue 'seems to be a man with a woman in a boat and he is choking her to death with a crowbar. Is that in good taste?' 'I think so,' was all Gaines could answer." [HEIBRUNN, J., 6-01]

Moving along in the Jewish influence world, even the nightclub business, says Kenneth Kanter, "was invented by a Jew, Jack Levy." [KANTER, p. 38] Billy Rose, another Jewish entrepreneur, was "a pioneer of nightclub entertainment. He opened in 1924 with a small club for people of modest means, and he remained only modestly successful till he built up the Diamond Horseshoe, which became the largest, plushiest and most celebnrated establishment of its type and which was deciedly for people of immodest means and even less modest taste. Here too the accent was on glamour, with successive arrays of splendid women splendily semi-attired." [BERMANT, C., 1977, p. 90] [See elsewhere in this volume discussions of Jewish ownership of everything from Club Med to the Cotton Club].

Glasgow, Scotland? Stefan King ("half-Jewish and half-Catholic") "opened Glasgow's first gay nightclub." [MULFORD, S., 2000, p 35] "By 1920," adds Stephen Birmingham, "much of the Prohibition liquor trade was in Jewish hands, and a good number of the speakeasies and nightclubs where would-be stars could do their turns was also Jewish owned." [BIRMINGHAM, p. 190]

In 1999, the Village Voice interviewed Luke Ford, author of A History of X: 100 Years of Sex in Films and a convert, of all things, to Judaism. "Publishers Weekly " Ford said, "took me to task for that 'offensive generalization' about Jews but it's true. The big machers [in the pornography] industry are Jewish -- Steve Hirsch, Paul Fishbein (who runs and publishes Adult Video News), and David Sturman, who owns [production company] Sin City." [BUNN, March 3-9, 99] Fishbein, notes the Los Angeles Times, is the "editor and publisher of the Van Nuys-based trade magazine Adult Video News, generally considered the authoritative guide to the $9 billion U.S. sex business ... Fishbein became a [porn] industry spokesman and advocate, a role he has retained to this day." [COLLINS, S., 7-8-99, p. C1] As Jewish scholar Jay Gertzman notes: "David Hebditch and Nick Anning, researching the pornography business in the mid-1980s, report that 'some industry insiders claim that porn in the United States is essentially a Jewish business.'" "If this is so," adds Gertzman, with a little spin control for Jewish economic endeavors, "it is because Jews have for a very long time cultivated the temperament and talents of the middlemen, and they are proud of these abilities." [GERTZMAN, J., 2000, p. 289]

In his book, Ford goes further, pointing to a strong Jewish influence across American culture that helped swing open the doors to increased sexual permissiveness, an overhaul of traditional moralities, and, ultimately, increased popular tolerance of pornography, noting that "Those who pushed America to a more liberal view of sex were mainly male non-Jewish Jews (Jews alienated from Judaism and Jewish life as well as the Christian culture embraced by a majority of Americans) including Samuel Roth of the 1957 Supreme Court case [that tested laws concerning the depiction of sexuality]; Grove Press publisher Barney Rossett; the owner of Olympia Press, Maurice Girodias, and his father, Jack Kahane, a Paris publisher and author of sexually explicit novels; comedian Lenny Bruce; filmmakers Russ Meyer, David Friedman, and Randy Metzger; Austrian psychiatrist Wilhelm Reich; Screw publisher Al Goldstein; Eros publisher Ralph Ginzburg [Ginzburg served time in prison on obscenity charges for his magazine Eros; he later became editor and publisher of Moneysworth)] [GREENBERG, M., p. 54; his publications Blue Ball and Intercourse were mailed from the conservative Pennsylvania Dutch area: GERTZMAN, J., 2000, p. 287] ]; publisher Edward Mishkin; Jack Valenti, president of the Motion Picture Association of America; defense lawyer Stanley Fleishman; Playboy playmate and Hugh Hefner's ex-lover Barbara Klein (aka Barbie Benton); Hefner's personal secretary, Bobbie Arnstein; philosopher Herbert Marcuse; psychologist Albert Ellis; authors Philip Roth, William Styron, and Norman Mailer; and Supreme Court Justice Abe Fortas. They carried on a hundred-year history of radical Jews challenging the reigning order." [FORD, p. 21] (Ford's above list, however, is wrong on at least one count: William Styron isn't Jewish. It's not hard to understand, however, where the error came from. As Truman Capote once noted about Styron's presence in the Jewish literary establishment, "if ever there was a goy Yid, it's Bill Styron.") [VOLKMAN, p. 96]

Among those in Ford's tally, after a "watershed" court case over obscenity, Barney Rosset's Grove Press published, in 1959, D. H. Lawrence's then-scandalous Lady Chatterly's Lover; Rosset also "precipitated another censorship brouhaha in 1968 when Grove's Evergreen Films imported the sexually explicit I am Curious Yellow from Sweden." [BLACKWELL, E., 1973, p. 417] Among works published by Kahane and Girodias that have become standards of literature were controversial works by Henry Miller, and Lolita. Samuel Roth is noteworthy in the pornography trade for many reasons. Although some might portray him as a free speech hero, he pirated editions of both James Joyce's Ulysses and D. H. Lawrence's Lady Chatterly's Lover, to the protest of both the Joyce and Lawrence estates. Imprisoned twice, 1937-1939 and 1957-61, Roth was labeled "the dirtiest pig in the world" and "the louse of Lewisburg [prison]" [GERTZMAN, J., 2000, p. 219] Roth in 1936 "received the most severe prison sentence possible under the law for brazenly using the Postal Service to distribute flagrantly obscene books ... Roth was the most often incarcerated, the most feckless, and quite likely the most resourceful booklegger of his time, challenging moral and legal authorities with a quixotic bravado." [GERTZMAN, J., 1999, p. 22]

Other "chief mail-order erotica dealers were Esar Levine and Benjamin Rebhuhn." [GERTZMAN, J., p. 26] Both served prison terms on obscenity charges. "Great 'art erotica' suppliers" included Jake Zeitlin, Harry F. Marks, Ben Abramson, and David Moss. [GERTZMAN, J., 1999, p. 61] Alleged Jewish porn pushers at a Congressional investigation of the New York pornography system included Irving Klaw ("self-styled King of the Pin-ups"), Edward Mishkin, and Abraham Rubin. [GERTZMAN, J., 2000, p. 278] Martin Kamin was a "supplier of of borderline erotica." [GERTZMAN, J., 2000, p. 177] Other "offenders" in the erotica trade included Earl Marks, Solomon Malkin, Alex Field, Henry Klein, Raymond Thomson, Al Picker, Joseph Seiffer, Max Gottschalk, and David Moss. [GERTZMAN, J., 2000, p. 31] Jewish erotica book publishers included William Faro, Panurge, Falstaff ("Falstaff gave special prominence to the work of Iwan Bloch," also Jewish, "the father of sexology") [GERTZMAN, J., 2000, p. 193], Robin Hood House, the American Anthropological Society, American Ethnological Press, Jul-Mar, Julian, Risus, Biblion Balzac, Pickwick, Parnassus Book Shops, Abbey, Allied Book, Emerson, Pioneer and Franklin. [GERTZMAN, J., 2000, p. 192-193] Jewish scholar Jay Gertzman, whose own uncle's bookshop was once raided in Philadelphia, [GERTZMAN, J., p. 287] notes that Jews built the "erotica" book business in New York (the heart of American publishing) and that there was an "absence of any single ethnic group of erotica dealers in New York City prior to the Jewish presence ... In several cases, the erotica dealer's relatives were business partners. One could trust uncles and brothers, and possibly no one else ... The underground printing of many banned erotic classics ... was the work of two brothers, Adolph and Rudolph Loewinger; another pair, David and Jacob Brotman, was responsible for a large part of the lubricious under-the-counter pamphlets and paper-bound books [moral watchdog groups] decried as flagitious. Jack Brussel, Sam Roth's partner at the start of the latter's career, enlisted the aid of his first wife ... Benjamin Rebhuhn's office manager was his nephew, and his wife was listed as director of the Falstaff Press Inc. Esar Levine and his brother Benjamin, close friends of the Rebhuhns, were editor and business manager, respectively, of the Panurge Press." [GERTZMAN, J., p. 29, p. 30]

By 1939, according to a major anti-smut organization, the New York Society for the Suppression of Vice, 28 of 32 people arrested that year in New York City for obscenity-related law-breaking were Jewish (the number may have been even higher: two of the 32 did not have their religion/ethnicity listed. [These figures are cited by Gertzman, who accepts them as credible. [GETZMAN, J., 2000, p. 29] As Gertzman notes, in classical Jewish outsider-insider terms, "Erotica dealers formed a tight-knit, and therefore persistent, resourceful, and resilently successful entity. They were easy to stigmatize as a group [by non-Jews] set apart from the majority, even if they had the same goals and methods of doing business as general book dealers. In New York at least, during the period from 1880 to 1940, many were members of Jewish immigrant families. Jewish erotica dealers seem to have become prominent in the field soon after the eastern European immigrants began arriving in record numbers in 1880." [GERTZMAN, J., p. 28]

The Jerusalem Post concluded a review of Gertzman's book about the Jewish dominated smut-trade like this: "Gertzman himself acknowledges towards the end of his book that his uncle once ran the most notorious 'dirty bookshop' in Philadelphia. For that matter, Sam Roth's grandson is none other than Prof. James Kugel, the eminent Bible scholar at Harvard University. If there's a more complicated and surprising tribe on earth, I've yet to hear about it." [NESVISKY, M., 3-9-00]

There are many other Jewish public figures, in various fields, that might merit addition to a Luke Ford-like list of Jewish assault upon dominant culture morality. In literature, homosexual Allen Ginsberg's 1950s-era obscenity trial in San Francisco about his poem "Howl" (another landmark in popular culture) escalated him thereafter to fame. As Ginsberg's Jewish ideological nemesis, "neo-Conservative" Norman Podhoretz, notes: "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.')" [PODHORETZ, N., 2000]

The 1966 (Jewish comedian) Lenny Bruce trial was also one of the trials of the 20th century. [GOODWIN, E., 1995, p. 301] He and Cafe Au Go Go owner Howard Solomon were eventually found guilty of obscenity. Bruce's "chief attorney, Efraim London, [was] a veteran of more than 250 censorship and obscenity cases ... The verdict seemed to unhinge Bruce. He became obsessed with appellate litigation. Those legal wheels were still grinding when, on August 3, 1966, he was found dead in his Hollywood home, a hypodermic syringe nearby. An autopsy revealed the presence of morphine. Death was recorded as accidental." [KNAPPMAN, E., 1995, p. 301-304]

In the early years of the twentieth century, warring against Victorian era morality, Jewish "anarchist Emma Goldman also fostered a new permissiveness; she toured the country, lecturing on subjects as 'The Limitation of Offspring' and "Is Man a Varietiest or a Monogamist?' She challenged feminists who advanced chastity, insisting that liberated women faced more danger from too little sexual experience than they did from too much." [LEIDER, E.M., p. 49] In the early 1890s, Goldman "became the lover of [Alexander] Berkman and after a while, of his artist friend, Fedya, as well. The three lived communally... Even certain radicals found Emma's honesty on matters of sex hard to tolerate." [SHULMAN, A., 1970, p. 10, 11] Goldman even once attempted to work as a prostitute to raise the money to buy a gun for an assassination. [SHULMAN, A., 1970, p. 10]

Speaking of prostitutes, perhaps the most influential as the most "famous prostitute in the world" is Xaviera Hollander, whose 1971 book The Happy Hooker was a best-seller. (Hollander's "first fiance's name was Frank Apfelbaum ... he transformed himself into Frank Allen.") [HOLLANDER, X., 2000, p. 39] A daughter of a Holocaust survivor/Dutch psychiatrist, it was her father "who instilled in her a love of Yiddishkeit and a passion for Jewish culture." "She began running a high-end brothel out of a brownstone on the Upper East Side," notes the Jewish ethnic magazine, Moment, "where her clients included a man who asked a lot of questions, soon arousing Hollander's suspicion. The man turned out to be Eric Kohn, a Jewish journalist researching a book. The two decided to collaborate on an autobiographical account of Hollander's life, and one year later The Happy Hooker exploded onto the the scene -- eventually selling 16 million copies ... Addicted to diet pills and unable to control her kleptomania ('I got orgasms from stealing,' she says), she was arrested for stealing a $40 nightgown. That theft, coupled with the fact that she was a confessed crinial in the States, led her to eventual deportation and divorce ... Businessman Arnold Blitz, a friend of Hollander's, has this to say: 'Xaviera is not an ambassador for Jewish culture -- but for Jewishness." [LIPKIN, L., FEB 2001]

In 1924, two eighteen-year-old men from very affluent families in Chicago, Nathan Leopold and "his friend and lover Richard Loeb," made international news for what was then popularized by its sensationalism as the "crime of the century." Psychiatrist David Abrahamsen notes that the men "kidnapped fourteen-year old Bobby Franks, and Loeb beat him to death. They stripped the body from the waist down, and although the evidence is inconclusive, one or both of them probably performed a sexual act on it ... In the perspective of all that has happend since the 1920s, the murder of Bobby Franks hardly qualifies as the crime of the century, as it was seen then. But at that time the brutality and senselessness of the act exploded like a bomb in the public consciousness. People began to realize that society was changing in some frightening way. The youth of the two murderers (this was the beginning of the tidal wave that came to be called juvenile delinquency), the sexual undercurrent of their crime and the fact that theirs was the first major trial to use the testimony of psychiatrists on the background and state of mind of a defendant made an indelible impression on the millions who followed the sensational case in the newspapers." [ABRAHAMSEN, D., 1983, p. 41-42]

In 1997, the Jewish Bulletin of Northern California even featured an article about the early 20th-century German Jewish medical doctor, Magnus Hirschfeld, an "openly gay sexologist, who founded a famed Berlin institute that studied sexual behavior and sold sex aids in its gift shop, [and] embodied the Nazi's most-despised attributes ... [The] founding of Hirschfeld's Scientific-Humanitarian Committee [is] believed to be the first organization devoted to the legal rights of homosexuals and other sexual minorities ... 'In a sense, he was the founder of gay liberation as a kind of political, legal movement,' [says Jewish scholar David] Biale, 'He's a very important figure in gay history' ...In 1919 ... Hirschfeld established his Institute and Museum of Sexology. A former mansion was divided into consulting offices, study rooms, laboratories and a large museum devoted to every aspect of human sexuality, especially the 'Derangements of the Sexual Instinct' ... [Some visitors] left accounts of the strange exhibits and vast array of erotic artifacts and aphrodisiacs found in one of Berlin's most curious atttractions. The institute was one of the first cultural organizations liquidated by the Nazis, who destroyed the building and its contents." [KATZ, L., 6-6-97]

Rabbi Daniel Lapin notes fashion designer Rudi Gernreich's influence in America in the 1960s: "When Rudi Gernreich, a Jewish socialist from Vienna, settled in Los Angeles and foisted the topless bathing suit on a shocked America, it seemed titillating and daring. Many will recall the newspaper photographs of grim-faced policemen clutching towels around the shapely torsos of giddy young women while escorting them off public beaches ... A few hailed the flagrantly homosexual Gernreich as the hero of the avant-garde." [LAPIN, D., 1999, p. 2]

Such Jewish influence is common in popular culture. In 1995 Jewish fashion media mogul Calvin Klein came under fire by critics who compared his clothing "ads to child pornography." [GIROUX, p. 16-17] The Israeli Nakash brother, who own the Jordache jeans company, pushed daring new levels of "lewd" imagery in their own ad campaign. [BYRON, p. 34-35] The Jewish Bulletin had a feature on famous Jewish homosexual fashion mogul Isaac Mizrahi in 1998: "Viewers saw little-known sides of Mizrahi in 'Unzipped,' the 1995 documentary about him. Filmmaker Douglas Keeve was, at the time, in a relationship with the designer. In one scene, Mizrahi put a sheer scrim behind the catwalk and had models change their outfits in full view of the audience. That kind of chutzpah gave viewers insight into his bold personality ... 'To this day the designer remains active in Jewish charities. 'I do what I can,' he says. 'I'm a zealot, a real lover of the Jewish faith." [SCHLEIER, C., 1-2-98]

Then there is Jewish fashion photographer Helmut Newton. "It is impossible to deny the impact he has made," noted England's The Independent in 2001, "on fashion photography in particular ... To radical feminists, Newton is the antichrist. This is the man who photographed a woman on all fours with a saddle on her back, and another sitting on her underwear or an unmade bed, with a gun in her mouth ... Newton's vision is fuelled by sex, status, power and, above all, voyeurism ... Small wonder, then, that much of the photographer's most successful imagery has become far more famous than the garments he has chosen to photograph ... Newton's influence is everywhere ... In the Sixties and Seventies, Newton's decadent vision may have been labelled 'porno chic,' but today the rest of the world has finally caught up with him and it's just plain chic. There is barely a stylist, photographer or designer working in fashion today who can fail to acknowledge Newton as an influence ... Helmut Newton was born to middle-class Jewish parents in Weimar Berlin in 1920, and the decadent spirit of that place at that time is imprinted on his work ... Accusations of misogyny are still constantly made against Newton's work." [FRANKEL, S., 5-9-01]

In 2001 Rabbi Ira Korff complained that "the suggestiveness in the media these days is increasingly irresponsible -- it's really pornography -- and its been bothering me more and more." Korff should know what he's talking about. He is the former president of National Amusements Inc., which owns Viacom, the second-largest media conglommerate on earth (controlled by Jewish mogul Sumner Redstone). "Korff," notes the Israeli newspaper Haaretz, "says the worst purveyor of violence and profanity on TV is Music Television (MTV,) which is owned by Viacom. But he adds, 'I have no interest in attacking Viacom, and MTV is an ethically run business.' After all, much of his own wealth was made while serving as president and later consultant to National Amusements Inc." [HAUSMAN, T., 6-22-01]

Arnold Shaw notes some 1960s-era New York Jewish influence in the rock music world: "The Fugs, a New York city group led by Tuli Kuperberg and Ed Sanders, are generally regarded as the first underground group. Political and pornographic ... they worked at shocking and repelling ... They received virtually no airplay, since disk jockeys woried that the pronunciation of their name would be offensive. Although appearances frequently prompted people to walk out on them, they did secure a recording contract ... [including Golden Filth] ... With a name taken from a pornographic paperback, the Velvet Underground helped make underground Rock largely a New York phenomenon. Led by Lou Reed [also Jewish] (b. early 1940), the group became part of Andy Warhol's Exploding Plastic Inevitable, a multimedia show, in 1966. The subject of Reed's songs eliminated airplay for the records they made: heroin, in 'I'm Waiting for the Man'; cocaine, in 'Run, Run, Run'; sado-masochism, in 'Venus in Furs'; and transvestitism, lesbianism, and homosexuality in other songs." [SHAW, A., 1982, p. 396]

From France, singer Sergio Gainsbourg [born Lucien Ginzburg] "is still most famous in Britain for his number one 'Je t'aime moi non plus': the scandalous anthem which was in the British charts 30 years ago. He and [actress Jane] Birkin simulated their lovemaking so effectively that the single was banned by the BBC and formally condemned by the Vatican ...Yet Gainsbourg is the greatest popular musician France has ever produced ... Echoes ofhis favourite technique, of murmuring profanities against a delicate and beautiful harmony, can be heard in many contemporary records, not least the later work of Leonard Cohen ... Towards the end of his life, the singer's media apparances beame ritual provocations: in one television broadcast, he subjected a veteran paratrooper -- horrified by Gainsbourg's dub version of the Marseillaise -- to a torrent of obscenities, pausing only occasionally, to inflate condoms. On another notorious live show, sharing a platform witha young Whitney Houston, Gainsbourg, then 58, turned to the presenter Michel Drucker and declared, in English, 'I want to fuck her.'" [CHALMERS, R., 1-4-00]

"The rest of the country," once joked Jewish comedian Woody Allen, "thinks of us [New Yorkers] as homosexual Jewish communist pornographers. I think of us that way, and I live here." [BROWN, A., 11-2-97] When Jewish White House intern Monica Lewinsky became sexually involved with President Bill Clinton, she shared the following joke to him: "Why do Jewish men like to watch pornos backwards? So that they can watch the prostitute give back the money." [FORWARD, 10-23-98, p. 1] "I'm such a sex machine," begins controverial radio talk show host Howard Stern's autobiography, " I could take a piece of wood and turn it into something erotic, something sensual, something perverse." [STERN, H., 1995, p. 3]

Despite Jewish pre-eminence in the porno world, it's not kosher to face this issue squarely. So how did feminist Susan Griffin examine -- like so many - the issue of Jews and pornography, in her 1981 book Pornography and Silence? She didn't mention them at all, except as a forum for railing at length about Jews as victims of "anti-Semitic" stereotypes, and forcing a link between sexual pornography and anti-Jewish hostility (both from the same reservoirs of sick minds). "And yet it is precisely because of the madness of the anti-Semitic or pornographic idea," she declares, "and precisely because it is a delusion, that it must assault reality and try to change it. A man 'believes' in anti-Semitic propaganda, or the pornographic ideology, because the illness of his mind REQUIRES that he believe these ideas to be true. Yet illness is of its very nature resistant. Thus, when a madman is told that he does not see the world correctly, and when he is given evidence against his prejudices, he will refuse to see the truth, and he will even distort this evidence to support his own delusion. But most significantly, he will even change reality so it supports his mad idea of the world. This is what anti-Semitism and pornography requires of their believers. THE DELUDED MIND MUST TRY TO REMAKE THE WORLD AFTER AN ILLUSION." [author's emphasis] [GRIFFIN, S., 1981, p. 121]

Griffin has more to say about this subject, using the innocense of Jews as an attack upon the pornographic (anti-Semitic) mind: "The same mind [of Adolf Hitler] that dreamed of itself as the bearer of culture conceived that its nemesis, the destroyer of culture, was the Jew. As a shadow to the fantasy of Aryan dominance, the anti-Semite invented an enemy of awesome proportions. In the fabricated document known as 'The Protocols of the Elders of Zion,' the anti-Semite imagined a congregation of Jews who meet in a cemetery to plan the death of Aryan culture. Of course, a pornographic image lies at the center of this imagined plan. Thus the imagined Jews in the imagined cemetery contrive a lurid plot to 'demand marriage between Jews and Christians.' Together they enjoy the idea of defiling Gentile women. And as the meeting adjourns, a huge and shapeless golden calf emerges from the tomb to symbolize the materiality of the Jew, just as the fear of matter and mortality have emerged from the mind the anti-Semite in this fantasy of evil power." [GRIFFIN, S., 1981, p. 175]

Even Judy Blume, a well-known Jewish writer of children's books, is "routinely" listed among America's "most censored U.S. authors" for testing moral boundaries. Outraged parents continually raise complaint. In 1997 alone, there were nine efforts to take her books for children off library shelves, particularly for undercurrent sexual themes. Blume's juvenile book Deenie, for example, addresses masturbation, and Forever includes a penis named Ralph. [WOULFE, M., 7-20-98; JENKINS, E., 4-13-99, p. 134]

Famous Jewish novelist Judith Krantz notes that "My most famous piece [while a writer for Cosmopolitan], about which I'm still asked, was called 'The Myth of Multiple the Orgasm,' inspired by a book by a general practitioner Dr. Rubin, who insisted that any woman who settled for less than fifty orgasms during a single sexual session was being cheated." [KRANTZ, J., 2000, p. 236]

How about Willie Hammerstein's influence upon popular culture? As Marybeth Hamilton notes, by 1913, his Victoria Theatre "became New York's top-grossing vaudeville playhouse, renowned (or notorious) for its garish attractions -- in Hammerstein's phrase, for its 'freak acts' ... [Siamese twins, etc.] ... But more compelling than these physical and geographical oddities were the freaks of publicity, the city's most notorious inhabitants, men and more frequently women who had made names for themselves through their links to New York's criminal and sexual underworld, in headline- grabbing vice raids, 'Love Nest,' scandals, and murders ... The emphasis was on sexual scandals, especially those featuring young, attractive women." [HAMILTON, M., 1995, p. 3] Exploiting their notoriety, Hammerstein hired such people from real-life, sensational news items to appear at his forum as performers.

What about Anton LeVay's influence upon modern morals, particularly in attracting alienated youth? LeVay, born Howard Stanton Levey, and known as the "Black Pope," founded the Church of Satan in San Francisco in 1966 and was bathed with media attention. Creating a web of lies about himself, "'he has constructed,' noted one reporter, 'a personal history untruthful in every fact that can be verified.'" [GRACE, K., 7-28-97] "'His Satanist's Bible' (1967) proposed a sub-Nietschean philosophy wherein might equals right, and immediate self-gratification constitutes the chief duty of man. 'Be simply animal man,' the Satanist's Bible instructs, 'hate your enemies, and if someone smites you, smash him ... Susie Atkins, one of [Charles] Manson's knife-wielding groupies, blames La Vey for her descent into depravity and murder." [DAILY TELEGRAPH, 11-11-97, p. 25] More than a million copies of Levey's books have been printed. [LOS ANGELES TIMES, 11-8-97, p. 8] LeVay, who died in 1997, notes the Church of Satan's web site, was "a self-loathing man of Jewish descent who embraced fascism toward the end of his life." [CHURCH OF SATAN/1] His own daughter, Zeena, notes that he "routinely beat and abused those of his female disciples with whom he had sex, forcing them into prostitution as part of his 'Satanic counseling' and collected their earnings. In 1986 [Levey] was a passsive witness to the sexual molestation of his own grandson by a long time friend." [CHURCH OF SATAN/2] The traditional Jewish animosity towards Christianity is reflected by Levey in almost cartoon form. Levey's Church of Satan teachings are of course antithetical to those of Christianity. "Behold the crucifix," wrote Levey, "what does it symbolize? Pallid incompetence hanging on a tree ... [Levey's book] advocates ritual masturbation, rites 'to summon one for lustful purposes or establish a sexually gratifying situation,' as well as rites 'to cause the destruction of an enemy'" [HARPUR, T., 3-5-97, p. A7] "For more than a decade," notes the St. Louis Post Dispatch, in evaluating Levey's influence, "scholars have noted a growing interest in Christianity's archenemy of goodness.

The Reverend Richard Woods, a Dominican who relates theoogy to popular culture, traces the upward curve [of interest in Satanism] from 1966, the year that Anton LaVey's Church of Satan made its debut in San Francisco. The same year brought the release of Rosemary's Baby, Ira Levine's movie about about a woman who gave birth to the devils' child. In the early 1970s, the book and movie 'The Exorcist' titillated millions." [The film The Exorcist was directed by William Friedkin, also Jewish]. "[SCHJAEFFER, P., 2-5-89]

Seminal too, of course, to Luke Ford's overview of those that have shaped modern sexual mores in western society is Sigmund Freud, from which so many sexual populists stem. Feminist Kate Millet, in Sexual Politics, noted Freudianism's "penis envy" and its other oppressive theories as profoundly detrimental to women: "Although generally accepted as a prototype of the liberal urge toward sexual freedom, and a signal contributor toward softening traditional puritanical inhibitions upon sexuality, the effect of Freud's work, that of his followers, and still more that of his populizers, was to rationalize the invidious relationship between the sexes ... And as regards the sexual revolution's goal of liberating female humanity from its traditional subordination, the Freudian position came to be pressed into the service of a strong counterrevolutionary attitude." [MILLET, p. 178]

As Earl Grollman has observed: "Although [Sigmund] Freud was considered a non-believer [of Judaism] and even stated his disavowals of the rituals and rites, he did feel that he retained the best attributes of the faith. Numerous biographers noted that his home life was warm and loving, that learning occupied and extremely high priority and that he had a strong feeling of identification with other Jews. Even his doctrine concerning the powerful drive of sexual urges grew out of Freud's interpretation of the basic ingredients of Jewishness." [Grollman, E., 1965, p. xxv]

In 2001, the Jewish Bulletin noted the case of Rabbi Leslie Alexander who "has made it her mission to turn Jews on ... 'Judaism is about giving pleasure to one another and having no qualms or inhibitions about it ... When a Jew goes before God, they are going to have to answer for every pleasure they didn't take We, as American Jews, are saddled with a Christian sexual perspective which doesn't at all reflect Jewish ideas. We have all this moral baggage about who we are sexually; none of that is Jewish ... We spend so muuc time as a society trying to free ourselves from sexual mores. If we had just learned from our own tradition, we wouldn't have to try ...The Jewish texts are very blunt and direct [about sex] ... Teaching it is lots of fun. My students usually say, 'Whoa! They really said that?" [GOLDSMITH, A., 11-23-01] "Alexander," notes the Bulletin, "remembered once reading a text in which a rabbi is telling a group of other rabbis about the various things he would consider sexual perversions. 'And then, at the end of his speech the rest of the rabbis told him he was wrong' .... In addition to loving the 'racy' nature of the subject, Alexander enjoyed teaching about Jewish sexuality because it's a way to pique people's interest in Judaism." [GOLDSMITH, A., 11-23-01

Profoundly influential, of course, in shaping popular morality is the behind-the-scenes world of mainstream Hollywood: "Show people had always been careless about morals, and in a town, in an industry, dedicated to peddling glamour and romance, it would be surprising if the passions enacted before the cameras did not sometimes carry over into real life ... Youngsters pouring into Los Angeles, desperate for a movie career, were prepared to risk the perils of the casting couch." [SHIPMAN, D. 1993, p. 136] As noted earlier, the "casting couch" has long been an institution in Hollywood. In crudest form, the results of such sexual expansion inevitably include the likes of famed Jewish Hollywood "madam" Heidi Fleiss and her much-publicized Hollywood drug and prostitution ring in the early 1990s. The ring reportedly included Columbia executives Michael Nathanson and Barry Josephson as important players. [See earlier discussion]

William Stadiem notes the Hollywood Jewish prostitute contingent within the general stable of non-Jewish madam "Alex Adams": "Robin was part of an entire group of young privileged hookers Alex had dubbed 'the JAP [Jewish American Princess] Pack.' They loved nightclubs, Porsches, Versace, and coke, mostly went to UCLA on and off, hated the idea of working at a real job, and could only soak their parents for so much."] ADAMS, A., 1993, p. 55]

Hollywood's "Sin City" entertainment playground, Las Vegas, especially renowned for gambling, prostitution and other vices, must also be added to the list of great questionable Jewish influences upon popular culture. (In Hollywood, Al and Lew Wertheimer founded an illegal gambling den in Hollywood called the Clover Club. The Jewish Hollywood crowd later set up such a resort near Tijuana, Mexico, called Agua Caliente.) [GABLER, N., 1988, p. 261] Las Vegas, as an institution, has been profoundly influential in its efforts to sanitize, normalize, and popularize some of the most troubling expressions of human nature as acceptable recreation in western society. As professor Alan Balboni observes, "The Jews and Italians who made up 'the Boys' [the Mafia] were able to develop the burgeoning gaming industry to the point where it eventually became a significant influence on the American scene." [BALBONI, p. ix] Jewish entrepreneurship was not alone in this, but it was central. [See earlier information about the huge Jewish influence in the formation of Las Vegas]

For purposes here, we may wonder about the observations of Jewish commentator James Yaffe: "If Jews can be said to have a characteristic vice, that vice is gambling. Even back in the shtetl they were gamblers. Many psychiatrists have mentioned this phenomena to me, yet nobody has been able to explain it exactly." [YAFFE, J., 1968, p. 268] We may also note the case of Mike Rose, the Jewish CEO of Holiday Corporation (Holiday Inn, et al), who "steered [the company] into gambling when it bought into Harrah's in 1980, causing Holiday's president and two directors to resign. Rose later sold the namesake motel chain to create a gambling concern called the Promus Corporation." The company's president, L. M. Clyde, retired "because he could not reconcile his Presbyterian religious beliefs with gambling ... Clyman did not go quietly, and two Holiday directors joined him in resigning on moral grounds." [JOHNSTON, D., 1992, p. 49, photo section]

Across the earth, in 1998 conservative Israeli commentator Jonathan Rosenblum lamented the dubious moral status and reputation of the modern Jewish state: "Once again anti-Semites portrayed us as a sexual libertines and perverts to undermine our moral authority. Today we cheerfully admit the charges and imagine ourselves beloved by the world for it. Are we and our culture similarly honored when a CNN documentary claims that we have the highest rate of prostitution in the world?" [ROSENBLUM, J., 5-15-98, p. 9]

Rosenbaum probably could not have imagined the grotesque defamation of the holiest of Jewish holies by young Israelis the next year. In 1999, a group of 40 Israeli teenagers visiting Auschwitz and other sites of Jewish mass extermination in Poland under the Nazis, garnered international outrage from Jewish communities when it was discovered that they had "ended a tour of Poland's death camps with a strip show ... only hours after visiting Treblinka, where 900,000 Jews were murdered ... On a previous occasion, Israelis were shocked after a group of [Israeli] army officers went to a casino after visiting Auschwitz." [GROSS, T., 11-28-99]

In 2001, a Jewish community in England made the news when a "stag night with three strippers performing 'sexually explicit acts'" was held at a synagogue (Finchley Synagogue's Kinloss Suite) ... Some of the funds raised was supposed to be for a Jewish charity. [ZERDIN, J., 2-9-01]

Jewish American feminist Andrea Dworkin notes her disillusionment with her liberation myths about Israel when she first visited the Jewish state: "In 1988 I went to Israel ... I was distressed by what I found, including Holocaust-themed pornography and battered and raped women. Why would I expect it to be different? ... In Israel there is a genre of pornography defined by the theme of the Holocaust: women's bodies in pieces run down by trains or skeletal standing by open ovens." [DWORKIN, A., 2000, p. xi, 168]

Jewish American Paul Cowan noted this anecdote about looking for his Jewish identity in Israel in 1982: "I had an enemy in Beersheba, a man named Itzhak, the city's leading stud. He'd been a gigolo on the French Riviera, had run drugs from Israel to Syria, and now owned his own bar, a place called the Barsheba, where you could often find the sort of brawls that seemed so exciting in American Westerns. He was always stealing women. I had a particular grudge against him because he had seduced Pam, an Englishwoman I was dating, made her a hostess at his bar, and had then become her part-time pimp." [COWAN, P., 1982, p. 108] [See also "White Slavery" chapter]

In 2001, Israel's state-run television station elicited outrage from women's groups when it broadcast "a video clip of an attacker beating a naked woman whom he had allegedly raped ... The president of the Na'amat women's organization ... said in a a letter .. that she hoped [the station would not] compete for ratings through the use of violence and pornography." [HAAS, D., 2-16-01, p. 2]

In 2000, the Egyptian newspaper Al-Arabi claimed that "film producers [in Israel] are tracking down actors who look like current Egyptian stars, and using them to shoot porn flicks in Israel. The films are then imported to Egypt and sctreened for paying customers ... [Film actress] Yusra Alawi told reporters she is asking her attorney to obtain copies of the films and to pursue legal action against those reponsible." [BOULWARE, J., 6-7-00]

The Jewish state was also severely embarrassed by a July 2000 incident in South America that engendered "huge play in the Brazilian media." Israeli diplomat Arie Scher was implicated in the production of child pornography when Brazilian police discovered videos and photographs in Hebrew teacher George Steinberg's home. [NIGRI, S., 7-5-2000] Scher fled to Israel before he could be arrested by Brazilian police. (In 2000, the Sydney Morning Herald reported that South Africa was "one of the world's worst centres for child abuse and child sex slavery ... International crime syndicates based in Nigeria, China, Israel, and Russia have become involved in the South African trade.") [O'LOUGHLIN, 9-9-2000] (On the continued theme of child pornography, in 1996, David Webber, former director of the Calgary Jewish Community Council and Youth Director of Beth Israel Synagogue, was sentenced to six years in prison "for possessing child pornography and molesting seven boys over the past eight years." Police found in his possession 3,635 photos of young boys, 16 pornography videos, 224 books and articles about "man-boy love," and other indicting materials. The provincial prosecutor called Webber an "unrepentant pedophile." [SLADE, D., 10-26-96, p. B5]

In 1997, across Canada in Nova Scotia, Stuart Friedman, the cantor at Halifax's Orthodox Beth Israel synagogue was "convicted and sent back to the United States [to his native Baltimore] for possessing and distributing child pornography ... one of the biggest [news] stories to hit Halifax in a long time." [CANADIAN JEWISH NEWS, 2-6-97, p. 10] Police found a range of pornographic materials, including sets of handcuffs. In yet another child pornography case in Canada, in 1994 Corey Jones, a professional sex offender rehabilitation counselor," wrote that "My head hangs in despair ... when I read of the Canadian Civil Liberties Association coming to the defense of Eli Langer, an artist charged under the new law against child pornography because of an exhibition of paintings which depict children in various sex acts with other children and adults." Langer, arrested at the Mercer Union Gallery, is also Jewish; "his father is an amateur Holocaust historian.") [JONES, C., 1-20, 1994, p. A21; TORONTO LIFE, 7/1994]

In the world of American pornography, particularly the film-making side, Luke Ford observes that "Though only 2 percent of the American population, Jews dominate porn. Most of the leading male performers through the 1980s had Jewish parents. Leading Jewish pornographers include Wesley Emerson, Paul Fishbein, Lenny Friedlander, Paul Norman, Bobby Hollander, Rubin Gottesman, Hank Weinstein, Fred Hirsch and his children Steve and Marjorie, Steve Orenstein, Theodore Rothstein, and Reuben Sturman." [FORD, p. 21] At his Internet web site, Ford elaborates in a section entitled Jews. "Secular Jews," he writes, "play a disproportionate role throughout the sex industry ... 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 (Spinelli). Jews accounted for most of the leading male performers of 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 (Herbertg Streicher), David 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 ... 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/Brookle Fields (Allison Shandibal), Courtney/Natasha/Eden (Natasha Zimmerman), Daphne (Daphne Franks), Barbara Dare (Stacy Mitnick), April Diamond, Jeana 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 Monete, Susan Nero, Scarlett O. (Catherine Goldberg), Tawny Pearl (Susan Pearlman), Nine 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 Koolman), and Ona Zee (Ona Simms) ... Why do Jews dominate porn?" [lukeford.com] "[Jewish] pornographer Seymour Butts," says Ford, "attributes the large number of Jews in porn to the desire for profits. Jews gravitate towards money ... If four people compete for a job, and three of them are goyim [non-Jews], the Jew, all things being equal, will get the job. That's the way I work. If I've got three actors going for a part, and one of them is Jewish, and they're all in the same ball park ... sue me." [lukeford.com]

(Note: As the parameters of what constitutes "morality' shifts wider decade by decade, any definition of pornography constitutes a controversial subject. On today's terms, pornography, to this author's sensibilities, is not the public depiction of sexuality itself, but rather the exploitation, debasement, robbing of dignity, devaluation and even ruthless dehumanization of the most intimate of human connections: frail emotions, human weakness, vulnerability, and the act of love and intimate human tenderness despoiled for public entrepreneurial profit).

Among the most important Jewish porn performers of all, is Harry Reems (real name: Harry Streicher). Reems, notes omnipresent lawyer Alan Dershowitz, was "a nice Jewish boy making his living by doing what lots of people would pay to do ... [He was] the undisputed king of the porno actors." [DERSHOWITZ, 1987, p. 156, 155] Dershowitz knows Reems' story well because he successfully defended the actor against obscenity-related charges in Memphis. "If Herb Streicher had not become an actor," notes the lawyer, "he would have been a first-rate press agent. Every time a story [supportive of his case] appeared, he placed it in his press kit and sent copies to other journalists. This had a snowball effect ... It was impossible to pick up a newspaper or magazine or turn on a TV or radio talk show without coming across some reference to the Reems case. Reems had become an overnight celebrity." [DERSHOWITZ, 1987, p. 171] Dershowitz even attracted the ire of feminist and other outraged groups when he went to court to argue for a student showing at Harvard University of Reem's best known movie, Deep Throat, (an early 1970s porno movie which grossed $60 million worldwide). [DERSHOWITZ, 1987, 184]

By the late 1980s, freedom fighter Dershowitz had a growing track record in such matters. Well before Harry Reems, he notes with pride that he "successfully defended the film I am Curious (Yellow) ... [which was] made in Sweden. [It] had been [the] first commercially distributed motion picture to show explicit sex." [DERSHOWITZ, 1987, p. 163] He next was the lawyer for Terry Levene's movie, Belinda. Levene was convicted of obscenity-related charges by a jury trial; Dershowitz won an appeal for him. [DERSHOWITZ, 1987, p. 176]

In 1995, Nadine Strosse, a professor of law at New York University, even wrote a book entitled Defending Pornography. She defends herself as a champion of free speech with the usual "Jew as oppressed victim" credentialing: "My father was a Holocaust survivor. I am a Jew. I know from logic and from observation and from experience that the more powerless you are as a group, gender or ideology, the more you should defend your freedom of speech." [GERRARD, N., 1-28-96, p. 15]

Indeed, the very pardigm of the marginalized and popularly despised pornographer rests comfortably upon the Jewish "outsider/victim" model. Both Jew and pornographer commonly ascribe to themselves attributes of moral nobility against a perceived repressive society: in both cases the enemy is Christian culture/values where sexual expression has been traditionally devalued. In the porno context the enemy is configured as prudishness. The struggle of the Jew and pornographer is, in this world view, a struggle against oppression; both Jew and pornographer are declared to be innocent of moral wrongdoing. Their common goal is conceived merely as the struggle for freedom. This, and recent efforts in the (traditionally despised) pornographic world to reinvent itself as heroic is noted by Carina Chocano: "If sex in our culture were not so 'steeped in shame and guilt' they argue, and if the sex and pornography industry were not marginalized, then pornography would cease to reflect harmful attitudes, rear its had out of the gutter, and provide, as one of the panelists [at the First Annual World Pornography Conference] put it, 'masturbatory catharsis for the masses.' 'That stuff is bullshit,' retorted Glasgow Phillips, an author and critic [of pornography], 'To make money in this business you have to exploit,' he says,' and it's so easy to do. I mean, you are aware of how many dumb sluts there are in this town [Los Angeles]? You just cast them." [CHOCANO, C., 1998]

Feminist Diana Russell angrily assailed Strossen's Defending Pornography, saying: "Nadine Strossen's objective in Defneind Photography is to destroy the reputation and achievements of the feminist movement against pornography. To this end, she dishes up the same tired old caricature of us as anti-sex prudes, pro-censorship, and in collustion with the right wing ... Strossen's book was enthusiastically feted by the media not because it's so brilliant but because she's president of the American Civil Liberties Union (an organization that has increasingly become a watchdog for the interests of pornogarphers). The fact that Strossen professes to be a feminist gives her a lot more clout than man would have doing the same dirty work for a dirty industry." [RUSSSELL, D., SUMMER 1995]

There are apparently no limits to the reshaping of sexual morals. In 2001, Princeton professor Peter Singer ("son of Viennese Jews who escaped to Australia in 1938, shortly after Hitler's invasion") [NASAR, S., 4-10-00, p. A1] made national news, and national ridicule, for a book review he authored at an online magazine, Nerve. The title of the piece was Heavy Petting, where he endorsed bestiality, including lines like this: "Who has not been at a social occasion disrupted by the household dog gripping the legs of a visitor and vigorously rubbing his penis against them ... In private, not everyone objects to being used by his dog in this way, and occasionally mutally satisfying activities may develop." [BILLUP, A., 4-2-01] The Arkansas Democrat-Gazette featured a poignant editorial about Singer, an expert on "bioethics,"and the broad implications of such thoughts from the Ivy League college: "[Peter Singer is] a Princeton professor of bioethics who wants to know when the sexual revolution is gonna start revolting again. He's ready to get it on with the animal kingdom ... He was brought to Princeton with much fanfare by that university's president, Harvey Shapiro, who also happens to head up the President's National Bioethics Advisory Committee. Yep, these guys are shaping national policy. Ethical policy." [ARKANSAS DEMOCRAT-GAZETTE, 4-8-01, p. J4]

In 1999, Hope Weissman, another Jewish professor, this one at Wesleyan University in Connecticut, was attracting controversy for her class, "Pornography: Writing of Prostitutes." The class featured readings from everything from the Marquis de Sade to Larry Flynt's Hustler magazine, as well as a guest striptease performance by well-known Jewish pornographer-"performance artist" Annie Sprinkle, who gained notoriety for inviting art audiences to inspect her cervix. "Create your own work of pornography," Weissman instructed her class. [PINKERTON, J., 5-20-99, p. B9]

In 2001, after public protest Peter Lehman's class "Sexuality in Media" was cancelled. The year before he had "required the students to sign a waiver before screening X-rated movies." [ASSOCIATED PRRSS, PORN, 11-9-01] Annie Sprinkle, born Ellen Steinberg, is "the Jewish porn star/performance artist," [EPSTEIN, R., 10-15-99, p. 18] who is the veteran of so much sexual variety that she "stopped counting her own personal sexual encounters at 3,500." [HELBER, A., 8-19-99] "When I went to [visit the former Nazi concentration camp] Dachau," she once said, "I could see how tied in that was to sex." "How so?" wondered her interviewer. "Well," she continued, "I'm not clear enough at the moment to really say, but the quest was for power and the visceral quality, the bodies, the blood ... I don't know. It's just too big to even try to explain, but it was just a sense I had of how truly tied in that was with a misdirected sexual energy ... [There is] my Jewish tit print. I kind of like the idea of the heart and breast and the nurturing to the feeling and the nipple and the sensuality being used to create a religious symbol: a Jewish star. And it's not that I'm poking fun or anything. I'm honoring both the breast and the Jewish star in my mind." [FRIEDLANDER, M., 2000]

(In similar terms, Jewish scholar Michael Govrin describes the holiest of Jewish places: "Jerusalem, God's bride, His place of desire, is always an erotic place of masculine desire. Jerusalem is the biggest harlot of all places, the world's cunt exposed on all the television screens, in an ongoing peep show, day and night. And yet, in the classical paradox of desire, everyone has his Jerusalem virginal and pure, defiled only by the others' abusive and defamatory biographies of her.") [GOVRIN, M., 200]

In 1998, a conference on sexuality was held at the State University of New York at New Paltz; it was sponsored by the college's women's studies program. "What apparently must be called the highlight of the conference," noted the Clarion, "was the performance of [Jewish lesbian performer] Shelly Mars, a stripper from a bisexual bathhouse. During her performance, 'Whiplash: Tales of a Tomboy,' which featured her simulating sex and screaming obscenities, Mars collided with the crotch of auddience member Peter Shipley, chairman of a private educational group called the National Catholic Forum. Shipley's pen went into her nostril, and Mars fell back shouting that she was bleeding. Then she removed her pants and blouse and exposed herself."[CLARION, FEB 1998]

Other prominent Jewish porno performers include Randy Becker ("steamy nude pinup boy for the gay community") [GERSTEL, J., 5-22-97, p. B10] and Ron Jeremy. As one Canadian newspaper noted in 1999, "With 1,500 films to his credit over a 22-year career, Ron Jeremy is one of the most prolific and famous porn stars in the history of the business." Jeremy describes himself as a "good Jewish boy" who started out as a schoolteacher with a Master's degree in special education. [GRIWKOWSKY, F., 12-8-99, p. 38] (On a more modest scale, in 1994, a New York policewoman, Carol Shaya, "born in Israel to a Jewish father and Catholic mother," made the news for posing nude in Playboy.) [HALL, A., 7-11-94, p. 2, 21]

In 1998, Rabbi Shmuel Boteach, although underscoring that he distances himself from pornography, even clocked in when an excerpt from his book, Kosher Sex, in Playboy magazine. [DAILY TELEGRAPH, 10-26-98, p. A9] In 2001, Boteach sued an Internet dating service, MatchNet.com, a firm he was commissioned to represent. Joe Shapira and Alon Carmel, founders of MatchNet.com, are Israelis, as is Ami Shafrir, another developmental partner in the Internet firm. However, "the heart of Shafrir's business empire was another company with headquarters in the Wilshire Boulevard Building: Amtec Audiotext, an operator of telephone sex lines that he says generated revenue of $60 million in its best year, 1995." Shafrir is also the landlord for MatchNet, in Beverly Hills. Matchnet divisions include Americansingles.com and Jdate, the latter of which "one of every 10 Jewish singles in the United States uses it and ... the site has been responsible for 300 marriages in its four years of operation." Rabbi Boteach was eventually approached by another Israeli, Daniel Nicherie, himself once convicted of bank fraud, who "who told the rabbi that Mr. Carmel and Mr. Shapira were pornographers who had been sued nearly 40 times." "The intrigue [surrounding MatchNet.com]," noted the New York Times, "stretches from Beverly Hills to Israel to the German stock market. The characters include a phone sex entrepreneur, the former convict who took control of his business and a disbarred lawyer obsessed with exposing the underbelly of the online dating industry." [ELLIN, A., 2001]

Then there is Gloria Leonard, also Jewish, past pornography actress, former president of the Adult Film and Video Association of America and president of the "Free Speech Coalition." She notes that she "was at the cutting edge of a phenomenon known as 'phone sex' during my tenure as publisher of High Society magazine, which ultimately resulted in a landmark case fought in the United State Supreme Court, which we won." [WASHINGTON TIMES, 10-12-99, p. A2] Ms. Leonard, promoted as "a name synonymous with quality adult entertainment of all kinds," was once a "convertible bond specialist from Wall Street." [LAFEE, S., 4-29-89, p. D2] In 2001, when she stepped down as president of the "Free Speech Coalition" (a largely porn activist group), she was replaced by "her long time friend and fellow Free Speech board member Mara Epstein. A veteran of the adult entertainment business, Epstein previously ran icandy Entertainment, a DVD producer, and was employed by Laserdisc Entertainment, the exclusive producer of XXX laserdiscs in the early 1990s." [ADULT VIDEO NEWS, JUNE 2001]

Elsewhere, Sandy Kane has, notes Jay Weissberg, "the raunchiest, most Jewish show on cable ... Sandy bills herself as the world's only stripper comic." [WEISSBERG, J., 2000] Other noteworthy Jews in the porn field include Steve Greenberg, co-chair of the Committee on Male Sex Work at the 1997 International Prostitution Conference; Karlyn Lotney, producer of the "San Francisco-based erotic cabaret 'In Bed with Fairy Butch'"; and Carol Leigh ("Scarlet Harlot"), head of the Prostitution Education Network, and founding member of the homosexual advocacy group, Act Up! "Being stigmatized for the way you're earning money," says Ms. Leigh, "is a way to persecute Jews, right?" [COHEN, B., 2000] Other prominent Jewish pornography performers/producers include Nina Hartley, Jerry Butler, Hershel Savage (Harvey Savage), Sam Weinstein (alias Armand Weston or Anthony Spinelli), and Paul Thomas. [JEWHOO, 2000]

Then there is Abby Ehmann who "pledges to meet the tastes of fetishist and spectators who come to her regular Saturday night party, Click + Drag at Club Mother" in New York City. She edits 'Extreme Fetish" magazine, "dubbed the best alternative sex publication in New York by TimeOut magazine. She is on the board of directors of Feminists for Free Expression, an organization that fights restrictions on free speech, and she is a writer and a performer." [KAKOULAS, M., 6-26-00]

Elsewhere, CNN notes the Gold family's British-based Ann Summers sex shop chain "offers customers the opportunity to shop of lingerie and sex aids in their home homes [via meetings like Tupperware parties] ... Chief Executive Jacqueline Gold may be responsible for Britain's sexual revolution. The Ann Summers concept of targeting women was her brainchild ... 'We certainly have contributed to changing people's attitudes to sex, certainly the women's attitudes,' she said." [CNN, 9-10-98]

In his list of Jewish film pornographers, Luke Ford ascribes to Reuben Sturman the nomer "godfather of porn," noting that "although not as well known as Playboy's Hugh Hefner, Hustler's Larry Flynt, and Penthouse's Bob Guccione, Sturman exerted far greater influence. One competitor complained that Sturman did not control the adult entertainment industry; he was the industry." [FORD, p. 22] Sturman himself told the Los Angeles Times that "No one was anywhere near me [in the pornography business]." [JOHNSON, J., 5-31-95, p. B1] "To expand his hold on the [pornography] industry," noted the Times, "he produced films with one company, sex paraphernalia with another and then sold everything through his own stores." By 1977 an FBI report declared that Sturman had accomplished "an almost total takeover" of the "peep-show industry." [JOHNSON, J. p. B1] The San Diego Union-Tribune noted in 1991 that "in its 1986 report, the [U.S. government] Meese Commission on Pornography singled out Sturman as the administration's top porn target. It identified him as the number one worldwide distributor of pornography, with financial control of nearly 200 businesses in 19 states, one Canadian province, and six foreign countries." [LAVELLE, P., 1991, p. B1] (Ford cites figures of 800 Sturman adult bookstores in all American states and forty other countries). [FORD, p. 129]

Sturman was eventually worth an estimated $100 million. His main company, Sovereign News, noted the Los Angeles Times, was "based in a sprawling Cleveland warehouse which is cynically referred to by some lawmen as the Ft. Knox of pornography." [HOUSTON, P., 1987,p. 20] Sturman, son of Jewish Russian immigrants, depicted himself as a free speech crusader and evaded the law for most of his life. (Omnipresent Alan Dershowitz once defended his deeds, declaring that "the worst thing [Sturman] did was to turn feminists into censors." [JOHNSON, J., 1995, p. B1]) The "Godfather of Porn" was finally sent to prison in 1992 for income tax evasion and interstate transportation of films that depicted "humans eating excrement, women having sex with horses, pigs, chickens and other animals, and acts of sadomasochism." [LAS VEGAS REVIEW-JOURNAL, 10-29-97, p. B1] Ralph Levine, a former Sturman partner in a Las Vegas porno bookshop called Talk of the Town, (described by one newspaper as "a gaudy smut emporium on the eastern fringes of downtown Las Vegas") [LAVELLE, P., 1991, p. B1] became a key government witness against him. Another Jewish co-defendant in the case, Stanley Loeb, "pleaded guilty to interstate transportation of obscene materials." [LAVELLE, P., p. B1]

Sturman was convicted in 1992 but escaped from a minimal security prison in the California desert that same year, was captured, and later convicted of further charges, including extortion. Another Jewish associate, Herbert Fineberg, was also convicted for the attempted murder of another porn shop owner. [FORD, p. 121-132] Another member of the porno chain, Allan Goelman, was convicted of income tax evasion of $270,000 in personal profits as head of Sturman's "U.S. retail operations." [HOUSTON, P., 1987, p. 20] "I was a businessman," said Sturman once imprisoned, blandly explaining his activities, "I didn't see [pornography] as good. I didn't see it as bad. It was a product to be sold." [JOHNSON, J., 1995, p. B1]

More recently, in 1999 the Los Angeles Times called 26-year old Seth Warshavsky the "Bill Gates of Smut" and "the most infamous pornographer of the Internet Age." [EHRMAN, M., 6-13-99, p. 26] He founded and heads Internet Entertainment Group (partner: Mark Cohn; Director of Sales and Marketing: Jonathan Silverman). Divisions include Club Love, Manhole, Sex Fantasy, Girls Girls Girls, and many others. "Depending on who's talking about him," noted the Seattle Weekly, "[Warshavsky's] either a genius, a misogynist, a respected global businessman, an exploiter of children, the Bill Gates of Porn, or the Larry Flynt of Cyberspace." [ANDERSON, R., 2-11-99, p. 22] The Seattle-based Warshavsky started out at age 17 with a phone sex business. By 1999 IEG had grossed $75 million in its first three years. Warshavsky had to park his Jaguar after his driving license was taken away -- over 20 moving violations in five years. Warshavsky has been accused of choking a girlfriend in a limousine, "stalking" her, and threatening her former boyfriend. [ANDERSON, R., 2-11-99, p. 22]

In 1999 IEG garnered Catholic outrage and a subsequent lawsuit from the Archdiocese of St. Louis. "IEG recently linked its sites to others that carries news of Pope John Paul II's visit a couple of weeks ago to St. Louis," noted the Seattle Weekly, "To make sure Catholics were properly horrified, IEG included an account of papal sex scandals and dirty religious jokes." [Anderson, R., 2-11-99, p. 22] The Archdiocese won a court injunction against IEG's use of the term "papal visit" as a name for one of its websites, a strategy intended to lure the religious to porno that also defamed and ridiculed the Catholic faith. "This was an absurd ruling," declared Warshavsky about the court's decision, "This is a prime example of how the Church has been able to use the legal system to suppress free speech." [SALTER, J., 1-21-99]

(Similarly, in 2001, computer hackers commandeered the militant Muslim Palestinian group Hamas's web site. Visitors to the Hamas home page were subjected to hard-core pornography images that could not be quickly clicked away. Outraged Hamas officials blamed Israelis for the violation.) [FREE REPUBLIC/REUTERS, 3-26-01]

In August 2000, NBC's online news site featured an article entitled "The Sultans of Smut." The aforementioned Seth Warshawsky and Jonathan Silverstein (by now president of Cybererotica, whose founder and chief is Ron Levi) made a list of ten of "the influential players in the business [pornography] that built the Internet." Another "player" was Bill Asher, "president of Vivid Entertainment Group, the "world's leading producer of adult films and videos." VEG was founded by Steven Hirsch and David James. VEG also owns Hot Network, "considered the largest hard core adult television network in the country." [BLANKSTEIN, A., 7-1-2000, p. C1] Other Jewish surnames on the list of ten "Sultans" included (Danni) Ashe, who founded "one of the best known adult sites on the web," (Eric) Langen, and (David) Marshlack whose company gained fame by charging a fee for computer users to ask O.J. Simpson a question on the Internet, and setting up cameras that followed a group of co-eds at all moments throughout their private lives ("Voyeur Dorm"). [BRUNKER, M., 10-9-2000] If Mark Kreloff of Colorado-based New Frontier Media is Jewish too (his Executive Vice President, in any case, is Michael Weiner) [ACCOLA, J., 5-21-2000, p. 1G] as many as seven of the NBC's ten star Internet pornographers may be Jewish. (Mark Bruder, president of Santa Monica, California-based Cable Entertainment Distributors is also a porn supplier to New Frontier Media.) [ACCOLA, J. 5-21-2000, p. 1G] Per the 2.5% Jewish percentage of the American population, all things being equal, 7 of 225, not 7 of 10, prominent pornographers should be expected to be Jewish.

Another young Jewish Internet pornography mogul is Great Britain's Benjamin Cohen, the 18-year old founder of JewishNet (sold for 300,000 pounds) and CEO of cyberbritain ("its subsidiaries include the pornography portal, huntforporn.co.uk, and the adult search engine, dotadults.com.") [LEVITT, L., 1-19-01, p. 9] dotadults.com was "the UK's first adult search engine." Cyberbritain Executive Directors include the Jewish enclave of Gerry Defries, Benjamin Cohen, Alex Defries and Daniel Ickowitz-Seidler. Non-Executive Directors include Gary Sterns (CEO of London Jewish News Ltd), Steve Masters, David Green, and Richard Cohen. [M2 PRESSWIRE, 1-2-01] Still another major Internet pornographic Cohen -- not to be confused with Benjamin -- is Stephen. This second Cohen was successfully sued for stealing the Internet URL "sex.com" from a man named Gary Kremen. Kremen had never envisioned the domain name to be a pornographic home. Cohen, after forging papers to seize the site, and developing an elaborate take over scheme, built sex.com into the premiere Internet smut base, grossing $100 million a year. As the online journal "wired.com" notes about Cohen's history and character: "Cohen was convicted in 1991 for posing as a lawyer in a bankruptcy court in a scheme to bilk an elderly woman's creditors out of $200,000. According to to court records, Cohen assumed the identity of several attorneys, forged phony deeds and cashiers checks, and attmpted to hide the woman's assets ... Cohen was sentenced to 46 months. It was his second conviction. In 1975, he was found guilty of grand theft and check kiting ... Within eight months of his prison release, Cohen controlled [by fraud] the Sex.com domain name ... By the late '80s, Cohen had set up a real-world meeting place for French Connection swingers at a home in Orange County, California. Hundreds of couples met at 'The Club' on Friday and Saturday nights to swap partners. After neighbors complained, police arrested Cohen in 1990 on charges of operating a sex club in a residential zone ... In January 1996, [Cohen's group] unveiled its bid to buy a Nevada brothel called Sheri's Ranch and transform it into a $100 million 'adult fantasy resort.' Named Wanaleiya, the Polynesian-themed resort would feature 500 exotic women who 'would not hesitate to see to your comfort and pleasure.'" [BICKNELL, C., 4-13-99]

Then there is Steve Hirsch, who owns Vivid Video. "Of all its achievements," notes Los Angeles magazine, "Vivid is most famous for refurbishing the appearance of the video box, wrapping it in the glossy-art look of a fashion advertisement that masks its raunchy contents. Single, Ferrari-driving Hirsch, who has built up the biggest-selling adult-film business in the Valley based on the idea of the old Hollywood studio system, seems equally 'packaged.' Talking to him is like interacting with a TelePrompter--his well-rehearsed CEO lines ("It is important for us to make quality product, work with the best models, get our message out") seem scripted by drones in next room. 'He's very intelligent,' says every competitor of Hirsch's, yet after asking him for his thoughts, you can't help wondering what Hirsch is really thinking. Unlike [non-Jewish pornographer Russ] Hampshire, Hirsch did not start out in fast food. In the late '70s, his father quit a job as a stockbroker to create one of the first X-rated video-distribution companies in the [San Fernando] Valley [today, the premiere pornography production center on earth]. Hirsch worked in his dad's warehouse after high school and founded Vivid with a partner in 1984. He was 23 years old. Today, Hirsch's father works in Vivid's sales division, his sister Marci heads production, and Hirsch--who is known for aggressively entering and dominating new markets--sits poised to conquer the new DVD technology that could eventually replace the video format, as well as mainstream the adult-film industry once and for all." [GARDETA, D., 12-98]

Then there is Steven Orenstein, head of a major porno production firm called Wicked, like many, based in Los Angeles' San Fernando Valley (the premiere pornography production zone on the planet): "Like [fellow Jewish pornographer Steve] Hirsch, Orenstein was introduced to the business by a parent. In his case, it was his mother, a bookkeeper, who took a job in accounting at an adult-magazine business and then later helped her son secure work at the same company. (Today, she does the books at Wicked.) Also like Hirsch, Orenstein came up through the industry, working a series of jobs until he struck out on his own, forming Wicked in 1993." [GARDETTA, D., 12-98]

And we dare not omit Susan Block from the long list of Jewish sex entrepreneurs. Block, a self-described "sex expert," has an online porno site where she revels in a furious sex hustling and narcissim, herself modeling scanty outfits and apparently living out her porno portrait fantasies (caption to one photo: "Here Dr. Block is in her 'Cyberstars' push-up bra, thong panties and sheer robe ensemble'). And here, at this Internet version of her Dr. Susan Block Institute for the Erotic Arts and Sciences, Block lists media commentary that describes her as "America's hottest sex therapist," an "X-rated alternative to Leno, Letterman, and Nightline" (she has a cable TV show), and "a happily-married, religiously aware Jewish woman." [http://www.drsusanblock.com]

In 1998, reporter Carol Lloyd described the public opening of Ms. Block's "Sex Institute": "There must be an explanation for the scene taking place just five feet away. A blond, large-breasted woman and a massive black man are fornicating with methodical, casual self-consciousness, like two body-builders pumping iron after an injury. He is on top, banging away unhurriedly, holding himself away from her with two knuckled fists planted on either side of her hips. She doesn't touch him but fidgets with a silver vibrator while preening at the small live audience and the roving, carnivorous camera. The peanut gallery continues with its kibitzing, trying to make sense of how such an explicitly sexual spectacle -- the climax to an evening of broken taboos -- can be so deeply, utterly unsexy. The event seemed too good to pass up. Dr. Susan Block, a sex celebrity who is, among other items on a groaning résumé, an advice columnist, a maker of videos bearing such titles as 'The Fine Art of Fellatio,' the author of 'The 10 Commandments of Pleasure,' the holder of a doctorate in philosophy, a radio and cable access talk-show host and the cleavage-friendly poster child for all things sex-enlightening and self-promoting, was throwing a Valentine's Day party to celebrate the opening of her new sexual institute, located in an old 1920s speakeasy in the heart of downtown L.A.'s art, fashion, financial and convention district ... Max, Susan Block's self-declared publicist, footman, butler, husband and sex slave, offers to show me the art ... 'We've got everything,' he says proudly, then segues into interview mode. 'I'm the most prosecuted publisher in America. I've been prosecuted 20 times and I've spent 18 months in jail.' He ticks off the charges on his fingers. 'Industrial espionage, rack ordinances (I put the first pair of tits on the streets of L.A.), conspiracy to publish.'" [LLOYD, C., 2-18-98]

Yet another Jewish pornography entrepreneur of considerable notoriety, David Friedman, owned the Pussycat Theatre adult film movie house chain; in California alone there were 47 of them. [FORD, p. 26] Friedman was also a pioneer in the production of "soft-core" porn. Called the "Sultan of Sleaze" and "America's Most Notorious Carpetbagger of Cinemadom," between 1958 and 1984 he made 58 full-length films including the likes of Blood Feast, Ten Thousand Maniacs, and Scum of the Earth. [FRIEDMAN, D., p. 8, 10] Scum of the Earth, notes Friedman, was "about a gang of pornographers ... who lure young college girls into posing for 'feelthy pictures.'" [FRIEDMAN, D., p. 325] "Herschell [Lewis] and I," says Friedman, "had a reputation in the burgeoning exploitation film business of the early sixties. It was widely known and agreed upon that Friedman-Lewis Productions could generate more films per dollar than any other source." [FRIEDMAN, D., p. 325] (Other associates in his genre of film world included Howard Golden, S. S. Millard, Louis Sonnery, and Irwin Joseph. Sam Katzman also had production companies for quickly created movies, 4 Leaf and Victory. So did Maurice Conn of Ambassador-Conn.)

The following is what Mikita Brottman notes (complete with psychoanalytic analysis in her scholarly volume Offensive Films: Towards an Anthropology of Cinema Vomitif) about Herschell Lewis' contribution to film. He is responsible for the introduction to popular culture of the grotesque gore movie: "Made for a mere $24,000 in 1963, Herschell Gordon Lewis' infamous Blood Feast is regarded -- when it is regarded at all -- as the absolute nadir of exploitation cinema. Original publicity posters, declaring the film 'more grisly than ever, in blood color,' promised its audience they would 'Recoil and Shudder' when witnessing 'the Slaughter and Mutilation of Nubile Young Girls -- in a weird and horrendous Ancient Rite! ... Even Herschell Gordon Lewis has talked about the limitations of the actors' abilities and the fact that the script stresses gore at the expense of plausibility and coherence -- there is something to be said for the film's transgression of classical cinema's barriers and limitations ... The film opens with an attack on a young girl in the bath. Ramses [the villian] pokes out her eye with a sword, then hacks off her legs and wraps them in newspaper. His second victim, Marcie (Ashlyn Maretin, Playboy Playmate of April 1964), is making love to to her boyfriend on the beach when she is attacked and murdered; her brain is removed, still quivering. A third girl (Astrid Olsen) is stalked to a motel where Ramses pulls her tongue out of her mouth with his bare hands ... At the time of its first release, Blood Feast was reviewed extensively in Time, Newsweek and Variety, to almost universal distaste. Ever since, it has atttained the status of a cult classic as 'the infamous first gore film' and 'the original splatter film' ... As for the less respectable face of horror -- the slasher movie -- the narrative foundation for this highly ritualized and formulaic tale are laid bare for the first time in 1963, in the story of Fuad Ramses and his Blood Feast ... [which] stands as the ur-test for a long tradition of slasher and stalker film. To pick up once again on the psychoanalystic metaphor, Blood Feast is the 'primal scene' of the slasher film genre ... Put in its simplest narrative terms, Blood Feast is the story of a blood-thirsty fiend, who sets about killing and mutiliating a series of sexually attractive, pubescent females one-by-one until only a single girl in the chain remains alive." [BROTTMAN, M., 1997, p. 79-80]

And what of the personal ethical life of Mr. Lewis? He was "an ex-college professor with a Ph.D in English and the self-styled 'Wizard of Gore,' [who] lost most of his capital in the courts when he was arrested for his part in a fraudulent car rental agency, along with a series of other mail fraud convictions, including a fake abortion referral agency and a phony gas-saving device. The arrest brought his filmmaking career to an abrupt end." ]BROTTMAN, M., 1997, p. 180]

More recently, Zalman King, "the soft-core impresario," has produced, among other films, Female Perversions (directed by Susan Streitfield) and Striptease (directed by Andrew Bergman). [MILLAX, J., 5-23-97, p. 5] He also created the "popular erotic drama series, 'The Red Shoe Diaries,' for Showtime cable television. "I don't consider this soft porn," he told a reporter, "I would just call it erotic filmmaking." [MENDOZA, N., 6-27-93, p. 75]

In the "B" movie genre, among the best known is Roger Corman, whose father was Jewish. Film critic Roger Ebert also notes three more Jews of prominence: "AIP's [American International Pictures] Samuel Arkoff and James Nicholson and the early Joe Levine are the major 1960s figures in the exploitation field, but by the end of the decade ... [there was also] Joe Solomon." [EBERT, p. 137] Solomon's works include Hell's Angels on Wheels. His "top director" was also Jewish -- Bruce Kessler. [EBERT, p. 138]

Legendary Hollywood hustler Joseph E. Levine? He, says Steven Aronson, "wrote the book on promotion; famed for PR gimmicks and publicity stunts; owes success to low-level made-in-Rome spectacle-film Hercules, starring 'Mr. Universe' Steve Reeves." [ARONSON, S., 1983, p. 187] The creator of Fritz the Cat, "the world's first X-rated cartoon?" [DIAMOND, J., 7-6-92]

Also Jewish: Ralph Bakshi, born in Palestine before it became Israel. And as Jewish commentator Barbara Amiel notes about filmmaker David Cronenberg: "[His] new film Crash has hit London like an unexploded bomb ... The story of a group of young people who get their kicks out of watching stunt men re-enacting car crashes or videos of famous car accidents (Jayne Mansfield, James Dean) has horrified the public ... Britain is in the middle of a wave of self-righteous Puritanism and the notion that car crashes could sexually excite people is something 'beyond depravity.'" [AMIEL, B., 11-16-96, p. B6]

Then there is British filmmaker Mike Leigh (changed from Lieberman), "dubbed Europe's best filmmaker by an American distributor." Leigh, who has has "12 full-length films to his name, together with dozens of theatre and television plays, plus lucrative television commercials for McDonalds," is "the master of the grungy, the squalid, the sexually menacing and the sexually dissolute ... Young Mike himself joined a Jewish youth movement, went to Israel and worked on a kibbutz ... Leigh presents his audience with lavatories, excrement and urine, farting, vomiting, abortions, nudity, graffiti-infested lifts, cannibalism, and, in his play Babies Grow Old ... your actual kitchen sink." [KAUFMAN, G., 2-11 96]

In 1988 prominent Italian film director Franco Zeffirelli made Jewish news for allegedly calling the Jewish producers of the film The Last Temptation of Christ (the film, directed by a non-Jew, Martin Scorsese, attracted widespread condemnation from conservative Christian groups) "Jewish cultural scum in Los Angeles." Zeffirelli later denied those exact words, but still attacked the film's producer, Lew Wasserman, Chairman of MCA, as "a merchant on the lookout for dollars, and not, certainly, of quality films that respect precise universalist values ... I ask Lew Wasserman, with irony: What would he say if one day an Italian decided to make a film about Abraham sodomizing Isaac?" [GRUBER, p. 7] Hollywood-based Christian activists Tim Penland and Larry Poland were hired by the Jewish head of Universal, Tom Pollock, (Universal was MCA's subsidiary that released the movie) and they later co-authored a book about the company's exploitation of them. Hired (without seeing the completed film) to mollify Christian lobbyist groups that were uncomfortable with The Last Temptation, Penland and Poland felt deceived and manipulated by Universal and soon joined the protest against the film. Careful not to enflame anti-Jewish sentiment, Poland nonetheless notes that "My observation is that the higher you go in the power structure of film and television, the more Jewish the industry becomes. If you don't believe me, checkout the corporate directors of the ten biggest movie studios sometime." [POLAND, L., 1988, p. 141]

The Jewish community, in so many ways influential in defining public morality (through activism in enforcing a separation between "church and state," dominance in the upper echelons of the mass media, pre-eminence in pornography, as well as mainstream publishing, modern art, etc., as we will soon see) were the subject of a national survey in 2000. According to the Jews and the Public Square Project, researchers discovered the following percentages of support of those surveyed for the following assertions: Non-Jews Jews Jewish "leaders" Homosexuality is Wrong: 48% 23% 7% Do you support "abortion rights?" 56% 88% 96% Do you support the displaying of the Ten Commandments in public schools? 65% 38% "Jews take a less critical view," noted the surveys' researchers, "of homosexuality, abortion, birth control and pornography than do Gentiles." [PAULSON, M., 7-15-2000, p. B2] (Not surprisingly, the producers of herisque, "push the boundaries" gay sitcom for Showtime in 2000 were Daniel Lipman and Ron Cowen). According to another (1994) survey by the National Opinion Research Center at the University of Chicago, Jews are also the most sexually promiscuous ethnic group in America. According to their responses, 34% of American Jews have had sex with more than 11 partners by age 18! [HALBERSTAM, p. 141]

(As non-Jewish journalist Ross Wetzsteon notes: "I've always been attracted to Jewish women -- in fact, every long relationship I've ever had, including my marriage, was with a Jewish woman ... With WASPs, the code seemed unbreakable -- first date kiss at the door, second date clumsy feel in the car, etc. etc., so you sensed your sexuality was rigidly sculpted; with Jews, on the other hand, it wasn't a matter of 'an easy lay' -- it was the feeling that whatever was going to happen sexually between you would happen, clumsily, perhap, but at least spontaneously.") [WETZSTEON, R. SEPT 6-10, 1998]

Chaim Bermant explains traditional Jewish views about sex like this: "One could also discern in some of the anti-Jewish agitation [in early 20th century Christian Europe] more than a passing undertone of sexual jealousy. The Jew, as we have seen, was thought to be in league with the devil and prone to every variety of dark practice, and what could be darker or more devilish than sex? (The Jew, in ancient times at least, also had an extravagant idea of the sexual tastes and aptitudes of the gentile. The Talmud, for example, decreed that one shouldn't stable one's ass with a non-Jew in case it should be buggered). That the Jew had and has a robust sexual appetitte is well attested from even the most cursory readings of the Bible, the Talmud, and more recent, if less sacred, texts. 'Be fruitful and multiply' is the first commandment in the Torah and what was traditionally regarded amongst Christians as a sordid if necessary act was raised by the Rabbis to the level of a holy sacrament. But as the Rabbis themselves were to lament, it was carried to unholy lengths." [BERMAN, C., 1977, p. 29]

A survey of Jewish Americans in 1989 also noted that "nearly one in five respondents" elicited "skeptical responses" about the existence of God, while "in the general American population, over nine out of ten affirm a belief in God." [WERTHEIMER, J., 1993, p. 63] The results of an earlier 1980s study about the mores of the entertainment television elite, the molders of popular culture, was published by three Jewish researchers in 1983. 104 prominent members of the Hollywood television world were formally interviewed, randomly selected from a list by Hollywood "insiders" of "key" people in the business, i.e., "Hollywood's most influential television writers, producers and executives." 93% of those interviewed were found to have had a "religious upbringing." Of these, 59% were raised "in the Jewish faith." (7% of the total survey were not raised in a religious milieu. In the context of Jewish pre-eminence in communist movements in the early and mid-20th century, [see discussions earlier] it is safe to assume that a very high percentage of these religiously unaffiliated were also Jewish). [LICHTER/LICHTER/ROTHMAN, 1983, p. 54-61]

75%, of the Hollywood elite categorized themselves to be to the left of center politically; only 14% to the right. 97% agreed with a statement that women "have a right to abortion," and only 20% agreed that "homosexuality is wrong." 51% disagreed with the statement that "adultery is wrong." Only 17% of the Hollywood elite "strongly agreed that extramarital affairs are wrong." 70% disagreed with the statement that "There is too much sex on television." 72% disagreed with the statement that "TV is too critical of traditional values." Meanwhile, at the same time, in a 1982 nationwide poll, only 27% of the American public called themselves "liberal," 32% classified themselves as "conservative." As the three Jewish researchers noted, "The television elite's social liberalism is also evidenced by their views on sex and morality ... On such issues as abortion, homosexual rights, and extramarital sex, their views diverge sharply from traditional values ... Television creators emerge as upholders of the 'new liberalism' that surfaced among upper status cosmopolitan groups in the 1960s." [LICHTER/LICHTER/ROTHMAN, 1983, p. 54-61]

Rothman and Lichter noted Jewish influence in shaping popular culture, against the grain of dominant mores: "Within the intellectual and artistic communities, Jews were also far to the left of their non-Jewish colleagues in the 1930s and 1950s, and far more active in supporting communist or 'progressive' causes. As Jews moved into the professions, government service, the media, and academia, they served as a radical leaven for these groups and for the ever larger number of Americans coming into contact with them." [ROTHMAN/LICHTER, 1982, p. 331]

Jews have also been prominent in Hollywood as communist activists, a tradition decidedly against American popular opinion. As Neal Gabler noted in 1988: "One leading communist estimated that 50 per cent of the party's members were Jews during its heyday in the thirties and forties, and a large minority -- and sometimes a majority -- of the party leadership was Jewish. What was true of the national party was even truer in Hollywood, where Jews already formed a large part of the left-leaning artistic community." [Ring Lardner, Jr., for example, himself a CP member, estimated that two-thirds of the communists in Los Angeles were Jewish] [GABLER, N., 1988, p. 331]

Dore Schary, prominent Hollywood mogul and national chairman of the Anti-Defamation League from 1963-69, was among those with FBI files as a "strong communist sympathizer." As Laird Wilcox notes: "John Sanford, a Communist Party member and Hollywood writer who taught with Schary at the Progressive Educational Center in Hollywood, CA, sees Schary as somewhat lesss principled. When Sanford's wife, Maggie, refused to testify before the House Un-American Activities Committee, Schary went after her: 'Mention a few names. What does it hurt? Mention the names of people who've been named already.' Sanford observed that Schary was 'one of the biggest pricks in the business.'" [WILCOX, L., 199, p.. 63]

As Milton Plesur notes about the Senator Joe McCarthy communist "witchhunt" era: "In 1952, before the Senate censured McCarthy, a Gallup Poll demonstrated that 56 percent of Catholics and 45 percent of Protestants approved of McCarthy and his tactics, but that 98 percent of the Jews considered him a menace to the country." [PLESUR, M., 1982, p. 135]

Noting the predominance of a "small" group of Jews in the corrosion of America's traditional moral order and American Jewish "leadership" in this role, in 1999 politically conservative Rabbi Daniel Lappin lamented that "decent, ordinary Americans are forced to begin to question whether Jews are bad for this country. I realize how inflammatory this statement is ... I do know that I am not alone in this concern ... [LAPIN, D., 1999, p. 41] The spokesmen for groups like the Gay, Lesbian and Bisexual Veterans of America and Lesbian Task Force are all too often Jewish. Many of the member organizations of the Religious Coalition for Reproductive Choice are Jewish. The membership of the American Civil Liberties Union (ACLU), a champion of ultra-liberal causes, is disproportionately high in Jews. The ACLU's leadership is almost reminiscent of a temple board meeting ... [LAPIN, D., p. 279] ... So many of the enthusiasts for the radical homosexual agenda, increased immorality, and expanded abortion rights are Jewish." [LAPIN, D., 1999, p. 293]

In 1999, the Gay Financial Network announced its list of the the "most influential Gay and Lesbian Corporate Executives." At least four of the top six ranked were Jewish, and they were all influential media moguls: 1) Kathy Levinson, president and COO of E*Trade 3) David Geffen, the CEO of Dreamworks 4) Barry Diller, the CEO of USA Networks 5) Hilary Rosen, president and CEO of the Recording Industry Association of America (Lower on the list was Stephen Friedman [vice-president of public affairs for MTV]; Seth Radwell, CEO of Doubleday Interactive; David Kuhn, senior VP and editorial director of Brill Media, and Steve Fuchs, president of Hampton Industries] [BAIM, T., 12-9-99] In 2001, Publisher's Weekly reviewed William Mann's Behind the Screen: How Gays and Lesbians Shaped Hollywood, 1910-1968, saying: "Mann also covers a wide range of ancillary topics, e.g., the history and aesthetics of set design; the rise of Los Angeles's 'pansy clubs,' and the special role of Jews (who were more likely than gentiles to be open about their sexuality)." [PUBLISHERS WEEKLY/amazon.com, 2001]

Chairman and CEO of Canada's first and only (2002) gay television network, PrideVision? John Levy, formerly President and CEO of Cableworks, "one of the first cable systems in Canada to launch high-spped internet acces over cable." Levy also heads The Score, a TV sports network, and "he is the majority shareholder in Headline Media Group, Inc., the company that owns PrideVision TV." [http://pridevisiontv.com/aboutPV/decision.htm]

Reviewing a recent biography about Jewish homosexual Hollywood mogul David Geffen, journalist Taki lashed out at the huge influence on public morals exerted by the largely Jewish "Velvet Mafia," : "I'm not surprised to read that Hollywood is dominated by a Velvet Mafia of rich homosexuals who demand sexual favors in return for work in the movies. In fact I would have been surprised if it were the other way around. Those old Mittel-Europa Jews who ran Tinseltown in its heyday established the casting -couch practice long ago; but, as they say, at least they did it with style and with the opposite sex. The Operator: David Geffen Builds, Buys, and Sells the New Hollywood is the title of an upcoming book by Tom King, a respected Wall Street Journal reporter who it seems has hit pay dirt -- and it's dirt, all right -- with his expose of the unspeakable Geffen. Geffen invited King to write a book about his amazing rise to the top, and allegedly named dozens of former boyfriends, many of them now famous stars. Indiscretion aside, Geffen is is a lowlife san pareil ... But what bothers me is not the bestiality and arrogance of the Velvet Mafiosi. It is the message they send out through their movies ... Geffen, of course, denies there is such a thing as a homosexual cabal, and, typically, charges anti-Semitism. According to King's book, [Jewish] friends like Barry Diller, Sandy Gallin and Calvin Klein, among many others, keep a low profile but apparantly indulge in the sexual bacchanals that go with the territory. Alleged weekend-long orgies fueled by drugs at which Geffen and his powerful buddies run a 'meat market' selecting young men for sex are apparently described in detail in King's opus ... Hollywood has never been a moral place, far from it, but until the 1960s and 70s it preached a hell of a moral lesson. God, the family, patriotism, even Mom were sacrosanct. Now it's the exact opposite. Criminals are sympathetically portrayed, cops always negatively; people who think same-gender sex is wrong are fascists." [TAKI, v.13, no. 10]

In Russia, Olga Zhuk ("I'm Jewish and I'm a dyke") has led the recent Soviet out-of-the-closet homosexual movement. As London's The Guardian noted in 1992: "Olga Zhuk can claim the dubious distinction of being the only woman in the Soviet Union ever to have been charged under Article 121 of the Penal Code - the law that criminalises sodomy between men. It happened in November 1990, after Zhuk and a handful of other lesbians and gay men from Leningrad took a very deep breath and attempted to register Russia's first ever lesbian and gay organisation - the Tchaikovsky Foundation - with the city authorities ... As president and perceived 'ringleader' behind the Tchaicovsky Foundation, Zhuk was publicly denounced in the Lensoviet and charged with sodomy. But the case never came to court, the charges dropped after radical lawyers succeeded in convincing the chief prosecutor that lesbians were biologically incapable of sodomising each other." [MCKENNA, N., 3-31-92, p. 21]

Moving along in the religious sphere, in 1999, the aforementioned Rabbi Daniel Lapin, representing a very rare Jewish perspective, addressed the systematic defamation of the Christian community by major Jewish organizations, declaring that "I am appalled by the great injustice being perpetrated by those Jewish organizations [the Anti-Defamation League, American Jewish Congress, World Jewish Congress, etc.] that engage in anti-Christian bigotry. Although many of them were founded explicitly to fight bigotry, and for many years did just that, today the shrill rhetoric and hate-filled propaganda found in their direct mail is discriminatory and divisive. The very same Jewish organizations would be the loudest protesters were anything remotely similar being said by non-Jews about Jews." [LAPIN, D., 1999, p. 2]

As Yechiel Eckstein, also a rabbi, further noted in 1997: "Hollywood's impact on our popular culture is profound and undeniable ... More often than not, filmmakers seem to go out of their way to depict people of faith in the worst possible light. And while Jews and Judiaism are, by and large, portrayed favorably and reverentially, Christians, particularly Evangelical Protestants and devout Cathlics, do not fare so well. One is left with the distinct impression that Hollywood has a very real and pervasive anti-Christian bias. How else do we explain the fact that Christian clergy -- when they are portrayed at all -- are usually shown engaging in morally reprehensible behavior? Or the fact that Christian symbols are associated with characters who prey upon society? Or that the crimes of various antagonists are shown to be religiously motivated? In Primal Fear, for example, the local archbishop is murdered by one of the waifs he exploited in his self-made porn films. The lead character in Priest is shown in a homosexual tryst with a The sadistic nurse in Misery wears a cross; the rapist in Eye for an Eye sports one as well. A killer played by Harry Connick Jr. in Copycat repeatedly invokes the names of Jesus. Christian beliefs and symbols are often belittled by Hollywood producers and writers. The cherished symbols of faith are put to blasphemous uses. Indeed, if there is a Christian character in a film, he is usually depicted as a fool, a liar, a cheater, a diabolical murderer or a crazy person ... Could Hollywood producers ridicule and malign Christians with impunity if the Christian community organized its own equivilant of the Anti-Defamation League?" [ECKSTEIN, Y. 2-14-97, p. 4] (Executive Producer of Primal Fear? Also Jewish. Howard Koch, Jr.).

Other noteworthy anti-Catholic films from Hollywood include The Runner Stumbles (1979) about a priest who falls in love with a nun and then goes to trial for her murder, Monsignor (1982) about a Catholic prelate who works with the Mafia, Agnes of God (1985) starts out with a nun giving birth to a baby and then killing it, The Penitent (1988) where the lead character joins a brutal Catholic cult, Last Rites (1988) where a priest gets involved in murder and the the criminal underground, We're No Angels (1989) where two prison convicts escape and pretend to be priests, and The Pope Must Die (1991) which heralds everything from a Pope "harem" to illegal arms deals. Anti-Protestant movies include Crimes of Passion (1984) about a despicable skid-row evangelist, Poltergeist II (1986) features a deranged preacher, The Vision (1987) about a Christian cult that plots to take over the world, Light of Our Day (1987) about a fraudulent minister, The Handmaid's Tale (1990) about a group of Christian fundamentalist fanatics who rise to political power in the U.S., and The Rapture (1991) where a born-again decides it's her religious duty to murder her own child. [O'BRIEN, P.; citing MEDVED, 2000/2001, p. 290-295]

Mainstream Hollywood's drastically different portrayals of Christianity and Judaism today is noted by Jewish film critic Michael Medved: "I can't think of any film that has portrayed the Chasidic community [of Satmar, Bobov, and other 'fraud and corruption' fame we have met earlier] where that portrayal has been anything but affectionate... If you compare the treatment of the Jewish religion to the way Catholics and Protestants are shown ... well, Jews are not treated as savagely ... The only place where religion is treated reverentially is where it's considered exotic, and that is the case with the hasids." [EIKIN, p. 29] "One strain of Judaism," concur Jonathan and Judith Pearl, "has been most prominent and visible [on television] ... The appeal of Hasidic Judaism to television undoubtedly lies in its exoticism." [PEARL/PEARL p. 94]



The Jewish business network that built Hollywood, observes Claire Pajaczkowska, "provided an opportunity for a relatively small managerial elite to formulate American culture as it should or could be. It has been said that 'Hollywood' -- the American Dream -- is a Jewish idea in a sense; it's a Jewish revenge on America. The genius of future moguls was a complex one, partly sheer business ingenuity, partly ruthless risk taking, and a kind of competitive solidarity.... They were also closely associated with the meretricious, ostentation of the industry, with poor morals, bad taste, and the industrialization of art." [PAJACZKOWSKA, p. 238]

As Marlon Brando once noted, "I've never had any respect for Hollywood. It stands for avarice, phoniness, greed, crassness and bad taste." [BRANDO/LINDSEY, 1994, p. 153-154] Or as film critic Kenneth Turan noted in an introduction to David Freeman's book A Hollywood Education: "Freeman knows that the movie business is more than any old conniver's paradise, it is one where the grail is a whole new persona. Because stakes are so high, because 'in Hollywood, what you succeed with and what you fail with are virtually the same,' everything, even your most personal life, is a viable tool to get ahead. Mind games, hidden agendas, backstabbings, and all around venality, they all pass without so much as a second glance. Everything is excused in pursuit of the dream." [FREEMAN, D., 1992, p. 7]

"[A]s I heard about Hollywood," wrote prominent science fiction writer Isaac Asimov, in a reflecion on his career, "I liked it even less. Walter Bradbury of Doubleday would travel to Hollywood once a year on business. When I had lunch with him after such a visit, he would be drawn and strained. He hated the people he had to deal with there, phonies, one and all, he said, and not to be trusted an inch." [ASIMOV, I., 1994, p. 365]

The literary critic Edmund Wilson wrote "Perelman; Hollywood. Jewish girl, very nice and intelligent. Not fancy, who had lost her husband out there after three years -- her theory [is] that Jewish men thought themselves ugly, so they had to keep proving to themselves what they could do in the way of getting Gentile girls." [GOULD, p. 305] "In olden times," said the great journalist and muckraker, Upton Sinclair, "Jewish traders sold Christian girls into concubinage and into prostitution, and even today they display the same activity in the same field in southern California where I live." [GOULD, p. 305]

The Hollywood rulers, noted Hollywood rabbi Edgar Magnin, "were men who made all that money and realized they were still a bunch of Goddamned Jews. Sleeping with a pretty gentile girl made them feel, if only for a few minutes, 'I'm half gentile.' No wonder they made idols out of shiksa goddesses." [RUBIN, p. 78]

This kind of sexual predation, if we are to believe what some Jewish scholars have to say about it, has root in the psychological insecurities of Jewish identity. The (Jewish) Forward, reviewing a biography of (Jewish) writer Arthur Koestler by (Jewish) scholar David Cesarani, notes that "Koestler's life was marked throughout by 'non-stop womanizing,' Mr. Cesarani writes. As a journalist in the 1930s, for instance, he 'was sleeping his way through Berlin at the rate of one girlfriend every four to six weeks.' The chronic philandering was in part a function of Koestler's Jewishness, Mr. Cesarani explained in a telephone interview, because, for Koestler, to be seen with tall, blond shiksas was a sign of the fullness of his assimilation and acceptance around gentiles." [BRAHMS, p. 11] (This kind of predator is apparently evidenced in the case of Evan (Meshulam) Frankel, a real estate mogul in East Hampton, New York, "An otherwise suave and gallant companion, Frankel might easily reach out in conversation and caress the breast of a woman he hardly knew or run his fingers over her buttocks ... In one famous incident, he gave a large party at which three generations of women he had bedded from the same family were his guests, unaware that each one of them had been a Frankel conquest.") [GAINES, F., 1998, p. 176]

Jewish men rushing in veritable herds to bed non-Jewish women is much remarked upon in the Jewish world. As an old Yiddish folk saying notes: "Why does a Jew need legs? To school he must be forced, to marriage he must be led, to burial he is brought, to synagogue he won't go, and after Gentile girls he crawls. So why does he need legs?" [KUMOVE, S., 1985, p. 142]

This long tradition of Jewish male interest in the non-Jewish female has created profound resentment by Jewish women in modern Hollywood. In 1998, "a group of 30 high-level Hollywood women in television, film, art and academia" (called the Morning Star Commission) released a study, headed by Jewish "superagent" Joan Hyler, and sponsored by the Zionist women's group Hadassah, about the portrayal of Jewish women onscreen in Hollywood. As the New Jersey News noted about the Jewish psychological undercurrent in the survey findings: "Among the most devastating findings of the Morning Star Commission is the way that Jews, both men and women, still regard non-Jews as competitors and even adversaries ... Jewish women, though proud of their professional achievements ... project a surprising degree of ambivalence toward themselves within American society and a shocking degree of rivalry and hostility toward non-Jewish women ... Jewish women, in their envy of non-Jews, often project hostility onto non-Jews, often project hostility onto non-Jewish women, calling them 'air heads' and perceiving them as 'irresponsible' and 'unambitious.'" [MARKS, M. A., 4-23-98, p. 5]

"I have not fingers and toes enough," notes Jewish novelist Ann Roiphe, "to count the [Jewish] men I know who can only love the shiksa." [ROIPHE, 1981, p. 199] "Jewish men's attraction to non-Jewish women," philosophizes Joel Streiker, "[is] an important theme of Jewish American literature in the 1950s and 1960s, the attraction that has to do with Jewish men's desire to be accepted by the larger society. Bedding or wedding a beautiful non-Jewish woman was a symbol of a Jewish man's having made it in America." [STREIKER, J., JULY-AUG, 1999, p. 36]

A Jewish Ms. editor, Susan Braudy, noted a story she published in a 1975 "Special Issue on Men" issue: "The story was about a Jewish scholarship student at Harvard who thought he was very ugly, and his obsession with this gorgeous, upper- class, Radcliffe gentile person, and with bringing her to her first orgasm orally. I think it was about him and his first wife, actually." [THOM, p. 81] [Click here for more citations about the "shiksa cult."]

Conversely, non-Jewish womanizer Marlon Brando credits Jewish women early in his acting career in New York with opening him to the sexual world: "It was common in those days for girls from wealthy New York Jewish families to rent an apartment in the city and have a little fling before striking out on a career or marriage after they had graduated from college ... They were fascinated by me and I by them. Many were more experienced sexually than I was, and I was a willing and happy pupil. I especially remember Carole Burke." [BRANDO/LINDSEY, 1994, p. 74]

Jews dominated the vaudeville world, precursor to radio, television and the other mass media worlds. George Burns remembers the first time he met fellow Jewish comedian Georgie Jessel: "I remember the first time I met Jessel. Actually, it was the first time I met him alone. He was starring on Broadway in the dramatic version of The Jazz Singer. It was a big hit, and Georgie was brilliant. The Jazz Singer is the story of a cantor who wants his son to become a cantor, while the son wants to go into show business. At the end the father dies and the son quits show business and becomes a cantor. The show ended with Jessel singing 'Kol Nidre,' a sacred, very emotional song.... [After the show] I was stopped outside the door [to his dressing room] by his cousin, Bob Milford. 'You can't go in right now,' Bob told me, 'he's got his clothes off.' The tears were still dripping from my eyes, that's how wonderful Jessel had been. 'That won't bother me,' I said. 'I've seen a naked Jew before. I just want to tell him how much I enjoyed his performance.' 'I'm sorry,' Bob said, shaking his head, 'you really can't go in.' He dropped his voice to a whisper. 'He's got a girl in there.' I was shocked. Until that moment I'd believed that there was nothing that could follow 'Kol Nidre.'" [BURNS, G., 1989, p. 77-78]

The Hollywood "casting couch" is an infamous icon. Actress/writer Joan Collins (half-Jewish) notes an early introduction to the world of Hollywood as a young aspiring actress: "[When] Buddy Adler, who was head of 20th Century-Fox, to whom I was under contract, asked me in his own home if I would like to be the biggest star on the lot, I said, 'Yes, of course.' 'All you have to do' -- and he smiled suavely as he maneuvered me across the lacquered dance floor of his Beverly Hills mansion -- 'is to be nice to me, and the best parts at the studio are yours.' 'What do you mean exactly by 'be nice,' Mr. Adler?' a worldly and sophisticated twenty-two-year-old Joan asked warily. 'Listen, honey' -- he held me closer in the dance and whispered in my ear -- 'you're a beautiful girl and I'm not exactly an ugly old man... We'll see each other a couple of times a week, you can still have your own life, and I'll have mine, of course." [COLLINS, J., p. 25]

Marilyn Monroe, as noted earlier, was a willing mistress to many to help her career. Aside from those mentioned earlier, she was also regularly invited to the home of Joseph Schenck (early head of 20th Century-Fox) where, she once said, "I liked sitting by the fireplace with Mr. Schenck and hearing him talk about love and sex. He was full of wisdom on the subjects." [WOLFE, D., p. 198] Schenck was once married to early film star Norma Talmadge. [WHITFIELD, E., 1997, p. 239] Monroe, says Ted Jordan, "bitterly complained about Schenck, who made it clear what her primary function was: sex." [JORDAN, p. 100] Schenck, says film historian Neal Gabler, "embodied just about every cliché of Hollywood decadence and debauchery." [GABLER, N., 1988, p. 259] "Uncle Joe [Schenck] continued to have 'fiancees,' notes Mary Ellin Barrett (the "god daughter" of Schenck, and Irving Berlin's actual daughter), "and when I was old enough to catch on, I wondered how a pretty girl could fancy such a homely, potbellied old man 'that way.' 'Power,' someone said, 'is attractive,' an odd concept to a young person." [BARRETT, M., 1994, p. 140]

Early in Monroe's career as a struggling actress, the head of Columbia, Harry Cohn, also once invited her, "and no one else," to an overnight cruise on his yacht. According to close friend Ted Jordan, Monroe was required to strip naked for Cohn in his office. As she bent over, at his direction, he approached her, penis in hand. When she declined his advances, said Monroe, "I had never seen a man so angry." [JORDAN, p. 91; WOLFE, D., p. 211-212] Cohn then "banned her from the [Columbia] lot after she refused to accompany him on a yacht to Catalina Island." [LEAMING, p. 8] "You know," Monroe once said, "that when a producer calls an actress into his office to discuss a script that isn't all he has in mind ... I've slept with producers. I'd be a liar if I said I didn't." [SUMMERS, p. 34-35] In 1955, 20th Century Fox awarded Monroe the richest per-film contract of any actress. "It means," remarked Monroe, "I'll never have to suck another cock again!" [MCDOUGAL, p. 217]

Cohn also, notes Barbara Leaming, "developed an obsession with getting [his contracted actress] Rita [Hayworth] into bed that was more than just sexually motivated... As time went by he would become preoccupied with keeping other men out of her life, including her own husband and any other man who might come between Rita and the studio ... [Cohn] went so far as to sport hidden microphones in her dressing room to listen in on her private conversations." [LEAMING, B., 1989, p. 60]

Louis B. Mayer (head of MGM) had "a private life [that] was not always so praiseworthy," notes Norman Zierold, "... Although married, he had a keen eye for feminine beauty and courted women at a clip in keeping with his extravagant nature." [ZIEROLD, p. 319] "In his more delicate personal relations with established and aspiring actresses," adds Bosley Crowther, "[Mayer] was naturally careful and decorous, but none the less vigorous in pursuit of those he lusted after, frequently in vain ... He once said to Luise Rainer, 'Why don't you sit on my lap when we're discussing your contract the way the other girls do?' A little adroit lap-sitting would go a long way, they found. He was hardy and persistent, however. Tirelessly he laid siege to some of the more formidable actresses, rewarding them with richer roles or disciplining them with poor assignments, in maneuvering to accomplish his private aims." [CROWTHER, 1960, p. 263] Mayer was alleged to have "once insisted that 'the Talmud says a man is not responsible for a sin committed by any part of the body below the waist.'" [GABLER, N., 1988, p. 389]

Legendary actress Lana Turner remembers what it was like for her as a teenager at MGM: "Often in those early years at MGM I'd see a young actress with more experience than I had, and I'd think, 'Oh boy, there's competition for me.' Six months later she would have fallen by the wayside. When I asked, people would say, 'You're so dumb!' It had to be spelled out for me that those six-month option girls would never go on to a movie career -- they were there for the benefit of management. That was what Zeppo Marx [Turner's first agent and one of the famous Marx Brothers] had meant when he told me to say I was eighteen [she was fifteen when signed]. If I got one of those six-month-option deals, I'd better lie about my age -- for their protection." [TURNER, L., 1988, p. 34-35]

Actress Debbie Reynolds recalls what she had heard about another Jewish heir to the MGM movie hierarchy: "One of my first dates was Arthur Loew, Jr., whose family were the majority stockholders in MGM ... Driving home after dinner he told me that he'd like to date me again. 'I don't think that will be possible, Arthur,' I said. 'But why?' he asked, as if I'd made him feel he'd done something wrong. I didn't know what to say. I didn't want to tell him. 'Because all the girls tell me you're a wolf. 'Wooolf?' he repeated, as if he had never heard the word before. 'Well, yes. That's what I've been told and that wouldn't work out.'" [REYNOLDS, D., 1988, p. 67) [Reynolds notes that in a few future dates she never had any troubles with him]

Shirley Temple (Black) recalled her experience as an 11-year old movie star the FIRST time she went to the MGM offices with her mother: "Eight months had elapsed since leaving Fox in May 1940, and on this first executive visit under my new Metro-Goldwyn-Mayer contract, Mother and I were split up, she ushered away by general manager Louis B. Mayer and I left alone with producer Arthur Freed. Best known as producer of the blockbusting The Wizard of Oz, Freed was rumored in some adult circles to have an adventuresome casting couch. At the time I knew none of this, nor would I have recognized such furniture even when sitting on one. To visit an executive of such stature was enough to send my spirits soaring. 'I have something made just for you,' he continued, fumbling in his lap. 'You'll be my new star!' That phrase had last been used when I was three years old in Kid in Hollywood. Obviously, Freed did not believe in preliminaries. With his face gaped in a smile, he stood up and abruptly and executed a bizarre flourish of clothing. Having thought of him as a producer rather than exhibitor, I sat bolt upright. Guarded personal exposure by both brothers and Father had maintained me in relatively pristine innocense. Not twelve years old, I still had little appreciation for masculine versatility and so dramatic was the leap between schoolgirl speculation and Freed's dazzling exposure that I reacted with nervous laughter. Disdain or terror he might have expected, but not the insult of humor. 'Get out!' he shouted, unmindful of his disarray, imperiously pointing to the closed door. 'Go on, get out!' [BLACK, S., 1988, p. 319-320]

Telling her mother about the incident as she drove home, her mother told her that she too had similar troubles, fending off a sexual advance from Louis Mayer in HIS office at the SAME time. [BLACK, S., 1988, p. 320] "Usually solemn,' writes Temple, "[Mayer's] eyes glinted. Surely [Temple's mother] could recognize real sincerity when she saw it. Never forget, he continued, at MGM we are a family. We take care of our own. Slipping down off his chair, he approached the sofa and sank down beside her, uttering a contented sigh. Surely she was the most unique mother in the world, he said. Someone who should be a star in her own right. He grasped her hand, pulling her toward him. Mayer's opinion of his personal prowess was rumored to be overblown, but not the power of his office. Reluctant to test either, Mother picked up her purse and retreated out the door, walking backwards. Unlike my reaction of hilarity to Freed, hers was to be grieviously affronted. Not for nothing was the MGM lot known as the 'factory,' a studio perfumed with sultry, busty creatures with long legs and tight haunches, and more than its quota of lecherous older men." [BLACK, S., 1988, p. 320]

And what of movie mogul Samuel Goldwyn, also married, partner in Paramount, Metro-Goldwyn-Mayer, and United Artists? As his biographer notes, "[An assistant director] stumbled into Goldwyn's office during the making of Whoopee! and discovered the producer in a compromising position with a girl who did not even get into the picture. Most of the girls on the lot had heard about Sam Goldwyn's 'casting couch.'" [BERG, A., 1987, p. 205]

Actress Joan Crawford, early in her career, allegedly starred in a porno movie. "When she was trying to break into the studios," says Ted Jordan "she got nowhere until several studio executives were given a private screening of her stag film ... In short order Miss Crawford won a studio contract." [JORDAN, p. 122; also CONSIDINE, S., 1989, p. 12-13] Crawford was brought to Holywood in 1924 by Jewish MGM mogul Harry Rapf. Agent in the early MGM years? Michael E. Levee. [CONSIDINE, S., 1989, p. 16, 61] "Over a sixteen month period," says Shaun Considine, "Joan Crawford appeared in thirteen pictures at M-G-M. She also acquired the reputation of being a quid-pro-quo girl. Years later, when asked if she ever had to sacrifice her virtue for roles via the proverbial casting couch, Crawford replied, 'Well, it sure as hell beat the hard cold floor.'" [CONSIDINE, S., 1989, p. 17]

"While their wives were meant to be decorous and refined and sexless," notes Neal Gabler, "many of the Hollywood Jews found sexual release elsewhere -- sometimes flagrantly ... Sex, like family, power, wealth, and culture, was meant to be conspicuous in Hollywood. It was a symbol of power, which may be why so many of the Hollywood Jews behaved with such little discretion. Jack Warner [one of the heads of Warner Brothers] bragged about his conquests as if they were trophies. Bess Lasky knew that when her husband [the head of Universal] sneaked away to make a quick business call he was not talking to Adolph Zucker ... David Selznick [was] a bearish hedonist with the appetites and discipline of a child." [GABLER, N., 1988, p. 246, 258]

Charles Feldman, founder of the important Famous Artists film artist agency, represented the likes of Greta Garbo, Marlena Dietrich, and John Wayne. "Feldman," also, notes Peter Biskind, "was known for casting his girlfriends in his movies." [BISKIND, p. 25] He was once banned from MGM for his love interest in actress Jean Howard, a woman MGM head Louis B. Meyer had his eye on too. [CROWTHER, p. 193] Feldman was once romantically involved with sex queen actress Jean Harlow. [RUBIN, p. xii] So were others. Columbia Pictures' head Harry Cohn introduced Harlow to Jewish mobster Abner Zillman (an investor in Columbia). "For years after Harlow's death, [Zwillman] was boasting nostalgically about the various ways he'd banged the actress." [MCDOUGAL, p. 146] Zwillman also "reportedly gave some gangster friends gold lockets, each containing a strand of Jean's blonde pubic hair." [MARX, S., 1990, p. 121]

Blonde bombshell movie star Carroll Baker's Jewish husband was theatre and film director Jack Garfein: their son is named Herschel David Garfein. Mae West made a career centered upon flaunting sexuality -- in a long list of intimates, her "first steady beau, Joe Schenck," a pianist and singer, [LEIDER, E.M., p. 51] was also Jewish. Blonde sexpot Jayne Mansfield's boyfriend at the time of her death in a 1967 car accident was also Jewish: Hollywood lawyer Sam Brody. The crash killed both of them. Among Marilyn Monroe's long list of Jewish (and other) partners, one of her husbands was playwright Arthur Miller. She even formally converted to Judaism for him. [WOLFE, D., p. 285]

Clara Bow, renowned for her promiscuity, was the sex goddess (the "It girl") of the late silent screen era. Like many who have the burden of being "sex" stars, she repeatedly collapsed with nervous breakdowns. She was built to fame by Benjamin Schulberg, head of a film company called Preferred Pictures. "To launch her," note Joe Morella and Edward Epstein: "Schulberg instructed his photographer [in 1923] to take a series of provocative pictures of Clara. In the photographs she was gracefully posed and draped only in a sheet, Greek goddess-style. Her breasts and ample derriere were outlined, and it was obvious that she wore nothing under the sheet ... Clara was in effect a pin-up girl, though the term had not yet been coined. This manner of selling her would set the tone for her entire career ... One of the unpublicized advantages of being under contract to a studio, even a small one like Ben Schulberg's, was the ready availability of reliable medical attention for 'unspeakable' problems certain to arise among Hollywood's high-living set. Abortions were easily arranged. Venereal diseases could be treated without undue embarrassment. To put it bluntly, and in the words of an actor of the era, 'Anyone as promiscuous as Clara was sure to catch the clap." [MORELLA/EPSTEIN, 1976, p. 58]

Eventually, in 1925, Schulberg and his company moved under the wing of larger Jewish film moguls Adolph Zukor and Jesse Lasky at Paramount Pictures, at the time the largest movie studio in Hollywood. [MORELLA/EPSTEIN, 1976, p. 69-70] Bow's paramours were numerous, but perhaps the most publicized was her affair with "showman Harry Richman," "Mr. Broadway," "a Cincinnati-born Jewish boy ... By his own admission he often wined, dined, and bedded down as many as four showgirls in one night. And Harry was generous. He shared his conquests with his pals ... For a time one of Harry's closest buddies was fellow womanizer and enormously wealthy film mogul Joseph Schenck ... head of United Artists ... At the time of his friendship with Harry Richman, Schenck was married to top star Norma Talmadge [who later married Jewish comedian George Jessel]." [MORELLA/EPSTEIN, 1976, p. 69, 70, 169, 170] Schenck arranged the initial sexual tryst with Bow for Richman. [p. 172-175] (Richman also owned Club Richman, "a speakeasy which became a big success." [MORELLA /EPSTEIN, 1976, p. 70])

"Richman's name was romantically linked with the most glamorous women of his day, including the tragic, gorgeous silent-screen star Barbara La Marr. There was mystery and scandal too. Ziegfield girl Helen Walsh burned to death in a fire on one of Richman's yachts." [MORELLA/EPSTEIN, 1976, p. 70] Per Clara Bow, "Harry Richman had finally found his match for sexual adventure. In his own words: 'One of the greatest things about Clara was that she had an appetite for lovemaking that was at least the equal of mine. Every time I was ready, she was, and believe me, there was hardly an hour when I was not ready." [MORELLA/EPSTEIN, 1976, p. 179] "Not all Bow suitors retained fond memories of her," write Morella and Epstein, "Abel Baer, a sexy young songwriter from New York, was in Hollywood writing the score for an upcoming Clara Bow picture. Baer had attracted the attention of Mae West back in New York, and in Hollywood he caught Clara's eye. 'I went to bed with her,' Baer says, 'but I'll tell you this -- there were no repeat performances. Once was enough for me.'" [MORELLA/EPSTEIN, 1976, p. 209-210]

Jewish comedian and early television star Milton Berle hosted "the most successful show in television history." [BURNS, G., 1989, p. 269] His "reputation with the girls was pretty big," notes George Burns, "He went out with everybody from silent movie star Pola Negri to evangelist Aimee Semple McPherson to Marilyn Monroe. You'll notice I use the phrase 'went out,' but that's not exactly what I mean. I can't tell you exactly what I mean, because I do a clean act. I don't even drop cigar ashes on the page. But if you want to know what Milton did with these women, think of a train going into a tunnel. And based on Milton's reputation, this train was so popular with the passengers that he couldn't keep it in the station." [BURNS, G., 1989, p. 253]

"Why do Italian women wear panties?" joked Berle, "To keep their ankles warm." [BERLE, M., 1996, p. 306] "What's a blonde standing on her head?" "A brunette with bad breath." [BERLE, M., 1996, p. 92]

Jewish singer Eddie Fisher, ("I prefer seduction to singing") for years a cocaine addict, divorced Debbie Reynolds, "America's sweetheart," to marry Elizabeth Taylor in 1958. To the mores of the 50s it was a scandal of monumental attention. "Even a partial list of his claimed [sexual] conquests," adds London's Daily Telegraph, "include Mia Farrow, Marlene Dietrich, Bette Davis, Kim Novak, Stefanie Powers, Angie Dickinson, Dinah Shore and Judith Exner, the mistress also shared by President Kennedy and Sam Giancano, the boss the Chicago mafia.... Fisher is of the generation that still uses a good sprinkling of Yiddish words, and prominent among them is shiksa." "I think I slept with only one Jewish girl in my whole life," Fisher told the London paper, "Peggy Lipton, and then I didn't know she was Jewish ... Boy, did I have a libido." [LAURENCE, C., 10-14-99, p. 23] (Film director Oliver Stone's father was Jewish -- originally Lou Silverstein. He was a wealthy stock broker. [RIORDAN, 1995, p. 4] "Like many men his age," writes James Riordan about Oliver's father and mother, "[Lou] began to seek solace through an increasing number of affairs. There were several models, but often he preferred high-class call girls." [RIORDAN, J., 1995, p. 16]

Doris Day was stunned when her agent, Al Levy, "followed me into my room, closed the door, turned off the lights, and pulled me onto the bed. He desperately thrust himself on top of me as if he was some unknown rapist and I were an anonymous victim." [HOTCHNER, 1976, p. 102] Jewish bandleader Artie Shaw's romantic flings included those with Judy Garland, Betty Grable, and Lana Turner. [SHIPMAN, D. 1993, p. 104-107] Hollywood lawyer Gregory Bautzer "had a reputation not unlike Artie Shaw of having 'squired' many of Hollywood's most famous stars; he had preceded Shaw in Turner's life, and he was publicly associated with Joan Crawford for several years." [SHIPMAN, p. 464] Among [MGM screenwriter-producer] Joe "Mankiewicz's former lovers were Joan Crawford, Gene Tierney, and Linda Darnell. He had a habit,' said his son Chris Mankiewicz, 'of bedding down with leading ladies.'" [HEYMANN, C.D., 1995, p. 203] Screenwriter/playwright George S. Kaufman (best known for the Marx Brothers movies), who was married, "had a cleanliness compulsion, abhorred outward displays of affection, and hated physical contact except, presumably, with his many sexual conquests (the Broadway producer Max Gordon called him a 'male nymphomaniac')." [WINOKUR, 1987, p. 109] Actress Janet Leigh," notes Debbie Reynolds, "had the world trying to get her, but Tony [Curtis, born Bernard Schwartz] wanted her and she didn't have a prayer. It was physical; it was sexual. It was like dynamite. He got her and he married her." [REYNOLDS, D., 1988, p. 70)] Even Jewish Hollywood hairdresser Sydney Guilaroff "had a long affair with [Greta] Garbo and then moved on to Ava Gardner." [MCDOWELL, p. 15] (One day a friend of Reverend Billy Graham called actress Debbie Reynolds to tell her that Graham had had a dream in which Marilyn Monroe died. Reynolds dispatched Sidney Guilaroff to counsel Monroe about this. Guilaroff couldn't reach her alone. Soon after, Monroe committed suicide.") [REYNOLDS, D., 1988, p. 206-207]

When swimmer Esther Williams first got started in show business, "famous New York showman" Mike Rose lured her into "a seduction scene -- pure and simple. I saw that look in his eyes ... Couldn't he look in the mirror? He was already in his fifties, married, and five feet two inches. I was seventeen, not even the legal age for such antics." [WILLIAMS, E., 1999, p. 45] Williams' first marriage, that same year, was to a Jewish pre-med student, Leonard Kovner, whom she soon divorced. Her lawyer in her golden years was also Jewish, Lew Goldman. [WILLIAMS, E., 1999, p. 302]

As a budding actress, a particularly pesky Hollywood sexual predator was Sam Katz, head of MGM's musical productions. Williams recounts an early encounter with him: "Sam, aren't you married? 'Yes, I am. I have two beautiful daughters.' 'And so am I,' I said. 'Don't you think it would be embarrassing if you and I were seen in public having dinner together?' 'Well ... I have little places.' 'I bet you do.'" [WILLIAMS, E., 1999, p. 92] "Katz's philandering was common knowledge," writes Williams, "so I decided to deal with this head-on. 'You've done this before, Sam. Did the other girls become big stars?' Astonishingly enough, he tried to answer the question. He began ticking off his other conquests. 'Well, let's see. Kate Groom? No. Ilona Massey? Not really...’ I stopped him before he got too deep. I didn't want to be another 8 X 10 glossy on his wall of conquests, and I didn't want to know the names of the rest of them." [WILLIAMS, E., 1999, p. 92]

Williams' most bizarre love affair was with Jeff Chandler (also Jewish, born Ira Grossel, his most famous role was that of Cochise in Broken Arrow). Williams fell in love and had an affair with him until she discovered his fetish for wearing women's clothing. "Jeff," notes Williams, who quickly abandoned him, "was dead serious about this dress-up game and obviously had been at it for a long time ... [He] had a compulsion to don Aunt Sophie's underpants, which gave him his first orgasm, growing up and feeling happy and secure only in women's clothing." [WILLIAMS, E., 1999, p. 309]

As Rachel Abramowitz notes the oppressive undercurrent for women trying to make it in Hollywood: "Go to CAA [a rival talent agency]," [top Jewish agent Sue Mengers at the William Morris agency] derisively told the starlet Valeria Golino, who was vacillating about William Morris, "Ronnie Meyers [a Jewish executive at CAA] just wants to fuck you." [ABRAMOWITZ, R., 2000, p. 331]

Jewish novelist Judith Krantz notes the stir actress Loretta Young created at the funeral of Jewish film director Mervyn Le Roy: "At the funeral of Mervyn Le Roy ... I heard Loretta Young give a eulogy that won the bad-taste prize of all time. She slithered exquisitely down the aisle of the Forest Lawn chapel, clad in a startingly sexy, body-hugging black dress and the largest black garden-party hat I'd ever seen. 'Mervyn Le Roy discovered me,' she announced slowly. Pause. 'No, we didn't have an affair.' Long pause. 'I was only thirteen,' she added thoughtfully, as if in explanation for the omission." [KRANTZ, J., 2000, p. 209]

In 1977 director Roman Polanski, also Jewish, fled America rather than face sentencing for raping a 13-year old model. He had drugged her (with Quaaludes and alcohol) as he photographed the child at an actor's home. Arrested, he was allowed to work on his current film. As Barbara Leaming notes: "Since the probation report would affect his fate, Polanski worked on his [Jewish] probation officer, Irwin Gold, for whom he painted a picture of a tragic past [Polanski was a Jewish survivor of Nazi-occupied Poland] a compliant girl, and remorse for anything he had done wrong ... He managed to win Gold's sympathy ... This was a victimizer as victim -- a role Polanski had played to the hilt." [LEAMING, 1981, p. 181, 184]

Also, "at age fifteen, Natassia [Kinski, star of Polanski's film Tess] became Polanski's lover. Polanski gave her books to read and suggested ways for developing her acting abilities." [LEAMING, 1981, p. 192] Polanski once married actress Sharon Tate, star of his film Fearless Vampire Killers. "During the shooting, Polanski had become Sharon's lover." [LEAMING, 1981, p. 79] She had been introduced to him by Jewish producer Martin Ransohoff of Filmways, who had her under contract. After Tate and others were sensationally murdered by the Charles Manson "family," one week later Polanski charged Life magazine $5,000 to pose at the door of the house she was slain. [KIERNAN, T., 1980, photo section]

Bob Rafelson and Bert Schneider were Jewish partners who produced a number of influential 1970s "counterculture" movies (Easy Rider, Five Easy Pieces, et al). "Bert was so relentless," noted one acquaintance, "that he came on to almost every pretty woman who came his way ... Sex was a publicly traded commodity among the Raybert guys, sexual exploits, a variety of who could piss farther." Actor Jack Nicholson (no innocent himself) reportedly admonished a friend, "Never bring a woman that you're serious about around Bert or Bob." [BISKIND, p. 58-59] Among Schneider's love affairs was one with actress Candice Bergen. [MCGILLIGAN, 1994, p. 181]

At BBS (the Rafelson/Schneider company), notes Patrick McGilligan, "All of the important players were men; the atmosphere was familial; but really it was a fraternity of insiders, a boy's club. Bert was capable of unzipping his pants during an argument and flourishing his cock; his brother, Harold, was also known to bring his penis out and lay it on the table. The BBS men circulated throughout the building, calling each other "babe," and "doll," and hitting on the women. 'The important players took a macho pride in fucking the same women at different times,' said one former BBS staff member, 'from the starlets right down to the typists.'" [MCGILLIGAN, p. 201]

The heart of the American popular music industry is also located in Hollywood. As Jewish author Neal Karlen notes: "Recalling [Jewish CBS music head Walter] Yetnikoff's well-documented lust for blond bimbos, a midlevel record executive would say a year later, 'Er hot in di hoizen a yarid' -- Yiddish for 'He's got a carnival in his pants.'" [KARLEN, N., 1994, p. 145]

"This [Hollywood]," complained novelist Theodore Dreiser in its big studio glory days, "is a selfish, self-concentrated, mean, loafing town. The business and political world is hard-boiled and cruel. The movies are solidly Jewish. They're dug in, employ only Jews with American names and buy only what they cannot abstract and disguise. And the dollar sign is the guide -- mentally and physically. That America should be led -- the mass -- by their direction is beyond all believing. In addition, they are arrogant, insolent, and contemptuous." [GOULD, p. 298] "There's enough sincerity in Hollywood," wrote H. L. Mencken, "to fill a peanut shell and still leave room for an agent's heart." [GITLIN, p. 145] The novelist F. Scott Fitzgerald summed up the Hollywood scene as "a Jewish holiday, a gentile tragedy." [GABLER, p. 2]




     In the sexual realm, in the formation of popular American values, notes Anthony Heilbut, "The two major therapeutic changes of the sixties and seventies were ushered in by [Jewish] émigrés, Fritz Perls of Esalen and Wilhelm Reich ... Their positions have become the roots of such American phenomena as 'est' or sex therapy ... Of all Freud's disciples, Reich was the most obsessed with sexuality." [HEILBUT, p. 439] (Reich died in an American prison in 1957, held on charges of "criminal contempt" in a case involving his shipments of "orgone accumulators.")
 
Perls was also "the founder and main figure of Gestalt therapy." [MASSON, p. 209] At every group Gestalt therapy session, he recited the "Gestalt prayer," famous doggerel that profoundly influenced, and exemplified, 1960s-era ethics:
 
"I do my thing and you do your thing.
I am not in this world to live up to
your expectations.
And you are not in this world to live
up to mine.
You are you and I am I.
And if by chance we find each other,
it's beautiful.
If not, it can't be helped."
[MASSON, p. 20




AMERICA AND CIRCUMCISION

With all these Jews going to medical school over the last few decades, what are we to make of the fact that American secular medical culture has for decades emulated Jewish religious tradition in dictatorially circumcising the vast majority of American Gentile males? This century the American circumcision rate has been as high as 85% of the male population. A Jewish author, Ronald Goldman, notes that "from a global perspective, most of the world rejects circumcision: over 80 percent of the world's males are intact (not circumcised). Most circumcised men are Muslim or Jewish. The United States is the only country in the world that circumcises most of its male infants for nonreligious reasons." [GOLDMAN, R., p. 2]

Surveys have found that a huge number of Americans are ignorant about this extremely personal subject; many aren't even aware, with certainty, what circumcision is. Because it has not often -- until recently -- been a subject of public discussion, because infants had no choice in the matter, and because the medical world has been routinely trusted to know what's best for babies, for decades a veil of ignorance has been draped across the subject. "In one study," notes Goldman, "34 percent of men incorrectly identified their own circumcision status. In another study, half of the mothers questioned did not know if the father of their child was circumcised ... My own research of 60 adult graduate students revealed that 38 percent of the women and 45 percent of the men were not sure of the difference between a circumcised male and an intact penis." [GOLDMAN, R., p. 29]

In recent years, there are increasing objections -- even from some Jews, like Goldman -- to the routine circumcision of American male infants. More and more medical practitioners are rejecting claims that a circumcised penis is more hygienic than an uncut organ, as well as that it helps to prevent sexually transmitted diseases. Most perplexing in all this is how and why circumcision has developed as a norm for behavior in America on such a wide scale, a dictate of the medical profession and not the populace at-large.

Rosemary Romberg, married to a Jew, is among those who have written an entire volume criticizing the omnipresence of circumcision in American medical society. As she notes, "I have learned that none of the medical arguments for circumcision are justified." [ROMBERG, p. xxi] Yet, she observes, "If we take a stand against Jewish ritual circumcision we run the risk of being labeled anti-Semitic." [ROMBERG, p. 59]

In her investigations into the subject, Romberg once even interviewed a rabbi, asking, "There are many Jewish doctors in the United States. Do you think that their influence could have anything to do with the popularity of circumcision in the United States today?" [ROMBERG, p. 71] The rabbi of course said no, and Romberg herself later rejected the possibilities of a conscious Jewish influence on the issue as being unfounded. She ultimately decided it may be, at least in part, the result of an abstract openness to the idea of circumcision because of the Judeo-Christian link. [ROMBERG, p. 105]

Others suggest its prominence rooted in a Christian-based anti-sexual morality, an American obsession with hygiene, and other postulates. But is Romberg's question to the rabbi -- inferring that Jews would have a vested interest in mass circumcision -- one that is so easily dismissed?

With the huge numbers of Jews in the medical world, their high proclivity to publish their medical opinions, and their disproportionate influence in the field, is it an unreasonable question to wonder about? Romberg notes a very important point in her initial speculations about Jewish medical influence in having American males, in large numbers, circumcised. To traditional Jewish thinking, a Jewish male must be circumcised. There is no choice in the matter. Given this fact, as Romberg says, "In other times and places [circumcision] has brought ridicule and persecution upon the Jews. In the United States today, the Jew does not stand out as different for having a circumcised penis. Have Jews been the cause, directly or indirectly, of the widespread popularity of routine infant circumcision in the U.S.? There are many Jewish doctors in the U.S." [ROMBERG, p. 104]

Always highly attuned to threats of anti-Semitism, religiously convinced that Gentiles must sooner or later rise up for no reason against them, and for centuries seeking to mold the safest niches possible within non-Jewish communities, the secular American custom of circumcision offers the Jewish (male) community the extraordinary opportunity to physically blend into American society, without having to abandon its traditional genital marker which, in European society, was the absolute test for determining who was, and who was not, Jewish. There was no hiding from the malicious anti-Semite.

"The exposed penis," writes Jewish feminist Andrea Dworkin, taking it to the furthest abstraction, "reifies the vulnerability of the Jewish male." [DWORKIN, A., 2000, p. 115] For whatever reason, the fact remains that the careful -- and guarded -- Jewish process of assimilation in America is such that in this regard, on the procreative organ, it is the Gentile males who have effectively assimilated, only this century, to Jewish religious tradition.





FOR MORE ON THIS SUBJECT, SEE ALSO
: here.

THIS DISCUSSION IS ALSO CONTINUED INTO OTHER REALMS AT:
WHEN VICTIMS RULE. A CRITIQUE OF JEWISH PRE-EMINENCE IN HOLLYWOOD
(Mass Media, chapter 2)

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