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Old December 24th, 2014 #601
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Merry Christmas Movies . . . NOT! Part 2 — Anti-Christmas Movies

December 23, 2014 — 6 Comments
Edmund Connelly



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

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

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

Again, what Kevin MacDonald demonstrates in The Culture of Critique, cannot be repeated too often: “The Judaization of the West means that the peoples who created the culture and traditions of the West have been made to feel deeply ashamed of their own history — surely the prelude to their demise as a culture and as a people.” And, as I argued earlier, the treatment of Christmas shows how Jews “have been able to translate this hatred of Christ and his birthday into increasingly scandalous imagery, thanks to their domination of Hollywood and TV studios.”

Today I’ll talk about how that has affected the kind of Hollywood films we get with respect to Christmas. In essence, it means that in the last forty or so years, the Christian aspect of the holiday has vanished on screen. The best we can hope for is a positive, feel-good portrayal of the season, such as we had in Tim Allen’s The Santa Clause (1994) or Tom Hanks’ The Polar Express ten years later.

Too often, however, films have associated the Christmas season with negative or even horrific stories. Perhaps the best example of this is Silent Night, Deadly Night. This is a 1984 slasher film that begins with a young boy named Billy witnessing the murder of his parents by a man dressed as Santa Claus. Billy ends up at St. Mary’s Orphanage, where he is beaten by Mother Superior. Later, morphing memories of his punishment at her hands with images of Santa, Billy grows up to become a killer teenage Santa. At work, for example, he strangles a co-worker with Christmas lights and then dispatches the girl with whom the co-worker was having sex.

After a string of other Santa murders, Billy returns to the orphanage, with the police hot in pursuit. Tragically, they shoot and kill Father O’Brien, a deaf priest dressed as Santa. Sneaking into the orphanage, Billy, dressed as Santa, swings his ax at Mother Superior, but a policeman shoots him down. Imparting his central message, Billy assures viewers, “You’re safe now… Santa Claus… is gone.” Not exactly a happy message at Christmastime.

In 1984, such imagery was still able to rile the population. Siskel and Ebert condemned the film, going “so far as to read the film’s production credits on air, saying ‘shame, shame’ after each one.” Angry mothers protested the movie around the nation, and TriStars Pictures, its distributor, quickly ceased advertising the film.

Silent Night, Deadly Night did have antecedents. Black Christmas was a 1974 movie set in a sorority house during Christmas break. A maniac is making calls from within the house, killing the coeds one by one. The movie also takes every opportunity to pair beloved Christmas songs with chilling scenes, a phenomenon that was later repeated in Gremlins, as we will see. Another, Christmas Evil (1980), features a delusional Santa stand-in who murders three church-goers in front of a church. (He stabbed one man in the eye with a toy.) Later, while wearing a ragged Santa outfit and being chased by an angry mob, our main character drives his van off a bridge, imagining himself to be Santa in his flying sleigh.



As Austin Pearl, a Jewish reviewer, approvingly wrote, “Christmas Evil ruins Christmas unlike any other movie.” In particular, this reviewer liked “all the vividly disturbing images of Santa sprinkled throughout the movie.”

It’s no surprise that Pearl also liked the 2003 Billy Bob Thorton film Bad Santa, which was a concerted ethnic effort to trash Christmas. Jewish director Terry Zwigoff made the film under producers Ethan and Joel Coen for the Disney subsidiary Miramax, run by two more Jewish brothers, Bob and Harvey Weinstein. Billy Bob Thornton stars as the bad Santa of the title, going about his life boozing and swearing with abandon. At one point he has anal sex with an overweight woman in a changing room, while elsewhere he goes to a mall drunk and destroys a reindeer display in a drunken rage. Ho ho ho.

Near the end of this dark film, he is shot by a group of policemen but survives. Despite his obvious guilt in numerous crimes, he is pardoned because “the Phoenix police department shooting an unarmed Santa Claus in front of children was more fucked up than Rodney King.”

According to Wikipedia, critics described it as an “evil twin” of Miracle on 34th Street, the inspirational Christmas classic. No wonder Austin Pearl wrote glowingly that “Bad Santa is perhaps the most subversive, offensive Christmas movie ever made—with Thornton as a truly despicable character who, for once, does not receive a total personality transplant by the movie’s end.”

Director Zwigoff intended this film for impressionable teenagers, the vast majority of whom are, one would assume, Christians. When asked if he thought the film would do well, Zwigoff answered, “I think it might. Every teenager in America is dying to see this film. Though they won’t be able to get in unless they have a very open-minded parent.” Clearly he was aware of the film’s subversive content.

Two years later came another Jewish-directed anti-Christmas movie. The Ice Harvest, Harold Ramis’s “grisly black comedy/film-noir,” sees Billy Bob Thornton return to a mayhem-filled Christmas. One reviewer intoned that The Ice Harvest “is a must-see for fans . . . in the mood to see one of the worst Christmas Eves in the history of cinema.” Roger Ebert was also impressed. “I liked the movie for the quirky way it pursues humor through the drifts of greed, lust, booze, betrayal and spectacularly complicated ways to die.” In other words, Hollywood’s version of Merry Christmas stuff.

The Gremlins

Perhaps the most unsettling Christmas movie was the original Gremlins (1984). Though directed by Joe Dante, Steven Spielberg’s production company, Amblin Entertainment, released it. Time magazine characterized the film as being “developed and ‘presented'” by Spielberg and being one of his “children too.”

Stylistically, too, this film is completely Spielbergian, beginning with a typical suburban paradise. Snow is on the ground as local residents prepare for Christmas.

The drama begins when protagonist Billy receives a cute “mogwai” from his inventor father, but the creature spawns siblings that are far from full of holiday cheer. On the contrary, they bring violence, mayhem, and death to this otherwise happy time of year. Their mischief is methodically paired with normally positive symbols of Christmas. For instance, when Billy’s mom is home alone making Christmas cookies and listening to Christmas music, she is attacked by a squad of ghoulish gremlins, long in tooth and with murder on their minds. After stabbing one through the heart, she dispatches another with a deft push of the blender switch, turning the previously Christmas-cookie-aroma-filled kitchen into a bloodbath. Retreating to the living room, she is literally attacked by the Christmas tree, which is full of gremlins. This conflation of joyful Christian symbols with diabolical evil is a central device to the whole movie.



Another example comes when the police pass by Billy’s neighbor’s house and are greeted by the neighbor, dressed as Santa Claus, running about helplessly as gremlins eat into his brain. Next, Christmas-caroling gremlins arrive at grouchy old Miss Deagle’s door, only to send her flying out the second-floor window of her house in a malfunctioning motorized chair.

The scenes which most firmly tie this movie to a distinct Jewish sensibility, however, come with two extraneous dialogues between Billy and his girlfriend Kate. Passing a group of Christmas carolers singing “Silent Night,” Kate suddenly and soberly states that Christmas is a time when “a lot of people get really depressed. . . . While everybody else is opening up their presents, they’re opening up their wrists. It’s true. The suicide rate is always the highest around the holidays.” When she volunteers that she doesn’t celebrate Christmas, Billy asks, “What, are you Hindu or something?” Historically, the non-Christian group in America with mixed feelings toward Christmas is not Hindus, but Jews. Here the mask is in place but the true message is easily discernible.

Much later in the movie, after the gremlins have wreaked havoc on Kingston Falls, Kate launches into a startling horror story about Christmas, one that seems completely gratuitous since it is independent of the blood-thirsty gremlin theme. Surveying the rubble left by the marauding gremlins, Kate relates how she now has another reason to hate Christmas. It seems that when she was nine, she and her mother were decorating the tree on Christmas Eve, waiting for her father to come home from the office. They waited, but he never came.

Then, four or five days later, as the temperature dropped, Kate went to make a fire. “And that’s when I noticed the smell.” Thinking it was a dead cat or bird, they called the fire department to clean it out, but instead “they pulled out my father. He was dressed in a Santa Claus suit. He’d been climbing down the chimney on Christmas Eve, his arms loaded with presents. He was going to surprise us. He slipped and broke his neck, died instantly. And that’s how I found out there was no Santa Claus.”

“Mr. Hankey’s Christmas Classics”

Finally, we arrive at what must be the most blatantly hostile and offensive portrayal of Christmas ever found in the mainstream American media. The creators of the animated series South Park concocted a Christmas character to replace Santa. This new character is “Mr. Hankey the Christmas Poo,” an animated human feces. Mr. Hankey was introduced in a 1997 episode that showed the young Jewish boy Kyle brushing his teeth. Mr. Hankey, wearing a Santa hat, jumps out of the toilet bowl and sings a song about Santa and Christmas. The starkest comment in the scene comes when this animated feces writes “Noel” in excrement on the mirror. (This early version can be viewed here.)



No wonder Mr. Pearl, our Jewish reviewer, gleefully explained his motive for collecting anti-Christmas films in these terms: “It’s my wanting to recognize things that are deliberately anti-Christmas. It’s my wanting to take a big you know what on everyone’s Christmas spirit. . . . Each one of them is so anti-Christmas that I want to share them with the world, thereby forcing everyone to realize how liberating it is to rip off the Christmas mind control device and have some laughs in the process.” (Pearl provides embedded YouTube scenes of the anti-Christmas films he recommends).



Two years later, the more extensive Mr. Hankey version was released as Mr. Hankey’s Christmas Classics. (A parallel CD of the songs includes the delightful “Merry Fucking Christmas”). Here Mr. Hankey besmirches the faces of children singing Christmas songs. He then introduces us to the next scene, Christmastime in Hell, where Hitler is shown crying over his Christmas tree. Later, when Jesus and Santa sing a duet, Santa gets miffed that there are far more songs about Jesus than about him, so he leaves the stage. When Jesus implores him to return, Santa speaks the cheery words, “Aw, fuck you, Jesus!” (Read the script here.)

This episode is a parody of the Charlie Brown Christmas Special in which everyone yells out “Merry Christmas, Charlie Brown!” only after Charlie has realized the true meaning of Christmas—which has Christ at its center. In the South Park version, the characters wish the Jewish boy Kyle a Merry Christmas only after he has taught everyone, through Mr. Hankey the Christmas Poo, that Christmas and Christianity are shit.

Replacing Christmas with the culture of the Holocaust

Finally, this brings us to Christmas this year. More than ever, the focus will be on Jewish themes rather than Christian. As a recent New York Times article admitted, Holocaust-themed Christmas releases have been the norm for years. Sophie’s Choice, for example, debuted in December 1982, Schindler’s List was released in the same month in 1993, and The Pianist opened two days after Christmas in 2002.

This year is no different: On Christmas Day the new Tom Cruise movie Valkyrie will debut. This film features Cruise as a German officer who plots to kill Hitler, prompting Cruise to joke in an interview, “Go kill Hitler on Christmas!” We will also have Defiance and Good, two more Nazi-oriented films, which will premier a week after Christmas. Then there is The Boy in the Striped Pajamas, “which tells the story of a forbidden friendship between the son of a Nazi officer and a Jewish boy imprisoned in a concentration camp.” And don’t miss The Reader, which features Kate Winslet being tried for her years as a concentration-camp guard. Finally, there is Adam Resurrected, starring Jeff Goldblum as a Holocaust survivor living in a mental institution. The title seems to posit the death of Jesus at Christmastime and his replacement with a Jewish resurrection.

Out with the old religion, in with the new. A friend wrote: “I’ve seen the previews for Valkyrie. Good grief! And to release it on Christmas Day — it really doesn’t get more obvious than this. Sort of like saying, ‘Don’t you realize, THIS is your new religion, not all this Jesus business!’”

Three years ago, Fox News Channel host John Gibson wrote The War on Christmas: How the Liberal Plot to Ban the Sacred Christian Holiday Is Worse Than You Thought. Well, it has gotten worse than we thought. But Gibson’s parting words are still the only formula for a reversal in this war. “Those who would ban Christmas and Christians should not mistake the signs on the horizon. The Christians are coming to retake their place in the public square, and the most natural battleground in this war is Christmas. The war on Christmas is joined.”

And may the good guys win. It’s a battle we can’t afford to lose. Merry Christmas!

Edmund Connelly is a freelance writer, academic, and expert on the cinema arts. He has previously written for The Occidental Quarterly.

http://www.theoccidentalobserver.net...istmas-movies/
 
Old April 12th, 2015 #602
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Old July 31st, 2015 #603
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Why do jews degrade every aspect of culture? Because they are a separate species:

http://vnnforum.com/showpost.php?p=1885471&postcount=1

They are bipedal vermin. Our nation is lousy because these louses fill it.
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Old August 3rd, 2015 #604
polnick
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Hassid's accused of fondling or exposing oneself to subway passengers should be handed over to the Hassid Court where they will be judged. Talmud teachings say sex is not evil unless there is force used. The above Hassid's will be found innocent and told to masturbate more often.
 
Old August 4th, 2015 #605
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Jews corrupt everything they touch because they are satanic. They worship the prince of darkness and take their orders from him. Jesus called the jews the children of the devil, which exactly describes them. There is no bargaining with the jews, as they care for nothing except money. They have no compassion or sense of guilt. Jews perceive the White race as the greatest threat to their goal of world domination, and so they are determined to destroy us. It's up to the Whites to act first, and get rid of the jews before they can carry out their demonic plan to exterminate all gentiles, root and branch.
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Old August 23rd, 2015 #606
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Default Ashley Madison is a degenerate jew



Quote:
The ridiculous Ashley Madison website which was setup to help married people cheat on their significant others is run by a degenerate Jew by the name of Noel Biderman. A picture of this disgusting creature can be viewed above.

This website has been in the news due to its membership list getting hacked and exposed to the world.

I just wanted to point this out because this is another example showing how a Jew is behind the promotion of degeneracy and immoral behavior. A purge of these filthy pigs from our countries is long overdue.
http://www.dailyslave.com/ashley-mad...egenerate-jew/
 
Old August 25th, 2015 #607
Roger Bannon
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Default Why bullshit placards are needed to explain art.

Because they have no talent.


Quote:
There's a history of artists beginning in the 20th century who took on new approaches to material. Purposefully avoiding showing off technical skill.
...

To upset the dominate art trends of the time.
To question the value of unique objects.
To undermine the commercial system of art.
And to create works of art that are unlikely to be trophies for the rich.
 
Old August 26th, 2015 #608
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jewsign Couch Potatoes Are Worse Than Shit.

Crazies spend money and it was the Jew that got them to be crazy. Consumers flock to Jew owned retail stores to buy made in China products. Movie houses are packed with crazy Hollywood thrillers made by Jews. Couch potatoes are worse than shit unless the couch was purchased from a Jew.
 
Old September 1st, 2015 #609
littlefieldjohn
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jewsign Game of Thrones: Jew-Controlled Hollywood Promotes Incest Out of Hatred for the White Race

Quote:
I knew Hollyweird was sick, but this sick?

I stopped watching TV a long time ago because of the disgusting filth being pushed into my mind by Jewish writers, actors, producers, and directors who make up the bulk of Hollywood creative talent.

Thus, I have to rely on articles to keep me up to date with the latest crud produced by the sewer rats and sold to the public as entertainment.

The End of Zion has posted an article about Jewish obsessions with incest and the degradation of white people.
http://theendofzion.com/2015/04/13/g...ish-hollywood/
Here’s a short excerpt:

The mildly entertaining but highly overrated television show Game of Thrones returned for its 5th Season on Sunday.

The show, produced by two Jews, is based on the popular fantasy book series A Song of Fire and Ice, which is in turn based on Medieval Europe. The content and popularity of the show is bit disturbing, as it is no doubt being viewed by children on a grand scale.

It is riddled from front to back with extremely graphic pornographic and incestuous scenes. For example, last season showed the queen, Cersei Lannister, getting basically raped by her twin brother Jaime on top of her dead son Joffrey’s open casket. Earlier in the series we found out that her son, who was the King (and a raving lunatic), was the product of this brother/sister long-time incestuous relationship.

I’m not sure how accurate these scenes are to the books, but they do fit well with the tendency of the malevolent Jews in Hollywood to portray our ancestors as incestuous sexual degenerates, which is simply an external manifestation of their deep-seated hatred and envy of Europeans.

Indeed, they have portrayed our ancestors as incestuous degenerates in their Hollywood filth films so much that most people believe that that’s how Medieval Europeans actually behaved. Bring it into conversation with the average person and I can assure you that’s what you’ll find they believe, as most get their history from Jewish Hollywood propaganda rather than factual history books.

If pulling the plug on TV is too much to ask, then at least avoid shows that are intended to propagandize us about what a filthy, corrupt, degenerate race the white race is.

Methinks the Jews are projecting their own sick wickedness onto the white race
.


https://saboteur365.wordpress.com/20...he-white-race/
 
Old September 2nd, 2015 #610
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jewsign Pedophiles Keep Your Pants On.

Powerful pressure is being put on congress to abolish the age of consent. Lobbyists have been ordered to get it lowered or be replaced. A lowering of consent to 9 years is being discussed. Parental approval is necessary because of possible internal injury to the child. Pedophilia under the new proposal will no longer be punished, it will be considered normal behavior. The new proposal is not yet law, so pedophiles keep your pants on.
 
Old November 22nd, 2015 #611
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Friday, November 20, 2015

New Christmas movie is cinematic toilet paper

Salafist Islam may destroy our bodies but Zionist Hollywood destroys our souls


Look at what the the usual suspects who run Hollywood (as Marlon Brando said, and Neal Gabler wrote) have done to Christmas this year:



By Michael Hoffman

On Christmas Eve Talmudic Judaics are supposed to refrain from their studies to mourn the birth of evil Jesus. To demonstrate their contempt for Christ they are even encouraged to make toilet paper on Christmas Eve! I don’t know what other religion other than the Church of Satan would encourage such a disgusting custom, but as difficult as it is to believe, it's a documented fact.

The cinematic equivalent of the rabbinic toilet-paper making tradition, is a 2015 Christmas movie, “The Night Before,” timed to appear in America’s theaters this Advent season. The movie was produced by Seth Rogen and directed by Jonathan Levine. It stars Rogen and Joseph Gordon-Levitt.

Here’s an excerpt from the Los Angeles Times' review titled, "The Night Before’ Adds a Little Something Extra to Christmas movies and Midnight Masses”:

Quote:
“...a curly haired Jewish boy has arrived to remind us of the reason for the season. I’m talking, of course, about Seth Rogen, who stars in and produces 'The Night Before,' a raucous and refreshing new take on the Christmas movie....From a cocaine-fueled diatribe of anxiety in a bar bathroom to a midnight Mass meltdown wearing a blue Hanukkah sweater, he somehow manages to convey vulnerability while behaving like a lunatic. It is Rogen’s particular gift to seem decent while puking in church.”
When do the media consider hate speech "raucous and refreshing”? Answer: when Christianity is the target, and the speech — in this case a movie — bears a remarkable affinity for the spirit behind the rabbinic “minhag” of degrading Christ during the season that commemorates the feast of His birth.

None of this would be possible in an Islamic nation or any civilized nation for that matter, but here it is on the big screen at your local movieplex, in the land of the “God bless America” bumperstickers, where super-patriots point fingers and accuse Russia and Iran of being founts of evil.

The founts of evil who cooked up the toilet paper-making on Christmas Eve passed their mentality onto their spiritual children in Hollywood and “The Night Before” is the result, here in the land of el Cesspool grande.

http://revisionistreview.blogspot.se...ic-toilet.html
 
Old December 3rd, 2015 #612
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Dirty kikes are pushing the porn movies as a way of corrupting non-jewish morals. There's no getting around it: kikes should be exterminated.
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Old 1 Week Ago #613
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Jewish Leftist Activism in Children’s Fiction

January 6, 2018 — 40 Comments
Andrew Joyce, Ph.D.

From the very beginning—that is, from the publication of the first book specifically for children — the intent was to mold and shape the mind to accepted standards of behavior.”

Saul Braun, The New York Times, June 7, 1970.

This article is the product of research originally conducted for a recent article titled “Jews, Obscenity, and the Legal System.” Given the significant amount of material discovered and the uniqueness of the subject matter, I decided there was enough material for an article devoted to children’s literature. During research for the obscenity essay, I consulted the American Library Association’s list of “Top 100 Banned/Challenged Books: 2000–2009” with a view to assessing the nature and extent of the Jewish presence. The first fact to become apparent was a marked Jewish over-representation in the production of books deemed controversial or perverse by parents, schools, and other institutions. Jews are notoriously shy of the census, but are probably somewhere between the 2.2% of the U.S. population suggested by the Pew Research Center and a maximum of around 5%. Even accepting a grain of truth in the apologetic argument that Jews are disproportionately attracted to literary professions (to say nothing about motive), one might very generously expect a Jewish representation of around 10 books on the ALA’s list.

However, my biographical checks on all authors on the list, some of which were indeterminate, revealed that 22 books on the ALA’s list were penned by 17 Jewish writers.[1] Jews are thus significantly over-represented in producing contemporary literature deemed oppositional by the surrounding culture, and are even more radically over-represented when older, White-authored, entries such as The Adventures of Huckleberry Finn (now often opposed as ‘racist’) are taken out of consideration. Since the majority of entries on the list were children’s books, and taking into account my previous discoveries concerning Jewish manipulation of demand for ‘diverse books’ in the school system, it occurred to me that children’s literature is an important, but sometimes neglected, front in the cultural conflict we see played out daily. This article is therefore intended as a brief introduction to some of the most pertinent personalities and themes in the area of Jewish Leftist activism in children’s fiction.

A great deal of Jewish radical activism in the cultural sphere comes under the umbrella of the general relationship between Jews and the Left. This relationship can historically be understood as involving Jewish innovation of, or support for, social, cultural, and political causes likely to weaken the cultural structures of the host society and make it more amenable to Jewish interests. In the chapter titled “Jews and the Left” in The Culture of Critique (p. 50 )Kevin MacDonald cites Stanley Rothman and S. Robert Lichter, who remarked in their Roots of Radicalism: Jews, Christians, and the New Left (1982): “Whatever their situation…in almost every country about which we have information, a segment of the Jewish community played a very vital role in movements designed to undermine the existing order.” MacDonald argues that superficial divergences between Jewish religion and radical agendas are negated by the fact many ethnically Jewish radicals have persisted in adhering to a strong Jewish identity, and have often explicitly pursued Jewish interests. MacDonald writes (p. 51): “The hypothesis that Jewish radicalism is compatible with Judaism as a group evolutionary strategy implies that radical Jews continue to identify as Jews.”

I argue that the material presented in this essay should be seen firmly within the same theoretical framework proposed by MacDonald. For example, several of the Jewish writers under consideration here are homosexuals, radical socialists, and feminists. A common apologetic from “Jews on the Right,” is that such figures are anathema to Judaism, or that as adherents of the Reform movement etc., they are unrepresentative of “true Jews.” The contention here is that the situation is quite the opposite, and I stress that many of these writers are demonstrably committed to Jewish tradition and the Jewish group.

Excellent case studies in this regard can be found in Jewish lesbian feminist writers — figures who are, on the surface at least, incompatible with a group evolutionary strategy. After all, how could women who have personally forfeited reproduction be said to engage in a Darwinian struggle? However, history tells us that it has been quite possible for Jewish celibates and homosexuals to contribute in some form to group advancement. A useful example is my own recent review of the work of R.A. Maryks, “Jewish activism in the Jesuit Order,” a scenario in which Jewish males traded reproductive possibilities for political, social, and cultural influence intended to benefit the converso community of Early Modern Spain. Similarly, Jewish scholar Sylvia Fishman points out in Follow My Footprints: Changing Images of Women in American Fiction (1992) that “a significant amount of Jewish lesbian writing is deeply committed to Jewish peoplehood and Jewish survival.”[2] A particularly interesting example of a radical Jewish feminist is Betty Friedan (born Bettye Naomi Goldstein), the activist behind “Second Wave Feminism” who “confessed to having always had ‘very strong feelings’ about her Jewish identity,” and saw feminism partly as a means of getting closer to Judaism and her identity as a Jew.[3]

That radical Jewish activists should turn their attention to children’s culture and education is also unsurprising. Jewish intellectuals have, in recent decades, pushed the idea that nativist and/or anti-Jewish attitudes are on a par with a highly infectious disease — with inoculation, in the form of aggressive “educational” treatment, at an early age seen as the surest remedy for the perceived ills of an “intolerant society.” Although the idea that anti-Jewish attitudes are a form of disease with roots in childhood goes back to Freud, it remains current in mainstream Jewish academic and political circles. Take, for example, the closing remarks from Abraham Foxman’s Jews and Money: The Story of a Stereotype, where parents and teachers are urged to “try to help the next generation grow up freer from the infection of intolerance”[4] — the goal being, as Mr. Foxman once articulated, to “make America as user-friendly to Jews as possible.” Theodore Isaac Rubin’s Anti-Semitism: A Disease of the Mind, describes anti-Jewish feeling as a “contagious, malignant disease,” and concludes by stating, “extremely active application of insight and education is necessary to check the disease. Checkmate and eradication is [sic] extremely difficult and probably only possible if applied to the very young before roots of the disease take hold.”[5] To Rubin and the ADL, the solution to the problem of solidarity and tradition in the surrounding population is one requiring “prophylaxis” and “approaches to children.” Indeed, the ADL-sponsored tome Anti-Semitism in America (1979), concludes that “It is apparent that the schools are the most appropriate and potentially effective agent to carry out the instructional strategy just outlined.”[6]

Children’s literature, therefore, whether for entertainment or education, would be an obvious conduit through which Jews could advance ideas or encourage behaviors likely to benefit Jewish interests. One could also reasonably predict, based on historical precedents in the form of Jewish intellectual movements (particularly multiculturalism, sexology, Boasian anthropology, psychoanalysis, and the theories of the Frankfurt School), that such ideas would revolve around notions of ethnic and sexual pluralism, and the critique and deconstruction of traditional family structure in Whites. Indeed, one might even expect contributing authors to have overlapping affiliations to psychoanalysis and radical socialism. Such predictions are largely borne out in the findings presented below.



One of the more interesting figures in this sphere of cultural activity is Lesléa Newman, a lesbian and Jewish feminist who has the dubious distinction of penning one of the most controversial children’s books of recent decades while also producing a series of books for Jewish children promoting traditional Jewish culture and values. In 1989, after being rejected by almost every mainstream publisher, and together with co-ethnic backer Tzivia Gover, Newman self-published Heather Has Two Mommies, described as “the first lesbian-themed children’s book ever published.” Newman recalls, “People were scared to publish ‘Heather’ even though there was a need for it. No one would touch it. But we were fierce Jewish women.” Newman’s work was recorded as the 11th most challenged book of the 1990s by the American Library Association. However, in common with reactions to Jewish activism in other cultural, social, and political spheres, the response to Newman’s work was boisterous but lacking in focus; the perception being that this was exclusively part of a homosexual agenda and there being little or no understanding of the Jewish element involved. The Jewish Telegraphic Agency reports that “the head of a school district in Queens declared “war” on the book and sent a letter to parents warning that their children were going to be taught about sodomy. …The district president sent out over 30,000 letters to district parents decrying the book as ‘dangerous homosexual propaganda.’” At one point Newman was described as “America’s most dangerous writer.”

What many of the book’s opponents missed, however, was that its author was a keen promoter of traditionalism and community — Jewish traditionalism and community. Unlike Heather Has Two Mommies and later books such as The Boy Who Cried Fabulous (2004), A Fire Engine for Ruthie (2004), Momma, Mama, and Me (2009), Daddy, Papa, and Me (2009), Donovan’s Big Day (2011), and Sparkle Boy (2017), which brought homosexuality, gender dysphoria, and AIDS to a mass child readership, Newman published a number of niche children’s books for her own community, offering conventional and traditional treatments of Jewish festivals devoid of any of these themes. Matzo Ball Moon (1998), Runaway Dreidel (2002), The Eight Nights of Chanukah (2008), A Sweet Passover (2012), My Name is Aviva (2015), and Hanukkah Delight (2016) all feature traditional Jewish families without a hint of sexual or cultural pluralism. They have been highly praised as traditional, family-friendly works by the Jewish Book Council.

That Newman has consciously or unconsciously produced a body of work so thematically segregated is unsurprising within the framework of Jewish deception and self-deception. The crucial factor here is that Jewish identity is integral to Newman’s sense of self and belonging, and is something that she feels very protective of. Indeed, in our attempt to assess the true psychological driving force behind the production and dissemination of the former body of work, it is worth recalling Newman’s description of herself and Gover not as feminists or lesbians, but as “fierce Jewish women” (emphasis added). One would be fully justified in asking why, given the apparently non-ethnic and non-religious context of the origins of Heather, Newman would lay most emphasis on her ethnicity. My own interpretation is that, as a homosexual, Newman is a kind of outlier within the Jewish ethnic group who, consciously or otherwise, has sought to advance the interests of her co-ethnics by ‘weaponizing’ her sexuality and directing her activism exclusively against ‘society’ rather than within her community. Of course, one finds precisely the same incongruences among heterosexual feminists who, in their fevered railings against the patriarchy remain curiously yet unanimously silent on the patriarchal aspects of Judaism and Jewish culture.

With two entries on the ALAs list, Robie Harris is another excellent example of Jewish activism in children’s fiction, having been born into an orthodox Jewish family. Harris’s most challenged text is It’s Perfectly Normal (1994), a book described by Kirkus Review as demonstrating Harris’s desire to “present more ethnic and sexual diversity than New York City’s Rainbow Curriculum ever bargained for.” Harris accomplishes this by introducing pre-teen children to multiple sex acts, transgenderism, homosexuality, and AIDS. In 1996, It’s Perfectly Normal was challenged in Washington because the “book is an act of encouragement for children to begin desiring sexual gratification … and is a clear example of child pornography.” In 1999 Harris published It’s So Amazing, which was equally challenged by parents and schools on the grounds that it was introducing ten year olds to “sexual intercourse, masturbation, abortion, and homosexuality.” In 2012 Harris provoked further controversy with the publication of Who’s in My Family, which “tells the story of changing family structures, from biracial to gay households.” Of considerably greater interest is who is in Harris’s own family, an extended network of uniformly Jewish households. Indeed, Harris’s cousin, Elizabeth Levy, is also a children’s author. Levy is best known for her Something Queer series, published between 1973 and 1997, which told the story of the adventures of two young girls with a barely-concealed (for those who missed the title’s double entendre) lesbian subtext. In 1981 Levy abandoned subtlety altogether with the publication of Come Out Smiling, a sordid tale aimed at teens and exploring lesbian relationships at a girl’s summer camp. The villain of the piece is a White, “homophobic” father against whom the girls must “bravely” struggle.

All of this is not to say that the pushing of sexual and ethnic diversity or undermining traditional representations of masculinity in children’s fiction has been the sole preserve of Jewish women. Harvey Fierstein’s The Sissy Duckling (2002) is aimed at children ages 5–8 and “tells the story of Elmer, a duckling who is mocked for being a “sissy” but who ultimately proves his bravery.” Another incredibly controversial children’s work of recent decades is Two Weeks with the Queen, published by Morris Gleitzman in 1990. In this work, aimed at children ages 8–12, Gleitzman discusses themes including “AIDS, homosexuality, and gay-bashing.” A particularly interesting case study is Maurice Sendak, the homosexual Jewish children’s writer and illustrator behind Where the Wild Things Are (1963). Sendak made the ALAs list for In the Night Kitchen (1970), which depicts a young boy’s dream journey through a surreal baker’s kitchen where he assists in the creation of a cake to be ready by the morning. Particularly controversial was the fact the boy is illustrated by Sendak as fully naked throughout, and is depicted in a range of scenarios resembling, in the words of journalist Saul Braun, a “masturbatory fantasy.” The son of Polish Jews, Sendak has confessed in interviews to Jewish subtexts in his works, including In the Night Kitchen, and to ways in which his Jewish roots have impacted his life, views, and work. For example, Sendak claims that from a young age he viewed “the human race as fairly aggressive and confrontational,” and remarked that the bakers in In the Night Kitchen — “with their Hitler-esque moustaches — were a reference to the Holocaust.” Similarly, it has been remarked that Sendak’s illustrations of children are “somewhat stout and gnomish. … His children are dark, with stumpy figures — not your standard, Anglo-Saxon Janet and John types.” Sendak himself has stated they are Jewish figures, being “a curious admixture of Brooklyn remembered and shtetl life in Poland fantasized.”

A heterosexual male Jewish children’s author who has thus far avoided challenges to his work is Michael Rosen, born in England to Jewish parents with roots in Poland, Russia, and Romania. Both parents were members of the Young Communist League and had opposed the Sir Oswald Mosley’s British Union of Fascists during the “Battle of Cable Street.” His mother was a secretary at the Daily Worker, the official newspaper of the Community Party of Great Britain. Rosen himself is strongly affiliated with the radical Left, writing columns for the Socialist Worker newspaper and speaking at conferences of the Socialist Workers Party. Having carved out a reasonably successful career as a children’s poet and author, even a cursory glance at his body of work suggests that his politics has intermingled with his ‘art.’ One of the best, and perhaps subtlest, examples is This Is Our House (1996), aimed at pre-schoolers. In essence, this is an anti-nativist tale designed to dissuade children from having “prejudices” or any sense of ownership or property, but it masquerades as a simple tale about sharing. The book’s description states: “George says the cardboard house is his and no one else can play in it. It isn’t for girls, small people, twins, people with glasses, or people who like tunnels. But Lindy, Marly, Freddie, Charlene, Marlene, Luther, Sophie and Rasheda have other ideas! One by one each child is refused access until tables are turned and George finds how it feels to be on the receiving end.” In the course of the book George (depicted as White) plays happily with a box that he has constructed as his “house.” But the other children, half of whom are non-White, insist that his “home” is not just his but “belongs to everybody.”

More recently, for children ages 10–12, Rosen has authored a non-fiction book titled Who are Refugees and Migrants? What Makes People Leave their Homes? And Other Big Questions (2016). The book is said to compare “the effects on society of diversity and interculturalism with historical attempts to create a racially ‘pure’ culture. It takes an international perspective …. There is also a role-play activity asking readers to imagine themselves in the situation of having to decide whether to leave their homes and seek refuge in a new country.”

Essentially then, it is a quite typical example of multicultural propaganda. Jewish involvement in producing pro-multicultural non-fiction texts for children is of course nothing new. The earliest example I have been able to find (at least in the English-speaking world) is Dorothy W. Baruch’s Glass House of Prejudice (1946). The text was described by Kirkus Review in the year of its publication as the “first approach of its kind to problems of minorities, of racial discrimination, of intolerance, based on case histories, many of them closely aligned with adolescent problems. Dr. Baruch’s approach touches both intellect and emotions; she cuts to the heart of the matter …. She has shown how the problems [surrounding immigration] are rooted in conditions we [the native population] must face, insecurities, false attitudes, ignorance.” Such ideas were of course fully in keeping with the theories advanced by the Frankfurt School.

Before concluding, some mention must be made of the most prolific author on the ALAs list of most challenged books, 2000–2009: Judy Blume (born Judith Sussman). Blume’s three entries exceed any other writer, while during the 1990–1999 period she had five entries. For the period 1990–2004 Blume came second only to fellow Jew Alvin Schwartz, whose violent and explicit horror stories were deemed inappropriate for the age group he claimed to write them for. Blume has come into conflict with parents, schools, and other institutions because her works contain graphic sexual content and offensive language, as well as themes that have been deemed unsuitable for any child age group. Those elements are present in every one of Blume’s challenged books, but to cite just two examples, Deenie (1973) Forever (1975), Blume introduced into teenage fiction such themes as compulsive masturbation, teenage pregnancy, attempted suicide, homosexuality, and talk of sexually transmitted diseases. But how does Blume see herself? A feminist role model? A cultural egalitarian? In her own words: “Culturally and spiritually I’m a Jewish girl from New Jersey.”

Discussion

There are of course many more writers who could be profiled, and many more works which could be explored, but the intention of this essay has been to offer a modest introduction to some of the more pertinent themes in this area of Jewish cultural activity. The contention here is not that Jews are solely behind the decline in social, cultural, and sexual norms that historically have been very beneficial for White societies. After all, once we exclude non-White authors from the ALAs list we still find around 60% of socially oppositional works being produced by White writers. There’s obviously a market for such material, and, as usual, no shortage of Whites willing to take advantage of it. However, the contention here is that there is significant evidence that individuals identifying as Jews, and seeing themselves fully as members of the Jewish ethnic group, have been at the cutting edge of cultural erosion, often innovating or acting as pioneers in the deconstruction of social norms. Essentially, what we see is that writers like Baruch, Harris, Levy, and Newman broke ground into which fellow Jewish activists — and outlier Whites — could follow. It is difficult to say with certainty how different things would have turned out without such aggressive action from these self-described “fierce Jewish women” (and men), but one could reasonably surmise that the policing of morals and norms within our group would have been significantly more robust without the undermining cultural influence of fads like psychoanalysis or the selective “backing of free speech” by Jewish groups when it suited their interests to do so.

Finally, the bigger picture here is the indoctrination of our children. On this note I refer to the epigraph that opened this essay. Ultimately we are dealing with materials designed to mold and shape the minds of our children to the new “accepted standards of behavior.” We are now not far from a time when healthy tales of White children engaging in adventure will be deemed reactionary because of their potential to instill pride, or dangerous because they aren’t tolerant enough of the proliferating motley of sexual and racial minorities that now intrude into all aspects of culture. Our challenge in the coming years will be to get into this culture war in a more significant way. That will require developing a new literature, and stamping out the poisonous one that lies before us.

[1] Avi (aka Edward Irving Wortis), H.G. “Buzz” Bissinger, Judy Blume, Esther Drill, Lois Duncan (Steinmetz), E.R. Frank, Bette Green, Robie Harris, Carolyn Mackler, Johanna Reiss, Louise Rennison, J.D. Salinger, Louis Sachar, Alvin Schwartz, Maurice Sendak, Charles Silverstein, R.L. Stine.

[2] S.B. Fishman, Follow My Footprints: Changing Images of Women in American Fiction (Hanover: Brandeis University Press, 1992), p.50.

[3] F. Klagsbrun, “Marching in Front,” Hadassah Magazine (Nov. 1993), p.24.

[4] A. Foxman, Jews and Money: The Story of a Stereotype (New York: Palgrave, 2010), p.230.

[5] T.I. Rubin, Anti-Semitism: A Disease of the Mind (Fort Lee: Barricade Books, 2009), p.156.

[6] H. Quinley & C. Glock, Anti-Semitism in America (New York: The Free Press, 1979), p.202.

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