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Control the media and you can control entire nations while playing the overwhelming majority of the population the exploited fool. You can even completely convince everyone, with few exceptions, that your mortal enemy is your ally and your best ally is a mortal enemy. You can convince a society that an inconsequential puppet, dangling from the strings of his sinister master, is the best person to lead a nation that is slowly sinking into oblivion. You can convince a society to slaughter some other innocent society as a moral and military necessity. You can convince a society that some other society rounded-up 6,000,000 Jews and "gassed" them all. You can even convince a society that cutting the foreskin off of a male infant, without the somewhat beneficial application of anesthetic, is a good idea...
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                                                                               HOLLYWOOD

“I don’t care if Americans think were running the news
media, Hollywood, Wall Street or the government. I just
care that we get to keep running them.” ...Joel Stein
(quote from a Los Angeles Times article by Stein titled:
How Jewish is Hollywood - December 19 th 2008).
 

Now let’s have a look at Jewish ownership of the
Hollywood movie industry.
 

Well, rather than list all the Jewish movie studio owners,
it’s far easier to say that all major Hollywood studios
were, and are, owned and operated by Jews with only a
few exceptions; those three exceptions being: Darryl
Zanuck- Walt Disney- and Howard Hughes.
Darryl Zanuck founded 20th CENTURY STUDIOS in
1933 with two Jewish partners, Joseph Schenck and
William Goetz. The new studio was immediately
successful with the film, House of Rothschild (of all
ironies), in 1934. In 1935 Zanuck and Schenck bought
FOX STUDIOS to form 20th CENTURY FOX.
 

Walt Disney was another non-Jewish studio head and
American icon who spent a lot of money, effort, and time
at war with Hollywood Jews trying to maintain control of
his own studio. Control the media and you can control
the message. Control the message and you control anything
and everything, even history, the present, and the future.
 

It was essential to the success of gaining control of
America to have ALL media outlets under Zionist
control. There could not even be ONE non-Zionist
controlled major Hollywood studio, or ONE major
television network not under Zionist control or else the
message would not be controlled. And that is why there
was such a war waged against Walt Disney to wrest
control of his studio from him... and Disney knew this.
 
.
.
 
Jewish-Hollywood’s War on Walt Disney
 

Unknown to most Americans is the fact that the first
motion picture camera was invented by Thomas Alva
Edison in East Orange, New Jersey. Edison was a
lifelong inventor who held over a thousand patents on his
inventions when he died in 1931. Inventing the motion
picture camera was the easy part for Edison but keeping
Jewish exploiters from using his camera without paying
him his due royalties was the hard part.
 
 
 
 
As soon as German born Jew, Carl Laemmle, found out
about motion pictures he began figuring out ways to
exploit the new invention. Efforts by Laemmle and his
fellow Jews to deprive Edison of his camera use fees
forced Edison and other movie makers such as William
Kennedy Dickson, Hermann Casler, Elias Koopman,
George Albert Smith, William Klein (Jewish), and
Frances Marion to form a protective association called
the TRUST. As fast as Laemmle and his exploiter
associates could get their hands on Edison’s cameras and
started using them, the TRUST would file lawsuits
against them to stop their using Edison’s patented
equipment.
 

Rather than be discouraged, Laemmle and his Jewish
associates acquired cameras in Europe that were based on
Edison’s invention and smuggled them and raw film into
the U.S. Edison had made arrangements with the
Eastman Kodak Company to exclusively manufacture
film for use by only those sanctioned to use it by the
TRUST.
 

When the U.S. courts moved too slowly, or refused to
stop people like Laemmle from exploiting Edison’s
cameras and film patents, the TRUST would send their
own enforcers to seize and smash any illegal equipment.
Lookouts were then needed by the exploiters while
filming to warn of the approach of TRUST enforcers. If
enforcers were spotted, the camera crew would quickly
pack up and move to an alternative filming location.
 
 
Hollywood, California was about as far away as
Laemmle, William Fox, Marcus Loew, Joseph Schenck,
Harry Cohn, and others could get from the TRUST and
that’s where filming and film distribution became
centered. Southern California’s climate and scenery was
also perfect for filming.
 

By the early twenties, all that remained of the power of
Edison’s TRUST was its raising the issue of moral
content in motion pictures. The federal government
indeed kept an eye on Hollywood to make sure that the
movies produced there remained socially acceptable but
the new Jewish movie moguls had no idea about what
was morally or socially acceptable and couldn’t have
cared less about morality as long as pictures made
money. Sex, violence, cynicism and low-brow humor
sold tickets back then... the same as today.
 

The major reason why Edison and his cohorts lost all
control of the fledgling film industry was because they
did not understand what was at stake. They were engaged
in much more than an economic battle for film industry
profits; the battle was more importantly about
CONTROL of CULTURE, PHILOSOPHY,
HISTORY, RELIGIOUS INDOCTRINATION,
FOREIGN and DOMESTIC POLICY...
 
 
In other words: MASS THOUGHT CONTROL.
 

After Jewish control of film making and distribution was
largely complete, they began lowering the standards of
morality and exploited sex to the point that some
members of Congress felt that film censorship was
necessary. Legislation to create a board of film
censorship was introduced, but Hollywood Jews moved
quickly to create their own self-regulating organization
called the Motion Picture Producers and Distributors of
America (MPPDA).
 
 
A non-Jew, former Postmaster
General Will Hays, was chosen to head the MPPDA as a
means of improving the image of the industry.
By the late 1920s it was nearly impossible for a non-Jew
to get a break as an executive in the movie industry. One
person who fought the system was Walt Disney.
 
 
Disney was born in the Midwest and was a self-taught cartoon
animator. His attempts to get his cartoons marketed
through Jewish controlled Hollywood distributors ran
into constant roadblocks.
 

He did have some limited success by selling a few
cartoons featuring Felix the Cat. Then Disney invented
and produced Oswald the Rabbit and contacted a Jewish New
York based distributor, Margaret Winkler, to
help in getting his work distributed. Ms. Winkler, who
got her start in the film business as Harry Warner’s
personal secretary, was interested and contracted Disney
to produce a series of cartoons based on Alice in
Wonderland. Harry Warner being one of the founders of
Warner Brothers Studios.
 

A former Jewish Warner Brothers employee,
Charles B. Mintz, was courting (and eventually
married) Winkler at the time, saw the Oswald the Rabbit
cartoons and saw dollar signs. Mintz got on Disney’s
good side and got in on the production of Oswald the
Rabbit by advancing Disney $1,800 and agreeing to pay
for eighteen cartoons in the Alice’s Wonderland series.
 

Walt and his brother, Roy, accepted the money and the
contract deal, purchased a building, and built a modest
studio on Hyperion Ave. in Hollywood. Then Mintz
announced that, due to lack of interest, the Alice’s
Wonderland series would have to be cancelled.
 

All the while Mintz had been traveling between New
York and Hollywood making deals under the table with
Carl Laemmle. Laemmle wanted a cartoon character to
compete with Felix the Cat. Mintz now owned Disney’s
Oswald the Rabbit and all the merchandising related to
Oswald the Rabbit because Disney hadn’t paid much
attention to the contract with Mintz, and in fact, had
signed away all rights to his own creation.
 
 
Disney faithfully carried on and produced Trolley Troubles
featuring Oswald the Rabbit and produced a new cartoon
in the series every week for Mintz at $2,500 per episode
and a piece of the box office gross.
 

Walt eventually found out that Mintz had made a deal
with Laemmle behind his back to market Oswald
merchandise and was outraged. When Walt complained,
his brother Roy mollified him by pointing out that
merchandise sales would enhance box office receipts.
 

When Walt travelled to New York in 1928 to negotiate a
new contract with Mintz, he was informed that his pay
for each cartoon installment was being reduced to $1,800
from the original $2,500; and if he didn’t like it, then
Disney’s employees would be hired away from him to
begin producing Oswald installments for Mintz’ Snappy
Inc. company.
 
 
When Walt called his brother Roy for
advice, he was reminded that Mintz owned Oswald the
Rabbit and in fact, all of the Jewish animators that
Disney had hired in Hollywood had suddenly quit and
were going to work for Mintz, leaving only the loyal non-
Jewish animators that Walt had brought with him from
the Midwest to Hollywood.
 

By the way, before you think to yourself that Jews
were/are simply “good business people” remember this:
good business is when both parties win; bad business is
when one party wins at the detrimental expense of the
other party. Of course, this way of thinking can be
considered the folly of the Christian-Occidental
mindset... as if it’s a bad thing to include ethics
and fairness when conducting business.
 

Anyway... After being cut out of the Oswald deal, Walt
returned to Hollywood and created what would become
universally known as Mickey Mouse and made a deal
with the Jewish head of Columbia Pictures, Harry Cohn,
to distribute Mickey... and keep the other wolves at bay.
 

Cohn was Jewish, but actually put being Jewish aside in
many instances. But soon Disney became dissatisfied
with Columbia’s handling of Mickey Mouse and cut a
deal with a Jew, Julius Schenck, at United Artists.
 

Another problem that Disney had to deal with, as did
everyone else in Hollywood, was organized criminals
who had seized control of the International Alliance of
Theatrical Stage Employees as a means of gaining
control of Hollywood.
 
 
The mobsters were headed by
Jewish gangsters Meyer Lansky and Benjamin “Bugsy”
Siegel, plus the Sicilian gangster, Charles “Lucky”
Luciano, who had massacred many of his fellow Sicilian
associates in order to join forces with the Jewish mobsters.
 
 
During Walt’s relationship with Schenck at United
Artists he introduced one his most successful cartoons,
Three Little Pigs. In the original episode of Three Little
Pigs, Disney characterized the Big Bad Wolf disguised as
a Jewish peddler who attempted to trick the Pigs into
opening the door to their cottage. But Jewish pressure to
remove the scene was too great to ignore and Disney
removed it while explaining that the Jewish wolf
character was a representation of Mintz who had cheated
him out of ownership of Oswald the Rabbit and tried to
blow down the house of Disney.
 

After dealing with more walkouts by Jewish employees
and union agitators trying to stunt the growth of Disney
Productions, Walt teamed up with other Hollywood
notables such as William Cagney (producer and brother
of movie star James Cagney), Mary Pickford and Orson
Wells to form the Society of Independent Motion Picture
Producers (SIMPP) to try to break the control of the
Majors (largest studios) over Hollywood.
 
 
There were a few Jewish studio moguls such as David O. Selznick and
Sam Goldwyn, who had been cut out of the action by the
original Edison TRUST busters, who also threw
in with SIMPP. The original Edison TRUST busters now
firmly controlled film distribution and virtually every
first run movie theater in America.
 

Hollywood in the 1920s, 1930s, and through the 1950s was
swarming with Jewish Communist and Socialist party
members and sympathizers, as was the rest of America
where Jewish influence dominated businesses. As this
fact became publically apparent, foreign-born Jewish
Congressman Samuel Dickstein of New York took steps
to protect his co-racialist Commie brethren by forming a
special Congressional committee, the House Committee
on Un-American Activities (HUAC) that was voted into
existence by Congress in 1934.
 
 
Dickstein used the
HUAC as a bully pulpit to minimalize anyone who dared
to criticize any Jews or Jewish groups by denouncing
them as "Nazis" and investigated German influenced
activities in America.
 

Ironically, it took Joe McCarthy’s exposé of Commies in
the early 1950s, using the HUAC, to drive the mostly
Jewish Communists out of business, or underground,
whereby Disney took advantage of the so called “red scare” to
minimalize the Jewish-Communist stranglehold on
Hollywood and his studio.
 
 
Of course, McCarthy has gone
down in Jewish controlled history as a misguided paranoid idiot.
 

Walt also raised the ire of the Majors by publically
attending anti- Communist, anti-war, America First
rallies and even stood beside aviator Charles Lindbergh
at a well-publicized America First rally in Los Angeles
on June 20th, 1941. He also attempted to use his Motion
Picture Alliance for the Preservation of American Ideals
(MPAPAI) to break the Hollywood Major’s dominance.

.
.
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LINDBERGH’S 9/11/1941 Speech
 

Speaking of Charles Lindbergh... The following is an
excerpt from a speech he gave on September 11th, 1941
in Des Moines, Iowa identifying the forces that were
pulling America into World War II as being the British,
the Roosevelt administration and the Jews.
 
 
While he expressed sympathy for the plight of Jews in Germany,
he argued that America’s entry into the war would only
inflame their predicament. He said in part:
 

"It is not difficult to understand why the Jewish
people desire the overthrow of Nazi Germany. The
persecution they suffered in Germany would be
sufficient to make bitter enemies of any race. No
person with a sense of the dignity of mankind can
condone the persecution the Jewish race has
suffered in Germany. But no person of honesty and
vision can look on the pro-war policy here today
without seeing the dangers involved in such a
policy, both for us and them.
 

Instead of agitating for war the Jewish groups in
this country should be opposing it in every
possible way, for they will be the first to feel its
consequences. Tolerance is a virtue that depends
upon peace and strength. History shows that it
cannot survive war and devastation.
 
 
A few far-sighted Jewish people realize this and stand
opposed to intervention. But the majority still do
not. Their greatest danger to this country lies in
their large ownership and influence in our motion
pictures, our press, our radio, and our government."
 

...Of course, after December 7th, 1941, all peace and
isolationist movements in America, such as America
First, disbanded. Lindbergh accepted his failure to keep
America out of the war and ceased his peace efforts lest
he suffer the label of being a traitor.
 

But back to Walt Disney who openly vowed to keep the commies out of
his studio and informed the press that the ongoing strikes
against his studio were perpetrated by the octopus-like
Communist Conspiracy.
 
 
The Communist Party of the
United States of America (CPUSA) indeed made its
presence felt by championing the rights of the film
industries workers and played a vital role in the Screen
Writers Guild’s long battle to exist.
 

Jewish guy Moses Koenigsberg, who managed William
Randolph Hearst’s King Features Syndicate (a comic
strip syndicator), took a swipe at Disney by accusing
him of being a "Nazi" because of a supposed swastika
(appearing in the form of two crossed musical notes) that
appeared in the last panel of a Mickey Mouse syndicated
comic strip that ran on June 19 th, 1940. But it was a very
unconvincing stretch of the truth.
 

Another swastika supposedly appeared in an animated
Mickey Mouse cartoon titled "The Wayward Canary" that
was spotted on a cigarette lighter that ignited when a
berserk canary landed on it. But this cartoon was released in
1932. Hitler wasn’t elected Chancellor of Germany until
January 30th, 1933 and wasn’t yet considered to be
satanic at the time... so throw that "swastika" out.
 

And speaking of swastikas... The swastika design had
been around for thousands of years before Hitler adopted
it for his Reich symbol. It dates back to the ancient Indus
Valley civilization as well as Mediterranean Classical Antiquity.
 
 
The swastika was considered a good luck sun
symbol by indigenous peoples in the ancient western
hemisphere. Many European military units used the
swastika as their symbol. The American Army’s 45th
Infantry Division wore the swastika as their symbol patch
on their left shoulder from 1923 until 1939 when it was
politically correctly changed to a thunderbird.
 
 
The Finnish Air Force still uses a swastika as their symbol on
the flags of the Karelian, Lapland and Satakunta Air
Commands to this day.
 

Anyway... Efforts to influence Disney to support
Roosevelt’s pro war movement failed as long as Walt
kept tight control over his studio. So, in a scheme to get
Walt away from his studio and away from the country,
Roosevelt instructed Nelson Rockefeller to draft Walt as
part of a contingent heading to South America to
influence the locals to resist Nazi influence there.
 

Rockefeller had been named the Official Coordinator of
the State Department’s Inter-American Affairs
organization. Roosevelt was particularly concerned about
Walt’s appearance at the America First rally standing
next to Charles Lindbergh.
 

Roy Disney was keen on Walt being absent so he could
settle that latest strike himself and clear all the charges of
Walt’s being a "Nazi" sympathizer.
 
 
During Walt’s absence,
Roy met with Labor Department arbitrator, James F.
Dewey, and the strike was settled by Roy by agreeing to
allow the commie dominated Cartoonists Guild to have
power at Disney Studio. When Walt heard about Roy’s
betrayal he vowed that he would close the studio forever
rather than have commie animators on the payroll.
 
 
Of course, Roosevelt got his war by setting up the
military assets at Pearl Harbor to take a contrived
whipping. Disney’s studio was then occupied by Army
troops on December 8th, 1941 to be used as a defense
staging facility to protect the nearby Lockheed aircraft
manufacturing plant.
 
 
Disney’s studio was the only
Hollywood studio to be thus occupied and Walt was out
of a job until the Navy Bureau of Aeronautics contracted
him to make a series of twenty aviation training films. Walt
had little choice but to cooperate because of the crippling
circumstances. And he produced propaganda cartoons for
the government at the behest of Jewish Secretary of the
Treasury, Henry Morgenthau.
 

Der Fuehrer’s Face (originally titled: Donald Duck in
Nutzi Land) starring Donald Duck is the most notable
product of that era that mocked Hitler and won the Oscar
for best animated short film at the 15th Academy Awards.
 

Incidentally, Spike Jones and His City Slickers enjoyed a
popular hit in 1942 with their novelty song called "Der
Fuehrer’s Face" that became the inspiration for the cartoon.
 

Disney’s cooperation did result in his regaining full
control of his studio eight months after it had been
occupied by the Army.
 

Walt was so incensed at the National Council of
Christians and Jews, who were pressuring him to
produce a cartoon to promote unity in America by
depicting human prejudices, that not only did he flatly
refuse but he became inspired to help found the Motion
Picture Alliance for the Preservation of American Ideals
(MPA-PAI) whose membership included John Wayne,
Ward Bond, Robert Taylor, James Colburn, Hedda
Hopper, Gary Cooper, Adolph Menju and sixty-five other
stellar Hollywood personalities.
 

As vice-president of the MPA-PAI, Walt wrote to Robert
Rice Reynolds, the activist-isolationist Commie hunter
and Democratic Senator from North Carolina to get
support; and he asked the HUAC to investigate the
Communist control and influence in Hollywood.
 
 
Walt had had enough of the Jewish Commies and was ready to
take on the “Big Five” (Paramount, Loews, Warner
Brothers, 20 th Century Fox and RKO) head on.
 

Legal action was instigated against the “Big Five” with
Paramount in the legal sights of the Supreme Court. The
Supreme Court ruled that Paramount, and the other
Majors, were part of a Hollywood monopoly. They were
prohibited from expanding their holdings and control
over the production, distribution, and exhibition of
movies. So Walt finally had his day... for a while.
 
 
 
The actions taken by Disney, and the actions taken by the
various associations and patriots in Hollywood,
eventually led to the House Committee on Un-American
Activities investigating hundreds of Commies (mostly
Jewish). Many of the most notorious Communists were
voluntarily “blacklisted” by Hollywood, including the
Big Five, as a means of deflecting HUAC scrutiny that
could be directed at themselves. The ban on out-right
Communists lasted until about 1965 when many of the
“blacklisted” persons returned to Hollywood and began
assisting in the making of movies that “exposed” their "persecution.”
 
 
A Woody Allen's (real name: Allen Stewart Konigsberg)
movie titled, "The Front", was one such movie that
described how blacklisted Hollywood screenwriters used
the names of front-men to circumvent the blacklist and
kept on working.
 
 
By 1966 all of the blacklisted Jewish
Commies were back in a Hollywood that was firmly
under the control of Jews.
 

Walt was notorious for always being financially strapped,
hard as it may be to believe, but he found an ally in
billionaire Howard Hughes. Hughes had dabbled in the
motion picture business since the 1920s. He gained 25%
ownership of RKO Studios in 1948 and took a real
interest in movie making. By 1954 he had acquired near
total ownership of RKO and during his RKO years he
became a good friend and backer of Walt Disney.
 

Hughes loaned Walt millions of dollars, interest free, that
Walt used to expand his Buena Vista film distribution
company and Walt was able to pay back every penny he
had borrowed from Hughes along the way.
Hughes tired of his RKO money-losing toy and sold it off
six months after acquiring total control and realized a
personal profit of $6.5 million dollars; thus ending his twenty-five year affair with Hollywood.
 
 
Hughes had nearly run
RKO into the ground before the General Tire and Rubber
Company, which purchased RKO from Hughes, finally
killed the studio off through “mismanagement.”
 

Walt, having become weary of fighting Jewish controlled
Hollywood all the time, turned over control of Disney
Studios to his spineless brother, Roy, and pursued his
dream of creating an amusement theme park.
 
 
Disneyland, located in Anaheim, California, opened in 1955. But
before turning total control over to Roy, Walt realized
success in the new television phenomena of the 1950s
with his Mickey Mouse Club, amongst other television
ventures, that were basically excellent advertisements for
his hugely successful theme park.
 

Walt died in 1966 leaving spineless Roy without an
advisory mentor and by 1984 the Disney empire had
become completely owned and controlled by Jews such
as Michael Eisner, Frank Wells, Jeffrey Katzenberg,
Richard Frank and David Hoberman.
 

So, in summation, it was Darrell Zanuck, Walt Disney,
and Howard Hughes who were the only major
Hollywood studio owners in the history of Hollywood
and it isn’t likely that there will ever be any more unless
the Jewish cronyism in Hollywood is dismantled.
.
.

Modern Hollywood Big Shots
 

Today, the major American film studios are all Jewish
owned and controlled. Those being:
 

COLUMBIA TRISTAR MOTION PICTURE GROUP –
Doug Belgrad
 

MIRAMAX FILMS – Harvey Weinstein
 

DISNEY – Robert Iger
 

DREAMWORKS – Steven Spielberg, David Geffen,
Jeffrey Katzenberg
 

WARNER BROTHERS ENTERTAINMENT – Barry
Meyer, Jordan Levin
 

LIONSGATE – Jon Feltheimer, Rob Friedman
 

UNIVERSAL STUDIOS – Adam Fogelsong, Rick
Finkelstein
 

MGM – Harry Sloan, Jonathan Glickman, Adam
Rosenberg
 

PARAMOUNT PICTURES (a VIACOM Company) –
Brad Grey
 

FOX SEARCHLIGHT – Stephen Gilula, Nancy Utley
 

SONY PICTURES – Michael Lynton, Amy Pascal
 

So the percentage of Jews controlling American cinema
is indeed around 100%. And be advised that studio heads
come and go frequently depending on the fortunes of the
studio, and the all too frequent mergers and acquisitions.
So the list of studio heads above could completely
change tomorrow; but Jewish control will remain.
 

It was a rather bizarre and revealing skit that was
performed by actor Mark Wahlberg and the animated
movie character, "Ted" (voice by Seth MacFarlane) at the
2013 Oscar Awards Show.
 
 
The dialog was written by
Ted movie co-writer Wellesly Wild and honed by Seth
MacFarlane. Both Wellesley and MacFarlane are the
brains behind the animated TV show, "The Family Guy".
 
 
The dialog went like this:
 
Ted: "Look at all this talent, all
this talent in one spot. There’s Daniel Day-Day Lewis...
there’s Alan Arkin... there’s Joaquin Phoenix. And you
know what’s interesting? All those actors I just named
are part-Jewish."
 

Wahlberg: "Oh. O.K."
 

Ted: "What about you? You got a berg at the end of your
name. Are you Jewish ?"
 

Wahlberg: "Am I Jewish? No, actually, I’m Catholic."
 

Ted: (whispering to Wahlberg) "Wrong answer. Try again."
 

Wahlberg: "What ?"
 

Ted: (still whispering to Wahlberg) "Do you want to work
in this town or dontcha? (Then addressing the audience
directly) That’s interesting, Mark, because I’m Jewish."
 

Wahlberg: "No you’re not."
 

Ted: "I am. I am. I was born Theodore Shapiro and I
would like to donate money to Israel and continue to
work in Hollywood forever. Thank you, I’m Jewish."
 

Wahlberg: "You’re an idiot."
Ted: "Yeah, well, we’ll see who the idiot is when they
give me a private plane at the next secret synagogue
meeting." (end of sketch).
 

Abe Foxman, National Director of the Jewish Anti-
Defamation League, condemned the sketch as:
 

"Not remotely funny. It only reinforces stereotypes
which legitimize anti-Semitism. For the insiders at
the Oscars, this kind of joke is obviously not taken
seriously. But when one considers the global
audience of upwards of two billion people...
there’s a much higher potential for the ‘Jews who
control Hollywood’ myth to be accepted as fact."
 

I totally agree with Foxman about the sketch not being at
all funny. But ya can’t fool me Abe, Jews do totally
control Hollywood and always have. It’s no “myth,” it’s
a fact, and there must be something very uncomfortable
about that fact in your mind or else why would you deny it?
 
 
Is it because Hollywood is basically a rabidly pro-Israel
 propaganda machine when it’s called for?
 

Is it because Hollywood is guilty of race-baiting and
inciting divisions amongst the population?
 
 
Is it because Hollywood rewrites history at will?
 
 
Is it because
Hollywood pumps out a lot of pure pulp fiction gore-
slasher-tits & ass crap designed to dehumanize youth and
reduce Americans to the level of Rome at the height of its
decadence to ultimately bring America down?
 

The Wahlberg Oscars skit made it to #3 on the Top 10
Jewish Hollywood Moments of 5773 (the Jewish year
5773 being the Christian equivalent of 2013) published in
Israel’s Haaretz newspaper on August 29, 2013.
 

#1 on the Jewish Hollywood moments list is "Princesses:
Long Island" ...Bravo TV's (A Jew, Bonnie Hammer, is
Chairman) new reality show that follows six young
Jewish women living at home with their parents as they
seek the perfect Jewish boy to marry. Episode titles
include "Shabbocalypse Now", that features a scene where
Team Manischewitz and Team Verklempt battle it out in
a Jewish trivia game with shots of arak (a potent anise
flavored spirit) imported from Israel as the prize.
 

#2 on the Jewish Hollywood moments list is an episode
of "Mad Men" titled, "Ginsberg and the Manischewitz
Account" (season 6, episode 10). Louis Ginsberg, played
by Jewish actor Ben Feldman, is a complex Jewish adman born
in a concentration camp who has anxiety related to
creating material for his Manischewitz account.
 

#4 is an appearance by Sarah Silverman on Jay Leno
where she smacks down an Orthodox rabbi for criticizing
her for being an “unmarried, childless woman wasting
her time neglecting the most basic desire of the feminine
soul.”
 

#5 is black rappers such as Killer Mike and Vince Staples
saluting their Jewish lawyers. Evidently, having a Jewish
lawyer is a status valued by black rappers the way bling,
babes and BMWs are.
 

#6 is Edon Pinchot, a kippah-wearing Orthodox Jewish
musical prodigy, who made it to the semi-finals of
NBC’s America’s Got Talent television show. A kippah
is also known as a yarmulke or skull cap.
 


#7 is Israeli super-model Bar Refaeli kissing a nerd in a
Super Bowl commercial for GoDaddy (a domain-name
registering service).
 

#8 is Ukrainian born Jewish actress, Mila Kunis, being
named the “sexiest woman in the world” by British
magazine FHM ...as if.
 

#9 is the season two finale episode of Showtime’s
"Homeland", where Jewish character, Saul Berenson
(played by Jewish actor Mandy Patinkin) recites the
Mourner’s Kaddish (a Jewish prayer for the dead).
Homeland is based on the Israeli TV series "Hatufim".
 

And #10 on the Top 10 Jewish Hollywood moments for
5773 is an episode of House of Cards (a Netflix series
starring Kevin Spacey) that satirized the ADL (Jewish
Anti-Defamation League) as an over-the-top, paranoid
organization, accusing the Secretary of State in the
episode of being anti-Semitic for criticizing illegal
Israeli settlements on Palestinian land.
 

But anyway...getting back to rewriting history at will...
Steven Spielberg of DreamWorks totally falsified the
history of slavery in America with his production of
"Amistad", a 1997 “historical” drama that completely
erases the Jewish fingerprints all over the American slave
trade. Jews were very involved in all aspects of the slave trade.
 
 
And Spielberg’s depiction of Amon Goeth (in the movie
"Schindler’s List" that is based on a NOVEL), commandant of the Krakow-Plaszow
concentration camp in Poland, shooting inmates from his
villa’s balcony during breakfast is unnecessary malarkey
that did not occur (there was no shot afforded because of
the villa’s actual location away and below the camp). When
you present falsehoods, then everything else you present
will be assumed to be a probable falsehood. It’s a
credibility thing.
 

Anyway... If you want to blame someone for the
contents of the Academy Award’s TED-Wahlberg
sketch, blame the producers of the Oscar show, Craig
Zadan and Neil Meron, the director of the Oscar show,
Don Mischer, or the President of the Academy of Motion
Picture Arts and Sciences, Tom Sherak; or partial blame
must go to Marvin Levy and Rob Friedman who are the
public relations specialists at the Academy of Motion
Picture Arts and Sciences. All of these afore mentioned
guys are Jews and could have pulled the plug on the
Oscar skit at any time. The skit was filmed a month
before the televised Oscar show! I wonder what the Screen
Actors Guild’s Jewish president at the time, Alan
Rosenberg, thought of the skit?
 

Jews are proud of the fact that they own Hollywood
(especially owning Disney, as a delicious irony) and
enjoy crowing the fact through “humor” making Abe
Foxman’s job, at the Anti-Defamation League, of blanket
denial that Jews own Hollywood a lot tougher.
 

I admire Joel Stein for being brutally honest in his article,
“How Jewish is Hollywood?”... that appeared in the Los
Angeles Times on December 19 th , 2008. The following
are quotes beginning with his opening statement:
 

"I have never been so upset by a poll in my life.
Only 22% of Americans now believe the movie
and television industries are pretty much run by
Jews, down from nearly 50% in 1964. The Anti-
Defamation League, which released the poll results
last month, see in these numbers a victory against
stereotyping. Actually, it just shows how dumb
America has gotten. Jews totally run Hollywood."
 

Further along in the article Stein said:
 

"The Jews are so dominant; I had to scour the trades
to come up with six Gentiles in high positions at
entertainment companies. When I called them to
talk about their incredible advancement, five
refused to talk to me, apparently out of fear of
insulting Jews. The sixth, AMC President Charlie
Collier, turned out to be Jewish. As a proud Jew, I
want America to know about our accomplishment.
Yes we control Hollywood. Without us, you’d be
flipping between ‘The 700 Club’ and ‘Davey and
Goliath’ on TV all day."
 

Stein really tips his hand by stating the following at the
end of the article:
 
 
“But I don’t care if Americans think
were running the news media, Hollywood, Wall Street or
the government. I just care that we get to keep running
them.” ...Now go read the entire article available to you
through a web search: <LA Times - December 19 th 2008
- How Jewish is Hollywood – Stein>.
 
 
Stein has nothing to be proud of except for the fact that
Jewish tribal-cronyism has gone unchecked for a century
in America. Remember folks, it’s all about unethical TRIBAL
CRONYISM, not superior intellect or work ethic. The
Sicilian Mafia is another good example of tribal
cronyism up to the point when the Mafia was
compromised by its association with Jewish gangsters
headed by Meyer Lansky.
 
 
 
And, of course, the best picture Oscar for 2013 went to a
crappy Iran-basher called "Argo". The two best
documentaries, "5 Broken Cameras" and "Gatekeepers"
didn’t win anything, of course, because they were both
critical of Israel, even though they were both produced by
reasonable Israelis (a Palestinian co-produced "5 Broken
Cameras").
 

Here is an excerpt from the biography of Harry Cohn
(founder-owner of Columbia Pictures who died in 1958)
titled, "King Cohn", by Bob Thomas. It was lifted from
chapter 10 titled, "World War II and Harry Cohn":
 

"The war evoked curious attitudes from Harry
Cohn, as did all matters requiring an altruistic
response. He resisted attempts to enlist him in
worthy causes. One afternoon Louis B. Mayer
[head of MGM] spent an hour on the telephone
before he was able to evoke a contribution from
Cohn to Jewish relief. Mayer used all his
considerable power of persuasion to appeal to
Cohn’s loyalties as a Jew, but Cohn had none.
 

After he had committed himself to a sizeable
donation, Cohn complained to an aide, ‘Relief for
the Jews! Somebody should start a relief from the
Jews! All the trouble in the world has been caused
by the Jews and Irishmen'."
 

I don’t really know why Cohn included Irishmen in his
assessment. Maybe he included the Irish because of run-
ins with New York City cops who were largely Irish
when he was growing up there. Maybe it’s because
Thomas Edison’s TRUST organization’s goons were
largely Irish and ran the illegal Jewish film business out Of New York.
 
 
 
 
Anyway... I was inspired by Cohn’s blaming Irishmen
for the world’s troubles to see if any Irishmen had a hand
in 9/11. There weren’t many non-Jews involved in 9/11
and the few that include, Cheney, Rumsfeld and the Bush
gang aren’t Irish. The Cheney’s have some Irish blood,
but it’s dominated by English blood. Rumsfeld is German
and the Bush gang is English-German. That’s that.

.
.

.
.
T V

 
Let’s have a look at who owns and/
or controls American Television broadcasting. Television
being the most important and influential media format by
far.
 
 
We’ll look at the top TV/Media enterprises in the
U.S. and some large and influential side bar networks.
The consolidation of media ownership was conveniently
enabled by the Telecommunications Act of 1996 that was
signed into law by the Zionist-puppet, Bill Clinton. It
ostensibly was designed to encourage competition in the
media market but actually had the completely opposite
result. The act was basically a “corporate welfare”
giveaway. Broadcast licenses were handed out freely to
existing companies to broadcast digital signals on public
airwaves.
 
 
Title 3 of the Telecommunications Act
specifically allowed the cross-ownership (ownership of
television-radio-newspapers) of media in any market
nationwide. The actual result of the Act was that
ownership went from fifty companies in 1983, to ten

companies shortly after the Act went into effect, to just
five companies controlling American television by 2006.
An interesting side-bar to the Telecommunications Act of
1996 is that by 2002 all cell phone service providers were
to be allowed to track cell phone customers for the
purpose of “enhancing 911 emergency service
capabilities”... If you carry a cell phone, your provider
knows where you are...for better or worse.
 

Republican Senator Larry Pressler of South Dakota was
the author and sponsor of the Telecommunications Act of
1996 who was promptly voted out of office by his South
Dakota constituents who strongly resented his ignoring
South Dakota issues while working exclusively on the
Act...
 
He was the only incumbent Republican to lose his
seat in the 1996 elections. He did enter politics again as a
member of the House representing South Dakota’s 1 st
district from 1975 to 1979, and then was replaced by
Tom Daschle. Pressler went on to pursue a successful
law practice centered on telecommunications and
lobbying. He also serves on the corporate advisory
boards of several telecommunications companies.
 
 
The top five media conglomerates, in terms of
audience reach, are currently owned/or
controlled by Jews and those are (of course listd of this nature change often, but Jewish control remains constant):

WALT DISNEY COMPANY – Robert Iger, Alan
Braverman, Anne Sweeny (Jewish spouse)

VIACOM – Sumner Redstone (born: Sumner Murray
Rothstein)
 
 
VEVINDI UNIVERSAL – Edgar Bronfman Sr., Edgar
Bronfman Jr.

NEWS CORP. – Rupert Murdoch

AOL-TIME WARNER - Jonathan Miller, Jeffrey
Bewkes (Jewish spouse), Gary Ginsberg, Eric Kessler,
Richard Plepler
 
 
Top TV Networks are:

ION MEDIA – Stephen Appel, Marc Zand, Brandon
Burgess
CBS – Leslie Moonves, Nina Tassler, Nancy Tellem,
Kelly Kahl... Don Hewitt (Exec-Director 60 Minutes).
The CBS morning news program has nothing but Jewish
talking heads such as John Miller, Rebecca Jarvis,
Jeff Glor, Gail King and David Bernard with the weather
informing you about current events.

20 th FOX TELEVISION – (A News Corp. Company)
Gary Newman, Dana Walden, Dave Madden

NBC UNIVERSAL – Robert Greenblatt, Bonnie
Hammer, Ted Harbert, Neil Shapiro (president of NBC
News), Jeff Gaspin (Exec-VP NBC Programming)

COMCAST – Brian Roberts, David Cohen
TRIBUNE – Sam Zell
 
 
 
ABC – (A Disney company) Paul Lee, Barry Jossen,
David Westin (president ABC News)
 

SINCLAIR BROADCASTING – Steven Marks, David
Amy, Barry Faber
 

HEARST ENTERTAINMENT – Scott Sassa (Jewish
spouse), Neeraj Khemlani (Jewish spouse), Jordan
Wertlieb
 

ENTRAVISION – Mike Rosen, Jeffrey Lieberman, Karl
Meyer
 

MGM TV – Bruce Tuchman
 

PUBLIC BROADCASTING SERVICE (PBS) – Paula
Kerger, Geoffrey Sands
 

RAINBOW MEDIA – Joshua Sapan, Charlie Collier
(American Movie Classics), Evan Shapiro (Sundance
Channel), Jonathan Sehring (IFC Entertainment)
 
 

SHOWTIME NETWORKS – Matthew Blank, David
Nevins
 

SONY PICTURES TELEVISION – Steve Mosko, Andy
Kaplan, Jamie Erlicht
 

TURNER BROADCASTING – Philip Kent, Andrew
Heller, Steve Koonin
 

WARNER BROS. TELEVISION – Bruce Rosenbloom,
Peter Roth, Ken Werner
 

ACADEMY of TV ARTS & SCIENCES (EMMYS) –
John Shaffner, Kevin Hamburger, Bruce Paisner, Fred

Cohen, Larry Gershman, Darryl Cohen, Malachy
Wienges, Norman Felsenthal
 

ARTS & ENTERTAINMENT TELEVISION – Abbe
Raven (Ravnitsky), David Zagin, Steve Ronson
 

HBO – Richard Plepler, Eric Kessler
 

DISCOVERY CHANNEL – David Zaslav
 

CW TV (Warner Bros TV) – Dawn Tarnofsky-Osteroff
 

FOX NEWS (A NEWS CORP. Company) – Roger Ailes
 

LIEBERMAN BROADCASTING – Jose and Lenard
Lieberman
 

Even the AL JAZEERA AMERICAS television network,
which is headquartered in Doha, Qatar, and supposedly
owned by Sheikh Hamad bin Thamer Al Thani, is
programed by a self-described “New York Jewess”,
JoAnne Levine (who replaced Jewess Rebecca Lipkin
when she died in 2009).
 
 
Jew Avram David (Avi) Lewis is
the host of the Al Jazeera program, Fault Lines (Lewis is
married to Jewish-American lefty-activist author Naomi
Klein).
 

The first reporter-journalist hired by Al Jazeera was
Jewish guy Arthur Neslen. Iraqi Jewess and author,
Rachel Shabi, is an Al Jazeera contributor. In summation,
 
 
Al Jazeera would not be allowed by the Federal
Communications Commission to broadcast in the U.S. if
it was not Jewish controlled and is supposedly giving us
“the other side of the story.”
 
 
 
The Federal Communications Commission (FCC)
Chairman was until recently, Julius Genachowski, the
Jewish son of immigrants who was selected by President
Obama to lead the U.S. delegation to Poland for the
commemoration of the 65 th anniversary of the liberation
of Auschwitz concentration camp. He attended yeshiva (a
Jewish educational institution that focuses primarily on
the study of the Talmud and the Torah) and studied in
Israel. He worked for Jewish Zionist Senator Chuck
Shumer and worked as an editor for the Harvard Law
Review when Obama was its president. He joined The
Carlyle Group on January 6, 2014.
 

Former legal advisor to former FCC Commissioner
Michael J. Copps, Jessica Rosenworcel, is also Jewish
and has replaced Genachowski.
 

The #3 largest TV broadcasting network is Trinity
Broadcasting of Garden Grove, California. It is privately
owned by shyster-for-God guy, Paul Crouch (died on
November 30, 2013), and his laughably ridiculous ex-
wife Jan. Go look at some photos of her and watch 5
minutes of her show to get an idea of my idea of
ridiculous.
 

You would imagine that Trinity would be the exclusive
domain of your typical pseudo-Christian TV money
hucksters, but no... There are Jewish fingerprints all over
Trinity Broadcasting and Jewish money evidently flows
like wine into Trinity’s bank account. Just have a look at
the typical daily programming; such as on Monday,
March 11 th , 2013:
 

2:00 AM – Israel, A Journey Through Time with Rev.
Dr. John Tweedie
 

5:45 AM – Supernatural with Sid Roth (Jew)
 

10:30 AM – Jewish Voice with Jonathan Bernis (Jew)
 

1:30 PM – The Jewish Jesus with Rabbi Kirt Schneider
(Jewish rabbi)

10:00 PM – Live From the Holy Land (Israel)
 

So we have Jewish propaganda strategically interspersed
between multi-millionaire Evangelist hustlers all crowing
the wonderfulness of Israel and the Jewish people all day.
Trinity has evangelist hustlers such as the ever-smirking
Joel Osteen and his employee Israel Houghton (who
rocks out for Jesus), jet setter Joyce Meyer (who has her
own jet), Benny Hinn (born in Israel), Texas cattle baron
Kenneth Copeland, and uber-Israel supporter John Hagee
all touting the “godliness” of the Holy Land, aka: Israel.
These evangelical imbecilic fools actually believe that
Jews will renounce Judaism and all become Christians
once Jesus returns. This is a concept that Jews find
laughably insulting. Evangelicals raise millions of dollars
a year by fleecing their flocks and sending some of the
money to Israel for Israeli causes. The Israelis take the
money but are ever wary of the obligatory strings
attached.
 

An hour doesn’t go by without Trinity reminding the
flock of sheeple watching that Jesus isn’t coming back
until Israel has been firmly established, is safe, and
secure. And if Jesus is indeed “returning,” I doubt that he
would be concerned with the security of a nation that
despises him and the religious institutions that he
inspired into existence in the first place.


At 10:00 PM you can watch Live From the Holy Land.
 

The Holy Land Experience is a Christian theme park near
Disney World in Orlando, Florida that opened on
February 5 th , 2001. This quote can be found at the Holy
Land Experience website:
 
 
“The Holy Land Experience
was born in the heart of a Jewish believer named Marvin
Rosenthal.”
 
 
...I have no doubt whatsoever that Marvin’s
only idea was to fleece the sheeple who would flock to
his synthetic “holy land” and he only believes in a good
scam when he sees it.
 

In summation, Trinity Broadcasting is wholly owned by the
Crouch family; the controllers are people working
diligently on the Judeo-Christian agenda of global
domination.
 
 
Jan Crouch is being royally compensated for
renting out her network... but in fairness I will point out that
Jan does give away a lot of Chinese manufactured dolls
to little girls, and her dogs live in an air-conditioned
manufactured home and not a masonry one.
 

It’s a fair estimate that 90% of American television
networks are owned and/ or controlled by Jews. One of
the repulsive things about Zionist control of media is the
many semi-pornographic references to sodomy, fellatio,
cunnilingus, habitual masturbation, bondage, multiple
sex partners, whore mongering and other perversely
dehumanizing abominations that are referred to at dinner
time during the course of many “situation-comedy” TV
shows... Two and a Half Men and The Exes are the best, or
worst, examples of what I’m talking about.
 

Being a greying and jaded American male, I’m used to
references and depictions of adult themes and I get a big
kick out of Two and a Half Men (or used to before the
departure of Charlie Sheen, whereby the show’s writershave
redoubled on their efforts to be a “sexual gross-out”
forum to make up for the loss of the main character). I’m
often amazed at what the show gets away with and
sometimes I’m uncomfortably embarrassed to be
watching the show with my wife, or any other female for
that matter. But what is very disturbing to me is the fact
that my 8 year old granddaughter, or my ten year old
grandson, can tune-in and watch the show anytime
between 5:00 and 6:00 P.M. (dinner time) daily.
 

Kids say the darndest things and they sometimes ask the
darndest questions that a grandparent can’t answer such
as: “Hey granpa! What’s an erection?” or, “What are
semen and how do they get on the walls?” ...All you can
answer is, “go ask your Mom.”
 

And, speaking of erections, has anyone noticed the
prevalence of advertisements for “boner pills” such as
Viagra? They are run day and night and children must
wonder what they are all about. The aging so called baby
boomer market must buy a lot of erection aids.
 

Anyway... Two and a Half Men was co-created by Chuck
Lorre (b. Charles Michael Levine) and Lee Aaronson.
The producers are most often Lorre, Aaronson, plus Eric
and Kim Tannenbaum who are all Jews... but if you
watch the credits for just about any TV show, you will
notice that Jews are most often the producers, directors,
writers, actors and so forth... after all, Jews own
Hollywood, lock-stock and barrel, and tribal cronyism is
the rule there with few exceptions. If you think non-Jews
could not do a better job of things in Hollywood or
anywhere else... think again?
 
 
 
 
It’s interesting to know that Two and a Half Men cast
member, Angus T. Jones, who plays the boy character,
Jake Harper, made statements in November 2012
referring to himself as a “paid hypocrite” for appearing
on an adult themed TV show. He claimed that his
religious beliefs (Jones is a Christian) conflict with the
overall depictions on the show and since he had been
baptized, he didn’t want to be associated with “filth”...
but, of course, he was still on the show making huge
bucks until September of 2013 when he was replaced by
Charlie Harper’s (the former Charlie Sheen character
who was replaced by Ashton Kutcher) alcoholic-lesbian-
bastard-daughter character.
 

It’s disturbing, or should be, to realize that American kids
receive not only a steady diet of televised sexual
innuendo, sexual references, and perversely sexual
depictions daily, but they also are exposed to thousands
of murders and tens of thousands acts of violence before
they finish elementary school; the numbers double before
they finish high school.
 

Murderously violent and graphic video games being
played by grade school children and even pre-school
children is even more disturbing... or should be. These
graphically violent video games usually depict our
glorious armed forces murdering sinister looking Arabs.
 
 
You noticed that Chuck Lorre changed his name to Lorre
from Levine. Levine being as easily identifiable as
Goldberg, Silverman, Perle, or Bloomberg as being
Jewish surnames. Jewish entertainers may be proud of
their heritage, but they sure as hell weren’t proud of their
surnames and wanted to be falsely identified as gentiles
or else they wouldn’t have changed them.
 
 
 
Anti-Semitism and prejudice against Jews was more prevalent in
America before the 1970s brainwashing of Americans
began in earnest, so most Jewish entertainers, movie
producers, screenplay writers, novelists and so forth
changed their names to avoid discrimination... Such as:
 
Harry Houdini-Erich Weiss
George Burns – Nathan Birnbaum
Woody Allen – Allen Konigsberg
Lauren Bacall – Joan Perske
Rodney Dangerfield – Jacob Cohen
John Garfield – Jules Garfinkle
Judy Garland – Frances Gumm
Sophie Tucker – Sonya Kalish
Paul Reubens – Paul Rubenfeld (Pee Wee Herman)
Edward G. Robinson – Emanuel Goldenberg
Peter Lorre – Laszlo Lowenstein
Al Jolson – Asa Yoelson
Victor Borge – Borge Rosenbaum
Jerry Lewis – Joseph Levitch
Mike Nichols – Mikhail Igorevich Peschkowski (film
director)
Ayn Rand – Alisa Zinov’yevna Rosenbaum (author,
playwright, screenwriter)
Walter Matthau – Walter Matasschanskayasky
Lorne Greene – Chaim Leibowiz (Ben Cartwright on
Bonanza)
Michael Landon - Eugene Maurice Orowitz (Little Joe on
Bonanza)
Joan Rivers – Joan Molinsky
Joey Bishop – Joseph Abraham Gottleib
Estelle Getty – Estelle Gettleman (Golden Girls)
Shelly Winters – Shirley Schrift
Andrew Dice Clay – Andrew Clay Silverstein
Tony Randle – Arthur Leonard Rosenberg
Karl Mauldin – Maiden Sekulovitch
Danny Kaye-David Kominsky
Hal Linden – Hal Lipshitz (TV’s Barney Miller)
Steve Lawrence – Sidney Leibowitz
Eydie Gorme – Edith Gormezano
Dorothy Lamour – Dorothy Kaumeyer
Ann Landers – Eppie Lederer
Abigail Van Buren-Esther Lederer (Ann Landers’ sister)
Larry King – Larry Zeigler
Tina Louise – Tina Blacker
Judy Holliday – Judith Tuvin
Jill St. John – Jill Oppenheim
Elliott Gould – Elliott Goldstein
Bob Dylan – Robert Zimmerman
Brad Garrett - Bradley Gerstenfeld
Ione Skye – Ione Skye Leitch
Samantha Harris - Samantha Shapiro
Selma Blair - Selma Blair Beitner
Michael Ian Black - Michael Ian Schwartz
Gene Wilder - Jerome Silberman
Howard Cosell - Howard Cohen
Lee J. Cobb – Leo Jacob
Dinah Shore - Frances Rose Shore
Jason Alexander - Jay Greenspan
Barbara Hershey - Barbara Herzstein
Jack Benny - Benjamin Kubelsky
Jon Stewart - Jonathan Stuart Leibowitz
Dr. Joyce Brothers - Joyce Bauer
Lainie Kazan - Lanie Levine
Mel Brooks - Melvin Kaminsky
Lenny Bruce – Leonard Alfred Schneider
Soupy Sales – Milton Supman
Milton Berle - Milton Berlinger
Michael Savage - Michael Weiner
Kenny G - Kenneth Gorelick
Albert Brooks - Albert Einstein
Peter Coyote - Rachmil Cohon
Dyan Cannon - Samile Friesen
Jane Seymore - Joyce Frankenberg
Elliot Gould - Elliot Goldstein
Anson Williams - Anson William Heimlick (Potsie on
Happy Days)
Frank Oz - Frank Richard Oznowicz
Lee Grant - Lyova Haskell Rosenthal
Leslie West - Leslie Weinstein (guitarist for
MOUNTAIN)
Gene Simmons – Chaim Witz (KISS)
Paul Stanley – Stanley Eisen (KISS)
Tony Curtis – Bernie Schwartz
Sophie Tucker - Sonya Kalish
Mama Cass Elliot – Ellen Naomi Cohen
Totie Fields – Sophie Feldman
Kirk Douglas – Issur Danielovitch
Monte Hall – Monte Helperin
Charles Bronson – Charles Buchinsky
Leslie Howard - Leslie Steiner
Buddy Hackett – Leonard Hacker
Mary Hart - Mary Harum
Red Buttons – Aaron Chwatt
Robby Benson - Robin Segal
Joan Crawford - Lucille Le Sueur
Sean Kanan - Sean Perelman
Winona Ryder – Winona Horowitz
Eddie Albert – Eddie Heimberger
Geraldo Rivera - Gerald Riviera (mother: Lillian
Friedman)
Moe Howard – Moses Horwitz of The Three Stooges
Shemp Howard-Samuel Horwitz of the Three Stooges
Curly Howard-Jerome Horwitz of the Three Stooges
Larry Fine – Louis Feinberg (The Three Stooges)

Jeezus....! This list goes on for a while, so just net-search
<Jewish Entertainers> and see for yourself.... I’m tired
of listing them.
 

Jewish entertainers changed their names to become
palatable for the predominantly Christian-American
market, and to mask the tribal cronyism that is and has
always been predominate in Hollywood.
 

The Marx Brothers were Jewish, did not change their
surname, and were not related to Karl Marx as far as I
know. William Shatner as Captain Kirk and Leonard
Nimoy as Dr. Spock on Star Trek didn’t change their
names either but the names, Shatner and Nimoy, don’t
reveal themselves as being particularly Jewish in the first
place. Blonde Southern belle Dinah Shore never struck
me as being Jewish, nor did African-American
Sammy Davis Jr.

Actually, Las Vegas being founded by Jewish and Italian
mobsters was early on an entertainment market where
being either Jewish or Italian was a big plus if you
wanted to play the showrooms on the Strip. Italian Dean
Martin (Dino Crocetti) and Jewish Jerry Lewis (Joseph
Levitch) was the perfect fit for early Las Vegas.

African Americans were not allowed on the Strip in the
1940s and most of the 1950s, so Sammy Davis Jr. had to
declare that he had converted to Judaism as a leg up. And
it helped that Sammy had powerful friends such as Frank
Sinatra and Dean Martin lobbying for his inclusion as
well.
 
The so called “Rat Pack” was basically Italians
(Martin and Sinatra) and Jews (Joey Bishop and Sammy)
whooping it upon the Strip... I’m not sure how
Englishman Peter Lawford was welcomed to the Rat
Pack... besides his ties to the Kennedys by being
President Kennedy’s brother-in-law.
 

Anyway, so called comedian Sarah Silverman didn’t
change her given name either; but she did actually say,
“Good! I hope the Jews did kill Christ, I’d do it again. I’d
fucking do it again in a second” and taking the statement
out of context isn’t an issue here because her whole
routine is totally offensive to non-Jews who haven’t been
twisted ...yet. Check out her 2006, seventy two minute
movie, "Jesus is Magic", to hear for yourself what is
supposedly intended to be shockingly funny, then try to
imagine what Sarah actually thinks of non-Jewish
Americans. Jewish control of Hollywood and the media
explains why such a repulsive “entertainer” as Silverman
keeps appearing in the media.
 

Silverman’s movie production of "Jesus is Magic" was a
total flop; although it did have some success in New
York City playing to predominately Jewish audiences.
 

Sacha Baron Cohen is another Jewish so-called comedian
who didn’t change his name except when he plays a
character in one of his repulsively unfunny movies such
as "Borat". The “Borat” character spends all of his time
crapping on people who are simply trying to be nice to
him (did Cohen make a contraction out of “bore” and
“rat?”). And check out his character “Bruno” who is so
extremely hostile and distastefully mocking of gays that
it’s a wonder Cohen hasn’t been murdered by someone in
the gay community... yet. Or maybe Gays enjoy being mocked?
 
 
 
 
Cohen is very successful in Hollywood as the go-to guy
for low-brow potty humor that American youth-culture
has been de-sensitized to embrace. Cohen and Silverman
are the litmus paper for just how low-brow and
insensitive young Americans have become while
Hollywood gladly rakes in the bucks on these “artists.”
Try watching Bruno all the way through sometime... I
dare ya! ...then tell me there’s nothing rotten in Denmark.
 
 
BTW: The phrase, “something rotten in Denmark” is
from Shakespeare’s Hamlet, Act I, scene IV where
Marcellus uses the phrase alluding to the top of the
political hierarchy that is rotten from the top, or head, on
down; like how a fish rots, starting with the head first.
Denmark was and is famous for their fishing industry.
 

An interesting Sasha Cohen stunt can be seen on
YouTube titled: Borat – Throw the Jew Down the Well.
 

As a “cowboy from Kazakhstan” Cohen takes the stage at
a genuine redneck honky-tonk in Tucson, Arizona and
sings a two minute toon he introduces as “In My Country
There Is Problem.” It only takes Cohen one minute to
get the audience engaged and singing along to the chorus:
 

"Throw the Jews down the well,
So my country can be free.
You must grab him by the horns,
Then we have a big party."
 

Cohen indeed exposes this microcosm of a particularly
large segment of the American population that will
happily support throwing Jews down a well; although I
don’t think that any redneck would actually be stupid
enough to foul a hand-dug well with a carcass. The video
has had 7,053,060 views as of 12/19/2013. The viewer
comments accompanying the video are mostly anti-
Semitic and supportive of the song’s proposition... go
see for yourself.
 

If you net search: <jewishhollywood directors> ...you
can click on the IMDB.com website that pops-up at the
top of the choices to click onto to see the Top 100 Jewish
Directors.
 
 
But if you net search: <non-Jewish hollywood
directors> ...no such list exists (probably because there
aren’t 100 non-Jewish directors); but a lot of chatter will
appear in the accompanying comments denying that
Hollywood is dominated by Jews.
 

Again, Hollywood is TOTALLY controlled by Jews
and for Jews to deny this fact only makes serious
questions arise...Such as: What are they trying to
hide and just how stupid do they think ALL of us
really goyim are?
 

Television’s strong male heads of households of the past
have been replaced by weak, befuddled fools dominated
by women, in-laws and children. Recall the widower Ben
Cartwright on "Bonanza", Ward Clever in "Leave it to
Beaver", the widower Lucas McCain in "The Rifleman", the
dad in "Lassie", "Marcus Welby M.D"., "Dennis the Menace"
dad Henry Mitchell, widower Andy Griffith on his
shows, the dad on the "Donna Reed Show", "Ozzie and
Harriet", Danny Thomas on "Make Room For Daddy",
widower Steve Douglas on "My Three Sons", the dad on
"Family Affair", ...and who can forget "Father Knows Best...
 
 
These were all stand-up guys who were the foundations
of security and able providers for their families.
Then later we got Archie Bunker in "All In The Family", who
was always beaten down by his immediate family and
whoever else was around. Then Roseanne Barr came
along in "Roseanne" and beat down any and everybody as
the wise, down-to-earth, super strong uber-mom.
 
 
And now American men only have the choice to watch weak
bumbling fools totally dominated by their wives and
others on shows such as "Everybody loves Raymond" with
Ray Romano, Kevin James in "The King of Queens" and
the pathetic quasi-homosexual character Alan Harper
(John Cryer) in "Two and a Half Men"; not to mention
Al Bundy (Ed Alexander) in "Married With Children", or
Bryan Cranston’s very weak father figure in "Malcolm in
the Middle". I won’t even mention the long-suffering
Homer Simpson.
 

Did you enjoy watching "Broke Back Mountain" with your
adult family members at the movie theater? Did you
especially enjoy the scene in the tent at the shepherd
camp where the two cowboys engage in anal sex? One
cowboy applies his saliva to the anus of the other as a
lubricant. What a beautiful moment in Hollywood
history... 'eh?
 

Homosexuality and references to “gays” permeates
contemporary television shows for good reason. Rubbing
Christian heterosexual American men’s noses in
homosexuality is just another way of defiling and
weakening the once dominant power structure in
America. American heterosexual men are now afraid to
speak out against homosexuality for fear of being labeled
as a “homophobic” gay basher... as if this is a bad thing.
 

Being “homophobic” implies that someone “fears”
homosexuals, whereas they don’t “fear” them at all; they
are simply NATURALLY repulsed by homosexuals and
the sexual acts they engage in. A man inserting his penis
into another man’s rectum, or taking another man’s penis
in his mouth is repulsive to me personally. There is a
significant difference between fear and repulsion.

I fully realize that God made homosexuals the way they
are... and God made me the way I am. So, the way for
myself and homosexuals to get along is to have
homosexuals keep their “lifestyle” out of my face. It is
NOT OK with me that homosexuals can now marry. It’s
a mockery of marriage. What’s next?? I DO NOT want
to see photos of Olympic diver Greg Louganis kissing his
male “wife” at their wedding on CNN.
 
 
Homosexuals and
lesbians should have the right to cohabitate as God’s
created creatures and enjoys rights as a household, but
don’t call it a marriage, call it a civil union or
something... but that’s just me.
 
 
 
And you can thank the four Jews on the Supreme Court for nationalizing gay marriage.
 

Anyway, American males have been emasculated and
reduced to bumbling fools on television or often
graphically murderous fools on steroids in cinema ...in
Hollywood’s designs anyway.
 

The headline for an article that ran in Israel’s Haaretz
newspaper offered by the Associated Press that ran on
May 22, 2013 read:
 

Biden: Jewish Leaders Drove Gay Marriage Changes
 

Speaking at a Jewish American Heritage Month
reception, U.S. vice president says Jewish values are
an essential part of who Americans are.
Biden praised Jewish leaders for helping change
American attitudes about gay marriage and other issues.
 
 
 
So, to hell with Biden and Jewish leaders ...I ain’t on
board and I’m proud of it! If this makes me repulsive to
you, then simply scratch me off of your Christmas card
list...or whatever. I could not care less.
 

Biden says culture and arts change people’s attitudes. He
cites social media and the old TV series "Will and Grace"
as examples of what helped change attitudes on gay marriage.
 
 
A Biden quote: “Think ...behind all that, I bet you 85%
of those changes, whether it’s in Hollywood or social
media are a consequence of Jewish leaders in the
industry.”
 
 
...I do not doubt that at all.
 
 
Biden is an abject
lackey-puppet of the Jews and knows who actually wields power
in America. He fancies himself as a “realist” who is
personally benefitting from his insight.
 
 
Joe Biden is a traitor.
 

BTW: "Will and Grace" is set in New York and focused on
the relationship between a gay male lawyer (Canadian-
Cherokee-Scottish Eric McCormack) and his Jewish gal-
pal (Jewess Debra Messing) who owns an interior design
business.
 

"Will and Grace" ran from September, 1998 until May,
2006, was created by David Kohan and Max Mutchnick,
and was directed by James Burrows. Kohan, Mutchnick
and Burrows also functioned as executive producers
along with Jhoni Marchinko, Jeff Greenstein, Alex
Herschlag, Adam Barr, and David Flebotte. Jonathan
Wolff provided the theme music. All these people are
Jews; so Biden is correct when he made the statement
about 85% of American social changes being brought
about by Jews and Biden was shrewed to use "Will and
Grace" as a prime example of the fact. "Will and Grace"
was almost as “Jewed-up” as "Seinfeld".

Control the media and you control the people.