Merchants of Sin – Part 8: Jews and Film

Moment-magazine580

Part 1, Part 2, Part 3, Part 4, Part 5, Part 6, Part 7

“As soon as the Jew gained control of the ‘movies,’ we had a movie problem, the consequences of which are not yet visible. It is the genius of that race to create problems of a moral character in whatever business they achieve a majority.” – Henry Ford1

The movie industry, according to film historian Robert Sklar, was “completely in the hands of respectable, established Anglo-Saxon Protestant Americans,” before Jewish immigrants began taking it over in 1911.2

By 1915, the Jew Carl Laemmle had crushed all of his competitors using every dirty trick at his disposal, and had become head of the largest studio, Universal.

“From this point on,” Neal Gabler writes in An Empire of Their Own: How the Jews Invented Hollywood, “the Jews would control the movies.”3

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Merchants of Sin – Part 4: Opening the Floodgates

Allen Ginsberg

Part 1, Part 2, Part 3

“Under the [Hicklin test], any obscenity in a work, no matter how slight, contaminated the whole; under the [Roth test], any slight redeeming trait purified it.” – Leo Pfeffer1

The first major publication to reap the benefits of the precedent set by the Roth decision (discussed in part 3), was Howl and Other Poems by the Jewish “Beat” poet Allen Ginsberg.

The Beats, or the “Beat Generation,” were a literary clique centered around Ginsberg. They were all criminals, degenerates, junkies and mentally insane sexual deviants, and indeed reveled in those qualities and promoted them as the ideal way to be. In effect, they were the precursor to the broader “counterculture” movement which would ultimately revolutionize America with “Sex, Drugs, and Rock and Roll” in the 1960s and 1970s (see part 5).

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