Christmas is Jewish after all! That is what the hero of the family comedy “Switchmas” finds out, a Jewish boy named Ira Finkelstein, who desperately wants to celebrate Christmas and one day delightfully learns from a Jewish Father Christmas that all the Christmas songs that he loves were written by Jews. It is indeed the case for the great American Christmas hits.
You already noticed that there are two kinds of Christmas songs: Christian songs dealing with the child Jesus and American songs, those that you are now hearing on most Christmas markets, which deal with snow, reindeers with red noses, chestnuts, and cuddles by the fireside. Most of them have been written by Jews, with some notable exceptions such as Jingle Bells. We owe the great classic White Christmas to Irvin Berlin, for example, but also Easter Parade, for Easter. Philip Roth – who is considered one of the greatest postmodern novelists (probably for his Christian hatred) - finds this both ironic and reassuring, in his best-seller Operation Shylock (which he describes as a “confession not a novel”): “The two holidays that celebrate the divinity of Christ — the divinity that’s the very heart of the Jewish rejection of Christianity — and what does Irving Berlin brilliantly do? He de-Christs them both! Easter he turns into a fashion show and Christmas into a holiday about snow. …He turns their religion into schlock. But nicely! Nicely! So nicely the goyim don’t even know what hit ‘em. They love it. Everybody loves it. … If schlockified Christianity is Christianity cleansed of Jew hatred, then three cheers for schlock. If supplanting Jesus Christ with snow can enable my people to cozy up to Christmas, then let it snow, let it snow, let it snow! Do you see my point? I took more pride, I told them, in "Easter Parade" than in the victory of the Six Day War. I found more security in 'White Christmas' than in the Israeli nuclear reactor.”
If you aren’t a Jew yourself, don’t try to repeat that the Jews of the entertainment industry de-Christed Christmas. Generally speaking, don’t try to claim that Hollywood Jews are sabotaging the traditional values of Christian nations.
There are only two politically correct way to talk about Hollywood. You can laud the founding fathers of that industry which has shaped America’s values and embodies them in the eyes of the whole world. That’s how you’ll pay tribute to the entrepreneurial spirit and the creativity of these recent Jewish immigrants from Eastern Europe who built this dream world.
That is what Neal Gabler did in “An Empire of Their Own : How the Jews Invented Hollywood”. Here’s a summary from Amazon (French):
“Hollywood, which epitomized the USA to the extent of being considered nowadays by some as the main medium for American cultural Imperialism, was founded in the 1920’s by recent immigrants, some of whom spoke broken English. The Warner brothers, Carl Laemmle, William Fox, Harry Cohn, Samuel Goldwyn, Louis B. Mayer, Irving Thalberg, Adolph Zukor, and others, were born to Jewish communities in Central Europe characterized by misery and pogroms, but marked by a vivacious and humorous culture. Feeling before anyone else that the rising consumption society also needed to feed with dreams, they built empires whose names became legends: Twentieth-Century Fox, Columbia, Metro-Goldwyn-Mayer, Universal. They hence had the audacity to create their own conception of the American Dream; that of a more welcoming, more tolerant, fairer and more optimistic than it really was. This view, which was mediated by their films, spread in the American culture. The story of these improbable adventurers who became giants and sometimes monsters is told to us here.”
Or else you can lament on the corrosion of traditional American values by Hollywood since the 1960’s. But then you have to carefully neglect to say that Hollywood is more than ever controlled by Jews. That is what Michael Medved in another best-seller: Hollywood vs. America: Popular Culture and the War on Traditional Values. Amazon’s summary:
“Why does our popular culture seem so consistently hostile to the values that most Americans hold dear? Why does the entertainment industry attack religion, glorify brutality, undermine the family, and deride patriotism?
In this explosive book, one of the nation's best known film critics examines how Hollywood has broken faith with its public, creating movies, television, and popular music that exacerbate every serious social problem we face, from teenage pregnancies to violence in the streets.
Michael Medved powerfully argues that the entertainment business follows its own dark obsessions, rather than giving the public what it wants: In fact, the audience for feature films and network television has demonstrated its profound disillusionment in recent years, with disastrous consequences for many entertainment companies. Meanwhile, overwhelming numbers of our fellow citizens complain about the wretched quality of our popular culture--describing the offerings of the mass media as the worst ever. Medved asserts that Hollywood ignores--and assaults--the values of ordinary American families, pursuing a self-destructive and alienated ideological agenda that is harmful to the nation at large and to the industry's own interests.
In hard-hitting chapters on "The Attack on Religion," "The Addiction to Violence," "Promoting Promiscuity," "The Infatuation with Foul Language," "Kids Know Best," "Motivations for Madness," and other subjects, Medved outlines the underlying themes that turn up again and again in our popular culture. He also offers conclusive evidence of the frightening real-world impact of these messages on our society and our children.
Finally, Medved shows where and how Hollywood took a disastrous wrong turn toward its current crisis, and he outlines promising efforts both in and outside the industry to restore a measure of sanity and restraint to our media of mass entertainment.
Sure to elicit strong response, whether it takes the form of cheers of support or howls of enraged dissent, Hollywood vs. America confronts head-on one of the most significant issues of our times.”
Born to Jewish German and Ukrainian parents, he belongs to an Orthodox Judaism committed to proselytism among emancipated Jews and presides over a synagogue from that doctrine in California… not far from Hollywood. Like all neocons of his kind, like Eric Zemmour (in France), he plays the role of the great patriot, exposing the nation’s suicide (“self destruction”) by liberal values.
Of course, Medved does not cite Gabler and Gabler does not cite Medved. They don’t know each other, they don’t talk about the same thing. Any link between the two reasoning would be anti-Semitic. It’s always the intangible rule: if it’s positive, highlight that it is Jewish and make the glory spring up on the Jews in general; if it’s bad, don’t ever say it’s Jewish, it has nothing to do with it.