Marilyn and the Jews

JTR

Dr. Ralph Greenson (1911-1979)Marilyn Monroe is one of many Gentile actors who fell under the dominance of a string of Jewish psychoanalysts, including, most famously, Ralph Greenson (born: Romeo Greenschpoon) who was her therapist when she allegedly committed suicide. "Like many of his colleagues at the time," notes a review of Donald Spoto’s biography of Marilyn, "Greenson relied heavily on drug therapy for his patients, routinely prescribing barbiturates and tranquilizers or having patients’ other doctors do so. He referred Marilyn to [Jewish] internist Hyman Engelberg, who prescribed many of the medications Greenson ordered for her … Her friends noticed that the more Marilyn saw Greenson, the more miserable she became … Greenson encouraged Marilyn’s deep dependency on him (he was seeing her twice daily)" (Good Housekeeping, 1993, pp. 212, 214). [Image: Ralph Greenson.]

The incestuous nature of Hollywood life may be observed in Greenson’s case: his sister Elizabeth was married to Milton ‘Mickey’ Rudin, a Jewish entertainment attorney who was one of the town’s major powerbrokers. Rudin was Monroe’s lawyer.

Marilyn’s publicist, Arthur Jacobs, was also Jewish. So were her agents at MCA, Jay Kanter and Mort Viner. Many of the directors of her films were Jews (for example, Billy Wilder of Some Like It Hot and George Cukor of Let’s Make Love). Natasha Lytess, her personal manager and the subject of speculation about Monroe’s rumored lesbianism, was Jewish, from Austria. Their relationship, says Barbara Leaming, was "mutually exploitive" (Leaming, 31). Milton Greene, a Jewish fashion photographer "with whom she’d reportedly had a fling during the late forties," was another early personal manager.
 

Lytess and Monroe
Natasha Lytess and Marilyn on the set of Gentlemen Prefer Blondes.

Monroe had resolved to sleep with anyone who could help her attain fame and fortune in Jewish-dominated Hollywood. Close friend Ted Jordan notes that she had "sex with anybody she thought might be able to advance her career" (Jordan, 121). "It is clear," says Anthony Summers in his biography, "that Marilyn made judicious use of her favors. A key beneficiary was the [Jewish] man who got Marilyn that vital first contract at Fox — Ben Lyon. According to writer Sheila Graham, Lyon had been sleeping with Marilyn and promising to further her career … Lyon called the casting director for Sol Wurtzel, a [Jewish] B-movie producer of the time [and Monroe was awarded a small part in the 1947 film Dangerous Years]" (Summers, 35).

In olden times," Upton Sinclair once remarked, "Jewish traders sold Christian girls into concubinage and into prostitution, and even today they display the same activity in the same field in southern California where I live." Or as F. Scott Fitzgerald summed up the Hollywood scene of his era — "a Jewish holiday, a Gentile tragedy" (Gabler, 2).

Garment millionaire Henry Rosenfeld was another Jewish sex partner on Marilyn’s road to fame. "She would join Rosenfeld at his home in Atlantic City for trips in his speedboat and for quiet evenings of talk and laughter" (Summers, 45). Jewish mobster Bugsy Siegel, himself a Hollywood powerbroker, also slept with her (Jordan, 84, 87). Ted Jordan (born Edward Friedman) even wrote a book about his early sexual experiences with Monroe — they began on his fourth date with her when she was 17. Then known by her real name, Norma Jean, Monroe was soon sleeping with Friedman’s uncle, Ted Lewis (original name also Friedman), who, "with his clarinet and distinctive style of old favorites, was among the hottest acts in show business" (Jordan, 73). It was Lewis who introduced the then-unknown model to narcotics.

"I learned," says Jordan, "that at one point in their little backstage meeting, Ted had slipped Norma Jean a piece of paper with his telephone number on it. Soon they were meeting in hotel rooms whenever Ted was in town … Soon he was pulling strings for Norma Jean, trying to hook her up with an agent who would do her the most good … As Norma Jean had vowed to me, whoever she had to fuck, she was prepared to do it. And, for good measure, she did the same with [prominent Jewish gossip columnist] Walter Winchell" (Jordan, 75).

Early in Monroe’s career as a struggling actress, the Jewish head of Columbia, Harry Cohn, invited her to an overnight cruise on his yacht. Monroe was required to strip naked for Cohn in his office. As she bent over, at his direction, he approached her, penis in hand. When she declined his advances, said Monroe, "I had never seen a man so angry" (Jordan, 91; Wolfe, 211-212). Cohn then "banned her from the [Columbia] lot after she refused to accompany him on a yacht to Catalina Island" (Leaming, 8). "You know," Monroe once said, "that when a producer calls an actress into his office to discuss a script that isn’t all he has in mind … I’ve slept with producers. I’d be a liar if I said I didn’t" (Summers, 34-35). In 1955, 20th Century Fox awarded Monroe the richest per-film contract of any actress. "It means," remarked Monroe, "I’ll never have to suck another cock again!" (McDougal, 217).

Marilyn in 1951The network of Jewish men that controls Hollywood has always been characterized by an intense sexual fixation on the shiksashiksa being a derogatory slur for a Gentile woman, literally signifying "unclean animal" according to its Yiddish etymology. Hence the ubiquitous "casting couch," a Hollywood institution that provided Jewish powerbrokers access to otherwise unavailable non-Jewish women, whom they despised as non-Jews yet idealized as avatars of alien sexual desirability. The shiksa thus became the ultimate sexual trophy. The Jews who ruled Hollywood, noted Hollywood rabbi Edgar Magnin, "were men who made all that money and realized they were still a bunch of Goddamned Jews. Sleeping with a pretty gentile girl made them feel, if only for a few minutes, ‘I’m half gentile.’ No wonder they made idols out of shiksa goddesses." [Image: Marilyn in 1951.]

A key agent in accelerating Monroe’s early career was Johnny Hyde (like many Hollywood Jews, born in Russia, and a veteran of vaudeville.) She was also his mistress; he was 53, she was 23. Hyde "not so coincidentally … was Ted Lewis’ personal manager" (Jordan, 85). "In making Marilyn known," says Fred Guiles, "[Hyde] flexed a lot of muscle. The simple fact is that Johnny Hyde was the chief architect of her fame and her eventual legend" (Guiles, 147).

"By 1953," Jordan reports, "… [Monroe] could be virulently anti-Semitic (a prejudice that grew as she got older). To my discomfort she would sometimes refer to Joe Schenck, the mogul [and another sexual stepping stone], as ‘that Jew shit’ and to other Hollywood personalities as ‘Jew’ this or that. Occasionally I would have to remind her that I was half Jewish" (Jordan, 188). Monroe’s anti-Semitism did not prevent her from later converting to Judaism, at the behest of her Jewish husband, playwright Arthur Miller, who (despite his vocal anti-racialism) would not wed an uncoverted Gentile.

The Hollywood world and its pressures of being a sex goddess of course destroyed her. Monroe’s physician Hyman Engelberg and her therapist Ralph Greenson were the first to her death scene, reported to be the result of a drug overdose, but they did not call police for four hours. One investigative author, Donald Spoto, in a 1993 work, even burdens Greenson with the responsibility for killing her, directing that a female employee "administer [to Monroe] … a fatal barbiturate-laced enema." (In this scenario, Greenson’s motivation was that Monroe was trying to free herself from his influence and control, and had fired him [Wolfe, 99]).

A friend of Monroe’s recalls that she was beginning to feel that Greenson was "trying to substitute himself for everything she’d built up those past years. She decided he was anti-everything she wanted. She was radically turning on Greenson and Mrs. Murray, the woman he’d put with her, she felt, to spy on her" (Strasberg, 250-251).

The famous movie star’s alleged suicide has always been controversial, and there are various conspiracy notions about who would want her dead. Greenson’s secret life is much clouded. As well as being a therapist, he was an activist Communist Party member and part of its international Comintern. Greenson, as his sister Elizabeth has reported, was also a Zionist with "strong ties to Israel" (Kelley, 305).

Whatever Greenson’s role as a listener of movie star’s confessions, his communist ties have profound implications because Monroe had romantic affairs with President John F. Kennedy and knew a great deal about behind-the-scenes politicking, perhaps including plans against communist Cuba and Fidel Castro. Everything Monroe knew she undoubtedly told her psychotherapist. As Donald Wolfe writes:

Once Marilyn Monroe became Greenson’s patient, he became one of the most important Comintern operatives in America; he had access to the mind of a woman who often shared the bed with the president of the United States and was an intimate of the attorney general [Kennedy’s brother, Robert] … As Greenson has correctly stated, Marilyn Monroe had a tendency to ‘get involved with very destructive people, who will engage in some sort of sado-masochistic relationship with her.’ Ironically, among these people was her psychiatrist [Greenson], her physician [Engelberg], and her housekeeper, Eunice Murray [who was appointed by Greenson to live with Ms. Monroe and report back to him], who joined in a conspiracy to survey Marilyn Monroe within a sphere of influence designed to gather intelligence from her relationship with the president of the United States and the attorney general (Wolfe, 386).

Marilyn Monroe’s road to psychoanalysis was directed by the influential Jewish acting teacher, Lee Strasberg, who is usually credited with spawning "method acting," made famous by the likes of Marlon Brando and James Dean. Brando’s first Jewish analyst, early in his career, was Bela Mittelman, "the coldest man I’ve ever known." … "Acting afforded me the luxury of being able to spend thousands of dollars on psychoanalysts, most of whom did nothing but convince me that most New York and Beverly Hills psychoanalysts are a little crazy themselves, as well as highly motivated to separate patients from their money while making their emotional problems worse" (Brando, 124, 243). Brando was not much endeared to Lee Strasberg either, calling him "an ambitious, selfish man who exploited the people who attended the Actors Studio, and he tried to project himself as an acting oracle and guru. Some people worshiped him, but I never knew why" (Brando, 85).

Strasberg’s daughter, Susan, notes that her father "sent numerous actors to psychiatrists, and many doctors sent their patients to class because they felt his work helped theirs in analysis" (Strasberg, 31). Susan Strasberg herself used to argue with Marilyn Monroe about whether she or the famous sex goddess "needed therapy more" (Strasberg, 138). As Barbara Leaming observes:

It was said that the master teacher Lee Strasberg could open inner doors that one scarcely knew existed. Some admirers called him the Rabbi. Some compared him to a psychiatrist or a highly judgmental Jewish father … Strasberg focused on psychology. He ran his workshop as though they were group therapy sessions… Strasberg often advised actors to enter psychoanalysis in order to put them in touch with emotionally-charged material they could use in their work" (Leaming, 156-157).

Under Lee Strasberg’s influence Marilyn became an earnest devotee not just of method acting, but of Freudian analysis as well. Monroe’s one-time husband, Jewish playwright Arthur Miller, also had his own Jewish psychoanalyst: Rudolph Loewenstein. Monroe even had sessions with Sigmund’s Freud daughter, Anna, also a therapist, in London. "The significance of [Monroe’s reliance on psychoanalysts] for psychoanalysis," notes Jeffrey Moussaieff Masson, "was that Monroe left a substantial part of her estate to further the work of Anna Freud, whom she had seen briefly for analytic help in 1956 (Anna Freud wrote about her that she was paranoid with schizophrenic traits), and this bequest was undoubtedly achieved through her analysts, who were intimately connected to Anna Freud" (Masson, 129).

As Masson, a former offical at the Sigmund Freud Archives, further notes about the ethical undercurrent of such funding:

It is not, in fact, uncommon for analysts to solicit, usually through roundabout methods, former patients for money to support analytic projects. Chairs of psychoanalysis in medical schools at various universities have been partially endowed through former patients. There was also the case of the Centenary Fund, named for the centenary, in 1956, of Freud’s birth. [Marilyn Monroe’s therapist Ralph] Greenson had organized this fund for psychoanalytic research in Los Angeles … I felt then, and still do now, that it is an exploitation of the emotional relationship with a patient to solicit money, in whatever form, directly or indirectly. It seems to me that the patient, or ex-patient, is in no position, emotionally speaking, to refuse … I find it wrong and morally distasteful" (Masson, 130).

A Monroe friend once stated that "I felt [Ralph Greenson] had a big ego, like a lot of doctors he wanted to be God, and of all the analysts in L.A. she found him. Inger Stevens was his patient too. She killed herself later" (Strasberg, 250).

As Greenson once claimed, "I can count [on] Marilyn to do anything I want her to do" (Wolfe, 422).
 
 

Works Cited

Brando, Marlon. Brando: Songs My Mother Taught Me. Random House, Toronto, 1994.

Gabler, Neal. An Empire of Their Own: How the Jews Invented Hollywood. Crown Publishers. New York, 1988.

Good Housekeeping. "Marilyn Monroe." May 1993, pp. 162-163, 212-216.

Guiles, Fred Lawrence. Legend: The Life and Death of Marilyn Monroe. Stein and Day, New York, 1989.

Jordan, Ted. Norma Jean: My Secret Life with Marilyn Monroe. William Morris & Co., New York, 1989.

Kelley, Kitty. His Way: The Unauthorized Biography of Frank Sinatra. Bantam Books. New York, 1986.

Leaming, Barbara. Marilyn Monroe. Crown Publishers, New York, 1998.

Masson, Jeffrey Moussaieff. Final Analysis: The Making and Unmaking of a Psychoanalyst. Addison-Wesley, New York, 1990.

McDougal, Dennis. The Last Mogul: Lew Wasserman, MCA, and the Hidden History of Hollywood. Crown Publishers, New York, 1998.

Strasberg, Susan. Marilyn and Me: Sisters, Rivals, Friends. Warner Books, New York, 1992.

Summers, Anthony. Goddess: The Secret Lives of Marilyn Monroe. MacMillan, New York, 1985.

Wolfe, Donald H. The Last Days of Marilyn Monroe. William Morrow, New York, 1998.

 


The preceding text is excerpted and edited from When Victims Rule, online at Jewish Tribal Review. The title is editorial.

 

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The Parts Left Out of the Good Shepherd

Jolie, Damon, Good Shepherd

from:
High Times
November 2007

The Parts Left Out of the Good Shepherd

Hollywood recently released the first behind-the-curtain account of the creation of the Central Intelligence Agency and its relationship with a secret society at Yale University known as Skull and Bones. HIGH TIMES asked the world’s leading authority on the group to help us separate truth from fiction.

By Kris Millegan

I hope you are lucky enough to meet someone you trust. I regret to say. I haven’t.
Dr, Fredricks [Michael Gambon] in The Good Shepherd

The Good Shepherd is Robert De Niro’s effort to mine the dramatic materials at the very real-life nexus of secret societies, intelligence agencies and recorded history, apparently in an attempt to forge a Godfather-style franchise.

But one is left wincing at the thought of The Good Shepherd. Part II, given that the film begins and ends with the failed Bay of Pigs invasion and its aftermath, with the assassination of JFK and its attendant wilderness of conspiracy lurking just over the horizon, Will the "right people" end up washing the blood off their hands in a sequel, laying the action off on some mob operation gone rogue, which then had to be covered up for "the good of the country"? All just an honest mistake….

But I seem to be getting ahead of myself. I have often been asked. ‘What do you think of the movie The Good Shepherd? And the best response I could usually offer was: "Well. I haven’t seen it yet." I’d been aware of the film for several years, and followed its progress to the silver screen, but I don’t get out much. Then, finally, the DVD version of the film wound its way to our local store, and I picked up a copy to see what I could find. My first viewing brought up a host of indignant furies, all riled at the historical hubris of the tale and the simple fact that most of the characters in it and even the film’s central story of betrayal are amalgamations at best, and total confabulations at worst. Don’t get me wrong: I’m not saying that you shouldn’t watch this movie, As a matter of fact. I recommend it highly — but with caveats, as will soon become clear.

Similar emotions were probably experienced by the relatives of Mafia members when The Godfather came out: contempt for its errors, but still a satisfaction at seeing a film with some semblance of reality, accurately portraying the Mafia’s attitudes, atmosphere and activities while, at the same time, exposing a very tragic and very real group that plays by its own rules and affects us all … immensely. Being an intelligence brat. I can only speak about The Good Shepherd, but if you’re interested in the views of Mafia whelps. I suggest reading Mafia Princess by Antoinette Giancana, or maybe watching some Growing Up Gotti on A&E.

But then, my own dad wasn’t a big boss; he was just a lesser boss, someone who had been in some very interesting places at some very interesting times, which had given him an overview of the agency beyond the standard compartmentalization. The last overt job that my father, Lloyd S. Millegan, had with the CIA was serving as a branch chief, the head of the East Asia Research Analysis Office. Before that, he’d been in the Office of Strategic Services (0SS) and a few of the other alpha-named agencies that eventually morphed into the CIA. After his initial contact with the intelligence community in 1936. as an 18-year-old exchange student at the University of Shanghai. He joined the OSS before World War II. In 1943, he entered the world of deep politics, "monitoring" Gen, Douglas MacArthur and his staff for the OSS and its boss, President Franklin Delano Roosevelt.

Dad had many interesting adventures in those days, including running guerrillas and (ironically) getting sued by the Japanese government for his actions in sequestering the Japanese-puppet Filipino government’s library during the Battle of Manila, before the US troops arrived there in 1945.

My father quit the CIA in 1959. He’d already started toward the exit after a trip to South Vietnam in 1956, where he’d met an interesting real-life character named Edwin Lansdale, who could conceivably play a big part in The Good Shepard. Part II [assuming there is one], and who had recently taken control of the opium trade in the Golden Triangle, Dad started talking to me about all this in 1969, which led me to begin exploring a phenomenon that officially doesn’t exist: CIA involvement in narco-trafficking.

Which leads to my biggest beef with the film: Instead of touching on the CIA’s illicit drug-trade connections, now well documented as going back to the early postwar era, the story offers up the standard Hollywood-cliche mole maze, set against the disingenuous dialectic of the Cold War. Thus, the first major sin of The Good Shepherd is one of omission: no mention of the long-standing role that drug trafficking has played in the agency’s arsenal of "dirty tricks.”

Nonetheless, it is through the routine spy story that the movie interjects one of its greatest truths, albeit through the lips of a tortured Russian defector stoned on LSD:

Soviet power is a myth, a great joke. There are no spare parts; nothing is working — nothing. It’s nothing but painted rust. But you, you need to keep the Russian myth alive to maintain your military-industrial complex. Your system depends on Russia being perceived as a mortal threat. It’s not a threat. It was never a threat. It will never be a threat. It is a rotted, bloated cow.

How might this sobering fact be received by the audience, coming as it does from the mouth of an enemy agent tripped out on acid, appearing in a fictional film based upon an unreliable chronicle? Might it just covertly confirm the reality that many know to be true — but without causing the uproar that such a significant revelation should engender?

Around this real-life charade revolve some other themes of the movie, leaving us with an insight into Napoleon’s famous dictum: History is a set of lies agreed upon. For when even "honorable" men lie, who is trustworthy? What is real? Are our secrets safe? Do secrets give us safety? And at what cost?

My good friend Antony Sutton was ostracized from academia for uncovering the truth that forces in the West had been propping up the USSR since its inception, there even having been surreptitious Western help in producing the war materiel that was used to kill American soldiers in the Vietnam War. Tony demanded that the evidence he’d gathered be published. He was instead warned, "not to break his rice bowl." .

Finally, to force the issue, Tony released his own book. He was unceremoniously tossed out of the Hoover Institute at Stanford for this act of courage. His career was ruined, his family became estranged and his integrity was betrayed — but because of Sutton’s act of righteous defiance in 1973, there is cold, hard proof of what the psychedelicized Soviet agent sagaciously spouts in this 21st-century morality play.

Will the film’s revelation of this manipulation of public opinion — this strategy of tension, this "playing" of a false Soviet threat — be trumpeted, trumped or simply filed away among the many other "facts" of the day? For this speaks deeply to our common perceived reality and shared experiences — especially of boomers, who as young children were being shoved under desks for "protection," in a world about to be blown to smithereens … over ideology.

Antony Sutton paid the disgraceful price of being ridiculed by many, then ignored for the rest of his life. Deftly pigeonholed, his effort at speaking truth to power was sullied, entering the common discourse as per the Big Lie axiom: The truth must be available, but only in a way that makes it easily discarded.

Soon, the only place that a person could find Tony’s books was in a John Birch Society bookstore, which for most people immediately tainted what he had to say. Tony was never a member and abhorred the group. Interestingly, when researching the JBS, a person finds a very, convoluted history — one with spook fingerprints all over it. (Was part of the JBS’s operational capability to associate conspiracy research with the domain of wacky old white men concerned about precious bodily fluids, Commie boogiemen and such?)

Which leads us to another grim reality disclosed within this Hollywood fantasy: the very real manipulation of the Fourth Estate, and thus our collective civic understandings and abilities, by intelligence agencies, political hacks, corporate flacks and bureaucrats using propaganda techniques to spin "truth out of lies.”

In The Good Shepherd, the following is spoken by Phillip Allen (William Hurt] as he hands off the film’s protagonist, Edward Wilson (Matt Damon], to Wilson’s English handler in wartime 1941 London:

You are going to have to learn, and as quickly and thoroughly as possible, the English system of intelligence, the black arts, particularly counterintelligence — the uses of information, disinformation, and how their use is ultimately … power. They have agreed to open up their operations to us — they can’t win the war without us — but they don’t really want us here…. Intelligence is their mother’s milk, and they don’t like sharing the royal tit with people that don’t have titles.

Phillip Allen is clearly patterned, at least in part, after longtime CIA chief Allen Dulles, especially since, in the movie, Allen resigns — as Dulles did in real life — after the failed Bay of Pigs operation in 1961.

Philip Allen is also supposed to be a member of Skull and Bones’ class of 1912, and the top three guys at the agency in the movie are Bonesmen, which is historically inaccurate. This is not to say that Yale and its secret-society system — especially Bones — haven’t played a huge part in the structure and execution of our country’s intelligence operations, for they have, and of course Allen Dulles was part of this power establishment. So, even by Hollywood’s historical standards, this is in the right ballpark.

But for me, many features of Phillip Allen also evoke Bonesman Prescott Bush, the grandfather of the current Bonesman in the White House, and the father of another member of Skull and Bones: the former head of the CIA and ex-president, George HW. Bush.

For Prescott Bush was more than an investment banker for the Nazis (read: the creation of an enemy) who later became a US senator, partly through the suppression of the news that the companies he’d run had been seized in 1942 under the Trading with the Enemy Act. Prescott had begun working with the intelligence community during World War I, and he maintained those contacts until his death. Also, Prescott Bush raised money for — and was on the board of directors of — the CBS television network, which was founded by William Paley, the former deputy chief for psychological-warfare operations on the staff of Gen. Dwight D. Eisenhower.

And, probably most telling, Prescott — along with his son, Prescott Jr.; future CIA director William Casey; and corporate economist and intelligence gadfly Leo Cherne — founded the National Strategy Information Center (NSIC) in 1962. Some of NSIC’s early funding went to the London-based World Forum Features, which in turn circulated CIA-authored disinformation and manipulative news articles worldwide. They hoped that the "news" from these articles would subsequently be picked up and reported as fact by the US media, a process that spooks call "blowback."

Other material discrepancies in the film abound, such as putting the wrong dates on several scenes of historical fact; books appearing in the movie before their print date; and city buses full of people going to work on Sundays. And, as students of deep politics know, the real story of the Bay of Pigs is this: JFK went to bed the night before having given the okay for the necessary air support for the invasion. That directive was then "bungled" by presidential advisor and Skull and Bones member McGeorge Bundy, because the Bay of Pigs "invasion" was a planned debacle, leaving in place a convenient "enemy" to rattle fear in American souls and dollars out of the US treasury. It also gave operational cover for other adventures and tied an albatross around the new president’s neck.

The reality is much stranger than the fiction. In fact, the essence of this might be suggested by some words spoken by De Niro’s character, Gen. William ‘Wild Bill" Sullivan, the first director of the OSS: "I am concerned that too much power will end up in the hands of too few…. It’s always in somebody’s best interest to promote enemies — real or imagined." The reality has surpassed the cine-fiction. How far? Well….

"[M]en linked to the structures of United States intelligence" was how an Italian Senate investigation described the perpetrators of the 1980 Bologna train bombing, an act of terrorism that killed 85 people and injured over 200. The bombing was part of a series of actions carried out over many years in Italy, targeting the political left by essentially blaming and demonizing it for acts done covertly by agents of the right. The plan, part of Operation Gladio, sought to terrorize the populace into voting for strong right-wing governments in order to suppress the left.

"You had to attack civilians, the people, women, children, innocent people, unknown people far removed from the political game. The reason was quite simple: to force … the public to turn to the state to ask for greater security" was how Operation Gladio participant Vincenzo Vinciguerra put it later during his testimony to Italian authorities.

Operation Gladio, which was initially sold as a "stay-behind force" in case of the Communist takeover of Western Europe, was instead used for psychological warfare and political manipulation. Terrorism, assassination and subverting the electoral process were just a few of the deeds carried out using fascist elements, cult members, secret government agents, gangsters and covert military units.

Similarly, in Belgium, after large public protests over the nuclear-tipped missiles being based in their country, a "state security destabilization operation" was undertaken — as one participant called the series of mass killings in the mid-1980s dubbed the "Supermarket Massacres." Investigations by the Belgian parliament determined that the goal was to instill fear and discord, trigger repressive measures, and create the pretext for stricter state control. The killers were later linked to state security, neo-Nazi groups and even to Wackenhut, a firm with US intelligence ties.

Operation Northwood was another "false flag" terrorist operation, this time emanating from the Joint Chiefs of Staff and the US Department of Defense via a study-group report entitled "Justification for US Military Intervention in Cuba," The scheme was backed by the chairman of the Joint Chiefs, Gen. Lyman Lemnitzer, with the Joint Chiefs specifically supporting a proposal to down an aircraft supposedly carrying" college students off on a holiday,"

James Bamford, in his 2001 book Body of Secrets, wrote: "Operation Northwoods had the written approval of the Chairman and every member of the Joint Chiefs of Staff, called for innocent people to be shot on American streets; for boats carrying refugees fleeing Cuba to be sunk on the high seas; for a wave of violent terrorism to be launched in Washington, D.C., Miami, and elsewhere. People would be framed for bombings they did not commit; planes would be hijacked. Using phony evidence, all of it would be blamed on Castro, thus giving Lemnitzer and his cabal the excuse, as well as the public and international backing, they needed to launch their war,"

How much of our history is simply psychological warfare, including the traumatizing of the masses through fear, the creation of false enemies, media manipulation, electoral theft and other terrorist acts, all done as a means to an end?

"[A] mind-set that thrives on secrecy and deception … encourages professional amorality — the belief that righteous goals can be achieved through the use of unprincipled and normally unacceptable means," wrote ex-CIA officer Victor Marchetti in his book The CIA and the Cult of Intelligence. And my ex-CIA father, in a 1979 newspaper interview, stated: “When you work for the CIA, the ends justify the means."

Is that the brutal reality behind the horrific acts of Sept. 11, 2001? Was this watershed event a managed tragedy, an occult means to invoke repression and war? Are Osama bin Laden and Al Qaeda the strategic invention of yet another enemy in a long series of created malefactors? Is it possible for us to learn and then change the way of world from the enlightened dialogue of the silver screen?

Everything that seems clear is bent and everything that seems bent is clear. Trapped in reflections, you must learn to recognize when a lie masquerades as a truth….

—Dr. Fredricks, in The Good Shepherd

So, as the Romans used to say, caveat lector! Let the reader beware —or, in other words, pay attention, and don’t believe everything you read (or see, or hear). Please hearken to those words of wisdom, but do not attempt to pass a history exam having watched The Good Shepherd … at least in my class.

High Times

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Rosario Dawson Kills Evil Eye in Eagle Eye

Rosario Dawson - Eagle Eye

The best part of this crap film was when Agent Perez (Rosario Dawson) pokes out the all seeing eye of the supercomputer named ARIA. I think this movie was based on the Defense Advanced Research Projects Agency (DARPA) Total Information Awareness research program. Other than that, it’s a typical Hymiewood shit bomb where a young Jew (Shia Lebouf), uses chutzpah to save the day.

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Oksana: I Did Not Blackmail Mel Gibson

Meets with John F. Kennedy Assassination Lawyer Mark Lane

Mel Gibson’s “Baby Mama” Oksana Grigorieva claimed to the paparazzi who were following her that there was no extortion plot and that her Oscar-winning ex-boyfriend is a liar. However, sources say that Oksana’s kid sister Natalie Grigorieva likely sold the “Gibson rant tapes” to the Web site RadarOnline.com.

In related news, Oksana’s charge that Gibson plotted to murder a Jewish movie producer likely is false.

The tide of opinion in the Gibson-Grigorieva dust-up has turned against Oksana recently, as the shock of the Gibson rant tapes has worn off. She is developing a reputation in some quarters as a pathological liar as more details of the case leak out and her charges against Gibson get wilder, as does the cast of characters.

Conspiracy

Meanwhile, attorney Mark Lane — the lawyer who made his name writing the 1966 book Rush to Judgment that alleged there was a conspiracy to kill President John F. Kennedy in Dallas — met with Grigorieva at her home in the Los Angeles neighborhood of Sherman Oaks. The granddaddy of all JFK conspiracy theorists, the controversial Lane also was notorious for being the lawyer for Jim Jones and his People’s Temple. He supported Jones’ contention that he and the People’s Temple were the target of a government conspiracy.

In November 1978, Lane was present in “Jonestown” — Jim Jones compound in the Guyana jungle — when Congressman Leo Ryan was assassinated and Jones was killed while 900 of his followers committed (or were forced to commit) suicide. Lane claimed that U.S. military forces helped carry out the execution or there were agents provocateur at the compound who triggered the carnage. He wrote a book on the Jonestwon tragedy, The Strongest Poison.

Observers of Oksana Grigorieva believe that he is being brought in as he is an “expert” on sound recordings as evidence. Conspiracy theorists often use audio evidence to back up their contention there was more than one assassin in Dallas and more than three shots were fired.

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His Pursuers are Not Theoretical

Conspiracy Theoy Gibson

— Movie Review —
“Conspiracy Theory”

Directed by Richard Donner; written by Brian Helgeland; produced by Joel Silver and Richard Donner; released by Warner Brothers. Running time: 135 minutes. Cast: Mel Gibson (Jerry Fletcher), Julia Roberts (Alice Sutton), Patrick Stewart (Dr. Jonas) and Cylk Cozart (Agent Lowry). This film is rated R. It includes taking the name of the Lord in vain and violence.

by Michael A. Hoffman II Copyright©1997 All Rights Reserved

The chief defense of the conspirators in this Age of Revelation (revelations largely made by the conspirators themselves), against prosecution and punishment for their crimes, has been to confuse the truth and mix it into a salad bowl of falsehood.

The agents of the System have seeded the ideas that everything causes cancer and everyone killed Kennedy. The corollary being that the study of the food that makes one ill and the food that nourishes is so fraught with counter-claims and ambiguity as to be impossible to unravel, therefore eat anything you want because you’ll get cancer no matter what you do.

In a similar process, the competing solutions to the riddle of who killed Kennedy seem to carry equal degrees of plausibility in the mind of the public: Castro did it and so did the anti-Castroites; the Communists killed him and so did the anti-Communists; it was the CIA; the Mafia; the military-industrial complex; the Mossad, MI5, the masons, the Birchers, your grandmother and my Uncle Ned.

After a time the whole JFK investigation dissolves into a stew of contradictions more puzzling than the original mystery and we are left demoralized and apathetic. If everyone killed Kennedy then in a sense no one did, because indictment and punishment are impossible when faced with such a miasma of conflicting theories.

As the deliberately planted confusion grows, so does the establishment’s hypnotic suggestion that conspiracy investigators are an obnoxious nuisance and just plain nuts. That has been the state of the chess game between those seeking to bring the conspirators to justice and those seeking to cover up for them so that they might continue in power.

But now we have a new revelation, in the form of the movie “Conspiracy Theory” which restores credibility to the investigators and validates their concerns.

In a subject freighted with the pompous and melodramatic, “Conspiracy Theory” disarms us with the saving grace of humor, introducing N.Y. cabbie Jerry Fletcher (Mel Gibson) in several comic vignettes that endear us to him in spite of his whacky, paranoid beliefs. In the first third of the film we’re sure he’s delusional but he’s won our affection with his goofy love of life (the film’s theme-song includes the significant song lyric, “I thank God I’m alive”).

And Jerry is delusional. But he’s also right. How’s that? Well, the movie shows that Jerry mixes about the same level of fact, fiction and fantasy as other conspiracy theorists. But the film makes the important point that some of it is valid, that Jerry is on to something and that just because he’s wrong on some things does not signify that everything he asserts is wrong.

Jerry talks a lot of trash. He says George Bush is a 33rd degree Freemason (he’s not, he’s a member of the Skull and Bones society). He claims that if Hollywood director Oliver Stone was really telling the truth in his conspiracy epics, he would have been killed by now. (Jerry is ignorant of the Revelation of the Method process, in which the conspirators of the modern era sanction the release of secrets about their operations).

He’s obsessed with J.D. Salinger’s over-rated novel of adolescent alienation, “A Catcher in the Rye” (the favorite of John Lennon’s assassin), though he admits he hasn’t read it. (This writer knows of no occult or conspiratorial elements in the book).

Jerry also maintains that all serial killers have two names, but all assassins have three. He notes that serial killers Ted Bundy and David Berkowitz have two names while assassins Lee Harvey Oswald and James Earl Ray have three. In this respect, Jerry’s full of it. The top serial killer of all time, with 33 victims, was John Wayne Gacy, a three-name serialist. Huey Long’s killer was reported to be Carl Weiss, a two-name assassin. Jerry’s wrong, but what prophet or mystic or hunch-player isn’t, sometimes? The guy with the uncanny knack for playing the stock market or the horses is not infallible, he’s wrong almost as often as he’s right, but he’s right enough times to earn his living at it.

In the realm of conspiracy-denial, the tendency is to dismiss someone like Jerry because he’s got his serial killer and assassin nomenclature wrong or because he slips on George Bush’s background. But the fact is, Jerry is right enough times for a powerful government agency to want him dead.

It turns out that Jerry is an MK-Ultra initiate who goes in and out of various states of lucidity and delusion. Much of what he says is nonsense but the kernel of truth he possesses is so potentially lethal that it justifies his paranoia.

And that’s the message of “Conspiracy Theory.” Sure there are a lot of nuts investigating conspiracies these days and plenty of disinformation, just like in the daily newspaper. But just because the daily newspaper seeks to delude us by printing nonsensical claims that the Israeli government is benevolent and the Federal Reserve is Constitutional, doesn’t mean that we should reject it when it prints a story about a local restaurant opening or our old elementary school teacher dying. We sift and analyze and continue to use the daily paper as a source about which we apply our powers of critical thinking and analysis.

This is what the film “Conspiracy Theory” is telling us. Don’t dismiss every suggestion that “our” government is in conspiracy against us. The fundamental wisdom concerning this world is that appearances are deceptive. Nothing is what it seems. Be vigilant.

“Conspiracy Theory” boosts our morale by showing the badly outgunned Jerry Fletcher fighting back and resisting the enormous forces arrayed against him. Time and again he foils the smug Federal agents who pursue him with state-of-the-art black helicopters, cell phones and squads of hit-men in new vans. In one scene he ties up traffic and eludes his high-tech pursuers in nothing more than a broken down old car abandoned on a bridge. The repeated frustrations of the pursuing “spooks” is a joy to behold.

“Conspiracy Theory” also serves as a message of empowerment to the hordes of Americans who do believe in conspiracies but who have gotten the wrong message from them and have become paralyzed in fear of an all-powerful Federal government. Their response is to hoard all the money they can, find a hideout somewhere and wait out Armageddon.

Millions have fallen victim to this paralysis. They have left the field of battle without a figurative shot being fired, while victory was still possible, because their opponents seeded into their minds the notion that all resistance is futile, which is the strategy of Sun Tzu, “The superior man wins the battle without fighting.”

But Jerry Fletcher fights the battle, against great odds–like every man worthy of the name–and he prevails by dint of his courage and faith.

Like Jerry, the American people are also initiates–not perhaps directly at the hands of the CIA’s MK Ultra project–but as percipients in the Videodrome occult theatre which works through the medium of Hollywood and the TV networks, flashing subliminal symbols and highly symbolic, brutalizing sex and death cues. The resulting parodoxical heightened awareness mixed with jaded sensibilities produces delusions and ennui swirling in our midst like a vengeful phantom from the collective subconscious.

There are a couple of false notes in “Conspiracy Theory.” Fletcher pontificates against junk food-eaters (“They’re in a conspiracy against themselves”) but later is shown wolfing down a cardboard-looking, mass market pizza.

The movie makes a case for the notion that there are some good agents within the Federal octopus and that not all are cooperating with evil. These supposedly good agents drive off into the sunset joking with Jerry Fletcher. Are these “good Feds” anything like Lon Horiuchi, the home-schooling, conservative Catholic FBI sniper who murdered Vicki Weaver in her own home at Ruby Ridge, Idaho, while she was holding her infant in her arms?

Gibson’s character also takes Christ’s name in vain in a single instance (a growing Hollywood phenomenon exhibited in such supposedly wholesome, patriotic cinematic fare as “Air Force One” and “Independence Day”).

Gibson might respond by asking us to be less Pharisaic in our judgment of the requirements of his acting craft, but the holiness of Christ’s name is taken very seriously in traditional Roman Catholicism, where an entire men’s association–the Holy Name Society–is devoted to defending and honoring it. There’s nothing Pharisaic about such a concern and there are a couple of Biblical passages that make profound statements concerning the sacredness of His name (Acts 4:12; Revelation 14:1).

In spite of these flaws, “Conspiracy Theory” is a shot-in-the-arm for truth-seekers, suggesting that we come out and fight evil and that the combat itself is part of what makes life worth living. Paranoid Jerry Fletcher–warrior and truthseeker–is bursting with life.

Michael A. Hoffman II is the author of “Secret Societies and Psychological Warfare.”

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Do All Our Beloved ’80s Media Stars Hate the Jews?

First, there was Mel Gibson, who has forever ruined the Lethal Weapon movies by showing how closely he actually hews to Martin Riggs — only if Riggs were racist, anti-Semitic and a woman-hater. And unnaturally obsessed with blow jobs. (Maybe Riggs was all those things – it’s in the subtext.)

And now it’s Oliver Stone, beloved, iconic director of “Platoon” and “Wall Street”, who blamed the “Jewish domination of the media” for Americans demonizing Hitler and overrating the importance of the Holocaust. Let justice be done though the heavens fall, indeed!

I admit to being a little confused — why, when Ollie had the chance in “World Trade Center”, didn’t he reveal that 9/11 was all part of an Israeli/liberal-Jew conspiracy? Missed opportunity.

But why do our ’80s stars hate the Jews so much? If Jews run the media and Hollywood (and the banks), shouldn’t the likes of Gibson and Stone simply say “thank you,” and be on their way?

What’s next? Is Tom Cruise going to turn out to be anti-Semitic also? Oh, wait…

from: http://popculturehasaids.wordpress.com/

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Mel Gibson’s Priest on the Holocaust

Mel Gibson Holocaust

“The Holocaust myth is now being challenged mightily by the movie ‘The Passion of the Christ.’ The Jews (and we do not speak of all Jews, but of many influential Jews such as Abe Foxman and the ADL, Rabbi Schmuley Boteach and Rabbi Marvin Hier of the Simon Wiesenthal Museum, and those who have control of the media) had almost succeeded in blotting out the name of Jesus from the consciousness of the people. The public had been carefully programmed through a relentless round of movies, documentaries and books, so as to have the guilt of the Holocaust constantly in mind. ‘Schindler’s List’ and the abominable book “Hitler’s Pope” in so demeaning and desecrating Pius XII’s good name, are perfect examples of this. They had turned the tables on us. Rather than the Jews being reputedly responsible for the death of Jesus Christ, we now had Christians, especially the Roman Catholic Church, bearing the guilt for the Holocaust.

“But with one fell swoop, this marvelous movie struck a nearly fatal blow to their carefully executed plan of convincing the world that the Holocaust is the pivotal event, the defining moment in human history, thus displacing the Crucifixion of Jesus Christ from that exalted position. This is the real explanation for their rage against Christ, and against this movie. They are afraid that Christians will begin to realize once again that the true Holocaust, the one perfect and acceptable sacrifice to God our Father, took place two thousand years ago on Calvary’s hill, when Jesus Christ shed His Precious Blood for the sins of the world. All human beings, whether Jews or Gentiles, of every place and of every time, must go to the foot of the Cross of Jesus and acknowledge Him as the Messiah, if they are to be saved.

“The Holocaust myth and the Sacrifice of Christ on Calvary are unalterably opposed to one another. If the Sacrifice of Christ on the Cross is the one perfect Sacrifice acceptable to God, the true Holocaust, and the one defining moment in human history, the Jewish Holocaust cannot be the unique event they claim it to be. It was a terrible atrocity, a great human tragedy, but not a perfect sacrifice offered to God; it was not redemptive; it cannot save anyone; it was not a holocaust, certainly not The Holocaust.

“But even the Vatican II church cooperates, resulting in its own demolition. John Paul II has apologized to the Jews for the sins of Christians against them, and has absolved them from the necessity of believing in Jesus Christ. Much was made of his “historic” trip to Jerusalem where his visit to the Yad Vashem Holocaust Memorial Museum was celebrated by the media. ‘The awful truth is this–that John Paul II and the New Vatican accept the myth of the Holocaust, thus denying the uniqueness and efficacy of the Sacrifice of Christ on Calvary, and of the Holy Sacrifice of the Mass.'”

— Father Campbell

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Mel Gibson Wants “Jew Blood”

Mel Gibson Jew Blood

Radar reports that Mel Gibson allegedly screamed that he wanted the Jewish blood of one of his enemies all over his hands. From Radar:

The anti-Semitic slur was allegedly made by Mel in reference to a high-profile Hollywood figure who is Jewish and who Mel believed had “publicly humiliated” him.

Gibson hired individuals to place this person under surveillance, Oksana told authorities.

“Oksana says Mel told her, ‘I want Jew blood on my hands,’ and said he wanted the person taken to the desert, stripped naked, knee capped and left in the heat,” a source close to one of the investigations involving Mel told RadarOnline.com exclusively.

Gibson never followed through with his threats.

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The Protector: Angelina Jolie Snake Jewelry

Jolie Snake Jewelry

The ‘Protector Collection’ features a serpent as Jolie is said to consider the reptile as an iconic guardian and protector of her family.

In Egyptian history, the snake occupies a primary role with the Nile cobra adorning the crown of the pharaoh in ancient times. It was worshipped as one of the gods and was also used for sinister purposes: murder of an adversary and ritual suicide.

In Christianity and Judaism, the snake makes its infamous appearance in the first book (Genesis 3:1) of the Bible when a serpent appears before the first couple Adam and Eve as an agent of the devil and tempts them with the forbidden fruit from the Tree of Knowledge. The snake returns in Exodus when Moses, as a sign of God’s power, turns his staff into a snake and when Moses made the Nehushtan, a bronze snake on a pole that when looked at cured the people of bites from the snakes that plagued them in the desert. The serpent makes its final appearance symbolizing Satan in the Book of Revelation:”And he laid hold on the dragon the old serpent, which is the devil and Satan, and bound him for a thousand years.”

The Ouroboros is a symbol that is associated with many different religions and customs, and is also claimed to be related to Alchemy. The Ouroboros or Oroboros is a snake eating its own tail in a clock-wise direction (from the head to the tail) in the shape of a circle, representing manifestation of one’s own life and rebirth, leading to immortality.

In Neo-Paganism and Wicca, the snake is seen as a symbol of wisdom and knowledge.


guest1200 wrote: A snake in the bible is satan the devil!

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Jon Voight: God gave this land to the Jewish people



by Teresa Neumann : May 15, 2008 : Staff – Haaretz

The emotional actor is brought to tears as he meets with Israelis.

Jon Voight(Israel)—Haaretz News reports that Academy Award winning actor Jon Voight is currently in Israel to express his fervent support for the Jewish people during Israel’s 60th anniversary celebrations.

According to the report, on Tuesday, the actor visited Sderot, the western Negev town that suffers regular Qassam rockets strikes from the Gaza Strip and on Monday, he met with terror victims, and welcomed a group of children brought to Israel through Chabad’s Children of Chernobyl program.

A video, available for viewing by clicking on the link below, shows an emotional Voight brought to tears by his passion for Israel.

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