Hogan and Savage Predict the Fall of the Twin Towers

Twin Towers Hogan Savage

Hogan and Savage Predict the Fall of the Twin Towers in 1989. Are Hogan and Savage the two prophets of Revelation 11? Taylor Swift was born in 1989. Is Taylor Swift Hogan and Ivanka Trump’s love child? Taylor Swift’s mother might have been a surrogate mother. Think about it. Do you remember Hogan and Ivanka’s blonde locks? Monsanto used genetic engineering to create a Hogan/Trump Frankenstein love child in Taylor Swift. Put apple cider vinegar in you hair instead of Taylor’s pantene pro V shampoo. Don’t drink her poison diet dr. pepper either.

Perilous times are upon us friends. It was Hogan and Savage who tore down the twin towers. Savage and Miss Elizabeth were so close he felt the pain from her sprained wrist. The love was so strong. Their romance brings a tear to my eye.

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Boy-Lover Bryan Singer’s History of Man-Boy Love

Andrew Anglin
Daily Stormer
April 18, 2014

The Jew Singer with fellow anus-obsessed homosexualist pervert Ian McKellen

Yesterday, we reported on allegations by an alleged former boy-lover of X-Men director Bryan Singer that he was anally raped by the Jew when he was 15.

A post has been discovered on the IMDB forums which goes into some detail about the openly homosexual director’s love for young boys.

Below is that post in its entirety.


Here are the twins that live in Bryan Singer’s mansion. They’ve been with him for a while, unlike most of his boytoys. My buddy tells me that Bryan lets them drive his $500,000 McLaren when he’s out of town.

Bryan Singer Twin Boys

Next is Bryan’s assistant, 18 year old Steve Roberts. He was introduced to Bryan though Wayne Castro, one of the guys who run Tigerheat. He’s an old pimp, he’s the guy who scouts boys 18-23 for Bryan, usually every other week. Singer gives them P.A. roles and makes them extras in his films and tv shows. (Bryan only flies by private jet)

Bryan Singer Steven Roberts

And next is Ken Rayes, a boy of the week for Bryan. Bryan cast him in the pilot of Mockingbird Lane and if you don’t believe me, you can watch the pilot and actually find him. He’s an 18 year old film major and was really excited when Bryan took him under his wing. He was Bryan’s boytoy for about two weeks and then Bryan was on to better things. Ken was heartbroken when Bryan dumped him. I’m friends with Ken on facebook, I have some jucier details and messages from him but I will not be posting that. I don’t have a pic of them together but like I said, if you don’t believe me, you can find him in the pilot of Mockingbird Lane.

Bryan Singer Ken Rayes

Here’s another boytoy of the week, I’m actually not sure what this one’s name is but Bryan use to sneak him into clubs even though he’s underage.

Bryan Singer Boy Lover

Bryan with another teen twink who serves as one of his assistants. Next to Ian McKellen is Gary Goddard, he’s a good friend of Bryan, he is a Broadway producer turned theme park designer.

Bryan Singer Ian McKellen

One of Bryan’s latest acquisitions, a young model named Frankie Donjae. He lives in New York so he’s Bryan’s go-to boy whenever he’s in NY. You can find more pics of him and Bryan on Frankie’s tumblr page.

Frankie Donjae Bryan Singer

Bryan goes through different boys each week. He promises them big movie roles and then just drops them. He and Roland Emmerich have infamous pool parties with literally hundreds of twinks, you can easily find the pics online. Bryan also certifiably has a thing for young twins. A pair live in his house and I have more pics of him with some other twins… but aside from that it’s interesting to note that Shawn Ashmore (Ice Man from X-Men) has a twin brother named Aaron and his brother wrote a blog post and described that he use to live in Bryan Singer’s house. So while I have no proof that Bryan dated them, you should be able to put two and two together. Of course they are way too old for him now. Just like Bryan Singer dropped Dan Harris and Michael Dougherty after they became too old and Superman Returns bombed. What, did you think a 24 year old Dan Harris became the writer of X-Men 2 based solely on narrative talent?


I also discovered today that the male massage therapist who accused John Travolta of trying to rape him back in 2009 told the press that Travolta had told him that he had learned to accept his life as a homosexual because it was the only way to make it in a Hollywood culture controlled by homosexual Jews.


The second is the still-unnamed masseur’s assertion of how Travolta explained how he learned to Stop Worrying and Love Transactional Same-Sex Liaisons: By accepting that Hollywood is controlled by “homosexual Jewish men” who expect sexual favors in return for career-related ones.

Hollywood is run by a mafia of Jews, most of whom are homosexual.

We should all feel deeply ashamed that we have trusted these people with the minds of our children.

We can only hope that this Bryan Singer situation will draw public attention not only to the problem of homosexualism, but also the problem of the Jews.

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Roseanne Barr: “MK-Ultra Rules Hollywood”

Roseanne basically says that Hollywood stars are terrified of using their status to speak out about important issues because there’s a “culture of fear” going on there, where “speaking out” almost automatically equals being shunned from the industry and having one’s career destroyed.

More importantly she adds:

“It’s also a big culture of Mind Control. MK ULTRA Mind Control rules in Hollywood.”

This means that many stars do not speak out because they literally cannot do so. They are mind controlled which means that they have alter personas programmed into them that handler are able to trigger and control at will.

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Angus T. Jones Finds Religion And Denounces Two And A Half Men

“People see me and they’re like, ‘Whoa, you’re Jake!’ I see this guy [gestures at Hudson], and I’m like, ‘Dang, man of God, Forerunner, right here. I can touch him, I can give him a hug…’ Like, seriously. God is great. It’s just, like, one of those things.

“Jake from Two and a Half Men, means nothing. He is a non-existent character. If you watch Two and a Half Men, please stop watching Two and a Half Men. I’m on Two and a Half Men, and I don’t want to be on it. Please stop watching it, please stop filling your head with filth. People say it’s just entertainment. Do some research on the effects of television and your brain, and I promise you you’ll have a decision to make when it comes to television, and especially with what you watch.

“It’s bad news… I don’t know if it means any more coming from me, but you might not have heard it otherwise. So just watch out. A lot of people don’t like to think about how deceptive the enemy is. He’s been doing this for a long longer than any of us have been around. So we can’t play around. There’s no playing around when it comes to eternity.”

The interesting half-man has also warned everyone of the supposed Satanic workings of Hollywood’s elite, claiming those Illuminati rumors are true.

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Madonna Hollywood Tarot

Here is Madonna’s Hollywood tarot animation. There are 22 cards, 22 paths on the tree of life and 22 chapters in the book of Revelation. If you watch the end of the animation you can see that Satan sits as emperor. Is Madonna telling us Satan is in control of Hollywood?

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John Travolta Allegedly Said heterosexually challenged Jews Run Hollywood

Jeez, you two, get a log flume!

By now you’ve probably heard all about John Travolta getting sued for two million dollars by a masseuse claiming “sexual battery,” saying Travolta groped “his scrotum and the shaft of his penis.” To paraphrase the late great Robert Schimmel, I’d suck John Travolta’s dick in front of my mother for two million dollars. I admit the story is ridiculously tabloidy and sounds pretty far-fetched, and a lot of it sounds like a bad letter to Penthouse, but I couldn’t ignore some of the gems in there.

Such as…

-”There was an overweight black man preparing hamburgers, who meekly said ‘hey.’”

“Come to the East Village’s hottest new night club, Hamburgers. There’s overweight black men preparing hamburgers, naked jockeys on trapeze, and blind sherpas with nerf bow guns….” /Stephon.

-When the masseur says he reminded Travolta that sexual acts in exchange for money were illegal, the actor’s rebuttal is stated as, “Come on dude, I’ll jerk you off!” The suit also describes Travolta’s genitalia as “roughly 8 inches in length” with pubic hair that was “wirey and unkempt.”

8 inches, whoa! Do they even make them that big? That’s quite generous for a smear campaign. Meanwhile, my own pubic hair has been described as “perfectly coiffed, and as slick and smooth as a freshly-groomed fur seal.”

– “(Travolta) began screaming at Plantiff, telling Plantiff how selfish he was, that (Travolta) got where he is now due to sexual favors he had performed when he was in his ‘Welcome Back Kotter’ days; and that Hollywood is controlled by homosexual Jewish men who expect favors in return for sexual activity.”


-”Plaintiff moved away from Defendant, who then lumbered to his feet and began to move towards Plaintiff with erect penis bouncing around is [sic] stride.”
– (He said) he had done things in his past that would make most people throw up.
– When he started he wasn’t even heterosexually challenged and that the taste of ‘cum’ would make him gag.
– He was smart enough to learn to enjoy it, and when he began to make millions of dollars, that it all became worth it. [TMZ, HuffPo, WWTDD]

So Hollywood is run by heterosexually challenged Jews? Jeez, who knew John Travolta sounded so much like Mel Gibson? They also seem to have that whole “blow me first” thing in common. Though even if this is to be believed, Travolta is a lot nicer about it.

Also, and this is neither here nor there, but I think it’d be pretty cool if there was a sprightly masseuse who dressed up as a French mime and gave happy endings, and he called himself “The Wee Masseur.”

– Vince Mancini

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Corey Feldman on Hollywood Pedophiles

Corey & Jacko

“I can tell you that the No. 1 problem in Hollywood was and is and always will be pedophilia. That’s the biggest problem for children in this industry. … It’s the big secret,” Feldman said.

The “casting couch,” which is the old Hollywood reference to actors being expected to offer sex for roles, applied to children, Feldman said. “Oh, yeah. Not in the same way. It’s all done under the radar,” he said.

“I was surrounded by [pedophiles] when I was 14 years old. … Didn’t even know it. It wasn’t until I was old enough to realize what they were and what they wanted … till I went, Oh, my God. They were everywhere,” Feldman, 40, said.

“There’s one person to blame in the death of Corey Haim. And that person happens to be a Hollywood mogul. And that person needs to be exposed, but, unfortunately, I can’t be the one to do it,” Feldman said, adding that he, too, had been sexually abused by men in show business.

Feldman said his realization followed the discovery of what some adults around him had allegedly done to other children. “There was a circle of older men … around this group of kids. And they all had either their own power or connections to great power in the entertainment industry,” he said.

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Oliver Stone’s Latina Fetish

Oliver Stone - Latina Fetish

The casting couch is notorious in Hollywood but rarely talked about in the supermarket tabloids. Invented by Jewish directors and producers in the 50’s, it was the easiest way Jews could get some shiksa tail.

Oliver Stone presents himself as a righteous, crusading leftist Jew. He visits Hugo Chavez in Venezuela and espouses left wing conspiracy theories about the JFK assassination in his films and personal life. But keep in mind that Oliver Stone is a Jews’ Jew. A self-loathing or self-hating Jew. He knows he has as much Semitic blood as any white guy walking down the street so he craves true Jewish blood. This is why Oliver Stone has a Latina fetish. Latinos have more Semitic Jewish blood flowing through their veins than any AshkeNAZI, Turkish fake Jew running around Israel today. I know this because I have a PHD in Jewology from Jacob Skunkola University. The University is shut down now because the Jewish Defence League is after Jacob, but his wise books remain and are mirrored by many other prominent Jewologists.

Oliver Stone’s neurosis stems from the fact that there is probably no Jewish blood running through his veins at all. When the Khazars converted to Judaism in the middle ages only the Cohen or priestly class had true Jew blood of Judah. Oliver Stone is a mongrelized Turk/German AshkeNAZI fake Jew. Sephardic, Spanish Jews are the true Semitic Jews, and as a religion are nearly extinct. As a race these true Jews rule South America as conquistadors. The secret marrano Jews ran Spain with an iron fist and used their Jesuits to conquer South Americas Indians. A Latino name like Agent Perez, who Rosario Dawson plays in Eagle Eye, is one of the names of the twin sons of Judah. The name Stone/Stein doesn’t really tell us anything Jewish at all. All it tells us is that Oliver Stone is the descendant of someone who sold precious stones.

In the movie U Turn Oliver Stone famously implemented the casting couch on Jennifer Lopez. She later became known as J Ho for succumbing to Oliver Stone’s casting couch romance. If you are going to star in a movie you usually have to do the scene with the director who is usually a Jew if it has any kind of a mainstream budget. J Ho was doubly in luck with this movie because she got to do the scene not only with the Semitically handsome Oliver Stone but with the equally Semitic Sean Penn. Who are they kidding? Sean Penn and Oliver Stone don’t look Semitic/Arabic, they look white.

In Oliver Stone’s Alexander Rosario Dawson did her first nude scene. She only agreed to do it if she could hold a knife in case Oliver Stone’s hands got busy. Imagine having to fight off Oliver Stone naked with a knife? Oy vey! I’m positive Oliver Stone made it clear to Rosario that not tugging on his erect shmeckel is Anti-Semitic and a hate crime.

I think it’s funny Rosario chose to have a “stoneless” engagement ring. Was she being socially conscious to not buy conflict diamonds or is she telling us something more?

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Rachel Weisz: Jews Run Hollywood

Rachel Weisz: Enemy at the Gates

In an interview Weisz gave back in 2001, she tells us Jews do indeed run Hollywood and Jewish women were not allowed to be actresses because Jewish men thought it was a form of prostitution.

EMMA: When we were at the drugstore you innocently opened up Talk Magazine and I heard a shriek of dismay.
RACHEL: Yeah, I literally saw not only the most disgusting, but the most ridiculous photograph I’ve ever seen of any woman.
EMMA: And who was it of?
RACHEL: It was me. [laughs] It was me photographed by David Bailey, who had some kind of concept that because it was for a Russian film, I would be wearing a Russian hat. But you can’t really see the hat, just fur everywhere. And my nose looks like it’s … just a really outsized nose, you know.
EMMA: But, you see, you’re holding back from saying what you said at the store, which was that you thought you looked too Jewish. Is it limiting as an actress to be perceived as being too ethnic in any way?
RACHEL: Well, I think you and I have always felt the same way — that we’re Jewish but we can get away with just being exotic. We’re kind of Jews in disguise. Those cultural stereotypes about the Jew with the big hooky nose and the fleshy face rub off on you. That’s terrible to admit, isn’t it.
EMMA: Well, it’s that Jackie Mason joke about how no Jewish woman wants to look Jewish: “‘You think I look maybe a little Italian, I look a little Russian, perhaps I can be Spanish?’ … ‘You look Jewish!'”
RACHEL: Hollywood’s run by Jews. I was advised by an American agent when I was about 19 to change my surname. And I said “Why? Jews run Hollywood.” He said “Exactly.” He had a theory that all the executives think acting’s a job for shiksas.
EMMA: Of all the self-loathing Jews in the world, the most self-loathing are the Hollywood Jews. They don’t want to see images of themselves on screen. That’s why Lauren Bacall had to hide her identity, and Winona Ryder changed her name from Horowitz.
RACHEL: In some way acting is prostitution, and Hollywood Jews don’t want their own women to participate. Also, there’s an element of Portnoy’s Complaint — they all fancy Aryan blondes.
EMMA: For Beautiful Creatures, in which you play a battered woman and trophy girlfriend, you had to go blonde. You’re such an über-brunette; did you find you lost your sense of self?
RACHEL: Completely. The last day of shooting, I went home to see my father and stepmother. She rang me the next day and said, “I never want to see that girl ever again. The girl who came to our house was like a horrendous, vulgar Spice Girl.”
EMMA: Who are you a big fan of?
RACHEL: Denis Leary.
EMMA: Why are comedians so sexy?
RACHEL: They just are.
EMMA: I think it’s because laughing is an allegory for orgasms. It’s something you can’t help doing.
RACHEL: You can’t stop yourself coming. Not once you start. It’s also that comedians don’t have the kind of narcissism that actors have. They’re writers who perform their own material. It’s more interesting. And they’re sexy because they risk more. Stand-up comedians risk more than anyone.
EMMA: When you were at Cambridge, you started your own theater company. How was that?
RACHEL: Amazing. We went to the Edinburgh Festival three times. Just me and another girl, Sasha Hales were the performers. We wrote about eight plays together, we went through the whole gamut of what two people can do onstage with each other. That was the happiest time of my life creatively. The best one we did was called Slight Possession.
EMMA: I remember it. I remember being … I have to say, very intimidated by how you look. Are you aware that you intimidate women sometimes?
RACHEL: If I’m just in dungarees, I don’t think I would intimidate anyone. If I went out in killer heels and full makeup, blow dry, the whole thing — anyone dressed up like that could be intimidating to men and women, really. It’s so, look at me. Do you know what I mean? But I love women.
EMMA: What is it? The sound of their voice, how they look?
RACHEL: I like their heads, I like the way they think.
EMMA: Women think like jazz.
RACHEL: They’re stream-of-consciousness. They’ll improvise, and they’re happy if someone brings in a new beat. Whereas men are very point-A-to-point-B. They just want to get there.
EMMA: I think that’s the reason you never survived in Los Angeles, why you had to go home. The driving thing. You’d never have an adventure along the way. If you were going to point B …
EMMA: You had to leave from point A, and nothing could happen in between. Whereas in New York or in London, you’re walking somewhere and crazy poop happens on the way. Tell me about those months in L.A.
RACHEL: I went into quite a major depression. I was watching so many daytime TV shows. And then I would get in my car and drive to these auditions listening to the radio. I feel sick now when I listen to the radio, all these commercials for different car dealers. I just felt like the world was so desperate and lonely and sad and people were trying to sell cars and no one wanted to buy them.
RACHEL: My friend was saying that no one flirts there. Like at the traffic light when you’re stopped. People are very focused on their own thing. I don’t mean just sexual flirting, but verbal flirting. In L.A., unless you’ve just won an Oscar or you’re Mr. Studio Head, no one talks to you. Even at parties. I was at this big Hollywood party; no one looked. Everyone is blinkered and they just kind of scan the room for anyone important. L.A. makes you feel ugly.
EMMA: Really?
RACHEL: Because if you’re an actress, no one pays you any attention. And you immediately start thinking, God, I must have a nose job. [laughs] Or, I must get that boob job, or I must get that lipo … whatever it is.
EMMA: You have these two parallel careers going on where you do these strange, wonderful, bizarre art films and then you have this big breakout with The Mummy.
RACHEL: Breakout sounds like coming out with acne. [laughs]
EMMA: When I was in London, I went to visit you on the set of The Mummy II.
RACHEL: In my Fleetwood Mac outfit.
EMMA: You looked like Stevie Nicks. And I remember you were having a hard time caring about the person who played your character’s child.
RACHEL: Yeah, I didn’t feel emotionally connected to him.
EMMA: You were trying to method-act your way into giving a damn whether he lived or died. [laughs]
RACHEL: It was very hard because we were up against that blue screen.
EMMA: There’s a lot of jiggery-pokery and special effects. Is working with all those effects a little de-humanizing?
RACHEL: It can certainly feel quite mechanical. You have to talk into thin air and imagine that there are 10,000 Pygmies running at you. But you have to remember how you used your imagination as a child.
EMMA: You told me that you think the best you’ve ever been was when you did Suddenly, Last Summer on stage in London, which was last year?
RACHEL: Yeah. That’s the best acting I’ve ever done.
EMMA: Why?
RACHEL: Because I completely connected with the character. This is really terrible to say, because Catherine is a woman who’s a little bit unstable and hysterical. She’s been pimping for her cousin Sebastian, attracting boys on the beach in Tunisia.
EMMA: Tennessee Williams had to hide any hints whatsoever of homosexuality.
RACHEL: It’s not explicit because it was written in the ’30s. No one ever says he was homosexual. It’s completely obvious, but no one actually spells it out. She’s kind of in love with him actually. That’s the real tragedy of it. I’ve been in love with heterosexually challenged men.
EMMA: Is that because you get to be admired without having sex?
RACHEL: Definitely. You develop this incredible intimacy that isn’t going to lead to sex, but can be very sexual. That’s something I find liberating. Also, because heterosexually challenged men don’t fit into any received notions of family, they have to rethink everything. I find that they are often completely original.
EMMA: Isn’t it funny that the currency of Hollywood is sex, but the people there are mostly so unsexy?
RACHEL: Right. False tits, collagen lips, people dressing very sexually, but it’s a completely sanitized sexuality. It’s boring and unreal. There’s not much room for eccentricity in Hollywood, and eccentricity is what’s sexy in people. I think London’s sexy because it’s so full of eccentrics.
EMMA: Brendan Fraser, who stars with you in The Mummy, seemed very nice. And you said a really funny thing. You said, “He’s just like pornography.”
RACHEL: He’s got a pornographic body. He’s so massive — he doesn’t look that big on screen. I don’t mean fat, I mean muscular. He’s six-foot-three and his thighs …
EMMA: Tell me about Brendan Fraser’s thighs. [laughs]
RACHEL: They’re enormous. He wears tight, jodphur-y trousers with big boots and his costumes are all really sexy. And that big back rippling under the shirt.
EMMA: It was just before I saw you that you filmed Enemy at the Gates, the new Jean-Jacques Annaud movie. What’s it about?
RACHEL: The seizure of Stalingrad. The civilians and soldiers got together and defended the city against the Nazis, against all odds. Jude Law and Joe Fiennes play two Russians who both fall in love with me. I pick Jude, and we end up together.
EMMA: Good choice. Who did you click with the most on that film?
RACHEL: I really clicked as an actor with Jude. We both come from theater, and in theater you have to give as much as you take. Movie actors get used to close-ups and it all becomes monologue. But Jude is right there with you every second of the way.
EMMA: Can we say — just because it’s bizarre — where we’re doing this interview?
RACHEL: Yeah, I think we should.
EMMA: Okay. We’re in Los Angeles. Last time you were having such an awful time here. Now you’re with Sam. Is it weird? I mean, he is the fracking daddy at the moment. Do people get on bended knee at his feet?
RACHEL: Well, I don’t know, because he works all day. The other night we were at a bar and these people were turned around staring at him, whispering and pointing, really going overboard. Then as we were leaving, we looked back at the table behind us, and it was Michelle Pfeiffer and her husband David E. Kelley.
EMMA: (Question….)
RACHEL: Yeah, and we were like, “that’s L.A.” They weren’t looking at Sam at all, they were looking at Michelle Pfeiffer at the table behind us.
EMMA: (Question….)
RACHEL: The thing that happens is, if Sam pays, the waiters will see his name on the card and they’ll just say, “I loved that movie.” It’s quite earnest and nice. He doesn’t go in for that big Hollywood scene.
EMMA: So what kind of cowboy boots are you gonna buy on Monday?
RACHEL: I like the idea of the short ones because they’re so unusual, like ankle length. And either black with red tips or the camel color with brown tips.
EMMA: They’re very Angelina Jolie.
RACHEL:She’s gorgeous. They wanted me to go and meet her to play her sister.
EMMA: What does your family think of all this? Are they disappointed you haven’t had a more academic career?
RACHEL: No. Although my mother would have liked it if I was a doctor and a movie star at the same time because mum’s greedy. Dad always says that my personality has been irrevocably malformed by acting, so that I’m now unsuitable to anything else. He’s sort of joking and sort of not.
EMMA: Your dad’s an inventor?
EMMA: And your stepmum’s a psychiatrist?
RACHEL: And my mum’s a psychiatrist.
EMMA: Do you think you’re more or less well-adjusted for having grown up around all this psychoanalysis?
RACHEL: The thing is, I feel like I’m more well-adjusted, but I think that’s an illusion.

Joe’s note:

Only recently we’ve started to see Jewish women as sex symbols in Hymiewood and Jewish women starting to marry outside of the tribe. Usually a Jewish lady is forced to marry a Jewish man even though he has a dozen shiksas on the side. As every Jewish male prays every single morning: “Thank God I’m not a Goy, a slave or a woman!”

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Marlon Brando on Jews Running Hollywood

Godfather Marlon Brando

Film star Marlon Brando’s remarks about Jewish influence in Hollywood made in the course of a long April 5 interview on CNN’s Larry King Live have been the subject of heated comment in the weekly Jewish press and some confusing subsequent remarks by Brando himself. Following are all remarks on the subject by both Brando and King excerpted from a CNN-supplied transcript of the interview. In his introductory remarks, King told the television audience that Brando had asked to appear on the program to talk about a videotaped beating of two Mexican migrant workers by Riverside County sheriff’s deputies, racism, and violence in Hollywood.

Larry King: …Our guest is Marlon Brando. We will be including your calls in a little while. Two other areas we want to discuss. I know you have been an admirer of Judaism, right?…And you told—and we have discussed this off the air as well—that you’ve always admired the culture—the Jewish culture.

Marlon Brando: Oh, the Jews are amazing people. They are truly amazing. I think that per capita, people generally don’t realize that per capita that Jews have contributed more to American—the best of American culture than any other single group. If it weren’t for the Jews we wouldn’t have art, we wouldn’t have much theater. We wouldn’t have, oddly enough, Broadway—and Tin Pan Alley—and all the standards that were written by Jews—all the—the songs that you love to sing. You remember—

King: Yeah, we sang them.

Brando:—when we sat around and sang all those songs.

King: So you’re very affectionate for—right? Well, you—you’ve hung around with many—

Brando: The Jews—the secret of the Jews is their worship for the word sechel. That doesn’t mean that they are superior people it just means that they are culturally advantaged in the same way that the Chinese and Japanese are.

King: But they’re not better than that Mexican across the line—

Brando: Of course—of course not.

King: —or that Black in Mississippi.

Brando: Absolutely not. As a matter of fact you find an extraordinary contrast between the Jews that left Israel and the—who—

King: You mean who left Europe?

Brando: No, they left Israel and left behind the Sephardic Jews and when they came back—not the—you know, the—you know, the—what is the name of the group of Jews that came back?

King: Levis?

Brando: No, no, no. There was the—the [unintelligible] the split in Europe.

King: All right.

Brando: But the Jews that left Israel were called the—

King: I forget.

Brando: Okay.

King: The gist of it is?

Brando: The gist of it is, when they came back, they got in dutch with the Sephardic Jews, who never had any trouble with anybody, they lived there with the Arabs, they were perfectly happy living there with the Arabs for thousands, 1,300 years or so—

King: So there is a lot about modern Judaism you don’t like?

Brando: Oh, it has nothing to do with that. It has nothing to do with that. We’re talking about the Jews just in general—

King: But in this—in this—

Brando: But their regard for knowledge, their regard for information. They saved all of their money in the days when they were pressured—pressured in Europe and the days when they had pogroms and the days when they—see, you are rushing me, I can’t—I can’t think—

King: I’m not rushing you.

Brando: But you are pointing your finger at me like this. It’s very—it’s battery to do that.

King: Ha, ha, ha. No, I’m trying to focus in on—because I know you are a great admirer, yet, at the same time, you feel badly about what Hollywood has [crosstalk]

Brando: Feel bad—badly is—you can’t say badly. You feel bad. Okay, I’m—I’m slightly rattled here, because I’m having trouble—

King: I don’t mean to rattle you.

Brando: No, it’s not that. It’s the time and the pressure and the nature of this—the nature of these circumstances.

King: Let me get a break and we will [crosstalk]…

King: You told me you are sending your children to Jewish schools?

Brando: Yeah, my kids go to a Jewish school.

King: Because?

Brando: Because I think that the Jewish schools, one, are the safest and the best.

King: You are also critical, though, are you not, of many of the Jewish people who run a lot of important studios in Hollywood and who you feel—

Brando: Yes. Generally—you—

King: —do violent films.

Brando: You have to understand something: that generally people do not understand that people who hate Black people, the people who hate Jews, the people who hate anybody who is not free, white and 21 and Protestant, are carrying around in their children, are carrying around in their bodies, and have had visited on their children, this extraordinary magic that was created by a Jew—called the—the uh—the Salk vaccine, which prevents polio.

King: So?

Brando: It’s just a matter of just ordinary things. And if they knew that would they refuse to have the Salk vaccine?

King: Oh, if they knew that a Jew had invented it? They knew a Jew invented it.

Brando: Of course. And there has been a lot of anti-Jewish feeling, which is—is—you have to understand that Max—people like Max Youngstein, who was head of United Artists—founded, or was a financial backer of SNCC, which was a very militant Black group…

King: Are you—are you critical—

Brando: That’s—

King:—of the Hollywood that makes violent movies?

Brando: I think that—I—am very angry with some of the Jews. I am very goddamned angry—

King: At some of the Jews?

Brando: —at some of the Jews who have known—who have suffered terribly at the hands of the Russians, of the Germans and the Poles and all of the anti-Semitic elements in Europe and it was a godsend to come to America where they could be free—and they could—they could do whatever they wanted.

King: Then what are you angry at?

Brando: And then Sam Goldwyn and all of the rest of them. Metro Goldwyn Mayer, they—Hollywood is run by Jews. It is owned by Jews—and they should have a greater sensitivity about the issue of—of people who are suffering. Because they’ve exploited—we have seen the—we have seen the [deleted] and greaseball, we’ve seen the Chink, we’ve seen the slit-eyed dangerous Jap, we have seen the wily Filipino, we’ve seen everything but we never saw the kike. Because they knew perfectly well, that that is where you draw the—wagons around—

King: When you 7¸when you say something like that you are playing right in, though, to anti-Semitic people who say the Jews are—

Brando: No, no, because I will be the first one who will appraise the Jews honestly and say “Thank God for the Jews.” If it weren’t for the Jews, we wouldn’t have any—

King: All right. But they anger you when they pander—

Brando: Yes.

King: Or they make films that—

Brando: They don’t anger me. That’s the nature of human beings. That is the nature of human beings. I would like that they were more sensitive. And through the years, I think we’ve gained a certain sensitivity here in Hollywood—“here in Hollywood”—as though I—I am not a standing—welcome member of the community here, but, nevertheless I feel that we—we have now sensitized so that we can’t treat Blacks that way—because Blacks are not going to stand for it. These people—if you see these people down in front of the federal building—the brown people, they are not going to stand for it…

King: There is a good friend of mine that Marlon wants to discuss a second before we take calls and that is Lew Wasserman, the Chairman Emeritus of Universal.

Brando: Yeah, I wanted to say that I was on a picture that I thought was funnier than hell—it turned out to not make very much money—it was me and David Niven trying to be funny. But he made me scream. However, they had a scene—it was in the ’80s. And I said “How come there are no Black people in this film?” And no—there was just pure white people. Anyway, I said—I said, “I can’t—I can’t do it, if you are not going to hire any Black people I am not going to be in the scene.” And he said, “Marlon, come on, it’s not that kind of a picture.” I said, “What kind of a picture?” What kind of a picture is it that you have to have to show Black people, to show Brown people, to show yellow—so I said, “You have to cut me out, I’m walking out of the picture.” I went to Lew—Lew Wasserman’s office and I said, “Lewand he doesn’t like publicity and forgive me Lew if I am embarrassing you, but the fact is that I went to his office and said, “Lew—” and he was—Lew Wasserman is Mr. Hollywood. He is the head of Universal, and he is an extraordinary man, he came from—well, never mind him—

King: Poverty. And he what?

Brando: Worked his way up to be a big macha as they say in Yiddish. And he said, “Marlon, do me a favor,” he says. “Go back to work,” and he said, “I promise you—,” it touches me even now because he did it.

King: What did he say?

Brando: He said, “Marlon, if you go back to work, I promise you we will settle this thing.” And he got everybody by the lapels, and he says “Hey—” he got all the big machas—that’s Jewish for big shots, and he got all the Jews and he said, “Listen, this is going to be the way it has to be.” He was the Godfather. And—

King: We’re back with Marlon Brando. He does want to clear up that his criticism of Jewish people who are in positions of power in Hollywood—

Brando: I don’t want to clear it up. No, I think—

King: You don’t want people to think that you’re—

Brando: No, the Jews have—they understand, they know perfectly well, what their responsibilities are and more and more you see among younger Jews a sense—I mean we wouldn’t have the extraordinary films that come out of Hollywood that are so sensitive really—these are the old time Jews—that ran Hollywood. I think more and more that you see that. However, all those old films like John Wayne and Charlton Heston and all of those Indian killers, they killed—they did more harm to the American Indians than Custer did.

King: They didn’t know, though, did they?

Brando: They—knew very well…

King: So what’s the perspective?

Brando: So my—my—as far as the Jews are concerned—in the early days when I was supporting the [unintelligible] they blew up the King David Hotel, they killed an awful lot of Englishmen, some Arabs and also some Jews. They—

King: They were persecuted.

Brando: Of course, coming off that you—

King: By the way—

Brando: —you would do the same thing.

King: —you look terrific. Thank you my friend.

Brando: Thank you. So do you.

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