YDS: The Clare Spark Blog

February 21, 2015

Oscar meets a Puritan and the Golden Calf wins

oscars-red-carpet---sandra-bullock-horizontal-large-galleryThis blog is about the Oscars and whether or not “Hollywood” is controlled by Jewish producers, agents, and other forceful types who will be effusively thanked and celebrated by gentile actors.

At stake is the question of the imputed Jewishness of those who notoriously have corrupted our country with materialism and its offshoots: designer gowns, jewelry, shoes, and purses. In what sense can the white slavers/magicians/sorcerers be considered Jews? How have they turned plain women into great beauties and femmes fatales?

The reader should know that I am reading Benzion Netanyahu’s books on myths spread about the origins of the Spanish Inquisition, a subject that engaged me ever since POTUS (that defender of “multiculturalism”) chastised critics of “radical Islam” for ignoring the horrors perpetrated by Christian crusaders and inquisitors.

Since my degree in history was awarded for my proficiency in the history of the modern period in American and European letters, I fled to some books on the crusades, and then the Spanish Inquisition, where I discovered, thanks to Bibi Netanyahu’s late father Benzion, that Jews were blamed by major Spanish scholars for inspiring the Inquisition; moreover that conversos/Marranos were believed to be crypto-Jews who had falsely converted to Christianity, and whose cunning, controlling ways thus infested the Middle Ages with the persecution of innocents.

Au contraire, said the meticulous Benzion N. The infamous conversos were indeed New Christians who had fully assimilated to a gentile world. Lay off “the Jews” advised this truth-seeking scholar.

What does this have to do with ‘Jewish’ producers, agents, etc. who have been accused by major leftists and Franfurters with corrupting the working class through “materialism”; i.e., via the “Jewish” control of mass media, thus thwarting their better (red) angels, which should have led the new industrial working class toward proletarian revolution, their supposed historical destiny?

The title of this blog contains the word “puritan,” a word used promiscuously by scholars and journalists, with a nasty antisemitic sub-text. Though the better scholars are careful to distinguish between “puritans,” attaching them to historical contexts (see https://clarespark.com/2013/08/05/evil-puritans/) many a social critic associates the word with kill-joy Victorian battle-axes, controlling mothers, conservative Judaism, and the right-wing of American politics. These excessively puritanical villains generate understandable revolt in their children, or so the argument goes in social psychology (if not among the better, mostly deceased, historians).

Pink performing at Grammy Awards; photo Matt Sayles

Pink performing at Grammy Awards; photo Matt Sayles

So on February 22, 2015, mostly women will be excitedly tuned in to the yearly Oscar ceremonies, and will be regaled with names of designers (“Who are you wearing?”), and if they are like me (at heart, a puritan), will feel depressed after the spectacle is completed, perhaps feeling dowdy and/or bored by the endless tributes to presumably Jewish producers, etc. by winning actors.

Here’s the rub: these ‘Jewish’ producers, etc. who have enslaved young actors to a phony set of values, are fully assimilated to the Democratic Party, just as Netanyahu’s conversos were to a hierarchy of Spanish Kings. But no matter who wields the Golden Calf Oscars, they will be viewed as race-traitors to the true faith, and who knows what that will be in the coming period? Currently it is “multiculturalism.”

oscars_cupcakes

[Update, post-Oscars 2-23-15; it was a boring, but weepy night and guilty white liberals were roused by the march on Selma, egged on by Oprah and the tearful Julianne Moore. Naturally, American Sniper got one measly technical award, despite the scaredy cats who promoted it chose to emphasize family and brave, torn soldiers rather than vindicating in any way the Iraq war. Once a doc celebrating Edward Snowden got an Oscar, it was clear why Obama cleans up when he comes to Hollywood to fund-raise. More: today on a local NPR station, the LA Times entertainment reporter noted the few women directors, including the one who directed Fifty Shades of Grey. That’s the state of race and gender relations in my town. This major industry is run by the brain dead.]

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November 8, 2012

The Magical power of “Negroes” and other Beautiful People

Viola Davis as magical

One Facebook friend reports polls concluding that Romney voters focused on the economy, while Obama voters responded to his “caring” persona. This is valuable intel, for it reminds us of the Magical Negro archetype described here: http://en.wikipedia.org/wiki/Magical_Negro. As Wiki tells it, this archetype is a throwback to the “noble savage” who emerges in the European age of expansion.

(This one of those “back to basics” blogs, basic tactics for political support that are cross-cultural and universal in their efficacy.)

But more, we should reflect upon the power of the Beautiful People, and the mass appeal they exercise. Why? Is it simply that “beauty” is a supremely rare quality that mesmerizes us in all times and places? Or is it something more primal, which returns us back to the emotions of early childhood and our dependency on mothers and fathers for care and protection?  After all, Mitt Romney projected a “caring” persona, as Anne Romney emphasized in her RNC account of their marriage, noting her husband’s constant attentions to needy neighbors and even strangers. But all the demonstrated compassion in the world is not enough to compensate for the image constructed by Democrats that Romney was the (uncaring) tool of Wall Street and the Big Money.

In prior blogs, I have written much about populism and its embedded antisemitism, how many ideologues continue to blame Hollywood “Jews” for corrupting the masses and either converting them to the Democratic Party and to the Left in general, or conversely, fastening the “mass” psyche to the material goodies promised by capitalist economies. Both claims are nonsensical, for such “Jewish” titans as Laemmle, Mayer, Goldwyn, or the Warner brothers adapted themselves to immigrant tastes and prejudices. The history of the Hollywood film is replete with bloodsucking bankers and other capitalist villains, valiantly opposed by the muscular Common Man. (For the femme fatale as a repudiation of the idea of progress, see https://clarespark.com/2011/04/27/james-m-cains-gorgon-gals-2/, retitled “Film Noir, decoded.”)

All tyrants use visual images (including architecture) to consolidate support and to divert mass rage away from themselves; pictures are deployed to evoke parental imagos.  The tyrant’s friends are beautiful—as lovely as the nursing Mother to her clamorous infant, or as her glittering earrings are to her toddler who pulls on them, while enemies are as repulsive as the angry father wielding a cane or whip (think of the omnipresent Big Brother) or old crones—women who no longer expect to please men, and who have nothing to lose by stirring the pot.

Female Chartist

And so, fed by a diet of idealized/demonized images, we continue the process that psychoanalysts describe as “splitting.” Our love objects, whether politician or other celebrity, can switch with alarming frequency from ministering angel to terrifying demon. Don’t look to popular culture for “integration, “ i.e., a less distorted view of The Loved/Hated One.

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