While there's an abundance of commissioners appointed to combat any form of antisemitism, facts on the ground show they are not actually doing much

statc
While there's an abundance of commissioners appointed to combat any form of antisemitism, facts on the ground show they are not actually doing much

Why was what Joe Rogan said about Jews and money antisemitic?
Rogan saying that “the idea that Jewish people are not into money is ridiculous” is a clear example of the long-held stereotype that Jews are money-loving.
According to AJC’s Translate Hate glossary, the greed trope is the foundation for some of the most constant antisemitic falsehoods and the association of Jews with greed has fueled jew hatred throughout history, including today.
The theme of greed in antisemitic rhetoric is so widespread that it’s led to a long list of Jewish stereotypes, including being excessively materialistic and money-oriented, exploiting others for personal gain, being overly wealthy, and controlling the world’s finances.
In the Middle Ages—when Christians were forbidden by the Church to lend money for interest—money-lending, trade, and commerce were the few professions Jews were allowed to have. Jews were blamed for usury, the act of charging high rates of interest, and this association led to stereotypes about Jewish greed and wealth.
From Shakespeare’s sinister Jewish caricature in The Merchant of Venice to Rothschild's schemes of world domination to Nazi propaganda on Jewish economic control, the antisemitic trope of greed can be found in everything from pop culture to deep-web conspiracy theories.
https://www.ajc.org/news/why-what-joe-rogan-said-on-his-podcast-about-jews-was-antisemitic
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A 2022 study published in the academic journal Socius surveying 11,356 workers of all faiths found that more than half of the Jewish respondents experienced discrimination at work — a higher percentage than any other religious group, besides Muslims. A smaller survey from November of 1,131 hiring managers and recruiters commissioned by ResumeBuilder.com had even starker findings: Nearly a quarter said they wanted fewer Jewish people in their industry and a similar share admitted they’re less likely to advance Jewish applicants. Among the top reasons cited for those discriminatory behaviors: Perceptions that Jewish people have too much power and wealth.
While Jewish Americans overall have relatively high incomes compared to other groups — half live in households making at least $100,000, compared to 19% of US adults — they span the economic spectrum. A Pew Research Center survey released in 2021 found that a quarter of Jewish respondents had difficulty paying for medical care, their rent or mortgage, food or other bills. Roughly half of Jewish Americans said they live “comfortably,” the survey found, but 15% said they only have just enough to meet basic expenses.
https://www.bloomberg.com/news/articles/2023-01-11/jewish-us-workers-experience-more-overt-anti-semitism-at-work
Un professeur d'université en Argentine a déclaré à ses étudiants qu'il "accorderait un bonus à quiconque trouverait un juif pauvre", a rapporté lundi le Jewish Telegraphic Agency.
Lors d'un cours en ligne sur la politique internationale dans une université située à Cordoue, le professeur Esteban Lizondo a également affirmé que la création de l'État d'Israël était une concession au "lobby sioniste" en échange d'argent, selon des sources locales.
L'un des étudiants de Lizondo, dont l'identité n'a pas été précisée, a enregistré la conférence et l'a publiée sur les réseaux sociaux.
L'étudiant a également signalé l'incident au bureau de l'Organisation juive argentine (OJA), qui s'est plainte à l'université.
"L'argent des Juifs démontre également le pouvoir des Juifs. Pourquoi pensez-vous que les nazis ont tué tant de Juifs? Imaginez que tandis que les Allemands étaient empêtrés dans une crise économique sans précédent les Juifs, eux, continuaient de s'enrichir", a-t-il poursuivi.
Dans sa plainte, l'OJA a noté que les commentaires du professeur violaient une loi argentine contre la discrimination, qui stipule qu'il est illégal "d'encourager ou de susciter la persécution ou la haine contre une personne ou des groupes de personnes en raison de leur race, religion, nationalité ou idées politiques."
L'université a répondu dans un communiqué qu'elle ne permettait aucun type de discrimination. Une enquête va être lancée et si les accusations sont vérifiées, l'université prévoit d'imposer des sanctions "maximales"à l'enseignant.
https://www.i24news.tv/fr/actu/international/ameriques/1594061820-argentine-un-professeur-propose-d-offrir-un-bonus-a-celui-qui-trouve-un-juif-pauvre
https://www.lavoz.com.ar/ciudadanos/ya-no-pertenece-a-universidad-siglo-21-docente-que-fue-sumariado-por-dichos-antisemitas/
Several years ago, a non-Jewish film producer turned to me and announced, casually and with an air of arrogance and ignorance reserved particularly for bigots, “Jews control Hollywood.”
He assured me this was a compliment, as many antisemites are wont, trotting out Neal Gabler’s seminal text on the subject, “An Empire of Their Own: How the Jews Invented Hollywood,” as evidence. But it was clear that said producer had either never read Gabler’s book, or missed one of its key points entirely: the founding producers of the film biz were Jewish, most of them Eastern European immigrants, excluded and ostracized from virtually every other industry in America.
William Fox, Carle Laemmle, Louis B. Mayer — they created Hollywood out of collective necessity, a decidedly human desire to realize the American Dream. They were not wanted anywhere else. But if these pioneering studio heads were Jewish, the majority of directors, writers and actors were not. Preston Sturges, Frank Capra, John Ford, Howard Hawkes — these were the artists largely shaping early 20th century cinema in the U.S.
In short, there is a core etymological difference between invent and control.
This was not, of course, the first time I’d heard uttered the weary and delusional trope that Jews, who comprise roughly 0.2 % of the world’s total population, are somehow at the totalitarian helm of an industry that, per the U.S. Dept. of Labor, supports some 2.6 million jobs. Growing up Jewish in post-Holocaust America, I’ve experienced antisemitism in all its various nefarious forms, from violent physical assaults to passive microaggressions shrouded in the guise of woke intellectualism.
But, for whatever reason — aside from the well-documented epigenetic trauma, antisemitism can breed introspection in its objects of hatred — said producer’s assertion that Jews dominate decision-making in Hollywood prompted me to examine the years working in the film industry in which I, a Jew, had zero decision-making power.
In 1997, after graduating from USC with an MFA in screenwriting, I spent that summer penning a semi-autobiographical script that would ultimately land me a deal at a major motion picture studio. Before sending it out, however, my then-agent advised me to make the storyline “less Jewish.” Could we change the Jewish characters to Irish-Catholic ones? she asked. We could, so I did. Because I was new to the biz and assumed that is what one needed to do in order to work as a screenwriter.
In truth, it wasn’t difficult. I grew up in Boston, a city with the highest percentage of Irish ancestry in the United States. I wore green on St. Patrick’s Day and sat through annual elementary school screenings of “Darby O’Gill and the Little People.” So, I changed the bat mitzvah scene in my script to a First Communion and switched the Cohen family to the McConnells. The essence of the script felt lost, but at least I’d scored a job.
From that moment on, the message was clear: you can be Jewish in Hollywood, but not too Jewish.
For decades the watering-down of Jewish representation in TV and film, namely in terms of casting, struck me as an annoying but not necessarily harmful casualty of Jewish life in America, one in which assimilation — not just for Jews, but for every ethnic group — has always come at the expense of subverting one’s cultural identity. But amidst a surge of antisemitism in the United States — per the FBI, 63% of all reported religion-based hate crimes in 2019 were directed at Jews, making it the single-largest category — and the fact that scant few individuals are speaking out against these crimes, it bears reminding those in the industry that, as with any other ethnic minority (Asians, Blacks, Indigenous peoples), the perception of Jews onscreen does matter. In a day and age in which a focus on diversity and inclusion is front and center, it’s a hypocrisy to affirm it doesn’t.
Are there Jewish characters on screen? Of course. From Jerry Seinfeld to Fran Drescher’s nanny and Debra Messing’s “Grace,” there are Jewish protagonists that are writ large in the American pop cultural canon. But for every Larry David, there’s a Cheryl Hines, a non-Jewish spouse, friend — foil, if you will — to offset the Jewishness. To make it more “accessible” for American society at large. (Unless the storyline is about the Holocaust; then Hollywood seems to be OK with an entire family being Jewish, especially if they die at the end.) When there is a Jewish actor playing a Jew, Hollywood effectively demands said actor to express at least slight moral disdain and psychological discomfort with one’s Jewishness. The edgy, neurotic misfit Jew has become synonymous with Jews in film and TV, from Woody Allen in every movie he’s made to every actor playing Woody Allen’s surrogate to Seth Rogen’s nebbish-y pothead slacker in “Knocked Up.”
Because, God forbid, Jews like being Jewish. Far more fashionable to be a little self-hating.
Actors ignoring or nonchalantly brushing off antisemitic comments — statements further perpetuating the damaging mythical assertion that Jews imagine the hatred directed their way —can be cast as Jews. And they are. Hollywood has no issue with this at all. Take “Mank,” for example, David Fincher’s biopic about “Citizen Kane” screenwriter Herman J. Mankiewicz. Gary Oldman, who netted an Oscar nom for his portrayal of Mank, told Playboy magazine in 2014 that people should “get over” Mel Gibson’s infamous 2006 antisemitic rant. And they did, of course. Despite Gibson’s antisemitic (and misogynistic and racist) slurs, he’s continued to work as a director and actor. His status in the biz has thrived; in 2017, Gibson earned an Oscar nom for directing “Hacksaw Ridge.”
The messaging here, too, is clear: You can say and do things that are antisemitic, and still go on to have a flourishing career.
With rare exception in the way of Barbra Streisand — perhaps the singular Jewish superstar whose cultural identity, not to mention her unrelenting support of Israel, is allowed free rein across music, television and film —Hollywood seems to find an almost obsessive, near-pathological need to dilute female Jewish characters. Or erase.
The examples are vast, and they are also maddening. In “The Marvelous Mrs. Maisel,” Jewish heroine Midge is played by non-Jew Rachel Brosnahan. In “On the Basis of Sex,” Ruth Bader Ginsburg, the modern-day thinking Jewish woman’s pin-up for her groundbreaking contributions to constitutional law, is played by non-Jewish British actor Felicity Jones. And in Hulu’s “Mrs. America,” Jewish second-wave feminists Betty Friedan, Bella Abzug and Gloria Steinem are played by Tracy Ullman, Margo Martindale and Rose Byrne — none of whom are Jewish. Julianne Moore (not Jewish), also played Steinem in Julie Taymor’s “The Glorias.” And in ABC’s long-running sitcom “The Goldbergs,” shopaholic balabusta Beverly Goldberg is played by non-Jewish comedian Wendy McClendon-Covey. Even Elsa, the adolescent “Jew in the Wall” in Taika Waititi’s Oscar-winning “Jojo Rabbit,” is played by non-Jewish actor Thomasin McKenzie.
My current favorite: in Guy Nattiv’s upcoming Golda Meir biopic, Helen Mirren (and, yes, the Oscar-winner is an inarguably gifted actor), will play Israel’s lone female prime minister, an iron-fisted global leader who commandeered Israel to victory during the Yom Kippur War. Because nothing says Kiev-born, Milwaukee-raised kibbutznik-turned-“gray-bunned grandmother of the Jewish people” — a political figure who embraced her “ugliness” as a political asset and whom David Ben Gurion was fond of calling “the best man in the government”—than a regal British Dame with ancestral ties to Russian nobility.
As Sarah Silverman, who speaks freely of oft being considered “too Jewish” to play certain roles, noted on her podcast and on “The Howard Stern Show” last November: “Lately it’s been happening — if that role is a Jewish woman, but [if] she is courageous, or she deserves love, or has bravery, or is altruistic in any way, she’s played by a non-Jew.”
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Je ne veux plus perdre de mots là-dessus. Les juifs d'abord, puis les chrétiens, suivis des personnes LGBTQ et ensuite aussi des musulmans incroyants. Ils mourront tous tôt ou tard. Passons à la Oumma et au califat hollandais. Il est trop tard pour inverser la tendance.