Nick cannon has decided to take time away from his show to strengthen bond between blacks and jews

[get these nets]

Reposting this for@viktordoomsecretwars since he ignored it last time.

You called BS on what I wrote and asked for proof.


The last post was to establish that American jews did in FACT dominate Hollywood in the time period we're talking about. The book/film listed in the previous post included commentary from insiders and the descendants of the eastern european jews who founded the big studios. Both got good reviews and no charges of anti semitisim from critics because it was detailing the history of actual people. Nobody affiliated with the film had a problem saying publicly that jews came to dominate the American film industry.

Now, for the racist films from those studios that ran parallel to Goebbels propaganda. Let's use one studio and one "genre" of films as an example. Warner Brothers, and children's cartoons.

THE CENSORED 11
The Censored Eleven are 11 cartoons that were created in the early 1930’s to the late 1940’s by Warner Brothers and Merrie Melodies. Because of the use of ethnic stereotypes in these cartoons, they were deemed too offensive for contemporary audiences.

Link to article about those racist children's cartoons, and the backlash/protests from Black people
Warner Brothers Censored Eleven

the artwork for one of the extreme examples of these children's cartoons with the name of the producer on the poster

Spoiler

full imdb list of credits for that film

Coal Black and de Sebben Dwarfs (1943) - Full Cast & Crew - IMDb


Longer ist of banned cartoons that came out of Warner Brothers studio in this time period

Banned Cartoons: Warner Brothers - IMDb


If this level of hatred and disrespect was found in children's cartoons, imagine what types of stereotypes permeated live action films coming from these studios.

 

[get these nets]

@viktordoomsecretwars
This will be my last time tagging you, as I see what it is.
Next time you want to parachute in here, send somebody who knows what they are talking about.

 

[get these nets]

THR Icon: Quincy Jones Reflects on Career, Michael Jackson and Elvis – The Hollywood Reporter

What brought you to Hollywood during the mid-1960s?

They called me to do Gregory Peck’s Mirage [in 1965] and I came out here. I was dressed in my favorite suit, and the producer came out to meet me at Universal. He stopped in his tracks — total shock — and he went back and told [music supervisor] Joe Gershenson, “You didn’t tell me Quincy Jones was a Negro.” They didn’t use Black composers in films. They only used three-syllable Eastern European names, Bronislaw Kaper, Dimitri Tiomkin. It was very, very racist. I remember I would be at Universal walking down the hall, and the guys would say, “Here comes a shvartze” in Yiddish, and I know what that means.

 

[invalid]

“You didn’t tell me Quincy Jones was a Negro.”

 

[EBK String]

your type of people would have treated him the same way.

 

[invalid]

your type of people would have treated him the same way.

Bro, where your autistic ass been?

 

[invalid]

your type of people would have treated him the same way.

“When Berry opened Motown in 1959 on West Grand Boulevard,” explains a retired auto executive, “he lost any hope of moving into the upscale black crowd. Since his family already owned businesses—cleaners, bakery, drugstores—a lot of us already knew them. But Motown appealed to this lower-class element that made it impossible for us to ever really let him into our circle.”

“Music people would never have fit into my parents’ crowd,” says a third-generation resident of Detroit who remembers her family’s circle of friends, who belonged to the Links, the Deltas, and the Omegas. “The Motown people were uneducated entertainers, so they were somewhat coarse. We certainly asked them—as celebrities—to sit on the dais at our events—you know, for publicity purposes—but that’s as far as things went. The best of them was Diana Ross because she wanted to improve herself, and just look how well she’s done.” The woman pauses for a moment and stares out her living room window at a mostly white tour group walking through her neighborhood. Her mind drifts back to Diana Ross, and she continues, “But then again, she was a bit coarse too, because you know she also grew up in the Brewster Housing Projects. My parents were professionals, so they certainly weren’t talking to people in the projects.”

 

[frush11]

Wow

 

[get these nets]

.Motown was the largest Black owned company in America for years, so I don't think that being snubbed by the Detroit OKOP set was something Gordy ever paid attention to.

How do you think members of those sets reacted to the ones from their circles who have made forays into the music industry since then?

Sylvia Rhone, for example

 

[EBK String]

bu bu bu the Boule is an integral part of the black community.

 

[invalid]

.Motown was the largest Black owned company in America for years, so I don't think that being snubbed by the Detroit OKOP set was something Gordy ever paid attention to.

Actually, I think it did get under their skin. Detroit had the largest black middle/upper middle class in the country during that time and the black folks had a lot of influence in the city. I think it bothered the Motown people severely that their kids couldn't get into Jack and Jill or take part in the black debutante cotillions.

There was even a sneak diss alluding to some of the Motown people trying to "perpetrate" like they were OKOP in the book.

How do you think members of those sets reacted to the ones from their circles who have made forays into the music industry since then?

Sylvia Rhone, for example

She has the complexion for the protection.

Nah, actually you'd be surprised. A lot of them, and I mean a lot, worked behind the scenes for BET, MTV, and the NBA. Sheila Johnson for example. They are typically corporate side executive level which is obviously acceptable.

 

[EBK String]

Actually, I think it did get under their skin. Detroit had the largest black middle/upper middle class in the country during that time and the black folks had a lot of influence in the city. I think it bothered the Motown people severely that their kids couldn't get into Jack and Jill or take part in the black debutante cotillions.

There was even a sneak diss alluding to some of the Motown people trying to "perpetrate" like they were OKOP in the book.



She has the complexion for the protection.

Nah, actually you'd be surprised. A lot of them, and I mean a lot, worked behind the scenes for BET, MTV, and the NBA. Sheila Johnson for example. They are typically corporate side executive level which is obviously acceptable.

yall just as backwards as the ghetto black people you look down on. Owning the largest black music company in the country isn't respectable but working for a cac corporation is.

 

[get these nets]

Actually, I think it did get under their skin. Detroit had the largest black middle/upper middle class in the country during that time and the black folks had a lot of influence in the city. I think it bothered the Motown people severely that their kids couldn't get into Jack and Jill or take part in the black debutante cotillions.

There was even a sneak diss alluding to some of the Motown people trying to "perpetrate" like they were OKOP in the book.



She has the complexion for the protection.

Nah, actually you'd be surprised. A lot of them, and I mean a lot, worked behind the scenes for BET, MTV, and the NBA. Sheila Johnson for example. They are typically corporate side executive level which is obviously acceptable.

Well, you have said that Detroit has some of the meanest people you've encountered.
Hehehe

Seriously, though...I hear your point. Detroit was the wealthiest city in America in the past, so I think several wealthy Black circles emerged around that metro area. Old money, new money, and mixed circles.
Class perceptions aside, I think the old guard was forced to respect Berry Gordy's accomplishments as a business owner. Especially when it was documented by a newly minted member of their outer circle.

As far as the artists, I think the pattern followed how it was depicted in the film

Spoiler: How it started

Spoiler: How it's going

Her mother had a thing for dark skin men.

Actually, most of them do.

I'm sure the real life Motown stars were running through the daughters and wives of this entire set.

*funny related story
When Bobby Brown was the King of the world, he shot the live version of the Tenderoni video at a concert in Detroit. The girl he brought up on stage was from one of the wealthy area Black families

I think that was an interesting time in history. As society and institutions were integrating, and more avenues were being opened up...the old guard didn't quite hold the level of power and influence that it did previously. Gordy rose without their help, approval, or cosigning.

The acts on the label met resistance when they tried to buy their way into parts of those circles. That clash was inevitable.


--
The "oh, that was different" view they have of Rhone compared to Gordy shows that the rules aren't quite as rigid as the set would say.
Motown performers became international superstars.....and Berry Gordy hired an etiquette coach to teach them how to present and carry themselves around the press and in global high society.
If the OKOP people thought that they were ghetto, what would they make of the roster of Elektra when Rhone was in charge there? In that era, performers from the hood were encouraged to play up and exaggerate their "coarseness". Sheila Johnson and her husband promoted and exploited hood caricatures to the world around the same era to cash in.
The energy toward them was different.

 

[Wear My Dawg's Hat]

.Motown was the largest Black owned company in America for years, so I don't think that being snubbed by the Detroit OKOP set was something Gordy ever paid attention to.

How do you think members of those sets reacted to the ones from their circles who have made forays into the music industry since then?

Sylvia Rhone, for example

Interestingly, we've heard over the years about how the Hip Hop industry tyc00ns spend their summers in the Hamptons,
away from Martha's Vineyard and Sag Harbor, where you will generally find the old guard Black elites.

 

[get these nets]

Interestingly, we've heard over the years about how the Hip Hop industry tyc00ns spend their summers in the Hamptons,
away from Martha's Vineyard and Sag Harbor, where you will generally find the old guard Black elites.

Parts of the Hamptons are now "new money" enclaves , where the ethnic white moguls planted a flag after being denied into WASP circles. Being new money from non conservative industries, they (publicly) court the new wave of people who they can make money from/with