David Geffen, Steven Spielberg, and Bill Clinton
by Dr. William L. Pierce
I REFERRED to Steven Spielberg’s new film, Saving Private Ryan, in my talk with you last week. We talked about the way in which that film — and every other film about the Second World war which has come out of Hollywood — have perpetuated the myth — the deliberate lie — that the Second World War was a necessary war and a good war. I mentioned that the Jews have elaborated on this basic lie with their postwar lies about lampshades and soap supposedly manufactured from the corpses of millions of gassed Jews: poor, innocent, inoffensive, sensitive, blameless, high-minded, talented, violin-playing Jews murdered by the brutal, vicious, sadistic, Neanderthal Germans. That’s the standard Hollywood lie perpetuated by Jews like Steven Spielberg. And the Jews use this lie to extort billions and billions and billions of dollars from the rest of the world. Switzerland is their current target, but believe me, they intend to suck the last drop of blood from all the rest of us too.
I’ve spoken with you on several earlier programs about this extortion racket and about the lies on which it is based. One subject we haven’t talked much about is the liars themselves, the extortionists, the individual Jews behind the myth. Actually, quite a bit has been written about these people. On a program a couple of months ago I mentioned one book which gives an overview of the Jews’ takeover of Hollywood and their transformation of the motion-picture industry into a propaganda tool for manipulating Americans. That book is Neil Gabler’s An Empire of their Own: How the Jews Invented Hollywood, and it’s available from National Vanguard Books, the sponsor of this program. Just write for a copy of the National Vanguard Books catalog.
I just finished reading another book on the same general subject which was published last year. It’s Stephen Singular’s biography of David Geffen, and it’s also available from National Vanguard Books. Have you ever heard of David Geffen? He’s the “G” in DreamWorks SKG. The “S” is Steven Spielberg, and the “K” is Jeffrey Katzenberg. Geffen is a Hollywood Jew who became a billionaire in the music business: records, tapes, and CDs of rock, rap, and the other things which pass for “music” these days. With his billions he formed a new film production company — DreamWorks SKG — in 1994 with his good Jewish friends Spielberg and Katzenberg, and now we’re beginning to see some of their products.
Stephen Singular’s biography of Geffen is sympathetic. Singular writes sympathetically about rich and powerful Jews generally. What makes his biography of Geffen interesting for us is the view it gives us of the world in which these rich Jews live. It is a world quite alien to ours. Did you ever hear of Sammy Glick? He’s the protagonist in a 1941 novel, What Makes Sammy Run?, by the Jewish Hollywood scriptwriter Budd Schulberg. I read What Makes Sammy Run? when I was a freshman, and the image of Sammy Glick has stuck in my mind ever since. Sammy Glick is the prototypical Jewish hustler; the prototypical hungry, young Jew on the way up; the prototypical Hollywood Jew: crude, crass, grasping, manipulative, vulgar, unscrupulous, very verbal, willing to do absolutely anything to advance his career and get his hands on more money — well, you get the picture. It’s amazing that this Jewish prototype was described so starkly for us by a Jew, Budd Schulberg. Probably only a Jew could have given us such an insightful portrait. Anyway, David Geffen is Sammy Glick. The only difference is that Sammy Glick was a fictional character, and David Geffen is real. And Sammy Glick was a heterosexual who liked shikses — that is, Gentile girls — while David Geffen is a flaming homosexual.
And in fact, an amazingly large percentage of the Jews who control the American cultural, fashion, and entertainment establishment are homosexuals — or at least, they were: AIDS has taken quite a toll of them during the past decade. New York composer and conductor Leonard Bernstein, for example. In 1992, when he publicly announced his homosexuality after donating a million dollars to a homosexual charity, Geffen said he kept a cardfile of 341 of his friends and colleagues who had died of AIDS recently. Unfortunately, there still are a lot of them left.
The Jewish crowd that Geffen runs around with — people like fashion mogul Calvin Klein and media mogul Barry Diller — are referred to as the “Velvet Mafia.” One of the favorite hangouts for the Velvet Mafia used to be a disco called Studio 54 in New York City. Studio 54 was run by one of Geffen’s homosexual Jewish friends, Steve Rubell, until AIDS caught up with Rubell. The goings on at Studio 54 were really too raunchy for me to describe on this program, but if you have a strong stomach you can read about them in the Geffen biography or in another book published last year titled The Last Party: Studio 54, Disco, and the Culture of the Night, by Anthony Haden-Guest.
Not everyone who went to Studio 54 was Jewish or homosexual. Some of the clientele were non-Jewish homosexuals, like Elton John, Truman Capote, and Andy Warhol. Some were heterosexual Jews. And many were wealthy heterosexual Gentiles in the fields of entertainment or politics. The reason I suggest that you might be interested in looking into the world of Studio 54 is that it provides a good sample of the sort of morality and mind-set that prevail among rich Jews and their rich Gentile hangers-on in Hollywood, Washington, and New York. It is an utterly depraved world, a world where anything at all goes, so long as it provides kicks.
No one who knows me would accuse me of being a prude or being old-fashioned. I am sure, however, that my conviction that every healthy society must have boundaries of decent behavior comes much closer to the beliefs of most of my fellow citizens than does the completely hedonistic, amoral, anything-goes attitude of these self-appointed Jewish arbiters of American culture, as epitomized by David Geffen, Steven Spielberg, and Jeffrey Katzenberg. In reading of the goings on among Geffen and his friends at Studio 54 — totally nude men mingling with the clientele, public masturbation over piles of money, and the like; really, I cannot describe for you on the air the sort of depraved, degenerate behavior these people find amusing — I am reminded of Rome in the first century, under Caligula and Nero, and of Berlin during the Weimar Republic.
If these Jews kept strictly to themselves it would be bad enough, but they have been able to corrupt a whole stratum of all-too-easily corruptible Gentiles in entertainment and politics who have found the Jews’ money and power an irresistible attraction. Without any inner moral compass to guide them, actors and actresses and politicians have followed the lead of super-rich entertainment-industry Jews like David Geffen. They form a sort of goyische entourage, attending the Jews’ parties, going to their clubs and discos, fascinated by the conspicuous consumption and the outrageous excesses of their Jewish hosts.
Currently the best example of this is the relationship between David Geffen and Bill and Hillary Clinton. The Clintons have been in Geffen’s orbit since 1992, when the latter began contributing heavily to Bill’s campaign fund. Geffen became Hollywood’s single largest financial supporter of the Democratic Party, followed closely by his partners Steven Spielberg and Jeffrey Katzenberg. Another big supporter is Lew Wasserman, chairman emeritus of media giant MCA. Geffen, incidentally, sold his own music company, Geffen Records, which specializes in Black music for White kids, to Wasserman’s company in 1990 for $600 million. In addition to his personal donations to the two Clinton Presidential campaigns, Geffen has organized fund-raising events among his fellow Hollywood Jews which have poured many millions of dollars into the Democratic coffers.
And the relationship has been social as well as financial. Often when the Clintons have been in southern California Geffen has thrown parties for them, and they have stayed in one of his mansions. And when Geffen is in Washington, he often sleeps in the White House. And Geffen is never shy about expressing his opinion on policy matters or about giving advice to Clinton — which helps us to understand why Clinton has made the promotion of special rights for homosexuals such a prominent part of his policy agenda.
Bill Clinton had adopted the morality of “if it feels good, do it” and “anything goes” long before he met David Geffen, of course. Clinton is a product of the 1960s cultural and moral revolution, and his behavior in the White House has been pretty much the same as his earlier behavior in the Arkansas statehouse. His association with David Geffen and the latter’s circle of rich Jewish media bosses has merely served to confirm his conviction that his behavior really is smart and fashionable.
In a broadcast a couple of months ago I gave an example of this amoral attitude and the behavior it leads to. It’s worth repeating that example in connection with the Clinton-Geffen relationship. As I’m sure you remember, Clinton gave a speech at Portland State University in Oregon on June 13, in which he virtually gloated over the fact that the immigration and welfare policies of the Federal government will result in a non-White majority in America within the next 50 years. He said that any opposition, any resistance, to this darkening of America would be “un-American.”
Right after his speech at Portland State University Clinton went to Springfield, Oregon, and gave a speech at Thurston High School. This is the school where a 15-year-old student had blown away 24 of his classmates with a .22-calibre rifle a few days earlier. Clinton told the parents, students, and teachers at Thurston High that he “felt their pain,” and he preached against the so-called “culture of violence” which he said had led to so many schoolyard killings in recent months. We must do whatever it takes to end this “culture of violence” which leads kids to shoot each other, Clinton said.
Then, right after that speech, he hopped onto Air Force One for a flight to Los Angeles, where he attended a big fund-raising party being thrown for him that evening by one of Geffen’s pals, Lew Wasserman. He accepted almost a million dollars in donations from Wasserman, Geffen, and the other Hollywood Jews at the party that evening. Now, Wasserman’s company, MCA, owns Interscope Records, among a number of other record labels, and Interscope is the world’s foremost promoter and distributor of the Black musical genre known as “gangsta’ rap.” Gangsta’ rap lyrics customarily glorify criminal violence, including rape and murder. Tupac Shakur, a gangsta’ rapper who was himself killed in a drive-by shooting in Las Vegas in 1997, was one of Interscope’s star performers.
So what’s the connection? It’s this: many observers of children’s behavior believe that gangsta’ rap, with its glorification of violence, has incited children to commit criminal acts. Because of this there have been a number of protests against the companies, such as Interscope, which promote gangsta’ rap. Congressional hearings have even been held, and pressure has been applied to the record companies to stop producing gangsta’ rap. In other words, there’s no way Clinton could have been unaware that the music being sold by Lew Wasserman’s company is considered by many knowledgeable people to play a major role in creating the “culture of violence” that Clinton had decried in his speech at Thurston High School in Springfield, Oregon, just hours before arriving at Wasserman’s house and greeting his host with a big hug.
Now, let me emphasize this point. In March two young boys in Jonesboro, Arkansas, 11 and 13 years old, had shot four of their girl classmates and a female teacher to death in what seemed to be a totally senseless killing spree. The whole nation heard about this. Certainly, Mr Clinton did, because he made televised speeches about it, decrying the “culture of violence” that he said was responsible for the Jonesboro killings, just as he would later blame the same “culture of violence” for the Springfield, Oregon, killings. And you know, this appears to be one of the few times Mr. Clinton has been right about something, because the English teacher of one of the Jonesboro killers, 13-year-old Mitchell Johnson, testified before a U.S. Senate committee in Washington about the influence gangsta’ rap had had on the boy. Mitchell’s English teacher, Debbie Pelley, told the senators that she had noticed Mitchell’s behavior begin changing in the months before the shootings, when he began listening to gangsta’ rap recordings. His teacher told the Senate committee: “Mitchell brought this music to school with him, listened to it on the bus, tried listening to it in classes. . . . He was far more into this music than anyone else his friends knew.”
Young Mitchell’s favorite rapper was Tupac Shakur, according to his teacher. The CDs that 13-year-old Mitchell Johnson brought to school and listened to on the school bus, CDs that glorify rape and murder and are a big part of the “culture of violence” to which young Americans are exposed and which Mr. Clinton has blamed for the plague of schoolyard killings in America — these gangsta’ rap CDs were sold to Mitchell by Lew Wasserman’s company, Interscope Records.
Debbie Pelley told the U.S. Senate in her testimony in Washington that the 13-year-old White boy would sing along with the lyrics as he listened to Black rapper Tupac Shakur sing about “coming to school and killing all the kids.” Debbie Pelley saw the transformation of Mitchell Johnson with her own eyes; she witnessed the effect of gangsta’ rap on him; and she was lucky not to have been killed herself when the 13-year-old did, in fact, come to school and begin killing all the kids. And she testified to all of this in Washington. And yet Mr. Clinton is not ashamed to party with Lew Wasserman and to accept money from him. And the reason he’s not ashamed is that he knows he won’t be called to account for it. He knows that the Jews who control the news media won’t even tell the public about the connection between Bill Clinton, Lew Wasserman, and Tupac Shakur. They may criticize him for taking campaign contributions from Chinese gangsters and Indonesian bankers, but they will never criticize him for taking money from Jewish promoters of gangsta’ rap. Never, never, never. And so the lemmings, who are willing to forgive Bill Clinton if he gives even the flimsiest explanation of how his semen got on Monica Lewinsky’s dress — the lemmings will never even hear about the significance of his taking money from Lew Wasserman and David Geffen.
Part of what’s interesting about all of this is what it tells us about America’s political elite, which has become thoroughly acclimated to operating in this Jewish environment, this environment of Jewish money and Jewish media control. Well over half of all the money the Democratic Party raises for its candidates comes from the tiny Jewish minority in America: a minority which has accumulated a vastly disproportionate share of America’s wealth. And a substantial part of the donations from Jews comes from a relatively few extremely rich Jews associated with the entertainment industry in Los Angeles and New York. And of course, there are strings attached to all of this money. It buys not only sleepovers in the White House: it buys access and influence. It buys appointments to government office. That’s one of the reasons that two-thirds of the advisors, speechwriters, legislative assistants, lawyers, press secretaries, and so forth around Bill Clinton in the White House are Jews. Our government, our politicians, accept this situation as normal. It doesn’t bother them — just so long as they get their share of Jewish money.
And even more interesting is the fact that America’s popular culture has been shaped to a very large extent by Jews for the past 60 years or so. Today these Jews are men like David Geffen and Lew Wasserman and Steven Spielberg and the Weinstein brothers: Geffen and Wasserman in popular music and Spielberg and the Weinsteins in films. Not all of the music is gangsta’ rap, of course, and not all the films are the sort of obvious filth the Weinstein brothers produce for Michael Eisner’s Disney Company — but it’s all poison. Everything that these Jews touch is poisoned by them in one way or another. The whole movement in popular music which has replaced White music with Black music — which has promoted and popularized Black music among young Whites — has been orchestrated by Jews. The use of films to condition White Americans to accept racial mixing and interracial sex and homosexuality has been almost entirely a Jewish operation, just as the use of films earlier to incite hatred against Germany and to portray Jews as the world’s most deserving victims was a Jewish operation.
Do you think that the type of music David Geffen promotes isn’t influenced by the fact that he is a homosexual and a Jew? Do you think that the sort of people who are accustomed to hanging around places like Studio 54 and applauding the grossest sort of degeneracy can still make healthy decisions about the directions American popular culture and American fashion should take?
Anyway, it’s considerations of this sort which make it worth our while to learn about what the David Geffens in our society are doing.
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Source: American Dissident Voices broadcast, August 22nd, 1998