[Erasmus]

Supplement by Simon Sheppard

It is proposed, as a thesis for consideration, that Jews have little or no high artistic sense as we know it. Consider the eruv, a territory which is designated according to Jewish Orthodoxy as an area in which various functions may be performed on the Sabbath, such as pushing a pram or carrying keys. In reality the scheme serves as a test, 'Can we get away with this?' It probes the host nation's tolerance to the Jewish presence, serving the same purpose as an opinion poll, although dressed up as religious doctrine. Eruvs are in place in London's Golder's Green and around a certain prestigious property in Washington, DC.
Similarly, in much of Jewish 'classical' music can be detected an element of parody. It appears to progress in chutzpah from the songs of the 'English' Finsey to the 'Americans' Gershwin, with his ghastly 'Rhapsody in Blue,' and Copeland, whose barnyard noises seem invariably to be delivered in grandiose style and without a hint of awareness of the mockery that is being done. Besides 'composers,' the competence of Jewish conductors and performers may be adequate, as with many Orientals, but what passes for art is replaced by flamboyant dress and manner.
Another interesting analogy is with the 'cameo roles' Alfred Hitchcock gave himself in many of his movies. At first, this was evidently a private joke. Then enthusiasts watching Hitchcock's films who had learnt of it could not relax until they had identified the Director among the extras. So Hitchcock fell to making his cameo appearance early on so his audience could relax and enjoy the rest of the movie. This was copied by Jewish film-makers and a number of film and television movies exist which feature a Jewish joke within the first few minutes. It might be a reference to a rabbi, for example. This is passed over by Gentile viewers, but Jews in the audience understand fully from thenceforth that they are in the safe hands of their brethren.
Hence it is postulated that Jewish 'art' is naught but imitation and adaptation of Gentile art, to serve as an 'in joke' among their kindred, reinforcing the conspiracy. Whether the conspiracy is deliberate or merely instinctive, secret or simply unacknowledged, its result is the same. The extent of the parody serves to 'feel the temperature' and thus it assists in gauging the increment for the next stage of subtle power accumulation. Such information-gathering procedures (typically, using one thing to obtain information about another), the subtle accumulation of power (not advancing enough at any one time to provoke a response) and conspiracy are all female policies.


Jewish Art: Art History and the Jews