History Main / YouHaveToHaveJews

23rd Sep '16 4:17:38 AM Morgenthaler
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-->-- '''[[http://www.youtube.com/watch?v=CwxRhZiFWy4&feature=related Sir Robin]]''', ''{{Spamalot}}''

to:

-->-- '''[[http://www.youtube.com/watch?v=CwxRhZiFWy4&feature=related Sir Robin]]''', ''{{Spamalot}}''
''Theatre/{{Spamalot}}''



** ''A Star Called Henry'' (set during the Irish Revolution just after WorldWarI) has the hero have a rather {{anvilicious}} friendship with a Latvian Jewish refugee. At the time there were about 3000 Jews in Dublin (0.8% of the population) so it comes across as a bit forced since the only real reason for them to be Jewish is so Doyle can make the IRA seem [[AuthorTract even more evil]] when they disapprove of his friendship.

to:

** ''A Star Called Henry'' (set during the Irish Revolution just after WorldWarI) UsefulNotes/WorldWarI) has the hero have a rather {{anvilicious}} friendship with a Latvian Jewish refugee. At the time there were about 3000 Jews in Dublin (0.8% of the population) so it comes across as a bit forced since the only real reason for them to be Jewish is so Doyle can make the IRA seem [[AuthorTract even more evil]] when they disapprove of his friendship.
21st Sep '16 8:52:05 AM MarkLungo
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Of course, like so many others, this rather sensitive trope began as an inversion of another trope. There was a time when working in media was one of the few options for ambitious, intelligent, well-educated people who happened to be Jewish. Anything considered to be academic or high art would be under considerable pressure to appear "respectable," and cater to the segregationist views of the time. Anyone who was not (or could not pass for) white, American- or British-born, heterosexual, Christian (most likely Protestant), and often times male might be considered a risk to the company's reputation. Since radical new media, such as {{film}}, {{radio}}, ComicBooks and, later, {{UsefulNotes/television}} were [[NewMediaAreEvil often callously dismissed as vulgar]], they tended to hire the people no one else would take -- i.e. Jews. Despite the doomsday warnings of segregationist MoralGuardians, new media took off and people who once had to scramble for an employer became part of history. In short, many might say that the Jewish people who ran Hollywood did so because ''[[http://www.randomhouse.com/book/57285/an-empire-of-their-own-by-neal-gabler they were the ones who built it ]]''. Most major Hollywood studios, including the Big Five (20th Century Fox, RKO Pictures, Paramount Pictures, Warner Bros., and Metro-Goldwyn-Mayer) and the Little Three (Universal Pictures, Columbia Pictures, and United Artists) had at least one Jewish founding member, with the prominent exception of Walt Disney Studios (as such, [[UrbanLegends some say]] that Walt Disney hated Jews, when in fact his beef was specifically with left-wing Jewish labor leaders he suspected of infiltrating his studio), and every American studio currently has Jews in at least some high ranking executive and creative positions. Creative types usually write what they know, and despite the ever-lingering specter of antisemitism in the early twentieth century, many writers, directors, producers, etc. most certainly [[WriteWhatYouKnow would have passed on their own perspective into their work, intentionally or not]].

This trope does not lend itself to a simple list of examples, as such a list might smack of antisemitism ("what's with all these Jews?"). This is not what this trope is about at all. It is, nevertheless, noticeable to viewers and readers who live in areas where Jewish populations are much smaller (e.g. the UK, where Jews were, according to the 2001 census, outnumbered three to two by ''[[StarWars Jedi]]''). As it's a TropeInAggregate, please add examples only where this trope is {{lampshade|Hanging}}d, or possibly {{averted|Trope}} if it's really incongruous.

to:

Of course, like so many others, this rather sensitive trope began as an inversion of another trope. There was a time when working in media was one of the few options for ambitious, intelligent, well-educated people who happened to be Jewish. Anything considered to be academic or high art would be under considerable pressure to appear "respectable," and cater to the segregationist views of the time. Anyone who was not (or could not pass for) white, American- or British-born, heterosexual, Christian (most likely Protestant), and often times male might be considered a risk to the company's reputation. Since radical new media, such as {{film}}, {{radio}}, ComicBooks and, later, {{UsefulNotes/television}} were [[NewMediaAreEvil often callously dismissed as vulgar]], they tended to hire the people no one else would take -- i.e. Jews. Despite the doomsday warnings of segregationist MoralGuardians, new media took off and people who once had to scramble for an employer became part of history. In short, many might say that the Jewish people who ran Hollywood did so because ''[[http://www.randomhouse.com/book/57285/an-empire-of-their-own-by-neal-gabler they were the ones who built it ]]''. Most major Hollywood studios, including the Big Five (20th Century Fox, RKO (Creator/TwentiethCenturyFox, Creator/RKOPictures, Creator/{{Paramount}} Pictures, Paramount Pictures, Warner Bros., Creator/WarnerBros, and Metro-Goldwyn-Mayer) Creator/MetroGoldwynMayer) and the Little Three (Universal (Creator/{{Universal}} Pictures, Columbia Pictures, Creator/ColumbiaPictures, and United Artists) Creator/UnitedArtists) had at least one Jewish founding member, with the prominent exception of Walt Disney Creator/{{Disney}} Studios (as such, [[UrbanLegends some say]] that Walt Disney Creator/WaltDisney hated Jews, when in fact his beef was specifically with left-wing Jewish labor leaders he suspected of infiltrating his studio), and every American studio currently has Jews in at least some high ranking executive and creative positions. Creative types usually write what they know, and despite the ever-lingering specter of antisemitism in the early twentieth century, many writers, directors, producers, etc. most certainly [[WriteWhatYouKnow would have passed on their own perspective into their work, intentionally or not]].

This trope does not lend itself to a simple list of examples, as such a list might smack of antisemitism ("what's with all these Jews?"). This is not what this trope is about at all. It is, nevertheless, noticeable to viewers and readers who live in areas where Jewish populations are much smaller (e.g. the UK, where Jews were, according to the 2001 census, outnumbered three to two by ''[[StarWars ''[[Franchise/StarWars Jedi]]''). As it's a TropeInAggregate, please add examples only where this trope is {{lampshade|Hanging}}d, or possibly {{averted|Trope}} if it's really incongruous.
9th Sep '16 7:39:33 PM ShardShinjuku
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Of course, like so many others, this rather sensitive and in no way value-judgemental trope began as an inversion of another trope. There was a time when working in media was one of the few options for ambitious, intelligent, well-educated people who happened to be Jewish. Anything considered to be academic or high art would be under considerable pressure to appear "respectable," and cater to the segregationist views of the time. Anyone who was not (or could not pass for) white, American- or British-born, heterosexual, Christian (most likely Protestant), and often times male might be considered a risk to the company's reputation. Since radical new media, such as {{film}}, {{radio}}, ComicBooks and, later, {{UsefulNotes/television}} were [[NewMediaAreEvil often callously dismissed as vulgar]], they tended to hire the people no one else would take -- i.e. Jews. Despite the doomsday warnings of segregationist MoralGuardians, new media took off and people who once had to scramble for an employer became part of history. In short, many might say that the Jewish people who ran Hollywood did so because ''[[http://www.randomhouse.com/book/57285/an-empire-of-their-own-by-neal-gabler they were the ones who built it ]]''. Most major Hollywood studios, including the Big Five (20th Century Fox, RKO Pictures, Paramount Pictures, Warner Bros., and Metro-Goldwyn-Mayer) and the Little Three (Universal Pictures, Columbia Pictures, and United Artists) had at least one Jewish founding member, with the prominent exception of Walt Disney Studios (as such, [[UrbanLegends some say]] that Walt Disney hated Jews, when in fact his beef was specifically with left-wing Jewish labor leaders he suspected of infiltrating his studio), and every American studio currently has Jews in at least some high ranking executive and creative positions. Creative types usually write what they know, and despite the ever-lingering specter of antisemitism in the early twentieth century, many writers, directors, producers, etc. most certainly [[WriteWhatYouKnow would have passed on their own perspective into their work, intentionally or not]].

to:

Of course, like so many others, this rather sensitive and in no way value-judgemental trope began as an inversion of another trope. There was a time when working in media was one of the few options for ambitious, intelligent, well-educated people who happened to be Jewish. Anything considered to be academic or high art would be under considerable pressure to appear "respectable," and cater to the segregationist views of the time. Anyone who was not (or could not pass for) white, American- or British-born, heterosexual, Christian (most likely Protestant), and often times male might be considered a risk to the company's reputation. Since radical new media, such as {{film}}, {{radio}}, ComicBooks and, later, {{UsefulNotes/television}} were [[NewMediaAreEvil often callously dismissed as vulgar]], they tended to hire the people no one else would take -- i.e. Jews. Despite the doomsday warnings of segregationist MoralGuardians, new media took off and people who once had to scramble for an employer became part of history. In short, many might say that the Jewish people who ran Hollywood did so because ''[[http://www.randomhouse.com/book/57285/an-empire-of-their-own-by-neal-gabler they were the ones who built it ]]''. Most major Hollywood studios, including the Big Five (20th Century Fox, RKO Pictures, Paramount Pictures, Warner Bros., and Metro-Goldwyn-Mayer) and the Little Three (Universal Pictures, Columbia Pictures, and United Artists) had at least one Jewish founding member, with the prominent exception of Walt Disney Studios (as such, [[UrbanLegends some say]] that Walt Disney hated Jews, when in fact his beef was specifically with left-wing Jewish labor leaders he suspected of infiltrating his studio), and every American studio currently has Jews in at least some high ranking executive and creative positions. Creative types usually write what they know, and despite the ever-lingering specter of antisemitism in the early twentieth century, many writers, directors, producers, etc. most certainly [[WriteWhatYouKnow would have passed on their own perspective into their work, intentionally or not]].
16th Aug '16 6:26:25 PM Malady
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* Referenced in the first episode of ''Series/House'' when [[InformedJudaism Wilson]] wonders how Foreman could have gotten through medical school without learning a thing or two about Jews (specifically, that they don't all keep Kosher).

to:

* Referenced in the first episode of ''Series/House'' ''Series/{{House}}'' when [[InformedJudaism Wilson]] wonders how Foreman could have gotten through medical school without learning a thing or two about Jews (specifically, that they don't all keep Kosher).
16th Aug '16 8:38:42 AM Weirdwombat
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* Lampshaded hilariously in the Creator/MontyPython musical ''{{Spamalot}}'', in the number "You Won't Succeed On Broadway (If You Don't Have Any Jews)". They succeed after all because [[spoiler: Patsy]] turns out to be Jewish, though he's reluctant to reveal it to heavily armed Christians. The joke was changed to "stars" in the UK out of fears that we Brits just wouldn't get it due to the UK's small Jewish population. *(The title of the song is changed to "You Won't Succeed in Showbusiness").

to:

* Lampshaded hilariously in the Creator/MontyPython musical ''{{Spamalot}}'', in the number "You Won't Succeed On Broadway (If You Don't Have Any Jews)". They succeed after all because [[spoiler: Patsy]] turns out to be Jewish, though he's reluctant to reveal it to heavily armed Christians. The joke was changed to "stars" in the UK out of fears that we Brits just wouldn't get it due to the UK's small Jewish population. *(The (The title of the song is changed also changed, to "You Won't Succeed in Showbusiness").
16th Aug '16 8:37:49 AM Weirdwombat
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* Lampshaded hilariously in the Creator/MontyPython musical ''{{Spamalot}}'', in the number "You Won't Succeed On Broadway (If You Don't Have Any Jews)". They succeed after all because [[spoiler: Patsy]] turns out to be Jewish, though he's reluctant to reveal it to heavily armed Christians. The joke was changed to "stars" in Glasgow out of fears that Scots just wouldn't get it due to Scotland's small Jewish population.
** The title of the song in the London version is "You Won't Succeed in Showbusiness".

to:

* Lampshaded hilariously in the Creator/MontyPython musical ''{{Spamalot}}'', in the number "You Won't Succeed On Broadway (If You Don't Have Any Jews)". They succeed after all because [[spoiler: Patsy]] turns out to be Jewish, though he's reluctant to reveal it to heavily armed Christians. The joke was changed to "stars" in Glasgow the UK out of fears that Scots we Brits just wouldn't get it due to Scotland's the UK's small Jewish population.
** The
population. *(The title of the song in the London version is changed to "You Won't Succeed in Showbusiness".
Showbusiness").
8th Aug '16 10:14:59 AM Morgenthaler
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* In Roddy Doyle's ''A Star Called Henry'' (set during the Irish Revolution just after WorldWarI) has the hero have a rather {{anvilicious}} friendship with a Latvian Jewish refugee. At the time there were about 3000 Jews in Dublin (0.8% of the population) so it comes across as a bit forced since the only real reason for them to be Jewish is so Doyle can make the IRA seem [[AuthorTract even more evil]] when they disapprove of his friendship.
** Of course the most famous literary Dubliner of that era is also Jewish: [[{{Ulysses}} Leopold Bloom]]. One of the things about them is that in the nationalist-Catholic vs. loyalist-Protestant divide, Jews were "neutral", or at least not obviously aligned with one of the sides. Had the hero cultivated a friendship with an Irish Protestant, the readers' set of expectations would have been completely different.
* Lampshaded in the FAQ (Future Alien Questions) section of ''EarthTheBook'' for religion.

to:

* In Roddy Doyle's Doyle:
**
''A Star Called Henry'' (set during the Irish Revolution just after WorldWarI) has the hero have a rather {{anvilicious}} friendship with a Latvian Jewish refugee. At the time there were about 3000 Jews in Dublin (0.8% of the population) so it comes across as a bit forced since the only real reason for them to be Jewish is so Doyle can make the IRA seem [[AuthorTract even more evil]] when they disapprove of his friendship.
** Of course the most famous literary Dubliner of that era is also Jewish: [[{{Ulysses}} Leopold Bloom]].Bloom from ''Literature/{{Ulysses}}''. One of the things about them is that in the nationalist-Catholic vs. loyalist-Protestant divide, Jews were "neutral", or at least not obviously aligned with one of the sides. Had the hero cultivated a friendship with an Irish Protestant, the readers' set of expectations would have been completely different.
* Lampshaded in the FAQ (Future Alien Questions) section of ''EarthTheBook'' ''Literature/EarthTheBook'' for religion.
7th Aug '16 6:46:48 PM Morgenthaler
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* JonStewart (né Leibowitz) is fond of exercising [[NWordPrivileges J-Word Privileges]] with this trope, as when he jokes on ''Series/TheDailyShow'' about the "Jew-run media". Once while accepting an Emmy award, Jon claimed the secret to the show's success was "diversity;" he then indicated the dozen or so white men making up the writing staff and pointed out one who "used to have a beard" and another who "isn't Jewish".

to:

* JonStewart Creator/JonStewart (né Leibowitz) is fond of exercising [[NWordPrivileges J-Word Privileges]] with this trope, as when he jokes on ''Series/TheDailyShow'' about the "Jew-run media". Once while accepting an Emmy award, Jon claimed the secret to the show's success was "diversity;" he then indicated the dozen or so white men making up the writing staff and pointed out one who "used to have a beard" and another who "isn't Jewish".
6th Aug '16 12:28:20 PM ACW
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* Normally, ''EverydayHeroes'' goes to great lengths to [[SubvertedTrope subvert tropes]] ... then introduces a [[http://eheroes.smackjeeves.com/comics/2111617/legalese/ Jewish family]] consisting ''[[ExaggeratedTrope entirely of lawyers]]''.

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* Normally, ''EverydayHeroes'' ''Webcomic/EverydayHeroes'' goes to great lengths to [[SubvertedTrope subvert tropes]] ... then introduces a [[http://eheroes.smackjeeves.com/comics/2111617/legalese/ Jewish family]] consisting ''[[ExaggeratedTrope entirely of lawyers]]''.
21st May '16 5:13:10 PM Tamfang
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* One episode of ''Series/Lovejoy'' features a diamond merchant with a black hat and Yiddish accent and so on. When Lovejoy catches him eating a ham sandwich, he explains the schtick: "It's expected."

to:

* One episode of ''Series/Lovejoy'' ''Series/{{Lovejoy}}'' features a diamond merchant with a black hat and Yiddish accent and so on. When Lovejoy catches him eating a ham sandwich, he explains the schtick: "It's expected."
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