Are Jews the Geniuses That They Seem to Be?
Posted by Socrates in Einstein, jewish 'genius', Jewish 'stereotypes', Jewish brain features, Jewish IQ, Jewish Privilege, movies at 1:28 pm | 
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On paper, the Jews seem to be very smart and creative. But are they really? Or do they just have a talent for gaming the system and for being in the right place at the right time, or, knowing the right people? I’ve often wondered that. Which is the truth? I know that Jews help other Jews to a great degree.
Jews have long been accused of stealing the artistic or intellectual works of gentiles (e.g., Albert Einstein stealing E=MC2 from Olinto De Pretto) and passing them off as their own. Another example: Jews built Hollywood using a movie camera which they stole from Thomas Edison. They stole Edison’s movie camera film, too, and bootlegged the film in Europe to avoid legal issues.
Consider, as another example, these accusations against the famous, Jewish, movie-soundtrack composer James Horner, who died in 2015. Horner composed many Hollywood movie scores, including for Titanic (1997) and Apollo 13 (1995):
“Horner was criticized more than once for reusing passages from his earlier compositions, and for featuring brief excerpts and reworked themes from classical composers. For example, his scores from Star Trek II: The Wrath of Khan and Star Trek III: The Search for Spock include excerpts from Prokofiev’s Alexander Nevsky and Romeo and Juliet; the famous action ostinato from Aliens is originally from Wolfen and the film’s main title is almost identical to Aram Khachaturian’s Gayane Ballet Suite (Adagio) (already used in an outer space context in 2001: A Space Odyssey); the heroic theme from Willow is based on that of Robert Schumann’s Rhenish Symphony; Field of Dreams includes cues from the “Saturday Night Waltz” portion of Aaron Copland’s ballet Rodeo; he deftly blended in part of an early theme from the 3rd movement of Shostakovich Symphony no. 5 into the scene of a raid on a desert IRA terrorist training camp in 1992 film Patriot Games, and the climactic battle scene in Glory includes excerpts from Wagner and Orff. Some critics felt these propensities made Horner’s compositions inauthentic or unoriginal. In a 1997 issue of Film Score Monthly, an editorial review of Titanic said Horner was “skilled in the adaptation of existing music into films with just enough variation to avoid legal troubles.” — from Wikipedia; URL: //en.wikipedia.org/wiki/James_Horner, May 2021.