>>8408
On Jews having perhaps a more collective way of thinking, as cliché as it may sound, as I explored in a former post that is also a fragility because if you take control of the core you grab the whole thing at once. And Jews always go for the core and only resort to revolution when they have to break through the indigenous hierarchy, which they usually weaken preemptively with strikes, which would be harder for Jews since they're not that well implanted but they have the know how regarding communistic agitation at the factory level; and economical warfare, targeting essential resources such as food or perhaps today energy which is now just as essential, as we've seen in Europe, and can bring a whole economy down. And Energy is exactly what the Kadoorie are in, and they're powerful and filthy rich in this.
Regarding California's Hollywood (Los Angeles), it is true that it's a juggernaught of pozz creation, but back in the 30s it had just begun growing. It was so frail that NS Germany could force their conditions onto the Jews. Would you pick a study of America's cinema industry during the early 20th century I'm pretty sure you would find that Hollywood was not the only place where movies were produced.
https://en.wikipedia.org/wiki/Cinema_of_the_United_States#Origins_and_Fort_Lee
>The history of cinema in the United States can trace its roots to the East Coast, where, at one time, Fort Lee, New Jersey, was the motion-picture capital of America. The American film industry began at the end of the 19th century, with the construction of Thomas Edison's "Black Maria", the first motion-picture studio in West Orange, New Jersey. The cities and towns on the Hudson River and Hudson Palisades offered land at costs considerably less than New York City across the river and benefited greatly as a result of the phenomenal growth of the film industry at the turn of the 20th century.
>The industry began attracting both capital and innovative workforces. In 1907, when the Kalem Company began using Fort Lee as a location for filming in the area, other filmmakers quickly followed. In 1909, a forerunner of Universal Studios, the Champion Film Company, built the first studio. Others quickly followed and either built new studios or leased facilities in Fort Lee. In the 1910s and 1920s, film companies such as the Independent Moving Pictures Company, Peerless Pictures Studios, Solax Studios, Eclair, Goldwyn Pictures Corporation, Star Film (Georges Méliès), World Film Company, Biograph Studios, Fox Film Corporation, Société Pathé Frères, Metro-Goldwyn-Mayer Studios Inc., Victor Film Company, and Selznick International Pictures were all making pictures in Fort Lee. Many notable actors, such as Mary Pickford, got their start at Biograph Studios.
>In New York, the Kaufman Astoria Studios in Queens, which was built during the silent film era, was used by the Marx Brothers and W.C. Fields. The Edison Studios were located in the Bronx. Chelsea, Manhattan, was also frequently used.
>Other Eastern cities, most notably Chicago and Cleveland, also served as early centers for film production.
>In the West, California was already quickly emerging as a major film production center. In Colorado, Denver was home to the Art-O-Graf Film Company, and Walt Disney's early Laugh-O-Gram Studio was based in Kansas City, Missouri.
>From 1908, Jacksonville, Florida's motion picture industry saw more than 30 silent film companies establish studios in town, including Kalem Studios, Metro Pictures (later MGM), Edison Studios, Majestic Films, King-Bee Films Corporation, Vim Comedy Company, Norman Studios, Gaumont Film Company and the Lubin Manufacturing Company.
>Picture City, Florida was a planned site for a movie picture production center in the 1920s, but due to the 1928 Okeechobee hurricane, the idea collapsed and Picture City, Florida returned to its original name of Hobe Sound. An attempt to establish a film production center in Detroit also proved unsuccessful.
>The film patent wars of the early 20th century helped the spread of film companies to other parts of the US, outside New York. Many filmmakers worked with equipment for which they did not own the rights to use. Therefore, filming in New York could be dangerous, as it was close to Edison's company headquarters and close to the agents the company sent out to seize cameras.
>An alternative was Los Angeles, which had mild winters, a large selection of places to film, and, most importantly, it was only 90 miles to the border of Mexico, in case they needed to flee from Edison's enforcement agents. By 1912, most major film companies had set up production facilities in Southern California, near or in Los Angeles, because of the region's favorable year-round weather.
Quite interesting isn't it, this last bit? They would definitely not want a strong border between the USA and Mexico!
Then Hollywood rose to first place; it also was a secret hub of communism, even during the red scare and Nixon's pressure put on them. They wouldn't care much anyway because it was just part of the D&C they have refined into a sacred art of its own.
>California's more hospitable and cost-effective climate led to the eventual shift of virtually all filmmaking to the West Coast by the 1930s.
>In Los Angeles, the studios and Hollywood grew. Before World War I, films were made in several American cities, but filmmakers tended to gravitate towards southern California as the industry developed. They were attracted by the warm, predictable climate with reliable sunlight, which made it possible to film outdoors year-round.
Then no wonder why the Frankfurt rats moved there for their new cultural war. It was the perfect place.
California was finally chosen by the Jews because of the climate and even the proximity to Mexico during the early years, to escape some kind of possible persecution. It's a "geography first" decision. Jews would look into a place that's got a good climate and where they can quickly pack things up if it all turns sour. Coastal regions that open up to the Pacific are perfect for that.