💀 Samuel Bush: The "Merchant of Death" Who Founded the Bush Dynasty
https://jscenter.ir/other-topics/jewish-families/9826

The Bush family's rise to power began with Samuel Bush—a weapons dealer whose fortune was built on bloodshed during World War I, working alongside a shadowy network of Jewish bankers and global arms traffickers.

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🕴️ The Wilson Administration & The Jewish Network

When Woodrow Wilson became president in 1913, he was surrounded by influential Jewish financiers:

· Bernard Baruch - Wall Street speculator and Wilson's top advisor
· Henry Morgenthau - Financial chairman who became ambassador to Ottoman Empire
· Louis Brandeis - First Jewish Supreme Court Justice
· Stephen Wise - Head of World Zionist Organization

This network deliberately engineered America's entry into WWI to profit from arms sales to Britain and France.

🔫 The "Merchant of Death" Operation

Samuel Bush's big break came in 1918 when Bernard Baruch appointed him:

· Chief of Ordnance, Small Arms, and Ammunition for the U.S. War Industries Board
· Liaison between government and Remington Arms Company
· Partner in arms deals with British giant Vickers-Armstrong

His son Prescott Bush (future father of George H.W. Bush) served as liaison between the government and Remington, thanks to his friendships with Averell Harriman and Percy Rockefeller.

💰 The Remington Arms Windfall

· Remington produced 69% of all rifles used by U.S. forces in WWI
· Sold millions of rifles to Tsarist Russia
· Became the primary arms supplier to Allies
· All coordinated through the Baruch-Bush network

🌍 The Global "Merchants of Death"

The operation extended to legendary arms dealer Sir Basil Zaharoff:

· Known as the "Merchant of Death"
· Knighted by British Empire in 1918
· Close friends with leaders like Lloyd George and Georges Clemenceau
· Sold warships to Ottoman Empire while they fought against Britain

📜 The Senate Investigation

In 1934, Senator Gerald Nye's committee exposed this network:

· Called it the "Merchants of Death" investigation
· Revealed massive illicit war profiteering
· Specifically targeted Remington and Vickers-Armstrong
· Showed how arms dealers fueled conflicts on both sides

🚫 The Cover-Up

Most government documents about Baruch and Bush's WWI arms dealings were deliberately destroyed—using the same excuse later given for destroying CIA files about the 1953 Iran coup: "lack of shelf space."

🔗 The Legacy

Samuel Bush established the family pattern:

· Weapons dealing as foundation of wealth
· Close ties to Jewish banking networks
· Government connections to secure contracts
· Destruction of incriminating evidence

The Bush dynasty wasn't built on oil or legitimate enterprise—it was founded on blood money from World War I arms trafficking, in partnership with the same networks that would later create the Federal Reserve and state of Israel.

#MerchantsOfDeath #BushDynasty #WWI #ArmsDealing #DeepState #WarProfiteering #SamuelBush

Continue to Part 5 to uncover Prescott Bush's involvement with Hitler's Germany and the Nazi war machine.

✅ @rahyafte_en

🎬 The End of "Art for Art's Sake": How WWI Weaponized Cinema
https://jscenter.ir/jews-and-the-media/jews-and-hollywood/21086

On the anniversary of cinema's creation, we examine the war that exposed its true power as a tool for mass influence, not just entertainment.

World War I was a turning point in cinematic history. This global conflict stripped away cinema's innocent facade as a mere "art form" and revealed its immense potential as a tool of "soft power" and public diplomacy. It became clear that the "silver screen" could shape public opinion, rally nations, and forge modern myths.

📽️ Case Study: "The Battle of the Somme" (1916)

This five-part documentary, produced with direct support from the British War Office, is a prime example:

· It brought 20 million British viewers into cinemas within just six weeks of its release (from a population of ~46 million).
· British Prime Minister David Lloyd George personally promoted it, urging citizens to "see this picture" which showcased "the bravery of our men."
· After influencing the domestic audience, it was rapidly distributed internationally by the government's public diplomacy apparatus, affecting viewers in 18 other countries.

This film proved that cinema could be a powerful engine for social capital and national morale.

🌍 The Ideological Shift: From Theism to "Isms"

Beyond geopolitical changes, WWI triggered a profound civilizational shift. It weakened traditional, theism-centered (God-focused) values and paved the way for man-made, humanist ideologies to fill the void.

· The war created the perfect conditions for removing religion from public life.
· The post-war world saw the rise of competing secular "isms": Socialism in the USSR, Individualism in the USA, Nationalism in Nazi Germany and Fascist Italy.
· Cinema, as a new and powerful medium, was quickly seized upon by these emerging ideologies. A "tsunami of isms" flooded the cinematic landscape, each using it to promote its worldview.

💡 The Triple Revelation: Industry, Art, Medium

Before WWI, cinema was seen mainly as a novel industry—a technical and commercial venture. Its artistic and, most importantly, its media/mass communication dimensions were obscured.

· Its high financial barriers and need for artistic talent naturally led to significant involvement from the globally connected Jewish community, which had the capital and artistic networks.
· After the war, theorists like Ricciotto Canudo began calling cinema the "Seventh Art," emphasizing its aesthetic value. While this developed film's artistic language, it also served as a brilliant smokescreen.
· The slogan "Art for Art's Sake" or "cinema for cinema" diverted public attention from its core function: a mass media tool. This disguise allowed the new "isms" to maximize their use of cinema for propaganda while the public saw only "art."

🔚 Conclusion

World War I ended the naive era of cinema. It proved film was not just an industry or an art, but a potent three-fold entity: Industry-Art-Media. The conflict ripped off the veil, showing governments and powers that whoever mastered this medium could shape minds, build social capital, and advance ideologies on an unprecedented scale. The age of cinematic innocence was over; the age of cinematic power had begun.

Source: Jewish Studies Center - "World War I; The End of the 'Art for Art's Sake' Myth in Cinema"

#CinemaHistory #WWI #Propaganda #SoftPower #FilmStudies #Media #TheBattleOfTheSomme

✅ @rahyafte_en