(Hobby Lark) Jews have a well-deserved reputation of stealing the ideas of others and making a fortune off their ill-gotten gains.
With the upcoming release of the Hollywood live-action movie based on the toy doll ‘Barbie’, Jews are gushing over the “Jewish” origins of the iconic doll, but in reality two Jewish toy makers — Mattel and Louis Marx and Co. — ‘usurped’ the rights of the original German doll, Bild Lilli, in a ‘hostile’ corporate takeover, then went on to make untold millions off this ‘stolen legacy’:
“In 1952, Reinhard Beuthien had been hired by company Axel Springer SE to draw a one-panel comic for their brand new tabloid Bild. The heavily nationalist and conservative tabloid needed a cartoon.
So he drew a nasty, unruly baby girl. It flopped with his editor.
So he grew her up, added a ponytail, gave her a buxom figure, and drew a gag where she was asking a fortune teller for the address and telephone number of the tall, dark, and handsome men most fortune tellers tell young ladies they see in their crystal balls.
On June 24, 1952, much of Germany fell in love with this mysterious blonde. It wouldn’t be long before the country would know her by one name, Bild Lilli.
Appealing to a mostly male demographic, Lilli turned heads. Comfortable in her femininity, Lilli was constantly seen wearing fashionable and somewhat risque clothes in skimpy and tight-fitting cuts. While her female friends and co-workers were jealous of her figure, and more religious readers were put off by her open sexuality, it was seldom that Lilli was purposefully flaunting her looks—unless, of course, she was actively trying to get a rich man’s attention.
This is a drawback to Lilli’s character, in that she saw men as objects and never as people. She was always more interested in their money and in their looks than in anything else, and she never had the same boyfriend twice…
Lilli’s popularity grew so fast that Bild decided to merchandise their new star. With the blessing of Axel Springer, Bild contacted toy designer Max Weissbrodt at the O&M Haußer toy company.
He designed a 12-inch plastic fashion doll with multiple parts for articulation. Her head turned separately from the rest of her body. A special doll wig was glued onto a special scalp, which was then attached to the head by a screw on the inside of the doll’s head. Her legs attached at the hip, so when she sat down, her legs stayed together. She had rooted eyelashes, painted nails, a full face of makeup, styled hair, and molded-on shoes. The patent was approved straight away.
By 1953, less than a year since her comic debut, Bild Lilli dolls found themselves at tobacconists and newspaper kiosks in plastic tubes with tiny doll-sized copies of recent issues of Bild. Bild Lilli was as innovative of a doll as she was scandalous.
Lilli wasn’t only the world’s first mass-marketed plastic fashion doll; she was also the first to come in different sizes…
Another trend Bild Lilli popularized was offering the same doll but in new outfits. These fashionable, daring, and gorgeous costumes were so well designed, that it wasn’t long before they were sold separately.
While she was a hit with men, it wasn’t too long before women started enjoying the dolls too. Newspaper ads encouraged men to buy them for their wives and girlfriends. Some women would even use the dolls as inspiration for new outfits for themselves, a revived trend from the 19th century when well-off women would purchase gowns based on ones seen on dolls for store windows.
Other toy companies noticed how children also enjoyed this doll, so they began to make unofficial dollhouses, furniture, clothes, and accessories to accommodate Lilli, while O&M Haußer released Lilli in new hair colors.
Soon, Lilli was being sold in Italy, Scandinavia, and England, and shockingly, she was in fact sold in the United States as just “Lilli” or as “Lilli Marleen/Marlene” and marketed very briefly to little girls.
As the 1950s marched on, knock-off dolls and bootlegs also began to become a big problem worldwide. In Hong Kong, bootleg Lilli dolls were sold in pink boxes where Lilli was smoking a cigarette. In Spain, Lilli had a darker-skinned “friend” with dark brown and black hair that was quickly rejected by religious families. “Miss Paris” and “Miss Marlene” found their way to America and France as more and more clones wound up under Christmas trees and on the shelves of thrift stores.
But this only fueled Lilli’s momentum. In 1958, the black and white murder comedy Lilli – ein Mädchen aus der Großstadt or Lilli A Girl From The Big City debuted in German cinemas. The live-action film starring Danish actress Ann Smyrner featured Lilli in a race against time to help the police stop a pastor-turned-gangster-and-murderer who is smuggling counterfeit bills. In the film, Lilli uses her charms and seductive good looks to deal with sleazy and suspicious men at a hotel while also holding down her job at a newspaper.
In 1956, [American Jew] Ruth Handler took a vacation with her husband and children Barbara (Barbie) and Kenneth (Ken) Handler to Germany. There, she purchased a few Bild Lilli dolls for herself, admiring the cute fashions. She was already thinking about how she wanted a 3D version of the paper dolls her daughter enjoyed playing with, something that was more grown-up than the Cissy doll, a 1955 fashion doll with a teenage body but a baby doll head, and Bild Lilli had the proportions she was looking for.
Ruth worked on prototype sketches. In 1958, she got the copyright and trademark for the name “Barbie,” which was then sent to Random House to be used on tie-in books for her new project, including the mystery book Barbie’s Secret, which was written in 1958 and would be published in 1964.
Then in 1959, an 11 1/2 inch plastic fashion doll with rooted—not glued hair, painted finger and toenails, legs that stayed closed when she sat, and a head on a swivel debuted in a black and white striped one-piece.
Her name was Barbie, and she looked exactly like Bild Lilli.
Around this time, the rights to Bild Lilli’s dolls were usurped by Louis Marx and Company, while Mattel began a hostile takeover of the Bild Lilli copyrights, ousting Bild, O&M Haußer, and Reinhard Beuthien from the world they had created.
By 1961, Lilli no longer appeared in any new comics, and most of her cartoons and her film are largely suppressed…
O&M Haußer and Marx would close doors in the 1980s, while Bild continues today as a conservative tabloid in Germany.
Barbie’s legacy is one that sprouted from a Lilli.”
As the French novelist Honore de Balzac wrote, “Behind every great fortune lies a great crime.”
One of the great ironies of this story is that during the 1930s and 1940s German toy company — Elastolin — that made Bild Lilli — produced toy figures of the popular National Socialists leaders, such as Adolf Hiter, Hermann Göring, Josef Goebbels — and even Hitler Youth.
So it shouldn’t come as a surprise that after the war, Elastolin would produce Bild Lilli — a female doll who represented the ideal of youthful aryan beauty — albeit sexualized and marketed to adult males.
But leave it to the Jew, Ruth Handler — who looks like a cross between the Jews Madeleine Albright and Bela Abzug — to appropriate that sexualized doll and market it to young, impressionable American girls as “Barbie” — who came of age during the so-called “Sexual Revolution” of the 1960s.
Of course, Ruth Handler had no problem marketing this sexualized ideal of aryan beauty to young girls — as long as millions of dollars kept rolling in.
And when Jewish feminists inevitably began targeting “Barbie” in the 1960s as an unrealistic and “unattainable” (for Jews) stereotype of feminine beauty which caused young girls to develop eating disorders, Handler merely brushed off the criticism, claiming that Barbie was actually a strong, independent career woman like herself.
Other Jews have tried to rationalize the Jewish promotion of Barbie as some kind of metaphor for Jewish assimilation into White American culture — but the only Jewish aspects about Barbie is that Handler became wealthy off of it — and it contributed to the sexualizaton of young girls.
It’s also worth noting that Ruth Handler’s company — Mattel — used their trademark control to suppress the live-action Bild Lilli movie that came out in 1958 — Lilli: ein Mädchen aus der Großstadt — and still to this day, that movie is impossible to find in any format — even clips from the movie are absent on YouTube, which is highly unusual for such a popular movie.
Now, 65 years after that film came out, Jewish movie producers in Hollywood are finally getting around to making their own live-action Barbie movie — and you can bet your bottom dollar that this movie will be Jewish to its core — promoting Jewish “values” such as homosexuality, anti-White diversity, feminism, and transgenderism.
An early trailer preview of the new “Barbie” movie has been released, featuring much too old actors Margot Robbie — who is 33 — and Ryan Gosling who is 43 — together they look more like a pathetic middle-aged couple trying to hold on to their quickly fading youth.
Of course, the movie depicts Barbie’s boyfriend — Ken — played by ambiguous actor Ryan Gosling — as a campy, effeminate homosexual who looks like a cross between the dykes Ellen DeGeneres and soccer player Megan Rapinoe.
Apparently, the central Jewish theme of the new movie is that Barbie has “trouble fitting into her perfect life in Barbie Land” — just like Jews have trouble fitting into White societies because they can never live up to White ideals and values.
And rest assured, a sequel to this yet-to-be released movie is already in the works — where Ken will be replaced by Barbie’s new Black boyfriend, a rapper DJ named Jamal — who helps her discover that she’s really a Jewish lesbian “trapped” in the body of a White heterosexual girl.