Lawrence Baron

Laurie Baron

Lawrence (Laurie) Baron, now retired, served as the Nasatir Professor of Modern Jewish History at San Diego State University. He served from 1988 to 2006 as director of SDSU’s Lipinsky Institute for Judaic Studies. He was the founder in 1995 of the Western Jewish Studies Association.

He writes two satire columns for San Diego Jewish World: “Humoring the Headlines” under his byline, and “Hounding the Headlines,” under the byline of his dog Elona.

The Ballot (To the melody of The Letter)

Mail boxes disappearing
As election season is nearing.                                                                                                                                  
If we’re gonna beat him                                                                                                                                              
And soundly defeat him,                                                                                                                               
Then we all have to cast our votes early.          [Laurie Baron, Ph.D]

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Lawrence Baron, Trivia, Humor & Satire, USA

Satire: The Canine Convention

I have been busy organizing this week’s Zoom convention for the DEMs (Dogs Elect Mensch).  From my earliest columns I have expressed my distrust for the Golden Deceiver, a man with the temperament of a Tasmanian devil and the intelligence of an invertebrate.  How could he empathize with the plight of people when he never has owned one of man’s best friends? Dogs always understood the real meaning of MAGA, Make America Growl Again. [Satire by Elona Baron as told to Laurie Baron, Ph.D]

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Lawrence Baron, Trivia, Humor & Satire

Cinematic history of White nationalism

Although screen neo-Nazis continue to be portrayed as ideologues, mad scientists, or thugs, historical docudramas and psychosocial films constitute an increasing portion of the movies about neo-Nazis produced since 1980. This corpus of movies renders their main characters victims of familial, political, or socioeconomic circumstances rather than as stock villains. Their proliferation reflects the escalation of white supremacist rhetoric into recurring acts of right-wing terrorism in Europe and North America from the 1980s on. Depending on the national origin of these pictures, the specific catalysts for radicalization differ, but the images and themes of Holocaust denial, nativism, Nazi iconography, the skinhead look, and virulent racism embraced by actual and fictional white nationalists resemble each other because they network with each other via Internet propaganda, international contacts, joint training maneuvers, rock music, and social media. [Laurie Baron, Ph.D]

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International, Lawrence Baron, Theatre, Film & Broadcast, USA