The subject on which I've spoken
with you most often is the dominant Jewish influence in the mass media of news and entertainment. I've spoken most often
about this because it is the most important problem with which we must deal. It's also a subject on which I receive a lot
of flak. One of the most common forms of flak is the objection that it doesn't matter. Sure, the Jews control the media,
but it doesn't make any difference, critics tell me. They're just good businessmen, and they know how to run the media profitably.
That's why they've gained control, and it's no worse than it would be if a bunch of Irishmen or Mormons were in their place.
Now, really, I think that many
of the people who tell me this don't actually believe it. They just want to be Politically Correct, and it's Politically
Correct to absolve the Jews of blame for anything. Even many of the people who are distressed about what Jewish media control
is doing to our society don't want to identify that control as Jewish. The Baptists, for example, who have launched a boycott
of the Disney Corporation because of the raunchy movies its Miramax films division has been turning out, refuse to identify
either Disney boss Michael Eisner or the Miramax bosses Bob and Harvey Weinstein as Jewish. The Baptist protest is against
immorality in films, they insist, not against the Jewish control of the film industry.
You know, that's
a bit like saying you're against syphilis but you have nothing against spirochetes. And it's not really honest, this determination
to be Politically Correct. Political Correctness is based on a denial of reality, on the substitution of a deliberately
falsified picture of the world in the place of reality. And this dishonesty, this refusal to admit Politically Incorrect
truths, does have very serious consequences for all of us. If we refuse to talk realistically about the Jewish control of
the mass media, we may as well give up on trying to do anything about the negative effects this Jewish media control is
having on our society.
Let me give you a specific example of refusal to face a Politically Incorrect truth.
Steven Spielberg has a new film out, Saving Private Ryan, and it's been getting a lot of attention by the reviewers.
They say that the film is good because it is so realistic, because it gives such an honest portrayal of the Second World
War. And of course, the film does show the blood-and-guts aspect of the war a bit more starkly than other films have. But
honest it is not. It propagates the same lies about the Second World War that every film -- and I mean every film -- made
by the Jewish film industry in Hollywood for nearly 60 years has propagated. And the reviewers, regardless of what else they
say about these films, all repeat these same basic lies.
These lies are that the Second World
War was a "necessary" war -- that is, that there was no way we could have avoided it -- and that it was a "good"
war -- that is, a morally justified war. We were forced to fight Germany in order to protect America. We could not have
stayed out of the war or fought on the other side, because that would have been immoral. The other side was evil. We fought
against evil. By destroying Germany and Hitler we saved the world, Hollywood tells us. We saved freedom. We saved the world
from slavery and tyranny. Hitler was an evil man, the most evil man who has ever lived, and with his evil SS troops he intended
to enslave the world and destroy everything beautiful and good. But we stopped him. We saved America. We saved the world.
That's Hollywood's unvarying story, and it's a lie: an extremely dangerous and destructive lie. But unfortunately,
it is a lie which is accepted unquestioningly, uncritically, by almost everyone, and not just by the lemmings. We hear that
lie today in connection with Spielberg's new movie; and in fact, we hear it from television news anchormen and from politicians
and from other authority figures every time the war is mentioned. No dissent is permitted. But that's the case only for
the Second World War. One can have dissenting views about the Spanish-American War or about the First World War or about
the Korean War. One can question the morality or the necessity of those wars without being considered an evil person. And
as for the war in Vietnam, one can even take the position of America's enemies, as film actress Jane Fonda and a student
activist named Bill Clinton did.
But it has not been the government's hard line against dissenters
which has kept people parroting the dogma that the Second World War was a war which was both necessary and good. And it
hasn't been any reluctance to offend the veterans of the Second World War, because we have more living veterans of the Vietnam
war in our society, and those opposed to the Vietnam war have never worried about offending them.
No, the dogma
that the Second World War was necessary and good, that it saved the world or that it preserved our freedom, is entirely
the creation of Jewish propagandists. Of course, the Second World War didn't preserve America's freedom. America's freedom
was never threatened by Germany. Hitler could not even have imagined taking away America's freedom. His war against America
was entirely defensive. We were the aggressors. The U.S. Army invaded Germany and took away Germany's freedom, not the other
way around. There was never the slightest danger that Hitler would invade America.
And we certainly
didn't save the world; what we did was turn half of the world over to rule by communist butchers for nearly 50 years. We
didn't even defend America's vital economic interests by destroying Germany. The only people whose vital interests were
defended by America's participation in the Second World War were the Jews.
And these facts
really aren't even disputed by serious and knowledgeable people today. No reputable historian or military leader would make
the claim today that the United States was in danger of being invaded by Germany or that our vital interests were threatened
by Germany. In other words the war was not necessary. Every knowledgeable person understands that, but very few will say
As for the claim that Hitler and his SS were evil monsters, and that America was on the side of righteousness in
destroying them, we can simply look at the facts again: look at what the two sides actually did during and after the war.
It is generally conceded that the Germans treated American prisoners of war about as well as they could under the circumstances.
And it also is generally conceded that Hitler's troops, SS or otherwise, behaved themselves better toward the civilian populations
of the countries they occupied than did the armed forces of any of the other combatants, including the Americans. Hitler's
SS troopers did not rape civilians, for example. Contrast this behavior with that of the Americans and our allies, such
as the Red Army.
The Red Army, our comrade in arms, was notorious for raping and murdering civilians;
in fact, Red Army men were encouraged to engage in atrocious behavior by their own government, our ally. And the U.S. Army
itself engaged in several massacres of German prisoners of war: for example, the massacre of more than 500 disarmed SS prisoners
at Dachau by members of the U.S. Army's 45th Division on April 29, 1945. And then there was the mass starvation of German
POWs in prison camps after the war. And there was the massive ethnic cleansing, in which more than 2 million German civilians
were murdered after the war. The U.S. government approved of this mass murder, of this ethnic cleansing -- we gave the OK
-- and our allies carried it out.
If we consider the mass rape and murder of civilians to be evil,
if we consider the mass execution of prisoners of war to be evil, and if one of our motives for going to war was to fight
evil, then clearly we were fighting on the wrong side. And it's not as if we didn't know how our gallant Soviet ally would
behave before we began our effort to destroy Hitler and his forces. We had plenty of evidence of massive Soviet atrocities
even before the war began. Our government knew what the communists had done in Ukraine. Our government knew about the mass
arrests and executions in the Soviet Union. And before we crossed the English Channel to invade Europe we knew about the
mass executions of Polish officers by the Reds at Katyn and elsewhere. And yet we allied ourselves with the mass murderers.
We helped the mass murderers and mass rapists murder and rape millions of more Europeans. And so the claim that we were
going to war to fight evil is simply a lie. The Second World War was not a good war. It was not a moral war. It was the
most atrocious war of modern times. And we were on the side of those committing nearly all of the atrocities during that
war: we were deliberately on the side of evil.
And there is just one reason that we fought
on the side of evil. It was because that was the Jewish side. In the years before the war Hitler wasn't rounding up people
by the thousands and shooting them the way the communists were. Hitler wasn't shooting anybody. His SS troops weren't raping
or terrorizing anyone either. Hitler was doing one thing which resulted in a huge, lying hate-propaganda effort against
him from Hollywood. That one thing was Hitler's campaign to break the grip of the Jews on Germany. In Germany Hitler took
the news and entertainment media away from the Jews. He kicked them out of the legal profession, which they had monopolized.
He kicked them out of the teaching profession, where they had been pumping their ideas into the heads of German children.
And Hitler did all of this peacefully, non-violently. He didn't round Jews up and shoot them. He simply made it illegal
for them to own German newspapers and German radio stations. He made it illegal for them to practice law or to teach in
German schools. And so the Jews were leaving Germany. Between 1933 and 1939 two-thirds of the Jews in Germany emigrated.
At the same time Jewish commissars in the Soviet Union were butchering millions of people. But the hate propaganda coming
out of Hollywood was entirely anti-German, not anti-Soviet. The Jews' only concern was the welfare of their fellow Jews.
They didn't care how many Russians or Ukrainians were murdered. But they screeched at the top of their lungs when Hitler
took the German media away from them.
And they lied to the American people about what was happening
in Europe. They lied in order to try to make us hate the Germans the way they did. When a Jew assassinated a German diplomat
in Paris in 1938 and the German people reacted by smashing up Jewish department stores and synagogues in several German
cities, the Jewish news media in the United States reported the incident as if Jews were being massacred wholesale in Germany.
That was the famous "Crystal Night," which the Jews still continue to remind us of every year in order to milk
a little more sympathy from us. The picture of Germany painted by Jewish hate-propaganda in the United States during the
years preceding the Second World War was a complete distortion of reality. Americans were told that Germans lived in constant
fear of the Gestapo and the SS, that Hitler was a madman who terrorized the German people and who fell to the floor and
chewed the edge of his carpet when he became angry. Americans were told that Germany was a land of concentration camps and
barbed wire and police dogs. Our invasion of Germany was to be a "liberation" of the German people from the tyrannical
rule of Hitler and the SS. That's actually the word the Jewish propagandists used to describe the American and Soviet terror
bombing, rape, and dismemberment of Germany: "liberation." The American and Soviet invaders were to be the "liberators."
Of course, the Jews didn't control all of the mass media before the Second World War. They didn't control the National
Geographic Magazine, for example, and this magazine, with its articles and photographs on life in Germany flatly contradicted
the hate-propaganda coming from Hollywood. A good example, if you have access to old National Geographics, is the February
1937 issue. But the National Geographic Magazine really wasn't a mass medium, and Jewish Hollywood had a much stronger grip
on the average American's mind. And so the image of Germany most Americans had was the Jewish image of a land of terror and
fear and brutality and repression controlled by Hitler's SS automatons, a land which needed to be "liberated" and
which was a deadly menace to America. The hate-propagandists of Hollywood lied us into the most murderous and destructive
war of all time solely because they hated the Germans, and they wanted us to destroy the Germans for them.
And they have maintained their pre-war lies even to this day, their portrayal of Hitler as a crazed carpet chewer
and the SS as a gang of sadistic thugs, and they have added to this their postwar hate-propaganda of gas chambers and of
lampshades and soap supposedly made from the bodies of murdered Jews. Most Americans still believe that their fathers or
grandfathers "liberated" Germany and "saved" the world. They still believe that the Second World War
was a "necessary" war and a "good" war. And the reason they believe it is that they have seen hundreds
of Hollywood films and television shows which have repeated these same lies to them over and over and over again, and no
public figure has ever had the courage or honesty to contradict them. We're still hearing the same lies in films like Steven
Spielberg's Saving Private Ryan and in the reviews of that film in the controlled media: Americans as "liberators."
The fact is that Hollywood's lies about Germany led to millions of White Americans and Europeans being slaughtered
solely for the sake of punishing the Germans for throwing the Jews out of Germany. And we are put at a great disadvantage
even today by those same lies, because they prevent so many of us from examining the past honestly. And if we cannot understand
what happened in the past, we are much less likely to choose a wise course into the future. But the real point of my example
of Hollywood hate-propaganda about Germany before and during the Second World War is that the Jews, with their control of
so much of the mass media today, are able to sway the attitudes of the whole country to suit themselves. They are able to
persuade us to give precedence to their interests and concerns instead of ours. They are able to change the course of history
to their advantage and to our disadvantage by changing the way the American masses see the world. They were able to do that
in the 1930s and 1940s, even before television. Today, with television, they are even more able to change American attitudes
and opinions to gain advantages for themselves.
And today there are plenty of other examples
of the Jews' misuse of their media power to manipulate the opinions and attitudes of our people to our disadvantage. There
is the current prospect of another war in the Middle East. Saddam Hussein and Iraq are being held up as a threat to America,
a threat to the world, just as Germany was represented as a threat to the world before the Second World War, when in fact
Iraq is a threat only to the Jews' plans for the Middle East, and Germany was a threat only to the Jews' plans for controlling
Europe. But the prospect of another war is very real, and it will remain real as long as the Jews retain their control of
the media and of U.S. government policy. Iraq certainly is no threat to America and never has been, but if the Jews become
worried about Saddam Hussein's ability to thwart Israel's further expansion, you can be sure that we will be called on again
to save America, to save freedom, and to save the world by "liberating" Iraq. And unfortunately, most Americans
will respond to the call. They will believe that they are being patriotic by responding, just as most of the veterans of
the Second World War still believe that they were being patriotic in responding to the call to save America from Hitler.
That's not the way it should be. Our people's patriotism shouldn't be abused like that. Our mass media shouldn't
be used to manipulate our people to our disadvantage. Of course, most people being what they are, they will be manipulated
one way or another. Most people will believe what they're told to believe by their television. Which means that it is essential
that the people who control the mass media, the people who decide what the masses should be told -- these must be our people,
people with our interests not people with an entirely different agenda of their own. The mass media could be a powerful force
for good, a powerful force for enlightening and uplifting and guiding our people rather than for exploiting them.
You know, a lot of people understand that; they understand the power of the mass media. Our political leaders certainly
understand that. Many academics understand it. But they won't buck the Jews. They prefer to go with the flow, to get what
advantage they can for themselves, but not to speak out against the way the media have been and are being misused to exploit
our people. They are afraid of becoming targets of Jewish hate-propaganda themselves. And they understand the difficulty
of convincing the public of the truth after the public already has been convinced of a lie; the public is fond of its myths,
especially its patriotic myths, and hardly any patriotic myth is more cherished than that of the Second World War being
a necessary and a moral war.
And so the politicians and the academics won't point out the
lies inherent in Spielberg's Saving Private Ryan. And that means that we'll have to do it ourselves, the hard
way. We'll have to continue building our own media: media like these American Dissident Voices programs. That's a long
and difficult job. And while we're doing that we'll be hearing and seeing a lot more romanticized propaganda from Steven
Spielberg and the Weinstein brothers and the rest of the Jewish media establishment. But at least we are reaching more people
with the truth this month than we did last month, and we'll reach more still next month.
ADV broadcast of August 15, 1998.
gives us an overview of the Mainstream Media and takes us through a brief history of the Hollywood "Studio System"
up to today's "Star System." We discover how the creative "mom and pop" studios run by Jewish
movie moguls fell on hard times and eventually were purchased by the "money men" from corporate America.
The New Hollywood is now a ruthless, profit-driven oligopoly that lacks diversity at not only the corporate level, but
the executive, talent and crew levels.
explores how executives in the New Hollywood, were infected by a European strain of cultural Marxism known as Androgyny,
and as a result now produce endless movies that have corrupted the youth, destroyed the traditional family, undermined
the American Middle Class and compromised free-market capitalism. Also, while defaming entire populations, promoting
the War of Terror and profiteering from violence, Hollywood now suppresses any movie that fails to align with the interests,
values, cultural perspectives and prejudices of the control group that dominates the studios and networks.
Images explores how the control group of the New York networks -- now infected by corporate fascism in addition
to cultural Marxism from Hollywood -- uses mass media to push only a narrow spectrum of products, issues and causes.
Drug-pushing pharma, oil-burning cars, poverty-creating debt, sickness-exploiting insurance, brain-killing liquor and butt-kissing
Zionists are almost all that's promoted by the New York Networks and the Hollywood studios. Marlon Brando, Ben
Stein, Abe Foxman and Gary Oldman explain why.
Control the media and you can control entire nations while
playing the overwhelming majority of the population the exploited fool. You can even completely convince everyone, with
few exceptions, that your mortal enemy is your ally and your best ally is a mortal enemy.
You can convince a society that an inconsequential puppet, dangling from the strings of his sinister master, is the best
person to lead a nation that is slowly sinking into oblivion. You can convince a society to slaughter some other innocent
society as a moral and military necessity. You can convince a society that some other society rounded-up 6,000,000 Jews
and "gassed" them all. You can even convince a society that cutting the foreskin off of a male infant, without
the somewhat beneficial application of anesthetic, is a good idea...
founded 20th CENTURY STUDIOS in
1933 with two Jewish partners, Joseph Schenck and
William Goetz. The new studio was
successful with the film, House of Rothschild (of all
ironies), in 1934. In 1935 Zanuck
and Schenck bought
FOX STUDIOS to form 20th CENTURY FOX.
Click on this text to watch: "The House of Rothschild" 1934. Full Movie
“I don’t care if Americans think were
running the news
media, Hollywood, Wall Street or the government. I just
care that we get to keep running
them.” ...Joel Stein
(quote from a Los Angeles Times article by Stein titled:
How Jewish is Hollywood
- December 19 th 2008).
have a look at Jewish ownership of the
Hollywood movie industry.
Well, rather than list all the Jewish movie studio owners,
it’s far easier to say that all major
were, and are, owned and operated by Jews with only a
few exceptions; those three exceptions
Zanuck- Walt Disney- and Howard Hughes.
Zanuck founded 20th CENTURY STUDIOS in
1933 with two Jewish partners, Joseph Schenck and
The new studio was immediately
successful with the film, House of Rothschild (of all
ironies), in 1934. In 1935
Zanuck and Schenck bought
FOX STUDIOS to form 20th CENTURY FOX.
Walt Disney was another non-Jewish studio head and
American icon who spent
a lot of money, effort, and time
at war with Hollywood Jews trying to maintain control of
his own studio.
Control the media and you can control
the message. Control the message and you control anything
even history, the present, and the future.
It was essential to the success of gaining control of
America to have ALL media outlets under Zionist
There could not even be ONE non-Zionist
controlled major Hollywood studio, or ONE major
not under Zionist control or else the
message would not be controlled. And that is why there
was such a
war waged against Walt Disney to wrest
control of his studio from him... and Disney knew this.
Jewish-Hollywood’s War on Walt Disney
Unknown to most Americans is the fact that the first
picture camera was invented by Thomas Alva
Edison in East Orange, New Jersey. Edison was a
lifelong inventor who
held over a thousand patents on his
inventions when he died in 1931. Inventing the motion
picture camera was the
easy part for Edison but keeping
Jewish exploiters from using his camera without paying
him his due royalties
was the hard part.
As soon as German born Jew, Carl Laemmle, found out
about motion pictures he began figuring out ways to
exploit the new invention. Efforts by Laemmle and his
fellow Jews to deprive Edison of his camera use fees
forced Edison and other movie makers such as William
Kennedy Dickson, Hermann Casler, Elias Koopman,
George Albert Smith, William Klein (Jewish), and
Marion to form a protective association called
the TRUST. As fast as Laemmle and his exploiter
get their hands on Edison’s cameras and
started using them, the TRUST would file lawsuits
them to stop their using Edison’s patented
Rather than be discouraged, Laemmle and his Jewish
associates acquired cameras
in Europe that were based on
Edison’s invention and smuggled them and raw film into
the U.S. Edison
had made arrangements with the
Eastman Kodak Company to exclusively manufacture
film for use by only those
sanctioned to use it by the
When the U.S. courts moved too slowly, or refused to
stop people like Laemmle from exploiting Edison’s
and film patents, the TRUST would send their
own enforcers to seize and smash any illegal equipment.
were then needed by the exploiters while
filming to warn of the approach of TRUST enforcers. If
were spotted, the camera crew would quickly
pack up and move to an alternative filming location.
California was about as far away as
Laemmle, William Fox, Marcus Loew, Joseph Schenck,
Harry Cohn, and
others could get from the TRUST and
that’s where filming and film distribution became
centered. Southern California’s climate and scenery was
also perfect for
By the early twenties,
all that remained of the power of
Edison’s TRUST was its raising the issue of moral
content in motion
pictures. The federal government
indeed kept an eye on Hollywood to make sure that the
there remained socially acceptable but
the new Jewish movie moguls had no idea about what
was morally or
socially acceptable and couldn’t have
cared less about morality as long as pictures made
violence, cynicism and low-brow humor
sold tickets back then... the same as today.
The major reason why Edison and his cohorts lost all
control of the fledgling
film industry was because they
did not understand what was at stake. They were engaged
in much more than
an economic battle for film industry
profits; the battle was more importantly about
CONTROL of CULTURE,
HISTORY, RELIGIOUS INDOCTRINATION,
FOREIGN and DOMESTIC POLICY...
In other words: MASS THOUGHT CONTROL.
After Jewish control of film making and distribution was
largely complete, they began lowering the standards of
morality and exploited sex to the point that some
members of Congress felt that film censorship was
necessary. Legislation to create a board of film
was introduced, but Hollywood Jews moved
quickly to create their own self-regulating organization
the Motion Picture Producers and Distributors of
A non-Jew, former Postmaster
General Will Hays, was chosen to head the MPPDA as a
means of improving the image of the industry.
By the late 1920s it was nearly impossible for a non-Jew
to get a break as an
executive in the movie industry. One
person who fought the system was Walt Disney.
Disney was born in the Midwest and was
a self-taught cartoon
animator. His attempts to get his cartoons marketed
through Jewish controlled Hollywood distributors
into constant roadblocks.
He did have some limited success by selling a few
cartoons featuring Felix the Cat. Then Disney invented
Oswald the Rabbit and contacted a Jewish New
York based distributor, Margaret Winkler, to
help in getting his work
distributed. Ms. Winkler, who
got her start in the film business as Harry Warner’s
was interested and contracted Disney
to produce a series of cartoons based on Alice in
Warner being one of the founders of
Warner Brothers Studios.
A former Jewish Warner Brothers employee,
Charles B. Mintz, was courting (and eventually
Winkler at the time, saw the Oswald the Rabbit
cartoons and saw dollar signs. Mintz got on Disney’s
and got in on the production of Oswald the
Rabbit by advancing Disney $1,800 and agreeing to pay
cartoons in the Alice’s Wonderland series.
Walt and his brother, Roy, accepted the money and the
contract deal, purchased a building, and built a modest
studio on Hyperion Ave. in Hollywood. Then Mintz
announced that, due to lack of interest, the Alice’s
Wonderland series would have to be cancelled.
All the while Mintz had been traveling between New
York and Hollywood making deals under the
Carl Laemmle. Laemmle wanted a cartoon character to
compete with Felix the Cat. Mintz now owned Disney’s
Oswald the Rabbit and all the merchandising related
Oswald the Rabbit because Disney hadn’t paid much
attention to the contract with Mintz, and in
signed away all rights to his own creation.
Disney faithfully carried on and produced Trolley Troubles
featuring Oswald the Rabbit and produced a new cartoon
in the series every week for Mintz at $2,500 per episode
and a piece of the box office gross.
Walt eventually found out that Mintz had made a deal
with Laemmle behind his back to market Oswald
and was outraged. When Walt complained,
his brother Roy mollified him by pointing out that
merchandise sales would
enhance box office receipts.
travelled to New York in 1928 to negotiate a
new contract with Mintz, he was informed that his pay
each cartoon installment was being reduced to $1,800
from the original $2,500; and if he didn’t like it,
Disney’s employees would be hired away from him to
begin producing Oswald installments for Mintz’
When Walt called his brother Roy for
advice, he was reminded that Mintz owned Oswald the
Rabbit and in fact, all of the Jewish animators that
Disney had hired in Hollywood had suddenly quit and
going to work for Mintz, leaving only the loyal non-
Jewish animators that Walt had brought with him from
the Midwest to Hollywood.
the way, before you think to yourself that Jews
were/are simply “good business people” remember
good business is when both parties win; bad business is
when one party wins at the detrimental expense
other party. Of course, this way of thinking can be
the folly of the Christian-Occidental
mindset... as if it’s a bad thing to include ethics
and fairness when conducting business.
Anyway... After being cut out of the Oswald deal, Walt
returned to Hollywood and created what
universally known as Mickey Mouse and made a deal
with the Jewish head of Columbia Pictures,
to distribute Mickey... and keep the other wolves at bay.
Cohn was Jewish, but actually put being Jewish aside in
But soon Disney became dissatisfied
with Columbia’s handling of Mickey Mouse and cut a
a Jew, Julius Schenck, at United Artists.
Another problem that Disney had to deal with, as did
everyone else in Hollywood, was organized criminals
who had seized control of the International Alliance of
Theatrical Stage Employees as a means of gaining
control of Hollywood.
The mobsters were headed by
Jewish gangsters Meyer Lansky and Benjamin “Bugsy”
Siegel, plus the Sicilian gangster, Charles “Lucky”
Luciano, who had massacred many of his fellow Sicilian
associates in order to join forces with the Jewish mobsters.
During Walt’s relationship with Schenck at United
Artists he introduced one his most successful cartoons,
Three Little Pigs. In the original episode of Three
Pigs, Disney characterized the Big Bad Wolf disguised as
a Jewish peddler who attempted to trick
the Pigs into
opening the door to their cottage. But Jewish pressure to
remove the scene was too great
to ignore and Disney
removed it while explaining that the Jewish wolf
character was a representation of
Mintz who had cheated
him out of ownership of Oswald the Rabbit and
blow down the house of Disney.
After dealing with more walkouts by Jewish employees
and union agitators trying to stunt the growth of Disney
Productions, Walt teamed up with other Hollywood
notables such as William Cagney (producer and brother
of movie star James Cagney), Mary Pickford and Orson
Wells to form the Society of Independent Motion Picture
Producers (SIMPP) to try to break the control of the
Majors (largest studios) over Hollywood.
were a few Jewish studio moguls such as David O. Selznick and
Sam Goldwyn, who had been cut out of the action
original Edison TRUST busters, who also threw
in with SIMPP. The original Edison TRUST busters now
firmly controlled film distribution and virtually every
first run movie theater in America.
Hollywood in the 1920s, 1930s, and through the 1950s was
swarming with Jewish Communist
and Socialist party
members and sympathizers, as was the rest of America
where Jewish influence dominated
businesses. As this
fact became publically apparent, foreign-born Jewish
Congressman Samuel Dickstein of
New York took steps
to protect his co-racialist Commie brethren by forming a
special Congressional committee, the
on Un-American Activities (HUAC) that was voted into
existence by Congress in 1934.
HUAC as a bully pulpit to minimalize anyone who dared
to criticize any Jews or Jewish groups by
them as "Nazis" and investigated German influenced
activities in America.
Ironically, it took Joe McCarthy’s exposé
of Commies in
the early 1950s, using the HUAC, to drive the mostly
Communists out of business, or underground,
whereby Disney took advantage
of the so called “red scare” to
minimalize the Jewish-Communist stranglehold on
Hollywood and his studio.
Of course, McCarthy has gone
down in Jewish controlled history as a misguided paranoid idiot.
Walt also raised the ire of the Majors by publically
attending anti- Communist, anti-war, America First
rallies and even stood beside aviator Charles Lindbergh
a well-publicized America First rally in Los Angeles
on June 20th, 1941. He also attempted to use his Motion
Alliance for the Preservation of American Ideals
(MPAPAI) to break the Hollywood Major’s dominance.
LINDBERGH’S 9/11/1941 Speech
Speaking of Charles Lindbergh... The following is an
from a speech he gave on September 11th, 1941
in Des Moines, Iowa identifying the forces that were
America into World War II as being the British,
the Roosevelt administration and the Jews.
he expressed sympathy for the plight of Jews in Germany,
he argued that America’s entry into the war would
inflame their predicament. He said in part:
"It is not difficult to understand why the Jewish
people desire the overthrow of Nazi Germany.
persecution they suffered in Germany would be
sufficient to make bitter enemies of any race. No
person with a sense of the dignity of mankind can
condone the persecution the Jewish race has
suffered in Germany.
But no person of honesty and
vision can look on the pro-war policy here today
without seeing the dangers involved in such a
policy, both for us and them.
Instead of agitating for war the Jewish groups in
this country should be
opposing it in every
possible way, for they will be the first to feel its
consequences. Tolerance is a
virtue that depends
upon peace and strength. History shows that it
cannot survive war and devastation.
A few far-sighted Jewish people realize this and stand
opposed to intervention. But the majority still do
not. Their greatest danger to this country lies in
their large ownership and influence in our motion
our press, our radio, and our government."
...Of course, after December 7th, 1941, all peace and
isolationist movements in America, such
First, disbanded. Lindbergh accepted his failure to keep
America out of the war and ceased his
peace efforts lest
he suffer the label of being a traitor.
But back to Walt Disney who openly vowed to keep the commies out of
his studio and informed the
press that the ongoing strikes
against his studio were perpetrated by the octopus-like
The Communist Party of the
United States of America (CPUSA) indeed made its
presence felt by championing
the rights of the film
industries workers and played a vital role in the Screen
Writers Guild’s long
battle to exist.
Jewish guy Moses Koenigsberg,
who managed William
Randolph Hearst’s King Features Syndicate (a comic
strip syndicator), took a swipe at
Disney by accusing
him of being a "Nazi" because of a supposed swastika
(appearing in the form of two
crossed musical notes) that
appeared in the last panel of a Mickey
comic strip that ran on June 19 th, 1940. But it was a very
unconvincing stretch of the
Another swastika supposedly appeared
in an animated
Mickey Mouse cartoon titled "The Wayward Canary" that
was spotted on a cigarette lighter
that ignited when a
berserk canary landed on it. But this cartoon was released in
1932. Hitler wasn’t
elected Chancellor of Germany until
January 30th, 1933 and wasn’t yet considered to be
the time... so throw that "swastika" out.
And speaking of swastikas... The swastika design had
been around for thousands of years before
it for his Reich symbol. It dates back to the ancient Indus
Valley civilization as well
as Mediterranean Classical Antiquity.
The swastika was considered a good luck sun
symbol by indigenous peoples in the ancient
hemisphere. Many European military units used the
swastika as their symbol. The American Army’s
Infantry Division wore the swastika as their symbol patch
on their left shoulder from 1923 until 1939 when
politically correctly changed to a thunderbird.
The Finnish Air Force still uses a swastika as their symbol
the flags of the Karelian, Lapland and Satakunta Air
Commands to this day.
Anyway... Efforts to influence Disney to support
Roosevelt’s pro war
movement failed as long as Walt
kept tight control over his studio. So, in a scheme to get
Walt away from
his studio and away from the country,
Roosevelt instructed Nelson Rockefeller to draft Walt as
a contingent heading to South America to
influence the locals to resist Nazi influence there.
Rockefeller had been named the Official Coordinator
the State Department’s Inter-American Affairs
Roosevelt was particularly concerned about
Walt’s appearance at the America First rally standing
to Charles Lindbergh.
was keen on Walt being absent so he could
settle that latest strike himself and clear all the charges of
Walt’s being a "Nazi" sympathizer.
During Walt’s absence,
Roy met with Labor
Department arbitrator, James F.
Dewey, and the strike was settled by Roy by agreeing to
allow the commie
dominated Cartoonists Guild to have
power at Disney Studio. When Walt heard about Roy’s
vowed that he would close the studio forever
rather than have commie animators on the payroll.
Of course, Roosevelt got his war by setting
military assets at Pearl Harbor to take a contrived
whipping. Disney’s studio was then occupied
troops on December 8th, 1941 to be used as a defense
staging facility to protect the nearby Lockheed
Disney’s studio was the only
Hollywood studio to be thus occupied and Walt
of a job until the Navy Bureau of Aeronautics contracted
him to make a series of twenty aviation
training films. Walt
had little choice but to cooperate because of the crippling
circumstances. And he
produced propaganda cartoons for
the government at the behest of Jewish Secretary of the
Der Fuehrer’s Face
(originally titled: Donald Duck in
Nutzi Land) starring Donald Duck is the most notable
product of that
era that mocked Hitler and won the Oscar
for best animated short film at the 15th Academy Awards.
Incidentally, Spike Jones and His City Slickers enjoyed
popular hit in 1942 with their novelty song called "Der
Face" that became the inspiration for the cartoon.
Disney’s cooperation did result in his regaining full
control of his studio eight months
after it had been
occupied by the Army.
Walt was so incensed at the National Council of
Christians and Jews, who were pressuring him to
a cartoon to promote unity in America by
depicting human prejudices, that not only did he flatly
but he became inspired to help found the Motion
Picture Alliance for the Preservation of American Ideals
(MPA-PAI) whose membership included John Wayne,
Ward Bond, Robert Taylor, James Colburn, Hedda
Gary Cooper, Adolph Menju and sixty-five other
stellar Hollywood personalities.
As vice-president of the MPA-PAI, Walt wrote to Robert
Rice Reynolds, the
activist-isolationist Commie hunter
and Democratic Senator from North Carolina to get
support; and he asked
the HUAC to investigate the
Communist control and influence in Hollywood.
Walt had had enough of the Jewish Commies
and was ready to
take on the “Big Five” (Paramount, Loews, Warner
Brothers, 20 th Century Fox
and RKO) head on.
was instigated against the “Big Five” with
Paramount in the legal sights of the Supreme Court. The
Supreme Court ruled that Paramount, and the other
Majors, were part of a Hollywood monopoly. They were
from expanding their holdings and control
over the production, distribution, and exhibition of
So Walt finally had his day... for a while.
The actions taken by Disney, and the actions taken by the
various associations and patriots in Hollywood,
eventually led to the House Committee on Un-American
investigating hundreds of Commies (mostly
Jewish). Many of the most notorious Communists were
“blacklisted” by Hollywood, including the
Big Five, as a means of deflecting HUAC scrutiny that
could be directed at themselves. The ban on out-right
Communists lasted until about 1965 when many of the
“blacklisted” persons returned to Hollywood and began
assisting in the making of movies that “exposed”
A Woody Allen's (real name: Allen Stewart Konigsberg)
movie titled, "The
Front", was one such movie that
described how blacklisted Hollywood screenwriters used
the names of
front-men to circumvent the blacklist and
kept on working.
By 1966 all of the blacklisted Jewish
Commies were back
in a Hollywood that was firmly
under the control of Jews.
Walt was notorious for always being financially strapped,
hard as it may be to believe, but he
found an ally in
billionaire Howard Hughes. Hughes had dabbled in the
motion picture business since the
1920s. He gained 25%
ownership of RKO Studios in 1948 and took a real
interest in movie making. By 1954
he had acquired near
total ownership of RKO and during his RKO years he
became a good friend and backer
of Walt Disney.
Hughes loaned Walt millions
of dollars, interest free, that
Walt used to expand his Buena Vista film distribution
company and Walt was able
to pay back every penny he
had borrowed from Hughes along the way.
tired of his RKO money-losing toy and sold it off
six months after acquiring total control and realized a
personal profit of $6.5 million dollars; thus ending his twenty-five year affair with Hollywood.
had nearly run
RKO into the ground before the General Tire and Rubber
Company, which purchased RKO from Hughes,
killed the studio off through “mismanagement.”
Walt, having become weary of fighting Jewish controlled
Hollywood all the
time, turned over control of Disney
Studios to his spineless brother, Roy, and pursued his
dream of creating
an amusement theme park.
Disneyland, located in Anaheim, California, opened in 1955. But
before turning total control
over to Roy, Walt realized
success in the new television phenomena of the 1950s
with his Mickey Mouse Club,
amongst other television
ventures, that were basically excellent advertisements for
his hugely successful
Walt died in 1966 leaving
spineless Roy without an
advisory mentor and by 1984 the Disney empire had
become completely owned and
controlled by Jews such
as Michael Eisner, Frank Wells, Jeffrey Katzenberg,
Richard Frank and David Hoberman.
So, in summation, it was Darrell
Zanuck, Walt Disney,
and Howard Hughes who were the only major
studio owners in the history of Hollywood
and it isn’t likely that there will ever be any
the Jewish cronyism in Hollywood is dismantled.
Modern Hollywood Big Shots
Today, the major American film studios are all Jewish
owned and controlled. Those
COLUMBIA TRISTAR MOTION
PICTURE GROUP –
MIRAMAX FILMS – Harvey Weinstein
DISNEY – Robert Iger
– Steven Spielberg, David Geffen,
WARNER BROTHERS ENTERTAINMENT – Barry
Meyer, Jordan Levin
LIONSGATE – Jon Feltheimer, Rob Friedman
UNIVERSAL STUDIOS – Adam Fogelsong, Rick
MGM – Harry Sloan, Jonathan Glickman, Adam
PARAMOUNT PICTURES (a VIACOM Company) –
FOX SEARCHLIGHT –
Stephen Gilula, Nancy Utley
PICTURES – Michael Lynton, Amy Pascal
So the percentage of Jews controlling American cinema
is indeed around 100%. And be advised that
come and go frequently depending on the fortunes of the
studio, and the all too frequent mergers
So the list of studio heads above could completely
change tomorrow; but Jewish control
It was a rather bizarre
and revealing skit that was
performed by actor Mark Wahlberg and the animated
movie character, "Ted"
(voice by Seth MacFarlane) at the
2013 Oscar Awards Show.
The dialog was written by
co-writer Wellesly Wild and honed by Seth
MacFarlane. Both Wellesley and MacFarlane
brains behind the animated TV show, "The Family Guy".
The dialog went like this:
Ted: "Look at all this
this talent in one spot. There’s Daniel Day-Day Lewis...
there’s Alan Arkin...
there’s Joaquin Phoenix. And you
know what’s interesting? All those actors I just named
Wahlberg: "Oh. O.K."
Ted: "What about you? You got a berg at the end of your
name. Are you
Wahlberg: "Am I Jewish?
No, actually, I’m Catholic."
Ted: (whispering to Wahlberg) "Wrong answer. Try again."
Wahlberg: "What ?"
Ted: (still whispering to Wahlberg) "Do you want to work
in this town or dontcha? (Then addressing the
directly) That’s interesting, Mark, because I’m Jewish."
Wahlberg: "No you’re not."
Ted: "I am. I am. I was born Theodore Shapiro and I
would like to donate money
to Israel and continue to
work in Hollywood forever. Thank you, I’m Jewish."
Wahlberg: "You’re an idiot."
"Yeah, well, we’ll see who the idiot is when they
give me a private plane at the next secret synagogue
meeting." (end of sketch).
Abe Foxman, National Director of the Jewish Anti-
Defamation League, condemned the sketch as:
"Not remotely funny. It only reinforces stereotypes
anti-Semitism. For the insiders at
the Oscars, this kind of joke is obviously not taken
when one considers the global
audience of upwards of two billion people...
there’s a much higher potential
for the ‘Jews who
control Hollywood’ myth to be accepted as fact."
I totally agree with Foxman about the sketch not being at
all funny. But ya can’t
fool me Abe, Jews do totally
control Hollywood and always have. It’s no “myth,” it’s
a fact, and there must be something very uncomfortable
about that fact in your mind or else why would you
Is it because Hollywood is basically a rabidly pro-Israel
propaganda machine when it’s
Is it because Hollywood is
guilty of race-baiting and
inciting divisions amongst the population?
Is it because Hollywood rewrites history
Is it because
Hollywood pumps out a lot of pure pulp fiction gore-
slasher-tits & ass crap
designed to dehumanize youth and
reduce Americans to the level of Rome at the height of its
ultimately bring America down?
Oscars skit made it to #3 on the Top 10
Jewish Hollywood Moments of 5773 (the Jewish year
5773 being the Christian equivalent of 2013) published in
Israel’s Haaretz newspaper on August
#1 on the Jewish Hollywood
moments list is "Princesses:
Long Island" ...Bravo TV's (A Jew, Bonnie Hammer, is
reality show that follows six young
Jewish women living at home with their parents as they
seek the perfect
Jewish boy to marry. Episode titles
include "Shabbocalypse Now", that features a scene where
Manischewitz and Team Verklempt battle it out in
a Jewish trivia game with shots of arak (a potent anise
flavored spirit) imported from Israel as the prize.
#2 on the Jewish Hollywood moments list is an episode
of "Mad Men" titled, "Ginsberg
and the Manischewitz
Account" (season 6, episode 10). Louis Ginsberg, played
by Jewish actor Ben Feldman,
is a complex Jewish adman born
in a concentration camp who has anxiety related to
creating material for
his Manischewitz account.
#4 is an appearance
by Sarah Silverman on Jay Leno
where she smacks down an Orthodox rabbi for criticizing
her for being an
“unmarried, childless woman wasting
her time neglecting the most basic desire of the feminine
#5 is black rappers such as Killer Mike and Vince Staples
saluting their Jewish lawyers. Evidently, having a Jewish
lawyer is a status valued by black rappers the way
babes and BMWs are.
Edon Pinchot, a kippah-wearing Orthodox Jewish
musical prodigy, who made it to the semi-finals of
Got Talent television show. A kippah
is also known as a yarmulke or skull cap.
#7 is Israeli super-model Bar Refaeli
kissing a nerd in a
Super Bowl commercial for GoDaddy (a domain-name
#8 is Ukrainian born Jewish actress, Mila Kunis, being
named the “sexiest woman in the world” by British
magazine FHM ...as if.
#9 is the season two finale episode of Showtime’s
where Jewish character, Saul Berenson
(played by Jewish actor Mandy Patinkin) recites the
Kaddish (a Jewish prayer for the dead).
Homeland is based on the Israeli TV series "Hatufim".
And #10 on the Top 10 Jewish Hollywood moments for
5773 is an episode of House of Cards (a Netflix series
starring Kevin Spacey) that satirized the ADL (Jewish
Anti-Defamation League) as an over-the-top, paranoid
organization, accusing the Secretary of State in the
episode of being anti-Semitic for criticizing illegal
Israeli settlements on Palestinian land.
But anyway...getting back to rewriting history at will...
of DreamWorks totally falsified the
history of slavery in America with his production of
a 1997 “historical” drama that completely
erases the Jewish fingerprints all over the American slave
trade. Jews were very involved in all aspects of the slave trade.
And Spielberg’s depiction of Amon Goeth (in
"Schindler’s List" that is based on a NOVEL), commandant of the Krakow-Plaszow
camp in Poland, shooting inmates from his
villa’s balcony during breakfast is unnecessary malarkey
not occur (there was no shot afforded because of
actual location away and below the camp). When
you present falsehoods, then everything else you present
assumed to be a probable falsehood. It’s a
Anyway... If you want to blame someone for the
contents of the Academy Award’s
sketch, blame the producers of the Oscar show, Craig
Zadan and Neil Meron, the director of
the Oscar show,
Don Mischer, or the President of the Academy of Motion
Picture Arts and Sciences, Tom Sherak;
or partial blame
must go to Marvin Levy and Rob Friedman who are the
public relations specialists at the
Academy of Motion
Picture Arts and Sciences. All of these afore mentioned
guys are Jews and could have
pulled the plug on the
Oscar skit at any time. The skit was filmed a month
before the televised Oscar show!
I wonder what the Screen
Actors Guild’s Jewish president at the time, Alan
Rosenberg, thought of
Jews are proud of
the fact that they own Hollywood
(especially owning Disney, as a delicious irony) and
enjoy crowing the fact through
“humor” making Abe
Foxman’s job, at the Anti-Defamation League, of blanket
Jews own Hollywood a lot tougher.
I admire Joel Stein for being brutally honest in his article,
“How Jewish is Hollywood?”... that
appeared in the Los
Angeles Times on December 19 th , 2008. The following
are quotes beginning with his
"I have never
been so upset by a poll in my life.
Only 22% of Americans now believe the movie
and television industries
are pretty much run by
Jews, down from nearly 50% in 1964. The Anti-
League, which released the poll results
last month, see in these numbers a victory against
Actually, it just shows how dumb
America has gotten. Jews totally run Hollywood."
Further along in the article Stein said:
"The Jews are so dominant; I had to scour the trades
to come up with
six Gentiles in high positions at
entertainment companies. When I called them to
talk about their incredible
refused to talk to me, apparently out of fear of
insulting Jews. The sixth, AMC President
Collier, turned out to be Jewish. As a proud Jew, I
want America to know about our accomplishment.
Yes we control Hollywood. Without us, you’d be
flipping between ‘The 700 Club’ and ‘Davey
Goliath’ on TV all day."
Stein really tips his hand by stating the following at the
end of the article:
“But I don’t care if Americans
were running the news media, Hollywood, Wall Street or
the government. I just care that we get to
them.” ...Now go read the entire article available to you
through a web search: <LA
Times - December 19 th 2008
- How Jewish is Hollywood – Stein>.
Stein has nothing to be proud of except
for the fact that
Jewish tribal-cronyism has gone unchecked for a century
in America. Remember folks, it’s
all about unethical TRIBAL
CRONYISM, not superior intellect or work ethic. The
Sicilian Mafia is another good example
cronyism up to the point when the Mafia was
compromised by its association with Jewish gangsters
headed by Meyer Lansky.
And, of course, the best picture Oscar for 2013 went to a
crappy Iran-basher called
"Argo". The two best
documentaries, "5 Broken Cameras" and "Gatekeepers"
win anything, of course, because they were both
critical of Israel, even though they were both produced by
Israelis (a Palestinian co-produced "5 Broken
Here is an excerpt from the biography of Harry Cohn
(founder-owner of Columbia Pictures who died in 1958)
titled, "King Cohn", by Bob Thomas. It was lifted from
chapter 10 titled, "World War II and Harry Cohn":
"The war evoked curious attitudes from Harry
Cohn, as did all matters requiring an altruistic
response. He resisted attempts to enlist him in
causes. One afternoon Louis B. Mayer
[head of MGM] spent an hour on the telephone
before he was able to
evoke a contribution from
Cohn to Jewish relief. Mayer used all his
considerable power of persuasion to
Cohn’s loyalties as a Jew, but Cohn had none.
After he had committed himself to a sizeable
donation, Cohn complained to an aide, ‘Relief
the Jews! Somebody should start a relief from the
Jews! All the trouble in the world has been caused
by the Jews and Irishmen'."
don’t really know why Cohn included Irishmen in his
assessment. Maybe he included the Irish because of
ins with New York City cops who were largely Irish
when he was growing up there. Maybe it’s
Thomas Edison’s TRUST organization’s goons were
largely Irish and ran the illegal Jewish
film business out Of New York.
Anyway... I was inspired by Cohn’s blaming Irishmen
for the world’s troubles to see if any Irishmen had a hand
in 9/11. There weren’t many non-Jews
involved in 9/11
and the few that include, Cheney, Rumsfeld and the Bush
gang aren’t Irish. The Cheney’s
have some Irish blood,
but it’s dominated by English blood. Rumsfeld is German
and the Bush gang
is English-German. That’s that.
Let’s have a look at who owns and/or controls American Television broadcasting. Televisionbeing the most important and influential media format byfar.
look at the top TV/Media enterprises in the
U.S. and some large and influential side bar networks.
consolidation of media ownership was conveniently
enabled by the Telecommunications Act of 1996 that was
into law by the Zionist-puppet, Bill Clinton. It
ostensibly was designed to encourage competition in the
media market but actually had the completely opposite
result. The act was basically a “corporate welfare”
giveaway. Broadcast licenses were handed out freely to
existing companies to broadcast digital signals on
Title 3 of the Telecommunications Act
specifically allowed the cross-ownership (ownership
television-radio-newspapers) of media in any market
nationwide. The actual result of the Act was that
ownership went from fifty companies in 1983, to ten
shortly after the Act went into effect, to just
five companies controlling American television by 2006.
interesting side-bar to the Telecommunications Act of
1996 is that by 2002 all cell phone service providers
to be allowed to track cell phone customers for the
purpose of “enhancing 911 emergency service
capabilities”... If you carry a cell phone, your provider
knows where you are...for better or worse.
Republican Senator Larry Pressler of South Dakota was
the author and sponsor of the Telecommunications Act of
1996 who was promptly voted out of office by his South
Dakota constituents who strongly resented his ignoring
South Dakota issues while working exclusively on the
He was the only incumbent Republican
to lose his
seat in the 1996 elections. He did enter politics again as a
member of the House representing
South Dakota’s 1 st
district from 1975 to 1979, and then was replaced by
Tom Daschle. Pressler went
on to pursue a successful
law practice centered on telecommunications and
lobbying. He also serves on the
boards of several telecommunications companies.
The top five media conglomerates,
in terms of
audience reach, are currently owned/or
controlled by Jews and those are (of course listd of this nature
change often, but Jewish control remains constant):
WALT DISNEY COMPANY
– Robert Iger, Alan
Braverman, Anne Sweeny (Jewish spouse)
– Sumner Redstone (born: Sumner Murray
VEVINDI UNIVERSAL – Edgar Bronfman Sr., Edgar
NEWS CORP. – Rupert Murdoch
WARNER - Jonathan Miller, Jeffrey
Bewkes (Jewish spouse), Gary Ginsberg, Eric Kessler,
Top TV Networks are:
ION MEDIA – Stephen Appel, Marc Zand, Brandon
CBS – Leslie Moonves, Nina Tassler, Nancy Tellem,
Kelly Kahl... Don Hewitt (Exec-Director
The CBS morning news program has nothing but Jewish
talking heads such as John Miller, Rebecca
Jeff Glor, Gail King and David Bernard with the weather
informing you about current events.
20 th FOX TELEVISION – (A News Corp. Company)
Gary Newman, Dana Walden, Dave
NBC UNIVERSAL – Robert Greenblatt, Bonnie
Ted Harbert, Neil Shapiro (president of NBC
News), Jeff Gaspin (Exec-VP NBC Programming)
COMCAST – Brian Roberts, David Cohen
TRIBUNE – Sam Zell
ABC – (A Disney company)
Paul Lee, Barry Jossen,
David Westin (president ABC News)
SINCLAIR BROADCASTING – Steven Marks, David
Amy, Barry Faber
HEARST ENTERTAINMENT – Scott Sassa (Jewish
spouse), Neeraj Khemlani (Jewish
– Mike Rosen, Jeffrey Lieberman, Karl
MGM TV – Bruce Tuchman
PUBLIC BROADCASTING SERVICE (PBS) – Paula
Kerger, Geoffrey Sands
RAINBOW MEDIA – Joshua Sapan, Charlie Collier
(American Movie Classics),
Evan Shapiro (Sundance
Channel), Jonathan Sehring (IFC Entertainment)
SHOWTIME NETWORKS – Matthew Blank, David
SONY PICTURES TELEVISION – Steve Mosko, Andy
Kaplan, Jamie Erlicht
– Philip Kent, Andrew
Heller, Steve Koonin
WARNER BROS. TELEVISION – Bruce Rosenbloom,
Peter Roth, Ken Werner
ACADEMY of TV ARTS & SCIENCES (EMMYS) –
John Shaffner, Kevin Hamburger,
Bruce Paisner, Fred
Cohen, Larry Gershman, Darryl Cohen, Malachy
Wienges, Norman Felsenthal
ENTERTAINMENT TELEVISION – Abbe
Raven (Ravnitsky), David Zagin, Steve Ronson
HBO – Richard Plepler, Eric Kessler
DISCOVERY CHANNEL – David Zaslav
CW TV (Warner Bros TV) – Dawn Tarnofsky-Osteroff
FOX NEWS (A NEWS CORP. Company) – Roger Ailes
LIEBERMAN BROADCASTING – Jose and Lenard
Even the AL JAZEERA AMERICAS television network,
which is headquartered in Doha, Qatar, and supposedly
owned by Sheikh Hamad bin Thamer Al Thani, is
by a self-described “New York Jewess”,
JoAnne Levine (who replaced Jewess Rebecca Lipkin
she died in 2009).
Jew Avram David (Avi) Lewis is
the host of the Al Jazeera program, Fault Lines (Lewis is
married to Jewish-American lefty-activist author Naomi
The first reporter-journalist hired by Al Jazeera was
Jewish guy Arthur
Neslen. Iraqi Jewess and author,
Rachel Shabi, is an Al Jazeera contributor. In summation,
Jazeera would not be allowed by the Federal
Communications Commission to broadcast in the U.S. if
it was not
Jewish controlled and is supposedly giving us
“the other side of the story.”
Federal Communications Commission (FCC)
Chairman was until recently, Julius Genachowski, the
of immigrants who was selected by President
Obama to lead the U.S. delegation to Poland for the
of the 65 th anniversary of the liberation
of Auschwitz concentration camp. He attended yeshiva (a
educational institution that focuses primarily on
the study of the Talmud and the Torah) and studied in
He worked for Jewish Zionist Senator Chuck
Shumer and worked as an editor for the Harvard Law
Obama was its president. He joined The
Carlyle Group on January 6, 2014.
Former legal advisor to former FCC Commissioner
Michael J. Copps, Jessica
Rosenworcel, is also Jewish
and has replaced Genachowski.
The #3 largest TV broadcasting network is Trinity
Broadcasting of Garden Grove, California. It
owned by shyster-for-God guy, Paul Crouch (died on
November 30, 2013), and his laughably ridiculous
wife Jan. Go look at some photos of her and watch 5
minutes of her show to get an idea of my idea of
You would imagine that
Trinity would be the exclusive
domain of your typical pseudo-Christian TV money
hucksters, but no... There
are Jewish fingerprints all over
Trinity Broadcasting and Jewish money evidently flows
like wine into Trinity’s
bank account. Just have a look at
the typical daily programming; such as on Monday,
March 11 th , 2013:
2:00 AM – Israel, A Journey Through Time
Dr. John Tweedie
AM – Supernatural with Sid Roth (Jew)
10:30 AM – Jewish Voice with Jonathan Bernis (Jew)
1:30 PM – The Jewish Jesus with Rabbi Kirt Schneider
10:00 PM – Live From the Holy Land (Israel)
So we have Jewish propaganda strategically interspersed
between multi-millionaire Evangelist hustlers
the wonderfulness of Israel and the Jewish people all day.
Trinity has evangelist hustlers
such as the ever-smirking
Joel Osteen and his employee Israel Houghton (who
rocks out for Jesus), jet setter
Joyce Meyer (who has her
own jet), Benny Hinn (born in Israel), Texas cattle baron
Kenneth Copeland, and
uber-Israel supporter John Hagee
all touting the “godliness” of the Holy Land, aka: Israel.
evangelical imbecilic fools actually believe that
Jews will renounce Judaism and all become Christians
Jesus returns. This is a concept that Jews find
laughably insulting. Evangelicals raise millions of dollars
a year by fleecing their flocks and sending some of the
money to Israel for Israeli causes. The Israelis take
money but are ever wary of the obligatory strings
An hour doesn’t go by without Trinity reminding the
flock of sheeple watching
that Jesus isn’t coming back
until Israel has been firmly established, is safe, and
secure. And if Jesus is
indeed “returning,” I doubt that he
would be concerned with the security of a nation that
him and the religious institutions that he
inspired into existence in the first place.
At 10:00 PM you can watch Live From the Holy
The Holy Land Experience is a Christian
theme park near
Disney World in Orlando, Florida that opened on
February 5 th , 2001. This quote can be found at
Land Experience website:
“The Holy Land Experience
was born in the heart of a Jewish believer named Marvin
...I have no doubt whatsoever that Marvin’s
only idea was to fleece the sheeple who would flock to
his synthetic “holy land” and he only believes in
scam when he sees it.
In summation, Trinity Broadcasting is wholly owned by the
Crouch family; the controllers are people working
diligently on the Judeo-Christian agenda of global
Jan Crouch is being royally compensated
renting out her network... but in fairness I will point out that
Jan does give away a lot of Chinese
to little girls, and her dogs live in an air-conditioned
manufactured home and not a
It’s a fair estimate
that 90% of American television
networks are owned and/ or controlled by Jews. One of
the repulsive things
about Zionist control of media is the
many semi-pornographic references to sodomy, fellatio,
habitual masturbation, bondage, multiple
sex partners, whore mongering and other perversely
that are referred to at dinner
time during the course of many “situation-comedy” TV
Two and a Half Men and The Exes are the best, or
worst, examples of what I’m talking about.
Being a greying and jaded American male, I’m used to
depictions of adult themes and I get a big
kick out of Two and a Half Men (or used to before the
of Charlie Sheen, whereby the show’s writershave
redoubled on their
efforts to be a “sexual gross-out”
forum to make up for the loss of the main character). I’m
often amazed at what the show gets away with and
sometimes I’m uncomfortably embarrassed to be
the show with my wife, or any other female for
that matter. But what is very disturbing to me is the fact
that my 8 year old granddaughter, or my ten year old
grandson, can tune-in and watch the show anytime
5:00 and 6:00 P.M. (dinner time) daily.
Kids say the darndest things and they sometimes ask the
darndest questions that a grandparent can’t answer such
as: “Hey granpa! What’s an erection?” or, “What are
semen and how do they get on the walls?”
...All you can
answer is, “go ask your Mom.”
And, speaking of erections, has anyone noticed the
prevalence of advertisements for “boner
pills” such as
Viagra? They are run day and night and children must
wonder what they are all about.
The aging so called baby
boomer market must buy a lot of erection aids.
Anyway... Two and a Half Men was co-created by Chuck
Lorre (b. Charles Michael
Levine) and Lee Aaronson.
The producers are most often Lorre, Aaronson, plus Eric
and Kim Tannenbaum who
are all Jews... but if you
watch the credits for just about any TV show, you will
notice that Jews are most often
the producers, directors,
writers, actors and so forth... after all, Jews own
Hollywood, lock-stock and
barrel, and tribal cronyism is
the rule there with few exceptions. If you think non-Jews
could not do a
better job of things in Hollywood or
anywhere else... think again?
It’s interesting to know
that Two and a Half Men cast
member, Angus T. Jones, who plays the boy character,
Jake Harper, made statements
in November 2012
referring to himself as a “paid hypocrite” for appearing
on an adult themed
TV show. He claimed that his
religious beliefs (Jones is a Christian) conflict with the
on the show and since he had been
baptized, he didn’t want to be associated with “filth”...
but, of course, he was still on the show making huge
bucks until September of 2013 when he was replaced by
Charlie Harper’s (the former Charlie Sheen character
who was replaced by Ashton Kutcher) alcoholic-lesbian-
disturbing, or should be, to realize that American kids
receive not only a steady diet of televised sexual
sexual references, and perversely sexual
depictions daily, but they also are exposed to thousands
and tens of thousands acts of violence before
they finish elementary school; the numbers double before
finish high school.
violent and graphic video games being
played by grade school children and even pre-school
children is even more
disturbing... or should be. These
graphically violent video games usually depict our
glorious armed forces
murdering sinister looking Arabs.
You noticed that Chuck Lorre changed his name to Lorre
from Levine. Levine being
as easily identifiable as
Goldberg, Silverman, Perle, or Bloomberg as being
Jewish surnames. Jewish entertainers
may be proud of
their heritage, but they sure as hell weren’t proud of their
surnames and wanted to be falsely
identified as gentiles
or else they wouldn’t have changed them.
Anti-Semitism and prejudice
against Jews was more prevalent in
America before the 1970s brainwashing of Americans
began in earnest,
so most Jewish entertainers, movie
producers, screenplay writers, novelists and so forth
names to avoid discrimination... Such as:
Harry Houdini-Erich Weiss
George Burns – Nathan Birnbaum
– Allen Konigsberg
Lauren Bacall – Joan Perske
Rodney Dangerfield – Jacob Cohen
Garfield – Jules Garfinkle
Judy Garland – Frances Gumm
Sophie Tucker – Sonya Kalish
Paul Reubens – Paul Rubenfeld (Pee Wee Herman)
Edward G. Robinson – Emanuel Goldenberg
Lorre – Laszlo Lowenstein
Al Jolson – Asa Yoelson
Victor Borge – Borge Rosenbaum
Lewis – Joseph Levitch
Mike Nichols – Mikhail Igorevich Peschkowski (film
Ayn Rand –
Alisa Zinov’yevna Rosenbaum (author,
Walter Matthau – Walter Matasschanskayasky
Lorne Greene – Chaim Leibowiz (Ben Cartwright on
Michael Landon - Eugene Maurice Orowitz
(Little Joe on
Joan Rivers – Joan Molinsky
Joey Bishop – Joseph Abraham Gottleib
Estelle Getty – Estelle Gettleman (Golden Girls)
Shelly Winters – Shirley Schrift
Andrew Dice Clay
– Andrew Clay Silverstein
Tony Randle – Arthur Leonard Rosenberg
Mauldin – Maiden Sekulovitch
Danny Kaye-David Kominsky
Hal Linden – Hal Lipshitz (TV’s
Steve Lawrence – Sidney Leibowitz
Eydie Gorme – Edith Gormezano
Dorothy Lamour –
Ann Landers – Eppie Lederer
Abigail Van Buren-Esther Lederer (Ann Landers’
Larry King – Larry Zeigler
Tina Louise – Tina Blacker
Judy Holliday – Judith
Jill St. John – Jill Oppenheim
Elliott Gould – Elliott Goldstein
Bob Dylan –
Brad Garrett - Bradley Gerstenfeld
Ione Skye – Ione Skye Leitch
Samantha Harris -
Selma Blair - Selma Blair Beitner
Michael Ian Black - Michael Ian Schwartz
- Jerome Silberman
Howard Cosell - Howard Cohen
Lee J. Cobb – Leo Jacob
Dinah Shore - Frances Rose Shore
Jason Alexander - Jay Greenspan
Barbara Hershey - Barbara Herzstein
Jack Benny - Benjamin Kubelsky
Jon Stewart - Jonathan Stuart Leibowitz
Dr. Joyce Brothers - Joyce Bauer
Lainie Kazan - Lanie Levine
Mel Brooks - Melvin Kaminsky
Lenny Bruce – Leonard Alfred Schneider
Soupy Sales – Milton
Milton Berle - Milton Berlinger
Michael Savage - Michael Weiner
Kenny G - Kenneth Gorelick
Albert Brooks - Albert Einstein
Peter Coyote - Rachmil Cohon
- Samile Friesen
Jane Seymore - Joyce Frankenberg
Elliot Gould - Elliot Goldstein
Anson Williams - Anson William
Heimlick (Potsie on
Frank Oz - Frank Richard Oznowicz
Lee Grant - Lyova Haskell Rosenthal
Leslie West - Leslie Weinstein (guitarist for
Gene Simmons – Chaim Witz (KISS)
– Stanley Eisen (KISS)
Tony Curtis – Bernie Schwartz
Sophie Tucker - Sonya Kalish
Mama Cass Elliot
– Ellen Naomi Cohen
Totie Fields – Sophie Feldman
Kirk Douglas – Issur Danielovitch
Hall – Monte Helperin
Charles Bronson – Charles Buchinsky
Leslie Howard - Leslie Steiner
Hackett – Leonard Hacker
Mary Hart - Mary Harum
Red Buttons – Aaron Chwatt
- Robin Segal
Joan Crawford - Lucille Le Sueur
Sean Kanan - Sean Perelman
Winona Ryder – Winona
Eddie Albert – Eddie Heimberger
Geraldo Rivera - Gerald Riviera (mother: Lillian
Moe Howard – Moses Horwitz of The Three Stooges
Shemp Howard-Samuel Horwitz of the Three Stooges
Horwitz of the Three Stooges
Larry Fine – Louis Feinberg (The Three Stooges)
Jeezus....! This list goes on for a while, so just net-search
<Jewish Entertainers> and see for
yourself.... I’m tired
of listing them.
Jewish entertainers changed their names to become
palatable for the predominantly Christian-American
to mask the tribal cronyism that is and has
always been predominate in Hollywood.
The Marx Brothers were Jewish, did not change their
surname, and were not
related to Karl Marx as far as I
know. William Shatner as Captain Kirk and Leonard
Nimoy as Dr. Spock on Star Trek
didn’t change their
names either but the names, Shatner and Nimoy, don’t
reveal themselves as being
particularly Jewish in the first
place. Blonde Southern belle Dinah Shore never struck
me as being Jewish, nor did
Sammy Davis Jr.
Actually, Las Vegas being
founded by Jewish and Italian
mobsters was early on an entertainment market where
being either Jewish or
Italian was a big plus if you
wanted to play the showrooms on the Strip. Italian Dean
Martin (Dino Crocetti)
and Jewish Jerry Lewis (Joseph
Levitch) was the perfect fit for early Las Vegas.
African Americans were not allowed on the Strip in the
1940s and most of the 1950s, so Sammy Davis Jr.
declare that he had converted to Judaism as a leg up. And
it helped that Sammy had powerful friends
such as Frank
Sinatra and Dean Martin lobbying for his inclusion as
The so called “Rat Pack” was basically Italians
(Martin and Sinatra) and Jews (Joey Bishop and Sammy)
whooping it upon the Strip... I’m not sure how
Englishman Peter Lawford was welcomed to the Rat
Pack... besides his ties to the Kennedys
President Kennedy’s brother-in-law.
Anyway, so called comedian Sarah Silverman didn’t
change her given name either; but she
did actually say,
“Good! I hope the Jews did kill Christ, I’d do it again. I’d
do it again in a second” and taking the statement
out of context isn’t an issue here because her
routine is totally offensive to non-Jews who haven’t been
twisted ...yet. Check out her 2006,
seventy two minute
movie, "Jesus is Magic", to hear for yourself what is
to be shockingly funny, then try to
imagine what Sarah actually thinks of non-Jewish
control of Hollywood and the media
explains why such a repulsive “entertainer” as Silverman
in the media.
movie production of "Jesus is Magic" was a
total flop; although it did have some success in New
York City playing to predominately Jewish audiences.
Sacha Baron Cohen is another Jewish so-called comedian
who didn’t change his name except
when he plays a
character in one of his repulsively unfunny movies such
as "Borat". The “Borat”
character spends all of his time
crapping on people who are simply trying to be nice to
him (did Cohen
make a contraction out of “bore” and
“rat?”). And check out his character “Bruno”
who is so
extremely hostile and distastefully mocking of gays that
it’s a wonder Cohen hasn’t
been murdered by someone in
the gay community... yet. Or maybe Gays enjoy being mocked?
is very successful in Hollywood as the go-to guy
for low-brow potty humor that American youth-culture
been de-sensitized to embrace. Cohen and Silverman
are the litmus paper for just how low-brow and
young Americans have become while
Hollywood gladly rakes in the bucks on these “artists.”
watching Bruno all the way through sometime... I
dare ya! ...then tell me there’s nothing rotten in Denmark.
phrase, “something rotten in Denmark” is
from Shakespeare’s Hamlet, Act I, scene IV where
Marcellus uses the phrase alluding to the top of the
political hierarchy that is rotten from the top, or head, on
down; like how a fish rots, starting with the head first.
Denmark was and is famous for their fishing industry.
An interesting Sasha Cohen stunt can be seen
YouTube titled: Borat – Throw the Jew Down the Well.
As a “cowboy from Kazakhstan” Cohen takes the stage at
a genuine redneck honky-tonk in Tucson,
sings a two minute toon he introduces as “In My Country
There Is Problem.” It only
takes Cohen one minute to
get the audience engaged and singing along to the chorus:
"Throw the Jews down the well,
So my country can be free.
You must grab
him by the horns,
Then we have a big party."
Cohen indeed exposes this microcosm of a particularly
large segment of the American population that will
happily support throwing Jews down a well; although I
don’t think that any redneck would actually be
enough to foul a hand-dug well with a carcass. The video
7,053,060 views as of 12/19/2013. The viewer
comments accompanying the video are mostly anti-
supportive of the song’s proposition... go
see for yourself.
If you net search: <jewishhollywood directors> ...you
can click on the IMDB.com website that pops-up
top of the choices to click onto to see the Top 100 Jewish
But if you net search: <non-Jewish
directors> ...no such list exists (probably because there
aren’t 100 non-Jewish directors);
but a lot of chatter will
appear in the accompanying comments denying that
Hollywood is dominated by Jews.
Again, Hollywood is TOTALLY controlled by Jews
for Jews to deny this fact only makes serious
questions arise...Such as: What are they trying to
just how stupid do they think ALL of us
really goyim are?
Television’s strong male heads of households of the past
have been replaced by weak, befuddled
by women, in-laws and children. Recall the widower Ben
Cartwright on "Bonanza",
Ward Clever in "Leave it to
Beaver", the widower Lucas McCain in "The Rifleman", the
in "Lassie", "Marcus Welby M.D"., "Dennis the Menace"
dad Henry Mitchell, widower
Andy Griffith on his
shows, the dad on the "Donna Reed Show", "Ozzie and
Danny Thomas on "Make Room For Daddy",
widower Steve Douglas on "My Three Sons", the dad
"Family Affair", ...and who can forget "Father Knows Best...
These were all stand-up guys who were
of security and able providers for their families.
later we got Archie Bunker in "All In The Family", who
was always beaten down by his immediate family and
whoever else was around. Then Roseanne Barr came
along in "Roseanne" and beat down any and everybody
the wise, down-to-earth, super strong uber-mom.
And now American men only have the choice to watch weak
bumbling fools totally dominated by their wives and
others on shows such as "Everybody loves Raymond" with
Ray Romano, Kevin James in "The King of Queens" and
the pathetic quasi-homosexual character Alan Harper
(John Cryer) in "Two and a Half Men"; not to mention
Al Bundy (Ed Alexander) in "Married With Children",
Bryan Cranston’s very weak father figure in "Malcolm in
the Middle". I won’t even
mention the long-suffering
Did you enjoy watching "Broke Back Mountain" with your
adult family members at the
movie theater? Did you
especially enjoy the scene in the tent at the shepherd
camp where the two cowboys
engage in anal sex? One
cowboy applies his saliva to the anus of the other as a
lubricant. What a beautiful
moment in Hollywood
Homosexuality and references to “gays” permeates
contemporary television shows for good reason.
Christian heterosexual American men’s noses in
homosexuality is just another way of defiling and
weakening the once dominant power structure in
America. American heterosexual men are now afraid to
against homosexuality for fear of being labeled
as a “homophobic” gay basher... as if this is a
implies that someone “fears”
homosexuals, whereas they don’t “fear” them at all;
are simply NATURALLY repulsed by homosexuals and
the sexual acts
they engage in. A man inserting his penis
into another man’s rectum, or taking another man’s penis
in his mouth is repulsive to me personally. There is a
significant difference between fear and repulsion.
I fully realize that God made homosexuals the way they
are... and God made
me the way I am. So, the way for
myself and homosexuals to get along is to have
homosexuals keep their “lifestyle”
out of my face. It is
NOT OK with me that homosexuals can now marry. It’s
a mockery of marriage.
What’s next?? I DO NOT want
to see photos of Olympic diver Greg Louganis kissing his
at their wedding on CNN.
lesbians should have the right to cohabitate as God’s
creatures and enjoys rights as a household, but
don’t call it a marriage, call it a civil union or
something... but that’s just me.
And you can thank the four Jews on the Supreme Court
for nationalizing gay marriage.
American males have been emasculated and
reduced to bumbling fools on television or often
fools on steroids in cinema ...in
Hollywood’s designs anyway.
The headline for an article that ran in Israel’s Haaretz
offered by the Associated Press that ran on
May 22, 2013 read:
Biden: Jewish Leaders Drove Gay Marriage Changes
Speaking at a Jewish American Heritage Month
reception, U.S. vice president says
Jewish values are
an essential part of who Americans are.
Biden praised Jewish leaders for helping change
attitudes about gay marriage and other issues.
So, to hell with Biden and Jewish leaders ...I ain’t
board and I’m proud of it! If this makes me repulsive to
you, then simply scratch me off of your
list...or whatever. I could not care less.
Biden says culture and arts change people’s attitudes. He
cites social media and the old TV series
"Will and Grace"
as examples of what helped change attitudes on gay marriage.
A Biden quote: “Think ...behind
all that, I bet you 85%
of those changes, whether it’s in Hollywood or social
media are a consequence of Jewish
leaders in the
...I do not doubt that at all.
Biden is an abject
lackey-puppet of the Jews and knows
who actually wields power
in America. He fancies himself as a “realist” who is
from his insight.
Joe Biden is a traitor.
BTW: "Will and Grace" is set in New York and focused on
the relationship between a gay male
Cherokee-Scottish Eric McCormack) and his Jewish gal-
pal (Jewess Debra Messing) who
owns an interior design
"Will and Grace" ran from September, 1998 until May,
2006, was created by David Kohan and Max Mutchnick,
and was directed by James Burrows. Kohan, Mutchnick
and Burrows also functioned as executive producers
Jhoni Marchinko, Jeff Greenstein, Alex
Herschlag, Adam Barr, and David Flebotte. Jonathan
the theme music. All these people are
Jews; so Biden is correct when he made the statement
about 85% of
American social changes being brought
about by Jews and Biden was shrewed to use "Will and
Grace" as a prime example of the fact. "Will and Grace"
as “Jewed-up” as "Seinfeld".