LINDBERGH’S 9/11/1941 Speech
Speaking of Charles Lindbergh... The following is an
excerpt from a speech he
gave on September 11th, 1941
in Des Moines, Iowa identifying the forces that were
pulling America into
World War II as being the British,
the Roosevelt administration and the Jews.
While he expressed sympathy for the plight of Jews
he argued that America’s entry into the war would only
inflame their predicament. He said in part:
is not difficult to understand why the Jewish
people desire the overthrow of Nazi Germany. The
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
vision can look on the pro-war policy here today
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
way, for they will be the first to feel its
consequences. Tolerance is a virtue that depends
and strength. History shows that it
cannot survive war and devastation.
A few far-sighted Jewish people realize this and stand
to intervention. But the majority still do
not. Their greatest danger to this country lies in
their large ownership
and influence in our motion
pictures, our press, our radio, and our government."
...Of course, after December 7th, 1941, all peace and
isolationist movements in America, such as America
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
United States of America (CPUSA) indeed made its
presence felt by championing the rights of the film
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
in the last panel of a Mickey Mouse syndicated
comic strip that ran on June 19 th, 1940. But it was a very
stretch of the truth.
Another swastika supposedly appeared in an animated
Mickey Mouse cartoon titled "The Wayward Canary" that
was spotted on a cigarette lighter that ignited when
berserk canary landed on it. But this cartoon was released in
1932. Hitler wasn’t elected Chancellor of
January 30th, 1933 and wasn’t yet considered to be
satanic at the time... so throw that "swastika"
And speaking of swastikas... The swastika design had
for thousands of years before Hitler adopted
it for his Reich symbol. It dates back to the ancient Indus
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 45th
Infantry Division wore the swastika as their symbol patch
on their left shoulder from 1923 until 1939 when it was
politically correctly changed to a thunderbird.
The Finnish Air Force still uses a swastika as their symbol on
the flags of the Karelian,
Lapland and Satakunta Air
Commands to this day.
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
part of a contingent heading to South America to
influence the locals to resist Nazi
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
next to Charles
Roy Disney was keen on Walt being absent so he could
that latest strike himself and clear all the charges of
Walt’s being a "Nazi" sympathizer.
During Walt’s absence,
met with Labor Department arbitrator, James F.
Dewey, and the strike was settled by Roy by agreeing to
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 by
troops on December 8th, 1941 to be used as a defense
staging facility to protect the nearby Lockheed aircraft
studio was the only
Hollywood studio to be thus occupied and Walt was out
of a job until the Navy Bureau of Aeronautics
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
Treasury, Henry Morgenthau.
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 a
popular hit in 1942 with their novelty song called "Der
Fuehrer’s 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
produce a cartoon to promote
unity in America by
depicting human prejudices, that not only did he flatly
refuse but he became inspired to help
found the Motion
Picture Alliance for the Preservation of American Ideals
(MPA-PAI) whose membership included John
Ward Bond, Robert Taylor, James Colburn, Hedda
Hopper, 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
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)
Legal action was instigated against the “Big Five”
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
prohibited from expanding their holdings and control
the production, distribution, and exhibition of
movies. So Walt finally had his day... for a while.
The actions taken by Disney, and the actions taken by the
various associations and patriots
eventually led to the House Committee on Un-American
Activities investigating hundreds of Commies
Jewish). Many of the most notorious Communists were
voluntarily “blacklisted” by Hollywood,
Big Five, as a means of deflecting HUAC scrutiny that
could be directed at themselves. The ban on
Communists lasted until about 1965 when many of the
“blacklisted” persons returned to Hollywood
assisting in the making of movies that “exposed” their "persecution.”
A Woody Allen's (real name: Allen Stewart
movie titled, "The Front", was one such movie that
described how blacklisted Hollywood screenwriters
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.
notorious for always being financially strapped,
hard as it may be to believe, but he found an ally in
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.
Hughes 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
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 theme park.
died in 1966 leaving spineless Roy without an
advisory mentor and by 1984 the Disney empire had
completely owned and controlled by Jews such
as Michael Eisner, Frank Wells, Jeffrey Katzenberg,
Richard Frank and
So, in summation, it was Darrell Zanuck, Walt
and Howard Hughes who were the only major
Hollywood studio owners in the history of Hollywood
isn’t likely that there will ever be any more unless
the Jewish cronyism in Hollywood is dismantled.