Who Runs the Media — The Amazing – Documented Chapter from Jewish Supremacism

Jewish-Supremacism-CoverMany People suspect the overwhelming Jewish domination of the mass media both in America and on a global level. This chapter from Jewish Supremacism gives the undeniable evidence that their control is far greater than most people suspect.Interestingly, Jewish publications boast of their control for their own readers! Read the facts for yourself!

Four of the largest five entertainment giants are now run or owned by Jews. Murdoch’s News Corp (at number four) is the only gentile holdout — however Rupert is as pro-Israel as any Jew, probably more so.” (Los Angeles Jewish Times (2) Oct. 29. 1999) [other sources claim Murdoch’s mother, Elisabeth J. Greene, is Jewish]

Such as it is, the press has become the greatest power within the Western World, more powerful than the legislature, the executive and judiciary. One would like to ask; by whom has it been elected and to whom is it responsible? ” —Aleksandr Solzhenitsyn

“This (Jewish) stranglehold (on the media) has got to be broken or this country’s going down the drain,” Graham said, agreeing with Nixon’s comments earlier in the conversation. “You believe that?” Nixon says in response. “Yes, sir,” says Graham. “Oh boy. So do I,” Nixon agrees, then says: “I can’t ever say that, but I believe it.” (Recorded 1972 conversation between Richard Nixon and Rev. Billy Graham at the White House)(1)

In the 1976 movie Network Howard Beale, the “mad prophet of the airwaves,” becomes consumed with the idea of exposing an insidious danger facing America: the takeover of American television by Arabs through their petro-dollars.

The film was based on an Oscar-winning screenplay by Paddy Chayefsky, who depicts a dark plot by Arabs to buy and control the TV networks. Howard Beale, played by Peter Finch, is a deranged news anchorman who speaks his mind about any subject, resulting in skyrocketing ratings. Raving about the inequities and corruption in American life, Beale would cry out: “I’m mad as hell, and I’m not going to take it anymore!”

Imagine if Iraqi-American supporters of Saddam Hussein had control of the American media. Suppose they controlled the national television networks and were a majority of the owners, producers, and writers of television entertainment and news. TV is an irresistible power that reaches into every American home — the primary source by which most Americans learn about the world. Consider the dangers of that enormous power dominated by a tightly knit, Iraqi, Muslim minority that supported the Hussein regime.

If the non-television media were still free, they undoubtedly would regard Iraqi media domination as a great danger to America. Every non-Iraqi source of media would proclaim that such control threatens our freedoms. Congress would likely draft legislation to break up the Iraqi stranglehold on television. Patriots would remind Americans that if we were not free to obtain unbiased news, documentaries and programming, democracy could not work. The power of TV controlled by one point of view would erode the foundation of all our freedoms: the freedom of speech. Pundits would be outraged that non-Americans, people with allegiance to a foreign power, had control over the American mind.

Taking the analogy further, imagine if the rest of the media were also in Iraqi hands. Suppose that the three major news magazines, Time, Newsweek, and U.S. News and World Report were run by Iraqis, that the three most influential American newspapers, The New York Times, The Wall Street Journal, and The Washington Post — as well as a majority of the remaining major newspapers and magazines — were controlled by Iraqis. Imagine that Muslim Iraqis dominated the Hollywood movie industry as well as book publishing and even book distribution. Picture the Iraqis as also holding immense wealth in business and banking, and as thoroughly entrenched in entertainment and Hollywood, academia, the judiciary and government. On top of all this, suppose that supporters of Saddam Hussein had the most powerful lobby in Washington and were responsible for the bulk of the fundraising of both the Democratic and Republican parties. Suppose a dedicated Iraqi lead the National Security Council and another one ran the CIA. Would such a situation be dangerous for America?

If Americans awoke one morning and found Arabic names scrawled all over their TV and movie credits, on their magazine and newspaper mastheads and in the pages of their books, millions would say, “We’ve been taken over!” Viewers would suspect the motives of everything they see on television and read in newspapers, magazines, and books. They would be especially wary of information about issues related to Iraqis, Saddam Hussein, Islam, and the Middle East conflict. In very short order, many Americans would cry out in the fashion of Howard Beale: “I’m mad as hell, and I am not going to take it anymore!”

When I came to the realization that the original Russian Revolution was not Russian, that it was financed, organized, and led mostly by Jews who were driven by a centuries-old conflict between themselves and the Russian people, I wondered how such an important fact of history had been so effectively covered up. Upon learning fully about the Communist murder of millions of Christians in Russia and Eastern Europe, I asked myself why there were so few movies, dramatic television series or documentaries, novels, books, or magazine articles about it, but endless coverage of the Holocaust.

Then I read a copy of the Thunderbolt newspaper, published by Dr. Edward Fields of Marietta, Georgia. (4) Dr. Fields carefully documented Jewish control of America’s three major television networks, NBC, CBS, and ABC. I carefully checked Dr. Fields’ sources, which included biographies published by Jews.

At the time of my first inquiry, Richard Sarnoff was the head of NBC, William Paley was the head of CBS, and Leonard Goldenson ran ABC. I was amazed to learn that all three were Jews, all were active in Zionist organizations, and all had been honored by awards of numerous Jewish, Zionist and other pro-Israeli groups. Then, I discovered that the leading newspaper in America, The New York Times, is Jewish-owned and edited. So is the newspaper that has more influence on the federal government than any other, The Washington Post. Jews also own the largest circulation daily paper in America, The Wall Street Journal. They even own my hometown newspaper, the New Orleans Times-Picayune.

I learned that Jews had dominated Hollywood for years. It was interesting to find out that of the “Hollywood Ten,” who took the Fifth Amendment when asked before Congress whether they were Communists, 9 were Jewish. As I looked into magazine and book publishing, again I discovered a striking preponderance of Jews — most of them dedicated to Jewish interests, much like today’s Steven Spielberg, director of Schindler’s List, (5) who is an outspoken supporter of Zionist causes. In fact, the most-watched movie ever made about the Holocaust, viewed as history by millions, was entirely a Jewish production.

Jerry Molen — producer; Gerald R. Molen — producer; Steven Spielberg — director, producer; Kurt Luedtke — screenwriter; Steve Zaillian — screenwriter; Janusz Kaminski — cinematographer; Michael Kahn — editor; Ewa Braun- set decoration/design, production designer; Branko Lustig — producer, production designer; Allan Starski — production designer; Lew Rywin co-producer.

Years later, I read Jewish publications that boasted about Jewish domination of American media. I also read An Empire of Their Own (6) by Neal Gabler, a book that details the Jewish takeover of the film industry.

Ben Stein, a Jewish screenwriter (and son of Herbert Stein, an economic advisor to President Richard Nixon), wrote the book The View from Sunset Boulevard. In it he candidly remarks that a great majority of Hollywood’s television writers and executives are Jewish and that they are adamantly opposed to Christian values and the conservatism of traditional, small-town America. (7) He wrote an article for E!-online in 1997 entitled: “Do Jews Run the Media” accompanied by a subtitle that read, “You bet they do — And What of it.” (8)

In the 1970s Dr. William L. Pierce, chairman of the National Alliance and editor of National Vanguard magazine, along with his staff, researched the question and documented the Jewish dominance in his essay “Who Rules America?” (9)

What I discovered was that the worst nightmare of Paddy Chayefsky and his Network character, Howard Beale, has been realized. A small but cohesive minority, with a 3,000-year loyalty to their own people and a fanatical dedication to their newly formed nation, dominates America’s media. But it is not the Arabs who have this power; nor is it the Irish, Germans, French, English, Russians, Swedes, Danes, or Italians. It’s not Muslims, Christians, Mormons, or Catholics. Ironically, it is the group made up of the Paddy Chayefskys of the world. Chayefsky — an enthusiastic supporter of Jewish causes and the state of Israel — cleverly attempts to influence viewers against Arabs by fictionally accusing them of attempting the same thing that Jews have already accomplished. The rest of the Network staff included director Sidney Lumet, producer Howard Gottfried, and editor, Alan Heim. The same tribe that financed, produced, wrote and distributed the film Network, dominates the American media, and truly the media of the entire Western world.

Jewish media power is so extensive that one can scarcely exaggerate it. It is not simply a question of their power being disproportionate to their percentage of the population — their power is breathtaking.

If you live in a major city, the daily newspaper you read will more than likely be Jewish owned or edited. So will the national newsmagazine you buy at the news counter. More than likely, the national cable or regular TV network you watch will be Jewish owned, and if not, Jews will be preponderant in the executive and decision-making departments. The movie you see in the theater or watch on television will very likely have been produced, directed, or written by Jews — and often all three. The publishers of the hardbacks or paperbacks you read, even the record companies that produce the music you buy, will probably be Jewish owned, and if not, they will very likely have Jews in key executive positions. Bookstores and libraries often select their new book purchases based on reviews by Jewish critics and publications such as The New York Times Book Review, another part of the Jewish-run New York Times.

It is certainly true that many people in media are not Jews. Nor do I allege that every Jew in media is part of some fantastic and intricate conspiracy or that every Jew is ardently Zionist. But the overwhelming domination and thrust of American media is Jewish, and no group is more ethnocentric and more organized for their perceived interests than are Jews. With these facts in mind, can any reasonable person believe that Jews present news and entertainment without a slant for their own purposes through what Gabler calls “An Empire of Their Own”?

I grew up reading the New Orleans Times-Picayune, and from third grade on, I would read it every morning with my father. By the time breakfast ended, Father had decorated it with toast crumbs and coffee stains, and I had garnished it with oatmeal and milk. My father would take the news section first, and I would take the sports and the comics pages, and then it would be my turn to get into the headlines while he read the other parts of the paper. Up until the late 1950s, the Times-Picayune was truly a Southern newspaper. It reflected the values, standards, political viewpoints and heritage of the South. We considered the paper our lifeblood of information about the simple goings-on around town and about the major events in the world at large. It was our paper — and not only because it was printed in our city; it represented something of our thinking, our culture, and our values.

When integration of schools began, the Times-Picayune railed against the federal intrusion into our way of life. Many articles talked about the amicable relationship between Blacks and Whites in New Orleans, about the excellent quality of life for Whites and Blacks, and about how the city included one of the largest Black entrepreneurial classes of any in America. It wrote about how, under White direction, Black educational and living standards had progressed over the last few decades. The editorial writers of the Times-Picayune predicted dourly that forced integration and the stirring up of Blacks by Yankees and liberal agitators would ruin one of the most beautiful and culturally rich and charming cities in the world. Integration, they maintained, would retard the progress of the Black community and threaten White standards.

After the purchase of the Times-Picayune by S.I. Newhouse, the paper gradually began to shift to the left. As the city’s schools and government services began to disintegrate under integration and the Times-Picayune became increasingly liberal, my father — who was mildly conservative — came to dislike it. I still enjoyed the paper, and as I got older, I found myself agreeing with its racial viewpoints. I didn’t know that the Picayune was no longer a Southern newspaper, and that the owner, a Jewish refugee of Czarist Russia, resided in the New York city area.

When Newhouse died, he left a media colossus worth about $10 billion to his two sons, Samuel and Donald. Among their newspaper holdings were the Times-Picayune; the Syracuse, New York, morning Post-Standard and the afternoon Herald-Journal; the Mobile, Alabama, Morning Register and Afternoon Press; the Huntsville, Alabama, morning News and afternoon Times; the Birmingham, Alabama, morning Post Herald and afternoon News; the Springfield, Massachusetts, morning Union, afternoon News, and Sunday Republican.

The Newhouse empire today owns 30 daily newspapers, 12 television stations, 87 cable-TV systems, two dozen national magazines, and the Parade Sunday supplement that has a staggering circulation of more than 22 million.

When Newhouse bought the Times-Picayune, it was reported by Time magazine that he commented, “I just bought New Orleans.”(10) In some ways, his statement is accurate. Newhouse and his employees could say anything they liked about any person or any issue with little fear of contradiction. Newhouse, secure in his monopoly, was free to push whatever social and political agenda he wished.

Even today, more than 25 years after Newhouse’s purchase of the Times-Picayune, many in New Orleans are unaware that a Jewish New York family owns the paper. The editorial page gives a local address and says the publisher is Ashton Phelps, a descendant of the family that once owned the paper.

When I was a teenager, just learning of the Jewish control of media, I noticed that many of the Picayune’s advertisers were Jewish-owned businesses, including Goldrings, Levitts, Mintz, Godchauxs (a French adapted Jewish name), Kirshmans, Rosenberg’s, Rubinstein Bros., Gus Mayer’s, Adler’s and Maison Blanche. One of the biggest advertisers in New Orleans was Sears & Roebuck, and Edith Stern, a New Orleans activist in Jewish and liberal causes, was Sears’ largest stockholder. I soon learned that many of the largest advertising agencies, both local and national, were under Jewish ownership and direction. These agencies could steer advertising to whatever newspaper or media outlet they desired.

Jewish advertising power not only has increased the Jewish monopolization and consolidation of American newspapers, it also greatly affects publications with Gentile management or ownership. All major publications are dependent on Jewish advertising revenue, so their features, reporting, and editorial policies must be carefully attuned to Jewish attitudes and interests. Ultimately, the free press is not free. It runs on money. The old axiom certainly holds true in the media: “He who pays the piper calls the tune.”

At the beginning of this century, most major cities had two or three daily newspapers, and many had even more. There has been an alarming trend toward monopolization of daily newspapers. There are only about 50 cities in America with more than one daily newspaper, and many of those have the same parent company. The Newhouse-owned Times-Picayune and the afternoon States-Item aptly illustrate the trend; they merged into the Times-Picayune early and late editions.

As a result, of the 1,600 daily newspapers in America, only 25 percent are independently owned rather than part of a newspaper chain. And only a tiny number are large enough to have even a skeleton reporting staff based outside their own communities. They are dependent on newsgathering conglomerates such as The New York Times, The Washington Post, and the Newhouse chain for their national and world news.

The Jewish domination of American media is longstanding. Even as far back as the 1920s, Jews had influence far disproportionate to their percentage of the population. And even though media operations frequently change hands and the CEOs, chairmen, administrators, and top editors change, Jewish domination is stronger than ever — and the power brokers continue to increase and consolidate their power. Much of the news that “independent” newspapers print comes from the wire services, the giant of which is the Associated Press. Michael Silverman is its current managing editor who directs the day-to-day news reporting and supervises the editorial departments. Silverman reports to Jonathan Wolman, another Jew, who is executive editor for the AP. The other leading sources of news articles for local papers are the three most influential newspapers in America.

Three Powerful Newspapers

The New York Times, The Wall Street Journal, and The Washington Post are positioned at the heart of American business, culture, and government. Their influence reaches out across the nation. They originate news, focus on issues of their liking, elevate public figures they approve of and denigrate those they do not. They tell us what movies to see, what books and magazines to read, what records to buy and what art to admire. They influence how we think on a thousand different subjects — and, in fact, they frequently choose what subjects we are to think about by trumpeting some stories and ignoring others.

The New York Times is read all over America — in academia, business, politics, the arts and literary world. It sets our political, social, entertainment, literary, artistic, and fashion standards.

The Sulzberger family also owns, through the New York Times Co., 33 other newspapers, including the Boston Globe, purchased in June 1993 for $1.1 billion; twelve magazines, including McCall’s and Family Circle with circulations of more than 5 million each; seven radio and TV broadcasting stations; a cable-TV system; and three book publishing companies. The New York Times News Service transmits news stories, features, and photographs from the New York Times by wire to 506 other newspapers, news agencies, and magazines.

Like so many other newspapers, it began under Gentile ownership and ended up under Jewish control. George Jones and Henry Raymond founded the great paper in 1851. Near the turn of the century, Jewish activist Adolph Ochs bought the paper, and now his great-grandson, Arthur Ochs Sulzberger, Jr., is CEO and publisher. Executive and managing editors are Max Frankel and Joseph Lelyveld.

Because it is so widely read by Washington’s elected and appointed federal officials and bureaucrats, The Washington Post has a huge impact on our government. It can influence appointments, firings, legislation and foreign and domestic affairs of all kinds. It can even be instrumental in bringing down a president, as it did Richard Nixon. The bosses of The Washington Post can choose to give publicity to an issue or choose to ignore it, choose to be outraged about an event or bellow in approval. The Post has numerous holdings in newspapers, television and magazines — most notably, Newsweek.

The Washington Post Co. has a number of other media holdings in newspapers (the Gazette Newspapers, including 11 military publications); in television (WDIV in Detroit, KPRC in Houston, WPLG in Miami, WKMG in Orlando, KSAT in San Antonio, WJXT in Jacksonville); and in magazines, most notably the nation’s number-two weekly newsmagazine, Newsweek. The Washington Post Company’s various television ventures reach a total of about 7 million homes, and its cable TV service, Cable One, has 635,000 subscribers.

In a joint venture with The New York Times, the Post publishes the International Herald Tribune, the most widely distributed English-language daily in the world.

Like The New York Times, the Washington Post started out in Gentile hands. It was founded in 1877 by Stilson Hutchins and was later run by the McLean family. Due to the McLeans’ conservative policies, Jewish advertising shifted to the other Washington papers, driving the Post into bankruptcy. A Jewish financier, Eugene Meyer, stepped in to buy it for a trifling sum at the bankruptcy auction. As soon as it passed into Jewish hands, advertising from Jewish businesses and advertising agencies returned, and the newspaper returned to profitability.

In an effort at further consolidation of the media in our nation’s capital, the Jews ran an advertising boycott of Colonel Robert McCormick’s Times-Herald, which they detested because of its support for anti-Communist Sen. Joseph McCarthy. Unable to sell retail-advertising space, the newspaper shrank dramatically and began losing about a million dollars a year and was finally sold to Meyer in 1954 at a bargain price. The Washington Post is now run by Meyer’s daughter, Katherine Meyer Graham, the principal stockholder and chairman of the board. Her son Donald is president and CEO.

The third leading influential newspaper in America, especially in the business realm, is The Wall Street Journal, published — along with Barron’s and 24 other daily newspapers — by Dow Jones & Company. The Wall Street Journal has a circulation of more than two million, making it America’s largest business daily and a tremendous influence on business, banking, trade, and economic issues. The CEO of Dow Jones and chairman and publisher of The Wall Street Journal is Peter R. Kann, a Jew.

Most of New York’s other major newspapers are in no better hands than The New York Times and The Wall Street Journal. In January 1993, the New York Daily News was bought from the estate of the late Jewish media mogul Robert Maxwell (born Ludvik Hoch) by Jewish real-estate developer Mortimer B. Zuckerman. The Village Voice is the personal property of Leonard Stern, the billionaire Jewish owner of the Hartz Mountain pet supply firm. The New York Post is owned by News Corporation under the Jew Peter Chernin.

The Three Most-Read Newsmagazines

Time, Newsweek, and U.S. News and World Report are the three major weekly newsmagazines published in the United States. The largest and most respected of these is Time, which has a circulation of more than four million. The CEO of Time-Warner is Gerald Levin, a Jewish benefactor of many Jewish and Israeli causes.

Newsweek is the second most widely read weekly, with a circulation of more than three million. It is under the control of the Washington Post’s Katherine Meyer Graham, another avid supporter of numerous Jewish causes.

The third-ranking newsmagazine is U.S. News and World Report, whose owner, publisher and editor-in-chief is Mortimer B. Zuckerman, a proud Zionist who also owns the Atlantic Monthly and the New York Daily News.

The Giants of Book Publishing

Book publishing is perhaps the part of American media least controlled by Jews. Yet, they still dominate the most important parts of that industry. All one needs is a printer and some cash to publish a book, and tens of thousands of printers do business in America along with hundreds of small book publishers. Yet here too, the Jewish influence is powerful, for writing a book, no matter how informative and provocative, offers no guarantee of it being published, and being published offers no guarantee of it being professionally promoted, distributed or even reviewed. The half dozen or so largest publishers and distributors handle 95 percent of the biggest-selling books in America. And in those areas of book publishing and distribution, Jewish appraisal is inevitable and Jewish approval is crucial.

According to Publisher’s Weekly, the three largest American publishers are Random House (and its subsidiaries, including the Crown Publishing Group), Simon & Schuster, and Time Warner Trade Group (including Warner Books, Little, Brown, and Book of the Month Club). Jews control two out of three and the third, Random House, has many Jews in important positions throughout the division of the conglomerate it has joined.

Gerald Levin is CEO of Time-Warner Communications, which owns Time Warner Trade Group. The other major media, Simon and Schuster, is a subsidiary of Viacom Inc. Viacom’s CEO and chairman is Sumner Redstone (born Murray Rothstein). Additionally, it should be noted that the largest publisher of children’s books, with more than 50 percent of the market, is Western Publishing, whose chairman and CEO is Richard Snyder, who just replaced another Jew, Richard Bernstein.

The Suppression of One Book

One of the most brilliant books of this century dealing with the weakening of the American majority is The Dispossessed Majority by Wilmot Robertson. (11) This book is rich in research and ideas, and it is written with a command of the English language rarely seen today. But Robertson was unable to find a major publisher because he dared to write about the unmentionable subjects of race and Jewish ethnocentrism. No national or major publications would review his work, and no national distributors would handle it. Many national publications would not permit Robertson to buy advertisements for his book because it contained information unacceptable to the self-ordained Jewish censors. Despite its ban from the mainstream bookstores and not being reviewed by the major media critics, Robertson has sold well over 150,000 copies through the mail and by word of mouth.

Television

When I read the article by Edward Fields documenting the Jewish control of the three major TV networks, I was fascinated. ABC, CBS, and NBC produce the overwhelming majority of entertainment television broadcasts in America, and for most Americans they are the primary sources of news. Leonard Goldenson of ABC, William S. Paley of CBS, and David Sarnoff of NBC ran their respective networks for decades, setting the tone and breadth of the modern Jewish domination of broadcasting. Here is a portion of Dr. William L. Pierce’s “Who Runs the Media” article on the current state of American broadcasting.

Who Runs the Media?
Continuing government deregulation of the telecommunications industry has resulted, not in the touted increased competition, but rather in an accelerating wave of corporate mergers and acquisitions that have produced a handful of multi-billion-dollar media conglomerates. The largest of these conglomerates are rapidly growing even bigger by consuming their competition, almost tripling in size during the 1990s. Whenever you watch television, whether from a local broadcasting station or via a cable or a satellite dish; whenever you see a feature film in a theater or at home; whenever you listen to the radio or to recorded music; whenever you read a newspaper, book, or magazine — it is very likely that the information or entertainment you receive was produced and/or distributed by one of these megamedia companies.

The largest media conglomerate today is AOL-Time Warner, created when AOL bought Time Warner for $160 billion in 2000. The merger brought together Steve Case, a Gentile, as chairman of AOL-TW, and Time Warner chairman Gerald Levin, a Jew, as the CEO. Although AOL-TW isn’t (yet) run entirely by Jews, the effect of this blend of leadership between a White capitalist whose biggest concern is money and a racially conscious Jew will be gradually to increase the Jewish influence within AOL. Steve Case won’t complain when Gerald Levin begins hiring mostly Jews to fill key positions beneath him because Case’s own profits won’t be affected. After Case dies or retires, the Jews will have complete control at AOL.

Before the merger, AOL was the largest Internet service provider in America, and it will now be used as an online platform for the Jewish content from Time Warner.

Time Warner, Inc., with 1997 revenues of more than $13 billion, was the second largest of the international media leviathans when it was bought by AOL. Levin, chairman and CEO of Time Warner, had bought Turner Broadcasting Systems in 1996 from Ted Turner, who had been one of the few Gentile entrepreneurs in the media business. Ted Turner, as the company president, became the number three man at AOL-TW, after Case and Levin.

When Ted Turner, the Gentile media maverick, made a bid to buy CBS in 1985, there was panic in media boardrooms across the nation. Turner had made a fortune in advertising and then had built a successful cable-TV news network, CNN, with over 70 million subscribers. Although Turner employed a number of Jews in key executive positions in CNN and had never taken public positions contrary to Jewish interests, he is a man with a large ego and a strong personality and was regarded by Chairman William Paley and the other Jews at CBS as uncontrollable: a loose cannon who might at some time in the future turn against them. Furthermore, Jewish newsman Daniel Schorr, who had worked for Turner, publicly charged that his former boss held a personal dislike for Jews.

To block Turner’s bid, CBS executives invited billionaire Jewish theater, hotel, insurance, and cigarette magnate Laurence Tisch to launch a “friendly” takeover of the company, and from 1986 until 1995 Tisch was the chairman and CEO of CBS, removing any threat of non-Jewish influence there. Subsequent efforts by Turner to acquire a major network were obstructed by Levin’s Time Warner, which owns nearly 20 percent of CBS stock and has veto power over major deals. When his fellow Jew Sumner Redstone offered to buy CBS for $34.8 billion in 1999, Levin had no objection.

Thus, despite being an innovator and garnering headlines, Turner never commanded the “connections” necessary for being a true media master. He finally decided if you can’t lick ‘em, join ‘em, and he sold out to Levin. Ted Turner is in one respect a reflection of Steve Case. Both of these White men are capitalists with no discernible degree of racial consciousness or responsibility. In July 2001, AOL Time Warner announced that yet another Jew, Walter Isaacson, formerly the editorial director of Time, Inc., will become the new chairman and CEO of CNN News Group, which oversees the news empire that Ted Turner built.

Time Warner’s subsidiary HBO is the country’s largest pay-TV cable network. Until the purchase in May 1998 of PolyGram by Edgar Bronfman, Jr., Warner Music was America’s largest record company, with 50 labels, the biggest of which is Warner Brothers Records. Warner Music was an early promoter of “gangsta rap.” Through its involvement with Interscope Records (prior to Interscope’s acquisition by MCA), it helped to popularize a genre whose graphic lyrics explicitly urge Blacks to commit acts of violence against Whites.

In addition to cable and music, Time Warner is heavily involved in the production of feature films (Warner Brothers Studio, Castle Rock Entertainment, and New Line Cinema) and in publishing. Time Warner’s publishing division (editor-in-chief Norman Pearlstine, a Jew) is the largest magazine publisher in the country (Time, Sports Illustrated, People, Fortune).

The second-largest media conglomerate today, with 1997 revenues of $23 billion, is the Walt Disney Company. Its chairman and CEO, Michael Eisner, is a Jew. The Disney empire, headed by a man described by one media analyst as “a control freak,” includes several television production companies (Walt Disney Television, Touchstone Television, Buena Vista Television) and cable networks with more than 100 million subscribers altogether.

As for feature films, the Walt Disney Motion Pictures Group, under Walt Disney Studios, headed by Joseph E. Roth (also a Jew), includes Walt Disney Pictures, Touchstone Pictures, Hollywood Pictures, and Caravan Pictures. Roth founded Caravan Pictures in January 1993, and it is now headed by his fellow Jew Roger Birnbaum. Disney also owns Miramax Films, run by the Weinstein brothers, Bob and Harvey, who have produced such ultra-raunchy movies as The Crying Game, Priest, and Kids.

When the Disney Company was run by the Gentile Disney family, prior to its takeover by Eisner in 1984, it epitomized wholesome, family entertainment. While it still holds the rights to Snow White, the company under Eisner has expanded into the production of a great deal of so-called “adult” material.

In August 1995, Eisner acquired Capital Cities/ABC, Inc., which owns the ABC Television Network, which in turn owns ten TV stations outright in such big markets as New York, Chicago, Philadelphia, Los Angeles, San Francisco, and Houston. In addition, it has 225 affiliated stations in the United States and is part owner of several European TV companies.

ABC’s cable subsidiary, ESPN, is headed by president and CEO Steven Bornstein, who is a Jew. The corporation also has a controlling share of Lifetime Television and A & E Television Networks cable companies, with 67 million subscribers each. ABC Radio Network owns 26 AM and FM stations, again in major cities such as New York, Washington, and Los Angeles, and has over 3,400 affiliates.

Although primarily a telecommunications company, Capital Cities/ABC earned over $1 billion in publishing in 1997. It owns seven daily newspapers, Fairchild Publications (Women’s Wear Daily), Chilton Publications (automotive manuals), and the Diversified Publishing Group.
Number three on the list, with 1997 revenues of just over $13 billion, is Viacom, Inc., headed by Sumner Redstone (born Murray Rothstein). Viacom, which produces and distributes TV programs for the three largest networks, owns 13 television stations and 12 radio stations. It produces feature films through Paramount Pictures, headed by Jewess Sherry Lansing.

Redstone acquired CBS following the December 1999 stockholders’ votes at CBS and Viacom.
Working for Redstone as CBS’s chief executive is a Jew named Melvin A. Karmazin. He is the boss and biggest individual shareholder of the company that owns the CBS Television Network, 14 major-market TV stations, 160 radio stations, the Country Music Television and the Nashville Network cable channels, and a large number of outdoor advertising assets.

Viacom’s publishing division includes Simon & Schuster, Scribner, The Free Press, and Pocket Books. It distributes videos through over 4,000 Blockbuster stores. It is also involved in satellite broadcasting, theme parks, and video games.

Viacom’s chief claim to fame, however, is as the world’s largest provider of cable programming, through its Showtime, MTV, Nickelodeon, and other networks. Since 1989 MTV and Nickelodeon have acquired larger and larger shares of the juvenile television audience. The first quarter of 2001 was the 16th consecutive quarter in which MTV was rated as the #1 cable network for viewers between the ages of 12 and 24. Redstone, who actually owns 76 per cent of the shares of Viacom, has offered Beavis and Butthead as teen role models and currently is the largest single purveyor of race-mixing propaganda to White teenagers and sub-teens in America and in Europe. MTV Networks plans to acquire The Music Factory (TMF) from the Dutch media and marketing group Wegener. TMF distributes music to almost 10 million homes in Holland and Belgium. MTV is expanding its presence in Europe through new channels, including MTV Dance (Britain) and MTV Live (Scandinavia). MTV Italy is active through Cecchi Gori Communications. MTV pumps its racially mixed rock and rap videos into 210 million homes in 71 countries and is the dominant cultural influence on White teenagers around the world.

Nickelodeon, with about 65 million subscribers, has by far the largest share of the four-to-11-year-old TV audience in America and also is expanding rapidly into Europe. Most of its shows do not yet display the blatant degeneracy that is MTV’s trademark, but Redstone is gradually nudging the fare presented to his kiddie viewers toward the same poison purveyed by MTV. As of early 2001, Nickelodeon was continuing a nine-year streak as the top cable network for children and younger teenagers.

Another Jewish media mogul is Edgar Bronfman, Jr. He headed Seagram Company, Ltd., the liquor giant, until its recent merger with Vivendi. His father, Edgar Bronfman, Sr., is president of the World Jewish Congress. Seagram owned Universal Studios and Interscope Records, the foremost promoter of “gangsta rap.” These companies now belong to Vivendi Universal.

Bronfman became the biggest man in the record business in May 1998 when he also acquired control of PolyGram, the European record giant, by paying $10.6 billion to the Dutch electronics manufacturer Philips. With the revenue from PolyGram added to that from MCA and Universal, Bronfman became master of the fourth largest media empire, with annual revenues around $12 billion. One especially unfortunate aspect of the PolyGram acquisition was that it gave Bronfman control of the world’s largest producer of classical music CDs: PolyGram owns the Deutsche Grammophon, Decca-London, and Philips record companies.

In June 2000, the Bronfman family sold Seagram to Vivendi, a French utilities company led by gentile Jean-Marie Messier. The combined company, Vivendi Universal, will retain Edgar Bronfman, Jr., as the vice chairman of the new company, and he will continue to be in charge of its entertainment division. The strategy for this merger seems to mirror that of AOL-Time Warner: infect and wait. Vivendi Universal will pay off the debts it assumed in the merger by selling Seagram’s alcohol business, retaining its media empire.

With two of the top four media conglomerates in the hands of Jews, and with Jews in executive charge of the remaining two, it is difficult to believe that such an overwhelming degree of control came about without a deliberate, concerted effort on their part.

What about the other big media companies?

Rupert Murdoch’s News Corporation, which owns Fox Television Network, 20th Century Fox Films, and Fox 2000, is the fifth largest megamedia corporation in the country, with 1997 revenues of over $11 billion. It is the only other media company that comes even close to the top four. Murdoch is perhaps a Gentile, but it has been reported his mother, Elizabeth Greene, is Jewish which qualifies him such by Jewish law. (12) but Peter Chernin, who is president and CEO of Fox Group, which includes all of News Corporation’s film, television, and publishing operations in the United States, is a Jew. Under Chernin, as president of 20th Century Fox, is Laura Ziskin, a Jewess who formerly headed Fox 2000. Jew Peter Roth works under Chernin as president of Fox Entertainment. News Corporation also owns the New York Post and TV Guide, and they are published under Chernin’s supervision. Murdoch told Newsweek magazine (July 12, 1999) that he would probably elevate Chernin to CEO of News Corporation, rather than allow the company to fall into the hands of his own children, none of whom are younger than their late twenties. It is hard to imagine a Jew giving a major media corporation to a Gentile underling when he has children waiting in the wings. For his part, Chernin was quite candid: “I get to control movies seen all over the world. . . . What could be more fun?”

Most of the television and movie production companies that are not owned by the largest corporations are also controlled by Jews. For example, New World Entertainment, proclaimed by one media analyst as “the premier independent TV program producer in the United States,” is owned by Ronald Perelman, a Jew who also owns Revlon cosmetics and who offered a job to Monica Lewinsky when Bill Clinton was trying to keep her quiet.

The best known of the smaller media companies, DreamWorks SKG, is a strictly kosher affair. DreamWorks was formed in 1994 amid great media hype by recording industry mogul David Geffen, former Disney Pictures chairman Jeffrey Katzenberg, and film director Steven Spielberg, all three of whom are Jews. The company produces movies, animated films, television programs, and recorded music. Considering the cash and connections that Geffen, Katzenberg, and Spielberg have, DreamWorks may soon be in the same league as the big four.

It is well known that Jews have controlled most of the production and distribution of films since shortly after the inception of the movie industry in the early decades of the 20th century. When Walt Disney died in 1966, the last barrier to the total Jewish domination of Hollywood was gone, and Jews were able to grab ownership of the company that Walt built. Since then they have had everything their way in the movie industry.

Films produced by just the four largest motion picture companies mentioned above — Disney, Warner Brothers, Paramount (Viacom), and Universal (Seagram) — accounted for two-thirds of the total box-office receipts for the year 1997.

The big three in television network broadcasting used to be ABC, CBS, and NBC. With the consolidation of the media empires, these three are no longer independent entities. While they were independent, however, each was controlled by a Jew since its inception: ABC by Leonard Goldenson; NBC first by David Sarnoff and then by his son Robert; and CBS first by William Paley and then by Laurence Tisch. Over periods of several decades these networks were staffed from top to bottom with Jews, and the essential Jewishness of network television did not change when the networks were absorbed by other corporations. The Jewish presence in television news remains particularly strong.

NBC provides a good example of this. The executives at NBC recently were shuffled among the key positions. Andrew Lack, who had been chief of the network’s news division, ascended to become its president and chief operations officer. Neal Shapiro, who had been producing Dateline NBC, moved into Lack’s old job. Jeff Zucker, who had been producing the Today show, was promoted to NBC entertainment president (a job that apparently was created for him), and Jonathan Wald moved into Zucker’s old spot after shoving aside Michael Bass, who had been filling in for Zucker with Today. Some time ago, Wald became the producer of the NBC Nightly News, taking the position from Jeff Gralnick. When Wald moved to Today, Steve Capus took over as Tom Brokaw’s producer. It is not known at this time whether Capus is a Jew or not, but everyone else is.

A similar preponderance of Jews exists in the news divisions of the other networks. For example, in February 2000, Al Ortiz moved to head the “Special Events” coverage at CBS, making gentile Jim Murphy the executive producer of The CBS Evening News with Dan Rather and the only exception that we know of to an otherwise solidly Jewish cadre of television news producers. The new CBS Early Show, which replaced CBS This Morning, had an internal shakeup in which three producers were fired, ostensibly for not being “aggressive” enough. One wonders whether they were also not Jewish enough. The shakeup did not, however, affect the outgoing executive producer Al Berman, who transferred to a new job as a program developer, and Steve Friedman has become the executive producer of The Early Show.

Paul Friedman is still the executive producer of ABC World News Tonight with Peter Jennings. Rick Kaplan, once an executive at ABC, moved to CNN in 1997, where he became the president of CNN/USA.

The overwhelming Jewish control that Dr. Pierce writes about in television and movies is not a new phenomenon. It is not a short-term aberration in the entertainment and news industry. It has been prevalent for decades. Over time the names may change, but the heritage usually remains the same. If anything, the Jewish power in media continues to consolidate and grow. Jewish publications themselves often boast about their power to their own readers.

Jewish Media Control – A World Wide Pattern

Jewish supremacy over the mass media is not limited to the United States of America. In Russia, Jewish crime bosses Boris Berezovsky and Vladimir Gusinsky have the two largest media empires. Gusinsky, who is now in Spain trying to avoid Russian criminal prosecution, also happens to be the head of the Jewish Congress in Russia. Berezovsky retains control over his media empire in the Russian Federation even though he is also under a self-imposed exile to avoid criminal arrest.

In Britain, the largest TV conglomerates are also under direct Jewish ownership and control. They include the ITV network, which is owned by Michael Green and his Carlton Communications company; Granada PLC, which is under Steve Morrison; and Anglia Television under Graham Creelman. The other major player in British media is of course, Rupert Murdoch, who, if he is indeed a Gentile, has been described as more pro-Israel than many of the most radical Zionist partisans. Even the BBC, which supposedly is owned by the British people, has many Jewish supremacists in important positions. Alan Yentob, for instance, is head of BBC programming. Even BBC Radio, which is the most listened to radio programming in the world, is headed by Jenny Abramsky, an unabashed Jewish partisan.

Jewish Media Supremacy In Canada

The Canadian mass media affords yet another example of Jewish media supremacy. With the sale of the last major Gentile conglomerate, Conrad Black’s Southam Publications, one Jew, Israel (Izzy) Asper, now has a majority of Canada’s major media under his direct control. Asper’s company, called CanWest, now owns more than 60 percent of all Canada’s newspapers and other media outlets. It owns 128 local newspapers, and 14 major metropolitan dailies including the Vancouver Sun, the Vancouver Province, the Calgary Herald and the Montreal Gazette. Asper also owns The National Post, a nationwide publication.

The courage of one investigative reporter, Bill Marsden, at the Montreal Gazette exposed Asper’s suppression of stories that were critical of Israel. Marsden, at great risk to his career, went public with Asper’s directive that gave him direct control of new national editorials that would appear in all of the newspapers. The directive stated that no local editors would be allowed to have a differing editorial position on issues such as Asper’s support for Israel.

Furthermore, Asper made it clear that he wanted to see nothing in his newspapers in any way critical of Israel. On the Canadian Broadcasting Corporation As It Happens program, Marsden said, “On issues such as on the Middle East, they don’t want to see criticism of Israel,” and that, “We do not run in our newspaper op-ed pieces that express criticism of Israel and what it is doing in the Middle East.”

Later in the broadcast, the hosts asked Asper’s national editorial writer, Murdoch Davis, if any of CanWest’s newspapers could print anything about Israel that Asper did not like, he replied, “No. It is clearly the intent that the newspapers will speak with one voice on certain issues of overarching national or international importance.”(13)

Of course, and that “one voice” has a distinctively Jewish tone. The one thing of overarching national and international importance is not to write anything even remotely critical of Israel! Such a policy, of course, is not in the interest of truth or the most basic principles of journalism. Such is not in the interest of the Canadian people who should have a right to know the whole truth and not simply the Jewish supremacist propaganda emitted by CanWest. Such is not in the interest of a truly free press. But, such media control and deception is in the interest of Jewish supremacism, for only through lies and deception can its evil survive.

Even though Asper’s directive became public, he has no intention of rescinding it. In fact, his son David has even sarcastically urged the protesting reporters (who are protected somewhat by union agreements) to resign. One can imagine the many directives issued by other Jewish firms that never have been publicly revealed. Of course, such directives not to write anything critical of Israel are overkill, for every journalist quickly understands what his Jewish bosses want in regard to Jewish issues. How many journalists would knowingly sacrifice their jobs, careers and future advancement by daring to defy their Jewish supremacist bosses on even the smallest point? And what if the journalist dared to stand up and really expose the world’s oldest, most ruthless and virulent racial supremacism? Not only would he lose his career, he would probably face universal scorn and derision. Indeed, Jewish supremacists might even compare him to David Duke, God forbid!

Other Methods of Press Control

Not only do the Jews have immense power in media through ownership and through key positions of control in production, management, hiring, editorship and writing, they also have key watchdog groups that monitor all major publications (and public figures) for any evidence of opposition to Jewish supremacism and Israel. One of the multimillion dollar international organizations is called the Anti-Defamation League of B’nai Brith. Any person who dares to speak freely is liable to run afoul of this organization that can destroy the career of almost anyone it deems a threat. The ADL also monitors every conceivable source of information available to the public, attempting to suppress anything it sees as harmful to Jewish public relations. One of the more recent enterprises was the development of an internet filter for individuals, libraries and educational institutions. Of course my website and all other sites that dare to expose Jewish supremacism are blocked by the self-appointed censors.

The ADL has a long history of receiving millions of dollars from Jewish gangsters and criminals. In return it has rewarded them with awards, such as giving a gangster like Moe Dalitz the “Torch of Liberty Award in 1985. (14) It is gallingly ironic that through its internet censorship, a group with organized crime connections can keep millions of Americans from ever discovering that very fact. Although the Jews have breathtaking domination of the media and an effective system of monitoring and suppressing dissident thought, still their control is not monolithic.

Groups like the ADL, however, will not be satisfied until Jewish control of the media becomes completely monolithic. They seek not only complete control of the mass media, but also to make it illegal for anyone to even dare to offer a contrary opinion to their agenda. They have already somewhat succeeded in Canada and in many European nations toward that sinister end, and they are working hard to accomplish the same thing in America.

“Through its 31 offices across the country, the ADL monitors school curricula, library acquisition lists, and public conferences and symposiums, working behind the scenes to stifle intellectual freedom.”
Robert Friedman, The Jewish Thought Police: How the Anti-Defamation League Censors Books, Intimidates Librarians, and Spies on Citizens, The Village Voice, July 27, 1993.

“An Empire of Their Own”

Even though it is hard to imagine now, Gentiles originated America’s film industry. Thomas Edison patented many of the early cameras and projection techniques and launched the first major studio. The man who pioneered the modern movie was D. W. Griffith, a brilliant director whose techniques and films are still studied by film classes around the world. His silent classic Birth of a Nation (15) held the title of most-watched movie in the world until Gone with the Wind. (16)

Birth of a Nation is a film version of The Clansman, a novel by Southern writer Thomas Dixon. (17) The film depicted the fratricidal conflict of the War Between the States and the oppression of the Southern people during the “Reconstruction” era. (see Willis Carto’s Barnes Review, July, 1997) (18)

When Birth of a Nation appeared, Jewish organizations actually went into the courts attempting to ban the film in a number of major cities, and they applied financial pressure on theaters to keep it from playing. A special showing of the film in the White House garnered an enthusiastic review by President Woodrow Wilson and initiated an irrepressible groundswell of support. The Jewish forces in the fledgling film industry realized that it was far more effective to control the film industry from the inside than to have to fight rearguard actions to suppress films that they did not want the American people to see.

The attempted Jewish banning of Birth of a Nation was not the first or the last attempt at Jewish censorship in America. Many people are surprised when they learn that Jewish groups actually were able to ban a play by the greatest writer of English literature: William Shakespeare. Performing Shakespeare’s The Merchant of Venice (19) became forbidden in New York City in the early years of the 20th century at the behest of the Jewish community, which claimed that it was anti-Semitic.

In the 1990s, the Public Broadcasting System (PBS) did a running series of all Shakespeare’s plays that included The Merchant of Venice. A long editorial introduction attempted to condition the audience into interpreting the play as sympathetic to Shylock, the central Jewish character who demanded the Gentile’s “pound of flesh.” The lines in which Shylock defends himself in court, pleading “If you prick a Jew doth he not bleed,” were emphasized to encourage the viewer to interpret the play as favorable to Jews. Interestingly, the Jews made no such interpretation of the play when they intolerantly argued for making performance of the play illegal. Recently, the Canadian Jewish News reported an attempt by Jews to suppress the play in a Canadian school district. (20)

As they have gone from outsiders to now thoroughly dominating the Western governmental and media establishment, many Jews have shifted from strong defenders of free speech to some of its most willful suppressers.

The Jewish students who dominated the “free-speech” movement at Berkeley in the mid-1960s sang the praises of free speech for the purpose of inviting to campus the likes of the filthy-mouthed and repugnant Allen Ginsberg and the violent, openly Communist, black revolutionary, Angela Davis. Today they attempt to silence anyone who dares to speak before a student audience on the issues raised in this book.

In some cases they have reverted to tactics similar to their campaign against The Merchant of Venice. In 1976 a national Black talk show broadcast on PBS, Black Perspectives on the News, invited me to Philadelphia for an appearance. After the taping, but before the show aired, the Anti-Defamation League and other Jewish organizations discovered that I mentioned the historically well-documented Jewish role in the Colonial slave trade. Jewish activists Sol Rosen, Harry Bass, and Peter Minchuck sought an injunction in the Common Pleas Court in Philadelphia, asking the judge to censor the program. The Jewish judge, Stanley Greenberg, issued an order demanding that the program not be aired until the tape was delivered to him and “approved.” Luckily, the First Amendment Coalition and attorney David Marion appealed the decision to the State Supreme Court and won. However, the Jewish methods of censorship were by no means exhausted.

Jewish organizations then went nationwide in an attempt to suppress the show at each PBS affiliate where the program was to be broadcast. In a massive campaign of intimidation, Jews wrote and called local PBS stations, threatening a cutoff of donations and public support if they aired the show. If that did not work, my opponents promised picketing, harassment, and even violence against the stations. By the time they finished their dirty work, the original program aired on only a small percentage of the local PBS stations. Furthermore, the stations that did have the temerity to air the original one-hour show immediately followed it with a special program attacking my positions and my character without allowing me to respond.

An example of quiet suppression, from among many I could cite, was my experience with The Tomorrow Show with Tom Snyder in 1974. The Tomorrow Show was a late-night talk show that went into serious topics rather than vapid celebrity banter. I did not fit the media image of the “anti-Semite” that host Tom Snyder had expected, and during the program he surprised me when, on camera, he referred to me as “intelligent, articulate, and charming.” Snyder laughed heartily at my witticisms and repeatedly stated on air that I would soon be back on the show. His last words on the program were “David Duke will be back here.”

Three days later Snyder’s staff called to set up the follow-up show. They said that I would appear along with a Black civil rights leader, a Jewish rabbi, a liberal Catholic, and a Protestant clergyman. Flight and hotel reservations were made, and I received a confirmation letter from the show. Only three days before the planned taping of the program, a staff member called and told me that she was sorry, but the program had been forced to cancel my appearance. I asked her why, and she confided in me that the Jewish executives at NBC had sternly informed the program that “David Duke will never again appear on The Tomorrow Show.”

The program went on as scheduled, but my detractors were the only guests. They denigrated me for the entire hour with cheap insults. The rabbi, evidently well-versed in Freudian psychology, attributed my negative view of Jewish supremacism to “sexual frustration.” And so it went. The media masters had presented three high priests of egalitarianism railing at me, and silenced any dissent.

Israel and Arabia

Perhaps the best way to illustrate the bias of the media is to examine the media coverage of Israel as compared to its Arab neighbors. There is no more revealing evidence of how Jews wield their media power in pursuit of their interests.

Consider the following:

Iraq was condemned and attacked for invading its neighbor Kuwait, YET—

Israel invaded its neighbor Lebanon which eventually cost the lives of at least 20 thousand Lebanese civilians and countless billions of dollars of property.

The reason for the attack against Iraq, was the fact it had disobeyed UN resolutions to vacate Kuwait, YET—

Israel defied UN resolutions to leave Lebanon for 18 years, and still violates UN Resolution 242 demanding withdrawal from the West Bank.

Iraq was attacked by America and Britain supposedly to stop the spread of weapons of mass destruction, YET—

Israel, of course, has one of the world’s most deadly supplies of weapons of mass destruction, including everything from nerve gas and biological weapons to hundreds of nuclear weapons.

When Palestinian terrorists blow up Israeli buses or markets in suicide attacks, it is world-wide front page news, YET—

When Israel drops napalm on refugee camps and kills scores of women and children, it receives far less coverage and is almost always called “retaliation.”

Consider the media reaction if one of the Arab states had shot down a commercial airliner with passengers aboard, YET—

Israel shot down a passenger airliner over the Sinai Peninsula with hardly a ripple of protest.

ost of pro-Jewish films produced by the Hollywood establishment would be a monumental task, but I can offer some pertinent examples.

Not surprisingly, the most lavishly promoted miniseries of all time was also the most important film of all to the Jews: The Holocaust. The film was a thoroughly Jewish production. It was directed by Roots director Marvin Chomsky. Gerald Green wrote the screenplay. Morton Gould composed the music. The producers were Robert Berger and Herbert Brodkin. TV Guide remarked that during filming in Europe, the writer’s father died. Rather than return home for his funeral, Green felt he was honoring his rabidly pro-Zionist father by staying in Europe to work on The Holocaust. For a dozen hours, the film, a work of extreme ethnic hatred, portrayed Germans and other Eastern Europeans as either bloodthirsty or spineless, and of course, it portrayed every Jew as a paragon of virtue, love, and kindness. Never had a television production received more advance coverage or more praise than The Holocaust. Jewish-run publications and pundits acted as though it was the most important piece of drama in the history of cinema.

Of course, many Jewish-made films deal with other issues than more direct Jewish concerns such as Holocaust propaganda and support for Israel. They have done their part in stirring up ill-will in minorities against the European majority. Divide and conquer has always been their strategy. While I was still in college, I attended a so-called Black-exploitation film called Farewell Uncle Tom. (21) I read about the film before its showing in New Orleans, where it played in a mostly Black movie house downtown.

In researching the film, I discovered that Cannon Releasing Corporation had released it and that Cannon’s president was Dennis Friedland. His associates included Marvin Friedlander, Thomas Israel, James Rubin, and Arthur Lipper. I found out later from a film review that most of the Jews involved with the White-hating film actually had their names removed from the film’s credits.

Expecting a difficult situation, I drove down from Baton Rouge with two of the bravest and most dedicated of my LSU friends. In 90 minutes, at a matinee filled with Blacks, my friends and I received an emotional and graphic education on the heinous impact of the Hollywood anti-White movies.

Set in the antebellum South, the film portrayed slave life as an orgy of White mutilation, starvation, murder, and rape of Black men and women. A Black revolt occurs, and the screen erupts with revenge-minded Blacks hacking to death White men, women, and children. With each bloody outrage, the audience howled with approval. “Right on!” some screamed. “Rape the Bitch!. . . Kill ‘em!” The Black crowd laughed and cheered during the goriest scenes of mutilation, rape, and murder.

To make sure the film’s point was clear to its patrons, the film’s ending flashed forward to the present day, showing afro-wearing Black men in leather jackets and sunglasses, sneaking into the bedroom of a White couple. The camera depicts the couple’s horror as the attackers hack them to death with a hatchet. In slow motion, the hatchet falls repeatedly, splattering blood and brains across the room. Even after 20 years, I vividly recall the film and the raw hatred it engendered in the Black audience.

At the sight of the murders, the audience worked itself into a frenzy. As soon as the credits appeared, my friends and I, sitting in the rear of the theater, grabbed our coats and left quickly. We were somber as we drove back to LSU because we knew that Farewell Uncle Tom was designed to incite Blacks to murder and rape Whites across America.

Seeing Farwell Uncle Tom deeply angered me, but interestingly, not against Blacks. Despite the screen images of Black murder and rape of White people and the hateful attitude of the Black audience, I realized that they had been evilly manipulated by the Jewish makers of the film. It caused me do some soul-searching about my attitudes toward African-Americans, I began to realize that both Blacks and Whites have legitimate grievances that can only be mediated in a climate of fairness and mutual concern. The Jewish supremacist media exploit our differences as part of their “divide and conquer” strategy.

The time I spent in that dark theater touched my emotions so powerfully that I swore to myself and to God that I would make whatever sacrifices I must to someday stop the brutal attacks against our flesh and blood as symbolized in that hateful film. I also resolved to stand up against filmmakers who create a climate of anti-White hatred that led to violence against European-Americans.

Jewish Admissions of Media Supremacy

During my hundreds of interviews over the years, whenever I mentioned Jewish media domination, my interrogators first would deny the Jewish preponderance of power. When that defense sank beneath a sea of facts, they would then argue that the Jewish supremacy means nothing. Finally, they argued that it is evil to suggest that Jews might use their media power for their own advantage.

The domination of America’s news and entertainment media is so obvious that some Jewish media have begun to acknowledge it, but they suggest the Jewish domination makes no real impact on content. The cover of the August 1996 issue of Moment magazine was emblazoned with the headline, “Jews Run Hollywood, So What?” The article, written by well-known Jewish film critic Michael Medved, includes the following comments: “It makes no sense at all to try to deny the reality of Jewish power and prominence in popular culture. Any list of the most influential production executives at each of the major movie studios will produce a heavy majority of recognizably Jewish names.” Medved reports how Walt Disney studios hire only “highly paid Jewish moguls” such as Jeffery Katzenberg, Michael Ovitz, and Joe Roth as producers. He goes on to state that:

The famous Disney organization, which was founded by Walt Disney, a Gentile Midwesterner who allegedly harbored anti-Semitic attitudes, now features Jewish personnel in nearly all its most powerful positions. (22)

Interestingly, in spite of the attempts to besmirch the name of Walt Disney as an anti-Semite, his films were the most morally and spiritually uplifting – as well as educational – in the industry. In contrast, Michael Eisner’s new Disney and its subsidiaries now make many anti-Christian and sexually degenerate films such as The Priest (23) and The Crying Game. (24)

Not only do the Jewish producers create a plethora of pro-Israel and pro-Jewish propaganda along with their anti-Christian, anti-Gentile hate films and documentaries, they are careful to monitor films made by both Jews and Gentiles. For example, Jewish censors of the fact-based film, Seven Years in Tibet, felt that the main character, an ex-Nazi explorer from Austria, was not repentant enough about his past. They had the filmmaker invent a repentance scene and insert it into the “true story.” (25)

Michael Medved writes in his article that “Jewish writers and directors employ unquestionably flattering depictions of Jews for audiences that react with sympathy and affection.” It goes without saying that Jewish directors and writers depict those who oppose Jewish supremacism as thoroughly evil.

A 1998 made-for-television film documentary aired on the Arts & Entertainment cable network boasted of the preeminent Jewish role in media and the shaping of our society to their purposes. It was made by Elliot Halpern & Simcha Jacobvici Productions, and written and directed by Simcha Jacobvici. The documentary tells how Jews overcame the Gentile filmmakers such as Thomas Edison and D.W. Griffith, and gradually replaced their traditional American themes. Movies such as Griffith’s Birth of a Nation, which honored our traditional heritage, became replaced with paeans to the immigrant and multiracialism. They interview Jewish author Neil Gabler, who frankly tells how they “devoured” the values of traditional America.

They created their own America, an America which is not the real America…But ultimately this shadow America becomes so popular and so widely disseminated that its images and its values come to devour the real America. And so the grand irony of all of Hollywood — is that Americans come to define themselves by the shadow of America that was created by the Eastern European Jewish immigrants who weren’t permitted in the precincts of the real America.

The narrator goes on to say that the Hollywood Jews became almost godlike in their power and set up a system to raise their prestige in the eyes of Americans.

Where there were new Gods there must be new idols. So, the studio heads began a movie guild with the lofty title of The Academy of Motion Picture Arts and Sciences. It was Mayer’s brilliant idea to create the Oscars where the movie moguls’ guild honor themselves by giving each other awards. In this way, they went from being a group of immigrant Jews to award-winning American producers.

The Lesson of Marlon Brando

Jewish power is such that they can make craven even the greatest of Hollywood icons. Marlon Brando is a prime example. In the early days of his acting career he was completely under the control of Jewish agents and acquaintances. Brando wrote in his autobiography that he was given an important role in a disgustingly pro-Zionist play called A Flag Is Born, written by avid Zionist Ben Hecht and directed by Luther Adler. As Brando notes:

It was essentially a piece of political propaganda advocating the creation of the state of Israel … Everyone in A Flag Is Born was Jewish except me … I did not know then that Jewish terrorists were indiscriminately killing Arabs and making refugees out of them in order to take their land … The play, as well as my friendship with the Adlers, helped make me a zealous advocate for Israel and later a kind of traveling salesman for it…

Brando then began giving propaganda speeches for a Zionist organization, and even contributed money himself to the Zionist Irgun organization, a terrorist group. (26)

Marlon Brando later learned the truth about Zionism and dramatically changed his opinion. “Now,” he said in 1994, “I understand much more about the complexity of the situation than I did then … (27) …I sided with Jewish terrorists without acknowledging that they were killing innocent Palestinians in their effort to create the state of Israel …(28) … One of the strangest government policies is that largely because of the political influence of Jewish interests, our country has invested billions of dollars and many American lives to help Israel reclaim land that they say their ancestors occupied three thousand years ago.” (29)

During an appearance on the Larry King television show, actor Marlon Brando dared to comment that “Hollywood is run by Jews. It is owned by Jews.” Brando contended that Jews are always depicted as humorous, kind, loving, and generous while they slander every other racial group, “but are ever so careful to ensure that there is never any negative image of the Kike.” (30)

Jewish groups came down unmercifully on Brando, stating in their press releases that they would see to it that he “would never work again.” No one in the Jewish press seemed to notice that the threats simply validated Brando’s observation of their unchallenged media power. Brando became so intimidated by the onslaught of hatred and threats against him that he had to arrange an audience with Rabbi Hier of the Simon Wiesenthal Center. In probably the best acting job of his life, Brando cried and got on his knees and kissed Rabbi Hier’s hands, begging for forgiveness for offending the supreme Jewish gods of the Western World. Brando publicly renounced his heresy against the new Jewish gods, and thus the Jewish high priest absolved him of his sin. Brando had become a good object lesson for famous Gentiles who might dare speak the truth about Jewish supremacism, and he has said nothing but positive things about Jews ever since.

If someone wants to understand how the Jewish supremacists maintain their almost complete media control, the Brando incident is an excellent illustration. They do it by both the carrot and the stick. They reward those Goyim who go along with their evil as they did Brando in his early career, but they are unmerciful to anyone who dares to even utter a word against them. Public figures who publicly oppose them have to be either incredibly stupid or magnificently brave. Marlon Brando naively thought that by telling the obvious truth about Israel he might endure serious criticism, but he never dreamed of the tidal wave of filth and abuse that would descend upon him. In a pitiful scene, Brando prostrated himself at the feet of his master like a whimpering dog, literally licking the hand of the tyrant that beat him.

There can be no renewal for our people until that kind of intimidating power is broken. There is no possibility of redemption for our people until we summon the courage necessary to defy our Jewish supremacist overlords. Finally, no regeneration of our society can occur until real freedom of speech and press is restored.

Once I discovered the Jewish power over the American media, I resolved never to surrender my freedom of speech in deference to it. No matter if it might cost me my reputation, my freedom or even my life; I became and still remain determined to oppose the media masters who seek to destroy our way of life and our very life form itself. I am confident that in time my kinsmen will likewise rise up in defiance rather than kneel in dishonor — as Marlon Brando did— to our would-be masters.

————
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13. As it Happens. (2001). CBC Radio. Dec. 7.
14. Las Vegas Review-Journal, (1999). Internet version of the “1st Hundred Men Who Shaped Las Vegas”. Part. 2.
15. Birth Of A Nation. (1915). Director, Composer: D.W. Griffith. Screenwriter: Frank E. Woods, D.W. Griffith. Producer: Frank E. Woods. Cinematographer: Billy Bitzer. Editor: James Smith.
16. Gone with the Wind. (1939). Editor: Hal Kern. Producer, Screenwriter: David O. Selznick
17. Dixon, T. (1905). The Clansman: An Historical Romance Of The Ku Klux Klan. New York: Grosset & Dunlap,.
18. Barnes Review. (1997). Birth of a Nation. July. vol. 3. n. 7 p. 27.
19. Shakespeare, W. (1600). The Excellent History Of The Merchant Of Venice: With the extreme cruelty of Shylock the Jew towards the saide merchant, in cutting a just pound of his flesh and the obtaining of Portia by the choyse of three caskets. London: J. Roberts.
20. Canadian Jewish News. (1991). January 31. p.33.
21. Farewell Uncle Tom.[1972] Cannon Releasing Corporation.
22. Medved, M. (1996). Jews Run Hollywood, So What? Moment. August.
23. Priest. (1994). Miramax Films.
24. The Crying Game. (1992). Miramax Films.
25. Seven Years In Tibet. (1997). Sony Pictures Entertainment, TriStar Pictures, Mandalay Entertainment, Reperage & Vanguard Films, Applecross.
26. Brando, Marlon. [with Robert Lindsey] Brando. (1994). Songs My Mother Taught Me.
Random House of Canada, Toronto. P.107-111
27. Ibid. p.111
28. Ibid. p.231
29. Ibid. p.388
30. Larry King Live. (1996). Guest: Marlon Brando. Friday, April 5.

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