The following article was sent by Pastor Bob Jones via
Willie Martin. I wrote to Jones the following note: "On the
whole, this article is excellent, and I will post it on my site
tomorrow. It does, however, have the unintended consequences of
(1) strongly suggesting that Edison, Disney et al were simply
poor marketers and/or incompetent managers, (2) coming across as
prudish and sex-negative, (3) making the reader want to hear the
other (Jewish) side of the story (there is always another side),
and (4) suggesting -- because of typographical and spelling
errors [and, I should have added, editorial ones]-- that you are
an ignorant bigoted hick. But I repeat, congratulations on a
generally excellent article."
The pastor replied to me as follows: #1. I didn't
write the article as anyone with Intelligence can tell. It was
from the CDL, Christian Defense League. # 2. I did make the
comment [which appears at the end] which reflects perfectly how
the satanic seedline jews do business.
# 3. I put it through the spell checker on the computer &
except for "names", it is correct. I do not correct
names as to many people spell there name in various ways. # 4. I
don't care if you post the article, or not. # 5. To try to insult
me without knowing anything about me, shows your ignorance
completely. # 6. You are obviously an anti-Christ, jew loving
race traitor at the very least, or many even a satanic seedline
jew yourself! May YHVH open your eyes to the truth, or destroy
you, Pastor Bob Jones
As I pointed out to the pastor, there are at least 9
errors in his letter, and that criticism is not the same as
insult, altho most people don't seem to grasp the difference.
The lesson here is, be very careful about whom you count as friends.
Thomas
Edison and the Jews
(and
Walt Disney)
(FROM THE CDL REPORT 1999)
Unknown to most Americans is the fact that the first motion
picture camera was invented by Thomas Alva Edison in East Orange,
New Jersey. A lifelong inventor,
Mr. Edison had over 1,000 inventions patented when he died in
1931.
Inventing a motion picture camera that worked properly was the
easy part for
Edison. Keeping the Jews from using the camera without paying him
royalties for his invention was the hard part.
As soon as the German born Jew, Carl Laemmle found out about
motion pictures, he started figuring ways to exploit the new
invention. Efforts by Laemmle and other Jews to deprive Edison of
his fees for using his cameras forced Edison and other
movie makers like Dickson, Casler, Koopman, Long, Smith, Klein
and Marion to form a protective association called the TRUST.
As fast as the Jews could get their hands on Edison's equipment
and started using it, the Trust would file lawsuits against them
to stop their illegally using his patented
equipment.
Not to be outdone, Laemmle and other New York Jews, scurried
around Europe in their efforts to circumvent the long arm of the
Trust. Cameras based on Edison's
invention were smuggled into the United States by the Jews as
well as raw film.
Edison and the Trust had made arrangements with the Eastman Kodak
Company to
exclusively produce film for it and those who had been sanctioned
to use the equipment by the Trust. Laemmle and his Jewish
co-racialists found film manufacturers in Europe to supply them
with Kodak-like film which was also smuggled into the United
States.
When the courts moved at a snail's pace or refused to stop the
Jews from using Edison's invention, the Trust would send out it's
own enforcement "police" which
would seize and smash the illegal equipment. As one author noted,
this forced the Jews to set up an elaborate warning system.
Jewish lookouts would keep watch while the Jews were filming and
when they observed the Trust "police" on their way, the
Jews would quickly pack up their cameras and flee as fast as
possible to another "filming" location.
However, Laemmle knew that while the Trust controlled most of the
movie
cameras, they could not get their films into circulation without
"movie houses."
Edison and other non-Jewish movie makers distributed their movies
through numerous non-Jewish independent "movie house"
owners across America. However, those owning the movie houses
were completely independent and had no central distribution
center or movie house chains.
Before Edison perfected his camera other individuals had
developed a system of rapidly moving cards which depicted short
scenes. The "pictograph" system as it was called, was
quickly seized upon by the Jews as a means of making a fast buck
by developing a series of cards depicting "movies" of
naked women or sex acts by couples. To exploit the
"pictograph" market the Jews used their homes and
buildings in New York to set up "Nickelodeons," which
turned useless real estate into a means of making a fast
buck---on this early form of pornography.
The Jewish "Nickelodeon" system spread from New York
and Carl Laemmle used the "Nickelodeons" as a framework
for organizing his own distribution system among his more than
willing co-racialists nationwide.
The fight the Trust the Jews formed the Distributing and Sales
Company. To get the "goyim's" support, Laemmle allowed
some non Jews to become involved and bring their movie houses and
money into the venture. The non-Jews Robert Cochrane
and Pat Powers merged their holdings with Laemmle. However, most
of the funding for the DSC came from Jewish investors Laemmle had
managed to get control over distribution facilities and over 300
theaters nationwide.
In his drive for power over the Trust and his competitors,
Laemmle formed
Universal Movie Distributors with Cochrane and Powers. After
destroying his competitors at Mutual Film Distributors, Laemmle
then proceeded to use his investors to push Cochrane and Powers
out of Universal, and before long he was in total control and was
nicknamed the "King of the Film Renters" At this point
the control of the movie industry went from the non-Jewish hands
of the Trust into the hands of Laemmle, Fox and other Jews. The
Jews had won the fight for the
control to the thinking of the American public.
The movie producers aligned with the Trust felt they were
producing quality
movies and wouldn't distribute any "less than perfect"
films. Laemmle didn't have that problem, and to keep the films
flowing into his theaters and going through his
distributors, he used every piece of junk film he could get his
hands on. His motto was "the more the better." The
Trust simply couldn't keep up, because they could not understand
the Jewish mentality.
The Trust still kept fighting back so the Jews decided to pull up
roots in the East and head West to Hollywood, California where
there would be over 3,000 miles
distance between the Trust, the courts and the Trust's
"police." From that time on Hollywood became the motion
picture capital of America, where the Jews could reign supreme.
Edison and the members of the Trust felt that by producing
wholesome movies they were helping to preserve the nation's
morals. However, the Jews were not
governed by these standards. In the book Walt Disney Hollywood's
Evil Prince, Marc Eliot says: "Unlike their early East Coast
counterparts, the heads of Hollywood's studios were less
interested in artistic experimentation than profit. They put on
the screen what sold the most. The public was willing to pay to
see films with sex and violence, and Hollywood was more than
happy to make them.
"By the early twenties, all that remained of Edison's Trust
was the issue it had raised regarding the moral content of motion
pictures. The federal government
kept a close watch on Hollywood, the new capital of the film
industry, to make sure the movies it produced remained
"socially acceptable."
However, Hollywood's moguls had no idea of what was meant by
"socially
acceptable." They didn't know if their movies were moral or
immoral and couldn't have cared less... The more a film made, the
better it was...Whenever the industry came under attack for being
morally corrupt, none of Hollywood's owners believed the problem
had anything really to do with morality."
The members of the Trust couldn't understand that the Jews wanted
control of the movies so they could promote their own social and
religious agenda. In An Empire of Their Own: How the Jews
Invented Hollywood, the Jewish author, Neal Gabler says:
"...But one major reason Edison and his cohorts lost their
hegemony was that they misinterpreted what was at stake. They
never seemed to understand that they were engaged in much more
than an economic battle to determine who would control the
profits of the nascent film industry; their battle was also
generational, cultural, philosophical, even, in some ways,
religious. The Trust's members were primarily older white
Anglo-Saxon
Protestants who had entered the film industry in its infancy by
inventing, bankrolling, or tinkering with movie hardware: cameras
and projectors. For them, the movies themselves would always be
novelties. The Independents, on the other hand were largely
ethnics, Jews and Catholics, who had entered the industry by
opening and operating its theaters."
Trying to stop the Jews from controlling the distribution of
movies had cost the Trust $300,000 in legal fees. The Jews had
been hit with 289 lawsuits. Undaunted by
the action taken by Edison and the Trust, the Jews kept using his
equipment. In a last ditch effort to stop the Jews, Edison and
his friends organized the General Film Company as a film
exchange. However, by now it was too late: the Jews had gobbled
up half the market and had formed a monopoly that would thumb its
noses at the "goyim" from the Trust.
After the Jews achieved complete control over the distribution of
movies, they
kept lowering the standards regarding morality and sex to the
point where some
members of Congress felt that film censorship was necessary and
they introduced
legislation to create a board of film censorship.
To get around this censorship board the Jews rapidly moved to
form a "self
regulating" organization called the Motion Picture Producers
and Distributors of America. (MPPDA) A non-Jew was picked to head
the MPPDA, and this was former
Postmaster General Will Hays who had been national chairman of
the Republican party. In his book Marc Eliot says: "The
Jewish power faction in Hollywood hoped choosing a Christian to
regulate the moral content of their films would improve the
overall image of its industry."
Some members of Congress considered Hollywood not only to be
immoral but also subversive. In 1929, U. S. Senator Smith
Brookhart summed up the deteriorating
situation in Hollywood as a battle between competing studios led
by "bunches of Jews."
By the late 1920s the Jews controlled most of the move theaters
in America and the means of distributing movies.
With Jews controlling the movie industry from A to Z it was
almost impossible for a non-Jew to get a break. One of those who
fought the system was Walt Disney.
Disney was born in the Midwest and learned cartoon animating on
his own. His attempts to get his short subjects and cartoons
marketed ran into constant roadblocks from the "chosen"
elite who ran Hollywood. Disney was able to sell a number of
animated cartoons he produced for small stipends. At that time
one of the most popular cartoons was "Felix the Cat."
Trying to produce a cartoon that would equal "Felix the
Cat," Disney came up with a character called "Oswald
the Rabbit." In an effort to get his work recognized, he
contacted a New York
distributor by the name of Margaret Winkler. Disney also produced
a series of cartoons based on Alice in Wonderland, which Ms.
Winkler contracted with him to produce.
At this time a Hollywood Jew who had worked for Warner Brothers,
Charles Mintz, was courting Ms. Winkler and upon seeing the
"Oswald the Rabbit" samples, could sense that
"Oswald the Rabbit" was every bit as good as
"Felix the Cat" and could
make him rich.
In order to get on Walt's good side and get to "Oswald the
Rabbit," Mintz agreed to advance Walt $1,800 and to pay him
for another eighteen cartoons in the "Alice"
series.
Jubilant, the Disney brothers took the deal and promptly set
about purchasing a
studio on Hyperion Avenue in Hollywood. Mintz had set the stage.
After the Disney
brothers had completed the construction of their modest studio,
Mintz dropped the bomb on them. He told them that due to
"lack of interest" the "Alice" series would
have to be dropped and his contact with them would have to be
cancelled.
All this time Mintz had been traveling between Hollywood and New
York making secret deals with his fellow co-racialist, Carl
Laemmle. Laemmle wanted a cartoon character based on the
"Felix the Cat" to compete with "Felix the
Cat." Mintz knew
Disney had already created such a character, a rabbit named
"Oswald."
Disney, not paying much attention to the contacts that Mintz had
negotiated with him, had in fact, signed away all rights to
"Oswald the Rabbit" and to all goods sold through the
promotion of the cartoon.
Keeping his side of the bargain, Disney produced Trolley Troubles
featuring Oswald and faithfully gave Mintz new cartoons in the
series every two weeks at $2,500 a cartoon and "part of the
box office" gross.
Walt learned by accident that without his knowledge, known
consent or
participation, Mintz had made a secret deal with Laemmle to
market merchandise based on "Oswald." When Walt
complained, his brother Roy calmed him down by telling him that
the sales of the merchandise would help promote the
"Oswald" series and make him money when customers came
to see the movies.
Then in 1928 he and his wife went to New York to negotiate a new
contact with
Mintz. When they met Mintz, in a typical arrogant Jewish fashion,
told Disney that
his advance per cartoon had been cut to $1,800. He went onto tell
Disney that if
"he didn't like it" the cartoon production would be
taken over by a Mintz front called "Snappy Inc." and
Walt's own employees would be hired to produce the cartoons, in
spite of him.
Walt called his brother Roy and told him what had happened and
Roy told him that Mintz, according to the contract that Walt had
signed, owned all the rights to "Oswald" including the
name! Roy then informed Walt that the animators Walt had hired in
Hollywood to help produce "Oswald" had suddenly quit.
The Hollywood Jews went straight to work for Mintz and the
non-Jews that Disney had brought with him from the Midwest stayed
loyal.
In desperation Disney appealed to Laemmle about his rights and
the Jew told Disney that he couldn't help and that he would only
deal with the series distributor, which was his fellow Jew Mintz.
Cut out by the Jews, Disney returned to Hollywood and
created what was later to be known as "Mickey Mouse."
After Mickey Mouse proved
to be successful Carl Laemmle came to Disney in an effort to
distribute the film. He offered to distribute Mickey Mouse if
Disney would give him the copyright to it. It was now Disney's
turn, he turned him down flat.
Laemmle and his fellow Jewish distributors of films were known as
the "Majors," and after he gave the cold shoulder to
Laemmle, none of them would distribute his Mickey Mouse series.
Being a non-Jew, Disney could not penetrate what Eliot describes
as the "old world brotherhood."
Disney then turned to another man who had, had a falling out with
Laemmle and the "brotherhood," Pat Powers. Powers made
a deal to distribute the series on a
"states rights" basis, to as many independent theaters
as possible. Irregularities in the amount of earnings and the
amount the Disney's received brought about an end to the
Disney/Powers alliance. However, as much as Disney searched he
could not find a non-Jewish distributor for his productions.
Finally, he made a deal with Harry Cohen the head of Columbia
Pictures. Sensing the profits to be made from Disney productions,
Cohen fought off the other "chosen" wolves in behalf of
Disney.
The next problem faced by Disney as the popularity of his
productions increased
was organized crime and its efforts to form and control all movie
based unions. The
mob infiltrated the International Alliance of Theatrical Stage
Employees (IATSE) in their effort to control Hollywood. Behind
the effort to control the Hollywood unions were the Jews Bugsy
Siegel and Meyer Lansky. The third man in the troika of mobsters
was Charles "Lucky" Luciano, the "Sicilian"
gangster who was responsible for massacring his fellow Sicilians
in the 1920s when they had to be eliminated in order for him to
make an alliance with the Jews.
Even when Disney had found distributors he was always in need of
money to cover production costs and expansion. Disney severed his
dealings with Columbia Pictures and United Artists took over
distribution of Disney productions.
One of Disney's most successful cartoons was the Three Little
Pigs. In the original Three Little Pigs, there was a scene where
the Big Bad Wolf disguised himself as a
Jewish peddler to trick one of the pigs into opening the door. As
soon as word leaked out about this scene, representatives of a
number of Jewish organizations beat a path to Disney to get the
"offensive" scene removed. Disney removed the scene and
told the Jews that the scene was a spoof depicting Carl Laemmle's
continuous efforts to "blow down the house of Disney."
Julius Schenck of United Artists, which was distributing Disney
productions, had carefully set a trap for Disney. Schenck
recommended that Disney seek funding from
the Bank of America, and personally contact UA's financial
advisor at the bank, Joseph Rosenberg. The Jew gladly opened a
line of credit for Disney, but never gave him enough so he could
be effective and later helped bring down the Disney empire.
Disney constantly found himself the victim of walkouts by Jews he
had hired or by Marxist agitators who were constantly forming
unions in Hollywood. Through the
unions the Jews constantly used unions to curb the growth of
Disney productions. An
effort to break the control of the Majors over Hollywood was made
when several
independent film makers formed The Society of Independent Motion
Picture Producers (SIMPP). SIMPP was formed to challenge the
majors domination of production, exhibition and distribution. The
leading non-Jews in SIMPP were William Cagney, Walt Disney, Mary
Pickford, Edward Small, Orson Wells and Walter Wagner. A few
Jewish studio moguls who had found themselves cut out of the
action by the insiders of the "old world elite"
supported SIMPP and these were:
David O. Selznick, Sol Lesser and Sam Goldwyn.
The dictatorial control of the Jewish "Majors" is
described in Walt Disney
Hollywood's Dark Prince: "For the most part, the Majors were
still controlled by the same group of men who had first broken
the iron grip of the old Edison Trust. Ironically, a quarter of a
century later, their success had led them to create an even more
anti-competitive environment than the one from which they had
desperately fled. So much so that no independent film could gain
national
distribution unless the filmmaker or studio dealt with one of the
Majors, who not only controlled all the distribution networks but
owned virtually every first run theater in the country...."
Disney raised the ire of the Majors when he publicly attended
America First
meetings and had even stood beside Charles Lindbergh at one
rally. To retaliate the red dominated unions kept strife going at
the Disney studios.
In the early 1930s it was a well known fact that the sympathies
of the majority of Jews in Hollywood was in favor of Socialism
and Communism. In An Empire of
Their Own, Neal Gabler talks about communist influence in
Hollywood. He says: "Jews had first forged ties to the
parties of the Left, and to the Communist party specifically,
back in Europe...one leading Communist estimated that 50 percent
of the Party's members were Jews during its heyday in the
thirties and
forties, and a large minority---sometimes a majority---of the
Party leadership was Jewish...What was true of the national Party
was even truer in Hollywood, where Jews already formed a large
part of the left leaning artistic community...One member
complained that nearly 90 percent of the Party on Los Angeles was
Jewish...Ring Lardner, Jr., himself a Party member had the
'impression that it was well over 50 percent, somewhat like,
maybe, two thirds."
As it became apparent that the Communist movement in the United
States was being led mainly by Jews, congressman Samuel Dickstein
of New York, who was an
Eastern European born Jew, took steps to protect his
co-racialists. He moved to have a special committee set up in
Congress to investigate those who were pouring forth documents
proving that the Jews were running the Soviet Union and had
killed almost thirty million Russians and Ukrainians and were the
leaders of the Communist movement in Europe.
By calling all those who dared to criticize the Jews as being
"Nazi" Dickstein felt that he could bully loyal
Americans into silence. In January of 1934 Congress voted
to establish a House Committee on Un-American Activities (HUAC)
to investigate
German activities in the United States. The bias of Dickstein was
so apparent that by 1937 his anti-German and anti-Gentile
rantings and ravings in congress were drawing attention to other
Jews. When he tried to get the HUAC mandate renewed, it measure
failed.
The Jews then backed Congressman Martin Dies, a non-Jew, in
setting up a committee with the same name under his chairmanship.
Dies voiced the concern of the Jews in An Empire of Their Own,
when he said: Many of our Jewish citizens wanted Dickstein
eliminated because they felt he was furnishing ammunition to the
Nazis and other anti-Semitic movements."
By 1939 Die's investigation of subversion in America had opened
his eyes to the fact that facts uncovered by the Committee
substantiated the claim that Hollywood was,
indeed, pro-Communist as many so-called "anti-Semites"
had claimed. Gabler quotes
Dies as telling key figures in Hollywood: I told the producers
that we had reliable information that a number of film actors and
screenwriters and a few producers either were members of the
Communist Party, followed the Communist line, or were used as
dupes, and that there was evidence that the Hollywood Anti-Nazi
League was under the control of the Communists."
Dies retired from Congress in 1944 and a fiery Congressman named
John Rankin of Mississippi used his influence to get the HUAC
made a permanent committee of
Congress.
Rankin's investigations further opened his eyes to the fact that
Hollywood Jews were behind the anti-moral assault on America.
Rankin told the press that: "...the
information we get is that (Hollywood) is the greatest hotbed of
subversive activities in the United States. We're on the trail of
the traantual now, and we're going to follow through...We are not
trying to hound legitimate writers, but we are out to expose
those elements that are insidiously trying to spread subversive
propaganda, poison the minds of your children, distort the
history of
our country, and discredit Christianity...alien minded
communistic enemies of Christianity, and their stooges are trying
to take control over the radio. Listen to their lying broadcasts
in broken English and you can almost smell
them...They are now trying take over the motion picture industry,
and how to high heaven when our Committee on un-American
Activities propose to investigate them. They want to spread their
un-American propaganda, as well as their loathsome, lying,
immoral, anti-Christian filth before the eyes of your children in
every community in America."
The Jews founded the HUAC in an effort stifle legitimate
criticism of their
activities in America, and by 1945 it had gone full circle and
was being used as a legitimate vehicle for patriots to go after
those who were influenced by Communism and trying to change the
thinking of America.
This gave Walt Disney and other non-Jews who had been
discriminated against by the "Majors" a chance to try
to bring an end to the Jewish domination of Hollywood,
and the HUAC hearings went on well into the mid 1960s.
Disney and his Motion Picture Alliance for the Preservation of
American Ideals tried to break the Jewish Communist stranglehold
on Hollywood. As the MIAPIA and the HUAC fought the red/Jewish
influence in Hollywood, the reds kept striking back by
fomenting one strike after the other against Disney and others
who opposed them.
Walt openly vowed to keep the commies out of his studio and told
the press that the strikes at his studio were fomented by the
Communist Conspiracy. Again Eliot says: "Ever since
Sinclair's gubernatorial campaign helped unify Hollywood's left,
the Communist Party of the United States of America (CPUSA) had
made its presence felt by championing the rights of the film
industry's workers. The
CPUSA played a vital role in the Screen Writers Guild's long
battle to exist, thus
helping to make legitimate the industry's burgeoning union
movement."
In 1941 the CPUSA backed strikers at Disney Studios who were
fomenting trouble through the Screen Writer's Guild. Most of the
Disney staff walked out "on strike."
Pressure was brought on Disney to settle the strike by Bank of
America
representative, Rosenberg, who told him that the effects of the
strike would "damage his relationship with the Bank of
America." The Jewish tentacles through the Bank of America
were brought to bear on Disney.
A further attack was launched on Disney by King Features when the
Jews accused Disney of being a "Nazi" because they
claimed that there was a swastika drawn in a Mickey Mouse cartoon
in a panel in a cartoon on June 19th, 1940. The swastika was
"in the form of two crossed musical notes."
Efforts to get Disney to support Roosevelt and his "get us
into war" effort failed as long as Walt Disney kept tight
control over his studio.
In an effort to get Disney away from the studio Roosevelt
instructed Nelson
Rockefeller to make Disney a part of a tour to South America by
actors allegedly sent to "counter Nazi propaganda in South
America." Rockefeller had been named the "Official
Coordinator" of the State Department's Inter-American
Affairs group.
Roosevelt was particularly concerned because of Disney's
appearances at America First rallies alongside Charles Lindbergh.
From all indications, Roy Disney was a part of the plot to get
Walt away from the Disney studio so the "strike could be
settled" and so Walt could "clear" himself of the
charges leveled against him of being a
"Nazi" sympathizer.
Walt and his entourage left for South America on August 17th, and
on the 9th of September, Roy Disney met with James F. Dewy and
agreed to "arbitration" to settle the strike.
When Walt received news of the sell out by Roy, he vowed to close
down the
studio forever rather then have the red dominated Cartoonists
Guild run his studio.
It seems that Roosevelt and the Jews had made plans well in
advance to shut down Disney studios. On December 8th, 1941 the
Army seized Disney studios claiming that
they had to use it as a "defense station" to protect
Lockheed which was nearby. Disney's studio was the only one
seized by the government.
His studio and production facilities sequestered by the
government, Disney was now without a job. The next step in the
plot against Disney was when the Naval Bureau of Aeronautics
contacted him and offered him $80,000 to make twenty animated
training films. The anti-Disney move was evidently orchestrated
by Secretary of the
Treasury Henry Morgenthau.
According to Disney he had been forced to "accept that
Jew" Morgenthau, and was being forced by circumstances to be
used by Morgenthau "...to deliver political
propaganda films that cashed in on the popularity of that all
American mouse Mickey..." Disney referred to his cartoon
characters as captives who were forced to
perform for the Stromboli-like Morgenthau."
The "crowning achievement" of the eternal Jew,
Morgenthau was to have Disney produce a cartoon featuring Donald
Duck which openly mocked Hitler, with the
title Der Fuhrer's Face.
According to Eliot, this move by Morgenthau produced "more
animosity" between Disney and Morgenthau, as Disney made the
movie under protest. However,
Morgenthau made it look like Disney approved of the project and
had him given awards by Hollywood and moved more business his
way. The studio was returned to Disney eight months after it was
closed.
Trying to ad insult to injury, the National Council of Christians
and Jews contacted Disney in an effort to get him to make a
cartoon to promote "unity" in America.
They told him that the move would "depict human
prejudices."
Disney rejected the proposal outright and said it was a disguised
attempt by the National Council of Christians and Jews to promote
communism in America.
This attempt to recruit him by the "Brotherhood" gang
confirmed Disney's view that Hollywood was being consumed by
communism. In response he set out to make
"battle plans" to counter their moves and to recruit
"soldiers" for the fight against the reds in Hollywood.
One of the first moves he made was to help found the Motion
Picture Alliance for the Preservation of American Ideals in 1944.
He was a co-chairman of the organization and among its members
were: Robert Taylor, John Wayne, Gary Cooper, Ward Bond, Charles
Coburn, Adolphe Menju, Hedda Hopper and sixty five other key
Hollywood personalities.
As vice-president of the MPA, Disney wrote to Senator Robert R.
Reynolds and called on the House Committee on Un-American
Activities to investigate red
influence in Hollywood. In his open letter of March 7, 1944
Disney said that Hollywood had been "coddling
Communists...and those with un-American beliefs."
Having been denied access to the power and profits of Hollywood
by the Jews and Communists, Disney felt it was time to strike
back. Both Disney and the Jew Samuel
Goldwyn had been cut off from full market access by the "big
five" who controlled
most of the theaters in America: Paramount, Loews, Warner's,
Twentieth Century Fox and RKO.
When the Fox owned T & D theaters insulted Goldwyn when he
wanted to exhibit his movie Up In Arms, Disney joined with
Goldwyn in trying to break the hold of
the "big five" over film distribution. They rented the
El Patio nightclub to review the movie and then all hell broke
loose.
The power of the "big five" was evident when the Reno
county commissioners
issued multiple violations for the El Patio and the fire
department said it would prevent the showing. To appease the
"big five" the proceeds of the showing had to be
contributed to the Red Cross.
Legal action was taken to break up the "big five"
monopoly by SIMPP and in the case of the United States of America
vs. Paramount the supreme court ruled that the "big
five" were prohibited from expanding their holdings and
control over the production, distribution and exhibition of
movies. A small victory for Disney, but a
victory, nonetheless.
The actions of Disney, SIMPP and the handful of patriots in
Hollywood led to the
House Committee on Un-American Activities investigating hundreds
of reds in Hollywood, most of them being Jews. A number of the
most notorious reds were blacklisted by Hollywood movie makers
because of fear that the HUAC would also investigate them. The
ban on outright reds in Hollywood lasted until around 1965. After
that many of those "blacklisted" by the HUAC were back
in Hollywood making movies "exposing" their
"persecution."
One of the first efforts by the reds to show their rehabilitation
and power over
Hollywood was the movie the Front, by Woody Allen. From
screenwriters to producers to actors those involved in the movie
the Front, were Hollywood reds who had been investigated by the
HUAC and had been fired from their jobs by Jewish studio owners
and producers who were afraid not to fire them. The Jewish owners
of the major studios knew that to allow those named as Communists
by the HUAC to keep working would provoke the HUAC to investigate
them as well. To circumvent this, the Jewish studio owners put a
number of them on the "blacklist" which kept them from
working. However, as depicted in The Front, most of them kept
working by hiring front men to use their names on their
manuscripts.
It seems that Americans have short memories and by the time Walt
Disney died in 1966, the Jewish reds were back in Hollywood
thumbing their noses at those who had fought so hard to bring
Hollywood back under American
control.
Always short of funds, Disney found a temporary ally in
billionaire Howard Hughes. Hughes had purchased RKO studios and
distribution and was also wary of the Jewish control of not only
Hollywood but America. Hughes loaned Disney millions of
dollars---interest free, which Disney paid back in
full.
While a good businessman, Hughes was a poor movie studio manager.
Perhaps, when he took RKO over from the Jews, the Jews who stayed
on found it in their
interest to break Hughes by producing flop after flop for him, as
they have recently done to Columbia Pictures.
In any case, Disney wanted his own means of distribution and
founded Buena Vista. Hughes offered to give Disney RKO for free
and also give him a $10 million credit line with no interest
rate. However, Disney's advisors soured him on the deal and
he turned it down. Again, was it Rosenberg of the Bank of America
who advised him to turn down the deal, fearing that in charge of
RKO he would become a major challenge to the Jewish domination of
Hollywood?
After fighting the Jewish powers that control Hollywood, Disney
became fascinated by the idea of forming theme parks. He
eventually turned over control of Disney
studios to his brother Roy and devoted full time to fulfilling
his theme park dream.
Disneyland opened in 1955 and Walt Disney died December 5,
1966 after a long bout with cancer.
Then the battle for the "Magic Kingdom" began.
One of the major drawbacks to Disney was the fact that his older
brother Roy, was an accountant who turned manager. Roy had no
vision and no courage to stand up
for his convictions. When things got tough, Roy would always cave
in to the opposition and even go against Walt's wishes, as
happened during WW II when he moved to settle the red strike
against the Disney studios when Walt was out of the country.
Walt's venture into the "new" TV phenomena in the 1950s
with the "Mousketeers" was successful beyond his
dreams. However, Walt spared nothing in developing, directing and
producing the "Mousketeers" and after the expense of
production, the show lost money for Disney. He kept it going
because it promoted Disney products, brought the Disney concept
to national TV and he felt it would be a key vehicle for
promoting his new Disneyland concept.
Walt's first choice for Disneylandia, as he first called it, was
Burbank. However, the attempt to build it there ran into constant
trouble from the city council, which Walt felt was being
influenced against him by Universal Studios. He then built
Disneyland in Anaheim.
With the Mickey Mouse Club, ABC and the Jew Leonard Goldenson
made their mark as a competing network. The Disney shows on ABC
made it into a real competitor
with the CBS and NBC.
Around 1960 Disney complained to Goldenson that there were too
many
commercials on the shows. As other Jews had done to Disney,
Goldenson cancelled the two Disney shows. ABC had now made so
much money off Disney that they could produce their own shows
and, again Disney was cut out of his fair share of Hollywood
profits by the Jewish "Brotherhood."
To keep his shows on national TV Disney approached NBC. However,
Goldenson
refused to let Disney out of his contract and Disney took ABC to
court. In the end ABC turned over all rights to Disney
productions and products to Walt and cut all ties with him.
As Disney became more absorbed in his theme park he started
shifting more
responsibility to his son in law Ron Miller. This caused
animosity from his brother Roy who felt that his son Roy E.
Disney should be the future "King" of the Disney
Empire. The problem was that neither Ron, Roy or Roy E. were
really able to handle the Disney conglomerate and future events
would prove this out.
When Walt died the bulk of his estate went to the his wife and
the female
members of the family. His brothers Roy and Raymond were left out
of the will as Walt believed that men should make their own
livings and didn't need his help.
In 1967 Ron Miller and Roy E. Disney were elected to the studio's
board of directors. Since both were antagonistic to each other,
two "committees" were formed to run the Disney Empire.
Roy senior died in 1971, opening Disney up to challenges from all
sides.
Some Walt Disney loyalists were appointed to key positions in the
studio and this didn't fit well with Roy E. Loyalist Card Walker
became the president of Walt Disney Productions and Roy E.
resigned from the board. However, the stock his father had given
him made him the largest single stockholder.
Ron Miller and his associates at Disney then proceeded to make a
series of movie "flops" and this prompted Roy E. to
make moves he believed would keep the studio from going under.
Advising Roy E. in his moves was attorney Stanley Gold, another
Hollywood insider.
Gold urged Roy E. to hire his former law partner Frank Wells.
Wells had been a vice-president at Warner Brothers. Roy felt he
was in "good hands" with what studio employees called
the "Troika."
As soon as he was in place, the Jew Frank Wells recommended that
the studio hire Michael Eisner to replace Ron Miller. Eisner had
been the president of Paramount
Pictures, and had been recommended for the job by another Jew,
Barry Diller who was chairman of Warner Brothers.
Seeing discontent at Disney, the Jew Saul Steinberg felt that
Disney was ripe for a corporate takeover.
Using rumors of discontent, the Jews drove Disney stock down
almost 50% causing a near panic at the studio. Roy E's stock fell
from $80 million to $50.
Roy was advised that a corporate takeover could be fought and
that junk bond king Michael Milken was the man to
"save" Disney. He was hired by Roy E., Gold and
Wells without the knowledge of the other board members.
Roy E. had wanted to purchase back most of the Disney stock to
stop the proposed junk bond takeover. However, the Jews at the
Bank of America advised him that
Steinberg could raise so much funny money that Disney would not
be able to do so. At this point corporate raider Ivan Boesky
entered the fray and made millions on the stock based on inside
information he had received from Jewish insiders at Disney.
The Jews were now in a position to completely take over Disney.
The Jews at
Disney convinced the board to pay what is called
"greenmail" to Steinberg and he was given a $31 million
dollar pay off to call off his fight to take over Disney. Roy E's
Jewish advisors came out on top taking control of Disney while
Roy E. was "paid off" by being made Chairman of Walt
Disney Feature Animation at a yearly salary of $850,000.
Gold convinced Roy E. that Ron Miller was responsible for the
decline at Disney and that he should be replaced. Miller was
asked by the board to step down and on
August 17, 1984 the board asked Miller for his resignation. He
resigned and his seat was taken over by the Jew Stanley Gold.
The Jews had effectively eliminated Disney heir apparent Ron
Miller and now they started moving more Jews into Disney.
On September 22, 1984 the board of directors appointed Michael
Eisner and Frank Wells to head Disney Productions.
Eisner then brought another a Jew Jeffrey Katzenberg over to
Disney from
Paramount. Katzenberg's job was to "revamp" Disney
studios. Old Disney loyalists were considered by the self
"chosen" to be "dead weight" and over 400
were fired and replaced by a hand picked team of Jews from
Paramount.
Former Morris Agency employee David Hoberman was put in charge of
Disney
subsidiary Touchstone Pictures. Richard Frank was recruited from
Paramount to
"revitalize" Disney's television interests.
Jews had now taken over control of Disney. They used the
Touchstone and Miramax to make racy and anti-Christian movies
that Walt Disney would never have allowed at his studio. Although
gays were prohibited from any activities at Disneyland while Walt
was alive, after the Jewish takeover, Eisner openly invited and
courted
homosexual groups to hold "dances" and events at the
theme parks.
As we go to press a number of magazines have carried news
articles gloating over how "Disney would be turning in his
grave" if he knew what had now happened to
his theme parks and movie productions.
>From the very beginning Disney was considered a
"goy" outsider by the Jews who stole from Thomas
Edison. They had defied the "goy" Edison and by their
tenacity
had beaten him. They blocked out Disney because he wasn't one of
the self "chosen" and Disney had to fight his whole
life to break into the closed Jewish society called Hollywood.
Disney didn't like Jews and used every means at his disposal to
counter them.
According to Eliot, Disney at an early age had been informed by
his father about the self "chosen" and how they
operated.
For awhile Disney was able through the HUAC to root out those
Jews and non-Jews in Hollywood who had supported Communist
causes. At least for fifteen or twenty years, he had his revenge.
While Disney was alive the "Magic Kingdom" remained in
good hands in spite of his spineless brother Roy. His self chosen
heir, Ron Miller proved to be no match for
Ray and the ruthless Jews who became his close advisors.
Disney who was the descendant of Crusaders who left their village
of Isgny in 1066 to fight the good fight, fought the good fight
all his life. While alive he manned the ramparts and like his
Crusader ancestors fought off the anti-Christ Jews.
However, despite his efforts he could not defeat the Jewish
forces who made up the anti-Christ kingdom called Hollywood.
The Jews may gloat while they savor their victory in storming and
taking the last Christian stronghold in Hollywood. However, he
who laughs last, laughs best, and the time will come when Walt
Disney will have his victory over the self "chosen."
This article is a great insight into the mind of the satanic seedline jew! I know first hand as I had several jews as business partners in the past. They DO NOT think at all like us. This is exactly what they do. They lie, cheat, steal, bribe, & murder if necessary if they think they can get away with it. They do not fear the court system as it is mostly jew lawyers, & judges! They don't care about copyright or patent laws, they just steal, then change it slightly, & keep selling the merchandise! Those copyright & patent offices give them open access to the inventions or products. They can produce it in another country & what are you going to do? Have an international lawsuit, spend 10's of Thousand's of dollars, probably not win, & if you do, now try to collect! The jew has the system rigged. Try to NEVER do business with the jew, you will never get the best of it! My thanks to Edison, & Disney for this life's little lesson. Put your faith ONLY in YHVH, PBJ