- 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 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 these 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 some other New York Jews,
rushed 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 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.
-
- Carl Laemmle
-
- 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 these 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 them to set up an elaborate warning system.
Jewish lookouts would keep watch while they were filming and when they
observed the Trust 'police' on their way, they 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 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 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.
To fight the Trust they 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. They 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 these 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. Edison and the members of the Trust felt that by producing
wholesome movies they were helping to preserve the nation's morals.
-
-
- However, these Jews were not governed by moral 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 Jews
wanted control of the movies so they could promote their own social and
religious agenda. In An Empire of Their Own: How 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 Jews from controlling the distribution
of movies had cost the Trust $300,000 in legal fees. The Hollywood Jews
had been hit with 289 lawsuits. Undaunted by the action taken by Edison
and the Trust, they kept using his equipment. In a last ditch effort to
stop them, Edison and his friends organized the General Film Company as
a film exchange. However, by now it was too late: they had gobbled up half
the market and had formed a monopoly that would thumb its noses at the
'goyim' from the Trust.
-
- After 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 Hollywood 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 most of the move theaters in America
were Jewish controlled and the means of distributing movies. With Jewish
control of 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 typically arrogant
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 he told Disney that he couldn't help and that he would only deal with
the series distributor, who was Mintz, also Jewish. Cut out by this Jewish
group, 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 gentile,
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 gentile 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 Bugsy Siegel and
Meyer Lansky, both Jewish. 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 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 Hollywood 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. He 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 Hollywood 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
Jewish 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 they already formed a
large part of the left leaning artistic community...One member complained
that nearly 90 percent of the Party in 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 mainly Jewish led, 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 Jewish
Bolsheviks 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 Jewish groups
as '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 Hollywood Jews then backed Congressman Martin Dies,
a non-Jew, in setting up a committee with the same name under his chairmanship.
Dies voiced their concern 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 ...immoral, anti-Christian...before the eyes of your children
in every community in America."
-
- 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 Jewish groups 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 Hollywood 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 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, mostly Jewish. 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 Jewish control; 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.
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- 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.
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- 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.
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- 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.
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- 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, Frank Wells, who was Jewish, 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
Barry Diller, Jewish, who was chairman of Warner Brothers. Seeing discontent
at Disney, Saul Steinberg, also Jewish, felt that Disney was ripe for a
corporate takeover. Using rumors of discontent, they drove Disney stock
down almost 50% causing a near panic at the studio. Roy E's stock fell
from $80 million to $50.
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- 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.
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- Roy E. had wanted to purchase back most of the Disney
stock to stop the proposed junk bond takeover. However, 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.
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- The Hollywood 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 Stanley
Gold - Jewish. They had effectively eliminated Disney heir apparent Ron
Miller and now they started moving more Jews into Disney.
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- On September 22, 1984 the board of directors appointed
Michael Eisner and Frank Wells to head Disney Productions. Eisner then
brought Jeffrey Katzenberg, also Jewish, 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 Jewish team 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 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.
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- 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 Hollywood Jews. However, despite his
efforts he could not defeat the forces who made up the anti-Christ kingdom
called Hollywood. They 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.'
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- http://www.fourwinds10.com/siterun_data/history/zionism/news.php?q=1278910113
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