By Dr. William Pierce
"Last week I gave an interview to an English-language radio station in
Teheran. The program was "The Islamic Voice of Iran." We talked about
a number of things, including Ariel Sharon's visit to the White House,
which was taking place at the time, and about President Bush's
popularity ratings. The Iranian interviewer asked me whether Bush
would take a more sensible, pro-American policy in the Middle East or
would continue taking orders from Israel, to the detriment of American
interests, the way the Clinton administration had.
Of course, I explained to him that there was really no difference
between Republicans and Democrats in that regard. They both dance to
whatever tune the Jews are playing at the moment, and that George Bush
would no more dare to disobey the Jews than Bill Clinton would. I told
the Iranian interviewer that there are minor differences between the
Republican Party and the Democratic Party, with the Democrats
pandering a bit more to the welfare class and the Republicans paying a
bit more lip service to things such as military preparedness and
energy production, but that on the really essential issues --
immigration, racial policy, media control, foreign policy -- both
parties do what they're told and don't give the Jews any back talk.
The Iranian had a hard time understanding this. If one party - the
Democrats, say -- were controlled by Jews and supported Jewish
interests, then surely there would be another party -- presumably the
Republicans -- representing the interests of the American people. He
couldn't understand how the Jews, making up only 2.5 per cent of the
U.S. population, could have the whole political process under their
control and in particular could dictate U.S. foreign policy in the
Middle East, regardless of who is in the White House and which party
controls the Congress. What about the other 97.5 per cent of the
population? They also have interests, and they can vote. Why aren't
their interests supported by some political party?
The difficulty my Iranian interviewer had in understanding how
politics works in America has two facets. One of these is the dominant
influence the mass media of news and entertainment, which are largely
in the hands of the country's very small Jewish minority, have on
public opinion and attitudes, on the mass culture, and on the
political process. In Iran tradition is much more important in
determining public opinion. And Iran
is a much more homogeneous country, at least in a cultural and
religious sense, than is the United States. In America the media have
to a large extent weaned the people away from their traditions and
from their cultural and religious roots and substituted a
made-in-Hollywood trash-culture with ersatz traditions in their place.
The media are increasingly important in influencing public opinion
everywhere in the developed countries -- even in Iran, no doubt -- but
nowhere has the process been as thorough and as destructive as it has
been in the United States.
A second barrier to understanding is the subtlety and indirection
which is used by the media bosses in achieving their aims. They almost
never make a head-on attack against the traditions or values of the
host population. They look for conflict, for inconsistency, for vice
or hypocrisy or weakness, and they exploit it to gain a foothold. Then
they use one facet of popular belief or tradition to undermine
another. For example, they will proclaim themselves champions of "fair
play," and then they will persuade the public that fair play requires
that no distinction be made between Asians and Europeans in setting
immigration policy. If we let Englishmen and Germans and Swedes into
America, then
it wouldn't be fair to keep out Vietnamese and Chinese and Pakistanis,
they tell us.
Or they will play on the average American's resentment of governmental
interference in his private affairs to promote the idea that
homosexuality is just as normal as heterosexuality and that neither
the government nor individuals should make a distinction between the
two. What people do in the privacy of their bedrooms is no one else's
business, therefore the government should require landlords,
employers, Boy Scout troops, and everyone else to treat homosexuals
just like heterosexuals: a bit of a non sequitur, but the media have
been remarkably successful at using such illogical arguments to shift
public opinion on a number of issues.
And because the media are able to influence public opinion so
strongly, all the politicians, Republicans as well as Democrats, dance
to their tune. The politicians understand that the tiny Jewish
minority, only 2.5 per cent of the population, through their control
of the media are the single most important influence on the public's
perception of issues, of
government policies, and of the politicians themselves - and
consequently are the single most important influence on the outcome of
elections. And it is for this reason that everyone can safely count on
George Bush's policy toward Israel being whatever the Jews want it to
be.
Anyway, although I explained this as clearly as I could to my Iranian
interrogator, I think he didn't really believe me. He was ready to
accept the fact that the Jews are a very bad influence on American
policy in the Middle East, but he couldn't accept the fact that
through their control of the mass media of news and entertainment they
have made
irrelevant and meaningless the whole idea of mass democracy. He
couldn't assimilate the idea that party politics in America has become
just a shell game to keep the rubes confused about what's really
happening and who's running the country. He knew that Jews are bad
news, but he couldn't grasp the fact that the most powerful country in
the world, economically and militarily, is so totally in their malign
grip.
And really, when I try to put myself in the Iranian's shoes, it's hard
for me to believe it myself: a mere 2.5 per cent of the population, a
historically despised and hated group who have been kicked out of
every country in Europe, and there's not a single mainstream American
politician brave enough to defy them; a tiny, clannish group who have
a
stranglehold on the mighty American nation; a case of the tail wagging
the dog. How do they do it? It doesn't seem possible.
Well, of course, it is possible, and I'll tell you how they do it:
they do it with images and myths. They do it by controlling the
perceptions that most people have of the world around themselves. The
Jews create myths about what the world is like and then generate false
images to match the myths. And they project these myths and false
images of the
world into the minds of their hosts.
I'll give you a specific example of this. There is a new film out by
Universal Pictures. It's called The Fast and the Furious. It's a film
directed at White teenagers, a film designed to give them a particular
image of the world and instill in them a myth about the way the world
works. It's a film about modern, urban teenagers -- specifically
street gangs in Los Angeles -- and cars and street racing. That might
seem harmless enough, but the street racing is just a gimmick on which
to hang the message, and that message is that the world is
multicultural, and it's good that it's multicultural. It's good not to
live in a White
world, with White friends and White role models and White values and
White standards and traditions. That's boring. That's not cool.
The message is that there's nothing special about being White. The
message is that if one is White, then one should hang out with Blacks
and Asians and mestizos. One should behave like non-Whites, talk like
them, dress like them, be like them. That's what's cool. That's what's
sexy. That's what everybody who's really cool is doing. And when you
feel like having some sex, you just reach for whoever is nearest. It
doesn't matter at all what race the other person is. If you're a White
girl, it's especially cool to have sex with a Black or Asian or
mestizo male.
That's the most obvious message of the film, but actually it's more
than that. It's not really that the film says race doesn't matter,
that we're really all the same; that culture doesn't matter, that all
cultures are equivalent. The film says that Whites should become
non-White, because non-White is better. The cultural milieu of the
film is not raceless or
a little of this and a little of that. The cultural milieu is Black.
The culture is hip-hop. The music is hip-hop. The clothing style, with
the baggy shorts and the rest, is hip-hop. It's Black. That is the
world into which White teenagers should blend, the world to which they
should subordinate themselves.
Surely, White teenagers aren't actually absorbing that message. Are
they? Yes, unfortunately, many of them are. The Fast and the Furious
is drawing bigger crowds than any other film produced by Hollywood
this season. It grossed $78 million in its first ten days. White
teenagers are flocking to it more than to any other movie. The
attraction, of
course, is the action, the street racing, the exciting car stunts.
That's the gimmick that pulls them in. But that's not the message. The
message -- which of course, is subliminal: that is, which is intended
to change the kids' perception of the world at a subconscious level -
is exactly what I just described: it's cool to be part of the hip-hop
culture; it's cool to be multicultural; it's cool not to act White,
think White, or be White.
That's the message, and it's a Jewish message: Jewish in its
conception, Jewish in its promotion, Jewish in its genocidal intent.
You think I'm imagining things? I'll read to you from a story about
the film in last Saturday's edition of the Los Angeles Times. I quote:
"Hollywood was stunned when the youth-oriented action film The Fast
and the Furious streaked past the competition to become the number-one
movie. With its relatively unknown cast of Latinos, Asians, and
African-Americans, heavy doses of high-speed chases, and a driving
hip-hop soundtrack, the movie defied expectations . . . But the
teen-oriented movie's success isn't so surprising when one glimpses
the youthful crowds flocking to theaters . . . . With their
ultra-baggy
cargo shorts, doo-rags wrapped around their heads, and bodies
festooned with tattoos and piercings, the look of these young
moviegoers mirrors the multiethnic melange of actors on the screen. .
. .
"Hollywood likes to pride itself on being ahead of the cultural curve,
but with last summer's sassy white-versus-black cheerleading comedy
Bring It On grossing $68.4 million domestically and this winter's Save
the Last Dance, with its once-taboo interracial dating, raking in more
than $90 million in North America alone, the studios have only begun
to catch up with the colorblind nature of today's MTV generation.
"Rob Cohen, who directed The Fast and the Furious, said the film not
only reflects today's "multiculti" youth culture without purposely
drawing attention to it, but depicts what is really going on. When the
movie opened, it drew a cross-section of races, Cohen said. Surveys
taken at theaters where The Fast and the Furious played showed that 50
per cent of moviegoers were white, 24 per cent were Hispanic, 10 per
cent were black, and 11 per cent were Asian. "I look at this and go,
'This is exactly what I'm talking about,'" Cohen said. . . .
Attracting a young audience across the country -- a mainstay of big
summer popcorn hits -- The Fast and the Furious has grossed an
estimated $78 million in
less than two weeks and is on track to make well over $100 million."
-- end of quote --
I want to emphasize a couple of things in what I just read to you,
besides the fact that the director of the film is the Jew Rob Cohen
and the studio is Universal Pictures, owned by the Jew Edgar Bronfman.
First, note that Mr. Cohen is very much aware of the racial angle in
his film. That's all he talks about, not the racing stunts. And note
that he says he put the racial propaganda into his film in way that
would not "draw attention to it": that is, he put it in as subliminal
propaganda.
One other thing: the story in the Los Angeles Times implies that this
film and other films like it are imitating society, not the other way
around. But that's not true. These Jewish films are propaganda
deliberately designed to move society in the direction the Jews want
it to go. White kids didn't start wearing baggy shorts and backward
baseball caps and listening to rap music and using jive talk just
because that's what young Blacks were doing: it was Jewish films and
Jewish television and Jewish advertising that pushed them in this
direction, that persuaded them it is cool to imitate Blacks.
The Times story refers to the studios catching up with "today's MTV
generation." But really, how did it become the "MTV generation"? That
name is appropriate just because it is MTV which has been the single
largest influence on White teenagers in moving them away from their
roots in their own race and making rootless cosmopolitans out of them.
MTV has been the foremost promoter of the hip-hop lifestyle among
young Whites. And I hardly need to remind you that it is the very
Jewish Sumner Redstone, originally known as Murray Rothstein to his
parents, who owns MTV. Redstone's MTV and his Paramount Pictures
studio may be a little ahead of the other Hollywood studios, but
they're all pushing in the same direction as hard as they can.
This is an essential point: namely, that the Jewish media are pushing
our society, and not the other way around, and the Jews are
understandably reluctant to admit that. Last Saturday's Los Angeles
Times story interviewed another Jewish film producer in this regard,
and I quote from the story: "Marc Abraham, one of the producers of
Bring It
On, noted: 'There is a much more interracial aspect in today's culture
than the way this country used to be. Any movie that reflects that --
and it doesn't mean they'll all be hits like The Fast and the Furious
-- will ring true with the audience.'" -- end of quote --
As I indicated, that is deliberate misdirection. And there's more
misdirection in the Times story. It also interviews the Black director
of Sumner Redstone's racemixing film Save the Last Dance, and I quote:
"'The movie business is certainly catching up with what's happening in
society,' said Thomas Carter, who directed Save the Last Dance. 'Youth
culture has been shifting a long time . . . . Places like MTV are
right on the edge and totally involved in the change. In filmmaking we
lag behind.'" -- end of quote -- But of course, Redstone's MTV, which
as Carter notes is "totally involved in the change," is into
filmmaking too. Anyway, it's really an artificial distinction to
contrast Jewish television with Jewish cinema. Redsone isn't the only
Jewish media boss who is deeply involved in both media.
One of Bronfman's subordinates, the Jew Marc Shmuger, says it a little
more plainly, and again I quote from last Saturday's Los Angeles Times
story: "'I think the segregated groupings are breaking down in today's
America, and I think today's movie audience is a complex mix,' said
Marc Shmuger, vice chairman of Universal Pictures, which released The
Fast and the Furious. But Shmuger warned that if the movie industry
starts making multiethnic movies 'in a calculating and cynical
fashion,' the audience will sense that and stay away." -- end of quote
-- In other words, keep the propaganda subtle, keep it subliminal, so
that we don't tip off the goyim that it's really propaganda.
I'll read one more section from the Los Angeles Times story. I quote:
"Just as The Fast and the Furious shows young people of all races
gathered in large groups unmindful of their racial differences and not
hung up on sex, Gary Scott Thompson, one of the film's writers, said
today's young movie audiences also are that way. 'It used to be that a
boy and a girl would go on a date,' he said. 'Now what's happening is
groups of kids who are friends -- multiracial boys and girls -- all
move in date packs together. It's like a date, but they don't consider
it dating. Some of them might neck; some of them might not. None of
them think anything much about it. They are much more open when
talking about sex . . . They've broken down the cultural barriers.' .
. . Rob Friedman, vice chairman of Paramount Pictures Motion Picture
Group, said the studio began noticing the colorblind nature of young
audiences with its 1999 high school pigskin drama Varsity Blues. 'It's
really about their peers, regardless of race, and to a certain extent
gender as well,' Friedman said. 'When it came to Save the Last Dance,
it became more and more apparent young people don't care whether the
relationship is interracial. The music is great, the story is great.'"
-- end of quote --
As I've already mentioned, Paramount Pictures belongs to Sumner
Redstone, and I hardly need to tell you that his employee Rob Friedman
is a Jew, like nearly all the other executives at Paramount Pictures.
This new development of White teenagers running in "date packs," as
the scriptwriter put it, with Blacks, Asians, and mestizos and having
very casual and very interracial sex did not evolve spontaneously, as
the media bosses and their employees would have us believe. It has
been promoted deliberately by Hollywood and by television and by
Madison Avenue. Sumner Redstone's MTV may be a bit bolder in this
regard than
the other Jewish media, but all of them have been working together for
decades toward the same goal, and that goal is the annihilation of our
people. They say, "Oh, we're just reflecting with our films and our TV
shows and our magazine ads what your society has become all by
itself," but that is a conscious, calculated lie. They know exactly
what they
have done and are doing, and one can easily sense them gloating over
it when one reads their remarks in the Los Angeles Times.
I've said this a thousand times already in different words, but when
we permitted the Jews to come into our society and take over our mass
media of news and entertainment -- our newspapers and our radio
broadcasting networks and our motion picture and advertising
industries and then television broadcasting -- we handed them the
weapons with which they intended from the beginning to destroy us and
now are destroying us. This program of theirs to corrupt and destroy
us didn't begin with the Second World War and the so-called
"Holocaust." It is a consequence of their nature. The "Holocaust" was
not the cause of their destructive behavior, but rather a consequence.
If you believe that I am hallucinating when I say that, see for
yourself what Jews such as Edgar Bronfman and Sumner Redstone are
producing for the entertainment of our children, and you try to
explain it in any other way. I know that the majority of our own
people, lemmings that they are, are dancing to the Jews' tune now,
along with the politicians. That is a shame, but it in no way excuses
us from our task. Many of those who have become blinded by the Jews
and have become collaborators of the Jews will unavoidably become
"collateral damage" in the struggle and the chaos which lie ahead, but
we must do whatever is necessary to free our people from the spell
cast over them by the Jews. To that task I have consecrated my life,
and I invite each of you to do likewise.
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