| Topic: |
Politics > Politics-USA |
| User: |
"DemPrimaryWinner" |
| Date: |
17 Jan 2004 10:38:39 AM |
| Object: |
Re: Why Liberals Hate America |
"David Whiteson" <Whiteson@nospam.com> wrote in message
news:400945C8.319002E2@nospam.com...
Ed Medlin wrote:
What you call special status, to the rest of us is called equal
rights.
What YOU call special status is a welfare state and no reason to reach
for
the American Dream.
Do you people ever update your material? Bigots don't change they
just change the group they hate, and never even bother to update
the script. Just cross out the word ***** and pencil in liberal
or *****.
So you Democrats think all faggots are black?
Besides, we KNOW some of you liberals are white folk. Howard Dean, for
example. Although he did say that he hired a black person once.
"A black man voting for the Republicans, makes about
as much sense as a chicken voting for Colonel Sanders."
Al Gore The Atmospheric Scientist delivering a stern lecture about the
hazards of "global warming" smack dab in the middle of the coldest weather
the Northeast has had in 20 years made a lot of sense too!
Maybe that's why a lot of blacks will vote Democrat again this year?
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| User: "bill" |
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| Title: Re: Why Liberals Hate America |
17 Jan 2004 11:15:41 PM |
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"A black man voting for the Republicans, makes about
as much sense as a chicken voting for Colonel Sanders."
Tell me what blacks get by voting for Democrats?
Chicken jokes?
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| User: "neptune3" |
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| Title: Re: Re: Why Liberals Hate America |
18 Jan 2004 04:34:46 PM |
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On Sun, 18 Jan 2004 05:15:41 GMT, bill <DCSMD@norad.gov> wrote:
"A black man voting for the Republicans, makes about
as much sense as a chicken voting for Colonel Sanders."
Tell me what blacks get by voting for Democrats?
Chicken jokes?
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.
www.spearhead-uk.com http://www.natvan.com
http://www.altermedia.info/ www.nsm88.com
http://www.nationalism.org/rnsp/display_ENG.htm
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