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Old June 4th, 2009 #1
Joe_J.
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Default Jewish Disney Offers First Nigger Princess Tiana.

Sorry, Eisner, but da nigga sows don't be lookin all thin n shit.



Quote:
"Finally, here is something that all little girls, especially young black girls, can embrace, and that is huge," Cori Murray, an entertainment director at Essence magazine, recently told CNN. "This sends a message that no matter what you look like you can be beautiful, that you can be a princess, that you can be first lady."
Set in 1920s New Orleans against a background of jazz and voodoo, the movie is an adaptation of the classic tale The Frog Prince. Tiana is a waitress and budding chef who dreams of owning a restaurant and is persuaded to kiss a frog who is really a prince. The spell backfires and Tiana also becomes a frog and together they go on an adventure to find a cure.

While many believe Princess Tiana sends a positive message, Internet chat rooms and blogs are abuzz with complaints.
Some think her skin is too light and her name too ethnic while others are disturbed by the New Orleans location.
"Disney should be ashamed," William Blackburn, a former columnist at The Charlotte Observer, told London's Daily Telegraph. "Despite all its resources and experience, it has failed to create a black princess to rival its predecessors. This princess story is set in New Orleans, the setting of one of the most devastating tragedies to beset a black community. And then they throw in the voodoo theme and an alligator sidekick. When you put New Orleans, alligators and voodoo together, there's no beauty there."

And, something really unlikely, the race mixing theme of a White man with the unrealistic sheboon.



Quote:
The most controversial aspect of the movie is the skin tone of Princess Tiana's lover.[Gee, for a Kwa that says that race is just skin tone, they sure are touchy about it] Although he is called Prince Naveen and voiced by a Brazilian actor, he looks white. Some bloggers have said that Tiana and Naveen make a great interracial couple, while some say Disney ducked the opportunity to create a fairytale black couple. This definitely would have been timely, considering that the current president and first lady are black. Many are also saying that Disney is reenforcing the age-old message that a hero has to be a white man.
A reader writes on Essence.com on April 22, 2009:
I LOVE that Disney is finally putting a black princess on the big screen. This is awesome. However, I disagree that the prince being bi-racial or whatever is not of importance. What is the problem with a strong black male image? Why does the media not believe that a black male can hold down a leading role, even in a cartoon? Hello, anyone ever heard of Will Smith, Denzel Washington, Samuel L. Jackson, Sidney Poitier? What's the deal?
The film has been dogged by racial controversy since Disney first announced their plans for the first black princess. Its heroine was originally to be a chambermaid called Maddy working for a spoiled white debutante. The storyline sparked a backlash from critics who claimed it reinforced prejudice and demeaned black people.
Disney says they're working hard to create a film that will please the African American community. "Our first goal is to make a great motion picture," says John Lasseter, chief creative officer at Pixar and Walt Disney Animation Studios, told the Washington Post. "But we have also worked very closely with a lot of leaders in the African American community, all across the nation, to make sure we're doing something African American families will be proud of. It's very important for us to do it right. We've been very careful and cognizant about what we're doing."
And with that let's open it up to comments...
http://www.sfgate.com/cgi-bin/blogs/...entry_id=41130
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Old June 4th, 2009 #2
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A nigger in a swimming pool or a nigger in a white wedding dress both evoke the same visceral disgust.
 
Old June 4th, 2009 #3
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It's funny how first they complain that the names and settings are too stereotypically Negro sounding, then they complain that the sheboon has a White husband in the movie instead of a buck. The PC police just can't make their minds up.
 
Old June 4th, 2009 #4
Axel Faaborg
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I for one would have been happier had they made the dude all coal black 'nsheeit.
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Old June 5th, 2009 #5
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"nigger princess" - now there's an oxymoron for you...
 
Old February 25th, 2010 #6
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Last edited by Raymond; February 25th, 2010 at 05:23 PM. Reason: edited for clarity
 
Old February 25th, 2010 #7
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What's the story behind THAT?
 
Old February 25th, 2010 #8
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Quote:
Originally Posted by The Bobster View Post
What's the story behind THAT?
jeez, work it out for yourself.
 
Old February 25th, 2010 #9
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What I worked out has pissed me off already.
 
Old February 25th, 2010 #10
Alexander M.
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Quote:
Originally Posted by The Bobster View Post
What's the story behind THAT?

Disney and the Jews:
Eisner and His Kind Must Stop Harming Our Children
by William L. Pierce


We've spoken about the Jewish control of the news and entertainment media before, but it's a matter of such urgency that we need to talk about it again and again. It is absolutely essential for us to understand who controls our mass media and how they use their control to undermine America.

Very recently a major rearrangement in the media world took place when the Walt Disney company paid $19 billion to take control of Capital Cities/ABC, the company that owns the ABC television network. That makes the Disney company the biggest of the media conglomerates. And it makes the man who controls Disney, Michael Eisner, the most powerful media boss in the world.

What does this mean for the future of our people? Should we be concerned that the company which brought us Mickey Mouse, Donald Duck, and Snow White will in the future be playing a much bigger role in forming the opinions of American television viewers and setting the moral and cultural standards of our nation?

I'll answer that question: Yes, we certainly should be concerned, because the Walt Disney company is not what it used to be. It has been transformed from a wholesome producer of children's entertainment into a malign instrument of subversion, whose purpose is to weaken and destroy our people.

To understand how this happened, let's go back to the beginning. Walt Disney was born in 1901 in a working-class, Midwestern American family. He spent his early years on the family farm in Missouri. As a teenager he helped support his family by delivering newspapers. He later attributed his ability to overcome obstacles and achieve success to the work discipline that he developed as a boy with the newspaper route.

Although young Walt came from a typical American background, with no advantages or privileges, he was a person of exceptional talent and drive. He felt a strong artistic urge while he was still in grade school, and he took a correspondence course in drawing. He continued to develop his drawing skills in high school as a cartoonist for his school paper. He dropped out of school at 16 and served in the First World War. After the war, instead of finishing high school, he and another young artist began experimenting with animated films in a tiny studio of their own in Kansas City. Using very primitive equipment, they made short, animated cartoons based on fairy tales. They tried to market their films through a New York film distributor, but the New Yorker took advantage of the struggling, young filmmakers: he stole their work and left them destitute.

In 1922, at the ripe age of 20, Walt Disney decided to make a fresh start in Hollywood. He sold his camera to raise enough money to make the trip to California. There he enlisted the support of his brother Roy as a business manager, and he persuaded his fellow artist in Kansas City to come join him. With Walt's drive and determination, they opened a new film studio. They invented a film character they called Oswald the Rabbit, and a series of animated cartoons featuring Oswald enabled the small studio to gain a foothold in the film business.

Later, when sound films were introduced in 1927, Walt invented Mickey Mouse. Walt himself provided Mickey's voice. Mickey Mouse was an enormous success and helped Walt Disney Productions prosper and grow.

Over the years Walt Disney's fertile imagination gave us Donald Duck, Goofy and Pluto, Dumbo the elephant, and a score of other animal characters which have fascinated children all over the world for more than 60 years. In 1937 Disney produced his great masterpiece, Snow White and the Seven Dwarfs. This beautifully animated fairy tale appealed to adults as well as to children. Like many fairy tales its roots lie deep in the racial consciousness of our people.

After Snow White came Pinnochio, Fantasia, and Bambi. Walt Disney Productions became a major power in the American film industry. And it was unique, in that it was the only major film producer in Hollywood not owned or controlled by Jews. The fact that Walt Disney was not a Jew caused problems for him, however. He was surrounded by Jews who resented his influence on American culture. A whispering campaign was organized against him. Stories were spread that he was a fascist. He began having labor problems.

The real problem, of course, was that Walt Disney's vision of the world, as reflected in the films he produced, was wholly different from that of the Jewish film producers around him. As long as Walt was making Mickey Mouse or Donald Duck cartoons, this problem could be overlooked. When he began animating feature-length fairy tales like Snow White and Cinderella, the Jews in Hollywood became increasingly nervous. The world of Snow White was an entirely White world, a European world. It stirred racial memories in White Americans, and the aim of the Jewish media bosses then as now was to make White Americans forget their roots. They wanted to begin promoting multiculturalism as soon as the Second World War was over, and Walt was in their way. They couldn't push racial mixing in their films and have someone as popular as Walt Disney refuse to go along: the contrast would be obvious to the public. Even Disney's extremely popular Nature films were resented by the rest of Hollywood. Films which promoted a love for animals and the natural world were viewed with suspicion by men whose view of life was entirely economic and urban.

These may seem like subtle differences, and in fact most people outside of Hollywood were oblivious to the ideological and cultural conflict between Walt Disney and the other film producers. The closest that the conflict came to attracting public attention was during the 1940s and early 1950s, when Walt Disney's total lack of sympathy for Communism and his refusal to let Communist propaganda be introduced into any of his productions set him apart from the rest of Hollywood. While Walt was alive, however, there wasn't much that Hollywood could do about him. He was too popular with the American people.

After Walt died in 1966, however, the situation changed. His company had depended on his genius for its prosperity, and without him it had a difficult time keeping up with the competition. After Disney company profits had declined for several years, Jewish corporate raiders Saul Steinberg and Irwin Jacobs moved in for the kill. In 1984, after Steinberg had milked the company of $32 million, Disney family shareholders were too weak to resist a takeover by Michael Eisner, the Jewish boss of Paramount Pictures. Eisner in turn brought in as his second in command another Jew, Jeffrey Katzenberg. The company that Walt Disney built -- the company that gave us Snow White and Fantasia -- has been in Jewish hands ever since.

During his first day as chairman of the Disney company -- his first day, believe it or not -- Eisner ordered the production of an R-rated film, about the kinky sexual misadventures of a typically neurotic Jewish family in the Los Angeles area. This was the first R-rated film ever produced by the Disney company -- but certainly not the last.

Now, no one who knows me considers me a prude. I believe that there's a place for adult films. I also believe that there should be a place for childhood innocence and childhood fantasy and childhood imagination: that is, a place for the sort of films which Walt Disney used to produce. And there ought to be a place in America for a company which produces such films. There ought to be a place for a film maker with an artistic vision and artistic talent instead of merely the craving for profit.

Actually, what Michael Eisner has done to the Disney company is far worse than cutting the soul out of it. He has transformed it into another instrument in the Jewish campaign to multiculturalize America. He has made it into a spiritually destructive propaganda instrument aimed at our children.

There are no better examples of this than a couple of recent children's films produced by the Disney company under Eisner: The Jungle Book and Pocahontas. Actually, in 1967, the year after Walt Disney's death, the original Disney company made an animated film based on Kipling's Jungle Book stories of India. It was a film in the Disney tradition, made to entertain children and not to brainwash them. Last year Mr. Eisner produced a new, Politically Correct version of The Jungle Book. The new version, which uses live characters instead of animation, promotes interracial sex. In Mr. Eisner's version, White males are portrayed as contemptible, cowardly, inept, and disloyal. The White heroine rejects her British-officer fiancee‚, and lets herself be wooed and won by an Indian jungle boy, played by a Chinese actor. And, of course, it bears no resemblance at all to anything written by Rudyard Kipling. I hardly need comment on the film Pocahontas, which has received so much publicity recently, except to say that its message is the same as that of Eisner 's version of The Jungle Book: namely, that racial mixing is A-OK, that there's absolutely no reason why a White man should not marry an Indian woman or why a White woman should not have an affair with a Chinaman.

It took Mr. Eisner ten years to drag the Disney company down to the Pocahontas level. He is a careful man. He knows that there is a lot at stake. He certainly doesn't want to move too fast and cause a negative reaction from the American public. He didn't want to alert the American public to his intentions ten years ago. So he started with R-rated sex films and gradually moved to films which tell White children that miscegenation is fine and noble, and that non-Whites really have much more character than Whites. But I believe that Mr. Eisner had this outcome clearly in his mind from the first day that he took over the Disney company and began degrading it.

And now Mr. Eisner will have the ABC television network under his control too. I don't expect that to change the party line at ABC very much. ABC, like the other TV networks, has been pretty solidly Jewish from the beginning. It was headed by Jewish media boss Leonard Goldenson for more than 30 years. The fact that Capital Cities Communications, whose chairman is Thomas Murphy, a Gentile, merged with Goldenson's ABC ten years ago didn't really have much influence on programming. Goldenson's people remained in the policy-making positions. Eisner's buyout of ABC just consolidates things in Jewish hands a bit. It takes Murphy out of the picture and makes it easier for ABC to become even more Politically Correct than it was. It means that we will be seeing programs on the ABC television network promoting miscegenation and undermining White self-confidence a little more frequently than before. It speeds up the schedule a bit for introducing even more destructive propaganda than before. It means that our children will be subjected to somewhat more intense brainwashing than before.

The situation with the rest of the mass media of news and entertainment isn't really different, of course. Just as Jews took over Hollywood in the 1930s, they also took over the other media, and today they have such an overwhelming influence that even those who are not Jews go along with their policies in order to get along.

Often when I point out this fact of Jewish media control to persons who are Politically Correct, they will respond by saying that it makes no difference who controls the media. Why does it bother me that Jews run Hollywood, they ask in a sneering, condescending tone. I know that people who respond in this way aren't being honest. They would certainly think it made a difference if I controlled the media, for example. And actually I'd be concerned if any group with an agenda of its own had control of the media. I'd be concerned if all of the media were in the hands of Southern Baptists, for example, or radical vegetarians.

I am especially concerned about the Jewish control of the media, however, for two reasons. First, the people who control the media also control the political process in America: they control, in effect, the policies of our government and the course taken by our society. That's because the politicians, whether they're Democrats or Republicans, will not stand up to the Jews. Instead they grovel at the Jews' feet. Every politician knows that he must be portrayed favorably by the media if he is to be elected, and every politician knows who controls the media.

The second reason why Jewish control of the media is such a disaster for us is based in the unique nature of the Jews. If Baptists controlled the media perhaps they'd persuade the government to have a law against making love on Sunday. If radical vegetarians controlled the media, we might have to eat soyburgers instead of hamburgers.

But we can survive those things. We might not be happy, but we could survive: our people could survive. Neither the Baptists nor the vegetarians would be trying to corrupt us spiritually or to destroy our race.

But corrupt and destroy are exactly what Mr. Eisner is doing. That's the purpose of films like The Jungle Book and Pocahontas. They are aimed, first, at the spiritual corruption of our children and, ultimately, at the destruction of our people.

I know that statement sounds extreme to some people who are not familiar with the facts of Jewish media control. They think that two recent children's films from the Walt Disney company which promote racial mixing aren't enough evidence to condemn all of the people who control our news and entertainment media. And I must agree. One needs much more evidence than that. But the evidence is there, for anyone who is not afraid to look at it, for anyone who is not so determined to be Politically Correct that he refuses to see it.

For example, consider what has happened to the popular music industry in recent years. It's not just the "gangsta rap" that we've heard a few Republican politicians complaining about because the media people who've been pushing "gangsta rap" moved a little too fast and caused a negative reaction from the American people. It's the whole trend of popular music away from traditional White forms and toward non-White forms. I don't have to tell you who controls the popular music industry in America, but I will anyway. In particular, the biggest music companies promoting Black "rap" music among White children -- companies like Time Warner and MTV -- are solidly Jewish. A Jew named Gerald Levin is to Time Warner what Michael Eisner is to Disney. And MTV is owned by Sumner Redstone, another Jew, through his Viacom Corporation. These three companies that I've just mentioned -- Disney, Viacom, and Time Warner -- are America's three biggest producers of mass entertainment -- they're number one, number two, and number three, respectively -- and they're all controlled by Jews. Is that just a coincidence? Think about it!

I could spend the next hour talking about the genealogy of the biggest media bosses. What you really need to do to be convinced, however, is to study the matter for yourself. I'll be happy to send you enough facts to get you started. Just write to me.

The idea I want to leave you with today is this: In this era in which the mass media have such a powerful influence over our people's ideas and attitudes and values, it is essential that we take the control of those media away from a group which is utterly alien to us. It's a group whose primary aim is to deaden our sense of identity and kill any sense of racial consciousness among us, so that we will not be able to resist the poisonous doctrines which they're promoting. These doctrines are multiculturalism and cosmopolitanism and egalitarianism -- and, of course, "diversity" -- all of the racially destructive "isms" of Political Correctness.

In this era when the single most important influence on the development of a child's self-image is television entertainment, it is essential that people like Michael Eisner and Sumner Redstone not be the ones setting the tone for that entertainment.

We all know that America has lost its sense of purpose and is drifting. We all know that American society is coming apart. We all know that our traditional values, our traditional life-style, our traditional heroes and role models have been disparaged and ridiculed by the controlled media. We all know that the idea of White racial guilt, the idea of deferring to minorities, the idea that we should tolerate perversion and accept it as "normal" -- all of these ideas have been pushed by the mass media. Alienation and delinquency among our young people are increasing. The traditional American family is in serious decline. Racial intermarriage is on the rise. Non-White immigrants are pouring across our borders, and no serious effort is being made to stop them. Our political system has become hopelessly corrupt.

The only way that we can even begin to cure this illness is to regain complete control of our mass media. Our media must be used to give our people a sense of identity; a sense of racial community; a sense of kinship, of belonging; a sense of racial and national purpose. We must take control away from the people who are using the media now to confuse and alienate and mislead us. Only when our own people are setting the standards for the media, only when our own people are deciding what attitudes and values should be taught to our children, can we become strong and healthy again -- and that means breaking the Jewish control of the media. Let me hear from you on this most important of all the issues facing our people.

http://www.natall.com/free-speech/fs959a.html
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Old February 25th, 2010 #11
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Default Facts of Jewish Media Control

Electronic News & Entertainment Media

The largest media conglomerate today is Walt Disney Company, whose chairman and CEO, Michael Eisner, is a Jew. The Disney Empire, headed by a man described by one media analyst as a "control freak", includes several television production companies (Walt Disney Television, Touchstone Television, Buena Vista Television), its own cable network with 14 million subscribers, and two video production companies. As for feature films, the Walt Disney Picture Group, headed by Joe Roth (also a Jew), includes Touchstone Pictures, Hollywood Pictures, and Caravan Pictures. Disney also owns Miramax Films, run by the Weinstein brothers. When the Disney Company was run by the Gentile Disney family prior to its takeover by Eisner in 1984, it epitomized wholesome, family entertainment. While it still holds the rights to Snow White, under Eisner, the company has expanded into the production of graphic sex and violence. In addition, it has 225 affiliated stations in the United States and is part owner of several European TV companies. ABC's cable subsidiary, ESPN, is headed by president and CEO Steven Bornstein, a Jew. This corporation also has a controlling share of Lifetime Television and the Arts & Entertainment Network cable companies. ABC Radio Network owns eleven AM and ten FM stations, again in major cities such as New York, Washington, Los Angeles, and has over 3,400 affiliates. Although primarily a telecommunications company, Capital Cities/ABC earned over $1 billion in publishing in 1994. It owns seven daily newspapers, Fairchild Publications, Chilton Publications, and the Diversified Publishing Group. Time Warner, Inc, is the second of the international media leviathans. The chairman of the board and CEO, Gerald Levin, is a Jew. Time Warner's subsidiary HBO is the country's largest pay-TV cable network. Warner Music is by far the world's largest record company, with 50 labels, the biggest of which is Warner Brothers Records, headed by Danny Goldberg. Stuart Hersch is president of Warnervision, Warner Music's video production unit. Goldberg and Hersch are Jews. Warner Music was an early promoter of "gangsta rap." Through its involvement with Interscope Records, it helped popularize a genre whose graphic lyrics explicitly urge Blacks to commit acts of violence against Whites. In addition to cable and music, Time Warner is heavily involved in the production of feature films (Warner Brothers Studio) and publishing. Time Warner's publishing division (editor-in-chief Norman Pearlstine, a Jew) is the largest magazine publisher in the country (Time, Sports Illustrated, People, Fortune). When Ted Turner, a Gentile, made a bid to buy CBS in 1985, there was panic in media boardrooms across the nation. Turner made a fortune in advertising and then had built a successful cable-TV news network, CNN. Although Turner employed a number of Jews in key executive positions in CNN and had never taken public positions contrary to Jewish interests, he is a man with a large ego and a strong personality and was regarded by Chairman William Paley (real name Palinsky, a Jew) and the other Jews at CBS as uncontrollable: a loose cannon who might at some time in the future turn against them. Furthermore, Jewish newsman Daniel Schorr, who had worked for Turner, publicly charged that his former boss held a personal dislike for Jews. To block Turner's bid, CBS executives invited billionaire Jewish theater, hotel, insurance, and cigarette magnate Laurence Tisch to launch a "friendly" takeover of the company, and from 1986 till 1995 Tisch was the chairman and CEO of CBS, removing any threat of non-Jewish influence there. Subsequent efforts by Turner to acquire a major network have been obstructed by Levin's Time Warner, which owns nearly 20 percent of CBS stock and has veto power over major deals. Viacom, Inc, headed by Sumner Redstone (born Murray Rothstein), a Jew, is the third largest megamedia corporation in the country, with revenues of over $10 billion a year. Viacom, which produces and distributes TV programs for the three largest networks, owns 12 television stations and 12 radio stations. It produces feature films through Paramount Pictures, headed by Jewess Sherry Lansing. Its publishing division includes Prentice Hall, Simon & Schuster, and Pocket Books. It distributes videos through over 4,000 Blockbuster stores. Viacom's chief claim to fame, however, is as the world's largest provider of cable programming, through its Showtime, MTV, Nickelodeon, and other networks. Since 1989, MTV and Nickelodeon have acquired larger and larger shares of the younger television audience. With the top three, and by far the largest, media companies in the hand of Jews, it is difficult to believe that such an overwhelming degree of control came about without a deliberate, concerted effort on their part. What about the other big media companies? Number four on the list is Rupert Murdoch's News Corporation, which owns Fox Television and 20th Century Fox Films. Murdoch is a Gentile, but Peter Chermin, who heads Murdoch's film studio and also oversees his TV production, is a Jew. Number five is the Japanese Sony Corporation, whose U.S. subsidiary, Sony Corporation of America, is run by Michael Schulhof, a Jew. Alan Levine, another Jew, heads the Sony Pictures division. Most of the television and movie production companies that are not owned by the largest corporations are also controlled by Jews. For example, New World Entertainment, proclaimed by one media analyst as "the premiere independent TV program producer in the United States," is owned by Ronald Perelman, a Jew. The best known of the smaller media companies, Dreamworks SKG, is a strictly kosher affair. Dream Works was formed in 1994 amid great media hype by recording industry mogul David Geffen, former Disney Pictures chairman Jeffrey Katzenberg, and film director Steven Spielberg, all three of whom are Jews. The company produces movies, animated films, television programs, and recorded music. Two other large production companies, MCA and Universal Pictures, are both owned by Seagram Company, Ltd. The president and CEO of Seagram, the liquor giant, is Edgar Bronfman Jr., who is also president of the World Jewish Congress. It is well known that Jews have controlled the production and distribution of films since the inception of the movie industry in the early decades of the 20th century. This is still the case today. Films produced by just the five largest motion picture companies mentioned above-Disney, Warner Brothers, Sony, Paramount (Viacom), and Universal (Seagram)-accounted for 74 per cent of the total box-office receipts for the first eight months of 1995. The big three in television network broadcasting used to be ABC, CBS, and NBC. With the consolidation of the media empires, these three are no longer independent entities. While they were independent, however, each was controlled by a Jew since its inception: ABC by Leonard Goldenson, CBS first by William Paley and then by Lawrence Tisch, and NBC first by David Sarnoff and then by his son Robert. Over periods of several decades, these networks were staffed from top to bottom with Jews, and the essential Jewishness of network television did not change when the networks were absorbed by other corporations. The Jewish presence in television news remains particularly strong. As noted, ABC is part of Eisner's Disney Company, and the executive producers of ABC's news programs are all Jews: Victor Neufeld (20-20), Bob Reichbloom (Good Morning America), and Rick Kaplan (World News Tonight). CBS was recently purchased by Westinghouse Electric Corporation. Nevertheless, the man appointed by Lawrence Tisch, Eric Ober, remains president of CBS News, and Ober is a Jew. At NBC, now owned by General Electric, NBC News president Andrew Lack is a Jew, as are executive producers Jeff Zucker (Today), Jeff Gralnick (NBC Nightly News), and Neal Shapiro (Dateline). The Print Media After television news, daily newspapers are the most influential information medium in America. Sixty million of them are sold (and presumably read) each day. These millions are divided among some 1,500 different publications. One might conclude that the sheer number of different newspapers across America would provide a safeguard against Jewish control and distortion. However, this is not the case. There is less independence, less competition, and much less representation of our interests than a casual observer would think. The days when most cities and even towns had several independently owned newspapers published by local people with close ties to the community are gone. Today, most "local" newspapers are owned by a rather small number of large companies controlled by executives who live and work hundreds or ever thousands of miles away. The fact is that only about 25 per cent of the country's 1,500 papers are independently owned; the rest belong to multi-newspaper chains. Only a handful are large enough to maintain independent reporting staffs outside their own communities; the rest depend on these few for all of their national and international news. The Newhouse empire of Jewish brothers Samuel and Donald Newhouse provides an example of more than the lack of real competition among America's daily newspapers: it also illustrates the insatiable appetite Jews have shown for all the organs of opinion control on which they could fasten their grip. The Newhouses own 26 daily newspapers, including several large and important ones, such as the Cleveland Plain Dealer, the Newark Star-Ledger, and the New Orleans Times-Picayune; the nation's largest trade book publishing conglomerate, Random House, with all its subsidiaries; Newhouse Broadcasting, consisting of 12 television broadcasting stations and 87 cable-TV systems, including some of the country's largest cable networks; the Sunday supplement Parade, with a circulation of more than 22 million copies per week; some two dozen major magazines, including the New Yorker, Vogue, Madmoiselle, Glamour, Vanity Fair, Bride's, Gentlemen's Quarterly, Self, House & Garden, and all the other magazines of the wholly owned Conde Nast group. This Jewish media empire was founded by the late Samuel Newhouse, an immigrant from Russia. The gobbling up of so many newspapers by the Newhouse family was in large degree made possible by the fact that newspapers are not supported by their subscribers, but by their advertisers. It is advertising revenue--not the small change collected from a newspaper's readers--that largely pays the editor's salary and yields the owner's profit. Whenever the large advertisers in a city choose to favor one newspaper over another with their business, the favored newspaper will flourish while its competitor dies. Since the beginning of the 20th century, when Jewish mercantile power in America became a dominant economic force, there has been a steady rise in the number of American newspapers in Jewish hands, accompanied by a steady decline in the number of competing Gentile newspapers--primarily as a result of selective advertising policies by Jewish merchants. Furthermore, even those newspapers still under Gentile ownership and management are so thoroughly dependent upon Jewish advertising revenue that their editorial and news reporting policies are largely constrained by Jewish likes and dislikes. It holds true in the newspaper business as elsewhere that he who pays the piper calls the tune.

Three Jewish Newspapers

The suppression of competition and the establishment of local monopolies on the dissemination of news and opinion have characterized the rise of Jewish control over America's newspapers. The resulting ability of the Jews to use the press as an unopposed instrument of Jewish policy could hardly be better illustrated than by the examples of the nation's three most prestigious and influential newspapers: the New York Times, the Wall Street Journal, and the Washington Post. These three, dominating America's financial and political capitals, are the newspapers which set the trends and the guidelines for nearly all the others. They are the ones which decide what is news and what isn't, at the national and international levels. They originate the news; the others merely copy it, and all three newspapers are in Jewish hands. The New York Times was founded in 1851 by two Gentiles, Henry Raymond and George Jones. After their deaths, it was purchased in 1896 from Jones's estate by a wealthy Jewish publisher, Adolph Ochs. His great-grandson, Arthur Ochs Sulzberger, Jr., is the paper's current publisher and CEO. The executive editor is Max Frankel, and the managing editor is Joseph Lelyveld. Both of the latter are also Jews. The Sulzberger family also owns, through the New York Times Co., 33 other newspapers, including the Boston Globe; twelve magazines, including McCall's and Family Circle with circulations of more than 5 million each; seven radio and TV broadcasting stations; a cable-TV system; and three book publishing companies. The New York Times News Service transmits news stories, features, and photographs from the New York Times by wire to 506 other newspapers, news agencies, and magazines. Of similar national importance is the Washington Post, which, by establishing its "leaks" throughout government agencies in Washington, has an inside track on news involving the Federal government. The Washington Post, like the New York Times, had a non-Jewish origin. It was established in 1877 by Stilson Hutchins, purchased from him in 1905 by John McLean, and later inherited by Edward McLean. In June 1933, however, at the height of the Great Depression, the newspaper was forced into bankruptcy. It was purchased at a bankruptcy auction by Eugene Meyer, a Jewish financier. The Washington Post is now run by Katherine Meyer Graham, Eugene Meyer's daughter. She is the principal stockholder and the board chairman of the Washington Post Co. In 1979, she appointed her son Donald publisher of the paper. He now also holds the posts of president and CEO of the Washington Post Co. The Washington Post Co. has a number of other media holdings in newspapers, television, and magazines, most notably the nation's number-two weekly newsmagazine, Newsweek. The Wall Street Journal, which sells 1.8 million copies each weekday, is the nation's largest-circulation daily newspaper. It is owned by Dow Jones & Company, Inc., a New York corporation which also publishes 24 other daily newspapers and the weekly financial tabloid Barron's, among other things. The chairman and CEO of Dow Jones is Peter Kann, who is a Jew. Kann also holds the posts of chairman and publisher of the Wall Street Journal. Most of New York's other major newspapers are in no better hands than the New York Times and the Wall Street Journal. The New York Daily News is owned by Jewish real-estate developer Mortimer B. Zuckerman. The Village Voice is the personal property of Leonard Stern, the billionaire Jewish owner of the Hartz Mountain pet supply firm.

Other Mass Media

The story is pretty much the same for other media as it is for television, radio, and newspapers. Consider, for example, newsmagazines. There are only three of any note published in the United States: Time, Newsweek, and U.S. News and World Report. Time, with a weekly circulation of 4.1 million, is published by a susidiary of Time Warner Communications. The CEO of Time Warner Communications, as mentioned above, is Gerald Levin, a Jew. Newsweek, as mentioned above, is published by the Washington Post Company, under the Jewess Katherine Meyer Graham. Its weekly circulation is 3.2 million. U.S. News & World Report, with a weekly circulation of 2.3 million, is owned and published by Mortimer Zuckerman, a Jew. Zuckerman also owns the Atlantic Monthly and New York's tabloid newspaper, the Daily News, which is the sixth-largest paper in the country. Among the giant book-publishing conglomerates, the situation is also Jewish. Three of the six largest book publishers in the U.S., according to Publisher's Weekly, are owned or controlled by Jews. The three are first-place Random House (with its many subsidiaries, including Crown Publishing Group), third-place Simon & Schuster, and sixth-place Time Warner Trade Group (including Warner Books and Little, Brown). Another publisher of special significance is Western Publishing. Although it ranks only 13th in size among all U.S. publishers, it ranks first among publishers of children's books, with more than 50 percent of the market. Its chairman and CEO is Richard Snyder, a Jew, who just replaced Richard Bernstein, also a Jew.

The Effect of Jewish Control of the Media

These are the facts of Jewish media control in America. Anyone willing to spend several hours in a large library can verify their accuracy. I hope that these facts are disturbing to you, to say the least. Should any minority be allowed to wield such awesome power? Certainly, not and allowing a people with beliefs such as expressed in the Talmud, to determine what we get to read or watch in effect gives this small minority the power to mold our minds to suit their own Talmudic interests, interests which as we have demonstrated are diametrically opposed to the interests of our people. By permitting the Jews to control our news and entertainment media, we are doing more than merely giving them a decisive influence on our political system and virtual control of our government; we also are giving them control of the minds and souls of our children, whose attitudes and ideas are shaped more by Jewish television and Jewish films than by their parents, their schools, or any other influence.

http://www.libreopinion.com/members/...uestion03.html
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Old February 25th, 2010 #12
Hugo Böse
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Fuck that’s nasty, they really outdid themselves with that!
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Old February 25th, 2010 #13
Leonard Rouse
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On a date last year as we were going in a theater, the gal I was with motioned me to come over and look at the big poster for "Princess and the Frog."

She seemed really excited about it, but then got real quiet and started telling me in a low voice that she'd heard there were a lot of stereotypes about black people in the film--as if the film were "racist."

The relationship was mercifully brief.
 
Old July 4th, 2010 #14
cynerick7
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both sides sound racist....there are hero's from all cultures whether they are black, yellow, white, off white, brown, hell purple for all i care...what does color of skin have to do with this...HUMAN NATURE and your mindset needs top get in check...erase the chalk board and go back to basics we all eat, sleep, shit, fart and breath the same air... what gives us any right to put racist comments and judge...if you don't want your kids to watch the movie don't turn on the movie...talk to your kids it starts at home...you teach them to love everybody....shame on you! We all have to share the same space...ADJUST!
 
Old July 4th, 2010 #15
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Study some genetics, maybe even some crime stats and some history for good measure, cynerick7. You probably aren't aware of the niggers only blood pressure medication, or the other genetic variations within humans that indeed make them different. I just posted an article about Tibetan genetic changes within 3k years. Read it.

A lion also breathes the same air I do. It also farts, eats, etc. So what? A lion isn't my equal, neither is a nigger.
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Old July 4th, 2010 #16
J Caldera
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Default Scratching my head . . .

Does Disney really think niggers are going to pay their hard-stolen money or pass up on malt and ammo to take their little nigglets to see this crap?

No. They're not that stupid. They know most ghetto-rat niggers couldn't give a shit less about the theme of this story . . . couldn't place the story in any context they could understand . . . couldn't understand the language . . . and after five minutes of no one getting "kilt" and no one "flashin gansta signs an sheet" most niggers would doze off . . .

The story might initially hold appeal . . . after all, the negress is a waitress . . . that's something niggers can relate to . . . but then she has to work hard to . . . . SNORE! . . . .


No . . . this is geared for whites . . . specifically, white liberals.

They will trample each other to buy tickets and will gladly subject their children to this miserable propaganda. White elementary school "teachers" will "highly recommend" this to their captive (white) audiences.

After all . . . doesn't this prove that blacks are just like us? Oh, and she's so pur-rrty . . . and look how the handsome WHITE prince . . . blah, blah, blah.


Thank you
 
Old July 4th, 2010 #17
Katarina
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Quote:
Originally Posted by cynerick7 View Post
both sides sound racist....there are hero's from all cultures whether they are black, yellow, white, off white, brown, hell purple for all i care...what does color of skin have to do with this...HUMAN NATURE and your mindset needs top get in check...erase the chalk board and go back to basics we all eat, sleep, shit, fart and breath the same air... what gives us any right to put racist comments and judge...if you don't want your kids to watch the movie don't turn on the movie...talk to your kids it starts at home...you teach them to love everybody....shame on you! We all have to share the same space...ADJUST!



You deserve to be placed in the tard corral for this one.
 
Old July 5th, 2010 #18
J Caldera
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Quote:
Originally Posted by cynerick7 View Post
both sides sound racist....there are hero's from all cultures whether they are black, yellow, white, off white, brown, hell purple for all i care...what does color of skin have to do with this...HUMAN NATURE and your mindset needs top get in check...erase the chalk board and go back to basics we all eat, sleep, shit, fart and breath the same air... what gives us any right to put racist comments and judge...if you don't want your kids to watch the movie don't turn on the movie...talk to your kids it starts at home...you teach them to love everybody....shame on you! We all have to share the same space...ADJUST!

I think maybe the whole WHITE NATIONALIST thing may be a little over your head.

Why not tune in to some re-runs of ALL IN THE FAMBLY and other real-life shows like GOOD TIMES and THE JEFFERSONS.

You will truly enjoy seeing the fat, white bigot Archie Bunker get his come-uppance by the brilliant, witty and accomplished Negroes in his life. Then you can watch the valiant struggle of Negroes living in "da projecks" and overcoming all the adversity thrown at them daily by the evil whites in their life.

No need to waste your time here . . . really . . . there are much more entertaining things to see that are right in line with your "philosophy."
 
Old July 5th, 2010 #19
Zenos
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Quote:
Originally Posted by Hugo Böse View Post


Fuck that’s nasty, they really outdid themselves with that!
Notice how the black is drawn with white features? Disney always does that, instead of drawing the black like the ape looking creature that it really is.

Here I fixed it.


 
Old July 5th, 2010 #20
Hugo Böse
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Quote:
Originally Posted by Zenos View Post
Notice how the black is drawn with white features? Disney always does that, instead of drawing the black like the ape looking creature that it really is.

Here I fixed it.
Yup, it’s absolutely sick. J Caldera makes a good point in saying that this shit is made for the mass of white retards, so they drew the characters in a way that they can relate to.
Quote:
Originally Posted by J Caldera View Post
Does Disney really think niggers are going to pay their hard-stolen money or pass up on malt and ammo to take their little nigglets to see this crap?

No. They're not that stupid. They know most ghetto-rat niggers couldn't give a shit less about the theme of this story . . . couldn't place the story in any context they could understand . . . couldn't understand the language . . . and after five minutes of no one getting "kilt" and no one "flashin gansta signs an sheet" most niggers would doze off . . .

The story might initially hold appeal . . . after all, the negress is a waitress . . . that's something niggers can relate to . . . but then she has to work hard to . . . . SNORE! . . . .


No . . . this is geared for whites . . . specifically, white liberals.

They will trample each other to buy tickets and will gladly subject their children to this miserable propaganda. White elementary school "teachers" will "highly recommend" this to their captive (white) audiences.

After all . . . doesn't this prove that blacks are just like us? Oh, and she's so pur-rrty . . . and look how the handsome WHITE prince . . . blah, blah, blah.


Thank you
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Last edited by Hugo Böse; July 5th, 2010 at 01:34 AM.
 
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