XPost: alt.politics.liberalism, alt.society.liberalism, alt.poli   
   ics.democrats.d   
   XPost: alt.fan.rush-limbaugh, alt.politics   
   From: mars1933@hotmail.com   
      
   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.   
   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 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 deep feelings in European 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   
   metropolitan.   
   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   
      
   [continued in next message]   
      
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    * Origin: you cannot sedate... all the things you hate (1:229/2)