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Listeners also told me about other Hollywood productions that they thought were especially brazen in their lies. Many mentioned films dealing with the Second World War and the so-called "Holocaust," films portraying the Jews as the ultimate victims of White wickedness. A problem with many of these films is that it's difficult for us to establish with certainty what's true and what's false. In the much ballyhooed Schindler's List, for example, we have the Jewish claim that the film is based on historical fact. It shows the German commandant of a labor camp shooting his Jewish workers with a hunting rifle from his balcony for sport as the workers unsuspectingly go about their jobs. Anyone familiar with the way Germans ran things during the war can be practically certain that such indiscipline and self-indulgence as shooting defense workers for sport -- even Jewish defense workers -- would have been unthinkable. But without specific dates and places and reliable testimony, it's difficult to prove beyond any doubt that the Jews who made this particular hate-propaganda film were lying.
One very recent Hollywood production mentioned by several listeners was The Hurricane. It deals with events that are much easier to check out, and so I decided to look into that one myself. Here's a brief history:
Rubin Carter was a small-time Black street thug in Paterson, New Jersey, in the 1950s and 1960s. He had a long record of arrests for assault, theft, and robbery. His first criminal conviction was at age 11, after he stabbed a man and stole his wallet and wristwatch. For that he was sent to reform school, but the experience didn't reform him. He continued with assaults and robberies after he was released. Later he spent four years in the penitentiary for a series of muggings. He also tried his hand at professional boxing, fighting under the ring name "Hurricane" Carter.
On the evening of June 16, 1966, the stepfather of one of Carter's friends was killed in a fight with a White man. Carter commiserated with his bereaved friend over drinks and decided to "get even" with Whites. A few minutes before 2:30 in the morning of June 17, Carter and another friend, John Artis, left the bar where they had been drinking and drove to a Paterson bar a few blocks away -- the Lafayette Grill -- known to have a policy of not serving Blacks. They parked around the corner, walked into the bar with a pistol and a 12-gauge shotgun and opened fire on the bartender and his patrons, killing two White men and a White woman -- Jim Oliver, Bob Nauyoks, and Hazel Tanis--and shooting the eye out of a fourth White person, who survived the massacre. They then walked back to their car laughing and talking. A 23-year-old White woman, Patty Valentine, who had an apartment above the bar, was awakened by the sound of the gunfire. She looked out her window and saw Carter and his friend walk to their car and drive away. She called the police and gave them a description of the car.
Six minutes after the triple murder was reported, Paterson police spotted the getaway car and pulled it over. There was a third Black in the car with Carter and Artis, however, and the police, who were looking for a car with two Black men instead of three, did not detain them -- even though Carter was found lying down in the back seat in an effort to conceal himself. Twenty minutes later, after receiving a more detailed description of the getaway car from Miss Valentine, the police spotted the car again, pulled it over, and took Carter and Artis to the police station for questioning. Both Blacks were given polygraph -- that is, lie detector--tests. The police polygraph operator, Officer John McGuire, reported that Carter was "attempting deception to all the pertinent questions . . . [and] was involved in the crime." The police searched the getaway car and found a 12-gauge shotgun cartridge and a pistol cartridge of the same caliber used in the massacre at the Lafayette Grill, although in the half hour between the shootings and the second police stop of their car the Blacks had gotten rid of the shotgun and the pistol. Because the police recognized Carter as a well-known boxing figure, and because they did not have an eye-witness who could positively identify the killers, they turned Carter and Artis loose. Although Patty Valentine had gotten a clear view of the getaway car, she had not seen the faces of the two Blacks who got into the car.
Five months later an eye witness, Alfred Bello, finally testified that he had seen Rubin Carter and John Artis walk out of the Lafayette Grill with weapons in their hands immediately after the shootings. He had been afraid to come forward earlier for fear of retribution by Carter, he said. Carter and Artis were indicted, tried, convicted of murder, and sentenced to life in prison.
There the story would have ended, except that Carter, as a Black celebrity sports figure, had wealthy friends and a sympathetic ear in the Jewish media. The Jewish media bosses never are happy when a Black celebrity gets a lot of bad press, á la O.J. Simpson or Mike Tyson or "Hurricane" Carter. It contradicts the image of Blacks the media bosses have tried so hard to establish in the public mind. With a little help from his friends Carter got an autobiographical book published in 1974 proclaiming his innocence. He had been framed by racist cops and prosecutors, he said. Hollywood types immediately flocked to his defense. Jewish pop singer Robert Zimmerman, better known by his stage name "Bob Dylan," wrote a ballad asserting Carter's innocence. Six hundred thousand dollars was donated by celebrities to his defense fund. The New Jersey Supreme Court yielded to the media pressure and granted Carter and Artis a new trial. Both were convicted again. The New Jersey Supreme Court upheld the second conviction.
America's judicial system today, however, works on the principle -- one might say that it has been designed on the principle--that where there's enough money to pay the lawyers there's a way. Verily, it is easier for a camel to go through the eye of a needle than it is to keep a rich man in prison, as we saw in the case of O.J. Simpson. Carter's lawyers got his case before a Jewish Federal judge, H. Lee Sarokin, who, in November 1985, ruled that the prosecution had violated Carter's civil rights by arguing before the trial jury that he had been motivated by racial hatred in his murder of the three Whites in the Lafayette Grill. This argument might have prejudiced the White jurors against Carter, Sarokin said, and he ordered Carter released from prison.
It is interesting to compare Judge Sarokin's ruling in 1985 with the current Jewish campaign for more so-called "hate crime" legislation. The whole idea behind the Jewish "hate crime" campaign is to prejudice the entire judicial system against defendants who are not Politically Correct. Any evidence suggesting that a defendant has ideas or reads literature or listens to music or belongs to an organization that is not Politically Correct may be used not only to prejudice the jury against him but to increase the severity of his sentence if he is convicted. But 15 years ago a Jewish judge ruled that informing the jury that Carter was filled with racial hatred against Whites when he walked into the Lafayette Grill with a pistol and a shotgun seeking revenge for the death of his friend's stepfather had violated Carter's civil rights. The times do change, don't they?
However, the Jewish campaign to de-Aryanize America with the assistance of a mind-numbing flood of lies and anti-White hate propaganda hasn't changed, even if some of the tactics are different. Two months ago Hollywood released the film The Hurricane, supposedly a documentary film based on the real-life saga of Rubin "Hurricane" Carter. It was directed by one of Hollywood's greasiest kosher propagandists, the appropriately named Norman Jewison, and it has been receiving rave reviews in the mainstream media. It is so full of outrageous lies that it's hard to decide where to begin.
Well, let's start with the time right before the murders. There's no hint that Carter has a hate on for White people, no hint that he's looking for revenge against Whites. He's in a mellow mood, drinking in his favorite bar with friends at the time of the murders. Then, right after the murders, one of Carter's friends, John Artis, offers to drive him home. The Paterson police, who by this time are looking for the getaway car, stop the car carrying Carter, Artis, and another Black. The reason for the stop is presented by the film as simply another case of "driving while Black," the trendy way these days of explaining the disproportionately strong tendency of Blacks to get into legal trouble behind the wheel of an automobile. It's all because of the racist attitudes of White cops.
In the film, when Carter is taken to the police station for questioning, instead of flunking the lie-detector test he passes it with flying colors. But the racist White cops and the racist White prosecutors have it in for Carter because he's an "uppity nigger" who whips White boys in the ring and needs to be put in his place. With the help of a racist White jury he is unjustly convicted. His only offense is being a proud Black man, whose whole life is ruined by White racism.
Even the film's portrayal of Carter's loss of the middleweight championship fight in December 1964 to White boxer Joey Giardello is one of a Black man deprived of justice by White racism. The film shows Carter beating Giardello to a pulp but having the title denied to him by racist White judges. In fact, as nearly all the sports reporters who actually witnessed the fight agree, Giardello clearly whipped Carter, not the other way around, as the film falsely shows it, and the judges' decision was correct.
I have given just a few examples here, but I am not exaggerating when I say that every significant point made in The Hurricane is a blatant lie. But hey, the whole point of Jewison's film is to strike a blow against White racism, to make Whites feel guilty for existing and taking up space that by right belongs to the Blacks and the Browns and the Yellows of the world and to all of our other wonderful colored brothers, whom we have exploited and oppressed so shamefully. I mean, all's fair, including lying, in war, and what the Jews are doing to us with their hate-propaganda films is war: it's a war of racial annihilation -- a war of genocide -- they are waging against us, while we remain sitting on our hands, afraid even to acknowledge what is happening to us, lest we be denounced as "racists" or "anti-Semites."
I hate to suggest that you put more money into Hollywood's swollen coffers, but you really should see The Hurricane for yourself, read some of the reviews praising the film in Jewish media such as the New York Times and the Washington Post, and then check out the facts. I believe that many of you will be astounded by this example of just how brazenly the Jews lie. It's hard for us to imagine such shameless arrogance -- such chutzpah, as the Jews themselves proudly call it.
One is reminded of Adolf Hitler's warning in his book Mein Kampf about the Jews' use of this "big lie" propaganda technique. Hitler warned us that the Jews get away with telling such whoppers because the average Gentile cannot imagine anyone lying so brazenly. Of course, the Jews' reaction to Hitler's warning is just another example of their use of the "big lie" technique. They teach our children in the schools and announce to the couch potatoes through the mass media that Hitler invented the "big lie" technique and advocated its use in Mein Kampf rather than warning us about the Jews' use of the technique. They do this, knowing that they can get away with it because not one American in a hundred will actually check it out for himself and discover that they are lying.
Well, at least, the Jews' lies, when they are as blatant and as obvious as they are in The Hurricane, do provide a useful tool for me, letting me show you what they're up to. The unfortunate aspect of this is that with about 95 per cent of the White population consisting of lemmings, who are totally unmovable by truth or reason, what we can do with tools of this sort is limited. To lemmings the concept of truth is meaningless; all that's real to them is what the other lemmings are doing and saying. That's their whole universe. But, you know, there is that other four or five per cent out there that is reachable with the truth, when it is presented clearly and forcefully. And that's what I try to do: present relevant facts and ideas clearly and forcefully to those of my people who are interested in these things, who are moved by these things.
It's clear, I believe, that this whole issue of lying Jewish hate-propaganda is relevant to most of the problems we face today. It's not clear yet what effect my presentation of facts and ideas is having. How many of our people am I actually reaching? One per cent of the population? I don't know, but if I am reaching one per cent of the population, that's about 20 per cent of the independent thinkers. Perhaps that's not enough yet to make a major difference, but the number we are reaching is growing. I'm sure of that. And I have a feeling that when we are reaching two or three per cent of the whole population -- that's about half of the independent thinkers -- we will be able to make a difference.
Independent thinkers may not be in much demand in this era of Political Correctness, but they still do have some advantages over the lemmings. There are still some advantages to knowing what's true and what's false in the picture of the world presented to us by the mass media, for example. There's some advantage in knowing whether Timothy McVeigh was motivated to bomb the Federal Building in Oklahoma City by reading one of my novels, as the Jewish media bosses would have you believe, or by the Clinton government's murder of all those women and children in the Branch Davidian church in Waco. There's some advantage in realizing that Hollywood media bosses have produced a major motion picture that portrays as a hero a hate-motivated Black murderer of White people.
The real advantage comes, however, when the people who know these things -- the people who know that the media bosses lie about Timothy McVeigh's motivation and know that "Hurricane" Carter is a cold-blooded hate-murderer rather than a heroic victim of White racism -- put it all together, when they draw conclusions. The really important thing to understand is why the media bosses lie to us about Timothy McVeigh's motivation and why they pump out lying White-guilt propaganda such as Schindler's List and The Hurricane.
Putting it all together and drawing conclusions is harder than just understanding the relevant facts, however. It requires courage as well as the ability to think independently, and courageous people -- people who aren't afraid to come to Politically Incorrect conclusions -- are even scarcer than independent-minded people. If I have reached 20 per cent of the independent-minded people in America with a few facts, I have helped perhaps a quarter of those reach conclusions. What is that? Five per cent of the independent thinkers. One-quarter of one per cent of the general public. Not enough yet, but it is growing.
I'll tell you why I believe that it will continue to grow. It's based on my observations of the Jewish character. Here's what will happen. I will continue to expose Jewish lies and to help independent-minded Americans come to conclusions as to why the Jews tell these lies. And the Jews, instead of trying to clean up their act, will respond by telling even more outrageous lies. Instead of saying to each other, hey, fellows, they're onto us; we'd better be careful not to tell such whoppers -- instead of that they'll just tell more and bigger lies in an effort to drown us out. They can't help themselves. That's their nature. And the couch potatoes, of course, will believe every lie. But the independent-minded minority will find the lies harder and harder to swallow. And more and more of them will be forced to draw conclusions.
We cannot reform Hollywood as long as it is dominated by Jews, but we can provoke it a bit. We can persuade it to go to even greater extremes in its lying and thereby to become more susceptible to exposure. I'm sure you can remember when the Jews of Hollywood and Madison Avenue began pushing miscegenation in a big way perhaps a decade ago. Actually, they began rather cautiously right after the Second World War. They launched their Broadway musical South Pacific in 1949 to teach us how wicked it is to be opposed to interracial marriage, but they were careful not to push it too hard for the next couple of decades. But they did keep pushing it, becoming bolder and bolder even as the protests became louder. They followed a similar course with their advocacy of homosexuality. Every time someone tries to call them to account for their racially or socially destructive use of the mass media, they begin wailing about "anti-Semitism" and then redouble their propaganda efforts. It'll be the same way with these lying hate-propaganda films they're turning out today, such as The Hurricane.
It's a real shame that all of this ultimately must lead to the destruction of our society and a horrible bloodbath. But that's the way it always has been when the Jews have really gotten their hooks into a society. Meanwhile, the more people we can get to confront the facts and draw conclusions from them, the better chance we have of salvaging something from the ruin the Jews are bringing on.
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