Plus..this article includes history on the Jewish takeover of the movie industry
Part 1 –
This year marks the 100th birthday of Walt Disney. However, if Walt were able to be alive to celebrate this centennial occasion, he would have viewed his treasured company with horror. Walt Disney was born into a very patriotic family and set out at 16 to seek his way in the world. His cartoon Mickey Mouse became a worldwide hit and he became the king of animation and children’s entertainment forever. This is the story you will read about at his on line bio at Disney.com. Unfortunately, there is a Walt Disney that many are unacquainted with. The story of Walt Disney is one of a life-long struggle against the Jewish take-over of his studio and his country.
Disney started out as a young unknown illustrator in the early 1920’s when he left his Kansas home for Hollywood. Walt’s first character, Alice, showcased his innovative film techniques, which were combining as they did figures with live actors. But he needed a distributor to make his Alice a success. Then, as now, film distribution was the private kingdom of Jews, which, as though by instinct, from the earliest days of the cinema senses its unprecedented power to reach the masses. Consequently, Milton Feld was Disney’s first agent, who set him on the road to New York City. There, he fell into the clutches of Margaret Winkler. She managed the distribution of his Alice-series, for which he received $1,500 per film. It was a humble beginning for which he was grateful.
A few months later, however, Winkler informed him that she was reducing his payments almost by half, because his series had not been well received and was losing money at the box office. Marc Elliot, a Jew, wrote a defaming book about Walt Disney in 1993. In his book he talks about that time.
“Disney was far less concerned with the cutback than why his films weren’t more successful. He had no way of knowing Winkler’s decision had nothing to do with the quality of his films. Disney’s films had, in fact, been among the more successful in Winkler’s stable and had begun to build a steady following along the eastern seaboard. However, having recently married Charles B. Mintz, a former Warner Brosthers Booking agent. Winkler turned over total control of her company to him. Mintz immediately reduced all payments to the company’s suppliers, regardless of how much their films earned. Now the entrapment of Walt Disney was under way. Mintz showed up unexpectedly one day at the Hyperion studio and liked to Walt and his brother, Roy, that the Alice series was canceled for lack of interest. According to Eliot:
Mintz’s visit depressed Walt. He locked himself into his office and remained there for the next day and night, refusing to talk to anyone and blaming himself for the company’s failure. What he didn’t know was that Mintz had been commuting regularly between New York and Hollywood to negotiate a deal with Carl Laemmle, the founder of Universal Pictures, for a cartoon rabbit to complete with highly successful Felix the Cat series. When that deal was finished, Mintz figured out a way that would not only have the Disney’s create the new character but, if everything went according to plan, the “bumpkins” as Mintz referred to the Disney’s behind their back, would wind up begging him to take over their studio to cement the deal. After letting a few days pass the Mintz paid another visit to Hyperion, this time with “good News. ” He might be able to save their deal. He told the brothers, if they come up with an original cartoon character, something on the order of , say , a rabbit
Totally deceived by what he assumed was the sympathetic assistance of his Jewish distributor, Walt overworked him to finally produce Oswald the Lucky Rabbit. Just who Oswald would be lucky for would become apparent in due time. Mintz, as the sole go between, received double his distribution fee by also signing “Winkler” for the dummy agency of his wife, “thereby creating two corporate stops between Walt and Laemmle.” “Oswald was an instant and huge success, generating “”sizable profits'” for the Jewish agent and the cartoon. Disney only began to rebel when he accidentally discovered that Mintz and Laemmle were covertly raking in additional millions by marketing Oswald in toys, candybars, clothing and other children’s items. Wall without his knowledge, consent or participation. Mintz feigned commiseration and talked him out of any action that might alienate Mr. Big, Carl Laemmle.
In February, 1928, with Oswald the Lucky rabbit the most popular cartoon on the silver screens across America, Disney went with his wife, Lillian, to renew h is contract in new York with Mintz, who “gook great pleasure introducing Walt to various producers and directors who now came by to meet Hollywood’s hot young animator. ” That same day, Mintz sat Walt down in his garish Fifth Avenue office.
Then, wasting no time, in a quiet, intense manner markedly different from the one he had displayed at lunch, Mintz conveyed what he said would be his one and only offer. Effective immediately, Disney’s advance per cartoon was to be cut from $2,250 back to $1,800 If that was unacceptable, the only alternative would be for Snappy [Mintz’s agency’ to take over all further production of Oswald cartoons. And, Mintz warned Walt; he would use Disney’s own staff to do it!
Efforts were already under way in faraway Hollywood at the same moment Mintz was buttering up Walt during lunch, when most of Disney’s animators simultaneously “handed in their resignations to accept positions with Snappy.” Taking advantage of Disney’s distress at his unsuspected ultimatum, Mintz pretended to relent, then offered to permit Walt to keep the rights to Oswald, if only Snappy could obtain rights to 50% of the Disney studios.
Walt did not do what they expected, however. He relinquished the rights to his own creation, Oswald the Lucky Rabbit, thereby losing all his income, but he retained ownership of his drastically diminished studio. Virtually all hopes for the future were gone with Oswold. Walt and his wife Lillian left for their long trip home. It was on this depressing journey, however, that the genius, which responds to great obstacles, gave birth in Walt Disney’s fertile intellect to produce Mickey Mouse. The rest is history. Totally obscured by his new character was the fate of Oswold the Rabbit, who originally proved so popular under Disney’s guidance. But, without his creator, Oswald’s luck quickly ran out and he withered after only a few reels into oblivion. The Jews’ efforts to generate perpetual profits through Oswald and their attempted seizure of Disney studios came to nothing while Walt Disney Productions soured to unprecedented world acclaim through the 1930’s
Walt, with eyes always fixed on his art, failed to notice the Jewish common denominator linking Feld, Winkler, Mintz and Laemmle, and so set himself up for another life-and-death conflict with Jewry, when he naively allowed anti-Christian Jews to join his rapidly expanding organization. To be sure, while he was still struggling for existence, few believed he could sage a comeback after the Mintz conspiracy. But with his unexpected success after Mickey Mouse, he was seen again as a means to an end for unscrupulous movie hounds. Among the post Mintz animators who joined the Disney studios was Arthur Babbit. Unknown to Walt, besides being an atheistic Jew, Babbitt was also cited by the FBI as a communist sympathizer. He secretly began laying the groundwork for a strike that would bring Disney employees into the overtly Marxist cartoonist guild. That these same employees were the highest paid animators in the business, with exemplary working conditions, had nothing to do with Babbitt’s demands, because his sole intention was to make Disney Productions another Red propaganda mill. After extolling the Communist Party USA’s creation and manipulation of the Screen Writer’s Guild, the Communists continue to play an important role in the policalization of Hollywood’’ citizenry into the 1940’’
Having earlier been faced with extinction by those of Jewish descent he was now confronted by more Jews intent on taking over his studio again. He at last recognized the identity of the peril and began to search for answers. It was during this time that Disney helped organize the independent filmmakers against the industry’s mainstream. He was also attending meetings conducted by William Dudley Pelley’s Silver Shirts, an early white nationalist organization. In Eliot’s biography of Disney, Babbit talks about following Walt to the Silver Shirt meetings and spying on him:
“On more than one occasion I observed Walt Disney and Gunther Lessing there. Disney was going to meetings all the time.
It was while listening to the nationalist speakers that Walt underwent his real political awakening. For the first time, he learned the facts about the extensive control Jews had over Hollywood and began to grasp the underlying causes of his own dilemma with Mintz, followed by his present troubles with Babbit.
In Eliot’s own anti-Disney biography he brags about how Jews gained ground in Hollywood and took over the Industry from its Christian inventor Thomas Alva Edison. Like Disney, he had trouble with the Jewish interests from the beginning. He and the rest of his fellow white cinematographers were keenly aware of their public responsibility, especially regarding children, to present ethical, high quality films which were morally sound and uplifting, artistically.
The anti-Christian Jewish instinct soon sniffed out the financial possibilities of this new medium, however, by appealing to the baser inclinations of the masses:
Edison was greatly disturbed by the sudden, sweeping popularity of the new century’s first novelty, street corner nickelodeons, amusement parlors that first appeared on New York’’ Lower East Side. He felt they cheapened the sophisticated art of film by offering “peep shows” and other lurid diversions meant to satisfy the carnal pleasures of the workingman. In 1910, Edison formed the first motion picture alliance, which came to be known as the “”rust.”” Its purpose was to protect the public from the kind of immoral trash produced by what he termed the “Jewish profiteers,” who not only ran the nickelodeons but made their own movie to show to them…In response, and independent group of mostly immigrant Jewish filmmakers, led by Carl Laemmle, formed their own distribution organization, or exchange, as they called it. They organized an effective, if illegal, underground to import foreign raw film stock and equipment that allowed them to keep making movies.
Edison would not put up with it, and he had the support of an almost entirely Christian populace. He organized his own troops. Eliot reports, “They smashed the nickelodeon arcades and set block-long fires in the neighborhoods that housed them.” It was the only argument the Jews understood and it worked. New York was clean again. But the Jews excel at nothing if not survival, and the Laemmle mob, “to put as much distance between themselves and Edison as possible, ” migrated to California.
There they found cheap real estate, a perfect climate, and the natural protection of a 3,000 mile buffer zone. California gave them a second chance to make their movies…Unlike their early East Coast counterparts; the heads of Hollywood’s studios were less interested in artistic experimentation than profit. They put on the screen what sold the most. The public was willing to pay to see films filled with sex and violence. and Hollywood was more than happy o make them…
However, Hollywood’s moguls had no idea of what was meant by “socially acceptable” ifs. They didn’t know if their movie were moral or immoral and couldn’t have cared less. To them, films were strictly vehicles for profit, no instruments of expression. The more money a film made the better it was. Whenever the industry came under attack for being morally corrupt, none of Hollywood’’ owners believed the problem had anything to do with morality.
Which, of course, was precisely the problem. Among t hose who correctly perceived Hollywood as dominated by Jews, to many in government and the private sector they were nothing more than heathens, unable to comprehend, let alone project, the essence of Christian morality. They believed Hollywood’s Jewish businessmen had corrupted an art form for the sake of making money, and by so doing had contributed to the widening moral corruption of America. They were, in Henry Ford’s words, a perfect example of America’s growing problem, its turn-of –the-century influence of the “international Jew.”
In part one, Jewish movie executives hold Walt Disney’s first creation Oswald the Lucky Rabbit “hostage”. Walt is told he can keep the copyright to his creation if he signs over his company to them. He lets them have Oswald the Rabbit and keeps his company. He then comes up with Mickey Mouse and the American public begins a love affair with Disney Studio and their animation. Also a brief history of the early film industry: Film inventor Thomas Edison is outraged that Jews are using his invention for smut. The first motion picture alliance is formed by Edison to protect the public from what he called “Jewish profiteers,” He takes a band of “muscle” and busts up the “nickelodeons” (name for early movie houses) and peepshows all throughout New York’s east side setting street long block fires to root out the smut peddlers. Even this early in the advent of the film industry, homosexual and interracial pornography was rampant. Edison and his associate cinematographers feel they have a duty to only produce morally endowed films and that anti-Christian Jews have corrupted the art form. The Jews organize an effective, if illegal, underground to import foreign raw film stock and equipment and move their operation 3,000 miles away from Edison to California where the Hollywood movie industry is started. They couldn’t care less if movie were moral or not – their cheap thrills sold tickets infuriating men such as Henry Ford (founder of Ford motor company) who saw the Jews as a growing menace to the Christian foundation of the nation. He even writes a series of books exposing dirty Jewish secrets called “the International Jew”.
Nor was Ford the only famous Aryan American to oppose Jewish Hollywood. William Randolph Hearst, no friend of either Jews or the film industry, ran a series of editorials documenting the degeneracy and Marxism spewed out in the movies. In a not too flattering biography of Walt Disney titled “Walt Disney: Hollywood’s Dark Prince” by Marc Eliot in which he discusses the whole era, he writes: “Hearst’s campaign received much support in Congress, where the definition of movie morality had expanded through the years to include not only sexual provocation but political subversion. In March of 1929, U.S. Senator Smith Brookhart summed up what he considered the deteriorating situation in Hollywood as nothing more than a battle for profit at the cost of sexual and social morality between competing studios, led by ‘bunches of Jews’.”
Mickey Mouse and the German Cross
Thus exposed to the facts of Jewish power in Hollywood, the veils dropped from Walt Disney’s eyes and he vowed to keep his studio Jew-free forever after. Beyond concern for his art, he wanted to fight the same menace that threatened his country and civilization. Disney joined the America First movement, an umbrella organization of the nation’s conservative rightist, including the Silver Shirts, in popular opposition to the war hysteria being generated from the nation’s capitol in Washington DC to the film capital in Hollywood. Walt did indeed become an outspoken activist, even sharing the same speaker’s podium with famous aviator Charles Lindbergh at America First mass rallies and radio speeches across the country.
Ever the wit, he could not resist surreptitiously inserting cryptic support for the Cause in his illustrations. Inevitably both friends and foes caught on:
“There were those who began seeing ‘secret signals’ in Disney’s work, including, in one instance, a German cross in the final panel of a June 19, 1940 ‘Mickey Mouse’ cartoon strip. The flurry of apprehension surrounding the strip eventually reached the desk of J. Edgar Hoover after one of Disney’s ‘fans’ wrote the Bureau chief citing the June 19 edition. The ‘fan ‘ advised that ‘in the last section of Mickey Mouse by Walt Disney there is a very distinct German cross in the form of two crossed musical notes’.”
Indeed, the cross in question does not seem accidental, because of its placement over the words “the old cowhand.” Disney, an avid horseman, often referred to himself among his fellow weekend riders as “an old cowhand.” The cartoon was probably meant as an inside joke, the only public place Walt felt he could identify himself with anti-Communist German causes.
Meanwhile, the Babbitt strike (Noted in Part 1 – Babbist was cited by the FBI as a communist sympathizer who laid the groundwork for a strike against Disney – his sole intention was to make Disney Productions another Communist propaganda mill.) was hurting his studio by draining away key animators. The Jewish Communist strikers worked hand-in-glove with Jewish capitalist movie moguls still anxious to control Disney, one way or another, like Frank Tashlin, head of Harry Cohn’s “Screen Gems” company.
Among the first to sign with Tashlin was David Swift, one of Disney’s youngest and most promising animators. When Walt learned of Smith’s plans to leave, according to the artist, “he called me in, finally, and putting on a sly Jewish accent he said, ‘Okay, Davy boy, off you go to work for those Jews. It’s where you belong, with those Jews’.”
Top Jew Seizes Disney Studios
Disney’s efforts to prevent his country from falling into a war for the liberation of Jewish profits came to a sudden end immediately after Pearl Harbor. His studio was seized by U.S. Army forces and he was forced to grind out propaganda short subjects by none other than Secretary of the treasury, Henry Morgenthau, author of the blood soaked “Morgenthau Plan” to liquidate the German people.
He bitterly campaigned to Roy and Lessing about how the studio was now being forced to accept “that Jew,” as Walt referred to the Secretary, as not just an advisor but a full partner who wanted to be in charge of everything. To Walt, the studio now functioned with Morgenthau’s message delivered by Disney’s messengers – political propaganda films that cashed in on the popularity of that all American mouse, Mickey, his sweetheart, Minnie, pal Donald, companion Goofy, and dog Pluto. At one point Disney was said to have referred to his beloved characters as captives forced to perform like so many little Pinocchios for a Stromboli like Morgenthau.
But the Jewish occupation of Disney studios was short lived and the military withdrew in 1943. Thereafter, Walt continued the fight, however futile, against the rising tide of Marxism, mostly by testifying before various government investigations of Communist infiltration in the arts and entertainment media. But the Jews never again were able to gain a foothold in Disney Productions, at least so long as he lived, and his name continued to be regarded around the world as a synonym for popular cultural excellence.
Disneyland Overrun by Rats
Walt Disney died at age 65. In 1966, the studio passed to his heirs which due to ineffective business handling, led to a swift decline in the Disney product and corporation, generating a dangerous crisis for their artistic and financial legacy while simultaneously opening new possibilities for the Old Enemy.
A short, round man with bullet holes for eyes and black hair that one associate described as not quite as dark as his heart, Saul Steinberg had come to the conclusion that in its present weakened state, Walt Disney Productions was perfectly positioned for a corporate take –over. What had attracted Steinberg was the continual decline of value of Disney stock. Early in 1984, Disney was trading at $45 a share, down from the previous year’s high of $84. Steinberg wanted to acquire the troubled studio to sell off its individual assets – the film library, the Burbank studio, the amusement parks – for what he figured would bring him the equivalent of $100 a share, and enormous profit of more than twice his investment.
But Steinberg was only first of the jackals attracted by the carrion scent of personal opportunity in Disney Production’s decline:
The developments at Disney now caught the attention of Wall Street’s new breed of arbitrators, investors in large blocks of companies about to be raided whose stocks would therefore suddenly and sharply increase. Overnight, one such arbitrator, Ivan Boesky, entered the game. His goal was not to take over the studio, but merely to ride the anticipated escalation of the value of stock that would naturally follow from any sudden, large purchases – Steinberg’s, Roy E. Disney’s or his own. Boesky thus became the fourth largest stockholder in the Walt Disney studio.
In the end, it made no difference, which one of the scavengers eventually took over. The winning jackal was Michael Eisner, responsible for distributing such epics as the anti-German Raiders of the Lost Ark, the race mixing An Officer and a Gentleman and the blatantly Bolshevik Res. Based on these financially successful, if artistically and morally questionable firms, the Disney board of directors, demoralized after their $325 million “green mail” pay-out to Saul Steinberg, allowed Eisner to become the head of the studio. True to form, he opened wide the Disney door for his fellow Marxist Jews like Jeffrey Katzenberg and Richard Frank both Paramount executives, who saved the studio from financial destruction by massive layoffs and drastically cutting the high standard of production values instituted by Walt. Disney Productions did indeed bounce back economically, but it never recovered artistically.
Today Disney Studios is one of the worse proliferators of anti-Christian propaganda. Not only does anti-white propaganda exist in its films, but true to the desires of Jews like Babbit who had intended to use Disney productions as a “Red” front, anti-white sentiments are now broadcast 24 hours a day on not one but two Disney cartoon channels. Millions of children, each day, sit down in front of the television for their daily dose of “one world-interracial” programming. Disney shows plead for children to invite other races into their home – to develop close relationships among the races. Children’s sitcoms often feature interracial romances between young teens and pre-teens. Known homosexuals are often guests on children’s programs. These are two channels that parents should never allow their children to watch without their supervision. Walt Disney, Thomas Edison, Henry Ford and the thousands of others, who warned of the consequences of relinquishing control of this powerful medium, would be doubled over in grief to witness millions of gullible children and adults become indoctrinated with anti-Christian/white beliefs.
So ends the story of Walt Disney and his fight for white Christian values. In Mark Elliot’s biography of Walt, he features Walt’s photo casting a sinister shadow, with a greedy-mouthed, beetle-browed, hooked-nosed image which bears no resemblance to the creator of Snow White and 20,000 leagues Under the Sea. Rather, it is the notorious silhouette of that intrinsically evil eminence which pursued him all his life even in death. To identify and despise that evil, white Christian separatists in general and groups which seek to organize them to some sort of resistance is condemned by the Hollywood masters of public opinion as psychotic, because anyone who does not appreciate just how lovable the Jews are must be insane. If so, then we are in the best possible company with friends like Walt Disney – A hero for all generations!