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Tuesday, March 23, 2010

The Jewish Matrix - the deeper one digs you find more evidence

I find it rather overwhelming how deep structured the web of Rothschild's and Rockefeller's has become and what area's are covered but after all it makes sense. They seem to have infiltrated our private lives by all means and the medium is mostly the TV with the Internet being the next generation level being exploited. Especially for the distribution of the sex industry they dominate as well.

excerpt 1

2/26/2007

Jewish Professor Boasts of Jewish Pornography used as a Weapon Against Gentiles

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nathan-abramssm.jpgJewish Professor of American History at Aberdeen University in UK, Prof. Nathan Abrams. He boasts that Jews were the driving force of the modern pornographic industry and that their motivation is in part to destroy Gentile morals.

Jewish Professor Says Porn Industry is a Weapon used by Jews Against Gentiles

The following is an excerpt from one of the new additions to my book, Jewish Supremacism. It offers more powerful evidence that reveals the Jewish extremist war against Gentiles, a struggle that we Gentiles are not even allowed to know about, much less resist. The new edition of Jewish Supremacism will be available for purchase in about three weeks at www.davidduke.com

From the new 2007 Edition of Jewish Supremacism by David Duke

After learning about the inordinate Jewish involvement in organized crime, historical slavery and modern white slavery, it did not surprise me when I began to learn of their domination of pornography. Just as Jewish scholars faithfully recorded the Jewish domination of the African slave trade so they have also documented their prominent role in pornography.

In a respected and scholarly magazine of Jewish intellectuals, (The Jewish Quarterly, winter 2004) Jewish professor Nathan Abrams in an article titled, “Triple Exthnics,” proudly documents the leading role of Gentile-hating Jews in pornography.

A story little told is that of Jews in Hollywood’s seedier cousin, the adult film industry. Perhaps we’d prefer that the ‘triple exthnics’ didn’t exist, but there’s no getting away from the fact that secular Jews played (and still continue to play) a disproportionate role throughout the adult film industry in America. Jewish involvement in pornography has a long history in the United States, as Jews have helped transform a fringe subculture into what has become a primary constituent of Americana. These are the ‘true blue’ Jews.

Jewish activity in the porn industry divides into two (sometimes overlapping) groups: pornographers and performers. Though Jews make up only two per cent of the American population, they have been prominent in pornography. …

In the postwar era, America’s most notorious pornographer was Reuben Sturman, the ‘Walt Disney of Porn’. According to the US Department of Justice, throughout the 1970s Sturman controlled most of the pornography circulating in the country. … It was said that Sturman did not simply control the adult-entertainment industry; he was the industry. …

Many are entirely secular, Jews in name only. Sturman, however, identified as a Jew – he was a generous donator to Jewish charities. …

Abrams shows how the corruption and debasement of Gentiles and Christian morality is a primary part of their motivation for intentionally infecting the Gentile community with pornography.

Is there a deeper reason, beyond the mere financial, as to why Jews in particular have become involved in porn? …

Al Goldstein, the publisher of Screw, said “The only reason that Jews are in pornography is that we think that Christ sucks. Catholicism sucks. We don’t believe in authoritarianism.” Pornography thus becomes a way of defiling Christian culture and, as it penetrates to the very heart of the American mainstream (and is no doubt consumed by those very same WASPs), its subversive character becomes more charged. …

Extending the subversive thesis, Jewish involvement in the X-rated industry can be seen as a proverbial two fingers to the entire WASP establishment in America. …

Opposition to Jewish extremist subversion of Gentile, Christian or Muslim morality is frequently defined as anti-Semitic “hatred” in the Jewish dominated media. Abrams writing in a Jewish journal for a presumably Jewish audience writes matter-of-factly about the “atavistic hatred” against us by Jewish pornographers and their motivation to “weaken the dominant culture in America by moral subversion.”

Jewish involvement in porn, by this argument, is the result of an atavistic hatred of Christian authority: they are trying to weaken the dominant culture in America by moral subversion. Astyr remembers having “to run or fight for it in grammar school because I was a Jew. It could very well be that part of my porn career is an ‘up yours’ to these people.” …

Obviously, there are no articles in the mainstream media exposing Jewish “atavistic hatred” against Gentiles by the promoters of pornographic depravity. Abrams even goes on to talk about the roots of this revolutionary Jewish attack on European values.

Jews were also at the vanguard of the sexual revolution of the 1960s. Wilhelm Reich, Herbert Marcuse and Paul Goodman replaced Marx, Trotsky and Lenin as required revolutionary reading. …

Pacheco was one Jewish porn star who read Reich’s intellectual marriage of Freud and Marx. …

In light of the relatively tolerant Jewish view of sex, why are we ashamed of the Jewish role in the porn industry? We might not like it, but the Jewish role in this field has been significant and it is about time it was written about seriously.

Notice that all those mentioned: Reich, Marcuse, Goodman, Marx, Trotsky, Lenin and Freud are Jews. From Freud to Goodman, all represent a Jewish revolution against traditional European values and morality.

When sick Jewish pornographers are part of the brutality of Jewish organized crime, the results can obviously be horrifically tragic for our people. In 2000, a Jewish “Russian” organized crime ring was uncovered that specialized in kidnapping Russian children, some as young as two years old, from parks and orphanages and then subjecting them to rape, torture and murder, all on video tape. These tapes were sold to thousands of Jewish and Gentile perverts all over the world. When police in Italy were frustrated by lack of action by the authorities they released some of the video footage to an Italian network which then showed some of the graphic images hoping to cause public outrage. Instead of outrage against the Jewish murderers the TV producers suffered outrage for showing the disturbing images.

In spite of the horror and obvious newsworthiness of this international Jewish child porn/murder operation, it received little coverage in the media in the United States. When Seth Bekenstein, the ring’s American distributor was arrested, there was little publicity, and in spite of being a part of one of the most horrific criminal activities imaginable, he was sentenced to only 18 months on guilty plea.

Porn is no longer 1950s pictures of voluptuous nude women on a deserted beach. It has become permeated with sadism, masochism, scatology, even sexual molestation, rape and murder of young children. I am no prude. I love the beauty of the human body. But, I do think that this kind of sick criminal activity, in which there is so much exploitation, so much degradation, so much catering to the depths of human depravity, should be fought with constitutional law.

Ironically, with Jewish influence over media, societal mores, and government today, it is legal, even chic to make and sell the sickest pornography showing the sick defilement of women. But, if you have unacceptable political opinions about Jewish supremacism, you may find yourself a political and social pariah, or at worst in prison. We live in a Jewish supremacist world where often the sickest porn is legal while political incorrect opinions will land you in prison.


excerpt 2

Another Jewish mogul of American media was William Paley who built CBS who was by no surprise close to Rockefellers. He builded the manipulation network as CBS was in the 60's and 70's the powerhouse. Now its owned by Viacom another Jewish media powerhouse

Encouraged by Paley's avid interest in modern art and his outstanding collection, Paley became a trustee of the Rockefeller family's Museum of Modern Art in the 1930s and, in 1962, was tapped by then-chairman David Rockefeller to be its president. In 1968, he joined a syndicate with Rockefeller and others to buy six works by Picasso for the museum from the notable Gertrude Stein collection. He subsequently became chairman, stepping down from the museum post in 1985.[4

Marriage to Dorothy Hart Hearst

Paley met Dorothy Hart Hearst (1908–1998) while she was married to John Randolph Hearst, the third son of William Randolph Hearst. Paley fell in love with her, and, after her Las Vegas divorce from Hearst, she and Paley married on May 12, 1932, in Kingman, Arizona.[5]

Dorothy called on her extensive social connections acquired during her previous marriage to introduce Paley to several top members of President Franklin Roosevelt's government. She also exerted a considerable influence over Paley's political views. She later said: "I can’t believe he would have voted Democrat without me."[2]


Broadcasting pioneer

During World War II, Paley served in the psychological warfare branch in the Office of War Information, under General Dwight Eisenhower, and held the rank of colonel. It was while based in London, England, during the war when Paley came to know and befriend Edward R. Murrow, CBS's head of European news.

Paley quickly grasped the earnings potential of radio and recognized that good programming was the key to selling advertising time and, in turn, bringing in profits to the network and to affiliate owners. Before Paley, most businessmen viewed radio stations as stand-alone outlets or, in other words, as the broadcast equivalent of local newspapers. Individual stations originally bought programming from the network and, thus, were considered the network's clients.

Paley changed broadcasting's business model not only by being a genius at developing successful and lucrative programming but also by viewing the advertisers (sponsors) as the most significant element of the broadcasting equation. Paley provided network programming to affiliate stations at nominal cost, thereby ensuring the widest possible distribution for both the programming and the advertising. The advertisers then became the network's primary clients and, because of the wider distribution brought by the growing network, Paley was able to charge more for the ad time. Affiliates were required to carry programming offered by the network for part of the broadcast day, receiving a portion of the network's fees from advertising revenue. At other times in the broadcast day, affiliates were free to offer local programming and sell advertising time locally.

Paley's recognition of how to harness the potential reach of broadcasting was the key to his growing CBS from a tiny chain of stations into what was eventually one of the world's dominant communication empires. During his prime, Paley was described as having an uncanny sense for popular taste[2] and exploiting that insight to build the CBS network. As war clouds darkened over Europe in the late 1930s, Paley recognized Americans' desire for news coverage of the coming war and built the CBS news division into a dominant force just as he had previously built the network's entertainment division.

In 1946, when Paley promoted Frank Stanton to president of CBS, broadcasting would never be the same. CBS expanded into TV early through Paley's strong, some would say ruthless, maneuvering. He rode the post-World War II boom in that medium to surpass NBC, which had dominated radio. Paley became the best-known executive in network television, personifying the control and vision which marked the industry through its heyday of the 1980s.

CBS long-owned the Columbia Record Company and its associated CBS Laboratories. Columbia Records introduced the 33-1/3-rpm long-playing vinyl disc to successfully compete with RCA Victor's 45-rpm vinyl disc. Also, CBS Laboratories and Peter Goldmark developed a method for color television. After much bare-knuckled lobbying in Washington, D.C., by RCA President David Sarnoff and Paley, the Federal Communications Commission (FCC) approved the RCA color system as the standard, and CBS sold the patents to its system to foreign broadcasters as PAL SECAM. CBS was the last of the three broadcast networks to adopt color television, having to buy and license RCA equipment and technology. (PAL or Phase Alternating Line, an analogue TV-encoding system, is today a television-broadcasting standard used in large parts of the world.)

Paley was respected not only for building CBS into an entertainment powerhouse, but also for encouraging the development of a news division that went on to dominate broadcast journalism for decades. Today, it is but a shadow of its former self.

"Bill Paley erected two towers of power: one for entertainment and one for news," "60 Minutes"' creator Don Hewitt claimed in his autobiography, Tell Me a Story. "And he decreed that there would be no bridge between them.... In short, Paley was the guy who put Frank Sinatra and Edward R. Murrow on the radio and "60 Minutes" on television." (Hewitt diplomatically omits reference to Stanton who ultimately approved all the programming.)

The relationship between Paley and his news staff was not always smooth. His friendship with Ed Murrow, one of the leading lights in the CBS news division (and by then a vice president of CBS), suffered during the 1950s over the hard-hitting tone of the Murrow-hosted "See It Now" series. The implication was that the network's sponsors were uneasy about some of the controversial topics of the series, leading Paley to worry about lost revenue to the network as well as unwelcome scrutiny during the era of McCarthyism. In fact, in 1955, Alcoa withdrew its sponsorship of "See It Now," and eventually the program's weekly broadcast on Tuesdays was stopped, though it continued as a series of special segments until 1958.

In 1959, James T. Aubrey, Jr., became the president of CBS. Under Aubrey, the network became the most popular on television with shows like "The Beverly Hillbillies" and "Gilligan's Island." However, Paley's personal favorite was "Gunsmoke;" in fact, he was such a fan of "Gunsmoke" that, upon its threatened cancellation in 1967, he demanded that it be reinstated, a dictum that led to the abrupt demise of "Gilligan's Island," which had already been renewed for a fourth season.

During the 1963–1964 television season, 14 of the top 15 shows on prime-time and the top 12 shows of daytime television were on CBS. Aubrey, however, fought constantly with Fred W. Friendly of CBS News, and Paley did not like Aubrey's taste in low-brow programming. Aubrey and Paley bickered to the point that Aubrey approached Frank Stanton to propose a take-over of CBS. The takeover never materialized and, when CBS's ratings began to slip, Paley fired Aubrey in 1965.

In 1972, Paley ordered the shortening of a second installment of a two-part CBS Evening News series on the Watergate, based on a complaint by Charles Colson, an aide to President Richard M. Nixon. And later, Paley briefly ordered the suspension of instant and often negatively critical analyses by CBS news commentators, which followed the Presidential addresses.

Over the years, Paley continued to sell portions of his family stockholding in CBS and diversified his portfolio. At the time of his death, he had owned less than nine percent of the outstanding stock. In 1995, five years after Paley's death, CBS was bought by Westinghouse Electric Corporation and, in 1999, by Viacom, which itself was once a subsidiary of CBS. Today, CBS is owned by the CBS Corporation, after being spun off from Viacom in 2006, though National Amusements is still the majority owner of the CBS Corporation and the "new" Viacom.

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