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.

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.

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.
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