But while you live, you should not fear any of the views of Mr. Eliot As part of this new breed of vultures "politically correct" that feed on the lives of men now dead . A cheap and easy to promote a book controversy (controversy = sales) is conveniently defaming a deceased personality, whose person is still generally revered. And if the victim in question was not really friends with the Jews, then the opportunities for growing organs of opinion interviews Jews as the "New York Times "are virtually assured to jackals of the genre. The shameless cowardice of these guys are necrophiliac is underscored by the fact that people who write about can not defend themselves because they are dead.
Having already tattered reputation of certain white heroes like Henry Ford, HL Mencken and Charles Lindbergh. vulture wings churn the next victim of their greed, this time, nothing Masy no less than Walt Disney. If someone does not need any introduction, this man is Uncle Walt, one of the figures universN of a filthy and disgusting Jew. Paradoxically, most of the things that is most horrible Eliot are precisely the facts of the life of any reader Sano Disney cheer. For the National Socialists in particular, "Hollywood's Dark Prince", as it is called derisively in the subtitle of the biography, will gain respect and admiration.
Trap, Disney
Jewish ofwhich the naive artist of the Midwest was sincerely grateful.
A few months later, however, Winkler told to reduce its fees in half, because their series were not being well received and was losing money at the box office . Eliot writes, "Disney was less aware of the restriction that the reason why his films were more successful. There was no way for him to know that Winkler's decision had nothing to do with the quality of his films. They were, in fact, the m & aacute, s successful of Winkler and had begun to create a large group of enthusiastic supporters along the east coast. However, having recently married Charles B. Mintz, a former representative of Warner Bros., Winkler had transferred all cl compañíaa control it. Mintz declined immediately all payments to suppliers of the company, no matter how bringing their films. "At that point the trap against Walt Disney was coming.
Mintz arrived unexpectedly one day in the studio Hyperion and lied to Walt and his brother Roy, telling é foward the Alice series were canceled for lack of interest. Walt "locked himself in his office and remained there until the following night, refusing to speak to anyone and blaming himself for the failure of the company. What he did not know was that Mintz had been traveling regularly to New York to Hollywood to negotiate an agreement with Carl Laemmle, the founder of Universal Pictures, on a series about a rabbit to compete with highly triumphant Felix the Cat series. When the deal was sealed Mintz envisioned a way forward that not only room &TES in the clamor in the years30 world.
Walt, with fixed directions in his art, came to realize the common denominator-the Jew o-Feld, Winkler, Mintz and Laemmle, so I was prepared for another life or death struggle with the Jewish quarter, when naively accepted some Jews to integrate into your organization which expanded ; to quickly. To be honest
But it was listening to National Socialist speakers when Walt began his real political awakening. For the first time, realized the steps of the progressive Jewish influence in Hollywood and began to perceive the causes of their own problem with Mintz, and the most recent conflict with Babbitt. Ironically, the dominance of the American film industry is briefly presented to us in the anti-Disney biography by Marc Eliot. He notes that the film began at the turn of the century as a fully-Gentil led by its inventor, Thomas Alva Edison. Ely the rest of hiss fellow filmmakers Aryans were intensely concerned about their public accountability, especially in regard to children, and wanted to produce films of high ethical and morally sound quality were constructive and artistically.
attacked Edison was very sudden, sweeping popularity of the first century innovation, alley quackseros, and talkative that first appeared in the basement of East New York. He felt that degenerated the sophisticated art of film offering 'peep shows and other entertainment aimed at satisfying lustful carnal pleasures of the workers. In 1940, Edison founded the first alliance of film producers, who became known as the 'Trust'. His goal was to protect the public and their own financial interests) of the. immoral garbage produced by what he called the 'upstart Jews', which not only drew the attention of workers, but they produced their own films to show them. Asan. "It was the only argument that the Jews understood and worked. New York was clean again. But the Jews and the rabble of outstanding Laemmle survival like no other art emigrated to California, "to put as much distance between them and Edison as they could." They found a really cheap state, perfect weather and the natural protection of an area of 3,000 miles of break. California were given a second chance to make their films.
"Unlike his first partner on the East Coast. the directors of the Hollywood studios were more integratedested in the benefits that artistic experimentation. Put in the best-selling screen. The public was willing to pay for movies full of sex and violence, and Hollywood was more than happy to do them. Despite the Hollywood moguls had no idea what the term meant movie 'socially acceptable'. Do not know whether their films were moral or immoral and therefore could not have the slightest concern. For them, the films were strictly average earnings, not instruments of expression. The more money give a pel & iaAmerica's moral ption. They were, in the words of Henry Ford, a perfect example of the growing problem of America, the influence "International Jew" at the turn of the century.
Ford was not the only American celebrity, Ario faced the Hebraic Hollywood. William Randolph Hearst, "no friend or the Jews or the film industry," a series of editorials published documenting degeneracióny latent Marxism in the movies. "Hearst's campaign received support in Congress, where the definition of morality in the pel & iaDisney work, including on one occasion, a swastika in the final image of a cartoon of Mickey Mouse on 19 June 1940. The conmocióny anger surrounding the bustling strip eventually reached the office of J. Edgar Hoover after a 'fan' of Disney wrote to chief of staff, citing the edition of June 19. The 'fan' warned that 'in the last section of Mickey Mouse in Walt Disney had a very visible swastika-shaped cross two musical notes'. "In fact, the appearance of cross in question does not seem accidental due to its placement on the words "old lacerations." Dilt referred to the Secretary, not as an advisor but as an owner who wanted to be in charge of everything. For Walt, the studio now working with the message of Morgenthau brought to light by the messengers of Disney - political propaganda films like foam made up the popularity of American Mickey Mouse, his mistress, Minnie, Donald Duck, Goofy comrade, and the dog Pluto. It is said that at one point Disney referred to his beloved characters as captives, forced to play a similar role as Pinocchio for Stromboli Morgenthau. "
But the Jewish occupation of the Disney studio was brevperfect position to an expropriation. What had attracted Steinberg was the continued decline in the value of Disney stock. Already in 1984, Disney traded each share $ 45, well below the $ 84 the previous year. Steinberg wanted to acquire the studio rushed to sell their individual backgrounds, the film library, the Burbank studio, theme parks, for what he believed would give the equivalent of $ 100 per share, a huge benefit more than double their investment. "
But Steinberg was only the first of the jackals attracted by the smell of car & amp; about girls, they dismissed the decline of the Disney Company: The development of Disney then called the attention of the new generation of Wall Street brokers, investors of a large number of companies whose value would then break quickly and suddenly.
the overnight, one of the mediators, Ivan Boesky, entered the game. His aim was not to seize the study but merely to guide the early escalation of value of stocks which naturally would be followed by some sudden and great benefits Steinberg, Roy E. Disney or her own. Boeskand thus became the fourth largest shareholder of Walt Disney studio. "
the end, there was no difference which of the scavengers take the reins. The victory was Michael Eisner jackal, responsible for distributing such "epic" as the anti-Nazi "Raiders of the Lost Ark," the pro-mestizaje Officer and a Gentleman "and the blatantly Bolshevik" Reds. " Based on these financially successful films, although artistically and morally questionable, the Disney team leaders, were demoralized after paying $ 325 million to Saul Steinberg in interest & quofaithful to the old-style beef, especially, were upset by the almost fully computerized animation of the study. Although the same technical innovations Walt loved the feeling among many of the veteran leaders was that the study had abandoned his creative legacy, the art of creating hand in the service of argument. New movies, they complained, they seemed more than a few rough copies of original much better. One of the oldest of the Disney animators said 'Honey, I Shrunk the Kids' Maso least his argument was not really just a version of "Alice the Pa & iacute; s de las Maravillas. " A veteran writer suggested that the characterization of Roger Rabbit was much like the original Oswaldo de Walt. Of course, the real reason despersonalizacióny quality of the product down the Disney remade today lies not in any computing technique, but cheeky men businessman who now control the vast Disney empire and faced with something that their minds had not been even remotely capable of conceiving. Even the identifiable Eisner is gone: "Cautious, perhaps, President Clinton's promise of a more severe tax sBOUT earnings, claimed the majority of stocks and took home a check for $ 192 million. "
" In a bar in Burbank, the son of one of the organizers of the original team Disney sat in a corner, sipping a whiskey and soda. News of the distribution of stocks Eisner made him chuckle. He shook his head, took a sip, and fell back. 'What do you think Walt would have thought the old man on a Jew who took out so much money from their study? "
Thus ends úlatest biography of the greatest animator in the world. Its cover shows a photograph of a sinister profile, obviously belonging to Walt Disney. But the crooked, greedy and crooked image no resemblance to the Aryan operator "Snow White" and "20000 Leagues Under the Sea." Rather it is the notorious figure of that inherently diabolical eminence pursued him all his life, even after his death. To identify and dismiss the demon, the anti-Semites in general and National Socialism in particular are doomed by the owners of public opinion in Hollywood as "psychotic", porque someone who does not appreciate how adorable are the Jews must be insane. If so, then we are in the best possible company, with friends like Walt Disney.
BY AV SCHAERFFENBERG
Walt Disney and Mickey Mouse
Source. http://www.libreopinion.com/members/ultravia/waltdisney.htm
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