0 Members and 1 Guest are viewing this topic.
@scream...I'm not sure if you've (mis)interpreted someone here as saying or thinking that Mike 'liked' Hitler or condoned any of his actions, but I've yet to see anyone express that.
Yes, Mike never looked away...but he also never approached with hate. He didn't wish he could've spoken with Hitler so he could've blasted his ass...he wanted to bring love to evil. In fact, no matter the injustice that Mike spoke against...he always premised it with a message of love first and foremost, even for people who harbor evil at their core, like Hitler.
I also don't get your whole 'Front isn't Mike if he doesn't speak up' argument. Out of ALL the criteria/evidence we have at our disposal to make an educated guess as to Front's authenticity (regardless of whether or not he's Mike)....that argument or point, IMO, is weak.
Hollywoodism: Jews, Movies, and the American Dream Credit writer-director Simcha Jacobovici with ambition: to convert Neal Gabler's 420-page book study, An Empire of Their Own: How The Jews Invented Hollywood, into a coherent documentary. Hollywoodism: Jews, Movies, and the American Dream, playing at the Coolidge Corner,is quite a film story, of how a group of impoverished Jews immigrants from Eastern European shtetls eventually became czars of the studio system: Carl Laemmle and Adolph Zukor at Universal, Louis B. Mayer at MGM, Harry Cohn at Columbia, and the three Warner Brothers. The movies they green-lighted were thematic affirmations of their own rags-to-unbelievable riches sagas: asserting that anyone with chutzpah can make it in the USA, including little guys and outsiders, that there's an inevitable happy ending at the end of the rainbow. Since everybody went to Hollywood movies, and breathed the utopian cant of studio product, these Jewish moguls could be said to have invented "the American Dream." Hollywoodism provides sagacious observations from Jewish film critics and studio historians, including Gabler, J. Hoberman, and Jonathan Rosenbaum, and prime footage of the Jewish bosses: i.e., Mayer pontificating before the American Legion, Laemmle lecturing his employees, "I will not have quitters or lazy men working for Universal," and with the thickest of Yiddish accents. But Jacobovici's film is weirdly schizophrenic. The first half is Jewish boosterism, proud crowing about how these lowly Jews ascended in Hollywood. Only one historian mentions that these studio heads "were ruthless, badly mistreated women." The second half (more credible) is often a finger-wagging at these same bosses for hiding their Jewishness, for forcing Jewish actors to change their names to gentile ones, for doing movies which always pushed assimilation, for being totally cowardly before World War II about making anti-Nazi movies, for being gutless a second time in cooperating with HUAC in purging Hollywood of supposed Communists. A couple of problems: (a) the film bunches 20th Century Fox with the Jewish-run studios, but William Fox was a gentile. In actuality, Fox was known as "the goyisher studio." Including the final scene from Fox's The Grapes of Wrath to illustrate a "root for the underdog" Jewish point of view is simply an untruth: the filmmaker, John Ford, and the producer, Darryl F. Zanuck, are likewise Christian. (b) It's certainly stretching film history to describe the era of the Jewish bosses as being an enlightened time for blacks on screen, as opposed to, earlier, when WASPs were in control and the pro-Klan The Birth of a Nation was the par. Yes, there were several all-black musicals made in '30s Hollywood, but otherwise blacks were stereotyped as maids, eye-rolling porters, and shuffling, muddle-headed servants in countless films made by Zucker, Mayer, the Warners, and Harry Cohn. Curiously, Jacobovici shows a flagrant example of Jewish racism without criticizing it in his voiceover: Al Jolson switching from singing in the synagogue to doing "Mammy" in blackface in the Warner Brothers' The Jazz Singer.GERALD PEARYBoston Phoenix, September, 1998
Also called my attention That in the years of the 2nd World War the Jews controlled Many half in North America and Europe and Were owners of industry propaganda of U.S. cinematic. States and if you do not believe I invite you to see a documentary Called That HOLLYWOODISM talks about the history of the founders of Hollywood. Also there are Many Jews linked to insdutria But this does not anymore mean there is no other That ethnic group That Makes This Kind of movies, But MOST of the largest Producers of This type of film is of Jewish origin Mainly Which Have An aberrant sexual content of sadomasochism. Also called the attention the origin of large banking positions in the world of finance Such as the IMF, the World Bank, and the federal reserve of the United States. UU.Aunque this does not want to say That They Have the guilt of all evil in the world Because she exists in Any race or group But nobody is favorite of God, or we are all or none the we are, no one is exclusive of evil But there is CHOSEN race for me nor are all children of God. About the neo-Nazi sources very careful Must Be Because They Are much extremism and the source is without Credibility That fanaticism is bad WHERE it comes. QuoteHollywoodism: Jews, Movies, and the American Dream Credit writer-director Simcha Jacobovici with ambition: to convert Neal Gabler's 420-page book study, An Empire of Their Own: How The Jews Invented Hollywood, into a coherent documentary. Hollywoodism: Jews, Movies, and the American Dream, playing at the Coolidge Corner,is quite a film story, of how a group of impoverished Jews immigrants from Eastern European shtetls eventually became czars of the studio system: Carl Laemmle and Adolph Zukor at Universal, Louis B. Mayer at MGM, Harry Cohn at Columbia, and the three Warner Brothers. The movies they green-lighted were thematic affirmations of their own rags-to-unbelievable riches sagas: asserting that anyone with chutzpah can make it in the USA, including little guys and outsiders, that there's an inevitable happy ending at the end of the rainbow. Since everybody went to Hollywood movies, and breathed the utopian cant of studio product, these Jewish moguls could be said to have invented "the American Dream." Hollywoodism provides sagacious observations from Jewish film critics and studio historians, including Gabler, J. Hoberman, and Jonathan Rosenbaum, and prime footage of the Jewish bosses: i.e., Mayer pontificating before the American Legion, Laemmle lecturing his employees, "I will not have quitters or lazy men working for Universal," and with the thickest of Yiddish accents. But Jacobovici's film is weirdly schizophrenic. The first half is Jewish boosterism, proud crowing about how these lowly Jews ascended in Hollywood. Only one historian mentions that these studio heads "were ruthless, badly mistreated women." The second half (more credible) is often a finger-wagging at these same bosses for hiding their Jewishness, for forcing Jewish actors to change their names to gentile ones, for doing movies which always pushed assimilation, for being totally cowardly before World War II about making anti-Nazi movies, for being gutless a second time in cooperating with HUAC in purging Hollywood of supposed Communists. A couple of problems: (a) the film bunches 20th Century Fox with the Jewish-run studios, but William Fox was a gentile. In actuality, Fox was known as "the goyisher studio." Including the final scene from Fox's The Grapes of Wrath to illustrate a "root for the underdog" Jewish point of view is simply an untruth: the filmmaker, John Ford, and the producer, Darryl F. Zanuck, are likewise Christian. (b) It's certainly stretching film history to describe the era of the Jewish bosses as being an enlightened time for blacks on screen, as opposed to, earlier, when WASPs were in control and the pro-Klan The Birth of a Nation was the par. Yes, there were several all-black musicals made in '30s Hollywood, but otherwise blacks were stereotyped as maids, eye-rolling porters, and shuffling, muddle-headed servants in countless films made by Zucker, Mayer, the Warners, and Harry Cohn. Curiously, Jacobovici shows a flagrant example of Jewish racism without criticizing it in his voiceover: Al Jolson switching from singing in the synagogue to doing "Mammy" in blackface in the Warner Brothers' The Jazz Singer.GERALD PEARYBoston Phoenix, September, 1998You are not allowed to view links. Register or Login
The bigger picture is the most powerful people in the world are Zionists and Satanists.They are not real Jews.This is where the confusion comes in,imo.I dont see Jews as being evil,but the fake ones are.The bible refers to them as the Synagogue of Satan,these people are pure evil,i think some times people forget that there is a big difference between the real Jews and the counterfeit Jews.Maybe Scream forgot to consider this fact.
But if there won't be a reaction soon or in his next few posts, then for me that means he is fake.
Totally off topic but I would expect that even if he had intentions before, Front will purposely not address this JUST BECAUSE scream made this ultimatum. Front doesn't seem real interested in convincing anyone nor accepting any challenges to "prove" his identity.I have a feeling that his goal is to passively do the exact opposite.QuoteBut if there won't be a reaction soon or in his next few posts, then for me that means he is fake.I think that pretty much seals it.
Not everyone who claims to be of Judah is actually of Judah.The true children of Judah suffer greatly because of those who want to steal their identity.It is these self same identity thieves that have created the term "anti-semite" and they use it as a scare tactic.Revalation 3:[9] Behold, I will make them of the synagogue of Satan, which say they are Jews, and are not, but do lie; behold, I will make them to come and worship before thy feet, and to know that I have loved thee.
Hey, thanks for the scripture. I have read that phrase a hundred times and only now I get it. How stupid!
Revalation 3:[9] Behold, I will make them of the synagogue of Satan, which say they are Jews, and are not, but do lie; behold, I will make them to come and worship before thy feet, and to know that I have loved thee.
back no like the neo-cons that's for sure.Though I always thought he meant neo-conservatives, but that's another topic. I think.
What the Heck is a ‘Neocon’?
The version included in the box set Michael Jackson's Vision is the aired, televised version without the digital graffiti, and does not include the "prejudice is ignorance" title card.
