June 30, 2012 - The Political Cesspool - James Edwards
50:40
20120630_Hour_1
|
Time
Text
Welcome to the Political Cesspool, known across the South and worldwide as the South's foremost populous conservative radio program.
Here to guide you through the murky waters of the Political Cesspool is your host for tonight, James Edwards.
And welcome, everyone, to the Political Cesspool Radio Program.
It is Saturday evening, May 23rd, Memorial Day weekend.
Although there's no vacationing for us here in Memphis as we come to you live from AM 1380 WLRM Radio Studios in Memphis, Tennessee, and broadcasting to our affiliate stations, courtesy of the Liberty News Radio Network, and of course, LNR is getting us out over satellite and internet as well.
And we welcome everyone, whether you're traveling to or from a family reunion in your car, you got us dialed in tonight, or if you're listening on the internet or by other means, welcome one and all to what will be a very special holiday edition of the Political Cesspool Radio program.
Of course, I'm your host, James Edwards, and I am joined in studio tonight for the first hour anyway, by our good friend, Political Cesspool correspondent, Keith Alexander.
Keith, how are you?
Keith Alexander.
Keith, how are you this evening?
I'm doing great.
I'm looking forward to this show and our guest, Edmund Connolly, tonight.
You know, Keith, you mentioned our guest, very esteemed guest, who is, in fact, making his first appearance on this radio program.
You know, in fact, Keith, of course, you normally come on during the second half hour of the first hour each week to do a behind enemy lines segment.
You're kind of spreading like a cancer, my friend.
Last week, you were on for 45 minutes as we did the second of a two-part series examining the detrimental effects that the Brown versus Board of Education decision had on this country and the very dangerous precedents that it set.
Now you're on for the entire first hour, but I tell you, it's certainly going to be an hour that I think will be talked about for quite some time.
We have always taken an active interest on this show, examining the negative ways that our people have been impacted by the media, specifically entertainment media and films in general.
We have had actors on this program to talk about the issue, such as Sonny Landham, who has starred in movies such as Predator in 48 Hours.
More recently, we have examined the issue with guests such as film producer and director Merlin Miller and a man who made what I think, and I said this in a recent email we sent out, one of the most gripping documentaries I've ever seen.
Craig Botaker was on to talk about the effects of this propaganda that we see in films and cinema arts.
He, of course, directed the DVD documentary, A Conversation About Race.
Anyway, along those lines, we are having tonight on the show Edmund Connolly, who is best known for his freelance writing as a contributor to the Occidental Quarterly.
But Edmund Connolly is an expert, an absolute expert on the cinema arts.
And he's going to be on.
He's actually on right now.
We're about to bring him on live to discuss films.
And I know, Keith, that, well, you've been working with us for about four years.
And it seems as though for that entire time, you have been referencing the articles of Edmund Connolly.
What is it about his work that you find so intriguing?
Well, we always like to expand the frontiers of our inquiry and our unpacking and debunking of liberalism and its, you know, long march through the institutions and bringing new insights to people.
You know, we don't want to just limit ourselves to the political or to the judicial or to, you know, the normal type of things that people think of when they think of liberalism's triumph in America.
And, for example, you know, I've been, like you said, I've been lobbying to get Edmund Connolly on this show for a number of years now.
It's just like we got into Roger Devlin because he brings a racial insight to the effect on male-female relations and the decline in the white birth rate that I thought was very unique and necessary for our listeners.
Likewise, Edmund Connolly brings a focus on how we are psychologically conditioned by the cinema and by the entertainment media generally.
And I think that it's going to be a very interesting show for people.
Well, with that being said, and without further ado, I would like to now introduce our guest, Edmund Connolly, making a long overdue appearance on the Political Cesspool Radio program.
Edmund, how are you tonight?
Well, fine.
Thank you, James.
How are you?
I am doing great, even better now that we have you joined on air at Long Last.
We've got a lot of ground to cover tonight.
We are going to be spending dedicating the entire first hour of the program this evening to this subject.
We've got a few minutes before our first break, so let's just whet the audience's appetite for this issue.
What is it, Edmund, that it is about films and the propaganda value of entertainment that really motivated you to dedicate a large selection of your work to the topic?
Well, basically, it's just become so blatant in film after film, and the negative effects from it are obvious as well.
I just felt something had to be done.
Well, and something has been done.
I can tell you, Keith Alexander and I meet for lunch normally at least once a week if our schedules permit.
And he's always printing off articles.
In fact, some rather classic articles at this point.
Your real bad series, real being R-E-E-L, Real Bad Whites, Real Bad Arabs.
It seems as though, and I guess this would be an elementary observation for even the casual movie fan, but white guys are always the bad guys.
Am I wrong?
You are not wrong, unfortunately.
That's the only category you can find bad guys anymore.
In movies, at least, which, of course, runs absolutely contrary to real life, where we have, obviously, even the United States Department of Justice begrudgingly backs us up when it comes to crime statistics and who commits crimes.
But you look on TV, whether it's blue-collar crime or elaborate schemes, it's always the white guy as the villain as the perpetrator.
And people buy into it.
I mean, this does have more than just a trivial effect on the public psyche.
Am I wrong?
Oh, no, that's absolutely true.
What they see on the screen, whether it's the small television screen or at the movie theater, it creates the reality to a frightening extent in many cases.
Well, you know, the old saying is, and we repeat it often on this program, perception is the ultimate reality.
And just as we always see, like in movies, well, if I start listing movies, I'd have to list every movie that's come out in the last 50 years.
I was going to say die hard, lethal weapons, so on and so forth, the big movies, the not-so-big movies.
Whatever the case, bad guys are white.
But also, you will have instances, and many of them, where the computer geniuses are always black, the good guys are always black.
The presidents now are always black.
Do you think that in TV shows and films in recent years of portraying black presidents as strong, thoughtful, intelligent holders of the office?
Do you think that played more than a small role in the election of Obama last year?
Oh, I think it was very important, and I also think it was quite deliberate.
It was part of a campaign that was hatched long ago.
You know, it's almost frightening to think that there is that much power and control being exerted upon us subconsciously that they were preparing us for the Obama presidency with all of these movies by Denzel Washington and Will Smith and Morgan Freeman.
But, you know, it's hard to draw a different conclusion when you really consider the evidence, Edmund.
That's absolutely true.
You can go back to 1967.
Guess who's coming to dinner with Sidney Poitier making an appearance as a very harmless black gentleman dating a white girl.
And year after year since then, it's just increased with a far more positive black image than, unfortunately, reality warrants.
It's funny that you bring up the Guess Who's Coming to Dinner movie because obviously that was remade a couple of years ago in which the roles were reversed.
Ashton Kutcher was the white gentleman caller trying to move in on this very well-to-do black female coming from a suburban black family where the guy, you know, it's just the nuclear family.
Bernie Mac is the dad and he goes to work and has a nice cushy job and he has a wife and it's just what it is.
It's an emblem of our dispossession.
You know, that's how much things have changed since 1967, that the white founding stock is now the outsider.
Well, in 1967, of course, that film was banned from theaters in the South.
You know, and now every movie is that bad or worse now.
Oh, yeah, yeah.
And people love movies.
I'll tell you what, whether we are in a depressed economy, whether we don't have a dime to our name, people will pay for entertainment if they can't have anything else.
And they go in and all of these very damaging notions are being reinforced day after day after day.
It is constant inundation that they're getting from music, television, and, of course, what we're talking about today, the form of movies.
Well, a lot of these movies are boxed off as failures, but that doesn't deter Hollywood in the least.
You know, even white people have some threshold of tolerance or where they reach over into intolerance with being constantly portrayed in a negative way, but that doesn't deter Hollywood from its appointed task of psychological condition.
Well, with that being said, gentlemen, set tight.
Our first break is here.
We'll be back with more on the subject with Edmund Connolly and the political cesspool.
Okay.
Don't go away.
There's more political cesspool coming your way right after these messages.
Are you a native son or daughter of the South who pleads the stars and bars?
Someone not born in Dixieland, but who is a Johnny Reb at heart and looking for a place to shop that promotes Southern heritage?
Well, your search is over.
Dixie Republic is the place to go for all things celebrating the Confederacy and promoting Southern pride.
Inside the log cabin, just outside Traveler's Rest, South Carolina, Dixie Republic has t-shirts, hats, videos, flags, books, belt buckles, and some of the best mouth-watering barbecue sauce that will ever touch your lips.
There's just about everything you want honoring the South at Dixie Republic.
Well, you say that South Carolina is a bit too far for you to drive.
Have no fear, my friend.
All of this is just a mouse click away.
Go online at www.dixyrepublic.com.
You're home for all things celebrating the Confederacy and promoting Southern pride.
Imagine a school where faith and integrity are at its center, where heritage and responsibility instill character.
Where educating both hearts and minds brings about academic excellence.
There is a school in American Fork where character and embracing the providence of a living God are fundamental.
Where students' national test scores average near the 90th percentile.
Based on LDS principles and a love of country, now in our 39th year, American Heritage School is accepting fall enrollment for kindergarten through high school.
What would you do for your child?
Give them an education that will prepare them for life.
Located east of the temple in American Fork, American Heritage School is a remarkable and affordable alternative.
Visit us, find us online, or in the yellow pages.
American Heritage School in American Fork.
Welcome back.
To get on the Political Cesspool, call us on James's Dime, toll-free, at 1-866-986-6397.
And here's the host of the Political Cesspool, James Edwards.
Welcome back to the show, everyone.
I'm your host, James Edwards, joined in studio by Keith Alexander this evening and our special guest, Edmund Connolly.
Thank you again, ladies and gentlemen, for kicking off your holiday weekend the right way by making the Political Cesspool a part of your festivities this Memorial Day weekend.
You heard the bump there.
If you want to give us a call and talk movies with movie expert Edmund Connolly, the lines are open.
1-866-986 News.
Be on the Political Cesspool live.
1-866-986-6397.
Edmund, look, first of all, let me say this.
I think that everyone listening to this program right now ought to read your most recent article that appeared in the Occidental Quarterly on the virtual, excuse me, the visual displacement of white people in the media.
This is, I think, you know, we're not exaggerating the problem here, I guess is what I'm trying to say.
And if you think that we are, explain why a black man is under serious consideration to scar, to star in a major motion picture directed by Hollywood icon Martin Scorsese depicting Frank Sinatra.
Let me read quickly the story and then turn it over to you, Edmund, for comment.
The headline reads, Jamie Foxx in the running to play Frank Sinatra.
Jamie Fox, the African-American actor, singer, and comedian, has been named as a potential contender for the role of Frank Sinatra in Martin Scorsese's biopic of The Entertainer.
An unnamed source told the Daily Express newspaper that Cool is colorblind.
Jamie was born to play this role.
Now, of course, if Jamie Foxx does go on to get this role, it won't be because he's a great actor.
It's because Hollywood wants to give the finger to white people.
And not that Frank Sinatra doesn't deserve it himself.
Of course, he was a very left-wing liberal, of no good to our people.
But I mean, I can't think, Edmund, unless I'm overlooking something, that Hollywood has really attempted to go this far into the realm of absurdity.
I mean, won't people see a black man playing the biographical character of a white singer and laugh at that?
Is that not ridiculous that a black guy would play a white guy's character?
I mean, come on.
Oh, it's completely ridiculous.
But unfortunately, we have to consider 30-plus years of conditioning, and you're going to have probably a majority of the white viewing population not finding it odd at all.
In fact, they might find it better in some ways.
You know, I know this is obviously the logical progression.
How much more perverted could the media get?
Well, okay, let's start giving roles of historical white figures.
I mean, nonfiction roles of white people to black people.
I mean, I couldn't imagine people doing anything other than just laughing and scoffing in the privacy of their own homes at something like this.
But maybe I'm wrong.
Keith, what do you make of it?
Well, I think this is destined to be another box off his flop if they take Jamie Foxx, if they select him as old blue eyes.
It'll be old brown eyes now.
But nonetheless, you know, that doesn't seem to deter Hollywood.
Hollywood is on a mission.
And unfortunately, to paraphrase the phrase from the Blues Brother, it's not a mission from God.
It's a mission from the other locale.
Well, Hollywood.
And they intend to, you know, they'll soften us up with this.
And, you know, we'll be laughing about it now.
And in 10 years, it's going to be commonplace.
They're probably going to have a black guy playing Robert E. Lee sometime.
Well, you know, Keith, you're right.
And this is the way they do it.
Something as absurd as this gets laughed off the first few times, but they beat us down time after time after time, year after year after year, until eventually it becomes accepted.
This is the way the big lie is always propagated.
But that being said, and this is just one of the more blatant examples of how nutty and dangerous the media is, particularly Hollywood when we're talking about movies.
But Keith, that being said, I know you've waited a long time to have the opportunity to interview Edmund Connolly.
As I said before, you're a scholar of his articles.
What would you like to ask of him?
Well, look, first of all, you know, Edmund, just give us a few what you consider to be particularly egregious examples of the left using the movies to propagandize us, to invert reality, to transmute values.
You know, just lay it on us and let the audience hear what they probably have instinctively felt but probably have not gathered the evidence on like you have.
Okay, thank you.
I'll stick with the term the left for now, although I hope later we could get into more details of who composes the left, at least with respect to Hollywood.
And I'll stick with an explanation dealing with Hollywood here.
As we know, African Americans as a group have not amassed a lot of capital and certainly represent no real power in Hollywood.
So when we look at two actors such as Denzel Washington and Morgan Freeman who have been elevated to just the pinnacles of power as far as an image goes in Hollywood film, we have to wonder who's behind it and what's the purpose.
And as two egregious examples, I'll use Denzel Washington movies.
The first is 1995 Crimson Tide.
It's a movie that takes place on a ballistic missile submarine, and it very starkly shows there's an older white man played by Gene Hackman as the commander, and he is challenged by his executive officer played by Denzel Washington.
And throughout the two-hour movie, it's really a parable for white men being replaced by morally superior, intellectually superior blacks.
And this was refined in 2000 when Denzel Washington started as a football coach in Remember the Titans.
At every level of this movie, from main characters to minor characters, the white people voluntarily relinquish their power because they believe it's morally right to give it to blacks.
For example, the football coach gives his position to Denzel Washington's character.
And even his daughter, who was initially against the integration of the school, she comes to learn over the course of the film that it's the right thing to do.
So this kind of conditioning is probably far more effective than Jamie Foxx as Old Blue Eyes.
At least that's my view on these things.
Well, let me jump on one of the things you said.
You said that black people don't have the power, the money, the influence to make these changes.
And quite frankly, whenever blacks have taken over any aspect of, let's say, the civil rights movement, then suddenly, you know, things grind to a halt.
And what I have in mind here in particular is I remember when black power advocates decided they wanted to run out all of the whites, which tended to be all the Jews, in the NAACP in the late 60s, early 70s.
And from that point onward, the NAACP has been a paper tiger, not causing, not having the effect that it had before and basically being racked with one, you know, scandal of embezzlement or whatever after another by the leadership.
So if it's not black people that are trying to boost themselves and have the power to do it in Hollywood, who's doing this?
Well, I think you've already given us the answer.
You've shown that the white allies of blacks in the NAACP were overwhelmingly Jewish.
And of course, the NAACP was originally created by Jews and run by them up until, I believe, the 60s.
And we're looking at the same phenomenon in Hollywood as well as the media more generally.
You can read books such as Neil Gabler's An Empire of Their Own, which in the subtitle admits how the Jews invented Hollywood.
That's the group we need to focus on.
We're going to focus on that more right after this break.
Set tight, everyone.
Our discussion of films continues in the Political Cesspool right after this.
Don't go away.
The Political Cesspool, guys.
We'll be back right after these messages.
We, the political cesspool known worldwide as the South's foremost populist conservative radio program,
hits the airwaves to bring you the other side of the news and to report on events which are vital to your welfare.
but are hushed up or distorted by the mainstream media.
However, to continue doing this, we need your support.
Go online at www.thepoliticalcesspool.org and make a safe and secure donation.
If you prefer not to make an online donation, you can send us a check or money order to the address on the website.
No matter which way you choose, the political cesspool needs your support.
go online to www.thepoliticalcesspool.org and make a donation today.
Hi, it's Dennis Daly.
Now that the world is electronically interconnected and there are microphones and cameras everywhere, we seem to be inundated with news.
News from the street where people are commenting about the economy.
Corporations have grasped control of our government and we would like it back.
A lot of the news comes from the halls of Congress.
I guess Republicans think that the economy pros might help Prisoner Mama.
Police stories and stories of tragedy make up a big part of the news.
Other responding officers who arrived saw the suspects, what they thought was a suspect vehicle leaving the area.
And of course, a steady flow comes from the White House.
We want to get some infrastructure built in this country.
We think that putting construction workers back to work is important.
But you know, a lot of news comes from a lot of other places, and a lot of it doesn't get reported.
That's why I'm here, Monday through Friday, with the news you might not hear anywhere else from Liberty News Radio.
To get on the show and express your opinion in the political cesspool, call us toll-free at 1-866-986-6397.
Thank you, Art Frith and Frankie Valley, for that.
Welcome back to the Political Cesspool Radio Program.
Stepped outside of the studio during that commercial break.
I had to get something out of the car and turned on the car and was hearing the show there broadcast over the AM radio.
You know, Keith, we've done this for five years now.
Come October, we've broadcast over nearly a thousand shows, live episodes of the Political Cesspool, and I still never get tired of turning on the radio and hearing us.
That being said, welcome back to the show.
Our guest is Edmund Connolly.
If you're enjoying the conversation we're having with Edmund tonight, we encourage you to go to our website, thepoliticalcesspool.org.
There you'll be able to read his most recent article on the visual displacement of white people in the media, which is what we're dedicating this first hour to talk about.
Right before the last break, we're touching on really the root of the problem here, which is the Jewish stranglehold on Hollywood.
Now, when people like me and you and our audience, when we mention the fact that the Jews control Hollywood, we're called raging anti-Semites.
However, on the flip side, no less than a year ago, a Jewish man by the name of Joel Stein wrote candidly in the Los Angeles Times that pretty much basically what he said were that European Americans were stupid for not knowing and not talking out about the Jewish stranglehold on Hollywood.
So a little double standard in a disconnect there.
And he went on to reference the fact that every single one of the major studios in Hollywood is run by Jews.
Eight out of eight.
Eight out of eight, 100%.
So with that being the case, I guess, Edmund, the question becomes, what is it, what interests of these Jews is being served by portraying whites and blacks in this light?
This counterintuitive, trans, you know, opposite mirror image of reality fashion.
What is it, Edmund, that causes them to do this?
What are they trying to accomplish?
Well, if you're familiar with Kevin McDonald's book, The Culture of Critique, where he deals with Freud psychoanalysis and so on, you'll see that the intent is, of course, to advance Jewish interests.
And in this case, it's to defeat their perceived enemies, which is us whites.
And that's exactly what they are doing with Hollywood.
In other words, white Gentiles.
We say whites, but we have to remember that, you know, to the casual observer, Jews are white too.
Right, that's a good point, exactly.
And that is used to obscure their power and dominance.
You have another article called Harvard Hates Whites, Does America 2, in which you point to some articles started by a guy named Ron Unz, who himself is Jewish in the Wall Street Journal in, I think, October the 12th, 1999.
He wrote the kickoff article.
And then, like he said, Pat Buchanan pounced upon it and like the good bulldog of the right he is, gave it a good shake.
At least two articles, one called The Dispossession of Christian Americans, the other, Our Self-Selecting Elite.
And basically, what you point out, Buchanan pointed out, and Unz pointed out, is that Jews get lumped together with white Gentiles.
So consequently, let's look at the subject of that series of articles, which was who gets into elite colleges and universities like Harvard and Yale in America today.
And they will say things like, well, what are you whites complaining about?
You've got over 50% of the admission slots.
But when you break it down, Jews, who are 2.5% of the population, have over a third of the admission slots.
Asians, who are 3% of the population, have 20%.
So basically, they get lumped in with whites in demographic profiles that you see.
And basically, that means that 5% of the population has 50% of the admission slots in these elite schools that are known as the breeding stables of America's elite.
And they are the breeding stables, and it tells you who's going to be governing America in the 21st century, and it ain't going to be the founding stock of America, white gentiles.
Well, exactly.
I think that's a critical point.
And it's very hard to get people to make that point.
For example, there was recently a series on the blog known as Taki, Taki magazine, and he had Jared Taylor write for him as well as Steve Saylor and others.
Normally, they would be seen in American Renaissance or V-Dare.
But they wrote about this and made the exact same mistake you brought up.
They lumped Jews in with whites, and suddenly the statistics no longer make meaningful sense.
Right.
It's basically, as you showed in your graph in the Harvard Hates Whites, Does America 2 article, that white Gentiles are the least representative, least represented demographic category in these colleges and universities.
We, at least back when these articles were written, we were approximately 70% of the population of the United States.
We're now down to, what, about 65, 64%, and we had less than 20% of the admission slots in Harvard and Yale.
Blacks and Hispanics, who were 13 and I think now Hispanics are 14%, had 7 and 8%, respectively.
So they had over half of, proportionately, they were half as likely to be at Harvard and Yale as they are in the general population.
Whites are down below one-third.
We are represented in Harvard and Yale by less than a third of our representation in the general population.
And this is hidden from the public, and we still see movies that are based on the premise of WASPs are secretly running America, and that they have all the wealth and all the power.
Well, you're absolutely right on that, Colin.
And it's not just our elite universities.
We all know about at the lower end of the working scale, the blue-collar workers are hurt by affirmative action disproportionately.
Supreme Court case with Frank Ritchie, the fireman, who was denied promotion to lieutenant because there weren't enough blacks passing the lieutenant's exam.
Right, right.
That's an excellent example, and I'm not really holding my breath that next month the justices will make the right decision on that.
But another example would be how Hollywood portrays an overwhelmingly white male category, such as commercial airline pilots.
With the recent downturn in the airline industry, about 98% of American commercial pilots are still white males.
Yet Hollywood loves to bring in the female pilot and less commonly the black pilot.
But in any case, it's far from the 98% that are white male in reality.
You're not kidding, Edmund.
And I fly probably about a dozen times a year round trip.
And in my 28 years of life, I've never had a pilot or a co-pilot that was anything other than a white male.
But if you take Hollywood as fact, this is the exception rather than the rule.
Well, you remember that episode where the pilot landed the plane safely in the Hudson River, or was it the East River?
Yeah, it was the Hudson River, I believe.
That was just about a month ago.
I remember his name.
It was what, Sulzenberger or Sulsenberger?
Sullenberger, something like that.
And they tried to portray him kind of secretly as if he were Jewish.
But what he actually is, is a German Catholic from that German Catholic enclave in Texas, you know, where they have New Brunsville and Texas and places like that.
In other words, a southern white.
And, you know, that just wouldn't fight the, you know, that wouldn't meet the script that a southern white guy or a guy with southern white origins was actually the hero in anything.
Other than Germans themselves, there was no one more hated than southern white Gentiles.
I mean, you know that's a fact.
Oh, absolutely.
Hollywood, Hollywood can't get enough of that portrayal.
And, you know, you were talking in one of your articles, I think it was called Real Bad Whites, about John Grisham's first book, A Time to Kill.
That's your favorite movie, Keith.
What are you talking about?
What now?
I said, that's your favorite movie.
What are you talking about?
Oh, yeah, right.
Well, you know, that guy actually worked in my law firm at one time, Grisham.
And basically, what that is about, he knew that he was going to have to portray something that was going to push the right buttons with the primarily Jewish hierarchy of the publishing industry, something that would get people at Simon ⁇ Schuster or Athenaeum or Pantheon Books or something revved up to publish him.
So he got this crazy inverted notion of white rednecks raping this poor innocent black child and then lynching her.
They have to do everything according to script.
They don't just kill her.
They lynch her in this book.
You know, Keith, that's probably the most egregious and bogus example of something that has probably never once happened in the history of the American South, ever.
Well, you know, you pointed out, I think, that Jared Taylor in his book, Color of Crime, points out that there are thousands upon thousands of lashes.
Hold that thought, Keith, on Jared Taylor.
We're going to pick that up when we come back for one final segment with Edmund Connolly.
Oh, no, we got two segments left with Edmund.
I'm rushing him out the door, and we certainly don't want to do that.
Anyway, sit tight, everyone.
The political cesspool returns live in just a moment after these words from our sponsors.
We'll return.
Are you new to freeze-drying foods?
These fine, easily storable foods were first developed for the U.S. space program.
Today, the U.S. military and the U.S. Submarine Service enjoy using these products extensively.
Freeze-dried foods typically maintain their high nutritional value in excess of 30 years.
Why store emergency food?
Keeping food on hand for emergencies protects you the same way as does insurance on your home or car.
With freeze-dry guy, freeze-dried foods in your food reserve, you can be ready for just about any unexpected crisis.
In today's turbulent times of uncertainty, global crisis, world market collapse, stock market volatility, increased frequency of natural and man-made disasters, there has never been a better time to get a survival insurance policy.
Take the necessary steps to protect your family in these uncertain times.
Visit freezedryguy.com or call 866-404-Food, 866-404-3663.
We pay the freight within the lower 48 states.
Proclaiming liberty across the land.
You're listening to Liberty News Radio.
Call us tonight at 1-866-986-6397.
And here's the host of the Political Cess Pool, James Edwards.
Welcome back to the show, everyone.
Saturday, May 23rd, Memorial Day weekend.
James Edwards and Keith Alexander here with you, hosting the first hour of tonight's installment of the Political Cess Pool Radio Program.
We're joined by our good friend and featured guest for the evening, Edmund Connolly, who is, of course, a contributor for our favorite journal, the Occidental Quarterly.
He's talking about the cinema arts and the detrimental propaganda value that modern movies have.
I want to play a game of compare and contrast in just a moment.
But before we do that, right before we went into the break, Keith, you were making a comment on Jared Taylor.
I'd like to allow you the opportunity to resume that thought.
Well, he wrote a book called The Color of Crime, in which he gets U.S. Justice Department statistics, unassailable evidence, and points out that none of these ideas that are being portrayed in the movies, like A Time to Kill, for example, has any basis in reality.
In fact, one of the things that Edmund pointed out in one of his articles is that what Hollywood will do is they'll get a story of a real interracial crime and just invert the characters, where in a real interracial crime, black guy is a criminal and whites are the victims.
They'll just invert it and make the whites the criminals and the blacks the victims and make a movie about it.
And they'll pass it off as truth because, let's face it, most people are insulated from that sort of sordid reality.
Right, exactly.
I recently bought the DVD of a movie called Stuck.
And it's based on the true story where a black nurse's aide had been on drugs and driving her car, and she hit a homeless white man who got stuck in her windshield.
She left them there to die over two days.
The movie used a white actress with blue eyes to play that nurse.
And I'm sure that the homeless guy that she struck was some saintly black guy, maybe Morgan Freeman or something.
Well, actually, in this case, no, they stuck with a white guy, but it was very telling because in the movie, he had lost his job because he was downsized.
And, you know, that's a little bit too real for me because we know there are millions of such white men losing their livelihoods in that way.
I guess they just didn't want to portray a black guy as homeless.
That would be too insensitive.
Exactly.
Well, I guess that we understand why the Jewish elite of Hollywood want to pass this sort of fiction off as reality.
It helps them usher in their political agenda with a little more ease if they can condition the public to go along with this sort of heinousness.
But let's do this.
Keith, you know, anytime we talk about movies, we compare and contrast some of the great classic films of the 1950s and 60s, some of the early Disney movies, in fact, with the sort of movies we're talking about now, movies like A Time to Kill.
How good was Walt Disney?
And do you think, and Edmund, I'll ask this question of you as well, do you think that we'll ever live to see a day where there could be another studio head with the sort of wholesome messages, Disney?
But before we go into that, Keith, let's talk about some of those early Disney films, Bambi, Old Yeller.
What were those movies about?
Well, they supported a Christian worldview, and they also celebrated the founding stock of America.
And they were great successes.
Now, the Jewish hierarchy of Hollywood, people like Carl Lemley, who made all the horror movies, you know, The Mummy, Frankenstein, stuff like that, Samuel Golden, Louis B. Mayer, Jack Warner, all Jewish, basically tried to take over Disney studios.
And they had Walt Disney on the ropes.
He was down to playing his last card in 1942, which was Bambi.
And Bambi became this great success.
And after its success and after his, you know, narrow brush with bankruptcy, Disney said, I've learned.
And he said he wasn't going to have a Jew on the lot.
And he didn't.
The first Jewish star of a Disney movie was Buddy Hackett in 1967's Love Bug, one year after Walt Disney died.
It wasn't long until Michael Eisner and his Jewish cohort took over Disney Studios and turned it into this siege gun for multiculturalism with the Hobbes and the Lion King and ad nauseum.
Yeah, well, I don't know if they're the worst, but they're certainly as bad as any other Disney is now.
I'm sure the old man's rolling over in his grave.
But what do you say, Edmund?
Are we giving Disney too much credit or was he the real deal when it comes to sort of defending our cultural heritage?
And could we ever see another Disney in Hollywood?
Well, my reading is he was the real deal.
And there were plenty of other Gentiles in other positions in Hollywood at the time doing good things.
I mean, somebody was supporting John Wayne in all those wonderful roles.
But as for a prediction on the future, I have to come down in the negative category.
But that doesn't mean we should give up.
The only choice we have is to try to do something to change this.
Yeah, it would certainly seem like it would be, our chances would be bleak in terms of taking back what's been taken from us.
But then again, if you hold out hope, that eternal thing that it is, you know, what one man can do, another can do is the old saying.
I mean, I guess it's possible.
I guess it's no less likely that we could take it back than it would have been, it would have all been taken from us if you look at it from the perspective of someone.
I mean, who could have imagined in the 1950s that it would be controversial to say something as simple as what Miss California did, a man and a woman, that's what marriage is.
I mean, that's controversial now.
Who could have, at least the media is portraying that as controversial.
It's not controversial in actuality.
That's cultural Marxist transvaluation.
You know, it used to be that homosexuality was bad, heterosexuality is good.
Now, homosexuality is good, and the greatest sin next to racism is homophobia.
In other words, not accepting homosexuality as natural and normal.
And that's what I'm saying.
I mean, what were the odds that that was going to be the case back 60 years ago?
I guess the fact that that agenda has succeeded, at least in terms of in media, it's obviously hopefully accepted.
And then even in the public's consciousness, it's continuing to grow.
I guess if that can happen, maybe there could be a turnaround, but it's going to take a lot of work.
Right.
But more likely what this is leading to is these portrayals, this psychological conditioning of whites as bad, being worthy of being eliminated.
I fear it's going to lead to our physical elimination from this earth.
Anyone who studied the Bolshevik revolution will know the process.
Well, you know, Kevin McDonald made a very, I think, telling observation about this in one of his writings.
He said that if there had been a Bolshevik revolution in America, we know who the Kulaks would have been, who the people that were sent to the Gulag to perish would have been.
It would have been white southerners because we fulfilled all their requirements for the groups they persecuted in the Bolshevik regime.
They considered, for example, Ukrainian and Russian peasants as culturally backward and traditionalists, and that they basically needed elimination because they just weren't going to succumb to the onslaughts of political correctness.
And the fact that there still is a red state America seems to indicate that we haven't totally succumbed yet, at least in the heartland of America, to all of this relentless brainwashing.
Well, and speaking of that brainwashing, Keith, and Edmund, we only have about two minutes left with you.
This hour has just flown by far too quickly.
We'll have to do it again sooner rather than later.
But in terms of fighting back against this radical propaganda that's coming out of Jewish-dominated Hollywood, what could people listening to this program do?
Obviously, we feel so defenseless.
We feel as though there's nothing we can do that will have any sort of a positive effect.
I mean, other than boycotting the movies, which I'm sure most of our people already do anyway, what can we do to see some sort of a positive resolution, at least on the front of the entertainment industry?
Well, one, as viewers, be more critical about what you're watching.
Most people assume it's nothing but entertainment, and that couldn't be further from the truth.
If it was that, what do you think?
We wouldn't be trying to offend the largest segment of the population with constant negative portrayals.
Well, you know, that's an interesting point you make, Edmund, because that's one thing I've noticed about our people.
We just don't like to complain very much.
We don't like to protest.
I guess because we work for a living, whereas these other people don't.
But, you know, when we're offended, we just let it rub off the shoulder because we've got to provide for our family the next day.
We don't have time to really immerse in all of this.
Our people aren't as politically active, and we don't get upset as easily as everyone else.
And I think that's something that's got to change.
It's a Christian heritage.
We turn the other cheek.
Yeah, well, we've been slapped silly about millions of times.
Right.
Well, I'm going to continue to write in this vein.
It's something that has to be said.
Now, I look back at the movies before 1954, things like High Noon and On the Waterfront and Shane.
And that's quite frankly what I watch at home.
I just, and that's what I have my children watch.
We just keep watching those movies from the 1950s over and over again.
Well, listen, guys, I cannot tell you how thoroughly I enjoyed this hour.
Still much more to come in the Political Cessible this evening, ladies and gentlemen.
Don't go anywhere.
There's still two hours left to come this evening, but we are out of time with Edmund Connolly.
And Edmund, thank you so much for taking the time this Saturday evening to spend with us and enlighten our audience.
We owe you a great benefit.
Thank you, James.
I enjoyed it thoroughly.
I enjoyed talking to Keith as well.
Well, we'll do it again soon, my friend.
And Keith, always a pleasure to serve with you.
Look, this has been great.
Thank you very much, Edmund.
Thank you, James.
And let's do it again.
We'll be back with the second hour right after these words from our sponsors.
And, of course, the national news brought to you by Liberty News Radio Network.
James Edwards and the political cesspool rolls on in just a couple of minutes.
One hour down and two to go.
Stay tuned.
Hour number two of the political cesspool comes your way right after these messages.
Well, Harve hit the aisles dancing and screaming.
Some thought he had religion, others thought he had a demon.
And Harv thought he had a weed eater loose in his fruit and the balloons.
He fell to his knees to plead and beg, and the squirrel ran out of his britch's leg unobserved to the other side of the room.
All the way down to the amen.
Are you worried about America?
Do you fear the power of the Obama brigades to take away your rights?
The Obama presidency is the most radical left-wing administration in American history.
Our constitutional liberties are in danger.
What can you do?
Join the Council of Conservative Citizens.
For over 20 years, the CFCC has fought for the rights and ideals of the European American majority.
The CFCC has won legal and political battles to protect your heritage and your liberties.
The CFCC advocates strong state governments over the power of Washington, D.C. to rule your life.
The CFCC believes in an American first foreign and domestic policy, which opposes globalism and one-world government.
The CFCC advocates racial integrity as God's natural order.
Visit our website today at www.cfcc.org and join fellow European Americans in the fight for our people.
If you want to experience the great outdoors in comfort and style, then you need products from Teton Sports.
For any of your camping, hiking, or outdoor needs, Teton Sports has top-of-the-line products for any adventure.
Our sturdy and lightweight Wilderness 55 backpack has a built-in rain fly and plenty of compartments and pockets.
Perfect for hiking the mountains or a weekend camping trip.
And our zero-degree sleeping bag features super loft-related four-channel hollow fiber insulation for warmth, as well as right and left-side zippers to let you zip two Teton bags together.
With an adjustable mummy hood and interior storage pockets, our sleeping bags are the best of the market.
Teton Sports is all you need for any outdoor adventure.
Look for Teton Sports products at Amazon.com, Sportsman Warehouse, or Wholesale Sports.