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The Big Lie about the mainstream media is that, "like all businesses," they are first and foremost profit-driven. Not true. Money serves as their fuel and measure, but not as their goal. Today's mainstream media are first and foremost Jewish propaganda channels.
While the agitprop flowing through these channels aims to be as profitable as possible, only material that advances Jewish interests or is utterly benign to them is allowed in. Material that crosses Jewish interests, no matter how marketable or excellent, is denied admission. Hatred of non-Jews, particularly White males, is the spiritual heart of Jewry. Thus, the Jewish media operate on their own hate-based version of Pascal's Wager in which Jewish Hate serves as Pascal's Belief, and Failure to Hate as Pascal's Refusal to Believe. The Jewish media's Wager of Hate maps out like this:
Programming that Hates, i.e., denigrates and demonizes Whites...
Wins doubly if it is
profitable, for it advances Jewish interests while making
money for some Jews.
Wins if it is not profitable, for it advances Jewish interests while losing money only for some Jews.
Programming that Fails to Hate, i.e., to denigrate and demonize Whites...
Loses if it is
profitable, for it damages Jewish interests while making
money only for some Jews.
Loses doubly if it is not profitable, for it damages Jewish interests while losing money for some Jews.
The Jewish media's Wager of Hate establishes the context in which all media decisions are made. Profit may rule the day once inside this context, but ultimately it is a second-tier consideration.
This Big Lie that media is primarily profit-driven achieves two diabolical social effects on White America. It fuels the illusory belief that the media around us are strictly dictated by consumer demand. This belief, as coldly economic as it may sound, is psychological in nature; it serves to dispel stirring White discontent. No matter how lowbrow, repulsive, or racially offensive we find what's on our TVs, radios, or theater screens; our Playstations, DVD and CD players; and on our book shelves and magazine racks, it is difficult for us to complain. We fail to realize we're being murdered by this material by an alien minority because we assume what's offered must be what "most consumers" -- the majority of whom are White -- want. It appeals to White-everyman's democratic sense of virtue: If media content is "voted on" with American dollars, then it's just too bad if we happen not to like the candidates as much as everyone else does.
More importantly, the Big
Lie that media is principally profit-driven undermines in
advance any inquiry into "who" controls the media. After all,
if money pure and simple is the name of the game, then it
follows that those running the show must be the best at
delivering what the public wants. What difference does it make
if media control is predominantly Jewish or Amish if those at
the helm have no choice but to do the masses' bidding? Jew
film critic Michael Medved deploys this classically Jewish
form of misdirection in his cocky 1996 Moment article, "Jews
Run Hollywood, So What?"
So what? So no matter how packed the beer halls in Britain were when Skrewdriver was playing they couldn't get a formal, big company deal and were actively suppressed by the music press in attempt to "extinguish the fire for lack of oxygen" (see Paul London's "Nazi Rockstar: Ian Stuart - Skrewdriver Biography"). So White, Catholic family man and mega-star Mel Gibson couldn't get financial backing for "The Passion," a film telling The Greatest Story Ever Told and was forced to fund it himself because a pre-Vatican II depiction of the crucifixion isn't "good for Jews." So White creativity, if it desires access to the world, must sublimate itself into a form of racial self-flagellation. It compels ambitious and talented Whites to choose between joining the Jewish war against the White race or languishing in obscurity. Having reduced America and much of Europe to a deracinated consumer society in which virtue is measured in decimal points and dollar signs, the decision for most is far too easy to make. That's what, Jew Medved.
The Jewish media's Wager of Hate is in full effect, and its foul fruits are all around us. Jewish Hate propaganda is everywhere, in as many guises as there are genres and forms. Whether producing mass media, ruining careers, or occupying nations, Jewish strategy is always the same: use a veneer of variety and difference to obscure movement in a single direction. Individual Jewish winds may blow in 360 different directions, but the Jewish tornado cuts a single swathe through White culture.
To VNN readers, National Alliance members and National Vanguard readers, this may seem a truism. No doubt many reading this have long ago "killed their TV." And many of those who keep it around for occasional use would never dream of subscribing to pay channels like HBO. Intelligent people are well aware that movies, radio, comedy, commercials, internet ads, all forms of media, are pushing the dispossession of Whites in order to secure Judeo-dominance. To the degree that this is true, keeping an "Eye on Media" may seem unnecessary. Yet, cataloguing specific instances of these media hate crimes is crucial evidence for when the indictment against the Jews for the Attempted Murder of the White race is levied. When brought together, the concrete examples create a kind of topographical review of contemporary culture.
The quotes and photos captured, cut out, and glued here in one place, at VNN, are the beginning of a mosaic of Jew-wrought modern decadence. A flurry frozen-in-time of the anti-White political messages and cultural indicators spewed at ordinary Americans and people all over the western world on a daily basis. Let's see what's playing. And, when the time comes, jews will pay for it.
VICTOR WOLZEK
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