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Click on this text to hear Charles Lindbergh's - September 11, 1941 Des Moines Speech...


LINDBERGH’S 9/11/1941 Speech

Speaking of Charles Lindbergh... The following is an
excerpt from a speech he gave on September 11th, 1941
in Des Moines, Iowa identifying the forces that were
pulling America into World War II as being the British,
the Roosevelt administration and the Jews.
While he expressed sympathy for the plight of Jews in Germany,
he argued that America’s entry into the war would only
inflame their predicament. He said in part:

"It is not difficult to understand why the Jewish
people desire the overthrow of Nazi Germany. The
persecution they suffered in Germany would be
sufficient to make bitter enemies of any race. No
person with a sense of the dignity of mankind can
condone the persecution the Jewish race has
suffered in Germany. But no person of honesty and
vision can look on the pro-war policy here today
without seeing the dangers involved in such a
policy, both for us and them.

Instead of agitating for war the Jewish groups in
this country should be opposing it in every
possible way, for they will be the first to feel its
consequences. Tolerance is a virtue that depends
upon peace and strength. History shows that it
cannot survive war and devastation.
A few far-sighted Jewish people realize this and stand
opposed to intervention. But the majority still do
not. Their greatest danger to this country lies in
their large ownership and influence in our motion
pictures, our press, our radio, and our government."

...Of course, after December 7th, 1941, all peace and
isolationist movements in America, such as America
First, disbanded. Lindbergh accepted his failure to keep
America out of the war and ceased his peace efforts lest
he suffer the label of being a traitor.

But back to Walt Disney who openly vowed to keep the commies out of
his studio and informed the press that the ongoing strikes
against his studio were perpetrated by the octopus-like
Communist Conspiracy.
The Communist Party of the
United States of America (CPUSA) indeed made its
presence felt by championing the rights of the film
industries workers and played a vital role in the Screen
Writers Guild’s long battle to exist.

Jewish guy Moses Koenigsberg, who managed William
Randolph Hearst’s King Features Syndicate (a comic
strip syndicator), took a swipe at Disney by accusing
him of being a "Nazi" because of a supposed swastika
(appearing in the form of two crossed musical notes) that
appeared in the last panel of a Mickey Mouse syndicated
comic strip that ran on June 19 th, 1940. But it was a very
unconvincing stretch of the truth.

Another swastika supposedly appeared in an animated
Mickey Mouse cartoon titled "The Wayward Canary" that
was spotted on a cigarette lighter that ignited when a
berserk canary landed on it. But this cartoon was released in
1932. Hitler wasn’t elected Chancellor of Germany until
January 30th, 1933 and wasn’t yet considered to be
satanic at the time... so throw that "swastika" out.

And speaking of swastikas... The swastika design had
been around for thousands of years before Hitler adopted
it for his Reich symbol. It dates back to the ancient Indus
Valley civilization as well as Mediterranean Classical Antiquity.
The swastika was considered a good luck sun
symbol by indigenous peoples in the ancient western
hemisphere. Many European military units used the
swastika as their symbol. The American Army’s 45th
Infantry Division wore the swastika as their symbol patch
on their left shoulder from 1923 until 1939 when it was
politically correctly changed to a thunderbird.
The Finnish Air Force still uses a swastika as their symbol on
the flags of the Karelian, Lapland and Satakunta Air
Commands to this day.

Anyway... Efforts to influence Disney to support
Roosevelt’s pro war movement failed as long as Walt
kept tight control over his studio. So, in a scheme to get
Walt away from his studio and away from the country,
Roosevelt instructed Nelson Rockefeller to draft Walt as
part of a contingent heading to South America to
influence the locals to resist Nazi influence there.

Rockefeller had been named the Official Coordinator of
the State Department’s Inter-American Affairs
organization. Roosevelt was particularly concerned about
Walt’s appearance at the America First rally standing
next to Charles Lindbergh.

Roy Disney was keen on Walt being absent so he could
settle that latest strike himself and clear all the charges of
Walt’s being a "Nazi" sympathizer.
During Walt’s absence,
Roy met with Labor Department arbitrator, James F.
Dewey, and the strike was settled by Roy by agreeing to
allow the commie dominated Cartoonists Guild to have
power at Disney Studio. When Walt heard about Roy’s
betrayal he vowed that he would close the studio forever
rather than have commie animators on the payroll.
Of course, Roosevelt got his war by setting up the
military assets at Pearl Harbor to take a contrived
whipping. Disney’s studio was then occupied by Army
troops on December 8th, 1941 to be used as a defense
staging facility to protect the nearby Lockheed aircraft
manufacturing plant.
Disney’s studio was the only
Hollywood studio to be thus occupied and Walt was out
of a job until the Navy Bureau of Aeronautics contracted
him to make a series of twenty aviation training films. Walt
had little choice but to cooperate because of the crippling
circumstances. And he produced propaganda cartoons for
the government at the behest of Jewish Secretary of the
Treasury, Henry Morgenthau.

Der Fuehrer’s Face (originally titled: Donald Duck in
Nutzi Land) starring Donald Duck is the most notable
product of that era that mocked Hitler and won the Oscar
for best animated short film at the 15th Academy Awards.

Incidentally, Spike Jones and His City Slickers enjoyed a
popular hit in 1942 with their novelty song called "Der
Fuehrer’s Face" that became the inspiration for the cartoon.

Disney’s cooperation did result in his regaining full
control of his studio eight months after it had been
occupied by the Army.

Walt was so incensed at the National Council of
Christians and Jews, who were pressuring him to
produce a cartoon to promote unity in America by
depicting human prejudices, that not only did he flatly
refuse but he became inspired to help found the Motion
Picture Alliance for the Preservation of American Ideals
(MPA-PAI) whose membership included John Wayne,
Ward Bond, Robert Taylor, James Colburn, Hedda
Hopper, Gary Cooper, Adolph Menju and sixty-five other
stellar Hollywood personalities.

As vice-president of the MPA-PAI, Walt wrote to Robert
Rice Reynolds, the activist-isolationist Commie hunter
and Democratic Senator from North Carolina to get
support; and he asked the HUAC to investigate the
Communist control and influence in Hollywood.
Walt had had enough of the Jewish Commies and was ready to
take on the “Big Five” (Paramount, Loews, Warner
Brothers, 20 th Century Fox and RKO) head on.

Legal action was instigated against the “Big Five” with
Paramount in the legal sights of the Supreme Court. The
Supreme Court ruled that Paramount, and the other
Majors, were part of a Hollywood monopoly. They were
prohibited from expanding their holdings and control
over the production, distribution, and exhibition of
movies. So Walt finally had his day... for a while.
The actions taken by Disney, and the actions taken by the
various associations and patriots in Hollywood,
eventually led to the House Committee on Un-American
Activities investigating hundreds of Commies (mostly
Jewish). Many of the most notorious Communists were
voluntarily “blacklisted” by Hollywood, including the
Big Five, as a means of deflecting HUAC scrutiny that
could be directed at themselves. The ban on out-right
Communists lasted until about 1965 when many of the
“blacklisted” persons returned to Hollywood and began
assisting in the making of movies that “exposed” their "persecution.”
A Woody Allen's (real name: Allen Stewart Konigsberg)
movie titled, "The Front", was one such movie that
described how blacklisted Hollywood screenwriters used
the names of front-men to circumvent the blacklist and
kept on working.
By 1966 all of the blacklisted Jewish
Commies were back in a Hollywood that was firmly
under the control of Jews.

Walt was notorious for always being financially strapped,
hard as it may be to believe, but he found an ally in
billionaire Howard Hughes. Hughes had dabbled in the
motion picture business since the 1920s. He gained 25%
ownership of RKO Studios in 1948 and took a real
interest in movie making. By 1954 he had acquired near
total ownership of RKO and during his RKO years he
became a good friend and backer of Walt Disney.

Hughes loaned Walt millions of dollars, interest free, that
Walt used to expand his Buena Vista film distribution
company and Walt was able to pay back every penny he
had borrowed from Hughes along the way.
Hughes tired of his RKO money-losing toy and sold it off
six months after acquiring total control and realized a
personal profit of $6.5 million dollars; thus ending his twenty-five year affair with Hollywood.
Hughes had nearly run
RKO into the ground before the General Tire and Rubber
Company, which purchased RKO from Hughes, finally
killed the studio off through “mismanagement.”

Walt, having become weary of fighting Jewish controlled
Hollywood all the time, turned over control of Disney
Studios to his spineless brother, Roy, and pursued his
dream of creating an amusement theme park.
Disneyland, located in Anaheim, California, opened in 1955. But
before turning total control over to Roy, Walt realized
success in the new television phenomena of the 1950s
with his Mickey Mouse Club, amongst other television
ventures, that were basically excellent advertisements for
his hugely successful theme park.

Walt died in 1966 leaving spineless Roy without an
advisory mentor and by 1984 the Disney empire had
become completely owned and controlled by Jews such
as Michael Eisner, Frank Wells, Jeffrey Katzenberg,
Richard Frank and David Hoberman.

So, in summation, it was Darrell Zanuck, Walt Disney,
and Howard Hughes who were the only major
Hollywood studio owners in the history of Hollywood
and it isn’t likely that there will ever be any more unless
the Jewish cronyism in Hollywood is dismantled.
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