The JQ, No Punches Pulled, Part 1

I’ve been going over some older books lately, and as such, I’m going to be quoting from a couple. 2 in general. Henry Ford’s, “The International Jew”, as well the Protocols of the Learned Elders of Zion. There’s a wealth of information, but you won’t find anything audible, that’s for sure. Hell, most books regarding this topic are hard, or expensive to get in the land of so called, free expression.

Firstly, what is the “Jewish question”? How old is it? Is it a code word for hatred of Jewish people? Is it pure envy? No on all accounts. The questions that arise when discussing Jews are ones of honest inquiry. They’re observations and connections that when made in polite society seem to create an unease, if not full blown hostility. It’s as if gentiles/Goyim have been trained to reject anything negative towards this particular people.

The first Jewish question comes from their fantastic success in all endeavors, regardless of their extreme minority, and often times, legal restrictions. I’ve often said they control, not just prosper from many industry. I think it’s just plainly obvious, yet I’m the hater. According to Ford their control over the means of theatrical, movie, and magazine “entertainment” was wholly Jewish, in the 1920’s when he wrote.

“The Theater has long been a part of the Jewish program for guidance of public taste and the influencing of the public mind. Not only is the Theater given a special place in the program of the Protocols, but it is the instant ally night by night and week by week of any idea which the “power behind the scenes” wishes to put forth. It is not by accident that in Russia, where they now have scarcely anything else, the still have the Theater, specially revived, stimulated and supported by Jewish-Bolshevists because they believe in the Theater just as they believe in the Press; it is one of the two great means of molding popular opinion.”

There’s the Bolshevik theater appraisal of Mr Ford. I love his candor, and boldness of speech. It’s so refreshing compared to the pablum that passes for literature today. What’s vital to understand, and what Ford instinctively sees, is that the whole tradition of the theater is part of this gypsy people’s culture. It’s also a means for subversion against the host country that happens to be backstabbed, and leached off of.

The theater is just the pre runner of the movie industry. Denying Jewish domination in Hollyweird today is just ridiculous, but Ford saw it clearly in his time.

“Not only the “legitimate” stage, so-called, but the motion picture industry — the fifth greatest of all the great industries — is also Jew-controlled, not in spots only, not 50 per cent merely, but entirely; with the natural consequence that now the world is in arms against the trivializing and demoralizing influences of that form of entertainment as at present managed.

As soon as the Jew gained control of American liquor, we had a liquor problem with drastic consequences. As soon as the Jew gained control of the “movies,” we had a movie problem, the consequences of which are not yet visible. It is the genius of that race to create problems of a moral character in whatever business they achieve a majority.”

Well Henry, we’re seeing the very “visible” consequences all over the culture. A prime time network show called, Lucifer, and he’s the star. Our culture is utterly disgusting. Between black power riots, and gay pride parades, we’ve been totally swindled out of democracy. Stolen right from under our own control. The information molders convince us that pandemics are happening and we buy it hook line and sinker. No questions asked. No evidence offered. If this ain’t the consequence he warned of, what is?

So, in Mr Ford’s opinion, what was the JQ?

“Here in the United States it is the fact of this remarkable minority — a sparse Jewish ingredient of three per cent in a nation of 110,000,000 — attaining in 50 years a degree of control that would be impossible to a ten times larger group of any other race, that creates the Jewish Question here. Three per cent of any other people would scarcely occasion comment, because we could not meet with a representative of them wherever we went in high places — in the innermost secrecy of the councils of the Big Four at Versailles; in the supreme court; in the councils of the White House; in the vast dispositions of world finance — wherever there is power to get or use. Yet we meet the Jew everywhere in the upper circles, literally everywhere there is power. He has the brains, the initiative, the penetrative vision which almost automatically project him to the top, and as a consequence he is more marked than any other race.

And that is where the Jewish Question begins. It begins in very simple terms — How does the Jew so habitually and so resistlessly gravitate to the highest places? What puts him there? Why is he put there? What does he do there? What does the fact of his being there mean to the world?”

Sounds pretty reasonable to me. Certainly today, with their position in the world being so much greater, and their censorship is unbelievable. The fact that this book is banned in tons of Western countries lets you know how important it is. All banned books are dangerous to those who want them banned. Could it be more obvious with the Jews. They shrink from the slighted bit of scrutiny, yet there’s hardly a matter on Earth where they aren’t opinionated towards one way or the other. The judge all non Jews with self righteous superiority. They accept not even the slightest criticism. For such a bold, and supremacist people, they seem to be lacking in actual self esteem.

Here’s another little gem from Ford.

“Who stands at the apex of this mountain of control? It is stated in the sentence: The motion picture influence of the United States — and Canada — is exclusively under the control, moral and financial, of the Jewish manipulators of the public mind.”

Oh but Ford furnishes us names, titles, and an idea of the full picture.

“Who is who in the motion picture world? The names of the leading producing companies are widely known: The Famous Players; Selznick; Selwyn; Goldwyn; Fox Film Company; The Jesse L. Lasky Feature Play Company; United Artists’ Corporation; The Universal Film Company; The Metro; Vitagraph; Seligs; Thomas H. Ince Studios; Artcraft; Paramount, and so on.

The Famous Players is headed by Adolph Zukor. Mr. Zukor is a Hungarian Jew. He was a fur dealer in Hester street, and is said to have gone from house to house selling his goods. With his first savings he went into the “nickel” theater business with Marcus Loew. He is still in his forties and immensely wealthy. He is conceded to be the leader of the fifth largest industry in the world — an industry which is really the greatest educational and propagandist device every discovered.

The reader will not be deceived by the use of the word “educational” in this connection. Movies are educational, but so are schools of crime. It is just because the movies are educational in a menacing way that they come in for scrutiny.

Zukor’s control extends over such well-known names as Famous Players-Lasky Corporation, The Oliver Morosco Photoplay Company, Paramount Pictures Corporation, Artcraft Pictures, all of which have been absorbed within the past five years.

It is commonly supposed that the United Artists’ Corporation is a non-Jewish concern, but according to an article in the American Hebrew, the head of this photoplay aggregation is Hiram Abrams. The United Artists’ Corporation was formed several years ago by the Big Four among the actors — Mary Pickford, Douglas Fairbanks, Charlie Chaplin and David Wark Griffith, and notwithstanding the fact that Charlie Chaplin is a Jew, the company was regarded by the public as being non-Jewish. Hiram Abrams is a former Portland, Oregon newsboy and graduated from that wholesome occupation into the position of manager of a “penny arcade.” He was one of the founders of the Paramount Pictures Corporation and became its president.

The Fox Film Corporation and the Fox circuit of theaters are under control of another Hungarian Jew who is known to the American public as William Fox. His original name is said to be Fuchs.

He also began his artistic and managerial career by running a “penny arcade.” The penny arcade of 15 and 20 years ago, as most city-bred men will remember, was a “peep show” whose lure was lithographed lewdness but which never yielded quite as much pornography as it promised.”

Well, sorry bout the long quote but it says a lot. Henry Ford was no bumpkin. He was bumping shoulders with the global elite. He might have been kept at arms length, but he knew this disgusting underworld. We really have been foolish for ignoring 100 year old warning like few others. All of Ford’s concerns have only become far worse, and in many cases, their plans have far exceeded what Ford could even imagine in his time. He did however witness the Russian destruction with the Bolsheviks in short order. I still doubt he thought America could fall so fast.

This question has been too important, and too stifled for far too long. Let this be the beginning of a series. Trust me, there’s far more to come.

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