Nigga lubbin joo Bill Maher & co. 'The Problem With Racism Is Matt Drudge'

voiceofreason

Senior News Editor since 2011
http://dailycaller.com/2012/06/16/bill-maher-finds-six-black-men-to-deem-matt-drudge-racist-video/

Bill Maher finds six black men to deem Matt Drudge racist [VIDEO]
Published: 7:56 AM 06/16/2012

On his weekly show on Friday night, HBO host Bill Maher suggested that the content that appears on the Drudge Report obviously demonstrates “racism in America.”

In objecting to accusations of racism against Gwyneth Paltrow for a a June 1 tweet with the heading “Ni**as in paris for real,” Maher directed his audience to Matt Drudge as a foil for, in his mind, actual racism.

Maher’s evidence of Drudge’s alleged racism came in the form of six images of black men, which appeared on the webmaster’s website, the Drudge Report, during the month of April.

“The problem with racism is Matt Drudge,” Maher said. “I pick from Matt Drudge’s website — just this, over a month we monitored this. Just show some of the pictures that were on — there, Mike Tyson looking like he’s going to eat your head. Oh yes, Louis Farrakhan — because he’s so relevant now. Oh, and Marion Barry, he’s in the news also. Oh yes, Rev. Wright, because he matters to your life so much. This is who appears on the Drudge Report. Oh yes, and there’s Al Sharpton telling Eric Holder what he should do, and Michael Jordan angry, because that’s how we all remember him. This is racism in America.”

While Maher mocked the images, he neglected to provide context for the stories Drudge attached to the pictures — nor did Maher explain why he went all the way back to the month of April for his examples.

Additionally, the HBO host overplayed the images’ prominence, as shown from research based on the Drudge Report Archives:

The Mike Tyson image accompanied an April 12 story in which the former boxer expressed disgust at the fact that George Zimmerman, the Florida man charged in the murder of Trayvon Martin, had not yet been shot.
The Louis Farrakhan picture was attached to an April 17 story in which the black nationalist heaped praise on conservative commentator Pat Buchanan — calling him a “great Republican.”
On April 5, a picture of Marion Barry was featured atop a story of the D.C. Council member and former D.C. mayor expressing anger at the District’s Asian-American community for opening businesses in the city, instead of African Americans. “We got to do something about these Asians coming in and opening up businesses and dirty shops,” Barry said. “They ought to go. I’m going to say that right now. But we need African-American businesspeople to be able to take their places, too.”
The picture of MSNBC host Al Sharpton and Attorney General Eric Holder appeared on April 11, with a story about Holder praising the left-wing activist for his efforts — protesting and rallying — on behalf of slain Florida teen Trayvon Martin.
Rev. Jeremiah Wright’s picture was featured with an April 10 story about the president’s former pastor claiming that “white supremacy” is driving “world policy” and that Supreme Court Justice Clarence Thomas worships “some other god.
April 27’s Michael Jordan picture appeared with a story about how the Charlotte Bobcats’ basketball team owner presided over the “NBA’s worst team ever.”



http://www.youtube.com/watch?v=twIz8cKh3jM
 
Anything that tard Maher has to say has been on my "ignore" list for many years. He's an idiot. Not just any idiot-he's one of the hardcore limousine, elitist libs. You won't ever see him anywhere around the kind of people he claims to champion.
 
I feel the same way you do, which is why I will not be around when he comes on tv. I leave. He's wasting air by breathing and electricity and other valuable resources by being in the media.
 
Ever notice how the biggest nigger-lovers in the Western world are the ones who don't have a real job? That's right, the politicians and talking-heads! They never have any daily contact with niggers or spics. They have never had to stand in line with one of the stinking, twitching, mumbling savages; gone to see a movie with a tribe of them hooting and hollering at the top of their lungs; never had to eat in the same restaurant with the disgusting, slobbering, loud-mouthed beasts; never had some rusting ghetto sled cut them off in traffic, etc. etc. etc.

When "The Day of the Rope" arrives, these anti-White, nigger-enabling, race-traitors will be the first to swing.
 
That really is true, Rasp. A good example would be Obongo's election results. The media acted astounded that states which were majority or nearly all-White would vote for the Kenyan. It didn't surprise me at all. Those were the ones with the least personal coontact with niggers and who believe that the Cosby Show is how niggers really are.

I, for one, would like to see the election results for the Whites living in niggerfuxated areas. In fact, I think I might see if I can dig those numbers up.
 
That really is true, Rasp. A good example would be Obongo's election results. The media acted astounded that states which were majority or nearly all-White would vote for the Kenyan. It didn't surprise me at all. Those were the ones with the least personal coontact with niggers and who believe that the Cosby Show is how niggers really are.

I, for one, would like to see the election results for the Whites living in niggerfuxated areas. In fact, I think I might see if I can dig those numbers up.

Unfortunately, you are right. Many of us whites watched Fat Albert, the Jeffersons and Good Times and naively thought that that was the way the majority of jiggaboos lived. Well it isn't so. They live like rats and foul their nests like rats. Like rats they are content to live in their filth and wastes.:barf9:

White America, :rip:
 
The television has been the hypodermic by which we have been injected with brain poison for at least 50 years.
 
Unfortunately, you are right. Many of us whites watched Fat Albert, the Jeffersons and Good Times and naively thought that that was the way the majority of jiggaboos lived. Well it isn't so. They live like rats and foul their nests like rats. Like rats they are content to live in their filth and wastes.:barf9:

White America, :rip:

HAHA, Good Times has to be the most unrealistic portrayal of ghetto life in da projects that there is but I, too, remember that show. It was part of the Norman Lear parade of jewthink social engineering shows of the 70s/80s. Of course, yours truly was a guinea pig in the social experiment of busing and got to learn about niggers and TNB early on. Believe me, first grade sproglets are just as bad as the grown up nigs.

I agree with Dragases-television is a poison and, unfortunately, too many believe that it is real. I do like watching The First 48, though....and niggers star in it every single time.;)
 
Thankfully I stopped watching the idiot box back in High School, but even then they were throwing in token niggers on nearly every show. The first race-mixing show that I know of was with Lucille Ball and Spicky Ricardo Arnez. After that they had a shegroid on Star Trek, the Mod Squad had some afroed-ape in a starring role. Hogan's Heroes had a nigger and at least one fag. There were some godawful shows on back then, Flip Wilson, Chico and the Man, Sanford and Son, etc.

The worst of the shows were sort of twins of each other, a White liberal with White daughter adopts two niglets from the projects and the other was an exclusive female boarding school with a fat niglet bitch named something like Tootie. In these two the writers were careful to give the niggers all the funny lines and to make the Whites look like buffoons. I'm assuming that the Will Smiff show used a similar model, but I never saw that one. Far and away the worst of the brainwashing shows was the one geared toward children with the fuzzy puppets all living on the same street in the hood and behind every corner was some spic or junglebunny talking jive; they were trying to teach our kids spic-speak way back then I do recall.

So when did we lose control of the televitz? Study the time line and look for the intrusion of shows like those mentioned above and when they first entered into the prime time lineup. We lost Hollywood pre-1940 and our control of the airwaves was lost before 1970.
 
Diff'rent Strokes is an American television sitcom that aired on NBC from November 3, 1978 to May 4, 1985, and on ABC from September 27, 1985 to March 7, 1986. The series stars Gary Coleman and Todd Bridges as Arnold and Willis Jackson, two African American boys from Harlem who are taken in by a rich white Park Avenue businessman named Phillip Drummond (Conrad Bain) and his daughter Kimberly (Dana Plato), for whom their deceased mother previously worked.[1][2] During the first season and first half of the second season, Charlotte Rae also starred as the Drummonds' housekeeper, Mrs. Garrett (who ultimately spun-off into her own successful show, The Facts of Life).
http://en.wikipedia.org/wiki/Diff'rent_Strokes

BTW, Dana Plato committed suicide after years of drug abuse and making softcore lesbo porn movies. The TNB rubbed off on her, I guess.

The spinoff show mentioned above is the other one you mentioned, Rasp:

The Facts of Life is an American sitcom that originally ran on the NBC television network from August 24, 1979, to May 7, 1988. A spin-off of the sitcom Diff'rent Strokes, the series' premise focused on Edna Garrett (Charlotte Rae) as she becomes a housemother (and after the second season, dietitian as well) at the fictional Eastland School, an all-female boarding school in Peekskill, New York.[1]

Kim Fields ... Dorothy "Tootie" Ramsey
http://en.wikipedia.org/wiki/The_Facts_of_Life_(TV_series)
 
http://www.thepoliticalcesspool.org...motion-picture-heavyweights-like-walt-disney/

What happened to motion picture heavyweights like Walt Disney?
Category: Jews, The Media, Whites - The Real Minority

In light of word about this year’s Christmas Day release of the anti-White movie Django Unchained, I thought it would be appropriate to once again take a look back at the legacy of Walt Disney.

I can oftentimes be heard on my radio program discussing the heroes and geniuses of Western Civilization and offering commentary on why it’s important for us to have heroes. I am usually talking about figures of historical antiquity, but relatively modern day heroes can be found as well, and I count Walt Disney among them.

The man’s creativity and ingenuity has found no peer in the entertainment world before or since his passing. Even to this day I still am an annual pass holder to Walt Disney World in Orlando. Walt’s crowning achievement, Epcot, is simply the most magnificent theme park ever constructed. I’ve had more good times there than I can count.

It has also long been rumored that Walt Disney held some pretty traditional paleoconservative political viewpoints. Along those lines, I found this 60th anniversary review of Dumbo particularly interesting:

At the time of its release in 1941, Dumbo was hailed by critics as Disney’s least pretentious work. Nothing in the movie heralded a technical breakthrough, as the studio had done with Pinocchio (1940) and Snow White and the Seven Dwarfs (1937). And certainly nothing in Dumbo can match the computerized wizardry of modern Disney “classics” like The Lion King (1994). Despite their merits, however, these other films do not come close to achieving Dumbo’s raw power. Indeed, the little elephant with the big ears, who wants only to reunite with his mother, has moved audiences like few other Disney protagonists (a notable exception being the young buck Bambi in the 1947 film of the same name). And Dumbo’s compelling narrative provides a forum for Disney’s more extremist views.

Watching Dumbo as a kid, I didn’t question its content or probe for meaning beyond the elephant’s tale. Only after revisiting the film as a young adult have I been able to see why it was “special to Walt Disney,” according to critic Richard Schickel, in his book, The Disney Version. Published roughly 20 years ago, this book angered many Disney fans by suggesting that Walt — born 100 years ago December 5 — was less than perfect. The book portrays the artist as a paranoid man, and not a little contemptuous of his colleagues, particularly the numerous Jewish moguls who reigned in Hollywood during the 1930s, ’40s, and ’50s. According to Schickel, Dumbo reflects Walt Disney’s deepest convictions regarding the United States and its entry into WWII. The titular protagonist represents the innocence of the heartland, where Disney himself grew up, and his story reflects how this innocence comes under attack by “political forces” abroad and “subversive elements” at home.

[Snip]

In his suffering at the hands of the ringmaster and his own fellow pachyderms, Dumbo functions as Disney’s own alter ego. Indeed, Disney saw himself as a victim in the three-ring circus that was Hollywood. He felt that the Hollywood studio system of the ’30s and ’40s threatened his creative control. The studio heads he opposed included Louis B. Mayer at MGM, Jack Warner at Warner Bros., and Harry Cohn at Columbia. Each had a vested interest in Disney’s animation empire and was eager to buy him out. Though often pressed for money, Disney refused their offers. In particular, he resented Harry Cohn’s so-called “ruthless” tactics. In his book, Disney’s World, critic Leonard Mosely recalls an incident in which Disney, referring to Cohn, vowed never to “let that fat Jew rescue me from bankruptcy.”

Disney projected his own sense of alienation onto “others” in Hollywood, namely, Jews, blacks, and union workers. In retaliation against the studio moguls, who were predominantly Jewish, he refused to employ Jews in high-level positions at his studio or as actors in his live-action features. Not until 1969, two years after Disney’s death, did a Jewish actor, Buddy Hackett, feature prominently in a Disney film, The Love Bug. Disney Studios also denied black workers even minimal opportunities, as technicians and support personnel. Such racism is apparent in the crow sequence in Dumbo. Appearing well outside the circus limits, the black caricatures are shown to be anonymous members of a marginal group. Only one is given a name, “Jim Crow.” Even as outsiders, however, the crows still manage to torment poor Dumbo.

Mosely reports that Disney saw union workers as a third parasitic subset of U.S. society. It is significant that many of Disney’s employees had gone on strike in the spring of 1941, costing his studio some $2 million and paralyzing operations for almost three months. The release date for Dumbo had to be pushed back several months, awaiting final changes that could only be made after production resumed. These changes included the insertion of a new scene featuring drunken clowns. Thinly veiled caricatures of the strikers at Disney, they scheme to “hit the big boss [the ringmaster] for a raise.”

According to Mosley, Disney summed up many of his beliefs in an off-the-record attack against President Franklin D. Roosevelt, whose liberalism Walt opposed. Disney denounced Roosevelt for calling the 1900s the “Century of the Common Man.” “Balls!” Disney said. “It’s the century of the Jew, the union cutthroat, the fag, and the whore! And FDR and his National Labor Relations Board made it so!” Ironically, soon after Dumbo’s, release, Walt would turn his filmmaking efforts to the FDR’s war effort. However, Disney never ceased to see Roosevelt’s government as a threat or to resent the loss of creative control he had previously wielded over his projects. Disney’s subsequent efforts, for the next four years, consisted mainly of short cartoons commissioned by the government to boost wartime morale. In later decades, his work mellowed, taking on the cheerful, rather antiseptic cast of the ’50s and early ’60s, with cuddly live-action features and kiddy TV shows, such as Pollyanna and the Mickey Mouse Club. Dumbo now seems remarkable not only for its adorable child’s tale, but for its overt depiction of Disney’s peculiar brand of patriotism.

It’s hard to imagine a true American like Walt Disney ever making a movie like Django Unchained.

Needless to say, those who share Disney’s sentiments are no longer leading his company.
 
I found this 60th anniversary review of Dumbo particularly interesting:
...
According to Schickel, Dumbo reflects Walt Disney’s deepest convictions regarding the United States and its entry into WWII.
...
Disney projected his own sense of alienation onto “others” in Hollywood, namely, Jews, blacks, and union workers. In retaliation against the studio moguls, who were predominantly Jewish, he refused to employ Jews in high-level positions at his studio or as actors in his live-action features. Not until 1969, two years after Disney’s death, did a Jewish actor, Buddy Hackett, feature prominently in a Disney film, The Love Bug. Disney Studios also denied black workers even minimal opportunities, as technicians and support personnel. Such racism is apparent in the crow sequence in Dumbo. Appearing well outside the circus limits, the black caricatures are shown to be anonymous members of a marginal group. Only one is given a name, “Jim Crow.” Even as outsiders, however, the crows still manage to torment poor Dumbo.
Excellent thread.


Norman Lear is Ukrainian Jewish (part of Russia in Lear's early life), and he obviously hates Whites to elevate blacks.



Alfred Hitchcock borrowed Walt Disney's use of Jim Crow & black crows harassing White Dumbo as his black crow metaphors for violent blacks attacking Whites in his movie "The BIRDS".

Helen Aberson-Mayer, co-author of book about Dumbo & crows & Timothy the mouse, was Russian Jewish, born 1907 Syracuse, NY.


Lillian and Harold Michelson (Jewish cocreators of Zeitgeist Films) also worked on story in The BIRDS, and on Roman Polanski's “Rosemary’s Baby” (baby JJ Abrams)


I've often thought they have an inside "crow" joke. a bad joke on us.
 
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