Media control and censorship!

The mind-bending power of the masters of the media

The media-power in Great Britain and elsewhere

The Mind-Benders is an analysis of the media power in Great Britain. Written in 1997, it details how (and why) the information we receive via the media is censored and distorted. If we are to avoid insidious totalitarianism we must be aware of the enormous control over every form of mass media the Jews possess and – in any democratic society under such powerful influences – who are the real manipulators of political power.

Who controls Hollywood?

Since the vast majority of the films shown on British cinema and TV screens are imported from America, it is impossible to comment on the power of the mass media to mould and direct public opinion in Britain without looking at the ownership of the US movie industry, centred in Hollywood.

In his acclaimed book, An Empire of Their Own, How the Jews Invented Hollywood, Neal Gabler pointed to the Jewish origins of Hollywood, under movie pioneers such as Louis B. Mayer and Irving Thalberg. “Of 85 names engaged in production,” a 1936 survey noted, “53 are Jews. And the Jewish advantage holds in prestige as well as numbers.” Little has changed since then; in a recent Premiere magazine ‘Special Power Issue – ranking the 100 most powerful people in the ‘Industry’ – the top twelve were Jewish. No black or British industry executives were even ranked. Every so often, a Gentile journalist or actor comments on this, and is invariably forced to make a grovelling apology within a matter of hours.

Marlon Brando, for example, hit the headlines in April 1996 when he denounced the Jewish-run movie establishment for exploiting racial stereotypes, telling the Larry King Show that:

“We have seen the nigger, we have seen the greaseball, we have seen the chink, the slit-eyed dangerous Jap... but we never saw the kike because they know perfectly well that’s where you draw the wagons around... Hollywood is run by Jews, owned by Jews and they should have greater sensitivity.”


The largest media conglomerate is the Walt Disney Company, whose Chairman and CEO is Michael Eisner. The Disney empire, headed by a man described by one media analyst as “a control freak,” includes several television production companies (Walt Disney Television, Touchstone Television and Buena Vista Television), its own cable network and two video production companies.

As for feature films, the Walt Disney Picture Group, headed by Joe Roth, includes Touchstone Pictures, Hollywood Pictures and Caravan Pictures. Disney also owns Miramax Films, run by the Weinstein brothers.

When the Disney Company was run by the Gentile Disney family prior to its takeover by Eisner in 1984, it epitomised wholesome family entertainment. While it still holds the rights to various classic children’s favourites, under Eisner – whose personal fortune is estimated at $405 million – the company has expanded into the production of graphic sex and gratuitous violence. And Disney’s recent productions aimed at children have developed an extremely unhealthy ‘politically correct’ message. The much-hyped Pocahontas, for example, distorts historical fact out of all recognition in an unmistakable bid to inculcate an anti-white guilt complex in its young audiences. It is even rumoured that Eisner et al are planning to make a new production with a ‘Holocaust’ theme!

On the back of its film production, Disney has built a worldwide entertainment empire, owning Disneyland, Disney World, Epcot Center, Tokyo Disneyland and Euro Disney. The company sells well over a billion dollars worth of consumer products every year, principally books, toys and clothing. Some of the profits from this enormous operation funded Eisner’s 1995 takeover of Capital Cities/ABC Inc., to create a media conglomerate with annual sales of $16.5 billion. Capital Cities/ABC not only controls 235 TV stations in the United States, but also has extensive interests in European TV companies.


Probably even more influential than Disney is the international media leviathan Times Warner, Inc. Chairman of the Board and CEO is Gerald Levin. Warner Music is by far the world’s largest record company, with fifty labels, the biggest of which is Warner Brothers Records, headed by Danny Goldberg. Warner Music’s Interscope Records was an early promoter of ‘gangster rap,’ a genre with lyrics which explicitly encourage Blacks to commit acts of violence against Whites and treat women with callous contempt. These deeply unpleasant messages are often reinforced by video images courtesy of Stuart Hersch, President of the company’s video production operation, Warnervision.

In addition to music and huge interests in US cable TV, Time Warner is heavily involved in the production of feature films through Warner Brothers Studio. Its publishing division, dominated by Editor-in-Chief Norman Pearlstine, is the largest magazine publisher in the world.

Time Warner and Disney were among the most generous backers of Bill Clinton’s 1996 re-election campaign, a victory which, according to the Jewish Chronicle of 1st November, 1996, took “Jewish influence in Washington” to “historic highs.”

Time Warner’s Gerald Levin gained an enormous amount of extra power with his takeover of Turner Broadcasting System in 1996. Founded by self-made media tycoon Ted Turner, TBS included the highly influential TV news network CNN, an operation which for a few years provided a potential alternative to the otherwise completely Jewish-controlled American news network. Although Turner is a Gentile, his career – and the reaction of the rival media bosses to it – provide an important insight into the monopolistic attitude of the people who have developed a stranglehold on the electronic news and entertainment industry.

Having made a fortune in advertising and cable TV, in 1985 Turner made a bid to buy CBS – an acquisition which would have given him control of an enormous slice of the influential news broadcasting industry. Although Turner had employed a number of Jews in key executive positions in CNN and had never taken a public position contrary to Jewish interests, he is a man with a large ego and a strong personality, and was regarded by CBS Chairman William Paley and his fellow executives as uncontrollable: a loose cannon who might at some stage in the future give them problems. Furthermore, newsman Daniel Schorr, who had worked for Turner, publicly charged that his former boss held a personal dislike for Jews.

To block Turner’s bid, CBS executives invited billionaire theatre, hotel, insurance and cigarette magnate Laurence Tisch to launch a ‘friendly’ takeover of the company. This went ahead, with Tisch becoming the Chairman and CEO of CBS, removing any threat of non-Jewish influence there.

Turner now appears to have adopted the ‘if you can’t beat ‘em, join ‘em’ line. His sale of CNN to Time Warner means that the only rival to the network news operations is now also in the hands of the usual people.


Viacom, Inc, headed and 76 per cent owned by Sumner Redstone (born Murray Rothstein) is the third largest megamedia corporation in the US, with revenues of over $10 billion a year. As well as owning a major network of TV and radio stations, Viacom produces and distributes TV programmes, while feature films are handled by its subsidiary Paramount Pictures, headed by Sherry Lansing. Viacom is also involved in satellite broadcasting, theme parks and video games, and its 4,000-store Blockbuster video rental chain has branches throughout Britain.


Another major Hollywood power is MCA-Universal Pictures. For a while this was owned by the Japanese electronics firm Matsushita. Even though MCA’s former owner Lew Wasserman and his sidekick Sidney Sheinberg were kept on as the top executives, there was clearly concern in certain circles at the risk involved in not having such a studio under complete control. This unsatisfactory situation was, however, resolved early in 1996 when Canadian-based alcohol giant Seagram bought a controlling interest in MCA.

The Seagram empire was founded by Samuel Bronfman, who made his fortune shipping liquor to bootleggers during the Prohibition. The Chief Executive today is his grandson, president of the World Jewish Congress, Edgar Bronfman Jr. Seagram has long been a financial and organisational mainstay of the massively powerful Zionist lobby in North America, and its boss is well-known for his belief in the financial and opinion-forming power of ‘multi-media’ and related elements of the information superhighway. He is a close friend of Hollywood deal-broker Michael Ovitz. According to the Daily Telegraph of 6th January, 1997, Ovitz is often described as “Hollywood’s most powerful man.” On his recent resignation as president of Walt Disney, he received a severance package of $69.5 million.
Michael Ovitz
Michael Ovitz: “The most powerful man in Hollywood”

Sony – Columbia

Another Japanese company which put some noses out of joint by buying a chunk of Hollywood was Sony, which took over Victor Kaufman’s Columbia Pictures in 1989 for $3.4 billion and $1.2 billion in assumed debt. It is clear that the Japanese were only interested in the profits from successful movies and were quite happy to leave the everyday running to the ‘experts,’ but this did not stop a concerted media campaign against the perils of allowing the American entertainment industry to fall into the hands of outsiders! Headlines about “Pearl Harbor – the Sequel” were followed by the filming of Rising Sun, a thriller dealing with the relentless ambition of Japan and its threat to the US. Directed by Philip Kaufman – who managed to work into the script a scene of a Japanese playboy using a naked American girl as a dining table. This is the kind of crude incitement to racial hatred usually reserved for the wicked Germans.

Under attack from outside, Sony were also stung by the reckless and inexplicably incompetent management of Peter Guber, who had been recommended to run the show by Walter Yetkinoff, the Chairman of CBS Records. After a series of shattering flops, Sony were rumoured to be thinking of selling up. Discussing the fiasco, David Puttnam, who ran Columbia during the mid-eighties, gave an interesting insight into the mentality of their rivals: “The Japanese are probably congenitally incapable of managing a movie studio. That’s not to insult them, it’s simply a result of the very ordered way their minds work. I think the Germans are likely to also prove incapable of managing a movie studio.”

Puttnam went on to suggest that since all Sony needed was access to Columbia’s back catalogue and future best-sellers, the situation could be resolved by a clever lawyer who could ‘unbundle’ the company: “The unbundling will involve Sony hanging on to the core rights they require, with future production and investment taken over by someone else, someone probably more competent or more naive.”

In the meantime, things now seem to be pretty much in order, with Alan Levine heading the Sony Pictures Division, and the financial management of the Sony Corporation of America having been placed in the hands first of Michael Schulhof, and then of Sony’s US Executive Vice President, Jeff Sagansky. Lucy Fisher recently took over as acting Chairman of Columbia TriStar itself, following the removal of Mark Canton after a further series of box-office flops.

Dreamworks and others

Most of the smaller film production companies are also controlled by Jews. For example, New World Entertainment, described as “the premier independent TV program producer in the United States,” is owned by Ronald Perelman and chaired by Brandon Tartikoff (formerly the Head of Entertainment Programming at NBC).

Dreamworks SKG was formed in 1994 by recording industry mogul David Geffen (who lists his interests as “AIDS, Israel and other causes”), former Disney Pictures Chairman Jeffrey Katzenberg and film director Steven Spielberg. With the connections and wealth of these three, Dreamworks looks set to become a major force in the entertainment world.

A similar picture of massively disproportionate Jewish influence pertains throughout the US television, radio and newspaper industries, but these fall outside the scope of this study. An exception to this has to be the career of Aaron Spelling, since so many of his television programmes are shown on British TV – indeed all around the world. The Guinness Book of Records credits Spelling with having produced more hours of programming than anyone else on earth. The recipe for this remarkable success was described in the Sunday Telegraph Magazine of 29th September 1996 as “lush tales of sex, greed and venality, and thickened with handpicked casts of raffish swindlers and silicone-boosted ubervixens.” Spelling is responsible for such cultural masterpieces as Charlie’s Angels, Fantasy Island, Beverly Hills 90210 and Dynasty.

In answer to criticism that such programmes are lightweight pap, Spelling draws attention to productions such as And The Band Played On, which dealt with AIDS and explains the rationale behind his ‘softly-softly’ approach to social issues:

“Put out a documentary about teenage drug use and kids don’t watch it. But if you introduce the same subject in one of our programmes they will be talking about it the next day at school. We can make these topics relevant and approachable, and that is one of the things we are simply never given credit for.”

This is certainly true, but – with many of the subjects – what is deserved is not credit.

Spelling is known both as a compulsive liar and a recluse. His only party at his $45 million home in California was thrown in honour of the Prince of Wales as a personal favour for Spelling’s old friend Lew Wasserman, head of the giant MCA entertainment combine.