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David Geffen, Steven Spielberg, and Bill Clinton

by Dr. William Pierce
National Alliance Chairman
http://www.natall.com

I referred to Steven Spielberg's new film, Saving Private Ryan, in my
talk with you last week. We talked about the way in which that film --
and every other film about the Second World war which has come out of
Hollywood -- have perpetuated the myth -- the deliberate lie -- that
the Second World War was a necessary war and a good war. I mentioned
that the Jews have elaborated on this basic lie with their postwar
lies about lampshades and soap supposedly manufactured from the
corpses of millions of gassed Jews: poor, innocent, inoffensive,
sensitive, blameless, high-minded, talented, violin-playing Jews
murdered by the brutal, vicious, sadistic, Neanderthal Germans. That's
the standard Hollywood lie perpetuated by Jews like Steven Spielberg.
And the Jews use this lie to extort billions and billions and billions
of dollars from the rest of the world. Switzerland is their current
target, but believe me, they intend to suck the last drop of blood
from all the rest of us too.

I've spoken with you on several earlier programs about this extortion
racket and about the lies on which it is based. One subject we haven't
talked much about is the liars themselves, the extortionists, the
individual Jews behind the myth. Actually, quite a bit has been
written about these people. On a program a couple of months ago I
mentioned one book which gives an overview of the Jews' takeover of
Hollywood and their transformation of the motion-picture industry into
a propaganda tool for manipulating Americans. That book is Neil
Gabler's An Empire of their Own: How the Jews Invented Hollywood, and
it's available from National Vanguard Books, the sponsor of this
program. Just write for a copy of the National Vanguard Books catalog.

I just finished reading another book on the same general subject which
was published last year. It's Stephen Singular's biography of David
Geffen, and it's also available from National Vanguard Books. Have you
ever heard of David Geffen? He's the "G" in DreamWorks SKG. The "S" is
Steven Spielberg, and the "K" is Jeffrey Katzenberg. Geffen is a
Hollywood Jew who became a billionaire in the music business: records,
tapes, and CDs of rock, rap, and the other things which pass for
"music" these days. With his billions he formed a new film production
company -- DreamWorks SKG -- in 1994 with his good Jewish friends
Spielberg and Katzenberg, and now we're beginning to see some of their
products.

Stephen Singular's biography of Geffen is sympathetic. Singular writes
sympathetically about rich and powerful Jews generally. What makes his
biography of Geffen interesting for us is the view it gives us of the
world in which these rich Jews live. It is a world quite alien to
ours. Did you ever hear of Sammy Glick? He's the protagonist in a 1941
novel, What Makes Sammy Run?, by the Jewish Hollywood scriptwriter
Budd Schulberg. I read What Makes Sammy Run? when I was a freshman,
and the image of Sammy Glick has stuck in my mind ever since. Sammy
Glick is the prototypical Jewish hustler; the prototypical hungry,
young Jew on the way up; the prototypical Hollywood Jew: crude, crass,
grasping, manipulative, vulgar, unscrupulous, very verbal, willing to
do absolutely anything to advance his career and get his hands on more
money -- well, you get the picture. It's amazing that this Jewish
prototype was described so starkly for us by a Jew, Budd Schulberg.
Probably only a Jew could have given us such an insightful portrait.
Anyway, David Geffen is Sammy Glick. The only difference is that Sammy
Glick was a fictional character, and David Geffen is real. And Sammy
Glick was a heterosexual who liked shikses -- that is, Gentile girls
-- while David Geffen is a flaming homosexual.

And in fact, an amazingly large percentage of the Jews who control the
American cultural, fashion, and entertainment establishment are
homosexuals -- or at least, they were: AIDS has taken quite a toll of
them during the past decade. New York composer and conductor Leonard
Bernstein, for example. In 1992, when he publicly announced his
homosexuality after donating a million dollars to a homosexual
charity, Geffen said he kept a cardfile of 341 of his friends and
colleagues who had died of AIDS recently. Unfortunately, there still
are a lot of them left.

The Jewish crowd that Geffen runs around with -- people like fashion
mogul Calvin Klein and media mogul Barry Diller -- are referred to as
the "Velvet Mafia." One of the favorite hangouts for the Velvet Mafia
used to be a disco called Studio 54 in New York City. Studio 54 was
run by one of Geffen's homosexual Jewish friends, Steve Rubell, until
AIDS caught up with Rubell. The goings on at Studio 54 were really too
raunchy for me to describe on this program, but if you have a strong
stomach you can read about them in the Geffen biography or in another
book published last year titled The Last Party: Studio 54, Disco, and
the Culture of the Night, by Anthony Haden-Guest.

Not everyone who went to Studio 54 was Jewish or homosexual. Some of
the clientele were non-Jewish homosexuals, like Elton John, Truman
Capote, and Andy Warhol. Some were heterosexual Jews. And many were
wealthy heterosexual Gentiles in the fields of entertainment or
politics. The reason I suggest that you might be interested in looking
into the world of Studio 54 is that it provides a good sample of the
sort of morality and mind-set that prevail among rich Jews and their
rich Gentile hangers-on in Hollywood, Washington, and New York. It is
an utterly depraved world, a world where anything at all goes, so long
as it provides kicks.

No one who knows me would accuse me of being a prude or being
old-fashioned. I am sure, however, that my conviction that every
healthy society must have boundaries of decent behavior comes much
closer to the beliefs of most of my fellow citizens than does the
completely hedonistic, amoral, anything-goes attitude of these
self-appointed Jewish arbiters of American culture, as epitomized by
David Geffen, Steven Spielberg, and Jeffrey Katzenberg. In reading of
the goings on among Geffen and his friends at Studio 54 -- totally
nude men mingling with the clientele, public masturbation over piles
of money, and the like; really, I cannot describe for you on the air
the sort of depraved, degenerate behavior these people find amusing --
I am reminded of Rome in the first century, under Caligula and Nero,
and of Berlin during the Weimar Republic.

If these Jews kept strictly to themselves it would be bad enough, but
they have been able to corrupt a whole stratum of all-too-easily
corruptible Gentiles in entertainment and politics who have found the
Jews' money and power an irresistible attraction. Without any inner
moral compass to guide them, actors and actresses and politicians have
followed the lead of super-rich entertainment-industry Jews like David
Geffen. They form a sort of goyische entourage, attending the Jews'
parties, going to their clubs and discos, fascinated by the
conspicuous consumption and the outrageous excesses of their Jewish
hosts.

Currently the best example of this is the relationship between David
Geffen and Bill and Hillary Clinton. The Clintons have been in
Geffen's orbit since 1992, when the latter began contributing heavily
to Bill's campaign fund. Geffen became Hollywood's single largest
financial supporter of the Democratic Party, followed closely by his
partners Steven Spielberg and Jeffrey Katzenberg. Another big
supporter is Lew Wasserman, chairman emeritus of media giant MCA.
Geffen, incidentally, sold his own music company, Geffen Records,
which specializes in Black music for White kids, to Wasserman's
company in 1990 for $600 million. In addition to his personal
donations to the two Clinton Presidential campaigns, Geffen has
organized fund-raising events among his fellow Hollywood Jews which
have poured many millions of dollars into the Democratic coffers.

And the relationship has been social as well as financial. Often when
the Clintons have been in southern California Geffen has thrown
parties for them, and they have stayed in one of his mansions. And
when Geffen is in Washington, he often sleeps in the White House. And
Geffen is never shy about expressing his opinion on policy matters or
about giving advice to Clinton -- which helps us to understand why
Clinton has made the promotion of special rights for homosexuals such
a prominent part of his policy agenda.

Bill Clinton had adopted the morality of "if it feels good, do it" and
"anything goes" long before he met David Geffen, of course. Clinton is
a product of the 1960s cultural and moral revolution, and his behavior
in the White House has been pretty much the same as his earlier
behavior in the Arkansas statehouse. His association with David Geffen
and the latter's circle of rich Jewish media bosses has merely served
to confirm his conviction that his behavior really is smart and
fashionable.

In a broadcast a couple of months ago I gave an example of this amoral
attitude and the behavior it leads to. It's worth repeating that
example in connection with the Clinton-Geffen relationship. As I'm
sure you remember, Clinton gave a speech at Portland State University
in Oregon on June 13, in which he virtually gloated over the fact that
the immigration and welfare policies of the Federal government will
result in a non-White majority in America within the next 50 years. He
said that any opposition, any resistance, to this darkening of America
would be "un-American."

Right after his speech at Portland State University Clinton went to
Springfield, Oregon, and gave a speech at Thurston High School. This
is the school where a 15-year-old student had blown away 24 of his
classmates with a .22-calibre rifle a few days earlier. Clinton told
the parents, students, and teachers at Thurston High that he "felt
their pain," and he preached against the so-called "culture of
violence" which he said had led to so many schoolyard killings in
recent months. We must do whatever it takes to end this "culture of
violence" which leads kids to shoot each other, Clinton said.

Then, right after that speech, he hopped onto Air Force One for a
flight to Los Angeles, where he attended a big fund-raising party
being thrown for him that evening by one of Geffen's pals, Lew
Wasserman. He accepted almost a million dollars in donations from
Wasserman, Geffen, and the other Hollywood Jews at the party that
evening. Now, Wasserman's company, MCA, owns Interscope Records, among
a number of other record labels, and Interscope is the world's
foremost promoter and distributor of the Black musical genre known as
"gangsta' rap." Gangsta' rap lyrics customarily glorify criminal
violence, including rape and murder. Tupac Shakur, a gangsta' rapper
who was himself killed in a drive-by shooting in Las Vegas in 1997,
was one of Interscope's star performers.

So what's the connection? It's this: many observers of children's
behavior believe that gangsta' rap, with its glorification of
violence, has incited children to commit criminal acts. Because of
this there have been a number of protests against the companies, such
as Interscope, which promote gangsta' rap. Congressional hearings have
even been held, and pressure has been applied to the record companies
to stop producing gangsta' rap. In other words, there's no way Clinton
could have been unaware that the music being sold by Lew Wasserman's
company is considered by many knowledgeable people to play a major
role in creating the "culture of violence" that Clinton had decried in
his speech at Thurston High School in Springfield, Oregon, just hours
before arriving at Wasserman's house and greeting his host with a big
hug.

Now, let me emphasize this point. In March two young boys in
Jonesboro, Arkansas, 11 and 13 years old, had shot four of their girl
classmates and a female teacher to death in what seemed to be a
totally senseless killing spree. The whole nation heard about this.
Certainly, Mr Clinton did, because he made televised speeches about
it, decrying the "culture of violence" that he said was responsible
for the Jonesboro killings, just as he would later blame the same
"culture of violence" for the Springfield, Oregon, killings. And you
know, this appears to be one of the few times Mr. Clinton has been
right about something, because the English teacher of one of the
Jonesboro killers, 13-year-old Mitchell Johnson, testified before a
U.S. Senate committee in Washington about the influence gangsta' rap
had had on the boy. Mitchell's English teacher, Debbie Pelley, told
the senators that she had noticed Mitchell's behavior begin changing
in the months before the shootings, when he began listening to
gangsta' rap recordings. His teacher told the Senate committee:
"Mitchell brought this music to school with him, listened to it on the
bus, tried listening to it in classes. . . . He was far more into this
music than anyone else his friends knew."

Young Mitchell's favorite rapper was Tupac Shakur, according to his
teacher. The CDs that 13-year-old Mitchell Johnson brought to school
and listened to on the school bus, CDs that glorify rape and murder
and are a big part of the "culture of violence" to which young
Americans are exposed and which Mr. Clinton has blamed for the plague
of schoolyard killings in America -- these gangsta' rap CDs were sold
to Mitchell by Lew Wasserman's company, Interscope Records.

Debbie Pelley told the U.S. Senate in her testimony in Washington that
the 13-year-old White boy would sing along with the lyrics as he
listened to Black rapper Tupac Shakur sing about "coming to school and
killing all the kids." Debbie Pelley saw the transformation of
Mitchell Johnson with her own eyes; she witnessed the effect of
gangsta' rap on him; and she was lucky not to have been killed herself
when the 13-year-old did, in fact, come to school and begin killing
all the kids. And she testified to all of this in Washington. And yet
Mr. Clinton is not ashamed to party with Lew Wasserman and to accept
money from him. And the reason he's not ashamed is that he knows he
won't be called to account for it. He knows that the Jews who control
the news media won't even tell the public about the connection between
Bill Clinton, Lew Wasserman, and Tupac Shakur. They may criticize him
for taking campaign contributions from Chinese gangsters and
Indonesian bankers, but they will never criticize him for taking money
from Jewish promoters of gangsta' rap. Never, never, never. And so the
lemmings, who are willing to forgive Bill Clinton if he gives even the
flimsiest explanation of how his semen got on Monica Lewinsky's dress
-- the lemmings will never even hear about the significance of his
taking money from Lew Wasserman and David Geffen.

Part of what's interesting about all of this is what it tells us about
America's political elite, which has become thoroughly acclimated to
operating in this Jewish environment, this environment of Jewish money
and Jewish media control. Well over half of all the money the
Democratic Party raises for its candidates comes from the tiny Jewish
minority in America: a minority which has accumulated a vastly
disproportionate share of America's wealth. And a substantial part of
the donations from Jews comes from a relatively few extremely rich
Jews associated with the entertainment industry in Los Angeles and New
York. And of course, there are strings attached to all of this money.
It buys not only sleepovers in the White House: it buys access and
influence. It buys appointments to government office. That's one of
the reasons that two-thirds of the advisors, speechwriters,
legislative assistants, lawyers, press secretaries, and so forth
around Bill Clinton in the White House are Jews. Our government, our
politicians, accept this situation as normal. It doesn't bother them
-- just so long as they get their share of Jewish money.

And even more interesting is the fact that America's popular culture
has been shaped to a very large extent by Jews for the past 60 years
or so. Today these Jews are men like David Geffen and Lew Wasserman
and Steven Spielberg and the Weinstein brothers: Geffen and Wasserman
in popular music and Spielberg and the Weinsteins in films. Not all of
the music is gangsta' rap, of course, and not all the films are the
sort of obvious filth the Weinstein brothers produce for Michael
Eisner's Disney Company -- but it's all poison. Everything that these
Jews touch is poisoned by them in one way or another. The whole
movement in popular music which has replaced White music with Black
music -- which has promoted and popularized Black music among young
Whites -- has been orchestrated by Jews. The use of films to condition
White Americans to accept racial mixing and interracial sex and
homosexuality has been almost entirely a Jewish operation, just as the
use of films earlier to incite hatred against Germany and to portray
Jews as the world's most deserving victims was a Jewish operation.

Do you think that the type of music David Geffen promotes isn't
influenced by the fact that he is a homosexual and a Jew? Do you think
that the sort of people who are accustomed to hanging around places
like Studio 54 and applauding the grossest sort of degeneracy can
still make healthy decisions about the directions American popular
culture and American fashion should take?

Anyway, it's considerations of this sort which make it worth our while
to learn about what the David Geffens in our society are doing.

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The text above is based on a broadcast of the American Dissident
Voices radio program sponsored by National Vanguard Books.
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