Sean Carlisle
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Does anyone remember the TV show called the Jetson's?
The Jetsons
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Solomon Kane
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yes.
Sean Carlisle
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A friend tried to tell me Rosie the maid was a negro. I told him Rosie was not a negro and she was a robot anyway, not a person. He brought up the fact that all the characters were just drawn figures so I guess that gave the issue a totally different perspective.
This was a great show and its hard to believe such an insightful program was actually produced way back in 1962. Let's just say none of the characters were black. What would that say about the future Deus?
This was a great show and its hard to believe such an insightful program was actually produced way back in 1962. Let's just say none of the characters were black. What would that say about the future Deus?
I used to watch The Jetsons. The Flintstones was another great cartoon show. There were so many good comedy shows in general in the 1960s. Many are still in syndication on one cable network or another and are still funnier than the vast majority of what's passed off as comedy today, about 99 percent of which consists ofexcrement and genital references designed to keep both children andadults as infantile in their tastes and references as possible.
Black characters were rare on just about all shows well into the '60s. Bill Cosby was the first black to be the co-leading actor in a series, "I Spy" in '65. Diann Carroll was the first black leading actress a few years later. The explosion in black characters began in '67 and really took off in the fateful year of 1968 when the Permanent Cultural Revolution from above was institutionalized.
Almost overnight blacks went from being non-existent in commercials to the kind of over-representation we see today, though not of course as extreme. That was also the time when white girls and womenwent from beingtypically sweet and comfortable in their femininity and sexuality and their roles in life to being pulled very hard toward the extremely radical, openly man-hating hagsof the Jewish conceived and run feminist movement.
The foisting of blacks in an in-your-face manner along with the sudden emergence of a militant feminism motivated by extreme anger and hatred of white men (but not black men) was a one-two punch designed to weaken and destroy the white family by tearing asunder the strong bonds and natural harmony thathad always existedbetween white men and women in America.
The transformation of the white father, heretofore the head of the household, into a helpless buffoon more worthyof pity than respect, was all partand parcel of the m.o. when the innocent mores and happy times of the 1950s and early '60s were methodically attacked and softened so as toprepare the wayfor a deluge of pornography along with vicious attacks on every traditional way of life Americans had always believed in and enjoyed. Part of that attack was to make anyone who stood up to the "cool" people,the nihilists,appear to be geeks, or hopelessly backward in their thinking, or racist, or mentally disturbed, or overly devoted to Jesus Christ, and many other negative portrayals of normal, healthy young white children and young adults. The need to feel "cool" and "accepted" is very strong among the young, who are as playdo in the hands of the ancient forces of diabolical cunningwhich control the mass media. Edited by: Don Wassall
Black characters were rare on just about all shows well into the '60s. Bill Cosby was the first black to be the co-leading actor in a series, "I Spy" in '65. Diann Carroll was the first black leading actress a few years later. The explosion in black characters began in '67 and really took off in the fateful year of 1968 when the Permanent Cultural Revolution from above was institutionalized.
Almost overnight blacks went from being non-existent in commercials to the kind of over-representation we see today, though not of course as extreme. That was also the time when white girls and womenwent from beingtypically sweet and comfortable in their femininity and sexuality and their roles in life to being pulled very hard toward the extremely radical, openly man-hating hagsof the Jewish conceived and run feminist movement.
The foisting of blacks in an in-your-face manner along with the sudden emergence of a militant feminism motivated by extreme anger and hatred of white men (but not black men) was a one-two punch designed to weaken and destroy the white family by tearing asunder the strong bonds and natural harmony thathad always existedbetween white men and women in America.
The transformation of the white father, heretofore the head of the household, into a helpless buffoon more worthyof pity than respect, was all partand parcel of the m.o. when the innocent mores and happy times of the 1950s and early '60s were methodically attacked and softened so as toprepare the wayfor a deluge of pornography along with vicious attacks on every traditional way of life Americans had always believed in and enjoyed. Part of that attack was to make anyone who stood up to the "cool" people,the nihilists,appear to be geeks, or hopelessly backward in their thinking, or racist, or mentally disturbed, or overly devoted to Jesus Christ, and many other negative portrayals of normal, healthy young white children and young adults. The need to feel "cool" and "accepted" is very strong among the young, who are as playdo in the hands of the ancient forces of diabolical cunningwhich control the mass media. Edited by: Don Wassall
sport historian
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I too, watched the Jetsons every week, as well as The Flintstones. Don's description in the change in TV programming is right on target. The 1968-69 TV season was when you started seeing black characters all over prime time TV. The notable feature at this time, was that blacks were shown as being identical to middle class white people. Also, black TV characters would be doctors, lawyers, scientists etc.
You might check out an article by Roger McGrath in the August Chronicles Magazine. The theme is that TV has been a negative thing. About 1950's TV, Dr. McGrath writes:
"Some look back upon the 1950's as the golden age of television. Although there was fine work produced for television, most of it was formulaic inanity. I suspect one element in the destruction of the Western as a genre for movies was the many TV Westerns. Most of them were sanitized versions of morality plays with little or nothing to do with the real Old West. Indians, Mexicans, and Chinese were alweays portrayed not only as victims of white injustice but patient, persevering, honorable, and stoic. They were just like the best of us--except that they were perfect. The bad guys were nearly always white. The heroes were nearly always white, too, but their actions portrayed as virtous often smacked of political correctness. These characters were, after all, creations of Hollywood writers, who frequently were leftists with political and social agendas."
A year ago, I purchased the DVD for the first (1957-58) season of "Have Gun Will Travel," starring Richard Boone as "Paladin." In a lot of episodes, Paladin was rescuing Indians, Mexicans, or Chinese, from evil white people. It is just as Roger McGrath wrote.
You might check out an article by Roger McGrath in the August Chronicles Magazine. The theme is that TV has been a negative thing. About 1950's TV, Dr. McGrath writes:
"Some look back upon the 1950's as the golden age of television. Although there was fine work produced for television, most of it was formulaic inanity. I suspect one element in the destruction of the Western as a genre for movies was the many TV Westerns. Most of them were sanitized versions of morality plays with little or nothing to do with the real Old West. Indians, Mexicans, and Chinese were alweays portrayed not only as victims of white injustice but patient, persevering, honorable, and stoic. They were just like the best of us--except that they were perfect. The bad guys were nearly always white. The heroes were nearly always white, too, but their actions portrayed as virtous often smacked of political correctness. These characters were, after all, creations of Hollywood writers, who frequently were leftists with political and social agendas."
A year ago, I purchased the DVD for the first (1957-58) season of "Have Gun Will Travel," starring Richard Boone as "Paladin." In a lot of episodes, Paladin was rescuing Indians, Mexicans, or Chinese, from evil white people. It is just as Roger McGrath wrote.
Sean Carlisle
Guru
Back in those days they did not have the advantage of computer animation and other modern technologies to create shows. These shows like the original Star Trek and Land of the lost for example may seem a bit simplistic with card board props and simplistic sound effects and super imposed screen shots and whatnot but they were actually better in my opinion because they relied almost entirely on the writers' imaginations and creative writing or put simply good old fashion hard work.
screamingeagle
Mentor
I warned you guys that "Have Gun Will Travel" was a PC show ahead of its time. That is why I am finding it fascinating.
The end of the western came because, many of the sets were being destroyed by urban spawl, many actors could not ride a horse, and the spy genre became popular, and you can do the same stories cheaper as a modern spy story.
BTW, what was the first show where the father was a buffoon? I would say, All in the family, but there might be other shows.
In a show like "Father knows best" the father made be baffled or confused, but the family helped him and did not mock him, unlike the Simpsons.Edited by: screamingeagle
The end of the western came because, many of the sets were being destroyed by urban spawl, many actors could not ride a horse, and the spy genre became popular, and you can do the same stories cheaper as a modern spy story.
BTW, what was the first show where the father was a buffoon? I would say, All in the family, but there might be other shows.
In a show like "Father knows best" the father made be baffled or confused, but the family helped him and did not mock him, unlike the Simpsons.Edited by: screamingeagle
Solomon Kane
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Great summary, Don---& good observations/references re: 1968, Paladin, etc. from Sports historian, SE,etc,
I didn't realize that the PC began that early.
The West was won by white people...they formed their own communities, ranches, etc. They did not hate Mexicans, Blacks, and Chinese...but they wanted little to do with them...which is not a crime.
I didn't realize that the PC began that early.
The West was won by white people...they formed their own communities, ranches, etc. They did not hate Mexicans, Blacks, and Chinese...but they wanted little to do with them...which is not a crime.
One thing you'll never see in TV shows from the '50sand '60s-- and in any movies ever -- is open pride in white, Western civilization, or any kind of acknowledgement of the past or of timeless values and traditions. Television was indeed inane, as described in Sport Historian's post. Even though TV fathers were heads of the household, no one ever knew what they did for a living. And at home they never pondered any issues of the day. Everything was sanitized and superficial, which eased the wayfor the hard-core Cultural Marxists to be so devastatingly effective when they took over from the soft-core ones in the late '60s.
screamingeagle
Mentor
TV dads had jobs. Bud Anderson and Ward Cleever worked in the insurance business, Ozzie Nelson was a band leader. It is just you never saw them at work, the stories were always set on the home front.
Some westerns have hinted at white pride. Since it was understood, they never felt like hitting on the head over this issue. The "Searchers" is a good example. That is why this movie is either loved or hated.
Some episodes of "Rawhide" seen to be going in this direction. That show would later have the first black regular on a drama.
Some westerns have hinted at white pride. Since it was understood, they never felt like hitting on the head over this issue. The "Searchers" is a good example. That is why this movie is either loved or hated.
Some episodes of "Rawhide" seen to be going in this direction. That show would later have the first black regular on a drama.
sport historian
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Don Wassall said:
The TV fathers of the 50's shows came home from "the office," seemingly a white collar job of some kind. There would be a "laugh track," which told you that it was proper for you to laugh at what was being shown. Even in childhood, I disliked this and did not watch these comedy shows very much.
I watched Have Gun Will Travel as a child, and did not notice the message, as I do now. As a 7-year old, I did not imagine that in 1957, there were fellow citizens who wanted to destroy the social order.
In recent years, after seeing some of those 50's TV shows again, most don't hold up. An exception is the 1959-63 "The Untouchables." It is not true to history, but is well-produced and is still interesting to watch, especially if you like a "noir crime story" effect. In its time, The Untouchables was criticized for being too violent, and Italian-Americans campaigned against the show. So far, the first season, and half of the second season are on DVD.
Alpha Male
Mentor
Don Wassall said:
Awesome post Don. Robert Bly's "Iron John" talks about this subject - the remote father or the naive, passive man. It talks about how the 60's youth began to distrust the father figure or head of state; that they were lied to about Vietnam and the ill effects of the draft. That being said, the cultural marxists seized the opportunity and ran with it producing today's cultural devolution.
Do you think that the Jewish run cultural marxist movement could have been this successful without white non-Jewish leaders selling out? For instance, when I watch the moveis from "Old Hollywood" (Carry Grant, Spencer Tr acy, etc.), those films where produced and direceted by white men, most of whom I assume where Christian. How could Jewish influence penetrate to the point where the Hollywood of today is overwhelmingly dominated by Jews and homosexuals?
Nice topic. I enjoy many of the old television shows, but it is definitely true that some milder version of political correctness was there even then, simmering just below the surface.
On the topic of what jobs fathers held in those shows, and the three mentioned in an earlier post: Jim (Bud was his son) Anderson worked in insurance; Ward Cleaver worked in a typically nondescript office, and while it has been inferred he was in insurance, this was never mentioned specifically on the show; Ozzie Nelson was a band leader in real life, but his job was never mentioned on the show.
Many of the best shows from the 50s-60s hold up rather well today, especially compared to the odious tripe being produced on modern "sitcoms." "The Andy Griffith Show" is still my favorite; it's a timeless classic that features a kind of comedy that is hard for many modern viewers to understand (no live audience, patient characterization instead of one-liners, etc.) "Green Acres" is a superbly funny, surrealistic romp that was way ahead of its time (in a good way). "Leave It To Beaver" is sometimes corny, but remains the quintessential television example of what that golden age was like, in an idealistic sense. All of us yearned for a Ward Cleaver as a father, or a Wally as an older brother. "The Beverly Hillbillies" is still tremendously funny, and the brilliant characterizations of Granny, Jethro Bodine and Milburn Drysdale have seldom been equaled on any other comedy series. Dramatic shows like "The Twilight Zone," "Alfred Hitchcock Presents" and "The Outer Limits" are far superior to what passes for drama and suspense these days. Just my two cents worth.
Finally, I hate to shatter Alpha Male's illusions, but Hollywood was pretty much run by Jews from the beginning. Many of the top directors and writers were Jewish during the "Golden Age." Not as many stars were Jewish (at least not compared to today), but they were still extremely overrepresented on screen. Funny you mention Cary Grant; real name Archibald Leach, and half-Jewish himself.
On the topic of what jobs fathers held in those shows, and the three mentioned in an earlier post: Jim (Bud was his son) Anderson worked in insurance; Ward Cleaver worked in a typically nondescript office, and while it has been inferred he was in insurance, this was never mentioned specifically on the show; Ozzie Nelson was a band leader in real life, but his job was never mentioned on the show.
Many of the best shows from the 50s-60s hold up rather well today, especially compared to the odious tripe being produced on modern "sitcoms." "The Andy Griffith Show" is still my favorite; it's a timeless classic that features a kind of comedy that is hard for many modern viewers to understand (no live audience, patient characterization instead of one-liners, etc.) "Green Acres" is a superbly funny, surrealistic romp that was way ahead of its time (in a good way). "Leave It To Beaver" is sometimes corny, but remains the quintessential television example of what that golden age was like, in an idealistic sense. All of us yearned for a Ward Cleaver as a father, or a Wally as an older brother. "The Beverly Hillbillies" is still tremendously funny, and the brilliant characterizations of Granny, Jethro Bodine and Milburn Drysdale have seldom been equaled on any other comedy series. Dramatic shows like "The Twilight Zone," "Alfred Hitchcock Presents" and "The Outer Limits" are far superior to what passes for drama and suspense these days. Just my two cents worth.
Finally, I hate to shatter Alpha Male's illusions, but Hollywood was pretty much run by Jews from the beginning. Many of the top directors and writers were Jewish during the "Golden Age." Not as many stars were Jewish (at least not compared to today), but they were still extremely overrepresented on screen. Funny you mention Cary Grant; real name Archibald Leach, and half-Jewish himself.
Alpha Male
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So, do you think the Jewish interest to institute a cultural revolution wasplanned - albeit dormant- even during the Golden Years? How many Jews do you speculate werein on this plan? Were they dubbed Communists at the time? <?:namespace prefix = o ns = "urn:schemas-microsoft-com
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I'd appreciateany links or recommended literature on this topic.Edited by: Alpha Male
fficeffice" />I'd appreciateany links or recommended literature on this topic.Edited by: Alpha Male
Yes, Hollywood has always been a Jewish enterprise. There have been several good books on the topic written by Jews themselves. From the '20s through the mid-'60s Hollywood wouldn't have been allowed to get away with what it puts out now, not even remotely close. They were pushing the boundaries in the 1930s when it came to showing bare breasts, but there was a severe backlash.There was a group called the Catholic League for Decency or something like that that was prominent for a number of years and Hollywood censored itself so that nothing worse than a very light PG type film was made except for porn and avant garde stuff, which was underground.
It's another illustration of the gradualism method. By the time the walls came crumbling down in the late 1960s, Americans had lost control of all the institutions of power and there was no effective way to fight back, though many tried. Now Americans have capitulated to everything Hollywood puts out.
It's another illustration of the gradualism method. By the time the walls came crumbling down in the late 1960s, Americans had lost control of all the institutions of power and there was no effective way to fight back, though many tried. Now Americans have capitulated to everything Hollywood puts out.
Don Wassall said:
I had postedan article some time ago listing the names of the heads of major Hollywood studios going back to its inception.Virtually all Jewish.Two females in recent years were given leadership roles - both Jews. How's that for diversity?
They are the ones who promote race mixing, multi-culturalism, and diversity for us, while making surefellow Jews arefirmlyensconced in all positions of power.The goyim who work for them are well aware of who butters their bread, so they toe the mark if they wish to advance their careers.
Solomon Kane
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I think that it was good that we did not hear too much about what the TV sitcom Dads did outside the home. Yes, one reason is that the shows were centered on the kid and their "growing pains." so it would naturally center on the home or school. but IMO
*It also reflected the stoical attitude of the fathers in those days to "keep work problems away from the family." The "leave it at the office" mentality if you will. *
I am grateful that my father only rarely discussed work and that when he returned in the evening, he focused on being a friendly governor of the household. I think he wanted to spare us the aches and pains, the victories...and defeats, of office life.
They really had a sense of obligation, creating a tough but nurturing environment. *They did not live for themselves but for others.*
Look at the adult characters on TV now (I am not talking of the actors/actresses)they all are consumed with themselves and their own exaltation.
*the symbol of having arrived, of a good life, is no longer a well-governed intact family but your own advancement in a "cool" career* (lawyer. doctor, detective, CSI). And this new ethic of self-exalting careerism is of course foisted on women as well as men. No stay at home moms in today's America!
Look at the characters...they're all on their second marriage...or are single parents...or are having multiple affairs with people of a different race...all the while they're solving cases..healing people...showing us how cool they are. (Look especially at any of the David Kelley series ("Ally McBeal. boston legal,...). They all frankly believe pleasure, self-gratification, and status is the goal of life.)
But none of them are raising the three kid family our country needs to survive. That would be too much like self-sacrifice...duty...obligation...virtue
---can't have that!
*It also reflected the stoical attitude of the fathers in those days to "keep work problems away from the family." The "leave it at the office" mentality if you will. *
I am grateful that my father only rarely discussed work and that when he returned in the evening, he focused on being a friendly governor of the household. I think he wanted to spare us the aches and pains, the victories...and defeats, of office life.
They really had a sense of obligation, creating a tough but nurturing environment. *They did not live for themselves but for others.*
Look at the adult characters on TV now (I am not talking of the actors/actresses)they all are consumed with themselves and their own exaltation.
*the symbol of having arrived, of a good life, is no longer a well-governed intact family but your own advancement in a "cool" career* (lawyer. doctor, detective, CSI). And this new ethic of self-exalting careerism is of course foisted on women as well as men. No stay at home moms in today's America!
Look at the characters...they're all on their second marriage...or are single parents...or are having multiple affairs with people of a different race...all the while they're solving cases..healing people...showing us how cool they are. (Look especially at any of the David Kelley series ("Ally McBeal. boston legal,...). They all frankly believe pleasure, self-gratification, and status is the goal of life.)
But none of them are raising the three kid family our country needs to survive. That would be too much like self-sacrifice...duty...obligation...virtue
---can't have that!
white is right
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The only major studio that wasn't Jewish controlled was United Artists. It was founded by Chaplin, Pickford and Douglas Fairbanks Sr(he was Jewish). MGM and Warner Brothers were both Jewish owned. These days I think United Artists is owned by a multi-national conglomerate.Edited by: white is right
Disney wasn't Jewish owned until after founder Walt Disney's death. Disney was known as the producer of family-friendly fare until it was bought from the Disney family.
white is right
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Yes then all of sudden Touchstone studios popped up so that Disney could hide their ownership of non family fare. Similar to other Multinationals hiding from the fact that they have divisions that show pornography or other controversial forms of entertainment.
Don Wassall said:
I think the reason why there can't be general white pride in movies, is because throughout history whites have been extremely nationalistic. There are very good movies that glorify a section of whites, such as Braveheart, 300 and such. But, as I mentioned, these whites are usually fighting other whites, because of their location. Movies like Zulu are few and far between, because most of the time whites beat their non-white conquests without any real large scale resistance.
I would say in a purely racial sense, 300 is one of the best movies ever made. It is one of the few movies with enough guts to show a group of homogenous whites versus a hodgepodge of non-white aggressors.
Another reason goes back to the ownership of Hollywood. Nazis (and fascism) were/are the Jews' big enemy, whereas the other major totalitarian force of the past century, communism, was largely devised and promoted by Jews. Anti-Nazism has been the driving force in the U.S. since WWII ended. Anything the Nazis are alleged to have been for, the U.S. will be vociferously against and vice versa, thus we have such extreme anti-white policies in all spheres of society.
But that only applies to social and racial issues. Sadly, we now have our very own American form of fascism, i.e., the joining together of big business and big government for the benefit of both.
But that only applies to social and racial issues. Sadly, we now have our very own American form of fascism, i.e., the joining together of big business and big government for the benefit of both.
I believe that, of the original heads of studios, only Darryl Zanuck and Walt Disney were gentiles. To my knowledge, the head of each of the three big television networks has always been a Jew. This also holds true for the bigger cable networks, with the lone exception being Ted Turner, when he ran CNN and TBS for so many years. Keeping in mind that Jews represent about 2% of the population, and that gives them an almost unfathomable over representation in the establishment press.
Quiet Speed
Mentor
Fascinating topic. I searched for history tv networks. I didn't realize there was a fourth player besides NBC, CBS, and ABC in the early days of TV broadcasting. DuMont Television Network operated from 1946 to 1956. Some of it's programming included Cavalcade of Stars (hosted by Jackie Gleason) and Ted Mack's Original Amateur Hour.
The network was part of DuMont Laboratories, Inc. founded by Allen B. Du Mont (apparently Presbyterian). According to his New York Times obituary and other sources, he was an electrical engineer and a genuine innovator in the development of the television set itself. Somehow the network went under. An unfavorable FCC ruling evidently crippled operations. Makes you wonder if he was intentionally squeezed out. After reading the tragic story of Edwin Armstrong, creator of fm radio, and the nonsense of how Philo Farnsworth had to go through, by some accounts, a bogus patent battle with the same people Armstrong dealt with, connivance is not out of the realm of possibility.
Some of the early TV programming may have been benign, but ABC's, NBC's, and CBS's nightly news programs were relentless and always bias when it came to racial matters. What else is new? The instilling of white guilt through this avenue in the sixties can't be underestimated.
Thought I would repeat the above links since they are excellent reading even though some of the events are disconcerting:
http://fecha.org/armstrong.htm
http://www.adherents.com/people/pf/Philo_Farnsworth.html
http://www.farnovision.com/chronicles/tfc-part07.html
The network was part of DuMont Laboratories, Inc. founded by Allen B. Du Mont (apparently Presbyterian). According to his New York Times obituary and other sources, he was an electrical engineer and a genuine innovator in the development of the television set itself. Somehow the network went under. An unfavorable FCC ruling evidently crippled operations. Makes you wonder if he was intentionally squeezed out. After reading the tragic story of Edwin Armstrong, creator of fm radio, and the nonsense of how Philo Farnsworth had to go through, by some accounts, a bogus patent battle with the same people Armstrong dealt with, connivance is not out of the realm of possibility.
Some of the early TV programming may have been benign, but ABC's, NBC's, and CBS's nightly news programs were relentless and always bias when it came to racial matters. What else is new? The instilling of white guilt through this avenue in the sixties can't be underestimated.
Thought I would repeat the above links since they are excellent reading even though some of the events are disconcerting:
http://fecha.org/armstrong.htm
http://www.adherents.com/people/pf/Philo_Farnsworth.html
http://www.farnovision.com/chronicles/tfc-part07.html