Tuesday, January 19, 2016

Hoax Busters John Adams Afternoon Commute , Jan 13 2015

Hosted by: Chris From OK

Episode Notes: John and Chris have another discussion with returning guest Jay Dyer . We discuss H.G. Wells Time Machine and Scientism Propaganda, Space Brothers, Darwinism, Materialism, Future Utopian Ideals of the Ruling Elite, Trangenderism and Transhumanism, Freemasonry, Architecture and Chris delves into a rant about Darwinism, Materialism and The Multiverse.




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5 comments:

larry said...

Jay dyer, the Jew who talks all about Hollywood but never the fact it's run by Jews.

Negentropic said...

Proof that Dyer's a Jew?

Dyer regularly goes on both Red Ice and Hoax Busters, both sites which have exposed the holohoax repeatedly and Red Ice is pretty much a WN site by now. So, why would a Jew hang out with holycost de-nayers and White Nationalists? Who was the last Jew that went on Red Ice? The only recent one I can think of is David Cole who was on last week with Lana.

Everyone knows Hollywood is run by Jews in that, being the producers, financiers and studio and distribution channel owners, often the writers and sometimes the directors, they get far more say in the final cut of each film than anyone else, but the real talent in Hollywood was never even remotely just Jews. To really understand Hollywood, you have to study the real golden age which was the 1920s and 1930s. In the 1930's, just Paramount by itself made 700 films or 35 “A” studio films a year. Today they barely make 10 or 15 a year.

https://en.wikipedia.org/wiki/List_of_Paramount_Pictures_films

Despite all the technological advances, their output is less than half of what it was in the Golden Age of the studio system.

Some of the greatest cinematic works of art are Silent Films. The book "How the Jews Invented Hollywood" should have been titled: "How the Jews hi-jacked Hollywood from the Europeans who created it in the silent era and comprised most of the talent in the sound era and steered and spun it to their interests."

http://www.amazon.com/An-Empire-Their-Own-Hollywood/dp/0385265573

Negentropic said...

(continued . . .)

For example, aside from D.W. Griffith and all that, not many know today that the Welsh comedian and freemason Harold Lloyd was far more popular than half-Jew Charlie Chaplin in the 1920s and made more money. He started off as an extra and made his name in the early days with Hal Roach of later "Our Gang/Little Rascals" fame. Roach was a big supporter of Mussolini who had Jews cut off his distribution channels when he threw a big party for Mussolini's son Vittorio in Hollywood. lol

Roach was 100% Irish and an incredible adventurer who lived to be a hundred years old. Among the many jobs he held before becoming the Hollywood "King of Comedy," were gold prospector, mule skinner, wrangler and, of course, film extra. That was the real America back then, straight out of Mark Twain's books and especially his auto-biographical works like "Roughing It" about travels and adventures as a young man.

Most of these guys would come to Hollywood, start off as extras and, if they had talent, work their way up in a few years. By the time they held important positions, they had worked every job on the film set, including stunt-man. Lloyd did most of his own stunts and even lost the thumb and forefinger on his right hand when an explosion stunt didn't go as planned and had to wear a prosthetic glove to hide it. It wasn't like today where everything is fucking unionized with these union assholes forcing everyone only in their own jobs, even if it's just sitting around doing nothing. By the 1960's, the unions had fucked-up things to such a point that even a superstar like Steve McQueen couldn't drive his own car to the goddamn set. It was in the union contract that he had to have a union shithead drive him to the set or face a costly union strike.

By the 1970's, no one was allowed to work in Hollywood unless they joined the union. So Marxism wedged itself in and took over through the unions, just like in all other countries, with the excuse that they were helping the workers against exploitation. In reality, they were just delaying their exploitation to a later point and exploiting non-union people in favor of those, forced to join unions or never work in Hollywood. If they worked in Independent Films using non-union actors and crew, they would almost never be accepted back in the union to work in Hollywood, therefore no access to the Jews' huge distribution system which makes or breaks all popular cinema.

For example: Thelma Schoonmaker, Scorsese's editor since 1967 when he made his first feature with his NYU professor Haig Manoogian co-producing called "Who's That Knocking On My Door?" She was then both his assistant director and editor on his parts of "Woodstock" for Michael Wadleigh in 1970. But when Scorsese went to Hollywood, he wasn't allowed to work with his own editor (at least not openly or with any film credit) because she wasn't in their fucking union and had worked on independent films. He had to get inferior union Hollywood editors until "Raging Bull" and work secretly with TS on “Taxi Driver,” while it took his lawyers ten years to finally manage to get Shoonmaker's ass in the union. Since "Raging Bull," she has edited every last one of Scorsese's films and won three Oscars. But that's only because she's in the union.

Negentropic said...

(continued . . .)

Also, Lloyd's films, although influenced by the genius of Chaplin, did not have the sappy sentimentality that sometimes marred Chaplin's films. If you want to see a real slapstick work of art, watch the film "Speedy":

http://www.amazon.com/Speedy-Criterion-Collection-Blu-ray-Harold/dp/B015G6WMY4/ref=sr_1_1?s=movies-tv&ie=UTF8&qid=1453292129&sr=1-1&keywords=speedy

https://upload.wikimedia.org/wikipedia/commons/9/9e/The_Lloyds_-_Modern_Screen%2C_May_1936.jpg

Watch it with your kids and see how they roar with laughter and joy and roll on the floor, even now, almost a century later, with all kinds of gadgets and distractions to get them jaded faster than in any other era.

Despite eventually becoming a 33rd degree freemason after he achieved fame

[quote]

In 1925, at the height of his movie career, Lloyd entered into Freemasonry at the Alexander Hamilton Lodge No. 535 of Hollywood, advancing quickly through both the York Rite and Scottish Rite, and then joined Al Malaikah Shrine in Los Angeles. He took the degrees of the Royal Arch with his father. In 1926, he became a 32° Scottish Rite Mason in the Valley of Los Angeles, California. He was vested with the Rank and Decoration of Knight Commander Court of Honor (KCCH) and eventually with the Inspector General Honorary, 33rd degree.

[/quote]

Lloyd was also openly anti-semitic in that he insisted on living only in planned all-white communities with restrictive covenants that prevented non-whites and especially Jews and Blacks from moving in:

[quote]

As the Harold Lloyd Estate had been built within Beverly Hills in the 1920s, its location meant it was in one of Los Angeles' all-white planned communities.[19] The area had restrictive covenants prohibiting non-whites (this also included Jews.[20]) from owning or renting property unless they were in the employment of a white resident.[21]:57 In 1940, Lloyd joined a neighborhood improvement association in Beverly Hills that attempted to enforce the all-white covenant in court after a number of black actors and businessmen had begun buying properties in the area. However, in his decision, federal judge Thurmond Clarke dismissed the action stating that it was time that "members of the Negro race are accorded, without reservations or evasions, the full rights guaranteed to them under the 14th amendment."[22] In 1948 the United States Supreme Court declared in Shelley v. Kraemer that all restrictive covenants were unenforceable.[23]

[/quote]

https://en.wikipedia.org/wiki/Harold_Lloyd

larry said...

Interesting info about Lloyd, I actually saw some of his films in a theater when I was a kid and I was also a big fan of Chaplin. That being said, are you seriously trying to tell me Jews didn't run Hollywood in the 20s and 30s? Of course they had to appeal to white audiences in the first half of the century because their minds hadn't been propagandized enough to digest the real bullshit they wanted to push. I've been to every major Hollywood studio. Believe me, it's all Jew. Simply look up the name Dyer, it's one of the most well known of jewish names. He is another Jew deflecting the truth movement into bullshit about "Luciferians" and "the process". It's a smokescreen for the Jews.