(The text of a radio address by Dr. William L. Pierce,
PhD., director of the publishing house National Vanguard Books,
and Chairman of America's leading patriotic organization, the
National Alliance.)
Today I want to talk with you about morality . . . about
standards . . . about values.
Most of us have heard it said that the reason America is in
such a mess today is that our people have lost the values we used
to have, and that we need to regain them--that we need to begin
teaching values to our kids in the schools.
And I guess I'll agree with that . . . but there's more to it.
It's certainly true that as a nation, or as a race, we've lost
our values. Or, more accurately, we had them stolen from us. And
now, unfortunately, the values we used to have are being replaced
by new values which are worse than no values at all.
America hasn't so much lost its sense of direction as it's had
all the road signs changed while it wasn't looking. Values are
our problem today . . . but even more, our problem is the people
who have deliberately changed our values, deliberately perverted
them.
I don't want to beat around the bush or keep you guessing what
I'm getting at, so I'll come right out with it: the people who
control the mass media in America have deliberately and
consciously, with malice aforethought, used their influence over
the thinking of the people who see their films, who watch their television
programs, who read their newspapers and comic strips and popular
magazines . . . they've used their influence to twist our values,
to reorient our whole way of looking at the world.
Now, most of us have heard that too. We've heard about the
destructive effect of television and the other mass media on
public morality. We've heard that there's too much violence and
too much sex on television and that it isn't good for us. And I
guess that I'll agree with that too . . . sort of. Too much television
isn't good for us, but it's not just because of the sex and
violence. It's because television--and films and magazines and
the rest of the controlled media--are used for propaganda aimed
at subverting the values of our people, especially our young
people. And they're used with malice aforethought.
A lot of us have more or less realized this. We've sort of
sensed that something was rotten in the media establishment. We
felt that the media bosses who run Hollywood and the media bosses
who control the TV networks were slyly twisting the view of the
world they presented to us, slyly trying to change our attitudes.
But the media bosses are clever and they're subtle, and, of
course, they denied everything. And so it often was difficult for ordinary
people who felt they were being manipulated to really put their
fingers on what the media bosses were trying to do.
And so people have jumped on the too-much-sex-and-violence
bandwagon, but that really isn't the problem at all. The sex and
violence in films and television is simply pandering. It's simply
keeping the viewers distracted, so that they won't complain about
the real propaganda. The real propaganda the media bosses have
been trying to slip into our minds is the idea of human sameness,
the idea that the differences between Blacks and Whites, between
men and women, between homosexuals and heterosexuals aren't
significant, aren't important, that we ought not to notice these
differences, and we certainly ought not to take them into account
in choosing friends, associates, or lovers . . . that we ought not
to feel any special affinity for people of our own sor;, that, in
fact, we ought to feel a little guilty if we still have any sense
of racial or ethnic identity left, or if we regard homosexuals any
differently than we do normal people.
That's the basic message. That's the propaganda. But, as I
said, the media bosses are subtle, and the average person usually
doesn't see that whole message in any single film or TV show, and
so it's difficult for him to recognize that he's being
manipulated.
The media bosses are getting bolder, however, and a film came
out a few months ago which contains pretty much the whole
message, and it contains it in a form that's not at all subtle,
that is in fact blatant enough for many people to see for what it
is--at least, they should be able to see it once it's pointed out
to them. The film I'm referring to is The Crying Game. It was
made by Miramax Pictures. That's a film company in England which
is owned by two Jewish brothers, Bob and Harvey Weinstein. When
the film first came out I wasn't interested in seeing it, because
the reviewers in the NY Times and the other major media were all
oohing and ahing over it. They considered it a very
"sensitive" film, and so I figured it must be more of
the same, old trash.
Well, I was wrong. A friend sent me a video of the film, and I
viewed it a couple of days ago.
In case you haven't seen the film, let me run briefly through
the plot. It opens in present-day Northern Ireland. A British
soldier is enticed by an Irish girl he meets at a carnival to
head off into the bushes for a little sex, where he is
immediately kidnapped by members of the Irish Republican Army, to
be held as a hostage in retaliation for the arrest of an IRA man
by the British Army. Nothing the matter with that as a movie
plot, of course--except that the "British" soldier just
happens to be Black. No one pays the least attention to that
rather startling fact, even as the Black soldier kisses and
fondles the blonde Irish girl in the midst of the carnival
crowds. The message the filmmakers are sending us here is that
the soldier's race makes no difference, either as a soldier or as
a lover. We are being told that we should see nothing amiss in a
typical British soldier being Black, or in a Black man romancing
a White girl.
While he is being held hostage, a friendship develops between
the Black soldier and one of his Irish captors, a man named
Fergus. Eventually the time comes to kill the captive, but before
that the Black has shown Fergus a photograph of the girl back in
London he really loves, a mulatto, and he makes Fergus promise to
visit the mulatto girl and tell her that his last thoughts were
of her.
Fergus keeps his promise--more or less. But he also falls in
love with the mulatto girl. Then, in the course of trying to make
love to her he discovers that she's really a man: a homosexual
female impersonator. At first that disconcerts Fergus rather
badly, but by the film's end he's shed his prejudices, his bigotry,
and he's realized that it really doesn't make any difference,
that he loves the homosexual mulatto after all, just as the Black
soldier had done before him.
Now, I've skipped a lot of the lurid details, which would get
this program thrown off the air if I described them to you, but
you get the picture: race doesn't matter, sex doesn't matter,
sexual orientation doesn't matter. All that matters is love.
Every effort to discriminate--to distinguish--between Blacks and
Whites, between men and women, between homosexuals and
heterosexuals is bigotry, is prejudice, is hatred. We're all
human beings, the film tells us, and that's the only thing that's
important. We should ignore everything else and love others,
without regard for these superficial differences.
The people who made The Crying Game don't believe that, of
course. That's just what they want us to believe. They understand
that any race which absorbs their message, any nation which
absorbs their message, any society which absorbs their message .
. . has been morally disarmed and has been made helpless against
its enemies. The race which absorbs and takes their message to
heart has lost its ability to discriminate and therefore its
ability to survive. It's a race ripe for exploitation, ready to
be plucked and slaughtered, a race unable to defend itself
against the predatory tribe to which Bob and Harvey Weinstein belong.
As I said, the media bosses prepare their message for us with
malice aforethought.
Now, if you think I overstate my case, if you think I
exaggerate, if you think I'm being unfair to the media bosses, I
invite you to view The Crying Game yourself. It's available in
video stores everywhere. View it for yourself. See if you don't
agree with me about what the Weinstein brothers are trying to tell
us.
Their message, of course, is the same message we get from all
of the controlled media these days. The only thing unique about
The Crying Game is that it rubs our faces in their filth so much
more forcefully than most other films do. Usually they don't slap
us right in the face with the whole message at once. Usually they
sugarcoat it and slip in just a bit of it here and there. Usually
they don't let us see so clearly what they're aiming at. Usually
they just teach us to parrot a few of their Politically Correct
cliches about the evils of "discrimination" and about
how wonderful "multiculturalism" and
"diversity" are.
After I viewed The Crying Game I reread the reviews of the
film. I want to read you a few short extracts from these reviews.
The NYT reviewer, Bernie Weinraub, bubbles about how the film
explores "the blurred nature of love, trust, and
compassion."
Blurred, indeed, for Mr Weinraub and the Weinstein brothers!
Weinraub then goes on to quote the film's director and
scriptwriter, who says his film is "a love story, in the
broadest possible sense. It's about the extremes of love and the
responsibilities of love, and how two characters find a way to
love each other who are divided by many things. It's also about how
one person loses himself to find himself. The central character
loses all the different facets of what he thought was his identity.
Once he does that he finds the human being in himself."
Newsweek magazine gushingly calls the film a "study of
what constitutes moral virtue." Newsweek tells us: "If
the test of a good movie is how it makes an audience feel when
the lights come up, The Crying Game is a very good movie indeed.
It leaves one giddy."
Isn't that something! Not a mention of the film's portrayal of
homosexuality and miscegenation as normal, healthy behavior we
all should feel good about. The film, according to the reviews,
is about love, about finding the human being in oneself. It makes
audiences feel so good they are giddy.
What are we to think about the people who made this film and
the people who reviewed it and the people in Hollywood who
awarded it several Oscars? The Weinstein brothers and Bernie
Weinraub and the rest of thir tribe are so arrogant as to tell us
that every standard of quality, every standard of behavior, every standard
of beauty and righteousness which has guided our race for
thousands of years is bad because it discriminates, and that we
have to throw them all out and be undiscriminating.
While laughing up their sleeves and smirking behind their
hands they come into our country and tell us that it is wrong for
us to discriminate between decent and indecent behavior, between
our own race and other races, between what is natural and what is
unnatural, between what is wholesome and beutiful and what is filthy
and ugly. It's all the same, they say; that's the new morality.
How can anyone be so pushy? How do they get away with it? Why
do we permit people who so clearly are working to destroy us
morally to carry on their destructive activity? Why did we permit
them to take over our newspapers and magazines, our film
industry, our television?
Part of the answer to that question is, as I said before, that
these people usually are not so obvious about their intentions as
they were in The Crying Game. Usually they make films which
simply entertain people, while slipping in just a little poison
unnoticed by most of us.
And part of the answer lies in a peculiarity of human nature,
a peculiarity which the great Danish storyteller Hans Christian
Andersen commented on more than a century ago in his story titled
"The Emperor's New Clothes." When the average person sees a film as
shocking and evil as The Crying Game, he doesn't simply say to
himself, hey, that was a shocking and evil film, which aims at
making us abandon our sense of right and wrong, our sense of discrimination.
And he certainly doesn't say that to his friends and
neighbors. Instead he looks around to see what other people's
reaction to the film is. He listens to what the opinion molders
are saying, the film reviewers. And if they say, hey, this was a
wonderful, sensitive film about love, then he'll simply suppress his
own reaction to the film, and he'll tell the people around him,
oh, wasn't that a sensitive film! Even sophisticated, educated,
intelligent people will behave that way. Remember, in Hans
Christian Andersen's story it wasn't a professor or a successful
businessman but a child who said, "Mommy, mommy, look, the
emperor is naked!" And then, if you remember the story, the
other spectators who heard the child also began saying, yes, the
child is right, the emperor is naked.
Perhaps Andersen was a little too optimistic about human
nature if he really believed that one lone voice of truth and
reason could shatter the whole fabric of lies and deceit which
the masters of the controlled media have woven around us. But I
believe, nevertheless, that individuals must speak out now: we
must say to everyone around us, films like The Crying Game are
not about love. They are about the abandonment of values and
standards. They are about giving up our power to discriminate.
They are about surrendering to evil.
We must say these things not just because they are right, but
also because some people who hear us will wake up, just like the
people in the crowd admiring the emperor's new clothes woke up
when they heard the child saying what should have been obvious to
everyone. We must say that it is not love to permit Blacks to
fondle and kiss White women or to treat a homosexual female
impersonator as if he were a normal woman. It is racial suicide. It
is filth and sickness. We muat say that loudly and clearly. And
we also must say that the people who have been trying to twist
our values, the film-makers and the film reviewers and the
television network bosses, are evil people, and we should not
tolerate their presence in our society. We should rid ourselves
of them by whatever means is necessary.
We should understand that those who want to rob us of our
values are as dangerous to us as those who want to steal our
possessions or our liberty. Those who try to make us believe that
anything goes and that it's wrong of us to discriminate are as
much our enemies as any gang of terrorists bent on destroying our society.
The Weinsteins and the Weinraubs and their ilk are trying to
destroy us morally.
And they're succeeding. Just look at the filth we elect to
public office in this country. Look at what we tolerate in the
White House and in the Congress.
You know, a single film and a few deceitful reviews seem like
an inconsequential thing. It is, after all, just entertainment,
and we might think that we can take it or leave it.
No, no, really--it's more than that. It's part of a vast,
concerted, ongoing effort, and it does have consequences. We can
see those consequences all around us, from the Clintonistas in
Washington to the breakdown of order in our cities and the loss
of discipline in our kids' schools.
We don't have to put up with that any longer. We don't have to
pretend that we don't notice what's been happening. We can stand
up and speak out. We can make others wake up. We can begin taking
this country back. It's time to start doing it.
(For a catalog of over 300 patriotic books, tapes, and videos
- many of them available nowhere else, because of government and
media censorship, send $1 to National Vanguard Books, PO Box 90, Department
R, Hillsboro WV 24946.)
at
the Battle of Cowpens, S. Carolina, 1781