Roots of Radicalism



TELEVISION is undoubtedly the most influential of all the mass media in terms of its effect on ordinary people. As such, it has for many years been deliberately used as an instrument of blatant political propaganda. In particular, it has been used to brainwash White people into accepting multiracialism, or at least into being ashamed of secretly not doing so. The usual tactic is to constantly portray Whites as villains, morons and bigots and non-Whites as heroes, saints and scholars.

In America, whence much of British TV originates, this brainwashing is both overtly acknowedged and carried to ridiculous lengths. The truth is bizarrely distorted to avoid offending ethnic minority pressure groups and put across the required multiracialist line, to such an extent that even the media mind-moulders themselves have started to mutter unhappily.

For example, Bruce J. Sallan, vice-president in charge of TV motion pictures at ABC, one of America's three major networks, told the New York Times recently: "In their desire to avoid stereotyping, I think broadcast standards and practices sometimes go to an absurd extreme. There are almost no ethnic villains on television. We can't do a Mafia picture at ABC, because broadcast standards won't let us deal with Italians involved in organised crime".

Steve White, Mr. Saltan's opposite number at rival network NBC, went further: "We don't get letters from White businessmen, but they are really the ones who should protest. A majority of them are shown to be corrupt and villainous, and we do that because we know no-one will object".

A recent ABC TV movie, The Children of Times Square, shows the ludicrous lengths to which anti-White propaganda is taken. Depicting a gang of teenage drug runners in New York, the film was based on real life events in Detroit, Michigan. As the film's writer and director, Curtis Hanson, admitted, "The actual gang in Detroit was all Black". But the film's drug gang is multiracial bliss in action - it has nine members, three White, three Black, and three Hispanic.

As co-producer Marcy Gross put it "Our gang is very well-balanced - more so perhaps than in real life". She's not kidding - American criminal youth gangs are almost all Black, but where non-Negroes get in on the action, strict racial segregation enforced at knife and gun-point is the unvarying order of the day. Everyone involved with the film admitted that racially-mixed gangs just don't happen but, as ABC's head of broadcast standards Alan Wurtzel put it "We don't want to foster negative stereotyping".


Nevertheless, the film was controversial for US TV, because the gang's leader was actually portrayed as Black, which he was in real life of course. This daring departure was defended by ABC's Sallan: "It happens too infrequently on TV. Almost every villain you see is a WASP. It think we should be able to show that there are bad Blacks as well as good Blacks" (this in a country where Blacks are vastly over-represented in crime, jails and murderers' Death Row in proportion to their share of the population).

Even Blacks are getting bored with their continual TV whitewashing. Black actor Howard Rollins, who plays the gang leader, complained he was always playing 'noble characters' which was 'boring' and denied him the chance to show his full 'spectrum' as an actor. Hilariously, he was on the brink of accusing American TV of 'racism' in banning blacks from playing villians!

Not that the truth was to be let loose upon America's "boob tubes". The film was only allowed the liberty of actually portraying a Black baddie because it was just jam-packed with Noble Negroid super-heroes fighting for justice and momma's apple pie. So that the zealous, courageous etc. etc. Police lieutenant who eventually breaks up the drug gang is Black. Whilst the "Mr Big" who provides the drugs for the gang to peddle is White, as is the leader of their main rival gang.

As film co-producer Ann Weston revealed "We had instructions from the network that if a Black is shown in a bad light, we must also show a Black in a good light."

More typical is another ABC offering, The Execution of Raymond Graham, about a convict awaiting execution on Death Row. Before the film was made, there was much behind-the-scenes discussion about the wholly fictitious character's ethnic identity. "We debated for a long time," admitted ABC's Sallan, "because the great majority of convicts on Death Row are Black". But in the end Mr. Sallan and associates showed they are made of the true stuff of top executives - as he put it, "But we decided to make the character White".

Over at NBC, the network demanded that Hostage Flight, a drama about a plane hijacking, be rewritten to make the Arab hijack gang 'ethnically balanced'. The message sank home - the next offering, Under Siege, featured a veritable United Nations terrorist gang comprising Germans, Algerians, Lebanese and Libyans - but, of course, no Blacks (except amongst the cops who finally busted the gang).

And so the farce goes on. Jokes about TV producers demanding 'ethnically balanced' Viking ship crews aren't funny any more: they're probably on the box tomorrow night. As ABC's Chief Thought Policeman, "Standards Vice-President" Alan Wurtzel put it, "Because people today get so much of their information from television, we have a particular obligation to provide balance in our portrayal of minorities". Except, of course, for the particular minority to which Messrs Wurtzel, Sallan, Gross and so many more of America's top TV string-pullers belong.

And don't think it couldn't happen here. Watched EastEnders - or The Human Zoo as it should be called - lately?