Anti-White Propaganda in the Culture War – Western Voices World News

NBC’s Law & Order operates in an alternate universe by Nicholas Stix It’s 10 p.m.; do you know where the truth is? While the mainstream, socialist news media lurch from one embarrassing scandal to another, social engineers operate with impunity, using "realistic" entertainment programs as propaganda tools. Consider NBC’s Law & Order. L&O’s liberal producer, Dick Wolf, controls a stable of five crime-oriented shows (also Law & Order: Special Victims Unit, Law & Order: Criminal Intent, L.A. Dragnet and Crime & Punishment), making him one of the most powerful men in Hollywood. For years, Law & Order, which is filmed in Manhattan, advertised its episodes as being "ripped from the headlines," a claim Wolf and star Jerry Ohrbach still make in interviews. But instead of depicting reality, Wolf’s scriptwriters take high-profile crimes committed by blacks, and replace the bad guys with whites, and invent white racist monsters that bear no relation to anything seen in New York during the past 100 years. And so, while according to NYPD crime reports, over 89 percent of suspects in violent crimes are black or Hispanic, L&O presents a looking-glass world in the grips of a white crime wave. 
In
"Teenage Wasteland," an episode that originally aired on February 7,
2001, the true case of a group of black teenagers who ordered Chinese
food, and murdered the delivery man, is turned into a group of
middle-class, white kids.
"Myth
of Fingerprints" (November 14, 2001) tells of a white, female forensics
chief whose years of false testimony has sent many innocent men to
jail. One of those innocents was murdered in prison, resulting in the
official’s conviction for manslaughter.
"Fingerprints" was clearly based on the real case of former Oklahoma City supervising forensic chemist Joyce Gilchrist, nicknamed "black magic," based on her longtime success at bringing about convictions. On September 25, 2001, as <a href=”http://www.newsok.com/cgi-bin/show_article?ID=1056699&TP=getcc”>Ken Raymond reported</a> the following day in the Oklahoman, “Oklahoma City Police Chief M.T. Berry
… fired forensic chemist Joyce Gilchrist, whose lab techniques and
testimony have been under scrutiny by federal, state and local
investigators for several months.
“Gilchrist,
53, was fired for a variety of reasons, including ‘laboratory
mismanagement, criticism from court challenges and flawed casework
analysis,’ according to a police statement.” (Registration is required;
see the Oklahoman’s <a href=”http://www.newsok.com/?cc_gilchrist”>
Joyce Gilchrist file</a>.)

For
years, Gilchrist’s critics claimed she had falsified evidence and given
false testimony, which caused 23 men to be sentenced to death, eleven
of whom were executed. Note, however, that Joyce Gilchrist is black,
and unlike the fictional white official, has never been prosecuted.
Seven months after the October, 2002 Washington, D.C. sniper case was closed with the arrest of suspects John Muhammad and Lee Malvo, L&O dramatized the case, but with the shooter as a white man! ("Sheltered"; May 14, 2003.)

"Smoke"
(May 21, 2003) opens with the death of a child, whose adoptive father,
a famous entertainer, had dropped him, while dangling him from a hotel
room window. The detectives eventually discover that the entertainer
would also arrange for underage boys to accompany him to his mansion,
where he would sexually violate them.
When
I told a not particularly media-savvy neighbor who is the mother of
four small children that story line, she immediately said, "Michael Jackson!" But on L&O, the character is depicted as a WHITE comedian.

Remember the Danny Almonte case? Almonte was the 14-year-old Dominican fraud who — through the connivance of his father, Felipe de Jesus Almonte, and Bronx-based, Dominican Little League coach Rolando Paulino
— passed himself off as a 12-year-old, in order to play in the 2001
Little League championships. But in "Foul Play" (May 1, 2002), the
coach magically becomes a blond-haired, white man, who is somehow
convicted of a murder committed by the player’s father.
L&O’s
creative team must read some interesting publications, since many of
their "ripped from the headlines" stories never happened. Consider
their obsession with non-existent, murderous white supremacists, whom
they depict as besieging Manhattan.
In "Open Season" (November 20, 2002), a William Kunstler-like
defense attorney is murdered while celebrating the acquittal of a
guilty-as-hell black defendant for shooting a white policeman. The
killer, a member of a white supremacist group, then uses his defense
attorney to unwittingly pass along information to his co-conspirators,
who murder a prosecutor in another state. The defense attorney is
charged with aiding and abetting the supremacists, before she is shot
by a female supremacist.
Note that the real basis of the episode was the indictment of radical attorney, Lynne Stewart “with helping terrorist conspirator Sheikh Omar Abdel Rahman maintain contact with the outlaw terror organization Islamic Group [IG from behind the bars of a federal prison,” as <a href=”http://www.law.com/jsp/article.jsp?id=1058416408552″>Mark Hamblett wrote</a> in the July 23 New York Law Journal,
resulting in the 1997 murder of 62 people by IG in Luxor, Egypt. Sheik
Abdul Rahman, is the convicted ringleader of the 1993 World Trade
Center bombing. The most serious charges against Stewart were dismissed
in July.
In
"Prejudice" (December 12, 2001), a racist, white real estate agent
progresses from writing a letter to his co-op board, to try and keep an
interracial couple out of his building, to flashing a gun at a black
colleague, to murdering a black man who beat him to a taxi. Such a case
would have been fantastic in 1951, let alone in 2001.
In
"Genius" (April 2, 2003), a white, violence-embracing ex-con-writer
stabs a white cabby to death. Viewers are then given mixed messages, as
the cab driver turns out to be a fugitive, white supremacist racial
murderer. In another surreal, L&O touch, ordinary black New Yorkers are repeatedly shown to be so erudite that they are routinely experts on French poetry.

In
"Kid Pro Quo" (April 30, 2003), the dedicated director of admissions at
a tony private school, is murdered by her corrupt, racist boss. The
victim sought to get a deserving but poor black girl admitted, but was
overridden by the boss, who’d taken a bribe to accept the inferior
child of a Jewish pornographer.
And
then there’s the homophobia angle. In the real world, Manhattan is,
with San Francisco, one of the two most gay-friendly areas in America.
But not in L&O’s alternate universe. In "Girl Most Likely"
(March 27, 2002), a private school student murders her lesbian lover,
in order to hide the fact that she is gay.
Last,
but not least, comes xenophobia. In "Patriot" (May 22, 2002), a pale,
blonde-haired former special forces officer kills a Moslem immigrant he
had surveilled, and whom he suspected of being a terrorist. The
prosecutor presents the imaginary patriot as a monster, even as the
story suggests that the dead man WAS a terrorist.
Now beginning its fourteenth season, Law & Order,
still a top-rated show and perennial Emmy nominee for Outstanding Drama
Series, serves in socialists’ culture war against whites. While Dick
Wolf has succeeded at endearing himself to <a href=”http://imdb.com/title/tt0098844/awards”>
black, gay, and Hispanic pressure groups</a>,
if he seeks to cause whites to hate other whites, while being more
sympathetic towards blacks, he has failed miserably. It is no secret
which groups are committing almost all of the violent crimes in New
York and other urban areas. All of the propaganda in the world won’t
change that reality, or erase the public’s knowledge of it. <a href=”http://geocities.com/nstix/lawandorder.html”>Source</a>

2009-07-28