Fast and Furious (excerpt)

by Dr. William Pierce

July 7, 2001

There is a new film out by Universal Pictures. It's called The Fast and the Furious. It's a film directed at White teenagers, a film designed to give them a particular image of the world and instill in them a myth about the way the world works. It's a film about modern, urban teenagers — specifically street gangs in Los Angeles — and cars and street racing. That might seem harmless enough, but the street racing is just a gimmick on which to hang the message, and that message is that the world is multicultural, and it's good that it's multicultural. It's good not to live in a White world, with White friends and White role models and White values and White standards and traditions. That's boring. That's not cool.

Poster for The Fast and the Furious

The message is that there's nothing special about being White. The message is that if one is White, then one should hang out with Blacks and Asians and mestizos. One should behave like non-Whites, talk like them, dress like them, be like them. That's what's cool. That's what's sexy. That's what everybody who's really cool is doing. And when you feel like having some sex, you just reach for whoever is nearest. It doesn't matter at all what race the other person is. If you're a White girl, it's especially cool to have sex with a Black or Asian or mestizo male.

That's the most obvious message of the film, but actually it's more than that. It's not really that the film says race doesn't matter, that we're really all the same; that culture doesn't matter, that all cultures are equivalent. The film says that Whites should become non-White, because non-White is better. The cultural milieu of the film is not raceless or a little of this and a little of that. The cultural milieu is Black. The culture is hip-hop. The music is hip-hop. The clothing style, with the baggy shorts and the rest, is hip-hop. It's Black. That is the world into which White teenagers should blend, the world to which they should subordinate themselves.

Surely, White teenagers aren't actually absorbing that message. Are they? Yes, unfortunately, many of them are. The Fast and the Furious is drawing bigger crowds than any other film produced by Hollywood this season. It grossed $78 million in its first ten days. White teenagers are flocking to it more than to any other movie. The attraction, of course, is the action, the street racing, the exciting car stunts. That's the gimmick that pulls them in. But that's not the message. The message — which of course, is subliminal: that is, which is intended to change the kids' perception of the world at a subconscious level — is exactly what I just described: it's cool to be part of the hip-hop culture; it's cool to be multicultural; it's cool not to act White, think White, or be White.

That's the message, and it's a Jewish message: Jewish in its conception, Jewish in its promotion, Jewish in its genocidal intent.

You think I'm imagining things? I'll read to you from a story about the film in last Saturday's edition of the Los Angeles Times:

Hollywood was stunned when the youth-oriented action film The Fast and the Furious streaked past the competition to become the number-one movie.... With its relatively unknown cast of Latinos, Asians, and African-Americans, heavy doses of high-speed chases, and a driving hip-hop soundtrack, the movie defied expectations.

...But the teen-oriented movie's success isn't so surprising when one glimpses the youthful crowds flocking to theaters.... With their ultra-baggy cargo shorts, doo-rags wrapped around their heads, and bodies festooned with tattoos and piercings, the look of these young moviegoers mirrors the multiethnic melange of actors on the screen....

Hollywood likes to pride itself on being ahead of the cultural curve, but with last summer's sassy white-versus-black cheerleading comedy Bring It On grossing $68.4 million domestically and this winter's Save the Last Dance, with its once-taboo interracial dating, raking in more than $90 million in North America alone, the studios have only begun to catch up with the colorblind nature of today's MTV generation.

Rob Cohen, who directed The Fast and the Furious, said the film not only reflects today's "multiculti" youth culture without purposely drawing attention to it, but depicts what is really going on. When the movie opened, it drew a cross-section of races, Cohen said. Surveys taken at theaters where The Fast and the Furious played showed that 50 per cent of moviegoers were white, 24 per cent were Hispanic, 10 per cent were black, and 11 per cent were Asian. "I look at this and go, 'This is exactly what I'm talking about,'" Cohen said.... Attracting a young audience across the country — a mainstay of big summer popcorn hits — The Fast and the Furious has grossed an estimated $78 million in less than two weeks and is on track to make well over $100 million.

I want to emphasize a couple of things in what I just read to you, besides the fact that the director of the film is the Jew Rob Cohen and the studio is Universal Pictures, owned by the Jew Edgar Bronfman. First, note that Mr. Cohen is very much aware of the racial angle in his film. That's all he talks about, not the racing stunts. And note that he says he put the racial propaganda into his film in way that would not "draw attention to it": that is, he put it in as subliminal propaganda.

One other thing: the story in the Los Angeles Times implies that this film and other films like it are imitating society, not the other way around. But that's not true. These Jewish films are propaganda deliberately designed to move society in the direction the Jews want it to go. White kids didn't start wearing baggy shorts and backward baseball caps and listening to rap music and using jive talk just because that's what young Blacks were doing: it was Jewish films and Jewish television and Jewish advertising that pushed them in this direction, that persuaded them it is cool to imitate Blacks.

The Times story refers to the studios catching up with "today's MTV generation." But really, how did it become the "MTV generation"? That name is appropriate just because MTV has been the single largest influence on White teenagers in moving them away from their roots in their own race and making rootless cosmopolitans out of them. MTV has been the foremost promoter of the hip-hop lifestyle among young Whites. And I hardly need to remind you that it is the very Jewish Sumner Redstone, originally known as Murray Rothstein to his parents, who owns MTV. Redstone's MTV and his Paramount Pictures studio may be a little ahead of the other Hollywood studios, but they're all pushing in the same direction as hard as they can.

This is an essential point: namely, that the Jewish media are pushing our society, and not the other way around, and the Jews are understandably reluctant to admit that. Last Saturday's Los Angeles Times story interviewed another Jewish film producer in this regard:

Marc Abraham, one of the producers of Bring It On, noted: "There is a much more interracial aspect in today's culture than the way this country used to be. Any movie that reflects that — and it doesn't mean they'll all be hits like The Fast and the Furious — will ring true with the audience"

As I indicated, that is deliberate misdirection. And there's more misdirection in the Times story. It also interviews the Black director of Sumner Redstone's racemixing film Save the Last Dance:

"The movie business is certainly catching up with what's happening in society," said Thomas Carter, who directed Save the Last Dance. "Youth culture has been shifting a long time.... Places like MTV are right on the edge and totally involved in the change. In filmmaking we lag behind."

But of course, Redstone's MTV, which as Carter notes is "totally involved in the change," is into filmmaking too. Anyway, it's really an artificial distinction to contrast Jewish television with Jewish cinema. Redstone isn't the only Jewish media boss who is deeply involved in both media.

One of Bronfman's subordinates, the Jew Marc Shmuger, says it a little more plainly, and again I quote from last Saturday's Los Angeles Times story:

"I think the segregated groupings are breaking down in today's America, and I think today's movie audience is a complex mix," said Marc Shmuger, vice chairman of Universal Pictures, which released The Fast and the Furious. But Shmuger warned that if the movie industry starts making multiethnic movies "in a calculating and cynical fashion," the audience will sense that and stay away.

In other words, keep the propaganda subtle, keep it subliminal, so that we don't tip off the goyim that it's really propaganda. I'll read one more section from the Los Angeles Times story:

Just as The Fast and the Furious shows young people of all races gathered in large groups unmindful of their racial differences and not hung up on sex, Gary Scott Thompson, one of the film's writers, said today's young movie audiences also are that way. "It used to be that a boy and a girl would go on a date," he said. "Now what's happening is groups of kids who are friends — multiracial boys and girls — all move in date packs together. It's like a date, but they don't consider it dating. Some of them might neck; some of them might not. None of them think anything much about it. They are much more open when talking about sex.... They've broken down the cultural barriers."... Rob Friedman, vice chairman of Paramount Pictures Motion Picture Group, said the studio began noticing the colorblind nature of young audiences with its 1999 high school pigskin drama Varsity Blues. "It's really about their peers, regardless of race, and to a certain extent gender as well," Friedman said. "When it came to Save the Last Dance, it became more and more apparent young people don't care whether the relationship is interracial. The music is great, the story is great."

As I've already mentioned, Paramount Pictures belongs to Sumner Redstone, and I hardly need to tell you that his employee Rob Friedman is a Jew, like nearly all the other executives at Paramount Pictures.

This new development of White teenagers running in "date packs," as the scriptwriter put it, with Blacks, Asians, and mestizos and having very casual and very interracial sex did not evolve spontaneously, as the media bosses and their employees would have us believe. It has been promoted deliberately by Hollywood and by television and by Madison Avenue. Sumner Redstone's MTV may be a bit bolder in this regard than the other Jewish media, but all of them have been working together for decades toward the same goal, and that goal is the annihilation of our people. They say, "Oh, we're just reflecting with our films and our TV shows and our magazine ads what your society has become all by itself," but that is a conscious, calculated lie. They know exactly what they have done and are doing, and one can easily sense them gloating over it when one reads their remarks in the Los Angeles Times.

I've said this a thousand times already in different words, but when we permitted the Jews to come into our society and take over our mass media of news and entertainment — our newspapers and our radio broadcasting networks and our motion picture and advertising industries and then television broadcasting — we handed them the weapons with which they intended from the beginning to destroy us and now are destroying us. This program of theirs to corrupt and destroy us didn't begin with the Second World War and the so-called "Holocaust." It is a consequence of their nature. The "Holocaust" was not the cause of their destructive behavior, but rather a consequence.

If you believe that I am hallucinating when I say that, see for yourself what Jews such as Edgar Bronfman and Sumner Redstone are producing for the entertainment of our children, and you try to explain it in any other way.

[The preceding is an excerpt from the 07-07-2001 broadcast of American Dissident Voices. A full transcript is available here, and an mp3 of the show may be downloaded here.]


Posted July 26, 2010. Last modified July 24, 2011.

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