To really understand who operates “Hollywood” – you have to look at the history of the “motion picture” industry and “television” from its very inception.
From an article posted on Rense.com we learn:
Walt Disney’s War With Hollywood’s Jews
|Unknown to most Americans is the fact that the first motion picture camera was invented by Thomas Alva Edison in East Orange, New Jersey. A lifelong inventor, Mr. Edison had over 1,000 inventions patented when he died in 1931. Inventing a motion picture camera that worked properly was the easy part for Edison. Keeping Jews from using the camera without paying him royalties for his invention was the hard part.As soon as the German born Jew, Carl Laemmle found out about motion pictures, he started figuring ways to exploit the new invention. Efforts by Laemmle and other Jews to deprive Edison of his fees for using his cameras forced Edison and other movie makers like Dickson, Casler, Koopman, Long, Smith, Klein and Marion to form a protective association called the TRUST. As fast as these Jews could get their hands on Edison’s equipment and started using it, the Trust would file lawsuits against them to stop their illegally using his patented equipment.
Not to be outdone, Laemmle and some other New York Jews, rushed around Europe in their efforts to circumvent the long arm of the Trust. Cameras based on Edison’s invention were smuggled into the United States by Jews as well as raw film. Edison and the Trust had made arrangements with the Eastman Kodak Company to exclusively produce film for it and those who had been sanctioned to use the equipment by the Trust.
Laemmle and his Jewish co-racialists found film manufacturers in Europe to supply them with Kodak-like film which was also smuggled into the United States.
When the courts moved at a snail’s pace or refused to stop these Jews from using Edison’s invention, the Trust would send out it’s own enforcement ‘police’ which would seize and smash the illegal equipment. As one author noted, this forced them to set up an elaborate warning system. Jewish lookouts would keep watch while they were filming and when they observed the Trust ‘police’ on their way, they would quickly pack up their cameras and flee as fast as possible to another ‘filming’ location.
However, Laemmle knew that while the Trust controlled most of the movie cameras, they could not get their films into circulation without ‘movie houses.’ Edison and other non-Jewish movie makers distributed their movies through numerous non-Jewish independent ‘movie house’ owners across America. However, those owning the movie houses were completely independent and had no central distribution center or movie house chains.
Before Edison perfected his camera other individuals had developed a system of rapidly moving cards which depicted short scenes. The ‘pictograph’ system as it was called, was quickly seized upon by Jews as a means of making a fast buck by developing a series of cards depicting ‘movies’ of naked women or sex acts by couples. To exploit the ‘pictograph’ market Jews used their homes and buildings in New York to set up ‘Nickelodeons,’ which turned useless real estate into a means of making a fast buck—on this early form of pornography.
The Jewish ‘Nickelodeon’ system spread from New York and Carl Laemmle used the ‘Nickelodeons’ as a framework for organizing his own distribution system among his more than willing co-racialists nationwide. To fight the Trust they formed the Distributing and Sales Company.
To get the ‘goyim’s’ support, Laemmle allowed some non Jews to become involved and bring their movie houses and money into the venture. The non-Jews Robert Cochrane and Pat Powers merged their holdings with Laemmle. However, most of the funding for the DSC came from Jewish investors. Laemmle had managed to get control over distribution facilities and over 300 theaters nationwide. In his drive for power over the Trust and his competitors, Laemmle formed Universal Movie Distributors with Cochrane and Powers.
After destroying his competitors at Mutual Film Distributors, Laemmle then proceeded to use his investors to push Cochrane and Powers out of Universal, and before long he was in total control and was nicknamed the ‘King of the Film Renters’ At this point the control of the movie industry went from the non-Jewish hands of the Trust into the hands of Laemmle, Fox and other Jews. They had won the fight for the control to the thinking of the American public.
The movie producers aligned with the Trust felt they were producing quality movies and wouldn’t distribute any ‘less than perfect’ films. Laemmle didn’t have that problem, and to keep the films flowing into his theaters and going through his distributors, he used every piece of junk film he could get his hands on. His motto was ‘the more the better.’ The Trust simply couldn’t keep up, because they could not understand the Jewish mentality.
The Trust still kept fighting back so these Jews decided to pull up roots in the East and head West to Hollywood, California where there would be over 3,000 miles distance between the Trust, the courts and the Trust’s ‘police.’
From that time on Hollywood became the motion picture capital of America. Edison and the members of the Trust felt that by producing wholesome movies they were helping to preserve the nation’s morals.
However, these Jews were not governed by moral standards. In the book Walt Disney Hollywood’s Evil Prince, Marc Eliot says: “Unlike their early East Coast counterparts, the heads of Hollywood’s studios were less interested in artistic experimentation than profit. They put on the screen what sold the most. The public was willing to pay to see films with sex and violence, and Hollywood was more than happy to make them.
“By the early twenties, all that remained of Edison’s Trust was the issue it had raised regarding the moral content of motion pictures. The federal government kept a close watch on Hollywood, the new capital of the film industry, to make sure the movies it produced remained ‘socially acceptable.’ However, Hollywood’s moguls had no idea of what was meant by ‘socially acceptable.’ They didn’t know if their movies were moral or immoral and couldn’t have cared less… The more a film made, the better it was…Whenever the industry came under attack for being morally corrupt, none of Hollywood’s owners believed the problem had anything really to do with morality.”
For the complete text of the article, go to: http://www.rense.com/general91/walt.htm
Keep in mind that BLACK MAGIC SPELLS are conjured and demons invoked and “channeled” by Edomite (Jewish) Satanists via a “wand” made of the wood of the sacred holly (a form of the word “holy”) vine. Thus the term “Holly-Wood” is most definitely deeply meaningful.
As you watch this video, keep in mind that the new-age demonic ideals: “becoming a God” – “feeling the Spirit” – “saving the dead”, and “Familiar Spirit Guides” are common terms of Mormonism – the “faith” of candidate Willard Mittens Romney. The truth is that Romney’s “Book of Mormon” is a “channeled” document – NOT a “translated” text of ancient scripture. The Truth is that Joseph Smith dictated the text via a black magic practice called “scrying” – i.e. a practice much similar to “spirit writing” – whereby Smith described that the text of the B of M would just magically appear in a “seerstone” placed in a dark hat. All of this was done while Smith was clearly in an “altered state” – just as so MANY HOLLYWOOD HYPOCRITE “ACTORS” PUBLICLY ADMIT TODAY.
Furthermore, The Book of Mormon clearly states that it (The B of M is the foundation bedrock of Mormonism) will be nothing but the voices of the spirits of DEAD PEOPLE (the Nephites – “those who shall be destroyed”) which shall “Speak unto them (the people of the ‘Last Days’ – i.e. the “Mormons”) OUT OF THE GROUND, and their speech shall be LOW OUT OF THE DUST, and their voice SHALL BE AS ONE THAT HATH A FAMILIAR SPIRIT.” See Book of Mormon, 2 Nephi 26:16 The “One that Hath a Familiar Spirit”, according to LDS “General Authority”, “Elder” LeGrand Richards, was the “Prophet” Joseph Smith, Jr. Also, Richards declared in his book “A Marvelous Work and a Wonder” that each and every Book of Mormon would also carry A FAMILIAR SPIRIT in its pages – and that it would be that FAMILIAR SPIRIT which would “testify’ to the reader by means of FEELINGS of EMOTION as promised by the dead “prophet” Moroni!
Dear reader, never forget that Satanists in Hollywood and all serious Wicca New Age practitioners all seek to tap into the “familiar” spirits in order to perfect their “craft”. These are clearly demonic entities according to the Holy Bible. Ecclesiastes 9:5-6, 10 tells us: “For the living know that they shall die, BUT THE DEAD KNOW NOT ANYTHING —– also their love, and their hatred, and their envy, is now perished; neither have they any more a portion for ever in any thing that is done under the sun. Whatsoever thy hand findeth to do, do it with thy might; for there is NO WORK, NOR DEVICE, NOR KNOWLEDGE, NOR WISDOM IN THE GRAVE, whither thou goest. That seems pretty clear to me. Also, Job 7:9-10 tells us: “He that goeth down to the grave SHALL COME UP NO MORE. He shall RETURN NO MORE TO HIS HOUSE, neither shall his place know him any more.”
Clearly, then, the “familiar spirits” of the Mormons, the Satanists, and Wicca New Age Cultists, are simply DEMONS – not departed spirits who once lived here on this earth. No wonder Utah is the “Harry Potter” capital of the world!! Keep that in mind as you watch the video: