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could make producers do whatever you wanted?" Bioff: "Yes-and I could make them dance to my
tune." Although Bioff rolled over on his pals and ended up getting car bombed, that didn’t stop the
mob/Mishpucka
infiltration & control of Hollywood.
(Bioff had tried to save his public image by
helping Walt Disney settle his labor dispute with the mob-led unions, but Walt wisely relected his
offer of help, and made sure he didn’t offend the Chicago mob leaders who were disgruntled with
Bioff.) Hundreds of millions of dollars were poured by the Mafia & Mishpucka into real estate in
southern California, by using legitimate local businessmen
to launder the money. Hollywood
was
declared a "free zone" where all the Mafia/Mishpucka
families could operate without a fear of a turf
war. Let us backtrack slightly to 1930. Columbia distributed Disney cartoons from 1930 until 1932,
when Disney switched to United Artists, because Columbia wasn’t bothering to pay Disney the
money they owed. In 1930, Cohn, Pres. of Columbia Pictures, got Disney off the financial hook with
Powers by intimidating
Powers with some street toughs carrying a legal suit. If Disney wasn’t
indebted to the mafia before, he was at that point. Biographers have been puzzled why Disney went
into such a traumatic depression after Henry Cohn "helped" him. Tough guy Henry Cohn made sure
Walt knew who was boss. His attitude was that Walt should be happy to be paid at all by him for the
cartoons Walt supplied Columbia. After this, Walt would lock himself in his room and weep
uncontrollably
for hours. He was impossible for anyone to get along with. He was unable to focus on
anything, and would stare for long periods out the window. Biographers
blame Walt’s behavior on the
fact that his wife was pregnant. They also blame it on his friend Iwerks defection to another company.
Frankly, Walt had treated Iwerk like a dog, and deep down must have known why Iwerk left such an
abusive relationship.
To claim that he wept for hours day after day because he realized he might
become a father is too much to swallow. When Walt was asked years later about why he was so
depressed he said it was the stress of the financial situation. Walt said, ,,I had a nervous breakdown.
..Costs were going up; each new picture we finished cost more to make than we had figured it would
earn when we first began to plan it...I cracked up." This author submits to the reader that part of his
breakdown may have indeed been the financial stress from having come under the heel of the mafia.
They had all the means to make or break him, and he had no choice but to surrender to their
overwhelming
power to blackmail & destroy him OR to get out of the business. What this did was
place Walt in a position where his two strongest traits had to clash--his overwhelming
obsession to be
his own boss, and his creative obsession to create animation which was wrapped up with his ego &
his deep phobias and psychological
needs. His mind couldn’t give up its independence
nor its
creativity without great mental anguish, and therefore Walt was very saddened, knowing that he
would have to admit defeat, and buckle under the heels of the big boys. Just when he needed
emotional support his wife was going to have a child, and his best animator left. Walt had abandoned
Iwerks years before, and Walt’s wife had wanted a child for some time. Iwerk’s departure and his
arriving child do not in themselves account for the long intense nervous breakdown
that Walt
experienced. Biographers
point out that Walt was very reluctant to have children, and that he was
impotent with women including his wife much of the time. His impotency to carry out normal sex
may help explain his secret sexual habits. Walt’s masonic brother Carl Laemmle offered Walt a good
deal to help him recover from Henry Cohn’s abusive control of Walt, but Carl wanted the copyright
to Mickey Mouse in return for the help, and Walt wouldn’t part with Mickey Mouse. Instead, Walt
signed a contract offered by Joseph Schenck of UA (United Artists), who was one of the Mafia’s
illegal drug kingpins. In 1935, the mob’s illegal drug dealer Joseph Schenck went on to found 20th
Century, Inc. which later merged with Fox in ‘38 to form Twentieth Century-Fox, whose board of
directors would include two Illuminati kingpins William Randolph Hearst and Malcolm MacIntyre.
Joseph Schenck’s brother Nicholas Schenck and Marcus Loew merged Metro Pictures and Goldwyn
Pictures and named Louis B. Mayer as its head. Meanwhile over the years, MCA, headed up by
Illuminati Kingpin Lew Wasserman gained a monopoly over the American film industry with the
secret backroom deals that they made with Ronald Reagan’s Screen Actor’s Guild and Petrillo’s
American Fed, of Musicians. (By the way, Lew Wasserman would try to revive Reagan’s acting
career in the early ‘60’s. Frank Sinatra and Walt Disney were both friends of Ronald Reagan, and all
three believed in mind-control.)
Ronald Reagan and Petrillo in turn worked with the Mafia’s NCS
Council of 9 (which
incl. Anthony Accardo and Sam Giancana), which at one point divided the U.S.
into 24 mob territories. After J. Schenck went to jail (very briefly), he was replaced as Pres. of 20th-
Cent. Fox by Spyros Skouras. Before his arrest, while Schenck was still
in charge of 20th-Cent. Fox,
