Andrew HamiltonEssays

Jack Webb’s One Out of Seven

Jack Webb performing in the Dragnet television series.

by Andrew Hamilton

ONE OF Hollywood’s most successful personalities was Jewish actor, writer, director, and producer Jack Webb, active for four decades in radio, television, and movies. He is best-known for his role as Los Angeles police Sergeant Joe Friday in the fictionalized police series Dragnet on radio, television, and in a motion picture.

Webb began his long career in radio as the 25-year-old co-creator and star of a short-lived weekly “documentary drama” radio series called One Out of Seven on San Francisco’s KGO AM radio station. KGO, previously owned by NBC, then belonged to the newly formed American Broadcasting Company (ABC). Seven episodes of the show were broadcast in February and March 1946.

Each opened with the following announcement: “Twenty-four hours make a day. Seven days make one week. And from these past seven days the editors here in our San Francisco newsroom have chosen the one story which they have judged most worthy of retelling. This is One Out of Seven!”

The actor Jack Webb, seen here circa 1945, was half-Jewish (father) according to Jewish writer Maurice Zolotow, who interviewed him in the 1950s.

Like today’s fake news and entertainment, the broadcasts, peddled as true stories, were heavily propagandistic and anti-White. As a voice actor Jack Webb portrayed every character in every episode, doing impressions of famous people and using a variety of dialects ranging from Blacks to Jews to the stereotyped evil German Nazi and Southern racist in “Free Men.”

The inaugural episode of February 6, 1946, sneeringly entitled “Senator Bilbo is an Honorable Man,” was a harsh attack on U.S. Senator Theodore Bilbo (D.-Miss.). America’s controlled media were running a concerted campaign against Bilbo that year because he was up for reelection.

The author of a self-published book entitled Take Your Choice: Separation or Mongrelization (1947), Bilbo had been influenced by the ideas of Black leader Marcus Garvey, who in turn praised the Senator. In 1938 Bilbo proposed an amendment to a federal work relief bill to deport 12 million Black Americans to Liberia at federal expense to relieve Depression-era unemployment.

Theodore Bilbo

Although the Senator won reelection in 1946 despite the massive, one-sided Jewish-Leftist press battering he was forced to endure, the Republican-dominated Senate, ignoring the vote, refused to seat him. The following year the Jewish propaganda film Gentleman’s Agreement, a defamatory attack on Americans’ alleged “anti-Semitism” starring Leftist movie star Gregory Peck, mentioned Bilbo as an exemplar of bigotry.

Ironically, like most Southern “racists,” Bilbo had Jewish friends and never criticized Jews the way he did Blacks. His campaign manager in 1940 was a Jew, and he once said, “I’m for every damned Jew from Jesus Christ on down.” Though this brought no tolerance from God’s chosen people, Bilbo would never have dreamed of returning their hatred in kind.

The other episodes of One Out of Seven followed the same pattern, among them “National Brotherhood Week,” “The Coming Third World War” (pushing One World internationalism), “Anti-Negro South,” “Equality: A Most Wonderful Thing,” and “Free Men” (anti-German, anti-Southern). The latter episode was interspersed with Negro spirituals; in real life Webb was a connoisseur of Negro jazz.

The now century-long media campaign against Whites of which Webb’s program was a small part, beamed ceaselessly, daily, to a passive audience of millions and millions of people, combined with rigid censorship of alternative views, has caused the deaths of millions of human beings, the rapid destruction of Western civilization, and now genocide.

No individual or movement has yet been able to overthrow this hatred and power, and few have challenged it. Most do not even see the problem because they are part of it: some knowingly, others irresponsibly or zombielike.

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Source: Author

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Who We Are: A Series of Articles on the History of the White Race (Part 5)

4 Comments

  1. Robert McNamara
    July 26, 2017 at 9:09 am — Reply

    Ironically, the 1960’s/70’s version of “Dragnet” features a great many episodes with a socio-political slant many WN’s today would agree with, featuring anti-leftist, anti-drug use, anti-flower children, anti-black power, and all-around anti-freak stories spotlighting what was then only the beginning of what would later become the Cultural Marxist society we know today.

    In fact, I remember back then how “Dragnet” was attacked for its right-wing “moralizing”, and it indeed was that. In fact, it was one of the last TV shows to fight the onrushing tide of cultural change sweeping both our government and our society. So if Webb was a “bad Jew”, just imagine what those who opposed his TV show must have been like.

    • July 26, 2017 at 4:12 pm — Reply

      I do remember that Dragnet seemed conservative, just as you described, and appealed to conservatives. Its characters dressed, acted, and spoke in a way that harked back to an earlier time. But I think the main effect of the show was to gain a large audience of anti-counterculture Americans and then constrain them to attitudes and “solutions” that never trespassed into the forbidden territory of racial thinking.

      Misbehaving “Black power” types were taught to respect and obey the System, and the audience was supposed to be pleased when Blacks “acted right” and became “good Americans.” (I am sure there were episodes where messages of real decency were conveyed, but always on issues that didn’t challenge our racial dispossession.) The audience was given the impression that the Establishment and its authority figures were wisely guiding our nation along the path of decency and order, when in reality the opposite was true.

      The conservative viewers (for the most part) didn’t even notice that the show was drenched in multiracialism. They associated authority figures and “law” with patriotism and “good” — and that’s about as far as their thinking went — just as intended, I think.

      When I watched the (1967-1970; I never saw the 50s version) show as an adolescent, I remember feeling even then that I was being somehow manipulated in a way I couldn’t articulate — feeling that something was missing.

      • July 28, 2017 at 3:35 pm — Reply

        Laura Lee and I have been watching old films recently. Across the board every film has anti-White themes and portrayals. Take Mayberry RFD for example. The only adult who is married (Otis) complains about his wife and is drunk all the time. All the rest are single. Widow, widower, Gomer Pyle. The program is an outright assault on White men and masculinity. Why does Barney only have one bullet?

        I met with Jack Webb in 1978 in his office and ate lunch at his private dining table in Universal Studios. Our meeting and lunch was part of the propaganda program discussed above. The only reason I was there was because I saved the child of an illegal Mexican from a house fire in our neighborhood.

      • Harvey
        July 29, 2017 at 2:34 pm — Reply

        Excellent clarification — this narrative phenomenon in TV deserves some kind of terminology, because it really is present throughout numerous sorts of shows in this medium. It is a little like balking in baseball.

        Although “Dragnet” now has a slightly darker meaning in light of its method of unsolved problem spectacle, as nostalgic viewing, Dragnet was appealing because it demonstrated a civic respect for the law. Citizens dressed like it mattered — instead of technology gadgets being flashed as culture, sartorial presentation functioned as a citizenship oriented cultural technology.

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