The Social-Media Echo Chamber Was Not Invented by Mark Zuckerberg

We have found many instances where social media censored and eliminated accounts of conservative voices:

  • Lauren Southern suspended on facebook over criticizing censorship
  • Facebook locked this kid’s account for posting a video supporting Rudy Giuliani’s criticisms of Obama
  • Facebook approved Christian hate groups while shutting down true Christian groups: In 2013, somehow a group called “Jesus F**k**g Christ. Sl*t Mary’s B*st*rd” was able to get past Facebook’s censors for a time, as well as groups called “Christianity is a Plague Begging for a Cure” and “Virgin Mary should have Aborted”
  • Christopher Cantwell was blocked for 30 days for expressing his opinion about the attacks in Cologne, Germany, and the right to bear arms.
  • Facebook removed a Photoshopped picture of the Obamas wearing Che Guevara T-shirts.
  • Canadians censored by facebook for criticizing Prime Minister Justin Trudeau’s response to refugee shooting.
  • “Chicks on the Right” was blocked and threatened with a shutdown by Facebook.

And this was only up to 2016, now it got worst: to the point where Facebook CEO Mark Zuckerberg admited,  in a congressional testimony, a left-wing political bias in his company in Silicon Valley.

Is this new? Have we seen these type of censorships and media thought-policing before?

Here are the pure FACTS the left don’t want you to see.   To show you who are the real SISTEMATIC FASCISTS, that since the inception of fascism, it has always been a left-wing trait disguized as all mighty rightousness:


(Radio of the people)

In 1933 in the “Internationale Funkausstellung Berlin” (radio fair of Berlin) was introduced.

Its purpose was to give access to radio to the people.  The radio that Goebbels manufactured with the purpose of giving everyone the ability to listen to Hitler.  In 1933, Adolf Hitler had only been in power for six months and he was obsessed with the idea that he needed to communicate with  ALL Germans.  He found a way creating the Ministry of Propaganda of the Third Reich. Joseph Goebbels, head of the newly created department,  contacted Otto Griessing, an engineer managing a company named Seibt, and ordered him: “In August, during the Internationale Funkausstellung Berlin (International Radio Fair of Berlin), we will introduce the Volksempfänger (People’s Receiver). They will be cheap devices, cheaper than current ones, so every German can have one.”

October 29th, 1938, Goebbels adopted the words of Erich Scholz, the chief of staff of the previous administration: “German radio serves the German people, so everything that degrades the German people must be excluded from it.” But Goebbels went even further. The Volksempfänger had design limitations  so that only stations managed by the regime could be heard.  On the dial, only local stations were indicated (controlled by Goebbels, off course), and from the first military actions in 1938 it was forbidden to listen to any other radio outside the borders of Germany. “Think about this – said a paper attached to the receivers at the time of its sale – listening to foreign broadcasts is a crime against the national security of our people. It is a Führer order punishable by prison and hard labor.”  But in some areas, at night, & with special antennas,  they would make it possible to tune into radios from others parts of Europe, or radios not controlled by the Nazi party.

In the territories occupied during the war, the simple act of listening to radio – any other radio – could be punishable by death. Goebbels was clear that the radio was the most apt medium to carry the uni vocal message of the Nazi government. So was the cinema, but producing it was more expensive and took more time. The immediacy to carry the word of Hitler – all his speeches were transmitted by radio broadcasts – to German homes strengthening the intensity of his word.

USHMM Artifact Gallery: Family listening to a radioThe high price of other receivers limited their access. In these days, many radio listener clubs were created to organize social gatherings to listen to one same device as a group, but the people wanted one in their house. The regime would provide it for them. After 1938, the government intensified an aggressive sales campaign and ordered manufacturers of other brands, such as Siemens and Telefunken, to give priority to the production of VE301 and DKE.

Control of the media (media law)

Now that the problem of how to deliver the message was solved, Goebbels dived directly into content. The programming was restructured so that no one would talk about anything that contradicted the official word and so that each musical note, each sound, was consistent with the ideas and praxis of the Nazi party. ALL OTHER VOICES WERE SUPPRESSED.

Not only the speeches of the Fuehrer were transmitted, but also those of the top leaders of the party and the government. There were talk shows about National Socialism aimed at the general public and others for specific segments, such as segments aimed at women, housewives and workers. Gradually first and in an accelerated way later, the German classical and popular music displaced – until making it disappear – any music and genre from other latitudes.

Jazz music was eliminated as “negroide and decadent” and the composers of Jewish origins disappeared from any radio broadcast. To reinforce the idea of ​​bringing a radio receiver to each home, the Nazi propaganda apparatus devoted an important budget to publicize massively – in print media, in the cinema and on public roads – the RADIO OF THE PEOPLE.

Achtung, achtung! | Vaguely InterestingAn advertisement found in newspapers, magazines and posters showed a VE301 radio in the middle of a crowd, with the legend “All Germany listens to the Führer with the Volksempfänger.” The medium was also essential outside German territory. An example of this was its use to gain wills in Saar, a territory that was under French jurisdiction at the end of the First World War (1914-1918) and in which a referendum would be held in 1935 for its inhabitants to decide if they wanted to continue as French , return to being Germans or opt for independence.

By the end of 1934, the Goebbels apparatus saturated Saar with more than a thousand radio programs, and in three months he managed to get the territory back to Germany. Years later, the same strategy would be applied in Czechoslovakia, in Poland and in Austria, although with some changes: in addition to positive propaganda of seduction, threatening texts would be also published. The German population had no access to any voice other than the official voice, and this became more evident during the war. So much so, that the audience got fed up with the uniformity, the triumphalist proclamations and reports, and stopped listening to the radio. Goebbels had to correct course . . . He then ordered that at least 70% of the programming be dedicated to light music.

In April 1945, when the allies surrounded Berlin and Hitler took refuge in his underground bunker, Radio Berlin was broadcasting from the ruins, reporting that Germany was about to win the battle of the capital. On April 20, the Führer’s 56th birthday, Goebbels himself proclaimed to the audience that the course of the war was turning in favor of the Nazis. Ten days later, Hitler and the woman he had married hours before, reportedly committed suicide. At half past nine on the night of May 1, the Germans heard in Radio Hamburg that everything was over, with the same martial tone and the same lying line that Goebbels had imposed on them: after interrupting the programming to give “serious important news “, we heard fragments of Wagner’s opera and some chords of the Seventh Symphony of Bruckner, to give place to a sonorous voice: “Our Führer, Adolf Hitler, fighting to the last breath against Bolshevism, fell through Germany this afternoon (it had been the previous afternoon), in his headquarters of the Reich Chancellery.” It was the end of the Nazi regime and also of the Volksempfänger, which ceased to take place immediately, although there were so many devices in operation that gave an electric engineer without money named Max Grundig the opportunity to launch his own venture: fix and sell the receivers created for all Germans. He became rich and later, with his own brand, famous.


Propaganda of the Third Reich

by Joseph Goebbels

Nineteen points summarize the propaganda system that Joseph Goebbels applied from well before his administration at the head of the Ministry of Propaganda of the Third Reich, until the end of the war.

The most popular one describes his methods in the phrase “If a lie is repeated enough, it ends up becoming true.”

We can easily fast forward to the present, and see Facebook, twitter and YouTube follow this same principles in tandem with mainstream liberal media.



  1. Propagandists must have access to intelligence concerning events and public opinion.
  2. Propaganda must be planned and executed by only one authority.
    • It must issue all the propaganda directives.
    • It must explain propaganda directives to important officials and maintain their morale.
    • It must oversee other agencies’ activities which have propaganda consequences.
  3. The Propaganda consequences of an action must be considered in planning that action.
  4. Propaganda must affect the enemy’s policy and actions.
    • By suppressing propagandist material which can provide the enemy with useful intelligence.
    • By openly disseminating propaganda whose contents or tone causes the enemy to draw the desired conclusions.
    • By goading the enemy into revealing vital information about himself.
    • By making no reference to a desired enemy activity when any reference would discredit that activity.
  5. Declassified, operational information must be available to implement a propaganda campaign.
  6. To be perceived, propaganda must evoke the interest of an audience and must be transmitted through an attention-getting medium.
  7. Credibility alone must determine whether propaganda output should be true or false.
  8. The purpose, content, and effectiveness of enemy propaganda; the strength and effects of an expose’; and the nature of current propaganda campaigns determine whether enemy propaganda should be ignored or refuted.
  9. Credibility, intelligence, and the possible effects of communicating determine whether propaganda materials should be censored.
  10. Material from enemy propaganda may be utilized in operations when it helps diminish that enemy’s prestige or lends support to the propagandist’s own objective.
  11. Black rather than white propaganda must be employed when the latter is less credible or produces undesirable effects.
  12. Propaganda may be facilitated by leaders with prestige.
  13. Propaganda must be carefully timed.
    • The communication must reach the audience ahead of competing propaganda.
    • A propaganda campaign must begin at the optimum moment.
    • A propaganda theme must be repeated, but not beyond some point of diminishing effectiveness.
  14. Propaganda must label events and people with distinctive phrases or slogans.
    • They must evoke responses which the audience previously possesses.
    • They must be capable of being easily learned.
    • They must be utilized again and again, but only in appropriate situations.
    • They must be boomerang-proof.
  15. Propaganda to the home front must prevent the raising of false hopes which can be blasted by future events.
  16. Propaganda to the home front must create an optimum anxiety level.
    • Propaganda must reinforce anxiety concerning the consequences of defeat.
    • Propaganda must diminish anxiety (other than that concerning the consequences of defeat) which is too high and cannot be reduced by people themselves.
  17. Propaganda to the home front must diminish the impact of frustration.
    • Inevitable frustrations must be anticipated.
    • Inevitable frustrations must be placed in perspective.
  18. Propaganda must facilitate the displacement of aggression by specifying the targets for hatred.
  19. Propaganda cannot immediately affect strong counter-tendencies; instead it must offer some form of action or diversion, or both.