Jewish organizations then went nationwide in an attempt to suppress the show in each individual PBS affiliate in each city the program was to be broadcast. In a massive campaign of intimidation, Jews wrote and called local PBS stations, threatening a cutoff of donations and public support if they aired the show. If that did not work, opponents promised, picketing, harassment, and even violence against the stations. By the time they finished their dirty work, the original program aired on only a small percentage of the local PBS stations. Furthermore, the stations that did have the temerity to air the original hour show — immediately followed it with a special program attacking my positions and my character without allowing me to respond.

An example of quiet suppression, from among many I could cite, was my experience with the Tomorrow Show with Tom Snyder in 1974. The Tomorrow Show was a late-night talkshow that went into serious topics rather than vapid celebrity banter. I did not fit the stereotypical image of the racist that host Tom Snyder had expected, and during the program he surprised me when, on camera, he referred to me as "intelligent, articulate, and charming." Snyder laughed heartily at my witticisms and repeatedly stated on air that I would soon be back on the show. His last words on the program were "David Duke will be back here."

Three days later Snyder’s staff called to set up the follow-up show. They said that I would appear along with a Black civil-rights leader, a Jewish rabbi, a liberal Catholic, and a Protestant clergyman. Flight and hotel reservations were made, and I received a confirmation letter from the show. Only three days before the planned taping of the program, a staff member called and told me that she was sorry, but the program had been forced to cancel my appearance. I asked her why, and she confided in me that the Jewish executives at NBC had sternly informed the program that "David Duke will never again appear on the Tomorrow Show."

The program went on as scheduled, but my detractors were the only guests. They denigrated me for the entire hour with cheap insults. The rabbi, evidently well versed in Freudian psychology, attributed my racial beliefs to "sexual frustration." And so it went. The media masters had presented four high priests of egalitarianism and silenced the opposition.

The masters of the media are also adept in the dishonest remaking of classic works. Louis Mayer and David O. Selznick’s film classic Gone with the Wind provides an excellent example of story-manipulation. I read Margaret Mitchell’s novel while still in junior high school. But when I first saw the film version during high school, I noticed important differences. In the novel a Black man assaults the heroine, Scarlett O’Hara, arousing the Ku Klux Klan — which Mitchell portrays heroically — to ride for justice. In the Mayer-Selznick movie version, it is a White man who tries to rape Scarlett and a Black man who rushes to her rescue! There is no heroic ride of the KKK. In fact, the Klan disappears from the story altogether. Later I read how the producers purposefully made the change for political reasons.

Mitchell’s real feelings on the KKK were explicitly written in Gone with the Wind:

     But these ignominies and dangers were as nothing compared with the peril of white women… It was the large number of outrages on women and the ever-present fear for the safety of their wives and daughters that drove Southern men to cold and trembling fury and caused the Ku Klux Klan to spring up overnight. And it was against this nocturnal organization that the newspapers of the North cried out most loudly, never realizing the tragic necessity that brought it into being…
     Here was the astonishing spectacle of half a nation attempting, at the point of bayonet, to force upon the other half the rule of Negroes, many of them scarcely one generation out of the African jungles…¹