Devil: Microcosm of Zion

"Be sober, be vigilant; because your adversary the Devil walks about like a roaring lion, seeking who he may devour." ~Peter 5:8

This quote (which should be noted as "1 Peter 5:8") opens the film Devil, in which 5 people, apparently total strangers, get stuck in a malfunctioning elevator, but soon realize that there is an even greater problem present. Those trying to get the stuck passengers out - some of the building's security personnel and a pair of police detectives - also see that something else is not right and it is soon suggested that the Devil has planned all of this to happen. Overall, the film plays out as a good horror film and is very far removed from the gratuitous slasher nonsense that seems to permeate the genre. And wouldn't you know it, in this film's interesting portrayal of lurking evil and subversion of spirit, there are some solid anti-Zionist themes.

That was one of the first images used to promote the film, a rather bleak and dark poster, but there is a subliminal hexagram there in the form of the elevator buttons. The "down" button acts as the V, however when put together with the "up" button we get a six-pointed star and not the usual Satanic pentagram. These two buttons are the only actual objects in the poster, the rest is writing - credits and the tag-line "Bad things happen for a reason," which suggests an ominous plan slowly coming together.

The film's opening sequence is a series of upside-down aerial shots of Philadelphia, the final of which enters a building, travels down an elevator shaft, where we'll spend most of the film, then flows into the building lobby, where the first key event takes place: a man falls onto a van parked outside. The janitor cleaning the lobby doesn't notice as he has head phones on and he is facing away from the windows. Odd, perhaps, but plausible. When the police begin to investigate the scene, the truck has rolled down the street and into an alleyway. The investigating detective even says that it must have bounced off of a concrete barrier before coming to a crooked stop at the end of the alley, thus it must have been a noisy trip, and here the real oddity plays out: no one noticed this. There are no witnesses in the middle of a big city and the detective himself figures out that the truck must have coasted down here. This was early morning, but any modern downtown has all sorts of business in which employees arrive to prep for the day before business hours, such as the janitor cleaning the lobby, but certainly not everyone was so distracted so as not to notice an out of control truck careening down a street!

This either means that the forces, which had propelled the previously described events were supernatural or that people just didn't bother care. Both notions will soon come into play.

No Coincidences
During a mundane week day, it's even raining outside, five people trickle into an elevator presumably to get to an appointment or work. Soon things start to go inexplicably bad and fear sets in and they all start to turn on one another - each one cares only about their own skin - and there are, most definitely, supernatural forces at work. The building's computers display information contradictory to what is happening, a mysterious face flashes on the security camera's display, and the elevator's lights flash on and off for no reason intermittently with the trapped people emerging from the darkness, first with wounds, but then they wind up getting killed off one by one. All of this seems to be contained within one elevator and everyone swears that that hadn't touched anyone else.

There is a narration in the film that tells, in episodes, a story about the Devil in which he rounds people up into one place so that he can torment them before taking their souls.

"When I was a child, my mother would tell me a story about how the Devil roams the Earth. Sometimes, she said, he would take human form so he could punish the damned on Earth before claiming their souls. The ones he chose would be gathered together and tortured as he hid amongst them, pretending to be one of them. I always believed my mother was telling me an old wives' tale."

This is basically a continuation of the idea presented in the opening quote. One of the security guards mentions to the detective a legend called "a Devil's meeting" which is essentially a template for the situation unfolding before them. Earlier in the film, the detective was having breakfast with a friend who told him "to truly feel free, you may have to start believing in something greater than yourself." If all goes well, this would be the realizing off greater ideals. However, all does not go well and the "greater thing" encountered is the Devil who seeks to make people into puppets and victims.

The detectives, the security officers and the building engineer all work to free the people trapped in the elevator, but things seem to get worse and worse. First, one of the passengers is wounded with what seems to be a serrated blade, then one of them dies with a shard of glass in his neck and the nerves of the survivors get worse and worse. The building engineer falls down the shaft, as he tries to make his way from the top of the shaft onto the top of the elevator car. Firemen are called in to hack through the wall so as to access the shaft from the side at the level where the car is stuck at. Yet, as everything seems to progress, though at a cost of life in certain instances, it doesn't seem to progress fast enough! The malevolence in the elevator car continues to torment the people and snuff them out.

The background narration at the point, when the fire department arrives at the scene, states that sometimes people would try to fight with force, but "some battles cannot be fought with weapons." This is a virtually exact transposition of Adolf Hitler's idea of "where we lack weapons, we must compensate with will power." It is the struggle of the spirit that makes men succeed - slowly the characters begin to realize this. Bowden, the main detective, even tells of a incident that happened 5 years ago and in which his wife and child were killed by a hit-and-run driver. This has led him to not believe in the Devil, for "people are bad enough by themselves." His idea of what goes on in the World has been entirely reduced down to people either doing good or bad, but now that's changing.

Bowden's background story becomes a key aspect of the film's action when the last remaining survivor in elevator ends up being revealed as the one who was the hit and run driver 5 years ago. At this point, the Devil makes his presence known, he is in the form of the older woman who was in the elevator and thought to have been the second one killed. By now, all the characters in the film have been revealed as having done bad deeds in the past and thus were slyly hoarded into this one place. Then, for what must have been hours of tension and mental strife that have led to nothing but violence and now culminate into an encounter with the Devil himself - "the lies we sell ourselves introduce us to him" is part of the narrated background story.

However, now the lies stop and the last one alive sees what he must do to get out: repent. He thinks back to the time when he committed the hit-and-run, he remembers the moment when saw the dead mother and child, and when he cowardly drove off leaving only a crudely written note. In realizing his past wrong doing, his past selfish actions, he takes the responsibility that was once avoided. For that, the Devil can't claim his soul for it is a soul that is actually struggling to be free of evil.

"God only helps those who are prepared to help themselves." ~Adolf Hitler

By stopping the lie that he has been living with, the man helps himself become of better moral conscience. This does not mean being let off the hook for his previous doings, but the important thing is that he puts an honest effort to set things right, though late it may be. As Detective Bowden drives the man to the police station and when they are driving down a long, dark stretch of road, a place where Bowden could easily have vengeance and fake a story (who wouldn't believe a cop?) and thus have simple satisfaction, he says that he forgives the man for what he did 5 years ago. In this scene, through the back windshield of the car we can see a V-shape of lights fading away in the distance as the car drives on. The V was the first introduction to the Devil on the promotional poster, but now it is a parting with the Devil as Bowden does the honorable thing.

The film's closing narration: "After my mother would finish her story, she would always comfort us. 'Don't worry,' she'd say. 'If the Devil is real, then God must be real, too.'"

Mainstream Evil
The film employs much mainstream imagery to convey its notion of evil, but it remains interesting nonetheless. For instance, the truck on which the suicide jumper lands is from a company called, Bethel Bread Co. and Bowden's family died on Bethlehem Pike, which tie in together - "Bethlehem" means "House of Bread" - as well as allude to the story of Christ. The building that serves as the film's setting is located on 333 Locust St; this can refer to the biblical story of plagues, but there is a real street of that name in Philadelphia, however the portrayal of it in this film is fictional. 333 is half of 666, the Number of the Beast.

The film's first shot in the opening sequence is the same shot that ends the film, however, the opening is upside-down, while the ending is the same shot, but now right side up. These are shots of the Philadelphia cityscape, which includes many pointed buildings, just like the triangles on the promotional poster. Thus, we have an upward triangle and a downward triangle - put those together and there is a hexagram. 333 + 333 = 666.

Numerology tends to lead to obsession and inevitable folly, so it is only good to briefly entertain it. In all probability, the filmmakers included it to have an easy understanding of the film be possible. Everyone "knows" that 666 = Devil. It's practically a selling point in pop-culture.

Visions of Zion
On this aspect the film is a bit more creative. In the opening sequence, as the shot travels down the elevator shaft, it is neither right side up nor upside down. In this location the triangles coexist and point both up and down - and this is where the Devil eventually appears. Then, right when the shot travels to a particular door in the shaft, it spins so as to come out right side up for its travel time in the lobby.

The red glare creates an inverted cross that goes "into" the V, reflecting the inversion of the original teachings of Gnostic Christanity into corrupt form of Judeo-Christianity. The elevator buttons are on the right and a number 6 is right above the door. In effect, the final moments of the opening sequence seem to revert the above cross and suggest that the film's outcome will ultimately be good. These opening shots are a small representation of what will now happen throughout the rest of the movie. And wouldn't you know it, the fist major event is a suicide by falling down, while the last event is an act of forgiveness and mercy, the sparing of a life.

The film's abundant triangle/mirror images all point to the hexagram and there are many notions to "flipping" in the film: the first of the main characters to die, a salesman of mattresses, suggests that it is a good idea to "flip" your mattress every 3 months so as to lessen the effect of sagging. He says this while standing in front of a mirror, which flips images. He had been looking into this mirror for a while before this moment and then dies by getting a triangular shard of the mirror in his neck. Seems like the Devil killed him first for a reason. By looking into the mirror he saw an entire false dichotomy, the same one that is making the people in the elevator lose their nerves and turn on each other. By instilling hate and distrust, the Devil is making it seem like the people are killing each other.

The kicker is that the elevator is a microcosm for Zion: people trapped, with no hope of escape, in a space controlled by the Devil. This microcosm can be seen in greater form in the shape of the entire building - it literally has the same shape as the elevator and when the police shut the building down and tell everyone to stay in the lobby they have just created an identical, but larger, situation as that in the elevator. One of the building's security guards goes to the basement at one point to fix something, but ends up getting shocked by a faulty cable and collapses out in the lobby. With this dead body, the lobby is now a macrocosm of the elevator.

Microcosm - a small part representing the whole.
Macrocosm - a large-scale reproduction of something small.

Put these together in a continuum and you have a fractal, a repetition of subdivisions that are identical to the main shape. In the film, this pattern is just elevator < building. However, theoretically this could continue on to: city < county < state < nation < ...etc... < Zion. The last repetition is the ultimate, though still theoretical, compartmentalized prison complex that would spread on forever and last indefinitely. It is the absolute killer of freedom with all of the inmates' identities erased and replaced with small sections of slaves toiling away for the Devil.

Devil = microcosm for (ZION) = macrocosm for Devil

With these two shapes locked together in coexistence, for they truly are one, we get the configuration whose only goal is to grow so as to contain and dominate all.

RIGHT NOW:

There is still a chance to escape the grid and fight.

IF THE DEVIL WINS:

The fences close. Reality is redefined.

Right now, the film's closing narration still applies to our real World: if Zion's forces are at work, then so are the forces of Arya. Joining the right side is each individual's choice.

We must believe that we can win.

We must not assume that we cannot lose.

Perceiving Aryanism and National Socialism

I can imagine that one day long ago when a system of mathematics, that eventually became one of Persia's greatest achievements in the form of algebra, started to play a key role in various transactions and this made certain sneaky merchants angry as it is harder to lie with numbers than it is with simple sleight of hand. Perhaps many of these dishonest merchants saw the logic of mathematics as "evil" since their schemes were now easily disprovable.

An analogous situation occurred in Germany when Adolf Hitler rose to power and very quickly started to push out all the Jewish schemes from the economy. Hence, National Socialism has been branded as "evil," since it caused trade, culture and society in Germany to be truly of the people and by the people thanks to its revolutionary new system. Those who did not wish to participate in, as well as those who sought to subvert, the new order were detained and set on course to be re-educated in camps. Hitler knew the dangers of subversion as it was such actions that caused the German defeat in the First World War... a war during which not one shell impacted German home territory. Marxist organized strikes, engineered class conflict, crafted hate of the intelligentsia and ethnic groups in addition to other subversions caused rampant chaos in Germany and in the newly created eastern nations of Czechoslovakia and Poland - strife in the Sudetenland and uprisings in Silesia as people felt displaced or left out from where they wished to be. No doubt that the sloppy Treaty of Versailles was meant to cause all of this. If it wasn't proven before, it was proven now - the masses are asses.

Enter Adolf Hitler. He had been carefully watching events unfold since his first sojourn as a student in Vienna - the futility of the parliamentary system, the dishonesty of the Press, the decaying of culture all at the hands of puppeteers who relished in chaos amongst the Goyim for it allowed them to implement their own selfish solutions and appear to be like geniuses and saviors - a perfectly fitting solution for the Jewish ego.

He saw what needed to be done

Out of chaos cannot come an order, but rather an order must be made from the chaos, for the chaos was Germany herself. Hitler wasn't seeking to advance the country, but first revert it back to a stage from which it can successfully advance - he believed in the Original Nobility of the Germans.

However, he also displayed a belief in the Nobility of other nations, namely the Slavs, who at the time were a great nuisance to Germany. Russia was overrun by Judeo-Marxists, the Czechs and Poles were aggressive about their new borders and the regions from Pomerania down to the Sudetenland saw ethnic strife, but most critically, the Soviets had already launched a war, barely after the conclusion of the giant preceding one. The Bolshevik onslaught was pushed back by the Poles after going as far as the outskirts of Warsaw. From this the Poles saw the USSR as their enemy, but also, in one of their greatest blunders, didn't see their German ally who had put forth conditions for the co-existence of Poland (as well as the Czechoslovak state) next to Germany as a joint buffer against Judeo-Bolshevik terror. The wise Hitler recognized his nation's real enemy and the enemy of all nations of men: it was the Jew who out of the chaos of the Great War was still busy creating more and more chaos on all fronts - social, geopolitical, economic.

The sleight of hand of the ancient dishonest merchant had grown to horrific proportions. The ancient herder's manipulative tactics had adapted into an intimidating and complex force.

Adolf Hitler didn't back down in cowardice of it all, he wasn't baffled into fear by the sheer scope of it, he wasn't selfish and thus didn't keep the solution to himself for his own gain.

THE ANSWER

"I have no hesitation in saying that in those men who seek to-day to embroil the patriotic movement in religious quarrels I see worse enemies of my country than the international communists are." ~Adolf Hitler

It applies to every country and international relations.

Revert the mess of society back to this:

Thus, making it possible to progress forward to this:

The key perception that we must see is that National Socialism is as German as Algebra is Persian or Geometry is Greek. Each has its source and will forever be known as hailing from there, but the applicability of each is so universal that it should be absolute standard. Algebra and Geometry are standards, however, National Socialism is not. Algebra's application, though, has been corrupted by the Jew who is at the ridiculous point of pulling numbers out of thin air, or simply typing them into a digital interface, so as to push forward his false transactions - it's the same old lying merchant and manipulative herder at work.

The result:

Confinement

Aryanist solution and continuation of Hitler's Kampf:

FREEDOM

Messages in Majdanek

I recently had an unexpected chance to go to the Zionist Propaganda Museum in Majdanek, just outside of Lublin, Poland. I took the opportunity and the visit was interesting, to say the least. By today, the city of Lublin has grown much and practically reaches vast open field that is the former internment camp from the Second World War, though this area was never really as far removed from urban areas as the other camps of its kind. The official information at the camp even makes note of this “exception.” On the way to the museum one can read the official name that has been given to this place, “Majdanek Museum of Martyrdom.” If you are coming from center city Lublin as I was, you have to drive along the aforementioned field for a while before coming to the main visitors' entrance. Along this stretch there is a great stone monument that will aptly sum up the rest of your visit: impact.

Not information, but impact. Be it visual or from the mouth of a tour guide, impression making tools await to mold your perceptions so that they are as guided as the tour itself.

The Majdanek camp was turned into a museum in August of 1944, well before the war even ended, and less than a month after the Soviets captured the area. This was done under the direct supervision of the Soviet Propaganda Machine, which would go on to serve as a main provider of "evidence" against the Schutzstaffel in 1945. Immediately local, regional and national publications churned out Soviet approved stories of what went on in the camp and all this information was promptly used to demonize the Nazis. This may also explain why Stalin was so intent on keeping Eastern Europe under his control, it gave him exclusive control over the so-called "death camps" and what evidence was extracted from them and then used against the Germans.

Interestingly, Majdanek is one of those infamous "death camps" that supposedly had a homicidal chamber and massive crematorium going on overtime to exterminate any and every person that the Nazis disapproved of. Let's take a look at the official camp tally.

Numbers Speak

78,000 dead. Given poor and dirty wartime conditions, which included a typhus epidemic and the Jews' own lack of cleanliness, this number can begin to make sense. Odd is the fact that the Polish word by this figure is “zgineło” meaning “died” (there is no “killing” implied), yet the English version, and the one most international tourists invariably read, implies murder. The other translated pairs match up accurately, says this native Polish speaker.

45,000 transferred to other camps. Wait, transferred? I thought this was a Nazi Murder Machine death camp? Hmm... maybe I was wrong.

500 escaped. Ah, yes, a few rogues are always to be found. Also, it seems security wasn’t that intense: escaping from a guarded labor camp that’s next to a militarily occupied city in the middle of an occupied country and remaining officially declared as escaped seems like the Germans were not so intent on killing everyone in this camp. In additon, nothing was mentioned about what these escapees said... did they testify at Nuremberg? To the Soviets? If so what did they say and what was done with that information? Did it just not align with the propaganda so it was swept under the rug and the escapees then sent by Stalin to Siberia so as to remain forever quiet? Questions, questions; ones that demand answers.

18,000 released. Ok, seriously. They actually release people from “death camps” now? Why would those fiendishly evil, mass-murdering Nazis hell-bent on genocide ever do that? Well, if they were not “hell-bent on genocide” than this board of numbers is starting to make sense.

1,500 liberated. The Soviets “saved” less people than the Nazis. How amusing. Though this was, in all probability, just the amount people who were there when the Soviets showed up and after the Nazis retreated. Many more were likely to have left the first chance they got, meaning right after the SS cleared out. There was a big city nearby to go to... why wait inside a prison then if the door’s open?

One should also note the numbers, all nicely rounded, thus making them estimates at best. Odd, that a world famous museum has a mistranslation and estimates as main parts of its information and message, especially since it exhibits a topic that countless scholars were said to have accurately studied and reported.

Also, back to that mistranslation, this was not the first time I had seen a suspicious mistranslation related to WW2 labor camps. I say suspicious since it effectively makes the information presented not objective. In the movie Shutter Island from 2010 there is some back story involving the Dachau Massacre and in the dialog the main character first says “death camp” in English and then in German as “Konzentrationlager.” Strange, since the German translates to simply “Concentration Camp” (the direct literal translation), but the term “Internment Camp” can also be used. Ever wonder why the Allied forces have “Concentration Camps” but the Germans have “Death Camps?” It’s WW2 Allied propaganda still in play and it has become firmly rooted into peoples’ psyche. Even if one looks at the fact that the German camps did have more death, especially towards the end of the war, it’s because German resources were stretched very thin and often down right destroyed from the air courtesy of the Allies and their aerial assaults even on civilian areas. Dresden would be the most infamous example from the latter category here: people flooded to the Saxon city as refugees as it remained the one major supply hub for civilians in the area, and then the city was bombed despite having no military or strategic importance. If civilians fared this well from the efforts of the “heroic” Allied forces, then how might you think prisoners had it?

Mistranslation here, misunderstanding there, white washing here, exaggeration there... WW2 history is plagued by these things and all those little mistakes play against the reputation of the Germans and those who were at arms with them. This cannot be a grand coincidence. It’s deliberate LIES.

The gate to the main compound in Majdanek has a sign that says, among other things, that no one under 14 years of age will be admitted. Given the horror stories visitors hear inside, this may very well be some good sense, but something else made me think different.

There was an Israeli student tour group at the camp and all the kids looked junior high school age more or less, 14 or just a bit older. Interesting fact of psychology is that kids learn quickest and are most impressionable when they are under 12. The brain is still developing and many childhood lessons go on to define the shape of the adult to come. Israel is insanely particular about controlling the flow of information pertaining to it or information that it has interest in. Just look at any one of the countless “controversial incidents” involving the IDF, the smell of a cover-up or lies seems to be practically synonymous with such things. Jack Bernstein, an American Jew (and a man who is clearly leaning more towards rationalism than Zionist Propaganda), was disgusted by Israeli power hungriness and lies, noted in his book that when he went to the supposed “haven” for Jews of the World, that tourism was strictly monitored, what people could see was tightly controlled, where they could go was very directed and under constant police supervision. Are we to believe that the Israeli educational system is all that different? Those kids when they are still under 12 must be drilled to the core with Holocaust lore and completely shaken up by all the gruesome Zionist hyperboles. Then when they finally come to these “museums” to “learn” the indoctrination doesn’t stop. Not at all.

There was a tour group of slightly older Polish students at Majdanek that day too and I linked up with them during one exhibit, the one containing the overview of the entire camp. The tour guide was being intensely emotional and his speech was punctuated with key words that go along with the museum's design of teaching by shock and instilling a desire for a passionate reaction of hate or some sort of defense from fear. This “tour guide” with his sorrowful voice amounting to cheesy dramatic acting said that the camp commandant would take his young daughter to see mass executions of Jews (of course Jews, always Jews) and would even strategically cross the camp with her so they’d go through as much ground as possible so that maybe she’d get a glimpse of a “random lynching that the SS often carried out” on one of the numerous gallows that were “all over the camp.” So apparently, the men of Schutzstaffel weren’t just mass-murdering psychopaths, they were also the World’s worst parents.

In the moment, when I heard the last word of that anecdote uttered, I was convinced that Zionist Propaganda lost some of its usual bad taste and picked up a whole lot of idiocy to compensate.

There is one section of the camp that has been kept standing and the normal tour path goes through it, however, there were renovations being done there, so I just happened to come across it on a day when it was closed. The workers were making a new stone walkway through the camp grounds. I did notice, however, that there were none of the aforementioned gallows to be seen. The area was being renovated, but only a walkway down the center was being placed, the buildings by which the “numerous gallows” were said to have been were not being worked on. Another flub in Zionist Propaganda, in all likelihood.

The last site to visit here is the flagship of the tour and of Holocaust lore: the crematorium, where the industrially efficient mass-murder was said to have taken place. First off, the standard for “death camp” is incredibly shaky... if Auschwitz is a “death camp” with 1,000,000 dead, then how does Majdanek even begin to compare with 78,000? Majdanek is a lot smaller, so that could explain some discrepancy and it does have one of those supposed “gas chambers,” thus it doesn’t matter how many people died, but how they died. Ok, fair enough. Let’s look at a gas chamber from the era of when this camp was in operation.

This article, from the Commitee for Open Debate On the Holocaust, is lengthy and gets into serious details, but in the beginning there is a nice explanation of 1920s and 1930s era gas chambers, including ones that used Zyklon-B. Also is worth noting that they were made by Degesch, a German company. Thus Adolf Hitler, being the Fuhrer, effectively had unlimited access to this technology if he so desired. As did Heinrich Himmler, the SS Reichsfuhrer who oversaw the entire penitentiary system of the Third Reich.

I can tell you, dear reader, that there is nothing in Majdanek that even begins to resemble such a large and complex machine. There are some ovens, standard mortuary ovens, that were used for cremation. It was a very necessary process to contain disease and likely ALL dead were cremated, SS Man and prisoner (the city morgue in Lublin had also been likely ordered to burn bodies), since corpses can harbor massive amounts of germs and disease, especially when people died from typhus or any other deadly disease and each body in the ground was basically a lethal germ warehouse. The Germans went so far as to be thorough that they dug up previously buried dead and started to cremate them... hence the pictures of mounds of dead and crematory ovens going overtime. It was a massive and frantic effort of sanitation that, for all intents and purposes, was meant to save lives of all those in the area - German soldier, Polish citizen, and all prisoners be they POWs, political detainees or Jews.

One major reason that the gas chamber horror story remains official history is due to Soviet propaganda, which had enormous Jewish contributions. Soviet Commissars were greeted by Jews when Stalin invaded Poland, because many of them were Jews themselves. In fact, why didn’t the West declare war on the USSR which invaded Poland like Germany? Well, the fact is that Jews were riding high in the Soviet Union. However, Hitler had freed German society and culture from the highly disproportionate and destructive influence of the Jews and was promptly branded as the Devil. The International Jew’s War was with the Germans and their Fuhrer, the USSR merely provided one of the front lines of attack. Fortunately, some rationalism remained in the West and after the war on that side of the Iron Curtain the so called “death camps” were forensically examined to reveal no homicidal gas chambers, but ones for standard fumigation purposes meant to prevent the spread of disease. The USSR leadership, to help keep the focus away from monstrous Soviet crimes, did not permit Western forensic investigators to inspect the “death camps” in Poland, nor did they carry out such an investigation by themselves. They just rebuilt (often clumsily) the destroyed parts of many of the camps to accentuate their own anti-German propaganda, which then played a key role in the Nuremberg Show Trials.

The large stone monument where the propaganda tour starts.

Today, it is being used as indoctrination information and that Israeli student tour group are in effect, its latest victims. They’re kids, they don’t know better and out of all the students on this planet who “learn” about the “Holocaust” it is those Israelis that probably get drilled like no other. First when they are impressionable young children under 12 at home, then they go on these school trips so that they can evoke their first passionate internal reactions. Then they will return home, finish high school, and go on to carry out their required military service, but by then they'll be packed with as much Jewish fanaticism, persecution myth and blind devotion to the blue hexagram as is possible. They are victims because they are being deliberately misinformed so that they can perpetuate the Zionist crimes and related madness. They are being primed to be hate-filled IDF criminals and then life-long Zionist fanatics.

The intensity of “education” can be seen even right during the tour. One girl started to cry, others sang a requiem of some sort by the crematorium ovens. There was also a little bit of vandalism that I spotted: there were these signs in a side room, shaped like gravestones, and each one had the name of one of the nationalities of “Holocaust” victims. The sign for The Germans was scratched and some of the letters had been scraped off. Some apt pupil had already learned what his masters want him to do.

Questioning the official mythos of this propaganda is a punishable crime in virtually every Western nation, except the United States where rational investigators are merely shunned, stigmatized, and passively secluded from their job, their peers, and the decent life the may have had before they asked a “wrong” question or two. Or reached an "improper" conclusion, however logical it may be. In Poland, an example of academic fortitude, Professor Dariusz Ratajczak, who published a booklet called “Tematy Niebezpieczne” (Eng. - “Dangerous Topics”) in March of 1999, which raised questions about the official Zionist Approved Story, saw his life disintegrate professionally and personally for just over 10 years until his murder, which was officially declared a suicide. The Israeli Mossad was known to be operating in Poland, a supposed ally to Israel, but the Zionists spy and perpetrate crimes against everyone, so are we really all that surprised?

There are still rationalist investigators for the truth working out there, like David Irving and Fredrick Toben. Both did time in prison and both push on in their mission of enlightening the World. They are also more known worldwide than Ratajczak was, so their prospective lethal subversion by the Mossad would not be as covert as the Zionist fanatics normally like their crimes to be.

Truth doesn’t fear investigation, yet “the Holocaust” does. What does that tell you? Even if you don’t see the folly of it all.

The Carnegie Deli: A Den of Jewish Indulgence

New York City, a sprawling metropolis, there are so many places and things to see here that it would take probably a lifetime. There is one particular little locale, however, that I would like to bring to my fellow Aryanists’ attention. It is some ten blocks up 7th Avenue from Times Square, right by the southwestern corner of the intersection with 55th Street. A new visitor is likely to spot the huge sign to the Wellington Hotel just across the street from this place, but there is a red awning that extends out onto the sidewalk with the sign: Carnegie Deli. There is even another small sign just above it reading: World’s Best. Seeing how it’s in the middle of New York City, some blunt capitalist jargon is not really all that out of place.

Inside is where the place starts to actually get interesting. There is a delicatessen where a customer can by something like they do in a market, but most people proceed to the restaurant that makes up most of the locale’s interior. I’ve been inside three times at various hours from early afternoon to evening and the place has always been packed. The first thing that can be seen here are the pictures on the wall, they’re everywhere, virtually every bit of wall space had a framed photo of a celebrity who was here at some point. Certainly a unique interior design choice, not many places that I’ve been to have it, but it also hit me that this is perfect appeal to the vanity and attention obsessed Facebook generation, which was made possible by digital photography; copious amounts of pictures can be taken and loaded up online for display and delusions of fame. Popular media also is keen on covering celebrity stories and what movie stars do with their personal lives, what they wear, and where they go out. So this business, keen on trends, made sure to tap into that and maximize profit.

However, the real meat of the matter is just that, meat. Lots of it. A sickening amount of it. Not only is nearly every dish meat based, the portions are, to put it lightly, absolutely absurd. Ironically, "carne" is a root meaning "meat." Now, I used to eat meat, I used to like meat, but even during the times when I found great enjoyment in a steak dinner or any well-made meat dish, I still found the portions here insane.

Just take a look at one of their sandwiches:

Kosher, meaning “Gluttonous Indulgence from Slaughter”

To any Aryanist, it should be no surprise that this Den of Indulgence is Jewish themed. The whole menu is kosher and one of the house specialty dishes is called “The Woody Allen” referring to one of New York’s most famous Jewish residents. The free appetizer given to each table is a set of pickles, which are very common in Eastern European Slavic culture, but did you actually expect the Jews to not plagiarize or manipulate something?

I usually talk about films here, but I found this restaurant relevant, since the place overall does convey a message, a most un-Aryan message, and one that can be summed up as: “Consume you goyim!” The monstrous portions, appeal to superficiality, mounds of kosherized flesh all amount to ZC approved culture. This isn’t the only place to do so, but from this example, an Aryanist should easily be able to see others like it, even if they do not contain all of the elements that this place does. The trend of large portions is especially popular in American restaurants and people are actually asking questions like “Why is there so much obesity?” This is when Aryanists usually facepalm.

Also, I have sort of confessed to eating at this kosher lair a few times, two times was before I became an Aryanist. The last time, however, was not too long ago and that’s when I got the idea for this article. I wanted to show a friend of mine something “exclusively New York” but soon realized it was a mistake. I ordered the Central Park Garden Salad, one of few dishes without meat and the only one I remember having no goy-products, though for an extra $8 they’ll serve it to you with grilled chicken! Another facepalm.

This may be a weird suggestion to my fellow Aryanists, but you should check this place out. If you eat, it’ll probably be that salad I had, but the point is to see everything our movement disapproves of and seeks to correct with human civilization. This may help you see your own position better, a “know thy enemy” sort of thing. I, for one, wrote this little essay due to my last (and it will remain my last) visit there. Though, there is no shortage of locales like this one, so if you do not wish to feed the ZC Beast, which is probably a smarter move, then may I suggest, going on an investigative trip to any other restaurant of your choosing. It may seem obvious or even pointless, but a closer inspection at the very apparent lack of Aryan Frugality in our civilization just may tell you something that was too obvious to take note of in the first place. This goes for many of the issues we face. But noting such a thing, often results in something useful, even if just on a personal level. Aryanism is not just a spiritual or political movement, as Der Fuhrer spoke many many years ago, it is the will to recreate mankind anew! Thus, there is nowhere we shouldn’t look for possibility improvement.

The Lone Wolf Archetype

The Action/Adventure Film is one of the most popular genres in cinema. Virtually every big studio regularly releases films that fit into this category. These films are relatively easy to market to a wide audience and have consistently provided big studios with huge returns on their investments. The James Bond franchise is the most successful series of films in history and is part of the action genre. Film stars like Arnold Schwarzenegger, Sylvester Stallone, Clint Eastwood, Chuck Norris, Wesley Snipes and Jet Li (to name a few) have the action film genre to thank for their hugely successful careers. The adventure film was never really anything new and goes back to some of the earliest days of Hollywood. It was a genre that was successfully transposed to the big screen from some very popular in literature; the works of Jules Verne come to mind. One of the famous early films is A Trip to the Moon, which can be seen as a loose adaptation of Verne‘s From Earth to the Moon.

The film adventure hero, mainly the archetype propagated by Hollywood, gradually took on a distinct shape of his own as more and more films came out. Due to film being a visual medium (in fact, the first films were silent and thus purely visual) the superficial characteristics of traditional hero archetypes came more and more to the front and by now have become a standard and mainstay of the male action hero. One does not need to look at any one film to see this at play, rather this phenomenon is prevalent over an entire spectrum. However, a good place to start would be the adventure serials that came out in the 1930s, by that point Hollywood was a booming film industry.

The action hero in these films was most often an Anglo-American male with the most basic male traits accentuated. Commonly these were: apparent facial hair, high physical strength and endurance, and sexual prowess. Later, as restrictions in the cinema-code became less puritan there was a steadily revealing display of male muscular build with the musculature of the hero steadily veering into the superficial with a body-builder, Mr. Olympia-look. At a glance, just think Bruce Lee of the 1970s (natural build result of ascetic motivation) to Schwarzenegger in the 1980s (artificially induced result of vanity). The hero’s sexual exploits also become more graphic with a high (sometimes absurd and even comic) dimorphism between male and female; the woman that the hero woos was often a coy, oversexed lass. Together with the overly macho male, it makes for an image that propagates the differences between male and female, instead of a profound unity leading to mutual respect.

Another key trait of the action hero is his “lone wolf” attitude. He does things his way. He is his own boss. Even if he is part of an organization, one with concise procedural rules, he still does things his own way and gets away with it. In fact, by the end, it has become commonplace for him to be applauded for what he was originally warned about, his recklessness. One of the first “rogue cop” films, Bullitt, has the hero facing the consequences of his tactics. It is not shown to be all his own fault, others too were reckless, but the point is that all around recklessness leads to all around destruction. The case Lt. Bullitt was working on doesn’t get solved and the film ends with him looking glumly into a mirror, most likely reflecting on his ways. Dirty Harry was another popular film in the same style with a rogue cop protagonist. It came out in 1971, three years after Bullitt, and has a noticeable increase in sensationalism with many crooks being gunned down by the lead character. In contrast, Lt. Bullitt only fired two shots resulting in one death. Though, Dirty Harry also ends on a glum note with Detective Harry Callahan somberly reflecting on his job and on his actions, he even throws away his badge, the film, however, spawned four sequels with each one more destructive than the last and it was in the 1970s that the “lone wolf cop” archetype had become a mainstay. John Wayne’s only role in a cop thriller, McQ from 1974, is also the lone wolf formula, but with some new details: not only does he gun down all of the crooks, but he acquires and illegal firearm to do it with after he is kicked off the police force. And he’s supposed to be the guy we’re rooting for: one who is effectively an impulsive vigilante murderer on the loose. The Dirty Harry sequels are much in the same light, gunning down crooks and breaking skulls all while looking “bad ass.” It isn’t impossible to imagine a scenario where violence is necessary to end some wrongdoing, but these films’ stories are designed in ways that connote violence as the inevitable answer to all wrongdoing.

Lone Wolf McQuade
A perhaps perfect example of the Lone Wolf archetype can be found in the very aptly titled film Lone Wolf McQuade with Chuck Norris. It has virtually all the characteristics that were described above. The “hero” J.J. McQuade is Texas Ranger who lives as a loner in a dirty trailer out in the desert; he is unkempt and rather arrogant. The film’s story is the basic good guys vs. bad guys deal that ends in a big shootout as well a martial arts duel between hero and villain. The film is not a standout movie in any way, it is just another product straight from the action movie assembly line at the Hollywood film factory. I only chose to talk about it since its name is so fitting to the archetype described in this post.

Take a look at one of the film’s promotional posters:

No caption needed

That pretty much says it all about the film and hero right there. It makes a good guy out of a vanity obsessed brute and glorifies his acts of excessive force and violence. His self-serving nature and macho image can also be seen as a corrupted image of Aryanism; he has some of the right traits, but virtually all the wrong motivations. He is a survivalist and self-preservationist. He doesn’t care about anything unless it comes riding up his driveway. He is disconnected from society in everyway almost, except to serve his needs.

Kamerad Delendaestziobot wrote an article about this archetype as it can be seen in real life.

Sowing Discord
Storytelling has always been a human mainstay of introducing ideas into society and with the effective industrialization of filmmaking in Hollywood, the introduction of ideas through story in the last 70 years has been going on overtime. The US Department of Defense even regularly helps productions that are military oriented and many of these promote the reckless Lone Wolf Archetype, which seemingly goes against military procedure. One film of note here would be the 1987 action film Death Before Dishonor, in which a US Marine goes on a vigilante rampage after some of his men are killed. Featuring cartoon cut-out Arab villains and, of course, innocent Israelis that are victims to Arab terror, the film is nothing but propaganda once examined rationally.

This archetype is meant to appeal to base human instincts, and especially pride, in order to sow discord in society. Weekend Warriors, Closet Commandos and survivalist types are undoubtedly influenced on some level by these kinds of films. It’s the much propagated “American can do spirit” that promotes individualism so much so that the message ends up being comprehended and acted out as arrogance. The aforementioned Chuck Norris has often made public his anti-statist and wild west orientated political views thus it is no surprise that he made his career playing like-minded characters. Upon rational examination the libertarian ideals that such an archetype preaches are almost pure folly. It’s as if the people believing in those ideals are denying the existence of a state and government. They want to be in their own little comfortable Hobbit-hole. “The Lone Wolf dies. It’s the Wolf Pack that lives.” Some are arrogant lone wolves, many are just naïve little pups, but both are effectively pulled apart by their own doing thanks to propaganda and thus prevented from uniting to achieve goals that benefit the noble in society and punish the ignoble.

The Lone Wolf is motivated by vanity, is bound to himself, he lives by false honor. He will DIE.

The Noble Warrior on the other hand:

He is motivated by Honor and Duty.
He is bound to his Kameraden and to his society by it.
He lives by it. He is an Aryan.

Which One Are You?

Some Thoughts on Revisionism

As Aryanists, in order to accurately and honestly portray our history and our Aryan folk, there are many key things that need to be done. Many of these objectives are all ready rolling forward with increasing success, but at the same time coming into more friction from opponents. The key issue here is Historical Revisionism. The popularly accepted version of history does its best to vilify all things Aryan, but especially all things National Socialist; it’s as if the Devil himself wrote a political theory.

This notion continues to be accepted as the actual course of history despite an incredible wealth of information suggesting otherwise. This information is of high scholarly quality, both in its presentation and documentation, and everyone who has read it can clearly see that, including the information’s many deniers. Naturally, those deniers simply do what they do best: promote their policy of ignorance since slandering is becoming increasingly difficult and refuting the aforementioned information with equal scholarly quality is simply too hard, if not outright impossible, so for them the most efficient thing is sweeping it under the rug. I would like to bring the reader’s attention to this particular article that so thoroughly addresses key issues about supposed policies of National Socialist Germany that it should be a required reading for history scholars. However, if it in fact was required reading in academic circles, then it wouldn’t be “revisionism” anymore, but “truth.” As long as it can be grouped elsewhere than truth the establishment is satisfied enough.

Revisionism is not limited to 20th century history or even to the entire field of history, it can be found in a wide variety of subjects. As Aryanists, we should promote a “Universalist Revisionism” that encompasses and addresses issues and topics across the real worldwide spectrum. This will only be possible under a solid and united movement with Aryans of various skills and from many fields of study working together.

The idea of revisionism is nothing new, only the here suggested new way of implementing it is. For example, one of the great minds of the Renaissance, Copernicus, proposed an entirely new way of looking at the universe with the Sun at its center and not the Earth as according to Vatican dogma. He came to this conclusion after years of observation and study, which are empiricist methods, however, we know that no one could have controlled the information that he was looking at, the night sky. We also know that he was ready to accept something new altogether since he recorded his work and published it (albeit on his death bed), thus there was a bold step that he took, one of intellectual innovation (thinking outside the box), that resulted in a vital piece of revisionism, which he then shared with the World. Copernicus’s own theory would go on to be honed and revised by scientists like Brahe, Galileo and Kepler (who actually published the first defense of Copernican Heliocentrism). None of these men had any vicious or selfish motivation (if anything their lives were endangered by their “heretical” ideas), they were men of logic in search of Greater Truth.

A much more recent example or revisionism can be found in some Westerns from the 1960s. Before Westerns were largely “black hat, white hat” with villains and heroes as obvious as can be. These were the films that made John Wayne famous. By the mid 60s Sergio Leone created some influential films with a young Clint Eastwood that challenged the conventional Western; they presented a much more ambiguous moral landscape, in such a wild, and often savage, place as the West, “good” and “bad” are not the only two archetypes are work, Leone introduced the “ugly” archetype, one driven by impulse that does both good and bad depending on what serves its needs. This idea was most famously put forth in the aptly titled film The Good, the Bad and the Ugly from 1966. Due to Leone’s being Italian, his films were labeled as “spaghetti westerns” due to their more complex, and often convoluted, drama as well as a humorous take on Leone’s heritage.

A film that presented a really radical (at the time) view on the Old West was Sam Peckinpah’s The Wild Bunch from 1969. Utilizing revolutionary filmmaking techniques in camera work, sound, and editing the film caused a great stir in the film world. It was a uncompromisingly grim depiction of the life of outlaws in 1911, when the Wild West was largely coming to an end. Notable is the fact that John Wayne detested the film saying that it “destroyed the myth of the Old West.” A statement that is so very true on so many levels. The film is about a time when the Old West was coming to an end as well as it changing the entire depiction of the genre, thus Wayne could have just as well have said that it “destroyed the myth of the Old Western.” The rough and ugly reality of not just outlaw life, but of life in general in the Wild West, would become a topic for many years to come with revisionism being the primary drive.

Not surprisingly, Clint Eastwood, who had risen to fame by the late 1960s, made his own revisionist Western in 1973 called High Plains Drifter in which a small town’s ugly past catches up to it with violent consequences. After the film was released, Eastwood wrote a letter to John Wayne saying that he’d be interested in making a Western with the legendary star, but Wayne responded by angrily criticizing the revisionist portrayal offered by High Plains Drifter.

Thus, it is plain to see that revisionism is met with opposition in every field that it enters. In an established system where people are comfortable (especially comfortable financially), they’re more than likely to protest a change even if said change seeks to bring the truth.

As Aryans, it is our duty to bring the truth to light.
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My Honor is Loyalty
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Aryanism - a misunderstood word and concept

Villification is an effective way to combat an enemy, since it is in effect, getting others to fight the enemy for you. With some carefully chosen words and images, hate can be incited and the masses will "remove" someone... sometimes literally, other times just through stigma.

Aryanism has suffered such a fate. In the eyes of the masses it is synonomous with hate and terror and war crime. It has been exceptionalized as the worst of the worst.

I once said "Irony's no slacker" and am continually surprised how right that turned out in many respects with one of those being Aryanism. I can't tell anyone what to think about it, if you are dead set on despising it, then as Aesop said, "a willful beast must go his own way." Not to belittle the reader, but in the original fable, the "beast" refers to a mule, though you can see the over-arching meaning at play; it can refer to any sentient creature.

Like the farmer in that fable, who tried to pull his mule back before it runs off, I will show the reader this -- http://aryanism.net/ -- a link to a website dedicated to Aryanism and how really a universalist and benevolent an idea it actually is.

Deep down most intelligent people know that the swastika isn't a hate symbol, but a sun symbol and it was very prevalent in many cultures before its villification. If the reader can at least accept that perhaps they'll be encouraged to take a step further on the website and read about "Aryan Race" -- another villified term -- and see that it too isn't about hate.

Perhaps the reader is ready to try and understand Aryanism, because only then will they be able to truly say that they accept it or decline it.