October 27, 2010

Traces of Aryanism in a Heavy Metal Song

In my post on the Storytelling Front of the ongoing Aryan Kampf, I mentioned that littles bits of Aryanism can be seen in many places and, perhaps, even in greatly unexpected places. Films and television programs are perhaps the easiest place to look as they are both very popular and, in general, very available mediums. However, I'd like to introduce another medium here: music. Most people tend to enjoy music like they do movies, on a simple level. This means that they don't explore deeper themes that surely the creating artist must have been aware of or even outright intended to convey.

Metallica have been a popular band ever since their debut album from 1983 entitled Kill 'em All was released. On a surface level examination, they write pretty standard heavy metal music with all the fast riffing, blazing solos and pounding bass and drums that heavy metal fans get a kick out of. However, their enduring success seems to suggest that there is something more about them and in particular their music. Many bands come and go, many are just one hit wonders, and even many of those that have a lengthy career rarely reach as many people as Metallica. Surely luck plays a part, but it can't explain all of Metallica's success. There is a profound artistry to many of their songs, especially from albums before 1991, that most heavy metal bands never even come close to achieving.

Guitarist, front man and main song writer, James Hetfield, was raised in a strict Christian household and religious motifs can be seen in his lyrics. Songs like "The Four Horsemen" may be obvious, but many more contain much more universal spiritual and metaphysical aspects. It's an element of Metallica's music that most headbanging heavy metal fans probably don't pick up.

Here are the complete lyrics to the song "...and Justice for All." Read and Listen.

Halls of Justice Painted Green
Money Talking
Power Wolves Beset Your Door
Hear Them Stalking
Soon You'll Please Their Appetite
They Devour
Hammer of Justice Crushes You
Overpower

The Ultimate in Vanity
Exploiting Their Supremacy
I Can't Believe the Things You Say
I Can't Believe
I Can't Believe the Price You Pay
Nothing Can Save You

Justice Is Lost
Justice Is Raped
Justice Is Gone
Pulling Your Strings
Justice Is Done
Seeking No Truth
Winning Is All
Find it So Grim
So True
So Real

Apathy Their Stepping Stone
So Unfeeling
Hidden Deep Animosity
So Deceiving
Through Your Eyes Their Light Burns
Hoping to Find
Inquisition Sinking You
With Prying Minds

The Ultimate in Vanity
Exploiting Their Supremacy
I Can't Believe the Things You Say
I Can't Believe
I Can't Believe the Price You Pay
Nothing Can Save You

Justice Is Lost
Justice Is Raped
Justice Is Gone
Pulling Your Strings
Justice Is Done
Seeking No Truth
Winning Is All
Find it So Grim
So True
So Real

Lady Justice Has Been Raped
Truth Assassin
Rolls of Red Tape Seal Your Lips
Now You're Done in
Their Money Tips Her Scales Again
Make Your Deal
Just What Is Truth? I Cannot Tell
Cannot Feel

The Ultimate in Vanity
Exploiting Their Supremacy
I Can't Believe the Things You Say
I Can't Believe
I Can't Believe the Price We Pay
Nothing Can Save Us

Justice Is Lost
Justice Is Raped
Justice Is Gone
Pulling Your Strings
Justice Is Done
Seeking No Truth
Winning Is All
Find it So Grim
So True
So Real
Seeking No Truth
Winning Is All
Find it So Grim
So True
So Real

The song has obvious political themes as it describes corruption in the justice system. The line that stands out the most is the first line of the chorus, it is repeated three times throughout the song: "The Ultimate in Vanity." Does that by any chance remind the reader of a particular group often discussed here? From that view point, doesn't the rest of the song seem to make a profound sense? Like in They Live there is no direct and obvious connection to the International Jew, but isn't it interesting how well these lyrics describe him?

The lines "apathy their stepping stone" and "inquisition sinking you with prying minds" are also particularly relevant to the reality of the Zionist crime network, which proceeds if people are apathetic to their parasitizing of the World, though invariably most people are simply not aware of it. This means that few are actually fighting against Zionism and thus the aforementioned "inquisition" can readily "sink" them with "prying minds" - mearly disagreeing with the ZC approved version of history is a crime in many nation states.

Note that the third time the chorus is repeated, there is slight change in the lyrics. The "I can't believe the price you pay" becomes "I can't believe the price we pay." This is precisely what is "so grim, so true, so real." Everyone suffers and apathy is effectively suicide by way of sloth.

The song is the title track to Metallica's 1988 album. Note the cover art:

Just who is pulling those ropes?
And who is overloading those scales with funny money?

The cover art has a dual meaning, as the falling statue can also be seen as the fall of art and culture from excessive commercialization. After all, it is a classical marble rendition of Lady Justice. The album name in the corner looks as if it was spray painted and that is essentially blunt vandalism, but given the wider themes in the image, it is vandalism of not just justice, but also of art, of culture; in short vandalism of vital aspects of Nobility.

Overall though, Metallica's music, as well as that of any other band in the mainstream, is not genuinely Aryan. The traces of Aryanism are likely just general attempts to convey honor and to look at corruption, but given the rock and roll lifestyle - Metallica's nickname for a while was "Alcoholica" due to their drunken reputation, even on stage - these musings amount to basically just wishful thinking. A typical slave wants to be free or richer or anything to improve his present state, but what does he really do? He just keeps on working so as not to get beaten. Wishful thinking doesn't accomplish anything by itself. Metallica have never been activists nor have they deserted from the formation put together by their corporate masters to pursue the messages in their songs, thus it must be asked, do they actually believe in them?

Music can be a very powerful medium and I propose that a Pan-Aryan anthem be composed. Perhaps an update of "Die Fahne Hoch" the classic NSDAP anthem to which I translated and updated the lyrics. However, that work is a piece of history and the anthem suggested above may very well be a new composition altogether. Though an updated musical arrangement/remix of the classic "Horst Wessel Lied" would be great! I suggest consulting the main theme to the Aryan themed film Cutthroat Island (I also wrote about the film on this blog) to see just how powerful music can be. The many versions of the NSDAP anthem that I have found online do not come very close to matching the musical power of this piece. This Aryanist thinks that it's about time that changed.

October 25, 2010

One Example of Idiocy in the Mass Media

One of my dense Polish-American kin, Alex Storozynski, wrote this article on his Huffington Post blog. I used to respect Storozynski as he is passionate promoter of Polish culture in the New York area. He usually tries to get Polish-Americans to reconnect with their native land and culture without too much in your face nationalist pandering. However, with this little number, he has proven himself to be a hopeless goy, doomed to delusion.

The media's slander of Poland: Ignorance, lazy editing, or malicious libel?
By Alex Storozynski

The New York-born Chief Rabbi of Poland, Michael Schudrich, says, "Accusing Poles of participation in the Holocaust is a sin." Yet on a regular basis, American journalists do just that by calling Auschwitz a "Polish concentration camp." This is Holocaust revisionism.
SoE: The correct term here would be "incorrect" or "inaccurate Holocaust revisionism." The reasons for this are, of course, way above Storozynski's head which is packed with gas chamber myths and other assorted nightmares. Also it is worth noting that Storozynski automatically assumes revisionism is a bad thing.
The Nazi concentration camps were built by Germans, run by Germans, and guarded by Germans. The victims of those camps were Polish. Newspaper editors justify use of the term "Polish concentration camp" as geographical shorthand for "a German concentration camp in occupied Poland." But this shorthand is Orwellian doublespeak that turns victim into perpetrator and distorts history. It perpetuates ignorance about the Holocaust and gives impressionable readers the idea that Poles built the camps. The Auschwitz killing factory was a product of German engineering, and both Polish Jews and Catholics were murdered there.
SoE: Actually they were built by prisoners of the Germans, which included Poles and Jews. Victims (of the typhus epidemic) were everyone, though the Polish Jews with their fear of showering and general lack of cleanliness succumbed to disease more than others in the supposed "killing factory" that they helped build.

Ironically, Storozynski is the victim and perpetuator of Orwellian doublespeak as he holds myth as reality and fails to see it. Goy.
On Sept. 1, 1939, the German blitzkrieg stormed into Poland to burn down cities, enslave the populace, build gas chambers to murder Jews and execute Christian Poles that helped them. Two weeks later, Soviet Russia sent tanks into eastern Poland to execute the leadership and destroy its capitalist system. Poland fought Nazi Germany longer than any other country and the Germans used Auschwitz to kill Polish soldiers and political prisoners, before constructing gas chambers to murder Jews.
SoE: So now the Germans invaded Poland just so they could build gas chambers? Despite the fact that they had their own, ones they NEVER used for murder. Read up on the German company Degesch that manufactured large gas chambers for fumigating rail cars and then see that those small stone rooms in Auschwitz, Majdanek and other camps look nothing like them.

At least, Storozynski is right in saying that the USSR invaded Poland, it's true, but he fails to see why the great Western Allies didn't declare war on the Soviet invader like they did on the German.

And actually, the USSR fought Germany longer than Poland, as did the Western Allies, but maybe Storozynski just used shorthand for "Poland fought Nazi Germany longer than any other country at the start of war" despite the fact that he admitted to not approving of shorthand due to the inaccuracies it causes.
Adolf Hitler wrote in Mein Kampf, "in the big lie there is a certain force of credibility, because the broad masses of a nation are easily corrupted ... and thus in the primitive simplicity of their minds they more readily fall victims to the big lie than the small lie."

SoE: Yes, Hitler did write that, but maybe you'd care for context and accuracy? That part of the quote DOES NOT end with a period, there is a comma and the quote continues:

"...since they themselves lie in little things, but would be ashamed of lies that were too big. Such a falsehood will never enter their heads and they will not be able to believe in the possibility of such monstrous effrontery and infamous misrepresentation in others; yes, even when enlightened on the subject, they will long doubt and waver, and continue to accept at least one of these causes as true. Therefore, something of even the most insolent lie will always remain and stick-a fact which all the great lie-virtuosi and lying-clubs in this world know only too well and also make the most treacherous use of.

The foremost connoisseurs of this truth regarding the possibilities in the use of falsehood and slander have always been the Jews; for after all, their whole existence is based on one single great lie, to wit, that they are a religious community."

Der Fuhrer was talking about the Jew's method of lying and not about his own Noble Kampf. Goys never learn.
Hitler vowed to get rid of "Jews, Polacks and riff-raff." He would be pleased that today American newspapers blame Poles for his Nazi death camps rather than the Germans. The Nazis themselves gave the camp a German name, "Auschwitz" and then hung a sign over the entrance in German, "Arbeit Macht Frei." Calling it Polish is either lazy or malicious.

This past week, on Oct. 20, The New York Times ran an obituary of Dr. George Mathe, which said that he had been sent to "a Polish concentration camp in a cattle car." The shifting blame is getting so bad that in June, The Los Angeles Times even ran a piece in which its "Culture Monster" reviewer F. Kathleen Foley used the phrase "Nazi Poland." This is libelous. The Los Angeles Times corrected the mistake on its web site. In May, The Wall Street Journal used the phrase "Polish concentration camp." Polish-Americans protested outside the newspaper's offices, however The Wall Street Journal refuses to remove the defamatory phrase from its web site. The Polish Consul General in New York, Ewa Junczyk-Ziomecka wrote a letter to the editor saying that the Journal is "indicating that Poland was a participant in the Nazi crime. In reality, my country was Hitler's most brutalized victim with more than six million Polish citizens losing their lives during the war."

Of the six million Poles killed during World War II, about half were Jewish while the rest were Christian. German soldiers also transported Jews from 27 other countries into Nazi occupied-Poland to be murdered in deaths camps like Auschwitz. Because Poland resisted Germany, Hitler ordered his army to bomb and burn Warsaw to the ground.
SoE: More "death camp" nonsense. Also, it's a tough pill to swallow, but Poland could have saved herself by not ignoring Hitler and actually negotiating with him on his demands. Love him or hate him, Hitler was your neighboring leader and instead of making shady deals with Churchill and DeGaulle, my dear and beloved, but sometimes painfully naive Homeland, you should have not ignored your neighbor. One who proved to be very capable and who could have helped you fend off Soviet aggression.
This issue of historic accuracy was taken up by the United Nations, and in 2007, UNESCO officially changed the name of the Auschwitz to "The Auschwitz-Birkenau German Nazi Concentration and Extermination Camp (1940-1945)."
SoE: Well that's an unpleasant mouthful that the Jews force fed us.
Jewish leaders have also spoken out on this issue. In Jan. 2005, Executive Director of the American Jewish Committee, David A. Harris, issued a statement which said in part, "We would also like to remind those who are either unaware of the facts or careless in their choice of words, as has been the case with some media outlets, that Auschwitz-Birkenau and the other death camps, including Belzec, Chelmno, Majdanek, Sobibor and Treblinka, were conceived, built and operated by Nazi Germany and its allies. The camps were located in German-occupied Poland, the European country with by far the largest Jewish population, but they were most emphatically not 'Polish camps'. This is not a mere semantic matter. Historical integrity and accuracy hang in the balance."
SoE: LOL! A nightmare perpetuating Zionist Jew talking about "historical accuracy." This may very well have just made my day.
In April 2006, Executive Director of the Anti-Defamation League, Abraham H. Foxman, wrote: "As an agency which prioritizes remembrance of the Holocaust, we share Poland's concerns over the frequent description of the camp as a "Polish" camp. Such a description implies that the camp was built in the name of the Polish people. As you know, this is manifestly not the truth. Auschwitz stands as a monument to the barbarity of Nazi Germany. We therefore respectfully request that the camp be officially referred to as the 'Former Nazi German Extermination Camp, Auschwitz-Birkenau.' "

While there were Poles who committed atrocities against Jews during and after World War II, the Polish government convicted and executed those who killed Jews. The Polish underground established the Council to Aid Jews, Zegota, which rescued thousands of Jews. Irena Sendler saved 2,500 Jewish children from the Warsaw ghetto. Jan Karski sneaked through enemy lines to beg Churchill & Roosevelt to stop the Holocaust. They did nothing. Polish Army Captain Witold Pilecki volunteered to be arrested by the Germans and sent to Auschwitz to try to organize a prison break. The Germans executed thousands of Poles who tried to save Jews. The phrase "Polish concentration camp" desecrates their memory.
SoE: Goy Storozynski has been effectively conditioned to believe that disgust with Jews is completely unfounded and irrational. He also thinks that ethnic Russians (albeit Soviets) were responsible for the massacre at Katyn, which decapitated the leadership of Poland. It was, in fact, atheistic Jews that were the majority of Soviet Commissars. He also fails to see that Germans could have easily done the same kind of mass-killing in their half of newly conquered Poland, but didn't.
The Polish newspaper Rzeczpospolita has published editorials calling for legal action against newspapers that use these defamatory phrases. But it doesn't have to end this way. Newspaper publishers and the Associated Press can easily rectify this situation by changing their stylebooks to banish the phrase "Polish concentration camps."

Some editors justify the use of this phrase as a geographic location of the camps. But while editors can find lots of reasons to avoid doing the right thing and banning these phrases from news stories, there are six million reasons why they should.
SoE: The only reason these phrases are "defamatory" is because your perception of WW2 is hopelessly misguided. The phrases should be corrected, yes, but not to stop defamation, but to make them accurate. This also involves getting rid of death camp lore. Six million lies is enough.
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Article originally published on October 24th, 2010 in the blog section of The Huffington Post.
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October 18, 2010

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.

October 14, 2010

The War of Words: Storytelling Front

We are in a War of Words. There are many frontlines in this highly amorphous conflict. The Political Front may be the most obvious, but I believe that storytelling is also vital for this.

“An important prerequisite of a movement is a common vocabulary. The ability to form a unified front against Zionism, as well as the pursuit of Aryanism, requires clean and accurate expression of our positions. Emphasis must be placed on the use of common vocabulary by all supporters and allies of our movement.”

Thus, vocabulary is absolutely indispensable to the Aryan Movement, but words are only a means to a goal or ideal. Much like the National Socialist view on money, as a tool to serve a purpose and the lifeblood of an economy, words are the lifeblood of commincation, be it story/recollection, philosophy or political rhetoric. The Movement may be small now, but as it grows, there will be key ideas keeping it standing and goals still driving it forward. These ideas will have started as mere words and it is how we apply those words that will make the ideas, and goals that they lead to, uniquely Aryan.

In this article the reader can find an overview of the Campaign we find ourselves in. These ideas, however, will apply a little differently depending on role an Aryanist within the movement. A medic, a rifleman, and a radio operator may all be on the same general front line and may all have learned many of the same skills in basic training, but when the going gets real, each has a critically different duty to carry out so that the campaign proceeds forward.

Historically, storytelling has been a vital part of culture. Ancient Greece may be long gone, but Homer’s Odyssey is still being read and discussed. Der Fuhrer Adolf Hitler may have passed from this Earth, but Mein Kampf still lives strong. It can be said that this book was a key element in National Socialist mobilization in 1920s Germany. Ideas amount to nothing unless they are communicated, and so Der Fuhrer did just that. He effectively spoke to an entire nation - no scratch that - to the entire World with his book. The work contains many forms of written word: story/recollection, philosophy and political rhetoric. When it was being written, the NS movement was small and had just been overpowered and repressed, so this vital cornerstone that would prop it back up had to arch over many aspects in order to contain the full founding philosophy of a movement.

“First there was the Word.”

Mein Kampf was a major step in Adolf Hitler’s will to “recreate mankind anew.” The recreating of so many things anew needs to get more and more specific and storytelling is one of the next steps. I have looked at some films and media on this blog, in which I have identified both Aryan themes and ZC Propaganda. This is by no means an exhaustive examination of each story presented, but should serve as a springboard into the reader’s examination of their own favorite films. Note that Aryan themes are often subtle and in today’s mass-media they can usually be found in bits and pieces, here and there. Very few works are brimming with Aryanism, though there are exceptions like Cutthroat Island or ThunderCats.

Once a good sense of Aryanism is developped, identifying it in other streams of information should be easier. Today there is an immense amount of information flow, thus Aryanism has many potential routes, but also can be fairly easily drowned out in irrelevance. The mass-media is expert at creating programs that amount to Aldous Huxley’s imagined drug of Soma, thus it is easy to get lost and disoriented. On the other hand, this means that Aryanism, once spotted, is likely to be very obvious. Skepticism is always good for investigation, so take nothing at face value, but with a careful sense and dedication little shining embers of Arya will likely surprise you from very many different vantage points. Go to them!

Also important - Start to speak Aryan rhetoric so that when you are confronted by a Zionist or one of their lapdog goyim (i.e. an American neo-conservative) their words will be powerless. Kamerad Delendaestziobot wrote a good piece about rhetoric. Take careful note of how this applies to your chosen specialization within the Aryan Movement as well as generally. Again - medic, rifleman, radioman; all different, but part of the same unit.

Aryanism will only live if we live it. Or, the words of Ghandi, “You must be the change that you wish to see in the World.”

Tower of Babel
This is the Jewish paradigm for goy management. It applies to politics (capitalism vs. communism, right vs. left, etc…) as well as culture (social strife, religious conflict, etc…). To put it in brief, it is an idea to keep the goyim perpetually busy and yet achieve no progress. As the story goes, the people wanted to build a great tower to reach the heavens, but YHWH the Jewish idol, confused their speech and the tower was never finished. YHWH attacked their way with words to make unity impossible. Jewish over-influenced politics today is much the same thing - we have so much technology and capacity and labor power as well as people needing the work and wages, yet what gets done? A recent and iconic example would be left-wingers arguing with conservatives over a Mosque in downtown Manhattan. This conflict also played out along religious lines. The Jew can’t eliminate the Gentiles’ word, so he strives to make it useless and impotent by degrading it down to bickering. He does this all while ever refining his own words. Thus, today’s Tower can be seen as one of language and words, those that are needed to form a unity against the Jews, or the Aryan term, Unity through Nobility.

Work, work, work... and never get anything done.

ZC Propaganda Inc. routinely demonizes and vilifies everything the Jew disagrees with and it is a near perfect transposition of Kosher Slaughter into the form of word and story. Just take a look at some of the films glorifying violence, and especially the Quentin Tarantino trashterpiece Inglorious Basterds. Tarantino showed the film in Israel and the Jews cheered during the final mass slaughter of a shootout, since, in a bit of childish revisionism, Tarantino has Hitler shot to pieces in a Paris movie theatre to conclude the movie. Jews hate Hitler and despite that he has been dead for so long they still want to kill him brutally. Or see him die. The Jewish pleasure with slaughter never ceases to disgust. They literally feed themselves off of it. I direct the reader to my post on The Carnegie Deli to see just that I mean with that last sentence.

The Aryan Counter-Paradigm
Unity through Nobility, as I have said, is the motto behind the Aryan Movement, but our goal is NOT another (and better, stronger, etc…) Tower of Babel. That would be pointless. Our Aryan Counter-Paradigm is a Distillation Tower; only the noblest make it to the top and pass on to the infinity of Arya. Jews would think we’re playing with and stacking blocks… how wrong they are! We are recreating mankind anew with a complex new order that once in place for a solid amount of time, it will be impossible to imagine a different one. Our new system, and the words and stories that we’ll create within it, our new Noble Culture, will be increasingly impossible for the Jews to degrade. They have gotten used to same old thing, for one, but also, not enough people have actually attacked the Jew where it hurts him most - his tools for creating lies, namely his use of words. Render his production facilities useless and he’ll have to give up, and knowing the self-preserving nature of the Jew, he will.

Will you meet us at the top?

One example of this is that the popular term “anti-Semitism” (which is absurd to begin with, but hey, the Jews created it) went from meaning “envy of Jewish success” to “disgust towards Jewish racism” and the new catch phrase “an anti-Semite is not one who hates Jews, but one whom Jews hate” quickly started to make headway. One step in distillation has been made, a little lie reversed and the new meaning pure, but the process continues.

Another important aspect is that the Zionists’ (both Jews and Gentiles) main strategy has been effectively compromised.

Summary of Zionist trick:
1) Promote a policy that they know most people are too degraded to successfully execute.
2) Blame the policy instead of the people for the failure, allow their agents to reverse the policy and thus gain public trust.

Summary of Aryanist countermeasure:
1) Blame the people instead of the policy for the failure.
2) Make the policy work by gathering sufficiently capable people.

This reverse bluff paradigm applies to virtually the whole field of anti-Zionism. An Aryanist should see how it applies in their specialized field.

On the storytelling front, Hollywood plays a major role and all the Jewish owned studios routinely release films that echo what’s coming out of Washington DC. Just note the portrayal of Arabs throughout Hollywood’s history or for a specific example, just look at the film 300. I have a feeling that the recent film Prince of Persia: Sands of Time was a sort of apology from Hollywood about 300 and they finally showed Persia in a more pleasant light, however, they didn’t have any of the major roles played by Arabic actors and the main role went to Jake Gyllenhaal (Jew) and the film was produced by the Jerry Bruckheimer (Jew). Oh, Hollywood.

There are films that do contain genuine Aryan themes, some of which I have looked at here. An Aryanist’s examination of some their favorite films might reveal a deeper reason why they like them. Or maybe show that a film is actually un-Aryan. My opinion of many films that I used to greatly enjoy has changed much since I became an Aryanist. Right around the time that I started to read beyond the mainstream about the Third Reich, Tarantino’s Jewish fantasy from 2009 hit screens, and while I still viewed National Socialism as wrong at the time, I was approaching it from a rationalist view point (unlike the being spoon fed propaganda view point I had before) and the gleeful violence ending the film literally made me sick. I was only once before so furious at the stupidity of a movie before and that was when I saw Michael Bay’s Bad Boys 2 (another offering from the Jew, Bruckheimer) and it was also a spectacular disaster of gratuitous excess that all the goyim in the theatre cheered at. Perhaps, it’s odd that it took me this long to see past the goy illusion, literally it took all of college. Complex steps however, take time. As do campaigns. Aryanism is not an assembly line creation, it is expert craftsmanship and we are still all learning our trade. It took Adolf Hitler over ten years of hard work, which included prison time and the murder of Horst Wessel, among many other things, before his Kampf had a full scale mobilization. To create something genuine in a land of superficiality is hard work, especially when superficiality works day-to-day with illusion to create semblences of authenticity. And so it is, we must work hard and not lose our honorable standards. Never!

Prophet Mohammed, the Muslim's first teacher, lived by a much higher standard than he demanded of his followers. He was at the top of his movement, but not from pulling favors, he was fit to lead by his own honorable actions.

"The worst one of the people in the sight of God is the one who does not put his knowledge into practice." ~Mohammed

Archetypes
The historical archetype for the Jew is the Herder, the sly manipulator and profiteer from slaughter. Today this has been transposed into things like the corporate overlord and sleazy politician. The process remains the same, however, profiting from lies.

The Gentiles are historical Hunters, and the ever scheming Herder has invited them onto his game preserve to chase after his own animals keeping the consumer goyim ever busy trying to sustain themselves all while paying the Herder.

Aryans, the historical Farmers, never cared for quantity so much as for quality. Thus, the Herder’s monopolization has pushed the Aryans into small pockets here and there. Chances are that if someone, somehow, discovers Aryanism, they’ll be alone in their immediate area.

What binds us is our writing, our words. Be they stories, philosophy, political rhetoric, or even a short humorous anecdote. Though, stories remain unique and ever important, since they do not merely communicate the possibility of an idea, they show the idea in action via the art of fiction. This is a powerful tool that can be used without the compromising of one’s own honor. Use it.

"An idea that is developed and put into action is more important than an idea that exists only as an idea." ~Siddhartha

October 10, 2010

Aryan themes in “ThunderCats”

Movies, movies, movies… but now a little about television. More specifically, about a particular television show, ThunderCats, which first aired in January of 1985. I remember many 1980s and early 1990s TV shows as I was growing up at the time. I watched mainly GI Joe (with a typical young male military fascination) as well as some other zany, though fairly generic, cartoons like Tiny Toons and Bonkers that had all the classic cartoon slapstick gags such as falling anvils as well as all that silly and destructive, yet largely victimless, mayhem. Looking back at these cartoons now, there really isn’t much more to extract from them, they are mainly just simple fun for kids, though GI Joe is military propaganda through and through.

One show that I missed, however, was ThunderCats and I thank Kamerad Aryan Sanctuary for bringing it to my attention. Even when taken at face value, ThunderCats possesses something radically different about it than other shows of its time. Or from any time, really. Main reason being that ThunderCats has Aryan themes. Yes, the show is geared for kids, it’s a cartoon after all, and it does contain common storytelling devices, but the Aryanist factor is not just what happens, but how it happens. I’ll draw examples from some of the program’s first episodes.

Overview
The main story introduction tells us that the ThunderCats are all that’s left of a civilization from a now destroyed planet called Thundera. They were the civilization's nobility and among the ranks of the leaders of a folk. Now they must find a new home so that their civilization can continue. This very first episode is called “Exodus” and it may seem like a reference to the Jewish fabricated legend, but it in fact refers to the dispersal of the ancient Aryan Civilization. The facts have been greatly simplified for this cartoon show, but thematically it is consistent with reality. One needs to trail blaze just outside the mainstream media to find a wealth of information about the factual Aryan civilization and the seemingly “inexplicable” fact of why the swastika is probably the World’s most prominent (as well as most suppressed) symbol.

Lion-O, the heir to Thundera’s Leadership, is given a sword and his duty is explained to him by an aging mentor, who also tells the remaining Thunderans that their duty is to raise Lion-O so that he is fit to lead. There is an emphasis on “duty” which is a key part of an Aryan State, and the Code of Honor of Thundera even reads: Justice, Truth, Honor, Loyalty. This motto can be seen as a version of the SS motto: My Honor is Loyalty (with Justice and Truth implied as the SS was a Police Force when first established). The Sword of Omens that Lion-O receives is reflective of noble themes; knights had specially forged swords which is a tradition carried on to this day where it is customary for military officers to have a sword as part of their dress/parade uniform. The Sword of Omens even has a jewel at the base of the blade, just above the hilt, one that bears the ThunderCats’ emblem, which allows Lion-O “sight beyond sight” - a sort of divine knowledge - that he uses to summon his fellow warriors for help and into battle. This is likely a subtle reference to the Aryan Sun Circle, Greater Knowledge.

Perhaps the connection may be on a purely symbolic level, but I changed my mind on that when I noticed this picture:

Have you seen a similar banner composition and color scheme?

The antagonists of the story are known as the Mutants of which there are several brutishly cooperating groups. The leading group are the Reptilians that resemble snakes and lizards. They often use lies and manipulation to get their way, which equates them to the Snake People, a.k.a. Khazars - a violent tribe that was pushed from the steppes of Central Asia to near Europe where it adopted the monotheistic faith of Judaism as a matter of convenience to avoid conflict/maintain neutrality with their Christian neighbors to the West and with the Muslims to their South. Virtually all of today’s Jews (and the Talmud) can be ancestrally linked back to the Khazar Tribe. The Reptilians' allies are the Simians and Jackalmen, which are rather apt metaphors for many racist Gentiles. Monkeys were often used to convey primitivism in peoples (i.e. in Africans), but also in less offensive uses like the phrase “to go ape” meaning to get very angry for no real good reason, an example of succumbing to natural tendencies, which is essentially being primitive. The Simians here are just that. Next we have the Jackalmen; jackals are animals that hunt and scavenge flesh… a parallel with brutish Gentiles has just been made. Later episodes see the appearance of Vultureman (vultures too scavenge for carrion) and Ratar-o, a rat-like mutant, with real-life rats being creatures most concerned with procreation and surviving and not much else.

Upon landing on Third Earth (where the story’s action takes place) the Mutants come into contact with a demon-like being called Mumm-Ra. His name can be seen as a mistake for Amun-Ra, an ancient Egyptian deity, or even as a plagiarism. In fact, the Jewish Old Testament is essentially one long shameless rip-off of the religion of Kemet, an ancient African Civilization, in addition to other Jewish folly. Mumm-Ra also has a snake symbol, which links him to both the Snake People/Khazars and to Baphomet; his aura is that of a dark spiritual being alone in his chambers, rarely coming out, but frequently barking orders at subordinates while at the same time manipulating them for his own benefit. In short, Mumm-Ra is the fanatical Rabbi, one like Menachem Mendel Schneerson, who puppeteers atheistic Jews and Gentiles (though many may have some superficial beliefs in the Eternal) to carry out his Zionist scheme, which first and foremost involves silencing all Aryans. Mumm-Ra covets the Sword of Omens, which is a symbol of the power of the Swastika, and his main effort to steal it is to slyly convince the Mutants to get it for him so that he can then destroy the ThunderCats. Mumm-Ra's entire existence can be summed up as "desire for power and hate for all" - the latter even includes himself as Mumm-Ra cannot bear to look at his own reflection, seeing it turns him into a decaying corpse, a vessel with no soul, since he is just that. As long as he doesn't see this reflection and what he really is, the illusion he projects is so powerful that it even fools himself - self-imposed delusion.

Lastly, there is also a group of Goys, the Brute Men, whose looks can be described as anthro-cattle. The Mutants enslave them and force them to build a fortress. The Brute Men are honest beings, they mean no harm and do no harm, but they are being manipulated by the Zionists. Their salvation comes from the Noble Aryans who free them so that they can live their lives free and in peace. A key idea here is that the ThunderCats see the Brute Men much like the Mutants do, but noble peoples do not enslave under any circumstance.

“I agree with the Jews that most people are cattle. I merely disagree with how they should be treated.”
          ~John Alan Martinson Jr.

In fact, the ThunderCats at first even politely refuse an offer of help to build their own home base on Third Earth before finally accepting after the offer is insisted upon by some new found friends, the Ro-Bear Berbils.

Three-Way Conflict
The most important real world parallel that ThunderCats draws is the conflict with three simultaneous front lines. The ThunderCats are fighting, in effect, two other groups, not one. Mumm-Ra, by his own actions and own choosing, is separate from the Mutants. The Mutants, technically, also have the same stance on the situation. They have joined forces for the sake of convenience, but still operate independently, and wouldn’t hesitate to lash out with betrayal once they felt that they have gained enough. Essentially, the Mutants and Mumm-Ra have on loose terms joined forces just to put off destroying one another until after they achieve their goal of Aryan destruction. Thus each side involved has TWO opponents with the Mutants and Mumm-Ra the advantage of their “non-aggression pact.” However, this agreement is highly unstable and the ThunderCats have the advantage of much more unified movements from their warriors. Less is more when it’s optimized.

Interestingly, the episode in which the Mutants ally with Mumm-Ra is called “The Unholy Alliance.” A most appropriate name for a pact between two nefarious and self-obsessed groups.

Even if Mumm-Ra and the Mutants are seen as ONE group, thus apparently making the conflict two-sided, a third side is still present in the form of unaffiliated Gentile tribes that find their way into the conflict. In episode 6, the Mutants and Mumm-Ra do not appear at all, but a ship of creatures called the Berserkers shows up and immediately does what Gentiles/Jews would do: start exploiting other creatures. The Berserkers attempt to hunt down unicorns and the ThunderCats defend the horned equines despite never having been in contact with them before for. They do not yet stand for the unicorns, but they do stand against what the Berserkers are trying to do to them. The three-sided conflict isn’t about literal front lines, but that of ideas.

Jews/Zionists may possibly ally with Gentiles based on selfish motivation.

Gentile tribes may ally possibly with each other or Jews/Zionists based selfish motivation.

Aryan groups ally based on shared ideals and never with Jews.

The Aryan advantage is that Aryans are also willing to accept Gentiles if their ideals are in agreement, which would actually make them not Gentiles, but actually Aryans discovered from among society's dissimulation. These new recruits may then go on to join the Aryan Movement fulltime. On the flipside, self-obsessed Jews would never consider taking a Gentile ally into the ranks of Jewry, for allies of the Zionists are really just goys who will be shunned the moment their usefulness to Jewry is over. Thus “allies” of the Jews are just people who have been successfully conned into thinking there is an alliance. Or a Gentile may think that they have successfully conned the Jews into a pact, but such an agreement does not genuinely exist in either circumstance. Mumm-Ra and the Mutants have such an arrangement, both sides are ready to dump the other at the moment most opportune for their own group. The irony is that their in-group altruism is both what temporarily binds them while being the factor that is destined to tear them apart.

Aryans choose allies with whom they genuinely feel that they can work with. Thus the only true alliance is an Aryan one, or simply a noble one. When forming a coalition, Jews and Gentiles agree to disagree. They are sweeping dirt under the rug. When forming a coalition, Aryans agree on ideals, thus Aryans may be forced to only ally with other Aryans, but are also, in effect, already allied with those other Aryans since Nobility is immortal. They only need to make contact another Aryan group and only work out details on who performs what necessary duties, but the alliance is written in their shared nobility. Such is the meeting between the ThunderCats and the caretakers of the Unicorns. Jews would type out contracts and agreements, with exceptions, conditions and interest rates while Aryans just proceed with universalism. An noble group is an ally. An ignoble one is an enemy, be it Jewish or Gentile.

Bits and Pieces
The care takers of the Unicorns have crescent moon shapes on their staffs and star shapes on their foreheads. The crescent moon and star form the main icon of Islam, which includes teachings on animal welfare.

The Sword of Omens is only used to fight enemies and violence is never initiated with it.

The ThunderCats never fight innocents, not even the manipulated Brute Men, but instead break them out of their trance.

There are really many details like this all throughout. Each one by itself really doesn’t mean anything, but as a whole they do form a theme. Another very minute example is when in one scene the Thunder Tank, while in boat form, is going ahead unusually slow, so Panthro, who's driving, flushes out some sort of intake causing fish that were stuck inside to pop out. Panthro then smiles as he watches them swim away. This may not seem like much, but he did just save those fish from dying and was clearly happy to have done so. Thus, this little moment fits into the overall Aryan theme.

Conclusion
While this remains a kids’ show, it does have levels of comprehension, much like Aesop’s Fables are not just about talking animals. There is a message here that goes well beyond the typical good vs. bad story structure. Much of the message is conveyed through character actions instead of just dialog. There is also a much smaller aspect of fancy aesthetics here than in, say, GI Joe or Transformers. Those shows that not only were totally based in the Good vs. Bad (left vs. right, conservative vs. liberal, etc…) paradigm, but had a strong focus on elaborate military technologies and were packed with explosive action scenes in each episode. ThunderCats is a much smarter example of storytelling since not only kids have something of interest here.

There is also a revamp of the series due out in 2011. We’ll see whether this reboot remains true to Aryanism, or if Jews picked it up to taint and ultimately destroy the memory of this show with their corruption and plagiarism.

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Fan Sites:
ThunderCats Lair & ThunderCatsFans
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See Also:
He-Man review Part I & Part II

September 29, 2010

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.

September 25, 2010

Still Being Revived: Clichés and Propaganda in “Dead Snow”

Is ZC Propaganda running out of ideas? That just might be and the Norwegian horror/comedy film Dead Snow directed by Tommy Wirkola is a case in point. The film is a well-executed little goof-ball of zombie gore, though that is not really saying that much… it’s not like there is a shortage of entries into this genre and it’s inevitable that every now and then they manage to make one that is at least mildly entertaining. The biggest catch here, as well as the main part of the film’s marketing (watch the trailer to see), is the fact that these are not your ordinary zombies… these are SS zombies! Or as I have come to see it as: Wolfenstein-style satire. Yes, the Jews and their Goys at ZC Propaganda Inc. have revived (yet again) their most-prolific boogeymen in order to have them wreck havoc on young student vacationers in Norway. Amusing that may be, however, the film does contain a bit of clever political engineering that I want to expose.

As a straight up gore-based horror flick, Dead Snow is a pretty competent entry into the genre. Featuring many references and little bits of homage to other movies, as well as better than average effects and production design for a film of its kind, it manages to entertain the masses. Funny thing is that the zombie SS Men have rotten flesh from being dead for over 60 years, yet their uniforms are still in pretty decent shape… I guess Nazis did have the World’s best uniforms! Also, a common movie goof has the SS wearing black uniforms, which were parade and ceremonial attire by the time the war started. In actuality, they should be wearing the SS Feldgrau uniform, however, this “error” is in so many films that it can only be seen as deliberate and a cliché to make the men wearing them seem more ominous. At face value a darker uniform looks more intimidating. This is also done to contrast SS Men from the supposedly “noble pawns” that there the regular Wehrmacht Heer soldiers. It is a slowly emerging phase of de-demonizing the Wehrmacht as a whole and only putting the “evil emphasis” on the SS. Note that the SS as portrayed here resemble the Persians as they were shown in 300.

"We're angry from all the slander."

Just look at those Swastika Armbands, they're still in tiptop shape! Das Hakenkreuz ist für immer, meine Kameraden!

This film is perhaps a perfect example of how the ZC Hounds perceive Nazis. They have one, and only one, concept of the National Socialists from 1930s Europe: evil psychotic bastards. Via saturation media propaganda the ZC has effectively “frozen” this image in an attempt at putting it into permanent existence in this state, they want to prevent it from changing in anyway so that it will be forever perceived in the way ZC Propaganda Inc. approves. They occasionally “revive” this image and the result is, among others, a film like this. Old demons that conmen like Elie Wiesel have nightmares about, rise up to shock the World and keep it aligned with the ZC mind. It is kind of like synching an iPod with an iTunes database: you attach one device to another and the host machine aligns the information on the guest device as it has programmed and then lets it go once program alignment is complete. Though, as seen in society, the roles are actually reversed: the Jew mind is the iPod that is attempting to put its contents into the larger body that is Society. Luckily society has a cure for this parasitical Jew umbilical: Nobility and Aryanism.

The SS in the film are molded to fit a basic movie monster archetype: the monster that guards a treasure. The protagonists of the film only encounter the zombies after opening a little box of treasure and after a they hear an ominously told story about the Schutzstaffel unit that was assigned to this area in the early 1940s. Thus, some of the most noble men to ever wear uniform and fight for a cause have been reduced to greedy little murdering and thieving beasts. For the Aryanist, this film may very well be amusing, but that’s due to how absurd it is. Once again, I draw a parallel with the Wolfenstein franchise, this movie is simply a Jew nightmare that has been projected onto the movie goers of the world.

There is however, a quite clever aspect to the film. A little bit of political engineering. Seeing how the ZC has linked Iran to their favorite boogeyman, they are, in a way, continuing that line of propaganda here. Note the setting and the antagonists of the film: a wild and vast landscape with elusive phantom-like monsters. What does that resemble other than the zombies in this movie? Al-Qaeda in Afghanistan, for one. On a subliminal level that definitely seems to be the case. The mysterious hiker who tells the main characters of what happened in the area during WW2, speaks of it as a legend, something that no one really knows for sure, but many people fear. As far as information about Al-Qaeda is concerned, that’s the kind of thing that most people know. However, Al-Qaeda was created by the American CIA with the intention of fighting the Soviets in Afghanistan, yet now American news media, which is just a ZC puppet, paints them as Middle East born psychopaths that hate America due to Islam being a violent religion. This type of falsification can also be seen with the SS: It was the most ethnically diverse military outfit in history, but has been repeatedly shown as just a bunch of white racists from Germany adhering an inherently violent philosophy. Through the rational lens and with an intuitive mind, both demonized groups are much different that ZC would have us believe.

Another interesting thing is that among the weapons that the main characters use are a hammer and sickle. These make a very obvious appearance in the film's trailer. A little left wing boasting that certainly reflects the hippy nature of the main characters.

Lastly, if the hounds at ZC can only manage to repeat the same message over and over again by linking their current enemies to their fictional version of the Nazis, then I must say that they are running low on steam. Like Arthur Schopenhauer said, “…the religion of the Jews is entirely immanent and furnishes nothing but a mere war-cry with other nations.” Therefore they are stuck with constantly relating things to their fiction about the Nazis, which is, to this point, probably the most creative and for the Jew the most useful set of smoke and mirrors. And they will likely hold on to it until their bitter end, even long after the illusion has faded.

The Jewish concept of an enemy will likely always have a black uniform with Swastika and Totenkopf.

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Dead Snow IMDb Page
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September 18, 2010

American Psycho: The Madness of Materialism

It’s movie time again. Today’s feature presentation is the psychological thriller from 2000 called American Psycho. The film was directed by Mary Harron who also co-wrote the screenplay which is based on the novel of the same name by Bret Easton Ellis. The movie version is a reasonably faithful adaptation of the source with the overall themes and main character arc very much like the novel. However, many of the book's graphic descriptions of Bateman’s gruesome exploits are only implied. This was a low budget film, but it did make effective use of its limited resources and went on to see a fairly wide theatrical release, but still less than a typical studio film.

In a broad stroke the story is a satire on 1980s yuppie culture. The word “yuppie” meaning Young Urban Professional came into widespread usage during the 1980s though the concept of a young business executive had been talked about and described since at least the 1960s. The film’s protagonist, Patrick Bateman, is in a way the ultimate yuppie: intelligent, healthy, fit, rich, basically “he has it all” - a capitalist success story. But there is another side, a very dark side, to handsome, young, and even initially charming, Patrick Bateman.

Bateman’s Superficiality
At first, Bateman seems very methodical and organized. His apartment is clean and neatly furnished, he has a good job, and he finished a good university. However, all this capitalist success is juxtaposed with an incredible superficiality. Bateman is particular, to the point of obsession, with details in his life. This is first seen when he describes his morning routine - as he gets up and walks about his impeccably organized apartment he narrates in a way that it is clear that he is driven by obsession. The way he works out, the way he showers, what soaps and cleansers he uses, to even how he applies them and why he buys them in the first place is all the result of a desire for longevity so that he can live longer in his world of pleasures. The scene ends with Bateman basically summing up his current state of existence: “There is an idea of a Patrick Bateman; some kind of abstraction. But there is no real me: only an entity, something illusory. And though I can hide my cold gaze, and you can shake my hand and feel flesh gripping yours and maybe you can even sense our lifestyles are probably comparable... I simply am not there.” Patrick Bateman is just a vessel of corporate America, traveling a pre-plotted course to an already established destination so that he can carry out pre-determined tasks to ensure that the establishment continues to intake profit as unopposed as possible.

This callousness is rampant throughout the film. When Bateman is riding in a taxi with his fiancée, Evelyn, for a night out, he is annoyed that she keeps talking about their upcoming wedding since it interferes with him listening to the newest pop song. He doesn’t even really like her and calls her “my supposed fiancée.” Interesting is that Evelyn is just as superficial, Bateman may be ignoring her, but how can she not notice the fact? Does she care as little about him as he about her? In the next scene, the two of them reach the restaurant where they are to meet some friends and Bateman is worried that they won’t be seated at a “good table” but is relieved when the people they are meeting are at table he is content with. In his narration Bateman admits to an affair he is having with one of Evelyn’s friends, Courtney, who is the fiancée of Carruthers, a co-worker of his. His narration is also packed with not so subtle insults, particularly when describing people, which shows what he really thinks of everyone: he doesn’t really give a shit.

He tells his secretary, Jean, what to wear, obviously to find her more visually appealing since he has to see her everyday at the office. After having sex with Courtney in one scene he just leaves her, despite her showing some desire for a deeper connection between them, though this is likely a futile effort not just because she is extending warmth to the cold Bateman, but because she herself is much like him thus incapable of a real relationship in the first place. Bateman is also jealous of other peoples’ business cards, especially if his are complimented less in relation to others. When looking closely at Paul Allen’s business card he seems to relish it in his narration while his face has his typical cold and empty stare. Bateman’s face is a key image throughout the film.

Society’s Superficiality
In the business card scene we also see that all the business cards have the same title, Vice President, and the same phone number. While it is true that all the men work in the same company, surely their direct office number, the one they would have on a private business card, would have at least an extension listed. The fact that it doesn’t goes hand-in-hand with the fact that people often confuse one another in the film. When Paul Allen approaches Bateman he addresses him as Marcus Halberstram, whom Patrick calls a dickhead in his narration and says that although he and Halberstram go to the same barber he has “a slightly better haircut.” This confusing of identities is another running theme and is means that these people are basically interchangeable, they are not true individuals, more like robots or cattle. They are goys who have been given so much pride that they believe themselves to be the masters. A variant on this theme is people failing to acknowledge close friends, such as Evelyn being surprised to see Bateman at a Christmas party. “I was here, you just didn’t notice,” he says. They must have a real intimate relationship. This scene also has Evelyn saying “Merry X-mas!” to people, which is the commercialized shortening of “Merry Christmas.” What used to be meaningful tradition has now degenerated to pure materialism.

The first restaurant scene, in which Bateman narrates that he is having an affair, he also states, rather casually, that he suspects Evelyn of having an affair with Timothy Bryce, another one of Bateman’s co-workers. All these people seem to be together as friends just so that in secret they can all exploit another. Their little talk veers into politics and Bateman states his solution to all of the World‘s problems: “Well, we have to end apartheid for one. And slow down the nuclear arms race, stop terrorism and world hunger. We have to provide food and shelter for the homeless, and oppose racial discrimination and promote civil rights, while also promoting equal rights for women. We have to encourage a return to traditional moral values. Most importantly, we have to promote general social concern and less materialism in young people.” How that can be seen as anything other than empty slogans and naïve ideals is beyond me. Especially since Bateman is in a position of power in society and he could use his money and efforts to actually help others, but he chooses, like all his “friends” choose: self-help and more than likely it’s at the expense of other people, even the “friends.”

The Madness of Materialism
The film’s main theme is how excess eventually leads madness. The political connotations are all implied, but metaphor and symbolism in art is effective when it is discovered by the viewer and not preached by the artist. Thus, like Tolkien’s Lord of the Rings (to which I have referred to before in this sense), American Psycho isn’t about any one person, place, or even about any particular era. Rather the film is about a general phenomenon: material desire and how it destroys a healthy existence. Also, in this case it happens to be a force that is gripping our World with increasing viciousness. Bateman gives us his own version of this idea: “I have all the characteristics of a human being: blood, flesh, skin, hair; but not a single, clear, identifiable emotion, except for greed and disgust. Something horrible is happening inside of me and I don't know why. My nightly bloodlust has over flown into my days. I feel lethal, on the verge of frenzy. I think my mask of sanity is about to slip.”

“I like to dissect girls. Did you know I’m utterly insane?”

Bateman’s materialism and relentless pursuit of fancy foods, expensive toys, and sexual adventure has led him, first, to murder during select nights, but now these urges are mixing. He is losing control and his methodical yet vicious nature is slipping into utter madness. This theme of ambiguity is actually present in the opening shot as we see what appear to be drops of blood falling, but turn out to be syrup and raspberries for a fancy restaurant dish. Also, note the knife that violently cuts into the steak: a blade slicing flesh, also known as murder. This bit even has an exaggerated sound effect of the “chop.”

This idea of intermeshing urges appears much more clearly as Patrick is filming his romp with the prostitutes. Evelyn must have gotten boring, so he first added porn, then went to hiring a prostitute, then two at a time, and then to making his own porno films with the hired girls… a spiral of excess. It is not clear what Bateman does to these women before they leave, but they are not happy and at least one of them bleeding; his urges are slowly becoming indistinguishable.

In a club where Bateman meets a model she mishears “murders and executions” for “mergers and acquisitions.” It seems work and murder are becoming one and the same. In fact, the film’s first murder, that of a homeless man, seems to be behind the Wall Street Stock Exchange, Bateman passes it right before he meets the man. A dirty little Wall Street secret? In his failed dinner date with Jean, Bateman’s dialog is clearly doublespeak, he talks about how he might “hurt” Jean if they get involved. She understands this as Bateman not being able to commit to a relationship since he is officially engaged, thus their involvement would be a one-night-stand. Bateman, of course, means “I might have to kill you, because I am utterly insane.”

The second prostitute scene is the final meshing of insane desires. He coaxes Christy the prostitute to come join him for another romp. She is hesitant and says, “I had to go to emergency last time.” However, the sight of the fat wad of money convinces her to go anyway. Earlier in the film Bateman killed Paul Allen in a scene with a pop song playing, thus linking art to murder, and is now pretending to be Allen to the point that he takes Christy to Allen’s apartment which is next to the Guggenheim Museum, a subtle detail, but art is about to meet murder again. There is another girl in this scene, Elizabeth, a friend of Bateman’s whom he drugs and gets to make out with Christy while he watches and rambles about a favorite song of his… there’s the music… and in the next scene as he is having sex with Elizabeth we see that he actually BIT her. Bateman's mouth is bloody and a shocked Christy runs out of the apartment, but not before finding many dead bodies in some of the side rooms. As Bateman chases her with a chainsaw note the framing in the first shot with the saw, it looks like a phallus. With Bateman’s bloody mouth and naked body we see all of his material desires as one: sex is violence, violence is food, and it is all encompassed by Bateman’s proudest possession, his own soulless body. He is now really “utterly insane” in his pursuit of materialism.

Christy is a polar opposite figure to Bateman here, and the prostitute we initially didn’t really care for before is suddenly a scared victim. A victim of not just Patrick Bateman, but more importantly, a victim of what he symbolizes. In a rampant consumerist society run by the all mighty dollar, people out of desperation often turn to any method they can find to get the money they need to live. Christy sells her body. She too is guilty of materialism and selling her dignity as she takes the money knowing full well Bateman will likely hurt her again, but now it gets her killed. In a way she is tragic figure. In a National Socialist Aryan Folkdom, no citizen would have to resort to such undignified methods of survival, only rampant capitalism in consumerist society allows such things to happen to innocent and often honest people. It is the materialism in society that destroys the humanity in people and then gets them to destroy others and, often, even themselves. If everyone in society lives as a hunter, then everyone is at risk of being hunted.

The scene ending in Christy's death is definitely the most shocking scene of the film, but a key thing is that it has surreal quality to it that leads to yet another interesting idea.

Self-Imposed Delusion
In a supposedly posh apartment building, in the middle of a big city, Patrick Bateman chases a screaming woman who is pounding on doors and yelling for help, he then drops the chainsaw several stories down and impales her… and no one notices.

How is that at all possible? The final act of the film is packed with increasingly bizarre events such as an ATM displaying a message, “Feed me a stray cat” just as a cat is walking by. An old lady notices Bateman trying to stuff the poor feline into the machine and protests so he whips out a gun and shoots her. Patrick Bateman, proud to display all of his possessions, including many tools of murder, did not once mention this gun before. The police hear the shooting and give chase, so Bateman shoots at the police cars and they… explode. Not just to our surprise but to Bateman’s as well, he even looks at the rather unconvincing looking explosion what looks like a cheap movie effect, in total confusion. After gunning some more people down he frantically calls his lawyer, Harold Carnes, and leaves a voicemail confessing that he killed many people over the past months.

The next morning, still not fully articulate he calls Jean at his office, but she doesn’t understand his rambling. She goes to Patrick’s desk and finds an appointment book that first has little notes, but then increasingly violent doodles. This escalation mirrors Bateman’s spiral to madness, however… was this just a delusion? At a bar Bateman sees Carnes and asks him of he got the message to which the lawyer laughs and says it was a great joke. Ironically, Carnes recognizes Bateman as someone else and thinks the impression of Patrick Bateman over the phone was very well done. Also, Paul Allen is revealed to be alive and in London. When Bateman killed Allen earlier in the film, he then faked Allen taking a trip to London in order to explain his disappearance. Yet, now Paul Allen is actually in London. A subtle detail of the Allen murder being a delusion is when Bateman is dragging the corpse and the trail of blood disappears, we also never see the body as it is supposedly in a bag. In fact, virtually every scene where Bateman threatens someone or unleashes violence, contain hints of delusion: alcohol (in frame or drunk people present), smoke, or mirrors. In a scene where he yells at an owner of a laundromat he leans in and shouts at her, but then after the angle cuts back to him, he is standing up straight... did the shouting actually happen or is he hallucinating?

This brings to question the authenticity of not just his narration, but of his entire perception of reality. Is he living in a delusion? Has his materialistic greed rendered him pathetic and impotent? Were his gruesome acts just a fantasy of having and enacting power, but really he is a hollow powerless slave? That seems to be the case. Bateman’s last dialog and the last lines of the film are the following lament: “There are no more barriers to cross. All I have in common with the uncontrollable and the insane, the vicious and the evil, all the mayhem I have caused and my utter indifference toward it I have now surpassed. My pain is constant and sharp and I do not hope for a better world for anyone, in fact I want my pain to be inflicted on others. I want no one to escape, but even after admitting this there is no catharsis, my punishment continues to elude me and I gain no deeper knowledge of myself; no new knowledge can be extracted from my telling. This confession has meant nothing.”

Just like Patrick Bateman didn’t really care for anyone or anything, nobody and nothing cares for him. He is a vessel without purpose doomed to the callousness of his existence. Not even the sensation of a failed joke will be granted him. In a way, he is a dying Lone Wolf, he pursued his own selfish way so much that now he is forever severed from compassion.

Conclusion
Interestingly, Christian Bale played John Preston in Equilibrium, a film I wrote about here before. While that film showed a callous man overcoming his emptiness and finding purpose and even Arya, here Bale plays the condemned Patrick Bateman, a man who doesn’t find his way out, just realizes his bleak predicament.

Also, I thought that the theme of delusion here might really be just a nightmare Bateman is having, which could be part of his inner-revolution before at least finding a way to Arya if not Arya itself. However, given the film’s pessimistic endnote, which includes a sign on a locked door in the background that reads “This Is Not An Exit” I scrapped that idea. That sign is also the last line of the book, thus both writer and filmmaker seem to have intentionally left Patrick Bateman sentenced to limbo.


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American Psycho IMDb Page
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