WAR OF PERCEPTION

The Face Of Jewish Vengence: 'Inglourious Basterds'

By Trevor Lynch / Occidental Quarterly

Quentin Tarantino’s Inglourious Basterds [sic, sic] has been hyped as World War II action movie-cum-sadistic gorefest. In reality, it is a self-indulgent snorefest. I thought I would need a gin and tonic before I went in, but it turns out what I needed was a cup of coffee. Yes, there is some gore and sadism, but frankly I found myself hoping for more of it. Anything, really, to relieve the sheer boredom.

This is Quentin Tarantino’s worst movie, and that is saying a lot, given how bad Kill Bill, vol. I is. Pulp Fiction was Tarantino’s Citizen Kane, and it has been The Magnificent Ambersons ever since. If you find this review entertaining, let me assure you that it is far more entertaining than the movie itself. Nothing here should be interpreted as encouragement for you to waste your time and money on this preposterous and dull film.

Inglourious Basterds is about a team of American terrorists, consisting of seven Jews led by a gentile, Aldo “the Apache” Raine (played by Brad Pitt), who hails from Tennessee and claims to be part American Indian. The character is clearly based on Tarantino himself, since he too has an Italian name, hails from Tennessee, and claims to be part Cherokee. The mission of the Basterds is to terrify the Nazis by killing them in the most sadistic manner possible and mutilating their corpses. The dead are scalped. The survivors have swastikas carved in their foreheads.

Holocaust narratives are filled with tales of thousands of Jews herded to their doom by relative handfuls of Germans and their collaborators. Although this sheep-like behavior seems rather unlike the hyper-aggressive and unruly Jews of my acquaintance, most people accept it at face value and then wonder: What was wrong with these people? Why didn’t they fight back?

Tarantino has asked the same question: “When you watch all the different Nazi movies, all the TV movies, it’s sad, but isn’t it also frustrating? Did everybody walk into the boxcar? Didn’t somebody do something?”

Inglourious Basterds is his answer. During WW II, the Jews needed the leadership of someone like Aldo the Apache, a mostly white man with a bit of red savage mixed in, just like the people who have churned out six million holocaust flicks need to take direction from Quentin Tarantino. With Tarantino in charge, the war would have had a very different end, and Inglourious Basterds shows us how.

Should Jews be insulted by this premise? Of course they should. But the movie itself is far more insulting still. Indeed, this is probably the most anti-Semitic movie ever released by Hollywood. Tarantino’s Jewish characters are one-dimensional, inhuman monsters.

The Jewish Basterds are all as ugly as Der Sturmer cartoons. They have virtually no lines in the entire movie. All they do is skulk around, waiting for Aldo the Apache’s commands to murder and torture Germans.

The most prominent of the Basterds is played by Eli Roth, just another degenerate Jewish director of repulsive horror films. Roth plays the “Bear Jew,” who beats Germans to death with a baseball bat. He is the funniest thing in the entire movie, with his pouting, prissy mouth, drag queen makeup, and shiny brilliantined coiffure. Roth’s large, hairy body (anyone can take steroids) looks menacing until one hears his high, hysteria-edged voice. There was laughter in the audience every time this castrated gorilla opened his mouth on screen.

Too shallow to realize that he was playing a monstrous buffoon, Roth really got into the role, praising Inglourious Basterds as “kosher porn” (is there any other kind?). He really gets off on fantasies of killing Nazis: “It’s almost a deep sexual satisfaction of wanting to beat Nazis to death, an orgasmic feeling. My character gets to beat Nazis to death. That’s something I could watch all day. My parents are very strong about Holocaust education.” They sound like lovely people, and I am sure they are really proud of what a successful boy Eli turned out to be.

Other Jews were equally smitten: Tarantino’s producer, Lawrence Bender, told Tarantino, “As your producing partner, I thank you, and as a member of the Jewish tribe, I thank you, motherfucker, because this movie is a fucking Jewish wet dream.” Harvey and Bob Weinstein, the film’s executive producers, also reportedly enjoyed the film’s theme of Jewish revenge.

Tarantino also reported received uniformly positive reactions from his Jewish friends: “The Jewish males that I’ve known since I’ve been writing the film and telling them about it, they’ve just been, ‘Man, I can’t fucking wait for this fucking movie!’” he told me. “And they tell their dads, and they’re like, ‘I want to see that movie!’”

If all these Jews have no objection to their tribe being portrayed as one-dimensional vengeful sadists, who am I to complain? Perhaps the shoe fits.

The most prominent Jewish character in the movie is the blonde-haired, blue-eyed Shoshanna (played by Mélanie Laurent), the daughter of a Jewish dairy farmer (that got the first laugh of the movie). Her family is massacred in 1941 by the SS, and somehow she turns up a few years later with an assumed French identity running a movie theater in Paris with her Negro lover. When her theater is chosen to premiere a new German movie in the presence of Hitler, Goebbels, Goring, Borman, and other leading Nazis, she plans to bolt the doors and burn the place down as an act of revenge.

Shoshana is a character of reptilian inhumanity. A young German, Frederick Zoeller (played by Daniel Brühl) is obviously smitten with her. A film enthusiast, he tries to strike up a conversation about movies. The contrast could not be clearer. He is warm, sincere, and polite. He sees her as a fellow human being and a fellow film-enthusiast.

She sees him only as a racial enemy. She takes no interest in him until she discovers that he is both a film star and a war hero, which she thinks she can use to her advantage. (He does not reveal these things to her initially, for he does not merely wish to impress her, but to befriend her.)

Her only flash of human emotion comes at the end of a scene in which she meets the SS man, Standartenführer Hans Landa (Christoph Waltz), who murdered her family, but it just heightens the impression that she is a cold-blooded master of deception and intrigue.

Shoshanna’s inhumanity is heightened by comparison to Uma Thurman’s revenge-driven character “The Bride” in the Kill Bill movies. The difference is not just a matter of who played the role (although Tarantino decided that as well) but of how the actresses were directed.

Hans Landa claims that he is effective at hunting Jews because he knows how they think. The meaning of this is made clear at the end of the film, when he turns out to be a traitor.

The Allies do not come off much better than the Jews. Aldo the Apache is the only American. He is a loud-mouthed, sadistic, duplicitous jackass with a hillbilly accent. Brad Pitt plays him for laughs, and he is genuinely funny.

There are three Britons: the handsome German Michael Fassbender as film-critic Lt. Archie Hicox, Mike Myers as General Ed Fenech, and the wreck of Rod Taylor as Winston Churchill. The first two come off as effete wankers, and Churchill might as well be Jabba the Hutt.

　

All of this is in strong contrast to the portrayal of the Germans, even the German traitors. First of all, they are mostly quite good-looking and sexy. (As P. J. O’Rourke said: “Nobody has ever had a fantasy about being tied to a bed and sexually revished by someone dressed as a liberal.”) Second, they are dignified, charming, and polite with strangers; warm, playful, and fun-loving among friends. Even though the Germans are supposed to be the bad guys, they are the only people in the film with whom most white people can readily identify themselves. This means that white audiences can only feel revulsion at the sadistic Jews who murder them.

Hitler, of course, is portrayed as a monster. He first appears wearing a cape, which is appropriate, since he is played as nothing more than a comic book villain. (Martin Wuttke is surely the ugliest Hitler ever.)

Goebbels, although he is portrayed as somewhat arrogant (like a film director, perhaps), comes off overall as warm, sincere, playful, and even a bit lovable(!). Tarantino has obviously immersed himself in German films of the era, and it is clear that he has some admiration for what Goebbels accomplished. (In a scene set in England, it is stated as plain fact that Jews run Hollywood, and Goebbels is given credit for giving them a run for their money.)

The true star of the film is Christoph Waltz, whose portrayal of Hans Landa is absolutely riveting. He is such a magnificent character that Tarantino had to turn him into a traitor in the end, otherwise he would be the true hero of the film as well.

The other star is Daniel Brühl who plays Frederick Zoeller, the young war hero who becomes smitten with Shoshanna. His character is the most likable and most tragic of the film.

Now let’s examine the climax of the movie. I have no qualms about giving it away, since I don’t want any of you to see it anyway. Shoshanna hosts the premiere. Hitler and all the top Nazis come to the theater. She splices her face into the fourth reel of the film. Once the fourth reel is playing, her Negro lover bars the doors to the theater. Suddenly, Shoshanna’s face appears on the screen: “This is the face of Jewish vengeance!” she screams, while the Negro sets the building on fire. The kindling he uses are movies printed on highly flammable nitrite film. (Jews use movies — and Negroes — to create mass death and destruction in this country too.)

Meanwhile, two of the Jewish Basterds (including the preposterous Eli Roth), who have infiltrated the theater without knowing of Shoshanna’s plot, run amok with machine guns, killing Hitler and Goebbels and other Nazis. The theater then explodes. Everybody dies, Jews and Germans alike. Götterdämmerung.

The climax of Inglourious Basterds is obviously based on the Oscar night massacre in neo-Nazi Harold Covington’s novel The Brigade. If you don’t believe me, read the novel for yourself.

The symbolism and the message could not be clearer: Jews use movies and movie theaters as tools to destroy their enemies. And since the white people in the audience can most readily identify with the Germans, the message gets through: the Jewish movie business is a tool of hatred and vengeance directed against all white people.

Why would Quentin Tarantino make a movie about World War II in which Germans are portrayed as attractive human beings, Americans are portrayed as sadistic buffoons, Englishmen are portrayed as effete wankers, and Jews are portrayed as cold-blooded, inhuman mass murderers?

Why would Quentin Tarantino borrow plot elements from neo-Nazi Harold Covington’s The Brigade to craft a climax for his movie? Why would he use that climax to expose the true anti-white agenda of Hollywood?

Is Quentin Tarantino a Nazi-sympathizer?

Of course not. Nothing could be further from the truth. Quentin Tarantino is simply a nihilist with an unfailing instinct for finding and desecrating anything sacred. In Pulp Fiction — his one great movie, and his most sincere — Tarantino showed a profound grasp of the spiritual meaning of the duel to the death over honor, symbolized by the Samurai sword. In Kill Bill, vol. I, he made a giant joke of it.

In Inglourious Basterds, Tarantino has taken the one truly sacred myth in modern Jew-dominated America — especially in modern Hollywood — namely WW II and the holocaust, and he has desecrated it by inverting all of its core value judgments and reversing its stereotypes. In the process, he has exposed the true anti-white agenda of Hollywood. Why? Just because he can.

The fact that Quentin Tarantino could desecrate the holocaust, expose Hollywood’s agenda, and sell it back to Hollywood’s Jews is a testament to his twisted genius and their shallowness and moral imbecility.

I wish Inglourious Basterds were a better movie, since I think that many white people would benefit from seeing it. Yes, the explicit message is that it is good for Jews and their hillbilly dupes to sadistically murder Germans (and any other enemies of the Jews, for that matter). But the largely white audience with which I saw the film did not seem terribly comfortable with this message.

Yes, they found Brad Pitt funny. He really was funny. But the sadism directed at Germans did not amuse. In the last scene of the film, where Aldo the Apache graphically carves a swastika in the forehead of Hans Landa and pronounces it “my masterpiece” — pathetically enough, this is probably Tarantino’s view of the film — there was no laughter.

For the subliminal message was coming through loud and clear: we are all Germans now, and every time we turn our eyes to a movie screen we are seeing the face of Jewish vengeance.

911 MISSING LINKS WORLD WIDE RELEASE

"I'M TAKING THE GLOVES OFF!!!"(MOOKIE JONES)

[Click photo and watch Mookie grow!]

Ladies and Gentlemen, I am proud to present 911 Missing Links, the first movie to address "WHO" was responsible for the 911 terror attacks. Instead of getting bogged down with endless "conspiracy theories" on "HOW" the Twin Towers collapsed, we finally have Mike Delaney of Prothink answering the question of "Who pulled the trigger".

Alex "Mookie" Jones and company have suppressed and obfuscated the information exposing Israel as the most likely suspect in the 911 terror attacks long enough. 911 Missing Links, obliterates Patriotard theories and makes Jones' statement; "Israel couldn't have pulled off the 911 terror attack", seem childish and lame-brained at best.

As to be expected, Jones and company will be "back-peddling" on their denials of Israel orchestrating the 911 terror attack. The dogmatic statement, "Israel couldn't have pulled off 911" will turn into "Israel may have been a player, but they didn't mastermind the whole thing, the CIA was using them". It will always boil down to one thing with these guys; It's the "Rich White guys that belong to the Nazi death cult" stupid.

Please enjoy the movie, (I forgot to tell you, it's free!), and buy a T-Shirt from their website; www.911missinglinks.com, it will help them defray some of the costs in the making of this film.

Forward With Intensity,

Peter Schaenk

Missing Links from missinglinks on Vimeo.

ONE MORE VOICE SILENCED BY THE JWO

Gibson's Anti-Semitic Tirade -- Alleged Cover Up

TMZ has learned that Mel Gibson went on a rampage when he was arrested Friday on suspicion of drunk driving, hurling religious epithets. TMZ has also learned that the Los Angeles County Sheriff's department had the initial report doctored to keep the real story under wraps.

TMZ has four pages of the original report prepared by the arresting officer in the case, L.A. County Sheriff's Deputy James Mee. According to the report, Gibson became agitated after he was stopped on Pacific Coast Highway and told he was to be detained for drunk driving Friday morning in Malibu. The actor began swearing uncontrollably. Gibson repeatedly said, "My life is f****d." Law enforcement sources say the deputy, worried that Gibson might become violent, told the actor that he was supposed to cuff him but would not, as long as Gibson cooperated. As the two stood next to the hood of the patrol car, the deputy asked Gibson to get inside. Deputy Mee then walked over to the passenger door and opened it. The report says Gibson then said, "I'm not going to get in your car," and bolted to his car. The deputy quickly subdued Gibson, cuffed him and put him inside the patrol car.

TMZ has learned that Deputy Mee audiotaped the entire exchange between himself and Gibson, from the time of the traffic stop to the time Gibson was put in the patrol car, and that the tape fully corroborates the written report.

Once inside the car, a source directly connected with the case says Gibson began banging himself against the seat. The report says Gibson told the deputy, "You mother f****r. I'm going to f*** you." The report also says "Gibson almost continually [sic] threatened me saying he 'owns Malibu' and will spend all of his money to 'get even' with me."

The report says Gibson then launched into a barrage of anti-Semitic statements: "F*****g Jews... The Jews are responsible for all the wars in the world." Gibson then asked the deputy, "Are you a Jew?"

The deputy became alarmed as Gibson's tirade escalated, and called ahead for a sergeant to meet them when they arrived at the station. When they arrived, a sergeant began videotaping Gibson, who noticed the camera and then said, "What the f*** do you think you're doing?"

A law enforcement source says Gibson then noticed another female sergeant and yelled, "What do you think you're looking at, sugar tits?"

We're told Gibson took two blood alcohol tests, which were videotaped, and continued saying how "f****d" he was and how he was going to "f***" Deputy Mee.

Gibson was put in a cell with handcuffs on. He said he needed to urinate, and after a few minutes tried manipulating his hands to unzip his pants. Sources say Deputy Mee thought Gibson was going to urinate on the floor of the booking cell and asked someone to take Gibson to the bathroom.

After leaving the bathroom, Gibson then demanded to make a phone call. He was taken to a pay phone and, when he didn't get a dial tone, we're told Gibson threw the receiver against the phone. Deputy Mee then warned Gibson that if he damaged the phone he could be charged with felony vandalism. We're told Gibson was then asked, and refused, to sign the necessary paperwork and was thrown in a detox cell.

Deputy Mee then wrote an eight-page report detailing Gibson's rampage and comments. Sources say the sergeant on duty felt it was too "inflammatory." A lieutenant and captain then got involved and calls were made to Sheriff's headquarters. Sources say Mee was told Gibson's comments would incite a lot of "Jewish hatred," that the situation in Israel was "way too inflammatory." It was mentioned several times that Gibson, who wrote, directed, and produced 2004's "The Passion of the Christ," had incited "anti-Jewish sentiment" and "For a drunk driving arrest, is this really worth all that?"

We're told Deputy Mee was then ordered to write another report, leaving out the incendiary comments and conduct. Sources say Deputy Mee was told the sanitized report would eventually end up in the media and that he could write a supplemental report that contained the redacted information -- a report that would be locked in the watch commander's safe.

Initially, a Sheriff's official told TMZ the arrest occurred "without incident." On Friday night, Sheriff's spokesman Steve Whitmore told TMZ: "The L.A. County Sheriff's Department investigation into the arrest of Mr. Gibson on suspicion of driving under the influence will be complete and will contain every factual piece of evidence. Nothing will be sanitized. There was absolutely no favoritism shown to this suspect or any other. When this file is presented to the Los Angeles County District Attorney, it will contain everything. Nothing will be left out."

On Saturday, Gibson released the following statement:

"After drinking alcohol on Thursday night, I did a number of things that were very wrong and for which I am ashamed. I drove a car when I should not have, and was stopped by the LA County Sheriffs. The arresting officer was just doing his job and I feel fortunate that I was apprehended before I caused injury to any other person. I acted like a person completely out of control when I was arrested, and said things that I do not believe to be true and which are despicable. I am deeply ashamed of everything I said. Also, I take this opportunity to apologize to the deputies involved for my belligerent behavior. They have always been there for me in my community and indeed probably saved me from myself. I disgraced myself and my family with my behavior and for that I am truly sorry. I have battled with the disease of alcoholism for all of my adult life and profoundly regret my horrific relapse. I apologize for any behavior unbecoming of me in my inebriated state and have already taken necessary steps to ensure my return to health."

TMZ / July 29, 2006

THE JEWS BEHIND DA VINCI CODE

[By Rev. Ted Pike]

[May 26, 2006]

Almost everyone realizes the Da Vinci Code is an unprecedented attack on Christianity and Jesus Christ. But most people don’t know that the media giants orchestrating this attack are Jewish.

Sony Corporation, the force behind the Da Vinci Code movie, is the eye of this Jewish promotional octopus. In the late 1980s, Sony of Japan bought out Metro Goldwyn Meyer, Columbia Pictures, and United Artists. Former president of Jewish-owned CBS, Howard Stringer (a Jew), became second in command of Sony International. He is chair and CEO of Sony of America. ¹

Sony of America is dominated by Jewish names. Emily Susskind is president. Robert Wiesenthal is executive VP and chief financial officer; Nicole Seligman is executive VP and general counsel. Phil Weiser is CTO and senior VP. Michael Fidler Jr. is senior VP. Jay Samit is general manager of Connect. Gretchen Griswold is director of corporate communications. ²

Sony’s subsidiary, Columbia Pictures, maker of the Da Vinci Code movie, is headed by Amy Pascal, a Jew. She is also chairman of Sony’s Motion Picture Group. ³ The producer of the film is Brian Grazer, a Jew.

The screenplay was written by well-known, Jewish screenwriter Akiva Goldsman.

A MEDIA OCTOPUS

While originating with Sony, the Da Vinci Code’s promotion is a many-pronged attack on Christianity coming from the Jewish media community.

Sony worked closely with NBC in promotion of NBC/Universal’s anti-Christ Book of Daniel last winter. Now NBC, presided over by its Jewish head of television programming, Jeff Zukor, has lavishly promoted Sony’s Da Vinci Code movie on NBC. This past week, Today Show host Matt Lauer led the nation on a European “treasure hunt” in the steps of the Code. CBS, presided over by Jewish Sumner Redstone, and ABC, by Jewish Michael Eisner, have helped build a firestorm of public curiosity about the book and movie.

MEGA BOOK SALES

The largest Jewish publishing houses reap staggering profits from sales of Da Vinci Code books. Jewish Joel Klein is chairman of American operations of Bertelsmann A.G., the largest publishing conglomerate in the world. Random House, which the Encyclopedia Judaica confirms is Jewish-owned and controlled, is part of this consortium, benefiting by massive distribution advantages. ⁴ Random House owns rights to produce all large-print copies of the Da Vinci Code. As a division of Random House, Doubleday owns rights to produce all regular-print and special collector’s editions of the book. Finally, Anchor Books, another venerable Jewish publishing house and subsidiary of Random House completes this Jewish monopoly by printing all paperback copies.

Jewish-controlled magazines also hype the Code. Some 50 popular magazines, including Time, Life, and People, are owned by Time/Warner, with Jewish Norman Pearlstein, editor in chief. Newsweek, published by Jewish Donald Graham’s Washington Post, has featured recent conspicuous articles enticing millions to purchase the book or see the movie.

Articles too numerous to mention continue to emerge from Jewish-controlled newspapers. These include those owned by the Samuel Newhouse chain, the New York Times, the Boston Globe, the New York Review of Books, the Village Voice, etc. All have been intensifying interest in the Da Vinci Code’s blasphemous message. The New York Times praised the book as "impeccably researched," despite the Code's outrageous claims, including that the Roman Catholic Church burned five million women at the stake. These media voices, which reflected so gravely on possible anti-Semitism in Mel Gibson's Passion of the Christ, have not a word of concern about the Code's rabid anti-Christianity. That's because they share it.

ATTACKS ON CHRIST CONVERGE

In a previous e-alert, I documented how Jews helped the National Geographic Society to bring the "Gospel of Judas" blasphemy to the attention of the world (See, "Judas: Historic Jewish Hero"). I revealed how NGS’ prestigious Codex advisory panel, the driving force behind promotion of this sacrilege, is top heavy with Jewish names.

Such fevered Christ-bashing continues a pattern of stepped-up attacks by Jewish activists over the past six months:

• Last November, Abe Foxman, head of the Anti-Defamation League of B’nai B’rith, attacked politically involved Christian conservatives as a threat to freedom. He vilified the Southern Baptist Convention for allowing witnessing to Jews. In his recent book, Never Again? The Threat of the New Anti-Semitism, he accused Christians who witnessed to Jews of being anti-Semitic. The New Testament, he rails, is a lying, hateful, hurtful book, ultimately responsible for the deaths of 6 million Jews in World War II. (See, "ADL's Foxman: New Testament is Anti-Semitic")
• Last December, in CBS’ 48 Hours special, “The Mystery of Christmas,” CBS dramatized the possibility that Christ was a bastard. (See, "More Christian Bashing from Media this Easter?")
• This winter, NBC’s Book of Daniel, authorized by Jeff Zukor, trashed Jesus and the Christian family. (See, "Who's Behind NBC's 'Book of Daniel'?")
• Also this winter, Jewish activist Mikey Weinstein was successful in his suit against the Air Force Academy, banning chaplains there from using the name of Jesus in public prayers. He was assisted by Rabbi Arnold Resnicoff, highly placed ethical consultant to both the Navy and Air Force, in upholding such an end of free speech. (See, "ADL Protests Free Speech at Air Force Academy")

EVANGELICALS WON’T IDENTIFY THEIR ENEMY

One would think evangelical leaders, clearly under attack by Jewish activists in high places, would at least inform Christians of the identity of those who assail them and their Savior.

This is not the case. Evangelical and new-right leaders are silent concerning the Jewish origins of present attacks on free speech, Christian witnessing, the New Testament, and the integrity of Jesus Christ.

Why this incredible silence? Evangelicals won't identify their attackers as Jewish because of a centuries-old superstition. They believe a divine curse will fall on any person or nation who criticizes Jews. The Biblical promise to Abraham, “I will bless those that bless thee and I will curse them that curse thee,” (Genesis 12:3) is taken to mean that no matter what evil or injustice Jews commit, Christians must only bless them, never criticize.

This is flatly contrary to Scripture.

The Bible teaches that godly reproof and warning are not curses but the greatest gifts that can be given to any sinner. Reproof brings with it the possibility of repentance, saving a soul from an eternity in hell!

It was with such a desire to bless Jews, that the Hebrew prophets, including Isaiah and John the Baptist, fiercely reproved the Jewish people and their leaders for sin. Does the Bible consider such fearless truth-telling to be anti-Semitic? Does it record terrible curses descending upon such prophets?

Quite the contrary, God’s curses did descend on those false prophets who flattered the Jews, exactly as do modern-day evangelicals. In the time of Elijah, compromising prophets cooed unconditional blessings on Ahab and Jezebel. Today Jerry Falwell, John Hagee, and Hal Lindsey lavish blessings on the vilest of Jewish sinners including arrogant, violent men like Shamir, Begin and Sharon.

A CULT OF ISRAEL-WORSHIP

Christ’s followers 2,000 years ago viewed His crucifixion from afar. They were impotent to restrain evil Jewish leaders who had Him killed. Today, evangelicals are paralyzed from really striking a blow against those who now publicly re-crucify the name and reputation of Jesus. Yes, they write letters and emails and perhaps boycott TV sponsors. Their intellectuals argue against the fallacies of the Da Vinci Code. But no one points a prophetic, bony finger at the Jewish media moguls, identifying their racial and religious origin. No one says like Nathan to the adulterous David, “You are the man!” (2 Sam. 12:7)

Incredibly as Jewish anti-Christ activism surrounds and overlays Christianity, the silence within the Church only becomes more deafening. About all that can be said then, is that when "Israel first" leaders and their flocks are at last herded into gulags to be slaughtered, few groups of people in history will have worked harder to ensure their own destruction.

End Notes:

¹ Standard & Poor's Register, 2006.
² Ibid and LexisNexis, Corporate Affiliations International, volume 8, 2005.
³ LexisNexis, Corporate Affiliations International, volume 8, 2005.
⁴ Encyclopedia Judaica, "Publishing.".