WAR OF PERCEPTION

Alex Jones discredits 911 truth movement with phony interview

Alex Jones’ most recent escapade is a real interesting stunt. He posts an interview between Charlie (whore-monger) Sheen and POTUS Obama and doesn’t reveal that it is a fake interview.

It's also interesting that many of his fans are finally coming to grips with the naked emperor, Jones.

It's a case of the Frankenstein monster, (Jones), attacking his creator, (Jones fans). All of the people who used to support Jones, emboldened him to pull bigger and more outrageous stunts. Jones believed his own B.S., because the people who now see the light, used to buy into Jones’ crap.

Nothing has changed with Jones since his days on Austin, access cable. He hasn’t improved his broadcasting style or his presentation. Jones is amateurish, uneducated, boorish, a poseur, and a person who wants to be famous so badly, he will do anything to get his star.

He hasn’t done anything that could even remotely be construed as original thinking. His revelations about the NWO are straight from Anthony Hilder and Bill Cooper among others. These theories have been around at least since the seventies. So who did Jones "wake up"? A bunch of stoned children of hippies? Generation Xers? Who needs them? What does it matter? They are too busy blowing their brains out smoking pot to actually do anything constructive for society or “fight” against the “New World Order”; whatever the hell that is. I don’t really know anymore. It just gets more and more arcane and obtuse with every new Jones video and endless broadcast.

Plutocratic, Oligarchic, Transvestite-tic, Super-Rich-International Mafia, Multinational gobbledygook, Nazi-Teutonic-Bloodlines with Fascistic overtones thrown in for spice. ???

World Bankers, Global Crime Syndicates, International financiers much bigger than all the nations of the world put together. Did I forget to mention Hitlerian-Pit-Bull?

The cowardly Jones mentions everyone, real and imagined, except the 500 pound, 8 foot 9 inch, drooling, man-eating gorilla in the middle of the living room…Israel, World Zionism…(drum-roll) The Jews!!!

I am not suggesting that the Jews are the master-minds behind the entire New World Order super structure; However, I am suggesting that we look at it intelligently, thoughtfully, with the object to uncover the truth, once and for all.

This is in sharp contrast to Jones and company, who berate, chastise, hang-up, brow-beat, shout down and threaten anyone who challenges the Jones “approved” version of 911, and the New World Order. I would challenge anyone to explain how this tactic helps to uncover any truth about the 911 terror attacks, Jewish involvement or otherwise.

In an interview with “Russia Today”, Jones made the following statement:

“They openly state that the United States will be the pit-bull, the attack dog. The American people will be used to go after any free nation in the world. So the United States is in the process of going from a corrupt oligarchy to a fascistic Hitlerian pit-bull, meant to go out and literally wage war against the planet.”

It is interesting how Jones uses Nazi imagery at every turn while ignoring Jewish culpability in the bargain. What Jones is talking about in his RT interview, is a “Pax Americana”, this was something the guys at PNAC came up with. PNAC is a Jewish “think tank”,not a group that would conjure up Aryan "Bogey Men". The Hitlerian comparison is inaccurate and disingenuous at best. For those of you who are going to counter with: “Hey, PNAC isn’t Jewish, Dick Cheney was a member…”

I will reply with: “The leadership and founders of PNAC were Jewish almost down to a man. To suggest that PNAC isn’t Jewish at it’s core because it allowed gentiles to join it’s ranks, is like suggesting Hitler’s SS wasn’t Nazi, because it allowed Jews to join it’s ranks in some cases.”

It’s time to hold this clown’s feet to the fire. He has avoided the Jewish question for far too long.

The evidence supporting Jewish involvement in 911 is far more compelling than the “controlled demolition” theory embraced by the Jones sycophants.

I am not suggesting that the controlled demolition theory is invalid, I am simply suggesting that Jones followers put a hold on their “blind faith” and honestly look at the evidence showing the culpability of Israel and her agents in the 911 terror attacks.

How Can You Criticize Jones? Look At All The Good Work He Has Done, etc.

What good work has Jones performed?

911? Hell, there were half a dozen conspiracy theorists predicting the attack by Bin Laden, Bill Cooper being the most prominent. So Jones gets credit for predicting 911? What PR genius set that up?

What about Jones’ other predictions:

Martial law after Y2K, Russian troops invade the U.S., UFO’s landing in D.C., ( I added the UFO for grins. But he might as well have said it.)

Those predictions never came to pass, but he scared the hell out of enough people to sell butt-loads of air filters, water purifiers and freeze dried food. Did I forget to mention his videos. Yes, he sold lots and lots of videos.

The WWF Meets Conspiracy Theory

Jones obviously had the idea to merge the World Wrestling Federation with conspiracy theory and viola, the Jones image is born. If you don't believe me, check out some photos of Roddy Piper and compare them to Jones' look. Check out his presentation with the in-your-face, "I wish I were a DI in the Army" vocal style and tell me if it doesn't sound uncomfortably similar to Freddie "Pencil-Necked-Geek" Blassie and Roddy Piper. Even Jones' strange "Galaxy Quest" hair style, looks like Piper's. Last but not least, Jones’ trade-mark bull horn tactic, is straight out of the playbook of Jimmy “Mouth of the South” Hart.

Wasn’t it painfully obvious that Jones was a sell-out when he embraced Rosie (Lesbo) O’Donnell on his program along with Charlie (whore-monger) Sheen because they supported his anti-George Bush, 911 theories? Didn’t it cross Jones’ delusional mind, that O’Donnell and Sheen were supporting Jones’ plagiarized theories because they hated George Bush and wanted to see a Democrat in the White House?

Of course not. Jones is too self-centered to believe anyone would use him for nefarious purposes. These “Hollywood Stars” are impressed with Jones’ wisdom, insight and film making expertise. They may even ask Jones to direct them in their next big movie project…NOT!

I would suggest to you that Jones would join forces with NAMBLA if he could find a “Hollywood Star” who was a member and would consent to an interview on his Internet radio show to discuss his latest “Crap-U-mentary“.

Jones’ recent escapade does indeed embarrass the 911 “truth movementeers”. No one in middle America is going to take these theories seriously when you have the number one promoter joining forces with a whore-monger and pervert.

I don’t want to suggest a dark hand or shadowy figure at work here, but Jones couldn’t have done a better job of screwing up the credibility of the 911 “truth movement”, even if he had meant to do so for nefarious reasons.

You Can Do Something About Jones!

You may not be able to do anything about Obama health care-redistribution-of-wealth or the New World Order, but you can do something about this ass-clown Jones.

1.) Stop listening to his broadcasts and buying his propaganda.

2.) If you must listen, call him up and ask him questions that put him on the spot. Hold his chubby little feet to the fire:

“Alex, why did you say that Israel couldn’t possibly have pulled off the 911 terror attack? Didn’t you say that you did the research?”

Why don’t you ever talk about the PNAC document “Clean Break” which shows Israel‘s hand in embroiling the U.S. in endless war in the Middle East?

Why do you avoid the Jewish question, when there is obviously a strong Jewish presence in the turmoil we see worldwide?

I noticed most of your sponsors are Jewish, do they have ties to Israel?

Isn’t your wife Jewish?

Do you have ties to Israel, the ADL or B'nai Brith through your wife’s side of the family?

Does Charlie Sheen score hookers and drugs for you when you visit him in Hollywood?

Do you have relatives in the FBI?

Did you get your ass kicked in the access television parking lot?

Did you "snitch" to your family members in the FBI, regarding the guys who kicked your ass in the access television parking lot?

How much did you get paid by ABC’s 20/20, to betray the John Gray family?

Who does your hair?, etc.”

3.) Spread this article and ones like it around the Internet, so that other unsuspecting “targets” won’t fall victim to the Alex Jones Kool Aide.

Jones is powerful and wealthy because people didn’t heed the warning signs at the beginning of his rise to power. Many of you are now realizing your folly. Good! Don’t fall victim again. Do something about it this time.

This is the fantasy world of Alex Jones. Pure, unbridled ego. If you want to look into the machinations of a megalomaniac mind, look no further than Alex Jones. Power for the sake of power. That is the true definition of satanism. And yet, that is exactly what Jones accuses the International-Nazi-Mafioso-Bilderbergers, of…Satanism.

Be careful when you fight the monsters, lest you become one.

(Nietzsche)

Saul D. Alinsky: A role model for left-wing satanists

The 1972 Vintage Books paperback edition of Rules for Radicals by Saul D. Alinksy has a page of quotes just before the table of contents. In the last of the three quotes, Alinsky himself said the following:

"Lest we forget at least an over-the-shoulder acknowledgment to the very first radical from all our legends, mythology, and history (and who is to know where mythology leaves off and history begins -- or which is which), the first radical known to man who rebelled against the establishment and did it so effectively that he at least won his own kingdom -- Lucifer."

On page 71, speaking of his training program for political organizers, Alinsky remarked:

"The qualities we were trying to develop in organizers in the years of attempting to train them included some qualities that in all probability cannot be taught. They either had them, or could get them only through a miracle from above or below."

And, on the last page of a 1972 Playboy Interview with Saul D. Alinsky, he said:

ALINSKY: Sometimes it seems to me that the question people should ask is not "Is there life after death?" but "Is there life after birth?" I don't know whether there's anything after this or not. I haven't seen the evidence one way or the other and I don't think anybody else has either. But I do know that man's obsession with the question comes out of his stubborn refusal to face up to his own mortality. Let's say that if there is an afterlife, and I have anything to say about it, I will unreservedly choose to go to hell.

PLAYBOY: Why?

ALINSKY: Hell would be heaven for me. All my life I've been with the have-nots. Over here, if you're a have-not, you're short of dough. If you're a have-not in hell, you're short of virtue. Once I get into hell, I'll start organizing the have-nots over there.

PLAYBOY: Why them?

ALINSKY: They're my kind of people.

I'm not sure whether Alinsky really was a Satanist/Luciferian of some sort or whether he was just joking. He may well have been just joking. The man certainly did have a sense of humor.

When asked his religion, he would always say that he was Jewish. But, on many levels, he seemed to have distanced himself from his Orthodox Jewish background. For example, in Rules for Radicals, when praising Moses as a "good organizer," Alinsky did so in a manner rather irreverent toward the egotism of the Biblical God (pp. 89 to 91).

Be that as it may, he's an excellent role model for politically left-leaning Satanists, whether theistic or symbolic. (When I say "role model" I mean only in a very general sense, not one to be followed slavishly.) Certainly he can be said to have manifested his true will. And he espoused a lot of values that are familiar to today's Satanists, such as his emphasis on power, self-interest, creativity, and practicality.

Rules for Radicals is full of pragmatic realism. For example, on page 88:

"In mass organization, you can't go outside people's actual experience. I've been asked, for example, why I never talk to a Catholic priest or a Protestant minister in terms of the Judaeo-Christian ethic or the Ten Commandments or the Sermon on the Mount. I never talk in those terms. Instead I approach them on the basis of their own self-interest, the welfare of their Church, even its physical property."

Alinsky accomplished a lot. He built many organzations that gave lot of people the power to improve their lives.

In Part 7 of the 1972 Playboy interview, Alinsky said:

"The biggest obstacles we faced were the apathy and despair and hopelessness of most of the slum dwellers. You've got to remember that when injustice is complete and crushing, people very seldom rebel; they just give up. A small percentage crack and blow their brains out, but the other, 99 percent say, "Sure, it's bad, but what can we do? You can't fight city hall. It's a rotten world for everybody, and anyway, who knows, maybe I'll win at numbers or my lottery ticket will come through. And the guy down the block is probably worse off than me.

The first thing we have to do when we come into a community is to break down those justifications for inertia. We tell people, "Look, you don't have to put up with all this shit. There's something concrete you can do about it. But to accomplish anything you've got to have power, and you'll only get it through organization. Now, power comes in two forms -- money and people. You haven't got any money, but you do have people, and here's what you can do with them." And we showed the workers in the packing houses how they could organize a union and get higher wages and benefits, and we showed the local merchants how their profits would go up with higher wages in the community, and we showed the exploited tenants how they could fight back against their landlords. Pretty soon we'd established a community-wide coalition of workers, local businessmen, labor leaders and housewives -- our power base -- and we were ready to do battle."

Unlike many leftists, Alinsky avoided dogma. In Part 10 of the 1972 Playboy interview, he said:

"I've never joined any organization -- not even the ones I've organized myself. I prize my own independence too much. And philosophically, I could never accept any rigid dogma or ideology, whether it's Christianity or Marxism. One of the most important things in life is what judge Learned Hand described as "that ever-gnawing inner doubt as to whether you're right." If you don't have that, if you think you've got an inside track to absolute truth, you become doctrinaire, humorless and intellectually constipated. The greatest crimes in history have been perpetrated by such religious and political and racial fanatics, from the persecutions of the Inquisition on down to Communist purges and Nazi genocide. The great atomic physicist Niels Bohr summed it up pretty well when he said, "Every sentence I utter must be understood not as an affirmation, but as a question." Nobody owns the truth, and dogma, whatever form it takes, is the ultimate enemy of human freedom.

Now, this doesn't mean that I'm rudderless; I think I have a much keener sense of direction and purpose than the true believer with his rigid ideology, because I'm free to be loose, resilient and independent, able to respond to any situation as it arises without getting trapped by articles of faith. My only fixed truth is a belief in people, a conviction that if people have the opportunity to act freely and the power to control their own destinies, they'll generally reach the right decisions. The only alternative to that belief is rule by an elite, whether it's a Communist bureaucracy or our own present-day corporate establishment. You should never have an ideology more specific than that of the founding fathers: "For the general welfare." That's where I parted company with the Communists in the Thirties, and that's where I stay parted from them today."

But his "belief in people" certainly did not translate into utopian idealism. Also in Part 10 of the 1972 Playboy interview, Alinsky said:

"People don't get opportunity or freedom or equality or dignity as an act of charity; they have to fight for it, force it out of the establishment. [...] Reconciliation means just one thing: When one side gets enough power, then the other side gets reconciled to it. That's where you need organization -- first to compel concessions and then to make sure the other side delivers. If you're too delicate to exert the necessary pressures on the power structure, then you might as well get out of the ball park. This was the fatal mistake the white liberals made, relying on altruism as an instrument of social change. That's just self-delusion. No issue can be negotiated unless you first have the clout to compel negotiation.[...]

In fact, of course, conflict is the vital core of an open society; if you were going to express democracy in a musical score, your major theme would be the harmony of dissonance. All change means movement, movement means friction and friction means heat. You'll find consensus only in a totalitarian state, Communist or fascist.

My opposition to consensus politics, however, doesn't mean I'm opposed to compromise; just the opposite. In the world as it is, no victory is ever absolute; but in the world as it is, the right things also invariably get done for the wrong reasons. We didn't win in Woodlawn because the establishment suddenly experienced a moral revelation and threw open its arms to blacks; we won because we backed them into a corner and kept them there until they decided it would be less expensive and less dangerous to surrender to our demands than to continue the fight. I remember that during the height of our Woodlawn effort, I attended a luncheon with a number of presidents of major corporations who wanted to "know their enemy." One of them said to me, "Saul, you seem like a nice guy personally, but why do you see everything only in terms of power and conflict rather than from the point of view of good will and reason and cooperation?" I told him, "Look, when you and your corporation approach competing corporations in terms of good will, reason and cooperation instead of going for the jugular, then I'll follow your lead." There was a long silence at the table, and the subject was dropped."

Given Alinksi's overall approach to organizing, he has been called a "Machiavelli for the common man." In Rules for Radicals, Alinksy's response to those who ask "Does the end justify the means?" was "The means-and-end moralists, or non-doers, always wind up on their ends without any means" (p. 25).

Some relevant web pages: 1972 Playboy Interview with Saul D. Alinsky, on the Progress Report website, which also has an article Saul Alinsky and the Industrial Areas Foundation by Sanford D. Horwitt

Brief excerpts from Rules for Radicals on the websites of Latter Rain (a left-wing Christian site), Thinking Peace and Maurice Institute Library.

As even the Latter Rain site acknowledges, in an introduction to its excerpt from Rules for Radicals:

"Alinsky's field of action was the field of change and a constant stream of conflict. Alinsky knew that in today's world, people are not motivated by altruism, you need to somehow appeal to their self-interest. The right thing usually done for the wrong reasons. When he came into a community in order to organize it, he had to get the local churches involved. He said that he never appealed to the ministers or priests in terms of Christian principles because they did not really believe in Christianity. Therefore, Alinsky appealed to what really motivated them, their self-interests and talked more about membership and more money. It worked every time."

Some may ask: Is left-wing politics of any kind consistent with Satanism? LaVeyans have often equated Satanism with pure capitalism.

I do not see Satan as championing any particular social, economic, or political order. I see Satan as encouraging us to think for ourselves and to be in touch with our own personal nature. It is up to us to figure out what kind of social, economic, or political order would work best for us, given our own circumstances.

I personally feel that it's in my best interests to live in the kind of society that, on the whole, works best.

My opinion of pure capitalism and economic libertarianism is that they work fine in a society that is largely rural and where there are a lot of small farm owners, as was the case in much of the U.S.A. until the early 20th century or so. However, in a more urbanized society, neither pure socialism nor pure capitalism works well; some sort of mixed economy is needed and can indeed work well, as per the example of most (though admittedly not all) continental Western European countries.

In small towns, "big government" may seem utterly unnecessary. A lot of small towns even have volunteer fire departments. This would never work in a big city like New York. In a small town where everyone knows everyone, there are strong social incentives to do various kinds of volunteer work. The social rewards for volunteer work are much less in a large city.

In a highly urbanized society, the alternative to having at least a moderately limited "welfare state" is to have very high crime rates every time there's an economic downturn. This sort of thing happened quite a bit in the early 20th century, if I'm not mistaken.

Anyhow, as the financial troubles of the Church of Satan itself should more than adequately demonstrate, we Satanists need to drop the fantasy that we're a bunch of supermen. Yes, we should aim to empower ourselves through our own individual efforts, but it also helps to have organizations that empower entire communities.

By Diane Vera

 

 

 

Hamas condemns Holocaust lessons

Gaza's ruling Islamist movement Hamas has resisted suggestions that Palestinian children should be taught about the Holocaust in UN-run schools.

The head of its education committee in Gaza, Abdul Rahman el-Jamal, told the BBC that the Holocaust was a "big lie".

He said that to teach it would be to "grant a big favour" to Israel, which has been fighting Hamas for years.

The UN, which runs most Gazan schools, recently asked local groups whether the Holocaust should be taught.

It uses local textbooks and, in Gaza, that means using material from neighbouring Egypt, the BBC's Tim Franks reports.

But over the past seven years the UN has added its own coursework about human rights.

Mr Jamal told the BBC that the UN should, instead, teach about the Naqba, the term Palestinians use to describe the establishment of the state of Israel and the displacement of hundreds of thousands of Palestinian refugees.

A spokesman for the UN said that no final decision on this year's curriculum had yet been made. Some 200,000 children are taught in schools run through the United Nations Relief and Works Agency (UNRWA).

During the Holocaust, Nazi Germany murdered some six million Jews.

However, the event's significance is often disputed in parts of the Middle East where Israel is seen as the enemy and the Holocaust is seen as a tool used by Israel to justify its actions.

BBC News 

It is right to expose Wiesenthal

‘Simon Wiesenthal’s reputation is built on sand. He was a liar and a bad one at that. From the end of the war to the end of his life, he would lie repeatedly about his supposed hunt for Eichmann as well as his other Nazi-hunting exploits.

“Wiesenthal would also concoct outrageous stories about his war years and make false claims about his academic career.”

With these words, the historian Guy Walters begins his examination of the career of the world’s most famous Nazi hunter. It forms one of the main themes of his new book, Hunting Evil, a history of the Nazi war criminals who escaped and the effort to bring them to justice. And it is impossible to read it without feeling deeply uncomfortable.

There are two reasons for this, and only one of them is to do with Wiesenthal. The first reason for discomfort is simply that Walters lays bare, in what is a fine, very readable but nonetheless important, book about how the victors simply let criminals, thousands upon thousands of terrible murderers, walk away after the war.

A couple of years ago, at the end of a drama documentary on the Wannsee conference, the sentences handed out to the conspirators were rolled on the screen just before the credits. I remember watching aghast as I read that one after another of these monsters appeared to have gone back to Bavaria or wherever and lived a quiet life as a greengrocer. Walters explains how this happened.

To start with, the Allies simply had what they regarded as more important things to do. They didn’t want to spend any time or money catching Nazis. Walters prints a tragi-comic correspondence between a set of war crimes investigators and their superiors in which headquarters declined a request for an English-German dictionary, saying that it was out of print and wouldn’t be available for a year.

The victors were also fighting each other. Nazis were recruited to help fight the Soviets, and thus protected from justice. The Allies were fearful, too, that legal proceedings would expose their own soldiers to liability.

They failed to comprehend the scale of the Nazi crime until the units were disbanded and it was too late. Into the vacuum stepped privateers. And Wiesenthal was the most famous. He did a wonderful thing. He kept the issue in the public eye, kept the memories alive, kept the pressure on.

This made him a secular saint. Until now, criticising Wiesenthal has been the occupation only of cranks and antisemites. Walters is most definitely neither of those. But has he erred by providing them with ammunition? Should Jews welcome his book, or shun it? Very firmly the former, in my view.

Walters’s documentary evidence on Wiesenthal’s inconsistencies and lies is impeccable. He shows how the Nazi hunter’s accounts of his wartime experiences are contradictory and implausible. He demonstrates that he had no role, contrary to his own assertion, in the capture of Adolf Eichmann. He pitilessly dissects Wiesenthal’s overblown claims about the numbers he brought to justice, suggesting it was not much more than a handful.

When you read Hunting Evil, you know its author is telling the truth. And, above all — above everything — the truth matters. The truth however painful, the truth however embarrassing, the truth wherever it takes you. Jews can never be hurt by the truth about the Holocaust and must never fear it, never run away from it.

Ben Barkow, the director of the Wiener Library, the institution that my grandfather established to document the truth, has lent his voice to that of Walters, agreeing that a revaluation of Wiesenthal’s contribution was in order. Barkow argues that a nuanced view is possible. That accepting that Wiesenthal was a showman and a braggart and, yes, even a liar, can live alongside acknowledging the contribution he made.

Surely he is right. But even if he is not, Walters has done a service to history and therefore to Jews.

By Daniel Finkelstein / The JC.Com

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.