Pop culture

Simon in it, are you?

Simon’s in it, are you?


Peaches tweeted this photo with the CIA mind control symbols of a butterfly, a weird eye and a doll.

The UK celebrity Peaches Geldof, a whistleblower on child abuse activity, was allegedly murdered in April 2014.

“Officers searching Peaches Geldof’s house after her death found no evidence of hard drugs, no suicide note, and no visible signs of injury…“Police found the 25-year-old’s body at home in Wrotham, Kent, at 1.35pm, and described the death as ‘sudden’ and ‘unexplained’.”
Now, in July 2014, the police are saying that Peaches Geldof’s room was littered with syringes and  drugsThe coroner says he must record a verdict that death was drug relatedwww.dailymail.co.uk

Peaches’ father Bob Geldof in Israel, where he received a doctorate.

Detective Chief Inspector Paul Fotheringham led the investigation into Peaches’ death.
A police investigation into who might have supplied Peaches with drugs has not led to any arrests.

Peaches’s husband Thomas Cohen
Peaches’ husband Thomas Cohen says he was staying with his parents in south east London on the weekend of Peaches’ death and that Peaches seemed fine when he spoke to herwww.dailymail.co.uk

Thomas Cohen, whose origins are East European Jewish.

Thomas Cohen was raised in South London by parents Keith and Sue Cohen.

Thomas went to school in Sidcup, in South London.

Keith Cohen is a social worker.

http://www.dailymail. / Did Peaches Geldof really die of a heroin overdose?.

Jimmy Savile and Edward Heath, both linked to Sidcup.

Sidcup had as its Member of Parliament, Edward Heath, UK Prime Minister 1970-1974, who has been linked to sexual activity with boys.

A Sidcup children’s home, which closed in 1989, is being investigated over claims that children there were abused by Jimmy Savile.

Sidcup children’s home in Jimmy Savile abuse investigation

The Hollies – run by Southwark Council from 1965 until it was closed in 1989.

The children’s home is the Hollies children’s home in Burnt Oak Lane.

Mr Krawczynski (above), who was taken into care aged three after his parents separated, was a resident at the Hollies from 1952 to 1965.

Pauk Krawczynski, aged 66, says there was physical and sexual abuse of children at the Hollies.
“There were ‘aunties and uncles’ who would come and take children out for the day, buy them sweets and eventually it would turn into abuse.”

On 26 November 2013, the Lostprophets singer Ian Watkins pleaded guilty to a string of sex offences, including the attempted rape of a baby.

Peaches Geldof tweeted the names of the mothers who allowed Ian Watkins to try to abuse their babies

In April 2012, Watkins attempted to rape an 11-month-old baby boy.

The boy’s mother pleaded guilty to aiding the attempted attack.

Another mother allowed Watkins to plot the rape of her daughter.

Did Peaches know too much about a powerful pedophile ring?

Peaches Geldof, right, with her mother Paula Yates and Paula’s partner Michael Hutchence.www.dailymail.co.ukMichael Hutchence was the partner of Paula Yates who was the mother of Peaches Geldof.On 22 November 1997, Michael Hutchence died in mysterious circumstances.

Paula Yates wrote in her police statement that Michael Hutchence was “frightened”.

Yates wrote that Bob Geldof, Peaches’ father, had threatened them repeatedly with, “Don’t forget, I am above the law”.[10]

Mourner at Peaches Geldof’s funeral. dailymail.

Paula Yates refused to accept the coroner‘s verdict of suicide.[11]

On 17 september 2000, Peaches’ mother, Paula Yates, died in mysterious circumstances.

On 7 April 2014 Peaches Geldof, 25, was found dead at her home in Wrotham, in Kent in the UK.

Police investigating the death of Peaches Geldof reportedly found ‘no hard drugs, no suicide note and no visible signs of injury’.

Peaches Geldof and her son Astala and a ghostly hand.

In June 2011, an inquest heard that Peaches’ name appeared in the diary of 18-year-old Freddy McConnel who died in mysterious circumstances.

dailymail / The mysterious death of Peaches Geldof and the VIP child abuse ring

Peaches Geldof and Jonny Makeup

Peaches Honeyblossom Geldof (1989 – 2014), the daughter of Sir Bob Geldof and Paula Yates, was an English journalist, television presenter and model.

Bob Geldof’s paternal grandmother, Amelia Falk, was Jewish [13]

Paula Yates in 1999 and daughter Peaches Geldof in 2008. iaincarstairs.wordpress.com

Peaches was the granddaughter of Hughie Green.

Her sisters are Fifi Geldof and Pixie Geldof. She also has a younger half-sister, Tiger Lily Hutchence Geldof.[4]

Agent Provocateur’s Occult Campaign – ‘featuring Peaches Geldof.’

See the Agent Provocateur official site “for some interesting symbolism.”

According to an article at Mail Online, a Satanic sex cult is ensnaring a growing number of celebrities, such as Peaches Geldof, Jimmy Page and Jay-Z.

Led Zeppelin’s Jimmy Page “has taken part in occult magical rituals” and bought Satanist Aleister Crowley’s former home.


The Mail does not mention that the CIA and its friends have long used Satanic sex cults to mind-control top people.

Maxwell-Knight, a friend of Aleister Crowley. From: ‘One Girl’s War, by Joan Miller (1986) we learn about Charles Henry Maxwell-Knight, formerly head of Britain’s MI5 spy agency.”His first wife Gladys, I learnt, died in the Overseas Club after some sort of occult misadventure in which the notorious Aleister Crowley was involved.” 

Peaches Geldof showed an interest in Scientology and Judaism.

Peaches Geldof told her Twitter fans that she is a devotee of Ordo Templi Orientis, known as OTO.

OTO originated in Germany or Austria between 1895 and 1906.[4]

OTO, in the UK, was founded by Aleister Crowley.

Crowley’s form of worship “involved sadomasochistic sex rituals” with young males and females, spells, and the use of hard drugs…


Crowley and Peaches. DailyMail

THE ORDO TEMPLI ORIENTIS (OTO) is today’s best-known of the hard-core, British-based Satanist cults.

The OTO is a direct off-shoot of the work of Britain’s leading twentieth-century Satanist, Theosophy leader Aliester Crowley.

OTO enthusiasts claim this organization is an offshoot of Templar freemasonry, and hint at very influential protection from among Templars very high in British freemasonry.

Nazism and occultism

Reportedly, there are now OTO lodges around the UK.

John Bonner, 62, from East Sussex, is the head of OTO in the UK.

Former FBI agent Ted Gundersen investigated Satanic circles in LA.

He found that Crowley’s teachings suggested human sacrifice, preferably of ‘an intelligent young boy’.

“POLICE are probing claims that disgraced DJ Jimmy Savile was filmed cavorting naked in a Satanic sex club.

“Operation Yewtree detectives investigating the shamed star’s sordid antics are hunting for the footage which is said to have been preserved on DVD.

“The sleazy film is said to show other celebrities and civic bigwigs taking part in naked Satanic rituals at a secret club called The Chamber.

“The meeting place in Whitby, North Yorks, had a ceremonial whipping post in the centre of the room. Occult symbols including pentagrams and goat’s heads adorned the walls.”

Jimmy Savile ‘naked in satanic sex club’ – Daily StarPeaches – Jewish ceremony

Bob Geldof’s Live 8 was a string of benefit concerts supposed to help the poor of the Third World.

The money raised by Gelof’s Live 8 “was instead used to pay off the corporate creditors of indebted countries.

“In effect, the ENTIRE focus of the money generated by Live 8 was to provide direct assistance to corporations owed money by these impoverished nations.”

Bob Geldof has ALWAYS been a c**t.

Blair and Geldof.

In 2008, Bob Geldof made a speech, in Melbourne, about the tragedy of Third World poverty.

He was paid A$100,000 for his one-off speech which included a luxury hotel room and first-class airfares.[28]

Bob Geldof is a friend of George Bush and Tony Blair.

Above, we see Ian Watkins.

Ian Watkins was raised in a Baptist manse in Wales by Church minister John Davies and his wife Elaine.

Ian Watkins, famous singer.

Ian Watkins reportedly likes sex with very young children.

On 26 November 2013, Watkins pleaded guilty to a string of sex offences, including the attempted rape of a baby.The charges included sexually touching a one-year-old and encouraging a fan to abuse her own child during a webcam chat.He ‘seduced fan aged 15’ before she offered him her baby to abuse

Ian Watkins

A former girlfriend of Watkins said he abused hundreds of fans before also trying to abuse their children.

The former girlfriend of Watkins says she first went to the notorious South Wales police in 2008 but she was ignored.

Using the Skype online chat programme, Watkins and 24-year-old female fan discussed getting the fan’s baby daughter to have sex with animals and take drugs.

Peaches Geldof could face investigation after naming women / Peaches Geldof faces criminal probe after tweeting names of …

The CIA’s Monarch Programming takes its name from the Monarch butterfly. “They begin as worms (underdeveloped and new) and after the cocoon stage (programming) it is transformed into a completely different creature – a high-flying butterfly (aka the Monarch slave). Also, when someone is given electroshock therapy, a feeling of light-headedness occurs and the person feels like they are floating, like a butterfly.”memoirsfrommorocco.blogspot.com



Miley Cyrus & the Abduction of Western Schoolgirls

tonguetied-441x170.jpg(left, Warner Brothers blocked  the MK Ultra “Tongue Tied” video on YouTube. Obviously it struck too close to home for these satanists.
An analysis of the MK-Ultra references by Jeff C was also blocked and Jeff C’s channel removed from YouTube even though he muted the lyrics. This is censorship of fair use commentary.)

Feminist activists and Illuminati media turn a blind eye to MK-Ultra torture and sex abuse depicted in latest Miley Cyrus video “Tongue Tied.”
Instead they promote this monarch sex slave as a role model to young women.

by Henry Makow Ph.D. 

The world is naturally outraged at the abduction of hundreds of Nigerian schoolgirls by the Boko Haram group that plans to sell them into slavery.  Women’s rights groups have demanded that the girls be found and freed, and President Obama has sent assistance to Nigeria for this purpose.

Contrast this with the non-reaction to Miley Cyrus‘ “Tongue Tied” video which can only be interpreted as a cry for help. It shows her being tortured and sexually abused as part of Monarch mind control programming. Vigilant Citizen provides the following analysis:

tongue5.jpg(left. Throughout the video, Miley is shown being divided and sliced-up, representing the fracturing of MK sex slaves’ psyche.) 

The video is riddled with mind control symbolism. While most sources describe the video as “being about bondage”, there is much more going on there. The song title itself suggests being speechless and confused – a state that MK slaves know all too well. It is however the visual symbolism packed in this short video that says it all: It is about Miley Cyrus, a representative of Sex Kitten Programming, being controlled, handled and plastered with Mind Control symbolism…

In short, the video is all about depicting Miley as being blind, controlled, confused and programmed. She cannot express what is happening to her because she is truly “tongue tied”. Seeing Miley Cyrus being used as the Illuminati industry’s favorite Kitten is painful to watch. All of the signs and patterns applied on other stars are being applied to her and, unfortunately, this will most likely lead to some kind of “breakdown” or downfall. While I hope she gets out of this mess, she’s one of most tightly controlled pop stars out there.

Another site, Max Resistance comments on a now suppressed analysis by Jeff C – JeffC-FreeRadioRevolution explains the mind control mechanism used to create celebrity children into Beta Sex Slaves. Monarch programing is used by the entertainment industry to give you a fully controlled victim who will do anything their handlers ask them to do for your enjoyment and entertainment.

So are women’s rights groups rushing to her aid?  No, because they are Illuminati-mind-controlled themselves.

role.jpg(See more covers here)

Instead, the Illuminati (satanist) mass media promote her as a “rebel” and celebrate her obscene stage act where she simulates every kind of sex.

She is allowed to reprogram a whole generation of young girls to swallow pills and to become lesbians and sluts.

At a sold out concert in London Tuesday, Miley was: ‘drinking water and spitting it on the crowd’ and asking people to make out with members of the same sex.

‘She got loads of same sex people to snog in the audience and put them on camera on a giant screen and make a speech about how we should all just ‘be ourselves,’ an attendee said.

‘She said she “hopes we are all drunk and on loads of pills”, and at one point her dressers had to come on stage as her corset was undone while humping midgets.’

Miley said that she had injured herself while ill because of her obsessive compulsive disorder.

She promoted marijuana, the latest Illuminati cause, saying “Weed has never killed anybody.”

Her act was so disgusting that some of her fans walked out.  @Essex_Girlie tweeted: ‘One of my old work friends has walked out of the Miley Cyrus show at O2 cos she was being vile and disgusting….no shock there then (sic)’.

hannahm.jpgBut millions of schoolgirls buy into Miley Cyrus who was sold to them as children as a wholesome role model in her show Hannah Montana, left. Now she’s all grown up and this is the way grown up women behave.

Their brainwashed role model is brainwashing them and young women are listening. 

“Anyone see a dance floor recently?” a blogger writes. “Can we even call it dancing anymore? To me it resembles more of a public orgy. Half naked girls ramming their asses into the nearest crotch. Next to her another one is wrapped around a man’s waist and riding him like a rodeo bull. Tongues swapped and body parts groped without even names exchanged. I am sure a lot of fathers out there would be quite honored to see what their little princess is up to this particular evening. Make him proud, ‘ladies.’

One of the ladies’ biggest complaints is that the men want relationships. Angie writes on Tinderfessions, “I like having lots of sex with lots of guys on Tinder but wish guys would stop proposing. I’m 19, way too young to be tamed “


Thanks to feminism and the Illuminati media, more than ever young women are sexual commodities. Been to the mall lately? Yoga tights don’t leave much to the imagination.

What do women want? They want to be loved. Society is telling them that giving their bodies to strangers is how to get love. They have been inducted into a satanic sex cult.

Men are repelled by promiscuous young women. Combined with draconian family law, men have less incentive than ever to marry.

The goal of Illuminism (i.e. Communism) always has been to destroy the institutions of marriage and family.  They are succeeding.

It’s ironic that when rock stars are tortured and abused, and cry for help, they are ignored.

And when a whole generation of women is being mentally abducted, this is ignored too.  Truly, like Miley Cyrus, we are “tongue tied” — satanically possessed.  


Related- Insider Exposes Hollywood’s Satanic Underside 

First Comment from Dan:

Mainstream media endorses Miley Cyrus as the ‘biggest feminist in the world’.

As Cyrus arrived in London the BBC Radio 4’s “Today” show featured a feminist sociologist (Catherine Hakim):

“There’s absolutely no contradiction at all between being a feminist and taking your clothes off and being comfortable about displaying your sexuality,” “She’s using it for her own purposes, she’s increasing her fan base, she’s making a lot of money, she’s doing what she wants to do.”

In other words, selling sex for profit. Cyrus told Huntington Post, “I feel like I’m one of the biggest feminists in the world because I tell women to not be scared of anything,”

On “equality”, Cyrus equates it to getting as much pussy as male black rappers. She reasons, “I still don’t think we’re there 100 percent. I mean, guy rappers grab their crotch all f–king day and have whores around them, but no one talks about it. But if I grab my crotch and I have hot model bitches around me, I’m degrading women? I’m a woman — I should be able to have girls around me! But I’m part of the evolution of that.”

It’s true the Miley Cyrus is a creature of the generational, childhood mind control programming that’s part of growing up in the show business industry. She’s not “crying for help”, though. Not yet anyway. In fact she seems to be the most stable, self aware and willing feminist sex symbols since Cyndi Lauper — who knew exactly what she was doing. It’s her fans, her viewers we have to worry about, for they’re the one kidnapped and put through programming in the privacy of their own homes under their parents noses. The West is rapidly loading up with bastard children raised by teenagers and their single mothers – both of whom are programmed by there own pimped out generations.

Cyrus is in the business of selling the 4th Wave Feminism script of lies to post-millennial children. It’s the same old “If it feels good do it”. Consequences? The Big Lie goes back to Eden.

“Do what thou Wilt and ye shall never die”. ~ The Serpent, GENESIS.

–quote Miley Cyrus, May Day 2014– “I don’t care what you wanna do in your life, or who you wanna be with, who you wanna love, who you wanna look like.” “You’ve got about 90 years — hopefully we all live to be 105 — you’ve got about 105 years on this earth.”


Vagina selfie for 3D printers lands Japanese artist in trouble

Megumi Igarashi, aka Rokudenashiko, arrested for emailing digital template of her genitalia to supporters of her art

Megumi Igarashi and the vagina kayak she had made
Megumi Igarashi and the vagina kayak she had made. Photograph: /Megumi Igarashi

Last month it took more than 20 firefighters to free a US student who had become trapped inside a giant sculpture of a vagina in Germany. But genital art elicited a very different response in Japan this week, when police arrested an artist for distributing data that enables recipients to make 3D prints of her vagina.

The artist, who works under the pseudonym Rokudenashiko – which roughly translates as “good-for-nothing girl” – was arrested after emailing the data to 30 people who had answered a crowd-funding request for her recent artistic venture: a kayak inspired on her own genitalia she calls “pussy boat”, according to Brian Ashcraft at the gaming website Kotaku.

The artist, whose real name is Megumi Igarashi, was being held in Tokyo on suspicion of breaking Japanese obscenity laws. Media reports said Igarashi, 42, denied the allegations. She pointed out that had not sent images of her vagina in return for money and did not recognise the scanned 3D data as obscene.

Kyodo quoted unnamed police sources as saying Igarashi had collected about 1m yen in exchange for the data.

Some commenters have pointed out the hypocrisy of her arrest, which comes soon after Japanese authorities resisted pressure to banpornographic images of children in manga comics and animated films.

Igarashi has made a name for herself with her Decoman “Decorated Vagina” series of sculptures. The titles of the works incorporate the word “man”, from manko, the Japanese for vagina. Igarashi said she was once asked not to use the word Decoman during a TV appearance.

Because female genitalia were “overly hidden” in Japanese society, “I did not know what a pussy should look like,” she said in an online post. “I thought it was just funny to decorate my [moulded] pussy and make it a diorama, but I was very surprised to see how people get upset to see my works or even to hear me say manko.”

One of the works, described as a “vaginal battle scene”, shows a group of toy soldiers taking cover in an unmistakeably pudic crevice; another diorama titled Fukushiman – a “taboo on top of taboo” – shows workers at the wrecked Fukushima Daiichi nuclear power plant in similar surroundings.

She has also designed iPhone covers and recently posted an image of Gundaman, a figurine based on the popular anime character Gundam,sporting an oversized vagina, according to the Japanese art and design website Spoon & Tamago.

Igarashi has said she is on a mission to “demystify” female genitalia in Japan, a country where thousands flock to an officially sanctioned annual penis festival in Kawasaki every April.


Sex Plague: The Normalisation of Deviance and Depravity

By Dr Lasha Darkmoon on January 31, 2014

By Lasha Darkmoon — Darkmoon.me Jan 31, 2014

Is there a covert campaign to deprave and corrupt the masses?
If so, who are the Architects of Evil behind this psyop? [1]

Poster on a classroom wall. Do our children need this? Click to enlarge

A recent pamphlet published by the German government contains these chilling words:
“Fathers do not devote enough attention to the clitoris and vagina of their daughters. The child touches all parts of their father’s body, sometimes arousing him. The father should do the same.” [2]
Toddlers are encouraged to indulge in “unlimited masturbation.” Their parents are expected to offer practical demonstrations if need be — the better to produce sexual precocity in their offspring. “Children should learn there is no such thing as shameful parts of the body,” the booklet advises. “The body is a home you should be proud of.”
Children, it is suggested, should be taught the movements of copulation as soon as they reach the age of four, giving them what virtually amounts to a crash course in the Kama Sutra as soon as they have learned to walk.
Depravity, it seems, cannot be taught too early.
In Holland, things have gone further. Here a political party, set up by convicted pedophiles, clamors for the legalization of child pornography and intergenerational sex between children of twelve and adults old enough to be their grandparents. I forgot to mention bestiality. They want to legalize that too. [3]
Who is to blame for the sex addictions we see suppurating all round us? This licentiousness, growing by the day, thanks to the internet and the mass media, is far deadlier and more destructive than it was half a century ago, before the sexual revolution.
Those who are responsible for this sickening depravity are clearly the people who started the sexual revolution. They are the people, moreover, who control the mass media.
Who controls the media?
Who determines the imagery and attitudes drip-feeding steadily into the minds of the public? Who runs Hollywood? Who contaminates mass consciousness? Who defiles the collective mind? Who pulls the puppet strings of marionette man? Who are the Bad Shepherds leading the sheeple astray?
Who are to blame, in short, for letting the world go to hell in a handcart?
I won’t bother to answer these questions. More to the point, I dare not. If you don’t know who owns the media — lock, stock and barrel — you’re wasting your time reading this article.

Art and Sexual Subversion: The Vaginocentric Female Artist

Let me resume here my discussion of sexual depravity which formed the basis of my recent article Secret Sex Life of the Jews; and let me begin by saying a few words on art, a subject I know something about.[4] And then let me proceed to the subject of pornography and consider its deployment in the systematic demoralization of the masses. [5]
First, ask yourself this question: is there anything intrinsically admirable or aesthetically pleasing about British painter Tracey Emin’s attention-seeking leg-and-vagina paintings? When other artists offer us self-portraits, they usually show us their faces. Not Ms Emin. Her idea of a “self-portrait” is to show us her uterus. [6]
Consider only these titles by the outrageously untalented Emin and draw your own conclusions about the decadent crap being rammed down the throat of the public by the Jews who control the art world [7]:
Everyone I Have Ever Slept With,Fucking Down An Ally (sic), Asleep Alone With Legs Open (several large-scale canvases of her splayed legs and vagina), I’ve Got It All (legs splayed again, clutching banknotes to her crotch), Weird SexCV Cunt VernacularIs Anal Sex LegalMasturbatingGet Ready For the Fuck Of Your Life. [8]
With titles like these, Tracey Emin could hardly fail. Her rich Jewish patron, advertising mogul Charles Saatchi, knew he was on to a good thing when he decided to promote the career of this pretentious confidence trickster masquerading as an artist. [9]
As the Gadarene swine hurtle over the cliff top, Tracey Emin and her kind lead the pack on their way down into the bottomless abyss. These are the dupes of organized Jewry. By doing exactly what appeals to art patrons (almost all Jewish; see below), these infinitely corrupt and untalented opportunists know they will become rich and famous.
The sad truth is that so many female “artists” — almost all of them rabid feminists and sexual exhibitionists — have nothing to sell but vaginas. [10]
Here are ten other vagina-obsessed females, apart from Tracey Emin and the notorious Annie Sprinkle, who use sex — especially a focus on their own vaginas — to sell their “art”:  Karen Finley, Hannah Wilke, Carolee Schneeman, Andrea Fraser, Sarah Lucas, Marlene McCarty, Vanessa Beecroft,  Malerie Marder, Katy Grannan, and Kembra Pfahler. [11]

Jewish artist Carolee Schneemann, drawing a paper snake from her vagina and calling it “art”

Being unable to paint properly or produce objects of lasting value, these exhibitionists like to display their vaginas to the world and call it “art”. Here is one such exhibitionist, Jewish performance artist Carolee Schneeman [12], pulling a paper snake out of her vagina:
I saw the vagina as a translucent chamber,” she says, “of which the serpent was an outward model: enlivened by it’s (sic) passage from the visible to the invisible, a spiralled coil ringed with the shape of desire and generative mysteries.” [13]
Someone who had no idea what a vagina looked like would have a pretty tough time trying to figure out its appearance from Ms Schneemann’s deathless prose.
Who helps to promote this kind of pretentious claptrap? You don’t need three guesses to answer that question.
In 2001, ARTnews listed the world’s Top Ten Art Collectors. Eight of them were Jews. Ponder these staggering statistics: A people who constitute 0.2% of the world’s population make up 80% of the world’s richest art collectors.
Out of every thousand people in the world, roughly two are Jews. To be precise, one in every 457 people are Jews. [14] Yet go to a conference at which 1000 of the world’s wealthiest art collectors have gathered and you will find, to your amazement, that 800 of them are Jewish.
Phenomenal, isn’t it? [15]
Some of the vaginocentric exhibitionists mentioned above, like lesbian “performance artist” Annie Sprinkle, maintain websites blocked by porn filters. The aptly named Sprinkle—a nom de porn in honor of urolagnia [16] —  is the lady who douched her vagina onstage in 1991, before lying down and opening her legs so that members of the audience, mostly male, could inspect her cervix with the help of a flashlight and speculum.

Annie Sprinkle, Jewish feminist and pornographer, practicing indecent exposure in a public venue and pretending it’s an “art form”. Click to enlarge

Performance artist, prostitute, porn actress, feminist icon, and lesbian diva of depravity, Ms Sprinkle would like us to believe that it is a form of  “art” to masturbate onstage with sex toys, her legs wide open, and invite members of a predominantly male audience to peer up her vagina with torchlight and speculum. (See picture)
She was recently invited by academic officials to show her vagina off at the University of Illinois, a hotbed of Zionist propaganda and power; here she was encouraged to give students an “orgasm workshop” — all this ostensibly in pursuit of “higher education”.  [17]

To make matters worse, Sprinkle’s pathetic “look-at-my-pussy” acts were funded by the National Endowment for the Arts, a mini-empire controlled by the hidden hand of organized Jewry. [18]

If Annie Sprinkle was to acquire fame and fortune by letting dirty old men take a peep between her legs, Hannah Wilke and Karen Finley sought variations in which the vulva was again put to good use.
The Jewish Wilke, being sadly deficient in originality, molded bits of chewing gum into vulvas and stuck them all over her body, calling it “art”.  [19]
Not to be outdone, Karen Finley decided to smear her naked torso with chocolate syrup [20] and performed public acts — using a yam — which I won’t describe in detail in case nuns are reading this article. Rape, flatulence and menstruation formed the least offensive items in Finley’s repertoire. [21]
Like Sprinkle, Wilke and Schneemann, Finley is also Jewish, given that her mother is of Jewish ancestry. [22].
So that’s four Jewish “artists”, all playing with their pussies in front of the world and being paid to do it by a Jewish-controlled government organization called the National Endowment for the Arts.
One begins to discern a subtle pattern here; or maybe it isn’t so subtle.
Performance artist Andrea Fraser [23] — amazingly, she isn’t Jewish! — deserves first prize for sheer chutzpah. She is perhaps an illustration of the truth that however low a slutty Jewess  can sink, a slutty shiksa can sink a bit lower.
This raunchy non-Jewish performance artist, who nevertheless finds it necessary to move in Jewish circles like Madonna and so many other gentile sycophants,  arranged to meet a man at the Royalton Hotel in Manhattan, owned by Jewish hotelier Ian Shrager.
Above the bed, an overhead camera played Peeping Tom. The man was persuaded to part with $20,000 in cash for the privilege of helping to create a “work of art” with the frisky Fraser, the said work of art being a pornographic video filming the two participants copulating on a Queen-size bed. This sex video, now available for posterity, is pretentiously called “Untitled”.  [24]
It’s not “art” we’re dealing with here, of course; it’s pornography pure and simple.

The Jewish Affinity for Porn

Jews are famously known to dominate [25] the world’s $100 billion a year porn industry, roughly 90 percent of which is generated within the United States. As many as 260 new porn sites go online daily, more than 10 sites an hour. [26]
Since Jews are known to dominate the porn industry and comprise only 2% of America’s population, it is reasonable to suppose that most of the new sites being started up every hour are being started up by Jews.

“CHRIST SUCKS!” — Jewish pornographer Al Goldstein

It is even more alarming to note how sex is now deployed by many American Jews as a weapon against Christianity with its socially cohesive and family-friendly values.
Jewish pornographer Al Goldstein’s infamous words — “The only reason that Jews are in pornography is that we think that Christ sucks” — surely tell us all we need to know about the bitter hatred felt by so many Jews for the Western countries that have harbored them and given them hospitality for so long. [27]
Jewish hatred for Christianity is legendary, spanning the Jewish political spectrum, from the far left [28] to the neoconservative right [29].
It can hardly be doubted, as the ugly picture of the Jewish pornographer (left)makes only too clear.
The arrogance and sense of entitlement of so many Jews, whose values Al Goldstein seems to have imbibed with his mother’s milk, never cease to astonish me.
“The difference between a Jewish soul and the soul of non-Jews,” Rabbi Kook assures us, “is greater and deeper than the difference between a human soul and the soul of cattle.” [30]
Given that Rabbi Kook would be the first to agree that rabbis form the intellectual and spiritual backbone of Jewry, one is tempted to ask what makes a man become a rabbi in the first place. Is it the thirst for God? Is it the wish to save one’s soul and help others along the path to salvation?
Here is Jewish actor Richard Pacheco who couldn’t quite make up his mind whether to become a rabbi or a porn star:
Five years before I got my first part in an adult film … I went to an audition for an X-rated film with my hair down to my ass, a copy of Wilhelm Reich’s Sexual Revolution under my arm and yelling about work, love and sex, which were Reich’s three principles. These things have got to be in balance or your life is going to be fucked. [31]
Note that Pacheco had signed on to the radical left-Freudian views of Wilhelm Reich — the wackiest and most extreme of the subversive sexual ideologies that emerged from psychoanalysis.
Jewish devotees of psychoanalysis typically saw it, first and foremost, as a blow against Christian sexual mores; hence, as a sneak attack on Christianity itself.
For Jews, psychoanalysis  placed Western culture on the couch. It was an assertion of Jewish  contempt for Christian culture: the culture of the outgroup now destined for the dustbin of history. [32]
Pacheco didn’t get the job, but he kept on auditioning, since all he really wanted was to screw gorgeous blonde shiksas — doubtless an atavistic expression of Jewish hatred for the goyim, every act of sex being an act of revenge.
Five years later I auditioned for another X-rated film. That very day, I also interviewed at Hebrew Union Seminary to do rabbinical study. I made the choice that the kind of rabbi I would be, if I became one, was one that could have been performing in sex films as part of his experience. [33]
Mindboggling, isn’t it?
This dupe of the sexual revolution couldn’t make up his mind whether to sing hymns to God or kiss the devil’s ass!
In the end, it’s the devil who won out.
Pacheco decided to build a career in pornography — with the full blessings, incidentally, of ADL chairman Abe Foxman who said that porn offered American Jews a valid and worthy way “to pursue the American dream.” [34]

Porn star Richard Pacheco: he also wanted to be a rabbi.

Richard Pacheco (born 1948) was the scion of an orthodox Jewish family from Pittsburg [35] From an early age, bizarrely, he was attracted to the rabbinate and to pornography in equal proportions.
He had wrestled for years with the decision whether to become a rabbi or a porn actor, praying in the morning for guidance and masturbating in the evening for fun, when it occurred to him one day that he could up his number of orgasms per day if he chucked all the spiritual stuff and concentrated on raw sex.
So he did. And a  porn star was born.
Featuring in over 100  X-rated films and winner of countless awards for his sexual prowess in front of the cameras, Pacheco was lucky to receive the loyal support of his wife Ashley.
Managing somehow to juggle  a career in porn with a commitment to family life, Pacheco later had sex with with his wife — so we are told in Wikipedia — “considerably less often after they had children and AIDS became a threat, but he credits his pornography career for giving him the opportunity to continue sexual encounters for a time without endangering his home life.” [36]
Here is Pacheco being interviewed after his retirement from porn. If you are a nun or under eighteen, I would advise you to skip the next bit:
As a young husband, I had no idea how to ask my beloved wife to be my “fuck-your-ass whore”.
Yeah, I wanted some of that kind of sex, some very, very selfish lust with a sex kitten. A “fuck-me-fuck-me” woman. There’d be corsets and leathers, high-heeled boots laced up to crotchless panties, breasts spilling out of nippleless bras in lush bordello bedrooms filled up with sex toys. Like blindfolds and vibrators, handcuffs and paddles.
Yeah, and there’d be me with a genuine tarted up won’t-say-no-woman. All the best drugs and oils in the world and plenty of time. And there’d be no “I love you” in any of it!
I would meet this X-rated woman at the hotel where they were holding the auditions…and I would have sex with her right there in the hotel elevator! And then I would go home to my wife.” [37]

Richard Pacheco, a recent photo. (Ain’t he cute?)

Asked if he still watched adult movies now that he was a Senior Citizen, the former rabbinical student replied: “Not much. Occasionally I’ll toss one on for masturbation if my wife ain’t around.” [38]
One has to hand it to Pacheco. His neo-Marxist mentor, Wilhelm Reich, would have been proud of him. Because he managed to turn shamelessness into a virtue. Still, it couldn’t have been much fun for his poor wife having a guy like this prowling round the house.
In 1984, Pacheco won the Best Couples Sex Scene (video) with porn star Nina Hartley. [39] In 1999, he was inducted into the AVN Hall of Fame   with feminist porn diva Annie Sprinkle. [40] In 2000, along with Sprinkle, he was given a Lifetime Achievement Award by the Free Speech Coalition [41], an organization that had given Nina Hartley an award only a few months earlier. [42]
Note that these three luminaries of lust — Pacheco, Sprinkle and Hartley — are all Jewish pornographers and that the impressively named “Free Speech Coalition” is in fact a trade association set up in 1991 to safeguard the interests of “adult entertainers” — pornographers who for the most part are Jewish and are based largely in the Jewish enclaves around Hollywood.
So make no mistake: this sleazy industry, built on a foundation of onanistic lust and sexual libertinism, is Jewish through and through.
The “Free Speech Coalition” naturally rejects all claims that pornography is addictive, given that they themselves are directly responsible for nurturing that addiction and making money out of it. It also refuses to consider the possibility that serial killers and rapists could in any way be influenced by inflammatory erotica, though the evidence for this is enough to convince anyone except those engaged in the peddling of the same poisons.
For compelling evidence that  pornography plays a significant role in the crimes of serial killers, see my earlier essay on this subject, “Masters of Porn: The Systematic Promotion of Sexual Deviance”. [43]

America 2050. Click to enlarge

In an important court case in 2002, Ashcroft v. Free Speech Coalition, the US Supreme Court decided in the Coalition’s favor, thereby making it easier for pornographers to demoralize Americans, corrupt their children, and promote a general debasement of values — all this in accordance, incidentally, with the Frankfurt School agenda [44] of producing a “culture of pessimism” designed to foster anarchy and promote impotent anger and despair.  [45]
Our new elite is clearly engaged in the business of mind manipulation and mass demoralization, nor will it rest until it has rebuilt the world in the image of a new Sodom and Gomorrah — a dystopic nightmare.


I have said before in an earlier article, and I will say it again:
A great storm is brewing and only a military coup or revolution can now save America. Save it from what?  From the spiritual cancer that is consuming it from within, and from the foreign wars into which it is being lured — Afghanistan, Iraq, and soon perhaps Iran — on behalf of another nation and its indefatigable agents in America.
Unless a miracle soon occurs and some charismatic leader comes to our rescue, an unimaginably bleak future surely awaits us: a future in which the only consolations left to us will be mindless entertainment, drugs, alcohol, sexual intoxication — and suicide. [46]
Depravity appears to have no limits, as those who have surfed the internet have often discovered to their cost. The most appalling sexual addictions now render even children helpless. Many a marriage is blighted and ends in ruins amid these terrifying toxins.
And yet we are only at the beginning. We have many a slime-green step to go before we reach rock bottom. Abyss yawns below bottomless abyss and even to peer into these black moral chasms is to make us giddy with vertigo.
There is indeed no end to man’s depravity or the deadly machinations of the Architects of Evil.
“If a Jew is tempted to do evil,
he should go to a city where he is not known and do the evil there.”

— The Talmud, Moed Kattan, 171  [47]

A completely revised and updated version of an article originally published here
Published first on Veterans Today



1.  For an answer to these questions, see also: (1) The Frankfurt School: Conspiracy to Corrupt, by Timothy Matthews. [2] Masters of Porn: The Systematic Promotion of Sexual Deviance, by Lasha Darkmoon. [3] Child Pornography in the Classroom(presented by Noor al Haqiqa, Snippits and Snappits).

An academic corespondent writes: “Though one ethnic group, the Jews, is demonstrably to blame more than any other for the sexual demoralization of the masses in Western countries, it would be disingenuous to pretend that they are solely responsible. The primary corruptors could never have succeeded so spectacularly but for the enthusiastic collaboration of degenerates within the corrupted societies.”

2.  John-Henry Westen, German Government Publication Promotes Incestuous Pedophilia as Healthy Sex Ed.

3.  Ibid.

4.  See Lasha Darkmoon, [1] The Plot Against Art (Parts 1 and 2)  and Spitting Mad Jews and Angry Artists (Parts 1 and 2).

5.  I have tackled the subject of mass demoralization through pornography — a planned psyop of the New World Order —  in greater detail elsewhere, particularly in Masters of Porn: The Systematic Promotion of Sexual Deviance.

6.  See Tracey Emin: Self-portraits. Don’t worry, you are unlikely to be shocked by these crude, cave-wall sketches of Ms Emin’s nether regions!

7.  Lasha Darkmoon, The Plot Against Art.

8.  Tracey Emin, typical titles.

9.  The Talmudic Blog: CHARLES SAATCHI, the bad taste art collector and Jew, plans to display painting of the Nazi Himmler.

10.  Jerry Salz, Pudenda Agenda, The Shaved Vagina Monologues.

11.  Ibid.

12.  Carolee Schneemann.

13.  The full Schneemann quote describing the vagina may be read here.

14.  World Jewish population figures.

15.  Lasha Darkmoon, The Plot Against Art, Part 2.

16.  Urolagnia: a sexual perversion  in which sexual excitement is associated with urine. Its basis lies in sadomasochism and usually involves a woman urinating on a man, his pleasure consisting in the humiliation of being “pissed on” by a domineering woman — as in this 19th century illustration of a woman urinating into a man’s mouth.

17.  See University of Illinois invites porn star to teach orgasm.

18.  Jeff Jacoby,  How the NEA pollutes American culture (The Boston Globe, January 24, 1995).

19.  Hanna Wilke, Wikipedia. Here you can see a picture of the bare-breasted Jewess  covered with blobs of vulva-shaped chewing gum.

20.  Karen Finley, Wikipedia.

21.  Echoes and Reverberations: Karen Finley and the Delicate Art of Disgust

22.  Karen Finley … “her mother of Jewish ancestry.”

23.  Andrea Fraser, Wikipedia.

24.  Jerry Saltz, Critiqueus Interruptus. (Broken Angel Artnet Magazine).

25.  The locus classicus for the “canard” — no longer a canard today — that Jews control the porn industry is this jaw-breakingly entitled article, “Triple-exthnics“, by Jewish academic Dr Nathan Abrams. This was published in the winter 2004 edition of the prestigious Jewish Quarterly. What the title means is anyone’s guess. Suffice to say that Dr Abrams tactlessly let the cat out of the bag in this article, much to the embarrassment of organized Jewry. As a result, no one can be in doubt any longer as to who controls the world’s porn industry. We now know it is the usual suspects: the Jews.

See also Jewish Dominance in the Porn Industry.

26.  For the figure $100 billion as being the total revenues per annum from world porn,  see Family Safe Media’s “Pornography Statistics.” (The figure mentioned here is $97 billion, but that is a 2006 figure. Since then, the figure has topped the $100 billion mark.) For the other figures cited in the paragraph, see Michael Arrington’s Internet Pornography Stats.

27. Dr E. Michael Jones, Rabbi Dresner’s Dilemma: Torah v. Ethnos

28.  Kevin MacDonald, Memories Of Madison—My Life In The New Left.

29.  Link lost.

30.  Israel Shahak on Jewish Fundamentalism and Militarism

31.  Quoted in Dr E. Michael Jones, Rabbi Dresner’s Dilemma: Torah v. Ethnos

32.   See Kevin MacDonald, The Culture of Critique, Chapter 4, Jewish Involvement in the Psychoanalytic Movement.

33.  Quoted in Dr E. Michael Jones, Rabbi Dresner’s Dilemma: Torah v. Ethnos

34.  Jewish Dominance in the Porn Industry.

35.  Richard Pacheco, Wikipedia

36.  Richard Pacheco . . . “the opportunity to continue sexual encounters for a time without endangering his home life.”

37.  Richard Pacheco . . . “and then I would go home to my wife.”

38.   Rishard Pacheco . . . “Occasionally I’ll toss one on for masturbation if my wife ain’t around.” (See here)

39.  Nina Hartley, Wikipedia

40.   Richard Pacheco, Pornography Career (Wiki)

41.  Free Speech Coalition (Wiki)

42.  Richard Pacheco, Wikipedia

43.  Lasha Darkmoon, Masters of Porn: The Systematic Promotion of Sexual Deviance. Scroll down to the section entitled “The link between pornography and sex crime”; for further confirmation, scroll down to the section entitled “The Cases of Ted Bundy and Gary Bishop, Serial Killers” in Dr Victor Kline’s classic academic paper “Pornography’s Effects on Adults and Children. See also Pornography and Sexual Crime andPornography and sex: Ted Bundy’s fatal addiction.

44.  Frankfurt School agenda. This is hugely important subject and there is a vast amount of material available to the internet reader. Those who wish to know more about the philosophical milieu of modernity — i.e., the cultural swamp of sexual bolshevism in which the benighted masses are forced to flounder today — are advised to make a careful study of the following eight core articles:

(1)   Arnaud de Lassus’s The Frankfurt School: Cultural Revolution
(2)  Kevin MacDonald, The Culture of Critique, Chapter 5
(3)  William S. Lind, What is Cultural Marxism?
(4)  William S. Lind, Who Stole our Culture?
(5) Timothy Matthews, The Frankfurt School: Conspiracy to Corrupt. 
(Or my own shorter adaption of this with extended commentary, Satan’s Secret Agents: The Frankfurt School and its Evil Agenda.)
(6)  Michael Minnicino, The Frankfurt School and ‘Political Correctness’
(7) Cultural Marxism: (Metapedia).
(8) Sexual Bolshevism: (Metapedia).

45.  See Lasha Darkmoon’s The Plot Against Art (Part 1) and Goodbye America (Part 2).

46.  Lasha Darkmoon, Secret Sex Life of the Jews.

47.  Quoted in Michael A. Hoffman, The Truth about the Talmud

Put your money where your mouth is…

This is from this week’s Jewish Chronicle.It’s about how Simon Cowell has given a huge donation to the IDF. Now, I’m sorry if I’ve spoiled the story for you – actually, who cares, it really isn’t much of a story – but the point is that Cowell says that his dad was Jewish and that giving to Jewish causes is ‘in his blood’.
As I said, who cares, except it puts me in mind of two scenes from my past:
The first is around June 4th 1967. I, and my best friend Danny (both aged seventeen)  are at the Albert Hall in London. It’s just hours before the outbreak of the Six-Day War and we ordinary Jews have been well whipped up to believe we’re facing a second Holocaust. (BTW, I can’t entirely rule out the possibility of a bloodbath if Israel’s victims did get the upper hand. Well, what would you do if you’d been treated like that?)
Anyway, there we were in the Albert Hall and we’ve had the speeches and now black plastic bags are being passed round the packed hall and, I tell you, men were stuffing in wads of banknotes and women were tearing the rings off their fingers.
Now fast forward thirty years to September 1998 to the boardroom of the Council for the Advancement of Arab-British Understanding (CAABU) in London’s fashionable Knightsbridge area, I’m there with Dan McGowan, founder of Deir Yassin Remembered. I’d met Dan for the first time a couple of hours ago and had asked him for an interview. Now, it’s about nine in the evening and we’ve come to the end of the interview during which Dan has spoken eloquently for an hour into my microphone. He’s spoken about Deir Yassin, about its history and meaning and about the organisation he’s founded. Now, I’m no joiner but there’s something about this that makes me want in so…..
…..but hey, I don’t need to reminisce, here’s the transcript from the tape I made that night.

“OK Dan, now, tell me what can I do? How can I help?”

 “Well, you can support us in a couple of ways the most important is to join us….
“Well, I’ll certainly do that and I’d like to make a contribution. I notice on your leaflet that there are various grades of support: Supporter; Contributor; Patron; Friend…Well if I give you this, I know it’s not quite enough but can I be a Friend”?
“You certainly can…”
“And can I give it to you in cash?”

“That would be great…I would appreciate that…”
“There you go…… (AND HERE I PEEL OFF TWO BEAUTIFUL PINK FIFTY POUND NOTES) Aren’t they great? I bet you haven’t got anything like that in the states.”
“We most certainly don’t. Do they have the silver strip in them?”“Well they should do. I made them myself this morning.” (N.B:THAT WAS A JOKE)

“You know you told me already that you were Jewish and your attitude is somewhat indicative of your being Jewish…and I mean that in a very flattering sense, in that you put your money where your mouth is. This, I’ve noticed, is a very Jewish thing and that’s a lesson that I am in the process of trying to teach Palestinians.

Now, I probably shouldn’t say this, but I’m going to anyway: Palestinians and their supporters would do well to take heed of this.

Now, over to the horrible JC and even more horrible Simon Cowell.

IDF has the X Factor for Simon Cowell

By Marcus Dysch, October 24, 2013
X Factor’s Simon Cowell

Music mogul Simon Cowell has boosted the Israeli Army with a sizeable donation at a gala dinner in Los Angeles.

The X Factor chief gave a sum thought to be in the region of £150,000 at the annual fundraising event hosted by the American Friends of the IDF.

The event was hosted by Power Rangers creator Haim Saban, who pledged to donate $1 million if Mr Cowell joined him to sing the show’s theme song, “Go, Go Power Rangers”.

Mr Cowell did break into song, but quickly said he would make a donation himself if Mr Saban allowed him to stop.

The event is understood to have raised around $20m in total for the IDF.

Lionel Richie also performed for the 1,200 guests. The audience included serving Israeli soldiers.

Mr Saban said Los Angeles’ Jewish and Israeli communities “appreciate and embrace the soldiers of the IDF, and will continue to do everything in order to give thanks to them and strengthen them in whatever is needed”.

Mr Cowell has previously spoken of his Jewish roots and work with communal charities in Britain. Last year he told a Norwood dinner: “My dad is Jewish. He never told me or my brother or his wife. It’s in my blood and drew me to the charity.”

Former Pink Floyd frontman sparks fury by comparing Israelis to Nazis

Religious leaders react angrily to Roger Waters’ latest outspoken attack on treatment of Palestinians
Roger Waters at the Eastside Gallery in Berlin, Germany - 04 Sep 2013

Roger Waters said the parallels between Israel and Germany in the 1930s were ‘crushingly obvious’. Photograph: Rex

Inflammatory remarks by the musician Roger Waters, formerly of Pink Floyd, comparing the modern Israeli state to Nazi Germany have put him at the centre of a furious dispute.

Performers and religious figures reacted angrily to the veteran rock star’s argument that Israeli treatment of the Palestinians can be compared to the atrocities of Nazi Germany. “The parallels with what went on in the 1930s in Germany are so crushingly obvious,” he said in an American online interview last week.

Waters, 70, a well-known supporter of the Palestinian cause, has frequently defended himself against accusations that he is antisemitic, claiming he has a right to urge fellow artists to boycott Israel.

This summer he was criticised for using a pig-shaped balloon adorned with Jewish symbols, including a Star of David, as one part of the stage effects at his concerts. Waters countered that it was just one of several religious and political symbols in the show and not an attempt to single out Judaism as an evil force.

Now leading American thinker Rabbi Shmuley Boteach has raised the stakes by describing Waters’ views as audacious and clearly antisemitic.

Writing in the New York Observer, the rabbi said: “Mr Waters, the Nazis were a genocidal regime that murdered six million Jews. That you would have the audacity to compare Jews to monsters who murdered them shows you have no decency, you have no heart, you have no soul.” The rabbi was responding to Waters’s latest comments on the Middle East.Speaking to the leftwing CounterPunch magazine, the musician criticised the US government for being unduly influenced by the Israeli “propaganda machine”.

The former Pink Floyd frontman, who has recently toured the world with a show based on the influential 1979 album The Wall, went on to describe the Israeli rabbinate as “bizarre” and accused them of believing that Palestinians and other Arabs in the Middle East were “sub-human”. Waters suggested the “Jewish lobby” was “extraordinarily powerful”. On the subject of the Holocaust, he said: “There were many people that pretended that the oppression of the Jews was not going on. From 1933 until 1946. So this is not a new scenario. Except that this time it’s the Palestinian people being murdered.”

Speaking from New York on Saturday night, Waters strongly rejected Rabbi Boteach’s characterisation of his views. He said: “I do not know Rabbi Boteach, and am not prepared to get into a slanging match with him. I will say this: I have nothing against Jews or Israelis, and I am not antisemitic. I deplore the policies of the Israeli government in the occupied territories and Gaza. They are immoral, inhuman and illegal. I will continue my non-violent protests as long as the government of Israel continues with these policies.

“If Rabbi Boteach can make a case for the Israel government’s policies, I look forward to hearing it. It is difficult to make arguments to defend the Israeli government’s policies, so would-be defenders often use a diversionary tactic, they routinely drag the critic into a public arena and accuse them of being an antisemite.”

Waters continued: “The Holocaust was brutal and disgusting beyond our imagination. We must never forget it. We must always remain vigilant. We must never stand by silent and indifferent to the sufferings of others, whatever their race, colour, ethnic background or religion. All human beings deserve the right to live equally under the law.”

Karen Pollock, chief executive of the Holocaust Educational Trust, said: “Everyone is entitled to an opinion and to advocate passionately for a cause, but drawing inappropriate parallels with the Holocaust insults the memory of the six million Jews – men, women and children – murdered by the Nazis. These kinds of attacks are commonly used as veiled antisemitism and should be exposed as such.”

Jo-Ann Mort, vice-chair of US Jewish group Americans for Peace Now, is calling for musicians and other entertainers to go to Israel to understand that there is also Israeli opposition to discrimination against Arabs. Speaking to the Observer from California, she said it was important for international performers to “speak their mind to audiences about the nation’s successes and failures. Just as Israeli musicians – Jewish, Muslim and Christian – do.”

“The media in Israel flock to foreign entertainers. Performers would have the opportunity to make their viewpoints known – and it will also help to break the logjam that fundamentalists have had on both sides,” she argued.

Mort supports the anti-boycott approach of Israeli singer and activist David Broza, whose forthcoming album East Jerusalem/West Jerusalemfeatures covers of songs that urge understanding, including Waters’s own song Mother, from the album The Wall.

“Music captivates your head and your mind,” Broza recently argued. “If it comes with good vibes, then everyone wants to be part of it. The hard work comes from having a belief in what you are doing and in not stopping at the barricades that are posted at every corner.”

Last week Waters’s words drew a strong response from the Community Security Trust, the body that monitors anti-Jewish activity in Britain. A spokesman told the Jewish Chronicle that Waters’s comments “echo the language of antisemitism” and added that the musician was “living proof of how easily people who pursue extreme anti-Israel politics can drift into antisemitic statements and ideas”.

Bicom, the UK-based Israel advocacy organisation, also condemned Waters’s views. Chief executive Dermot Kehoe said: “The statements by Roger Waters calling for a cultural boycott of Israel and comparing the country to Nazi Germany are repugnant and fly in the face of both the reality in Israel today and the ongoing peace talks between Israel and the Palestinians.”

In August Waters used his Facebook page to respond to allegations that he was an “open hater of Jews”, made by Rabbi Abraham Cooper of the Simon Wiesenthal Centre in an interview with an American weekly Jewish newspaper, the Algemeiner.

“Often I can ignore these attacks, but Rabbi Cooper’s accusations are so wild and bigoted they demand a response,” Waters wrote, adding that he had “many very close Jewish friends”.

The Sexual Decadence of Weimar Germany, by Lasha Darkmoon

“The decay of moral values in all areas of life—the period of deepest German degradation—coincided exactly with the height of Jewish power in Germany.”  — Dr Friederich Karl Wiehe, Germany and the Jewish Question. [1]

Otto Dix, Metropolis (1928). Berlin in the heyday of the Weimar Republic: a hedonistic hellpit of sexual depravity.

No account of the Jewish Question in Germany can be complete without some mention of the tidal wave of sexual immorality that was to engulf the country during the period of the Weimar Republic (1919-1933) following World War One. This also happened to be the apogee of Jewish power in Germany. Every single sphere of major influence had now fallen under Jewish control.


Dr Karl Wiehe, in his Germany and the Jewish Question, is painstaking in the details he provides:
Well before 1933 the Jews had taken possession of the film industry even more thoroughly than of the theater. That was understandable, because the earnings in the film industry overshadow the earnings of any other artistic activity….
The biggest step in the direction of the decline of the German cultural life [however] was taken in the field of the light entertainment genre. Here—in the genre of musical comedy and above all in revue and burlesque—frivolity and lasciviousness were to rear their ugly heads. So much so that during these years Berlin was quite correctly considered the most immoral city in the world.
It was Jews who introduced this pornographic “art form” to Germany, a debased genre completely unknown before the Great War, and so it is the Jews who can be held responsible for the general decline in morals.
The Jewish sexologists Ivan Bloch and Magnus Hirschfeld became the representatives of “sex research” camouflaged as science—a bogus science that was merely an excuse for pornography and propaganda designed to destroy the institute of marriage and the sanctity of the family.  [2]
Wiehe provides the following useful facts and statistics:
In 1931, over 60 percent of German films were produced by Jews and 82 percent of the film scripts were written by Jewish writers, though Jews made up less than 1 percent of the German population (0.9o%). A quick look at the names of directors, producers, stage managers, actors, script writers and critics, “revealed everywhere an overwhelming preponderance of Jews.”

Alexander Szekely, German brothel in Ghent. Click to enlarge

A cursory survey of the film titles, Wiehe tells us, shows us that the Jews had only one thing on the brain: sex. Here are some typical titles: “Moral und Sinnlichkeit” (Morals and Sensuality); “Was kostet Liebe?” (What is the Price of Love); “Wenn ein Weib den Weg verliert” (When a Woman loses her Way); “Prostitution” (Prostitution); “Sündige Mutter” (Sinful Mama);“Das Buch des Lasters” (The Book of Vices).
“The sensational titles correspond to the sleazy contents,” Wiehe complains. “All wallow in filth and display with cynical frankness the vilest scenes of sexual perversion.” [3]
Light entertainment (revue/burlesque) was a Jewish innovation. The revue theaters, all concentrated within great cities such as Berlin, were owned and run almost exclusively by Jews. Shows consisted of little more than excuses for sexual titillation involving the display of the female form in lascivious dances that were to degenerate later into striptease and scenes of public masturbation. “In these revues,” Wiehe notes indignantly, “the uninhibited sex drive surrendered itself to disgusting orgies. All life was reduced to a common denominator of lust and its satisfaction. Chastity and self-discipline were mocked as old-fashioned prejudices.”
The Jews had managed, in the space of a mere fourteen years, to bring about a major “transvaluation of values” [4] in Weimar Germany. The vices of the past were now its virtues. The only vice that remained was chastity.
A glance at the revue titles is again sufficient:  “Zieh dich aus” (Get Undressed); “Tausend nackte Frauen” (One Thousand Naked Women); “Die Sünden der Welt” (The Sins of the World); “Häuser der Liebe” (The Houses of Love); “Streng Verboten!” (Strictly Forbidden!);  “Sündig und Süss” (Sweet and Sinful). [5]
Finally, there was the rich field of sexology: a new science consisting largely of dubious “case histories” purporting to reveal the depraved sexual habits of various anonymous patients. In order to give an air of academic respectability and erudition to these masturbatory fantasies—thrilling adventure stories involving necrophilia, bestiality and handkerchief fetishism—the more exciting details were often given in vulgar Latin “in order to exclude the lay reader.” [6] However, it was not long before the Latin was diligently translated into the vernacular for the benefit of the unlatined lay reader, thus defeating the purpose of the prim “schoolmaster’s Latin”.
Wiehe reels off a long list of Jewish sexologists who he claims were in the forefront of writing such salacious treatises that were no more than pornography masquerading as science. Drs Magnus Hirschfeld [7] and Ivan Bloch [8] were the star writers in this field, their books still read avidly today by a gullible public hungry for details of the bizarre, the kinky and the perverse. Drs Ludwig Lewy-Lenz, Leo Schidrowitz, Franz Rabinowitsch, Georg Cohen, and Albert Eulenburg are some of the names Wiehe mentions.

Otto Dix, The Salon, 1921 Berlin prostitutes awaiting the pleasures of the evening. Click to enlarge

Here are some of their depressing titles: “Sittengeschichte des Lasters” (The History of Perversions); “Sittengeschichte des Schamlosigkeit” (The History of Shamelessness); “Bilderlexikon der Erotic” (Picture Lexicon of Eroticism); “Sittengischichte des Geheime und Verbotene” (The History of the Secret and the Forbidden). And here are some of the titles published by Dr Magnus Hirschfeld’s Institute of Sexual Science in Berlin [9]: Aphrodisiacs, Prostitution, Sexual Catastrophes, Sexual Pathology, The Perverted. Wiehe describes all these books as “the filthy publications of these pseudo-scientists”, all of them written by Jewish authors and published by Jewish publishers. He continues in the same acerbic vein:
These books were allegedly supposed to be scientific treatises, their ostensible purpose being to “educate” the broad masses about the dangers of sexual excesses. Under the guise of science, however, they speculated in the lust and lower instincts of their audience. Criminals, prostitutes and homosexuals took center stage in their repertoire. One looks in vain for any known non-Jewish “sexual scientist”! [10]
Wiehe points out that masturbation, hitherto a hole-in-corner vice, began to be shamelessly promoted for the first time in Weimar Germany by Jewish-run organizations. He mentions Dr Max Hodan, Jewish medical officer for Berlin, and ticks him off for circulating a booklet recommending regular masturbation for the working classes.
It is worth noting that one of the world’s worst serial killers, Peter Kürten, committed all his crimes in Germany during the 1925-1930 period.
This was of course the  heyday of the Weimar Republic when the German people lay completely under Jewish domination and when the first dress rehearsal for the later Sexual Revolution of the 1960s was arguably being run.
Significantly, when asked what his primary motive for murder was, Kürten replied: “to strike back at an oppressive society.” [11]
This was a society in which the serial killer was to become a popular icon, enough to create a whole genre of sensational sex crime literature. (See book title on left).  [12]


British historian Sir Arthur Bryant describes throngs of child prostitutes outside the doors of the great Berlin hotels and restaurants. He adds: “Most of them—the night clubs and vice resorts—were owned and managed by Jews. And it was the Jews among the promoters of this trade who were remembered in after years.” [13]
Arriving in Berlin during the hyperinflation crisis (1923), Klaus Mann—son the great German novelist Thomas Mann—remembered walking past a group of dominatrices:
Some of them looked like fierce Amazons, strutting in high boots made of green, glossy leather. One of them brandished a supple cane and leered at me as I passed by. ‘Good evening, madam,’ I said. She whispered in my ear, ‘Want to be my slave? Costs only six billions and a cigarette.’ [14]

Georg Grosz, Before Sunrise. Prostitutes and their clients in the red-light district… this is how they actually dressed and paraded themselves in the garish, lamp-lit streets.

10-year-old children turned tricks in the railway stations. A group of 14-year-old Russian girls, refugees from the Red Terror in Stalin’s Communist slaughter house, managed to make a lucrative living in Berlin as dominatrices. Little girls were freely available for sex not only in child brothels and pharmacies but could be ordered by telephone and delivered to clients by taxi, like takeaway meals. Particularly bizarre were mother-and-daughter teams offering their services to the same client simultaneously. Mel Gordon writes: “One French journalist, Jean Galtier-Boissière, described, in sickly pornographic detail, the creeping horror of feeling a nine-year-old girl’s tiny, but proficient, fingers stroking his upper thigh while the broken-toothed mother covered his face with hot sucking kisses.” [15]
In Mel Gordon’s Voluptuous Panic: The Erotic World of Weimar Berlin, we enter a depressingly sordid milieu akin to the subterranean world of the sewer rat: a world which owed its existence in large part to German Jewry. Without Jewish money and influence, such a world would never have come into being. Nor was there anything the Germans could do to extricate themselves from this artificially created hothouse of erotomania and sexual deviance in which they now found themselves ensnared.
There were no fewer than 17 different prostitute types in this Jew-created brothel city: eight outdoor types and nine indoor ones, each with their specialities and slang terminology.
Outdoor prostitutes:  (1) Kontroll Girls: legal prostitutes checked for venereal disease.  (2) Half-Silks: part-time amateurs with day jobs as office workers, secretaries and shopgirls; evening and weekend workers.  (3) Grasshoppers: lowly streetwalkers who gave handjobs and standup sex in dark alleys.  (4) Nuttes: Boyish teenage girls who worked for “pocket money” after school without their parents’ knowledge.  (5) Boot-girls: dominas (or dominatrices) in shiny patent leather boots who offered to stamp all over their clients.  (6) Tauentzien girls: Chic mother-and-daughter teams, fashionably dressed, who offered their services to men who wanted threesomes.  (7) Münzis: Heavily pregnant women who waited under lampposts (very expensive, since they offered an erotic speciality). (8)  Gravelstones: hideous hags with missing limbs, hunchbacks, midgets, and women with various deformities. “The most common German word for them was Kies. In other accounts, they were referred to as Steinhuren.” [16] 
Otto Dix, Three Wenches. These prostitutes were willing to work individually or in a team. Click to enlarge
Indoor prostitutes: (1) Chontes: Low-grade Jewish prostitutes, mostly Polish, who picked up their clients in railway stations.  (2) Fohses (French argot for “vaginas”): Elegant females who discreetly advertised in magazines and newspapers as private masseuses and manicurists.  (3) Demi-castors (or “half-beavers”):Young women from good families who worked in high-class houses in the late afternoons and early evenings.  (4) Table-ladies: Ravishingly beautiful escorts of exotic appearance who came with the reserved table in an exclusive nightclub. Clients had to be fabulously rich in order to afford the cultured conversation of these high-class call girls who accompanied the caviar and champagne and who later unveiled their charms in a sumptuously furnished chamber of delights. (5)Dominas: Leather-clad women, athletic and Amazonian, who specialized in whipping and erotic humiliation. They were often found in lesbian nightclubs which also catered for kinky males.  (6)Minettes (French for “female cats”): Exclusive call girls who offered S&M fantasy scenes, foot worship, bondage, and enforced transvestism. They worked in top class hotels.  (7) Race-horses: Masochistic prostitutes who let themselves be whipped in “schoolrooms” or “dungeons” liberally supplied with instruments of torture. Clients were carefully screened to make sure they didn’t go too far.  (8) ‘Medicine’: Child prostitutes (age 12-16), so called because they were prescribed as “medicine” in pharmacies. All  the client needed to do was tell the pharmacist how many years he had suffered from his ailment (e.g., 12), without mentioning what ailment it was, and  request the color of the pill he preferred (e.g., red). He was then escorted to a cubicle where his “medicine” awaited him: a 12-year-old redhead. (9) Telephone-girls (often billed as “virgins”): expensive child prostitutes (ages 12-17) ordered by telephone like a takeaway meal; the nymphettes were delivered by limousine or taxi. [17]
Luigi Barzini, in his social memoir The Europeans, describes the saturnalian scene in the Tingel-Tangels or sleazy bordellos of sex-crazed Berlin in the 1920s, the Golden Age of the Jews:
I saw pimps offering anything to anybody: little boys, little girls, robust young men, libidinous women, animals. The story went the rounds that a male goose whose neck you cut at just the right ecstatic  moment would give you the most delicious frisson of all—as it allowed you to enjoy sodomy, bestiality, homosexuality, necrophilia and sadism at one stroke. Gastronomy too, as one could eat the goose afterwards.  [18]
In October 1923, when one US dollar could buy 4.2 billion marks and six wheelbarrows of banknotes could barely buy a loaf of bread, it was said that “the most exquisite blow job to be had in Berlin never cost an American tourist more than 30 cents.” [19]

WEIMAR BERLIN BROTHEL SCENE. Erich Schütz, Raiding the Nacktlokal, 1923

“Berlin nightlife, my word, the world hasn’t seen anything like it!” Klaus Mann, son of the great German author Thomas Mann, enthused sardonically. “We used to have a first-class army. Now we have first class perversions.” [20]
German author Erich Kästner, writing of Weimar Berlin, was to reflect on the topography of the soul sickness that had now taken possession of the once proud city: “In the east there is crime; in the center the con men hold sway; in the north resides misery, in the west lechery; and everywhere—the decline.” [21]
German Jewish author Stephan Zweig has much to say about homosexuality, pointing out that even in Ancient Rome—where fourteen of the first fifteen Roman emperors were homosexual—the degree of drunken depravity and public shamelessness was far less shocking than in Weimar Berlin:
Bars, amusement parks, honky-tonks sprang up like mushrooms. Along the entire Kurfürstendamm powdered and rouged men sauntered and they were not all professionals; every high school boy wanted to earn some money and in the dimly lit bars one might see government officials and men of the world of finance tenderly courting drunken sailors without any shame. Even the Rome of Suetonius had never known such orgies as the pervert balls of Berlin, where hundreds of men costumed as women and hundreds of women as men danced under the benevolent eyes of the police. In the collapse of all values a kind of madness gained hold. Young girls bragged proudly of their perversion; to be sixteen and still under suspicion of virginity would have been a disgrace.” [22]

THE CITY OF DREADFUL JOY Weimar Berlin, 1928


My own impression, though I could well be mistaken here, is that Weimar Germany can be seen as a trial run or dress rehearsal for the Sexual Revolution of the 1960s, a revolution in attitudes and behavior that was to convulse America and then spread like a moral virus to Europe and the rest of the world.
Recollect that it was in Germany during the Weimar period—in 1923 to be exact—that the Institut für Sozialforschung was set up at the University of Frankfurt. Financed by the Argentian Jew Felix Weil, this was later to become the infamousFrankfurt School. [23]
It is my own hypothesis that the Germans were to be the initial guinea pigs of theseCultural Marxists [24], all of them initially Jewish apart from Habermas. These were revolutionaries intent on complete social control by the imposition of their Marxist worldview on the rest of society. It is self-evident that there is no other way to get control of a society with strong moral values than to weaken those values. The formula is simple: destroy the belief system on which that society is founded, especially its religion and its traditional codes of honor and decency. Promote godlessness and a philosophy of despair. To put it in even plainer language: reduce men to beasts if you wish to control them.
It was George Lukács [25], one of the founding fathers of the Frankfurt School, who had called for “a culture of pessimism and a world abandoned by God.” [26] And it was one of their most fanatical ideologues, Willi Munzenberg [27], who had said he wanted to turn the world upside down and make life a hell on earth. His exact words:
We must organize the intellectuals and use them TO MAKE WESTERN CIVILIZATION STINK! Only then, after they have CORRUPTED ALL ITS VALUES AND MADE LIFE IMPOSSIBLE, can we impose the dictatorship of the proletariat. [28, emphasis added]
With Jewish intellectuals like this at the helm, doing their utmost to promote moral anarchy and create an Orwellian dystopia, is it any wonder that the Germans went helter-skelter down the slippery slope and ended up where they did?
In America the Cultural Marxists were to apply a variation of their Weimar techniques, but refined and honed to a high degree. This time, they would use multiculturalism as a weapon of mass destruction in addition to moral corruption. They would flood the country with immigrants, legal as well as illegal. They would turn race against race (engineered ethnic conflict), parent against child (attack on authority), and man against woman (radical feminism). Above all, they would teach the non-White races to regard the White race as the ultimate evil: “the cancer of human history”, to quote Jewish feminist Susan Sontag. [29]
The above comments are admittedly controversial and will elicit anger in many quarters. For this I apologize. My purpose is simply to give voice to an urgent and widespread perception. Not to be able to say what many people increasingly believe is clearly undesirable.
What did the cultural Marxists learn from Weimar Germany?
They learned that the Sexual Revolution, in order to succeed, had to be a slow and gradual process. “Modern forms of subjection,” the Frankfurt School had learned, “are marked by mildness.” [30] Weimar had failed because the pace had been too frenetic. People were aware they were being corrupted. That was fatal.
To corrupt a nation effectively one must make sure that the descent into degradation is an infinitely slow and imperceptible process, one miniscule step at a time—just as those who wish to cook frogs alive in a saucepan, reducing them to a state of comatose stupor, are advised to place them in cold water and boil them to death as slowly as possible. [31]
Lest I be accused of antisemitism by this portrayal of the systematic sexual corruption of the German people at the hands of their Jewish masters—a classic instance of social engineering practiced on an entire population—let me allow a well-known and respected Jewish authority on the Weimar era to have the final word. He is Dr Manfred Reifer, and he is writing in a prestigious Jewish publication:
Whilst large sections of the German nation were struggling for the preservation of their race, we Jews filled the streets of Germany with our vociferations. We supplied the press with articles on the subject of its Christmas and Easter and administered to its religious beliefs in the manner we considered suitable. We ridiculed the highest ideals of the German nation and profaned the matters which it holds sacred.”  —  Dr Manfred Reifer, in the German Jewish magazine Czernowitzer Allegemeine Zeitung, September 1933
In the same month those words were written, September 1933, Adolf Hitler removed every single Jew from positions of influence in the mass media: from the fields of literature, art, music, journalism, the cinema, and popular entertainment in general [32]. The influence that the Jews had exerted on the German psyche was to be regarded henceforth, rightly or wrongly, as pernicious. And Kulturbolschewismus, or “Bolshevik culture”, a derogatory term for Jewish culture itself, became synonymous with moral anarchy and sexual decadence.

*            *            *


[1]        Dr Friedrich Karl Wiehe, Germany and the Jewish Question. Published in 1938 in Berlin by  the Institute for Studies of the Jewish Question, this eight-part booklet runs to approximately 23,500 words in the English translation. As I have quoted this important work extensively both here and in my forthcoming 4-part essay How the Jews Rose to World Power, I felt it would be advisable to paraphrase/translate the defective Germanic English of the English version completely, quoting the original translation only when the English was free from grammatical and orthographical  errors. Readers who know German are invited to consult the original German essay here: Deutschland und die Judenfrage.
[2]       Wiehe, Ibid.
[3]       Wiehe, Ibid.
[4]       “transvaluation of values”
[5]       Wiehe, Ibid.
[6]       Krafft-Ebing’s Psychopathia Sexualis
[7]       Magnus Hirschfeld (1868-1935). The first advocate for homosexual and transgender rights  and himself a homosexual, Hirschfeld figured out that there were 64 different types of male, ranging from the extremely masculine heterosexual male to the extremely feminine homosexual male. Whether there are also 64 different types of females, ranging from the extremely feminine heterosexual female to the extremely masculine butch lesbian, is not clear. Described as the “the Einstein of Sex”, Hirschfeld thought abortion was a good thing and approved of miscegenation and the mongrelization of the White race.
[8]       Ivan Bloch (1872-1922).  Like Hirschfeld, Bloch was a Jewish homosexual whose main interest in life was sexual perversion. Author of the 3-volume Handbuch der gesamten Sexualwissenschaft in Einzeldarstellungen (“Handbook of Sexology in its Entirety Presented in Separate Studies”), Bloch was an expert on sadism and helped to popularize the work of the Marquis de Sade. He apparently discovered the manuscript of de Sade’s The 120 Days of Sodom and published it under a pseudonym in 1904, presumably pocketing the royalties.
[9]      The Institute for Sexual Science (Institut für Sexualwissenschaft). Founded in 1919 in Berlin, the Institute was housed in a villa purchased by Hirschfeld not far from the Reichstag building. It housed his immense library of sex books, most of them pornographic, and offered the public advice on their sex problems (“medical consultations”). People from around Europe visited the Institute, including the homosexual duo Auden and Isherwood, “to gain a clearer understanding of their sexuality.” (Wikipedia).  The Institute, which encouraged “educational” visits from school children, included a Museum of Sex full of pornographic pictures, dildos, “masturbation machines”, and other curiosities of a similar nature. In May 1933, after the Nazis had come to power, the Institute was attacked and thousands of its pornographic books and erotic artifacts destroyed in a “bonfire of the vanities” — this event later being portrayed by Jewish interests as a tragic loss to civilization, comparable only to the burning of the Great Library at Alexandria in 645 AD.
[10]      Wiehe, Ibid.
[11]       Peter Kurten, “to strike back at an oppressive society.”
[12]      An example: Marina Tatar’s Lustmord: Sexual Murder in Weimar Germany.
[13]      Sir Arthur Bryant, Unfinished Victory (1940), pp. 144-145
[14]      Mel Gordon, Voluptuous Panic: The Erotic World of Weimar Berlin, p.39
[15]      Mel Gordon, Ibid., p.43
[16]      Mel Gordon, in an email to this author (1 March 2013).
[17]      Mel Gordon, Ibid., pp.28-32
[18]      Quoted in Stephen Lemons, Paradise regained: Weimar Berlin’s depraved, sin-filled nights tantalize the imagination anew in Mel Gordon’s “Voluptuous Panic”.
[19]     Stephen Lemons, Ibid. If 30 cents for a blowjob was considered a bargain for the American tourist in Weimar Germany, it is of interest to note that the blowjob rate for sex tourists in Moldova today is considerably lower—only  20 cents a pop. We learn this from a book originally published in Hebrew in Israel (In Foreign Parts: Trafficking in Women in Israel, by Ilana Hammerman. Am Oved. 199pp). “The local rate for sex services at the Chisinau  train station,” we are told, “is about NIS 0.70 for a blowjob.” (Quoted in “Land of Filth and Honey”, by Eli Shai, Jerusalem Post, November 5, 2004).  0.70 New Israeli shekels works out to 20 cents. Moldova, the poorest country in Europe, where the average income is US $300 per month and 20 percent of the population live in abject poverty on $3 per day, is a favorite destination for European and Israeli sex tourists, especially for pedophiles. Chisinau is the capital of Moldova, and it is at its railway station that gaunt, hollow-eyed children—some of them as young as 7—line up to offer their services to the incoming sex tourists. (See here).
[20]     Klaus Mann, The Turning Point (1942), quote.
[21]      Erich Kästner, quoted in “Institute for the study of western civilization: the twentieth century. Lecture 9: Weimar Culture.”
[22]     Quoted in Columbia University Press review of Weimar Cinema: An Essential Guide to Classic Films of the Era, edited by Noah Isenberg
[23]     The Frankfurt School: Wikipedia. For an alternative and more dissident viewpoint, see The Frankfurt School: Metapedia and its numerous links.
[24]     Readers who wish to know more about the philosophical milieu of modernity—i.e., the cultural swamp of sexual bolshevism in which the benighted masses are forced to flounder today—are advised to make a careful study of the following eight core articles:
(1)   Arnaud de Lassus’s The Frankfurt School: Cultural Revolution
(2)  Kevin MacDonald, The Culture of Critique, Chapter 5
(3)  William S. Lind, What is Cultural Marxism?
(4)  William S. Lind, Who Stole our Culture?
(5) Timothy Matthews, The Frankfurt School: Conspiracy to Corrupt. (Or my own shorter adaption of this with extended commentary, Satan’s Secret Agents: TheFrankfurt School and its Evil Agenda.)
(6)  Michael Minnicino, The Frankfurt School and ‘Political Correctness’
(7) Cultural Marxism: (Metapedia).
(8) Sexual Bolshevism: (Metapedia).
[25]     Georges Lukács, Wikipedia.
[26]     Timothy Matthews, The Frankfurt School: Conspiracy to Corrupt.
[27]     Willi Munzenberg, Wikipedia. See also Sean McMeekin’s The Red Millionaire: A political biography of Willi Münzenberg, where Münzenberg  is described as “the perpetrator of some of the most colossal lies of the modern age…. He helped to unleash a plague of moral blindness upon the world from which we have still not recovered.”
[28]     Lasha Darkmoon, The Plot Against Art (Part 1).
[29]     “The truth is that Mozart, Pascal, Boolean Algebra, Shakespeare, parliamentary government, baroque churches, Newton, the emancipation of women, Kant, Marx, and Ballanchine  ballets don’t redeem what this particular civilization has wrought upon the world. The white race is the cancer of human history.”  — Susan Sontag, Partisan Review,   Winter 1967, p. 57. This infamous quote, once cited in the Wikipedia article on Sontag, has recently been removed.
[30]     Arnaud de Lassus, The Frankfurt School: Cultural Revolution.
[31]      Boiling Frog (Wikipedia)
[32]    The Holocaust Timeline

Originally posted in Veterans Today

A-JAX and Ladies’ Code: Two Blatant Examples of Mind Control Culture in K-Pop

Illuminati mind control symbolism does not only exist in the Western world. In Asia, the widely popular K-Pop scene is also replete with the same imagery. We’ll look at the symbolism of A-JAX’s “Insane” and Ladies’ Code “Hate You”, two blatant examples that prove the elite’s symbolism is truly international.

K-Pop (pop music from South Korea) has garnered an incredible following across the world as its machine keeps creating new boy and girl bands and music videos that become instant YouTube hits. The “Korean wave” has hit not only Asia, but also Latin America, Northeast India, the Middle East, and North Africa. However, while K-Pop appears to have become somewhat of an alternative to Western pop culture, it is not exempt from the Illuminati symbolism and the Agenda found in Western pop. In fact, the symbolism is often more blatant and in-your-face with K-Pop videos, causing me to ask: Is K-Pop truly an alternative to Western pop or just an effective way for the elite to get its message across in Asia?

A quick look at K-Pop videos such as A-JAX’s “Insane” and Ladies’ Code “Hate You” is all it takes to realize that mind control symbolism is as heavily pushed in K-Pop than it is in the West. In fact, both of these videos basically read like a MK-101 manual, using all of the symbols associated with it and portraying the stars as slaves. K-Pop has effectively become another outlet for the elite to promote its “mind control culture”, even alluding to its sadistic practices in stylish videos aimed at young (and unaware) people. (For more information mind control, read the article Origins and Techniques of Monarch Mind Control.) Let’s look at the videos and see how they fit right in with the MK Agenda that is also pushed in the Western world.

If you’re a regular reader of this site, you can by now easily recognize the specific set of symbols that is used by the occult elite its promote MK culture. Those who are part of the Monarch programming system have created a disturbing culture surrounding it, complete with esthetics and symbols that are now omnipresent in mass media. All of this is packaged with catchy tunes and good-looking performers, which causes young people to subliminally associate this culture with positive feelings, even making it fashionable. As the above videos prove, this is all becoming increasingly blatant and interpreting these videos through the mind-control lens is almost impossible.

While the mind-control culture appears to have originated in the United States, the exact same set of symbols and meanings are also present in the booming South Korean pop scene. The fact that this is happening proves two things: First, the set of symbols I describe in videos is NOT a result of coincidence. It is cohesive imagery that originates from Monarch mind control. Second, it is obvious that at the top of all music industries, whether it be in America, Europe or Asia, the same occult elite are promoting the same Agenda. Why does Baphomet have to be in all of these videos across the world? Because the horned head represents those in power, and those in power are not your locally elected politicians, but a global elite. Through these videos, you are being told what the elite believes in and the sick practices it engages in. Are people rebelling against this? No, quite to contrary, they are dancing to it and paying money to purchase it. I guess A-JAX aren’t the only ones who are Insane.

The Rolling Stones, Sympathy For The Devil And The Phoenix

Posted on June 30, 2013 by 

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Last night, at the Glastonbury music festival, the Rolling Stones rolled out their zimmer frames once more to increase their bank balances a little bit more .

But I don’t think it was the money which was the main reason for their inclusion . At the start of“Sympathy for The Devil”, a huge Phoenix rose above the Pyramid stage, as it was transformed into a Hell and flames licked the stage .

Read more… 182 more words

Roger Waters’ The Wall live, Wembley Stadium, review

James Hall is taken aback by a pulverising live performance of Pink Floyd’s The Wall.

4 out of 5 stars
Roger Waters performs Pink Floyd's The Wall

Roger Waters performs Pink Floyd’s The Wall Photo: Chiaki Nozu
At one point during Roger Waters’ pulverising performance of The Wall at Wembley Stadium, the former Pink Floyd member started duetting with a 50 ft high video of himself, filmed over 30 years ago at Earls Court when he performed the same show. Before he did so, he told the 70,000-strong crowd that he didn’t want to appear “narcissistic”.

Waters’ attack of modesty was amusing given that the entire 30 million-selling The Wall album is a vast autobiographical mush of his upbringing and worldview. The ‘Roger Waters The Wall Live’ tour, now in its third year, has seen the 70-year-old perform the rock opera over 200 times to close to 4 million people in arenas around the world. Bashful? The very thought is, like Waters himself, a bit rich.

But what a show. Beefed up for stadiums, the £37 million production was an immersive sensory extravaganza featuring huge Gerald Scarfe puppets, state-of-the-art animation, flying pigs, fireworks and the famous white wall that gets built up as the show progresses and knocked down at its climax. (The wall was so big that it made Wembley seem cosy).

Grey, lithe and in good voice, Waters prowled the stage looking like a grouchy Richard Gere. The sound was exceptional, the best I’ve heard at a stadium gig; loud, crisp and ‘in surround’. When a replica Spitfire flew across Wembley’s rafters and crashed into the wall in flames, it was the sound that rendered it not only believable but chilling.

Almost as extraordinary as the sound were the mind-bending animations. It was therefore baffling that when presented with probably the most advanced visuals in the world, half the crowd decide to watch them through the screen on their camera phones.

Musical highlights were a devastating Comfortably Numb and the moving, new Ballad of Jean Charles de Menezes, killed by police in the wake of the 7/7 attacks. Thematically it was bit all over the shop. On the surface The Wall is the story of an alienated rock star called Pink (Waters), who has an overbearing mother and hates school. Everything he goes through is “another brick in the wall” of life. But it is also about loss, war and grief.

Last month Waters sparked controversy by calling for fellow rock stars to boycott Israel for what he called its “crimes” and “apartheid”. The Wall in the show certainly appeared to make references to Israel’s West Bank wall: at one point a projected plane dropped hundreds of Star of Davids from its undercarriage as if they were bombs. It would be tempting to read some kind of message into this. However, given that the plane also dropped crucifixes, hammer and sickles, and the corporate logos of Shell and Mercedes-Benz, the only real message we could take from this was that someone in Waters’ graphics team has been busy. (Waters has also denied any suggestions of anti-semitism).

But The Wall was really about spectacle, not politics. Over 30 years after its release, it still sets the bar for stadium rock shows.

Roger Waters Fires Back at Rabbi Who Called Him a ‘Hater of Jews’

English: This image file, Roger Waters O2 Aren...English: This image file, Roger Waters O2 Arena London 18 May 2008, is a cropped image from WikiCommons, the original source file is listed below (Photo credit: Wikipedia)

Roger Waters Fires Back at Rabbi Who Called Him a ‘Hater of Jews’

Roger Waters called for a boycott of Israel earlier this year, and now the former Pink Floyd singer-bassist is defending his The Wall Live Tour from accusations of anti-semitism in a Facebook post, titled “An open letter from Roger Waters.”

Waters begins the letter by explaining the recent controversy that erupted after a performance in Belgium last week: An Israeli man alerted a news source with video footage of a Star of David-marked prop pig that was featured in the show and destroyed by the audience at the end of the performance.

The story gained traction and was picked up by Jewish newspaper The Algemeiner. Rabbi Abraham Cooper, Dean of the Simon Wiesenthal Center, told The Algemeiner that Waters “is an open hater of Jews” and urged other artists to “denounce his anti-Semitism and bigotry.” In his Facebook post, Waters calls Cooper’s words “wild and bigoted” with an “entirely predictable resulting rant.”

Waters first criticizes Cooper’s use of “anti-Semitic,” saying the Anti-Defamation League has ruled his work has no anti-Semitic intent. “I also use the Crucifix, the Crescent and Star, the Hammer and Sickle, the Shell Oil Logo and The McDonald’s Sign, a Dollar Sign and a Mercedes sign [in the show],” writes Waters.

Waters then defends himself from Cooper’s claims of Jew-hating by noting that he himself has close Jewish friends, including Wiesenthal’s nephew, and a Jewish daughter-in-law. “[She] is Jewish and so, in consequence, I’m told, are [my grandsons],” he writes.

Waters’ third and final point addresses Cooper’s use of the word “Nazi.” Waters points to his father, who died fighting for Britain in Italy during World War II, and his upbringing in post-war England. “I received the most thorough education on the subject of Nazism and where I was spared no horrific detail of the heinous crimes committed in the name of that most foul ideology,” writes Waters, also pointing to his mother’s political involvement.

“I for my part, as best I can, have continued along my parent’s path,” Waters continues. “At the age of nearly 70, in the spirit of my Father and Mother and all they did, I have stood my ground, as best I can, in defense of Mistress Liberty.”

Read More: Here

Miley Cyrus: Pedophilia-The Next Frontier

August 30, 2013

(2008 Vanity Fair Pedo Pictorial- Miley Cyrus at 15) 

As society is inducted into a satanic cult, people become more demonic.
Witness our leaders gassing Syrian civilians and, waxing indignant, use it as a pretext for wider war. Witness our schools grooming children for homosexual pedophiles.

So too our entertainment increasing resembles satanic rituals, which use sex to degrade and dehumanize. As “Hannah Montana,” Miley Cyrus was a role model for millions of young girls. Her obscene performance Monday where she simulated sex surrounded by human-size teddy bears  now prepares them for pedophilia.  Along with other reactions, I re-post my 2008 article which discussed this degenerate Illuminati agenda. 

Illuminati Huffington Post on :

“Why Miley Cyrus Is Actually a Good Role Model for Girls”  (Aug 29)

“Miley’s performance may have been raunchy, but no one can deny that she seemed to be enjoying flaunting her sexual power and prowess. She would be no man’s sexual victim. She modelled for our girls that even a sweet Hannah Montana could grow into a sexually confident young woman who was having a very good time with her sexuality.

I think we were maybe too quick to judge…or maybe we judged her so harshly because she reminded us of those fleeting moments when new relationship energy emboldened our own sexual enjoyment, so soon submerged again under layers of shame and fear. I think we may need more, rather than fewer, reminders that when women and men together decide to revel in their sexuality, magic happens.”

But most of the Mass media was not Impressed. The Toronto Globe and Mail :

(Crazed satanic pedo-slave theme – 20 year old girl rubbing against a 36 yr old married man, Robin Thicke )

“According to witnesses, [“Hannah Montana’s] death occurred [Monday night] when Miley Cyrus, 20, joined Robin Thicke for a rendition of his smash-hit homage to the patriarchal hegemony, Blurred Lines, during the VMAs. Cyrus, wearing a skin-coloured latex bikini, ground her twerking derriere into Thicke’s groin, patted his nether regions with a foam finger, used the same foam finger to replicate a tumescent male penis, stuck her tongue out about six times too many and generally pranced around with the clunky and airless charm of a 75-year-old woman who lives her entire life without ever doing anything naughty and suddenly throws her reputation out the window during one bad moment at a wedding reception.

Viewers watching her performance who were not paralyzed by shock tweeted such words as “disgrace,” “uncomfortable” and “mortification,” and asked fellow tweeters to remind them to never let their children go into show business. Others urged her to “THINK OF THE CHILDREN!” – See more at: http://henrymakow.com/pedophiliathe_next_frontier.html#sthash.iXgl5slq.dpuf


……..” We will make the West so corrupt that it stinks”. 
Willi Munzenburg

PREAMBLE: Extracts from CPS website:Parliament has passed legislation aimed at outlawing crime where the offender is motivated by hostility or hatred towards the victim’s race or religious beliefs (actual or perceived).”A racial group means a group of persons defined by reference to race, colour, nationality (including citizenship) or ethnic or national origins.””A religious group means a group of persons defined by reference to religious belief or lack of religious belief. This includes Muslims, Hindus and Christians, and different sects within a religion.” It also includes people who do not hold any religious beliefs at all.“HOSTILITY”

To prove that an offence is racially or religiously aggravated, the prosecution has to prove the “basic” offence followed by racial or religious aggravation, as defined in section 28 Crime and Disorder Act 1998. An offence will be racially or religiously aggravated if:
a) at the time of the offence (or shortly before or after), the offender demonstrates to the victim hostility based on the victim’s membership (or presumed membership) of a racial or religious group, or
b) the offence is motivated wholly or partly by hostility towards members of a racial or religious group based on their membership (or presumed membership) of that group.
— demonstrating hostility is not defined by the Act. The ordinary dictionary definition of hostile includes simply being “unfriendly”. Proving this limb of the offence requires evidence of words or actions which show hostility toward the victim. However, this hostility may be totally unconnected with the “basic” offence which may have been committed for other, non-racially or religiously motivated reasons. For example, an assault which takes place because of an argument over a parking place, but where the offender then utters racial abuse to the victim of the assault would come within the scope of this part of section 28.
— motivated by hostility may prove more difficult in practice. In the absence of a clear statement by the accused that his/her actions were motivated by his hostility to his victim based on his race or religious belief, for example, an admission under caution, how can motive be shown? In some cases, background evidence could well be important if relevant to establish motive, for example, evidence of membership of, or association with, a racist group, or evidence of expressed racist views in the past might, depending on the facts, be admissible in evidence.
A member of my family bought me a ticket for a fairly new musical, ‘The Book of Mormon’. I’ve just completed writing a musical myself so it appeared an ‘appropriate’ present. They hadn’t seen it themselves but had been told the show was “very funny”. I went to see it last Friday night.
No one considers themselves narrow-minded and neither do I, but I have to say that the experience was, for me (and in more ways than one), quite shocking.
More than shocking. Nauseating.
Firstly, having watched a couple of footballers being fined for making run-of-the-mill racist comments last year, it was staggering to me that this ‘show’ had not simply been sued out of existence. It was surely impossible that black people, and Ugandans in particular, would not be gravely offended by this racist filth. As a Christian I found the depiction of Christ and Christianity intolerable, if (knowing the Zionist agenda and the cultural dominance of this group) less surprising. I was glad I was not a Muslim as I might have felt obliged to obey my feelings and burn the theatre down. Having what you regard as ‘holy’ (not criticised, nor argued against but) violated in this abominable manner is gratuitously abusive. The kind of abuse in which only a coward who knows he is well protected would dare to indulge.THE PLOT
Briefly, a group of insanely grinning newly-trained male Mormon missionaries are about to be sent to evangelize in some, as yet unknown, corner of the earth. Our two ‘heroes’ win the short straw, i.e. Uganda, the a*sehole of the earth, a place where villagers are tyrannised by a sodomising war-Lord, penniless and where most have AIDS. The cure for AIDS is to f*** a virgin, but as there no virgins left this has become…to f*** a baby. See scriptextract below:
Mafala: You’re in Northern Uganda now, and in this part of Africa we all have a saying. Whenever something bad happens, we just throw our hands to the sky and say “hasa diga eebowai.”
Cunningham: Hasa Diga eebowai?
Mafala: It’s the only way to get through all these troubles. And, there’s war! Poverty! Famine! But, having a saying makes it all seem better.
There isn’t enough food to eat. Hawa diga eebowai. People are starving in the street.
Ugandans: Hasa diga eebowai.
Women (Men): Haaaasa Diga Eeebowai! (Haaaasa Diga Eeebowai)
Haaaasa Diga Eeebowai! (Haaaasa Diga Eeebowai)
Price: Well that’s pretty neat.
Cunningham: Does it mean no worries for the rest of our days?
Mafala: Kind of…
We’ve had no rain in several days.
Ugandans: Hasa diga eebowai.
Mafala: And 80% of us have AIDS
Ugandans: Hasa diga eebowai.
Mafala: Many young girls here get circumcised. Their clits get cut right off!
Ugandans: Weyo!
Women: And so we say up to the sky
Ugandans: Hasa diga eebowai.
Women (Men): Haaaasa Diga Eeebowai! (Haaaasa Diga Eeebowai)
Haaaasa Diga Eeebowai! (Haaaasa Diga Eeebowai)
Mafala: Now you try it! [the other Ugandans react] Just stand up tall, tilt your head to the sky, and list off the bad things in your life!
Cunningham: Somebody took our luggage away.
Ugandans: Hasa diga eebowai.
Price: The plane was crowded and our bus was late.
Ugandans: Hasa diga eebowai.
Mafala: When the world is getting you down, there’s nobody else to blame.
Ugandans: Weyo! [an Ugandan woman hands her baby over to Price and then joins the others in dance.]
Mafala: Raise your middle finger to the sky and curse his rotten name!
Price: Wait, what? [tries to give the baby back to the woman, but isn’t able to, so he turns to address Mafala]
Cunningham: Hasa diga eebowai. Am I saying that right?
Women: Hasa diga eebowai.
Price: [burping the baby] Excuse me, sir, but, but what exactly does that phrase mean?
Mafala: Well let’s see: eebowai means God. And hasa diga means “Fuck you.” So I guess in English it would be, “Fuck you… God!”
Ugandans: Hasa diga eebowai.
Price: What??
Mafala: When God fucks you in the butt,
Ugandans: Hasa diga eebowai.
Mafala: Fuck God right back in his cunt.
Ugandans: Hasa diga eebowai.
Cunningham: Hasa diga eebowai. What a nifty phrase.
Ugandans: Weyo! [Price tries to find the right woman to give the baby back to, and his search gets frantic. He finally finds her and gives the baby back]
Cunningham: Hasa diga eebowai. Hasa diga eebowai. [gets carried away and Price pulls him aide]
Price: You have to stop saying that!
Cunningham: I do??
Price: It means something very bad.
Cunningham: What?
Price: They are saying F U to Heavenly Father.
Cunningham: F U to Heavenly Father??? Holy moly I said it like thirteen times!
Women (Men): [they begin sticking out their middle fingers] Haaaasa Diga Eeebowai! (Fuck you, God!)
Haaaasa Diga Eeebowai! (Fuck you, God!)
Price: Excuse me, sir, but you should really not be saying that. Things aren’t always as bad as they seem.
Mafala: Oh really? Well take this fucking asshole Mutumbo here. He got caught last week trying to rape a baby.
Price: What?? Why??
Mafala: Some people in his tribe believe that having sex with a virgin will cure their AIDS. There aern’t many virgins left, sooo, some of them are turning to babies.
Cunningham: But that’s horrible!
Mafala: I know!
Ugandans: Hasa diga eebowai.
Mafala: Here’s the butcher, he has AIDS
Here’s the teacher, she has AIDS
Here’s the doctor, he has AIDS
Here’s my daughter, she has a_____
Wonderful disposition
She’s all I have left in the world
And if either of you lays a hand on her…
I will give you my AIDS!
Ugandans: If you don’t like what we say, try living here a couple days.
Watch all your friends and family die! Hasa diga eebowai!
Men: Fuuuck you!
Ugandans: Fuck! You!
Women: Hasa diga eebowai! [Price and Cunningham sit on the ground now]
Ugandans: Fuck you God in the ass, mouth and cunt-uh!
Fuck you God in the ass, mouth and cunt-uh!
Fuck you God in the ass, mouth and cunt-uh!
Fuck you in the eye!
Men (Women): Fuck you God in the ass, mouth and cunt-uh! (Hasa)
Fuck you God in the ass, mouth and cunt-uh! (diga eebowai)
Fuck you God in the ass, mouth and cunt-uh! (Hasa)
Ugandans: Fuck you in the other eye! [Price and Cunningham get up. Mafala begins to dance with Cunningham and Nabulungi begins to dance with Price]
Women (Men): Fuck you, God! (Fuck you, God!)
Fuck you, God!
Fuck you, God! (Fuck you!)
Ugandans: Hasa Diga, Fuuuck Youuu Goddd! In the cuuuuuunt! [the villagers put up their middle fingers one last time, then leave. Mafala’s daughter takes Price and Cunningham to their quarters]
Fuck you, God!

You’re getting a feel for this stuff now?

As one might expect there were a large number of ‘gays’ in the audience. The screeches and roars of approval, the standing hands-above-the-head ovations were, for me, as shocking as anything happening on stage. Yes, much of the prancing ‘gay’ stuff was funny but the obviously offensive material (well, obvious to me anyway) did not seemingly detract from enjoyment of the evening. Small were the number who did not stand and applaud tumultuously.

The leading missionary gets anally raped by ‘the general’ and much fun is had watching our hero painfully trying sit down. The weaker missionary becomes a hero. He tells the Ugandans they shouldn’t f*** babies, That’s wrong! (but how would they know? Being black? And seemingly subhuman. O, go on tell me! I’m missing the point. Why don’t you bring on Ricky Gervais for a few ‘post-modern ‘spastic’ jokes).

The missionary tells them that his ‘Holy Book’ (which he has not read) says they must f*** frogs instead…..so much onstage f***ing of frogs ensues.

He also gets to ‘baptise’ the villages pretty girl. In this scene of hideous double-speak (for any Christian) ‘baptism’ actually means he gets to shag the girl.

The whole village converts although their version of Mormonism is wildly ‘inappropriate’ and misconstrued (but how would subhumans begin to understand such a thing?). They celebrate their conversion by cavorting about the stage wearing 18 inch erect penises.

Meanwhile Christ, Joseph Smith, Darth Vader, Hobbits, Hitler and various other characters (they’re mostly fictional, mostly evil) are represented as interchangeable and (it is implicitly suggested) equally valid, sources of human inspiration.

(All this stuff can be found in the script, if you’re interested)


It can be no coincidence that one of the main writers describes himself as ‘ethnically Jewish’ (no available info on the other one).

The utter cultural dominance of anti-Christian Zionists is in our faces for all to see. That it should come to this is no great surprise. That so few seem to care about it testifies to the brilliance, thoroughness (and the intensive funding) of their enterprise.

As our Zionist leaders prepare to bomb Syria from a safe distance.

As they prepare to sacrifice poor US blacks and ‘Appalachians’.

As the Zionist elite prepare to flee Israel (as they are ready to do at a moment’s notice (see Jewish Christian convert Roi Tov’s “The Cross ofBethlehem“)

….happy to sacrifice Israeli ‘schnorrers’ (the poor Jews who don’t matter) when Iranian, Russian or Chinese missiles strike.

As World War Three gets underway……..

Look around you.

Look carefully.


Deep breath.

…….catch the smell?

Have we been degraded and polluted beyond belief?

If so, can it all be someone else’s fault?

Jimmy Savile And The Paedophile Ring

Further to recent revelations from the BBC about abuse against children carried out at Fort Augustine Abbey, a Catholic boarding school in Scotland, it has emerged that Jimmy Savile was a regular visitor to the school .

From Daily Record.co.uk :

“Predator Jimmy Savile was a frequent guest of monks at the Catholic boarding school at the centre of a sex abuse scandal.

The serial sex attacker regularly drove to Fort Augustus Abbey at a time when ex-pupils claim they were being terrorised by some of the monks.

A BBC TV investigation, Sins of the Fathers, this week alleged that nine monks at the Benedictine Order school repeatedly beat, sexually assaulted and, in one case, raped boys in their care over several decades.

Victims of the abuse complained but their testimony was ignored and covered up. Police are now investigating.”

savile faa

Jimmy Savile – Fort Augustus Abbey

Other schools Savile took an interest in .


Jimmy Savile – Haut de la Garenne Jersey

savile duncroft school

Jimmy Savile – Duncroft School

The main point I’m trying to make with all the Savile articles is that he didn’t turn up at these institutions by chance . The evidence indicates that there was a major ‘Establishment’ paedophile ring within the United Kingdom during this period . Other cases that spring to mind are Kincora, North Wales, Islington, Elm Guest House in Richmond and Lambeth . Everyone knew where to go to get their kicks and what should be of concern to the police is whether this paedophile ring still exists . Just because they say it’s ‘historical’ doesn’t mean it is . And I doubt whether, it’s just confined to Britain .

If it looks like a duck, quacks like a duck, etc, etc .

The Can Of Worms

In a recent post BBC Stop Jimmy Savile Child Sex Claim Programme, I ended the post saying “Maybe, someone doesn’t want a can of worms opened .” The ‘can of worms’ I was referring to was the ingrained paedophilia within British institutions from the 1960s onwards . My area of research takes in the south of England and I realise it has effected all parts of the British Isles eg North Wales Bryn Esten child care paedophile enquiry, the Kincora boys home in Northern Ireland and the unanswered questions in Scotland regarding Dunblane, Thomas Hamilton and Hollie Greig .

Jimmy Savile is a good place to start, to open the can of worms . Savile was one of the top TV presenters in Britain from the 1960s onwards . During his career, there were suspicions and claims he was a paedophile but due to his profile and money, he was able to quash these allegations . It is only with his death are the victims coming forward and journalists within the BBC gained interviews with three women who said they had unpleasant experiences with Savile when they were teenagers but we do not know what these claims entail, as the BBC hierarchy spiked the programme .


It seems Savile had a penchant for underage teenage girls, and whilst some would say this is pretty low down on the list of paedophile behaviour, it is still upsetting for his victims . But where Savile becomes interesting is his link to Jersey . When the abuse at Haut de la Garenne in Jersey became public, Savile claimed not to have visited the school at Haut de la Garenne but The Sun newspaper then published an old photo of Savile at the school (see above) . Savile’s reaction was to slap an injunction on The Sun who had to withdraw the picture .

Jersey is where the story gets very dark . A politician in Jersey, Senator Stuart Syvret had investigated claims from adults who had been in the care of Jersey Social Services when children and uncovered systematic abuse, both physical and sexual, centred on a state run school Haut de la Garenne . Unknown to him, Jersey police led by Lennie Harper were conducting their own enquiry  and it soon became a big media story . Predictably, the Jersey establishment attempted to limit the damage and accused Syvret of “shafting Jersey internationally” and with the retirement of Harper from the police, the investigation closed for all intents and purposes . Stuart Syvret has just served two months in prison on dubious data protection charges . Nice people in Jersey .

A few individuals were charged but it soon became apparent that the abuse at Jersey was not a private matter . Syvret discovered that Jersey was a centre for paedophiles for Britain’s rich and famous . From correspondence, he received :

“The plot thickens! I wonder who else amongst Jersey’s ever so distinguished government and residence will be exposed for what they really are?

Many, many years ago when aged about 14/15, a well known and convicted Jersey paedophile told me (as he and his sicko friends entrapped me), that he supplied children from HDG and Jersey in general, to well known TV personalities!

The link between Jersey paedophilia and these `celebs’ was the Jersey `Opera House’!”

Reading between the lines, he was given names but for whatever reason did not go public with them but he did out Wilfred Bramble, an actor famous for his role in Steptoe and Son (remade in America as Sanford and Son.) One of the comments on his blog, referred to Jimmy Savile and Edward Heath a former British Prime Minister and it seems Jersey was well known amongst the paedophile world, where you could go for your kicks and it would be supplied .

However, it appears police on the mainland in Britain knew about Jersey during the investigation in the early 1990s, into a paedophile ring which had wormed its way into Islington council in London and preyed on the children in its Care homes . The Islington enquiry into the paedophile ring was a disgrace and Margaret Hodge, later Minister for Children! attempted to close down the investigation . Only four people were disciplined by Islington Council and the police failed to investigate whether there was any link to the murder of Jason Swift who is believed to have lived in Islington council’s Conewood Street .

A journalist, Eileen Fairweather who had investigated the Islington case in the 1990s, disclosed in 2008 the link between Islington council and Jersey and also revealed police suspicions that powerful and wealthy men were involved .

From Mail Online :

I met the frightened policeman at an isolated country restaurant, many miles from his home and station. Detective Constable Peter Cook had finally despaired, and decided to blow the whistle to a reporter.

He was risking his career, so made me scribble my notes into a tiny pad beneath the tablecloth.

He had uncovered a vicious child sex ring, with victims in both Britain and the Channel Islands, and he wanted me to get his information to police abuse specialists in London.

Incredibly, he claimed that his superiors had barred him from alerting them.

He feared a cover-up: many ring members were powerful and wealthy. But I did not think him paranoid: I specialised in exposing child abuse scandals and knew, from separate sources, of men apparently linked to this ring.

They included an aristocrat, clerics and a social services chief. Their friends included senior police officers.

Repeatedly, inquiries by junior detectives were closed down, so I, a journalist, was asked to convey confidential information from one police officer to others. It seemed surreal.

We did, however, prove that every home included staff who were paedophiles, child pornographers or pimps. Concerned police secretly confirmed that several Islington workers were believed “networkers”, major operators in the supply of children for abuse and pornography.

Some of these were from the Channel Islands or regularly took Islington children there on unofficial visits. In light of the grisly discoveries at Haut de la Garenne, the link now seems significant, but at the time we were so overwhelmed by abuse allegations nearer home that this connection never emerged.

What we did report prompted the sort of vehement official denials that have come to characterise child abuse claims. Margaret Hodge, then council leader, denounced us as Right-wing “gutter journalists” who supposedly bribed children to lie.

Now, this is where some readers will part from me because I’m going into David Icke territory – Satanism – but what the hell, in for a penny in for a pound . One of the names which keeps cropping up is that of former British Prime Minister Edward Heath and not only with reference to Jersey .

From The Biggest Secret :

One of the many unconnected people who have identified Heath as a Satanist was the lady I mentioned earlier in the book …

This lady was the wife of the Head Keeper at Burnham Beeches (in Buckinghamshire near to the British PM’s official residence ‘Chequers’) and they lived on the land. She had been brought up by a Satanic family in Scotland … Her husband was also a Satanist which is why he was given the responsibility of looking after Burnham Beeches, and area of ancient groves and forests managed by the authorities in London …

Late one night in the early 1970′s during Heath’s reign as Prime Minister … she saw some lights. Quietly she moved closer to see what was going on … it was a Satanic ritual and in the circle was the then Prime Minister, Edward Heath …

edEdward Heath on ‘Morning Cloud’

It’s not the only time, Heath has been outed as a Satanist . A self acclaimed Australian Satanist, Aloysius Fozdyke wrote a post for the Henry Makow website :

Meanwhile in Britain, Bob Boothby and Tom Driberg, apart from being homosexuals, were also active Satanists. Tom’s cover of Anglo-Catholicism kept him out of a lot of bother. Both were involved behind the scenes in organizing for Harold Wilson and Edward Heath to become Prime Ministers of Britain, as Wilson was a high initiate of the left-hand path . Heath, on the other hand, was the highest initiated Satanist in Britain to become Prime Minister.

Even occultists know little, if anything, about Bob or Ted’s visits to the ancient sacrificial Wood in Clapham, Sussex and their association with certain people in the surrounding areas. The Wood holds some serious secrets stretching back in time to before Roman Britain and indeed it still does. From what I’ve been told, one day some of these hidden horrors will be found, but by then those involved will be long dead.

“The association with certain people in the surrounding areas” is a reference to a group who have become known as ‘The Friends of Hecate’ . I would be surprised if this was a real title but became public after a local man, Charles Walker was threatened by a man who claimed to be part of this group and practised their activities in Clapham Woods near Worthing . Charles Walker had researched the disappearance of dogs in the vicinity and after posting an ad in a local paper was contacted by The Friends of Hecate . Click Charles Walker Interviewto read more .

On 1/7/2000 a beautiful 8 year old girl, Sarah Payne was abducted and murdered by a very dark individual, Roy Whiting who lived in Littlehampton, West Sussex . I won’t go into the full details in this post but I believe Whiting was connected to this group and the murder was an occult ritual – see a previous post Sarah Payne – Suffer The Little Children . The British public may forgive Jimmy Savile and his attempts at getting underage girls into bed, but they won’t forgive Whiting .

I could go on ad nauseam but hope this indicates the dysfunction within the British establishment . Unfortunately, the full stories very rarely becomes public and as soon as an investigation is started, either pressure from on high disrupts the investigation or a few individuals are thrown to the lions to show justice is being done, but nobody looks any further .

I would hesitate to call it a paedophile ring, as there are too many people involved and it is over a large area but there seems to be some form of psychic force which links it all together . People know people, who know people and those in authority can carry out their deeds with very little fear of being caught . Of course, it helps if you are friends with the Chief Constable or a Cabinet Minister !

Whatever you do, don’t skip the comments which followed the article above,

‘Not many make it out of Hollywood alive or sane’: why child stars ‘go crazy’

Interesting that the article (above) skips lightly over item 5 on the list, when this is the most likely cause of trauma to the young starlets.

Five Hollywood Movies That Exposed Illuminati

June 3, 2013

international_ver2.jpgBankrolling wars is not about the outcome of wars, but generating debt from wars, and that “this is the very essence of the banking industry, to make us all — whether we be nations or individuals — slaves to debt.” (From “The International”

Conspiracy pioneer Jim Perloff reviews
a handful of movies that tell the truth
about world power.

by James Perloff

Hollywood is no place to find political truth.  Although it has produced–with increasing rarity–some uplifting films, and even anti-Communist ones during the Cold War, movies exposing the Illuminati and how they operate are almost nonexistent.

However, an occasional film has slipped through — or was permitted to. (I don’t refer to Illuminati films with sly Illuminati references, but movies genuinely opposing them.)

One was 1970’s made-for-TV The Brotherhood of the Bell, reviewed by Dr. Makow and viewable on YouTube.


Also on this site, John Hamer unveiled the truth about the Jack the Ripper slayings.  The victims were a group of prostitutes who attempted to blackmail the royal family.  Prince Albert Victor had impregnated and secretly married one of their number.  The royal family entrusted the girls’ elimination to high-ranking Masons, who slew them in Masonic ritual style.  The last girl’s death reveals why the murders suddenly halted, as did police investigation.  The compromise of Charles Warren, metropolitan police commissioner — and 33rd degree mason — largely explains why the crimes went “unsolved.”

Many of Hamer’s revelations were dramatized in the 1979 film Murder by Decree.  Although the plot set fictitious Sherlock Holmes (Christopher Plummer, with James Mason as Dr. Watson) after the Ripper, it captured much of the reality.  In a memorable scene, Holmes throws Charles Warren off guard by greeting him with an upper-level Masonic handshake. See this very anti-Masonic scene here. 

wildgeeseRG1105_468x379.jpg3) ‘THE WILD GEESE’

Truths must usually take a back seat to plot, because preachiness undermines a film’s appeal.  The Wild Geese (1978), about mercenaries rescuing an African leader, was generally considered a simple action flick.  But the leader was modeled on Moise Tshombe, the Christian who attempted to secede his province, Katanga, after the Congo came under Soviet-backed Patrice Lumumba.  Tshombe’s forces battled UN (world government) troops imported to force his hand, and after exile he died under questionable circumstances.

In the film, the mercenaries are hired to rescue the leader by a treacherous merchant banker whose interest is copper concessions, and who is so powerful that he intimidates London’s mafia. While the mercenaries are in Africa, in London the banker negotiates a new copper deal with the country’s dictator, leaving the betrayed mercenaries to fight their way out against Simbas and their Cuban and Soviet advisers. Politically incorrect to the hilt, one of The Wild Geese’s heroes is a white South African.

The banker, Sir Edward Matherson, seems modeled on the Rothschilds, long invested in African mining, and long partnered with Jardine Matheson.  When the mercenaries’ leader, Colonel Faulkner (Richard Burton) first meets Matherson, there is immediate mutual dislike.  Faulkner asks brusquely, “What do I call you? Sir Edward?” Matherson haughtily replies, “You do.”– possibly a veiled reference to the Rothschilds acquiring titles via wealth (Nathan Rothschild was Britain’s first Jewish peer).

Superbly scripted 4) Chinatown (1974) underscored the near-futility of battling the conspiratorial schemes of the super-rich — and the frustrations of persuading people that such conspiracies exist.  There is a memorable confrontation between the hero, private detective Jake Gittes (Jack Nicholson) and the villain — ruthless , depraved multimillionaire Noah Cross (John Huston), whose daughter bewails that he “owns the police.” Gittes asks him a question many have wanted to ask banksters: “Why are you doing it?  How much better can you eat?  What can you buy that you can’t already afford?”  Cross replies: “The future!”


The International  (2009) pits Interpol agent Louis Salinger (Clive Owen) and New York assistant DA Eleanor Whitman (Naomi Watts) against a multinational bank, the IBBC.  Besides realistically portraying the banksters, and their infrastructure of lawyers and compromised police, many interesting revelations are woven in.

Salinger and Whitman approach an Italian arms magnate who has just aborted a deal with the bank.  From him, they learn that the IBBC is brokering arms to Third World nations.  They discover that bankrolling wars is not about the outcome of wars, but generating debt from wars, and that “this is the very essence of the banking industry, to make us all — whether we be nations or individuals — slaves to debt.”

Later in the film, Salinger captures Wilhelm Wexler, who runs the bank’s security.  Asked how the bank can be brought down, Wexler replies:
“Your idea of justice is an illusion.  Don’t you know that the very system you serve and protect will never allow anything to happen to the bank? On the contrary, the system guarantees the IBBC’s safety because everyone is involved.”

Salinger asks who “everyone” is; it includes the CIA, his own government, and multinational corporations.  Says Wexler: “This is why your investigative efforts have been undermined and why you and I will be quietly disposed of before any case against the bank ever reaches a court of law… If you really want to stop the IBBC, you won’t be able to do it within the boundaries of your system of justice — you will have to go outside.”  Salinger does. See this superb scene that explains more than I can here.

FINALLY, I can’t overlook two non-Hollywood movies – the must-see Occult Forces a 1943 French film that brilliantly exposed Freemasonry –probably made possible by the brief advent of Vichy France — and whose director and producer were both executed after the war; and the movie, “1984” , which so prophetically portrayed today’s age of increasing surveillance and totalitarian control, filmed several times, but none better than the Hurt-Burton version.  I’m sure this website’s readers know other examples.

James Perloff is author of The Shadows of Power and Tornado in a Junkyard. His newest book, Truth Is a Lonely Warrior, available in Kindle format, is a comprehensive look at the satanic drive for world government. 

Sex Pistols star Johnny Rotten warning about Jimmy Savile was cut by BBC

21st Century Wire1-Johnny-Rotten-Lydon-According to a rare audio clip just released (see video below), John Lydon, aka Johnny Rotten, then of Sex Pistols and PIL fame, conducted an interview circa late 1978, where he joked about people he’d like to kill’ and interestingly he quipped, “I’d like to kill Jimmy Savile”.He went on to comment about the late DJ and serial sex criminal’s ’seediness’, and also that he (Savile) ‘was into all sorts’.
The admission took place during what appears to be an actual BBC radio interview, but Lydon’s damning inferences about the BBC’s golden child Jimmy Savile seem to have been removed from the interview at the time, so the excerpt was not broadcast, but has just been made available as part of the reissue of the first PIL album.Long before Lydon’s comments were made, the BBC were officially warned in 1972 that they were in fact putting young girls at risk with their Top of the Pops Show, which was detailed in theTelegraph recently:1-Jimmy-Savile-victim“The emergence of the 64-page report – which was circulated to the then director general and chairman – will further fuel allegations that the BBC failed to protect teenage girls from Jimmy Savile, the corporation’s then most feted star who was unmasked last year as Britain’s most prolific sex offender.”It seems that everyone knew about at least some of the sordid practices of the late Sir Jimmy Savile OBE, but few dared speak it in public. Of course, this cover-up within the entertainment and media industry was led by the BBC itself, as it would be incredibly naive to think that no one working in the BBC knew of Savile’s propensity for sexual deviances (rape, pedophilia and other disturbing pastimes too dark to mention here). By all accounts, it was an open secret within “The Industry”.Listen to the excerpt of Lydon – then known as Johnny Rotten, as he issues a subtle warning about the true nature of the BBC’s monster-in-residence…http://www.youtube.com/watch?feature=player_embedded&v=Rjy8oLVOvi4

‘Call in Jimmy Savile. You can’t afford to fuck about – bring in an expert. He may have fooled you, not fucking me.’ Comedian Jerry Sadowitz back in 1988!!http://www.youtube.com/watch?v…

The Frontman: Bono (In The Name of Power) by Harry Browne – review

Bono the philanthropist is nothing but a crony of bankers and neocons, argues Terry Eagleton

Irish musician Bono arrives at 10 Downin

Bono arriving for a visit to 10 Downing Street in March 2013. Photograph: Ben Stansall/AFP/Getty Images

It is no surprise that Bono and Bob Geldof, the two leading celebrityphilanthropists of our time, are both Irish. The Ireland into which they were born in the 1960s was caught between third and first worlds, and so was more likely to sympathise with the wretched of the earth than were the natives of Hampstead. As a devoutly Christian nation, it also had a long missionary tradition. Black babies were a familiar object of charity in Ireland long before Hollywood movie stars began snapping them up.Bono himself was a member of a prayer group in the 1970s, before he stumbled on leather trousers and wrap-around shades. Scattered across the globe by hunger and turmoil at home, the Irish have long been a cosmopolitan people, far less parochial than their former proprietors. Small nations cannot afford the insularity of the great.

  1. The Frontman: Bono (In the Name of Power) (Counterblasts)
  2. by Harry Browne

Besides, if you were born into this remote margin of Europe and yearned for the limelight, it helped to have an eye-catching cause and a mania for self-promotion. Rather as the Irish in general were forced by internal circumstance to become an international people, so men like Bono and Geldof could use their nationality to leap on to the world stage.


Bono belongs to the new, cool, post-political Ireland; but by turning back to the old, hungry, strife-torn nation, now rebaptised as Africa, he could bridge the gap between the two. Even so, he has not been greatly honoured in his own notoriously begrudging country, or elsewhere. Harry Browne recounts the (perhaps apocryphal) tale of the singer standing on stage clapping while declaring: “Every time I clap my hands, a child dies.” “Then stop fucking doing it!” yelled a voice from the crowd.

Paul David Hewson’s rise to fame also coincides with the postmodern decline ofpolitics into spectacle. What more suitable politician than a rock star in an age of manufactured sentiments and manipulated images? Having strayed in from showbusiness, Bono can present himself as outside the political arena, speaking simply from the heart; but his fame as a musician also means that he has a constituency of millions, which means in turn that the political establishment are eager to have him on the inside. For all his carefully crafted self-irony (how ridiculous for me, an overpaid rock star from working-class Dublin, to be saving the world!), the inside is a place he has never betrayed any great reluctance to occupy. Since an outsider is unlikely to know much about global economics, he is likely to take his cue from the conventional wisdom of the insiders, which is why Bono is both maverick and conservative.

One result of his campaigning has been a kind of starvation chic. In this impressively well-researched polemic, Browne recounts how Ali Hewson, Bono’s wife, praised the work of her company’s Paris-based clothes designer for being influenced by dusty African landscapes. She admired “the way some of the clothes look like they’ve been worn before and sort of restitched … to incorporate the continent, in a sense”. Hewson’s Messianic husband, or “the little twat with the big heart”, as Viz magazine once dubbed him, has been trying to incorporate Africa into his image for a good few decades now. Like Geldof, he inherited the social conscience of the 1960s without its political radicalism, which is why he has proved so convenient a front man for the neo-liberals.

In fact, as Browne points out, he has cosied up to racists such as Jesse Helms, whitewashed architects of the Iraqi adventure such as Tony Blair and Paul Wolfowitz, and discovered a soulmate in the shock-doctrine economist Jeffrey Sachs. He has also brownnosed the Queen, sucked up to the Israelis, grovelled at the feet of corporate bullies and allied himself with rightwing anti-condom US evangelicals in Africa. The man who seems to flash a peace sign every four seconds apparently has no problem with the sponsorship of the arms corporation BAE. His consistent mistake has been to regard these powers as essentially benign, and to see no fundamental conflict of interests between their own priorities and the needs of the poor. They just need to be sweet-talked by a charmingly bestubbled Celt. Though he has undoubtedly done some good in the world, as this book readily acknowledges, a fair bit of it has been as much pro-Bono as pro bono republico.

If Bono really knew the history of his own people, he would be aware that the Great Irish Famine of the 1840s was not the result of a food shortage. Famines rarely are. There were plenty of crops in the country, but they had to be exported to pay the landlords’ rents. There was also enough food in Britain at the time to feed Ireland several times over. What turned a crisis into a catastrophe was the free market doctrine for which the U2 front man is so ardent an apologist. Widespread hunger is the result of predatory social systems, a fact that Bono’s depoliticising language of humanitarianism serves to conceal.

Browne’s case is simple but devastating. As a multimillionaire investor, world-class tax avoider, pal of Bush and Blair and crony of the bankers and neo-cons, Bono has lent credence to the global forces that wreak much of the havoc he is eager to mop up. His technocratic, west-centred, corporation-friendly campaigns have driven him into one false solution, unsavoury alliance and embarrassing debacle after another. The poor for him, Browne claims, exist largely as objects of the west’s charity. They are not seen as capable of the kind of militant mobilisation that might threaten western interests.

Bertolt Brecht tells the tale of a king in the East who was pained by all the suffering in the world. So he called his wise men together and asked them to inquire into its cause. The wise men duly looked into the matter, and returned with the news that the cause of the world’s suffering was the king.

Bono of U2 new world order puppet

‘Bono’s positioning of the west as the saviour of Africa while failing to ­discuss the harm the G8 nations are doing has undermined campaigns for justice and accountability.’

It was bad enough in 2005. Then, at the G8 summit in Scotland, Bono and Bob Geldof heaped praise on Tony Blair and George Bush, who were still mired in the butchery they had initiated in Iraq. At one point Geldof appeared, literally and figuratively, to be sitting in Tony Blair’s lap. African activists accused them of drowning out a campaign for global justice with a campaign for charity.

But this is worse. As the UK chairs the G8 summit again, a campaign that Bono founded, with which Geldof works closely, appears to be whitewashing the G8′s policies in Africa.

Last week I drew attention to the New Alliance for Food Security and Nutrition, launched in the US when it chaired the G8 meeting last year. The alliance is pushing African countries into agreements that allow foreign companies to grab their land, patent their seeds and monopolise their food markets. Ignoring the voices of their own people, six African governments have struck deals with companies such as Monsanto, Cargill, Dupont, Syngenta, Nestlé and Unilever, in return for promises of aid by the UK and other G8 nations.

A wide range of activists, both African and European, is furious about the New Alliance. But the ONE campaign, co-founded by Bonostepped up to defend it. The article it wrote last week was remarkable in several respects: in its elision of the interests of African leaders and those of their people, in its exaggeration of the role of small African companies, but above all in failing even to mention the injustice at the heart of the New Alliance – its promotion of a new wave of land grabbing. My curiosity was piqued.

The first thing I discovered is that Bono has also praised the New Alliance, in a speech just before last year’s G8 summit in the US. The second thing I discovered is that much of the ONE campaign’s primary funding was provided by the Bill and Melinda Gates Foundation, two of whose executives sit on its board. The foundation has been working with the biotech company Monsanto and the grain trading giant Cargill, and has a large Monsanto shareholding. Bill Gates has responded to claims made about land grabbing in Africa, asserting, in the face of devastating evidence and massive resistance from African farmers, that “many of those land deals are beneficial, and it would be too bad if some were held back because of western groups’ ways of looking at things“. (Africans, you will note, keep getting written out of this story.)

The third thing I discovered is that there’s a long history here. In his brilliant and blistering book The Frontman: Bono (in the Name of Power), just released in the UK, the Irish scholar Harry Browne maintains that “for nearly three decades as a public figure, Bono has been … amplifying elite discourses, advocating ineffective solutions, patronising the poor and kissing the arses of the rich and powerful”. His approach to Africa is “a slick mix of traditional missionary and commercial colonialism, in which the poor world exists as a task for the rich world to complete”.

Bono, Browne charges, has become “the caring face of global technocracy”, who, without any kind of mandate, has assumed the role of spokesperson for Africa, then used that role to provide “humanitarian cover” for western leaders. His positioning of the west as the saviour of Africa while failing to discuss the harm the G8 nations are doing has undermined campaigns for justice and accountability, while lending legitimacy to the neoliberal project.

Bono award from Queen Elizabeth II

Bono and awards from Queen Elizabeth II

Bono claims to be “representing the poorest and most vulnerable people“. But talking to a wide range of activists from both the poor and rich worlds since ONE published its article last week, I have heard the same complaint again and again: that Bono and others like him have seized the political space which might otherwise have been occupied by the Africans about whom they are talking. Because Bono is seen by world leaders as the representative of the poor, the poor are not invited to speak. This works very well for everyone – except them.

The ONE campaign looks to me like the sort of organisation that John le Carré or Robert Harris might have invented. It claims to work on behalf of the extremely poor. But its board is largely composed of multimillionaires, corporate aristocrats and US enforcers. Here you will find Condoleezza Rice, George W Bush’s national security adviser and secretary of state, who aggressively promoted the Iraq war, instructed the CIA that it was authorised to use torture techniques and browbeat lesser nations into supporting a wide range of US aims.

Here too is Larry Summers, who was chief economist at the World Bank during the darkest days of structural adjustment and who, as US Treasury secretary, helped to deregulate Wall Street, with such happy consequences for the rest of us. Here’s Howard Buffett, who has served on the boards of the global grain giant Archer Daniels Midland as well as Coca-Cola and the food corporations ConAgra and Agro Tech. Though the main focus of ONE is Africa, there are only two African members. One is a mobile phone baron, the other is the finance minister of Nigeria, who was formerly managing director of the World Bank. What better representatives of the extremely poor could there be?

U pay tax 2

As Bono and his bandmates took to the Pyramid Stage, activists from direct action group Art Uncut inflated a 20ft balloon emblazoned with the message “U Pay Your Tax 2?” exposing U2′s offshore tax avoidance.

If, as ONE does, an organisation keeps telling you that it’s a “grassroots campaign”, it’s a fair bet that it is nothing of the kind. This collaboration of multimillionaires and technocrats looks to me more like a projection of US and corporate power.

I found the sight of Bono last week calling for “more progress on transparency” equally revolting. As Harry Browne reminds us, U2′s complex web of companies, the financial arrangements of Bono’s Product RED campaign and his investments through the private equity company he co-founded are all famously opaque. And it’s not an overwhelming shock to discover that tax justice is absent from the global issues identified by ONE.

There is a well-known if dubious story that claims that at a concert in Glasgow Bono began a slow hand-clap. He is supposed to have announced: “Every time I clap my hands, a child in Africa dies.” Whereupon someone in the audience shouted: “Well fucking stop doing it then.” It’s good advice, and I wish he’d take it.

Bono hanging out with some other NWO criminals: 

Bono with Obama

Obama…the teleprompter reading president who bombs kids for a living and gets a peace prize.

Bono and Al Gore

The inconvenient lie that is Al Gore.

Bono and Clinton

Bill Clinton…where do I even start with this guy?

George W. Bush, Bono

Wanted war criminal George W. Bush Jnr.

Bono with Lindsey Graham

War mongering senator John McCain.

Bill Gates and Bono

Mr Eugenics himself Bill Gates.

Bono and Tony Blair

Wanted war criminal Tony Blair.

Bono and the Queen

Madame evil and best friend of mass pedophile Jimmy Savile, Queen Elizabeth II.



By Gilad Atzmon

Once again a pig-shaped balloon with Star of David alongside other ‘horrid’ symbols was integrated into Roger Water’s concert.

Some Jews are very upset.


Former Pink Floyd frontman Roger Waters’ is accused of anti-Semitism following a concert in Belgium this past weekend. Waters included imagery in his show that even the staunchest Jewish critic of Israel would refrain from using.

On a black balloon, a Star of David was accompanied by Nazi symbols. Water’s Jewish detractors insist that “the Star of David is regarded as a fundamentally important symbol in the Jewish faith.” This is actually a debatable statement, some scholars argue that the Star of David is not a Judaic symbol.  However, Jews and Zionists in particular better bear in mind that the Star of David certainly decorates Israeli warplanes and tanks that carry war crimes against civilians.  As such, the Star of David deserves to be presented along other symbols of oppression and this is not going to change even when Israel disappears.

Next to the Star of David, on the wild pig balloon, there was also a sign of oil conglomerate Shell. I believe that the message is clear.  The artist is there to succeed where our politicians and media outlets are failing: While our politicians, academia and media are practically owned by the Lobby or silence by political correctness, the artist still celebrates a relative autonomy. I believe that this fact may explain my own survival through the intensive orchestrated Jewish onslaught on my work.

Trending Central reported today that many (Jewish) viewers ‘were disgusted with what they saw. “I had a lot of fun, until I noticed the Star of David on the inflatable pig.” Said Alon Onfus Asif. “And That was the only religious-national symbol which appeared among other symbols for fascism, dictatorships and oppression of people. Waters crossed the line and gave expression to an anti-Semitic message, beyond all his messages of anti-militancy.”

The Simon Wiesenthal Centre has strongly condemned the heroic singer, they described the relevant act as a “classic anti-Semitic caricature, disgusting, widely used by the Nazi and Soviet propaganda to incite hatred against the Jews.” I believe that time is ripe for The Simon Wiesenthal Centre and other Jewish organisations to critically examine the conduct of the Jewish State and its lobby.  Such an act may eventually explain why David ended up starring on a pig balloon.

The Wandering Who? A Study Of Jewish Identity Politics, available on    Amazon.com  Amazon.co.uk

They’re closing libraries in London and New York

What do New York City and London have in common?

Both are eliminating their public libraries against the will of the public and replacing them with luxury housing, using secretive, deceptive tactics. Budget cuts resulting in extremely profitable deals for . . . . whom exactly?

Last night, the original 1975 version of “Rollerball” starring James Caan came on one of the cable movie channels. When it first came out, it was one of my favorite films, portraying a world run not by civil governments answerable to the people, but by large corporations answerable only to their investors. The entire society is structured to brainwash the people that individual effort is meaningless and that only mass obedience to the corporations keeps society going. The James Caan character, Jonathan E, by becoming a superstar in a game designed to kill those who stand out, undermines the authority of the corporate executives. But one of the most interesting side-plots is that in searching for more information about his world, Jonathan discovers that all real libraries have been closed down. Yes, you can get a corporate-approved summary of any corporate-approved reading material, but all the real on Earth books have been destroyed and the contents are saved on a single giant computer called “Zero”, not unlike that huge NSA data center in Utah.

Jonathan E visits this computer with all the world’s books transcribed into it to ask some basic questions of how the world came to be dominated by corporations, only to find that Zero, in trying to evaluate all of the data stored in it, has gone quite mad (and lost the entire 13th Century in the process). That may be the fate of all that data in the NSA data center as well; simply too much to derive any meaningful answers from, especially since it relies on a most unreliable source of raw material, the public’s often exaggerated self-portraits in social media!

The Jewification Process Through Arts, Films, and Movies (Part II)

“Our way must be: never knowingly support lies! having understood where the lies begin—step back from that gangrenous edge! Let us not glue back the flaking scale of the Ideology, not gather back its crumbling bones, nor patch together its decomposing garb, and we will be amazed how swiftly and helplessly the lies will fall away, and that which is destined to be naked will be exposed as such to the world.”—Alexander Solzhenitsyn[1]

…by Jonas E. Alexis

Stan Lee

Will Eisner, Jack Kirby, Bob Kane, Stan Lee, Joe Simon, Marvin A. Wolfman, and a host of other comic book writers and artists revolutionized the superhero genre. In fact, the comic book industry in America was exclusively a Jewish creation.[2]

For Abe Novick of the Jerusalem Post, that Superman “is Jewish or not shouldn’t even be questioned.”[3] For theJewish Daily Forward, “Superman is Jewish.”[4]

One can say the same thing about France as well, with Jewish artists like Joann Sfar, Lewis Trondheim (Laurent Chabosy), and others leading the comic book scene. Sfar talks about “the influences of the philosophers Nietzsche and Levinas on his work” and declares, “I’m more of a Talmudist than a kabbalist.”[5]

E. Michael Jones suggests that the Jews’ introduction of supermenin comic books is important because Jews like Jerry Siegel and Joe Schuster, who created the superman idea, “couldn’t expunge the idea of a Messiah from their consciousness.”[6]

This sentiment makes sense when you consider that Jewish director Richard Donner, who became famous for directing the first Superman movie (1978), claimed that Jesus was “the ultimate Super Jew of his day.”[7]

Jewish writers Christopher Knowles and Joseph Michael Linsner have noted that many of the superheroes—if not all—were conceived as a form of Messiah, in essence, “the new Christ.”[8]

Just like Christ’s death, burial, and resurrection are the turning point in Christian history, the superhero’s “death is the salvation of mankind.”[9] More recently, Man of Steel director Jack Snyder declares,

I think the relationship between Jesus and Superman is not a thing we invented in this film, it is a thing that has been talked about since the creation of Superman…”[10]

In Christology, Christ had to die to save humanity. Since Jews couldn’t expunge Christ from their memory, superheroes have to die to save humanity. We see this in the 2006 movie Superman Returns, where the superhero metaphorically dies and is resurrected to save humanity.

This same metaphor is used somewhat derisively in Spider-man 2 after the hero saves a passenger train. One could also argue that this theme appears in the 2011 movie ThorMan of Steel is no different.

In an article entitled “Superman as Christ-Figure: The American Pop Culture Movie Messiah,” Jewish writer Anton Karl Kozlovic declared,

“Theologically speaking, the corporeal nature of Jesus is itself a sacred sign. The need for a deliverer ‘is expressed in the biblical messianic hope that God would send his Messiah in the form of a single human being, a person just like us, who could speak to us and show us, through human words and deeds, the way to the truth and the life.’

“Superman was the fictional, secular equivalent of that sacred hope…The title-cum-name ‘Superman’ was also equivalent to Jesus’s title-cum-name ‘Christ.’” Jesus began his earthly ministry at age thirty; “at age thirty, Superman flew out with ‘a clear idea of his messianic mission to battle evil and save Earth from its own foolishness.”[11]

Throughout the article Kozlovic compares Superman to Christ, ignorant of the fact that the concept of the superhero is part of a larger ideological/Talmudic theme. But Superman or any other superhero is nothing but a cheap counterfeit of what Christ represents.

One writer goes so far as to say that “‘for good or ill, the Jewish style, with its heavy reliance upon Yiddish Yiddishisms, has emerged not only as a comic style, but as the prevailing comic style.’ The result…was ‘the new life for American culture.’”[12]

Jewish scholar Ted Merwin admits that “because Jewish producers, actors, comics, and composers dominated the field of entertainment, New York Jewish culture had a disproportionate effect on American culture.”[13] To quote Merwin’s book title, the Jews have shaped America In Their Own Image.

In other words, this “new Christ” is not the suffering Christ as portrayed in the New Testament, but the “anti-Christ” or anti-Logos. As E. Michael Jones puts it after the release of The Dark Knight Rises,

“The Jewish superhero is also the Antichrist. The Jews rejected Christ because he was not a powerful military leader who would restore the Kingdom by military might as David had done. The Jewish Messiah is, in other words, Superman, which is to say a caricature of the real Messiah that they rejected.

“The superhero is the Jewish Messiah who brings about tikkun olam, the healing of the world, at a time of economic crisis, but in a non-communist way that did not jeopardize his standing as a good American.”[14]

In a nutshell, Jewish comic book writers quickly picked up a new way to replace the suffering Christ with “the new Christ,” the Talmudic Christ.

Like Freud, who used psychoanalysis as a pretext to attack Christianity and Western values, comic book writers promote their agendas under the guise of fiction and art. This is not my words. In 1954, Jewish psychologist Frederic Wertham realized that comic books were having an enormously negative influence on the lives of young people and directed a frontal attack against the genre in his seven-year study Seduction of the Innocent.[15]

MAD magazine, created by Harvey Kurtzman, which decades later became a very popular TV show, was allegedly creating panic by “desecrating Christmas.”[16]

Now the issue is no longer limited to the desecration of Christmas, but the abolition of Logos in the culture war and in movies.

Frank Miller, a Jewish comic book writer and film director, talks about “a clash of civilizations” and how “superheroes should be front and center.” He even believes that Jewish comic book writers like himself should use their medium as “the biggest megaphone” and blatantly states, “I am out to provoke.”[17]

In other words, comic books and films, for Miller, are weapons.

Frank Miller

Peter Sanderson of Publishers Weekly writes that Miller “pointed out all the major superheroes of the 1940s were created by Jews during a time of anti-Semitic persecution: ‘Superman was golem.’ And while he said that he ‘won’t tell Jeff Smith that Bone has got to [go on a political] crusade,’ Miller nonetheless issued a call to his fellow comics pros: ‘Let’s revive our tradition and get back on the job.’”[18]

In Jewish folklore, a golem is a Frankensteinian monster brought to life to strike out at all perceived enemies of the Jewish people. The New Jewish Encyclopedia

declares that this inanimate character can be

“given artificial life with the aid of magic or the use of a Divine name…The concept of the Golem as an artificially created human being by supernatural means was widely accepted during the Middle Ages.

“According to the legend, the most famous Golem was created in the 16th century by Judah Low of Prague, one of the great rabbis. The express purpose of these living automatons was to protect the Jews from menacing dangers…Jewish folklore has numerous Golem stories, and several modern literary works have been written on that theme.”[19]

Jewish professor Alon Raab tells us that “the Golem never failed to come to the rescue of his people when danger lurked, battling everyone from Yasser Arafat to space invaders.”[20]

Eleventh-century Talmudic scholar Rashi taught that “the golem was created by combining the letters of God’s name as revealed in the Sefer Yetzira [Book of Creation] a seminal kabbalistic text written between the third and sixth centuries C.E.”[21]

The theme of the golem has been used prominently in the work of Jewish comic book writers Uri Fink and Eli Eshed. Raab continues:

“Fink recreates the newspapers and journals of Israel across the decades, each with its unique style of graphic representation—primitive designs and fonts included—while interpolating characters into actual historical photos and paintings in a way that would make the best Stalinist artists proud.”[22]

Golem is the main theme behind Superman. Let you doubt the accuracy of this statement, listen to Larry Tye of the Jewish Daily Forward: “Superman’s creator, Jerry Siegel, acknowledges in an unpublished memoir that he was strongly influenced by anti-Semitism he saw and felt, and that Samson was a role model for Superman.”[23]

Tye continues: “The explosion of Krypton conjures up images from the mystical Kabbalah where the divine vessel was shattered and Jews were called on to perform tikkun olam, repairing the vessel and the world. No one did more of that than the Man From Metropolis.”[24]

Then Tye drops the Jewish bomb: Superman is “as indestructible as The Golem — and an inspiration to every Jewish schlump who knew there was a super being inside him.”[25]
A recent incarnation of the golem theme is found in the 2008 blockbuster movie Iron Man (and its 2010 sequel), which was written in part by Stan Lee and directed and produced by Jewish filmmaker Jon Favreau. Zack Snyder reboosts this theme with the release of Man of Steel, produced by Christopher Nolan and David S. Goyer, two individuals we shall meet in the next article.

Frank Miller and Golem

This theme of the golem wreaking havoc on all enemies has emboldened Frank Miller and other comic book writers to provoke anything they perceive as a threat to the Jewish people. Journalist Geoff Boucher writes,

“Much has been made of Miller’s politics in the wake of ‘300.’ The deliriously violent and stylized sword film is based on a Spartan battle in 480 B.C., and although Miller wrote and drew the story for Dark Horse comics a decade ago, in film form it was received by many as a grotesque parody of the ancient Persians and a fetish piece for a war on Islam. Miller scoffs at these notions. ‘I think it’s ridiculous that we set aside certain groups and say that we can’t risk offending their ancestors. Please.’”[26]

Great! If Miller truly believes this, he then should help us destabilize the political power of the Jewish police state around the world. Why should decent Germans be put to prison if they just dare to raise a question about the “Holocaust”? Just a quick example here.

Germar Rudolf

Germar Rudolf was a German chemist who was working at the famous Max Plank Institute and believed in the gas chamber story until he went to examine the sites as a chemist himself. When he came out, he began to question some of the views he had previously held. His mistake was that he made his voice heard, and he not only had his Ph.D. denied, but lost his job and had to flee Germany in order to avoid prison time.

After he fled to Spain and England, he settled in the United States, where he eventually got married. During his absence, criminal charges were piled up against him in Germany for the same reason, and he was denied political asylum.

Even after he married and had a child, he was deported to Germany to be imprisoned for, among other things, “disparaging the dead”! (Germar needs to send a letter to Miller.)

Rudolf ’s documents were eventually “confiscated and ordered to be destroyed, that is to say: burned in waste incinerators under police supervision.”[27] Rudolf was released from prison in the summer of 2009.

Miller sees Islam as a threat to the West and thinks that using his graphic skills to make fun of Islam is appropriate.

But what if people treated Judaism and the Talmud the same way? Would Miller feel so cavalier then? I don’t think so; there would be a loud outcry about anti-Semitism. Can Miller explain this phenomenon?

If he does not agree with Talmudic teachings, then why doesn’t he devote equal amounts of time to ridiculing Talmudic theology which has been a central force for evil in the West and in the Middle East?

The simple fact is that Miller’s work, like that of Stan Lee, Bob Kane, Joe Shuster, and others, is indirectly Talmudic by a process of osmosis. Miller’s dedication to taking down anything he sees as a threat to Judaism is revealed throughout his work, especially in his graphic novel Sin City, which he brought to the big screen in 2005 in collaboration with Robert Rodriguez (director of El Mariachi and Desperado) and Quentin Tarantino.

Both the book and the movie are laden with nudity, pornography, and pervasive, graphic violence. Miller is right: he is out to provoke.

But Miller’s provocation in Sin City is most often aimed at the Catholic Church and Western values. Sin City depicts Christianity as synonymous with the most evil entity ever. One reviewer remarked, “Crosses and Bibles appear in numerous scenes—and without fail they’re associated with death and depravity.”[28]

The overarching message from Sin City is that using graphic violence, anti-heroes and prostitutes win their own wars against the moral order.

Yet the movie isn’t really intended to connect with its viewers. Manohla Dargis of the New York Times writes that the directors’ “commitment to absolute unreality and the absence of the human factor mean it’s hard to get pulled into the story on any level other than the visceral. When stuff goes blam, you jump like someone who’s landed on a whoopee cushion. But then you just sit there, wrap yourself in the dark and try not to fall asleep.”[29]

Producers and directors have used this approach for years. For example, Menahem Golan, an Israeli producer and director who first became famous in the 1980s, made a career writing, directing, and producing films such as The Delta Force (starring Chuck Norris), which uses heroic American soldiers saving a hijacked plane to convey to the American people how evil the Lebanese government is and how much they hate Americans and Jews.

It is no accident that Golan, who often used the pen name Joseph Goldman, was a pilot in the Israeli Air Force during the Israeli War of Independence (1948-1949).

Golan was the third owner of the now defunct Hollywood film company the Cannon Group, which he once ran with his cousin Yoram Globus.

During the 1980s, the Cannon Group produced many Soviet-style propaganda movies such as Avenging Force, starring Michael Dudikoff, in which right wingers are portrayed as neo-Nazis and racists. The leader of the gang extols Hitler as “a visionary,” and says that Darwinian principle is what keeps the gang alive: “Survival of the fittest, that’s what counts. That’s why we rule and always will.”

Some American isolationists in the 1930s argued that Jews would use the media

to portray Germany in the same light.[30] Fast-forward to 1996, when Jewish producer Joel Schumacher directed the law thriller A Time to Kill, which portrays

whites as rednecks, criminals, and looters, with blacks as their victims.

After the Bar Kochba rebellion, which ended around 135-136 A.D., the revolutionary Jew figured out that military power wasn’t a guarantee of victory. Of that event, Jewish historian Solomon Grayzel writes,

“The first choice, the way of the sword for keeping the Jews alive as a group, had failed. The second choice, the way of the spirit, was now entered upon with enthusiasm.”[31]

The way of the spirit is implanting ideology and comic books, films and blockbuster movies, which can have far more devastating consequences than the way of the sword.

On the whole, Jewish revolutionaries have found spiritual and mental warfare to be much more effective than the sword. While their strategies have been updated, “the animus against Christianity” remains the same.[32]

Whether it is in movies or comic books, through the power of the written word or the power of visual images, Jewish revolutionaries directly or indirectly attacked Logos and Western culture.

Christianity, as we shall see later, is one of the main pillars of Western Culture, and if it can be undermined, then the West will eventually crumble. The attacks against it over the past eighty years or so have been extremely powerful and effective in movies.

Miller describes his new comic book Holy Terror: Batman! as “a piece of propaganda.”[33]Revolutionary/Talmudic ideas lead to graphic novels; graphic novels lead to movies; movies lead to propaganda; and propaganda invariably leads to the change of culture and thought.

George Lucas unapologetically acknowledged this years ago at the University of Southern California. He said:

“film and visual entertainment are a pervasively important part of our culture, an extremely significant influence on the way our society operates. People in the film industry don’t want to accept the responsibility that they had a hand in the way the world is loused up. But, for better or worse, the influence of the church, which used to be all-powerful, has been usurped by film. Film and television tell us the way we conduct our lives, what is right and wrong.”[34]

As Jewish ascendency became the norm in Hollywood, the American culture had changed. Quoting Jewish scholar Murray Friedman, Jones writes:

George Lucas

“The Jews transformed American society after World War II, remaking it in their image. The older generations of Protestant novelists and poets, many of whom—e.g., T. S. Eliot and Ezra Pound—had serious reservations about modernity even though their writing was ‘modern’ in form, were replaced by almost exclusively Jewish writers.

“Ernest Hemingway, F. Scott Fitzgerald, Ezra Pound, and T. S. Eliot, who came to prominence in the ‘20s, were replaced in the ‘50s by Saul Bellow, Aaron Copland, Leonard Bernstein, Philip Roth, J. D. Salinger, Norman Mailer, Arthur Miller, German Wouk, Bernard Malamud, and Alan Ginsberg. Leslie Fiedler called it ‘the great takeover by Jewish American writers.’ Friedman says the Jews not only wrote books, they also ‘taught Americans how to dance (Arthur Murray), how to behave (Dear Abby and Ann

Landers), how to dress (Ralph Lauren), what to read (Irving Howe, Alfred Kazin and Lionel Trilling), and what to sing (Irving Berlin, Barry Manilow, Barbara Streisand).’”[35]

Scholars like David A. Hollinger saw that the same thing was happening in university departments. He writes:

“By the early 1960s the large number of Jews in sociology led to faculty-club banter to the effect that sociology had become a Jewish discipline. In the literary world the triumph of Norman Mailer, Saul Below, and J. D. Salinger led Leslie Fiedler to hail ‘the great take-over by Jewish-American writers’ of a task ‘inherited from certain Gentile predecessors, urban Anglo-Saxons and Midwestern provincials of North European origin.”[36]

Hollinger of course minimized the Jewish de-Christianization of America and their take-over of intellectual life and academics, but he could not help but note that when they took over the social sciences, “Religion was increasingly private, and public discussion was increasingly secular.”[37]

Murray Friedman

What’s more, “the open profession of Christian belief in the course of one’s professional work is uniquely discouraged.”[38]

Seen in its proper context, the de-Christianization of America was essentially a Jewish movement that had deep roots in Jewish revolutionary/Talmudic activity. Hollinger does not say this explicitly because it seems he does not like the implications of this deduction.

Instead he states, “Any account of how Jews contributed to the diminution of Christianity’s influence could be construed as a criticism of Jews, and as a grist for the mill of T. S. Eliot’s ideological descendants. But this historiographical inhibition disappears if we believe, instead, that whatever may be wrong with American universities, and with America, it is not that they are insufficiently Christian.”[39]

Yet Jewish historian Murray Friedman could have helped Hollinger here. Friedman writes in his widely read study The Neoconservative Revolution: Jewish Intellectuals and the Shaping of Public Policy:

Jewish groups had come to play a critical role in the ‘de-Christianization’ of American culture.”[40] They “had successfully challenged Bible reading in the public schools and any form of state aid to parochial schools.

“So dominant had the ‘separatist’ view become that even a nonsectarian prayer prepared by the New York Regents Board in 1962 was ruled by the Supreme Court in Engel v. Vitale to be a violation of the establishment clause of the First Amendment.”[41]

The Golem and Christian Judaizers

While Jewish writers have been telling us that the superhero industry was created as a form of “the new Christ,” although this “new Christ” has been sprinkled with the writings of occultists like Alan Moore and Grant Morrison, devout followers of Aleister Crowley, as we shall see in due time, Protestant Christian publisher Tyndale House has writers such as Paul Asay trying to turn Batman “into a Christian role model,” an issue that Asay wrestles with throughout his book.

For Asay, Batman will “teach us a bit about goodness and God and our own conflicting natures, becoming an unwitting spiritual instructor.”

Asay continues to say that in Batman, “we won’t find a substitute for Jesus, but we may find a servant—even if he doesn’t fully understand it and might not always act like it.”[42]

In other words, Jewish writers are saying that Batman is a “new Christ,” but Asay is saying that he is a servant of Christ. Who is more deceived here: Jewish writers who know the creators of the superheroes inside out, or Christian Judaizers like Asay?

[1] Alexander Solzhenitsyn, The Solzhenitsyn reader (Wilmington, DE: ISI Books, 2006), 558.

[2] See Arie Kaplan, From Krakow to Krypton: Jews and Comic Books (Philadelphia: The Jewish Publication Society, 2008); Simcha Weinstein, Up,Up, and Oy Vey: How Jewish History, Culture, and Values Shaped the Comic Book Superhero (Baltimore: Leviathan Books, 2006); Paul Buhle, Jews and American Comics (New York: The New Press, 2008); Danny Fingeroth and Stan Lee, Disguised as Clark Kent: Jews, Comics, and the Creation of the Superhero (New York: Continuum, 2007); Stephen Harlan and Eunice G. Pollack, ed.,Encyclopedia of American Jewish History (Santa Barbara: ABC-CLIO, Inc., 2008), 1:469-473; Gerard Jones, Men of Tomorrow: Geeks, Gangsters, and the Birth of the Comic Book (New York: Basic Books, 2004).

[3] Abe Novick, “Super Jew,” Jerusalem Post, June 16, 2013.

[4] Larry Tye, “10 Reasons Superman Is Really Jewish,” The Jewish Daily Forward, June 12, 2013.

[5] Lauren Elkin, “French Jewish Comic Book Writer Talks,” Jewish Telegraphic Agency, May 12, 2005.

[6] Jones, Jewish Revolutionary Spirit, 30.

[7] Anton Karl Kozlovic, “Superman as Christ-Figure: The American Pop Culture Movie Messiah,” Journal of Religion and Film, Vol. 6, No. 1, April 2002.

[8] Christopher Knowles and Joseph Michael Linsner, Our Gods Wear Spandex: The Secret History of Comic Book Heroes (San Francisco: Red Wheel/Weiser, 2007), 10.

[9] Ibid.

[10] Quoted in Abe Novick, “Super Jew,” Jerusalem Post, June 16, 2013

[11] Kozlovic, “Superman as Christ-Figure,” Journal of Religion and Film.

[12] James D. Bloom, Gravity Fails, 1.

[13] Ted Merwin, In Their Own Image: New York Jews in Jazz Age Popular Culture (Piscataway: Rutgers University Press, 2006), 10

[14] E. Michael Jones, “Wall Street Rises,” Culture Wars, October 2012.

[15] See Kaplan, From Krakow to Krypton, 74-76.

[16] Ibid., 75.

[17] Peter Sanderson, “Frank Miller Speaks,” Publishers Weekly, February 28, 2006.

[18] Ibid.

[19] Bridger, The New Jewish Encyclopedia (West Orange, NJ: Behrman House, 1976), 170.

[20] Alon Raab, “Ben Gurion’s Golem and Jewish Lesbians,” Samantha Baskind and Ranen Omer-Sherman, ed., The Jewish Graphic Novel: Critical Approaches (Piscataway, NJ: Rutgers University Press, 2008), 215.

[21] Ibid., 216.

[22] Ibid.

[23] Larry Tye, “10 Reasons Superman Is Really Jewish,” The Jewish Daily Forward, June 12, 2013.

[24] Ibid.

[25] Ibid.

[26] Geoff Boucher, “Revenge of the Dark Knight,” LA Times, April 29, 2007.

[28] Steven Isaac, “Video Review: Sin City,” PluggedIn.com.

[29] Manohla Dargis, “A Savage and Sexy City of Pulp Fiction Regulars,” NY Times, April 1, 2005.

[30] Kevin MacDonald, Separation and Its Discontents (Bloomington: 1st Books Library, 2004), 63.

[31] Solomon Grayzel, A History of the Jews: From the Babylonian Exile to the Establishment of Israel(Philadelphia: The Jewish Publication Society of America, 1947), 185.

[32] Jones, Jewish Revolutionary Spirit, 72.

[33] Harry Mount, “Holy Propaganda! Batman is Tackling Osama bin Laden,” Daily Telegraph,

February 15, 2006.

[34] Aljean Harmetz, “U.S.C. Breaks Ground for a Film-TV School,” NY Times, November 25, 1981.

[35] Jones, Jewish Revolutionary Spirit, 919; see also Friedman, Neoconservative Revolution, 12.

[36] David A. Hollinger, Science, Jews, and Secular Culture: Studies in Mid-Twentieth-Century American Intellectual History (Princeton: Princeton University Press, 1996), 28.

[37] Ibid.

[38] Ibid.

[39] Ibid., 29.

[40] Murray Friedman, The Neoconservative Revolution: Jewish Intellectuals and the Shaping of Public Policy(New York: Cambridge University Press, 2005), 41.

[41] Ibid.

[42]Paul Asay, God on the Street of Gotham: What the Big Screen Batman Can Teach Us About God and Ourselves (Carol Stream, IL: Tyndale, 2012), introduction.



The Daily Mailreported today:

  “Newspaper forced to apologize over anti-Semitic clue in crossword puzzle

  • Tribune Media Services newspapers printed a crossword clue where the three-letter answer for Shakespeare’s ‘Shylock’ was ‘Jew’
  • In response the Anti-Defamation League asked the paper to print an apology and refrain from using clues that perpetuate negative Jewish stereotypes
  • The paper issued an apology and promised not to print the clue again”

I would suggest to remove the word Jew from the English language in order to avoid future conflict with the powerful ADL. I would also recommend to avoid using the words:  chosen, occupier, colonialist, Zionist, oppressor, Israel, Dershowitz, Madoff, capital, money, communism, socialism, Talmud, Neocon, Palestine, moral intervention, justice, peace and Iraq.

These words are clearly offensive to some and surely we do not want to hurt anyone.

And here is Shylock in Yiddish, this is the kosher version:

Dog’s Breakfast at Tiffany’s

June 8, 2013


With a danish and coffee in hand, Holly
taught modern women to chase a chimera
and eat on the run.

Dog’s Breakfast – “a mess, a muddle, a hodgepodge – something badly done.”

“Heterosexuals are portrayed as prostitutes who must get used to selling their souls in order to survive. ” 

by Henry Makow Ph.D.

In retrospect, the movie “classic” “Breakfast at Tiffany’s” (1961) was a major salvo in the Illuminati’s war on heterosexual society. We can now clearly see their goal is not “gay rights” or “equality” but making homosexuality the societal norm. 

While passed off as a “romance,” this movie was poison to heterosexuals. It set the 1960’s template where women were allowed to lose their minds and men were forced to rescue them. From that point on, it was all about their needs.

capote1.jpgThe movie was written by Truman Capote, left, a product of a broken family who became a homosexual. Like Tennessee Williams, he was championed by our Illuminati Jewish cultural controllers. His crippled, perverted vision was held up to the goyim as the last word in sophistication.

In the movie, the heterosexual Adam and Eve are portrayed in homosexual terms. Essentially they have to traverse a gay obstacle course in order to find heterosexual love and marriage.  For 1961, this movie is sick, sick, sick. Let me count the ways:

1. Holly Golightly, played by Audrey Hepburn, is a prostitute. Her appeal is strictly based on “beauty” and occasional repartee. The prostitute part is glossed over and she is portrayed as a “party girl.” She is looking for some nebulous security represented by the store Tiffany’s.  She spends her time trolling for a rich husband. Are we supposed to believe this woman is attractive?

2. Her suitor, Paul Varjak, played by George Peppard, is a writer. He is also a prostitute, supported by a richer older woman played by Patricia Neal as though she were still in The Fountainhead.

In other words, heterosexuals are prostitutes who must get used to selling their souls in order to survive.  Holly and Paul both agree they would marry each other for money in a minute if they had any. “I need money and I’ll do whatever it takes to get it,” Holly vows.

paul5.jpg3. Everything Holly does is designed to emasculate Paul. She wants him as a “friend” only. Sleeps in his arms. Whistles down a cab when he can’t. Throws his “arrangement” in his face. She gives mixed signals and blows hot and cold. This became the typical neurotic behavior of modern women.

4. There is a sick subplot where we learn Holly is really from Texas and was married at age 14 to “Doc,” a vet played by Buddy Ebson, a man easily 40. She claims the marriage was “annulled” but obviously they had a sexual relationship.

5. In order to make this crap palatable to heterosexuals, Holly and Paul have to overcome their moral lapses and find their way to each other. But Holly is a royal pain-in-the-ass to the end.  Even after Paul dumps his gigolo gig, finds a job and declares his love, Holly is set on going to Brazil with a rich heir she has met. When he dumps her, she is still intent on going to track “the 50 richest men in South America.” She tells Paul that  she doesn’t want “to belong to anyone” or be “put in a cage.”

“I don’t know who I am.” She is a screwball to think marrying for money is not being put in cage.

7. This is the homosexual-feminist message of the movie. Get used to being a whore. Forget about marriage and family. Women “don’t know who they are” have to “find themselves.” This is the way the novel ends. But in order to sell the movie to unsuspecting goyim, they tack on a romantic finale. 110 minutes of homosexual dysfunction; five minutes of heterosexual romance. Paul tells her she is afraid of reality and walks away. She chases after him. Passionate kisses in the rain….  Not one minute of real life.

fruitcake.jpg(left. fruitcake anyone?) 


Breakfast at Tiffany’s is another reminder that Hollywood, and popular cult-ure in general, are devoted to Illuminati (satanist) social engineering. They have been subverting western Christian culture from the get-go; and the promotion of homosexuality, which is so obviously socially destructive, is a big part of it.

The reason my generation had to “search for our identity” is because our primary identity as men and women (protectors and providers, wives and mothers) was constantly being attacked and eroded by the Illuminati. [The institution of marriage was designed  to provide for women and children, so society can successfully procreate. Most gays want neither marriage nor children. Thus marriage is a distinctly heterosexual institution; it is being redefined as gay in order to destroy it. ]

In 2012, Breakfast at Tiffany’s  was deemed “culturally, historically, or aesthetically significant” by the United States Library of Congress and selected for preservation in the National Film Registry.  Considered “iconic”, it set an example for the 1960’s generation. Women wanted to be Holly Golightly just as a generation later they wanted to be Carrie Bradshaw. (Sex in the City was also written by a homosexual.)

Thanks to Illuminati feminist mind control, women exchanged socially secure and honored positions as wives and mothers to raise children alone in poverty. Truly a dog’s breakfast.

Yes Virginia, we are satanically possessed.

First Comment from Dan: The iconography of a sick society. This is what influenced 60’s women. 

“Holly Golightly”  was based on Capote’s own mother – Lillie Mae Faulk -an emotionally arrested nymphomaniac who spent a lot of time with men in hotels in New York City while Truman was a boy.  Missing from “Breakfast at Tiffany’s” was mention of a five-year-old son locked up in his mom’s hotel room while she was out with men.  Capote’s real surname was Persons.  His real father’s was Archie.  His mother gave him the Capote name through another marriage when Truman was eight.

Capote was the product of New Orleans lust between a teenage girl and a traveling salesman. Souring quickly on the marriage, she forced Truman’s father to file divorce by having sex with other men.  When Truman was four, she moved to New York in search of wealthy men to support her fantasy of being a Southern Belle.  In reality she was merely a physically beautiful orphan from an average background.  Literary historian Andreas Brown wrote of her, “…a case of arrested development in the sense that she pursued adolescent values well into her thirties. She married the first fellow who came along who had any money.”

Growing up in hotels with a loose woman as a role model of women, exposing him to a revolving door of amoral strangers is a well-known classic environmental cause of homosexuality.  She told Truman her job was “hostessing”.  Though Capote never revealed that Holly was based on his mother, he said of Holly that she “was not precisely a call girl. She had no job, but accompanied expense-account men to the best restaurants and night clubs, with the understanding that her escort was obligated to give her some sort of gift, perhaps jewelry or a check … if she felt like it, she might take her escort home for the night.”   Whatever the job description, she was very successful at it.  She became a socialite in Manhattan for her reputation with hostessing parties for the elite.
(This is Illuminati stuff – the right guests are quietly invited to the ‘real’ party in other rooms. These may have involved ‘call boys’ for homosexual politicians.  Capote knew a lot more about the ‘secret society’ of Manhattan elite than he wrote about.).

Capote never mentioned whether he was molested by any of his mother’s men, though he was so effeminate by the time he reached puberty that his mother sent him off to a military school.   Meanwhile she changed her name to ‘Nina’.

Capote’s career as a writer succeeded early.  When he got the phone call to tell him Nina had committed suicide a few weeks before her 49th birthday with a bottle of Seconal, he said, “She didn’t have to die.  I have money.”

Lillie Mae Faulk – The Real Holly Golightly

Graham Ovenden walks free after judged no longer a sexual threat

‘Soft sentence’ for artist convicted of historic sexual abuse of children, infuriates police and campaigners

Graham Ovenden arriving at Plymouth crown court

Graham Ovenden arriving at Plymouth crown court, where he received a 12-month sentence suspended for two years. Photograph: Rod Minchin/PA

A celebrated artist who had been convicted of a string of sexual offences against children has defiantly compared himself to Oscar Wilde after he has walked free after a judge concluded he was no longer a threat to youngsters.

Graham Ovenden, 70, whose explicit portraits of young naked girls have hung in galleries across the world, had been found guilty of abusing child models in the 1970s and 1980s, but to the frustration of police officers was only handed a suspended sentence.

Though the sentencing judge Graham Cottle told Ovenden he was sure had a sexual interest in children and said that if he committed the offences now he could face up to 14 years in prison on one of the charges alone, the artist was given only a suspended 12-month jail term.

Speaking to the Guardian on Monday, before he was sentenced, Ovenden said he was unrepentant and his sales had not suffered: “My reputation is impugned but in the art world fame and infamy are the same thing – look at Oscar Wilde. One of my paintings sold well at auction three weeks ago. It hasn’t buggered up my market at all. But I don’t wish to go to prison. I’m innocent at every level.

“If Christ was to walk this Earth again and utter those quite wonderful words, ‘Suffer little children to come unto me’, he would probably be arrested as a paedophile and crucified.”

Privately police, who have investigated Ovenden for years, were furious he did not receive an immediate custodial term. Detective Inspector Paul Maddocks, who led the investigation, thanked Ovenden’s victims for coming forward to give “harrowing evidence” at his trial and added: “He has been convicted of the sexual abuse of children, this trial has not been about art.”

The decision to allow Ovenden his liberty was greeted with dismay by groups who campaign for the victims of sexual abuse. Peter Saunders, chief executive of the National Association for People Abused in Childhood, said: “It’s an absolutely outrageous decision. A suspended sentence is not appropriate for such serious crimes and it doesn’t take into account the suffering inflicted on the victims.

“The issue of whether he poses a threat to society should be irrelevant. The judiciary is sending out the message that this crime is not taken seriously.”

Conservative MP Priti Patel said: “Sex offences, particularly against children, are extremely serious crimes. It is disgraceful that the severity of these offences has not been reflected in the sentence handed out. The victims have been let down and this soft sentence will send the wrong message out.”

Outside Plymouth crown court after the hearing, Ovenden refused to apologise to his victims and vowed to appeal against his conviction, continuing to insist that his work was about showing children in a “state of grace”.

Sentencing Ovenden, Judge Graham Cottle told him he cloaked his sexual interest by claiming it was an artistic one. Cottle said a “stream” of young girls had arrived at Ovenden’s home, Barley Splatt on Bodmin Moor in Cornwall, to be photographed. “The girls had no understanding at that time of the true purpose behind what you were doing, a purpose that was undoubtedly sexual,” the judge said.

Ovenden was convicted by a jury earlier this year of one indecent assault and six counts of indecency.

The judge said one of the indecency offences Ovenden was convicted of – asking a girl to touch him while they were in a bath together – could today be treated as inciting a child to engage in a sexual act, carrying a maximum jail sentence of 14 years.

But Cottle said he had to take into account the sentencing regime in place at the time of the offences, between 25 and 40 years ago, before tougher laws to protect children were brought in.

He had also considered Ovenden’s age, that he had no previous convictions, had endured a “steep fall from grace” – and said he did not consider him a danger to children now.

Defending, Christopher Quinlan QC told the court that Ovenden, a former pupil of pop artist Sir Peter Blake, had suffered a blow to his reputation. Some of his works have been removed from the Tate’s online collection.

An interesting perspective on Sir James Savile.

The website Vigilant Citizen covers Pop Culture in depth, so (apart from recommending this appraisal of I Pet Goat) I’ll leave it at that.

Why all the zombie movies?

I went to see World War Z. It was a carbon copy of the Will Smith zombie movie I am Legend. And since I am well aware of predictive programming, I beg to question WHY. I would also like to question WHY have there been so many zombie movies lately, similar or not?

In both World War Z and I am Legend, the zombies are created by a virus. Minor tweaks in plot have world war z with the zombies active during the day time as well as night time, and the disease spreading by bite and becoming fully active in 12 seconds. But let’s look at the similarities here – Both have their roots in a virus. Both have society going down to isolated pockets. Both fully justify killing of the zombies, who are actually just people with a disease. Both have full societal lock down as the solution to the problem. And both have no cures for the zombies. In fact, other zombie movies, according to my Mexican friends have the same basic theme, and this last one, World War Z was the tipping point which caused the question, WHAT DO THE ELITE HAVE PLANNED FOR US, WHY ALL THESE VIRUS BASED ZOMBIE MOVIES?

And I would also like to ask, WHY has our military trained for a “zombie apocalypse”? Very creepy stuff.

I would like to explain something here – and that is that the virus/zombie meme is an old one in biotech. Rabies is exactly that. Rabies is a viral infection that causes zombification of it’s victim, in such a way that the zombie wants to bite everything that moves, only to infect whatever gets bitten with rabies and the process repeats itself. World War Z actually cites rabies as the root for it’s own zombie apocalypse. So we already have, in nature, the zombie disease that these movies speak of. The problem with getting rabies to spread is two fold – one is that it takes a while for rabies to manifest itself, so there is plenty of warning someone is going wacky before they get so wacky they start biting, and the other is that rabies is only spread via bite. Leave it to the biotech industry to break those two barriers to the spread of rabies. I think they have.

I think these zombie movies may be preparing us for the mindset the elite want us to have before they actually try to trigger a “zombie apocalypse”. And if they do trigger this apocalypse, you can count on the military shooting anyone who does not stay in quarantine, in their own homes just like in the movies, or in whatever camps are set up for this scenario. No doubt the elite could care less if they crush the economy with their little stunt, they have their holes in the ground with unlimited food, and they want to get rid of billions of us anyway. Don’t think it is past them to pull the zombie stunt which would kill millions from starvation due to a collapsed economic system, and millions more who will be shot because they violate quarantine. The virus would not even need to be real, but to add spice, I think it would be.

I strongly suggest people pay attention to any new outbreaks in the press, and at the first sign of ANY governments taking action such as quarantine, bug out with whatever you have to wherever you have decided to bug out to, certainly you will be better off in your bug out location than in the city where it is easy picking.

Addictive digital blocks have a secret agenda

By Rhys Darby

Minecraft puts a monstrously modern twist on old-school Lego.

Minecraft zombies are capturing the world's children.

Minecraft zombies are capturing the world’s children.

Are your kids getting a little obsessed with a game called Minecraft? It feels to me like there’s a global movement being run by a secret society intent on mind-controlling our children.

If you haven’t heard of Minecraft, then you probably don’t have kids. Or you’re part of an Amish community enjoying the ignorant bliss of living off the land. Actually, Amish would be great at playing Minecraft. The entire objective of the game is to essentially live off the land.

The player must create a world of their own devoid of all technology apart from the rudimentary axe which they can use to chop down trees. Now having said that, I should probably stop right there and question that, shouldn’t I? Are we teaching our kids to chop down trees? That seems wrong in this day and age. Anyway I’ll continue …

The player or players, let’s face it there’s millions of them, must build their entire environment including buildings, paths and waterways.

I have to admit, it really does look fun and it provides the same creative buzz as Lego. The main difference of course being that individual block selection is as quick as a flick on the computer.

There’s no swishing of the hands through large buckets of Lego pieces trying to locate a tiny door frame, only to find the door part is missing. Now there’s a rather frightening aspect to the game I haven’t mentioned yet …

You see, once you’ve built your lovely house you’d better make sure you can lock yourself in it before nightfall. Why? Hmmm yeah, because that’s when the flesh-eating zombies come out!

Last week we had some friends over for dinner. (I’m talking real-life now.) We invited two couples with children of a similar age to our eldest boy. After an initial patch of shyness which consisted of my son Finn walking around with his face covered entirely by clothing so he appeared “invisible”, the kids managed to find solidarity by getting out the iPads. As we adults conversed over salad and wine the kids connected themselves to Minecraft online. All four of them were able to play the same game via separate devices. The only one missing out was my little 3-year-old who dressed up as Batman and made several attempts to wrestle everyone to the ground.

Kids all over the world are obsessed with this computer game and I think the main issue we have as parents is that we can’t understand why and that scares us.

Is there some hidden meaning behind it all? Are our children using this game as a communication device so they can plot our demise?

Or are they being secretly trained by some bloke in Sweden in anticipation for an upcoming zombie apocalypse?

I still look up at the skies in the vain hope that one day massive alien bricks will fall and only my generation will know how to save the planet … by rearranging them in the right order.

The Beatles — Illuminati Mind Controllers

August 5, 2012

Picture 245.png

(The original cover of the 1966 “Yesterday and Today” album: Beatles got a good laugh from abortion.) 

The Beatles were an Illuminati creation.
Their songs were written for them and
handlers scripted their actions and words.
They demonstrate that popular culture is really mind control.

By David Richards

In his book,  The Committee of 300, former MI6 officer John Coleman reveals the Beatles were a psychological operation run by the Tavistock Institute for Human Relations.

The Beatles were created to advance the formation of a corrupted Brave New World-style slave populace. This agenda kicked in big time during the 60s, with rock groups acting as social agitators.

Free love, drugs and rock music were promoted. To replace Christianity, the Illuminati introduced the New Age Movement: spiritual doctrines that do not require the individual to follow the Moral Law. (See this interview with John Coleman.)

The Beatles were presented as anti-establishment but received endless mainstream media attention. In 1965, they received MBEs (Members of the Most Excellent Order of the British Empire) from the Queen.

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The occult references in the Beatles work prove they were Illuminati puppets.

A promotional photograph for the Yellow Submarine album shows John Lennon flashing the devil horns. Paul McCartney makes a ‘666’/EYE OF HORUS hand sign.

The front cover of the With The Beatles album shows their faces half in shadow. This is the ‘One Eye of Horus’ that is epidemic in the music industry today. The black/ white duality is the Masonic doctrine to balance good and evil.

A Beatles compilation was released in 1988 titled ‘Past Masters’. Past Master is a Masonic term used to describe the former Worshipful Master of a Masonic Lodge. The album contains exactly 33 songs!

In the film, ‘The Magical Mystery Tour,’ the Beatles use a magic wand to cast spells on unsuspecting members of the public. Magic wands are made from holly trees (hence Holly-wood) and are the instrument of the occult magician who has his audience (the populace) in a trance. The film features several Masonic handshakes.

The songs also feature occult lyrics. The song ‘Lucy in the Sky with Diamonds’ refers to Lucifer in the sky with “diamonds” (aka “stars”, the Dogstar Sirius representing Lucifer).


(left. rare photo of John, Yoko & Andy Warhol having a gay time)

The track ‘Across The Universe’ is about demon possession. John Lennon sings ‘gai guru deva’ (all hail to the devas). In Theosophy, a deva is a spiritual entity, i.e. demon, which exists behind the scenes manipulating and directing human behavior. Luciferians believe they are possessed by these entities when they rape, torture and kill innocent victims.

Four working class young men could not have written these songs! The Beatles were originally a hack rock ‘n’ roll cover band playing in the red light district in Hamburg. We are supposed to believe that only a few years later they composed songs with deep occult meanings!


The Beatles behavior was scripted by handlers who knew the agenda behind the group.

The drug agenda was pushed in the infamous interview Paul McCartney gave with the BBC in 1966, when he ‘admitted’ to taking acid four times.

The interview was intended to cause controversy, which it did, and encourage young people to try LSD. If the BBC were really against drug use, they wouldn’t have broadcast the interview to millions of people.

Once we realize that the Beatles were supposed to turn young people against Christianity, their anti-Christian sound bites look scripted.

In 1963 Paul said, “Christianity doesn’t fit in with my life.” In 1966 John was more forthcoming, telling Newsweek, “Christianity will go, it will vanish and shrink. I needn’t argue about that. I’m right and will be proved right.”

In the 60s, the big record labels had total control over artists. Do we believe the Beatles could have spouted anti-Christian sentiment in opposition to their label EMI?

Their photo shoots were also clearly designed by Illuminati handlers.

A shocking example is the alternate cover to the ‘Yesterday/ Today’ album that pictures the Beatles covered in the body parts of dead babies. This was a sick laugh at abortion, the inevitable result of the free love agenda the Beatles were promoting.

pepper.jpegThe front cover of the Sgt. Pepper album features the Beatles ‘heroes.’ They include a whole host of Illuminati stooges: Aldous Huxley, Karl Marx, Aleister Crowley, Mahatma Ghandi, HG Wells and George Bernard Shaw among others. Tellingly, it includes cutouts of the Beatles from their early days. Is this an admission that they also served the Illuminati?


I bought all the Beatles albums when I was a teenager. I loved the music but felt something was wrong. The songs were melodically perfect but lacked emotional resonance. Now I know why: the group was an Illuminati creation.

After learning this information about the band, I listened to the music again. Now that I can hear the malevolent agenda behind the songs; they’re ruined for me.

The Beatles made the West more degraded, divided and weak.

Journalist David Noebel summarized it well in 1982, when he judged the impact John Lennon had on music.

“The present rock ‘n’ roll scene is one giant, multi-media portrait of degradation-a sleazy world of immorality, venereal disease, anarchy, nihilism, cocaine, heroin, marijuana, death, Satanism, perversion and orgies.”

In the style of true Satanists, the Beatles sold this sickness as “Love,” a reminder that the world is controlled by a satanic cult, the Illuminati, that hates God, and hates you and I.


David Richards is a 24-year-old British citizen who teaches English in Mongolia.

MAKOW COMMENT: We are unconscious of how popular music is used  to control our feelings and actions. Most songs make a religion out of “love” and make us seek a non-existent ideal mate instead of God, obedience to whom is the principle of our self-development, i.e. religion.


Adorno & the Radio project

Bankers Behind the Counter Culture

Tavistock Institute – Best kept Secret in America

David Livingstone – Age of Aquarius – Sex Drugs & Rock & Roll

John Lennon’s Born-Again Christian Phase

First Comment by Al Thompson:

One of the most destructive forces that was unleashed upon western civilization by the Beatles was the promotion the pagan Hindu religion.  This was primarily done by the introducing of Transendental Meditation and the practice of yoga into the mainstream public.  Of course, this is actually called for in the Protocols of Zion by the open worship of Vishnu.

“12. All our newspapers will be of all possible complexions – aristocratic, republican, revolutionary, even anarchical – for so long, of course, as the constitution exists …. Like the Indian idol “Vishnu” they will have a hundred hands, and every one of them will have a finger on any one of the public opinions as required. When a pulse quickens these hands will lead opinion in the direction of our aims, for an excited patient loses all power of judgment and easily yields to suggestion. Those fools who will think they are repeating the opinion of a newspaper of their own camp will be repeating our opinion or any opinion that seems desirable for us. In the vain belief that they are following the organ of their party they will, in fact, follow the flag which we hang out for them.” (Protocols of Zion)

7. Our kingdom will be an apologia of the divinity Vishnu, in whom is found its personification – in our hundred hands will be, one in each, the springs of the machinery of social life. We shall see everything without the aid of official police which, in that scope of its rights which we elaborated for the use of the GOYIM, hinders governments from seeing. In our programs ONE-THIRD OF OUR SUBJECTS WILL KEEP THE REST UNDER OBSERVATION from a sense of duty, on the principle of volunteer service to the State. It will then be no disgrace to be a spy and informer, but a merit: unfounded denunciations, however, will be cruelly punished that there may be development of abuses of this right.”  (Protocols of Zion)

So it is obvious to me that the so-called “Jews” have promoted the pagan beliefs of Hinduism.  One might ask: What does a Jew have to do with a Hindu?  I’m not really sure, but it seems to me that if one is a pagan, they will use anything evil to promote their agenda.  The definition of a Jew can mean almost anything just as the definition of a Christian.  Here, the so-called Protocols of Zion are intrinsically Hindu in nature and of course evil is at the core of the writing.

“Later the Beatles lead the way for many Americans into pagan religion with visits to Guru Maharishi Mahesh Yogi.”  The Beatles did indeed lead the way to promoting the gurus and the Hindu religion was thrust upon western civilization through the music of the Beatles and other various groups.  And of course, every time I point this out I get slammed for it.  So much for religious tolerance.  Today, the practice of yoga is pervasive throughout society and everyone that I know who practices it becomes completely unglued and unreasonable if I criticize it.  The problem is that the practice unites a person with some kind of “divine being” which is not God the creator, but some kind of “consciousness” by which the mind is emptied.  There’s even so-called “Christian” churches that have yoga classes.

Music has an extraordinary way of twisting the mind.  I used to listen to George Harrison’s Hare Krishna song over and over again.  I like the song but wondered about its meaning and intent.  I now realize that it was most certainly a plan to turn the young people over to paganism.  People who are critical of Zionists should be asking the question as to why Hinduism was promoted in the writing of the Protocols of Zion.  What do Jews have in common with Hindus?  Maybe the made up the story about Christ too.  Or, the Christ represented by mainstream “Christians” is really Vishnu.  There are all kinds of possibilities.  If it wasn’t for some early Christian writings that I read over the last years, I would have completely given up on Christianity.  This is why I try to stay away from governments and religions as they are too inconsistent in their doctrines to be of any value.

As a former musician, I have observed that music has the frightening power to get people to do things they wouldn’t normally do.  It is almost like a drug.  What is interesting is that there is no warning in any of the scriptures about any kind of music.  It’s probably like anything else: it’s not offensive in and of itself, but it will be the content that will determine whether it is good or bad.  In the case of the Beatles, it was all crap.

Comments for “The Beatles — Illuminati Mind Controllers “

Imani said (September 3, 2012):

The essay by David Richards strikes me as poorly researched, biased against pop music as a threat to Christianity. I have a great deal respect for the Beatles, however, my response here isn’t as a diehard fan threatened by new information. I am simply challenging the theories posited by Mr Richards.

To begin, I’d read about the ‘Tavistock theory’ before in John Coleman’s book on THE COMMITTEE OF 300. There are a couple of problems I have with it: First of all, without wanting to get to technical, Adorno’s background was apparently in 12 tone/atonal music. Music by the likes of German (Jewish) composers Schoenberg, Webern and Berg fits the bill. The Beatles music is rooted in tonality, which is the language of Western popular song, be it folk, blues, music hall and classical music – and only ever approaches the atonal sound when they got to one or two of their later period psychedelic songs. Anyone who cares to take the time to familiarise themselves with the aforementioned composers will get some idea of what I mean.

Secondly, there’s the notion that the band were a Trojan horse for, amongst other things, new words to be added to the vocabulary: Taken from a site dealing with The Aquarian Conspiracy:

New words and new phrases–prepared by Tavistock– were introduced to America along with the Beatles. Words such as “rock” in relation to music sounds, “teenager,” “cool,” “discovered” and “pop music” were a lexicon of disguised code words signifying the acceptance of drugs and arrived with and accompanied the Beatles wherever they went, to be “discovered” by “teenagers.”

‘Rock’ was a word that was in common parlance in the black American community, slang for a musical descriptive term, and in other contexts, ‘rock’ meant ‘sex’ (‘rock n roll’)…and ‘cool’ also as a terminology was commonly used in the music/hipster community, especially in jazz circles. The point is, Tavistock didn’t invent these terms and as I mentioned earlier, I’m doubtful about Adorno being behind the band’s work.

I do say that it’s highly plausible that the institute directed the 60s youth movement; I only question the actual extent of their involvement. Could it be that the Tavistock theory is just a big red herring?

Finally, the notion that Lennon’s ‘Imagine’ was some clandestine hymn and manifesto to the new world order is ridiculous. By this ‘logic’, then Bob Marley’s songs of united humanity were also doing the work of controlling elites.

Evan said (August 7, 2012):

The Beatles do seem to be the band that never dies. A year or two ago, I remember the PR campaign and television performances that occurred when the powers that be found out that too many young people didn’t know who Paul (Faul/William) McCartney was! It was a disgusting display of mind control and propaganda, and it shows that they really can’t let the influence of the Beatles naturally go the way of the dodo, there’s too much power in it.

Anyways, great article, and anyone who’s interested in the darker side of the 60s music scene should check out Dave McGowan’s Laurel Canyon articles over at http://www.davesweb.cnchost.com/

Henrik said (August 7, 2012):

Listen to the Hare Krishna mantra on My Sweet Lord, and to Here Comes The Sun which Harrison dedicated to Srila Prabhupada. Most of your articles are good, but not this one! Pls see the Beatles fans, are they demonic? Certainly not. The Beatles changed The Soviet Union and now this world needs the Beatles music more than ever. The Beatles songs remain the same, but some people’s ears and taste of music have become dull.

Bruce said (August 7, 2012):

I just want to say that any intelligent, inquiring mind, and even a blind man can sense there was something amiss about the Beatles. Not only them but the Rolling Stones as well, and the evolutionary mind set of other 6o’s radical rocks groups. Those who have responded on this article such as Brian, Justin, and Nigel are the usual knee jerk reactionaries who offer no sense pf information to the contrary of convincing rebuttals. We’re still waiting I suppose on Justin to inform us on how Mr Coleman has been discredited; plus the fact that Justin speaks in circles. It is really comical to watch people wake up out of their sense of reality they have formed in their minds; as the German philosopher Arthur Schopenhauer quoted, the truth is passed through three stages: first it is ridiculed, secondly it is violently opposed, and thirdly and last it is accepted as self evident.

Jennifer said (August 6, 2012):

I have friends in the music industry. One who wrote some of Michael Jackson’s songs but he had to sign a contract of silence.
I know other song writers and insiders who say all the recording artists use multiple sources of musical input and help.

And there is another aspect too: Group Dynamics. In Group Dynamics the sum is much greater then the individual parts.
Creativity can reach unimaginable heights in a group. The Beatles, their helpers, and muses obviously had an amazing group dynamic.

You give an artist –like a flower –sun, water –the perfect conditions and they can flourish.
The Group funding that bill also has their agenda.

Monica said (August 6, 2012):

I absolutely loved this article, although it barely scratches the surface of the depth of this psy-op thrust on society and found it amusing reading the comments.

Most comments defending Paul and John were obviously made by people who are not musicians, just sentimental culture-programmed Beatles fan-boys, as anyone who plays a guitar will tell you you can’t just “pick up a guitar and play a Beatles song by ear”.

The chording is a carefully constructed web which comes close to but doesn’t quite compromise conventional musical scales and tonal structures. This construction was absolutely deliberate for it produces in the mind a negatively excited (and depending on the tune itself, even frenzied) state, highly emotionally charged.

This construction is the fruit of many years of secret Illuminati research and well outside the intellectual reach of musical-theory-uneducated “musicians” like Paul and John. You can’t write music like that by “chance” or out of ignorance. Without a great deal of technical knowledge the construction would collapse into cacophonous musical chaos, the greatest proof that those two didn’t have the capability to create it. It is this perverse structure that gives the music it’s power to produce such intense emotional and sentimental attachment in it’s listeners.

Couple that with the tuning pitch of 440, imposed on the world by the British Royal Conservatory of Music between the wars, which is also proven to do the same thing but in a more subtle manner and you have a potent musical cocktail for changing morally correct behaviour (especially in public) to emotion-based irrational reactions and interactions ie; sensual license and moral relativism. BTW, ALL music since then, classical, and otherwise, both live and recorded, is contaminated with the 440 tuning pitch universally, the Royal Conservatory saw to that!

I feel sorry for everyone caught in this carefully crafted emotional trap. Too many people too sentimentally attached to a deliberately destructive part of their youth! Wake up people! You’ve been had – again! Stop believing the scripted Paul & John fairy tales about where “their” music came from! Oh, I should mention I turn 50 next year so I’m not a young Beatles-hater who just doesn’t understand.

Monica said (August 6, 2012):

I absolutely loved this article, although it barely scratches the surface of the depth of this psy-op thrust on society and found it amusing reading the comments.

Most comments defending Paul and John were obviously made by people who are not musicians, just sentimental culture-programmed Beatles fan-boys, as anyone who plays a guitar will tell you you can’t just “pick up a guitar and play a Beatles song by ear”.

The chording is a carefully constructed web which comes close to but doesn’t quite compromise conventional musical scales and tonal structures. This construction was absolutely deliberate for it produces in the mind a negatively excited (and depending on the tune itself, even frenzied) state, highly emotionally charged.

This construction is the fruit of many years of secret Illuminati research and well outside the intellectual reach of musical-theory-uneducated “musicians” like Paul and John. You can’t write music like that by “chance” or out of ignorance. Without a great deal of technical knowledge the construction would collapse into cacophonous musical chaos, the greatest proof that those two didn’t have the capability to create it. It is this perverse structure that gives the music it’s power to produce such intense emotional and sentimental attachment in it’s listeners.

Couple that with the tuning pitch of 440, imposed on the world by the British Royal Conservatory of Music between the wars, which is also proven to do the same thing but in a more subtle manner and you have a potent musical cocktail for changing morally correct behaviour (especially in public) to emotion-based irrational reactions and interactions ie; sensual license and moral relativism. BTW, ALL music since then, classical, and otherwise, both live and recorded, is contaminated with the 440 tuning pitch universally, the Royal Conservatory saw to that!

I feel sorry for everyone caught in this carefully crafted emotional trap. Too many people too sentimentally attached to a deliberately destructive part of their youth! Wake up people! You’ve been had – again! Stop believing the scripted Paul & John fairy tales about where “their” music came from! Oh, I should mention I turn 50 next year so I’m not a young Beatles-hater who just doesn’t understand.

Stephen Coleman said (August 6, 2012):

I come from a long line of professional musicians and myself was classically trained. My eldest brother got into the rock scene in the early 60’s. He is very well aware that you have to sell your soul to get anywhere in music and has refused to do so. He has performed on national TV a few times, but never was able to make enough money except to eat and pay rent in dumps. He has been told if you don’t play their game, you won’t get anywhere.

Modern rock and worse are by design to dumb down the masses. Classical music has the opposite effects, just look at the great scientists through history, most were also classical musicians.

Heavy metal, rap and other forms of “popular” music also have negative spiritual effects on us. This ugliness attracts demons into our homes and can agitate family members against each other. Ironically even alleged “Christian” rock has the same deleterious effects.

Something is amiss if you prefer ugliness to beauty and somethings is still wrong if you buy into Emanuel Kant’s “beauty is in the eye of the beholder” idiocy. Any 4 year old that has not been contaminated can clearly tell adults what is ugly and what is beautiful.

Keat’s poem “Ode to a Grecian Urn” is a wonderful argument against the pervasive effects of Kantian philosophies have on our culture today. http://www.bartleby.com/101/625.html

Willem said (August 6, 2012):

There many more levels and layers concerning the question who wrote the Beatle songs. Sure some mentioned George Martin but there is yet another very important person to be mentioned in this context: Theodor Adorno.

The Jew Adorno was a student of the important twenty century composer Arnold Schönbeg (also a Jew). Coleman, whose material lacks documentation and copied most of his stuff from Lyndon Larousse (says so the late Eustace Mullins), is responsible of yet another rumour: Adorno wrote most of the Beatle songs (and his spouse held the rights of those that were sold later to Michael Jackson: wow!). Until now I could not find any prove of this bold Coleman statement, expressed in his book The Committee of 300,

Henry, it is of great interest to look into this Adorno person because he was a mayor figure of the Frankfurter School and author and co author of many books and texts about music, popular music and esthetics. He also collaborated in the important research project concerning the Authoritarian Personality, obviously another Zionist mind control project.

Could Adorno have written most of the Beatle songs (in collaboration with others) I believe so yes because besides being a theorist Adorno was a fine pianist. A famous German Avant Garde composer told me, some several years ago, when you play Yesterday backwards you will hear a Bach Choral (I still have to try that out)!

In conclusion, I believe we should change our concept of art dramatically. Art is basically a rite of idolatry and mind control of the Global Elite and its originality is not of any importance (look e.g. in to the song writing of yet another Zionist, Bob Dylan….. it is all a big fraud). I am eager to hear any statement concerning Adorno writing most Beatles songs.

Nigel said (August 6, 2012):

Anyone can cherry pick information and present a case for a position. The lack of truth and sense in this is enormous and it discredits most or all of your other articles and I wonder if I can be bothered to take anything this site says seriously ever again.

Not impressed.


I guess you haven’t noticed that usually people are not always right or always wrong. They are right sometimes and wrong sometimes.

Your reaction is typical of many instances when my site has challenged cherished beliefs. People prefer to be duped. It’s become their identity.


Bill said (August 6, 2012):

Rather than their having been pawns, told what to do and how to do it, Lennon and McCartney were genius level creative innovators, showing the rest of the world what could be accomplished with the simplest equipment in the realm of popular music and recording. From 1964 on, their albums (and singles) were years ahead of everything around them in creative recording technology (i.e., “sound”). In partnership with Norman Smith and later, Geoff Emerick, they left everyone around them bewildered and struggling to catch up. Having the luxury of not being charged for studio time, they could, and did, take months to craft songs, with Geoff and Paul (in particular) working far into the wee hours of the morning.

In conjunction with this, the evolving quality of their music and lyrics propelled them into all-time status. In both sound and substance, they’ve never been equalled. The very fact that there’s never been another “Beatles” or even anything close to them should tell you something. Any force or individual who could “manufacture” them could (and would) have manufactured more like them.

Their association with the degeneracy and decline of that era is inarguable. But to imagine that they somehow created it is about on a par with imagining that a surfer is responsible for the existence of the wave he’s riding the crest of. Insistence to the contrary is a blatant example of the post hoc ergo propter hoc fallacy.

David Richards said (August 6, 2012):

Reply to Matt–
The big groups have teams of song writers behind them. Former Clash guitarist Vince White said the band didn’t write their own songs. The song writing process was led by their manager. http://www.henrymakow.com/rock_music_rebels_are_corporat.html

This doesn’t mean The Beatles weren’t involved in the creative process at all, they could have been, but they certainly weren’t the ones calling the shots.

What happened to the Beatles after they broke up? They still had handlers and songwriters. The lyrics to john Lennon’s ‘Imagine’ are the blueprint for the NWO:

Imagine there’s no heaven…
Imagine there’s no countries
It isn’t hard to do
Nothing to kill or die for
And no religion too
Imagine all the people living life in peace
Could this really be a coincidence? Also a lot of Lennon’s behaviour looks staged. When he married Yoko Ono, he took her name, making him John Ono Lennon, instead of her taking his. This is typical Illuminati subversion. Yoko Ono herself also has ties to the occult. She released an album titled ‘I’m a Witch’ & recently came out in support of the Georgia Guidestones!http://en.wikipedia.org/wiki/Georgia_Guidestones

Matt said (August 6, 2012):

‘m sorry, but I can only agree with this article in-so-far as the Beatles were not squeeky clean, and certainly had a dark influence and were part of society’s downward spiral, but the idea of them not writing their own songs is ridiculous.

It is very well documented by the Beatles and others that they (mainly Lennon-McCartney) wrote their own material, with some help by their producer George Martin, who was classically trained. You can hear their music develop, and the musical directions of the different Beatles split off in different directions. Who wrote all the ex-Beatles music after they split up if it wasn’t them? Did the Institute decide not to write so much music for George and Ringo, and of different levels of quality for the different Beatles? The Tavistock Institute surely wasn’t standing there the whole time (if at all)?

Joe said (August 5, 2012):

Reply to Al Thompson: The protocols of zion were written to divide and conquer different people following different religions. They simply had to involve Hinduism to deflect the true enemies.Conversion is not allowed in Hinduism and the practice of Yoga has many health benefits. If you want, you can change the chantings to say Jesus. I wanted to know what you have to say about Jesus actually being a Hindu yogihttps://en.wikipedia.org/wiki/Lost_years_of_Jesus. There is also a film about this called the Man from Earth http://www.imdb.com/title/tt0756683/

Brian said (August 5, 2012):

OK, yeah, the Beatles and the Illuminati connection are apparent. But the author, all of 24 years old makes it sound as though they were complete mind-controlled automatons who were virtual robots.

In spite of all the negative aspects of this Tavistock creation it’s not like their basic humanity didn’t come through in some of their songs. Even though “gai guru deva” has its demon-related overtones, “Across the Universe” is not some heavy metal crap whose demonic content is ever-so obvious. It’s really quite a sweet song if you simply listen to it and don’t put all the emphasis on some Theosophical affiliation.

Both Lennon and Harrison in particular wrote some lovely music whose content shouldn’t be simply dismissed out of hand. And Lennon himself came to denounce “The Beatles”. Kind of like JFK, with both of them starting to see the light on alot of the Illuminati m.o.

Justin said (August 5, 2012):

David Richards, and the discredited John Coleman, don’t know what they are talking about. Richards has one source. And his own, uninformed opinion. That might fly in Elementary School, but it stinks, and sinks like a stone, in the real world.

“Four working class young men could not have written these songs”: They didn’t; two did, and frequently one.

And the only working class member was Ringo, who wrote very, very little. The other three members were regular Suburbanites. Any cursory research, at all, would have revealed same. They were Intelligent, and Educated.

Early British Invasion bands were only “rock groups acting as social agitators”?

The Stones, The Dave Clark Five, The Animals, Tom Jones, Petula Clark, Cilla Black, Dusty Springfield, The Kinks, Freddy and The Dreamers, The Searchers, Wayne Fontana and The ‘Mindbenders’, The Honeycombs, Peter and Gordon, Status Quo, Herman’s Hermits and Gerry and The Pacemakers were surely ‘Agents Of Destruction’, yes?

We have all the misinformed goofballs on the Internet that we can use at this time. Applications are now closed. Thanks.

Since the mass, general social rejection of “organized” religion had already occurred, The Beatles led a continuing search for the truth, and stumbled frequently, as they candidly admitted, at that time. The Beatles were very Human, and the last horse-to-escape-the-barn before “the hammer came down”, in fact. They snuck- through as an oddity, but grew rapidly to try to fulfill the Leadership Role to which WE had elected them. They still stand, Today, as the Ultimate Art Group.

Every few years we are subjected to some self-appointed “Genius”, like these “scribes”, who wants to advance himself/themselves, by trying to “expose” The Beatles. The Beatles were Real. They stand alone. Amazingly.


How has Coleman been discredited? He revealed the truth.


Matt said (August 5, 2012):

The Beatles may have been the biggest experiment ever thrust-ed upon us, by the Travistock Institute in the means of social deception. Apparently Paul McCartney died in a car accident in 1966, after leaving the studio and picking up a woman (possible agent?) in the rain on his way home. That night the Beatles were told of this news by an MI5 agent and future handler MAXWELL.

From this point on the Illuminati/Travistock Institute owned the Beatles. They held an obscure Paul McCartney look a like contest in England but never aired the winner. The winner went on to undergo plastic surgery and become Faul McCartney.

John Lennon agreed to finish the huge backlog of songs he and Paul had written. He left the band when all the original material ran out, then was shot for threatening to “go public”. The Illuminati wants to physically shape reality, and make lies/deception seem real and true.
modus operandi of the illuminati

public figures (& doubles) used as puppets to manipulate the masses;(i.e.- Pope Paul VI -imposter pope and destruction of the catholic church from within)
elimination of opposition to this elite by horizontalization (the likely assassination of James Paul McCartney with impunity);
deception of the public by a cartel of media groups controlled by a governing Luciferian elite (Illuminati);
social control through Psychological Operations (PsyOps);

Paul McCartney Really is Dead- a documentary on the audio tapes made by George Harrison on his death bed.-worth watching


Rating: 4.9/5 (15 votes cast)

A look at Zionist influence, through the Hollywood establishment, on American perceptions of Arabs.

The ████████ Conspiracy

Satanism in the 21st Century: Source Code

Rixon Stewart — April 10, 2013

 Satanism is still very much alive in the 21st century. While some manifestations are simply a throwback to more ancient forms, complete with salutes to a horned god and even human sacrifices, others are in a more contemporary guise and consequently far less easy to spot.

Source Code’s Chicago bound train that gets hit by a terror blast.

Source Code, a 2011 movie starring Jake Gyllenhaal and Michelle Monaghan, is a prime example of this. Devoid of any of the usual trappings of Satanism, it’s an intelligent and well-crafted thriller with references to “Out of Body” and “Near Death” experiences.
At least that’s how it seems on the surface. In reality, Source Code is based on a Satanic premise that’s made all the more convincing because it makes no obvious references to the occult. None whatsoever. So in the place of ghouls, demons and blood sacrifices we get a storyline that revolves around scientific research, Near Death Experiences and the War on Terror.
The fact that it is directed by David Bowie’s son and up and coming Hollywood director Duncan Jones makes it all the more intriguing. All the more so as Source Code is his first major feature.
The film begins when decorated Special Forces Captain Colter Stevens (Jake Gyllenhaal) wakes up on a train on route to Chicago with no recollection of how he got there. The last thing he recalls is fighting in Afghanistan. Nor does he know his attractive travelling companion, Christina (Michelle Monahan), although she seems to know him. Maybe intimately.
Stevens is alarmed and doesn’t know what is going on. He goes to the bathroom to regain his bearings only to look in a mirror to see he’s not staring back at himself – he is in another man’s body. Moments later a bomb explodes, ripping through the train and killing everyone on board.
Stevens isn’t killed though. Instead he wakes up to find himself strapped in a harness in a cold chamber he knows not where. In the darkness he can see a computer screen where a uniformed operative (Vera Farmiga) asks if he was able to find the bomb. He wasn’t and she tells him that time is running out and he should focus on locating the bomb when he returns.
Whereupon Captain Colter Stevens finds himself back in the train with Christina again. Only now he knows that a bomb is going to rip through the train carriage — and he has minutes to find it before it does.
That’s Source Code’s opening premise and from there Captain Stevens begins looking for the bomb. Getting closer to it and the bomber each time, before it detonates and he finds himself back in the chamber being debriefed and getting more instructions before being sent back to the train carriage again.
Nothing Satanic about that you might think. But that’s the whole point: there are no obvious references to archaic Satanism and Source Code’s all the more convincing without them. After all this is the 21st century, Satanism has moved on and Source Code presents us with a new, updated version.
After repeatedly being sent from the cold dark chamber to the Chicago bound train prior to the bomb blasts two things begin to dawn on Captain Stevens. First he may just be able to prevent the terrorist bombing. Secondly and perhaps more significantly, this cold dark chamber he returns to each time the bomb detonates is not a very nice place. Apart from being cold, dark and uncomfortable he has little real human contact with anyone beyond debriefings via his computer.
It becomes obvious why things are this way at the movie’s end; when Captain Stevens stops the terror bombing and the cold dark chamber he keeps returning to turns out to be a life-support system sustaining his severely injured body. Or at least his impression of it in his Near Death state.
Not only does Captain Stevens prevent the terror bombing but he escapes the cold dark chamber when he assumes permanent residence in the body he found himself in on the train. In effect he takes possession of it and, to cap it all he gets the girl too.
A happy ending, on the surface at least, but an ending that conceals the movie’s dark Satanic subtext.
The fact that Source Code goes along with the “War on Terror” narrative should make us suspicious from the outset. After all, there’s strong evidence that 9/11, 7/7 and numerous other “terror attacks” were carried out in collusion with Western intelligence.
However in Source Code the “terrorist” turns out to be a single white male, the inference being he’s some sort of “lone-nut, white extremist”.
Beyond abiding with the offical version of the “War on Terror”, Source Code’s sinister subtext becomes more obvious on a deeper level.
The white lights, angels and reunions with deceased loved ones often reported by those who’ve undergone Near Death Experiences are entirely absent from Captain Steven’s experience. Instead we get the Military-Banking-Industrial complex’s version of a Near Death Experience; where Captain Stevens is kept alive by a machine to fight the “War on Terror” and his experiences are otherwise limited to a cold dark chamber.

Captain Steven’s badly mangled body remains in a Near Death state on life support.

The implication being that life and consciousness are rooted entirely in the physical world.
This is further reinforced by the fact that Captain Steven’s escape from this oppressive cycle, and into the arms of an attractive woman, is facilitated through another man’s body. Furthermore he escapes not through the spiritual realm but back into the physical world.
In other words: life begins and ends in the physical world, the inference being that there is nothing more. Unless, of course, it’s controlled and supervised by the Military-Industrial-Banking complex.
Here it is worth recalling what esoteric researcher Rudolph Steiner had to say about Satan. Originally known by the ancient Persians as Ahriman, he strove to limit man’s higher evolution by keeping mankind limited to the physical world. He succeeded insofar as the elements in which he thrived were also resident in men. In their most extreme forms like greed, acquisitiveness and rampant overweening materialism, Ahriman is able to contain or at least deplete men’s enthusiasm for spiritual attainment.
Apart from being active in the world of banking, Ahriman is also very much at home in the realm of scientific materialism, where nothing is considered real unless it can be physically quantified. Ahriman is in his element here where natural remedies are anathema and where countless animals are routinely sacrificed in the name of scientific research and the pursuit of corporate profit.

Captain Coulter gets more instructions from the technocrats in control

A world where drugs and machines are able to support a life of sorts. Exactly the sort of environment where Captain Colter Stevens broken body is sustained in Source Code.

This is Ahriman’s realm and it’s also a vital part of the world we inhabit too. However, it needs to be seen in perspective and balanced with a deeper spiritual perception.
That viewpoint is entirely absent from Source Code however. Instead, we get an afterlife overseen by technocrats waging a “War on Terror”. While Captain Stevens only escapes the war and an oppressive Near Death state after one of the technocrats relents and makes a deal with him.
Again the inference being that there is no God, there are no higher powers, the Military-Industrial-Banking complex’s technocrats are the ones in charge. While those who may oppose them are no more than “terrorists”.
Or as President George Bush once remarked on the eve of the Iraq War: “Either you’re with us … or you are with the enemy”.
So where do you think your loyalty resides?

Heart of Hollywood 2012

Origin of Palestine – Remastered

ISRAHELL ON EARTH [A New Must Watch Documentary]

The Whole Story Of Zionist Conspiracy

Rating: 4.2/5 (30 votes cast)

The Last Days of the Big Lie is a documentary which debunks the disgusting liars glorified as heroes and victims in the Steven Spielberg produced, Academy Award winning “Holocaust” documentary The Last Days.

The Last Days of the Big Lie uses Spielberg’s Oscar winning hoax as a jumping off point to debunk Spielberg’s USC Survivors of the Shoah Visual History Foundation as well as the greater Holocaust Hoax.

Zombie Hasbara: ‘World War Z’ and Hollywood’s Zionist embrace

guerra mundial z estreno junio 2013
Zombies rush the wall in World War Z.

I went to the Drive-In in Atlanta Friday night, to celebrate a friend’s birthday, a beautiful night under an almost full moon. We watched This is The End and Fast and Furious 6, and two of us stayed for the 2:00 am screening of World War Z. I’m not a zombie fanatic, so other than watching the Walking Dead, I had few expectations beyond the trailers that have been on TV since the Super Bowl. So I was surprised, jarred out of the movie really, when right in the middle of the narrative, Brad Pitt’s character, Gerry Lane, travels to Israel and spends more than 10 minutes in a full-on pro-Israel propaganda piece that was as corny as it was crazy.

The Times of Israel may be only slightly exaggerating when it calls this “the greatest piece of cinematic propaganda for Israel since Otto Preminger’s “Exodus.”Not only is Israel’s fanatical Wall Building proven to be justified, against the hordes of undead invaders, and not only are Jewish victimizations paraded to justify the aggrandizement of Israeli military prowess, but it’s Israel’s supposed humanism, and multicultural inclusiveness, which in the end weakens the fragile post-apocalyptic state and allows the zombies to overrun everything. Its pretty heady stuff.

The film

Spoiler Alert: In order to deconstruct this bizarre interlude into politics at the movies, I will need to reveal most of the plot points, so read on at your own risk. Apparently, WWZ is based on the book of the same name, by Max Brooks, Mel’s son. It took many years to produce, cost about 200 million to make, and has a respectable 67% rating on Rotten Tomatoes, which ensures a wide audience and broad cultural impact for this summer blockbuster. The story centers on an unexplained global zombie pandemic that starts suddenly and engulfs the world rapidly with an onslaught of sprint-inclined zombies that rush toward their prey in huge mindless swarms. What people seem to like about the book is that it engages the global geo-politics of the zombie fall out, but it quickly reverts to neo-conservative assumptions that are played out with far less scope in the film. While the film sticks with the super fast zombies, and the compelling immersion narrative technique, its international scope is greatly curtailed, with Israel the only country besides the US that is featured in any substantive way, beyond very brief forays into Korea, Wales, and at the very end, Canada.

Pitt plays Gerry Lane, a semi-retired UN worker who reluctantly is drawn back into the field to save his family and all of humanity. His zombie-readiness credentials are listed by his agency head as field experience in the conflict zones of Kosovo, Chechnya, and especially Liberia; and with this, the racialized naturalizing of interpersonal human violence begins. After zombies suddenly swarm through New Jersey, Gerry gets his family to the safety of offshore naval vessels and then embarks on a search for patient zero, in hopes of finding a cure. In the book, this would be the outbreak of disease in China, but in the film this is South Korea, which we never really see, beyond a mostly white military unit on a US base besieged by walkers. Gerry immediately loses his South Asian medical investigator to a panic-induced, self inflicted gunshot to the head, runs several harrowing zombie gauntlets, and picks up vital intel from a deranged CIA officer who suggest that answers lie in Israel, which has somehow managed to wall itself off from the plague, and also mysteriously seems to have known in advance that it was coming. Gerry says something about “they’ve been building wall for two millennia,” and then he’s off.

Before the viewer can process whether the film is about to go down some post-9/11 Jewish conspiracy path, Gerry is landing in the Holy Land fortress-state to the site of slowly fluttering Israeli flag close-ups, triumphant marshal music, and confident IDF soldiers speaking in Hebrew, rushing around, smiling in soft filtered light close-ups. It’s the first glimpse of order, military control, and calm since the disaster has started, and its so overtly pro-military that its reminiscent of the armed forces segments in Transformers, looking almost like a commercial shot by the media wing of the armed services. [1] Filmed in Malta, the aerial and long distance wide shots do a passable job of conveying Jerusalem to an unfamiliar audience, and Gerry is soon talking to the Mossad chief, Jurgen Warmbrunn, played by a somewhat Tevya [2]-like caricature that really is redolent of Exodus.

Gerry’s already informed the audience that wall building is natural to Israel, so the reinforcement of ancient and Separation Walls is plausible, and comes as not at all veiled justification of Israel’s current and widely condemned Apartheid Wall. He questions the Mossad chief on how he knew the threat was coming, and gets a lesson in revisionist Zionist history, starting with the legitimate failure to take the threat in 30s Germany seriously, and then the same failure from similar or greater threat in 1973, when “we were almost washed into the sea,” and at the 1978 Olympics, both of which “we did not see coming.” It’s the classic, and academically disproven myth that Israel was always on the defense in its wars, and also the conflation of Palestinians and Arabs with Nazis, as ever-present existential threats to peace-loving Jews. Then we are treated to a quasi-mystical “10th Man” theorem, in which any time there is too much consensus, a 10th man in the hierarchy must consider the impossible, as a form of protection from this repeated failure to see the inevitable next assault on the Jewish people. This throw-away theory is never returned to in the film, but briefly justifies Israel’s aggressive military posture, and suggests that others in the world must follow suit to survive the coming Armageddon.

In the book, unlike the film, Cuba is portrayed as ascendant during the disaster, due to its supposedly fascist state military control of the society. Worse, South Africa rehabilitates apartheid era tactics and leaders, at the request of Nelson Mandela himself, in an effort to stave off the zombies. It creates survivalist Bantustans for the privileged, and fake safe zones where lesser humans are fed to biters/zombies to buy time for the others to regroup. So the defense-of-apartheid trope is neither accidental nor limited to Israel. While the fate of North Korea is a mystery in the book, in the film we are told it survived by the largest feat of social engineering ever: it knocked the teeth of all 13 million inhabitants out in one day, thereby preventing zombies from biting and spreading their virus after they’ve shifted. Viva totalitarianism.

In Israel, Gerry’s Mossad tour continues, showing a society safely protected by its paranoia and militarism from the outside threat, the only known safe haven as the world crumbles. At a clearing in front of the large barrier wall, near a refugee processing military checkpoint, is a spectacle of pure multicultural fantasy, in which Hassidic and secular Jews, and Palestinians sing and dance in praise of the savior state. I think I caught a Palestinian woman singing a patriotic song in Hebrew, after she grabs the mike in the celebratory frenzy. It’s a very brazen rewrite of the violence and exclusion of Israel’s hundreds of check-points, which are turned completely on their head in the film. Talking over the din of this utopian spectacle, Jurgen explains that they are letting in every human being, in a kind of equalized Right of Return for all, because every living human is one less undead to deal with later. This is the high point of the Zionist propaganda, after which things quickly fall apart. But by now Israel’s aggression and militarism have been fully justified, and it is the only safe harbor in the apocalypse. Its apartheid walls are what save it, and others wishing to survive must copy their example (as the US is doing on its southern border in real life). And we have received heavy-handed doses of Israel’s democratic, multicultural, inclusive nature, all in defiance of any basic facts, human rights reports, or even middle of the road media coverage.

Then it comes unglued. Israel’s supposed openness and multiculturalism are what does it in! Jews and Palestinians singing together in a circle get too loud, and the zombies create zombie pyramids to overrun the walls and invade the sanctuary-state. Chaos ensues and Gerry, with his IDF escort, makes his way to the airport to try to escape alive. It’s such a straight shot at the weakness of inclusion and a (fantasy) post-racial Jewish state, that the Times of Israel, again, says: “Basically, if it weren’t for those damn peaceniks, Israel would have survived. Hey, who the hell wrote this movie, Meir Kahane?”5 And below an accompanying photo of the zombie pile breaching the Security Wall, their caption: “World War Z’s zombie pyramid. Damn peace camp.” Message received.

But as the Times also states, “Okay, so Israel falls to the zombie plague, too. But… at least it lasted longer than everybody else. That has to stand for something, right?” And from here on out, Gerry has acquired an Israeli sidekick, young badass IDF soldier Segen, played by Daniella Kertesz, one of at least three credited Israeli actors in the film. As Jerusalem/Israel falls, Jewish soldiers fight valiantly with guns, grenades and hand-to-hand combat to stem the tide, and Gerry rushes to the airport. On the way, Segen is bitten and Gerry performs a quick amputation of her hand, saving her from becoming undead. They escape together, and travel to the film’s 3rd act, in the WHO offices in Wales. Segen’s now dis-abled body does not prevent her from continuing to fight on the way, but it is also used to symbolize her and the Israeli/Jewish state’s lesser status in the ranks of humanity, coming in second to the fully humanized and whole body of Brad Pitt’s Gerry Lane, whose full, passive, hetero-normative family awaits him in Nova Scotia, and gives him a reason to keep on fighting to save us all.

The final sequences, in the WHO offices in Wales, are much less broad in scope, as Gerry uses his cunning and superior intelligence to figure out that zombies only feed on healthy humans, and avoid those who they sense are sick, weak, or terminal, apparently following a precedent found amongst predators in nature. “Mother” nature is literally called a ruthless bitch by the Harvard doctor earlier in the film, but luckily (super) man [3] will overcome her with reason, so not to worry. And while I suspect my biologist colleagues will tell me this is not a very accurate depiction of predators and nature, it is a zombie film after all, and the pretense to realism and intellectual accuracy is just that, a pretense. But this analytic allows for a bizarre anti-environmentalism to cohabitate with the neo-conservative, macho geopolitics of the global narrative. [4]

So Gerry risks all to acquire the zombie-surrounded pathogen samples to test his hypothesis, purposely infects himself, and then powerfully is able to walk undetected through the undead, thus finding the cure to the global crisis. But remember, his fully able body is not actually sick, its just temporarily infected, before receiving the antidote to whatever typhus or dengue fever he selected for himself, and he will live on in full health after this mission.

World War Z’s racial hierarchy

Gerry’s method of survival is important because it confirms the total racial hierarchy of value established in the film’s narrative structure. While Segen fights valiantly on the plane and in the Welsh research facility, she and the Israeli social body are clearly secondary, tools to achieve a final solution and goal, but little more. Mystical, paranoid Jews developed a survival instinct and a vicious apartheid separation system, which allowed Gerry a space to visit and make observations about the undead menace that only his superior intelligence could bestow on the world. It is the US military, working with the UN, in the body of the selfless white, Aryan, Christian male, Gerry Lane, which occupies the apex of human subjectivity. This narrative is a perfect metaphor for the reality of the Jewish/Christian Zionist political relationship that it is based on. The Times of Israel misses this entirely, of course, as their celebration of the film’s Zionism culminates in a critique of the sub-titling in Turkey, where apparently references to Israel and Jews are replaced with the generic phrase Middle East, much to their displeasure. But in the real world, Christian Zionists mainly in the US and also scattered throughout the settler-colonies of the West, contribute more than 10 times the funding to Israel than the much vaunted Jewish communal support machine does. And it does so in the service of Israel’s Jewish defeat of unnamed Arab armies, to prepare the way for Christian rapture, during which Jews and other infidels will be converted or eliminated to create the (alarmingly mono-cultural or mono-theocratic) Kingdom of Heaven here on Earth, or in the sky somewhere.

In concluding, let’s look at the racial hierarchy of World War Z’s narrative. Gerry is the superman, for sure, who saves us all. Segen, minus her hand, is a worthy sidekick, useful like the Jews in general, in getting to the End of Times, or at least the end of the story. Almost all the others in the film are explicitly lesser in one way or another. Before being rescued by the UN helicopter after New Jersey is overrun, Gerry and his family are taken in by a kind Latino family, whose assimilated son translates their unexpected hospitality. But when Gerry tells them that he has experienced things like this before and learned that “movement is survival,” their lesser racial/rational status prevents them from leaving their home and being saved with Gerry and his family. Only the son, who has converted to the “American” way, and learned English, survives, and gets unofficially adopted by the Lanes. This liberal act of compassion is compelling, but reinforces the necessity of assimilation to the dominant culture to ensure acceptance and survival. The unassimilated parents are left in the dust.

Thierry Umutoni, Gerry’s presumptively African boss at the UN is competent, but unable to do more than recognize and deploy Gerry’s greater intelligence and skills. He also can’t adequately protect Gerry’s family, who are immediately shipped off to the Nova Scotia refugee camp when they think Gerry is dead. Gerry’s wife and kids are important, and worth saving (given their apex whiteness), but still lesser due to gender and age — passive, needing protection, unable to fend for themselves, and in the case of the children, annoyingly and dangerously irrational in the face of the threat of death. It’s a racial hierarchy that is explicitly gendered, with the patriarchal leader unequivocally at the head throughout the film, especially in the predictable Hollywood moment conclusion when the family is reunited.

Thierry assigns Gerry to guide Harvard educated Dr. Andrew Fassbach through the Korean hotzone, in search of patient zero. Fassbach, played by actor Elyes Gabel, is not white, has a British accent, and is presumptively of South Asian or Arab heritage. Gerry instructs him in what to do and expect, but on first sight of zombies as they deplane in the darkness and fog of Korea, he breaks ranks, panics, runs, maladroitly falls, and accidentally shoots himself dead. Potentially useful intelligence wasted on a lesser person, to be sure, who lacked the hetero-manly fortitude to face down the threat, thus confirming his lesser racial status, almost straight out of 19th century colonial tropes of the lesser manhood of colonized men. Korea itself is never seen, beyond the literal shadows at the edge of the US military base there. As to North Korea, all we hear is a deranged whisper of its ultra-fascist response.

In the end we are left with a prototypical kind of liberal multiculturalism that reinforces rather than challenges the hierarchies of modern white supremacy. The rational, Aryan, Christian male is at the very top, with his appended family next in line. Jews are provisionally white, therefore useful in Empire’s need to fend off the hordes of undead walkers and others at the periphery. But ultimately even the mystical Jews are expendable, en route to the final salvation. All the other Others in the narrative are even further behind in the ranks of worthy survivors. While the film definitely provides a bizarrely crude Zionist redemption narrative, and even a Kahane-esque rebuke of liberal Zionist tendencies toward peace and coexistence, the ultimate Subject of value is the Christian Zionist of US Empire, so powerful that it goes unnamed, largely unseen, even though He is always, irrevocably at the center of the story.

Its fun to speculate about what motivates the heightened zombie vogue, what psychological and social angst it reveals. On the one hand, there is the fear of declining Empire, the fear of anarchy and chaos should the bottom fall any further out of our privileged economy. This makes perfect sense, and seems to have a lot of merit. On the other hand, the zombie meme may be less about looming Armageddon, and more about a nagging subconscious awareness that the extreme inequalities of our current world order are in fact already a kind of zombie-scape, in which almost 3 billion people live in such extreme poverty, largely removed from the view of Westerners, malnourished and off the grid, that they are real life living dead in a way, and they have lots of reason to come for us, looking to eat us, or at least consume our ill-gotten wealth. Maybe it’s a little of both.

When WWZ (both the book and the film) strides into Israel, the slippage between zombie and racial-Other comes clearly into view. During an interview about his book, Max Brooks is asked by a caller in Alexandria, VA if he “compare(s) the zombies to today’s fundamentalist Islamists? i.e., unthinking, uncaring, irrational villains who kill for the sake of killing?” He replies: “The lack of rational thought has always scared me when it came to zombies, the idea that there is no middle ground, no room for negotiation. That has always terrified me. Of course that applies to terrorists, but it can also apply to a hurricane, or flu pandemic, or the potential earthquake that I grew up with living in L.A. Any kind of mindless extremism scares me, and we’re living in some pretty extreme times.” Brooks seems moored in the state of our current world, and its (political or force of nature) “zombies,” more than fear of any impending melt-down. While his work is noted for its breadth of global politics, it’s also clear that it lacks structural analysis about the causes of violence and injustice, because the privileged prefer to construct those coming for them as mindless and irrational. Maybe what we need is a narrative from the perspective of the zombie, a subaltern zombie tale in which the myth of irrationality is finally rebuked.


[1] In this case, it’s the Israeli Defense Forces (IDF), and not the US army, marines, navy and airforce shilled for in Transformers. But at least one of the people behind WWZ was also on board for Transformers: Revenge of the Fallen, and that’s Ben Seresin Director of Photography, and this may explain some of the similarity of sympathetic flag close-ups and reverential pro-military stylings.

[2] The main character in Fiddler on the Roof.

[3] I mean this more in the Nietzsche superman sense than in the comic book superman sense. Nietzsche’s superman is Man with a capital M, the rational conqueror of nature, physics, and lesser humans that also features centrally, although inverted, in the critical theories of Sylvia Wynter.

[4] Apparently the book is more ambivalent on the environmental front, with this same meta-explanation more or less in place, but balanced to some extent by the despoliation of the Canadian arctic by uninfected humans amassing there due to zombies discomfort with the cold. Somehow readers seem to take this as an admonition that humans are too hard on their environment and need to rethink this.

About Jesse Benjamin

Jesse Benjamin, an associate professor of sociology at Kennesaw State University, is a US and an Israeli citizen.

Hollywood’s Creepy Love Affair With Adolf Hitler, in Explosive New Detail

Uncovered: new evidence of Jewish movie moguls’ extensive collaboration with Nazis in the 1930s

By David Mikics|June 10, 2013 4:33 PM|86comments

Hitler and Goebbels at the UFA studios in Berlin in 1935. (Deutsches Bundesarchiv)

In fact, the Nazis liked The House of Rothschild so well that a scene from the movie was actually incorporated into the most notorious Nazi anti-Semitic film, Der Ewige Jude. The ADL was so disturbed by the film that it convinced the studios to avoid all mention of Jews in their future productions. And so Jewish characters, who had been featured in hundreds of movies in the 1920s, all but disappeared from the American screen after Hitler’s rise to power. Hitler’s government couldn’t have been happier: There would be no reference to the ever-more desperate plight of the Jews under the Nazi rule in any Hollywood film of the ’30s.

Incredibly, the creative collaboration between the Nazis and Hollywood only deepened throughout the 1930s as exclusionary violence against Jews increased and Hitler tightened his grip on power. In the late 1930s, Urwand claims, Paramount and 20th Century Fox produced newsreels in Germany depicting major Nazi events. Most shocking of all, Urwand maintains, in 1938 MGM invested in factories making German weapons in Austria and the Sudetenland. As Urwand put it in a recent YouTube interview, “The biggest movie studio in America was actually financing the production of German armaments immediately before World War II.” After Germany invaded Poland, MGM further consolidated its alliance with the Nazis by donating eleven of its most popular movies to the cause of German war relief.


In 1937, Urwand discovers, Jack Warner seems to have agreed to Gyssling’s demand that the word “Jew” not be spoken in The Life of Emile Zola, which depicted the Dreyfus case; Warner Bros. reassured the German consul that Dreyfus was not a major figure in the movie. The studios even sometimes signed their communiqués to Berlin “Heil Hitler!”: They were loyal to the Führer, even when he didn’t want their movies and in fact wanted to see them dead. Eventually, in 1939, Warner Brothers produced a B movie titled Confessions of a Nazi Spy—the first and only Hollywood criticism of Hitler Germany to be released in the six years since the Nazis took power. But the damage had already been done; the cravenness of the American film industry had made them de facto allies of the Nazis.

Hollywood’s repression of the facts about Jewish persecution continued even during the war years, after all the studios had finally been driven from Germany (MGM and Paramount remained there well into 1940) and America was at war with the Nazis. Despite the courageous efforts of screenwriter Ben Hecht to raise public awareness of the Holocaust while it was happening, there was only one reference to what was being done to the Jews in any Hollywood movie made during the war: a 5-minute sequence of a minor courtroom drama called None Shall Escape (1944), in which Nazis shoot a group of Jewish prisoners who fight back while they are being loaded onto a train. Five minutes was all the studio heads could give to the mass murder of their people, which by then had become common knowledge—in part as a result of Hecht’s full-page newspaper ads and his 1943 Madison Square Garden pageant, We Will Never Die.

Hitler saw himself as a cinematic hero, a matinee idol who overwhelmed the adoring crowds awestruck by his power. He stepped in on occasion and edited the Nazi newsreels himself; he realized that film swayed the masses. Hitler knew he had to feed people fantasy in order to get them to follow his evil vision, and he knew that the movies had taught him how to exploit fantasy’s power: how to seduce on the grandest possible scale. The movies he found most inspiring, most magical in the spell they cast on an audience, were made in America. As Neal Gabler argued in An Empire of Their Own, the Hollywood Jews invented the America of our dreams, a place of high excitement, courage, laughs, compassion, family feeling, and true love. Hitler’s dream was different, and it found a terrible fulfillment in mass murder and war. Hollywood could have helped awaken the world to the looming danger of Nazism, but instead the Jewish dream-makers cast their lot with the world’s—and the Jews’—greatest enemy.

How Jewish is Hollywood?

A poll finds more Americans disagree with the statement that ‘Jews control Hollywood.’ But here’s one Jew who doesn’t.

By Joel SteinI have never been so upset by a poll in my life. Only 22% of Americans now believe “the movie and television industries are pretty much run by Jews,” down from nearly 50% in 1964. The Anti-Defamation League, which released the poll results last month, sees in these numbers a victory against stereotyping. Actually, it just shows how dumb America has gotten. Jews totally run Hollywood.
How deeply Jewish is Hollywood? When the studio chiefs took out a full-page ad in the Los Angeles Times a few weeks ago to demand that the Screen Actors Guild settle its contract, the open letter was signed by:
News Corp. President Peter Chernin (Jewish),
Paramount Pictures Chairman Brad Grey (Jewish),
Walt Disney Co. Chief Executive Robert Iger (Jewish),
Sony Pictures Chairman Michael Lynton (surprise, Dutch Jew),
Warner Bros. Chairman Barry Meyer (Jewish),
CBS Corp. Chief Executive Leslie Moonves (so Jewish his great uncle was the first prime minister of Israel),
MGM Chairman Harry Sloan (Jewish) and
NBC Universal Chief Executive Jeff Zucker (mega-Jewish).
If either of the Weinstein brothers had signed, this group would have not only the power to shut down all film production but to form a minyan with enough Fiji water on hand to fill a mikvah.
Joel Stein

The person they were yelling at in that ad was SAG President Alan Rosenberg (take a guess). The scathing rebuttal to the ad was written by entertainment super-agent Ari Emanuel (Jew with Israeli parents) on the Huffington Post, which is owned by Arianna Huffington (not Jewish and has never worked in Hollywood.)

The Jews are so dominant, I had to scour the trades to come up with six Gentiles in high positions at entertainment companies. When I called them to talk about their incredible advancement, five of them refused to talk to me, apparently out of fear of insulting Jews. The sixth, AMC President Charlie Collier, turned out to be Jewish.

As a proud Jew, I want America to know about our accomplishment. Yes, we control Hollywood. Without us, you’d be flipping between “The 700 Club” and “Davey and Goliath” on TV all day.

So I’ve taken it upon myself to re-convince America that Jews run Hollywood by launching a public relations campaign, because that’s what we do best. I’m weighing several slogans, including: “Hollywood: More Jewish than ever!”; “Hollywood: From the people who brought you the Bible”; and “Hollywood: If you enjoy TV and movies, then you probably like Jews after all.”

I called ADL Chairman Abe Foxman, who was in Santiago, Chile, where, he told me to my dismay, he was not hunting Nazis. He dismissed my whole proposition, saying that the number of people who think Jews run Hollywood is still too high. The ADL poll, he pointed out, showed that 59% of Americans think Hollywood execs “do not share the religious and moral values of most Americans,” and 43% think the entertainment industry is waging an organized campaign to “weaken the influence of religious values in this country.”

That’s a sinister canard, Foxman said. “It means they think Jews meet at Canter’s Deli on Friday mornings to decide what’s best for the Jews.” Foxman’s argument made me rethink: I have to eat at Canter’s more often.

“That’s a very dangerous phrase, ‘Jews control Hollywood.’ What is true is that there are a lot of Jews in Hollywood,” he said. Instead of “control,” Foxman would prefer people say that many executives in the industry “happen to be Jewish,” as in “all eight major film studios are run by men who happen to be Jewish.”

But Foxman said he is proud of the accomplishments of American Jews. “I think Jews are disproportionately represented in the creative industry. They’re disproportionate as lawyers and probably medicine here as well,” he said. He argues that this does not mean that Jews make pro-Jewish movies any more than they do pro-Jewish surgery. Though other countries, I’ve noticed, aren’t so big on circumcision.

I appreciate Foxman’s concerns. And maybe my life spent in a New Jersey-New York/Bay Area-L.A. pro-Semitic cocoon has left me naive. But I don’t care if Americans think we’re running the news media, Hollywood, Wall Street or the government. I just care that we get to keep running them.


Hollywood’s Agenda, and the Power Behind It by Mark Weber

Text of address given at the “Hollywoodism” conference in Tehran, Iran, on Feb. 6, 2013 Last September, during my first visit to Iran, an incident occurred that underscores the importance of our meeting here this week.Perhaps eight of us — men and women from several different countries who were attending the “New Horizon” conference — were sitting together for a meal at a large, round table at the top of the Milad Tower, high above central Tehran. As the conversation turned to customs and lifestyles in our different countries, a younger Iranian in his 20s remarked, almost in passing, that Americans are slender and thin. I was surprised by this, and responded by saying that, by all accounts, Americans are the most overweight people in the world. I asked him why he thought Americans are slender and thin. Well, he replied, that’s how they look in American movies.Now, this young man was not stupid or foolish. And what people think about the average weight of Americans is not a critically important matter. But his remark was another reminder of Hollywood’s tremendous, global influence, and of how misleading its imagery can be.During one-on-one talks with Iranians, I’ve been surprised by how many have a strangely idealized impression of the US and American society that’s based on their viewing of American movies and television. This is especially remarkable given that, in the United States at least, we’re told that Iranians hate America. Actually, it seems that often the most hostile view of the US and Americans is by people in countries that are supposed “friends” of the US, and that a much more positive view of the United States can sometimes be found in countries that are supposed enemies of America.If even many Iranians, whom one might suppose would be particularly skeptical of Hollywood imagery and propaganda, can be so readily swayed or misled by it, how much more easily influenced and misled might people be in countries that are under the direct shadow of Washington, New York and Hollywood.Well, we certainly have our work cut out for us!Everyone understands that American motion pictures and television, and, more broadly, the US mass media, play an important role in shaping the outlook, values and behavior, of many millions of people around the world, especially, of course, in my homeland, the United States. But even many of those who readily acknowledge this influence seem not to fully comprehend the formidable power behind Hollywood, or the outlook and agenda of those who wield that power.Last September, during my first visit to Iran, I was a bit surprised that at one session of the “New Horizon” conference, a few of the participants objected to describing Hollywood as “Zionist controlled” or “Zionist dominated.” The discussion became so heated that a special session was scheduled to further debate this issue and, hopefully, to reach a consensus on it. This question is not a peripheral or academic one. An awareness of who holds power in Hollywood is essential for an understanding of the outlook, ideology and agenda of those who wield such great influence.During a television interview in 1996, actor Marlon Brando spoke bluntly on this subject. He said: “I am very angry with some of the Jews … They know perfectly well what their responsibilities are … Hollywood is run by Jews. It’s owned by Jews, and they should have a greater sensitivity about the issue of people who are suffering.” / 1For making those remarks, Zionist voices in the US quickly and severely denounced the veteran actor. He was sternly rebuked, for example, by the “Anti-Defamation League,” one of the most powerful and influential Jewish-Zionist groups in the US. The ADL called Brando’s remarks a “slur.” In fact, statements, at least by non-Jews, that affirm Zionist or Jewish domination of Hollywood are routinely denounced by the ADL and similar groups as groundless, “anti-Semitic,” and intolerably offensive “hate” speech. / 2But what’s the reality of the matter? Was Marlon Brando telling the truth? How accurate is it to describe Hollywood — and, more generally, the US mass media — as Jewish or Zionist controlled?One of the most knowledgeable and seasoned observers of Hollywood is Michael Medved, a well-known Jewish author and political commentator who is also a prominent film critic. On this subject, he has written: “It makes no sense at all to try to deny the reality of Jewish power and prominence in popular culture. Any list of the most influential production executives at each of the major movie studios will produce a heavy majority of recognizably Jewish names.” / 3One person who has carefully studied this subject is Jonathan J. Goldberg, editor of the influential Jewish community weekly Forward. In his 1996 book, entitled Jewish Power, he wrote: / 4“In a few key sectors of the media, notably among Hollywood studio executives, Jews are so numerically dominant that calling these businesses Jewish-controlled is little more than a statistical observation …“Hollywood at the end of the twentieth century is still an industry with a pronounced ethnic tinge. Virtually all the senior executives at the major studios are Jews. Writers, producers, and to a lesser degree directors are disproportionately Jewish — one recent study showed the figure as high as 59 percent among top-grossing films.“The combined weight of so many Jews in one of America’s most lucrative and important industries gives the Jews of Hollywood a great deal of political power.”Another person who has commented with some authority on this matter is Joel Stein, a Jewish Hollywood producer, and a writer for Time magazine and other periodicals. In a column that appeared in December 2008 in the Los Angeles Times, he wrote: “As a proud Jew, I want America to know about our accomplishment. Yes, we control Hollywood … I don’t care if Americans think we’re running the news media, Hollywood, Wall Street or the government. I just care that we get to keep running them.” / 5Several years ago, Bishop Desmond Tutu of South Africa, who was awarded the 1984 Nobel Peace Prize, told an audience in Boston: “… You know as well as I do that, somehow, the Israeli government is placed on a pedestal [in the US], and to criticize it is to be immediately dubbed anti-Semitic … People are scared in this country, to say wrong is wrong because the Jewish lobby is powerful — very powerful.” / 6Bishop Tutu spoke the truth. Although Jews make up only about two or three percent of the US population, they wield immense power and influence — vastly more than any other ethnic or religious group.As Jewish author and political science professor Benjamin Ginsberg has pointed out: / 7

“Since the 1960s, Jews have come to wield considerable influence in American economic, cultural, intellectual and political life. Jews played a central role in American finance during the 1980s, and they were among the chief beneficiaries of that decade’s corporate mergers and reorganizations. Today, though barely two percent of the nation’s population is Jewish, close to half its billionaires are Jews. The chief executive officers of the three major television networks and the four largest film studios are Jews, as are the owners of the nation’s largest newspaper chain and the most influential single newspaper, The New York Times … The role and influence of Jews in American politics is equally marked …

“Jews are only three percent of the nation’s population and comprise eleven percent of what this study defines as the nation’s elite. However, Jews constitute more than 25 percent of the elite journalists and publishers, more than 17 percent of the leaders of important voluntary and public interest organizations, and more than 15 percent of the top ranking civil servants.”

Two well-known Jewish writers, Seymour Lipset and Earl Raab, went into this in their 1995 book, Jews and the New American Scene. They wrote: / 8

“During the last three decades Jews [in the United States] have made up 50 percent of the top two hundred intellectuals … 20 percent of professors at the leading universities … 40 percent of partners in the leading law firms in New York and Washington … 59 percent of the directors, writers, and producers of the 50 top-grossing motion pictures from 1965 to 1982, and 58 percent of directors, writers, and producers in two or more primetime television series.”

This intimidating power is not a new or recent phenomenon. Thirty years ago, the anti-Zionist Jewish American scholar Alfred M. Lilienthal — whom I knew well, and for whom I once worked — dealt with this in his detailed study, titled The Zionist Connection. He wrote: / 9

“The extent and depth to which organized Jewry reached — and reaches — in the U.S. is indeed awesome … The most effective component of the Jewish connection is probably that of media control … Jews, toughened by centuries of persecution, have risen to places of prime importance in the business and financial world… Jewish wealth and acumen wields unprecedented power in the area of finance and investment banking, playing an important role in influencing U.S. policy toward the Middle East … In the larger metropolitan areas, the Jewish-Zionist connection thoroughly pervades affluent financial, commercial, social, entertainment, and art circles.”

In 1972, during a private White House meeting, President Richard Nixon and the Rev. Billy Graham, the nation’s best-known Christian evangelist, spoke together frankly about the Jewish grip on the media. Their secretly recorded one-on-one conversation was not made public until 30 years later. During their talk, Graham said: “This stranglehold has got to be broken or the country’s going down the drain.” The President responded by saying: “You believe that?” Graham replied: “Yes, sir.” And Nixon said: “Oh, boy. So do I. I can’t ever say that, but I believe it.” / 10

Even though President Nixon, supposedly the most powerful man in the world, believed that America was, as he put it, “going down the drain” unless what he regarded as the Jewish “stranglehold” on the US media is broken, he was afraid to speak publicly about this matter. As powerful as he was, President Nixon feared a power greater than his own.

A characteristic feature of unethical or illegitimate power is a pattern of lies and deceit. For more than 70 years one of the main pillars of Jewish Hollywood has been Metro Goldwyn Mayer. The familiar roaring lion trademark of this great motion picture and television production company appears at the beginning of MGM films. Around the roaring lion of the trademark are the words, in Latin, of the MGM motto, “Ars Gratia Artis,” which means “Art for the sake of art.” This motto is supposed to suggest that, at least for Hollywood and MGM, film and television productions are made, or should be made, only to promote art or culture for its own sake.

In fact, this MGM motto — this liberal watchword — is a lie. For MGM, as for all of Hollywood, “art”, or, more precisely, motion pictures and television shows, are produced and marketed not for the sake of “art” or “culture,” but rather, above all, for the sake of money, for profits — but also to promote the interests, ideology and goals of those who control and run Hollywood. An important and socially harmful consequence of Hollywood’s furious scramble for dollars is the production of motion pictures and television shows aimed at the largest possible markets, and which, therefore, often pander to a base cultural level. That’s bad enough. But in addition, Hollywood has a long record of turning out films that are made to further ideological, ethnic or political goals.

A good example is “Exodus,” a 1960 epic about the founding of the State of Israel. It’s based on a best-selling novel of the same name, written by Leon Uris, an ardent Jewish Zionist. The film’s producer and director was the Jewish immigrant, Otto Preminger. With a memorable, soaring musical score, and starring such prominent actors as Paul Newman and Eva Marie Saint, the film was enormously successful.

In the film, and in the book on which it was based, Jews are portrayed as high-minded, sensitive, idealistic, resourceful and courageous. The British are shown as cynical and rather ignorant. And the Palestinian Arabs, insofar as they are depicted at all, are portrayed as treacherous, cruel and murderous. For an entire generation of Americans, including myself as a youth, along with millions in other countries, the “Exodus” film was perhaps the single most important factor in shaping our view of Zionism and the Palestine-Israel conflict.

During the second half of the last century, one of America’s most popular entertainers was Steve Allen. He was also a gifted and noted musician, composer and writer. In 1992 — some twenty years ago — he said: “Everyone — left, right and middle — is perfectly aware that we are in a period of cultural and moral collapse. But some people don’t want to concede that the popular media bear part of the responsibility.” / 11 Allen was right. Few people, I think, will dispute that Hollywood has played a major role in lowering, even debasing, the cultural level of the United States, and, to a certain extent, of much of the rest of the world.

Michael Medved, the Jewish American author and film critic I mentioned earlier, took a critical look at this issue in a widely-discussed 1992 book titled Hollywood vs. America. While Hollywood continues to produce works of technical brilliance, dazzling camera work, stunning special effects, impressive sets, skilled editing, and creative writing, the great problem of America’s cultural-entertainment center is what Medved calls a “sickness of the soul.” Hollywood today, he says, is a “poison factory,” where what he calls a “pattern of honoring ugliness “ has become “pervasive.” “The most influential leaders of the entertainment industry,” Medved goes on, demonstrate what he describes as a “preference for the perverse.” “One of the symptoms of the corruption and collapse of our popular culture,” he wrote, “is the insistence that we examine only the surface of any piece of art or entertainment. The politically correct, properly liberal notion is that we should never dig deeper — to consider whether a given work is true, or good, or spiritually nourishing — or to evaluate its impact on society at large.” / 12

Those who defend Hollywood, and the “American way of life,” will sometimes argue that — however base or perverse some Hollywood productions may be — they do not represent “official” or institutional Hollywood. A distinction, they say, should be made between the few admittedly deplorable productions — a small number of “rotten apples” — on the one hand, and “official” or institutional Hollywood, on the other. However valid this argument may be, there’s also no question but that Hollywood, as an institution, all too often sanctions and promotes a cultural ethos that is debased, degenerate, and inhuman.

There is no more prestigious or universally acknowledged expression of “official” Hollywood than the Academy Awards ceremony, a highly publicized annual event at which the elite of Hollywood honors itself, and gives recognition to what it regards as the outstanding productions and personalities of the preceding year. At the Academy Award ceremony of early 2006, institutional Hollywood bestowed its highest honor for the best original song in a motion picture on a rap song — if such sound even deserves to be called music — entitled “It’s Hard Out Here for a Pimp,” about the laments and travails of a man who makes a living on the money brought in by his whores.

Here is a portion of the lyrics of this rap song — these are the least offensive lines — which I’ll try to give in English that is more understandable than the original:

  • “It’s blood sweat and tears when it come down to a lick. I’m tryin’ to get rich ‘fore I leave up out it. I’m tryin’ to have thangs but it’s hard for a pimp. So I’m prayin’ and I’m hopin’ to God I don’t slip, yeah.
  • “Man, it seems like I’m duckin’ dodgin’ bullets everyday. Niggaz hatin’ on me cause I got, girls on the tray. But I gotta stay paid, gotta stay above water. Couldn’t keep up with my girls, that’s when things got harder
  • “North Memphis where I’m from, I’m 7th street bound. Where people all the time end up lost and never found. Man, these girls think we prove thangs, leave a big head. They come hopin’ every night, they don’t end up bein’ dead.
  • “Wait I got a snow bunny, and a black girl too. You pay the right price, and they’ll both do you. That’s the way the game goes, gotta keep it strictly pimpin’. Gotta keep my hustle tight, makin’ change off these women, yeah”

Is this what Hollywood means by “Art for the sake of art”? Is this really an exemplary product of American culture? Is this the music of a healthy society? What does this tell us about Hollywood? And what does it say about America?

In the aftermath of Hollywood’s prestigious honor for “It’s Hard Out Here for a Pimp,” no major political figure or leading newspaper raised a voice of protest or shame. That’s because in today’s America, this rap song is regarded not as outrageous or perverse, but instead is embraced as an acceptable, praiseworthy expression of US culture.

Another example of Hollywood’s notion of cultural distinction is a very profitable and widely acclaimed 2009 motion picture entitled “Inglorious Basterds.” In this absurdly fanciful production, actor Brad Pitt plays a Jewish US Army lieutenant during World War II who leads a team of eight Jewish American Army men whose mission behind enemy lines is to kill as many Germans as possible, and to kill them in the most cruel, painful and hideous way possible. Each team member, he says with joyful pride, must collect 100 “Nazi” scalps, and he tells them that no prisoners will be taken — that is, every captured German soldier must be murdered. In one dramatic scene, a US Army sergeant, who calls himself the “Bear Jew,” kills a prisoner of war by bashing in his head with a baseball bat.

This vile glorification of a band of vengeful Jewish sadists was honored by institutional Hollywood with multiple awards, including an Academy Award and eight Academy Award nominations. Years of conditioning by Hollywood filmmakers and American educators had primed audiences to approve and even applaud the sadistic violence of these criminals in US military uniform, because the victims are, after all, evil “Nazis” who deserve to be killed in the most hideous and cruel way possible. Over the years, Hollywood and American public officials have worked together to stigmatize Japanese, Germans, Arabs and others as expendable, evil sub-humans who deserve to be eradicated as vermin.

Hollywood and Washington seem always to be on the lookout for new nations and nationalities for targeting as “evil,” and therefore worthy of eradication. Not long ago, you’ll recall, an American president proclaimed Iran to be an “axis of evil” country, and his successor, the current US president, tells the world that in dealing with Iran, “all options are on the table” — which is an indirect way of threatening Iran with bombing, invasion, war and even nuclear obliteration.

American motion pictures and television, along with the rest of the US mass media, play an important role in shaping people’s basic assumptions about life and the world, in setting social-ethical standards, and in delineating the boundaries of what’s politically possible. Together with America’s still very formidable financial, economic and military power, Hollywood and its products have real impact on the lives of millions, not only in the US, but around the globe.

Along with the rest of the Jewish-Zionist dominated media, Hollywood sensationalizes and distorts current events, systematically falsifies history, promotes debased “entertainment” and perverse cultural standards, and makes possible the Jewish-Zionist hold on American political life, thereby enabling Israel’s wars and decades-long oppression of Palestinians.

Today there is no more important or urgent task than to clearly identify and effectively counter this Jewish-Zionist power.

I want to emphasize here that to deal candidly with this reality is not, as some claim, “anti-Semitism” or “hate.” We should not, and we do not, wish harm to anyone because of his or her ancestry, ethnic background, religion or privately held beliefs. At the same time, we should not — we must not — let smears or malicious name-calling keep us from affirming the truth, and doing what is right.

We are meeting here this week at a conference that brings together men and women of diverse nationalities, races and cultures, and with a broad range of political and religious views. But regardless of our background, nationality or worldview, and regardless of the particular passion or cause that most moves each of us, we share a sense of responsibility for the future of our own nations, and of the world.

We are engaged in a great, global struggle — one in which two distinct and irreconcilable sides confront each other — a world struggle that pits an arrogant and malevolent power that feels ordained to rule over others, on one side, and all other nations on the other. It is a struggle not merely for justice or the well-being of the peoples of this or that nation or region, but a great historical battle for the soul and future of humanity itself.

End Notes

1. Interview with Larry King, CNN network, April 5, 1996. “Brando Remarks,” Los Angeles Times, April 8, 1996, p. F4 (OC). A short time later Brando was obliged to apologize for his remarks.

2. Abraham H. Foxman, Never Again?: The Threat of the New Anti-Semitism (Harper San Francisco, 2003), p. 251.

3. M. Medved, “Is Hollywood Too Jewish?,” Moment, Vol. 21, No. 4 (1996), p. 37.

4. Jonathan Jeremy Goldberg, Jewish Power: Inside the American Jewish Establishment (Addison-Wesley, 1996), pp. 280, 287-288. See also pp. 39-40, 290-291.

5. J. Stein, “How Jewish Is Hollywood?,” Los Angeles Times, Dec. 19, 2008.
http://www.latimes.com/news/opinion/commentary/la-oe-stein19-2008dec19,0… )

6. D. Tutu, “Apartheid in the Holy Land,” The Guardian (Britain), April 29, 2002.
http://www.guardian.co.uk/israel/comment/0,10551,706911,00.html )

7. Benjamin Ginsberg, The Fatal Embrace: Jews and the State (University of Chicago, 1993), pp. 1, 103.

8. Seymour Martin Lipset and Earl Raab, Jews and the New American Scene (Harvard Univ. Press, 1995), pp. 26-27.

9. A. Lilienthal, The Zionist Connection (New York: Dodd, Mead, 1978), pp. 206, 209, 212, 218, 228, 229. See also: M. Weber, “A Straight Look at the Jewish Lobby.”
(http://www.ihr.org/leaflets/jewishlobby.shtml )

10. “Nixon, Billy Graham Make Derogatory Comments About Jews on Tapes,” Chicago Tribune, March 1, 2002 (or Feb. 28, 2002)
http://www.fpp.co.uk/online/02/02/Graham_Nixon.html );
“Billy Graham Apologizes for ’72 Remarks,” Associated Press, Los Angeles Times, March 2, 2002. “Graham Regrets Jewish Slur,” BBC News, March 2, 2002.
http://news.bbc.co.uk/2/hi/americas/1850077.stm) The conversation apparently took place on Feb. 1, 1972.

11. Michael Medved, Hollywood vs. America (Harper Collins, 1992), back cover dust jacket.

12. M. Medved, Hollywood vs. America (1992), pp. 11, 25, 26, 21.

“House of Cards”: Media Mask Masonic Control

March 6, 2014


(House of Card’s Francis Underwood, Kevin Spacey, and his Lady MacBeth, played by Robin Wright) In western society, personal success depends
on your complicity in a diabolical conspiracy and
your willingness to betray your fellow citizens.  
But the mass media doesn’t want you to know this.
“We have already contrived to possess the minds of the goy communities…[they are] looking through the spectacles we are setting astride their noses.” (Protocols of Zion, 12)by Henry Makow Ph.D. cardslogo.jpgI devoured the second season of House of Cards like a box of chocolates. I was surprised to learn that the main character, Francis Underwood, played by Kevin Spacey, is a Freemason. What? You didn’t see that?Neither did I. That’s my point. Most congress critters belong to this satanic secret society, but you can watch a series pretending to unveil Washington politics, and not hear the word “Freemason” mentioned once. (The second season also avoids any mention of Jews and Zionist influence.) Actually there is one Masonic reference, the upside down flag in the series logo is a Masonic sign of distress, perhaps a wink to people in the know.Search “How Many congressmen are Freemasons?” on Google and you’ll find practically no information.  Just a story about the Congressional stenographer who broke down last October blurted about  Freemasons and the devil controlling Congress  There’s no reminder of the 2004 Bush-Kerry election where both men confessed to being members of the Masonic Skull and Bones, but couldn’t talk about it because “it’s a secret.”

How gullible can people get? Both Presidential candidates belong to a secret society. Nothing happening here. Move along folks. The watchdogs of freedom, the mass media, didn’t even pull on their leash. (Another deception in House of Cards is the idea that the msm actually pursues the truth.)

drjameswardner1.jpg(Wardner, left, is a dentist in Florida)  

The pioneer on the subject of Masonic control is James Wardner in a 1996 book entitled Unholy Alliances. Here are 10 facts about their control of Congress and the Judiciary in the recent past. You can be sure that things have only gotten worse.

1.  Wardner lists names of 75 congressmen who were Freemasons in the 1980’s but there were probably many more. These included both liberals and rednecks: Bob Dole, Jesse Helms, Mark Hatfield, Lloyd Bentsen, Robert Byrd and Arlen Specter. Presidents who were Freemasons: George Washington. James Monroe. Andrew Jackson, James Polk. James Buchanan. Andrew Johnson, James Garfield, William McKinley. Theodore Roosevelt, Howard Taft, Warren Harding, Franklin Roosevelt, Harry Truman, LBJ, Gerald Ford, G.H.W. Bush, Bill Clinton, George W. Bush and Barack Obama.

simpson.jpg2.  In 1987, Freemason and Senator Alan Simpson (left) bragged that “Forty one members of the Federal Judiciary are presently Masons.” (67)

3.  Masonic authority Henry Clausen boasted in the early 90’s that Masons include “14 Presidents and 18 Vice-Presidents of the United States, a majority of the justices of the United States Supreme Court, of the Governors of the States, of the members of the Senate, and a large percentage of Congressmen. Five Chief Justices of the United States were Masons  and two were Grand Masters.” (67) Wardner adds that these two Grand Masters were John Marshall and Earl Warren who effectively ended prayer in schools.

4. This is nothing new since Thaddeus Stevens, Pennsylvania’s  delegate to the 1830 Anti Masonic Convention noted that “though but one hundred thousand of these people of the United States are Freemasons, yet almost all the office of high profit and high honor are filled with gentlemen of that institution.”

5. Freemasons in Dwight Eisenhower’s Cabinet included the Secretary of State, the Secretary of Defense,  Secretary of the Interior, Secretary of Commerce and Ike’s Chief of Staff, Sherman Adams.

MaTruman.jpg6. Apart from President Truman himself,left, Masons include the Secretary of State, Commerce, Defense, Attorney General and his four Supreme Court appointments. Truman said, “Although I hold the highest civil honor in the world, I have always regarded my rank and title as a past grand Master (of the Grand Lodge of Missouri) as the highest honor that has ever comes to me.” (61-63)

7.   FDR was an ardent Scottish Rite Mason. Masons in his Cabinet included the Vice President, the Secretary of the Treasury, War, Commerce, Attorney General and six of his eight Supreme Court appointments. No surprise that Empire State Mason boasted in Feb 1953 that if “World Masonry ever comes into being, historians will give much credit to when FDR was President.”

8. President Warren Harding (1921-1923) was a Mason and by 1923, 300 of the 435 members of the US House of Representatives (69%)  and 30 of the 48 Senators (63%) were Freemasons. In 1929, 67% of Congress were Masons.  (p. 56)

TR33.jpg9. Leon de Poncins wrote that the First World War was contrived to create a Masonic Super State in the form of the League of Nations. The Treaty of Versailles deliberately led to revolutionary unrest in Germany, the Civil War in Spain and finally to the Second World War. “It is a frightening thought that an occult organization …can direct the course of European politics, without anyone being aware of the fact.” (p.55)

10. In 1834, a report to the Massachusetts Legislature concluded that Freemasonry was “a distinct independent government within our own government, and beyond the control of the laws of the land by means of its secrecy and the oaths and regulations which its subjects are bound to obey.” (p.54)

Wardner concludes that the tentacles of the Masonic lodge pervade society. There are at least 160 different organizations that require its members to be Masons, including higher ranks of the US military.(p.70)  In 1950, Masons estimated that nearly 10 million adults were directly linked to Freemasonry  through the nation’s three million Master Masons.


mcconnell.jpg(left, Mitch McConnell, GOB leader in the Senate)

Clearly, Freemasonry (Cabalism, Satanism) is the secret religion of the West. This is the real party and we’re not invited. We have to make do with an ersatz version of democracy, freedom and culture.  No wonder vapid white men with pinched pussy faces run the country; no wonder people are so artificial and false and we have constant scandal, corruption and war.

Clearly, the whole Gentile establishment is complicit in the subversion of humanity. Anti-Semitism is a diversion. How many of the Internet anti-Semites ever mention Freemasonry? Of course the Jewish leadership is also guilty. Almost all leadership is. How much easier for Freemasons to slough off the blame on ordinary Jews who are just as clueless as ordinary Gentiles.

Clueless because they watch House of Cards and think it actually depicts political reality.


Must see- the whole story – Three lectures by Dr. James Wardner on Freemasonry in America 

spacey.jpg(left, Marcos writes that Spacey is a well known Satanist. See handsigns)

Related- My Review of the First Season of House of Cards
———- Freemasonry-Mankind’s Deathwish
———-Obama’s Masonic Ring and and Handshake
———  Brotherhood of the Bell Exposed Masonic Control
———- House of Cards- At Least it’s Not Liberal Left Bullshit


Peaches Post-Mortem Inconclusive


Rixon Stewart — April 9, 2014

Did Peaches Gedolf reveal too much? She was after all instrumental in putting Lost Prophets lead singer Ian Watkins behind bars, after police seemed unable or unwilling to take action him. Despite eyewitnesses with photographic evidence that clearly indicated his involvement in serious crimes against children.
Like Jimmy Savile, Watkins seemed to think he was invulnerable and it was only after Peaches took to Twitter that he was finally brought to justice.
Now the otherwise healthy 25-year-old who helped put Watkins behind bars is dead. Did her involvement in putting him in jail play a part in her unexpected demise? Or was it her alleged involvement with O.T.O., as Vigilant Citizen hasmooted.
If that is the case, and we won’t dismiss Vigilant Citizen suggestion, it may have been decided that Peaches had revealed too much in helping expose Watkins.

Lost Prophets frontman and convicted paedophile Ian Watkins. Click to enlarge

Sure Watkins may have been one of their lesser underlings but there’s a price to be paid for betraying fellow members of a black occult order. And if you want to know what the face of intrinsic evil looks like, the sort of person who would rape babies or join a black occult order, just check out Watkins face, (pictured right).
We may never know the exact cause of Peaches’ death. Just as we never know the exact circumstances behind those of Princess Diana and Dr David Kelly. Both these latter deaths helped the elite protect their interests and further their plans.
Nonetheless, it’s noteworthy that “unexplained” deaths are common among those who could embarrass Britain’s ruling class or derail their plans. Like George Smith, the former Royal footman who claimed he was raped by one of Prince Charles’ favoured servants and who alleged moreover that he found Prince Charles in bed with another male servant.
For a while those allegations made headlines around the world but we may never know if they were true because the 44-year-old never got round to substantiating them. He died in 2005, following an “unknown illness”.
Was Peaches Gedolf viewed in a similar light as George Smith? Did she pose a similar threat in what she could have revealed? Even if only inadvertently or unintentionally?
Did she know of others, higher in the occult hierarchy who were involved with Watkins? Was she seen as a liability for her role in having helped expose him and a threat in that she could have exposed others?
Although the results of the toxicology report is still pending don’t be surprised if that too proves to be inconclusive. Leaving Peaches’ death to disappear down the memory hole, along with whatever incriminating testimony she may have provided.

Peaches post-mortem inconclusive

Press Association — April 9, 2014

A post-mortem examination into the death of Peaches Geldof has proved inconclusive pending the results of toxicology tests.

Kent Police said officers are continuing to investigate the circumstances around the 25-year-old’s death and a toxicology report could take several weeks.

The body of the mother-of-two was found at her home in Wrotham, Kent, on April 9 and police have said her death is being treated as a “non-suspicious, unexplained sudden death”.

Peaches’ body was found on April 7 after officers were called “following a report of concern for the welfare of a woman”.

Her body was transferred to Darent Valley Hospital in Dartford for a post-mortem examination to take place.

In a statement, Kent Police said: “A post-mortem examination held on Wednesday April 9 following the death of Peaches Geldof has proved inconclusive pending the result of toxicology analysis.

“Officers were called to the 25-year-old’s home in Wrotham, at 1.35pm on Monday April 7 2014. Peaches was pronounced dead at the scene.

“This is being treated as a non-suspicious, unexplained sudden death.

“Officers continue to investigate the circumstances surrounding the death in order to compile a report for the coroner.

“The result of a toxicology report can take several weeks.”

A coroner is expected to open an inquest into Peaches’ death following the results of the initial post-mortem examination.

Her father, Bob Geldof, and other members of the family led the tributes which flooded in after the death.

In a touching tribute signed by the Live Aid organiser, his partner Jeanne Marine, and her sisters Fifi Trixibelle, Pixie and Tiger, they said the family was “beyond pain”, writing: “She was the wildest, funniest, cleverest, wittiest and the most bonkers of all of us.”

Peaches’ husband, musician Tom Cohen, with whom she had two young sons, said his wife was adored by him and their two sons Astala, 23 months, and 11-month-old Phaedra, who he would bring up “with their mother in their hearts every day”.

Elder sister Fifi posted a picture on Instagram of the two of them together when they were children, writing: ”My beautiful baby sister… Gone but never forgotten. I love you Peaches x.”

Peaches was just 11 when her mother, TV presenter Paula Yates, died from an accidental heroin overdose in 2000, aged 41.

She married US musician Max Drummey in Las Vegas in 2008, when she was 19, but the couple split amicably in February 2009 before divorcing in 2011.

She married Tom, lead singer of south-east London band Scum, in September 2012 at the church in Davington, Kent, where her parents married 26 years earlier. It was also where her mother’s funeral was held.

A prolific tweeter, the final message she sent on April 6 was a picture of herself as a child with her mother, with the message “Me and my mum”.

In a column for Mother & Baby magazine, she wrote how she was now “happier than ever” after becoming a mother.


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