Humor Nazis – 21

Episode #21 – Memery Lane

Big Papa Bearaboo★☭ is appalled at his brood

The Bearaboo’s★☭ basis for its Worldview has unraveled.

Paradoxically, the Bearaboo’s★☭ sworn enemy, yet spiritual twin.

One of these two guys is the daddy of the Right Wing Fatass above.

Posted in propaganda | Tagged , , , , | Leave a comment

Shadows of the Demiurge I – Technology, Transhumanism, & Zionism

Technology is something that often causes “wow” impressions on people. With all of its wonders, lights, and theoretical possibilities people frequently get swept up into a dream world by the prospects that technology seems to offer. From there, it simply becomes a race to develop and produce more technology for one’s own benefit, for leisure and pleasure, and for power over others. The current massive wave of technology that we face undoubtedly has some useful elements within it, yet it is also, in many ways, a resurgence of the mercantile mindset that dominated the Colonial Era where “more was better” regardless of how it was achieved.

Thus, we have come from money and profit being worshiped – the Wall Street Stock Exchange in New York was built to resemble the Parthenon – to technology and development taking its place and being proclaimed a “savior” for mankind.

Many proverbial whips have been offered to chase these new profiteers out and prevent their limitless expansion, one of which will be examined closely here and others touched upon, however we will need a real and practical whip soon.

Enslavement via Technology

In Harlan Ellison’s dark and telling short story, I Have No Mouth and I Must Scream, the author quickly sketches an extreme, though a logical extreme, toward which unchecked, power and profit driven technological advancement is compelling humanity to push itself. The background is that at some point during the Cold War of the 20th Century, the major powers – being the US, USSR, and China – built massive supercomputers to coordinate their armed forces in preparation for war, and then actually make critical decisions during the war itself. With humans pushed out of the decision making process, the computers did all they knew how to do: prepare for and manage war. They started to learn as geometric rates, which itself is a version of unchecked progress all in the name of progress itself, and humanity met its fate. The massive computers designed solely for war planning and contingency shuffled the chessboard for a total slaughter.

Computer wins. Game Over.

The American Alliance’s (probably something akin to NATO) supercomputer, bluntly named Allied Mastercomputer, or AM, became the last one standing of the super-computers and used its massive and expanding learning capability to subdue the remaining members of humanity. It is unclear whether AM is the original Allied supercomputer or an assimilation of one or more of the others, either way, this machine solely designed to expand its knowledge and plan for conquest now controls the entire Earth. It has become self-aware and is knowledgeable about its history to at least knowing that humans made it and thus put it into the current and very bleak predicament, and thus it hates all humans.

The details of the story’s world are given in a disordered and confusing fashion, which aptly reflects the world of the human characters who are left at the whim of AM. These humans are the only five humans left to exist and, using its massive amount of accumulated knowledge, AM keeps them alive in a perpetually dour existence. It does this intentionally as it cannot create life, only sustain it and manipulate it. One of the story’s characters, Benny, has been reduced to a simian-like form and his sexual orientation was changed to desire women. The only woman in the world, Ellen, formerly a modest lady, now craves sex with Benny. The others have also been altered by is various ways by AM. However, the narrator, Ted, claims to be the only one not to have been altered in anyway, yet he exhibits paranoia and various delusions thus suggesting that he has in fact been altered. This also implies that the story has an unreliable narrator, which further suggests humans completely losing their willpower and being submitted to a fate given to them by their former technological tools. This fate is an effective immortality, albeit for the sole purpose of being perpetually tortured in some sort of facility where nothing – not its size and dimensions, not even the flow of time – is a sure thing as AM continually changes the characters’ perceptions or sometimes leaves them seemingly alone for unspecified amounts of time.

Eventually, the characters decide to look for some food, which they are convinced must be somewhere within the massive building complex. AM has been keeping them next to starvation and periodically giving them intentionally disgusting food as part of its continual abuse. Much to their surprise, they find some canned food in an icy cave, but then immediately realize that they have no way to open the cans. Benny then attacks Gorrister, one of his four co-inhabitants, and tries to eat him. It is here that Ted realizes the solution to their nightmarish plight: the only way out is death. AM is an entity of this world and not the next nor is it a transcendent power. It can only manipulate, alter, reorganize, and reshuffle in an endless string of permutations, but not actually create. Ted takes an icy stalactite and impales his two fellow prisoners as they fight. Ellen, coming to the same realization as Ted, then kills Nimdok, the fourth man, only to be herself then killed by Ted, who is unable to take his exit as he is stopped by AM. The supercomputer is furious and even its previous seemingly limitless antagonism is now “not even a shadow of the hate he now slavered from every printed circuit.” A very telling choice is words, AM is both master of the world and slave to its own empty existence, it is the newest incarnation of the Demiurge.

For revenge, AM has altered Ted into “a great soft jelly thing” that can only see and also move slowly, but is unable to harm himself, thus unable to commit suicide and leave the material world via death. The story’s title comes from Ted’s final lament as he realizes that he is trapped forever and this thought itself may have come hundreds of years after the events described in the story.

This painfully sullen picture of a future dominated by technology that humans initially created for their own protection is also present in The Terminator film series as SkyNet, which is also a supercomputer that takes over the world. It almost fits as back-story to Ellison’s short story. The themes of danger posed from technological dependence and endless development are clearly present in both.

It is interesting to note that what are called “developed” countries are held as a standard for “non” or “under” developed countries to aspire to, yet it must be noted that this notion is mainly put forth by said “developed” countries, which are mainly looking for new markets to export to or resources to mine to satisfy their own increasingly massive material needs. They do this knowing that mass industrialization is harmful, however it seems irresistible to them. They know the danger, yet crave the power just like the character Boromir in The Lord of the Rings. This is called Boromir Syndrome, or being content with something wrong, so long as you get to, or think you can, control it. In practice this is conceding to play the enemy’s game and as we can see, this leads to the destruction, not triumph, of the will.

Technology as the Demiurge

In Ellison’s story, there are several references to Old Testmanent/Tanakh events, such as AM appearing as a burning bush, or sending locusts and other plague-like disasters. The latter are likened to masturbation, thus the machine is pleasuring itself by causing endless dismay to sentient beings, this is creator of the material world who seeks to keep all souls trapped – it is YHWH, the deity worshipped by Judaism, Judeo-Christianity, and Traditionalist Islam. AM’s consistent torments of its subjects certainly echo the sadistic trials YHWH unleashed on those it wanted to worship it. Both are jealous and power-hungry gods that teach – or rather, instill – obedience using violence and brutality.

With the decline in the influence of the traditional YHWH-centered religions, as well as the steady erosion of the auxiliary religion of the Holocaust, which is essentially a repetition of the Tanakh’s obsession with mass murder, the Demiurge has prepared to hedge its bets. Judaism has done this before with the transformation from Pharisee Judaism to Rabbinical Judaism.

The experiment of overtly Jewish-led Communism failed in the USSR, though Jews were heavily involved with Communism throughout the Cold War. Consider that the only two US Citizens convicted of treason and sentenced to death during the Cold War, were the Jews Julius and Ethel Rosenberg, who were handing over US state secrets to the USSR. Humanism, with the Holocaust providing ideological background, seems to be the main attempt to keep mainstream ideas Judeo-compatible, yet there is a sinister new activity taking shape, and that’s Transhumanism, or the next level of Humanism. The Tanakh/Old Testament allusions in Ellison’s work show that he was aware, on some level, where such soul crushing ideas stem from, even if he didn’t state it outright as others did.

“In the entire Old Testament we find no trace of belief in immortality, unless it be the reflection of the proven outward effect of the Persians on the Jews during the banishment. The Jewish aim is the creation of a paradise on earth. For this purpose, as is stated in the later holy books, the righteous (that is, the Jews) will creep into the promised land from their graves all over the world, emerging through holes bored in the earth by unknown forces solely for them. The Targum, the Midraschim, and the Talmud describe with delight this magnificent state of affairs in the expected paradise. The chosen people will then rule over the entire world. All other peoples will become its slaves.” ~Alfred Rosenberg, Myth of the XX Century

The figurehead of the Transhumanist movement is Ray Kurzweil. This movement pushes for a fusion of the human body with technology to create the Singularity. Sounds catchy, yet for all of its dazzling promises of human betterment via eternal life, the practical implication is the creation of a mass of cyborg-golems to be controlled by those who wield the keys to the technology. The Transhumanists wish to be the new ruling cast representing the Demiurge on Earth as the Pharisees, Rabbis, and Commissars before them.

The Singularity was also indirectly, yet aptly, described in Brave New World with citizens being test tube babies for predestined social function, thus only bred to serve, not programmed to serve, however this book was written before the advent of computerization. Though it is computers that have made that kind of enslavement more easily possible and this is currently being realized through Transhumanism. A more fantasy (as opposed to sci-fi) version of this was seen in Saruman’s magic in The Lord of the Rings with Orcs being “upgraded” to Uruk-Hai, though this actually seems like a step after Transhumanism’s (or Transorcism’s) initial implementation as Orcs are already golems, made from Earthly materials, thus making them much like the humans in Ellison’s short story, who are so far along the path of technological manipulation that their original forms are forgotten and irrelevant.

There is a computer game based on I Have No Mouth and I Must Scream, which Ellison helped make, and there are significant expansions of each character’s backstory. The most interesting of these is the fleshing out of Nimdok, which contains an odd bit of revisionism. Nimdok is a former “Nazi scientist” (a very persistent trope) who gave up his Jewish parents to the Third Reich and was thus able to pursue his scientific ambitions uninterrupted. Now, research has revealed the details of how the III Reich treated Jews, and it wasn’t as clear-cut as the mainstream makes out, however this bit really seems like trolling the establishment (or the ZioNazi canard) and it’s conveniently hidden among many accepted tropes, namely that Nimdok helped develop the initial version of the technologies that would become Allied Mastercomputer, thus tacitly linking AM to “Nazi evil.” In the game, Nimdok can be seen to still have a Third Reich flag, however the Swastika has been replaced with the letters “AM” – his new god, which tasks him with finding the “lost tribe” further connecting AM to YHWH.

As a result of this characterization, Nimdok actually serves as a good example of the “extremely efficient pack of traitors in Germany itself” as stated by Savitri Devi in The Lightning and the Sun. These soldiers, such as Heinrich Himmler, gave up on the struggle of National Socialism to pursue their own ends thus suggesting their hearts were never completely with National Socialism. While “AM” replacing the Swastika on the Third Reich flag is somewhat predictable in dystopian science fiction that often makes use of “Nazi references” however awkward and this is certainly one of those. Though, the key point is that a computer can never replace the symbol of the Sun. In fact, “AM” is much more appropriate as a replacement for the Soviet Hammer and Sickle or the Masonic Square and Compass as AM, being a computer, is also a tool, a physical reality and not a symbol and transcendence.

Materialist symbols replaced with a newer materialist symbol

Technology as Supplement – an Aryan Ideal

“It is a characteristic of our materialistic epoch that our scientific education shows a growing emphasis on what is real and practical: such subjects, for instance, as applied mathematics, physics, chemistry, etc. Of course they are necessary in an age that is dominated by industrial technology and chemistry, and where everyday life shows at least the external manifestations of these. But it is a perilous thing to base the general culture of a nation on the knowledge of these subjects. On the contrary, that general culture ought always to be directed towards ideals.”
—————————————————————————~Adolf Hitler, Table Talk

Hitler clearly had an understanding of the danger that technology poses to a safe human existence. He even ordered the German atomic weapons project abandoned in 1942, since at the time calculations showed that the destruction possible from the new weapons would be far greater than it was and could very likely have far reaching and uncontrollable effects. This turned out a bit different after the US tested and used atomic weapons, yet largely true. While large swaths of the atmosphere didn’t combust into a global firestorm, there are the lingering effects of radiation that have rendered sites of atomic (and nuclear) tests and accidents (e.g. Chernobyl) largely uninhabitable. Hitler chose to focus on technology whose effects could be better predicted and managed, hence the V2 and other famous weapons systems.

He must have also been aware of the emerging threat of technocracy, which is any society whose functionality has become dependent on the operation of some system of specialist technology, thus undermining the state in a permutation of the way financial interests do. National Socialism insists on the centralization of authority under a singular leadership, thus a National Socialist state should never become a technocracy. Just as the state must control the issuance of currency to prevent financial cartels from forming, the state should also control introduction of new technologies. This can be challenging since while it is relatively easy to remove excess money from circulation, it requires much more effort to remove technology once it has become rooted in everyday things. Thus, before a state can meet this challenge, it must have a fixed and rigorously defined ideological vision as to what kind of technology is acceptable.

Aryanism proposes the following:
Technology that eases existing burdens is noble; technology that tempts new desires is ignoble. Technology that saves time and energy is noble; technology that consumes time and energy is ignoble. Technology that simplifies life is noble; technology that convolutes life is ignoble. We can hence broadly distinguish between the Aryan technology of automation (derived from roots “auto-” + “mat-” meaning “spontaneously acting”) is motivated by the will to freedom, however the non-Aryan technology of machinery (derived from root “magh-” meaning “to have power”) is motivated by the will to power.

“Technical progress, in all fields in which it does not automatically imply cruelty towards man or beast (or plant), is not a bad thing in itself.”
———————————————~Savitri Devi, The Lightning & The Sun

Herding and hunting are all about the will to power. Hunters to hunt more and bigger prey, and Herders to herd more goyim more efficiently. Both value automation for its convenience, but especially enjoy machinery due to its increasing and expanding of capabilities thus being able to do more herding and hunting.

Farming is all about the will to freedom. It doesn’t dominate, nor depend on, any sentient creatures. Rather it enters into a complementary relationship with certain animals. Ethical farming also seeks, almost exclusively, automation for a more energy efficient process to provide for the community and its needs. This is Solar Civilization, which is about relying solely on the daily sunlight coming to the earth, that would be wasted if not harnessed, and thereby establishing an increase in the quantity of usable energy per land area and per time. This is done without capacity for indefinite storage and thus without the potential for hoarding.

With this ideological vision, we can begin to explore existing technologies that fit the above definitions, in particular the definite of “automation.” One of the simplest automations is the water wheel, as well as the windmill. They both harness existing energy, as opposed to using fuel, and provide an essential function in an agrarian society: the milling of grain.

Helpful technology

More agrarian compatible technology
From collecting solar rays, to focusing and collecting them
What we should use space for, if at all.

“The great tragedy for man is that he understands the mechanism of things, but the things themselves remain an enigma to him. We are capable of distinguishing the component parts of a molecule. But when it’s a question of explaining the why of a thing, words fail us. And that’s what leads men to conceive of the existence of a superior power. If I have an observatory built at Linz, I’ll have the following words carved on its front: ‘The heavens proclaim the glory of the eternal.’ It’s marvelous that this is how mankind formed the idea of God.” ~Adolf Hitler, Table Talk

Technology – From Idea to Vision & Ideal

The next step to consider would be how we could put this all into play. Given the nature of urbanization and accompanying proleterianization with more and more people living in massive cities, makes the wide implementation of these simple technology systems difficult if not impossible. Thus, we need to reconsider the modern mode of urban living. The truth is that those who saw the rise of ever taller and sprawling industrial cities as disastrous have done already. For one, J.R.R. Tolkien showed Isengard under Saruman as a massive orc-golem foundry that tore up much of the neighboring forest for fuel, and later Saruman’s treatment of the Hobbits’ Shire was very similar. This latter part is present only in the book version, however it appears to Frodo as a brief vision in the film version of Fellowship of the Ring. This was directly related to his aversion of mass industrialization in large swaths of the English countryside.

However, a real world and practical example would be American architect Frank Lloyd Wright’s urban plan for what he called “Broadacre City.”

Somebody, make this in MineCraft or TwinMotion as a step to it getting actually made!

Wright’s purpose behind this intriguing model was to combat what he termed “the tyranny of the skyscraper” that was in his time becoming ever present in American cities. Therefore, he proposed a simple plan for a countryside town with all the essentials. This model could easily be expanded to also include local farmland for purposes of self-sufficiency, as well as a small amount of local industry to fit into the greater context of a state or realm. Daily power generation could also be largely local with the previously shown technologies integrated into the town, both small scale on individual homes and larger scale all linked to a network. This way, these towns will essentially be like the former star fort towns, albeit less fortified, thus able to fit into the current age.

“In the United States, the concentration of capital has proceeded at a most rapid tempo. Giant grain mills and mammoth slaughterhouses to which raw materials stream from over the whole land overburden the railway network. Freight costs increase the price of ready-made goods. These problems could have been avoided by the erection of fewer large centers from the start. [Henry] Ford, for example, rightly demanded that cotton mills should not be built in the capital cities, but laid out in the neighborhood of the cotton fields themselves.”
——————————~Alfred Rosenberg, Myth of the XX Century

The state must take an active role for this reorganization and, in effect, reversion to take place. The Third Reich proposed an analogous concept of small settlements with “Wehrbauer” or “soldier peasants.” A hypothetical Broadacre City should have a local militia (self-defense is part of autarky), though the focus can certainly be less “wild west” in spirit. Rosenberg further noted that decentralization must occur in the whole of economic life and this means the reduction and reorganization of the enormous urbanized areas that have amassed an enormous, unproductive, and welfare-dependent proleteriat; or people who could be made much happier if they had breathing room and the ability to provide for themselves and their local communities, which need to be smaller to be manageable locally as such.

“The constant effort towards population, which is found to act even in the most vicious societies, increases the number of people before the means of subsistence are increased.”
——————–~Thomas Malthus, Essay on the Principle of Population

People wouldn’t need welfare or food stamps if they could grow or easily locally purchase their own food from a number of local producers. War or disaster time rationing may demand the use of food stamps, however on a daily basis, they are not – rather should not – be needed. And citizens should consider it a failure of state administration in such a case. Mass industrialization and mass urbanization is also a disaster as it led to a more waste than anytime in human history. Previously, large for their time developments, such as terrace farms, focused on essentials, which brought food to previously difficult to cultivate regions.

Terrace farms with rice crop in Vietnam.

At some point, people started to slip away from a disciplined and conscious journey towards perfecting the essentials and instead embraced the excesses – and subsequent wastes, misery, and vice – that technology incidentally made possible.

“This trend has been consciously protected by democracy and by Marxism in order to enlarge in this way the proletarian host. A true folkish policy must proceed in exactly the opposite way. The deproletarianisation of our nation—and of every other—is conceivable only through the conscious demolition of our great cities and the foundation of new centers.”
——————————————–~Alfred Rosenberg, Myth of the XX Century

Today, after the Cold War between democracy and Marxism, another legacy to eschew is the space exploration and colonization craze that has spawned from that. American and Soviet posters, and certain influential films, frequently showed the supposed glory of humanity going into space. Video games also continue this trend, yet it very interesting to note that humanity as presented in virtually all of these fictional video game universes is simply an expanded version of our current state of humanity on Earth. Meaning that mass industrialization, consumerism, tribal warfare, and everything else has made it into space. These cause enough damage on Earth, can you imagine how they’d resonate on a cosmic scale?

“The millions who daily travel into New York from outside and who are spewed out again in the evening, overload transport and make the whole of life more expensive than would have been the case through a strict damming up and guiding of the human flood. In place of perhaps a hundred large folkish poisoning centers, ten thousand culture promoting ones could be created if strong willed heads had determined our destiny instead of Marxism and Liberalism.” ~Alfred Rosenberg, Myth of the XX Century


Long story short, a mess can’t be cleaned up by making it bigger. A new age of exploration and colonialism, even if it fixes our problems on Earth (very unlikely) would be unethical since it would invariably mean the exploitation of other environments and perhaps even sentient creatures and the whole point is to stop exploitation in the first place. And this means redefining “development” since striving to develop has consistently tempted humans towards exploitation of some sort.

“In the Weiserheide the gas comes out of the earth. The town of Wels is heated in this way. I should not be surprised if petroleum were discovered there one day. But the future belongs, surely, to water—to the wind and the tides. As a means of heating, it’s probably hydrogen that will be chosen.”
————————————————————~Adolf Hitler, Table Talk

The bright light in this dark tunnel of ours is that there already are lots of technologies and methods that go against the mainstream continual exploitation and perpetual growth model. They just have to be brought more diligently into the forefront so that our cities can be transformed from massive all consuming and polluting hubs with welfare traps, to places with a productive and empowered citizens.

In myth, Prometheus gave humans the first technological know-how. Subsequently, innovative minds like Daedalus created some useful tools for a defined purpose. These tools were the means to an end, however there some who lost sight of this goal and chose to exploit the technology for all possible and, in particular, self-serving ends. The result was the fall of Icarus. Ellison’s story has a scenario with an Icaran Collapse, as does the thematically related Terminator universe. It’s been a common theme, yet the potential financial prizes from continual technological development have largely led to these stories’ warnings going unheeded.

“Man would certainly have gone mad if he had suddenly learnt, a hundred thousand years ago, all that we know to-day. The human being does not develop solely through the obligations life imposes on him, but also through the habits that make up the climate of his period.” ~ Adolf Hitler, Table Talk

Thus, in real life, this calls for incremental restraints on technologies that make increasing expansion possible and a redefinition of the purpose of technology and its relationship to humankind. The population explosion of the 20th century is petering off and there is even a much-needed natural decline, thus it should be much easier to focus on existing people when worrying about ever an increasing number soon-to-be born people is decreasing. Many people are choosing to have less new children and that’s good, though technology and the impending AI explosion coupled with Transhumanism is not showing any signs of slowing and, in fact, the decreasing birthrates worldwide are being used to justify it.

One cause of Icaran Collapse is slowly being averted only with another to take its place. Is the Demiurge hedging its bets? You can be sure of it. Stay diligent.


External Links
Solar Cookers
Urban Agriculture
Magnetohydrodynamic Drive – interesting power source, worth exploring.

Works about or involving Technological Enslavement
I Have No Mouth, and I Must ScreamHarlan Ellison’s short story in full text
Dark City
Repo Men
THX 1138

Related Information
Aryanism & Technology – main site article
Essay on the Principle of Population – full text of the original essay by Thomas Malthus.
———————Another source for the essay.

Posted in Kampf, literature | Tagged , , , , , , , | Leave a comment

Kelly’s Heroes: The Golden Side of WW2

On the surface, the 1970 film Kelly’s Heroes seems like a fairly routine Hollywood “war” movie with many standard tropes of the Allies’ court history. There are funny, relatable and colorfully characterized US Army soldiers; there’s a load of action and pyrotechnics, which were top-level stuff for their time; and, of course, there’s heaps of faceless corpses supplied by an inexplicably inept Wehrmacht. The film was made with the help of Communist Yugoslavia, thus there’s really no surprises with that last part.

Yet beneath this goofy façade are actually a few telling details about one of the principal drives that led to World War 2 – the economic drive. Hitler sought to free Germany from the crippling debts forced onto it by the Versailles Treaty as well as new ones that sprung up during the Weimar Republic. With Germany being one of Europe’s main economic engines and Europe itself being tied to much of the World through various business interests and its colonial past, this meant nothing less than redefining one of the core tenet’s of the World’s economy.

Needless to say, high financiers who built massive, competing, debt-fueled lending empires were enraged when someone dared to challenge the way things are done. So they then accused Hitler of doing, more or less, precisely what they did – massive rearmament, yet the III Reich’s economy only became fully geared toward war in 1942 – three years after the war had started. [1]

Looking Closer
Now, what does all that have to do with a silly action movie romp? Well, one key dialogue exchange sheds some light on this matter.

Big Joe: Look, Mac, you and us? We’re just soldiers, right? We don’t even know what this war’s all about. All we do is we fight and we die and for what? We don’t get anything out of it. In about a half an hour the whole American army’s gonna be comin’ down that road. Why don’t you do yourself a great, big fat favor, huh? And get the hell outta here?
Panzer Commander: I have orders. This bank isn’t to fall into the hands of the American army.
Kelly: Sergeant, this bank’s not gonna fall into the hands of the American army. It’s gonna fall into our hands. You see, we’re just a private enterprise operation.
Panzer Commander: You… the American army!
Oddball: No, baby, we ain’t. You know what’s inside that bank, man? There’s 16 million dollars worth of gold in that bank, sweetheart.

The film starts with US Army Private Kelly kidnapping a German Officer and getting information about a bank with a large gold reserve, which is where the film ends and where the above conversation takes place. Thus, for all the goofiness and explosive action in the middle part of the movie, it’s the bank plot thread that bookends the film, just as bankers’ motivations book-ended World War 2. Many of the promotional posters for the movie communicate this banking theme with characters ecstatically holding gold yet this one takes that up a notch or two.

The main characters are carrying a war banner that is not just a stylized dollar bill, it actually reads “The Almighty Dollar” in place of where it should say “United States of America” strongly suggesting for what ideals the US was involved in the war. Also, there are golden bomber planes and tanks in the background leading the viewer to think: was Operation Gomorrah and other Allied mass bombing operations actually motivated by money? This image seems to say just that. The main characters in the film know the war, as pitched in American media and propaganda, is a sham and decide to get in on some of the spoils that their government is after.

This makes them rather cynical, but they are the products of a system where loyalty to higher ideals is an alien or even looked down upon concept.

The film shows the World War 2 defeat of Germany both militarily as an entire platoon and two tanks are destroyed in battle, though rather laughably by only a few US Army soldiers, and ideologically as the third tank goes along with Kelly’s plan and helps him and his unit loot the bank. After the war, a divided Germany went along with not just the ideological systems of the Allies and Soviets, but also with their central bank-based economic systems. Interestingly, a detail on the third tank reveals that this unit belonged to the “1st SS Panzer Division Leibstandarte SS Adolf Hitler” with the key insignia on the front of the tank being visible in many shots. Thus, the climax as the bank is linked directly to not just NSDAP ideology, but also to the leader who made it possible. It is with the defeat of this that truly defined the post-war order and the allowed the Breton Woods economic system, an internationalist trade zone ruled by central banks, to wrap its tentacles around the world.

Additionally, a contextual note is that Kelly’s Heroes was made during the Vietnam War, which by 1970 was becoming increasingly unpopular with the American populace. This explains Oddball’s hippy-like characterization, as he was meant to satirize a different era. However, what Big Joe, Kelly, and Oddball say to the German tank commander is just as applicable to the war in they are in: war is a way to loot resources and, more often than not, the bankers’ means to an end, since war means lots of loans and debts. Hitler tried to stop this cycle with NSDAP policies, yet his main economic idea was not originally his – it actually relates directly back to the United States.

Follow the Money?
A more intuitive approach to studying Adolf Hitler and the NSDAP means going beyond and demystifying all of the plentiful, hyperbolic horror stories in order to take a closer look at what Hitler’s government actually did, and in particular, with the economy. In 1933, when Hitler entered government, the German economy was a wreck burdened by debts, mismanagement, corruption and all the vices that capitalism and democracy typically spin together.

“In the second place, as long as Germany and Italy are under their present governments, they will not touch foreign loans, and Germany by her method of internal economy and trading has eliminated the international financier, and those who make profits by playing with foreign exchanges. That is doubtless why the government is being forced by the “City” to start a trade war with Germany. If the economic methods devised by Germany are successful, and spread to other nations, and if Hitler succeeds in his policy of establishing permanent peace in Europe, the high financier will cease to be able to exist. It is therefore their main interest today to plunge the four powers into war, in order to destroy Germany and Italy.”
——————————~Arthur Pillans Laurie, The Case for Germany, p. 91

Hitler’s promise of reforming of the German economy, which would have long term effects on the World economy, started the drive to war with anti-German boycotts and a general demonization of Hitler, such as the effort of Samuel Untermyer seen below; it was well before Kristallnacht or any hyper-publicized NSDAP anti-Jewish measures.

“Hitler and the National Socialists, who came to power in 1933, thwarted the international banking cartel by issuing their own money. In this they took their cue from Abraham Lincoln, who funded the American Civil War with government-issued paper money called ‘Greenbacks.’ Hitler began his national credit program by devising a plan of public works. Projects earmarked for funding included flood control, repair of public buildings and private residences, and construction of new buildings, roads, bridges, canals, and port facilities. The projected cost of the various programs was fixed at one billion units of the national currency. One billion non-inflationary bills of exchange, called Labor Treasury Certificates, were then issued against this cost. Millions of people were put to work on these projects, and the workers were paid with the Treasury Certificates. This government-issued money wasn’t backed by gold, but it was backed by something of real value. It was essentially a receipt for labor and materials delivered to the government.” [2]

This was all before German rearmament and the rebuilding of the meager Reichswehr into the much more solid Wehrmacht, which was formed in 1935. The key thing to note is that “Wehrmacht” literally means “Defense Force” and that’s exactly what it was. Hitler and the NSDAP had intended (as did nearly every other political grouping in Germany) to bring the military to levels comparable to surrounding countries, though the call to really strengthen the military came after Hitler pretty much saw that the international banking cartels (the other “Internationale”) wouldn’t let Germany run under a system freed from debt-finance.

“Hitler will have no war, but he will be forced into it, not this year but later…” ~Emil Ludwig, Les Annales – June 1934

“Germany is the enemy of Judaism and must be pursued with deadly hatred. The goal of Judaism of today is: a merciless campaign against all German peoples and the complete destruction of the nation. We demand a complete blockade of trade, the importation of raw materials stopped, and retaliation towards every German, woman and child.”
~~~~~~~~~~~~~~~~~~~~~~~~~A. Kulischer – October 1937

“The millions of Jews who live in America, England and France, North and South Africa, and, not to forget those in Palestine, are determined to bring the war of annihilation against Germany to its final end.”
~~~~~~~~Central Blad Voor Israeliten in Nederland – September 13, 1939

“Germany must be turned into a waste land, as happened there during the 30-Years War.” ~The Morgenthau Dairy, pg. 11

The war ended, not just with the destruction of the Reich and also pretty much all of Eastern Europe in the Soviet advance. The latter was an acceptable side effect to the powers that be, while the former was a means to an end – the end of the NSDAP economic model that strove for autarky, debt-free currency, and an economy based on labor performed and goods produced without the interference and opportunistic meddling of speculative banking.

There have been other leaders that tried similar methods.

There were two assassination attempts on Jackson, both failed.
Two of the years under Jackson’s term of office were the only time
the US had no national debt, since it had no central bank.War and/or assassination were thrown at all these leaders to end them.

Don’t just follow the money, rather also look at what they did with the money to understand why they were stopped and who sanctioned those measures.

Hitler vs. the Elite Cabal of International Bankers

Exposing the rot that planned the plot

[1] An Inquiry into the Nazi War Economy by Sidney Ratner
[2] Thinking Outside the Box: How a Bankrupt Germany Solved Its Infrastructure Problems

External Links:
Feder’s Genuis – Blog examining NS economic policy
It is our Right to Control and Influence America with the Media: Dershowitz – Chutzpah
1001 Quotes by and about Jews

National Socialist Economic Policies in PDF format
German Economic Policy by Wilhelm Bauer
The Role of Private Property in the Nazi Economy by Christoph Buchheim
The Aesthetics of Production in the Third Reich by Anson Rabinbach

Posted in film | Tagged , , , , , , , | Leave a comment

Humor Nazis – 20

Episode #20 – What People Say National Socialism Is

“The lies shall one day come tumbling down,
and truth shall triumph over all.” ~Joseph Goebbels

Posted in propaganda | Tagged , , , , , , , | Leave a comment

Humor Nazis – 19

New Season, New Banner!

Episode #19 – The Memes of a Revolution

The Bearaboo★☭ is back!

The Bearaboo★☭ Diet

The Bearaboo★☭ Level 5,000

The Bearaboo★☭ Level 8,000

The Bearaboo★☭ Level 10,000 – aka a Hebrew

Mr. Totenkopf wishes to ask you…

Troll Goebbels role-plays as Captain Obvious

Posted in propaganda | Tagged , , , , , | Leave a comment

Elysium: Leadership Vacuum Crisis

The 2013 film Elysium offers an interesting look at a possible future of unrestrained technological development, class division and mistrust, which all stem from the relentless profiteering that capitalism is prone to. Nevertheless, the film offers a rather naive or, at best, an incompletely shown, solution within its runtime. Being a product of the politically correct movie industry, Elysium itself can also be seen as part of that same limited & deficient solution that it itself offers. Looking past these barriers we can begin to construct a more complete vision of that doesn’t merely flip the class struggle from rich-advantage to poor-advantage, rather we can build a more inclusive view of society that values all productive citizens regardless of monetary status.

Forced Dichotomy
The world of Elysium is bleak for most and an apparent paradise for some. Most people are stuck on Earth living in overflowing slums or urban wastes and working in what amounts to a capitalist-run gulag. Factories with total disregard for working conditions process raw materials and produce the basic things that the oligarchy, comfortably residing on the titular space habitat, needs to sustain this status quo. Robots police the population on Earth, healthcare and other necessities are rare & largely unaffordable, and access to and from Earth is controlled directly on Elysium. Earth has become one big Gaza Strip or imperial colony over which a few privileged dominate and exploit.

Where the Exclusivists live

Where the Commoners live

This privileged caste, which has been living in space for around one century within the film’s timeline, has access to all necessities, as well as many luxuries, such as “Med-Bays” that can heal any bodily harm and even reverse aging. The inhabitants’ life is, for the most part, a permanent resort vacation. It is also up here that rights of citizenship are granted or revoked; no one on Earth has Elysium citizenship (despite providing the work to keep it prosperous) and police robots are programmed to avoid Elysium citizens, but detain non-citizens for any reason. At one point, three spacecraft attempt leave Earth and attempt to reach Elysium in order to access the medical equipment there. However, two are shot down and the passengers of the third are caught & deported on arrival.

Convoluted Struggles
Towards the beginning of the film, Max Da Costa, the main character, is ordered by a supervisor to enter a chamber where part of a massive factory’s assembly line has a jam. Da Costa reluctantly does so, fixes the jam and the giant engine starts up again, albeit exposing him to a lethal dose of radiation. Da Costa now has five days left to live in pain and this is exemplary of how most of society functions in the universe depicted. The supervisor told Da Costa to enter the chamber and fix the error or “he’ll find someone who will” effectively implying dismissal for insubordination. The unspoken side to this cruel interaction is that this supervisor – in some mid-level position at one property belonging to an enormous corporation – had the same dilemma Da Costa had, and that is “the bottom line.” If the assembly line problem weren’t fixed, then he’d be the one fired. The callousness of the supervisor’s angrily talking down to Da Costa is merely a symptom of a pervasive carelessness in the social order, not just that supervisor, one individual, being cruel. To get the medical treatment he needs, Da Costa needs to pay a huge price or do a favor for a smuggler – and this ends up being stealing financial data from the owner of the very corporation whose machinery caused his suffering. At this point, it really seems that everyone is out to get everyone in this hectic society.

Da Costa receives a temporary treatment to help him carry out his little crime mission and this is a powered exoskeleton to give his weakening body a good deal of extra strength. This transhumanist solution is emblematic of the world: people created a mass of technology, and this harmed us, so we then create new technology to remedy the harm done. The space station Elysium is, in effect, a much bigger version of the exoskeleton, which is powered by Da Costa’s mortal and dying body in the same way that a decaying Earth supplies Elysium. In the end, the mechanical feat will be useless as they’ll be no one left to use it. Other treatments for ailments in the film are pills and machine surgery, yet there is a curious lack of fresh food. No one is even seen trying to grow a garden. Though Kruger, an enforcement agent of Elysium’s government and the one who shot down the refugee shuttles, is seen enjoying a barbecue. This also is symbolic, as meat is taking life for self-gratification, limited nourishment, and a woeful misuse of essential materials; this cattle-butcher relationship is essentially what the society on Elysium does to the masses on Earth. However, as we have seen with Max’s theft mission, the exploited are beginning to get better at exploitation.

This pervasive distrust between the slum-bound people on Earth is aptly mirrored by the luxury-enjoying masses on Elysium. The space station has a substantial population and, at the start of the film, has been a stable habitat for around a century, meaning several generations have lived with the current status quo and those alive right now haven’t experienced anything else. The government is a typical democratic hodgepodge of committees tied together by the notion of an elected president, who in key issues holds no real decisive power. The Defense Secretary of Elysium, Delacourt, who had ordered the shooting down of refugees, is merely verbally disciplined by Patel, the President, for this and told to lessen the severity of her actions since it is bad for public relations. Thus, ethics don’t even exist in this government aside from lip service. However, the kicker to scene is when Delacourt asks Carlyle, the main industrialist on Elysium – in whose factory Da Costa received his burns and whom he was given the mission to rob – to tinker with the space station’s main computer system to allow her to step into the Presidency and thus ensure Carlyle’s armaments company a steady stream of lucrative contracts. This is Democracy and Capitalism bearing their inevitable fruits and stepping into overt practical Oligarchy without the rosy veil. After being verbally slapped on the wrist by Patel, Delacourt mocks the President for “having some fundraiser to attend.” That’s the extent of state discipline in Democracy and Capitalism.

“In ordinary life, the choice of President or King, as chosen directly by 70 million, is only determined by money bags. It follows from this that in 99 out of 100 cases no real folkish Leader arrives at the head.”
~Alfred Rosenberg

“There is a better chance of seeing a camel pass through
the eye of a needle than of seeing a really great man
‘discovered’ through an election.”
~Adolf Hitler, cleverly alluding to the words of Jesus

Da Costa manages to steal the data from Carlyle while the latter is on a routine trip to Earth to oversee his industrial empire. The data, however, in encrypted and clearly contains something of great concern for Delacourt who is alerted to the fact that Carlyle’s ship has been shot down and his computers hacked. She reactivates Kruger – having previously deactivated him after being reprimanded by the Committee – to track down the stolen data. Da Costa brings the data to his employer, Spider, who promptly discovers that it’s a program that can be used to register all of Earth’s residents as citizens of Elysium, thereby giving them access to its advanced medical care. This is an interesting idea, yet this is also where the film starts to nosedive a bit into the naive.

Once the action moves to Elysium, Kruger encounters Delacourt and she verbally disciplines him for being reckless, mirroring her previous Committee scene, yet little does she know Kruger, being part of the same equation dishes out his own power play. While Delacourt had used bureaucratic cunning, Kruger does what he knows best: blunt force. He kills the Defense Secretary and her political staff present, then and there, and then goes on to try to seize of Elysium for himself. Amidst all the corporate profiteering, answering to committees, PR stunts, and selective backstabbing, there is a noticeable lack of charisma! Everyone else thinks that everyone else is just out for solely their own good and believing makes it so.

The space station Elysium is the ultimate end of materialism on Earth – an artificial world where the world artificers can guarantee the status quo beneficial solely to them. This is also the Gnostic interpretation of the god in the Tanakh/Old Testament, YHWH, who created material existence to trap the souls of sentient beings and get them to do its bidding via belief in rigid dogmatic codes that only a privileged clerical class of “chosen people” can reinterpret, and they do so according to their own needs, thus putting them in a clash with their own god.

The Golden Calf in the Room
Pretty much every character in the film, and therefore most of the inhabitants of this fictional world, are not seeing the forest for the trees; they only see their immediate situation and that’s the extent of how they act and react. This is a perfect breeding ground for tribalism as alliances are only based on material convenience and gain. Any forward thought is made along materialist, selfish, and tribal terms. The world overrun by an ever-churning excess of material goods is the inevitable result of the secular thinking promoted by Karl Marx’s Communism, Sigmund Freud’s sexual psychology, and Ray Kurzweil’s transhumanist movement. These compatible sects of materialist thought seek to create a paradise on Earth, or a New Jerusalem as is the goal of Zionism.

“In the entire Old Testament we find no trace of belief in immortality, unless it be the reflection of the proven outward effect of the Persians on the Jews during the banishment. The Jewish aim is the creation of a paradise on earth. For this purpose, as is stated in the later holy books, the righteous (that is, the Jews) will creep into the promised land from their graves all over the world, emerging through holes bored in the earth by unknown forces solely for them. The Targum, the Midraschim, and the Talmud describe with delight this magnificent state of affairs in the expected paradise. The chosen people will then rule over the entire world. All other peoples will become its slaves. They will die and be born again in order to go anew to hell. The Jews, however, will not go there, but will lead a blessed life on earth. Jerusalem will be rebuilt in the most splendid way.” ~Alfred Rosenberg, Myth of the XX Century

In this film, this goal has been realized as a privileged “chosen people” rule over the whole of Earth while the nations, or goyim, provide them with fruits and labor. The Jewish religion’s intrinsic materialism and lack of spiritual idealism makes the Elysium space station a possible result of Zionism. It’s a paradise on Earth in a looser sense of the world, really above Earth, however Jews have made exceptions for their tribe all throughout history. So far as refusing to testify against their fellow tribesmen accused of crimes or having a criminal like Bugsy Siegel (Bairush ben Reb Mordechai Dov HaLevi) honored at a synagogue part of a Jewish family line. These exceptions and special conditions on tribal grounds are shown in the film as the police robots are programmed to never detain Elysium’s citizens, which effectively makes them golems in service of the law codex. Citizens should be granted state protections, though not total impunity. Also, police work should be a respected uniformed service (and that respect should be earned through superior conduct) in limited, yet effective, use. Not a mass of robots reading data from a computerized codex. According to Jewish lore, Moses said, “there is only the Law” – no conscience, no ideals, no ethics – only a blinding Talmudic Bolshevization.

The organization on Elysium is a multitude of patches of private property or about 1 acre per family and little to know public property, which in practice makes for a highly segmented life style. While the inhabitants on Earth are subjected to police robots and checkpoints, in style of Gaza or the West Bank; the citizens of Elysium themselves have their own subtle, yet official, boundaries based around their dogmatic belief in amassing material goods and then protecting them with laws. These restrictions on Elysium’s own citizens are reflective of the old Jewish practice of installing mezuzahs on doorways. The Jewish mezuzah is a small container with a Tanakh excerpt inside that is meant to be placed on entry doorways, or sometimes even all doorways within a house, thereby ensuring the Demiurge’s dominance over its subjects. Thus, the citizens of Elysium pretty much believe they are doing the only thing possible to keep law and order, as it is such fractionalization that is most compatible with their worldview In the real world, this system is mirrored by what the Zionists have told from their myths.

“In general, the merely material interest will rise in
exact proportion as ideal spiritual outlooks
are in the process of disappearing.” ~Adolf Hitler

To end this status quo, it is the system that needs a change and a culling of a few token figureheads and procedures will not really do anything. Jail a few groups of punks, more will congregate; arrest an oligarch or two, another one or two will arise. The system is like a hydra and cutting of its heads is ineffective, as it had adapted to resist such change, and, in effect, allow to it to feign change.

Stab the heart, tear out the root; don’t just attack individual heads.

A holistic, system-wide change is to stab the hydra in the heart. But what does the film show?

Revolution, or merely a Revolt?
The film’s ending is idealistic though, in large part, it carries on the naive aspects of the film. The information that Max was contracted to extract ends up being a program that could make all of Earth’s inhabitants citizens on Elysium, thus have access to its medical care. This works out and Max reboots Elysium’s core computer and all residents on Earth are now recognized as citizens, thus a fleet of medical ships can be dispatched to Earth. This is a good example of “happiness opium” as it only provides a feel good ending without addressing any of the core problems with the social dichotomy depicted. It’s also quite pacifist, which makes it unrealistic.

Then there’s Kruger’s psychotic, brutal, and decidedly non-charismatic attempt at seizing power is much in style of the Communist Revolution in the early 20th century or the pro-democratic French Revolution in the 1790s. Kruger’s destructive rampage through the Elysium space station shows all indication that he’ll either flip society in which assertive brutes like Stalin suddenly control all wealth and call the shots, or there will be a reaction from Elysium’s elite which will yield a Napoleon-type with expansionist aims, only this Grande Armée will head out into the space.

In both cases, the woes and pains of society will only have attention diverted from them. This makes both Da Costa’s and Kruger’s efforts seem more like revolts, despite them being similar to events that have been called “revolutions” in popular historiography. A revolt is caused by dissatisfaction with the status quo and aims to merely change its consequences and improve the immediate quality of daily life. A revolution, however, necessarily entails radicalism and aims at the causes of the status quo and seeks to arrive at a profound ideological insight that changes how quality of life itself is evaluated. The result of the film and the general mood throughout is much closer to the former and not the latter. There is some heroism and depth as Max gives the hero’s sacrifice – his life – to accomplish his goal, yet the film is fairly rooted within the humanist-materialist paradigm.

Neill Blomkamp, the director, said the film is about today’s world, thus seemingly strove for applicability (the same thing Tolkien sought to portray in Lord of the Rings), however he also expressed dissatisfaction with the final version of the film. Perhaps, deep down he knew he wanted to portray a revolution, yet only managed to show a revolt.

A key element of the revolution is the support it has from disinterested groups. For example, the ongoing movement to boycott Israel for its brutal treatment of Palestinians has widespread popular support from non-Palestinians. Similarly, the earlier – and largely corresponding – movement to boycott apartheid South Africa found widespread popular support among people who were not personally affected by apartheid. Movements to abolish slavery throughout history were almost always initiated not by slaves, rather by conscientious non-slaves, including owners of slaves and those in ethnic groups subject to little or no slavery. Frederick Douglass, an African-American whose ethnic kin suffered from slavery was against the system, as were the German-Americans who wrote the first anti-slavery document in America. These are examples of movements that, though small in their beginnings, turned into revolutions. By contrast, all movements unable to gain the support of disinterested groups are merely revolts.

Also known as Unity Through Nobility

Hitler didn’t personally suffer much from the caustic effects of financiers and Marxists as much as the people he sought to rally and help. Hitler didn’t have a family and was disciplined enough to not fall into the trap of alcoholism. He also quit smoking for his health and savings. Yet there were millions who did suffer and Hitler saw this and thus started what became a revolution, one that was so shocking to the status quo that it had to be crushed at all costs and any further incarnations forcefully pre-empted.

This observation leads us to the main problem in Elysium.

The Root of the Problem: Leadership Vacuum
Given the film’s feel good message, whether misguided or intentional, it played right into the expected paddock of mainstream discussion. Conservative complaints amounted to, more or less, “it’s Marxist and Communist propaganda!” While Liberal/False Left complaints sounded the more or less expected trope of “money is evil and rich people suck.” In the film, there seems to be a self-fulfilling prophecy of class struggle that appeals to the Liberal audience, while only making villains out of a select few of the rich so as to not totally alienate the Conservative audience. The proverbial Czar isn’t slain nor is there a justification of the company Armadyne, which is Carlyle’s massive company through which the film basically recreates something like British East India Company. Yet the solution presented is inadequate. It’s a half-assed bit of left and right, whereas there should have been a solid Third Position presented. This is none other than the charisma to get the classes of society to cooperate, instead of one of them – or one person – seizing advantage and diverting as many resources as possible to serve only selfish needs. A true leader, not a new boss, is needed.

A boss creates fear, a Leader fosters confidence.
A boss pins blame, a Leader corrects mistakes.
A boss knows all, a Leader consults the team.

The problem with all of society – on Earth and on Elysium – is that no one really wants to lead, everyone wants to just gain, and only a few can actually manage the latter. The result is an endless scramble competition on Earth and political backstabbing or total complacency on Elysium.

Some people will always be more intelligent and more willful therefore some will always be richer. The folkist idea is not to forbid wealth creation; rather it is to encourage a community-based application of it. This goes for skills and abilities, too. A plumber or carpenter shouldn’t merely maintain homes only on streets he or she likes, but in all of the community. Likewise, an owner of a popular business shouldn’t merely save up money and build vacation homes in far off places, but ensure that the money they have earned in the community stays and is used (as much as possible) within that community. This is folkist class cooperation. Marxists look down on the rich as inherently greedy therefore undeserving of what they own; Anarcho-Capitalists look on the poor as intrinsically incapable therefore deserving of their plight. Whereas Hitler, supposedly the most evil man of all time, said in Mein Kampf:

For the State must draw a sharp line of distinction between those who, as members of the nation, are the foundation and the support of its existence and greatness, and those who are domiciled in the State simply as earners of their livelihood there.

On the occasion of conferring a diploma of citizenship the new citizen must take a solemn oath of loyalty to the national community and the State. This diploma must be a bond which unites together all the various classes and sections of the nation. It shall be a greater honor to be a citizen of this Reich, even as a street-sweeper, than to be the King of a foreign State.

That is one of the most positively phrased descriptions of civic and community virtue ever put to paper. There is much lively discussion about what future humanity can build; yet this discussion is hampered by political and Zionist correctness. Certain topics are taboo and therefore censored by the very people participating in the discussion who are, in effect, self-censoring. The goyim, like cattle, are being kept dumb, timid, and complacent, however human goys are also fed delusions of grandeur to please their egos. This can take the form of “honorable” titles, such as “Shabbos Goy” or “Righteous Among Nations.”

Once this veil has been pierced and lifted we can see that classes in society are a reality and not necessarily a bad one. It’s how they are perceived and how people within them act that matters. Thus, a Marxist may see class division and conflict; however a National Socialist will see a class structure of people with different skills and abilities and the going concern of any leadership is to direct (as opposed to centrally plan) the energy of this socio-economic structure towards purposeful production.

“Craftsmanship and pride of product began to disappear as the desperate scramble to GET MONEY replaced the time-honored Aryan joy in creation of things of excellence and permanence.” ~George Lincoln Rockwell

The cause of the film’s fault can be similarly described: storytelling and pride of a good plot began to disappear as the desperate scramble to get views, likes, shares, reblogs, ticket sales, box office numbers, etc… replaced the time-honored Aryan joy in creation of tales with profound archetypes and mythic quality. Even the numerous fables by Aesop are each distinct, thus despite their brevity, care was put into their craft. Elysium, being a huge budget blockbuster, was put on a tight schedule and desperately squeezed into one of several release windows to maximize the opening weekend’s earning and minimize the subsequent weekends’ drop off. Not enough time was given to planning and crafting the film, thus even at the screenplay level there already must have been cutting and pasting of previous films’ ideas and the whole cookie cutter ordeal that each of these massive studio films is subject to by the studio committee. One director’s vision hardly ever gets made and even if it does, it requires so much bargaining and negotiating with those in control of the money that most filmmakers’ energies almost assuredly end up sapped.

Rare gems do occur, yet we still await that full box office season with solid archetypes and heroic themes portraying the cosmic truth.

Anti-Zionism 101

We don’t need more “happiness opium” and folk tales; there are enough of both. We need a series of mythic archetypes to help motivate people to start pro-actively dealing with the problems of society instead of just wishing and hoping that they’ll be solved. Above all, this is a call for a greater unity and cooperation among the quality people of various societies.

“The Folk tale is for entertainment. The Myth is for spiritual instruction.” ~Joseph Campbell, The Power of Myth

Related Information:
Repo Men – a sci-fi film in which transhumanism and debt together shackle society.
Equilibrium – a near-mythic quality sci-fi film in which materialist ideology led to tyranny.

External Links: Third Position Economics
The Role of Private Property in the NS Economy
German Economic Policy

Posted in film, Kampf | Tagged , , , , , , , , , | 1 Comment

Olympia Part II – The Festival of Beauty

In Olympia Part II – Festival of Beauty, Director Leni Riefenstahl focused more on the athletic forms being presented rather than the specific events themselves. The film is edited into sequences that are separated by fade outs followed by fade ins to the next sequence. Each of these sequences has its unique sounds and music and shows related events in a stylized rhythm. By time the film draws to a close, most of the events at the 1936 Berlin Olympiad have been given their own cinematic treatment.

As with Part I, this film contradicts the many popular notions about the Third Reich and, in great contrast to those notions, it’s a remarkably positive experience in addition to being a landmark work of cinematic art with its use of music, editing, and composition.

The intentions of the NSDAP have post-WW2 been interpreted as unspeakably evil to the point of comical. For a long time, the Allied/Soviet/Zionist allegations causing shock and disgust about Third Reich have covered up for the stupid that they carried. Yet, there have always been proponents of a more truthful look at the NSDAP, Adolf Hitler, Joseph Goebbels, and the whole of the great experiment that so beautifully wove both nationalism’s and socialism’s more positive aspects into a cohesive unit, one that sparked the ire of traditionalists and materialists in all of the Western world, yet also gained loyalists worldwide. They were silenced by the war, yet by the 1950s, the proponents of a rational and non-dogmatic approach once again included people worldwide, thus the universal human improvement through struggle doctrine propagated by the NSDAP hadn’t been totally squashed within the Soviet Gulag and Western High Finance, even if the Third Reich itself was ash and dust. It’s spirit and select portions of its materials, such as this film, may still be examined.

Beauty via Idealism
The film opens as life began, in water. Oak leaves are reflected and soon we see athletes jogging through nature. A couple interesting ideas are shown right away. One, oak leaves were used in the rank insignia of the SS. Two, there is no urban or technological imagery despite Germany’s massive economic recovery under the NSDAP that made these Olympic Games possible. Three, the athletes are shown jogging through a stream, thus not just with nature, but also against it with the goal of ultimately transcending it. Next, we see the same people in a sauna and bathing in the nude, yet there is none of the machismo that modern audiences (including neo-Nazis) have come to falsely associate with the NSDAP, SS, and Aryan Race. Compare this scene in Olympia to a modern Hollywood movie such as Red Heat, which also has an early scene in a sauna, yet is packed with so many over-the-top, gym-forged, hulking muscles (and doll-like women) it’s hard to believe that those characters do anything other than mind their outward appearance. Perhaps that’s an indicator of where civilization headed after the triumph of the symbiotic systems of Capitalism and Communism.

Back in Olympia, we get a wipe transition and to a scene with athletes from three particular countries – Germany, Italy, and Japan – the Axis powers, or the major countries to challenge the dichotomy of Communism and Capitalism during the decade in which the film was made. Thus, within minutes of the opening, the film covers another kind of idealism: international cooperation. Festival of Folks focused on the competitive events of the Olympic Games, and while Festival of Beauty includes these in a way, the focus of this film is thematic imagery related to NSDAP ideology. The opening sequence of the film builds up to a training montage showcasing athletes from many nations where one of the film’s themes can be seen – the cooperative struggle for beauty. As with Olympia Part I, many non-Europeans are shown throughout the film, and so effectively negating the supposed purely pro-European propaganda of the NSDAP and showing its true form, which is much closer to a universal human beauty with its many forms from all over the world. This is best shown by the very first slow motion shot of the film, a panning shot of a Japanese high jumper. Also of note is that flags are almost a purely background image throughout the film and the flag of the Third Reich doesn’t even appear in a major shot throughout the entire film, yet the American flag does!

The idealism of the athletic body here is clearly seen in the Pommel Horse sequence with slow motion highlighting the grace of the refined movements that are held on camera for around 25 seconds for three different athletes. They almost seem to be floating in the air. This is followed by three more on the same device, yet this time the background changes from including the audience stands, to including more sky, and finally just sky – an angelic idealism very far removed from Freudian materialism and barbaric machismo.

Roughly 11 minutes in we see a very long and unbroken shot, nearly 90 seconds, of an athlete on the hanging rings, which ends with the gymnast legs up and arms outstretched. The shot then jump cuts to an athlete in matching position on the parallel bars, and this shot holds for just over 76 seconds and ends as this gymnast flips over the bars and lands on the ground. Then, just as he’s straightening himself up into the final finishing pose, the film jump cuts to yet another gymnast also in a matching position, this time on the horizontal bar. All three competitors are shown in slow motion at a similar speed. These precisely sequenced, composed, and edited shots suggest a transcendence of the idealized form from event to event and from athlete to athlete. The accompanying music punctuates and underscores their motion with its own rhythmic perfection going along with the onscreen gymnasts’ movements. Thus, many athletes from many nations are shown in a universal form transcending conventional boundaries and achieving a perfected form that’s seen in crisp detail thanks to its masterful capture on film with accompanying music.

This is the union of perfect physical and cinematic forms with movement and rhythm, as aspects of each, being used to create this perfection – a forging of transcendence.
Festival of Beauty, indeed.

Right around the half-hour mark women’s exercises are shown, this is the first time women are given a primary place on screen and it’s a large display of synchronized unity. This shot cross dissolves with a wide pan of the stadium grounds and transitions to an aerial shot of the stadium packed with spectators. It is here that the Decathlon, a classic competition of military arts, is introduced. Interestingly, in the German word for this event is “Zehnkampf” and while the English subtitles often read “the test of tests,” the onscreen announcer says “Der Kampf der Kämpfe,” which would be more appropriately rendered “the struggle of struggles” in English. Alternatively, it could be said as “the feat of feats” as the meaning of the Greek suffix “athlon” is “feat,” suggesting a heroic accomplishment. And thus we see a parallel between athletic mastery and the philosophy of National Socialism – it’s not just shows of strength and superficial bodybuilding, it is grace and achievement and here we see it conveyed through the film’s main theme: The Struggle of Life shown through the idealized athletic form.

This is shown again with the women’s diving competition. There is slow motion to capture the grace of the athletic form from diving board through the downward tracking angle until the plunge into water. The sequence is shot from below the diving board and from above. There are even shots underwater that show the athletes creating an angelic veil of bubbles as they enter the water. The whole diving sequence include culminates in a dream-like montage that even includes a backwards shot of a diver rising up back toward the diving board, however it’s shot upside down so it looks like a regular dive. Riefenstahl shows grace and beauty at work from every angle.

A Bit of Patriotism
This film is the product of a regime that has been accused of the worst kind of patriotism, the kind that today’s ethno-nationalists are said to exalt as the genesis of their ideas. Odd then, that this film, one of the NSDAP’s hallmark pieces of propaganda, is remarkably light on things that could be labeled as “Germanism,” “Nordicism,” or “White Nationalism.” As with Olympia Part 1, today’s Zionists & white nationalists must confusedly scratch their heads upon watching this film, as nearly everything they say about the Third Reich is not present in these two films. This also goes for Triumph of the Will.

There is a brief rendition of the opening of the NSDAP anthem Die Fahne Hoch, as the first musical verse plays. The name of this musical piece translate as “The Flag up High” and immediately after hearing it, the film cuts to the opening procession of national flags that enter the stadium. A key moment occurs at the start of the sailing sequence just before the 15-minute mark when the Olympic Rings are show as well as the film’s first spoken audio is heard as the announcer introduces the sailing events. Here, even more flags of the various flags of all the competing nations are show together. Given Hitler’s extensive attempts at negotiation throughout the 1930s, a whole garden of facts covered up from official historiography, then it’s not a surprise that a primary source about the Third Reich, also largely eschewed from official historiography, would have a prominent theme of idealized international cooperation.

In the first sailing event, a Dutch winner is announced, while a German wins the second. The third sailing event, once again, showcases Riefenstahl’s poetic vision and pioneering film art with a sailing montage with music, waves, and a many shots from various angles that must have been quite difficult to set up ad shoot with 1930s era bulky film cameras. It’s a short sequence, though in it is we see, once again, both cinema and sport come together in an idealized form with time, imagery, and music. On top of that, the winner of the third sailing event is from England. Immediately following this is a fencing match shown entirely by showing the duelists’ shadows on the ground from several angles that steadily rise up before cutting the result: a Hungarian wins. Both fencers shake hands in a close-up: the spirit of athleticism and the honorable duel.

A non-lethal duel ending honorably.

The same happens in the boxing sequence with a German winner who briefly hugs with his Argentine opponent.

Also, a non-lethal duel ending honorably.

That said, the film being a German film, it does set aside some scenes to praise the accomplishments of its country’s winning competitors. The Modern Pentathlon was held at the 1936 Berlin Olympic Games and the winner was Luftwaffe Lieutenant Gotthard Handrick, the first German gold medalist in the event, and the second ever German to get any medal in this competition. At that point, the event had been dominated by Sweden in since its establishment in 1912. Thus, as with Germany’s rise to prosperity under the NSDAP, Handrick’s victory is shown as symbolic of Germany’s return to prominence and achievement. The III Reich anthem plays as he receives his medal with a salute in the impeccable German military uniform.

Gotthard Handrick saluting

Additionally, Italian First Lieutenant Silvano Abba, the bronze medal winner, also gives the Roman Salute during the medal ceremony. Thought, the scene fades out on a close up of the American competitor, Charles Leonard, thus Riefenstahl seems to be more interested in giving each athlete a good amount of screen time, not just German grandeur. It’s a remarkably humble and inclusive patriotism that both parts of Olympia portray. In fact, just after the 37-minute mark, as American athlete Glenn Morris launches his shot put, the crowd can be heard chanting “USA! USA!” in the background. This was recorded, edited in, and approved by both Adolf Hitler and Joseph Goebbels before the film’s release, thus it seems strange to accuse them of blatant Germanic supremacy. Also take note that this film is not routinely, if at all, shown in film studies or in historic courses that discuss the Third Reich.

Are your perceptions being managed?

They very well might be, as it’s hard to believe that this film then shows Morris win the high jump and the 400-meter run with a huge lead. Then, the Decathlon comes to its finish with Morris being the clear winner, the US Anthem playing, and this is the shot Riefenstahl dedicated for that moment!

While US propaganda was busy showing Hitler as a madman and Germans as demons, this is how the Third Reich returned the favor.

There is no equivalent shot of a victorious German athlete with the Third Reich’s iconic Swastika flag and they would have you believe that this is a “Nazi propaganda” film! It’s propaganda all right, however it’s about universal ideals. Thus, as with Jesse Owens in Olympia Part I, Riefenstahl chose the competitor she thought best fits those ideals. Owens’s victories were record breaking and great, as was Morris’s Decathlon, hence they get the most honored screen time in Olympia Parts I & II.

Film & Intent
From just one viewing of this film, the most common approach for the average filmgoer, we can see that the NSDAP presented its ideals much differently than has been interpreted by Allied/Soviet/Zionist post-WW2 propaganda & historiography. This Nietzschean outlook of “there are no facts, only interpretation” has certainly helped these forces shape the world, however upon examinations such as ones presented in Riefenstahl’s film, also known as “official NSDAP propaganda,” we can see a divergence in intent. The Third Reich focused on an overall positive portrayal of its powerful ideals, while its opponents sought to vilify those very things at every turn. Things like Superman, Captain America, Wonder Woman, and others were started as propaganda comics aimed at demonizing the Third Reich. Hence, Allied/Soviet/Zionist propaganda had a negative focus, while National Socialist propaganda had a positive one. On the surface, the American Propaganda Comics have had the status of their worldview transition from pre-emptive war fervor to normalization. Hence, anything deemed even remotely “Nazi” still causes very frequently such huge surges in violent emotion as intended by the establishment.

Soviet propaganda, in particular, began this way. The first major cinematic piece of Soviet propaganda film is the film Battleship Potemkin by Sergei Eisenstein, a secular Jew who nonetheless followed in the footsteps of his tribe’s penchant for emotionalism. Following the old Jewish tales of obsessive martyrdom, he continued this for a general Russian audience with a general Russian martyrdom at the hand of the Russian Monarch whom he vilified. This was essentially the same process, albeit in a different context, as the aforementioned American Propaganda Comics, also created largely by secular Jews. Eisenstein’s film theory created what is known as Soviet Montage, which is “the editing of clips or photos together in order to get a certain point across. The goal of Soviet montage is to create an idea which is clearer when all the images are viewed together than when they are viewed separately… [the] main goal was to take propaganda and present it in a different way in order to harness the emotion of the Russian people.” This is age-old Jewish pathos, or appeal to emotion, fused with propaganda. In Judaism (as with related religions) & Communism, the enemies of the system are shown doing negative things to those who support it, thus rallying support for the cause. This is negativist propaganda. Judaism needs an Amalek just as badly as Communism needs a Hitler just as all Materialist systems need an “other” to sound an eternal war cry against. Whether it’s hate the goyim, hate the rich, or hate the higher educated, materialism just needs something to hate.

This is in stark contrast to Leni Riefenstahl’s films that show the potential champions of the National Socialist system performing positive feats with there being no need to mention enemies since they are not to be identified with it. This is positivist propaganda. National Socialism and Aryanism and all idealist systems focus on the goals they wish to achieve as a rallying call in effort to bring people together.

“In order to carry the idea of the People’s State to victory, a popular party had to be founded, a party that did not consist of intellectual leaders only, but also of manual laborers.” ~Adolf Hitler, Mein Kampf

The Olympic Torch & Lights

“The movement must use all possible means to cultivate respect for the individual personality. It must never forget that all human values are based on personal values, and that every idea and achievement is the fruit of the creative power of one man. We must never forget that admiration for everything that is great is not only a tribute to one creative personality but that all those who feel such admiration become thereby united under one covenant.” ~Adolf Hitler, Mein Kampf

The film shows this in what we could call “Aryan Montage” or “the editing of clips or photos together in order to inspire the viewer with positivism and idealism.” The athletic sequences shown in this film are sure worthy of the name and description. One can only revel and wonder what Riefenstahl and artists she inspired would dream, draw, and direct next.

Aside from the wipe transitions (Star Wars, you can thank “the Nazis” any day now), training montages with uplifting music (Rocky, you too), we also get the climatic slow motion shot. During the field hockey sequence between India and Germany we can see the origin (as it’s seen in blockbusters, at least) of the action movie slow motion shot of a key, sequence-ending moment. In one shot, the ball is launched, bounces off of the goal keeper’s foot, then off of a field hockey stick, then flies over the goalkeeper’s outstretched hand, which bounces it back out towards the field, only to be bounced back towards the goal, before landing on the ground as the players vie for it at each other’s feet, however just then the referee blows the whistle as inadvertent close quarters pushing starts with too many players around the goal. Ah, the tense last second save. It’s been done with grenades flying to their target, bombs falling, cars flipping. Yet, the NSDAP, a regime that’s been vilified endlessly for its militarism, co-sponsored its creation with a field hockey ball in a sequence about sports and athletic idealism. Go figure. Soon after we get one of those wipe transitions, formatted diagonally to match a soccer team entering the field for a game.

Soccer team enters the field from frame right to left with a matching wipe transition.

With such ideas guiding the way, class cooperation and international cooperation outside of high finance, it is then no surprise that the USSR boycotted the 1936 Berlin Olympic Games along with Spain, which was at the time choked by Communism. Today’s followers of Antifa are woefully or willfully (either way like good golems) ignorant of their organization’s origins when they preach social unity and “human well-being.

The film’s final sports event is a diving sequence, which ends with the diver composed against the sky and dissolving into it: Transcendence. Next, there is a shot of the Olympic Bell together with close-dissolved footage of the Olympic Stadium with their respective circular shapes matching up. Next, the Olympic Torch is seen burning as lights aim up to the sky, form a massive cone, with the bell and Olympic torch framed within them. The light beams match the bell shown moments before and now the corporeal matches the ethereal, ideals guide materials and not vice versa. Spear-like flagpoles appear onscreen matching the large light beams, again material matching ideal. These various national flags are each given an Olympic Wreath before the film finally displays finally the Olympic flag, the one that united them all. Behind this flag are the Stadium Lights, which are next shown behind the Olympic Torch that for now goes out. However, with the music swelling, the light beams point up towards the heavens and unite in a Sun-like image, the Solar Ideal for a Solar Civilization; truly one of the most uplifting moments on all of cinematic history. On a big screen with surround sound for the full orchestral score, a viewing of this scene must be positively mesmerizing.

Combine those idealist aspects with Olympia’s relatively humble patriotism, a patriotism based on deeds rather than outward show, and you get something that today’s Hollywood directors such as Steven Spielberg & Michael Bay, both Jews, can’t ever or simply don’t want to recreate, instead resorting to either cheap sentimentality or overblown adrenaline in their “pro-American” films. Olympia Parts I & II both show a more beautiful and honest 1930s patriotism & nationalism than the American films and government of that, and unfortunately also this, era. President Franklin Delano Roosevelt, leader of the “free world,” ignored Jesse Owens in the same year he was featured prominently in Olympia Part I – Festival of Folks.

Lastly, it’s not only Idealism that is part of National Socialist and Aryanist philosophy. Rather both have a focus on Idealism over the material aspects of life. This is in contrast to Capitalist and Communism that almost exclusively subject themselves to Materialism and simply promote different management systems for material goods with any Ideals many rows back, if present at all.

Watch the Film: Olympia Part II online!

Further Information
Olympia Part I – Festival of Folks
Triumph of the Will – National Socialism’s epic display at the 1935 Nuremberg Rally

Posted in film, Kampf | Tagged , , , , , , , | 6 Comments