Source: http://www.newsweek.com/id/214989

"When, after hours of argument, I was convinced that now at last I had broken the ice or cleared up some absurdity, and was beginning to rejoice at my success, on the next day to my disgust I had to begin all over again; it had all been in vain. Like an eternal pendulum their opinions seemed to swing back again and again to the old madness." Adolf Hitler
"It is no longer acceptable that a small minority (THE JEWS) would dominate the politics, economy and culture of major parts of the world by its complicated networks, and establish a new form of slavery, and harm the reputation of other nations, even European nations and the US, to attain its racist ambitions," he said.
”Israel need not apologize for the assassination or destruction of those who seek to destroy it. The first order of business for any country is the protection of its people.”Washington Jewish Week, October 9, 1997
I came from a country occupied militarily by Israel to the land of “the free and the brave” only to find out it too was occupied politically by Israel.
The Palestinian people, holding on to whatever shred of hope they can, are counting on the day Americans see the error of their ways and change their opinion of the whole Middle East situation and understand it for what it truly is–A conquered, oppressed people living a hellish existence under a maniacal, occupying power and who will then contact their representatives in Congress and have them put the heat on Israel in fulfilling the agreements she made years ago with the PLO such as Oslo, Taba, Camp David, Wye River, the Road Map, or even Annapolis.
The sad fact however is that the Americans–as much as they champion themselves as a “free people”–are in no better shape than the Palestinians. On the contrary, the American position is worse than that of the Palestinians. The Palestinians can identify the enemy–he is the one with the gun and blowing away their loved ones. They KNOW they are occupied and oppressed. They KNOW how Israel occupied Palestine, killed its inhabitants and forced the majority of those who survived the carnage out of their homes and lands to then live as strangers in refugee camps.
The Americans however, have no idea. Like a drug addict who thinks he feels great after shooting up, he does not realize he is a slave, to his substance and to his pusher. The history of how the Zionists’ controlled England is not shrouded in mystery. Through Jewish control of the British government the Balfour Declaration was drafted that “gave” the land of Palestine to the Jews after WWI, a land they did not own or possess.
But how in the world did they occupy the United States politically? There is no real “Balfour Declaration” we can point to as proof.
Or can we?
Jewish influence in American politics–while there from the earliest days and certainly apparent during the Wilson, Roosevelt and Truman administrations–did not become the force it is today until the Kennedy era, or, rather, AFTER the Kennedy era.
As all know, in 1961 John Kennedy became the 35th President of the United States, a presidency cut short as a result of his assassination in Dallas on November 22, 1963. Robert Kennedy, the president’s younger brother was Attorney General of the United States and therefore the head of the Department of Justice.
What is little-known is that the Kennedy’s realized early on that indeed the country was in trouble and that something needed to be done about it. The trouble in this case was the influence slithering its way into American political life from a far-away state only about 12 years old known as Israel. Both Kennedy brothers, learning politics at their father Joseph’s knee, understood the dynamic of this thing known as “Jewish interests”, how it would play out and what the repercussions would be for America.
Of the many issues revolving around Israel and the Zionist question the two more important as pertains the Jewish state were (A) Israel’s nuclear program, and (B) the issue of an organization known as the American Zionist Council.
According to Pulitzer Prize winning author Seymour Hersh, President Kennedy was profoundly committed to nuclear nonproliferation and was categorically opposed to nuclear weapons in the Middle East, which meant opposing Israel’s nuclear program. Hersh states that JFK exerted heavy pressure on Israel to stop the program and was serious about it. At the time Kennedy was in the middle of crises mode with the Russians in trying to arrange a nonproliferation treaty with them and therefore Israel’s nuclear program would be a big embarrassment. In addition to being an embarrassment it would open up the possibility of a nuclear conflict with Russia, given her allies in the Middle East, something made all the more believable in the aftermath of the Cuban Missile Crisis that almost resulted in a nuclear war between the two giants. John Kennedy had nightmares about the prospect of nuclear proliferation, saying “I am haunted by the feeling that by 1970, unless we are successful, there may be ten nuclear powers instead of four, and by 1975, 15 to 20…. I see the possibility in the 1970s of the president of the United States having to face a world in which 15 or 25 nations may have these weapons. I regard this as the greatest possible danger and hazard.”
Secret letters and secret meetings between Kennedy and Ben-Gurion give a clear picture of the difficulty Kennedy faced in negotiating with the Israeli Prime Minister who stated many times that nothing will save Israel but nuclear power. According to author Michael Collins Piper in his book Final Judgment Ben Gurion wrote Kennedy saying: “Mr. President, my people have the right to exist, and this existence is in danger.”
It does not take a skilled translater to figure out what Ben Gurion was saying, namely that Kennedy’s opposition to nuclear weapons in the Middle East was seen as an existential threat to the Jewish people and their newly-formed state. Going further, Kennedy insisted on inspections of Israel’s program as evidenced in a secret letter sent to then-Israeli Prime Minister Levy Eshkol that stated that American support of Israel “could be jeopardized” if the Americans were not allowed to inspect the Israeli nuclear facilities.
As if the aforementioned were not enough, there was another front in this private war between Kennedy and the “Jewish state” equally important in its scope if we are to understand what kinds of forces were at play here that led to America’s change of policy with regards to Israel. It involves the issue of spying, bribery and the direct controlling of American politicians by a foreign power and the one creature at the center of all of it was something known as the American Zionist Council and the Kennedys’ insistence it register as a foreign agent under the provisos of FARA, the Foreign Agent Registration Act passed by Congress back in 1938 to prevent German agents in the U.S. from buying their way into the American system of government and public opinion. The purpose of FARA was “to insure that American public and its law makers know the source of information- propaganda intended to sway public opinion, policy, and laws.”
In other words the Kennedy’s understood the danger of the Zionist Movement on the United States of America and treated it just like Germany was treated during the Hitler years. The Kennedy’s understood the reality of the situation as it existed during their days in government, that the AZC was an agent of a foreign government, Israel, which would prevent it from buying American politicians and exerting the kind of influence over public opinion making that for all intents and purposes is now is a fait accompli.
Negotiations went back and forth between the Department of Justice headed by the President’s brother Robert and the American Zionist Council. The council refused to register and the DOJ tried to exert pressure on them, even going so far in one instance as giving them 72 hours to register, but at no avail. Examining the newly-de-classified documents containing the minutes of those meetings between the DOJ and the AZC one can see the language of gangsters being used. In one of those documents dated May 2, 1963 the head legal counsel Simon H. Rifkind for the AZC explained to the representatives of the DOJ the nature of the AZC, saying “The council is composed of representatives of the various Zionist organizations in the United States” and thereby, in effect, it represented “the vast majority of organized Jewry within this country.” The message was clear here–As far as organizations go it is big and powerful. Judge Rifkind obviously wanted to make sure the Kennedy’s knew they were picking a fight with a gorilla and not some small mouse.
He did not stop there but went further by stating that the vast number of Jews who adhered to the principles of Zionism could not understand how “our administration” could “do such harm to the Zionist movement and impair the effectiveness of the council by insistence on registration.”
Here Judge Rifkind made sure he used the phrase “our administration” instead of “our government” to make a specific point, namely that he was talking about Kennedy personally, that it was the Jews responsible for him getting elected and that if he continued with his agenda he was in effect entering into a war with organized Jewry.
Another meeting very much worth noting was held on October 17, 1963 between DOJ and AZC. In this meeting Judge Rifkind insisted on non registering, citing that fact that “It was the opinion of most of the persons affiliated with the Council that such registration…would eventually destroy the Zionist movement” and adding that he did not believe his clients would “file any papers or sign any papers indicating that the organization was an agent of a foreign principal”. In other words, “Screw You America and your laws, we’ll do what we want” as well as threatening the administration and telling them who really ruled the country, not the Kennedy brothers but rather the persons “affiliated” with AZC. Once translated from Gangsterese into understandable political language, this statement was in effect a direct warning/threat to the Administration that the war was on. It is up for grabs whether or not the Kennedys understood this to be the real threat it was, but nevertheless the Administration decided to continue with its position.
On November 22, 1963 President John Kennedy was assassinated in Dallas. As the AZC went away into the sunset, AIPAC came riding in, born and led by the same persons who created and managed AZC for the same purpose. This time however, the message went out clearly for all on Capitol Hill to hear and understand–“Do not stand in our way of influencing public opinion, policy, or laws.”
Obviously, the message has been effective, as all American leaders save a few such as James Traficant have done as instructed. According to the former Congressman, Israel receives $15 Billion worth of aid from the American Taxpayers without a single discussion or a single argument on the floor of either the house of Representatives or the Senate. Why? Because no one dares to question it. Why is it that most of our politicians make pilgrimage to Tel Aviv and the “wailing wall” in Jerusalem to get the blessing of Israel before they are even approved by their own political parties here in the United States? Why is it our Congress is always split down the middle on all other issues presented to them except when it deals with Israel? We all still remember the comment made by former Israeli Prime Minster Ariel Sharon to his Foreign Minister Shimon Peres in October 2001: “Don’t worry about American pressure, we the Jewish people control America.” When people with eyes to see state that fact they are called anti-Semites, despite the fact that what is being said is the truth.
The “control” Sharon spoke about has been there for a long time now. Consider what the late Senator Fulbright (who chaired the Senate Foreign Relations Committee and who held hearings back in 1963 regarding the AZC and the fact it should be registered as a Foreign Agent registration) said when speaking on the CBS television program “Face the Nation” had to say–
“I am aware how almost impossible it is in this country to carry out a foreign policy not approved by the Jews…Terrific control the Jews have over the news media and the barrage the Jews have built up on Congress… the Jewish influence here is completely dominating the scene and making it almost impossible to get Congress to do anything they (the Jews) don’t approve of.”
These words were not spoken by a researcher or a reporter but by a brave American hero who actually lived through and experienced the Jewish influence over our political system and media.
This Israeli political occupation of the United States should not go on unchallenged, and American Jewry should understand that secrets cannot be hidden from the people forever. Nothing less than a revolution will correct this situation. The corrective action should be taken at the ballot boxes by electing people who are not afraid to challenge AIPAC and the likes and make America’s Foreign Policy truly American and not Israeli.
As a first step in this process, let us keep the words of our dear martyred President John F Kennedy in mind– “Those who make peaceful revolution impossible will make violent revolution inevitable”.
President Ahmadinejad says Iranians' "Down with the US" slogan is a result of the "ugly behavior" of the United States governments.
In an interview with the National Public Radio (NPR) on Thursday, Iranian President Mahmoud Ahmadinejad noted that even the US President Barack Obama in his remarks has accepted the fact and has called for a change in the way Washington treats other nations.
The Iranian president meanwhile noted that friendship is more sustainable than animosity and voiced Iran's readiness for dialogue with the US, Fars news agency reported.
Asked about the reason behind the "Down with the US" slogan chanted in Iran, Ahmadinejad said "this is their (the Iranian nation's) reaction to the ugly behavior of the US governments."
The Iranian president was also asked to explain his remarks on the Holocaust, which he had delivered during a speech on Al-Quds Day.
"I have a number of questions with respect to the Holocaust: Why is the Holocaust the sole historical event that has been magnified, and why politicians have paid special attention to this event and have approached it with bias. Why the people of Palestine have to pay the price for it and why no one is allowed to launch independent and logical investigation into the Holocaust," he told the NPR.
"Currently there are a number of prominent historians, who are serving prison terms on charges of investigating the Holocaust. These are serious questions and I call on those who care for human rights to answer these questions."
Quentin Tarantino’s Inglourious Basterds [sic, sic] has been hyped as World War II action movie-cum-sadistic gorefest. In reality, it is a self-indulgent snorefest. I thought I would need a gin and tonic before I went in, but it turns out what I needed was a cup of coffee. Yes, there is some gore and sadism, but frankly I found myself hoping for more of it. Anything, really, to relieve the sheer boredom.
This is Quentin Tarantino’s worst movie, and that is saying a lot, given how bad Kill Bill, vol. I is.Pulp Fiction was Tarantino’s Citizen Kane, and it has been The Magnificent Ambersons ever since. If you find this review entertaining, let me assure you that it is far more entertaining than the movie itself. Nothing here should be interpreted as encouragement for you to waste your time and money on this preposterous and dull film.
Inglourious Basterds is about a team of American terrorists, consisting of seven Jews led by a gentile, Aldo “the Apache” Raine (played by Brad Pitt), who hails from Tennessee and claims to be part American Indian. The character is clearly based on Tarantino himself, since he too has an Italian name, hails from Tennessee, and claims to be part Cherokee. The mission of the Basterds is to terrify the Nazis by killing them in the most sadistic manner possible and mutilating their corpses. The dead are scalped. The survivors have swastikas carved in their foreheads.
Holocaust narratives are filled with tales of thousands of Jews herded to their doom by relative handfuls of Germans and their collaborators. Although this sheep-like behavior seems rather unlike the hyper-aggressive and unruly Jews of my acquaintance, most people accept it at face value and then wonder: What was wrong with these people? Why didn’t they fight back?
Tarantino has asked the same question: “When you watch all the different Nazi movies, all the TV movies, it’s sad, but isn’t it also frustrating? Did everybody walk into the boxcar? Didn’t somebody do something?”
Inglourious Basterds is his answer. During WW II, the Jews needed the leadership of someone like Aldo the Apache, a mostly white man with a bit of red savage mixed in, just like the people who have churned out six million holocaust flicks need to take direction from Quentin Tarantino. With Tarantino in charge, the war would have had a very different end, and Inglourious Basterds shows us how.
Should Jews be insulted by this premise? Of course they should. But the movie itself is far more insulting still. Indeed, this is probably the most anti-Semitic movie ever released by Hollywood. Tarantino’s Jewish characters are one-dimensional, inhuman monsters. The Jewish Basterds are all as ugly as Der Sturmer cartoons. They have virtually no lines in the entire movie. All they do is skulk around, waiting for Aldo the Apache’s commands to murder and torture Germans.

Eli Roth and Brad Pitt, Basterds
The most prominent of the Basterds is played by Eli Roth, just another degenerate Jewish director of repulsive horror films. Roth plays the “Bear Jew,” who beats Germans to death with a baseball bat. He is the funniest thing in the entire movie, with his pouting, prissy mouth, drag queen makeup, and shiny brilliantined coiffure. Roth’s large, hairy body (anyone can take steroids) looks menacing until one hears his high, hysteria-edged voice. There was laughter in the audience every time this castrated gorilla opened his mouth on screen.
Too shallow to realize that he was playing a monstrous buffoon, Roth really got into the role, praising Inglourious Basterds as “kosher porn” (is there any other kind?). He really gets off on fantasies of killing Nazis: “It’s almost a deep sexual satisfaction of wanting to beat Nazis to death, an orgasmic feeling. My character gets to beat Nazis to death. That’s something I could watch all day. My parents are very strong about Holocaust education.” They sound like lovely people, and I am sure they are really proud of what a successful boy Eli turned out to be.
Other Jews were equally smitten: Tarantino’s producer, Lawrence Bender, told Tarantino, “As your producing partner, I thank you, and as a member of the Jewish tribe, I thank you, motherfucker, because this movie is a fucking Jewish wet dream.” Harvey and Bob Weinstein, the film’s executive producers, also reportedly enjoyed the film’s theme of Jewish revenge.
Tarantino also reported received uniformly positive reactions from his Jewish friends: “The Jewish males that I’ve known since I’ve been writing the film and telling them about it, they’ve just been, ‘Man, I can’t fucking wait for this fucking movie!’” he told me. “And they tell their dads, and they’re like, ‘I want to see that movie!’”
If all these Jews have no objection to their tribe being portrayed as one-dimensional vengeful sadists, who am I to complain? Perhaps the shoe fits.

Mélanie Laurent
The most prominent Jewish character in the movie is the blonde-haired, blue-eyed Shoshanna (played by Mélanie Laurent), the daughter of a Jewish dairy farmer (that got the first laugh of the movie). Her family is massacred in 1941 by the SS, and somehow she turns up a few years later with an assumed French identity running a movie theater in Paris with her Negro lover. When her theater is chosen to premiere a new German movie in the presence of Hitler, Goebbels, Goring, Borman, and other leading Nazis, she plans to bolt the doors and burn the place down as an act of revenge.
Shoshana is a character of reptilian inhumanity. A young German, Frederick Zoeller (played by Daniel Brühl) is obviously smitten with her. A film enthusiast, he tries to strike up a conversation about movies. The contrast could not be clearer. He is warm, sincere, and polite. He sees her as a fellow human being and a fellow film-enthusiast.
She sees him only as a racial enemy. She takes no interest in him until she discovers that he is both a film star and a war hero, which she thinks she can use to her advantage. (He does not reveal these things to her initially, for he does not merely wish to impress her, but to befriend her.)

Daniel Brühl
Her only flash of human emotion comes at the end of a scene in which she meets the SS man, Standartenführer Hans Landa (Christoph Waltz), who murdered her family, but it just heightens the impression that she is a cold-blooded master of deception and intrigue.
Shoshanna’s inhumanity is heightened by comparison to Uma Thurman’s revenge-driven character “The Bride” in the Kill Bill movies. The difference is not just a matter of who played the role (although Tarantino decided that as well) but of how the actresses were directed.
Hans Landa claims that he is effective at hunting Jews because he knows how they think. The meaning of this is made clear at the end of the film, when he turns out to be a traitor.
The Allies do not come off much better than the Jews. Aldo the Apache is the only American. He is a loud-mouthed, sadistic, duplicitous jackass with a hillbilly accent. Brad Pitt plays him for laughs, and he is genuinely funny. There are three Britons: the handsome German Michael Fassbender as film-critic Lt. Archie Hicox, Mike Myers as General Ed Fenech, and the wreck of Rod Taylor as Winston Churchill. The first two come off as effete wankers, and Churchill might as well be Jabba the Hutt.

Christoph Waltz
All of this is in strong contrast to the portrayal of the Germans, even the German traitors. First of all, they are mostly quite good-looking and sexy. (As P. J. O’Rourke said: “Nobody has ever had a fantasy about being tied to a bed and sexually revished by someone dressed as a liberal.”) Second, they are dignified, charming, and polite with strangers; warm, playful, and fun-loving among friends. Even though the Germans are supposed to be the bad guys, they are the only people in the film with whom most white people can readily identify themselves. This means that white audiences can only feel revulsion at the sadistic Jews who murder them.
Hitler, of course, is portrayed as a monster. He first appears wearing a cape, which is appropriate, since he is played as nothing more than a comic book villain. (Martin Wuttke is surely the ugliest Hitler ever.)
Goebbels, although he is portrayed as somewhat arrogant (like a film director, perhaps), comes off overall as warm, sincere, playful, and even a bit lovable(!). Tarantino has obviously immersed himself in German films of the era, and it is clear that he has some admiration for what Goebbels accomplished. (In a scene set in England, it is stated as plain fact that Jews run Hollywood, and Goebbels is given credit for giving them a run for their money.)
The true star of the film is Christoph Waltz, whose portrayal of Hans Landa is absolutely riveting. He is such a magnificent character that Tarantino had to turn him into a traitor in the end, otherwise he would be the true hero of the film as well.
The other star is Daniel Brühl who plays Frederick Zoeller, the young war hero who becomes smitten with Shoshanna. His character is the most likable and most tragic of the film.
Now let’s examine the climax of the movie. I have no qualms about giving it away, since I don’t want any of you to see it anyway. Shoshanna hosts the premiere. Hitler and all the top Nazis come to the theater. She splices her face into the fourth reel of the film. Once the fourth reel is playing, her Negro lover bars the doors to the theater. Suddenly, Shoshanna’s face appears on the screen: “This is the face of Jewish vengeance!” she screams, while the Negro sets the building on fire. The kindling he uses are movies printed on highly flammable nitrite film. (Jews use movies — and Negroes — to create mass death and destruction in this country too.)
Meanwhile, two of the Jewish Basterds (including the preposterous Eli Roth), who have infiltrated the theater without knowing of Shoshanna’s plot, run amok with machine guns, killing Hitler and Goebbels and other Nazis. The theater then explodes. Everybody dies, Jews and Germans alike. Götterdämmerung.
The climax of Inglourious Basterds is obviously based on the Oscar night massacre in neo-Nazi Harold Covington’s novel The Brigade
. If you don’t believe me, read the novel for yourself.
The symbolism and the message could not be clearer: Jews use movies and movie theaters as tools to destroy their enemies. And since the white people in the audience can most readily identify with the Germans, the message gets through: the Jewish movie business is a tool of hatred and vengeance directed against all white people.
Why would Quentin Tarantino make a movie about World War II in which Germans are portrayed as attractive human beings, Americans are portrayed as sadistic buffoons, Englishmen are portrayed as effete wankers, and Jews are portrayed as cold-blooded, inhuman mass murderers?
Why would Quentin Tarantino borrow plot elements from neo-Nazi Harold Covington’s The Brigade to craft a climax for his movie? Why would he use that climax to expose the true anti-white agenda of Hollywood?
Is Quentin Tarantino a Nazi-sympathizer?
Of course not. Nothing could be further from the truth. Quentin Tarantino is simply a nihilist with an unfailing instinct for finding and desecrating anything sacred. In Pulp Fiction — his one great movie, and his most sincere — Tarantino showed a profound grasp of the spiritual meaning of the duel to the death over honor, symbolized by the Samurai sword. In Kill Bill, vol. I, he made a giant joke of it.
In Inglourious Basterds, Tarantino has taken the one truly sacred myth in modern Jew-dominated America — especially in modern Hollywood — namely WW II and the holocaust, and he has desecrated it by inverting all of its core value judgments and reversing its stereotypes. In the process, he has exposed the true anti-white agenda of Hollywood. Why? Just because he can.
The fact that Quentin Tarantino could desecrate the holocaust, expose Hollywood’s agenda, and sell it back to Hollywood’s Jews is a testament to his twisted genius and their shallowness and moral imbecility.
I wish Inglourious Basterds were a better movie, since I think that many white people would benefit from seeing it. Yes, the explicit message is that it is good for Jews and their hillbilly dupes to sadistically murder Germans (and any other enemies of the Jews, for that matter). But the largely white audience with which I saw the film did not seem terribly comfortable with this message.
Yes, they found Brad Pitt funny. He really was funny. But the sadism directed at Germans did not amuse. In the last scene of the film, where Aldo the Apache graphically carves a swastika in the forehead of Hans Landa and pronounces it “my masterpiece” — pathetically enough, this is probably Tarantino’s view of the film — there was no laughter.
For the subliminal message was coming through loud and clear: we are all Germans now, and every time we turn our eyes to a movie screen we are seeing the face of Jewish vengeance.