Heeb Magazine. Yes, the same (of the (in)famous ‘how to cook a goyim cartoon). This tripe (capital T capital RIPE) was a send up of Prof Ariel Toaff’s classic work Blood Passovers, a work which confirmed the long tradition of the Church commemorating the child martyrs of these sacrifices like St Simon of Trent and and St Hugh of Lincoln.

Now Heeb has launched a Fake Holocaust Memoir Competition.

They are calling for Mss from all their readers who want to write a holocaust ‘memoir’

Evidenced based history is desparately important.

And here is a sample of Historical Truth that can be evidenced on this subject:

Many Jews died on the vast killing fields of WW II – (an actual number unknown as opposed to a Cabbalistic number)

German civilian populations were in fact literal holocausts (sacrifice by fire) when the Allies by order of Churchill commenced the terror bombing of civilian populations with incendiaries. Hitler retaliated, but it was clearly the intention of the JudeoMasonic Allied Commanders to ‘holocaust’ the German population in the war that, according to the New York Times, Jewry declared on Germany in 1933.

Then there were the millions (conservatively 40 million white Russians) murdered in the genocides of the Bolshevik Revolution and its governments. This was the work of JudeoMasonry – led by the Revolutionaries of the school for revolution: The Grand Orient Lodge. And the terror apparatus of the revolutionary government was Jewish.

If you are of European ancestry you will spend long years in jail in the EU if you dare to say these things.

The answer of Heeb Magazine to Reality is a Schmolocuast competition.

The rulz must be read to be believed.

See the Sept 18, 09 post at http://newsfromthewest.blogspot.com.

Western pop Kulture has morphed into this vulture feeding off the carcass of a once vibrant cultural life in the fine arts of the West – once the creation of European peoples across the world. In our own time, the Vulture in all its forms is developing and inculcating ever more bizzare lies and depravities into the popular mind or the common sense, coupled with frenzied and insatiable appetites.

This (in itself) is a clear indication of the national identity of the media owners of the West. Jewry is the nation subsisting within all nations as a state within a state. And Jewry is using all media owned, operated by its own nationals – that is the entire Fourth Estate, to create and inculcate into mass populations a powerful meme that will serve their imperium against once sovereign nations of Western peoples. These are now mere subsidiaries of Jewry’s financial apparatus / banking cartel – to be imploded and restructured into a new world pyramid with the Jewish nation at its apex.

A new mythology is needed to serve as the Crux of new world order; a defining event within time to which all humanity must defer in terms of before and after. This is Holocaust Mythology, a powerful meme intended to shape the thought and observance of all religions, legislation, jurisprudence, social and cultural life of a new empire.

To create and universalize this Mythology as a meme, Jewry is enlisting all the apparatus of the Vulture: the motion pix industry, the star system with its celebrity cult, mainstream reporting, opinion and letters.

I would hope there are many Jewish individuals who would wish to live free of this and oppose it, but they are limited in the same way an American who opposes the Terror War of the American government.

To get a clear idea of how Holocaust Mythology is being created and promoted, it is worth revisiting the anti-semitic mythology in films of previous decades. This was when serious themes that still possessed some authentic relationship to the target Western population could still vie with the Jewish instruction even though they were subverted by it. (This is because, of course, all films are Jewish films).

While this reality, remained covert, what was apparent was this schizoid quality whereby the characters and story line that attracted the unwitting ‘gentile’ to the film would get recontextualized as a vehicle for the Jewish instruction. This dissonance was only able to rise to consciousness as disappointment as one would perceive that the best and most authentic material of the film could not be realized and contemplated within the film itself. Nor was it possible as a viewer of these films to connect with true spiritual, cultural life of the subject matter.

A good example of this Is ‘Chariots of Fire’ (1981). This is a British film. Directed by Hugh Hudson. The Templars of the Shriners (the Academy is an apparatus of the Shriners – Oscar is a Templar Knight) awarded oscars to Chariots of Fire for best picture, best musical score, original screenplay. And it got a swag of BAFTAS as well. So obviously the Powers think congratulations are in order for this work. And there is some material in this film that is truly wonderful, yet it is never permitted within the film to find its own voice and true context.

England and the 1924 Olypics in Paris are the setting of Chariots of Fire. In the true, historical setting: England is a nation which has been a part of the Jewish Empire since the Glorious Revolution and is owned outright by the Crown i.e. the Rothschild financial cartel. The Judaic Imperium and the dictates of Jewry penetrate and organize every aspect of the U.K. This is fact.

In Chariots of Fire, we are treated to an English setting of nostalgia that is depicted in the way the uninitiated must be taught to perceive it – a nation bristling with parochial Christian attitudes, anti-semitism and conservative and traditional rules fundamentally hostile to liberty, equality and fraternity. Yet the England of Chariots of Fire is also a nation that aspires as a matter of national honour to field its most elite to the Olympic Games – that shining beacon of universality and ‘equality’ in the glory of sport.

In truth, the Olympic Movement is organized by the worlds’ governing elites, the same elites who own England in fee simple. The Games of course, have no place for the convictions of the Christian faith.

Two characters enter into contest with this state of affairs: both depicted and actual. One, the Jew Harold Abrahams, enters into pseudo conflict with the depicted reality; the second, the Scotsman, Eric Liddell, enters into true conflict with the powers and lays bare their motives. But the film does not allow us to realize this.

In 1919, the Jew, Harold Abrahams enters Cambridge University. The film would have us believe that in nation that is owned by the Jews, sporting excellence at an institution like Cambridge, is somehow being denied to the Jewish student. He attempts and succeeds in the Trinity Great Court run. Perceiving himself to be a victim of ‘anti-semitism’, he feels vindicated. But when Eric Liddell beats him in a race, he decides that to overcome ‘anti-semitism’ he must at all costs win for the glory of G_d; he must challenge Liddell in the Olympics and he hires a professional coach to train.

Eric Liddell, his antagonist, enters into contest as a true amateur athelete (the criteria for an Olympian). As a Christian, he enters into contest with the world – in the film, the disposing powers of the Olympic Games. And he enters into conflict with Abrahams who seeks to achieve his vindication as an Olympian outside of the sporting tradition held up by England as the standard of amateur competition e.g. the Olympics.

For most Western people this is the true substance of Chariots of Fire. But the film is more about the Abrahams plot in which the Jewish protagonist is vindicated against anti-semitism and the Olympic standard is changed as a result of that ‘vindication.’ This is the pseudo-plotline that dominates and mars the film.

The real interest for the Western viewer is the portrait of Eric Liddell as Scotland’s greatest runner. For Liddell, the contest is summed up in the words of St Paul regarding The Race. The contest is supremely about the Kingdom of God – the Mission. As one who aspires to become a missionary and to take the Evangelium to China, running (a natural good) is only of secondary importance to him. The Contest is about the Kingdom of God. His sport, at which he excels, is a natural good and must assume its proportionate place in his life.

But he loves to run. “I believe God made me for purpose (the Mission), but he also made me fast and when I run, I feel His pleasure.”

This is the true excellence, the arete, the true nobility. Winning is not all. What is all is to the serve the purpose for which he was created – a supernatural purpose. And he believes he has found his vocation in the Divine Purpose. He is a Scotsman of the Church of Scotland (Eaglas na h’Alba). And so he is going to act upon his conviction: he is going to China. And in the meantime he desires to run in the Olympics for the glory of God because he loves to run. His conflict is to render to sport what belongs to sport and to God, what belongs to God. As it turns out, he chooses not to run his race in the Olympics for the glory of God, because the powers of the world have scheduled his race to be on a Sunday. He will not dishonour the Day of the Lord. And in life, also, he finishes his course. He is martyred for his love or our Lord and his gospel in the mission fields of China, laying down his life in hope that the Han Chinese people of dragon kingdom might have faith, baptism, life and resurrection.

What is even more glorious, is the number of those Chinese (millions) who gave their lives for our Lord’s gospel at the time of Mao’s Communist Revolution. How many of these victories a result of Eric Liddell’s missionary work?

The liturgy of the West hails the martyrs of the Lord who have finished their race, with most fitting homage: “The Lord loved him and adorned him; He clothed him with a robe of glory and crowned him at the gates of Paradise.”

Amavit eum Dominus et ornavit eum: stolam gloriae induit eum, et ad portas paradisi coronavit eum.

This is what Chariots of Fire should be about – and why not include the film segment of the repatriation of Liddell’s body to Scotland with national honours.

The reference ‘Chariots of Fire’ comes from Elisha’s prayer (2 King’s 6:1) where the prophet prays that God would open the eyes of his fearful servant to see “the horses and chariots of fire” that surround them in the mortal and spiritual contest in which they were engaged. The poet William Blake aludes to it in his poem Jerusalem:

Bring me my Arrows of desire!
Bring me my Spear!
O clouds unfold
Bring me my chariot of fire!

….

I will not cease from mental fight
Nor shall my Sword sleep in my hand
Till we have built Jerusalem
In England’s green and pleasant land.

Or in China for that matter – for our Lord is to reign over all nations until all his enemies are under his feet.

But Blake’s poem and the hymn Jerusalem (which is sung in the Kirk during the film) is particularly appropriate. For according to pious legend (not commemorated in the Western liturgy), the child Jesus journeyed with St Joseph of Arimethea to the Celtic lands. The Saint later returned and struck his staff, a rod of the Holy Thorn upon Glastonbury Tor where it took root. Glastonbury together with Iona (in Scotland) was the Christian foundation of Celtic Ynys Prydain when the Island was Celtic. For centuries Glastonbury Abbey was famous for its holy thorn ( a hawthorn ) that would bloom for Christ’s Mass in midwinter. It was in bloom in the 1970′s for Christmas when I was there, flowering in the winter light of the Christmas snows. Glastonbury was razed by Henry VIII who demanded the patrimony of the Church and England’s inheritance for his rule.

With all this background to a story like Eric Liddell’s, why then does the true story of the film have to vie with the story of Harold Abrahams fake contest against anti-semitism? According to the Wiki – “the college masters of Cambridge disapproved of Abrahams because it was a dishonour to the College for an amateur athelete aspiring to represent England in the Olympic Games to be in professional training”. But Abrahams “realizes that this is a cover for their anti-semitism and class entitlement and dismisses their concern.” Uh-huh. And this is how the film intends us to see it.

Well it was a dishonour for an amateur athlete aspiring to represent his College in the Olympics to be in professional training. The Celtic and English amateur sporting traditions are about the native ability, the natural excellence, the love of the game, and play that trains us for the mortal and spiritual contests of life.

Professional training regimes, performance enhancement through drugs, surgery, fear etc., sport as the end all / be all, sport as vincication or for the money – all of this is anathema to the Christian English and Celtic sporting traditions.

But in Chariots of Fire, we have a film that vindicates the subversion of these aristocratic ideals befitting a Christian nation, in the interests of vindicating the Jew who is fundamentally hostile to all of it.

For decades we have had movies that have displaced, subverted or mind warped the subject matter that is of intrinsic interest. Now with Holocaust Mythology, films are going focus on this subject and revise history and art around it.

mms://media.sfaw.org/mediadownload/sfa/archives/video/05_17_09.wmv

Do tell, if you have critical or supportive comments.

I see what you mean about the immediate relevance, but there’s no reason why it could not have both short and long-term meanings. And while Europe has had its problems, and we still deal with heresies today, our people came to the faith almost immediately. This is why I leave open the possibility that this was largely driven by the lost tribes of Israel returning to the covenant from which they had been severed. But I don’t really know.

That piece by Rockwell touches on many of the facts but casts them in the worst possible light for Joseph, dismissing his tenure as a “typical Jewish operation.” To pull just one example out of the hat, he implies that Joseph lied about the attempted rape, not Potiphar’s wife, but it’s easy to see who would have the more plausible motive. Rockwell also omits information that does not fit with his narrative, implying that the genuine miracles worked through Joseph must have been conjurer’s tricks. But it’s clear that a conjurer could no sooner have told the dreams and interpreted them and, with his life on the line, seen it all come true, than Pharaoh’s magicians could have caused every firstborn child of the kingdom to perish.

This is typically what you’ll see from Duke, Strom, Oliver, Pierce, Rockwell, and many others. These men have a lot of good things to say, but if they’re Bible scholars, I’m Simon Cowell’s Bugatti mechanic.

However there could be difficulties with that interpretation; for example, most commentators believe the prophecy had a more immediate relevance to Shem, Ham, and Japheth (given the mention of “tents” and so forth.) Also, we should note that there were some difficulties in the conversion of Europe, including a few hundred years of rampant Arianism.

I have never encountered a concordance or a biblical languages expert who denied that “Gentile” was synonomous with “nation.” It is a translation of “ethnos” in the original NT which simply means “nation”; in the Septuagint, “ethnos” is routinely used to describe non-Israelite groups, such as the Ishmaelites/Arabs in Genesis 25:2. In Galatians 3:28 the distinction Paul draws is between “Judaean” and “ethnos.” Certainly “ethnos” doesn’t always have to mean “person of non-Israelite descent” since it can refer to any homogeneous group, but the non-Israelites were divided into homogeneous groups as well. The table of nations included in the Babel narrative demonstrates this.

Since the Old Covenant was made with the physical descendents of Abraham, the other nations had little contact with the faith and were characterized by sinfulness, hence “nations” is often used in a derogatory sense in the OT and sometimes in the NT as well. Zechariah 14 describes a scenario in which non-Israelite “nations” attack Jerusalem. Many of them are destroyed for their trouble. But the survivors are left alive to go up to Jerusalem to celebrate the holy festivals. Notice that the Egyptians – who are certainly not the Israelites’ “kinsmen” – are included among those who go up to Jerusalem to celebrate to festivals. The religious celebrations include both Israelites and other “ethnos.” This is in consonance with the statement that Israel was to be a light unto the “ethnos” (Isaiah 42:6). Certainly not a light unto itself, but unto the other nations. The specific referent of this prophecy doesn’t matter; the point is, the OT clearly anticipates, and the NT clearly demonstrates, descendants of Israel AND other nations coming together to worship YHWH, thus debunking the central premise of Christian Identity.

In any case I believe I’m much less knowledgeable on Old Testament scripture than most of the regulars here (I’ve preferred to read the New Testament almost exclusively). Therefore any feedback is helpful to me in my quest for making sense of the Old Testament.