I waited to post this here in case Herr Linder wanted it, but apparently he don't.

First off, maybe I didn't make it clear enough in my Passion review, but I am 100% for Gibson and for his movie. I thought I said that, but it must have gotten buried in the tech stuff. I should have said it better, and also should have said that reviewing it from a tech angle is fairly pointless as it is so much more than just a movie. Passion is a real event the way the overwhelming majority of films are not.

I saw the Spielberg movie when it came out and found much of it hilarious - and that was before I had worked out my feelings and thoughts about the war and what happened to the jews. Even then, the movie struck me as empty and conventional – the product of a hack, not an artist. The Gibson film isn't inspired in the use of technique, but Spielberg’s movie isn’t even competent. Also, it lacks conviction and is remarkably inconsistent, being just one more example of slick assembly line Hollywood ‘product’ with an agenda. The Gibson movie has conviction in large measure. A few of the shock effects in the Spielberg picture made me jump, for instance the Hollywood Nazi commandant shooting the jewess architect at the beginning, but for the most part I snickered at the transparent manipulations.

One reason the movie doesn't work is because half of it cancels out the other half. The jew victim-hood agenda fails because it is too obvious and the formal treatment too Hollywood slick and pretty. The starving jews in their German constructed hellhole? They don't look remotely starving to me with that early-on jewess who gets shot in the head an excellent example. Other than the fashionably shaved head or crew cut (I can't remember exactly) she has so much energy and bounce that it is tiring just watching her rant and nag. And, here and everywhere else in the picture, the Hollywood lighting does what it was designed to do - make the things being lit look maximum pretty. But how does 'pretty' fit this agenda? It doesn't.

On the other hand, scenes that show good-for-jews situations are dramatically ineffective and terminally conflict with the victim-hood angle. Besides the logical inconsistency, they are just wish fulfillment fantasies, which no even mildly reasonable person can accept. For instance, happy jews dropping junk into German weaponry on the slave assembly line, documented by a smarmy tracking shot and scored with bouncy comedy music. It is all so pretty and upbeat and drolly amusing...oh those clever jews! Logic would dictate that the Germans would catch and punish fraud on such a massive scale with appropriate measures...unless of course, they really weren’t such bad guys at all. The jews are victims, but they can easily outsmart the dumb ass Germans? How can this kind of logic work? It can’t.

Even more illustrative of Spielberg’s third-rate mind is the scene in which he stages a thrilling, life affirming ‘last minute rescue’ as Neeson saves ‘his jews’ from Auschwitz. But Steven, what about the thousands, or is it millions(?) of other jews who are not saved? No problem to Mr. Spielberg because they are only Hollywood extras, not even bit players, let alone principals. The jew Hollywood mind-set in action. No intelligent filmmaker would go near such a situation because of its potential to raise far more disturbing issues than it can ever settle. But Spielberg is not intelligent and can’t see the moral dilemma this scene raises. Here as elsewhere, Spielberg's lack of intellectual, let alone technical, gifts result in one agenda canceling out another. What we are left with is unintentional insight into the jew point of view, which is addicted to fantasy and runs in horror from reality; which is a black hole where logic and reason ought to be. Hitchcock does something similar, but intentionally, in Vertigo where the second half of the picture effectively cancels out the first half in order to raise some highly disturbing thoughts and emotions in the viewer. But Spielberg does it unintentionally and in so doing provides an excellent illustration of the negation that is the defining characteristic of the jews.

Shooting it in black and white (other than for fraud ‘documentation' purposes) screams desperation. Apparently the only way Spielberg could manage to differentiate the jewess child from the other cardboard cutouts that pass for characters in this picture was by tinting her coat red. He might just as well have given her a follow spot light or provided a comic strip verbal balloon with the words “look here” inside it. A more startling and contemptible example of cluelessness in the handling of dramatic material would be difficult to come by.

Equally inept is the truly ridiculous cutting that alternates between the commandant beating his jew sex slave mistress and a joyous jew religious service. This is the part of Spielberg’s movie I was thinking of when I knocked Gibson's handling of transitions between present tense and flashbacks as being literal and heavy handed. What Gibson does is subtly itself next to this ludicrous exercise in montage.

I involuntarily laughed out loud ( I wasn’t a rude National Socialist then – now I would laugh out loud on purpose) during the last dramatic scene, where the title character interminably blubbers, slobbers, whimpers, snivels and crawls about on all fours. The problematic and uninteresting performance the actor gives (I can remember as if it were yesterday how my face flushed with embarrassment at the spectacle the actor was making of himself) is typical of Spielberg, and of most jew directors. Just think of all the nebulous male characters in Kubrick films for instance (2001, Barry Lyndon, etc.). With Spielberg, on top of the jew mind-set that veers away from male towards female, you also have distinct lack of talent in the selection and handling of actors. As Neeson rips off wrist watches, rings, stick pins and such amidst bouts of blubbering, waving of the hands in the air and falling down, we are again provided with an unintentional insight into the way jews think. Here we graphically see and hear the only true jew value: money. Over and over again the scene says there is an exact equation between people and money; that those two things are interchangeable and of equal value. My skin crawled.

That final, non-dramatic scene, in which a collection of the worlds ugliest and most repellent jews, wearing the worlds ugliest and most repellent leisure suits and Hawaiian shirts, troops in formation by something or other to each drop a rock was a fitting climax to this movie. ‘Moving’ only to jews or to the effectively brainwashed, to anyone else it is far funnier than anything official jew comedians like Allen ever approached.

Spielberg is just another Potemkin Village fraud – none of his movies are any good, and most of them don’t even make money. He's just one more no-talent jew who other jews fuss about and give awards to in just the same way they do in all other fields.

As an example of just how full of their own bullshit the jews are – Hollywood jews in particular – Spielberg recently remarked that ‘proof’ of the holocaust was to be found in his movie and in his shoa (business) foundation. He didn’t mention the mountain of physical evidence that such an historic event, which took place on such a supposedly vast scale, would obviously leave behind. No, he mentioned a Hollywood fiction film that he himself made. He isn’t aware that a Hollywood fiction film is…fiction? Talk about mental illness. Perhaps someone should tell Steven, and the rest of the jews in the world, that there is a distinct difference between fiction and reality. Those who can't tell the difference usually pay for it eventually. Let us hope that eventually is just around the corner.

Wow, that was interesting. I havent seen the movie but I liked reading the review. I wont bother seeing it. I saw the first bit up to the commandant capping kikes and then flicked it off.

About Speilberg. ET made him a chunk of change. ET looks like a Jew doesnt he? Little fucker with a belly and an ugly face and a gnarley voice. And he teaches the ignorant little children all his wisdom. Like a Jew, who wanders into a goy village eh? Fuck ET.

I had forgotten that disgusting comment the kid makes about "penis breath" and it took me a long time to get it into my kid's head that "We dont talk that way." You try to bring up a kid with a clean mind and noble speech and instead Hollywitzim kikes give you "penis breath" instead. How nice.

I'll also say this. I sort of enjoyed it as an adolescent and the movie came out, but as an adult it just bored and annoyed me.

SPielberg is a sick fuck. Look at the other movies he's made: Gremlins, Temple of Doom, ET-- always some sick mostrous fucks.

Gott, you don't mind if I copy and save all your movie reviews from now on, do you? With your permission I'd like to compile a private anthology of your stuff, just for my own use. Okay?

I waited to post this here in case Herr Linder wanted it, but apparently he don't.


I find that a little hard to believe.

By the way, Gott. Excellent review as always!

Gott, you don't mind if I copy and save all your movie reviews from now on, do you? With your permission I'd like to compile a private anthology of your stuff, just for my own use. Okay?

Running low on toilet paper, kamerad?

Running low on toilet paper, kamerad?

You're too modest, mein Herr. :p

Hey, if you've got it, flaunt it!

The review will run on VNN, it came in when we were down. Mine just came back up very early Sunday morning, although for most it came up sometime Saturday.

You're too modest, mein Herr. :p

Hey, if you've got it, flaunt it!


Mann, our side should be making movies, not reviewing those made by the other side. Nothing is easier than knocking the PC shit out there.

No more powerful tool for waking people up exists...and yet we are too undisciplined and individualistic to pull together and learn and then make.

Pope Pius XI: “There exists today no means of influencing the masses more potent than the cinema.”

Vladimir Lenin: “The cinema must and shall become the foremost cultural weapon of the proletariat.”

Jean Cocteau: “The cinema will only become an art when its raw materials are as cheap as pencil and paper.”

It will be a good day when the movies go back to being the art they once were, but another thing that happens when the raw materials become cheap is that everyone potentially has access to them. We need to position ourselves for this great digital revolution that is now taking place.

It will be a good day when the movies go back to being the art they once were, but another thing that happens when the raw materials become cheap is that everyone potentially has access to them. We need to position ourselves for this great digital revolution that is now taking place.

Exactly! Which is why my next major purchase this year will be a computer which has the capacity, speed, and software to author and burn DVD movies. I have masses of images, videos, and sound bites in my collection, and I intend to produce a DVD doco about the decay of the Western world and its origins in jew manipulation. The tone of it will be bland and pragmatic. It will show, by association, the connection between the degeneration of the world and the jews. No ranting or threats. Just plain, short statements about the jews, presented as if the audience already knows the facts. The images themselves will provide the "colour".

(If you've seen "Soylent Green", you'll remember the opening title sequence, a series of stills dating from the turn of the century progressing to the modern day, showing the steady increase in population and the resultant decrease in living conditions, with a music track that increased in tempo and style as the images progressed. Kinda like that, but with much slower pacing and more detail to stretch it out to, say, thirty minutes.)

Sounds ambitious, but it isn't really. It won't be hard to juxtapose a series of progressively-more-awful images of people and places in the past 100 years, with various sound clips, music, news announcements, etc.. The hard part will be choosing which images to leave out, as I have so many.

I want the film to look like something that one might have watched in a post WW2 theatre if the Germans had won. No propaganda needed now, no persuasion. Just another doco on a subject that everyone already knows about. A fait accompli.

With the cost of computers and DVD authoring software today, I think we have already almost reached the point that Jean Cocteau was looking forward to.

That sounds like an excellent idea Mann. I really wish the best of luck to you my friend. As I've said in another thread here somewhere, I myself plan to try making pro-White computer games. Very easy to get the required tools and it'll probably be even easier to make games once I actually get serious about it. Once I'm a bit further into my Computer Science degree and I get the C++ classes and feel comfortable enough with the stuff, then I'm gonna give it a whirl.

Best of luck to us both.

That sounds like an excellent idea Mann. I really wish the best of luck to you my friend. As I've said in another thread here somewhere, I myself plan to try making pro-White computer games. Very easy to get the required tools and it'll probably be even easier to make games once I actually get serious about it. Once I'm a bit further into my Computer Science degree and I get the C++ classes and feel comfortable enough with the stuff, then I'm gonna give it a whirl.

Best of luck to us both.

Step 2 will be the distributing of the DVD. No chance of getting it by any television broadcaster, of course. Not even our local two-bit so-called "public access" station, (if that's the right name for it), would take it.

So, I haven't got that part figured out yet.

But even if only my friends and acquaintances watch it just to humour me, it might at least set their minds to thinking. Maybe minds are easier to reach through the eye than the ear.

http://www.fpp.co.uk/Auschwitz/docs/controversies/SchindlerFiction.html
In the spring of 1994, before and after the Spielberg movie Schindler's List won the Academy Award for best picture of the year, essayist and playwright Bradley Smith bought the first, second and third edition of Thomas Keneally's novel.
He soon noticed the strange disappearing act with regard to the word "fiction" among the usual publication data on the back side of the title page.

Whereas the words "fiction" and "fictitiously" appeared five times in the first edition, and the word "fiction" appeared three times in the second edition, both words had been excluded from the publication data in the third edition.

Smith noted these omissions in his Summer 1994 issue of his Campus Update for Editors (p. 7).

During this same period, the literary supplement ("Focus") in weekend editions of the Toronto Globe and Mail began listing the Keneally novel in the nonfiction section of bestsellers.

The Strange Transition of Schindler's List:
First Edition, purchased March 1994:


[LOGO] TOUCHSTONE Rockefeller Center 1230 Avenue of the Americas New York. New York 10020

This book is a work of fiction. Names, characters, places and incidents are either products of the author's imagination or are used fictitiously. Any resemblance to actual events or locales or persons, living or dead is entirely coincidental.

Copyright ©1982 by Hemisphere Publishers Limited
Cover art copyright ©1993 by MCA Publishing Rights, a Division of MCA, Inc. All rights reserved,

All rights reserved including the right of reproduction in whole or in pan In any form. This Touchstone Edition © 1993
TOUCHSTONE and colophon are registered trademarks of Simon & Schuster Inc. Designed by Eve Metz Manufactured in the United States of America

5 7 9 10 8 6

Library of Congress Cataloging-in-Publication Data

Keneally, Thomas. Schindler's List. 1. Schindler, Oskar,. 1908-1974--fiction. 2. Holocaust, Jewish (1939-1945)--fiction. 3. World war, 1939-1945--fiction.

I. Title. PR96l9.3.K46S3 1982 823 82-10489 ISBN: 0-671-44977-X 0-671-77972-9 0-671-88031-4

The author extends his grateful appreciation for photographs supplied through the courtesy of Yad Vashem Photographic Service and Leopold Page (Leopold Pfefferberg)



Second Edition, purchased April 1994:


[LOGO] TOUCHSTONE Rockefeller Center 1230 Avenue of the Americas New York, New York 10020

Copyright ©1982 by Serpentine Publishing Co. Pty Ltd. Cover art copyright ©1993 by MCA Publishing Rights, a Division of MCA. Inc. All rights reserved.

All rights reserved including the right or reproduction in whole or in part in any form. This Touchstone Edition © 1993 TOUCHSTONE and colophon arc registered trademarks or Simon & Schuster Inc. Designed by Eve Metz Manufactured in the United States of America

13 15 17 19 20 18 16 14 12

Library of Congress Cataloging-in- Publication Data is available.

Keneally, Thomas. Schindler's List. 1. Schindler. Oskar. 1908-1974-fiction. 2. Holocaust.Jewish (1939-1945)-fiction. 3. World war, 1939-1945-fiction.

I. Title. PR9619.3.K46S3 1982 823 82-10489 ISBN: 0-671-44977-X 0-671-777972-9 0-67l-88O31-4

The author extends his grateful appreciation for photographs supplied through the courtesy of Yad Vashem Photographic Service and Leopold Page (Leopold Pfefferberg).



Third Edition, purchased May 1994:



[LOGO] TOUCHSTONE Rockefeller Center 1230 Avenue of the Americas New York, New York 10020
Copyright ©1982 by Serpentine Publishing Co. Pty Ltd. Cover art copyright ©1993 by MCA Publishing Rights, a Division of MCA Inc. All rights reserved.

All rights reserved including the right of reproduction in whole or in part in any form. This Touchstone Edition © 1993 TOUCHSTONE and colophon am registered trademarks of Simon & Schuster Inc. Designed by Eve Metz Manufactured in the United States of America

15 17 19 20 18 16

Library of Congress Cataloguing-in-Publication Data is available.

82-10499 ISBN: 0-67144977wX 0-67l-77972-9 0-671-88031-4

The author extends his grateful appreciation for photographs supplied through the courtesy or Yad Vashem Photographic Service and Leopold Page (Leopold Pfefferberg)

Bradley Smith's irreverent editorial comment:
"Give 'em another couple years and we may discover we have an original Nuremberg document here."

"When I began to think about it, I realized that I had been doing what every writer, unconsciously, is always doing: a writer is never listening to what is being said, he is never listening to what he is being told. He is listening to what is not being said, he is listening to what he is not being told, which means that he is trying to discover the purpose of the communication."
-- James Baldwin, The Evidence of Things Not Seen, Henry Holt and Company, New York, 1985, p. 95

Mann, our side should be making movies, not reviewing those made by the other side. Nothing is easier than knocking the PC shit out there.

No more powerful tool for waking people up exists...and yet we are too undisciplined and individualistic to pull together and learn and then make.

Pope Pius XI: “There exists today no means of influencing the masses more potent than the cinema.”

Vladimir Lenin: “The cinema must and shall become the foremost cultural weapon of the proletariat.”

Jean Cocteau: “The cinema will only become an art when its raw materials are as cheap as pencil and paper.”

It will be a good day when the movies go back to being the art they once were, but another thing that happens when the raw materials become cheap is that everyone potentially has access to them. We need to position ourselves for this great digital revolution that is now taking place.

Except the state of WN such as it is, nobody even runs humble recruiting vids on cable access. NA are particularly incompetent in that regard. They ought to have a monthly showing in every major market. If they did that alone their numbers could spike manyfold. Their inability or unwillingness to organize this looks suspicious to me. That "false flag" theory grows a wee bit every month.

Except the state of WN such as it is.......Bla, Bla, Bla..............."false flag" theory grows a wee bit every month.
My girlfriend was watching something about the Inquisition on television. It was said that the Inquisition started as a result of Jews performing a ritual murder on a two year old child. Thereafter, these devil worshiping rituals were called sabbaths which derived from the Jewish phrase “Sabbat”. There is a church, somewhere in Europe (I don’t remember if it is located in Italy?), where the wall was sculptured with the figures of these Jews murdering the child. Because it was shown on German television, nothing more was elaborated concerning this event.
Could you enlighten us on further details of this?

My girlfriend was watching something about the Inquisition on television. It was said that the Inquisition started as a result of Jews performing a ritual murder on a two year old child. Thereafter, these devil worshiping rituals were called sabbaths which derived from the Jewish phrase “Sabbat”. There is a church, somewhere in Europe (I don’t remember if it is located in Italy?), where the wall was sculptured with the figures of these Jews murdering the child. Because it was shown on German television, nothing more was elaborated concerning this event.
Could you enlighten us on further details of this?
A little boy was murdered in Italy back in the late Medieval period in a jew ritual murder and the church made him a saint (There is or was another one in England, I think - Thomas of...?). He -the Italian boy- is no longer a saint though, because of more recent jew pressure. There are numerous paintings from the Renaissance of this kid and his martyrdom. Can't remember his name though, maybe someone else can help out on this?

Exactly! Which is why my next major purchase this year will be a computer which has the capacity, speed, and software to author and burn DVD movies. I have masses of images, videos, and sound bites in my collection, and I intend to produce a DVD doco about the decay of the Western world and its origins in jew manipulation. The tone of it will be bland and pragmatic. It will show, by association, the connection between the degeneration of the world and the jews. No ranting or threats. Just plain, short statements about the jews, presented as if the audience already knows the facts. The images themselves will provide the "colour".

(If you've seen "Soylent Green", you'll remember the opening title sequence, a series of stills dating from the turn of the century progressing to the modern day, showing the steady increase in population and the resultant decrease in living conditions, with a music track that increased in tempo and style as the images progressed. Kinda like that, but with much slower pacing and more detail to stretch it out to, say, thirty minutes.)

Sounds ambitious, but it isn't really. It won't be hard to juxtapose a series of progressively-more-awful images of people and places in the past 100 years, with various sound clips, music, news announcements, etc.. The hard part will be choosing which images to leave out, as I have so many.

I want the film to look like something that one might have watched in a post WW2 theatre if the Germans had won. No propaganda needed now, no persuasion. Just another doco on a subject that everyone already knows about. A fait accompli.

With the cost of computers and DVD authoring software today, I think we have already almost reached the point that Jean Cocteau was looking forward to.
Do you know what you plan to get? What editing suite? I have a PC, but most use Macs and Final Cut Pro. I use Premiere, which I like a lot and which can do the most amazing things.

A little boy was murdered in Italy back in the late Medieval period in a jew ritual murder and the church made him a saint (There is or was another one in England, I think - Thomas of...?). He -the Italian boy- is no longer a saint though, because of more recent jew pressure. There are numerous paintings from the Renaissance of this kid and his martyrdom. Can't remember his name though, maybe someone else can help out on this?
Yeah, I forgot to mention that sainthood was given for this. Funny though. How do you unsaint somebody. I hope they do this to the parkinpapal for bending over backwards and forewards for the Jews.
Weren’t the Jews expelled from England, because of a similar incident?

Yeah, I forgot to mention that sainthood was given for this. Funny though. How do you unsaint somebody. I hope they do this to the parkinpapal for bending over backwards and forewards for the Jews.
Weren’t the Jews expelled from England, because of a similar incident?
Yes, the little English boy - Thomas or Hugh of something - was ritually murdered and it was sort of the last straw for the public. The jews who killed the kid were captured and confessed under torture. But the torture was conducted on each of them in different places at different times, and they all confessed to the same acts in the same sequence. In other words, the torture didn't get them to falsely confess as all the confessions totally cooroborated and supported each other. The King, of course, didn't want to expell the vermin, but the populace really had had it and forced the government to throw them out. Just as we are in the process of doing right now.

Do you know what you plan to get? What editing suite? I have a PC, but most use Macs and Final Cut Pro. I use Premiere, which I like a lot and which can do the most amazing things.

My local place has a few different authoring softwares. They did recommend Premier. I've heard it's fairly complicated and difficult to learn, though. Not that that bothers me. It's just that I've found with other software, such as music sequencing programs, that they often use esoteric terms or terms unfamiliar to most amateurs. Makes it just that litle bit harder to get up to speed.

Also, I believe, (correct me if I'm wrong), that some programs can't do a simple old-fashioned dissolve! Fades and all kinds of tricky wipes, yes. But not a simple dissolve.

What I'd like is software that can render enhancements on whole scenes, eg., clean up a scene's brightness or contrast etc., and even superimpose a picture element, such as a face, eg., to every frame in a scene. I'm told that only high-end professional stuff can do that, and that the domestic stuff can only add titles and wipes, etc.

Tell me, Gott, is the result really as good as they say? I mean, is it really possible with a PC to produce DVDs with a professional smooth image quality? Or is it a bit like copying video tapes, where you get that pixelly look of lost picture quality?

Yes, the little English boy - Thomas or Hugh of something - was ritually murdered and it was sort of the last straw for the public. The jews who killed the kid were captured and confessed under torture. But the torture was conducted on each of them in different places at different times, and they all confessed to the same acts in the same sequence. In other words, the torture didn't get them to falsely confess as all the confessions totally cooroborated and supported each other. The King, of course, didn't want to expell the vermin, but the populace really had had it and forced the government to throw them out. Just as we are in the process of doing right now.
Interesting to note here: Whites adopt the Jew’s Cabalic Satanic rituals, but instead of performing ritual murder on a victim of a different race, as the Jews did on these 2 occasions, White Satanists choose to do this to victims of their own race. Should I put it to a poll to ask which group is worse? He that destroys his own kind or he that destroys someone different. Or are we only worried about criminals of other races but not those of our own kind.

Interesting to note here: Whites adopt the Jew’s Cabalic Satanic rituals, but instead of performing ritual murder on a victim of a different race, as the Jews did on these 2 occasions, White Satanists choose to do this to victims of their own race. Should I put it to a poll to ask which group is worse? He that destroys his own kind or he that destroys someone different. Or are we only worried about criminals of other races but not those of our own kind.
What is more dispicable than a traitor? The jews are vermin, but whites who sell out for...pieces of silver? No mercy for that filth.

Yes, the little English boy - Thomas or Hugh of something - was ritually murdered and it was sort of the last straw for the public. The jews who killed the kid were captured and confessed under torture. But the torture was conducted on each of them in different places at different times, and they all confessed to the same acts in the same sequence. In other words, the torture didn't get them to falsely confess as all the confessions totally cooroborated and supported each other. The King, of course, didn't want to expell the vermin, but the populace really had had it and forced the government to throw them out. Just as we are in the process of doing right now.
That was one of the advantages of having a monarchy. If all kings were benevolent, I’m sure that these purges would have happened much more often. No malicious politician could have gotten himself elected as king.
As we saw in Brussels after Marc Dutroux got arrested sending thousands to the street calling for a purge, nothing happened. Just business as usual.
If you give me an URL on that de-martyrium, I’ll be more than happy to distribute it thru e-mail and put a dent in the Catholic church’s business

That was one of the advantages of having a monarchy. If all kings were benevolent, I’m sure that these purges would have happened much more often. No malicious politician could have gotten himself elected as king.
As we saw in Brussels after Marc Dutroux got arrested sending thousands to the street calling for a purge, nothing happened. Just business as usual.
If you give me an URL on that de-martyrium, I’ll be more than happy to distribute it thru e-mail and put a dent in the Catholic church’s business
I can't yet find the info. on the poor little Italian boy, but here is plenty on the English lad murdered by the swine. St. Simon of Trent:



http://www.ety.com/HRP/booksonline/jrm/jrm-07.htm (http://www.ety.com/HRP/booksonline/jrm/jrm-07.htm)

and maybe even better (with wood cuts, and such):

http://www.regmeister.net/schramm/schramm.htm

For Europe and the Fuhrer

I never needed "jewish ritual murder" stories to make me dislike Jews or rue their powerful alien influence in our societies. but after reading this one jew history book, called "A History of the Jewish People," by Margolis and Marx, pub 1935 or so, I have come to believe there is something to these stories because they were too numerous, similar, and plausible too be imagined.

In fact, doesnt the whole notion of the "vampire" seem like a Jewish archetype?

page 389 of that book entitled "History of the Jewish People." re "Hugh of Lincoln," 1255. Jews expelled from England on July 18, 1290. "The Jews were ordered to leave the realm befoe All Saints' Day of that year. They were given permission to carry away with them their movables. Their dwellings, with few exceptions, escheated to the king (LOL, Eddie Longshanks you rascal) whose profit in the shape of rental did not exceed one hundred and thirdty pounds, while the dtotal debt owed to the Jews-- the king could collect only the principal (ie not the usury interest) amounted to nine thousand pounds. Some of the Jews were robbed by the captains who undertook to transport them across the channel; others were drowned on their way to France (tant pis). Altogether sixteen thousand Jews left Englad, about one tenth going to Flanders (from thence later to return after Cromwell killed the king and invited Menasseh bin Israel back in) the others finding refuge in France."

(my comments in parentheses)

I never needed "jewish ritual murder" stories to make me dislike Jews or rue their powerful alien influence in our societies. but after reading this one jew history book, called "A History of the Jewish People," by Margolis and Marx, pub 1935 or so, I have come to believe there is something to these stories because they were too numerous, similar, and plausible too be imagined.

In fact, doesnt the whole notion of the "vampire" seem like a Jewish archetype?The ritual murder thing seems to be one of their big three - mention any of them and the kike you are unlucky enough to be dealing with is 100% guaranteed to go ape shit.
1.) Anything neutral/openminded about Adolf Hitler.
2.) Anything neutral/openminded about the Protocols.
3.) Anything neutral/openminded about jew ritual murder.

There are so many stories having to do with the ritual murders with court records and other often extensive (the Brit and Syrian case) documentation. I now firmly believe those jew ritual murder stories as I've read enough of the details to be convinced. That these cases (the one in Damascus in the 1840s, for instance) are always dismissed after a bunch of very well fixed kikes scurry around like rats with their bags of gold (Rothschild scum in Damascus) simply proves them to be true. Those southern boys sure had it right when they stretched the neck of that foul kike who raped a little girl way back when (the case that spawned the ADL) as the bag of shit was sure to get off with jew corruption sliming the way out for him. The only thing that vermin fear is white men who have ideals and who can't be bought. But mann, in that situation they crap their pants in terror!

I've never even read the Protocols but can still, from my lemming days, recite the 'officially sanctioned response' almost automatically...'crude forgeries'!!!
How do I know they are crude forgeries? The more the kikes squeal, the more likely the cause is to be on the level.

Oh yeah...to respond you your point:) Folk tales are kinda like mythology and have a poetical basis in reality, so the jews as vampires makes a lot of sense to me on that metaphorical level. But after being able to read all the long suppressed information about the vermin thanks to the Internet, I also agree that they could be simply straightforward descriptions of some of the more characteristic behavioral traits of the jews. They are vampires in every other way so why not in the actual literal one as well?

Anyway - have you seen the neat pictures of Thalia Prokopiou at the opening ceremonies in Greece for the Olympics? Quite the stunning Grecian Goddess!

Here's a site that points out everything that is wrong with the movies on the big screen. It allows you to add your own comment about what was factually wrong with a movie or any assorted editing gaffes you caught.

[color=black]http://www.moviemistakes.com/film1121]Here’s the link for Schindler’s List. ([/color) Who here wants to put up corrections to this movie?

Schindler's List was total propaganda. They show a pretty Jewess being beaten by a Nazi officer, Untersturmfuhrer Amond Goeth and him having a crush on her. They show the little Jewish girl with the red coat thru the movie and then later show her corpse being hauled on a wheelbarrow to the burning pile of bodies. They show the Jewish boy scared to death with his family in the ghetto and then later the same boy is shot in the head by Amond Goeth because he scratched up Goeth's bathtub by accident. They have the Jews dig up all of the bodies of dead Jews and throw them on a burning pile and then they show a Nazi officer screaming like a psychopath and shooting at the pile. They even go as far as to show a little boy trying to hide from the Nazis so he jumps in an outhouse toilet into a liquid pile of shit. This is all designed for shock value to shock you into feeling sorry for Jews. How can any of this filth be proven fact? It's all a fabrication!