NEW INVESTIGATION about the death of Rasputin

“Dark Forces”

Rixon Stewart – December 5, 2004

Sometimes critical turning points in history are overlooked; pivotal moments are ignored or simply forgotten. But every now and then a web of deceit is deliberately woven around an event. Leaving its true significance concealed so that future generations remember it only as a piece of insignificant trivia, or maybe an item of lurid scandal, rather than a momentous historical episode.

One such example is the life and more particularly the death of Gregory Rasputin. The story of his poisoning, of how he was then shot after the poison failed to take effect, and of how he finally met his end in the waters of an icy Neva River has become legend.

According to popular myth Rasputin was a mysterious somewhat dubious man, infamous for drunken debauchery, when he took advantage of the Tsarina’s gullibility and exploited her vulnerability over her son’s ill health.

The young Tsarevich was a haemophiliac and during his episodes of bleeding Rasputin seemed, inexplicably, to be able to stop the boy haemorrhaging. It had the young Tsarevich’s doctors at a loss but earned Rasputin the Tsarina’s loyalty and devotion. It also won him influence in Russia’s imperial court. So much so that by 1916, Rasputin, a lowly born peasant held an unprecedented sway over the Russia’s ruling Romanov dynasty.

Since then his name has almost become a byword for mystery and debauchery but Rasputin’s role in the events leading up to the Russian revolution remains essentially obscured. In effect a legend has grown up around the man but the reality may be far more intriguing than the popular myth.

For Rasputin’s murder may have set the stage for some of the most significant events of the 20th century and ultimately resulted, indirectly, in the deaths of many millions more.

Until recently, the accepted version of events was that Count Felix Yusopov and three accomplices murdered Rasputin in the basement of Yusopov’s Palace in St Petersburg, late one night.

After being invited to the Moika Palace, ostensibly to meet Princess Yusopov, Rasputin was led to a basement room that had been especially prepared for the occasion. While upstairs the other conspirators played a phonograph of ‘Yankee Doodle Dandle’ and pretended to have a party, as they waited to dispose of his corpse.

First Prince Yusopov fed Rasputin cakes and Madeira laced with cyanide, which appeared to have no perceptible effect. Then, after consulting with his fellow conspirators upstairs, Prince Yussopov returned to the basement and shot Rasputin in the back, aiming for his heart. But as Yussopov leaned over to examine the apparently lifeless corpse, Rasputin suddenly revived and grabbed the horrified Prince by the throat. Struggling free, the terrified Prince ran off while a wounded Rasputin made his way out of the palace, swearing that he would tell the Tsarina of Yussopov’s murderous duplicity. On his way out via a side courtyard more shots rang out as one of Yussopov’s accomplices, Vladimir Purishkevich, shot Rasputin again, this time hitting him in the back of the head.

However, that was not the end of it. For although Yussopov and his accomplices spoke of two shots hitting Rasputin, photos from the 1916 autopsy reveal a third bullet wound, fired at close range to the forehead.

At the time two British intelligence officers, Oswald Raynor (1) and John Scales, were stationed in St Petersburg at the nearby Hotel Astoria. Raynor had been a close friend of Yussopov’s at Oxford and there are strong indications that he was with Prince Yussopov’s accomplices monitoring events; while downstairs Prince Yussopov himself was pouring Rasputin cyanide laced Madeira.

The Yussopov's palace next to the Moika canal, St. Petersburg, the site of Rasputin's murder.

"Dark Forces"

According to Richard Cullen, a retired Scotland Yard commander who has been studying the case with Andrew Cook, an intelligence historian, British intelligence even had a code word for Rasputin. With charecteristic cynicism they referred to him as “Dark Forces” and it was almost certain that Oswald Raynor delivered the third and final shot to Rasputin’s head.

"I am 99.9 per cent certain of this," said Mr Cullen in a recent interview. "There is a fair weight of evidence to show that Rayner was the man. We have conclusive proof that the previously accepted versions of events are fabrications."(2)

Indeed the presence of British Intelligence was crucial to the whole operation. Had they not been there, Yusopov and his accomplices may well have lost their nerve. As it was though, they completed their task under the direction of Britain’s Secret Intelligence Service (S.I.S.), the forerunner of today’s MI5 and MI6.

Despite claims that British intelligence wanted to get rid of Rasputin because he was urging that Russia make peace with Germany, his murder was probably part of a longer term and altogether more sinister agenda.

Prince Yuspov was probably first spotted a few years previously while he was at Oxford University, which like Cambridge had become a fertile recruiting ground for British Intelligence. Not only was Prince Yusopov the second richest man in Russia, after the Tsar, he was also close to Russia’s imperial family and as such would have been viewed as a potential asset to be groomed for later use. Future generations of spies, such as Kim Philby, Guy Burgess and Anthony Blunt, were all recruited while studying at Cambridge. No matter that all were to turn double agents, as we shall see, at the very highest level there is little to distinguish those who are working for ‘communism’ and those who work for ‘capitalism’.

Moreover, like Blunt, Burgess and Philby and at least one of his co-conspirators, Grand Duke Dimitri Pavolovich, Prince Yusopov was also a homosexual. This was probably what led him into the thrall of the British Intelligence community in the first place, where homosexuality is still something of a recruitment trademark.

In fact an examination of the role later played by Anthony Blunt reveals surprising parallels with Prince Yusopov. Both men were related to royalty. Both were homosexuals and both were associated with lavish art collections. The Yusopov’s were avid collectors and the family’s art and antique collection was one of the most prized in Europe. While Anthony Blunt was distantly related to the monarch and official keeper of the royal family’s art collection; a position he held even after he was exposed as a traitor, having betrayed British secrets to the Soviet Union in the 40’s and early 1950’s.

But as already noted, at the highest levels there is little to distinguish those who work for ‘capitalism’ and those who labour for ‘communism’. Despite the different names and apparent ideological differences, they both serve the same overriding agenda.

Amazingly however, it was not the gunshot wounds that finally finished Rasputin. The 1916 autopsy, the results of which were reviewed and verified in 1990, reveal that Rasputin did not actually die at Yusopov’s Moiko Palace.

According to Professor Sharov, Russia’s foremost pathologist, who carried out the second investigation, the third shot had been fired point blank at Rasputin’s forehead – the hallmark of a professional execution style killing. Yet somehow he had survived even that. Water in his lungs indicates death by drowning, after his body was dumped in to the freezing waters of the Neva.

However this was not the first attempt on Rasputin’s life. In June 1914 – significantly perhaps, on the very same day that Archduke Franz Ferdinand was assassinated in Sarajevo – a religious fanatic had stabbed Rasputin. Although he recovered, the attack left Rasputin an invalid for months afterwards.

So from where did Rasputin derive such phenomenal resilience? This writer would suggest that Rasputin possessed an abundance of what the Chinese call Chi or Life Force. It was this that enabled him to help the young Tsar when the Imperial family’s doctors were unable to do anything. For like any real healer, Rasputin was able to transmit this Life Force to the young Tsar and thus restore his ailing body.

Apart from explaining Rasputin’s resilience to apparently life-threatening injuries and his ability to heal, it also accounts for his notorious sexual appetite. For in its unrefined state, an abundance of Chi or Life Force also manifests as abundant sexual energy.

Thus reports of Rasputin’s unrestrained sexual appetite may well have an esoteric explanation. However this writer believes that while stories of his sexual endeavours contain a strong element of truth, they distract from the real significance of events surrounding his death.

The one man who may have prevented the 1917 Russian revolution.

The "Chosen"

When the Archimandrite Theophan first presented him to the Tsar and Tsarina in October 1905, Rasputin was introduced as one of the “Chosen”. And the Archimandrite may well have been right, although maybe not quite in the way he understood. For this writer believes that Rasputin was an initiate: a man chosen by higher powers to fulfil a task in this world. The fact that he didn’t accomplish this task is more a measure of the forces he opposed, and the task he undertook, than of the man himself.

For Rasputin had a destiny which few can envy or aspire to. Had he fulfilled it he would have changed the course of history, literally. For in the years prior to the revolution, Rasputin was quietly trying to persuade Russia’s imperial rulers to sue for peace with Germany.

Too many ordinary Russians were dying, he told them and the Tsarina, at least, was listening.

At the time Russia had suffered a series of colossal defeats at the hands of the Germany army. Coupled with food shortages and political agitation, a climate of political unrest was brewing that eventually led to the 1917 Russian revolution.

However, if Rasputin had been able to persuade the Romanov’s to make peace with Germany things might have been very different. Russian troops would have then returned home and political tensions might have eased to the point that there may not even have been a revolution. And the consequences of that would have been enormous.

Just think about that for a moment, because the entire face of the twentieth century would have been transformed. Not only would hostilities have been brought to a close on the eastern front, but also with troops and supplies from the Eastern Front transferred across Europe, Germany may even have secured victory on the Western Front.

Moreover, the ramifications stretch well beyond World War I and the 1917 Russian revolution. For example there may never have been a Second World War or a Chinese revolution. And along with Vietnam and Korea, the numerous other regional conflicts that marked the Cold War may never have happened.

The same applies to the founding of Israel and the various conflicts in the Middle East that followed that.

So if Rasputin had persuaded Russia’s imperial family to sue for peace much of what characterised the last century may never have happened. Which is why it was of the utmost importance for the Illuminati to stop him.

Had he succeeded, Rasputin would have struck at the very heart of their power. Which in essence, is founded on a principle so compelling and persuasive because it is so simple: turn brother against brother, one nation against another, sell them arms, then fuel their animosity and profit from the resulting conflict. In short, divide and rule.

Rasputin’s murder was only one part of a much bigger picture, however. As malign forces were manoeuvring around the one man who could have prevented a revolution, on the other side of the Atlantic some of Wall Street’s biggest financiers were preparing to fund Russia’s exiled revolutionaries. One such was Jacob Schiff, Chairman of the banking house Kuhn, Loeb & Co. and a minion of the Rothschilds. According to his grandson, John Schiff, in an admission to New York Journal American, Jacob Schiff “sank about 20 million dollars for the final triumph of Bolshevism”. (3)

Meanwhile President Woodrow Wilson provided the exiled Leon Trotsky with an American passport; thus allowing him to return to Russia unhindered aboard the S.S. Kristianiafjord on March 26, 1917.

The following month, Lenin too returned from exile in Germany via Stockholm. Travelling back on the train with him, it is said, were gold bars to finance the revolution and twenty men armed with Tommy guns’, then a ‘state of the art’ weapon. Also on board were Lenin’s travelling companions, mostly Jewish extremists many of whom were to play critical roles in the October revolution.

So step-by-step, one after another, the pieces were being put into place for a revolution that would transform Russia and ultimately the world, for the rest of the century.

Conclusion

While the past can be seen from a superficial viewpoint, history unfolds, with much deeper and often darker undercurrents concealed from view. In this case a hidden alliance between two entirely different power groups both of which, one would have thought, should have opposed the October revolution.

In reality though they didn’t: working hand in glove, they brought about the pivotal event of the last century. On the one hand, European blue bloods: in particular Britain’s Royal Family who were directly related to the Russian Imperial house did all they could to aid their overthrow. Not only did they refuse to help their Russian cousins when they most needed it. They were also the nominal heads of the Secret Intelligence Service, the organisation that orchestrated the killing of the one man who might have prevented the revolution.

While on the other hand banking dynasties, largely Jewish, financed revolutionaries and paid political agitators, once again largely Jewish, to help foment a climate of political discontent.

Of course, it would be a mistake to blame the “Jews” just as it would be to blame ordinary Britons or Americans. For behind the 1917 Russian revolution were a hybrid elite of Jewish bankers and Anglo-American blue bloods, with loyalty to no one and a readiness to sacrifice even their own kind in the pursuit of power.

Indeed, a preoccupation with the threat posed by the Jews probably contributed to the ultimate downfall of the Romanov’s. In the early years of the twentieth century the 'Protocols of the Learned Elders of Zion' created a sensation, as it seemed to expose a Jewish conspiracy for world domination. Although many have tried to dismiss it as a forgery, the 'Protocols' helped focus attention on the threat posed by a Jewish conspiracy; while diverting attention from the very real threat posed by another faction in the alliance: the Anglo-American elite. So that when the fatal blows were finally struck they came from where they were least expected: not from Jewish extremists but from the Romanov’s own cousins, the British Royal Family.

But then treachery and deceit are the very means by which this dark alliance furthers its own power. Just as it once used Prince Yusopov, the man who took the blame for killing Rasputin, and who ended his final days as an exile in Paris.

Living out the role of the “man who killed Rasputin”, Yusopov was to tell numerous stories about the event. Often contradictory, they served to throw a veil of disinformation and deceit about the actual killing. For although the ageing homosexual and transvestite implied that Rasputin was secretly in love with him, which is probably yet more disinformation, never once did he even hint at the involvement of the British Secret Intelligence Service in Rasputin’s murder. Like the good intelligence asset he was, that secret went with Prince Yussopov to the grave.

Epilogue

A few days before his murder on December 16, 1916, Rasputin wrote a strangely prophetic letter to the Tsar, entitled “The Spirit Gregory Efrimovich Rasputin of the village Pokrovshoe”.

‘I write and leave behind me this letter at St. Petersburg. I feel that I shall leave this life before 1 January. I wish to make known to the Russian people, to Papa, to the Russian Mother, and to the Children, to the land of Russia, what they must understand. If I am killed by common assassins and especially by my brothers the Russian peasants, you, Tsar of Russia, have nothing to fear, remain on your throne and govern, and you, Russian Tsar, will have nothing to fear for your children, they will reign for hundreds of years in Russia. But if I am murdered by boyars, nobles, and if they have shed my blood, for twenty-five years they will not wash their hands from my blood. They will leave Russia. Brothers will kill brothers, and they will kill each other and hate each other, and for twenty-five years there will be no nobles in the country. Tsar of the land of Russia, if you hear the sound of the bell which will tell you that Gregory has been killed, you must know this: if it was your relations who have wrought my death, then no one in your family, that is to say, none of your children or relations will remain alive for more than two years. They will be killed by the Russian people …. I shall be killed. I am no longer among the living. Pray, pray, be strong, think of your blessed family.’(4)
Gregory
Pares 399

1. Study finds British spy killed Rasputin
The Age September 20, 2004
http://www.theage.com.au/articles/2004/09/19/1095532175275.html?from=storylhs&oneclick=true
2. Ibid.
3. New York Journal American February 3, 1949
4. The Murder of Rasputin by Greg King, Century, London, page 146.

Other sources include:
Wall Street and the Bolshevik Revolution by Anthony Sutton
http://www.reformed-theology.org/html/books/bolshevik_revolution/

Under the Sign of the Scorpion by Juri Lina
Referent Publishing, Stockholm

Last updated 23/01/2008

Hit on Iran would spell Israel's 'eradication': Ahmadinejad

Hit on Iran would spell Israel's 'eradication': Ahmadinejad

Wissam Keyrouz – AFP September 6, 2010

Iran's President Mahmoud Ahmadinejad ruled out an attack on the Islamic republic over its nuclear programme, during a visit to Qatar on Sunday, because any such action would result in Israel's destruction.

"Any act against Iran will lead to the eradication of the Zionist entity," he told a joint news conference in Doha with Qatar's emir, Sheikh Hamad bin Khalifa al-Thani, after their talks.

Israel, the region's sole if undeclared nuclear power, has not ruled out a military strike to prevent Iran acquiring an atomic weapons capability, an ambition its arch-foe Tehran strongly denies.

"The Zionist entity and the US government would hit any country in the region whenever they are able to do so, and they will not wait to get permission. But (at the moment) they cannot," he said.

"Iran has the ability to retaliate, strong and hard," warned Ahmadinejad, whose comments in Farsi were translated into Arabic.

Iran's hardline president said the talk of war against Iran to halt its controversial nuclear programme was aimed at putting psychological pressure on Tehran.

"There will be no war against Iran. What could take place is a psychological war," he said.

In renewed criticism of the relaunched direct peace negotiations between the Palestinians and Israel, Ahmadinejad charged that the "decaying" Jewish state was hoping to "revive" itself through the talks.

"The Zionist entity is decaying. It is in a critically difficult state, and hopes to revive itself through an unfruitful dialogue," he said.

Ahmadinejad had on Friday said the Washington-sponsored talks were "doomed" to fail, and infuriated the moderate Palestinian leadership by slamming it as unrepresentative.

"Who gave them the right to sell a piece of Palestinian land? The people of Palestine and the people of the region will not allow them to sell even an inch of Palestinian soil to the enemy," he said at an annual pro-Palestinian rally.

Unlike other Arab states in the Gulf that have echoed Western suspicions about Iran's nuclear programme and its ambitions in the region, Qatar has maintained friendly relations.

In May when the United States was pushing for a new round of UN sanctions against Iran, Qatar backed Turkish and Brazilian efforts to broker a deal that would avoid further punitive measures.

But Qatar is also a staunch US ally and hosts two American military bases.

As-Sayliyah base served as the coalition's command and control centre during the 2003 US-led invasion of Iraq, while the US air force used Al-Udeid airbase in the 2001 war in Afghanistan and in the aftermath of the Iraq invasion.
Source: http://www.google.com/hostednews/afp/article/ALeqM5hLSCRNl3jk6UX-_havC0ZYV7mvxw

Last updated 06/09/2010

Controlling Anti-Jewish Stereotypes

Controlling Anti-Jewish Stereotypes: The Case of the "Hook-Nosed Jew"  

Dr.  Lasha  Darkmoon  

July 18, 2009

One of my interests in life is the bizarre phenomenon of anti-Jewish propaganda manufactured by elite and well-organized cadres of Jews. 

Israel Shamir, in his controversial book Cabbala of Power, makes an interesting point about “hook-nosed Jews.” It seems that many Jews, far from shrinking from mention of their noses, never lose an opportunity to reinforce this particular stereotype by referring to their own noses negatively if there is no one else around to do so. When Jewish cemeteries are vandalized or swastikas are found defacing walls, the culprits on numerous occasions have turned out to be Jews. (See, e.g.,  here and here.) So it is with the legendary “Jewish nose”: a protected species of stereotype deliberately nurtured and kept alive by organized Jewry for propaganda purposes. 

Shamir recounts several of these instances. David Mamet, Jewish American playwright, once noticed a bumper sticker on a car: “Israel, Out of the Settlements!” Mamet took umbrage. “This could well be translated,” he huffed, “as Hook-nosed Jews, Die!” Writing an article for The Age, a Jewish publication, Graham Barrett slyly invoked the same carefully cultivated stereotype. “The retired Malaysian Prime Minister,” he told his readers, “took a parting snipe at the ‘hook-nosed Jews’ who rule the world by proxy.” 

But this is ridiculous. The Malaysian Prime Minister, as everyone knows, made no reference to “hooked-nosed Jews.” And Mamet is simply fantasizing about the attitudes of someone who was taking an entirely reasonable point of view on the Middle East. In his twisted world, any criticism of Israel, no matter how reasonable, is just another crazed statement of a Jew-hater whose images of Jews come right out of a Der Sturmer cartoon.

David Mamet  Imagines  How Critics of Israel See Jews

With the reader’s permission, I shall continue my disquisition on Jewish noses for a bit. The legendary ‘Jewish nose’, though fairly common among non-Jews, appears to cause our Jewish cousins extra special anguish. Rhinoplasty, invented by German-Jewish surgeon Jacques Joseph in the 1890s, largely caught on because its earliest and most enthusiastic customers were Jews. When Jewish comedienne Fanny Brice had her nose job, Dorothy Parker (herself half Jewish) quipped: “Fanny has cut off her nose to spite her race!”  Since then, many famous Jews have gone under the knife, including Natalie Portman (Herschlag), Winona Ryder (Horowitz), Gwyneth Paltrow (Paltrowitz), and Sarah Jessica Parker (Bar-Kahn).

Though this would appear to be a relatively frivolous subject, the intelligent reader will understand that it is not the Jewish nose per se that is of interest to me. I am really interested in Jewish power — in this case, the power to suppress any public discussion of a Jewish stereotype based to a considerable extent on the reality of Jewish noses. It’s really the same as Jewish ability to suppress statements that Jews have inordinate influence on the media. Truth is irrelevant.

In fact, it is the whole cluster of alleged anti-Semitic stereotypes and fabricated “canards“ that hover over any discussion of organized Jewry, or of Israel, and which make it almost impossible for anyone to discuss Jewish issues without being branded “anti-Semitic.”

“Eagle County is on the lookout for a Big-nosed Jew!” screams the inflammatory headline in a recent edition of the Denver Post.  Apparently a man who broke into someone’s house was spotted by a member of the public who then went on to give the police a description of the burglar: a man of medium height, medium weight, nondescript looking face, baseball cap pulled low. Helpful? The cops didn’t seem to think so — until the witness suddenly blurts, “Oh yeah, he had this big Jewish nose!”  Light suddenly dawns. The cops grin. The pieces of the jigsaw are beginning to slip into place. Hey, with a description like that you can’t go wrong! You’ve more or less got your man. 

Denver Post reporter Susan Greene, who describes herself as Jewish, tackles the story with considerable aplomb, making all the right politically correct noises. First of all, the witness who described the burglar as having a “big Jewish nose” was clearly an anti-Semite. He should have watched his language, the bigoted lout. The cops were equally insensitive for taking down the witness’s toxic words without so much as a murmur. As for the local newspapers, how could their editors have been so stupid as to legitimize anti-Semitism by giving traction to the stereotype that Jews had funny cartoon noses? 

One Adam Sutner, quoted in the Denver Post, is beside himself with rage. The whole sordid affair reminds him of “one of Joseph Goebbels’ finer works of propaganda.” Reporter Greene notes caustically: If the “scary Semitic sneakthief” (burglar) had horns, the bigoted witness “failed to mention it.” 

Needless to say, the ADL has been quick to complain. The editors of local rags, beating their breasts in anguish at their own insensitivity, offer unparalleled apologies. “This has shaken my confidence in my own ability,” one of them confides dolefully. Being Jewish, however, he hopes to be forgiven. The remainder, the goyim contingent, need to grovel a bit longer before absolution is granted. 

“As a Jew with a nose, I’m sitting out this debate,” reporter Greene concludes on a wistful note. 

What is the point of this storm-in-a-teacup brouhaha? Is it the need to create distractions? Are the goyim being lured into thinking about Jewish noses in order to deflect their attention from Jewish crimes? Forget Madoff, mister, think about our goddamn noses! No, I don’t think so. 

The point I am making is this: if you can brainwash the lumpengoyim to such an extent that they dare not even refer to a “Jewish nose” for fear of offending Jews, then you have nothing to worry about in regard to the Jews’ real sins: hijacking US foreign policy in the interests of serving the racialist, apartheid state of Israel while at the same time being the main force responsible for erecting the culture of Western suicide, including especially the attack on traditional values and the sacral core of life. These, after all, are the things that matter. Not the Jewish nose. 

But let’s get back to Jewish noses. 

In Cabbala of Power Shamir describes an email from a stranger called ‘Sam Jones’. It said: “Your valiant efforts and writings are appreciated throughout this nation. I deeply share your contempt for the hook-nosed Zionist vermin. Every dirty Jew should be put back into the ovens. Thanks once again for your help in conveying this vital message.” 

Shamir reveals that his unknown correspondent’s email address was finally traced to a certain Zionist provocateur. The same mischief maker had been bombarding Jeff Blankfort with similar emails, but Jeff saw through his game. The phrase “hook-nosed Jew” is always a giveaway, Shamir notes — “a clear sign of the Jewish effort to turn antizionist or anti-Judaic polemics into racist ones.”

If the “Jewish nose” ceased to exist, organized Jewry would be all the poorer for the loss of a valuable propaganda tool. In fact, if anti-Semitism didn’t exist, it might have to be invented.

Many of these bogus “insults” to Jews follow a predictable pattern. An initial gaffe that purportedly wounds the feelings of millions of traumatized Jews all over the world is invariably followed by howls of protest from Jew and gentile alike. Apologize, or be damned! A groveling apology follows.

Here are two cases which help to illustrate the point that Jew and gentile, these ancient ideological enemies, are now locked in a sadomasochistic bondage game in which the Jew wields the whip and the non-Jew cowers and cringes. 

In October 2007, celeb actress Halle Berry appeared on “The Tonight Show” where she made an innocuous joke about the Jewish nose. Berry had been showing photographs of herself taken the previous day, using the Mac program Photo Booth, which distorts images like in a fun-house mirror. Commenting on the first picture, in which her nose looked like an enormous gherkin, Berry foolishly blurted: “Here’s where I look like my Jewish cousin!” 

A stunned silence. Host Leno blinks and veils his troubled eyes. “I’m glad you said that and not me,” he sighs. Berry tenses, her eyes literally popping out on stalks. “Ohmigod,” she whispers, “have I just like ruined my career?” 

Let’s assume it was a genuine gaffe and not a publicity stunt for Jewish noses. 

Wasn’t it a subtle kind of cat-and-mouse cruelty to put this lovely actress through her subsequent humiliation? To force her to grovel? For a start, why, pray tell, does her career have to depend on the Jews? How come the Jews have managed to achieve a position of such total transcendence in America that they can now ruin someone’s career just for referring to their noses? 

After a long and unnecessary apology for offending precisely no one, Berry concluded pathetically on this note of abject contrition: “It just came out of my mouth. I didn’t mean to offend anybody. I didn’t. I didn’t mean any harm. I am so sorry, and I apologize.

Oh Mr. Foxman, why weren’t you there to receive the lady’s kiss on the sole of your sainted foot? 

The second incident of goy humiliation has nothing to do with the Jewish nose—a subject which, I confess, is now beginning to fatigue me. It is the famous incident involving one of America’s most hated men, the monster who made that unforgettable movie in Latin and Aramaic celebrating the passion and death of the Lord Jesus Christ. 

Because he’d had the chutzpah to make this “anti-Semitic” movie which in every way was the antithesis of the type of filth and feculence that now oozes from the sewers of Hollywood, Mel Gibson was a marked man. They were waiting for him to slip up. And slip up he did — big time.   

I hardly need to repeat the story. I will summarize. Gibson got drunk. He was then arrested, and in the course of his close encounter with the cops, he made a few unhelpful and inappropriate remarks. He didn’t tell the cops that it might be a good idea to boil Jesus Christ in excrement.  No, he left that to the Talmud. He didn’t call the Virgin Mary a whore, either, though it’s true he referred to a female cop as “sugar tits.” He didn’t tell anyone to cut off other people’s testicles, as Ariel Sharon, “man of peace,” told Israeli soldiers to cut off the testicles of Palestinian demonstrators in the West Bank. (See here, Chapter 4, note 111.)

No, Mel went one step further. He insulted the police officer arresting him by asking him the politically incorrect question, “Are you a Jew?” And then he spewed forth these sacrilegious words: “F***ing Jews! The Jews are responsible for all the wars in the world! You mother****er, I’m gonna  f*** you!” 

Such a torrent of vile abuse was clearly unprecedented, only made bearable in subsequent newspaper reports by the judicious use of asterisks. 

Poor Mel! His doom was sealed. He might as well have thrown himself into a tank full of piranhas. His abject apology to the Jews, like Halle Berry’s, could hardly have provided a clearer testament to the almost totalitarian power of the kings of contemporary America.

Here, in slightly abbreviated form, is Gibson’s groveling apology: 

After drinking alcohol on Thursday night, I did a number of things that were very wrong and for which I am ashamed. I acted like a person completely out of control and said things which are despicable. I am deeply ashamed  of everything I said and I apologize to anyone who I have offended. I disgraced myself and my family with my behavior and for that I am truly sorry. I apologize for any behavior unbecoming of me in my inebriated state.

Six apologies one after the other! Mel Gibson: Model of contrition. Paradigm of penitence. And here now is Abe Foxman, one of the New Masters, a cold and implacable Caiaphas: 

Mel Gibson’s apology is unremorseful and insufficient. It’s not a proper apology. His tirade reveals his true self. We hope that Hollywood now realize the bigot in their midst and distance themselves from this anti-Semite.

Jesus wept.

Meanwhile, the courageous and insightful James Petras expresses his concern that in the land where Jesus walked, Jews were recently seen to picnic round the blood-spattered gates of Gaza. Here they were free to participate in the gory bloodfest of the 2008-09 Palestinian mini-genocide enjoying their favorite sport of shooting fish in a barrel. Israeli T-shirts, some showing a pregnant Palestinian woman with a crosshairs over her stomach, bore the heartless slogan, “One Shot Two kills!”  And IDF soldiers were instructed by their superior officers, “Do anything you want!”

This has now been further documented in the booklet "Breaking the Silence" which compiles testimonies of soldiers in "the most moral army in the world":

Among the 54 testimonies are stories revealing the use of "accepted practices," the destruction of hundreds of houses and mosques for no military purpose, the firing of phosphorous gas in the direction of populated areas, the killing of innocent victims with small arms, the destruction of private property, and most of all, a permissive atmosphere in the command structure that enabled soldiers to act without moral restrictions.

Don't expect this report to be discussed in the New York Times any time soon.

I am too distressed to make any further observations on the Jewish nose, so let me conclude with these prophetic words by Palestinian Christian and ex-Jew  Israel Shamir, as presented by TOO's Edmund Connelly:

“The Jews” — Shamir makes a distinction between organized Jewry and individual Jews — “intend to turn Jerusalem into the supreme capital of the world, and its rebuilt temple into the focal point of the Spirit on Earth.” Should they succeed, unspeakable despair will follow. “Christianity will die, the spirit will depart from the nations in our part of the world, and our present dubious democracy will be supplanted by a vast theocratic state. . . . De-spiritualized and uprooted, homeless and lonely, yesterday’s Masters of the World [non-Jews] will become slaves in all but name.”

Even as I write, Americans are being dispossessed of their country. It is being stolen from under their noses and most of them do not know it.  Europeans, too, are losing control of their  homelands. 

We are all Palestinians now.

IMPORTANT:The Plot Against Art (CONT/ED)

Joseph Albers: Homage to the square: on an early sky. National Gallery of Australia

Spitting Mad Jews and Angry Artists: Part 1

Dr Lasha Darkmoon

November 20, 2009

My article, The Plot Against Art, elicited an unprecedented number of emails. These came mostly from angry artists who believed that they had produced works of high quality that had been spurned by the art establishment. The artists who had achieved world fame, on the other hand, had in many cases done so only because they had produced decadent works of trash designed to deprave and corrupt the public: such as pornographic Madonnas, crucifixes offensively placed in urine, cans stuffed with the artist’s own excrement, and unmade beds with condoms and blood-stained panties conveniently scattered around as “significant” litter.

These puerile charlatans had set out to destroy traditional values, promote sexual perversion, mock Christianity, and, in general, create ugliness and despair — a sorry situation promoted by an art establishment that has been dominated since the early 20th century by Jewish art critics, collectors and dealers. This Jewish influence on art is of course in accordance with the openly declared  aims of the Frankfurt School, a Jewish revolutionary movement dedicated to the destruction of traditional Western values — and indeed to the very people who live by those cherished values.

Unbelievable? Absolutely. If it weren’t unbelievable, it wouldn’t be true.   

I ought perhaps to mention my reasons for discussing these emails in public. (With one exception, pseudonyms are used, because this was generally insisted on as the condition for publication. I also had to do some editing for style and brevity.)

First, I appear to have touched on a raw nerve without meaning to do so. While most articles to this site, my own included, seldom attract more than a handful of responses within the first few days, The Plot Against Art has given rise to a phenomenal 100 pages of emails, including one from Czech academic Paul Norrland who informs me that the Occidental Observer has made an impact among the intelligentsia of Prague. “I was very happy when I discovered TOO,” he confides, “and could read Kevin MacDonald's Culture of Critique. I believe it is one of the most important works of this young century. I am sure its true impact is yet to come.”

Much to my delight, he told me he had just translated my article into his native Czech. To my dismay, however, I found I was unable to understand a single word of this gobbledegook. Talk about being Czechmated! 

MIKE UPTON: Your analysis of modern art — and by extension, atonal music — is incisive and insightful. Thank you. It should be required reading for every college undergraduate but of course it won't be, at least for the foreseeable future. How could we, the descendants of those who created the great Western culture, have been so thoroughly overpowered by a tiny, pathological and destructive minority? It defies belief.

DARKMOON:  Many others have written to me expressing their outrage over the art scam. But it's more than just art, as you know. The evils being practiced upon us extend to all areas of life. It's a sad and sorry situation, but aren’t we ourselves to blame for letting ourselves be led by the nose over the precipice’s edge?  

HILDA PRETTY: The Plot Against Art is one of the most revealing pieces of literature to detail organized Jewry's implacable hatred of European culture I have seen. The many photo captions of obscene and hideous "art" along with the in-depth information detailing the immense Jewish involvement and influence on the Western art world, shocks and appalls. People will not soon forget it.  

DARKMOON:  Thank you for these kind words. They help to compensate for some of the abuse I have received.

MARQUIS DE FRANCE: Madam, I had the extreme displeasure of reading your vile essay on art yesterday. My valet brought me the printed version in bed, on my own instructions, carefully arranged on the breakfast tray beside the toast and marmalade. He omitted, however, to bring rubber gloves and pincers. You have a doctorate? From what university, pray? I think you are a charlatan, madam. Your essay is factually unsound and tendentious in the extreme. It made me feel quite ill just reading it. I am not Jewish, by the way, but I adore Jewish women — the most beautiful in the world. Your essay caused great distress to my Jewish girlfriend. She almost tore it up in her rage. She flung it across the room. “F*** this c***!” she screamed. If I knew your address, madam, I would track you down and give you the thrashing of your life. Marquis de France.      

DARKMOON:  The Marquis de Sade, I presume?   

DAVID HOXTON: Your article on the prostitution of art to Jews is like a soothing melody. The composer Wagner made the same observation about the Jewish destruction of art by marginalizing true art which inspires to higher motives. Last weekend I presented some of my sculptures at an art show in Sacramento Ca. It was an art show in name only. For the most part, it was a combination of scramble figures on canvas and photographs in frames. I am so lonely here, all isolated as if I am the only artist who knows the truth. Please respond to this email, and give me some hope. I need a pat on the head like a lonely little puppy.  

DARKMOON:  I’m afraid an email from me is unlikely to put the world right. It will probably come as no consolation to you to learn that you are not the only person to have been victimized by the Jews of the art world. I have received dozens of emails from artists who feel desperate failures. They have struggled all their lives and their efforts have all been wasted. The beauty they offered the world has been scorned. This is because the arbiters of art — mostly a Jewish cultural elite — have decided that henceforth only ugliness shall be beauty. A mesmerized public has been brought, like blinkered horses to foul ponds, and forced to drink filthy water. 

BENJAMIN TROTT:  Good try, Darkmoon, but it won’t wash. Your essay seriously flawed. Idea that Jews have genetic defect that makes them lousy artists totally absurd. Many good Jewish artists around. Israel Shamir says Modigliani and Chagall, born Jewish, suddenly morph into brilliant artists after becoming Christian. You parrot this absurd view. Never heard such hooey. How can baptism make one more deft with a paintbrush?  Back to the drawing board, Darkmoon. 

DARKMOON: If I were to rewrite my essay, it would have to be more nuanced on this point. The idea that all Jewish artists, because of some inherent “visual deficiency”, are fundamentally inferior in artistic talents to non-Jewish artists, is simplistic. It needs to be modified. Apart from Modigliani and Chagall, other Jewish painters of note are Pissarro, Soutine, Max Ernst, Roy Lichtenstein, Tamara de Lempicka, Helen Frankenthaler, Lucien Freud. The top art forger of all time, Elmyr de Hory, was a Hungarian Jew. He forged so many Dufys that even the experts were fooled. They actually rejected genuine Dufys because they thought de Hory’s Dufys were the real thing!  An artist needs extraordinary technical skills to perpetrate such consummate forgeries.  

 Two of de Hory’s forgeries. He is said to have produced over a thousand. Many a Modigliani, Monet, Matisse, Dufy, Derain and Picasso, hanging in private galleries right now, were in fact done by de Hory. It says little for the vaunted skill of the so-called “art experts” that they have been fooled so often by fakes.

Having said this, however, Israel Shamir’s excellent point that “Jews bend art to suit their abilities” has more than a grain of truth in it. Abstract painting largely caught on because inferior artists, many of them Jewish, found abstract art a piece of cake. Here are three abstract paintings which a zoologist friend of mine thinks a trained chimpanzee would have no problem painting: 

Mark Rothko, 'Light Red Over Black', 1957; Oil on canvas (Saatchi Gallery)

Helen Frankenthaler, Magic Carpet, 1964, Acrylic on canvas.

Jules Olitski, Tin Lizzie Green, 1964.

The three artists above were all Jewish.  They succeeded only because “Art had been  bent to suit Jewish abilities.” (Israel Shamir). Witness also Joseph Albers’ endless variations on the same theme in Homage to the Square. 

JORDAN DUBRAY: I was accepted at Yale university grad school for painting in 1968.  The school  had an unwritten rule. Each student had to paint in their assigned open cubicles. Those who refused to paint in those cubicles were all thrown out of Yale. This rule may have been started by Joseph Albers, right after he came from Germany and took up his position there as chairman of the grad school. 

I believe that the faculty enforced this rule because some of them had been stealing ideas that grad students were in the process of developing in the open cubicles. The faculty were all very well known and had galleries representing them in NYC, and the unknown grad students provided a wealth of ideas for them.  I know for a fact that some of the students’ work was far more creative than the tired crap most of the faculty was doing. Anyway, I needed privacy to do my work and so I decided to disobey the unwritten rule of painting in an open cubicle.

 During the next two years one individual member of that faculty, a Jew, tried to find some weakness in my work.  He was unable to do so. I admired the classical masters, I studied their work, I modeled myself on them, I attended all the classes and completed all the assignments — so there was nothing this Jew could do to get me expelled from Yale. I received my MFA in 1970, being the only person to graduate from Yale who had refused to abide by the university’s rule of painting in an open cubicle.

NOTE FROM DARKMOON: Jordan goes on to relate his subsequent adventures as a struggling artist in the Jewish-dominated art world. The slights and humiliations he was to receive at the hands of this Jewish “art mafia” could fill an entire book. Indeed, they did fill an entire book — for Jordan was to write it himself, taking seven years to do so. Unfortunately, Jordan was unable to find a publisher. In 1971, an exhibition of his paintings was held at the school where he worked. The curator of the Whitney Museum happened to be there. He was sufficiently impressed to offer Jordan the unique opportunity of showing two of his major paintings at the coming Whitney Biannual exhibition. Jordan was delighted. Recognition at last! Alas, it was not to be. Jordan’s dreams were soon to turn to dust.  

 By sheer chance, a member of the Yale faculty had visited the Whitney Museum and badmouthed Jordan to the curator, Robert Doty. Doty broke off all communication with Jordan. Suddenly, Jordan’s paintings were no longer welcome at the Whitney. No reason was offered for this bizarre U-turn, but it is easy enough to speculate what must have happened. One Jew had poured his venom into the receptive ear of another. “Don’t show this man’s work! He’s a known anti-Semite!”  

When Jordan attended the Whitney exhibition a bit later, he was to find that the wall space originally assigned to him had been allocated to a Yale art faculty member. Several years later, he was to learn the identity of the man who had been spreading calumnies about him.

JORDAN DUBRAY:  After 23 years, in 1993, I was told the name of the man who had been slandering me to the art galleries. Who had got me blacklisted. It was the Jew I previously referred to — the man who had been a constant thorn in my flesh at Yale.  This man had the most power on that faculty and, I believe, the least talent. But it was easy to see that he was a cruel and vicious individual.  The students even tried to get rid of him and many of us signed a petition to have him removed from Yale. We all believed he was incompetent and a danger to the students there. But it didn’t work, and he remained there longer than any other member of their faculty. 

I went into a terrible rage soon after I received information that I had been blacklisted.  I could not focus on my painting any longer, so I decided to do an investigation of what it was all about and find out who exactly was involved. And so I did an investigation lasting about 7 years, then I also wrote a book about the whole experience. But it has remained unpublished to this day. Yale was later to buy an old Jewish Synagogue and place the Yale graduate art school in that building. A fitting place for that school, don’t you think? 

DARKMOON: I am shocked to hear all this. Truly shocked. There’s nothing I can really say... 

JORDAN DUBRAY: I’ve learned that practically everything in this world is basically upside down. I couldn’t stop these people from sabotaging my career, from doing all they did to injure me, but I guess it gave me an interesting story to tell... 

DARKMOON:  That’s why I’m telling it.  

JORDAN DUBRAY:  I believe your important essay has helped me to see things in a new light. Have I failed as an artist? Maybe. But not as a man. To refuse to be part of this evil trade is to succeed. To be embraced by them, however, and rewarded with riches after selling one’s soul to the devil — that is to fail in life. And so I send you my blessings, Lasha Darkmoon.  

DARKMOON:  Goodbye, dear Jordan. Words fail me at this point. Let me offer you these ancient words of wisdom as a parting gift: What doth it profit a man if he gain the whole world and suffer the loss of his own soul?  

ANTHONY HILTON (retired Professor Of Psychology, Concordia University, Montreal, and frequent contributor to TOO): Here’s a  thought I've had concerning ethnicity and art. It is that the Jews themselves seem to be genuinely fond of the psychology of Sigmund Fraud [sic] as well as the type of “art” favoured by the Jewish art establishment. To the extent that this is true, it would mean we're dealing not so much with a deliberate attempt to undermine WAS(P) culture but rather with a cultural incompatibility  —  accompanied by a normal human tendency to assert dominance over any domain the Jews happen to like. There could even be an element of “altruism” in it — a bit like garlic lovers proselytizing their food tastes.  

DARKMOON:  I won’t disagree with you. Your garlic metaphor is particularly apt. Pathological liars, sooner or later, come to believe their own lies. I'm sure there was an element of that in Bush and Blair when they plotted the destruction of Iraq and were looking for an excuse for genocide. I’ve just read a comment today on another site, where  someone says you have to hand it to the Jews that they've  managed to take over the world — mass media, politics, finance, the judiciary, academia et al — on a miniscule 0.2 per cent of the world's population. His conclusion? Maybe they deserve to rule the world, being so smart and superior. Maybe we ought to sit back and let them get on with it. Who knows, he muses, they may be doing all this for our own good — out of sheer altruism! Point to ponder: is this Animal Farm? Are we like cattle being coddled and cared for by the People Farmers?

DARKMOON: [unsent email to Anthony Hilton, Nov. 12, 2009]: Benjamin Netanyahu, Prime Minister of Israel, claimed that Jews had invented ideas like human rights and universal peace. He concluded his speech by stating, “we are a small people but a great people; a people generous enough to pave a path toward a lasting peace; a people brave enough to thwart the dangers that confront us; and a people creative enough to once again help steer humanity towards a better future for all. By a curious coincidence, it bears out what you said earlier about possible Jewish “altruism” — they are doing things like dispossessing the Palestinians for the good of humanity. It also echoes my own comment about the Jews in their role of “People Farmers”: Superior people that they are, they are steering humanity in the proper direction — over the precipice’s edge.

I should like to conclude this discussion by suggesting that if Jews continue to behave in a provoking manner, as they have for centuries, anti-Semitism is inevitable. Dismissing the irrelevance of the Protocols as a source of anti-Semitism, Israel Shamir says:  “Arabs have no need to import anti-Semitic arguments from old and far-away sources, provided they have a fresh round-the-clock local source: actual behaviour of the Jewish state and its Jewish citizens.” (My emphasis).

DARKMOON (Final email, to an artist friend who is also a cartoonist):  Here are two political cartoons — a potent art form in its own right — that say more in one smack of the eye than a thousand words can:

Steve Bell, acclaimed Guardian cartoonist, won the British Political Cartoon Society 2003 Award with this cartoon depicting Ariel Sharon devouring babies. The usual suspects were incensed and Bell was stigmatized as an anti-Semite.

Finally, here’s one of my favorites: a cartoon with a witty nursery rhyme added as a special bonus.

Steve Bell cartoon, The Guardian, 02/18/2004

Land-grabbing Izzy built a Great Wall,

Land-grabbing Izzy had a Great Fall.

All America’s armies, missiles and men

Couldn’t put Izzy together again! 

—     Unknown Poet

Prophetic?  Time will tell. 

Go to Part 2 of this article.

Annie Sprinkle (Ellen Steinberg): performance artist, prostitute, porn actress, feminist icon, and lesbian diva of depravity. Her idea of “art” is to masturbate onstage with sex toys, her legs wide open, and invite members of a predominantly male audience to peer up her vagina with torchlight and speculum.

Spitting Mad Jews and Angry Artists: Part 2

Dr Lasha Darkmoon

November 23, 2009

In Part 1 of this article, consisting of email responses to The Plot Against Art, I tried to give the reader a cross-section of emails I had received. Most of these came from failed artists who felt aggrieved at the insults and humiliations heaped upon them by an art establishment almost entirely controlled by organized Jewry. Here is a further selection of emails. I had intended originally to suppress these for fear of causing needless offence. I was finally persuaded to offer them for publication in the interests of free speech.

MIMI HOFFMAN: I won’t mince my words. I AM SPITTING MAD. I hated your article from start to finish. Because everything you said was false, false, false! Everyone I showed your article to, Jew and non-Jew alike, couldn’t believe such utter rubbish could ever be written. Why on earth would we Jews go out of our way to “create a hell on earth”? Would a people who’d experienced untold misery in the past, driven from country to country by bloodthirsty Christians — Christians who ended up killing six million of us in the cruelest circumstances — would a people familiar with suffering on such a vast scale attempt to “make life impossible for everyone”? For what purpose? Such sick behavior on our part would be counter-productive! It would only increase anti-Semitism! Don’t tell me you think we’re actually going out of our way to get ourselves hated!

DARKMOON: The quotations I provided in Part 1 of my article, in which leading members of the Frankfurt School openly state their agenda, are not quotations I concocted. The people who said these things were influential Jewish intellectuals, originally from Germany, who later taught at American universities. They are connected to a vast infrastructure in the media and the educational system. They said quite plainly that they wanted “to create a culture of pessimism”, “to corrupt society’s values”, “to make Western civilization stink,” and, finally, “to make life impossible for everyone.” So I’m not making anything up. I’m not inventing anything or spinning fancy theories. I am simply quoting these influential Jews.

Tell me this: Do you think the goyim are likely to love Jews more if you say to them: “Look, we’re going to corrupt your values! We’re going to push you to the edge of despair and drive you nuts! We’re going to make Western civilization stink and do our best to make your life totally impossible!” I seriously suggest that, if you and your fellow Jews want to be more popular in the countries which gave your forefathers hospitality, that you mind your manners! Treat the peoples and cultures where you live with respect! You want to be loved? Well then, be nice to your neighbors! Don’t spit in people’s faces if you want them to love you! Above all, don’t keep spitting on the Cross!

STEVEN K RYMER: These articles are EXCELLENT! Some of the best stuff I ever read. Especially these memorable quotes: “To summarize [the Frankfurt School agenda]: “Let’s create a culture of pessimism. Let’s make Western civilization stink. Let’s create a godless world and drive people to despair. Let’s corrupt society’s values and make life impossible. In short, let’s create hell on earth." And this: “To undermine. To corrupt. To create discord. To drive crazy. To destroy. Verbs to remember.” The Frankfurt School in a nutshell. Yes! They are destroyers — trained for destruction like killer dogs — determined to create a hell on Earth! I don't think I have ever heard a better description of the basic core of the issue before.

DARKMOON: Thanks for these kind words of encouragement. I need to remind you, however, that when I speak of the “Jews”, I mean organized Jewry — not ordinary Jews. It’s necessary to bear this distinction in mind. There are four possible statements we can make about Jews: (1) All Jews are hostile to the people and the culture of the West. (2) No Jews are hostile to the people and the culture of the West. (3) Some Jews are hostile to the people and the culture of the West. (4) Most Jews are hostile to the people and the culture of the West.

To say that no Jews have these negative attitudes is as absurd as saying that all Jews have them. We are therefore left with a choice. Either we say that some Jews have these attitudes or that most Jews do. To say that some Jews are bad is pretty safe; most Jews would agree with that, although they would probably deny that these Jews have much influence. But just try saying that most Jews have these attitudes, and that such Jews are a critical force in creating a culture hostile to traditional Western mores and values, and you’re in deep trouble.  Someone sent me an email the other day that said: “If Jews act hatefully, isn’t it only natural to hate them? If they make it clear they’re out to destroy you and your cherished values, doesn’t it make sense to destroy them first? In such circumstances, isn’t there a case for anti-Semitism?” Frankly, I didn’t know what to say. I’d never heard it put like that before.

DALE RUSHTON: I would like to thank you for your brilliant article The Plot Against Art. In fact, I had been waiting for something like this to happen for years. An honest exposé of the contemporary art world. And it finally came! Thank you! I was myself an artist once. I tried to build an artistic career. It was pure madness on my part. I wasted ten years trying to achieve it with a truly fanatical determination; ignoring education, income, health, and success in every other occupation. I had nearly reached the point when my wife was about to walk out on me. I chased this pipe dream along with the best of them. And finally I began to suspect that this sort of career, this sort of artistic ‘fame’, was basically a form of prostitution. Art had been replaced by art business — a politicized and commercialized activity that no sane or moral person would even touch.

DARKMOON: If it's any comfort to you, I have received scores of emails from artists who have traveled through the same dark wood that you have: years of passionate dedication to their work, the acquisition of exemplary skills, and, finally, the creation of beautiful objects which the Jewish art mafia decided to reject because they failed to satisfy their peculiar demands. The works produced were simply not shocking enough, not ugly enough, not depraved enough. They failed to produce that "culture of pessimism" so beloved of Georg Lukács and Walter Benjamin leading lights of the morally bankrupt Frankfurt School. Having failed to undermine moral values, poison the springs of life, and induce in the general public a state of suicidal despair, these artists were naturally fit only for the scrap heap.

DALE RUSHTON: I am quite familiar with almost everything you have mentioned in your article. For instance, an influential Jewish art critic once offered to help me with my career. He told me he would give me a favorable review if only I would “come out of my closet.” This happened in San Francisco where I lived for many years. I ignored these distasteful suggestions, being entirely heterosexual, and so I decided to persevere on my own. I succeeded in selling some of my work to private art lovers who seemed to appreciate my style, but no established art gallery showed the slightest interest in my work. Without the backing of this Jewish art elite, I was doomed to failure.

DARKMOON: Artists such as yourself, working in the old tradition, were under the false impression that what was needed were beautiful objets d’art to elevate the minds of the public. The opposite was in fact the case. The quest for beauty had been replaced by the systematic uglification of life. That was the new aim. “We must organize the intellectuals and use them to make Western civilization stink,” Marxist revolutionary Willi Munzenberg said. “Only then, after they have corrupted all its values and made life impossible, can we impose the dictatorship of the protelariat.” (My emphasis).

At least you know why you failed now. You failed because you aimed for beauty, not ugliness. Because you refused to promote “a culture of pessimism”. Because you did nothing “to make Western civilization stink.” Because you forgot the critical ingredient: to “make life impossible for everyone.”

DALE RUSHTON: I’m sorry if I come across as sad and embittered. That was not my intention. I still can’t understand how, after all my efforts, I managed to fail so spectacularly.

DARKMOON: You failed because you didn’t give the Jewish art establishment what it wanted. You refused to stuff your excrement into a can, for example, and try and pass it off as “art” — as Piero Manzoni did. If you had done so, you might well have sprung to international fame a few years later when your canned feces went under the hammer at Sotheby’s for $180,000.

Piero Manzoni, Artist’s Shit. The perfect symbol for modern art? Unfortunately, many people appear to think so.

Did you ever turn up at a prestigious art gallery in New York and demonstrate your masturbatory skills for your adoring fans? Victor Acconci stole a march on you there! You could have tried putting on a frock and a woman’s wig, like British artist Grayson Perry, and produced pottery depicting scenes of sexual perversion. You didn’t do this, did you?

The potter wore bobbysox ... Grayson Perry poses with his wife Phillippa and daughter Flo after winning the Turner Prize.

DARKMOON (next day): Consider only these titles by one world-famous artist, Tracey Emin and draw your own conclusions: Everyone I Have Ever Slept With, Fucking Down An Ally (sic), Asleep Alone With Legs Open (several large-scale canvases of her splayed legs and vagina), I’ve Got It All (legs splayed again, clutching banknotes to her crotch), Weird Sex, CV Cunt Vernacular, Is Anal Sex Legal, Masturbating, Get Ready For the Fuck Of Your Life.

With titles like these, Tracey Emin could hardly fail. Her rich Jewish patron, advertising mogul Charles Saatchi, knew he was on to a good thing. As the Gadarene swine hurtle over the cliff top, Tracey Emin leads the pack.

Demon-possessed Swine

‘DMITRI’: I am a Russian Jew who settled in California forty years ago when my Paris-based family emigrated to America. I would like to correct two distortions which your otherwise excellent article has helped to promote: (1) that Jews have an inbuilt “visual deficiency” which always makes them second-rate artists, and (2) that the Jewish “art mafia” favors Jewish artists over non-Jewish ones and gives them preferential treatment. You are wrong on both these counts. I am a visionary artist who paints in the same style as Jewish artist Joseph Parker. See his painting below. How can you say this meticulously drawn painting shows a “visual deficiency” on the artist’s part? Isn’t it stunningly beautiful?

Joseph Parker, Path to the Mountain Top.

This is what I aspire to paint like. For the last 20 years I have painted hundreds of paintings in this style. No one recognizes my genius. I am regarded as a “poster artist”, as painting in a retro and outworn style. I have been damned with faint praise. They call me King Kitsch. The Jewish “art mafia” will do nothing to promote my work. Why? I suspect this is because my work uplifts the human spirit, and this is precisely what they do not want. They want ugliness and moral squalor. I could tell you about my failures and humiliations as an artist, but I won’t. 

I will just say this. I have lost everything — my wife, my children, my life’s work. All I have left is my sanity and the new religion that saved me. Christianity. This gives me the will to go on. (By the way, I no longer consider myself a Jew). I go round the galleries with three small canvases in a carrier bag. I try to persuade the gallery owner (and the dealers I sometimes meet there) to look favorably on my work and give me a break. I dream of an exhibition. Of final recognition. Nothing happens. They won’t even look at my canvases. I have recently started taking round slides and leaving them with these important people — all of them, incidentally, Jews like myself. They have lost the slides. Or they have returned them with the rubber bands in exactly the same position as I’d arranged them. Showing me they’d never even bothered to take a look at my slides.

Why do I tell you this? So that you may know the truth. These rich Jews have no time even for their fellow Jews when they produce uplifting art. They much prefer the Useful Idiot Goyim who march to their drum and produce the crap they crave.

DARKMOON: Thank you for these fascinating insights into the art world. You have persuaded me to change my mind. Or rather, to modify my position from “extreme” to “moderate”. I readily concede now that some Jewish artists are striking exceptions to the general rule that Jews make lousy artists.

TIFFANY BLACKSTONE: Your amusing essay on art brought to mind Charlotte Whitman’s witty remark: “Whatever women do they must do twice as well as men to be thought half as good. Luckily, this is not difficult.” Still, I regret to say that in your haste to take a swipe at the Jews, you failed to point out that the emergence of the female artist can be attributed largely to Jewish influence. But for the feminist movement, which the Jews have been so active in promoting, we female artists — I am myself one — would have been neglected and scorned and forced to take a back seat by the male chauvinist patriarchal swine who call the shots in our society. We have the Jews to thank for the emancipation of the female artist, don’t you think?

DARKMOON: I’m afraid I cannot agree with your basic assumption that women have been “held back” by chauvinist pigs for centuries, and that their hitherto hidden talents have at last received recognition — thanks to the benevolent patronage of the Jews! The facts speak for themselves. How many great female musicians and artists can you name? The fact that more women have muscled in to these areas recently has nothing to do with the sudden recognition of their amazing talents, previously suppressed by “the male chauvinist patriarchal swine who call the shots in our society.” It has more to do with publicity and the promotion of silly girls with sex appeal.

I ought  to mention at this point that some of the same promoters of the “Silly Girls” are also the promoters of the “Swaggering Boys”: such as tearaway shark artist Damien Hirst, transvestite potter Grayson Perry (see above), and painter of porno Madonnas Chris Ofili. All these artists were made famous by Jewish advertising Tsar Charles Saatchi. They were his Frankenstein monsters.

Damien Hirst

It can truly be said that wherever artists are to be found with a penchant for insulting Christianity or giving maximum offense to the public, there you will generally find the munificent Mr. Saatchi with his open check book.  

DARKMOON (next day): There is nothing intrinsically admirable about Tracey Emin’s unmade bed or her attention-seeking leg-and-vagina paintings. If you were a man of taste, which of these two depictions of the Eternal Feminine would you prefer: this gorgeous creature by Botticelli or the feminist icon who appears below?  

 

Botticelli's Venus

Feminist icon Tracey Emin: "I've got it all"

The sad truth is that so many female “artists” have nothing to sell but vaginas. I need mention only these twelve, though there are scores of others queuing up to flash their fancy bits: Tracey Emin, Annie Sprinkle, Karen Finley, Hannah Wilke, Carolee Schneeman, Andrea Fraser, Sarah Lucas, Marlene McCarty, Vanessa Beecroft, Malerie Marder, Katy Grannan, Kembra Pfahler.

Some of these vaginocentric exhibitionists, like lesbian “performance artist” Annie Sprinkle (Ellen Steinberg), maintain websites blocked by porn filters. The aptly named Sprinkle — a nom de porn in honor of "urolagnia" — is the lady who douched her vagina onstage in 1991, before lying down and opening her legs so that members of the audience, mostly male, could inspect her cervix with the help of a flashlight and speculum. There was a "Public Cervix Announcement" of the event at the Brooklyn Museum's Elizabeth A. Sackler Center for Feminist Art (whose main claim to fame is "The Dinner Party," a depiction of the vulvas of 39 mythical and historical famous women by Judy Chicago [nee Cohen]). It’s not “performance art” we’re dealing with here, it’s pornography — an area of expertise in which, as we all know, Jews reign supreme.

Annie Sprinkle (Ellen Steinberg), whose show was funded by the National Endowment for the Arts, masturbated on stage with sex toys, inserted a speculum into her vagina and called up audience members to examine her cervix with a flashlight. Please note: all this depravity is indirectly funded by the American taxpayer without that taxpayer’s knowledge or consent.

MIRIAM KATZ: A friend of mine gave me a printed copy of your ridiculous essay to read. I took it into the bathroom with me, hoping to peruse it there at my leisure, only to find to my dismay that I’d run out of toilet paper. Guess what? I used your inspired work of fiction to wipe my ass. Handy, no?

DARKMOON: I’m pleased to hear my article made an impact, if not on your brain, at least on your behind. Actually, I’m surprised to hear you make use of toilet paper at all. Well done. 

MIRIAM KATZ: Touché! I guess I asked for that. The contemporary art scene, I have to admit, looks pretty bad. But why blame the Jews for it? It seems to me you go out of your way to be needlessly anti-Semitic.

DARKMOON: Why do I blame “the Jews” for what they have done to art, music and Western culture in general? Perhaps you should reread my essay, particularly the distinction I draw between organized Jewry (bad) and ordinary Jews (often good). Why do I do blame “the Jews” for their ongoing genocide in Gaza? Why do I blame them for their penchant for committing war crimes? Why do I blame them for the theft and plunder of Palestine? Why do I go out of my way to be “needlessly anti-Semitic” like the Pope and the Archbishop of Canterbury, like Ex-President Jimmy Carter and Bishop Desmond Tutu, like John Meersheimer and Steven Walt, like Israel Shamir and Israel Shahak, and like billions of other disgusting anti-Semites? I honestly don’t know. I can only speculate. Could it have something to do with the behavior of the organized Jewish community?

DARKMOON (to Paul Norrland, translator of The Plot Against Art into Czech): Dear Mr Norrland, I came across this comment today in an article by Gilad Atzmon, “I learned recently from an American Jewish professor who teaches in Prague, that convoys of young American Jewish students make their way to the beautiful Czech capital every summer. They apparently use the opportunity to spit on the many Churches and golden crucifixes around. [My emphasis]. I also learned from the professor that the crucifixes on Prague’s famous Charles Bridge were initially decorated with the Hebrew words Kadosh Kadosh Kadosh Adonai Tzvaot — “Holy, Holy, Holy is the Lord of Hosts” — back in the 17th century just to stop Jews spitting on Christian symbols and the Crucifix in particular”. I wonder if you could comment on this bizarre phenomenon of “spitting mad Jews” who apparently fly all the way from America to Prague in order to spit on the image of Jesus Christ.

RED AVENGER: fuck the Jews. may they burn in hell forever. if I could build a hundred new auschwitzes and put all fifteen million of these vermin in it, i’d do it right now. good one darkmoon, keep it up...

DARKMOON: I am saddened by your comment. I sincerely hope my essay has not contributed to your sickness. There are many good Jews and I’d ask you to remember this. Your anti-Semitism is getting out of hand when you’ve reached the stage of thinking that all Jews are evil and wishing they’d all died in Hitler’s death camps. I’m afraid this puts you beyond the pale. I’ve recently made friends with a Jewish painter — a truly remarkable woman, generous and caring — and I’d hate to see her come to any harm for no other reason than that she happens to be Jewish. The only hope for mankind, in my opinion, is the mass conversion of the Jews to Christianity. A collective exorcism is what they need. Building new Auschwitzes will not solve the problem.

RED AVENGER: well then, fuck off you sad Jew lover...

MIRIAM KATZ: Anti-Semitic bitch, you win first prize for insolence! Freud thought anti-Semitism was caused by sexual frustration. Not getting enough, eh?

DARKMOON: Enough already! (From you, I mean). I must remind you that Freud has long since been exposed as a fraud and psychoanalysis dismissed as “a sectarian political movement masquerading as science.” (See Chapter 4 here). A Freud fan who spent his life producing smut and who offers a convenient paradigm of Talmudic attitudes to Christianity is Al Goldstein — he likes telling people that “Christ sucks”. 

Al Goldstein, publisher of Screw magazine, said (on lukeford.com), “The only reason that Jews are in pornography is that we think that Christ sucks. Catholicism sucks. We don’t believe in authoritarianism.”

When asked if he believes in God, Goldstein says: “Fuck God. I am your God, admit it. We’re random. We’re the flea on the ass of the dog.” When his partner is asked what attracts her to this foul-mouthed pornographer, Goldstein butts in: “It’s my big Jewish dick.” One can’t reason with men like this. One can only refer them to the nearest psychiatric clinic. Unfortunately, thousands of such Goldsteins are now to be found everywhere, spreading all over America like a mad rash: in Hollywood, the media, the judiciary, academia, high finance, and in the higher echelons of the government. Even the best torture experts are now Jewish, as Alan Dershowitz would be the first to testify.

DARKMOON: (later, unsent email): And now for the final twist of the knife. Rabbi Schmuley Boteach, author of Kosher Sex and The Kosher Sutra, has just announced that “Jewish values” are America’s way forward. Jewish values? Did I hear the good Rabbi correctly?

Are these the “Jewish values” America needs: ADL National Director Abraham H Foxman denounced Mel Gibson’s Passion as “anti-Semitic”, but nevertheless waxed eloquent about the Jewish role in the porn industry. “Those Jews who enter the pornography industry have done so as individuals pursuing the American dream,” he enthuses fatuously.

Or perhaps this charmer will provide America with its new “Jewish values”?

Sarah Silverman: "I hope the Jews DID kill Christ! I'd fucking do it again — in a second!"

To summarize: Al Goldstein: “Christ sucks!” Abe Foxman : “Porn, the American dream!” Alan Dershowitz: “Let’s have some torture!” Sarah Silverman: “I hope the Jews did kill Christ!” American Jew in Prague: “Hey, let’s spit on the Cross!”

If these are the Jews who are going to heal America and lead it into the future, God help America.