Archives for posts with tag: history
George Trendle

George Trendle (1884-1972)

Earlier this week, Aryan Skynet’s Hipster Racist published a post titled “White Nationalists Should Take Over the Freemasons”. By coincidence, I just happened to come across the following passage in Native Americans on Network TV: Stereotypes, Myths, and the “Good Indian”, a study by mass media scholar Michael Ray Fitzgerald. Referring to George Trendle, who originally created the Lone Ranger character for radio, Fitzgerald writes:

One reason Trendle admired the Texas Rangers may have been that the outfit had been founded and staffed by Scottish Rite Freemasons, and Trendle himself was one. During the period The Lone Ranger was aired (1949-1957), Scottish Rite promoted the most extreme sort of racist views. The point here is that Trendle, as an active member of Scottish Rite, was steeped in these views. For example, an excerpt from Scottish Rite’s official publication, the New Age Magazine, published during The Lone Ranger’s first season, declared, “The hand of Providence has chosen the Nordic people to bring and unfold the new order of the world. … Providence has chosen the Nordic people because they have prepared themselves and have chosen God.” Belief in Nordic racial superiority did not originate in Germany: remarkably similar beliefs had been in circulation in England and in the United States (i.e., Anglo-Saxonism) before Germany emerged as a nation. According to Reginald Horsman, Anglo-Saxons have long believed they have a “gift for governing,” which they have a duty to bring to the rest of the world, whether or not it is welcome.

Where, then, does the American Indian fit into this worldview? In The Lone Ranger, Tonto serves as the Indians’ representative; he welcomes the white savior on their behalf. In turn he is accepted into the Anglo-Saxon-Nordic project if – and only if – he is willing to assist in this project of Anglo-American control of the land. Tonto becomes an apprentice white man, a Regulator, doing the dirty work for the white man. It might also be illuminating to ask, where do African Americans fit into this vision? The simple answer is they do not. Not only are blacks not included in Trendle’s vision of the Old West – even as third-class citizens – they simply do not exist. They have been, in [Cedric] Clark’s term, relegated to “Non-recognition” – or, as [George] Gerbner and [Larry] Gross would say, “symbolically annihilated.”1

It should be noted, however, that in a particularly striking instance of political correctness (given the standards of the time), the series converts the Indian into an ally of the white savior. “The villains on The Lone Ranger are always white men, even though a Texas Rangers historical site unequivocally states the organization was founded to fight Indians,” Fitzgerald points out2.

Rainer Chlodwig von K.

Endnotes

  1. Fitzgerald, Michael Ray. Native Americans on Network TV: Stereotypes, Myths, and the “Good Indian”. Lanham, MD: Rowman and Littlefield, 2014, pp. 44-45.
  2. Ibid., p. 36.

The Ideological Content Analysis 30 Days Putsch:

30 Reviews in 30 Days

DAY TWENTY-FIVE

YouTube might not have been the battleground that the Fuhrer envisioned, but this is where the war is being won and the dignity of the German race and Europeans in general is being reclaimed. Hellstorm, based on the book of that name by Thomas Goodrich, who addresses the viewer directly, was produced by Renegade Broadcasting‘s Kyle Hunt (not to be confused with Eric Hunt, maker of the must-see “Holocaust” documentaries The Jewish Gas Chamber Hoax, The Treblinka Archaeology Hoax, and The Majdanek Gas Chamber Myth).

Hellstorm focuses on the collapse of the Third Reich and the consequent atrocities visited on the German people by the Allies in what is commonly held to have been the “good war”. Wisely, Hunt has opted for a female voice for his film in selecting narrator Sinead McCarthy – a meaningful choice in consideration of the unfortunate fact that so much of the suffering involved women, so many millions of whom died or were tortured and raped repeatedly by Soviet forces (as well as Americans). The Hitler worship is minimal, with the emphasis squarely placed on the human element of the history, so that Hellstorm might serve as fine initiation into World War II revisionism for those who, like so many victims of Jewish brainwashing, are incapable of approaching any subject on anything but the emotional plane.

The principal feeling produced in viewers might not be empathy, however, but anger at all of the lies dispensed to them by the public indoctrination facilities (i.e., schools).

Five Stars. Ideological Content Analysis indicates that Hellstorm is:

FIVE STARS

Fair and Balanced

Rainer Chlodwig von Kook

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Shoah“It’s a gas!” – Reichsfuhrer-SS Heinrich Himmler

As of writing, your humble reviewer has waded his way through discs one and two of the Criterion Collection’s 6-disc DVD release of Claude Lanzmann’s 9.5-hour Shoah (1985), which purports to tell the true story of the “Holocaust” of six million Jews through the testimonies of survivors, eyewitnesses, and participants, all adding up to a “fiction of the real”, as Lanzmann himself put it.

Claude Lanzmann 2Lanzmann scheming

Lanzmann, a French Zionist, communist, and personal messenger for Mao Zedong who interviewed movie stars for French magazines in the 60s, had during the 50s been, with “with [mentor Jean-Paul] Sartre’s blessing – Beauvoir’s lover, ‘the only man with whom [feminist lowlife] Simone de Beauvoir lived a quasi-marital existence’.” According to Beauvoir in her memoir, Lanzmann’s “rancour with respect to the goys never went away.” Shoah, if nothing else, is certainly evidence of that. Beauvoir also says that the wayward, paranoid, and tantrum-prone Lanzmann would sometimes wake from nightmares screaming “You’re all Kapos!”

Claude LanzmannLanzmann in uniform

Shoah plays like this man’s smirking, smoldering, self-absorbed, joyous, and seemingly interminable slow-motion nightmare. To watch it is to experience intermittent boredom and fascination, as sluggishly panning shots of fields and roads intermingle with alternately colorful or mundane interviews.

SrebnikSimon Srebnik looking forlorn for the camera

The first pitiful Jew viewers are offered for adoration is shifty-eyed Simon Srebnik, who claims to have seen fire shooting from death camp chimneys into the sky. “I dreamed, too, that if I survived, I’d be the only one left in the whole world,” Srebnik (obviously enjoying the attention) remembers fantasizing.

Then there is the idiotically grinning Michael Podchlebnik, whose clear giddiness at being filmed for a movie prompts Lanzmann to ask why he is smiling. Fortunately for the sake of Shoah‘s credibility, Podchlebnik has found his motivation for the next segment in which he is featured and manages to work himself up into a pretty good cry. Other survivors follow, none of them particularly compelling. One claims to have seen a wall of rainbow-colored flame erupt on the occasion of the first mass incineration. Another says water gushed up from a pit to seize the bodies dumped into it.

PodchlebnikMichael Podchlebnik, movie star

The best parts of Shoah are Lanzmann’s interviews with common Poles who lived in the vicinity of railways, camps, and “gas van” operations. What is so refreshing about these people, who come across as lovable, Slavic rednecks, is their earthiness, their unstudied eccentricity, and the obvious fact that most neglect to take the “Holocaust” very seriously.

Poles

Polish “Holocaust” witnesses – possibly inebriated

“Above all, they were dishonest,” one Pole reports of his old Jewish neighbors. Laughing women recall that their men enjoyed chasing the beautiful, idle Jewesses, but another interviewee opines that the Jews were unattractive. Lanzmann, meanwhile, constantly prods them, trying to get anybody and everybody to admit that the Polish people do not really lament the extermination of the Jews and in fact benefited from it because they were then able to move into the houses of the deceased and so up the social ladder.

PoleJews smelled bad, says this Pole

Lanzmann’s anti-Christian agenda becomes overt in the portion of Shoah comprising disc two of the Criterion release. He arranges, for instance, to interrogate a gaggle of Chelmno Poles in front of a church in which Jews were once corralled, but chooses the day of a Catholic festival for his interview, so that reminiscences of Jewish internment and theft of valuables are juxtaposed and interrupted by a devout procession with icons.

HilbergRaul Hilberg doing his Raul Hilberg impression

Anti-gentile historian Raul Hilberg, author of The Destruction of the European Jews, is also interviewed and voices his view that the “Holocaust” is only the culmination of a festering anti-Semitism present in Europe and Christendom for a thousand years or more. It was “a logical progression” of Christianity toward “closure” of the Jewish question, Hilberg explains.

Hilberg, to his credit, acknowledges that no paper trail exists for a “Final Solution” as that term is generally interpreted by mainstream (i.e., corporate, Zionist-subsidized) historians and that “one cannot find a specific document, a specific plan, outline, or blueprint which states, now the Jews will be killed.” He goes on, “Everything is left to inference from general words. General wording [. . .] leaves something to the bureaucrat that he must infer.” Orders-by-inference would seem to be a novel, unorthodox, and unreliable protocol for an operation calling for military discipline, but Nazis, Hilberg gives the viewer to understand, work in mysterious ways.

Shoah coverEpic dullness in high-def

Lanzmann’s Shoah is the ultimate slog, with Pauline Kael rightly describing the documentary as one “long moan” in her assessment. Rewarding as time spent among the affable Polish villagers can be, much of the remainder (at least, based on this reviewer’s experience of the first two discs) is tedium defined. Typical of Lanzmann’s style are long panning shots over empty expanses, desolate fields and forests, ratty houses, lonely roads, snowdrifts, etc. One shot pointlessly follows a van on a road for about a minute, followed by a shot of the van boringly parking, after which the camera slowly zooms in on the stationary van – revealed to be the director’s high-tech detection Shoahmobile!

One wonders at times if the sinister intention of all this monotony is not to lull the unsuspecting viewer into a dulled, semi-conscious state of susceptibility to the Zionist propaganda. Only the contents of the next four (ugh) discs will tell.

[Read this reviewer’s further reflections on Claude Lanzmann’s Shoah here.]

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