Secret Societies and Psychological Warfare

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  • evola_as_he_is
    According to The Road of Cinnabar , as we pointed out in message 4, Julius Evola once planned to write a Secret History of the Secret Societies , but this
    Message 1 of 13 , Sep 24, 2008
      According to 'The Road of Cinnabar', as we pointed out in message 4,
      Julius Evola once planned to write a 'Secret History of the Secret
      Societies', but this project had to be abandoned, since the materials
      he had gathered for it during his stay in Vienna, where he had been
      invited by certain senior members of the S.S. to study Masonic
      documents, were destroyed during a bombardment of the city.

      His interest in occult history, in what is now called the 'conspiracy
      theory', dates as far back as the period of the Ur&Krur group, with an
      article called 'Remarks on Counter-Initiation' (signed Arvo). Further
      evidence of his interest in this matter appears in the 1930's, with
      the publication of 'The Instruments of the Occult War' in 1938 in La
      Vita Italiana, and with his translation into Italian of the work of
      Léon de Poncins and Emanuel Malinsky, 'La Guerre occulte'. This is how
      the latter is defined : "The occult war is the war which the forces of
      global subversion wage behind the scenes, by means which are almost
      always invisible to ordinary methods of investigation. The notion of
      occult war belongs, so to speak, to a three-dimensional vision of
      history, in which history is not considered superficially, according
      to two dimensions, those of the apparent causes, events, and leaders,
      but in depth, according to its third, underground, dimension, which
      contains decisive forces and influences often irreducible to the
      simple human element, be it individual or collective."

      After the Second World War, he published two articles on this topic in
      1952, namely 'The Occult war' and 'Behind the Scenes of History', both
      in Il Meridiano d'Italia. Some of the considerations put forward in
      these texts are taken up again in a more systematic manner and
      developed in 'Men among the Ruins' ; they concern essentially the
      strategies, the tactics, the weapons, and the goals of the 'occult
      war' and put forward the point of view and the points of reference
      which must be assumed by those who, far from accepting passively the
      current state of affairs, are determined to have a part in the defense
      of traditional principles.

      Other writings of his on the 'occult war' are gathered in
      'Fenomenologia della sovversione', an anthology published by R. Del
      Ponte, of which various excerpts have been quoted on this list. In
      addition to writings on the concept of subversion, it contains
      articles dealing with Communism in general and with Lenin in
      particular, with the student movement of the 1960's, with the
      fundamental notion of 'heterogeneity of ends', whereby, in most
      operations, there often exists a more or less important difference
      between the goals originally set and the goals actually reached by any
      entity or individual. Some historical examples are given, among which
      the notorious Jewish revolutionaries' trip across Germany in 1917 :
      "In April 1917 Lenin and a party of 32 Russian revolutionaries, mostly
      Bolsheviks, journeyed by train from Switzerland across Germany through
      Sweden to Petrograd, Russia. They were on their way to join Leon
      Trotsky to "complete the revolution." Their trans-Germany transit was
      approved, facilitated, and financed by the German General Staff.
      Lenin's transit to Russia was part of a plan approved by the German
      Supreme Command, apparently not immediately known to the kaiser, to
      aid in the disintegration of the Russian army and so eliminate Russia
      from World War I. The possibility that the Bolsheviks might be turned
      against Germany and Europe did not occur to the German General Staff.
      Major General Hoffman has written, "We neither knew nor foresaw the
      danger to humanity from the consequences of this journey of the
      Bolsheviks to Russia."
      (http://reformed-theology.org/html/books/bolshevik_revolution/chapter_03.htm.
      This is a must read for anyone interested in what was going on
      behind-the-scenes at that time, and which confirms fully J.Evola's
      analysis of the facts, wiping out in the process the thesis, upheld by
      A. Sutton in his much over-rated 'Wall Street and the Rise of Hitler'
      and, henceforth, echoed in a repetitive and mechanical manner by most
      conspirationists, according to which the assistance of the Germans for
      the Bolshevik revolution would demonstrate an intrinsic collusion
      between both sides).

      Finally, a series of articles focus on 'occult war' in the ancient
      Mediterranean world (see, for example,
      http://members.tripod.com/thompkins_cariou/id14.html) and on the
      Jewish hidden influence in history and in the field of ideas, of
      culture, of politics, and of arts, whether in modern times
      (http://members.tripod.com/thompkins_cariou/id34.html) or in ancient
      times (the articles gathered in 'Il 'genio' d'Israele', one of which
      showing that anti-Semitism, that is, a non religiously based
      anti-Semitism, did exist in ancient Rome).

      Most of these considerations, whether of the theoretical or of the
      concrete and phenomenological order, are still fully valid in 2008,
      and, as such, can help us find our bearings in the analysis and the
      interpretation of what lies beyond the surface of current events and
      facts, it being understood that those who are behind them do their
      best, backed more or less consciously by the usual 'useful idiots', to
      lead us astray.

      In the meantime, however, there have been developments, new issues
      have arisen, and various works and research have allowed us to
      expand, to widen, to deepen our understanding and knowledge of the
      third dimension of history. Michael Hoffman II's work is one of these.
      He writes mainly on World War II revisionism, on the occult roots of
      Freemasonry, on Talmudism and on the white slave trade. To stick to
      the two latter topics, in 'Judaism's Strange Gods' (2000) and 'Judaism
      Discovered : A Study of the Anti-Biblical Religion of Racism,
      Self-Worship, Superstition and Deceit' (2008), more or less along the
      lines of Evola, he provides evidence that modern Jewish orthodoxy
      bears little relation to the Old Testament and leans instead on the
      Talmud and the Mishna. In 'They Were White and They Were Slaves: The
      Untold History of the Enslavement of Whites in Early America', a new
      light is shed on the slave trade : "The de facto enslavement of whites
      began with the enclosure acts (privatization of formerly public
      grazing lands known as commons), which made paupers of the English
      yeomanry and created an army of homeless and unemployed citizens
      demonized by official history as England's fabled 'criminal
      underclass' (the criminal overclass escapes this withering scrutiny).
      The history of white slavery in Britain is found in the practice of
      'kid-nabbing' (kidnapping) and the laws and customs that permitted
      enslavement aboard ship of abducted farmers and laborers taken from
      such notorious "crimping" ports as Glasgow. Malthusian scarcity
      paradigms were later invented out of fear of the insurrectionist
      potential of whites dubbed 'surplus poor,' who, in the seventeenth
      century, were shipped to British America and the West Indies as
      slaves, to toil unto death (not seven years) on sugar and tobacco
      plantations as soon as colonies were established (Georgia was
      envisioned as a white slave dumping ground and Virginia initially had
      more white slaves than black ones)." 'They Were White and They Were
      Slaves', however, should be taken cum grano salis, assuredly not with
      respect to the facts, but with respect to some of the interpretations
      which are given of slavery in general. As a matter of fact, there does
      not seem to be any awareness of the "marked contrasts in the
      fundamental attitude and the procedures of Hebrew and older [and, if
      we may add, contemporary] Semitic slavery as compared with those of
      the Greeks (and of the Romans)" ("The Slave Systems of Greek and Roman
      Antiquity", William L. Westermann, 1955). His research on white slave
      trade is summarised here :
      http://www.youtube.com/watch?v=Ugo1YxZWWJ8&feature=related

      Lately, it seems that Michael Hoffmann's blog has been censored. Well,
      as the French say, "A tout malheur quelque chose est bon". Indeed, it
      was filled with controversial statements about 'Zionism' and
      'Zionists', two words which would recur every two sentences or so, not
      to mention an anti-racist 'animus', probably caused solely by the will
      to distance himself at any cost from the (zoological) racism of
      'Zionists', and various puns such as 'aske-nazi', which do not do
      justice to his remarkably enlightening work. The fact still remains
      that some of his statements on other web sites are not devoid of
      confusions. For instance :

      "The white race --at least in its current degenerate state as
      manifested in modern America-- is now the golem of the rabbis. Without
      the unstinting financial and military support of America's white
      leaders and white voters, the Israeli Zionists would not have
      one-tenth their power in the world today.

      As Dr. Tony Martin, professor of African History at Wellesley College
      elucidated in his lecture The Judaic Role in the Black Slave Trade,
      the root of anti-black racism is found in the Midrashic exegesis
      concerning Noah's son, Ham. This insidious rabbinic doctrine in turn
      influenced Freemasons and masonic sympathizers within and outside the
      Ku Klux Klan (most notably Wesley Swift of "Seedline Identity"), who
      taught the specious dogma that there is a Biblical basis for
      anti-black racism, when in fact anti-black racism emanates from the
      rabbis of Judaism, including the "greatest of them all" Maimonides,
      and not the Patriarchs of the Old Testament.

      The supremacy of whites in America such as George W. Bush, Donald
      Rumsefeld, Dick Cheney, Jeb Bush, George Bush Sr., Justice Antonin
      Scalia, the Speaker of the House, the Senate Majority Leader, the
      Governor of New York etc. is synonymous with the rise of Judaic
      supremacy. I repudiate white supremacy and Judaic supremacy with every
      ounce of my being." (http://www.revisionisthistory.org/essay23.html0)

      Leaving aside, on one hand, the highly questionable claim made in the
      second paragraph and, on the other hand, the lucid acknowledgment that
      the current white race is "degenerate" and that "white supremacism" is
      likely to be an expression of Jewry, it is hard to believe that
      someone as knowledgeable as him in Judaism can present a Jewish
      political schemer such as Rumsfeld as being white and seems to forget
      that the so-called 'neo-cons', who have been managing the United
      States for a while more or less behind-the-scenes, are Jews for most
      of them. It is hard to believe that, here, someone as versed as him in
      the techniques of 'psychological warfare' can delude himself into
      thinking that 'white voters' vote knowingly.

      Perhaps, the main inspiration of his work lies in his ability to
      decipher the "occult cyptocracy's orchestration of American history".
      " In Secret Societies and Psychological Warfare, Michael A. Hoffman II
      deftly charts out the workings of the cryptocracy, a cadre of smoke
      screened power mongers who attempt to control the world via a series
      of orchestrated events such as the Kennedy assassination, the Manson
      and Son of Sam murders, 2001: A Space Odyssey (both book and movie),
      the gunning down of John Lennon, the Oklahoma City bombing and quite
      possibly the recent 9-11 tragedy as well. Employing a peculiar yet
      engaging brand of arcane hermeneutics, Hoffman sets out to unveil how
      these events have been mediated in ways which manipulate the
      consciousness of the masses, thus easily swaying the populace into
      obeying the dictates of what he believes is the Freemasonically
      controlled state. The author fortifies his argument by citing examples
      of mind control not only from popular culture movies such as
      Videodrome and Nightmare on Elm Street but also with some erudite
      references to secret societies and their unsavory intrigues as well.
      His take on Christopher Marlowe's plays Dr. Faustus and Tamburlaine as
      thinly veiled polemics directed at John Dee (whose code name was 007)
      and his role in the creation of the British Empire via a sophisticated
      espionage network is something that is rarely mentioned in most
      mainstream books covering the Elizabethan era. The official storyline
      which has been fed to us for all these centuries is that Marlowe died
      in a 'tavern brawl'. It is more likely, according to Hoffman, that he
      was assassinated by Ingram Frizer, one of Queen Elizabeth's espionage
      agents, for daring to expose the occult origins of her magical control
      of the empire. Secret Societies and Psychological Warfare is peppered
      with such historical gems throughout. It is these kind of references
      that make Hoffman's book so intriguing.

      Implicated in Hoffman's agile segueway from Elizabethan erudition to
      Hollywood crassness, is a subtle hint that mind control can come in
      many forms and disguises. He just as easily dissects movies such as
      The Matrix as well as obscure kabbalistic texts from the 15th century
      which describe recipes for conjuring Golems in order to make the
      multivaried forms of mental exploit self evident. Mark's etymological
      command makes his unusual tome worth reading, helping readers get to
      the roots of what is called 'twilight language', an occult
      nomenclature which only 'initiates' ever can understand, yet
      influences us all in the most insidious and ambiguous of ways. In the
      author's occult analysis of Catholicism, for example, we discover that
      Vatican, comes from the Latin word Vates, meaning Prophet. 'The
      Vatican is located on an ancient crossroads that was once the site of
      the temple of the oracle of Apollo, whose prophecies were called
      vaticinia.' Hoffman reminds us, lest we forget the true origins of
      Catholicism, especially considering what is going down in Rome these days.

      Another standard ingredient in twilight language is, of course, the
      pun. Hoffman encourages us, indirectly, to pay close attention to the
      pun(dit) riddled newscasts, advertisements, movies and newspapers we
      are blitzkrieged with on a daily basis so that we can grasp the sleazy
      underhandness of Freemasonic indoctrination. As a grim example of
      twilight punning, the test site of the world's first nuclear
      detonation is named Trinity, just a few miles, as the raven flies from
      Truth or Consequences, New Mexico which can be arrived at by passing
      through Jornada Del Muerto via Route 66, a Freemasonically designed
      roadway according to the author. Secret Societies and Psychological
      Warfare will heighten your awareness of these manipulations and will
      assist you in warding off the intended malign effects of twilight
      language. I recommend taking a look at Mr. Hoffman's essay on the
      Unabomber spectacle in Apocalypse Culture II and how puns, mystical
      toponomies and other twilighted fare were fed the public in a way
      which only encouraged morbid fascination and nothing else. No doubt
      these very things are being used to promote the 9-11 tragedy to public
      at the moment."

      Interestingly enough, the fifth chapter of 'Secret Societies and
      Psychological Warfare' is called 'Flattery : First Principle of Mind
      Control'.
    • Thulean Imperial Inquisitor
      This is of interest: Golem: Myth, Magic or Machine : http://ie.youtube.com/watch?v=52AfWzhaHVs Watching it reminded me of a comic I saw as a kid in which a
      Message 2 of 13 , Sep 25, 2008
        This is of interest: "Golem: Myth, Magic or Machine":
        http://ie.youtube.com/watch?v=52AfWzhaHVs

        Watching it reminded me of a comic I saw as a kid in which a force
        used machine-dogs as a ´golem´. Upon refreshing my memory by looking
        at a picture I saw that the jew Frank Miller (of great Hollywood fame
        nowadays) was behind the comic:
        http://www.newkadia.com/Covers/L/R/Robocop%20versus%20The%20Terminator/robocopversustheterminator3.jpg
      • larco_e_laclava
        This, as well as a number of other themes elaborated by Evola, remind one of comic books, often with astounding resemblance. What s even more astounding, and
        Message 3 of 13 , Sep 27, 2008
          This, as well as a number of other themes elaborated by Evola, remind
          one of comic books, often with astounding resemblance.

          What's even more astounding, and also rather worrying, is that some
          people should take this fact to raise doubts, with all the seriousness
          and euphemisation of someone "into conspiracy theories", about the
          comic books, instead of making those people wonder about the nature of
          their beliefs...



          --- In evola_as_he_is@yahoogroups.com, "Thulean Imperial Inquisitor"
          <asbrekka@...> wrote:
          >
          > This is of interest: "Golem: Myth, Magic or Machine":
          > http://ie.youtube.com/watch?v=52AfWzhaHVs
          >
          > Watching it reminded me of a comic I saw as a kid in which a force
          > used machine-dogs as a �golem�. Upon refreshing my memory by looking
          > at a picture I saw that the jew Frank Miller (of great Hollywood fame
          > nowadays) was behind the comic:
          >
          http://www.newkadia.com/Covers/L/R/Robocop%20versus%20The%20Terminator/robocopversustheterminator3.jpg
          Show message history
          >
        • Thulean Imperial Inquisitor
          With all due respect, I m not sure what you re saying (English isn t my native language). If you re implying that I was comparing Evola to a comic-book
          Message 4 of 13 , Sep 27, 2008
            With all due respect, I'm not sure what you're saying (English isn't my native language). If you're implying that I was comparing Evola to a comic-book character that'd be a misunderstanding:  I was not.
            My previous message relates to the contents of [the moderator]'s post (in which Hollywood and Golems are mentioned) in obvious ways.
            Show message history
            Perhaps, the main inspiration of his work lies in his ability to decipher the "occult cyptocracy's orchestration of American history". " In Secret Societies and Psychological Warfare, Michael A. Hoffman II deftly charts out the workings of the cryptocracy, a cadre of smoke screened power mongers who attempt to control the world via a series of orchestrated events such as the Kennedy assassination, the Manson and Son of Sam murders, 2001: A Space Odyssey (both book and movie), the gunning down of John Lennon, the Oklahoma City bombing and quite possibly the recent 9-11 tragedy as well. Employing a peculiar yet engaging brand of arcane hermeneutics, Hoffman sets out to unveil how these events have been mediated in ways which manipulate the consciousness of the masses, thus easily swaying the populace into obeying the dictates of what he believes is the Freemasonically controlled state. The author fortifies his argument by citing examples of mind control not only from popular culture movies such as Videodrome and Nightmare on Elm Street [...]

            [...]

            Implicated in Hoffman's agile segueway from Elizabethan erudition to Hollywood crassness, is a subtle hint that mind control can come in many forms and disguises. He just as easily dissects movies such as The Matrix as well as obscure kabbalistic texts from the 15th century which describe recipes for conjuring Golems in order to make the multivaried forms of mental exploit self evident.

            [...]

            Another standard ingredient in twilight language is, of course, the pun. Hoffman encourages us, indirectly, to pay close attention to the
            pun(dit) riddled newscasts, advertisements, movies and newspapers we are blitzkrieged with on a daily basis so that we can grasp the sleazy
            underhandness of Freemasonic indoctrination.

            As is known to many observers, and insurgents, the Judeocracy uses media of all sorts to condition the masses; this includes movies and comics. This is a part of an info-war that is in front of the occult-war. The captains of the info-war are often following commands, or even unknowingly acting on the influence, of captains of the occult-war. Not only do they use media and popular culture to condition & control, but for some reason(s) they even use it to, express their plans before they reveal them in action, and, taunt those who see through some of their games!

            Comics can be easily, and are, commonly underestimated; but a study of comic history would reveal their, not insignificant, influence on the �Western�, and especially American mind. It would reveal Jews being behind characters recognized world-wide: Jerry Siegel behind "Superman" and Stan Lee behind "Spiderman", to mention only two of the most famous.

            http://www.myjewishlearning.com/culture/literature/Overview_Jewish_American_Literature/Into_The_Literary_Mainstream/JewsComics.htm
            http://www.google.is/search?q=Jews+comics

            This might fit the dogmas of some priestly �Traditionalist� scholars, some fond of the Bible (which has been made into comics), or it might not. The reality however, remains.
          • evola_as_he_is
            In his writings on ancient Rome, J. Evola, probably inspired by de Gobineau s considerations on the rise and fall of ancient civilisations, made a decisive
            Message 5 of 13 , Sep 27, 2008
              In his writings on ancient Rome, J. Evola, probably inspired by de
              Gobineau's considerations on the rise and fall of ancient
              civilisations, made a decisive point both from the historical point of
              view, a point which historians would be well inspired to take in
              consideration in their works, and from the point of view of the
              'occult war' : a civilisation arises from a formative force, which,
              whether of the solar or of the lunar nature, shapes it thoroughly,
              from top – the domain of the sacred – to bottom –the economic plane,
              while being 'challenged' on every plane and in every domain by an
              antithetical force. The story of each civilisation consist of the
              fight, the struggle, the war, between both forces, whose various
              battles have been evidenced and analysed by J. Evola in the historical
              vicissitudes of ancient Rome. So long as the force that formed and
              shaped a given civilisation remains powerful and prevails on that of
              its antithetical force, which acts as destructive element, it
              flourishes and fulfils itself, and so does its race. As soon as this
              influence weakens and loses in creative and conservative power, it
              decays. Just as, as rightly seen and stressed by J. Evola, there is no
              longer any pure race at this stage of the present cycle of
              manifestation, so there is no pure civilisation, that is, no
              civilisation reflecting perfectly the nature and the structure of the
              Idea, of the force from which it is the manifestation on the material
              plane.

              Civilisations, even ancient ones, were not enclosed spaces, they
              interacted with and influenced each other constantly, more or less
              directly, more or less visibly, for better or worse. One of the main
              tasks of their respective leaders, who should be aware of this
              phenomenon of communicating vessels and be clairvoyant enough to see
              exactly and to assess the set of opposed influences at work in their
              own civilisation, is to see to it that the principles on which the
              latter is based maintain their predominance over alien principles and
              values, it being understood that any kind of influence, no matter how
              positive and creative it can be in the civilisation in which it
              originates and develops, can turn out to be negative and harmful, as
              soon as it spreads to another. The representatives of the Roman
              aristocracy who opposed the coming of various Great Mothers from Asia
              Minor to Rome from the early sixth century to the early first century
              B.C. acted along these lines.

              On that basis, let us instance this law of mutual differentiated
              influences with an example taken from our times : the manga phenomenon
              ; even though some authors claim that there is a cultural and
              aesthetic continuity between pre-WWII Japanese art and mangas, it is
              hard to deny that mangas have not been influenced by the images and
              the themes contained in the American comics and funnies brought to
              Japan by the GI's during the American occupation of Japan (1945-1952),
              images and themes which derived greatly from American cartoons,
              particularly from those of the Freemason Walt Disney, a close friend
              of the Freemason Reagan. As it turned out, the whole thing has
              backfired, and, for 15 years or so, western comics and cartoons,
              whether Jewish made or not, have been greatly influenced by mangas,
              which, loaded as they are with the self-destructiveness of post-WW2
              Japanese psyche, play a part in the brainwashing of what's left of
              western youth. Incidentally, one of the various aspects of media
              brainwashing in the broad sense is related, mainly by means of
              so-called 'science fiction' works, to the conditioning of the
              populace's mind to dramatic events and scientific discoveries to come
              in a more or less imminent future (see, for instance, `Secret Message
              of Jules Verne : Decoding his Masonic, Rosicrucian, and Occult
              writings', M. Lamy, 2007) and, in the process, to test its reactions
              to these 'literary' stimuli.

              What's of particular interest to us now in 'The Golem - Israel's
              Nuclear Hell Bomb and the Road to Global Armageddon' is that,
              according to the author, "Clinton went up against the Golem". Nothing
              can be further from the truth. "Our" government under Presidents
              Reagan, Bush and Clinton, has provided, under the euphemism of
              education (for example, House Joint Resolution 173 and Public Law
              102-14), a groundwork for the establishment of Talmudic "courts of
              justice" to be administered by disciples of Shneur Zalman's Chabad
              successor, Rabbi Menachem Mendel Schneerson."
              (http://www.revisionisthistory.org/talmudtruth.html).

              Having said that, the book seems to be worth reading.



              --- In evola_as_he_is@yahoogroups.com, "Thulean Imperial Inquisitor"
              <asbrekka@...> wrote:
              >
              > This is of interest: "Golem: Myth, Magic or Machine":
              > http://ie.youtube.com/watch?v=52AfWzhaHVs
              >
              > Watching it reminded me of a comic I saw as a kid in which a force
              > used machine-dogs as a ´golem´. Upon refreshing my memory by looking
              > at a picture I saw that the jew Frank Miller (of great Hollywood fame
              > nowadays) was behind the comic:
              >
              http://www.newkadia.com/Covers/L/R/Robocop%20versus%20The%20Terminator/robocopversustheterminator3.jpg
              Show message history
              >
            • vandermok
              By the way, Frank Miller is also the director of Sin City , a blood s bath recyclings all imaginary dregs of Manga and comic books with a sure impact on the
              Message 6 of 13 , Sep 29, 2008
                By the way, Frank Miller is also the director of 'Sin City', a blood's bath recyclings all imaginary dregs of Manga and comic books with a sure impact on the teen minds.  
                About Walt Disney, he was not only a Mason, an alcoholic, afflicted by the syndrome of Lolita, but was also an informator of the FBI all through 25 years. All things hardly coming out, like the brothels and the syphilis of Einstein.
                 
                (Sources: 'Walt Disney, Hollywood's Dark Prince' by M. Eliot;  'Private Lives of A. Einstein' by R. Highfield and R. Carter. Also quoted by J.G. Ballard in  'A User's Guide to the Millenium').
                --
                 
                ----- Original Messages from:
                 
                evola_as_he_is
                Thulean Imperial Inquisitor
                larco_e_laclava
              • larco_e_laclava
                He s also the creator of the fictional retelling of the Battle of Thermopylae, 300. Do you also find any thing objectionable in this comic/movie? I would doubt
                Message 7 of 13 , Sep 29, 2008
                  He's also the creator of the fictional retelling of the Battle of
                  Thermopylae, 300. Do you also find any thing objectionable in this
                  comic/movie? I would doubt it, given that it contains all the right
                  themes to excite an Evolian imagination: oiled-up and muscled
                  Spartans warriors, scorn for physical deformity and inferiority, free,
                  superior and warrior-ruled West versus enslaved, sensual and priestly
                  East, and just the right dialogue to suggest that testosteronic
                  elation one gets only by reading the titles of Heathen Imperialism,
                  Men Among the Ruin or even the Order of the Iron Wreath ... quite the
                  Jew, Miller! -- who, by the way, I hope is not reading this topic, or
                  he'd be having a hell of a laugh, and perhaps feel inspired to author
                  a comic about a cute group of Internet warriors...



                  Show message history
                  --- In evola_as_he_is@yahoogroups.com, "vandermok" <vandermok@...> wrote:
                  >
                  > By the way, Frank Miller is also the director of 'Sin City', a
                  blood's bath recyclings all imaginary dregs of Manga and comic books
                  with a sure impact on the teen minds.
                  > About Walt Disney, he was not only a Mason, an alcoholic, afflicted
                  by the syndrome of Lolita, but was also an informator of the FBI all
                  through 25 years. All things hardly coming out, like the brothels and
                  the syphilis of Einstein.
                  >
                  > (Sources: 'Walt Disney, Hollywood's Dark Prince' by M. Eliot;
                  'Private Lives of A. Einstein' by R. Highfield and R. Carter. Also
                  quoted by J.G. Ballard in 'A User's Guide to the Millenium').
                  > --
                  >
                  > ----- Original Messages from:
                  >
                  > evola_as_he_is
                  >
                  > Thulean Imperial Inquisitor
                  >
                  > larco_e_laclava
                  >
                • Thulean Imperial Inquisitor
                  I do wonder, if we d be (mere) internet-warriors, and you (presumably) not; what d you be? Since you bring the discussion to this level, larco_e_clava, one
                  Message 8 of 13 , Oct 1 7:32 PM
                    I do wonder, if we'd be (mere) internet-warriors, and you (presumably) not; what'd you be?
                    Since you bring the discussion to this level, larco_e_clava, one could also wonder: if the internet had existed at Evola's time (was already outlined when he was a teen: see for example Tesla's autobiography), (do you think) would he have used it? Or would he only have used
                    offline typewriters?

                    I am not unfamilar with "300" as I read the graphic-novel years before anyone knew that a movie was coming. The Hollywoodesque Jew Frank Miller did not invent the old tale of the heroic 300 Spartans. He did however rewrite it; with messages of his (and his kin's) own: filled with modern 'Clash of Civilizations' neo-politics. I even read about that agenda in a local, very mainstream, newspaper on my island. I read about it too, on dozens of mainstream websites which have no easily observable relation to us 'conspiracy-theorists'.  I read about it in an offline interview with an Iranian, who wasn't all-too-happy about his forfathers, which he said were blue-eyed Aryans, being depicted as Afro-barbarian hordes. But lets just see what mister Miller himself says:
                    Show message history
                    If, Brownstein asked, images have that much power, as indicated by the so called cartoon jihad that sprung up as a result of a Danish cartoon, then what in Miller's opinion is the responsibility of the image makers.

                    Miller believes that the "cartoon jihad" is simply another ploy to raise the anger of an element that is dedicated to the downfall of civilization, and not a true and natural reaction to the art.

                    The jihadists are being written off, much like how the civilized world tried to convince itself that Hitler wasn't a real threat. Because the goal of world domination seems crazy to us, we convince ourselves they can't succeed. This is a response that, by Miller's estimation, is not serving western civilization well.

                    [...]

                    Comics can affect culture byallowing the world in, reflecting what we see. There is a reason,Miller says, that most of the great comics heroes were created byJewish people that lived through the early part of the century. To acertain extent, they were creating a golem, a hero they needed toexist. Their comics were a response to they times they lived, somethingthat comics have largely gotten away from and need to return if they'regoing to be a significant voice in modern culture.

                    [...]

                    The Spartans [in his book] are definitely [Miller's] Spartans, and while they might not be perfectly historically accurate, they sure look cool [as you evidently think, larco_e_clava].

                    Miller feels that the story of "300"-- where a small band ofSpartan warriors fend off a vast Persian army in a battle that probablysaved modern civilization-still has relevance today, reflecting thestruggle in the middle east and the fight of modern society againstcertain fundamentalist Islamic groups.

                    [http://www.comicbookresources.com/?page=article&id=6560]

                    Superheroes, Miller asserted, are "folk heroes. How can a folk herohave nothing to do with folk?" These days, he continued, we're "now ina clash of civilizations," and "superheroes should be front andcenter."

                    Brownstein asked Miller whether superheroes are too "preposterous"to be used in such a context. Miller answered with a rhetoricalquestion: "What made Achilles relevant?" In his view, Miller explained,superheroes are "gods," —not the ones we worship, but more likemythological gods "who live among us." Moreover, thanks to theirpopularity, superheroes afford Miller "the biggest megaphone I canfind."

                    [...]

                    Brownstein asked why superheroes have become so popular in film andother media in recent years. "My guess is that the audience is reactingto mythology in everything from Superman to Batman to Sin City," Millersaid, noting that each "plays on themes that are really ancient." [...]

                    [...]

                    And what about those people who don't want political themes in theircomics and "just want pure escapism," asked Brownstein. "There are anawful lot of people [in mainstream comics] who are giving them justthat," Miller replied. "But I am out to provoke." [...]

                    [...]

                    Asked to respond to the controversy over those Danish cartoons andthe angry, violent Muslim response? "The harsh truth is that we'refacing an enemy that keeps telling us what they are and what theywant," declared Miller, adding that people refuse to believe it. "Theyhave made it plain they want to exterminate the Jews, to bring down theWest, to achieve world dominion," Miller warned, likening Islamicextremists to the Nazis in the 1930s.

                    Miller described the rage over the cartoonists as "a trumped-upstunt," and said radical Muslim leaders are just "looking for somethingto yell about." He concluded, "It's just pathetic. If people can'tstand cartoons about religion, they've got a problem."

                    Miller said he regards the cartoonist as an "assassin" who firesarrows with rubber suckers on one end. Miller maintained that the dutyof a cartoonist is "to use all of our skills to address, to satirize,to amuse." By doing so, he continued, cartoonists are "getting back totheir roots." He pointed out that all of the major superheroes of the1940s were created by Jews during a time of anti-Semitic persecution:"Superman was a golem." And while he said that he "won't tell JeffSmith that Bone has got to [go on a political] crusade," Millernonetheless issued a call to his fellow comics pros: "Let's revive ourtradition and get back on the job."

                    [http://www.publishersweekly.com/article/CA6311604.html]

                    Being the 'conspiracy theorist' that I am, and having cited too many mainstream sources, I really most throw in one other crackpot like me: http://www.davidduke.com/general/the-movie-300-neocon-racial-propaganda-for-war_2381.html

                    If you're interested in more muscled warriors,  free, and some possibly oiled-up too (more likely wearing underwear over tight suits though), here is a select bibliography: http://www.geocities.com/Athens/Acropolis/5756/JWISHC.HTM
                  • larco_e_laclava
                    So what? There is a hundred times more articles that want 300 a movie promoting white supremacy, among other things. Granted, the corrosive Jewish influence
                    Message 9 of 13 , Oct 2 3:02 PM
                      So what? There is a hundred times more articles that want '300' a
                      movie promoting white supremacy, among other things.

                      Granted, the corrosive Jewish influence in the Western cultural sphere
                      has been pointed out more or less accurately in Evola's book on the
                      Jewish problem, and Mr. Miller, in saying that his duty is "to use all
                      of our skills to address, to satirize,to amuse," seems to make a point
                      to that effect. However, Evola also underlined that individual Jews
                      acting in the cultural sphere such as Miller are certainly not
                      scheming for subversion, for instance when he writes that "while
                      acknowledging the negative action that the Jewish element diffused in
                      the fabric of the various non-Jewish nations has often exerted, either
                      as a dinsintegrating and debasing 'intelligence'...we found extremely
                      problematic the anti-Semitic argument according to which this action
                      would be consonant with a pre-established plan, a real conspiracy of
                      the Jewish innate character," furthermore adding that "if, in relation
                      to the decay of civilisation in recent times, we have to speak of a
                      plan, we have already seen that it must be conceived as a plan in
                      which the Jewish elements is only an instrument of 'influences' whose
                      real centre lies in a sphere very different from that which is merely
                      conditioned by the 'souls' of the races" (p. 33). So perhaps next time
                      you can spare us all this raving non-sense about conspirational
                      scientists working in conjunction with cartoonists to pave the way for
                      a robotic Golem bent on exterminating the West. So-called
                      anti-Semitism has becomes pathetic and has lost all seriousness
                      because of preposterousness like that, and the people engaged in it do
                      not realise that they are just as much tools in the forces proper to
                      this period in the West as are Jews such as Miller.

                      Obviously, I have no problems with the Internet, nor with the people
                      who use it, but rather with selective research and when the frontiers
                      between speculation and fact, propaganda and research, ravings and
                      erudition blur, which is made all the worse when embittered people,
                      mystefiers or simply imbeciles are given access to the Internet.



                      --- In evola_as_he_is@yahoogroups.com, "Thulean Imperial Inquisitor"
                      <asbrekka@...> wrote:
                      >
                      > I do wonder, if we'd be (mere) internet-warriors, and you (presumably)
                      > not; what'd you be?
                      > Since you bring the discussion to this level, larco_e_clava, one could
                      > also wonder: if the internet had existed at Evola's time (was already
                      > outlined when he was a teen: see for example Tesla's autobiography), (do
                      > you think) would he have used it? Or would he only have used
                      > offline typewriters?
                      >
                      > I am not unfamilar with "300" as I read the graphic-novel years before
                      > anyone knew that a movie was coming. The Hollywoodesque Jew Frank Miller
                      > did not invent the old tale of the heroic 300 Spartans. He did however
                      > rewrite it; with messages of his (and his kin's) own: filled with modern
                      > 'Clash of Civilizations' neo-politics. I even read about that agenda in
                      > a local, very mainstream, newspaper on my island. I read about it too,
                      > on dozens of mainstream websites which have no easily observable
                      > relation to us 'conspiracy-theorists'. I read about it in an offline
                      > interview with an Iranian, who wasn't all-too-happy about his
                      > forfathers, which he said were blue-eyed Aryans, being depicted as
                      > Afro-barbarian hordes. But lets just see what mister Miller himself
                      > says:
                      > If, Brownstein asked, images have that much power, as indicated by the
                      > so called cartoon jihad that sprung up as a result of a Danish cartoon,
                      > then what in Miller's opinion is the responsibility of the image makers.
                      >
                      > Miller believes that the "cartoon jihad" is simply another ploy to raise
                      > the anger of an element that is dedicated to the downfall of
                      > civilization, and not a true and natural reaction to the art.
                      >
                      > The jihadists are being written off, much like how the civilized world
                      > tried to convince itself that Hitler wasn't a real threat. Because the
                      > goal of world domination seems crazy to us, we convince ourselves they
                      > can't succeed. This is a response that, by Miller's estimation, is not
                      > serving western civilization well.
                      >
                      > [...]
                      >
                      > Comics can affect culture byallowing the world in, reflecting what we
                      > see. There is a reason,Miller says, that most of the great comics heroes
                      > were created byJewish people that lived through the early part of the
                      > century. To acertain extent, they were creating a golem, a hero they
                      > needed toexist. Their comics were a response to they times they lived,
                      > somethingthat comics have largely gotten away from and need to return if
                      > they'regoing to be a significant voice in modern culture.
                      >
                      > [...]
                      >
                      >
                      > The Spartans [in his book] are definitely [Miller's] Spartans, and while
                      > they might not be perfectly historically accurate, they sure look cool
                      > [as you evidently think, larco_e_clava].
                      >
                      >
                      >
                      >
                      > Miller feels that the story of "300"-- where a small band ofSpartan
                      > warriors fend off a vast Persian army in a battle that probablysaved
                      > modern civilization-still has relevance today, reflecting thestruggle in
                      > the middle east and the fight of modern society againstcertain
                      > fundamentalist Islamic groups.
                      > [http://www.comicbookresources.com/?page=article&id=6560]
                      >
                      >
                      > Superheroes, Miller asserted, are "folk heroes. How can a folk herohave
                      > nothing to do with folk?" These days, he continued, we're "now ina clash
                      > of civilizations," and "superheroes should be front andcenter."
                      >
                      > Brownstein asked Miller whether superheroes are too "preposterous"to be
                      > used in such a context. Miller answered with a rhetoricalquestion: "What
                      > made Achilles relevant?" In his view, Miller explained,superheroes are
                      > "gods," �not the ones we worship, but more likemythological gods
                      > "who live among us." Moreover, thanks to theirpopularity, superheroes
                      > afford Miller "the biggest megaphone I canfind."
                      >
                      > [...]
                      >
                      > Brownstein asked why superheroes have become so popular in film andother
                      > media in recent years. "My guess is that the audience is reactingto
                      > mythology in everything from Superman to Batman to Sin City,"
                      > Millersaid, noting that each "plays on themes that are really ancient."
                      > [...]
                      >
                      > [...]
                      >
                      > And what about those people who don't want political themes in
                      > theircomics and "just want pure escapism," asked Brownstein. "There are
                      > anawful lot of people [in mainstream comics] who are giving them
                      > justthat," Miller replied. "But I am out to provoke." [...]
                      >
                      > [...]
                      >
                      >
                      > Asked to respond to the controversy over those Danish cartoons andthe
                      > angry, violent Muslim response? "The harsh truth is that we'refacing an
                      > enemy that keeps telling us what they are and what theywant," declared
                      > Miller, adding that people refuse to believe it. "Theyhave made it plain
                      > they want to exterminate the Jews, to bring down theWest, to achieve
                      > world dominion," Miller warned, likening Islamicextremists to the Nazis
                      > in the 1930s.
                      >
                      > Miller described the rage over the cartoonists as "a trumped-upstunt,"
                      > and said radical Muslim leaders are just "looking for somethingto yell
                      > about." He concluded, "It's just pathetic. If people can'tstand cartoons
                      > about religion, they've got a problem."
                      >
                      > Miller said he regards the cartoonist as an "assassin" who firesarrows
                      > with rubber suckers on one end. Miller maintained that the dutyof a
                      > cartoonist is "to use all of our skills to address, to satirize,to
                      > amuse." By doing so, he continued, cartoonists are "getting back totheir
                      > roots." He pointed out that all of the major superheroes of the1940s
                      > were created by Jews during a time of anti-Semitic persecution:"Superman
                      > was a golem." And while he said that he "won't tell JeffSmith that Bone
                      > has got to [go on a political] crusade," Millernonetheless issued a call
                      > to his fellow comics pros: "Let's revive ourtradition and get back on
                      > the job."
                      >
                      >
                      > [http://www.publishersweekly.com/article/CA6311604.html%5d
                      >
                      > Being the 'conspiracy theorist' that I am, and having cited too many
                      > mainstream sources, I really most throw in one other crackpot like me:
                      >
                      http://www.davidduke.com/general/the-movie-300-neocon-racial-propaganda-\
                      Show message history
                      > for-war_2381.html
                      >
                      > If you're interested in more muscled warriors, free, and some possibly
                      > oiled-up too (more likely wearing underwear over tight suits though),
                      > here is a select bibliography:
                      > http://www.geocities.com/Athens/Acropolis/5756/JWISHC.HTM
                      >
                    • larco_e_laclava
                      Add to that--and the ad hominem is perfectly justified--that one is not in the best position to speak so fiercely, as it would seem, against comics and mangas
                      Message 10 of 13 , Oct 2 3:06 PM
                        Add to that--and the ad hominem is perfectly justified--that one is
                        not in the best position to speak so fiercely, as it would seem,
                        against comics and mangas when one has these publicly listed in one's
                        "hobbies".

                        --- In evola_as_he_is@yahoogroups.com, "Thulean Imperial Inquisitor"
                        <asbrekka@...> wrote:
                        >
                        > I do wonder, if we'd be (mere) internet-warriors, and you (presumably)
                        > not; what'd you be?
                        > Since you bring the discussion to this level, larco_e_clava, one could
                        > also wonder: if the internet had existed at Evola's time (was already
                        > outlined when he was a teen: see for example Tesla's autobiography), (do
                        > you think) would he have used it? Or would he only have used
                        > offline typewriters?
                        >
                        > I am not unfamilar with "300" as I read the graphic-novel years before
                        > anyone knew that a movie was coming. The Hollywoodesque Jew Frank Miller
                        > did not invent the old tale of the heroic 300 Spartans. He did however
                        > rewrite it; with messages of his (and his kin's) own: filled with modern
                        > 'Clash of Civilizations' neo-politics. I even read about that agenda in
                        > a local, very mainstream, newspaper on my island. I read about it too,
                        > on dozens of mainstream websites which have no easily observable
                        > relation to us 'conspiracy-theorists'. I read about it in an offline
                        > interview with an Iranian, who wasn't all-too-happy about his
                        > forfathers, which he said were blue-eyed Aryans, being depicted as
                        > Afro-barbarian hordes. But lets just see what mister Miller himself
                        > says:
                        > If, Brownstein asked, images have that much power, as indicated by the
                        > so called cartoon jihad that sprung up as a result of a Danish cartoon,
                        > then what in Miller's opinion is the responsibility of the image makers.
                        >
                        > Miller believes that the "cartoon jihad" is simply another ploy to raise
                        > the anger of an element that is dedicated to the downfall of
                        > civilization, and not a true and natural reaction to the art.
                        >
                        > The jihadists are being written off, much like how the civilized world
                        > tried to convince itself that Hitler wasn't a real threat. Because the
                        > goal of world domination seems crazy to us, we convince ourselves they
                        > can't succeed. This is a response that, by Miller's estimation, is not
                        > serving western civilization well.
                        >
                        > [...]
                        >
                        > Comics can affect culture byallowing the world in, reflecting what we
                        > see. There is a reason,Miller says, that most of the great comics heroes
                        > were created byJewish people that lived through the early part of the
                        > century. To acertain extent, they were creating a golem, a hero they
                        > needed toexist. Their comics were a response to they times they lived,
                        > somethingthat comics have largely gotten away from and need to return if
                        > they'regoing to be a significant voice in modern culture.
                        >
                        > [...]
                        >
                        >
                        > The Spartans [in his book] are definitely [Miller's] Spartans, and while
                        > they might not be perfectly historically accurate, they sure look cool
                        > [as you evidently think, larco_e_clava].
                        >
                        >
                        >
                        >
                        > Miller feels that the story of "300"-- where a small band ofSpartan
                        > warriors fend off a vast Persian army in a battle that probablysaved
                        > modern civilization-still has relevance today, reflecting thestruggle in
                        > the middle east and the fight of modern society againstcertain
                        > fundamentalist Islamic groups.
                        > [http://www.comicbookresources.com/?page=article&id=6560]
                        >
                        >
                        > Superheroes, Miller asserted, are "folk heroes. How can a folk herohave
                        > nothing to do with folk?" These days, he continued, we're "now ina clash
                        > of civilizations," and "superheroes should be front andcenter."
                        >
                        > Brownstein asked Miller whether superheroes are too "preposterous"to be
                        > used in such a context. Miller answered with a rhetoricalquestion: "What
                        > made Achilles relevant?" In his view, Miller explained,superheroes are
                        > "gods," �not the ones we worship, but more likemythological gods
                        > "who live among us." Moreover, thanks to theirpopularity, superheroes
                        > afford Miller "the biggest megaphone I canfind."
                        >
                        > [...]
                        >
                        > Brownstein asked why superheroes have become so popular in film andother
                        > media in recent years. "My guess is that the audience is reactingto
                        > mythology in everything from Superman to Batman to Sin City,"
                        > Millersaid, noting that each "plays on themes that are really ancient."
                        > [...]
                        >
                        > [...]
                        >
                        > And what about those people who don't want political themes in
                        > theircomics and "just want pure escapism," asked Brownstein. "There are
                        > anawful lot of people [in mainstream comics] who are giving them
                        > justthat," Miller replied. "But I am out to provoke." [...]
                        >
                        > [...]
                        >
                        >
                        > Asked to respond to the controversy over those Danish cartoons andthe
                        > angry, violent Muslim response? "The harsh truth is that we'refacing an
                        > enemy that keeps telling us what they are and what theywant," declared
                        > Miller, adding that people refuse to believe it. "Theyhave made it plain
                        > they want to exterminate the Jews, to bring down theWest, to achieve
                        > world dominion," Miller warned, likening Islamicextremists to the Nazis
                        > in the 1930s.
                        >
                        > Miller described the rage over the cartoonists as "a trumped-upstunt,"
                        > and said radical Muslim leaders are just "looking for somethingto yell
                        > about." He concluded, "It's just pathetic. If people can'tstand cartoons
                        > about religion, they've got a problem."
                        >
                        > Miller said he regards the cartoonist as an "assassin" who firesarrows
                        > with rubber suckers on one end. Miller maintained that the dutyof a
                        > cartoonist is "to use all of our skills to address, to satirize,to
                        > amuse." By doing so, he continued, cartoonists are "getting back totheir
                        > roots." He pointed out that all of the major superheroes of the1940s
                        > were created by Jews during a time of anti-Semitic persecution:"Superman
                        > was a golem." And while he said that he "won't tell JeffSmith that Bone
                        > has got to [go on a political] crusade," Millernonetheless issued a call
                        > to his fellow comics pros: "Let's revive ourtradition and get back on
                        > the job."
                        >
                        >
                        > [http://www.publishersweekly.com/article/CA6311604.html%5d
                        >
                        > Being the 'conspiracy theorist' that I am, and having cited too many
                        > mainstream sources, I really most throw in one other crackpot like me:
                        >
                        http://www.davidduke.com/general/the-movie-300-neocon-racial-propaganda-\
                        Show message history
                        > for-war_2381.html
                        >
                        > If you're interested in more muscled warriors, free, and some possibly
                        > oiled-up too (more likely wearing underwear over tight suits though),
                        > here is a select bibliography:
                        > http://www.geocities.com/Athens/Acropolis/5756/JWISHC.HTM
                        >
                      • evola_as_he_is
                        Most, if not all, western Medias are Jewish-owned. Art (business) is Jewish-owned. The whole movie industry is Jewish-owned. Just as, in any ancient
                        Message 11 of 13 , Oct 4 12:13 PM
                          Most, if not all, western Medias are Jewish-owned. Art (business) is
                          Jewish-owned. The whole movie industry is Jewish-owned. Just as, in
                          any ancient civilisation, any work of art was influenced and even
                          shaped by the world-outlook of those who were in power, so it is quite
                          clear that any current cultural product is bound to reflect to a
                          greater or lesser extent the Jewish forma mentis in the broadest sense
                          of the term. A difference between arts in ancient civilisation and
                          arts in modern ones is that, in the latter, arts have become, in
                          various respects, a means of antitraditional propaganda, whereas, in
                          the former, they were a natural manifestation of the respective genius
                          of the civilisation in which they originated and flourished, rooted in
                          transcendental archetypes and, thus, far from any need for
                          originality. On the cultural plane too, a war is currently being
                          fought, by means of the most popular arts : music, television, movies,
                          cartoons, etc.

                          We are only stating the obvious. Coherence requires that Westerners
                          who are aware of the cultural aspect of the 'occult war' ask
                          themselves how art forms produced by individuals whose world-outlook
                          is radically opposed to the Western traditional one could possibly
                          express and, so to speak, manifest the latter. Save exceptions - very
                          few exceptions, which are basically so rare that we may feel like
                          dealing with one of them, from a non-cinematographic standpoint, in a
                          post -, history movies are either mere parodies or have more than one
                          parodic aspects. One thing is to deny purely and simply tradition (in
                          the Guenonian terminology, this is the main task of anti-initiation),
                          another thing is to parody it (still in his terminology, this is the
                          main goal of counter-initiation). There are various levels of parody,
                          from the consciously antitraditional one (see, for instance,
                          'Alexander') to the purely politically-motivated one, to which there
                          is no doubt that '300' belongs (Teheran's main newspaper was not wrong
                          in headlining, the day the movie was released in the United States :
                          "Hollywood has opened a new front in the war against Iran", but did
                          not go so far as to use a synonym for Hollywood : "Jewry"). That
                          Alexander speaks just like a 'neo-cons', just as, leaving aside the
                          incommensurable gulf which exists between their rigid and heavy
                          rhetoric and the elegance, the simplicity and the power of
                          alexandrines such as Racine's, Phedre, in the latter's well-known
                          tragedy, sounds and behaves like a lady of contemporary nobility.

                          No matter how caricatural it may seem at first sight, there appears to
                          be something subtle about a Hollywood movie like '300', something
                          unusually subtle which does not seem to have been perceived by those
                          who have come down strongly on it, including Iranians, who have
                          criticised it in various respects, but not in the name of their Aryan
                          origins, which, however, as de Gobineau noticed, were obliterated by
                          other racial elements a long time ago. '300' is often seen as an
                          exemplification of the thesis of the 'clash of civilisations', whose
                          postulate is that religion is one of the two main factors triggering
                          local and international conflicts in twenty-first century wars . Do
                          religious factors play a decisive part in the conflict between these
                          Spartans and these Persians ? They don't. The latter are not described
                          at all as religious fanatics or 'fundamentalists', but as warriors.
                          Besides, while Xerxes is depicted as a sort of monster in Miller's
                          comic book series and with Asian features in Herodotus, he has a
                          rather androgynous appearance in the movie.

                          Besides, Xerxes' army was far more cosmopolitan than that which is
                          showed in the movie and all one has to do to realise this is to read
                          a passage of the seventh book of Herodotus where Persian forces are
                          reviewed :

                          "Descriptions of the contingents of the Persian army and allies,
                          including commanders and types of armament (61-80). 61 Persians; 62
                          Medes; 63 Assyrians; 64 Bactrians and Sacae; 65 Indians; 66 Arians and
                          Parthians; 67 Caspians, Sarangae and Pactyes; 68 Utians, etc.; 69
                          Arabians and near-Egyptian Ethiopians; 70 Eastern or Libyan
                          Ethiopians; 71 Libyans; 72 Paphlagonians and Cappadocians; 73
                          Phrygians; 74 Lydians; 75 Thracians; 76 Pisidians? ; 77 Cabalians and
                          Milians; 78 Moschians, etc.; 79 Marians, Colchians, etc.; 80 Red Sea
                          islanders. Command levels by multiples of ten (81). The high command
                          is described (82). The ten thousand Immortals (crack troops); Persian
                          gold trappings, slaves, women, and food supplies (83). Cavalry (84).
                          The Sagartian cavalry and their lasso use (85). Other cavalry
                          contingents; cavalry, chariots, and camels (86). Total cavalry said to
                          number 80,000 (87). Cavalry commanders; the accident of Pharnuches
                          (88). Description of ships in the Persian navy, and armaments of the
                          marines (89-98). Total triremes (warships) said to number 12,007. 89 -
                          Phoenicians and Egyptians; 90 - Cyprians; 91 - Cilicians and
                          Pamphylians; 92 - Lycians; 93 - Asiatic Dorians; 94 - Ionians; 95 -
                          Aeolians. The superiority of the Phoenician navy; Hdt.'s decision not
                          to name the native commanders (96). The admirals and other naval
                          champions. 3,000 smaller ships (98). Queen Artemisia of Halicarnassus;
                          her wisdom and courage (99). Xerxes reviews the troops on land and sea
                          (100)."

                          Xerxes' army is also described as an army of slaves : "They [the
                          barbarians] have abundance of gold, of silver, and of brass ; they
                          enjoy a profusion of every article of dress, have plenty of cattle,
                          and a prodigious number of slaves" ('Herodotus', translated from the
                          Greek by W. Belloe, London, 1812). The battle of Thermopylae has been
                          held both by ancient and modern authors as an example of the
                          superiority of an army of native freemen defending their homeland to
                          secure it from tyranny. The U.S. army, which the spectator is supposed
                          to be led to see behind-the-scenes, is as cosmopolitan, as ineffective
                          and relatively as numerous as Xerxes' (according to Herodotus, Xerxes
                          amassed an army and a fleet numbering over 5,000,000 men, a number
                          ruled out as "exaggerated" by many modern historians) was. In this
                          context, the freedom exalted here is the shapeless and destructive
                          democratic one, that of the slave in the Aristotelian sense. A
                          dialogue is typical of the feelings which modern democratic
                          governments of countries at war strive to instill in their population
                          : when, after his son was killed by a Persian, Captain tells Leonidas
                          : "I fill my heart with hate", the latter replies, "Good".

                          In '300', the Delphic oracle, surrounded with horribly disfigured
                          Ephors, foretells doom if Leonidas sallies forth into combat during
                          the festival of Carneia. While visiting the oracle, Leonidas is warned
                          : "Trust the gods. Your blasphemies have cost us enough already." The
                          king dismisses the Ephors as "diseased old mystics" and, as such,
                          could be considered as a blasphemer, as an outlaw, hadn't the Ephors
                          been depicted as secretly taking bribes from Xerxes to deter the
                          Spartans from going to war. In dismissing corrupt and lascivious
                          representatives of the law, Leonidas thus appears as a righteous and
                          even pious man : he tells his troops to "pray to the gods" and a
                          storm which sinks a great number of Persian ships is attributed to
                          Zeus' wrath. Given recent history, it is quite easy to see how this
                          scenario could be applied to the United States warmongering against
                          various Asian countries.

                          Herodotus' account is quite different. Sparta, as was customary before
                          setting out to war, did consult the oracle, which made the following
                          prophecy :

                          O ye men who dwell in the streets of broad Lacedaemon!
                          Either your glorious town shall be sacked by the children of Perseus,
                          Or, in exchange, must all through the whole Laconian country
                          Mourn for the loss of a king, descendant of great Heracles.
                          He cannot be withstood by the courage of bulls nor of lions,
                          Strive as they may; he is mighty as Jove;
                          there is nought that shall stay him,
                          Till he have got for his prey your king, or your glorious city.

                          Thus, the Delphic oracle does not counsel Leonidas against war. In
                          fact, she does not even speak to him. She speaks to all Spartans,
                          providing them with an alternative : either their city will be
                          destroyed by the Persians or it can be saved by the sacrifice of Leonidas.

                          "[Leonidas] had come to Thermopylae, accompanied by the 300 men which
                          the law assigned him, whom he had himself chosen from among the
                          citizens, and who were all of them fathers with sons living. The force
                          with Leonidas was sent forward by the Spartans in advance of their
                          main body, that the sight of them might encourage the allies to fight,
                          and hinder them from going over to the Medes [Persians]…They intended
                          presently, when they had celebrated the Carneian festival, which was
                          what now kept them at home, to leave a garrison in Sparta, and hasten
                          in full force to join the army. The rest of the allies also intended
                          to act similarly; for it happened that the Olympic festival fell
                          exactly at this same period. None of them looked to see the contest at
                          Thermopylae decided so speedily; wherefore they were content to send
                          forward a mere advanced guard…"

                          So, truly, he had the law on his side, and the decision to hold back
                          the army was not motivated in any way by a pacifist tendency, as
                          suggested in '300'.

                          The author of 'The Host and the Parasite', despite the democratic
                          prejudices which spurred him to call Sparta a "police-state", rightly
                          notes that "the interconnectedness among the Greek city-states is
                          almost entirely absent. Although Miller does show 1,000 Arcadians
                          joining Leonidas's forces, this is depicted as an incidental offer,
                          rather than a deliberate attempt by Leonidas to recruit allies. In
                          all, 4,000–5,000 Greeks from Corinth, Philius, Mycenae, Thespis,
                          Thebes, Phocis and other cities came to Thermopylae led by their own
                          captains", and that, both in '300' and in Herodotus, Leonidas is
                          showed as having "deliberately sacrificed Spartan, Theban and Thespian
                          lives in futile battle" "rather than retreat to a more defensible
                          position like the Isthmus of Corinth." Whether the Greek stand at
                          Thermopylae was wasteful or heroic, it did give the Athenians time to
                          flee the city for the safety of Tiryns and the Island of Salamis
                          before Xerxes's army sacked it. For that reason, the Spartans and
                          other Greeks at Thermopylae are justifiably revered as defenders of
                          Greek independence."

                          In conclusion, let us now make a general statement.

                          Any product marketed by the forces of antitraditional subversion is
                          caracterised by the mix of a few factual truths with falsehoods and
                          utter lies, the former being used as lures to lead one astray and to
                          persuade one that the latter are actually truths.




                          --- In evola_as_he_is@yahoogroups.com, "larco_e_laclava"
                          <larcoelaclava@...> wrote:
                          Show message history
                          >
                          > He's also the creator of the fictional retelling of the Battle of
                          > Thermopylae, 300. Do you also find any thing objectionable in this
                          > comic/movie? I would doubt it, given that it contains all the right
                          > themes to excite an Evolian imagination: oiled-up and muscled
                          > Spartans warriors, scorn for physical deformity and inferiority, free,
                          > superior and warrior-ruled West versus enslaved, sensual and priestly
                          > East, and just the right dialogue to suggest that testosteronic
                          > elation one gets only by reading the titles of Heathen Imperialism,
                          > Men Among the Ruin or even the Order of the Iron Wreath ... quite the
                          > Jew, Miller! -- who, by the way, I hope is not reading this topic, or
                          > he'd be having a hell of a laugh, and perhaps feel inspired to author
                          > a comic about a cute group of Internet warriors...
                          >
                          >
                          >
                          > --- In evola_as_he_is@yahoogroups.com, "vandermok" <vandermok@> wrote:
                          > >
                          > > By the way, Frank Miller is also the director of 'Sin City', a
                          > blood's bath recyclings all imaginary dregs of Manga and comic books
                          > with a sure impact on the teen minds.
                          > > About Walt Disney, he was not only a Mason, an alcoholic, afflicted
                          > by the syndrome of Lolita, but was also an informator of the FBI all
                          > through 25 years. All things hardly coming out, like the brothels and
                          > the syphilis of Einstein.
                          > >
                          > > (Sources: 'Walt Disney, Hollywood's Dark Prince' by M. Eliot;
                          > 'Private Lives of A. Einstein' by R. Highfield and R. Carter. Also
                          > quoted by J.G. Ballard in 'A User's Guide to the Millenium').
                          > > --
                          > >
                          > > ----- Original Messages from:
                          > >
                          > > evola_as_he_is
                          > >
                          > > Thulean Imperial Inquisitor
                          > >
                          > > larco_e_laclava
                          > >
                          >
                        • timotheus.lutz
                          I am curious about this exception you mention. ... Coherence requires that Westerners who are aware of the cultural aspect of the occult war ask themselves
                          Message 12 of 13 , Oct 2 5:51 PM
                            I am curious about this exception you mention.

                            ---In evola_as_he_is@yahoogroups.com, <evola_as_he_is@...> wrote :

                            Coherence requires that Westerners who are aware of the cultural aspect of the 'occult war' ask themselves how art forms produced by individuals whose world-outlook is radically opposed to the Western traditional one could possibly express and, so to speak, manifest the latter. Save exceptions - very few exceptions, which are basically so rare that we may feel like dealing with one of them, from a non-cinematographic standpoint, in a post -, history movies are either mere parodies or have more than one parodic aspects.

                            Show message history

                          • evola_as_he_is
                            Some of these exceptions are Triumph des Willens and Die Ewige Jude , and, on a totally different level, Twin Peaks (see Mulholland Drive
                            Message 13 of 13 , Oct 4 7:10 AM
                              Some of these exceptions are 'Triumph des Willens' and 'Die Ewige Jude", and, on a totally different level, 'Twin Peaks' (see Mulholland Drive

                               

                              which was written long after we told Fulvio 'Vandermok' how Lynch's work reflects precisely the psyche of the modern White man) and, quite obviously, 'The Prisoner', one of the common denominators of both series being their all but fanciful treatment of the esoteric mechanism and illusionistic pratice of secret services in the broadest sense.
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