Prometheus: In the footsteps of a god
Here we continue with the series that began with Germany: Land that launched the last Crusade and Pathology of Jewish Destruction. This is the first pilgrimage to the Eastern Realm. Torn from its racial brethren here an Aryan Nationalist provides recent impressions and observations of Austria.
SLUMBER and Sleep, two brethren ordain’d by the gods to their service,
Were by Prometheus implored, comfort to give to his race;
But though so light to the gods, too heavy for man was their burden,
We in their slumber find sleep, we in their sleep meet with death.
While greatly over simplified Germany was late to unify politically and was thus vulnerable to its ambitious imperialist neighbours. A land cannot advance without a strong leader and petty interests, no doubt compounded by Jewish activity, consumed the German monarchy or authorities of the time rendering it complacent in terms of its duties to its people. This led to the resurgence of a lost Aryan (European) concept that on a spiritual level invokes a bond between Lord, Leader and Land forming a cultural cohesion among the native German people and in a wider context the European folk. In this lies the origin of Volkish thought deriving from the word Volk it translates as ‘People’ or more correctly folk, tribe or Nation. However, its meaning invokes much more than this. Rather it expresses a union with a ‘transcendental essence’. This may be called ‘nature’, ‘cosmos’ or ‘mythos’, linking soul with its natural surroundings or unifying the people with their ancestral land. An Aryan ‘rootedness’ sought in spiritual terms ‘…through an inward correspondence between the individual, the native soil, the Volk, and the universe.’ For the Volkish theorist the soul of a Volk is directly linked to the nature of its native landscape. Consequently, the German Volk is viewed as ‘deep, mysterious, profound’ due to their native environment of ‘dark, mist-shrouded forests’.
Initially this thought permeated slowly through German society through personal relationships and small groups. However, the ideas began to rapidly gain ground through the work of Friedrich Ludwig Jahn thought by some to be National Socialism’s spiritual founder. For a greater part of his life Jahn was a thorn in the establishments’ side as he sought to propagate Germanic culture and unity through its youth. Comprehending the humiliation of defeat and occupation Jahn conceived of restoring the German spirit by adopting a Hellenistic approach with the development of their physical and moral powers through the practice of gymnastics. Young gymnasts were taught to regard themselves as members of a kind of guild for the emancipation of their fatherland. This grew in no small part when Jahn took on a role in the formation of the student patriotic fraternities at the beginning of the nineteenth century. This worked particularly well, reaching a high point in 1817 when the fraternity’s assembled at Wartburg Castle to campaign against foreign literature. Ironically after, conflict, arrest and exile for a greater part of his life in 1840 Jahn received the Iron Cross from the Prussian Government. For many German thinkers the deep desire for unity had reached an almost messianic high. So when Prussia and Bavaria finally achieved unity at Versailles in 1871 this ‘New Reich’ was greeted with a euphoria usually reserved for religious experience not political activity.
At this point Austria had been busy pursuing its own destiny and had been since 1867 consequently Bismarck left well alone. In both cases the concept of unification is meant to strengthen people not just in terms of Germanic lands but of European lands as a whole. Hence, for those Germans expecting an idealistic perfection it was to prove incredibly disheartening. The failure of this ‘new Reich’ to provide a good society for its own people lay not in the mediocrity of its problems but that it never dealt with the alien in its midst. ‘The “unproductive” sphere of banking, finance and commerce…’ was occupied predominantly by Jews who therefore had manifest control over the economy. Consequently it will come as little surprise that when the ‘great depression’ hit in 1873 while German society suffered the Jewish community remained comfortable. This is a common Jewish strategy to manoeuvre its way into positions of influence that corrupt the host and favour the Jew. Thus in 1908 it was Alois Lexa von Aehrenthal the grandson of a Jewish grain merchant that secretly engineered an agreement between Austria and Russia to annex Bosnia instigating the Bosnian crisis that destabilised that whole area of Europe, thus fracturing Europe’s exposed and delicate treaty system leading directly to WWI. Post WWI the demanded dissolution of the Austro-Hungarian Empire revealed German communities left stranded beyond the new arbitrary Austrian borders. Truly confusing for the rational mind but one that lends itself wholly to the alien Jewish ideology that had recently seized Russia-Communism. Indeed just to reiterate fresh from their victory over Russia the scourge that is Jewish Communism attempted a coup in the turmoil that was post WWI Germany. Amongst the Jewish Bolsheviks rose the prominent Marxist leader Rosa Luxemburg. To compound this fact Communist party leaders and Marxist ‘democracy’ erected a Weimar Republic based on Jewish choice. This only mirrored the political situation in the Eastern Realm and well over a decade of Jewish decadence followed in the face of ethnic German decay and destruction. However, a foundation to restore Nordic heritage, supplied through National Socialism, was spreading throughout ethnic Germany and lead by a man born in that Eastern Realm. Yet it was not until March 12th 1938 that true unity was achieved. Recognising that Anschluss (connection) or restoration of Austria to Germany was the signal of a European awakening, the Jewish enemy set in motion a Second World War resulting in a Jewish victory over Europeans. It is critical to note that the methods employed post WWII echoed those of WWI. Again the Germanic people are arbitrarily divided. Ethnic displacement is a key tactic of Jewish warfare and other specific examples are racial manipulation in the ‘soviet’ construct and importation of non-Europeans into Europe. This is augmented by constant propaganda that subverts reality. Initially the German people were made scapegoats for Jewish crimes this has only escalated during the last 70 years to ‘White guilt’.
Today petty parochial factionalism is encouraged and the notion of ‘foreign’ occupation of Austria by Germany is heavily intimated in museums. These notions are quite obviously kept alive by Zio-Marxism. It is a typical divisive tactic maintaining old wounds or building fresh ones, and what better way to prevent Europeans from unifying against the real enemy than encouraging inter-racial strife.
Arrived in Vienna this morning and barely out of airport security sighted a direct bus link to the city centre. So already it affirms its Germanic nature with a precise public transport system. Just as in Nuremburg a helpful gentleman carried my case up the steps from the platform and later getting a U-bahn to the hotel a woman indicated a lift as she saw me attempt to struggle down the steps onto the platform.
Was checked into the hotel by midday so was able to spend the afternoon exploring Vienna and she is beautiful. It actually has a museum quarter! Just think of that all your culture in walking distance. Granted while one is surrounded by European splendour post World War its ideals have been inverted by Marxists and a perfect example of this is Marxist posters right outside Karls Kirche, the oldest baroque church. Of course this is part of Vienna’s university campus and the Marxist would not miss an opportunity to indoctrinate hapless student victims. The posters themselves (conveniently placed on waste receptacles-I say ‘convenient’ since it makes it far easier to place them were they actually belong) are typically Communist displaying the universally destructive clenched fist and promote Marx, the first to insight holocaust specifically against Europeans, as a somewhat cartoonish ‘kindly old man’. It is particularly ironic that a Catholic Cathedral once the bastion of European preservation now has such lack of moral fortitude that it allows such perversion to take place right outside its steps. Indeed according to its own information consequences befall those who destroy a Catholic Church of the Hapsburg Empire, and communism most certainly destroys the spiritual welfare of any Church or Empire. Nevertheless, other than this small cluster Vienna does not appear as afflicted with the Marxist disease as other of her German brethren. Though a variety of stickers are plastered on lampposts and the like they do not appear virulently Marxist; the content appears more along the lines of skateboard jargon and student chatter which would be in keeping with a dumbed down university campus. In fact only one that I could decipher had a whiff of Marxism and even then the lack of a clenched fist suggests a small local enclave rather than intense international saturation.
Located a Nordsee, a very good Germanic restaurant chain specialising in fish, will be eating there. The stein, a typical Germanic cultural icon is also plain to see. Something I thought I would not encounter until Salzburg is the intense Mozart memorabilia. However, although the great man was born in Salzburg he did work in Vienna. On the subject of petty ‘nationalism’ I was told by an Austrian native that during Mozart’s time Salzburg was ‘German’ territory giving rise to rivalry over Mozart’s Nationality. It is clear that this so called ‘rivalry’ is new and seeded by the enemy. Indeed all over Vienna the Austrian flag flies above tourist information plaques in flaccid ‘patriotic’ stance and the only one who profits from these arbitrary and divisive partitions is the Jew.
I am staying at the Hotel Mozart and as expected with a modern themed hotel it has depictions of the great composer etched into the glass of the ceiling and, in keeping with modern bad taste, printed on the vestibule carpet. One would at least expect that after walking on Mozart’s countenance that the composer’s music would at least be piped into the foyer and dining room but alas as similarly distasteful as the carpet it is only bland disposable pop music. Of course this may only be the staff playing the radio in the kitchen!
Went shopping after breakfast and found a supermarket that looked like Aldi so I assumed that I would find a bottle of Schnapps. I approached the liquor section and searched the entire row, oddly locating a bottle of cheap whiskey, before identifying anything approaching a bottle of Schnapps. Indeed at first sight my heart fell as I saw a white liquid that I initially and horrifyingly believed to be that revolting excuse for alcohol called ‘peach schnapps’. I took hold of myself, realising I was in Vienna, and read the title. Indeed the Great German spirit had not let me down! It was a corn based Schnapps a regional specialty. Alcohol nightmare averted onto the Naturhistorisches Museum Wien.
With picturesque ceilings, marble stairways, door frames and carved wooden doors the building itself is a historical wonder and testament to the creativity of our European folk. Meanwhile, the first 4 rooms or salons are dedicated to categorising earth’s minerals and rocks; and there are thousands. All carefully labelled and placed in ‘Victorian style’ wooden and glass display cases. I say ‘rock’ but behind the glass are gold nuggets, diamond, and garnet, in its raw state with a ring of the appropriate stone placed in front. While it is not stated it is clear the race to whom this ingenuity and spirit of intellectual endeavour belongs.
On looking at the minerals and noting were they come from; indeed not too far from where one is sitting whether that is Britain, Germany or as far away as China; it is incredibly interesting to note just how ‘extra-terrestrial’ each can look. There are strange colours from deep vivid green, electric blue to soft pink and ampule like clear crystal stalactites that grow inside rocks. Yet all are very earth bound. Could it be that Hollywood has had a hand in ‘alienating’ this perfectly innocent terrain. Keeping with the theme of Hollywood there was just one room allocated to meteorites. Granted as stated in the museum information they are of interest as apparently their structure provides insight into the nature of our universe. However, that 4 rooms hold catalogued minerals and rocks from earth compared to the 1 on extra-terrestrial meteorites should at least make the rational man think that the former has more priority than the later. Nevertheless, giving rise to the notion that meteorology has much more status than it actually has, with the number of blockbusters containing impact threats from space Jewish Hollywood would have you believe that an extinction level meteorite is expected any second. Indeed the concept of limited time and a ‘live for today’ mentality ties in with the disposable, hedonistic lifestyle that Jewish Marxism proposes.
A significant amount of the museum is occupied with European specimens and artifacts similarly encased-from the array of fossils to the carefully preserved vertebrates. The need to know almost spills from these cases yet in the intervening years specifically the war years the knowledge gained by dedicated European folk I feel has been ripped from us. There are quite blatant nods to Marxism like the promotion of the ‘out of Africa’ theory and the notion of artificial ‘climate change’, [Incidentally artificial climate change is the excuse for non-European importation into Europe. Forecasting foreign land devastation (see map) due to Western industrialism is a classic Jewish Marxist guilt trip.] but concealed beneath the surface a far more lethal price is being paid.
After 2 previous trips to New York Jewish plagiarist and fraud Albert Einstein emigrated to America in 1933 on a wave of Jewish media hype. The constant propaganda led him and many of his Jewish emigres to be hailed as the new scientific minds. Consequently on examination following the end of the war, allied scientists were shocked to discover just how much more advanced German science was in comparison to their own. Einstein and his tribe had unmistakably been holding the sciences back. Since then the Jew has been highly selective but largely subjects science to the same principle as society and turns it upside down. Consequently, while the public are fed pseudo-science as fact a high volume of European scientific fact pursued in the National Socialist era is labelled ‘pseudo-science’.
It is this type of absurdity that hangs about this whole place; as if it does not quite know what to do with itself. Of course the specimens and artefacts were collected and categorised to educated and placed in a museum to continue that service. Yet overtly or covertly politically correctness (Cultural Marxism) intervenes to subvert that process. This was never more apparent when reading a description dedicated to the continued work of the museum. While it detailed the museum’s opening and early work of particular interest was the use of language for the National Socialist Era. Initially using their proper title of National Socialists and acknowledging that they were educating the Nation it lapses into the derogative term ‘Nazi‘ and claim that “racism played a central role”. Ironically the Jew is the ultimate ‘hater’ when it comes to discrimination against those who are not Jewish. This is revealed in his use of political correctness (Cultural Marxism). It then goes on to relate that the internees of Auschwitz Concentration camp were working preparing bird and mammal specimens for the museum clearly indicating that it was a labour camp for political subversives. The tone even turns to resentment when it described how 40 museum staff lost their jobs during ‘denazification’ (museum’s commas). I would suggest that this odd juxtaposition of pride and political correctness (Cultural Marxism) is a position purposely cultivated since WWII. Though Austria was occupied and treated just as Germany the Jew also seeks disunity among kinsfolk. Therefore, ripping Austria from Germany and implanting petty rivalries implies that to some extent the Austrian must be allowed some patriotism if solely for flag waving and football. The risk is of course that since the noose is not so tight around the Austrians neck it gives at least the more intelligent a chance to think and resent the attitude expressed by anti-Fascists towards their past. This gives rise to the overt political correctness (Cultural Marxism) required to appease the current reigning ideology but also can covertly ‘leak’ reasoned and truthful assertions obviously the real beliefs of the writer.
Visited the Kunst Historisches Museum Wien today. This consisted of an art gallery, a coin collection, Greek and Egyptian collections and the Kunskammer, an eclectic collection of artefacts amassed by the Emperor Maximilian I. While many museums under this Jewish Zio-Marxist regime enforce the divisive strategy of ‘class consciousness’ by inferring wealth and status from ownership the artefacts that separates from the ‘commoners’. However, as stated there is a huge variety of object ranging from glass ware to intricately carved art. Some it is clear were produced for a specific occasion and their grandeur or delicacy exposes the meaning and passion of the event rather than the wealth or money spent. Indeed the notion that the European might just want to surround himself with such objects because they are beautiful is obviously a concept totally alien to the Jewish Zio-Marxist. To him gentile man specifically the European is a commodity retained in drab featureless boxes. The European however, sculpted grand works of art that elevated the spirit of the people who lived and worked in them. It is the ideals of the rulers that lead a nation consequently we the people should be careful who those elite are. Traditional Europe was broadly moral, honourable and appreciative of beauty. Today the European is taught to ‘tolerate’ sexual perversion, miscegenation and its own genocide.
There was also a rather thought provoking incident while walking through the Art Gallery. Off the main salons there was a number of ‘chambers’ containing further collections of art work and it was in one of these smaller rooms that I encountered a man reproducing one of the works on show. I say ‘reproducing’ for that is exactly what he was doing. While I do not deny his skill as a painter there is no archetypal reverence for that which he manifests. Passion exists in one’s own original creation for it calls upon internal spirit. A facsimile is disconnected from the original artist and neither does the copyist have passion for this is not his creation. Therefore, what is produced, while on the surface appearing like the original, is disposable trash for it has no meaning apart from its material composition. Gaining profit from products without value is the goal of Jewish Marxism and this fact is substantiated by the rubbish scrounged from the local dump and laughingly called ‘art’ by Zio-Marxists. Incidentally, though usually I make every attempt to avoid ‘modern art’ or Zio-Marxist rubbish whilst in Salzburg information directed me towards a high vantage point offering magnificent views of the city. Since this also gave free access to the museum I decided to go. There is little more I can say about rubbish than I have already said although in the stairwell there was some sort of signpost painted yellow the purpose of which I do not know. Returning to the cloakroom to fetch my things I noticed the real rationale behind this perplexity. In gaudy blue and red lights upon the foyer wall was written the couplet
“What red and blue colours mean to you/were do you think red begins and ends/were blue begins and ends/and when do they blend into one”
Yes it is nothing profound the 2 colours blend into one when they become purple-simple. We lose 2 colours for 1 and in terms of race mixing we lose all for one that one being the Jew.
Have I ever mentioned toilets in Germany? They are worth a mention since they are rather peculiar and this Viennese one is no exception. Indeed rather than waste going straight down it lands on a porcelain platform then slides down once flushed. It is unsightly to say the least and I cannot believe it is a German design. It would however, be a suitably corrosive role for a Jew.
Visited the Zentralfriedhof (also called Dr. Karl Lueger Memorial Church) today. Dr Karl Lueger served as mayor of Vienna until his early death in 1910 and planned to make Vienna one of the most beautiful of garden cities. Der schöne Karl (“handsome Karl”) achieved tremendous popularity among Austria’s citizens and a significant part of the infrastructure and organisations that are responsible for the high standard of living in the contemporary city were created during his terms of office. After Lueger’s death hundreds of thousands of Austrians, including Adolf Hitler, participated in his funeral.
There is a museum but it being a Sunday it was closed. Nevertheless, the sun was shining and although it may seem somewhat inappropriate as I was in a cemetery my surroundings were lovely. I kept my photography to a minimum out of respect though on my walk I did encounter the graves of Beethoven and Schubert.
Later on returning to Vienna’s stadt Zentrum I was delighted to discover that the Vienna Opera House had linked a big screen outside to their current performance-Verdi I believe. I stopped to watch but after less than 5 minutes was distraught to see a mongoloid upon the screen. This racial disturbance totally destroyed the spirit and ambiance of the opera. Yet this is the intention of the Jewish Marxist for once the spirit is lost there is disconnect from race, culture and identity.
On to Linz! There are 2 train companies in Vienna the main one OBB being about 12€ more expensive than Westbahnhof. Naturally I chose Westbahnhof. Westbahnhof u-bahn was easy enough to find merely a u-bahn connection from the line I was on. However, when I got there I did not know were Westbahnhof Hauptbahnhof was, nor was there any information so I stood around obviously looking lost. After a little while a nice gentleman took me over to the station and directed me to the platform.
Arrived in Linz Hauptbahnhof and was able to locate information and a direct tram rout to my hotel. It is situated right by the university and is the final stop on the tram rout. I arrived at the stop without a hitch although initially the tram ride seems long. However, once there I managed to get sent the long way around and took about an hour trying to find the hotel! Turns out I was only 5 minutes away at the University stop. Never mind looks like all the bother may have been worth it. The rooms are a good size and look a bit like modern student accommodation, also there is a swimming pool not in the room in the hotel. Now that cannot be bad.
It seems that similar to Vienna all museums are located within walking distance however, the primary focus at least of those popularised in the literature is modern art and technology. This will be a deliberate politically correct apologist position because Herr Wolf chose Linz as his city of culture. Walking around the Altstadt I also encountered anti-Fascist graffiti and an anarchist symbol.
Went to the Schlossmuseum Linz today. Described as having exhibitions on the history of nature, culture, art and technology in Upper Austria this museum at least promised something more than what passes for ‘art’ according to political correctness (Cultural Marxism); and I do not deny that it was interesting. I spent the whole day there. As the name suggests I expected the museum to be housed in a magnificent German castle given that the approach in the Altstadt is typically German in style. Indeed the exceedingly steep cobbled street leading to stone steps reminded me of Nuremberg. At the top of the steps the view of Linz is amazing and one can understand why Herr Wolf believed it was worthy to rival Vienna. Up another flight of stairs and one is at the gate of the Schlossmuseum. All is well until one emerges from the cobbled arched entrance way and is assaulted by a glass monstrosity that has been attached to the side of the original building. I continue along the path from which a party of students have just come hoping to find an appropriately castle like entrance. To coin a phrase I seem to be lead ‘up the garden path’ and although the garden is lovey I begin to wonder where I am going until finally I see a sign beside some rather insignificant metal steps. Honestly it looks like the back entrance to a gin joint. I walk up the stairs and end up on a metal terrace that serves as the cafe and new south wing entrance. It is not what one expects for a Germanic Castle.
Now while there are plenty of exhibits some better than others and I openly admit I was there a good part of the day but my point is if one has a castle to display those artifacts in one would imagine that one would use that to your advantage rather than tile and whitewash a good proportion of it so it looks like a generic public wash room. The ‘excuse’ is that it is so the emphasis is not taken off the artefacts but I have yet to see the museums of Vienna get a similar paint job. The only reason for doing this is to ethnically cleanse the personality from the building in the same way that there is a propensity for glass and metal that universalises removing any identity from a city. Clearly the tables have been turned since 1945. No longer is it Vienna that receives the special attentiveness of the Jew but Linz Herr Wolf’s chosen city. Now as ‘punishment’ Jewish Zio-Marxism aims to corrupt and pervert this city with its disposable modern filth. Even now the only part of the castle that still looks remotely like a castle is dedicated to those that wish our demise. Along the typical Jewish narrative line we are given the old spiel of how the Jewish community has tried so hard to ‘integrate’. While the European concept of ‘integrate’ is to unite, participate or join the Jewish notion is seize, manipulate and subvert. Indeed it is here that the Jewish monster who gassed Europeans at Ypres became the fiction of the gas chambers while mass murdered Europeans of Russia and Ukraine would become the Jewish Holocaust. Yet always the ‘poor’ wealthy Jewish debt collector has been persecuted particularly when Jewish Bolsheviks committed the most horrific genocides against Europeans (Holodomor) concealed behind the holocaust construct. Thus it is fitting that the recovery of this room after decades buried now becomes a monument to those who never tire telling how their lives are ‘buried’.
It is also interesting to note that while beautiful particularly when viewed from afar on the ground it appears to be losing its native culture. I see MacDonald’s, a plethora of pizza places, Chinese noodle bars but the only restaurant that is remotely Germanic is Nordsee. There are a good few coffee shops that offer snacks but I did expect to eat tradition Austrian meals not resort to a rather nice Greek restaurant. Nevertheless, it does tie in with the whole concept of ripping the heart out of Linz.
Happy Birthday Herr Wolf. Visiting Braunau am Inn today only fitting. On my way to the tram I notice a couple of stickers bearing the legend ‘Keep Calm…’ This is the same tacky Marxist corruption of allied war propaganda seen regularly at home. However, I am surprised to see allied war propaganda in any form in a Germanic land. Then again it is another aspect of internationalism to lose meaning and identity.
Darkly ironic given what day it is but page one of a free newspaper Osterreich left on the tram describes another False Flag by Jewish terrorists ISIS. It is particularly grating written in the language of those that launched the last crusade.
From Linz Hauptbahnhof a long and rather slow train ride but through some of the most amazingly beautiful landscape takes me to Braunau am Inn. What did surprise me is that the train that had been standing in the station took off late and consequently was 5 minutes late to each station. Could this be a further attempt by the Jews to distance Austria from Germany whose public transport is epitome of good time keeping.
Stepping off the train at Braunau was another experience. Although nothing like the hike towns one sees in Hollywood it did look like the middle of nowhere. Indeed given that my German is so bad I could not even decipher if and when a train would come to return me to Linz. However, undaunted I struggled on. Leaving the station I located a sign marked ‘zentrum’ and thinking that it looked hopeful I began to follow it.
Approaching the town centre I realise Braunau is much bigger than I thought though it is very quiet. It is defiantly a historical town with typical Austrian architecture but I get the sense that it has been let go to seed somewhat. At first I regarded this as a reflection of Marxist negativity towards its status as a site of National Socialist pilgrimage. Perhaps this is so but it does have a tourist information centre and a number of glossy brochures. This should tell one a lot about the Jewish mind. Similar to the Luitpold Arena at Nuremberg the Jew knows it is a National Socialist icon and therefore likely to extol profit so while he does not want to be seen spending money neither does he want his gold mine to crumble and lose his profitable crowds.
On my return from Braunau I did manage to find a pub whose menu promised good Austrian fair. It was called the Gosserkeller and externally it looked like an ordinary Austrian pub. The entrance through the arch and to the side made of solid wood could easily have been mistaken for a speakeasy though that could have just been in keeping with the building given that once inside I saw low but arched ceilings similar to those at the Schlossmuseum. To all intents and purposes it was Austrian with Austrian food, beer and even a rack on the table with pretzels hanging from it. However, when I scrutinised the decoration further on the walls were various fan paraphernalia dedicated to the Black Jew Bob Marley. The interior was quite small and only one table was occupied, while what looked like an ageing rock star took up a position at the bar. The people at the table appeared on good terms with the proprietor and banter was taking place between him and the barfly. Had I dropped in on the Austrian ‘Cheers’? At this point another man joined the occupied table, a beer was poured then he and the proprietor bundled ‘something’ into a plastic bag and I wondered if I had stumbled into a drug den; granted a very fresh, clean and well-kept drug den that produced very good food but one has to keep up appearances. Later a rather effeminate looking black entered clearly knowing the proprietor spoke to him jovially and left possibly after his share of the dope money. Later when the ageing rock star started raising his voice the proprietor seemed rather embarrassed and tried to quiet him down. So whether I had discovered the Austrian ‘cheers’ or stumbled on a front for criminal activity it was fascinating eating entertainment.
Explored some of churches and smaller museums today. The first museum I headed for was Stifterhaus. Purporting to be a ‘literature’ museum it was primarily dedicated to artefacts of the Austrian author poet and painter Adalbert Stifter. Stifter was born on 23rd October 1805 and died on 28th January 1868 yet this is related about his ability to ‘remember’
“the emotional baggage attached to the catastrophes of the 20th century includes two world wars, persecution, destruction and displacement-cracks, distortion and continuity confront literature with the question of its own relationship to politics and ideology. Remembering and remembrance, alters forms of depiction, exact language or a conscious refusal to recount are possible answers-to be found in Stifter’s parlour”
Stifter’s Der Nachsommer (1857) was named one of the great German novels of the 19th century by Friedrich Nietzsche. His work is characterized by the pursuit of beauty; his characters strive to be moral and move in gorgeous landscapes luxuriously described. However, he died prior to the construct of the Holocaust narrative and was unable to ‘remember’ their mythical ‘suffering’. Nevertheless, it is clear that now the Jew will even impose his false guilt backward in time.
The second museum called the Zahnmuseum (teeth) was rather fun even if only because it was all automated. One is directed by a series of arrows to a door glass door decorated with teeth on which one assumes there is a bell. On pressing the ‘bell’ the door slides open and one steps into a medium sized room filled with ancient and modern dental equipment all carefully labelled. There is no sign of anyone either at a desk or on security but as I walk around the exhibits a light above automatically illuminates. The museum continues into a further room and documents a range of dental equipment focusing particularly on 1920 through to the mid 1980’s. Quirky but interesting this museum is a testament to the Germanic sense of trust since I am certain if one left such a place unattended in Britain it would be trashed in no time and just for the hell of it.
My next port of call was Marianakirch. This is a most amazingly beautiful building with the most astonishingly intricate stained glass windows. However, on walking around I also encountered a dedication to Franz Jagarstatter. When National Socialism restored Austria to Germany Jagarstatter was actively subversive initially refusing military duty until 1st March 1943 when excused armed combat he became a medic. A medic for less than 6 months Jagerstatter was condemned to death in Berlin for “undermining military morale” so was patently displaying his subversive attitude. He was executed as a traitor in Brandenburg an der Havel on 9th August 1943.
I stopped for a bier at a bar called ‘Bugs’ later in the afternoon and on perusing the menus I noticed a shot entitled ‘good bye Lenin’. My first instinct was to critique the ingredients-vodka, lime and bitter lemon as an obvious Marxist lament at the death of their ‘beloved’ Jewish mass murderer of Europeans. However, it could also be the title of a film based around ‘reunification’ seemingly from an ‘East German’ perspective but significantly sympathetic to Communism and directed by a Jew.
The Nordico was next on my list. I chose this because the description indicated that it had in its collection ‘archaeology and folklore’. I was hoping for at least an experience on the scale of the Schlossmuseum that while it certainly had its Zio-Marxist connotations its exhibitions had intrigued me all day. I was sadly disappointed however. While there was a vague nod to historical Linz in the exhibition ‘100% Linz’ and even that seemed primarily post WWII, the other exhibition was primarily old photographs of Linz and while I have no problem with pictures of my folk in their ancestral land it hardly constitutes ‘archaeology and folklore’. Consequently a tour of the whole museum only took about 30 minutes after which I decided to investigate the so called ‘OO Kulturquartier’.
Given its full name ‘OO Kulturquartier-OK Offenes Kulturhaus, indicating exactly what ‘culture’ means to Marxism, is situated in OK Platz, dominated by what can only be called a piece of scaffold left over from a building site and saturated with advertising for the Linz film festival ‘Crossing Europe’. Perhaps a more apt name would be destroying Europe for though I have been advised that it is a festival dedicated to films by European Directors, the posters display a face clearly NOT of European origin. Apparently this ‘culture’ section is the ‘brain child of a conglomerate of private partners including OK Offenes Kulturhaus and it is described as “adventurous” and “experimental” read corrupt and perverted. I also picked up a program from the Moviemento repertory cinema called ‘Hunger auf Kunst & Kulter’. (Hunger for Art and Culture). Produced by the Sozialplattform that sounds excruciatingly Marxist I wonder just how benign that term is. Given what Jewish Bolsheviks have done it can be read more than one way.
I discovered more anarchist graffiti as I walked further up the Hauptplatz almost missing a poster advertising some sort of exhibition on National Socialism. The picture appears to be a Wehrmacht soldier standing over a Jew in some sort of quarry. Logically it is a Jewish Communist subversive interned in a labour camp for National Security purposes but given that I cannot read the German who knows what lies the poster is indicating so I removed it.
The prehensility for glass and metal may be worse than I thought. It seems the desire to attach the traditional or even replace the traditional with soulless metal maybe happening all across Linz. I encountered a structure, clearly part of the Altstadt and as I walked along it was covered in wooden scaffold leading into a new metal and glass bridge. So this is the new ‘excuse’ pretend that traditional Linz is falling down so it can be rebuilt with MDF.
I remain certain that my initial impression of Linz was correct. It is indeed a beautiful city that could have rivalled Vienna. Aspects of the altstadt with its steep narrow streets even remind me of Nuremberg. Yet since Adolf Hitler chose to build on her cultural charm the Jew has purposely singled out Linz for a special brand of Zio-Marxist perversion.
Happy St Georges Day! Took the train on to Salzburg today arriving around midday and received great directions to my hotel, which is about 5 minutes from the Hauptbahnhof. Again the museum, Altstadt and Zentrum are all located in one general area but it seems that here they are all within walking distance of the hotel. I am liking this city already. Thus following check in I took an orientation walk and although there are turns the map is easy to follow and I arrived at the bridge to the Zentrum in double quick time. The bridge I arrived at is worth a mention. Though simple metal and nothing special in itself it has been covered in padlocks on which are written declarations of love. Sweet
Now on the map the area covering the Zentrum and Altstadt looks massive however, this is somewhat deceptive as once over the bridge and investigating I discovered one is essentially walking around in a rather large oval. Initial impression is that this city is magnificent. Granted it has its shopping centre but unlike Vienna and particularly Linz were tradition is being choked by the modern or ‘cosmopolitan’ and often only brief moments can still be seen, the visual panorama has yet to be corrupted and it is breath taking. So far I have only seen one item out of place. It looks like it might be meant as a ‘modern art piece’. It is a traditional park bench but painted vivid blue with murals depicting a negro (I think it is supposed to be female), Muslims and an androgynous looking teen with a flower in its hair. The word ‘power’ is in English emblazoned with a rose and other inscriptions appear in to be in Hindi and possibly Chinese. Given the nature of the murals-1960’s flower power combined with the overtly foreign I would suggest it is some sort of monument to multiculture. I dearly hope this is not a sign of things to come in Salzburg. Let’s see what effect Zio-Marxism has had on the museums of Salzburg.
Being the city of Mozart as expected Salzburg is saturated with his influence. My first port of call was Mozart’s residence located on Makartplatz. According to the dates Mozart lived here from the age of 17 until he was 24 (1773-1780). We are told that the Mozart’s are ‘middle class’ and the term ‘bourgeoisie’ is often thrown in with reference to both Wolfgang and his father Leopold and the circles they mixed in. However, when I moved on to Mozart’s place of birth we are told that for 26 years the Mozart family lived in a first floor apartment comprising 5 rooms-a living room, kitchen, store room, small study and one bedroom. It was here that 7 children were born only 2 Wolfgang and his sister living past childhood. A further aspect to this is the notion that contrary to popular ‘myth’ Mozart was not poor but received money from a number of avenues including music lessons, composing and employment through Archbishop Colloredo his problem rose from money management and a gambling problem. I fear this is another Marxist attempt to divide by foisting ‘class consciousness’ onto the public. Certainly up to the age of 17 and perhaps longer Mozart lived under the same conditions as the rest of his family and the constant discussion of wealth insights a skewed interpretation of this European genius and ‘middle class’ or not this man was buried in a paupers grave. It is also interesting that while a plethora of paintings seem to exist depicting the genius composer certain undefined ‘contemporaries’ noted that Mozart was ‘not an attractive man but pockmarked with a big nose’. Nevertheless, while they seem to take great delight in poking fun they do not shy from making a profit from him.
First port of call today was the Hohensalzburg fortress reached by funicular railway. The view was magnificent even when it began to snow! Whilst I still ponder on the decor as in Linz much of it is white and one is left to wonder what actual is castle and what is whitewash. Indeed did Europeans have whitewash before the invention of Communism… Case in point there are 3 concurrent timelines upon the wall. The first records the history of the fortress, underneath and running parallel is the history of Salzburg and finally both are set in context with the international situation. On the Salzburg timeline one event inconsistent with the rest seems to stand out- in 1404 Jews in Salzburg, Halain and other cities in Salzburg were expelled. On the international timeline similarly it is the beginning of the expulsion of the Moors from Spain in 1212. In each of these cases there is no indication for why this even took place or even admittance that either the Jew or the Moor was a foreign entity in that land. In typical Jewish Marxist fashion salient facts are deliberately omitted in order to parade non-Europeans and particularly Jews as victims and the European as victimiser.
Again everything is defined in terms of ‘class’ even down to where the chapel in the fortress was built. Apparently the higher aristocracy had the chapel in the outer fortifications accessible by way of an outer corridor to the castle “this was obviously meant to structurally emphasise the difference in status between the rulers inside the castle and the commoners”. Of course it could be something as simple as not wanting a parade of strangers wandering through ones home! Naturally a Marxist would propose a public footpath to a communal swimming pool running directly through a private living space precisely because the Marxist does not believe in private property only property owned by the Jewish Marxist State.
Later I visited the curiously titled Haus der Natur (Museum fur Natur und Technik). I wondered if the addition of technology was an attempt to suffocate nature with artifice. It was here that an exhibition on the human body that included the excretory system was displayed. While I appreciate that as part of the body it is necessary to know how it works, but why with seemingly such ‘delight’ are the mechanisms by which food travels through the intestines and become faeces shown. There was even an interactive space were one could crank a wheel feeding ‘Austin’ and follow the food through his intestine until it came out the other end into a toilet. Incidentally this reminds me of the description of the toilet I gave earlier. Please tell me this is a purely Jewish fascination with foetal matter that they are imposing on the German lands. Further on I encounter pregnancy and birth but not before I am told categorically how to prevent it. It is also interesting to note that all the pictures are of white mothers birthing white children so the message is clear. This leads into what I can only assume is ‘puberty’. Though it is all in German I can discern that it is explaining the ‘changes’ male and female experience during puberty. However, the scientific information stops here and displayed is information on ‘sexual orientation’ and the dangers of not having safe sex i.e. sexual transmitted diseases. There is even a condom machine displayed. One can see overtly how this ties in with birth prevention.
There was also a necessarily small exhibition on Africa. This consisted largely of pictures of semi-naked Negros some toting rudimentary bows and arrows and a catalogue of the lands animals. Oh and a paper mâché palm tree. It took all of 5 minutes to walk around. The irony of this exhibition is that while it attempts to promote native African ‘culture’ all it really does is accentuate European achievement. The animals displayed were catalogue by white man and no doubt the rudimentary tools and jewellery making introduced by the European and realistically who invented the photography equipment and for that matter took the photographs. Furthermore museum after museum is packed to the rafters with European art, literature, culture and scientific achievements that the Jewish Marxist still get away with the ‘out of Africa’ theory is only a ‘black joke’ on the European.
Apart from Mozart Salzburg is the setting for the film ‘the sound of music’ and this too is capitalised on in terms of tourism and souvenirs. A particularly vile item is a Stein depicting the treacherous Von Trapp family and it occurred to me that this is willful destruction of a national icon.
Although Turkish imports were apparent in both Vienna and Linz they are far more visible in this particularly picturesque city. With their begging bowls at hand they seem to install themselves at high tourist traffic areas and call out to people as they are passing. However, given that at best the European race is now only about 8-10% of the world population and these Turkish beggars were imported to deliberately destroy the natural demographic of Europe one is really doing them a favour by ignoring them. After all before long there will not be any whites left to support these people up so they are going to have to learn to stand on their own two feet.
An exhibition running in the Salzburg Museum is called ‘the myth of Salzburg’ and it begins by asserting that during the romantic period painters and writers came from Vienna, Munich and other German provinces and within a few years established a name for Salzburg as one of the most beautiful landscapes. It is here that they claim that this ‘myth’ has continued to the present day. Yet while the artist may idealise it is not a ‘myth’ that Salzburg has a beautiful landscape. However, in keeping with this notion of ‘myth’ the obviously Zio-Marxist critic proceeds to slander the romantic artwork that follows. Typically Marxist his main ‘objection’ appears to be that the European folk observing nature (Salzburg landscape) are well dressed.
Although from the tone the ‘idealised’ nature courses a problem as well. Maybe a rubbish dump would be more to his taste. Incidentally one of the names responsible for assembling this exhibition is Erich Marx. I wonder if he is any relation of the inventor of Communism and White man’s demise Karl Marx.
Up early to catch bus to Salzburg Flughafen. Snowing again I managed to jump a number 22 bus up to the Hauptbahnhof. The bus stand to the flughafen is just outside the main train station and in less than 10 minutes I am taking the half hour trip to the airport. While I believe that the flughafen was the end of the line it turned out that there were 2 stops beyond. Consequently I missed my stop and had to remain on the bus until it turned around and went back! Fortunately it was only a 4 minute wait and I finally made it to the flughafen with plenty of time to spare.
Checked in and waiting for my flight I saw a couple of police and this set me thinking. In Vienna flughafen I was confronted by this same thing-police in full battle dress. This is not unlike the totally inappropriate militia uniforms now worn by police in Britain the only difference being what looked like a semi-automatic slung across his chest. I initially believed this was a display of ‘airport security’ presented for the public to impress upon them that we are constantly under threat from ‘terrorism’. However, once I journeyed into the cities I discovered that police saturation was the norm and so was their attire. Now while convincing the public that we are under threat from Jewish false flags is obviously underhand it has the undercurrent of ‘public safety’ however, parading around in militia uniforms and weaponry overtly convey occupation. Meanwhile, returning to the theme of ‘airport security’ ironically there was an ISIS terrorist in full regalia and quite blasé waiting at the gate for the same flight as me. Like I said the security is obviously for show since it made no attempt to arrest him. However, since I am safe and well his target cannot have been the flight. Perhaps we will soon be hearing news of a false flag somewhere in southern England.