‘German’ Jewish director Fritz Lang’s ‘classic’ thriller M is about a murderous child molester. Released in 1931, the film speaks for itself. Initially we see a city almost paralysed with fear; citizens dutifully protecting children become suspect merely for speaking to a lone child. In modern society this is all too familiar. Adults now steer clear of the unattended child for fear of the paedophile brand. In this light has advertisement really protected our children or made them all the more vulnerable.
Here the term ‘advertisement’ is used in the broadest sense of the word for we can ‘advertise’ in many different ways. While the horror in M was only implied, in the years since Lang’s thriller films containing content of shocking and brutal violence have hit our screens. Not only is this violence reserved for the picture house but its scenes are cascaded over billboards and TV screens in an effort to publicise. This brutality and violence also appears in the graphically realistic computer and video gaming media readily on view to children.
While this so called ‘entertainment’ is not supposed to be targeted at children its method of transmission is so invasive that it occupies the very social space. In this respect this repugnant phenomenon is what apathetic White man has allowed Western society’s ‘culture’ to become. Furthermore the explicit displays that haunt Western cinemas and creep onto the TV screens calling itself ‘entertainment’ appear as a sinister reflection of the constantly streaming news media. However, this begs the question ‘what came first the chicken or the egg?’ The insinuation is that reported news incites the fabrications of Hollywood. However, as early as 1931 a movie depicting child molestation when this perversion was not highlighted in the news paints a rather different picture. This type of film has promoted a mode or pattern of behaviour in the West that on the one hand desensitises but also extenuates what violent inclinations exists. Apparently life really does imitate ‘art’ or the Jewish Marxist rendition of art.
Unsurprisingly then other renditions of Marxist Jewish ‘art’ now pervade the West. Black is hailed as the ‘Hero’ in the Hollywood movie convincing the White female of the inadequacy of the White male. There is a significant difference inferred upon the notion of the White male-labelled thus since it saw fit to be adorned with external genitalia, and White Man-the builder of Civilisations that Jewish Marxism wishes to eradicate. Meanwhile the Zionists fill Europe with this. The true cost is ignored by stupid White Liberals who swallow the false guilt spoon fed by the Zionist media. Consequently these are the female White trash that mixes with the immigrant coloniser that bastardise and ultimately destroy the White race.
The overt miscegenation through immigration is cunningly augmented by Whites own altruism. Zionists registered charities bombard the West all year round with the ‘poor’ starving Third World. On a superficial level this turns the White outward against his own racial community and desiring the protection of another over your own is unnatural. This is sustained with the Marxist Zionist illusion that the White West built its Civilisation on the backs of the coloured Third World and thus ‘owes them’ a living. The Black slave trade is a prime example. Mainstream Zionist propaganda promotes the notion that the White European is wholly responsible. In reality of course Blacks sold each other into slavery and in Europe and America Black slavery has a far more Jewish flavour.
Charities or privatised pet projects of various celebrities or politicians step up their begging at Christmas time. Remember the most famous pet project from Band Aid-Feed the World. All those artists coming together to tell the ‘West’ about those ‘poor destitute (Black) Africans. A similar ‘feat’ was attempted in 2000 with Michael Jackson. Incidentally despite the accusations of paedophilia Jackson’s music is still played and he is hailed as some sort of hero. On the other hand the press has hung, draw and quartered Gary Glitter. Quite possibly playing his music would be perceived as a criminal act by the Marxist Zionist elite. Apparently ‘justice’ has a colour bias.
Whenever art or culture is presented in a Zionist Marxist forum it is discussed as a global phenomenon or a ‘human’ endeavour giving the impression of a single human animal without deviation. Yet dig a little deeper and see that the great civilisations to spawn such art and culture are White in origin. Archaeology and the sciences are uncovering genetic remnants of those cultures.
However, these are not the ‘facts’ exposed through Zionist means. These images the Zionist controlled media do NOT want White Europe to see. The White public will find that the breakthroughs made in the sciences will engender a Marxist twist prior to their consumption or merely disappear. So when a gentleman of Caucasoid appearance was discovered in North America there appeared to be something of a cover up! As with Governments in Britain and Europe, it seems North America has too been absorbed by this creeping political correctness. “There is nothing wrong with your television set. Do not attempt to adjust the picture. WE are controlling the transmissions…” Sound Familiar, while this may be the opening of American Si-Fi series The Outer Limits, this sentiment is far truer than you think. There is a subtle difference between the original 1963 intro and the re-make. Originally the public were to go on a ‘great adventure’ now ‘they’ threaten to subvert our minds by “deluding us with a thousand channels or expanding one single image…” Think about that and the parasites that control the Western media.
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Art is the method the artist uses to lift the spirit. Art is a spiritual relief from materialism; a need or requirement similar to that which religion attempts to provide but fails by becoming dogmatic. Spirituality is the search for the best part of us and art is the physical manifestation of this search. Remnants of this can be viewed all over Europe. For much of his time the artist resides in a place that the mass cannot perceive. Part of the work of the artist is to allow the public to glimpse into his world. The true artist fishes raw from a dimension familiar to very few. These discoveries compel him to interpret within a more inclusive realm. However, what Marxism calls ‘art’ serves only to debase, corrupt and drag down he who participates in its space.
Case in point some things are universally disgusting: all cultures and nationalities are repelled by faeces and urine. Naturally this gives Marxist the excuse to slap it on a canvas, call it ‘art’ and stick it in the galleries of Europe. All at once the exalted place of the ‘artist’ as redeemer of the Aryan spirit is ‘condemned’ as he is replaced by comedians airing the Zionist ‘Europeans’ dirty laundry.
This is England, land of Green Mountains and pleasant pastures, but the landscape is also being changed. It is very subtle at first, a palm tree appearing in a neighbouring garden. Then next-door-but-one follows suit. This might sound somewhat innocuous. After all not all garden plants are indigenous to the British Isles’. The point is though it is usual for a garden plant to blend with its environment. The palm tree is an obvious interloper, a definite foreign element. In fact it has become a rather common sight so see a dead palm tree in English Gardens precisely because they are not ‘designed’ for the British weather!
Modern architectural design has also been affected. A dangerous ‘design’ fault to have landed on the British shore is the ‘Dome’ fetish. Rather than reflecting the religion of the land, new designs have seen fit to incorporate the faith of foreign imports. As stated this was subtle to begin with, but clearly our traditional forms-ancient gothic structures are no-longer ‘the fashion’. Instead modern structures are often stark mirrored or glass-utilitarian boxes. The gradual phasing out of great gothic arches, huge towers and spires in favour of a flat box or ever more ‘inverted’ design is suggestive of the purging of Christian heritage from Britain and the invasion of an architectural atheism.
The colour palate is also out of control. Hot Pinks, Vivid Limes, and Bright Purple are not traditionally associated with Britain and Europe. Colours such as these belong on a beach in the Caribbean. Yet traditionally BLACK hackney cabs parading around as if in an eternal Caribbean Carnival… and city council vans seeking ‘gay abandon’ in shocking pink. Of course White male emasculation is clearly one reason for a Marxist inspired politically correct council to paint their vans hot pink. Another is not content with importing a replacement population; the corrupt Zionist authorities need to introduce this import’s tastes along with them, thus eradicating any remnants of a British culture or identity. This is multiculturalism at work one of the various aspects of cultural Marxism (Communism). While the illusion of Cultural Marxism (Communism) promises utopia and ‘equality’ in reality it initiates chaos and destroys difference.
Liverpool’s 2008 City of Culture was a prime example of this. Billed as the “world in one city” evidence of indigenous Scouse culture was at best ‘hidden’ or worse eradicated. The canny Scouser saw the Liver Bird, an ancient symbol of Liverpool steeped in history, replaced with a lurid yellow Japanese invention with absolutely no connection to the City. This inane monstrosity, one mans apparent response to genetic engineering, was to be Liverpool’s new Global logo. The indigenous people of Liverpool have never been asked if they wanted their identity replaced by Japanese mass produced ‘plastic’. Never the less multicoloured reproductions of this freakish foreign import clutter OUR City.
2008 was also the year that the Liverpool Metro Newspaper ran an “alternative A to Z of Merseyside entitled A Great City with Culture to spare. No doubt this was to coincide with the “City of Culture” farce. This article featured a letter I for “in a parallel universe”. In this nightmare vision Liverpool’s dock region is barely recognisable. A lumpy mirrored ball called “The Cloud” but looking in reality far more like a crumpled crisp packet dominates the scene. In the passage that accompanies the picture we are told that Japanese-designed domed structures will house a Caribbean beach! Yes this is apparently a “parallel universe”. However, it was planned and designed, think about those palm trees. How long before we do see Caribbean beaches encroaching on our ‘pleasant pastures’. The Zionist does not like European culture and is seeking to destroy the Britain and Europe that we know by infecting it with foreign and Marxist influences. By stealth what the White man fails to see is the lowering of his standards of taste and decency. Only reflect on the rampant paedophilia displayed within the Labour Party http://labour25.com/ and consider if these are the ‘leaders’ that should be legislating over your children.
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