Tag Archives: Dresden

70th Anniversary of The Dresden Holocaust  — Documentary Film — Was WWII REALLY “A GOOD WAR” for the World?

Complacency with regard to Conscience is NEVER all right.  I am NOT OK and you should NOT be OK with World War II or the American Civil War or World War I or Korea or Vietnam or Iraq I or II or Afghanistan—America and the UK really ARE the greatest purveyors of cruelty and destruction in the history of the world. And I say this as one who is fundamentally VERY PROUD of his Anglo-American Heritage—but PRIDE includes RESPONSIBILITY.  And I suggest that we should ALL TAKE and ACCEPT RESPONSIBILITY for having inflicted MUCH MORE suffering on the world than we ever saved it from—the world has suffered a NET LOSS of Civilization, Decency, Freedom, and Moral Rectitude thanks to the American Republic and our government’s, our Rulers’, conduct of war since 1861.  Yes, the American Civil War was the first MODERN WAR, by which I mean it was not merely the first technologically brutal war to obliterate a civilization, but the first Marxist inspired war, and the first war lamely and falsely justified by claims of moral rectitude rather than mere ambition.
Please share this video around to commemorate the 70th anniversary of the greatest single act of terror during World War II. More people died in the fire

August 9—which was worse: Nagasaki, Dresden, or Auschwitz? In Memory of the Victims of Nagasaki, August 9, and the Sharon Tate Murders, 1969, with thoughts about the Warren Commission and its members, including Gerald Rudolph Ford

On a certain level, I think it is a nearly inexcusable miscarriage of justice that so many “High Command” and “Middle Level Command” Nazis were hanged for their war crimes in and relating to World War II, while no one has ever been punished for the bombings of Hiroshima, Nagasaki or Dresden in 1945.  

Today, on August 9, 2013, the 68th anniversary of the “Fat Boy” Plutonium Bomb being used against Madame Butterfly’s hometown…. I think it is incumbent on all of us to reflect that maybe the U.S. was not so great and morally superior to Nazi Germany, and maybe the War, and the Myth of “the Good War” are just that, all mythological.   The aftermath of Roosevelt’s corporate-communist reforms in America has been the complete subversion of the constitution and the advent of Globalism.   (As I have often argued, the concept of “corporate-communism” is consistent with, and I submit actually arose from, the concept of “Industrial Armies” as articulated in the Communist Manifesto of 1848—what is a vast corporation BUT an Industrial Army?  This, again, is why I say that, at least from the standpoint of economics, there is NO SUCH THING as Fascism, only different propagandistic “spins” on communism).

Harry S. Truman, who ordered the Bombs Dropped, and Eisenhower, who led the allied troops to conquer and subjugate Germany, set Roosevelt’s corporate-commonist system into stone over the next 15 years.  The only President who might have attacked the International Banks and preserved the Constitution was gunned down in a hale of bullets fired when I was three and a half years old in the nearest thing I have to a hometown (though I wasn’t born there) of Dallas, Texas.    His successor (LBJ) was a classic corrupt politician who would do and did anything for power and position, whose first act in office was to abolish silver currency (because that’s the logical first step when your predecessor is assassinated, right?).  LBJ’s second was to form a Commission to cover up and forever confuse the truth about the crime of assassination itself.  The membership of which commission included future President Gerald R. Ford and future Pennsylvania Senator Arlen Specter.  

Also prominent on the Warren Commission was Allen Welsh Dulles, the former head of the CIA and the Council on Foreign Relations (CFR).  Aside from having a brother (John Foster) who was Eisenhower’s Secretary of State and a senior partner at Sullivan & Cromwell, Allen Dulles is perhaps best known for his involvement in the planning the overthrow of Mohammed Mossadeq in 1953, a decisive factor in shaping the world map along Orwellian “1984” lines 31 years ahead of schedule.  Dulles also subverted democracy in Guatemala and for all  his services they named a large airport near Washington in Virginia was later named after him (and his brother).  No person on the Warren Commission had more distinguished credentials in subverting democracy and falsifying history than Dulles, except perhaps Chief Justice Earl Warren, who had presided first over the erection and operation of Japanese Nisei Concentration Camps in California during the years 1942-1945 and then over the equally brutal, cynical and manipulative Civil Rights Revolution in the 1950s-1960s.

Yea, verily, I say unto you—no I will merely ask you: was the United States ever morally superior to Nazi Germany during World War II or after?   Was Allen Dulles REALLY not a war criminal?  Was Harry Truman and were all those involved in dropping the two bombs (August 6 and 9, 1945) not really and truly war criminals?  I think the argument can be made that “war is hell” and that Truman and Dulles were NOT War Criminals—but if they were not, than the descendants of all those Nazis Hanged by the Nuremberg and other tribunals are entitled to sue (with full waiver of statutes of limitation) for wrongful death and malicious prosecution.  

Whether the Nazis wanted to or not, they never incinerated between 70-75,000 human beings in a single second, but that is what happened in Nagasaki on this day, August 9, 1945.  And another 75,000 were burned, injured, but who cares about them, right?

Is it time to stop claiming that we were morally superior?   I am not exactly defending the Nazis here.  I highly value Democratic Process, I highly value Freedom of Speech, and especially the absolutely rigid and unwavering tolerance  of dissenting ideas.  (As oxymoronic as it sounds, anything less than rigid and unwavering tolerance of dissenting ideas is simply intolerable—and here I  include SO many degradations of and derogations and deviations from true, First Amendment, Freedom of Speech in the rapidly evolving American-New World Order framed by G.W. Bush and B.H. Obama.  I value a lot of things that the Nazis obviously repressed very severely.  No, I could never be or ever have been a brownshirt (nor a Maoist Redshirt), but that’s in part because I just dislike power and would never want to help anyone acquire a lot of it if that person was involved in book-burning and mass arrests leading to mass murder of dissidents.  There are merely all the same reasons I could never support Obama.

BUT I do think that the Nazis may have been, on the whole, more open and honest about their goals while the Western Governments have specialized more in deceit and deception.  I do think that the West may have decided to back the Communists of Russia rather than the Nazis because the Nazis saw some of the corruption of the International Banking System which both the West and the Soviets actually valued.  

Goebbels was even more honest about trying to use lies as a propaganda tool.  These days, they just call propaganda, “the CBS Morning and Evening News” in the USA—and my former Law Professor Cass Sunstein is the Propaganda Czar for Obama… he was the lone (admitted, open, “out of the closet”) liberal at the University of Chicago Law School when I attended there.  I do not see Sunstein as in any sense superior to Goebbels.  Goebbels gave better speeches than Sunstein gave lectures in class… that’s for sure.

In 1969, a deranged sicko by the name of Charles Manson desecrated the Nazi Swastika, took even that much maligned “twisted cross” in vain and tattooed it on his forehead, and hoped to start a race war in the USA—or so they say.  I wonder whether it was just a planned show to freak the American people out, like so much that happens on TV, I mean, on TV news…  It is another major miscarriage of justice to think that such great minds as Hermann Goering and Arthur Seyss-Inquart were executed at Nuremberg but Charles Manson and all the members of his “family” were allowed to live after what they did to Roman Polanski’s Dallas-Texas born wife Sharon Tate on August 9, 1969, and that Manson has managed to maintain his celebrity status throughout his years in California prisons.

No, evenness of justice “equality under the law” is definitely no great triumph of the American way either (remembering that it was Justice Robert Jackson who led the prosecutions at Nuremberg).

And by some astounding coincidence, one of the aforementioned members of the Warren Commission, Gerald Rudolph Ford, became President on this day in 1974, an event which I recall watching from the gigantic old black-and-white TV we used to have out in Lago Vista, upon the resignation and departure from Washington of Richard M. Nixon.

The Socialist State as Executioner of Love and Passion: “It’s for their OWN GOOD”—2010 Netherlands Opera Production of the Flying Dutchman Captures the Spirit

Suicide must be absolutely illegal.  The State has an unquestionable duty to prevent it.  Any person who attempts suicide and fails must be put to death as the only secure preventive measure.

I can just hear them saying in the back rooms of the Lewes Courthouse and Crown Prosecutors’ and Police Offices: “We done it for their own good I tell you, those wretched ungrateful bastards!  We shot em for their own good we did; we put the miserable buggers out of their pain.  It’s what you do with rabid dogs and people who insist what they have rights, you know, they’re just like terrorists and you gotta shoot’ em all.   Sie mõgen viele Freiheit haben.  Zu viel Freiheit, Ich Meine.”

The Ingsoc Socialist State Prosecutors of the United Kingdom have effectively murdered Megan Stammers and Jeremy Forrest—it has ruined their lives at any rate—at the very least we can say without contradiction that the State has spiritually murdered these reckless and illicit (that means “unlicensed”, but not necessarily evil) lovers who fled to France last September.   Spiritual murder does not leave much blood on the carpet literally, but it stains the soul.  Of course, the Socialist State acted for the good of Megan Stammers and her parents.  The Socialist State acted to protect all minors, and it did so by grooming them to be good and compliant slaves of the socialist state.   The message could not be clearer: Big Brother is VERY definitely watching YOU.

And as the real life Ingsoc State of Oceania has fulfilled its duty to extinguish love and passion and set an example for all those who might imagine themselves following in Megan and Jeremy’s footsteps—of fleeing to live out there love on the continent.  The Socialist State is crowing that they committed this dastardly kidnapping and spiritual murder for the good of everyone involved, and it is obvious that love and passion and the freedom to express those feelings pose an insurmountable, intolerable threat to the status quo in England.  But there are two ruined lives on the stage—still breathing but crushed, ruined, destroyed.   I have felt a need to relate this tragedy to art and mythology and all of a sudden I realize that this event was entirely prophesied by a wildly modernist production of one of my favorite “merged artworks.”

Anyone who reads almost anything and everything that I write can tell that I am a cultural reactionary.   I hate modernism in almost all its forms.  But I am fascinated by the sheer Brilliance of Aldous Huxley’s Brave New World and what a blueprint it was for the happy modern (drugged, oversexed, and nearly brain-dead, hopelessly overwhelmed with media and medication) world we life in.  As a consequence I am often extremely prejudiced against modern stagings and productions of my favorite operas and theatrical dramas from the past, and that includes, of course, all of Richard Wagner’s works.  Approximately 15 years ago, exactly sometime last Fall anyhow, I took my son Charlie to his first live opera ever (in Houston).  He was 5 going on 6 then and probably just a tad too young to really appreciate everything, but not a day too young to be introduced to the great civilized ritual which is going to opera.  The opera in question was the Flying Dutchman.

This month, reflecting back, I happened across a production of that opera I had never seen before, Netherlands Opera 2010—Amsterdam State Theatre—Senta played by the truly marvelous singer and actress Catherine Nagelstad, whose portrayal of Senta bears my highest certificate of “Emotionally Credible and Real.”  http://www.youtube.com/watch?v=Mo3hhQTAsC0

Senta is a loner, caught between the major men in her life and obviously quite different from alienated from the other ordinary women around her.   She has developed an infatuation with a myth, a story embodied to her only by a picture on the wall of her father’s house, of Captain Hendrick Vanderdecken, a kind of Dutch “Davy Jones” figure, the captain of the ghost-ship “The Flying Dutchman.” 

Richard Wagner considered The Flying Dutchman, which premiered under the 29 year old composer’s (and librettist’s) own baton as conductor and director on 2 January 1843 in the Saxon Kingdom’s capital of Dresden (now the capital of the Free State of Saxony within the Bundesrepublik Deutschland), to be his first fully “mature” opera—wherein he became a poet as well as a musician (his words and thoughts, not mine—I actually like Wagner’s Rienzi quite a lot).  

Perhaps the “mature” part of Wagner’s composition was his earliest expression of the pseudo-Buddhist, quasi-Schopenhauerian notion of self-extinguishment in death being the key to salvation.  Almost all of Wagner’s ten “canonical” works (except for Die Meistersinger von Nürnberg) take this theme as a central point.  Senta, the very first of Wagner’s self-destructive heroines, is the only one who commits suicide in the commonly understood traditional sense, at least in Wagner’s libretto.  

Reading along in Wagner’s libretto as I watched the Netherlands Opera 2010 production, I could envision Senta’s words as expressions of thoughts that Megan Stammers may be having but cannot well express.  And of course, it is indisputable that Megan Stammers has at one or more points during this drama felt and expressed ideations of suicide.  That was part of the way in which SHE exercised control over and manipulated Jeremy Stammers—totally the opposite of the tripe and doggerel promulgated by the U.K. Crown Attorneys’ propaganda machine to justify their show trial with the fixed, fully controlled, totally ignorant jury.  I was thinking of posting some of those quotes here.  But once I got to the end of the opera video-file, I realized that the Amsterdam Theatre’s ending was much more important than any of Wagner’s text which is readily available in any language on the web as it’s all out of copyright.  But I urge all my readers to watch this production of Der Fliegende Holländer in memory of the now condemned and executed love that Megan and Jeremy shared.  

I realize that this is called a “Spoiler”—and it is indeed a spoiler of the unique and shocking ending of the Netherlands Opera 2010 production—so anyone who hates “spoilers” should stop reading right now.  As everyone who knows Wagner’s opera knows—-the Flying Dutchman (known to all literature EXCEPT the Wagner libretto as Captain Hendrick Vanderdecken) suffers from a self-invited curse brought on by blasphemy which condemns him to sail the seas until the very end of time, the Second Coming of Christ—“when all the dead arise from the sleep their graves, I will vanish into nothingness.”  

The only “early way out” or exit for the doomed Captain (and his somewhat unjustly included entire crew) is this promise, which one can only suppose Satan put in for giggles, that if the Dutchman could ever, on any one of his single days stops on land every seven years, if the Dutchman could ever, in a single day, find a woman who would “love him to death” (that phrase has acquired such a commonplace and prosaic sound in modern English doesn’t it, because nobody thinks of the original implication: being true and loyal until deathit’s a totally inconceivable thought to the modern mind anyhow—so why WOULD anybody thing about it?).  Realistically, the Dutchman’s odds of meeting a girl who’d like him at all, strange as he was, in a single day’s stop on land were pretty grim, never mind one who would fall in love with him and be true until death.  And his crew knew it and they really thought it was a pretty bad joke—they sing about it in their only chorus during the final act.  So for 500 years the Dutchman sails the seas, stopping every 7 years for one day on land, looking for a girl, then setting off to sea again.

Senta, the lonely girl, the dreamer, has become obsessed with the story of the Flying Dutchman—there is no explanation for why her father Daland had a picture of the Dutchman on one of the central walls of the family home in Norway.  Daland was an ordinary commercial sea captain who is hoping his daughter will marry a rich man.  Daland meets the Dutchman near Sandwike during a major storm.  Daland invites the Dutchman home to meet his daughter, apparently having no clue of either his daughter’s obsession or the Dutchman’s identity (despite the fact that he looks extremely strange and has a ton of treasure and an undamaged if very old ship, all utterly unexplained and unquestioned).  

Naturally, a pretty girl like Senta hasn’t gone unnoticed all her life and she has a normal young man interested in her, by the name of Erik—a huntsman.  In Richard Wagner’s original version, and in the Netherlands’ Opera version, the Dutchman and Senta need less than half of Act II to fall in love and become engaged.  Daland is thrilled that his daughter has chosen such a wealthy husband, and Erik is just kind of shunted off to the side.  Then in the original, and in the Netherlands’ Opera 2010 version, Erik tries to remind Senta that although he isn’t nearly as weird as the doomed Dutchman, he’s really an OK chap and they’ve had some good times together in the past.  

Though Senta is totally committed to the Dutchman, the Dutchman for all his immortality cannot read minds.  So when he sees Erik and Senta together he imagines that Senta is already being unfaithful to him—but unlike all other women who have previously betrayed him, he does not condemn her.   Instead the Dutchman just announces who he really is to everyone’s horror (and Dense Daddy Daland’s miserable confusion) and he sets sail.

Now here is where the Netherlands’ Opera’s production becomes prophetic of the story of Megan Stammers and Jeremy Forrest.   When the Dutchman sets sail according to Wagner’s original stage directions, Senta runs away from her father and family (and Erik), climbs a nearby cliff or promontory, calls after him, confirms her previously (freely and firmly granted) oath, “Hier steh’ ich treu dir bis zum Tod!”  (Here I stand, true to you until death!) and with that throws herself into the rocks and waves below.  

Senta’s self-sacrifice, her proud and enthusiastic suicide, in Wagner’s text, liberates Captain Vanderdecken from his curse, and his ship (the REAL “Flying Dutchman”) sinks (along with the crew, for who I feel some sympathy—THEY didn’t blaspheme and make deals with Satan, at least no more than most sailors and seamen do). From the wreckage of the Dutchman’s ghost ship, according to Wagner, the figures of the pale Captain and his new bride rise in spiritual freedom to live and love freed from earthly bonds, chains, and curses.   As Friedrich Wilhelm Nietzsche once somewhat ironically wrote, the story just ends there because it has to end there: once they are happy, no interest inheres in or attaches to the “happily ever afterlife” of Senta and Vanderdecken—once saved, the Dutchman is a quite ordinary spirit….and Senta has fulfilled her one great dream and purpose in life—which was to save Der  Bleiche Seemann.  

The Netherlands’ Opera 2010 production radically ditches Wagner’s libretto and substitutes an extremely grim modern “Socialist Realist” ending: seeing Senta’s self-destruction and suicide as imminent, inevitable, as a result of her blind passion and “mad, non-conformist” dreams, Erik, the young man who loves her (and oh, by the way, a rifle-carrying huntsman) shoots and kills her and the Dutchman.  Obviously, this was the only thing that any rational person could do with Megan, with Senta, with the dangerous Dutchman, or the Evil Paedophile Mr. Jeremy Stammers.

In this way, Erik has assumed the role of the State who knows best what is good for people, and mad-passion is NOT good for people.  Mad-passion leads to suicide and, well, you have to prevent young people from having these feelings that lead to suicide.  So you just have to shoot them.  Nothing could be worse than seeing your 15 year old daughter run away and be happily in love now, could it?

A Prayer for True Memory and History on the 206th Anniversary of the Birth of Robert Edward Lee, Commanding General of the Army of Northern Virginia, President of Washington & Lee University

Since December 9, 2012, I have been staying in the French Quarter, about a 20 minutes to half an hour leisurely walk to Lee Circle where a high pedestal support’s a statute of one of Virginia’s most famous sons, forever looking north because “you never turn your back on the enemy.”  My grandparents raised me to celebrate Marse’ Robert’s birthday and remember and study his life and heroism, both before, during and after the War Between the States.  I have never had any problem keeping his memory because I think he represents all the good values that were and ever could be called “American”—he was an exceedingly intelligent man of principles including loyalty and devotion, hard work, individual responsibility, skill and excellence.

This year I have not yet visited Confederate Memorial Hall, just south of Lee Circle.  It is probably the longest I have ever been in New Orleans without paying at least a quick visit, and there are many reasons for this but one is that it is no longer officially called “Confederate Memorial Hall” but has been recently rechristened “Louisiana’s Civil War Museum at Confederate Memorial Hall.”

Nothing is more insulting to Lee’s Memory or to the Heritage of the South in general and the Confederate States of America in particular than to refer to the War of 1861-1865 as “the Civil War.”  From the Southern adn Confederate standpoints, that War was as much the “American Civil War” as World Wars I and II were the “European Civil Wars.”   The analogy is fair enough only to the degree that after World War II, first the European Economic Community (E.E.C.) and then the European Union both sought to transform Europe into a new, single Continental Nation.  

The first movie ever filmed to be seen commercially by more than a million people was D.W. Griffith’s “Birth of a Nation”, released in 1915, based on a historical novel entitled “the Klansman.”  The new nation born during and after the War Between the States was a centralized Republic with a top-heavy Federal Bureaucracy modeled very generally on the economic controls imposed top down from the Imperial Central in the later Roman Empire in a manner which has come to be known as “Byzantine.”

On this 206th Anniversary of the Birth of Robert Edward Lee, son of  Governor Light Horse “Harry” Lee of Virginia, I pray that the honour and integrity of the South will be properly remembered, along with Lee’s individual, unique and irreplaceable, un-reproducable honour and integrity.  

I pray that people will start learning history more fully and accurately, and above all critically, with the understanding that the victors always write history, but that victory in war is not in fact justice in the eyes of God, despite what many of us, including many of us Southerners, believe about the value of “trial-by-battle” in the Mediaeval sense of “Justice by Duel.”  

Even in Mediaeval legal theory, Duels were ONLY fairly calculated to result in a decision by God when the two parties to the duel are equally equipped, armed, trained and skillful.  The armor and the horses had to be comparable and equivalent, and a weaker person had the right to appoint a “champion” to fight in his or her place, as Ilsa von Brabant famously did in Richard Wagner’s opera “Lohengrin” which even preserved the notion of combat only coming “at high noon” so that the sun would be in neither combatant’s eyes at the outset.   The title of one of the finest Western movies about a duel, Gary Cooper’s “High Noon” (1950) also retains this reference to the equality of the Sun God (Shamash) who presided over such duels (judicially approved and jury-supervised “trials-by-combat”) even in Ancient Akkad, Asshur (Assyria), and Babylon.

I pray that even under the Dark Skies of the Obama Presidency and all the propaganda coming out in this day and age, that a more just and inquiring notion of history will prevail in the collective, cultural memory of America, and that the virtue and dignity of the Southern and Confederate Constitutional position be realized and recognized, and the glory given to the Victorious Yankee North be tempered by the reality that northern industrialism produced the same identical level of misery and deprivation among white workers as was chronicled by Charles Dickens in England and Victor Hugo in France.  

I pray that people will understand that if we weep for Fantine and her plight in Les Miserables (published precisely in 1862, during the first full year of the War Between the States), we must also recognize the condition of “Free” labor in the North and Europe was in a hundred ways worse and more depraved than the plight of black slaves in the South.  If in no other, this is true in one major regard: only an insane slaveholder would really work his slaves to death, without caring for them as human beings, in that slaves were wealth and capital, and senselessly to destroy the life or health of a slave was like throwing gold into the sea or burning paper money backed by real gold (unlike the trash Federal Reserve Notes we use today).

By contrast, as shown in Dickens’ writings and Hugo’s, and as analyzed by Karl Marx and Frederich Engels and their followers, “free” laborers in the mid-19th Century in the North had no life-long security whatsoever.  

As soon as the “free laborer’s” strength or health should start to fail, that free laborer’s productivity declined or perhaps he was eaten up by the very machines he tended due to “assumption of the risk” by accepting employment.  The “Free Labor” capitalist therefore had a strong motivation to dismiss his worn out workers and throw them into the streets, a version of the “hellish life” captured in Les Miserables was worse than death itself. This reality was revisited (1998) by Joss Whedon in an Episode of Buffy the Vampire Slayer called “Anne” in which the residents of Hell work in a 19th Century style factory until they are exhausted and old (in just a short time as it turns out) and thrown back out on the streets of modern Los Angeles to live as homeless derelicts.

All these realities need to be weighed against the supposed virtuous abolition of slavery. And accordingly, I pray that people will begin to think and remember and reflect not only about the history of the 19th century, but of the 20th and even our own times.  Were we the victors REALLY the more virtuous parties in World Wars I and II, for example?  In World War I, the answer is a fairly certain absolute NO.  In World War II, the mythology has grown into a reality and even a political constitution and ecumenical social theory so thick that it is almost impenetrable.  

But if we look, again, at the details, and if we dare to compare the early German rockets or “Buzz Bombs” sent by Wernher von Braun against London in 1944-45 with the American A-Bombs dropped on Hiroshima and Nagasaki, I think we will see that the American weapons were a far more sinister manifestation of technology.  What about the senseless fire-bombing of Dresden in 1945 when the war was almost over?  

Then if we look at the Soviets, whom we supported, and what they did to their own populations (Stalin’s purge of “the Kulaks” for instance, beginning in 1928), was our side as a whole really better than the Germans?

Even if the worst stories are true about German antisemitism, “ethnic cleansing”, and other population reorganizations and purges, no one can state that the Germans actually moved or relocated anywhere nearly as many millions of people as the Soviets and their allies forcibly relocated from the German sectors of East and West Prussia, Silesia, Posen, Danzig, and Eastern Pomerania, even as millions of Poles were uprooted and moved East to replace the Eastern quarter of Germany, after 1945-46.  

The Germans of the Sudetenland were also expelled from their homes of time immemorial.  The thousand year old Eastern boundary of the German people was moved back across Poland and Czechoslovakia to fit Stalin’s plans.  Again, who was guilty of greater genocidal crimes?  Or did Stalin’s relocations of the Poles, the Belarus, the Ukrainians, and the Germans count for nothing?

An since the war, have not the Allied Powers faithfully reenacted the predictions of perpetual war as framed by George Orwell in “1984“?  Have not the Communists become indistinguishable from the Corporate leaders they supposedly fought to overthrow as Orwell similarly predicted in “Animal Farm“?  Is there not evidence that, at least since Pearl Harbor and possibly since the explosion of the Battleship Maine, the United States Government has staged more than a hundred years of False Flag attacks against its own people to make certain that this condition of perpetual warfare exists and that there are more and more justifications (like the Sandy Hook shootings in Connecticut most recently) to curtail the fundamental freedoms and liberties for which George Washington, and Robert E. Lee, spent their lives fighting?

I pray that Americans will start waking up and thinking about reality, and observe the contradictions inherent in all things, but especially in our official versions of history, and that we will work to examine our past, our present, and our futures to discover and establish deeper and more meaningful truths about the sad story which is the epic of human history.

May everyone in the World in fact look to Robert Edward Lee and the Confederate States of America as emblematic of justice defeated, of liberty lost, and of the dangers of using imbalanced thinking and propaganda as tools of social change. 

As I have written a thousand times if I’ve written it once: Chattel Human Slavery was abolished everywhere in the world (as an openly and officially legal institution, anyhow….) between 1790 and 1930. ONLY in the United States of America did the abolition of legal chattel slavery result in war, and what a coincidence that this happened 13 years after the Communist Manifesto, in a Republican Administration with so many German Communist refugees from Europe in charge, and with Karl Marx’ official blessings and endorsements—none of facts which are EVER taught in American Middle or High School history classes…