“I’ve never seen a President — I don’t care who he is — stand up to [the Jews] … They always get what they want. The Israelis know what is going on all the time. I got to the point where I wouldn’t write anything down. If the American people understood what a grip these people have got on our government, they would rise up in arms.” — Admiral Thomas Moorer, former Chairman of the Joint Chiefs of Staff, Richard H. Curtiss, A Changing Image: American Perceptions of the Arab-Israeli Dispute. American Educational Trust, 1986
Aaron Russo – America: Freedom to Fascism
America: Freedom to Fascism was the final film made by Aaron Russo, a filmmaker who is well known for his films Trading Places, Wise Guys, The Rose and Mad as Hell. Aaron had been a close personal friend of Nicholas Rockefeller at one time and it was after Rockefeller began letting him in on the secret agendas of the worlds elite that Aaron felt he needed to take action.
Aaron died of cancer in 2007, shortly after the completion of America: Freedom to Fascism. Although the film may have actually lost money, it has been said that he felt it was the most important film he had ever made and that he was very proud it. The film became a huge hit on the internet and is one of the most important documentary films ever produced in my opinion. It is a film that every single American needs to see.
From the films website (website was taken down May, 2016):
Aaron will be profoundly missed but always remembered. He was a husband, father, friend, mentor, and inspiration to many. Aaron’s long list of achievements includes his work in the areas of filmmaking and political activism. His documentary film, “America: From Freedom to Fascism”, debunked the justification of both the IRS and the Federal Reserve as well as exposed their crooked basis. This movie received widespread acclaim, including opening to standing ovations at the Cannes Film Festival. Congressman Ron Paul was also featured in the documentary, in which he presents his views on the economy and the Federal Reserve.
Michael Ruppert – Collapse
Michael Ruppert, a former LAPD officer, is another man i have a great deal of respect for. His integrity cannot be questioned, nor can the obvious and sobering predictions he has made regarding the future of our civilization should we continue along a path driven entirely by greed with almost complete disregard for our planet and, environment and ourselves.
Michael is the author of Crossing The Rubicon: The Decline of the American Empire at the End of the Age of Oil, a book which centers around how our continually growing civilization, over 7 billion in number now, is completely and utterly dependent upon a single, finite resource, the production of which has already reached its peak and is now in permanent decline. His message, which he has dedicated his life to sharing, is perhaps the most important message that we have to consider.
Michael took his own life in April, 2014, but he has left us with a large and important volume of work including his research into CIA drug trafficking, the September 11, 2001 terrorist attacks within the U.S., politics and the inevitable collapse of our industrialized civilization due to peak oil.
Michael was interviewed after the completion of Collapse by Peter Joseph, the creator of the Zeitgeist film series and network. Some of Peter’s work can be found on the next page.
Commentary on recent events regarding the holocaust and World War II
– Secrets of The Dead – Bugging Hitler’s Soldiers
On May 2nd, 2013, the Public Broadcasting Service (PBS) published the documentary film Secrets of The Dead: Bugging Hitler’s Soldiers on their website. The film documents a secret bugging operation of high ranking World War II German military prisoners that were held by the British. Over 100,000 hours of audio recordings are are said to have been captured by MI19, the division of British intelligence who bugged the elaborate homes in which the prisoners were held. We are told that the audio tapes were transcribed, translated and sent directly to Winston Churchill. There are several factual inaccuracies presented in the film and one notably large omission. Here is a link to the transcript of the film for reference.
The foremost problem is one of authenticity; the original recordings were destroyed, we are told, which is decidedly convenient as it is now impossible to verify whether what was recorded actually matches the transcripts. It is also worth pointing out that most of the personnel monitoring the listening equipment were Jewish refuges from Germany. Why British intelligence would task Jewish refuges with gathering possibly vital information from key military personal, of which many were generals, from the very people who persecuted them is nearly unfathomable to me. We are told the reason is because of their familiarity with the German language which insinuates there were no German speaking personnel in Britain capable of doing the work. If that was the case, British intelligence must have had a very difficult time translating the hoards of other German communications that were intercepted.
The film refers to the former Buchenwald concentration camp in Germany as a death camp, which it was not. Both mainstream holocaust historians and revisionists agree that there were no homicidal gas chambers at Buchenwald. The film also repeats the long debunked claim that lampshades were made from tattooed human skin. References: 1, 2, 3, 4
During the film the viewer is presented with a very well known — and very forged — photograph of prisoners in a bunk house at Buchenwald:
The original photograph, published in the May 6th, 1945 edition of The New York Times Magazine, is somewhat less dramatic:
One of the most important aspects of the film was not what it contained, but what it didn’t contain; at no time are gas chambers mentioned, homicidal or otherwise. I don’t think there is any doubt whatsoever that PBS would have showcased any hint of homicidal gas chambers had a single one of the German prisoners referred to them among the 100,000+ hours of audio tape. It would seem there was little chance that any conversation about gas chambers could have been missed since, as we are told, “MI19 specially designed microphones reached everywhere; nothing was out of range.”, and “We knew that the microphones must have been of very high quality because we could hear the prisoners very clearly and even if they whispered to their cell mate it was very often possible to pick up what they said.”.
It is always well worth questioning the integrity of mainstream media. One could begin by questioning who owns the very few companies that control approximately 80-90% of everything we read, watch and listen to. Who are the board members and what relationships with other institutions do they have? As with my article about NPR, the conflicts of interest present within PBS are blatantly obvious, including ties to the National Security Agency (NSA), the Central Intelligence Agency (CIA), Obama for America, Polaris Government Relations and several other companies, institutions and foundations. Among the board members of PBS is Sharon Percy Rockefeller who is a member of the Bilderberg Group. The Bilderberg Group is sort of a private club, not unlike the Bohemian Club, whose members rank among the worlds richest and most powerful people on the planet and include heads of state, future presidents and prominent politicians, media representatives, bankers and others, many of whom are Jewish. Their agenda, the content of their meetings and even the guest list are kept secret, though more is being learned about this elite club with the advent of the internet.
As with National Public Radio, one may wonder where the “public” is in the Public Broadcasting Service — an organization that, very much like NPR, is funded in part by the the Corporation for Public Broadcasting, the government and various foundations and private corporations. The public media watchdog organization, Fairness and Accuracy in Reporting (FAIR), has published several articles critical of PBS, including Problems at PBS, From Rose to Koch, PBS Drone Coverage Brought to You by Drone Makers, PBS Goes to Israel and Palestine-Mostly Israel, PBS Reports Iran Nuke Claims as Facts and many others.
A recent documentary by the Smithsonian Institute titled Treblinka: Hitler’s Killing Machine used the work of Dr. Caroline Sturdy Colls, a British forensic archeologist from Staffordshire University, in a laughable effort to prove that homicidal gas chambers were employed at Treblinka to exterminate the Jews. The film was financed by Jewish interests, including the Treblinka Museum and Polish authorities, and was supported by the chief rabbi of Poland.
The prevalent proof of the existence of homicidal gas chambers at Treblinka was offered in the form of several tiles which were uncovered. Colls stated in the documentary that the tiles reminded her of the Star of David that survivors said they saw as they entered the building. The claims that 1), a Star of David is on the tile and 2), that the star would have been visible to prisoners are both provably false.
Referring to the image below, it is immediately apparent that the “Star of David” is not very similar to the actual Star of David. Secondly, the viewer will notice several rows of round bumps on the tile. These bumps are placed on the bottom of the tile for cementing purposes, not on the top, and therefore the “Star of David” would never have been visible to anyone. It is the underside of the tile that is shown in video.
The untruths regarding the tiles that were presented by Colls’ team and the Smithsonian were quickly exposed by revisionists. Adding to the embarrassment of the “forensic archeologist” and the Smithsonian Institute is an article, titled Smithsonian Red-Faced after “Treblinka Star of David Tiles” Shown to be Not Jewish At All. From the article:
“Now for the first time, Caroline and her team have hard evidence confirming the existence of the gas chambers,” the narrator adds.
Unfortunately for the Smithsonian, Colls and Schute, the “Star of David” to which they refer is nothing of the sort.
Firstly, the symbol—a six pointed solid star, with a dot in its center, surrounded by a circle, and with a clear “D” letter to its right, is imprinted on the back of the tile—which means that wherever it would have been placed, the symbol would have been cemented onto the floor, and would not have been visible.
This makes Colls’s claim that the symbol was there to “make people think they were going somewhere safe” complete nonsense.
For a complete breakdown of the hoax perpetrated by Caroline Sturdy Colls and the Smithsonian Institute, see the documentary, The Treblinka Archaeology Hoax, by Eric Hunt and the Holocaust Hoax Museum.