Purim Fest 1962
by Douglas Mercer
The very name rouses Jews to the very heights of imagination and swells them with pride, kindles in their minds images of White corpses strewn on desolate fields, White men, women, and children starved or with their heads bashed in — a dream of Amalek vanquished. An intrepid Jewess infiltrates the enemy and saves the day, degrading her dignity for the good of the Tribe. Revenge fantasies and genocidal fury are Jew specialties, especially since people started asking questions about why they went so meekly to the showers, there to be wafted up to Yahweh in puffs of smoke.
That’s a question which really rankles them.
The showers were really de-lousing centers but the question still rankles. Seeing all those pictures of Jews getting on trains and not opening fire haunts their imaginations. Or maybe, the question doesn’t really rankle them — but they want you to think it does.
In the book The Avengers, the Jew author shows Jews after the war tooling around Germany killing “Nazis” left and right in an orgy of revenge. It’s Purim Fest all the time in this book. A hail of murder “repairs the world.” It was Inglorious Basterds before its time.
Soon Steven Spielberg will splash some ghetto girls up on the silver screen in his forthcoming The Light of Days. This piece of trash will show some plucky Jewesses raising Cain in Warsaw and giving those bad “Nazis” fits. You can sure he’ll imbue it with lots of fictional drama, some close calls, some poignant tableaux, some tearful plot points — and some Big Notions for the White man to ponder with guilt. And you can also be sure he’ll magnify out of all proportion what these females really did.
It starts out as a quotidian event and it ends up as high drama starring icons that all the world will remember.
Remember that little kid in red?
The Jews love the world to see them as the underdog, the mouse that roared, the little kid in red — and when they can retail some tales of “heroism under fire” and “winning out against all odds” it fits the image that they vend of themselves. Always on the defensive, always under attack, but with the courage and fortitude born of their long history of persecution (as they never tire of saying). And when, with cunning and deceit, they can turn the tables on the Goliaths of this world, they’ll take their revenge in cold blood. But of course they do it for “moral reasons,” and want the world to approve and watch in awe.
It’s all fiction.
Jews are the most powerful and bloodiest predators of all time, but when they crank up the vast machinery of their media monopoly, they’ll have the world believing they’re usually cowering in the attic.
Which is why Purim means so much to them.
The Jewish festival of Purim celebrates the salvation of the Jews from the tyrant Haman, who planned to exterminate them. Like many of the stories Jews tell themselves about their history and peoplehood, however, this one has some truth-related issues. The main one is that there is no evidence Haman ever existed, much less that he planned to persecute or exterminate the Jews. It appears to be a completely made up story, possibly adapted from earlier Oriental fables.
For Jews, history is not so much a fable agreed upon — but rather a fable they weaponize with their media, and then beat the world over the head with it.
Purim is a celebration of genocide, pure and simple. Perhaps that is why for so long it was so obscure. It may not be best to advertise that you want to kill people. For some reason — overconfidence in their near-total power? — they’re making it a household word in recent decades.
Back in 2004, in a biography of Adolf Eichmann, the author said Eichmann knew about Purim and added that it was no mean feat for an upper management National Socialist to know about such an obscure holiday. It’s never been obscure for the Jews, though — as it outlines their MO. A foreign leader thinks the Jews are being subversive, and the cunning Esther uses her charms and wiles to overthrow him and kill his people. “Nazis” are overrunning Europe, so they kill a man in Switzerland, kill a man in Paris. These latter tales were tales of lone gunmen, but still they are celebrations of the plucky Jew taking matters into his own hands as a martyr.
For the glory of the Tribe.
It’s a revenge fantasy writ large.
Which is why Julius Streicher called the farcical Nuremberg trials “Purim Fest 1946.”
And now PBS has joined the fray with their own “historical fiction.” It’s historical fiction based on another historical fiction which is (loosely, very loosely) based on “actual events.” Meaning it’s outright fiction.
Why, it’s Purim all over again. How about that?
* * *
Jews excel at fiction; the truth is harder for them. They have their tall tales that they repeat again and again, all about the lampshades and the soap, and they have such contempt for us that they think soon all of us will believe them. And sadly (and dangerously), too many of us do.
It sounds like it could be the story of Purim. A Jewish woman uses her sex appeal to enter the upper reaches of a group whose members are hell-bent on destroying the Jews.
In an act of pure crypsis, she pretends to be an Aryan. It’s a fable and tale of woe and a fairy tale all mixed into one. The plucky Jewess doing derring-do. She comes from a traditional Jewish family in Manchester; her parents want her to quit her hairdressing job and marry the nice Jewish boy they have lined up for her. But instead she follows a dashing vigilante Jew to London where she gets mixed up in plans to infiltrate British fascists, straining credulity all the way. And wouldn’t you know it, the next thing you know she’s having sex with Colin Jordan. You see, this small-town girl found out that there were “Nazis” in the big city and so she gave it all up for the Tribe. And this Shoah business being show business, she got right to the center of the action. Right into the bed of the big chief “Evil Nazi.”
A modern day Esther.
But for all the reality of it, she might as well be driving around with her friends in a van solving mysteries.
It’s not how it happened in real life. The group the newly blonde Jew joins was (in real life) the antifa of its day, trying by mostly illegal means to take down a “resurgent fascism” in modern-day London (circa 1962). Safe to say, it was a group of misfits and losers. But they are transmogrified on the screen to handsome, glamorous, and courageous fighters.
In reality, these Jew partisans were nothing but cowardly gangsters with behind-the-scenes “fixers” protecting them — while they, making sure the odds were hundreds to one in their favor, beat and intimidated Britons who were trying to free their people.
But instead of Esther with King Ahasuerus, imagine her becoming romantically involved with Haman himself — and instead of the Persian Empire, it’s the British Empire, circa 1962.
You’ll have to imagine, because none of it ever happened.
Ridley Road, a gripping and provocative four-part miniseries debuting on PBS’s Masterpiece on Sunday after airing on the BBC last year, is a fictional story set in the very real world of British neo-Nazis. Led by Colin Jordan, the National Socialist Party enjoyed a postwar resurgence among antisemites and fascist sympathizers in London.
So the evil baddie is Colin Jordan, who once famously said:
“Mr. John Bull of 1962 still calls himself a British subject, but he is virtually a subject of the Jews, as can be seen by looking at just a few of the facts of the everyday life of the average man. His home is probably either rented from one of the Jewish property syndicates or being bought through one of the Jewish mortgage companies.”
He’s the one that’s going to succumb to Esther’s charms. It will be spy vs. spy and it will be John LeCarre meets Elie Wiesel, suave secret agents meet lice. The beautiful and glamorous Jew Lady goes underground and does her Tribe a good turn fighting fascism. Naturally, on the way to the final eclipse of the White race there are manly hair-raising experiences, many close calls, and drama to keep the heart racing. This is entertainment, after all. Entertainment which will “repair the world” almost as well as beating White people bloody.
The PBS Masterpiece miniseries Ridley Road is a gorgeous period drama that tells the dark story of when fascism reemerged in 1960s London under British neo-Nazi Colin Jordan. The show focuses on Jordan’s National Socialist Movement (NSM), which was openly antisemitic and targeted Jewish institutions, and the resistance to NSM, led by British Jews in an organization called the 62 Group.
Group 62 came out of Group 43; they were the purple-haired losers of their day.
So it’s one of those “loosely based” things. Which means that they’ll take more than poetic license, they’ll rearrange and fabricate out of whole cloth. They’ll have a beautiful heroine with her handsome heroes rather than some world-class-ugly Jews, and they’ll doll her up and make it all seem so glamorous. You know that the original bunch were a bunch of sullen-eyed thugs who ganged up on patriots.
After the local Jewish community felt stymied by their efforts to reach out to law enforcement, a group of committed Jews formed the underground antifascist 62 Group, which sent undercover members to infiltrate the neo-Nazis and shriek about Zionist scum while sniffing out their plans to attack local synagogues and funerals.
This is little more than driving around in van with your nerdie friends and trying to solve mysteries.
Who better than a self-important Jew to scream “Zionist scum”? Who better to yell “Zionist scum” than a Jew with a dye job? That’ll teach them. Oh the drama of seeing the Jews yell “Jewish scum.” What won’t these fictional characters do for their people? The miniseries is “loosely based” on a novel that was “loosely based” on events back in 1962, so by the time the average viewer sees it, reality has been laundered and laundered again and again until nothing is left but what they want you to see and judge and think.
“Courageous Jews battling against pure evil at great danger to themselves”; it’s their favorite story line of all, they are heroes, always in mortal danger — as they will be the first to tell you, and tell you over and over. You can be sure they will be valiant and brave and do death-defying deeds.
The series imagines how one such undercover operation might have gone by inventing the character Vivien Epstein….
Imagines, might have gone, invent. Sounds like what they did with “the Holocaust.” The National Socialists “could have felt” stymied by not being able to be rid of the Jews through emigration; we “imagine” that in that case they “might have” wanted to dump them in Palestine, Poland, Madagascar, or Russia; but we can “invent” that when that didn’t work out they decided on high-speed mass gassing and magic crematoria with 1,000 times the possible capacity. It’s just “plausible” enough, don’t you know. The Jews figure that. considering the way they hold the world in such terror, no one will be asking too many questions. Who, after all, wants to get on the wrong side of the Jews?
You know that when Phillip Roth wanted to slander Charles Lindbergh, he had to resort to fiction. The truth would not have worked.
The series imagines how one such undercover operation might have gone by inventing the character Vivien Epstein (Agnes O’Casey) a Jewish hairdresser who joins the 62 Group, dying her hair blond to pose as an Aryan and attract the infatuations of Jordan (Rory Kinnear), who marches his militia through London holding signs like “Free Britain from Jewish Control” and “Keep Britain White, Stop Jewish Immigration.
By 1962, sensible slogans had become cause for uproar — these are statements that not too many years before would have nearly gone without saying. By 1962, though, a team of budding Jewish terrorists attacking anyone who said such things could get away with violence and even laugh about it publicly for sixty years.
So important and consequential do they deem their thuggery, that sixty years after the fact they take it and turn it into a “key event in history,” write a novel about it, and then turn it into a PBS miniseries that thence is transfered into the thoroughly washed brains of the “educated” liberal elite.
Nothing thrills like fascism vanquished; nothing exhilarates like Amalek dead.
Yes sir, it’s their favorite story. Because Jews want to depict anyone who tells truth about them as the ultimate villain, and they’ll manipulate the record to do so. By the time they’re done, the layers of self-referential “reviews” are fifteen layers deep and their fiction is deemed fact.
Initially just trying to ensure the safety of her lover, who is also posing undercover within the National Socialists, Vivien quickly realizes that her feminine intuition gives her greater access into Jordan’s schemes, and she becomes a top courier of information to the local rabbi and 62 Group leaders, all while trying not to blow her cover.
Intrigue in the synagogue, intrigue in the underground, these two-bit partisans have “couriers” to carry off their spy craft; why, you’ll be biting your nails at the end of each episode, and waiting with bated breath for the next one. Perhaps you’ll binge watch to get your glut of Jew.
Based on the 2014 novel by Jo Bloom, Ridley Road is named after the real London street uneasily shared at the time by Jews and fascists alike, along with many other cultures equally derided by the National Socialists. It was adapted for TV by writer-director-actress Sarah Soleimani, a British Persian Jew and the daughter of an Orthodox marcher in the Anti-Nazi League who was himself the victim of antisemitism in 1960s London.
The street is real but that’s about where it ends. As for this Orthodox Marcher who was the victim of anti-Semitism, well, everyone has a story. And as far as his daughter goes, the “British Persian Jew”: If you need three words to describe what you are, that’s two too many — “Jew” will do fine. I’m sure that, along with her Jew mother’s milk, she imbibed harrowing stories from her Orthodox Marcher father about how some White British folks once said “Jews go home” or something like that. Now she gets to embed her hatred for White people into drama seen by millions of White people. The seeds having been sown, now the poison grows.
While the throughline of the story is fictional…
Got it, it never happened like this at all. The bare bones of the story sort of happened, some Jews got away with breaking the law and hurting people who told the truth, but the whole worked-up narrative of the series — it never happened, not even close. History, no. Jewish revenge fantasy, yes.
While the throughline of the story is fictional, its casting is all based on real people and events. The show’s instigating incident is a 1962 Nazi rally the National Socialists held in London’s Trafalgar Square. A pivotal Nazi attack on a yeshiva that leaves a Jewish boy dead is also based on a real event, and there are appearances by George Lincoln Rockwell, who was the real leader of the American Nazi Party, as well as by Françoise Dior — the French fascist and member of the haute-couture family who was Jordan’s real-life wife and true believer in the movement.
Now there is some real history that would be interesting, the history of this movement for truth and racial renaissance, and its connection to Rockwell — someone really should write a book about that, instead of lionizing the filthy parasite thugs and criminals who opposed that movement.
“It was then, at the eleventh hour, that the revolt began. Down the streets came the National Socialists fighting for the survival and revival of their race and nation under the leadership of Adolf Hitler. He awakened Germany from slumber, aroused the people from their apathy, fired them with the will to struggle to smash the old system and build Germany anew.”
So said Colin Jordan — how clean and pure this sounds after the deceit and fraud of Ridley Road. Safe to say, no Jewess bedded down with Colin Jordan. And without that fantasy hook, this goes nowhere; it’s the central point of the show. If a filmmaker showed us the real bunch of ugly antifa misfits whose relationship to Jordan was as that of a lamprey to a Titan, safe to say it would never get past the Jewish censors. Even if they did scream “Zionist scum.”
Watching this dross, one is forcibly reminded that everything Jews tell us about Jews — their intelligence, their talents, their suffering, their victimhood, their six million — is grossly inflated.
Though the espionage in the series is gripping, what’s most striking about Ridley Road is how it depicts even the casual antisemitism among the non-Nazis of the era. Even before she goes undercover, Vivien is hiding her Star of David necklace from rowdy youths on the train in one scene, and none of the Jews trust the local police to root out the bad guys. In a climactic chase scene, Vivian begs ordinary Londoners to help her flee from the Nazis — and in a chilling reminder of what the norm was during the war, they all refuse.
Needing help fleeing from the “Nazis”? In wartime London? In the hard light of reality, even in the faint light of what’s left of common sense, this tripe melts away like an unrefrigerated popsicle. It’s all made up, just like that “Holocaust” miniseries, just like innumerable bits of Jewish propaganda which are still vended to gullible Whites as Yahweh’s honest truths.
We also see the general ease with which economically displaced white people could blame Jews and immigrants for their misfortunes — a lesson that has, sadly, proven timeless. For example, Jordan blames the demise of locally owned grocery stores on the rise of Jewish-owned national chains like Tesco, and also rants about his belief that Jews are behind the rise of communism.
Jews are economic predators? And Jews are behind Communism? Why, they say, that is so obviously outlandish it simply cannot be. They think it sufficient to repeat the charges to show how crazy they are, when in fact they are as true as the plain light of day.
Yet despite the darkness at play, it’s also exciting to see a Jewish community take such an active role in not just condemning but actually fighting (sometimes physically) those who would wish to destroy it.
Just wait until Spielberg sinks his canines into that one.
“It doesn’t matter whether you are a non-racist or non-fascist,” Vivien’s uncle, the head of the 62 Group, tells her at one point when she is considering bailing on her undercover work. “The only thing that matters is that you’re anti fascist, and an anti-fascist fights!”
She’s just a floozie with an Uzi! She’s just a girlie with a gun!
She leaves to find some Jewish relatives in London, rents a room with a non-Jewish East End resident Nettie Jones, and gets a job as a hairdresser in Soho. Far-right fascism is on the rise. One of her East End relatives, Soly Malinovsky, is a London …cab driver who heads a Jewish anti-fascist group. He asks Vivien to get involved. She agrees to infiltrate the organization of Colin Jordan, the neo-Nazi leader of the East End thugs. Jordan’s organization (where Jack is already undercover) is based in the country mansion of a far-right English aristocrat.
That’s the basic plot of this tripe. Jews outwit Whites, vanquish them. It’s their favorite folk tale.
“Hair-raising”? — when the truth of the matter is that the Jewish side was able to unleash violence and largely be protected from legal consequences, while National Socialists were all but outlawed, and hated by the Establishment. The Jews have turned dishonest self-dramatization into an art form.
Vivien’s parents, who were devastated at her abandonment of the family home and the arranged betrothal, are now very proud of her anti-fascist work. After a tearful family reunion, Vivien flies off to Tel Aviv with Jack.
Cue the orchestral climax. At home in the real homeland. What other place can there be for a fighting anti-fascist?
* * *
The main claim to fame of this so-called 62 Group was instigating a riot on the occasion of Colin Jordan’s famous Trafalgar Square speech of 1 July, 1962.
On the evidence of the senior police officer on duty, a gang of about 300 Jews and Communists stationed themselves immediately in front of the platform and made it clear before the meeting began that it was their intention to try and prevent any meeting being held. They continually attempted to charge through the police cordon and assault the platform, and eventually, at the point where the below extract terminates, the police closed the meeting because of their disturbance.
Sounds like Charlottesville avant la lettre. Cause a ruckus, get the cops and all of officialdom to intervene, and don’t let the White man speak. A time-honored Jewish tactic.
You can easily see whey they didn’t want him to speak. He said of multiracialism:
“The Jews want it because the breakdown of racial identity and racial pride, the encouragement of a mongrel population, is essential for the long-term security of their overlordship. If Britain’s Anglo-Saxon stock remains, there is always the danger of an awakening and revolt against the Jewish government of Britain. If, however, that stock can be undermined, diluted, destroyed, then with it will be destroyed the consciousness of race which brings awareness of the Jew, and holds the danger of a revolt against their domination.”
That is, Amalek must die.
The protagonist of the show, Vivian Epstein (Agnes O’Casey), is not directly based on a real person — though she is the main character of Jo Bloom’s 2014 novel Ridley Road that the show is adapted from. Vivian’s uncle, 62 Group leader Soly Malinovsky (Eddie Marsan), and boyfriend, Jack Morris (Tom Varey), who goes undercover into the NSM, are also not specific depictions of historical figures.
She’s not real — but she is fake! The whole crew is not real; they say so right there. They don’t even have the pretense of a simulacrum of truth, they just tear right into the fabrication and make it up out of whole cloth.
However, Sol and Jack are broadly based on Jews who decided to fight back against the neo-Nazi movement in Britain.
“Broadly based” means there was a guy and they took that guy and they wrote a novel and got some screenwriters and turned that guy into a wholly different guy, and projected their fantasy of glamor and heroism and Amalek dead onto the screen.
Bloom specifically drew on British Jewish history for her novel, and the story was sparked by meeting an elderly British Jewish man. The basic history is of the real 62 Group but it is not the complete story. In fact, one of the group members told a UK publication about how the show and the novel exaggerated and changed key details.
“Key details,” meaning the whole thing.
Yes, when even the Communist Jew who was there says you’re over-glorifying the Communist Jews, that’s quite the exaggeration.
With the Jew, what you see is never what you get, and what you see is never what is real. They’ll take words and images and use them as a screen to separate you from what is true; they’ll use propaganda and lies to implant utterly false visions and pass them off as real; they’ll make you think the dark of night is really the light of day. When the fairy dust settles, they figure few will be able to tell the difference. And they’ll be ten or a hundred lies ahead of you by then.
* * *
I think Ridley Road is an important story to tell at this moment in time, because there’s so much race hate and extremism that’s happening. This story is a reminder of what happens when you allow racism, particularly antisemitism, to flourish.
There’s your real motivation for this dressed-up garbage. There is “hate” now (they say) and “extremism” now (they say), so they reach back in time for a barely relevant story, twist it around, get semi-attractive actors and actresses, dye their hair, slander great men, and, presto change-o, it’s “history” on the half shell.
As they see it, the Jews have been wronged and wronged over and over; and bloody revenge is on their minds — and will be forever:
Wherever the murderer may hide away
There shall we be night and day
Our eyes will be fixed on him
As the sunflower follows the sun
In his innermost rooms we are
As the shadow that clings to his steps
We are in the poison dormant
In the slender hollow needle
The original 43 Group (which inspired the 62 Group, which inspired Ridley Road) apparently met at Maccabi House in London. According to legend, the Maccabees were Jewish rebel warriors, named after their leader who some call “The Hammer,” who took up arms and killed all the Gentiles who stood in their way.
* * *
And so PBS shows its Jew-crafted “fascism thriller,” to enthrall the millions and implant in them the message that the Jew must live, the White man must not live, and everyone must perish who stands against the Holy Ones. In their minds it will always be Jewish Davids against White Goliaths, even as they bring the world to its knees.
In the end, one way or another, the hammer must come down.
* * *