American Fascism, part 2

by Douglas Mercer

KEN BURNS, mind-bender for hire, makes sure his Jewish employers, and the elite managers of the Jews’ plantation between Canada and Mexico who actually take PBS seriously, know he is right on the case of the two “greatest” recent “attacks” on their fake democracy:

“For a while, that present didn’t include January 6 because we were so far in editing before January 6 happened. We were through Charlottesville though.”

Ah, the stations of the Communist cross. When they saw those tiki torches and heard about how the Jews will not replace us, the Jews making this film with Burns must have felt holy fire breathing down their necks, thinking they were “called” to do this. They could see the image of Adolf Hitler rise from the grave and suddenly American history made sense to them: citizenship given only to White people, Asians excluded, Jim Crow, and immigration restriction. White Americans constantly attempting to separate themselves from the other races; but he other races always flooding in in “wave after wave”; the huddled masses, the tired and the poor, the stranger — that was the real America they saw. White people no longer defending themselves, or even thinking to — that was what they wanted.

“As you see, the first act of our episode is to establish American antecedents and precedents for treatment of indigenous peoples, for racism, nativism, anti-immigrant sentiment and, of course, anti-Semitism.”

Of course.

“To see the ways in which American society was primed to pass anti-immigration laws and to be susceptible to the pseudo-science of eugenics promoted by the left and the right. You begin to see that these are not just sui generis impulses in Germany, but in fact that Germany studies our Jim Crow exclusionary laws to base the first anti-Jewish laws that they pass.”

See, for example:

Heinrich Krieger was a German lawyer instrumental in providing knowledge of American race law to Nazi policy-makers. As an exchange student at the University Of Arkansas Law School in 1933–34, he engaged in an in-depth examination of American Indian Law and racial law regarding blacks in the American South. Some of his research later served as the basis for the Nuremberg Laws, the centerpiece anti-Jewish legislation of the early Nazi regime.

Krieger was an inverse Gunnar Myrdal; he studied and essentially mined our law for the good of the Reich. He came to the conclusion that there was a tension between the official dogma of “all men are equal” (found in the “equal protection” clause of the illegally passed 14th Amendment) and the clear belief of the folk that this was, and was to remain, a White country. Krieger fretted that one day Americans would “live up” to their so-called ideals and they would never live it down. We now know that by “living up” to those “ideals” it may not be possible to live. In the book that he wrote about his research in America, Race Law in the American South, he was heartily cheered by Americans’ realism and sound common sense in these matters; the way they, in the name of the health of their people, ignored the imposed constitutional amendments that declared for Negro “equality.” His main criticism of Americans was that they did not apply their race laws to the Jews as well as to the Blacks. But he hoped that one day they might.

Burns said:

“Then as we emerge from our narrative into the present that current has only gotten stronger. The flow of anti-Semitism has only increased in size. The proto-fascist — or what Biden calls semi-fascist — tendencies have only increased lately, and have been given voice, mainly because permission was given as never before in the history of the United States by someone in the highest office of the land.”

They are blind; they have no idea what an American fascism would look like. Complete and total shutdowns of immigration from race aliens would be just the start of it. Then an end to a rights-based system of law and in its place the law of the community, wherein criminal law would be meant to protect the race, and not protect the criminal; wherein alien minorities would not be protected classes, but rather the majority would be protected from them; wherein criminal sex deviants would dare not show their faces (or anything else, blessedly) in public. Our nation would be a place where the glories of American history would be taught in schools; where White American heroes would be revered, not reviled; where Jewish international finance would not hold sway; where Jews would not be in education, finance, or the media — or anywhere at all; American fascism would be an illiberal place where the rightful owners would once again own the country; where the White majority was in full control. This is the dream that will never die until it is no longer a dream.

Safe to say, it’s their nightmare.

But a guy with Jewish grandkids telling us how Blacks built this country is not American fascism.

Obviously.

“We’ve had racist presidents, but we’ve never had them express the kind of racism and anti-Semitism so profoundly and so loudly, and with the ability to carry so far and wide, which is having terrible consequences.”

Trump was a sheep in wolf’s clothing; if he frightens them, watch how they’ll quiver when the the real thing comes.

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In the spirit of “no mind is fully indoctrinated until it has been dosed with a surfeit of Holocaust lies,” the folks at Ken Burns, Inc. and Putrid Broadcast Services (in conjunction with the Big American Holocaust Museum) seek to consolidate the gains made by the show by memorializing its fabrications and shoving it down the throats of children. Follow-up, as is said, is key.

The broadcast of The US and the Holocaust will be accompanied by educational materials for middle and high school classrooms, highlighting recent research and perspectives. The materials, which were prepared by PBS Learning Media in collaboration with the United States Holocaust Memorial Museum and other leading Holocaust education experts, are available at the Ken Burns in the Classroom site.

Ken Burns should have no place in an American classroom. The fact that he does is yet one more reason to home school your children.

These materials include clips from the film as well as other resources that connect to its core themes, such as immigration policy, racism, isolationism, discrimination, and more. International release will be explored along with translation into Spanish and other languages.

You see it’s not even so much about the Holocaust, it’s about the “White racism” they say is rampant today. I for one don’t see it, but to them even the barest hint is enough to fire up all the alarms and call in the Fire Chief in the form of round-the-clock unbridled brainwashing of captive children in public classrooms. And notice how they slipped in isolationism on that list; they know that minding one’s own business is the greatest threat of all to the Jew; if America doesn’t have its ever-vigilant forward posture in the world, constantly looking out for the interests of Israel and her parasites everywhere, and drop bombs on all occasions whenever Jews decide certain persons must be killed, why, what would happen to tiny and defenseless and innocent Israel?

The filmmakers hope such a message will have modern resonance, especially as it arrives in a very different world from the one in which work on it began: amid a growing climate of authoritarian governments, right-wing extremism, Holocaust denialism, and fierce debates over how to frame American history in the classroom.

They’re doing a lot more than hoping — that it will have a modern resonance it the whole point. Indeed the whole six hours is a political ad paid for by Jews in this election season, timed to come just after the White Scare and the Resident’s Red Speech about “threats to democracy,” and the rise of that most improbable of things: MAGA fascism.

When it comes to Jews, really, subtlety was never their strong suit.

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What is America? What has it been? What shall it be?

We are America. And America is burning. The Jews are the match, the race aliens they imported are the kindling.

A Jew should never be able to opine on our national character, though that’s never stopped them.

Novick, who’s worked with Burns since 1989 said The US and the Holocaust is in the wheelhouse of the things we’ve been interested in, which is: Who are we as a country? Are we a nation of immigrants? Do we welcome people? Why haven’t we sometimes been more welcoming? What is our identity as a nation? This question of America’s response to the Holocaust gets right into that, and it’s enormously relevant to this day.

The whole tawdry tale of immigration in America is a sad, sorry, and sordid one. There were fake pogroms in Russia, but by means of Jew-owned worldwide media small local and minor disturbances were blown up by many orders of magnitude into major “atrocities.” Then a Jew in America who we mistakenly let in wrote a minor and horrible poem which went unnoticed for decades but was destined to have a fabulous career — fabulous, that is, if you’re a Jew Hell-bent on destroying America. This poem was written to celebrate (and facilitate) the stampede in which millions of Jews were brought to these sacred shores under the cover of words like Pole and Galician and Russian and Lithuanian. They literally emptied entire stinking ghettos.

One of the “iconic” images to come out of Burns’ atrocity is a picture of three Jews on a ship in New York Harbor gazing longingly at the Statue of Liberty.

And so the plague was introduced to America.

Turn on the Jew tube and you can see the descendants of this nasty tribe to this very day.

As for that amateurish and abominable poem, it was existing in well-deserved obscurity inside the statue in an out of the way place. Then an American socialite with way too much time on her hands forked over some money to have the poem placed at the base of the statue. Then when American Jews were clamoring for yet more Jews to be let in (1938), they started a propaganda campaign centered on the poem. After the war the Jewish “displaced person” become an icon and avatar of “humanity.” A Jew ghost-wrote A Nation of Immigrants for John Kennedy, Kennedy was assassinated, and they used the “for his legacy” excuse to push the passage of America’s Death Warrant in 1965; and ever since the poem has been “Holy Writ” to the Establishment. And the Statue of Liberty has been a beacon of surrender.

“FDR could have been focused on this humanitarian stuff, and in retrospect, it seems to us, why didn’t he focus more attention on this? But he’s spending all his political capital trying to revoke the neutrality act! And if he hadn’t been able to revoke the neutrality act, we might feel a lot different today. We might be speaking German.”

He went there. He actually said it: “We might be speaking German.” In fact, there was never any reason we would have been speaking German. Had the Allies “lost” the war, it might have been the two hemispheres facing off against each other in a long stalemate. Alternately, since Hitler was a great admirer of the British Empire and of America with its modern technology and methods, there’s no reason on Earth the three nations could not have formed a White Alliance to rule the world. Either way we always would have been speaking our native language: English. Though I must say I’ve never understood what was so bad about speaking German.

* * *

Of course not everyone was as sanguine about inundating our country with foreigners.

“If I had my way,” said Senator Robert Reynolds of North Carolina at the time, “I would today build a wall about the United States so high and so secure that not a single alien or foreign refugee from any country upon the face of this Earth could possibly scale or ascend it.”

We could use a few more like him right now.

Robert Taft was far-seeing when he said before the war that Communism was a much greater threat to America than was German fascism. In fact, the latter was no threat to us at all.

We could use a few more like him right now.

But Burns wants to rub our faces in our “evil,” though I’ve never been able to figure out what is so evil about it.

The American focus means the film takes 30 minutes to arrive in Germany. The timeline begins not with Adolf Hitler’s rise to power but with the Johnson-Reed Act of 1924, an American law that set national quotas on all immigrants to the country and would come to factor heavily into US refugee policy during Europe’s mass expulsion of Jews.

Immigration restriction twenty years before the fact was another Shoah before there ever was a Shoah. And there never was a Shoah at all. With these Jews, it’s hard at time to keep thing straight.

The filmmakers take a wide sweep in establishing the racist political climate of the time, discussing the Chinese Exclusion Act of the 19th century; Theodore Roosevelt’s love of eugenics; Henry Ford’s public campaign of antisemitism; and Jim Crow laws, which rendered Black people second-class citizens and which Hitler would eventually draw from when crafting his own race laws.

The film boils down to this moral pidgin: America Racist. Nazis Racist. Jews Good.

The film was an especially personal journey for Botstein and Novick, who are both Jewish. Botstein’s father (Bard College president Leon Botstein) was born in Switzerland in 1946, to two Polish Jews who had met in medical school in Zurich and later came to the United States as refugees. She is a first-generation American and said making the film helped her better understand her family’s survival.

So it’s two Jews at the top using Shabbos goy Burns to run cover for them. If you smell a rat it’s because the rat’s carcass stinks to high heaven.

“My grandmother used to say to me: If someone shook you in the middle of the night, what would you say? Are you an American? Are you a Jew?” Bostein said.

You’re a Jew. And a filthy one at that. You’re an American in name only.

The series presents extensive footage of corpses, juxtaposing those heaps with the Statue of Liberty — a monument that becomes the McGuffin for the group of Jewish refugees the documentary discusses over its six-hour stretch.

Piles of stinking corpses and the Statue of Liberty side by side; as is said, subtlety is not the Jews’ strong suit. Of course that statue was an ode to freedom when we received it, not an invitation to darken our doors with race trash from the world over. But once the icon is hijacked it can be turned into anything they want: more than a promise, but a demand that we let the rabble of the world in; if we don’t “live up” to that, the result is corpses piled high — and it’s all on our head, on our consciences. This is so maudlin as to defy belief, but when it hits the screens secular urban liberal insects will nod their heads gravely and say: Why, yes, that’s right. We should have let them in. And so we should let in the Haitians and the Ghanans and the Guatemalans too and all of their cousins by the dozens. Anything else will be another Shoah.

Because, in the end, that’s what Jews do: They seek to replace us. Seek to replace us for their own good. It’s why they put race science in the dock at Nuremberg; it’s why this film was made; it’s to ensure that never again will the White man regain his fighting spirit.

In his book, Hitler praised Reed-Johnson, saw it as part of the great movement of White world supremacy; that much the filmmakers have right. It was born on a bison hunt and spread around the White world, a world that was waking up, waking up to the threats that it faces. And when Hitler took up the White man’s cudgel it, was on the cusp of total victory — and when Ken Burns and his Jew collaborators think of that, it instills raw fear into them. And so threadbare is their argument, so poorly constructed and so illegitimate, it’s as if they know it is in fact always 1930 and it’s always Germany, and the world will always rerun this same scenario — but they have the sneaking fear that this time we will win.

Finis.

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