“The so-called 'Left-Hand Path' - that of Kaulas, Siddhas and Viras - combines the... Tantric worldview with a doctrine of the Ɯbermensch which would put Nietzsche to shame... The Vira - which is to say: the 'heroic' man of Tantrism - seeks to sever all bonds, to overcome all duality between good and evil, honor and shame, virtue and guilt. Tantrism is the supreme path of the absolute absence of law - of shvecchacarÄ«, a word meaning 'he whose law is his own will'." ― Julius Evola, The Path of Cinnabar.

“It is necessary to have “watchers” at hand who will bear witness to the values of Tradition in ever more uncompromising and firm ways, as the anti-traditional forces grow in strength. Even though these values cannot be achieved, it does not mean that they amount to mere “ideas.” These are measures…. Let people of our time talk about these things with condescension as if they were anachronistic and anti-historical; we know that this is an alibi for their defeat. Let us leave modern men to their “truths” and let us only be concerned about one thing: to keep standing amid a world of ruins.” ― Julius Evola, Revolt Against the Modern World: Politics, Religion, and Social Order in the Kali Yuga.

“We are born into this time and must bravely follow the path to the destined end. There is no other way. Our duty is to hold on to the lost position, without hope, without rescue, like that Roman soldier whose bones were found in front of a door in Pompeii, who died at his post during the eruption of Vesuvius because someone forgot to relieve him. That is greatness. That is what it means to be a thoroughbred. The honorable end is the one that can not be taken from a man.” ― Oswald Spengler, Man and Technics: A Contribution to a Philosophy of Life.

Thursday, September 30, 2010

It Happened Here (1966)

It Happened Here is a 1966 British film, set in an alternate history in which the German army successfully occupies the United Kingdom during World War II and sets up a collaborationist government apparently run by sir Oswald Mosley and a civilian group 'the immediate action organisation'. It is interesting for allot of reasons, but is also genuinely a fairly decent film. The message of the film is antifascist, but it is lost in the overall neutrality and lack of moral dualism with which the film is presented.

The genius who made this film was only eighteen years old when he started. The film took the highly unusual step of actually getting elderly fascists to play themselves in addition to members of Colin Jordan's National Socialist movement whose motives appear to have been confused.



The complete film, in 10 parts, here: http://www.youtube.com/profile?user=IronYouthRadio#g/u

Wednesday, September 22, 2010

Necrofascist - The Festival


YouTube - Necrofascist - The Festival

The Noble Savage: Genocide Wiped Out Native American Population : Discovery News

Of course they were just gentle innocent tribes living in tune with nature until the Europeans came!

Genocide Wiped Out Native American Population
Physical traces of ethnic cleansing that took place in the early 800s suggest the massacre was an inside job.
By Jennifer Viegas Mon Sep 20, 2010 07:00 AM ET

Crushed leg bones, battered skulls and other mutilated human remains are likely all that's left of a Native American population destroyed by genocide that took place circa 800 A.D., suggests a new study.

The paper, accepted for publication in the Journal of Anthropological Archaeology, describes the single largest deposit to date of mutilated and processed human remains in the American Southwest.

The entire assemblage comprises 14,882 human skeletal fragments, as well as the mutilated remains of dogs and other animals killed at the massacre site -- Sacred Ridge, southwest of Durango, Colo.

Based on the archaeological findings, which include two-headed axes that tested positive for human blood, co-authors Jason Chuipka and James Potter believe the genocide occurred as a result of conflict between different Anasazi Ancestral Puebloan ethnic groups.

"It was entirely an inside job," Chuipka, an archaeologist with Woods Canyon Archaeological Consultants, told Discovery News.

"The type of event at Sacred Ridge is on the far end of the conflict spectrum where social relations completely melt down," he added, mentioning that the Sacred Ridge "occupants were targeted to take the blame."

Chuipka and Potter analyzed objects excavated at Sacred Ridge, which was a multiple habitation site of 22 pit structures, some of which may have operated as communal ritual facilities for a population that extended beyond the immediate site inhabitants. This suggests the residents at one point exerted some social control in the area.

The unearthed bones and artifacts indicate that when the violence took place, men, women and children were tortured, disemboweled, killed and often hacked to bits. In some cases, heads, hands and feet appear to have been removed as trophies for the killers. The attackers then removed belongings out of the structures and set the roofs on fire.

"I think that the major event was preceded by social stress within the community that may have been exacerbated by a period of drought," Chuipka said. "The scale of the mutilations suggests that it was planned and organized in the preceding days or weeks, and that the violence took place in a relatively short period of time -- a few days."

"All evidence points to a rapid event, which is only possible with coordination and complicity within the community," he added.

The researchers ruled out other possible explanations, such as starvation cannibalism, traditional preparation of the deceased, and even individuals targeted for practicing witchcraft. Cannibalism, for example, usually involves bone marrow processing. Witch roundups tend to affect a relatively small number of victims.

In this case, a large group of people was dispatched at one time.

For a separate study, John McClelland, lab manager of osteology at Arizona State Museum, analyzed teeth from human remains within the Ridges Basin region, including Sacred Ridge.

He found that the population at Sacred Ridge in the early 800s was distinct from others in the area.

"The individuals at Sacred Ridge whose remains were disarticulated and processed were not a random selection from among the overall population of Ridges Basin," McClelland determined. "In addition to the biological differences, they appear to have had a somewhat different diet and may have experienced a higher level of juvenile growth disruption."

At least two other separate studies have come to similar conclusions, suggesting the genocide victims at Sacred Ridge belonged to an ethnic group that was different from that of other nearby populations.

Given basic established patterns from more recent ethnic cleansing in Yugoslavia, Iraq and Rwanda, the researchers think political structures that had been keeping ethnic conflict at bay probably broke down at Sacred Ridge.

"What we can learn from Sacred Ridge is that archaeological sites are not simply piles of rock and refuse, but that they were occupied by people that were involved in complex webs of social relations," Chuipka said. "Sacred Ridge is a case where social relations melted down and the solution chosen was absolute and shocking."

Genocide Wiped Out Native American Population : Discovery News

Monday, September 20, 2010

The Eagle of the Holy Roman Empire, c. 1510

The first mention of a double-headed eagle in the West dates from 1250, in a roll of arms of Matthew of Paris for Emperor Frederick II of the Holy Roman Empire. Usually depicted black on a gold background, it replaced the earlier single-headed eagle, and was subsequently adopted in the coats of arms of many German cities and aristocratic families. After the dissolution of the Holy Roman Empire in 1806, the double-headed eagle was retained by the Austrian Empire, and served also as the coat of arms of the German Confederation.
The eagle of the Holy Roman Empire, c. 1510

Source: http://en.wikipedia.org/wiki/Double-headed_eagle

Saturday, September 18, 2010

Gabriele d'Annunzio speaks at the Vittoriale - D'Annunzio filmato recita Dante al Vittoriale


YouTube - Gabriele d'Annunzio speaks at the Vittoriale - D'Annunzio filmato recita Dante al Vittoriale
Il Vate al Vittoriale, scherza, parla e recita dalla Divina Commedia di Dante.
D'Annunzio in his garden at the Vittoriale. He speaks, makes jokes and recites a few lines from Dante's Divine Comedy. Fox Movietone News, restored sound.

Gabriele D'Annunzio e Fiume:

Gabriele d'Annunzio and the Vittoriale (Gardone)


YouTube - Gabriele d'Annunzio and the Vittoriale (Gardone)
Once when Mussolini was questioned about the regular payments Il Duce doled out to writer, womanizer, and daredevil Gabriele d'Annunzio, he's reported to have replied, "When you are saddled with a rotten tooth, you have two possibilities open to you: either you pull out the tooth or else you fill it with gold. With d'Annunzio I have chosen the latter treatment". The dentist and the patient have long disappeared, what remains is the gold tooth, d'Annunzio's country villa, modestly called Vittoriale degli Italiani (The shrine of Italian victories in English). With its grounded battleships and design, Alan Licht wrote that "The Vittoriale is at once the tomb, the Luna Park and the sinister torture chamber of Fascism".
Mission by Rossana Iantorno, Enrica Fantino
Look at this mission also on Check-in Architecture website
http://www.checkinarchitecture.com/mission/203
or on Google Earth
http://www.checkinarchitecture.com/index/earth/mission/203.kml

You're Bound to Look Like a Monkey When You Get Old - Clarance Williams' Novelty Band

Thanks to A.C. for this one:

YouTube - You're Bound to Look Like a Monkey When You Get Old - Clarance Williams' Novelty Band

Wednesday, September 15, 2010

Nico at her most HEROIN GHOULISH

I am a huge Nico fan. This video is fascinating in the macabre sense, but also a great version of one of my favorite songs by her, although I'm partial to her later material, especially when she started playing the Harmonium. (Playing Harmonium is also one of my favorite pastimes).


YouTube - Nico - All Tomorrow's Parties (Live - An Underground Experience)

River Monsters- The Demon Fish

Thanks to Paul S. for this one. The goliath tigerfish is Africa's equivalent of the piranha, only much bigger.


YouTube - River Monsters- The Demon Fish

Monday, September 13, 2010

United States Holocaust Memorial Museum

This is amusing, especially with the upbeat background music. The "get on the train" part almost seemed like it was going to be an amusment park ride. I'll go when they have rides. Fun for the whole family! The Holocaust Rocks!


YouTube - United States Holocaust Memorial Museum

La procession de la Sanch

Procession de la Sanch
Impressive, atmospheric, just a little frightening, the long black and red hooded and robed figures of the Procession de la Sanch march slowly through the streets of Perpignan to the solemn beat of black veiled tambourines The Procession de la Sanch, which takes place every ’Vendredi Saint’, (Good Friday), opens the celebration of the Easter Holy week.

The brotherhood of “La Sanch” (the blood) was founded in1416 by Vincent Ferrier at the church of St Jaques in Perpignan, its origin to assist and accompany the condemned to their execution. A preacher, Ferrier is said to have undergone a life changing experience in 1398 when he nearly died of the fever, but was miraculously cured after Christ appeared to him in an apparition. He attracted followers, penitents from all walks of life, who he led around Europe, preaching penance and helping sinners to prepare for judgment and punishment. The wearing of the black and red hooded robes (orcaparutxe) was to prevent criminals being recognized and ‘lynched’ in the streets as pay back for crimes committed, and prisoners, penitents, (there to give solace to the person about to die), and executioner were hooded for maximum confusion.

The procession as a whole commemorates the Passion and the Agony of Christ. At the head of the parade walks a red robed figure “le regidor”, warning the crowds of the procession’s approach. by intermittently ringing an iron bell as he leads the penitents to the gallows. They carry ‘misteris’ (full-size representations of the different scenes of the Passion) through the streets of Perpignan. Of course, over the years the Sanch has become a great crowd puller and a fabulous photo opportunity but for the ‘penitents’ carrying crosses, crucifixes and religious statues weighing up to thirty to fifty kilos, this re- enactment of Christ’s Passion is real enough. The procession takes place in silence – some walk bare-foot, others are on their knees…... only the sound of the tambourine, and the occasional peal of the bell breaks the eerie atmosphere, along with the Goigs, traditional Easter songs which accompany the march.

Over the centuries the Sanch has been forbidden several times. It has always survived.

La procession de la Sanch

Saturday, September 11, 2010

Soiled Sinema: Interview with Magister James D. Sass


Sep 11, 2010
Interview with Magister James D. Sass

SS: In the most general terms, what makes a film Satanic?

JDS: A film is “Satanic” insofar as it deals with themes of Satanism, such as productive alienation, stratification, nonconformity, total environments, artificial human companions, justice, revenge, incursions of the irrational, misanthropy, etc. in a productive or insightful manner that frequently paints the outsider-antihero in a sympathetic light (intentionally or not) in contrast with the bland mediocre conformists. Aesthetics are also a huge part of what makes a film “Satanic.” A film such as The Cabinet of Dr. Caligari would still be “Satanic” to some degree if it were an entirely different story using the same aesthetics and psychological devices in sets (The Law of the Trapezoid), photography (The Command to Look), editing and whatnot.

Another thing I would point out, although it digresses from your question, more than how Satanism features in films, it think it is interesting to observe how film features in Satanism as a legitimate recognized religion. I cannot think of any other religion that considers a body of film work as a primary source or example of its doctrine, aesthetics, and ideals. This is one of the truly unique aspects of Satanism. Other religions have music and art, I can’t think of any that have films they regard as centrally related to their religion as does the Church of Satan.

SS: Can a Satanic film come from any genre? Are there certain genres that feature Satanic films more prevalently? If so, which genres?

JDS: Yes, I cannot think of a genre that would be incapable of fitting a Satanic film within its parameters. Skimming over the “official” Church of Satan film list we see everything from horror and gangster films to comedies, musicals, and children’s cartoons. Of course for obvious reasons Film Noir and classic Horror feature Satanic themes more explicitly, because they are based in the “dark side” of human nature, or depict man as “just another animal… worse than those that go on all fours,” and frequently center around themes of obsession, justice, and revenge.

SS: Would you describe the post-World War I German expressionist movement as Satanic?

JDS: Personally, I cannot think of one German expressionist without some type of Satanic theme in it. Most definitely, and this is explicitly stated by Dr. LaVey in more than one place in his writings, especially pertaining to the Law of the Trapezoid. It is also important to note how much of this was intentional on the part of the film makers, directors, and art directors of these films. Even later films by the same people made in the USA follow the same line of thought. F.W. Murnau’s Sunrise for example is outwardly a simple love story with a happy ending, yet there are Satanic undercurrents in the story, and the aesthetics are extremely Satanic.

SS: Many of the filmmakers and actors that were involved in making low budget Hollywood film noir films immigrated from Germany and Austria to the United States. Many (if not the majority) of these filmmakers were German expressionists. Do you believe that these European directors helped to bring a Satanic element to American films that was lacking before?

JDS: Of course! This is all well-documented. The influence of German expressionist ideas on Universal Classics such as Dracula, Frankenstein, The Wolf Man, and a slew of others is indisputable. The German expressionists coined the aesthetic that would defined Film Noir and Horror. The films of Carl Lemele, James Whale, Val Lewton, Howard Hawkes, etc. are all saturated with the expressionist aesthetic.

SS: In your book Essays in Satanism, you make no lie about the fact that you’re a horror film connoisseur. Were horror films an early obsession of yours?

JDS: I cannot over-emphasize how strongly horror films were an early obsession of mine. My mother still has drawings I made when I was four years old of Frankenstein, Dracula, the two-headed man, and others. I lived for this stuff. I was in second grade when I watched my first Creature Feature episode, and never missed it until it went off the air some ten years later. I also had a huge collection of Famous Monsters of Filmland from before I could read because I liked the pictures. I was very much a “Monster Kid” of the 70s.

SS: In Essays in Satanism, you talk about how younger horror fans just cannot appreciate the genius of the Satanic themes featured in older films. Do you believe there is any hope for these sad individuals?

JDS: Probably not – I have no idea what is wrong with someone who still cannot tell the difference when they have seen the classics, or who dismiss them as “slow” or “boring.” Don’t get me wrong, I’m a huge fan of John Carpenter, Wes Craven, and a lot of the “post-classic” horror films, I just get disgusted with people who can’t appreciate something like The Ghoul, while at the same time praise some filmic atrocity like Coppola’s Bram Stoker’s Dracula, or worse, some mindless schlock like the Friday the 13th sequels. I appreciate the humor element in horror, this is even present in classics such as Bride of Frankenstein and The Old Dark House, but when it becomes the dominant element in the genre something has been lost. Then on the flipside there are films that take themselves too seriously, trying to be hard-edged horror, and fall face-down. It is also appalling that there are so many dumb kids stumbling around who have seen all the bad remakes of films like The Texas Chainsaw Massacre, Psycho, House of Wax, and think they are somehow in touch with the “tradition” without ever having seen the originals. Or worse, they think the remakes are better! There is no hope for them.

SS: Is Rosemary’s Baby the definitive Satanic film? What are your personal thoughts on the film?

JDS: The gathering of eccentric Satanists at the end could literally have been home movies of a Church of Satan event, in terms of the cast of personalities involved. Compare it for instance with the Church of Satan individuals interviewed in Satanis. Really not far off the mark!

SS: The good doctor Anton LaVey has been said to have given new life to old and forgotten films like Tod Browning’s Freaks. Can you tell us anymore about LaVey’s endorsement of films that would probably otherwise have been forgotten?

JDS: It’s funny because there are so many films that are still forgotten even after Dr. LaVey’s endorsement! Even within the Church of Satan, the individuals who have systematically worked their way through the recommended film lists are few and far between. I can think of just a handful of people who have actually watched The Boy With Green Hair. As far as keeping some films alive: Just about anyone I’ve met who has seen The Ruling Class heard about it from Church of Satan sources, likewise Night of the Generals and a handful of others. There are others that until recently were very hard to come by, including Island of Lost Souls, Svengali, The Most Dangerous Game, etc.

SS: What are your thoughts on Kenneth Anger and his filmography? I was personally happy to see Anton LaVey’s appearance in Kenneth Anger’s Invocation of my Demon Brother. Is he (or was he ever) a member of the Church of Satan?

JDS: I’m a huge Kenneth Anger fan. I was very pleased to see his collected films finally released on DVD with the supplementary material they deserved. Anger had been something of a secret influence on so many film makers, more than suspected by most fans attracted to his work because of occult connotations. It is impossible not to see signs of Scorpio Rising in the work of Lynch, or the influence of Kustom Kar Kommandos on specific scenes in Scorsese’s Goodfellas.

Kenneth Anger and Anton LaVey were personal friends since childhood. In spite of false reports in some gossipy journalism, Anger has to my knowledge never uttered a negative word about Dr. LaVey. Somewhere in The Devil’s Notebook, I think LaVey refers to Anger as a “magus”, although I’m sure he meant it in the sense of being a magician and master of his art rather than as the technical title of a degree within the Church of Satan, although I’m also fairly certain Anger was an honorary member, even though his interests rant more toward Aleister Crowley, which has little or nothing to do with Satanism. But on that note I would add that Anger has, from my perspective anyway, done more than anyone to present the symbolism of Crowley’s work in an aesthetically interesting and “magically charged” way.

SS: In your book Essays in Satanism, you have listed 200 Essential horror films. I must admit that I have yet to see another list of horror films with such refined and eclectic taste. It is not everyday that you find someone that is a fan of both Der Golem (1915) and Clean, Shaven (1993). That being said, could you narrow down a list to your top 5 essential films and why a serious horror fan should see these particular films?

JDS: Narrowing it down to a list of five would be nearly impossible. The five I would list today might not be identical to the five I would list tomorrow.

1. Nosferatu
2. Frankenstein
3. Dracula
4. Freaks

Like I said, restricting it to five is impossible, conceptually, and forces it to be a very flawed list.

SS: On your 200 Essential horror films list you have David Lynch’s Eraserhead (1977), Twin Peaks: Fire Walk With Me (1992), and Mulholland Dr. (2001) listed. What are your thoughts on David Lynch as an American filmmaker and his unconventional cinematic portraits of America? Do you believe that David Lynch is someone that is primarily interested in Satanic themes?

JDS: You are the only person to catch that. I put Lynch on the list because, while he is not exactly a “horror” filmmaker, he incorporates horrific elements and genuinely terrifying manifestations of the supernatural or irrational in a way most contemporary horror filmmakers could stand to learn a lot from. Without being a horror filmmaker, he does horror better than most horror film makers. He also orchestrates a genuinely disturbing atmosphere, whereas most contemporary horror filmmakers would have to look up “atmosphere” in a dictionary and probably still be at a loss how to incorporate it into film. That is a huge disconjunct between guys now and the old classics. Lynch also deals with psychological themes, intrusion of the irrational, and compulsions that make him of Satanic interest for the same reasons that makes someone like Alfred Hitchcock a categorically Satanic filmmaker, and Hitchcock similarly was better at “horror” than most horror filmmakers, without being a horror filmmaker himself. He and Lynch share a visceral understanding of the monstrousness in human nature, even though their overt “shock tactics” are dissimilar.

Of the Lynch films included on my list, Fire Walk With Me was hated by critics, and Mulholland Dr. is hated by most Lynch fans I know. Both contain the best examples of Lynch’s effective use of horrific imagery, and I’m continually impressed by the way he depicts the intrusion of the irrational or supernatural into normal consciousness. The burned-witch episode in Mulholland Dr. stands out as one of the most horrific moments in film that I can think of. I had a friend who had nightmares about that after I reminded him of it, and he hadn’t seen the film in years. I get the feeling Lynch incorporates nightmare material from his personal unconscious into his art in a manner similar to H.P. Lovecraft, his work is more authentic because of it, even if only those elements. I would add Inland Empire alongside Mulholland Dr. for the same reasons. I am the only person I know who has anything good to say about Inland Empire, but it hinges on these same themes, and has some of Lynch’s strongest material along these lines. The film is entirely self-indulgent, and his most irrational film, which is why most people detest it or can’t follow it, and also why I liked it.

SS: As someone that owns over 30,000 books, you’re obviously a bibliophile. About how many of these books are on cinema? Do you have any favorite books or authors(or critics) that are dedicated to the art of cinema? Better yet, are there any certain film critics/authors that you hate?

JDS: I have surprisingly few books on film, probably less than 100 and I haven’t read most of them. I will mention one book, American Movie Critics: An Anthology from the Silents Until Now, edited by Philip Lopate and published by The Library of America, that is a fantastic collection of film writing, including such unlikely things as a review of The Cabinet of Dr. Caligari by Carl Sandburg.

SS: About how many films (in any format) do you own? Is your film collection anywhere near the size of your book collection?

JDS: I really have no idea how many films I own or have owned in my personal collection, probably 1000 or more, which isn’t very many. I probably have thirty times that many books.

SS: What are your thoughts on the future of cinema? Do you see any parallels between the decline of the west and film as an art form?

JDS: The future of cinema holds a lot of potential, especially considering the advances made in digital technology, the quality of digital filmmaking and editing is continually improving and becoming more affordable. The more ability placed in the hands of filmmakers without having to go through the suppressive distortion of the studio system, or the marketing system. I suspect even more creative filmmakers will develop their own cottage industry marketing their own work through the internet. At least I hope so.

SS: Can you mention a couple mandatory films for those interested in Satanism, The Church of Satan, and Anton LaVey? Why are these films essential viewing?

JDS: The two documentaries about the Church of Satan, Satanis and Speak of the Devil! would be at the top of the list, followed by the cream of the Church of Satan film-list in terms of exerting the most overt influence on the Satanic philosophy, or embodying it; The Black Cat, The Seventh Victim, Freaks, The Most Dangerous Game, The Sea Wolf etc. Really it is hard to narrow it down from the CoS film list because they are all relevant in some way. The two abovementioned documentaries are essential for being the story straight from the horse’s mouth so to speak. Edward G. Robinson’s portrayal of Wolf Larson in The Sea Wolf is probably the most quintessentially Satanic character in film or literature. Once someone gets a grasp of what authentic Satanism is about, you start noticing Satanic themes and characters in various places and films – usually there is one character that will stand out in almost any film as being more “Satanic” than the others, although I’m sure there are mainstream “feel-good” films, or comedies lambasting average mopes, that feature NO Satanic characters but are still “Satanically” relevant films for the way they treat normal people.

SS: Are you planning any future projects related to film? I know that I am sure as hell interested in reading a book on cinema and/or a film directed by Magister James D. Sass.

JDS: Actually, just because you mentioned it, I gathered together everything I’ve written so far into one document and it is already over a hundred pages, so the answer is yes, I probably will put out a collection of film writing when I have enough material. You will be to blame!

http://soiledsinemass.blogspot.com/

Europeans and Asians did not originate in Africa

ArticleSafari » Europeans and Asians did not originate in Africa
Europeans and Asians did not originate in Africa
Posted By articlesafari On September 9, 2010 @ 4:56 pm

Plural Lineages in the Human mtDNA Genome
In addition to the plain text below, Recombination or Mutational Hotspots in Human mtDNA
http://mbe.oxfordjournals.org/cgi/content/full/19/7/1122

Data from Natural selection shaped regional mtDNA variation in humans is also analyzed in this paper.
http://www.pnas.org/cgi/reprint/100/1/171.pdf

Analysis of recent research indicates a plural genealogy for the human mtDNA genome: an African, and two indigenous Eurasian lineages that are NOT derived from the African. This falsifies the ‘Out of Africa’ radiation and replacement theory, and means there is NOT one, African ‘Eve’, who is ancestral to all modern humans.

[1]Consider this sentence, from the first paragraph of the Innan-Nordborg paper, “The argument for recombination is based on the observation that the pattern of polymorphism in mtDNA is incompatible with a single genealogical tree and unique mutations.” Thus, there are three things that might account for the observed pattern of polymorphisms:

1) recombination,
2) more than one lineage, or
3) multiple mutations at many sites.

Look at the Innan paper and you will see that the possibly recombined or repetitively mutated sites are scattered throughout the genome, and do not occur only in the hypervariable region. Note that the quote from Innan & Nordborg implies that the less recombination or repetitive, same-site mutation has affected the mitochondrial genome, then the LESS likely it is that there is a single genealogy for the human mtDNA genome. In other words, unless there has been enough repetitive mutation or recombination to account for the observed pattern of polymorphism, then not all mtDNA is from the same source, as claimed by proponents of the ‘African Eve’, or African radiation and replacement theories.

[2]On the other hand, the more recombination, or repetitive mutation that has occurred, then the more Eve’s age has been under-estimated. That is because the effect of either repeated mutations at one site or recombination is to make the mtDNA genome appear younger than it really is. If we knew Eve’s era from historical or anthropological data, we could compare that date with the one derived from the mtDNA coalescence algorithm. The difference between the calculated coalescence result and the historical date would reveal the combined effect of recombination and repetitive mutation. If that combined effect is obviously insufficient to account for the observed pattern of polymorphism, then we may infer a plural genealogy for the human mtDNA genome.

There is nothing in the historical or anthropological record to independently establish the era of a (supposed) speciation of humans in Africa. However, the situation in Eurasia is very different. There we can calibrate the coalescence date of Eurasian strains of mtDNA with an historical event, anthropological evidence, and research on the human y-chromosome. Thus we can infer the effect (hence extent) of recombination and repeated mutations, by comparing those other dates with the result of the mtDNA coalescence calculation. If the fit on these dates is fairly close we can be assured that little recombination or repetitive mutation has occurred, hence the observed pattern of polymorphism must reveal a plural genealogy for the mtDNA genome.

[3]Refer to the Mishmar paper (second full paragraph, right-hand column, on the first page) for a brief description of the M and N mtDNA lineages. Technically, one can’t say that these are ‘Eurasian specific’ lineages, only because they have found their way into the African population. Note Mishmar’s admission concerning the afrocentrists’ assertion that M and N evolved and diverged in North Africa. This paper’s authors come about as close to admitting that is implausible as they can, while remaining politically correct and afro-orthodox. To sum up: on the afro-view, M and N lineages diverged from the African Eve’s lineage, while on my view they are the oldest surviving Eurasian lineages. Either way, it doesn’t affect the argument I am making in regard to determining the relative contribution of repeated mutation and/or recombination versus plural genealogy.

With either theory, there’s a coalescence date for the M and N lineages. Mishmar calculates the M and N lineages are both 65,000 years old. I regard it as significant that these Eurasian Eves’ ages are the same, as will be explained below. And whether M and N split off the African lineage then, or they are the most ancient, indigenous Eurasian lineages still extant: either way, they are 65kyr old, as calculated by the coalescence algorithm.

[4]There was a lot going on in Eurasia around -65 kyr. The last common paternal ancestor of Europeans lived at -59 kyr, as calculated from y-chromosome data. So we have a date for the male counterpart of Eurasian Eve, calculated from a different genome, at a date within 10% of agreement. Then, ‘modern’ human artifacts are found in Eurasia by -50kyr. Considering that it is unlikely we have found the very first artifacts, and that people may have been genetically modern for awhile before developing human (Homo sapiens sapiens) culture, those dates are in remarkable agreement. Add to that, radiation into Australia by anatomically modern humans occurred at a date that may be as early as -60 kyrs, and no doubt that radiation took some millennia.

It begins to look like that -65kyr coalescence date is right on target, and we could claim there is no influence from recombination and repeated mutation, so all the sites reflected in Figure 2 are evidence for plural genealogies: QED! However, that would be disingenuous, because I believe there has been some recurrent mutation, though it is possible they have fully accounted for it in their model, and some recombination, which they probably have not explicitly factored in. So, I would expect that coalescence date to be a little more recent than the era of a genetically significant event, which actually caused modern humans to differentiate from a relatively advanced population of archaic sapiens.

[5]One reason we can expect the loss of lineages existing before the modern type differentiated, is that there must have been a population ‘bottle-neck’ associated with speciation itself. Moreover there must have been a severe population loss in temperate or higher latitudes when Mt. Toba erupted around -74kyrs and caused a nuclear winter in Eurasia. That savage selection event alone would account for the loss of more-ancient Eurasian mtDNA lineages: all the more so if it was followed by the constriction attendant to speciation. Earlier, I said it is significant that the two oldest Eurasian mtDNA lineages are the same age. The fact that they both date from the same era makes it most plausible that more-ancient lineages were lost in a specific selection event and/or population bottleneck, rather than merely through ‘lineage sorting’. It is comparatively unlikely that two mtDNA lineages would simultaneously diverge from a putative African lineage, and both (but only they) migrate from Africa and survive to the present. It is far more reasonable and parsimonious to assume that no older Eurasian maternal lineages survived two severe bottlenecks, and subsequent lineage sorting, in the indigenous Eurasian population.

So, even if we assume that the actual population constriction occurred prior to the coalescence date, and associate it with the obvious selection event of Toba’s eruption, a -65kyr coalescence date still calibrates quite closely. Note that -65 kyrs is only about 12% less than the putative genetically significant date of -74 kyrs. So, both recombination and repeated mutations can only have had a small effect on the calculation of a coalescence date, hence there are not many sites in the mtDNA genome that have experienced recombination or repeated mutation.

[6]But where it is evident that many of the sites show evidence of either recombination or repeated mutation, or else they are evidence of more than one genealogy for the mtDNA genome! Therefore, most of the sites graphed in Figure 2 must be considered as evidence for more than one mtDNA genealogy. Therefore, M and N lineages are not derived from the African genome, but represent the most ancient, surviving lineages of the Eurasian type. Hence M and N are Eurasian specific lineages that only entered Africa through radiation, rather than coming from Africa.

In conclusion, recombination and repetitive mutations are not enough (by a wide margin) to explain the observed pattern of polymorphisms in the mtDNA genome. Therefore, there is more than one genealogy: there are two Eurasian maternal lineages, associated with the speciation of modern humans (Homo sapiens sapiens) in Eurasia, and another, African lineage. This refutes the ‘Afro-radiation and replacement’ theory, and the politically correct shibboleth that ‘we are all Africans’. As explained in Age and Origin of the Human Species (Fonda, Mankind Quarterly, Dec 2000; & posted at rafonda.com) the evidence already pointed to a recent, Eurasian origin for modern humans. Only the assertion of a single genealogy for mtDNA could be construed to supported the afro-replacement theory, and that assumption is now revealed to be false.

Mishmar et al, are probably correct to attribute variation, in lineages derived from M and N, to natural selection. One supposes that Mishmar et al., theorize that mtDNA selection took place in the last 50kyrs (Wallace’s date for an African radiation, quoted in NY Times, “Ice Age Ancestry”) in order to accommodate their theory to the constraints of assuming an African origin for modern humans. However, it is more plausible that such selection took place in very ancient times (when pre-human species were adapting to a cold climate) and was only retained at high latitudes, among people living at low culture levels, as the adaptations come at a fitness cost, and thus were lost when and where physical adaptations were superceded by elaborated clothing and shelter, in the temperate zone and the recent era.

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Friday, September 10, 2010

Why I believe the king of the Nazi hunters, Simon Wiesenthal, was a fraud | Mail Online

Why I believe the king of the Nazi hunters, Simon Wiesenthal, was a fraud | Mail Online

Why I believe the king of the Nazi hunters, Simon Wiesenthal, was a fraud
By Guy Walters
Last updated at 2:43 PM on 10th September 2010

For millions around the world, Simon Wiesenthal is seen as a hero.

Often credited with bringing to justice some 1,100 war criminals, the Nazi hunter and Holocaust survivor is regarded almost as a saint, a man who did more than any government to lock up the perpetrators of some of the worst crimes the world has witnessed.

Nominated for the Nobel Peace Prize, the recipient of a knighthood and more than 50 other honours, Wiesenthal is particularly remembered for his role in tracking down the notorious architect of the Holocaust, Adolf Eichmann.

After he died at the age of 96 in September 2005, the eulogies poured in from around the world.

Wiesenthal was lauded as the ‘permanent representative of the victims’, a man who had not only sought justice, but prided himself on never forgetting his six million ‘clients’, as he called those who died in the Holocaust.

Those who read his memoirs could only marvel at his wartime heroism and incredible escapes from death at the hands of the Nazis.

It seemed as if Wiesenthal’s mission was almost divinely given, the gods sparing his life for some higher purpose.

The accounts of his hunts for fugitives were no less sensational, as Wiesenthal told how he engaged in a battle of wits against the sinister postwar Nazi networks and their sympathisers.

It was the ultimate feelgood story of revenge, and the world lapped it up.

TV programmes and movies were made, and soon Wiesenthal became a household name, a symbol for the triumph of hope over evil.

Those who thrilled at his life story can now do so once more, thanks to a new biography written by the Israeli historian Tom Segev.

The figure who emerges in the book is far more complex than one might expect.

Dr Segev shows that so much of Wiesenthal’s account of his life was the product of exaggeration and self-mythologising.

Appearing on Radio 4’s Today programme this week, the author said Wiesenthal was ‘a storyteller, a man who lived between reality and fantasy’.

He excused Wiesenthal’s inclination to fabricate stories about his past,saying it was his way of making it easier to deal with the real atrocities he had experienced in the concentration camps.

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I’m sorry, but this compassionate approach simply does not wash with me. For the truth is that the great Nazi hunter is far, far worse than Dr Segev makes out.

In my view, Simon Wiesenthal was a liar and a fraud. In fact, I’d go so far as to say he was one of the biggest conmen of the 20th century.

I spent four years working on a history of Nazi-hunting that was published last year, and the material I gathered on Wiesenthal was enough to make me scream out loud.

When I started my book, I too believed that the great man was just that — great.

But when I looked at all his memoirs, biographies and original archive material, I realised that, like so many others, the image I had built up of Simon Wiesenthal was hopelessly incorrect.

The Lvov State Archives have no record of Simon Wiesenthal having studied at Lvov Technical University
There were too many distortions and inconsistencies, too many outright lies — none of which could be explained away by sympathetic psycho-babble offered by the likes of Dr Segev.

The fact is that Wiesenthal lied about nearly everything in his life.

Let us, for example, start at the beginning and look at his educational record.

If you visit the website of the Simon Wiesenthal Center, you’ll learn that he ‘applied for admission to the Polytechnic Institute in Lvov’, but was turned down ‘because of quota restrictions on Jewish students’.

The website then claims that he went to the Technical University of Prague, ‘from which he received his degree in architectural engineering in 1932’.

Other biographies — published during Wiesenthal’s lifetime — state that he did in fact go to Lvov, in either 1934 or 1935, and gained a diploma as an architectural engineer in 1939.

All of these accounts are rubbish.

The Lvov State Archives have no record of Simon Wiesenthal having studied at Lvov Technical University.

The archives have records for other students from that period, but not for Wiesenthal — and there were no quota restrictions on Jewish students at that time.

Neither did he graduate from Prague. Although he matriculated on February 21, 1929, Wiesenthal never completed his degree. He passed his first state examination on February 15, 1932, and then he left that same year.

Despite a lack of academic credentials, he would fraudulently use his supposed engineering diploma on his letter paper for the rest of his life.

During the war, Wiesenthal claimed to have spent years in and out of a succession of concentration camps.

Although he certainly spent time in camps such as Mauthausen, he also said he had been in Auschwitz — a claim for which there is no record.

Then there is his supposed career as a brave partisan. In two of his memoirs, he claims to have joined a group of partisans after escaping from a camp in October 1943.

According to an interview he gave the American army in 1948, he claimed he was immediately made a lieutenant ‘on the basis of my intellect’.

Since there exist at least four wildly differing accounts of Wiesenthal’s activities, serious questions about what he actually did should surely be raised. He was soon promoted to major, and he was instrumental in ‘building bunkers and fortification lines’.

‘We had fabulous bunker constructions,’ he said.

‘My rank was not so much as a strategic expert as a technical expert.’

One only needs a basic grasp of World War II military history to know that Wiesenthal’s claims are highly dubious.

Partisan groups do not build ‘ fabulous bunker constructions’, they instead rely on mobility to outwit the enemy.

As a Jew, it is also highly unlikely that he would have been made an officer in such a group, which was usually anti-semitic.

Wiesenthal would also give another account of his experience in the partisans, in which he joined a more ad hoc and smaller band — hardly one to build bunkers and fortifications or have a formalised promotion structure.

Since there exist at least four wildly differing accounts of Wiesenthal’s activities between October 1943 and the middle of 1944, serious questions about what he actually did should surely be raised.

Some of those who doubted his version of events — such as the lateformer Austrian Chancellor Bruno Kreisky — went so far as to accuse Wiesenthal repeatedly in the 1970s and the 1980s of being a collaborator with the Gestapo.

Kreisky’s claims were supported by unsubstantiated evidence provided by the Polish and Soviet governments, and when Wiesenthal took Kreisky to court, it was Wiesenthal who won.

Two affidavits made by former members of the German army also asserted that the Nazi hunter was a collaborator, but such claims must be treated with extreme caution.

Smearing Wiesenthal is a popular pastime for anti-Semites, Holocaust deniers, so-called ‘Revisionists’ and other such cranks.

But the multiplicity of conflicting accounts demands that questions about the authenticity of his story must be raised by those who, like me, have no agenda.

However, I have no compunction in stating that the biggest lie he spun was over his involvement in the hunt and eventual capture of Adolf Eichmann, a supposed coup with which he will always be associated — and quite unjustifiably.

According to the myth, Simon Wiesenthal star ted hunting Eichmann almost as soon as the war was over.

By the early 1950s, he had all but given up, until he had a supposedly chance meeting with an Austrian nobleman called Baron Mast in the late autumn of 1953.

Unfortunately, Wiesenthal’s intelligence was useless
Baron Mast showed Wiesenthal a letter he had received in May that year from a former army comrade now living in Argentina, in which the writer had come across the ‘pig Eichmann’, who was living in Buenos Aires and working nearby.

In his first published memoirs, I Hunted Eichmann, Wiesenthal recalls how he was terribly excited by the news, but realised that he was out of his depth.

A few months later, on March 30, 1954, Wiesenthal finally sent a dossier on Eichmann to the World Jewish Congress and the Israeli consul in Vienna, in which he shared the contents of the Baron’s letter and revealed that the criminal was working at the construction site of a power station 65 miles from Buenos Aires.

Unfortunately, Wiesenthal’s intelligence was useless. Not only was he unable to supply Eichmann’s alias — Riccardo Klement — but at the time of the Baron’s letter, Eichmann was in fact working more than 800 miles from Buenos Aires, and by March 1954 he was living in the Argentine capital trying to establish his own business.

However, there was worse to come.

In 1959, when the hunt for Eichmann was heating up, the Israeli intelligence service, Mossad, asked Wiesenthal if he had any more information on the criminal.

On September 23, he wrote to the Israelis and told them that he suspected Eichmann was in ‘northern Germany’ and that he ‘does visit Austria from time to time’.

Once again, he was supplying useless information.

From other sources, the Israelis had established that the fugitive was in fact in Buenos Aires, and the Wiesenthal lead was another dead end.

After Eichmann was kidnapped the following year by Mossad agents, Wiesenthal at least had the grace to deny that he ‘personally had something to do with Eichmann’s arrest’, and that he had deposited all his files in Jerusalem.

However, with the Israelis remaining tight-lipped about his involvement,he decided to fill the information vacuum and started placing himself right at the heart of the hunt.

He would write that although he said he had sent all his files to Israel, he had actually always kept the Eichmann file. This was completely untrue.

Perhaps Wiesenthal’s most shocking lie concerning the Eichmann affair was to claim that he told the Israelis in his letter of September 1959 that the Nazi was actually in Argentina.

As we have seen, he told them that Eichmann was likely to be in Germany — a minor difference of several thousand miles.

Curiously, Dr Segev has seen both the September 1959 letter and the later claim, yet he chooses to ignore the differences in his book.

The plain facts are that Wiesenthal lied about his degree, his wartime experiences and his ‘hunt’ for Adolf Eichmann.

Any man who utters so many untruths does not deserve to be revered. Although some excuse Wiesenthal’s ‘story-telling’, there are simply too many other lies to take him seriously.

Furthermore, by stating that Wiesenthal ‘lived between reality and fantasy’ to deal with his wartime experiences is an insult to all those Holocaust survivors who merely told the truth.

• Guy Walters is the author of Hunting Evil (Bantam)

Monday, September 6, 2010

Necrofascist - Necrofascist (Theme)


YouTube - Necrofascist - Necrofascist (Theme)
Kind of like what "Hey Hey We're the Monkees" was for the Monkees.
Music: James D. Sass
Art: Christopher Wingate
(c) 2010