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TOPIC: The Third Reich Years

The Third Reich Years 08 May 2016 14:10 #61

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After Hitler’s pal died, Nazis recreated his injuries on 72 women in a sick experiment
By Mackenzie Dawson
May 8, 2016 | 6:00am
“In the beginning, [SS commander] Heinrich Himmler used [Ravensbrück] as a show camp. There were flowers in the window boxes, birdcages and a beautiful road lined with trees. Himmler would show it to the international Red Cross to prove [he was] supposedly treating the prisoners well,” says Kelly of the camp 56 miles north of Berlin, which housed prostitutes, socialists, communists, political protesters, abortionists and Jehovah’s Witnesses, among others.
The experiments were actually precipitated by the death of one of Hitler’s close friends, high-ranking SS officer Reinhard Heydrich, who died from injuries sustained during a car bombing in 1942. Heydrich was treated by Himmler’s personal physician, Dr. Karl Gebhardt, who refused to use sulfa drugs when operating on him. When he died, Hitler blamed Gebhardt, insisting Heydrich was killed by gas gangrene.

nypost.com/2016/05/08/the-women-tortured-by-nazi-doctors-and-the-american-heiress-who-saved-them/
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The Third Reich Years 08 May 2016 14:16 #62

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The Catholic Escape Route for Nazi War Criminals

entire era, 1932-1945 has left an evil legacy for the Catholic Church. Although many have argued that the Catholic Church lived in fear and under the thumb of a dictator, therefore the Church was powerless to help the enemies of the Third Reich. Perhaps we can give the Vatican the benefit of the doubt in February 1942, but what about in December 1944 or March 1945. Was the Catholic Church living in fear of a Nazi invasion in April 1945? Was the Church fearful of reprisals in May of 1945 by wondering SS divisions? No, the Catholic Church, not only intentionally helped Nazi war criminals escape justice, but helped them establish new lives in foreign countries. The Vatican used every means at their disposal to assist war criminals, including dressing SS officers in priests clothing and laundering hundreds of millions of gold bullion through Vatican banking channels. Granted that humanitarianism is one of the Church’s missions to fulfill on this earth, but does this mission of brotherly love include harboring escaped murderers and war criminals? Granted that love of ones neighbor is one of the bedrock principles of the Church, but does that include covering up the sins of former members of the SS who willing sinned against their fellow human beings? These questions I will leave to readers to decide for themselves.


Intermingled within the crowds of displaced persons were some of Europe’s most notorious war criminals, individuals who had the blood of millions on their hands. Just before the end of the war, the Holy See’s Secretariat of State conducted a lobbying campaign to provide spiritual and material assistance to the impoverished. The Vatican has "consistently claimed that they were unaware of the identity of those who were undeserving of their humanitarian assistance." Unfortunately, a number of high ranking priests not only knew who these wanted war criminals were, they actively sought these men out, gave them extra assistance and afforded them benefits that very few people received throughout the war years.


Years later it became public knowledge that war criminals like Klaus Barbie, Adolf Eichmann, Heinrich Mueller, Josef Bluemle, Franz Stangl and a whole list of other war criminals escaped war torn Europe via the Catholic Church. Most of these men escaped through the work of one man, a Roman Catholic Bishop named Alois Hudal, Rector of the Pontificio Santa Maria dell’ Anima. "During the war Hudal served as Commissioner or the Episcopate for German speaking Catholics in Italy, as well as Father Confessor to Rome’s German community." Hudal harbored anti-Semitic feelings and his pro Nazi stance was well known throughout the Catholic community. During Hitler’s rule, Bishop Hudal often spoke about the unity between the Catholic Church and the Nazi government.


In Gitta Sereny’s book Into That Darkness, Stangl described how Bishop Hudal was expecting Stangl (it seemed he expected over a hundred war criminals), and that he was arranging papers, passports, an exit visa and work permits for South America. Hudal arranged Stangl’s sleeping quarters, transportation, via a car, plane, ship, and seemed to have plenty of money for extra pay offs, bribes and emergency’s that may arise. Hudal had contacts with the German Red Cross, the American Office of Strategic Services, British Intelligence, and even seemed well connected to two well known Nazi escape organizations, ODESSA and DIE SPINNE. Both of these organizations were well financed, connected, and secretly assisted ex Nazi officers to find new homes in the Middle East, South America and even the United States. Simon Wiesenthal has argued on numerous occasions, that Nazis, who were seeking an escape, knew they had to go to the Vatican and find Bishop Hudal. Wiesenthal believed that Stangl had the same help that his two good friends, Gustav Wagner, former Deputy Commandant of Sobibor, and Alois Brunner, a former commander of a mobile killing squad in Russia, received when they escaped Allied justice. According to several credible witnesses, Bishop Hudal was a very close friend with Walter Rauff, an ambitious SS officer who oversaw the development program for the mobile gas vans. Their friendship began around 1943 and many believed their friendship remained until Rauff’s death.


After the sudden death of Cardinal Magione in August of 1944, Pope Pius XII decided not to appoint a new Secretary of State and assumed personal responsibility over foreign affairs. One of the Pope’s closest advisors became Monsignors Domenico Tardini and Giovani Montini, the latter being a very close personal friend of Bishop Hudal. Once the war ended Bishop instantly transformed himself from a pro Fascist into an ardent anti Communist who sought potential allies in his holy crusade against Communism. Hudal convinced Montini that a lenient policy was needed with those individuals who were Catholic, anti Communist, and deemed valuable to the upcoming struggle against Communism. Martini and Tardini convinced his Holiness the Pope and ex Nazi war criminals flooded out of Europe to find new homes around the world. Eventually the Pope appointed Bishop Hudal the Vatican’s official Spiritual Director of the German People and was ordered to visit all of the German POW camps in order to find those worthy anti Communists and give them special assistance with the eternal blessing of the Vatican’s Holy Office. [5] U.S Intelligence agencies knew Bishop Hudal’s mission and even helped provide transportation, living quarters and even identity papers for some of Hudal’s chosen few. Over 30,000 Nazi war criminals made their way to freedom and a new life. ODESSA was an amateur escape organization when compared to the Vatican RATLINE. A large number of these escaped criminals were not even German, thousands were eastern European collaborators who willingly killed for the Nazis
freepages.genealogy.rootsweb.ancestry.com/~confido/catholic.html
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The Third Reich Years 08 May 2016 14:18 #63

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Some of them appear to believe that Hitler is a carnation of Wotan the allfather, have you seen those propoganda photos of him with the raven/black bird?
And what about the madness and the shakey hand.

Have you read the most recent report from a science lab that the skull fragments that have been kept in Moscow for so long that were said to be Hitler's are that of a woman?
Jews LARPing as Nazis
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The Third Reich Years 08 May 2016 14:31 #64

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Yes, he had his Dr.Feelgood pumping him up with all sorts of weird concoctions,vitamins,and speed.The shaking is said to be the beginning stages of Alzheimer's disease.

Yeah, the Russkis didn't let anyone analyze the skull for over half a century.
It was finally brought out and found to be a woman's skull.
That doesn't prove Hitler used his doubles for Eva and himself though.
Levenda did visit grave sites in Indonesia and in Argentina where the natives told him about t the couple that lived there in both locations at different points in time after 1945,No conclusive proof,and the graves were not allowed to be touched by researchers.
See the videos by Peter Levenda posted on the other pages here.



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The Third Reich Years 08 May 2016 14:40 #65

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The Third Reich is a fetish club is it not, so not just a creepy occult but a dominant fetish kink. The treatment of the Jews and the weak is a way of behaving in a kinky dominant manner, it was not a war against Jews, Jews didn't have a military, it was more like a display of dominant fetishness.

I can easily imagine The Third Reich getting sexually aroused over it's powerful position and strict ways.
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The Third Reich Years 08 May 2016 14:41 #66

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10 Disturbing Pieces of Nazi Education Propaganda
Propaganda was once a more neutral term that simply meant to present information in a way that is persuasive and influential to an audience. Its negative connotations today are primarily due to its association with Nazism.

As part of Hitler’s program to reshape German minds, the children of the regime were indoctrinated from a very early age. They were taught to focus on external “enemies” like Jews and communists, to believe in the pseudoscience of eugenics, to live up to German physical ideals, and to take pride in the German race. Propaganda was also used to bolster the cult of personality surrounding Adolf Hitler himself. And this process of brainwashing was helped by influential organizations like the Hitler Youth.

Read on for 10 disturbing examples of Nazi propaganda aimed at school children.-

www.master-of-education.org/10-disturbing-pieces-of-nazi-education-propaganda/
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The Third Reich Years 08 May 2016 14:50 #67

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The Third Reich is a fetish club is it not, so not just a creepy occult but a dominant fetish link

No,that diminishes the barbarism to mere S&M kicks,.

That could apply to some minions in positions of power--like the orange goon here with his deviant sex obsessions--but not the entire framework and participants of the Nazi regime.

Nor was it a few freaks led by Himmler.

It was an occult-driven regime.

The symbols used were meant for mystical power,not for fashion displays.

The occult current throughout that regime was highly charged,and not to be dismissed as a fetish or the work of a few twisted individuals.
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The Third Reich Years 08 May 2016 14:58 #68

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I read that it was not permissible during those twelve twisted years of Third Reich to display a Christian cross outside of the home or designated Christian building ie a church. So Christianity was not permitted to be displayed in other public buildings or taught/praised in schools.
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The Third Reich Years 08 May 2016 15:03 #69

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zax wrote:
The Third Reich is a fetish club is it not, so not just a creepy occult but a dominant fetish link

No,that diminishes the barbarism to mere S&M kicks,.

That could apply to some minions in positions of power--like the orange goon here with his deviant sex obsessions--but not the entire framework and participants of the Nazi regime.

Nor was it a few freaks led by Himmler.

It was an occult-driven regime.

The symbols used were meant for mystical power,not for fashion displays.


The occult current throughout that regime was highly charged,and not to be dismissed as a fetish or the work of a few twisted individuals.

But they were probably getting aroused by the power and success of it all, even if that was not the overall plan.
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The Third Reich Years 08 May 2016 15:06 #70

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The Vril Society-
The Vril Society was one of he most influential of the occultic groups in post-WWI Germany, many of Germany’s social elite were members.



Like the Thule Society, the Vril Society was at the base of the Nazi gnosis for the early leaders of the movement. The Vril Society was also known as the Lodge of Light, and as the Luminous Lodge. It is difficult to obtain reliable information most secret initiations in the Vril Society. As it is with most secret lodges like the Masons one must leave to divulge any information.

This society finds its beginnings in France and associated with French writer Louis Jacolliot (1837-1890). Who drew on the esoteric materials from occultic sources such as the Swedenborgians.



Also associated with the Vril Society was the 16th-century teachings of mystic Jacob Boehme (a cofounder of modem Rosicrucianism) and Claude de St. Martin, a leader from French Illuminism during the early 19th-century.



There seems to be a thread of parallelism of these and others related to the illuminati in the 18th cent from Bavaria (Adam Weishapt) (Ravenscroft)

The Vril movement is said to still exist throughout the orient where, it is claimed by Angebert, (The Occult and the Third Reich by Jean-Michel Angebert) there can be as many as two million converts, mostly in India. The current Vrilists are sun worshippers. Vril temples in India are said to be decorated with swastikas.

One of the primary qualifications for admission to the Vril Society was minimum competence in Blavatsky’s The Secret Doctrine. Karl Haushofer was alleged to be a master of the secret doctrines exposed by Blavatsky, and it was he who initiated prisoner Adolf Hitler at Landsberg Prison.



Haushofer eventually became one of the earliest members of the fledgling German Workers Party (DAP), which is the group that changed its name to the National Socialist German Workers Party (NSDAP or "Nazi") when Hitler became its leader
The Vril Society was the mother of the Nazi party.


"Vril" means the Light Force. What Light force? Lucifer the light bearer’s light force. The true nature of Nazism is being concealed. When Hitler came to plan, he was placed into power in accordance with the Illuminati plan which was spelled out in writing.



This plan said,


"Nowadays if any state raise a protest against us it is only pro forma (provided in advance) at our discretion and by our direction, for their anti-semitism is indispensable to us for the management of our lesser brethren."

Illuminati international bankers brought Hitler to power, and Illuminati kingpins like Rockefeller, Onassis and the King of Sweden traded with the Nazis.



Spain stayed neutral during the war to serve as a conduit of supplies to keep Hitler’s war going. Hitler was a participant in rituals where human sacrifices were carried out. He himself killed a number of men by pulling their hearts out of their bodies while they were alive. One Monarch slave remembers his father, who was powerful in the Illuminati, describing how Hitler killed a man in front of him by pulling his heart out.



Some of Hitler’s key advisors and key men were in the Illuminati.


There are also lots of tie ins with the OTO, the Vril Society, the Thule Society, the Society of Green Men. The head of the Tibetan Monks that Hitler imported to help him lead Germany was known as The Man with the Green Glove. The monks were posted in Berlin, Munich, and Nuremberg.


By the way, the NWO is still using Tibetan Monks.



Have you ever watched how much travel the Dalai Lama gets in? And did you notice that Tibetan Monks were imported in the Bakaa Valley Colorado by a U.N. leader?

www.bibliotecapleyades.net/sociopolitica/sociopol_vril06.htm
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The Third Reich Years 08 May 2016 15:12 #71

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The Brownshirts were purged by Hitler,but still part of the Third Reich era--


The truth about homosexuality and the Nazi Party

By Bryan Fischer
The Interfaith Alliance, a far-left religious advocacy group in Idaho, has accused Scott Lively, a scheduled speaker at this weekend's "Shake the Nation" conference in Boise, of "bearing false witness" and of being "mean-spirited and hurtful."

Lively's crime? In his book, "The Pink Swastika," Lively exposes a secret homosexual activists don't want you to know about Nazi Germany: that although the Nazis did persecute homosexuals, the homosexuals the Nazis persecuted were almost exclusively the effeminate members of the gay community in Germany, and that much of the mistreatment was administered by masculine homosexuals who despised effeminacy in all its forms.

Ludwig Lenz worked at the Sex Research Institute in Berlin, which was destroyed by Hitler's Brown Shirts in 1933 likely because its records, including 40,000 confessions from members of the Nazi Party, would have exposed the sexual perversions of Nazi leadership. Lenz said that "not ten percent of the men who, in 1933, took the fate of Germany into their hands, were sexually normal."

In fact, the Nazi Party began in a gay bar in Munich, and Ernst Roehm, Hitler's right hand in the early days of Nazism, was well-known for his taste in young boys. William Shirer says in his definitive "Rise and Fall of the Third Reich," not only that Roehm was "important in the rise of Hitler," but also "like so many of the early Nazis, (he was) a homosexual."

Hitler eventually had Roehm shot, not because he was a homosexual but because his influence over the Brown Shirts made him a political threat to Hitler's control. The Roehm Purge, or "Night of the Long Knives," was largely implemented by homosexuals.

Hitler's Brown Shirts, the dreaded SA, better known as "Storm Troopers," were the creation of another homosexual, Gerhard Rossbach, and Storm Troopers were almost exclusively homosexual. They also, sadly, comprised most of the leadership of the Hitler Youth, resulting in frequent instances of sexual molestation.

The Brown Shirts were Hitler's enforcers. According to Nazi historian Louis Snyder, Roehm recruited homosexuals into the SA because Roehm felt Germany needed "a proud and arrogant lot who could brawl, carouse, smash windows, kill and slaughter for the hell of it. Straights, in (Roehm's) eyes, were not as adept in such behavior as practicing homosexuals."

Of the Brown Shirts, historian Thomas Fuchs says, "The principle function of this army-like organization was beating up on anyone who opposed the Nazis, and Hitler believed this was a job best undertaken by homosexuals."

Historian H.R. Knickerbocker writes, "Roehm, as the head of 2,500,000 Storm Troops, had surrounded himself with a staff of perverts. His chiefs were almost without exception homosexuals. Indeed, unless a Storm Troop officer were homosexual, he had no chance of advancement."

Most of Hitler's closest aides were homosexuals or sexual deviants. This circle included not only Roehm but the Hitler Youth leader, the Minister of Justice, the Minister of Economics, Hermann Goering (who may not have been homosexual but who liked to dress in drag, paint his nails and put rouge on his cheeks), his personal attorney and his bodyguards. Hitler himself likely functioned as a male prostitute in the days of his youth in Vienna.

Heinrich Himmler, second in power only to Hitler, was publicly opposed to homosexuality but may have been a closet homosexual himself, and served Roehm faithfully and loyally until Roehm fell out of Hitler's favor. Himmler was deeply immersed in the occult, as was Hitler, which led them ultimately to replace every Christian holiday on the German calendar with a pagan counterpart.

In fact, Jews and clergy alike were targets of Nazi wrath. One of the favorite tunes of the Brown Shirts contained this line, "Storm Trooper Comrades, hang the Jews and put the priests against the wall."

In sum, as Lively points out, the masculine homosexual movement in Germany created the Brown Shirts, and the Brown Shirts in turn created the Nazi Party.

There of course is no question that the Nazis rounded up effeminate homosexuals and a great many of them died in slave labor camps as a result of mistreatment and disease. Historians estimate that less than one percent of Europe's homosexual community died at the hands of the Nazis. While even one such death is too many, this pales in comparison to the 85% of Europe's Jews who, unlike homosexuals, were sent to gas chambers.

Many of the guards and administrators responsible for concentration camp horrors were themselves homosexuals. Famous Nazi hunter Elie Weisel was sent to Auschwitz, where he discovered that the head of his part of the camp "loved children," and observed that "there was a considerable traffic in young children among homosexuals there."

A Nazi administrator at Treblinka, according to one historian, "had a harem of little Jewish boys" and "sought in Treblinka only the satisfaction of his homosexual instincts."

In some camps, SS guards would actually sponsor lotteries to see which of the "young attractive homosexuals" would go to whom, while at the same time, according to one historian, they "lashed out with special fury against those who showed effeminate traits." A Pink Triangle survivor said, "The ones who were soft were the ones who suffered terribly."

The "Butch" homosexual guards and capos were capable of unrestrained cruelty, sadism and savagery. A guard at Auschwitz, for instance, strangled, crushed and gnawed to death as many as 100 boys and young men a day while raping them at his leisure.

Historian Frank Rector writes of a film made by the SS "that was secretly made for the enjoyment of a select coterie of Nazis showing a wild drunken orgy of beautiful boys and handsome young men being whipped, raped and murdered by the SS."

Even today in America, it is chic in some homosexual circles for individuals to wear replicas of Nazi Germany uniforms, complete with iron crosses, storm trooper outfits, military boots and even swastikas.

Some parts of the American Nazi movement are explicitly homosexual. The National Socialist League, in fact, at last word restricts its membership to homosexual Nazis.

What's the point here? Simply that there is another side to the constant refrain from homosexual activists




who frequently mention the Nazi persecution of homosexuals and in so doing imply that Christians who oppose the normalization of homosexuality are in effect crypto-Nazis.

The truth is that Christians and certain portions of the homosexual community alike had much to fear from the Nazis.

As has been famously said, those who do not study history are condemned to repeat it. Nazi Germany became the horror that it was because it rejected both Christianity and its clear teaching about human sexuality. These are mistakes no sane culture should ever make again.

(Source: The Pink Swastika: Homosexuality in the Nazi Party, by Scott Lively, Founders Publishing Foundation, 1995.)
www.renewamerica.com/columns/fischer/080515
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The Third Reich Years 08 May 2016 15:17 #72

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The Nazi Death Machine: Hitler's Drugged Soldiers

By Andreas Ulrich
The Nazis preached abstinence in the name of promoting national health. But when it came to fighting their Blitzkrieg, they had no qualms about pumping their soldiers full of drugs and alcohol. Speed was the drug of choice, but many others became addicted to morphine and alcohol.
Many of the Wehrmacht's soldiers were high on Pervitin when they went into battle, especially against Poland and France -- in a Blitzkrieg fueled by speed. The German military was supplied with millions of methamphetamine tablets during the first half of 1940. The drugs were part of a plan to help pilots, sailors and infantry troops become capable of superhuman performance. The military leadership liberally dispensed such stimulants, but also alcohol and opiates, as long as it believed drugging and intoxicating troops could help it achieve victory over the Allies. But the Nazis were less than diligent in monitoring side-effects like drug addiction and a decline in moral standards.


www.spiegel.de/international/the-nazi-death-machine-hitler-s-drugged-soldiers-a-354606.html
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The Third Reich Years 08 May 2016 15:25 #73

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The Third Reich Years 08 May 2016 15:33 #74

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Dangerous Undercurrent:
Death, Sacrifice and Ruin in Third Reich Germany

by Meghan O’Donnell
During the reign of the Third Reich, Adolf Hitler, along with his devoted followers, made plans for Germany founded on principles of superiority, a master race and the belief in “A Thousand-Year Reich.” German Kultur, art and monumental architecture represented the tools with which Hitler could raise Germany up from a nation suffocating from depression and despair, to one thriving with confidence and pride.

Yet beneath this façade of cultural glory and German supermen was the paradoxical obsession with death, ruin, and martyrdom. Inspired by Wagner, neo-Romanticism, monumentality, and volkish ideology, Hitler crafted a Germany built on sacrifice, hero worship, and fascist aesthetic politics. The culmination of which contributed to the creation of a Nazi Totenkult (cult of the dead); a powerful civil religion that ultimately ended in an ideological national suicide and widespread immolation at the end of World War II.

During the reign of the Third Reich, Adolf Hitler made plans for a German future founded on the principles of victory, superiority, and a master race. He aimed to transform Germany into a state in which culture was the only “end to which power should aspire” and where the construction of Nazi cultural monuments, and art would change the face of Germany from one of despair and isolation, to one of pride and confidence.(1)

Yet beneath this Nazi façade of racial supermen and cultural glory, another ideology developed, one obsessed with death, ruin and martyrdom which helped bring Hitler’s Germany to its apex, and then to its ultimate climactic end.

Inspired by Wagner, neo-Romanticism, monumentality and volkish ideology, Hitler crafted a hunger for sacrifice, and a hero worship whose exploitation within his fascist aesthetic politics brought about the creation of a Nazi Totenkult.(2) The manipulation of this Totenkult within Hitler’s civil religion ultimately culminated in an ideological “national suicide” and an “orgy of self-immolation” inside Hitler’s bunker at the end of World War II.(3)

Understanding the roots of this Totenkult (cult of the dead) makes it necessary to discuss the “Volkish thought” as it developed out of the nineteenth century, which as historian George Mosse argues, “showed a distinct tendency toward the irrational and emotional.”(4)

This volkish thought, which was essentially a populist ideology, promoted the idea of “authentic German culture” and the superiority of the German race, language and history.(5) This ideology had existed primarily within the margins of German society for most of the century, but began shifting to the mainstream of the German Right following the end of World War I and the establishment of the Weimar Republic.(6)

These German conservatives fought against “the entire social and ideological” course of the Weimar Republic’s policy of “industrialization, urbanization, and Jewish assimilation.”(7) And through the Volk movement and eventually its unique form of neo-Romanticism, conservatives developed dichotomies of tradition versus modernity and art versus science, as the greatest issues involved in the “contest for the soul of Germany.”(8)

The volkish movement also became more attractive to many in the educated middle-class, who increasingly doubted whether the “cultural and intellectual paradigms which had dominated the second half of the nineteenth century were capable of dealing with the social and existential effects of modernity.”(9)

Professor Margarete Kohlenbach (in Saul, 2009) argues that this skepticism in regards to “traditional religion, bourgeois morality, philosophical materialism, scientific world views and the beliefs of progress and evolution” contributed to the “cultural reorientation” of many in German society to the Volk movement and its neo-Romanticism after the rise of Hitler and National Socialism.(10)

This neo-Romantic component to Volk ideology became intrinsic to the cult of belief that surrounded Hitler and National Socialism. The philosophy’s connection to nature, folk traditions, and man’s rootedness to his ancestral homeland, were essential in creating an alternative to urbanism and industrialization.(11) And like Romanticism, its philosophical predecessor, neo-Romanticism rejected the “uninspired” world of rationalism to achieve its romantic and conservative goals of “respecting” tradition, combating moral decline, promoting spiritual renewal, and regenerating antique German concepts.

But instead of turning away from modernity, as many early Romantics had done, this new form assimilated its philosophy with Nazism’s modern propaganda, modern technology, and modern war. The earlier Romantic ideas on dynamism and the human will became useful philosophies for the Nazis unceasing aggression. And, elements intrinsic to the earlier forms of Romanticism, including the allure of darkness, organic ruin, dramatic death, and the powerful importance of art to life, became co-opted and consumed by neo-Romanticism and the irrational and emotional volkish ideology.(12)

The Nazis usurpation of the dramatic works of Richard Wagner is a clear example of this. Although Wagner was a product of nineteenth century Romanticism, his art deeply influenced Adolf Hitler, and essentially became the warped melody for Hitler’s romanticized German Kultur and Totenkult.

Wagner’s work and his Bayreuth Music Festival had long been embroiled in the ideological “battle for the soul of Germany” between the conservative advocates of the Volk and the established Weimar cultural structure. But with the rise of Hitler and his neo-Romantic volkish nationalism came “an ideological rampage that translated Wagnerian opera into a national cultural religion with Bayreuth as its supreme place of worship.”(13)

Even before the rise of Hitler, the attention lavished on Wagnerian opera and Bayreuth, the home of Wagner’s Festspielhaus, was enormous. In 1918, Walter Rathenau, the Foreign Minister for the Weimar Republic, discussing with some disdain how far Wagner had “eaten his way into the national consciousness” wrote, “It is scarcely possible to exaggerate how deeply the last generation was spellbound by the influence of Richard Wagner, not so decisively by his music as by the gestures of his characters, by his ideas….”(14)

Then once National Socialism came to the fore, the Nationalsozialistische Monatshefte under the direction of Alfred Rosenberg, an influential intellectual within the Nazi party, praised Richard Wagner for having “anticipated the reconciliation of art with politics and for his discovery of artist-man, which would bear fruit in the process of the healing of the German people.”(15) And Adolf Hitler himself said, “Whoever wants to understand National Socialist Germany must know Wagner.”(16)

The obsession of Hitler and the true disciples of the Volk movement, with Wagner, elevated his work to an entirely irrational place of reverence within the new German Kultur of the Third Reich. His seminal operas of Der Ring des Nibelungen, and Tristan und Isolde, apart from highlighting the superiority of the Teutonic race, also magnified the dark and violent love affair with death and glorified ruin, which was featured so often in Romantic art and became an essential thematic element to Hitler’s Totenkult.

Wagner’s Der Ring des Nibelungen, or The Ring of Nibelung is actually a cycle of four operas, Das Rheingold, Die Walküre, Siegfried, and the final opera Die Götterdämmerung. The latter translates as “Twilight of the Gods” and was said to be Hitler’s favorite opera of all time.(17) The hero Siegfried and his lover Brunhilde die heroes‟ deaths in an apocalyptic vision of the end of the world.

Before she is consumed by flames, Brunhilde cries out, “Laughing let us be destroyed; laughing let us perish...let night descend, the night of annihilation...laughing death...laughing death.”(18) In the second act of Die Walküre, Brunhilde’s father, the god Woton cries, “I want only one thing yet, the end, the end....”(19) Yet the appeal to glorified death did not end with Der Ring des Nibelungen.

In Wagner’s Tristan und Isolde the final aria is called “Liebestod,” which means “Death love.” In this aria, Isolde dies experiencing a death “as to drown, unconscious, the greatest bliss.” In death, her love for Tristan is finally consummated, expanding on earlier German Romantic notions of death as an erotic act of passion.(20)

It was this kind of romantic drama and tragic death that inspired even Friedrich Nietzsche in his youth to believe Wagnerian opera had a broader and more dramatic purpose. In The Birth of Tragedy, Nietzsche argued that art, not morality, was the “metaphysical activity of man.”(21) This art relies on the constant struggle between the artistic powers of Apollo and his antithesis Dionysos. Apollo represents the “pictorial world of dreams” and individual moderation, and Dionysos represents drunken ecstasy, freedom from restriction, and the destruction of individuality.(22) When a synthesis between Apollo and Dionysos is achieved, the product is Greek tragedy; art of dreams and art of ecstasy.(23)

However, for tragedy to succeed in making the pessimistic life of man worth living, the Dionysiac element must be dominant to Apollo, because only then can the lure of artistic ecstasy seduce man to live despite the “frightful uncertainty of all conditions of life.”(24) And, since it is impossible to know the true nature of Greek tragedy as experienced by ancient Greeks, the closest comparison in the modern world for Nietzsche existed in the tragic operas of Richard Wagner, for he was a man like himself, who understood that artful tragedy was the highest task of life and culture.(25)

Thus this Wagner mythology became the foundation from which Hitler claimed himself to be the artist-Führer, and without reluctance projected himself to the masses as Germany’s new Siegfried when he wrote in Mein Kampf, “A Fire was kindled from whose flame one day the sword must come which would regain freedom for the German Siegfried and life for the German Nation.”(26) This kind of Wagner mythology, like that of the neo-Romantics, linked death with glory, hope, and ultimately love, and became a fundamental element to understanding the appeal of both, under Hitler’s National Socialism.

This is why George Orwell once said, “Whereas Socialism, and even capitalism in a more grudging way, have said to people, “I offer you a good time”, Hitler has said to them “I offer you struggle, danger and death”, and as a result a whole nation flings itself at his feet.”(27) In essence, death was a “central part of the ethos of the Third Reich.”(28) However, Hitler did not rely on Wagner and a legacy of neo-Romanticism alone to construct his Totenkult; another fundamental element was the cult of dead heroes.

Hero worship and “The Cult of the Fallen Soldier,” represent the clearest and most affecting examples of the paradoxical nature of Hitler’s dream for Germany. Following World War I, most Germans had a clear understanding of sacrifice as realized through the blood of their young soldiers. This is especially true for the “Myth of Langemark,” an important battle for the ethnohistory and death iconography of World War I.(29)

At Langemark, Belgium on 26th of October 1914, hundreds of young German soldiers marched into no man’s land to their death. As the myth goes, the boys marched all the while singing “Deutschland, Deutschland über Alles, über Alles in der Welt,” the opening verse of The Song of Germany or Das Deutschlandlied.(30)

Thousands of young men were slaughtered, but the myths surrounding their death became an essential part of death cult ideology. Emil Alefeld, a soldier present that night, had written a letter to his family beforehand in which he recounted:


We are Germans; we fight for our people and shed our blood and hope that the survivors are worthy of our sacrifice. For me this is a struggle for an idea, the Fata Morgana of a pure, loyal, honorable Germany. And if we go to our deaths with this hope in our hearts, perhaps it is better than to have the victory…(31)

The attitude expressed by this naïve German soldier speaks to the glorified ideal felt by many Germans that “Death in battle not only guaranteed eternal life for the martyr but also acted as a resurgent life force for the Fatherland.”(32) The last line in his letter, “perhaps it is better than to have the victory” also shows the notion that sometimes the sacrifice is more important than the actual victory itself.

A similar theme runs through the cult of Albert Schlageter, another integral piece of the death cult mythos. Aside from the young soldiers of World War I, Schlageter represents one of the most important martyrs in German death cult iconography. In 1923, after bombing a railway bridge, Schlageter was executed on the outer border of Dusseldorf by French forces.

Throughout Germany many were outraged at the execution and saw it as nothing more than a disproportionate act of retaliation. Immediately his myth began to grow, and a monument was erected in his memory at the site of his execution.(33) This myth of Schlageter became a favorite hero worship story of the Third Reich. In 1934, at a Hitler Youth Rally at the Schlageter Memorial, Baldur von Shirach addressed Hitler’s young disciples and said:


As you look at this grand monument, remember that today the cross of Schlageter towers not only over us, but it casts its shadow over all of Germany and this symbol of strength, of spirit, of dedication and sacrifice received its heroic incarnation in Schlageter. He went to his death answering the call to duty. Here on this spot the dark earth drank his red blood and he was struck down with that cry on his lips which is our call to destiny today: “Oh, you my Germany!”(34)

Jay W. Baird argues that Schlageter had become “an immortal” in the pantheon of death cult heroes.(35) And as is shown by Shirach’s speech, the cult of dead heroes endured well beyond the Weimar era and into the consciousness of many Germans under National Socialism. This cult of dead heroes, alongside the manipulation of Wagner and volkish neo-romanticism became integral to the vision of Germany’s Führer.

However, vision is useless without a means of communicating it to the masses, and for Hitler the greatest source for communication came in the form of aesthetics and art. From architectural monumentality, Third Reich poetry, and Nazi rallies, the symbolism of death, blood, drama, and ruin found a new wave of energy never before seen in Germany.

Perhaps the most unusual of these aesthetic forays was the death cult’s influence on Albert Speer’s theory of “ruin value.” Speer, Hitler’s favorite architect, designed some of the Third Reich’s most colossal monuments, including the Reich Party Rally Grounds in Nuremberg and the model for the Great Hall in Berlin.(36) His monumental architecture was specifically built according to his theory of “ruin value.”

This theory argued that the architecture of the Third Reich should be constructed so the process of natural decay, even after hundreds or thousands of years later, would allow the monument to “communicate the heroic inspirations of the Third Reich” just as the ruins of antiquity do in Greece and Rome.(37) Speer discussed in his memoirs the creation of a “romantic drawing” of how the Zeppelin Field in Nuremberg would look “after generations of neglect, overgrown with ivy, its columns fallen...but the outlines still clearly recognizable.”(38)

The very idea of ruins and monumentality is essential to understanding Hitler’s Totenkult. Speer’s theory of “ruin value” may be directly connected to the imitation of the romantic ruins of Ancient Rome and Greece, but there is also a psychological element that goes beyond the desire to imitate antiquity. Andreas Huyssen, a professor of German at Columbia University has argued that ruins in general represent more than a process of architectural decay. Ruins are in fact an expression of modernity’s “catastrophic imagination,” and are really the articulation of a nation’s “obsession with the passing of time.”(39)

According to Speer, Hitler “liked to say that the purpose of his building was to transmit his time and its spirit to posterity. Ultimately, all that remained to remind men of the great epochs of history was their monumental architecture.”(40) And, as the Roman ruins did for Mussolini, so too should the ruins of the Third Reich “speak to the conscience of future generations of Germans.”(41)

Like the Parthenon or the Coliseum, Germany’s dominion over the world as visualized by Hitler, would be a testament to its enduring greatness long after his Third Reich had disappeared through the decayed monuments of his empire.

This is why monument building was such an obsession for Hitler. He truly believed that “no Volk lives longer than the evidence of its culture,” and for National Socialism, that culture would be remembered through its romanticized and monumental architecture and art long after he was dead and gone.(42) This was made especially clear when Hitler spoke at the cornerstone laying ceremony of his new Congress Hall in September of 1935, and declared:


A hall shall rise that is to serve the purpose of annually housing within its walls a gathering of the elite of the National Socialist Reich for centuries to come. Should the Movement ever be silent, even after millennia, this witness shall speak. In the midst of a hallowed grove of ancient oak trees will the people then marvel in reverent awe at this first colossus among the buildings of the German Reich.(43)

Hitler also declared in a speech later in July of 1937, that art in general “constitutes an immortal monument, itself abiding and permanent, and thus there is no such criterion as yesterday and today…there is but the single criterion of “worthless‟ or “valuable,” and hence “immortal‟ or “transient.”(44) And for Hitler, immortality was “anchored in the life of the people as long as they themselves are immortal.”(45)

These immortal monuments or temples of the German Reich were not just a means of “bequeathing to posterity the genius” of Hitler’s age. A far more obvious Totenkult aesthetic was also evident in Hitler’s monumental architectural plans. Specifically the construction of miles upon miles of mausoleums along the borders of Germany’s newly expanded empire.

Following the Nazis supposed victory against the Allied powers, colossal citadels for the dead, or Totenburgen, envisaged by Hitler “were to glorify war, honour its dead heroes” and at the same time, “symbolize the impregnable power of the German race” as the massive stone structures would stretch “from the Atlantic to the Urals.”(46)

Hitler also reconstructed the Königsplatz tombs for martyrs of the Beer Hall Putsch of 1923 as a Totenkult monument.(47) What had once been a neo-classical memorial in Munich constructed at the behest of King Ludwig in the mid nineteenth century became a mecca where Germans could celebrate their dead martyrs.(48)

Ultimately however, the Totenkult under Hitler advanced beyond architectural schemes, and a literary tradition also developed in the Third Reich which fostered the worship of dead heroes, along with a glorification of self-sacrifice for the Fatherland. This can best be seen in the poetry of Gerhard Schumann.

Schumann, a fêted poet during the Third Reich, wrote poems which juxtaposed blood and sacrifice with Christian symbolism. In 1934, Schumann wrote a sonnet entitled The Purity of the Reich in which he appealed to the memory of fallen heroes for a rebirth of German values:


Now there arises a band of the determined,
by night they dream of the blood that was shed,
And of the Führer, who carries the burden of fate,
And of the fields, which cry out for our men,
And of the river, flowing by on our borders,
And of the brother, who forgives us our guilt.
Nothing is kept secret from them.
Their stern words are heavy as forged steel.
Their steps echo the call for ultimate judgment.
In their souls they bear the Grail.
Vassals of the Führer, keepers and avengers alike.
Within them burns and with them grows the Reich.(49)

In 1936 Schumann wrote:


Poetry is the lifeblood of a Volk because the soul also hungers and thirsts and cannot be left barren. Poetry elevates the everyday into grand images transmitted to history and eternity. And beyond that today the creative arts have become important weapons in the ideological struggle for the peoples of the world. The Führer has shown us the path to take.(50)

And indeed it was true; the creative arts and the use of aesthetics became a formidable weapon with which Hitler mesmerized much of the nation. His utilization of the Totenkult and its symbolism captivated his audiences and thrilled them with spectacle. Possibly his most effective tactic, his use of blood, both symbolically and literally, from flags, to costumes, to the prose of his impassioned and operatic speeches, became the fundamental element in the death cult imagery of the Third Reich.

The blood imagery of the Totenkult was best symbolized in the rituals and aesthetics of the Nazi party rallies held in Nuremberg. In one example, an evening rally began with the Nibelung March from Wagner’s Der Ring des Nibelung. Wagner’s music played while the blood-red standards and flags were presented to the Führer. Following the basic standards came what Frederick Spotts considers, “the party’s most holy relic, the Blutfahne, or blood flag, the swastika banner that had been carried in the 1923 putsch.

On this flag the blood of the “martyrs” shot down on that occasion had allegedly been spilled, and almost every year in commemoration of the putsch, Hitler marched the Blutfahne through the streets.(51) In 1936, he marched behind the flag dressed in his own putsch attire and to “heighten the effects of these annual dramas he decorated the streets with vivid splashes of blood red and Stygian black.”(52) This ritual evolved into a “cult of the martyrs of the movement” which had its own anthem...and its own relics, in particular the blood flag.”(53)

During these elaborate cult ceremonies, the language of Hitler’s speeches also became immersed in the blood of sacrifice. The words, “martyr”, “resurrection”, “sacrifice”, “holy place of pilgrimage”, ‟hero”, “death”...all added up to a simple message: sacrifice of oneself to the party and its Führer as a sacred duty, if necessary with the shedding of blood....”(54)

In a speech given to the Nazi party congress in September of 1933, Hitler described the fanatical sacrifice that was needed to maintain the Volk movement of National Socialism. He declared: “Power and the brutal use of force can accomplish much, but in the long run no state of affairs is secure unless it appears logical in and of itself and intellectually irrefutable.”

And above all: “The National Socialist Movement must profess its faith in the heroism that prefers any degree of opposition and hardship to even once denying the principles it has recognized as right”.(55) This kind of sacrificial ideology became increasingly more radicalized through the course of Hitler’s reign. By the end of World War II, a mythology steeped in heroic death and the volkish neo-romantic dogma of National Socialism reached its zenith through the final acts of suicide by Hitler and his followers in the Berlin bunker.

On the 28th of April 1945, Josef Goebbels’ wife Magda wrote a letter to her eldest son while inside Hitler’s bunker. In the letter she wrote, “The world that will come after the Führer and National Socialism will not be worth living in, and therefore I have taken my children away...We have now only one aim: loyalty unto death to the Führer.”(56) When Magda wrote that she had taken her six children “away,” she actually referred to their murder by the forced ingestion of cyanide capsules.

Not long after, Magda and her husband committed suicide following in the footsteps of Hitler and his wife Eva Braun. This kind of suicide and murder goes far beyond what French sociologist Emile Durkheim calls, “emotional or social problems,” which is a possible explanation for the “epidemic” of other suicides that ravaged Germany at the end of the war.(57) The fact that Magda Goebbels proudly described the martyring of both her children and herself, speaks to the psychology of the Nazi death cult and the belief in “heroic sacrifice” for both the Führer and Germany.

Joseph Goebbels also clung to the Totenkult rhetoric when he said “his death would set a heroic precedent for a new Germany which would “survive this war, but only if it has precedents at hand on which it can lean itself.”(58) Hitler himself called on the ideology of sacrificial death in his political testament written just before his suicide on the 30th of April 1945 when he wrote:


May it become, at some future time, part of the code of honour of the German officer...that the surrender of a district or of a town is impossible, and that the leaders here, above all, must march ahead as shining examples, faithfully fulfilling their duty unto death.(59)

Whether this kind of rhetoric represented true belief or the mere ideological propaganda meant for posterity, will never fully be known. Committing suicide remains one of the “most private and impenetrable of human acts,” making the analysis of such measures difficult to ascertain.(60) However, through the suicides of Eva Braun, and Joseph and Magda Goebbels, a connection can be drawn to the dangerous undercurrent of death, ruin and sacrifice which had been so masterfully constructed by their Führer. This undercurrent, developed and nurtured by Hitler and his multitudes of henchmen, managed to create possibly the greatest act of the Totenkult, the ideological “suicide of the nation.”(61)

In The Holocaust and the German Elite: Genocide and National Suicide in Germany, 1871-1945, Rainer C. Baum argues that under the Third Reich, Hitler and his followers propelled Germany into a national suicide. With “institutionalized disorder” under the Führer, Hitler and his regime acted out what sociologist Robert Bellah argued was the distinctive mark of modernity, the realization that “the human condition itself has become a revisable entity” and that mankind can indeed define itself out of existence.(62)

Through this willful act, those with power in the Third Reich “rather than continuing to define the human species as one that strives for comprehensive meaning,” decided instead to “redefine” the human condition into a state of irrational death as they moved their nation further into destruction.(63)

There is also a psychological theory for the existence of Hitler’s Totenkult, which is expressed in Sigmund Freud’s theory on the death instinct. In both Beyond the Pleasure Principle, and Civilization and its Discontents, Freud develops a psychological explanation for mankind’s ability to be drawn towards death, regardless of how irrational it might be.

He begins by stating that everything living eventually dies from “internal reasons” and becomes inorganic as it had been before its inanimate state had originally awoken to life.(64) This being true, Freud contends that the “goal of all life is death,” because life’s first instinct upon developing consciousness is “to return to the inanimate state.”(65)

As civilization has progressed, organisms have also developed self-preservation instincts. These instincts, however, do not contradict the death drive, they only serve as “component instincts whose function it is to assure that the organism shall follow its own path to death, and to ward off any possible ways of returning to inorganic existence other than those which are immanent in the organism itself.” Essentially, all humans have an instinct towards the eventuality of death. The instincts of preservation that guide us through life are merely part of our subconscious desire to control the means by which we become inanimate once more.

However, this argument becomes more complex when Freud discusses the death instinct when directed outward. In Civilization and its Discontents, Freud argues that the death instinct lies quiet compared to instincts of life...the instincts of Eros. However, the death instinct becomes visible when “diverted towards the external world,” instead of toward the self, becoming an instinct of aggression and destruction.(66 This becomes a fundamental tension as human beings struggle against their own subconscious death drive, and the desire to turn that drive outwards through aggression and hostility.

Hitler’s entire regime seemed committed to this struggle between self-destruction and the destruction of others, and this Freudian death drive theory explains some of the possible reasoning behind the allure of Hitler’s Totenkult, especially when coupled with the irrational and emotional volkish movement which facilitated both the self-destructive and the aggressive characteristics of humankind's death instinct.

However, a psychological theory only goes so far in illuminating the reasoning, behind what is really the madness of Hitler the artist-dictator and his Totenkult. The man who dreamed of creating a new German culture fostered by racial superiority and Teutonic pride, also promoted hero-worship, glorified struggle, operatic suicide and artful destruction, and was only achieved through his unique form of aesthetic politics.

This is elucidated in Peter Cohen’s documentary The Architecture of Doom, in which he argues that “Hitler saw doom as art’s highest expression, the drama was a reality…its completion was his final and decisive scenographic mission.”(67)

When looking back on historians’ treatment of Hitler, George Mosse argued it was his use of aesthetics to paradoxically promote both creation and destruction, which has been most over-looked when attempting to understand the appeal of such a dictator. George Mosse wrote “We failed to see…that the fascist aesthetic itself reflected the needs and hopes of contemporary society, that what we brushed aside as the so-called superstructure was in reality the means through which most people grasped the fascist message, transforming politics into a civil religion.”(68)

This civil religion, with its mixture of volkish ideology, neo-Romanticism and art obsession, although not accepted by all, made it possible for a fanatical dilettante turned dictator, to fashion himself into Germany’s Rienzi. In Wagner’s great hero, Hitler “sought to create social order and restore the empire. But in the end he brought destruction upon his world and was consumed in the fiery ruins” of his own making.(69)
www.libraryofsocialscience.com/essays/odonnell.html
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The Third Reich Years 10 May 2016 07:08 #75

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Giggling over genocide: They flirted with the SS, wore pink underwear and even had a hair salon - the female death camp guards as evil as the men



One of the earliest prisoners in Ravensbruck was Doris Maase, a Left-wing German doctor, whose first sight of Binz was when an inmate tried to kill herself by running onto the electric fence.

Binz stopped her. ‘She dragged the skeletal woman away and beat her with a cane on her naked thighs. Such cruelty in one so young and pretty made a lasting impression on me.’

Binz’s appetite for cruelty soon made an impression on everyone. And yet, until she got the job there, she had been little noticed and there had been no indication of the extreme violence in her nature.


Read more: www.dailymail.co.uk/news/article-2905820/Giggling-genocide-flirted-SS-wore-pink-underwear-hair-salon-female-death-camp-guards-evil-men.html#ixzz48ELM0qUw
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The Third Reich Years 19 Apr 2020 19:22 #76

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Is there another thread here about the Thule Society? This is the only one that came when i did a search.

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The Third Reich Years 19 Apr 2020 20:19 #77

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.......... wrote:
Is there another thread here about the Thule Society? This is the only one that came when i did a search.


Why would you even bump such an incredible kike cunt thread as this one? :facepalm:
"Freedom is not a measure of good, but good is the measure of freedom." - Bishop Williamson


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