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TOPIC: The Third Reich CULT
The Third Reich CULT 27 Dec 2016 21:33 #21
The ghosts of the maccabees on Truth Zone.
Would you be interested in what the 4th Reich, that we are currently experiencing in Germany, looks like?
Say hello to all those 'refugees' you got over there Pfizipie.
Better in Germany than over here.
Better still back where they came from or all securely contained down in Greece.
You want positive change for Germany love?
Old time Nazi woo woo notwithstanding. That's ancient history.
Nowadays , cult or no cult; NS aint gonna help you - so..
Thanks for showing interest in reality of the current 4th Reich.
This is what it looks like in a photo:
This is the symbolism of The Fourth Reich on German soil.
"Vote AfD" = Vote controlled opposition, you system
This is almost 2017. Time to move on holo-chums!
More to come ... stay tuned!
"The truth must be repeated over and over again,
because error is repeatedly preached among us, not
only by individuals, but by the masses. In periodicals
and cyclopaedias, in schools and universities; every-
where, in fact, error prevails, and is quite easy in the
feeling that it has a decided majority on its side."
► Johannes Lang "The Hollow World Theory" Blog ◄
► My Zone by PFIZIPFEI ◄
Last Edit: 27 Dec 2016 21:51 by PFIZIPFEI.
User(s) who Liked this post: Orangeaid
The Third Reich CULT 27 Dec 2016 22:19 #22
Thread - Topic: The Third Reich CULT
Once a hyena always a hyena.
The Third Reich CULT 27 Dec 2016 22:25 #23
Death, Sacrifice and Ruin in Third Reich Germany
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)
Once a hyena always a hyena.
The Third Reich CULT 27 Dec 2016 22:27 #24
Thread - Topic: The Third Reich CULT
No rules, no guidelines ... remember?
But thanks for the reminder, anyway!
I'll start a new thread on the current 4th Reich on German soil.
"The truth must be repeated over and over again,
because error is repeatedly preached among us, not
only by individuals, but by the masses. In periodicals
and cyclopaedias, in schools and universities; every-
where, in fact, error prevails, and is quite easy in the
feeling that it has a decided majority on its side."
► Johannes Lang "The Hollow World Theory" Blog ◄
► My Zone by PFIZIPFEI ◄
User(s) who Liked this post: Orangeaid, Frothy
The Third Reich CULT 27 Dec 2016 23:12 #25
Of course, I don't know how I even missed this, it's a ''Death Cult'' or rather ''Totenkult'' (in German) the whole thing is about death, that explains everything, the war, the camps, the mass suicides, it's all about death.
Suicide in Nazi Germany in 1945
When the US Army took the Saxon city of Leipzig in April 1945, a gruelling scene was revealed inside the town hall. The Nazi treasurer of the city, his wife, and his daughter had all committed suicide. But these suicides were not isolated cases. In the spring of 1945, Nazi Germany went to its end in an unprecedented wave of suicides. Not only Hitler and other leading Nazi officials ended their lives amidst Nazi Germany’s total defeat, but also thousands of lower-ranking Nazi officials and ordinary people.
Suicide at the Third Reich’s end almost became a routine phenomenon, despite the strong Christian taboo on killing oneself.
It is tempting to interpret these suicides as direct reflections of the Hitler cult and years of Nazi propaganda that had glorified a notion of heroic self-sacrifice. While there was indeed a suicidal atmosphere at the end of the Third Reich, when people believed that everything was coming to an end, by no means all suicides in this context were directly related to Nazi ideology.
To be sure, for most Nazis, the Third Reich was unimaginable without Hitler, and it is therefore no coincidence that many Nazi leaders killed themselves immediately after they heard of Hitler’s death, reported on the wireless as heroic self-sacrifice. Fear of Allied retribution was a frequent motivation for Nazi and military leaders to kill themselves as well as the determination to maintain control over their lives and bodies. For these Nazi leaders, killing oneself was a final, masculine stand and a reaffirmation of the Nazi creed. Surrender was not an option, invoking memories of the German surrender in 1918, a black date for the Nazis.
For many Germans living the war experience of 1945, politics, the war, and everyday life came together in a lethal cocktail in which for many, there was a complete lack of a future perspective.
What about ordinary people’s suicides? Five times more people killed themselves in 1945 in Germany than in previous years, according to official statistics. This figure is likely an underestimate given the administrative defeat that accompanied the German defeat. Still, these were the highest suicide levels ever recorded in modern German history.
While statistics give us a rough overview of the extent of the suicide wave they completely disregard individual fates and circumstances. A number of suicide notes and police investigations, compiled by the Berlin criminal police, allows glimpses into the micro-level of suicide and approach the motivations of ordinary people’s suicides. Nervousness and depression featured as the most prominent suicide motives in these documents, although we must bear in mind that Nazi propaganda also had an impact on the ways in which ordinary people represented their suicides to those they left behind. In suicide notes left by women, fear of being raped by Red Army soldiers was a significant suicide motive. In Berlin, many women even carried razor blades in their handbags for the eventuality, while members of the Hitler Youth are said to have distributed capsules of potassium cyanide to the audience of the last concert of the Berlin Philharmonic before the end of the war. While such stories may be exaggerated they nevertheless capture the atmosphere of the time in which everything was coming to an end.
For many Germans living the war experience of 1945, politics, the war, and everyday life came together in a lethal cocktail in which for many, there was a complete lack of a future perspective. The destructive energies of the Third Reich which had brought violence, genocide, and destruction to Europe on an unprecedented scale finally reached the home front and found their most extreme expression in a wave of self-destruction. It would be a long time until the consequences of this suicide were overcome.
It's not just a cult, it's a Death Cult, hence the occultist aspect, and those dead ''martyrs'' that they honoured during that spooky ceremony when they held torches. marched at night, and answered the role call for the dead, it's a Death cult.
Once a hyena always a hyena.
Last Edit: 27 Dec 2016 23:13 by Frothy.
The Third Reich CULT 27 Dec 2016 23:15 #26
Thread - Topic: The Third Reich CULT
No rules, no guidelines ... remember?
But thanks for the reminder, anyway!
I'll start a new thread on the current 4th Reich on German soil.
That's right. Total (((chaos))) in a sanctioned environment
Then the (((whiners))) whine, moan, complain, derail, deflect, create 6 million threads on the same issue .... then whine, complain, deflect, derail some more
User(s) who Liked this post: PFIZIPFEI
The Third Reich CULT 27 Dec 2016 23:28 #27
The Third Reich CULT 27 Dec 2016 23:31 #28
The goal was to kill the nation, the leader then kills himself and many follow suit, it's a sacrifice, they were trying to evoke something from violence and death, it's why they needed to keep the furnaces burning, it's why they were so aggressive, and it's why the TZ cultists still go on and on about the war, the war was simply the symptom of the death cult, so was the holocaust, and so was the mass suicides, it's why Adolf got married right before he died, he was celebrating the Death Cult, it's why the other one killed all his children and wife, it's what the occultist stuff was all about, they were not just killing themselves, they were killing the whole nation.
They were ''creating'' aryans and sending them off to die.
Once a hyena always a hyena.
Last Edit: 27 Dec 2016 23:39 by Frothy.
The Third Reich CULT 27 Dec 2016 23:38 #29
The Third Reich CULT 27 Dec 2016 23:44 #30
User(s) who Liked this post: PFIZIPFEI
The Third Reich CULT 28 Dec 2016 00:02 #31
Hitler and Heydrich - The Third Reich Gods of Death
Once a hyena always a hyena.
The Third Reich CULT 28 Dec 2016 00:10 #32
The Third Reich CULT 28 Dec 2016 00:14 #33
The Third Reich CULT 28 Dec 2016 07:47 #34
Thule Gesellschaft and the Vril Society
There are two secret societies that have been working in unison - the Thule Gesellschaft and the Vril Society. Those who know anything at all about how Hitler rose to power have heard about them both, because they influenced the political climate in Germany behind the scenes and were the forces that helped bringing The Führer to power.
At that time, they wanted to ring in the 3rd Reich, where Hitler would be the leader. Although many of Hitler’s (and the Priesthood’s) goals were reached during WW II (the creation of the UN and the migration of Jews to Israel to mention two of the goals they accomplished), the mission only took the Internationalists so far. Now is their time to ring in the 4th Reich, which will be the final One World Government.
What follows is a description of the Thule Gesellschaft - I want to start out with the “official version” for your information before I go into much lesser known details about the society.
The Thule Society (German: Thule-Gesellschaft), originally the Studiengruppe für Germanisches Altertum ‘Study Group for Germanic Antiquity’, was a German occultist and völkisch group [group for the people] in Munich, named after a mythical northern country from Greek legend. The Society is notable chiefly as the organization that sponsored the Deutsche Arbeiterpartei, which was later transformed by Adolf Hitler into the Nazi Party.
Thule found its true purpose through the joining of societies in 1919 with the Vril Gesellschaft and DHvSS which also believed in
worship of the Black Sun; but it was the psychic mediums of Vril and Thule's own resident psychic Maria Orsic that convinced them that
the Aryan race didn't originate from earth but from Aldebaran in Alpha Tauri - 64 light years away.
Vril also convinced the DHvSS (Men of the Black Stone) that their mountain goddess Isias was the queen of Aldebaran.
The primary focus of Thule-Gesellschaft was a claim concerning the origins of the Aryan race. “Thule” ((Greek): Θούλη) was a land located by Greco-Roman geographers in the furthest north. The term “Ultima Thule” ([Latin]: most distant Thule) is also mentioned by the Roman poet Virgil in his epic poem Aeneid. This was supposed to be the far northern segment of Thule and is now generally understood to be Scandinavia
Said by Nazi mystics to be the capital of ancient Hyperborea, they identified Ultima Thule as a lost ancient landmass in the extreme north: near Greenland or Iceland. These ideas derived from earlier speculation by Ignatius L. Donnelly that a lost landmass had once existed in the Atlantic, and that it was the home of the Aryan race, a theory he supported by reference to the distribution of Swastika motifs. He identified this with Plato’s Atlantis, a theory further developed by Helena Blavatsky, the occultist during the second part of the 19th century. The Thule-Gesellschaft maintained close contacts with Theosophists, the followers of Blavatsky
An important note here is that the modern Thule Gesellschaft was formed (or reformed) by Rudolf von Sebottendorf in 1918, but the Order in itself, just like Freemasonry and many other secret societies, is ancient and have survived throughout history under different names but always had the same mission and Agenda.
The Thule Society has, so I’m told, a huge base in Antarctica as well, which also is the place where the secret man-made UFOs are taken into space. They even have plans to make Antarctica a sovereign state in the near future, a state outside of the One World Government. The Vril Society, in control of Vril Power, and the Thule Gesellschaft are tightly interwoven. The Vril Society is actually the Inner Circle of Thule and they work with the U.S. Government and have done so since the end of WW II when German Thule and Vril members were secretly moved over to the United States in a project called “Operation Paperclip”.
Both Thule and Vril are using Scandinavian Gods and Goddesses as aliases within the Order, and they even have a Nordic language that the Inner Circle speaks which they have spoken on Earth for over 11,000 years. It has been passed down to each inner circle’s successor.The following pretty much summarizes Thule’s present view on humanity and its’ future. It comes from a Thule Insider and is translated from German:
This is what we need to understand! We are all parts of this [God's] plan. There are lots of pieces in God’s great game. Unfortunately, mankind learns only by disasters or wars and then we develop a new collective consciousness!
The Akasha Chronicle is nurtured from the development of human beings, and as bad as it sounds: Napoleon and Hitler were factors in the collective consciousness of mankind — a child learns from a little pain — humanity learns from this child. But it will be accompanied by a great divine assistance, which is generally in the literature of the esoterics which the “Great White Brotherhood” refers to.
We need have no fear, because lurking behind the Stargate is not the death or monsters. It shows the kind and loving creator. The “Great White Brotherhood” is the guardian of ideas. The gods have invoked the Brotherhood of Agartha — The Order of Thule, and other magic systems work in the construction of the new eon. Hope is our principle.
I am not at all convinced that “behind the Stargate is not "the death or monsters", though. My research leads me to believe it’s a mix of “everything” and by opening the Gate we let in whatever dwells “on the other side”… Agartha means the Nation inside the Hollow Earth, which I have no doubt is very real.
The Vril Society
First a little background on the Vril Society. This is what is told to the general public in Wikipedia:
The Vril Society was founded as “The All German Society for Metaphysics” in 1921 to explore the origins of the Aryan race, to seek contact with the “hidden masters” of Ultima Thule, and to practice meditation and other techniques intended to strengthen individual mastery of the divine Vril force itself. It was formed by a group of female psychic mediums led by the Thule Gesellschaft medium Maria Orsitsch (Orsic) of Zagreb, who claimed to have received communication from Aryan aliens living on Alpha Tauri, in the Aldebaran system. Allegedly, these aliens had visited Earth and settled in Sumeria, and the word Vril was allegedly formed from the ancient Sumerian word Vri-Il, “like god” [In fact, Vri-Il means nothing in Sumerian, and could not even be a Sumerian word, as Sumerian had no 'v' phoneme, nor does Sumerian allow consonant clusters at the beginning of words. While the Akkadian word for “deity” is indeed ilum, the Sumerian word is dingir]. A second medium was known only as Sigrun, a name etymologically related to Sigrune, a Valkyrie and one of Wotan’s nine daughters in Norse legend. Other sources state that the Vril Society was founded by an ill-defined group of Rosicrucians in Berlin before the end of the 19th century, while still others state that it was founded by Karl Haushofer in Berlin in 1918. Some sources state that the Vril Society was also known as the Luminous Lodge, or the Lodge of Light, though others claim that it was originally called the Brothers of the Light.
The Society allegedly not only taught concentration exercises designed to awaken the forces of Vril, their main goal was to achieve Raumflug (Spaceflight) to reach Aldebaran. To achieve this, the Vril Society joined the Thule Gesellschaft and the alleged DHvSS (Die Herren vom schwarzen Stein, The Masters of the Black Stone) to fund an ambitious program involving an inter-dimensional flight machine based on psychic revelations from the Aldebaran aliens [who are equivalent to the Anunnaki, who ruled in old Sumer. The word Sumer (or Sumeria) stems from Sumi-Aldebaran, which is the star system the Anunnaki originally come from, 68 light-years from Earth. Nibiru is merely a "station" they use on their Intergalactic journeys].
Members of the Vril Society are said to have included Adolf Hitler, Alfred Rosenberg, Heinrich Himmler, Hermann Göring, and Hitler’s personal physician, Dr. Theodor Morell. These were original members of the Thule Society which supposedly joined Vril in 1919. The NSDAP (National Sozialistische Deutsche ArbeiterPartei) was created by Thule in 1920, one year later. Dr. Krohn, who helped to create the Nazi flag, was also a Thulist.
With Hitler in power in 1933, both Thule and Vril Gesellschaften allegedly received official state backing for continued disc development programs aimed at both spaceflight and possibly a war machine.
There is no evidence that a functional prototype was ever made. The claim of an ability to travel in some inter-dimensional mode is similar to Vril claims of channeled flight with the Jenseitsflugmaschine (Other World Flight Machine) and the Vril Flugscheiben (Flight Discs).
Hidden masters (the members of the Vril society and their antagonist, the Jewish World Conspiracy), an escape by Hitler and other Nazis from Berlin to the South Pole, flying saucers, secret Nazi inventions, and psychic channeling powers and Aliens from Aldebaran clearly are the elements of a conspiracy theory. As there yet seems to be no comprehensive scholarly examination of the proponents of this theory (except for some chapters in Goodrick-Clark’s "Black Sun"), their motives remain unclear. It must be said, though, that Secret Societies cannot be held responsible for the Holocaust and the Third Reich.
Like I said, this is the "official version", which does have truth in it, but the Wikipedia entry was made by someone who wanted to debunk the whole story. Big mistake!
History is telling us that the Vril Society was almost entirely based on Edward Bulwer-Lytton’s fiction novel, The Coming Race. The book describes a race of men psychically far in advance of ours. They have acquired powers over themselves and over things that make them almost godlike. For the moment they are in hiding. They live in caves in the center of the Earth.
So how can a group of esoteric people form a serious secret society out of a fiction book? Well, this is how it works:
First of all, if we research Edward Bulwer-Lytton we will see that he belonged to The Hermetic Order of the Golden Dawn, which in itself was (and still is) a very esoteric secret society which branched out from the English Rosicrucian Order. Being a high rank member of The Golden Dawn, Bulwer-Lytton had a lot of esoteric knowledge. What he then did was nothing new and it happens even more often today — he wrote a fantasy/fiction book! That way he got the esoteric knowledge out to other initiates in other secret societies around the world, while the common masses would read the book as pure fiction and never understand the seriousness, the symbolism and the truth that was written in it. An ingenious way of getting forbidden knowledge out in the open, but still only the selected few would understand what the information is really about. Today they do this through books, Hollywood movies, pop/rock music, fine art, pop art and more…
In December 1919 a small circle of persons from Thule, Vril and the DHvSS [Die Herren vom Schwarzen Stein (German: Lords of the Black Stone)] met in a specially rented forester’s lodge near Berchtesgaden (Germany). They were accompanied by the medium Maria Orsic and another medium only known as Sigrun. Maria had mediumistically received transmission in a secret Templar script – a language unknown to her – with the technical data for the construction of a flying machine. According to Vril documents these telepathic messages came from the solar system Aldebaran which is sixty-four light-years away in the constellation Taurus.
Here is a short summary of messages the Vril medium had received over the years and which formed the basis for all further actions by the Vril-Gesellschaft, compiled by author Jan van Helsing, and this is very important information to be able to understand the rest - this is not science fiction, but truly what is going on in the Inner Core of Thule and Vril. I need to emphasize to the reader that even if you don’t believe a word of this, it’s irrelevant. They believe it and have built at least two very complicated secret societies around it — and these societies are quite powerful and influential:
The solar system Aldebaran has a sun around which revolve two inhabited planets that form the empire SUMERAN. The population of the Aldebaran system is divided into the master race of “light God people” (Aryans) and several other human races that had developed by negative mutation from the “God people” because of climatic changes upon the planets.
The Aldebaran star system
The colored mutant races apparently are on a lower stage of spiritual development. The more the races intermixed, the lower the spiritual development of these people sank, which led to the situation that when the sun Aldebaran began expanding they could no longer maintain the space travel technology of their forefathers and could not leave the planets by their own means. The lower races, totally dependent upon the master race, had to be evacuated and were brought to other inhabitable planets. Despite their difference all the races respected one another and did not interfere with each other, neither the so-called God people nor the lower races. Each respected that the others just made their own developments [in contrast to what happens on Earth].
Around 500 million years ago the “light God people” started to colonize other earth-like planets, after the expansion of the sun Aldebaran and the resulting heat had made the original planets uninhabitable. It is said that in our system they first colonized the planet Mallona (also called Maldek, Marduk or – by the Russians – Phaeton) which existed in the area of today’s asteroid belt, then between Mars and Jupiter. Mars was next. [The proof for a highly developed race on Mars are the well-known face on Mars and the pyramid city which has been photographed by the Mars probe Viking in 1976. It is assumed that the master race of Sumeran-Aldebaran then also came to Earth for a first visit, witnessed by the petrified impressions of a shoe found to be about 500 million years old, and squashed under the heel a trilobite, a little crayfish that lived then upon Earth and became extinct about 400 million years ago].
The Vril people thought that later, when Earth became slowly habitable, the race of the Aldebarans landed in Mesopotamia and formed the master caste of the SUMERIANS which were described as fair, white God people. The Vril telepaths also found that the Sumerian language was not only identical with that of the German and that the language frequently of German and Sumerian-Aldebaranian were almost identical. [The Aldebarans are the ones whom we call the Anunnaki].
The construction plans and the technical details that the Vril mediums received were so accurate that they led to the most fantastic idea men ever begot: the construction of a “Jenseitsflugmachine”, a “flying machine for the other side” and the “Vril-Odin”!
Just to try to understand how complicated the terms “good” and “evil” are and how subjective they are, Dr. W.O. Schumann of the Technical University in Munich, both a Thule and a Vril member, held a speech in the early 20th Century, a section of which is reproduced here:
In everything we recognize two principles that determine the events: light and darkness, good and evil, creation and destruction – as in electricity we know plus and minus. It is always: either – or.
These two principles – the creative and the destructive – also determine our technical means…
Everything destructive is of Satanic origin, everything creative is divine. Every technology based upon explosion or combustion has thus to be called Satanic. The coming new age will be an age of new, positive, divine technology!
~from the German SS secret archives
In the summer of 1922 the first saucer-shaped flying machine was built whose drive was based on implosion (the “other-side flying machine”). It had a disk eight meters across with a second disk with a diameter of six and a half meters above and a third disk of seven meters diameter below. These three disks had a hole at the center of one meter eighty across in which the drive, which was two meters forty high, was mounted. At the bottom, the central body was cone-shaped, and there a pendulum reaching the cellar was hung that served for stabilization. In the activated state the top and bottom disk revolved in opposing directions to build up an electromagnetic rotating field.
The performance of this first flying disk is not known. But experiments were carried out with it for two years before it was dismantled and probably stored in the Augsburg works of Messerschmidt. In the books of several German industrial companies entries under the codename "JFM" (for Jenseitsflugmaschine) can be found that show payments towards financing this work. Certainly the VRIL DRIVE (formally called "Schumann SM-Levitator") emerged from this machine
Before the end of 1937, the RFZ 2 was ready, with a Vril drive and a “magnetic field impulse steering unit. It worked – and it would meet a remarkable destiny in 1941, during the Battle of Britain, when it was used as transatlantic reconnaissance craft, because for these flights the German standard fighters ME 109 had an insufficient range. Due to the craft's small size and experimental impulse controls the RFZ-2 could only make turns of 90, 45, and 22.5 degrees making it unsuitable as a fighter aircraft.
In 1941, however, the RFZ-2 met the surface raider Atlantis in the The RFZ-2 served as a long-range spotter for the raider which would later bring mining equipment and supplies to Neu Schwabenland prior to its sinking in December 1941.
This is the last known use of the RFZ-2 which due to its cramped interior which tended to heat up badly became known as the "Fliegende Heisswasserflasche" (Flying Hot Water Bottle)!
These machines were based an an IMPLOSION instead of an EXPLOSION system, a technology directly developed from Maria Orsic’s and her co-mediums’ channeled information. VRIL power is simply the energy of the Universe, and Nazi Germany learned how to tame it and use it for interplanetary travels.
There is a lot more to know about the development of Flying Saucers here on Earth, and I strongly recommend you read Jan van Helsing’s book, Secret Societies and Their Power in the 20th Century to learn more. It goes into details on this and various other very important subjects. For our purpose it is not necessary to go into too much details about this, other than you need to know that these things were and are going on around us in secret, and many UFOs that people see (but not all of them) are man-made. There can’t be much of a discussion whether the Vril space-crafts are real or not, because the evidence is overwhelming and indisputable.
Still, there are a few more things worth mentioning. At the beginning of 1943 it was planned in Nazi Germany to build in the Zeppelin hangars, a cigar-shaped mother ship. The ANDROMEDA DEVICE of a length of 139 meters should transport several saucer-shaped craft in its body for flights of long duration (interstellar flights). By Christmas 1943 an important Vril-Gesellschaft meeting took place in the seaside resort of Kolberg.
The two mediums Maria Orsic and Sigrun attended. The main item on the agenda was the ALDEBARAN PROJECT. The mediums had received precise information about the habitable planets around the sun Aldebaran and one began to plan a trip there. At a January 22, 1944 meeting between Hitler, Himmler, Kunkel (of the Vril Society) and Dr. Schumann this project was discussed. It was planned to send the VRIL-8 (Odin) large-capacity craft through a dimension channel independent of the speed of light to Alderbaran.
Under the operation PAPERCLIP German scientists who had worked in secret were brought to the U.S. privately, among them VIKTOR SCHAUBERGER and WERNHER vON BRAUN — both had been working on these projects and now introduced this secret technology to the United States Government.
In 1938 a German expedition to ANTARCTICA was made with the aircraft carrier Schwabenland (Swabia). 600,000 kms of an ice-free area with lakes and mountains were declared German territory, the NEUSCHWABENLAND (New Swabia). Whole fleets of submarines of the XXI series were later headed towards Neuschwabenland.
Conceptual art of Neu Schwabenland high-tech U-Boot
Type XXVI was a high-seas U-boat propelled by the Walther Propulsion System. They would have had a crew of 3 officers and 30 men, with ten torpedo tubes, 4 at the bow and 6 in a so-called Schnee organ, and no deck guns. 100 contracts were initially awarded to the Blohm + Voss yard in Hamburg (U-4501 through U-4600) and sections were under construction for U-4501 through U-4504 when the war ended. The other contracts had been cancelled.
Today about one hundred German submarines are still unaccounted for, some equipped with the Walther Schnorchel [Snorkel], a device that allowed them to stay submerged for several weeks, and it can be assumed that they fled to Neuschwabenland with the dismantled flying disks or at least the construction plans. Again it must be assumed that since the test flights had been very successful some so-called flying saucers have flown directly there at the end of the war. Perhaps some may think these assumptions to be a bit on the daring side, but there are strong indications that it may well have happened that way.
There is a question why in 1947 ADMIRAL E. BYRD led an invasion of ANTARCTICA, why he had 4,000 soldiers, a man-of-war, a fully equipped aircraft carrier and a functioning supply system at his command if it was a mere expedition? He had been given eight months for the exercise, but they had to stop after eight weeks and high losses of planes undisclosed even today. What had happened?
Later Admiral Byrd spoke to the press:
It is the bitter reality that in the case of a new war one has to expect attacks by planes that could fly from Pole to Pole.
Jan van Helsing tells us that Norbert-Jürgen Ratthofer writes about the whereabouts of the Haunebru developments in his book Zeitmaschinen (Time Machines):
The Haunebru I, II and III space gyros and the VRIL I space flying disk had disappeared after May 1945. It is very interesting to note in the context that after its nineteenth test flight the German Haunebru III is said to have taken off on April 21, 1945, from Neuschwabenland, a vast, officially German territory in the Eastern Antarctic, for an expedition to Mars, about which there is nothing further known. One year later, in 1946 the many sightings that suddenly occurred in Scandinavia of shining objects of unknown and definitely artificial origin caused a great stir among the Allies in East and West. Again one year later, in 1947, and well into the Fifties, a rising number of shining unknown flying objects, doubtlessly steered by intelligent beings, mostly round, disk- or bell-shaped, sometimes cigar-shaped, so-called UFOs appeared over North America...
A lone prototype was constructed before the close of the war and was to be used for evacuation work for Thule and Vril in March 1945. Subsequent postwar claims that this craft was ultimately used for a mission to Mars is completely unfounded; even with onboard SS oxygen generators and modified Draeger Werke pressure suits there is no way this machine could withstand an eight month journey to Mars. What would be the purpose anyway? The Gesellschaften were aiming at channeled flight not conventional space flight.
The text goes on to say that as a rule these objects were unlike the German developments. but good photographic material proves that the Haunebu II version especially had been sighted very often since 1945.
It is further said that colour photographs taken by a night guard in West Germany in the Seventies exist of a landed and restarted flying disk that had both a knight's cross and a Swastika on its hull.
According to Thule, and lots of other other independent researchers, another disc left Antarctica in 1945 with both Hitler and Maria Orsic on board. This craft was heading not for Mars, but for Aldebaran. We know for a fact that Orsic “disappeared” from the “face of the Earth”, literally speaking, in 1945 and many different researchers suggest she actually went to Aldebaran, but was Hitler on board as well??? Future research may disclose this matter, hopefully.
Researchers have long struggled with from where the mediums got their information – whom did they channel? Instructions how to build Vril driven saucers partly came from the ILAT-LITUM plates found in Antarctica in 1939, and partly from previous channeled information, and my research points in the direction that the Vril mediums channeled beings from the Aldebaran System, the original Anunnaki.
It could very well be that the technology to build Vril-Odin originally came from a mix of alien technology and channeled information, but Vril-Odin was built by humans from this same channeled information, plus the instructions in the ILAT-LITUM.
According to Herbert G. Dorsey and other researchers they had, besides the construction plans the Vril-Gesellschaft had received through telepathic contact with extra-terrestrials, a non-terrestrial saucer that had crashed in the Black Forest in 1936 and whose undamaged drive had proved a great help to the Germans. But there is practically no proof of that, and no living eye witnesses are known.
However, it sure seems like Maria Orsic is back from Aldebaran, looking as young as ever. Is it possible that Vril Power is able to “bend time” by traveling through a dimensional “(worm)hole”, like van Helsing suggests, and thus bring the passenger back in the same age (or younger) than he/she was when they left?
Early on, while I was researching, a certain girl, code name “Sully” was presented to me as the “Vril girl”. No other name. Then, by “accident” on the Internet I looked at photos of Maria Orsic, whom no one had mentioned to me at that point and I did not know about her from previous research. So let me tell you how this developed.
In an article (Viktor Schauberger - The UFOs of Nazi Germany), totally unrelated to my research, this picture is published.
The picture with the spacecraft is from the Vril Society and was taken in 1944. The girl’s name in this picture, I found out, is Maria Orsitsch (Orsic).
Now compare the two photos and we can definitely see the similarities. Are these two girls the same person? If so, she hasn’t aged! These pictures are at least 65 years apart.
As a matter of fact, after I made this connection, I have had it confirmed from two sources that these two girls are the same person.
This biography of Maria Orsitsch is pretty interesting:
Maria Orsitsch, also known as Maria Orsic, was a famous medium who later became the leader of the Vril Society.
She was born in Vienna. Her father was a Croatian and her mother was a German from Vienna.
Although various alleged photos and documents exist that verify Maria Orsitsch’s existence, it was only until the 1960s that historians and writers began to note her involvement with Nazi Mysticism. Maria Orsitsch was first mentioned and pictured in 1967 by Bergier and Pauwels in their book Aufbruch ins dritte Jahrtausend: Von der Zukunft der phantastischen Vernunft.
Maria Orsitsch was the head of the ‘The All German Society for Metaphysics’ (Alldeutsche Gesellschaft für Metaphysik) founded in the early 20th century as a female circle of mediums who were involved in extraterrestrial telepathic contact. The society was later renamed the ‘Vril Society’ or ‘Society of Vrilerinnen Women’. In 1917 Maria Orsitsch is said to have made contact with extraterrestrials from Aldebaran with her female Vril circle. Later in 1919 the Vril circle met with other groups in a small forester’s lodge in the vicinity of Berchtesgaden to discuss a possible voyage to Aldebaran to meet the Aliens by the construction of Nazi UFOs. Notes on this space mission are discussed in a recent detailed analysis of Nazi Occultism entitled Black Sun: Aryan Cults, Esoteric Nazism, and the Politics of Identity.
Maria claimed to have received mediumistically transmissions in a secret German Templar script – a language unknown to her – containing technical data for the construction of a flying machine. Vril documents mention these telepathic messages had their origin in Aldebaran, a solar system 64 light-years away in the constellation Taurus.
In 1945 Maria Orsitsch and the Vril Circle mysteriously disappeared. This has led to some writers, conspiracy theorists and Nazi Mystics (ie Jan Udo Holey) to believing Maria Orsitsch escaped to Aldebaran.
So again, it’s stated she disappeared in 1945. Is "Sully" the Grandmaster of the Vril Society? According to two sources and my own research and observations, she may very well be!
Someone showed one of my sources an official Temple of Isis signet from Ancient Egypt that the Military possesses and it depicts Isis under a bull. Aldebaran is known as the Bull’s eye of the Taurus constellation. The Isis picture looked exactly like the 'Vril girl’.
Antarctica, Springboard to the Stars
This following information comes directly from a Thule Insider.
In 1939, Captain Alfred Ritscher of Nazi Germany found the Antarctica entrance into the Inner Earth. He also found the “ILAT-LITUM” plates in a sarcophagus on the coast of Neuschwabenland. In the sarcophagus were still a number of technical devices and instructions that now became available to the Vril Society. The “ILAT-LITUM” was divided into several engraved metal plates or tablets, brought to Berlin and decoded into German by some experts from the Orient. When the plates were found, no one could read them, because they were in Sumerian/Akkadian.
This is what the Thule member told me when I asked what ILAT-LITUM is (this email excerpt is translated from German):
This book was written for those who were left behind on the planet KI, which we now call Earth. It shows us the history of the gods since their arrival, the war with the Reptoids, the emergence of new types and species, the advancement of the DNA and more…
The book was also mentioning the signs that will show for the return of the Gods. It is the story of ourselves and all our deeds. The book was not completely handed over to a human. Only with “Vril-Odin’s” departure a full translation was given.
Vril-Odin is used to navigate in a timeless space (hyper-space), as well as to assess the upcoming events. Therefore, it would be very dangerous if it gets into the wrong hands... Only when we all understand that we are children of the gods, there will be peace and the divine plan is closed for another eon.
ILAT-LITUM contains accurate information on the landing of the Anunnaki Gods on Earth and the fight with the Reptoids. Inside the sarcophagus were also instructions how to build the “Vril-Odin” space craft. The “Vril-Odin” was built per the instructions and was up and flying in the fall of 1944. On board the craft was Reichskanzler Adolf Hitler. The destination of the flight of Vril-Odin was Sumi-An in the Aldebaran solar system.
According to the Thule insider, all subsequent appearances of Hitler were done by his doubles. The corpse in the bunker was the body of a double as well. The secret recordings of Hitler on this subject were passed to the Vatican by a Bishop Bremer and these archives are supposed to be opened up in 2012.
Captain Ritscher, when he made his expedtion, followed the instructions from the Vril Society and channeled information, mainly from the Vril Society’s own medium, Sigrun. This means that Ritscher did not find the sarcophagus by accident but was following channeled instructions.
We know that Maria Orsic received channeled information regarding the Tablets already in 1919-1924 but wasn’t able to decode and interpret it, because it was in Sumerian/Akkadian.
We need to remember that the technology known to common people is at least a hundred years up to thousands of years behind the technology used in secret. Moon bases have long been established, and you don’t use a slow and unsafe space shuttle to move between planets in our solar system. The Vril power has a lot to do with space technology and how to travel outside this planet. The “disc” that the Anunnaki God are talking about in ILAT-LITUM, which they are rotating (or spinning) is from my understanding a Vril machine.
Area 51, by the way, is a cover. The real base is in a mountain in Utah. When a craft is taken into space, it leaves from Utah to Antarctica and then exita the atmosphere from there.
There is apparently a lot of UFO and underground activity in Utah. There are lots of witnesses, many are Mormons and former Mormons, who say that there is a network of underground tunnels beneath Salt Lake City and some of these people have seen reptilian beings there as well.
Interestingly enough, shortly after I published this book on June 17 2009, UFO sightings have increased in numbers rapidly.
Agartha – A Nation Inside Earth
Much has been said about the Hollow Earth. Books have been written about it, a lot of Internet sites cover it and some of it is good research, some of it is not. It is an important part of our story, because due to both the Thule and Vril Societies (and other secret societies as well) there is a Nation of Beings inside Earth. This Nation is called Agartha or Agarthi (both variants are used interchangeably — there are other spellings as well). and their Capital is Shambala (or Shamballah). I will just touch briefly on it here.
I am going to quote Jan van Helsing from his well researched book: Secret Societies and Their Power in the 20th Century again and this time when comes to explaining what Agarthi/Agartha is, because his research confirms to some extent what members from Thule have told me, but is still just a part of the story"
ULTIMA THULE” apparently was the capital city of the first continent peopled by Aryans. This was called HYPERBOREA and was older than Lemuria and Atlantis (continents with advanced cultures since submerged). The Scandinavians have a tale of “Ultima Thule”, the wonderful land in the high North, where the sun never sets and the ancestors of the Aryan race dwell.
Hyperborea was up in the North Sea and sank during an ice age. It is assumed that the Hyperboreans came from the solar system Alderbaran which is the main star in the constellation Taurus, and that they were about four meters tall, white, blond and blue-eyed.
They knew no war and were vegetarians (so was Hitler). According to alleged Thule texts they were technically very advanced and flew “Vril-ya”, flying machines that today we call UFOs. These flying disks were capable of levitation, extreme speeds and the maneuvers known from today’s UFOs due to two counter-rotating magnetic fields and they used the so-called Vril power as energy potential or fuel (Vril = ether, Od, Prana, Chi, Ki, cosmic force, Orgon…, but also from the academic “vri-IL” = as the highest deity = God-like), i.e., they take the energy from the earth’s magnetic field (free energy) like the “tachyon converter” of Captain Hans Coler.When HYPERBOREA began to sink the Hyperboreans are said to have burrowed with huge machines gigantic tunnels into the Earth’s crust and settled under the Himalayan region. The subterranean realm is called AGHARTA and its capital SHAMBALLAH. The Persians call this land “Aryana” the land of origin of the Aryans.
Here we should mention that Karl Haushofer claimed that Thule was actually called Atlantis and – contrary to all other researchers of Tibet and India – he said that the surviving Thule-Atlanteans were separated into two groups, a good one and an evil one. Those who called themselves after their oracle Agharta were the good and settled in the Himalayan region, the evil ones were the Shamballah who wanted to subjugate humanity and they went West.
He maintained that the fight between the people of Agharta and Shamballah had been going on for thousands of years and that in the Third Reich the Thule-Gesellschaft as Agharta’s representative continued it against the representatives of Shamballah, the Freemasons and the Zionists. This perhaps was his mission.
The head of this subterranean region he said was Rigden Iyepo, the king of the world, with his representative upon the Earth’s surface, the Dalai Lama. Haushofer was convinced that the land below the Himalayas was the birthplace of the Aryan race, which he claimed to have confirmed during his Tibet and India travels.
The symbol of Thule was the Swastika counter clockwise. Tibetan lamas and the Dalai Lama personally testified that people from Agartha were still living today. The subterranean land that is anchored in almost all Eastern traditions has spread over the millennia under all of the Earth’s surface with huge centers under the Sahara desert, the Matto Grosso and the Santa Catarina mountains in Brazil, Yucatan in Mexico, Mount Shasta in California, England, Egypt, Czechoslovakia.
It seems that Hitler especially sought to discover the entrances to the subterranean world Agartha and to get in contact with the descendants of the Aryan “God people” from Alderbaran-Hyperborea. In the myths and traditions of the subterranean world it is often said that the world’s surface was yet to suffer a terrible world war (Third World War) which would though be ended by earthquakes, other natural disasters and a switching of the poles and the deaths therefrom of two thirds of humanity.
After this “last war” the several races of the inner earth would reunite with the survivors on the surface and that the thousand-year GOLDEN AGE (age of Aquarius) would be rung in. Hitler wanted to build an outer “Agartha” or “Aryana” with the Aryan master race, and Germany should be its home. During the existence of the “Third Reich” two large expeditions were sent by the SS to the Himalayas to find those entrances.
Further expeditions searched in the Andes, the Matto Grosso mountains in the North and the Santa Catarina mountains in the south of Brazil, in Czechoslovakia and parts of England.
Some authors claim that the Thule people believed that – quite independently of the subterranean tunnel and city system – the Earth was HOLLOW, with two great openings at the poles. Natural laws were quoted, “as above, so below”. Since blood, body or egg cells, a comet or an atom all have a nucleus and a hollow space surrounding it that is enclosed by a “corona radiata”, an envelope, and the actual “life” is taking place in the core, one has deduced that the Earth was built after the same principles.
Druses confirmed this, as they were hollow and the “life”, the mineral and crystals, were in the interior. Therefore the Earth also had to be hollow – apparently agreeing with the views of the Tibetan Lamas including the Dalai Lama – and had a nucleus, the Central Sun (also called the “Schwarze Sonne”, the Black Sun) that gave the interior an even climate and permanent sunlight, corresponding in the microcosm to the central sun of the galaxy in the macrocosm.
They maintain there is a place in the interior – the master race lives inside and the mutants on the surface – and that this was also the reason why we wouldn’t find any life upon other planets of our solar system, because their inhabitants live inside. The main entrances are at the North and South poles through which the central sun is shining and producing the aurora borealis. In the interior the land mass was exceeding the water mass.
The polar explorer Olaf Jansen and others said that the water in the interior was fresh, which could explain why the ice of the Arctic and Antarctic is made of freshwater, not salt water. It is interesting to note that this view of the make-up of the world is shared and supported by the polar explorers Cook, Peary, Amundsen, Nansen, and Kane and, last but not least, Admiral E. Byrd. All had the same, strange experiences contradicting existing scientific theory.
All confirmed that after 76 degreed latitude the winds became warmer, that birds flew north, that they found colored and gray snow which when thawed left colored pollen or volcanic ash. The question arises: where do flower pollen or volcanic ash near the North Pole come from, as not a single volcano is marked on any of the accessible maps? Further, some of the explorers found themselves in freshwater seas, and all say that at a time during their travels they had seen two suns. Mammoths were found whose flesh was still fresh and whose stomach contained fresh grass.
The “Hollow Earth” theory has so far remained just a theory to the public, although some authors and explorers claim to have visited there and even – like Admiral E. Byrd – had taken numerous pictures. It cannot be denied that all the Arctic explorers had had extraordinary experiences that so far cannot be explained, which points to something strange happening there.
But the theory that the Earth had a molten core has equally remained just a theory. The fact remains though that the subterranean man-made tunnel and cave systems do exist. They can be found in almost any country of the world and by the largely still existing light source (a greenish glow that gets brighter the deeper one enters the tunnels), by the smooth walls and the unknown machinery that was found in the Boynton Canyon in Sedona, Arizona, are witness to a technically advanced culture that existed millions of years before.
The myths of a “Hollow Earth” were enough for the Thule people to go out to start a serious study of the phenomenon. Therefore there was at least one expedition to the Antarctic during World War II.
To show that the story of the Aryan-Hyperboreans was not entirely invented I would like to mention two examples: When the Spaniards under Pizarro came to South America in 1532, the natives called them “ivicarochas” (white lords). According to their legends there was a master race of very tall white people who centuries before had descended in “flying disks” from heaven. They had long ruled in some of the towns and when they disappeared had promised to return.
When the fair skinned Spaniards arrived, the natives thought them to be the iviracochas coming back and therefore in the beginning willingly gave them their gold. Similar occurrences took place when the first white travelers arrived in Tibet and other Himalayan regions. They were scrutinized in astonishment by the Tibetans and asked why they came from BELOW (the foot of the mountains) rather than from ABOVE as they usually did.
~Chapter 32: Adolf Schickelgruber and the 'Thule Gesellschaft'
Apart from the fact that I. G. Farben supported Hitler, their cartel partner "Standard Oil" (Rockefeller) fanned the flames against the Nazis. The "Ford Motor Company" for instance helped to build up the American army while at the same time producing in Germany military vehicles for the Nazis. Ford and Opel (subsidiary of General Motors that is controlled by J. P. Morgan) were the two largest producers of tanks in Hitler's Germany.
Whatever the outcome of the war, these multinational companies had already made their cuts. Many enterprises followed this principle during the Second World War.
Why is there nothing about all this in schoolbooks or encyclopaedias? Especially in Germany where the freedom of the press is apparently honoured and the truth is taught?
One of the reasons is that the Rockefeller Foundation spent US $139,000 in 1946 to present an official history of the Second World War which covered up the whole story of the U.S. bankers building up the Nazi regime as well as the occult and mystical background of the Nazis. One of the main sponsors was Rockefeller's own "Standard Oil Corp."
Once a hyena always a hyena.
The Third Reich CULT 28 Dec 2016 07:52 #35
A couple of Third Reich cultists seem to have entered the thread to defend their cult, I thank them for their input which is of course supporting the thread premise.
Once a hyena always a hyena.
User(s) who Liked this post: zax
The Third Reich CULT 28 Dec 2016 08:07 #36
The Third Reich CULT 28 Dec 2016 08:13 #37
It must be born in mind that the Nazis were themselves full practitioners of the occult and, like the Red Shield and its Illuminated cohorts, this incorporated extreme sex-magic-blood rituals. Stories abound of dark occult rites being practised in the deepest bowels of NASA as a result of the Nazi influence brought in under the auspicious of Operation Paperclip. The Nazi swastika has undeniable associations with Saturnian symbols (Black Sun Swastikas for example) and points to yet another occult connection with the worship of Saturn and a hoped-for return to new Golden Age. Is it a coincidence that the German designed rocket boosters used during the Apollo missions were called Saturn V rockets?.
By the turn of this century, the influence of what researcher extraordinaire Dr. Joseph P. Farrell calls the Nazi International points to a possible, yet hidden, third player at large in the current and ongoing financial crisis engulfing the world at the time of this writing. To those interested in investigating this angle of a deeply influential post-Third Reich Nazi presence in world affairs, the writings of both Joseph P. Farrell and Richard C. Hoagland cannot be too highly recommended.
However, despite propagating a different financial philosophy and a decidedly different definition of who constituted the world’s elite, the Nazis are noted to have shared one particularly repugnant and important trait with their Red Shield contemporaries: the desire to pursue a eugenics-driven de-population agenda
The Third Reich CULT 28 Dec 2016 08:21 #38
To reach a wider social spectrum, German fascism directed different messages to different audiences: the middle class were told that communism and the Bolsheviks threatened German financial security; the working class were promised jobs and manual labour was elevated to the heroic. This sustained propaganda effort required a complex and coordinated bureaucratic machine--what Ellul calls an "apparat"--with full control of the mass media. (According to Ellul, there would be no modern propaganda without mass media and technology.) The Nazis availed themselves of public address systems, radio, cinema, print, and large public spaces (such as sports stadiums) to promote their vision of a regenerated German people. In effect, their approach was to create the propagandistic equivalent of the total work of art (Gesamtkunstwerk) in which drama, spectacle, music, choreography, and architecture combine into an emotionally gripping experience--not unlike a rock concert, Broadway musical, or football game.
The literary critic Walter Benjamin called fascism "the aestheticization of politics"--politics as aesthetics, or style (52). The cultish spirit of fascism combines politics, religion, and myths of the glorious past with contemporary events. Archaism--making reference to the distant past--suggests that history is not linear but rather a cycle of rebirth and regeneration, making a return to the values of a golden age possible. Visual references to Hellenic Greece, imperial Rome, and later neoclassical revivals evoke continuity with the past and thus provide a source of legitimacy and sense of destiny. Medieval art provided a model for the cult of the warrior, the crusader, and the orderly social hierarchies of feudalism
User(s) who Liked this post: Frothy
The Third Reich CULT 28 Dec 2016 08:22 #39
The Third Reich CULT 28 Dec 2016 08:47 #40
As it is true today, social stress sometimes leads people to become interested in religion or the occult as a means of escape. There was a fascination in pre-WWII Germany with archaeological reports about ancient Sumeria, the Ark of the Covenant, Oden and Wotan, Astarte, etc. People wanted to feel a connection to a time when Germany was stronger and prouder. There was great interest in knowing about our "spirit life" and learning how they could get back on the path to Utopia. Helena Blavatsky's Theosophical Society and the Thule Society were the most influential occult groups.
At some point, the public became fixated on an old book called, The Coming Race. It was written in 1871 by "Anonymous," but many believed the author to be Edward Bulwer-Lyttona. Originally considered as "science fiction", many later readers believed that its account of a superior subterranean master race and the energy-form called "Vril" was real and accurate. Many Theosophists accepted the book as truth. Then something really strange happened.
Contact With Extraterrestrials
It was December of 1919. The head of the Thule Society, Karl Haushofer, had invited a handful of the most respected occultists to meet at a secluded cabin in the forest foothills of tha Alps, near Berchtesgaden. The guests included a representative of the Knights Templar and a specialist in Asian artifacts. As they gathered together, Haushofer revealed a surprise. Two young and exceptionally beautiful women joined the group.
One of the young women was very quiet. She was barely 18 years old and, for some reason, her real identity was a guarded secret. She was introduced as "Sigrun". Her significance will reveal itself later.
The other woman was Maria Orzich
. Aside from their stunning appearance, both had exceptionally long hair (contrary to the current vogue) that was worn in a ponytail. Haushofer introduced them as transe-mediums and announced that Maria had received a communication from an extraterrestrial civilization. Some of the communication was in the form of text -- automatic writing -- written by Maria in her altered state. She showed the group several pages with strange symbols
Haushofer had the pages long enough before the meeting to have shown them around. He had determined that one was written in a secret Templar code while the other was in a "Sumerian alphabet". Both had already been translated. The texts made some shocking claims, but offered proof of their validity -- instructions on how to build an anti-gravity engine!
Leaving no stone unturned, Haushofer even had the distinguished scientist, Victor Schauberger, review the physics of the design and literally sign off on its potential
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