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TOPIC: The Third Reich CULT

The Third Reich CULT 15 Jan 2017 07:40 #41

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Last Post Adolf Hitler
by Flare
14 Jan 2017 11:18



Whew!1 :roll:
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The Third Reich CULT 15 Jan 2017 08:56 #42

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This old 1930s cult is alive on TZ today.
The worship of Uncle Adolph.
The pagan glorification threads.
The aversion and hatred of free speech outside of their cult.
The Gestapo Gang tactics of the adherents to this cult here.
Pushing the NS propaganda.
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The Third Reich CULT 15 Jan 2017 18:55 #43

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Adolf Hitler (front row on aisle) listens as Wagnerian conductor, Dr. C. Muck, leads the Leipzig Orchestra.

Tristan und Isolde (Tristan and Isolde, or Tristan and Isolda, or Tristran and Ysolt) is an opera, or music drama, in three acts by Richard Wagner to a German libretto by the composer, based largely on the romance by Gottfried von Strassburg. Wagner's composition of Tristan und Isolde was inspired by the philosophy of Arthur Schopenhauer

Act 1


Tristan and Isolde with the Potion (1916)

Isolde, promised to King Marke in marriage, and her handmaid, Brangäne, are quartered aboard Tristan's ship being transported to the king's lands in Cornwall. The opera opens with the voice of a young sailor singing of a "wild Irish maid", ("Westwärts schweift der Blick") which Isolde construes to be a mocking reference to herself.

In a furious outburst, she wishes the seas to rise up and sink the ship, killing herself and all on board ("Erwache mir wieder, kühne Gewalt"). Her scorn and rage are directed particularly at Tristan, the knight responsible for taking her to Marke, and Isolde sends Brangäne to command Tristan to appear before her ("Befehlen liess' dem Eigenholde").

Tristan, however, refuses Brangäne's request, claiming that his place is at the helm. His henchman, Kurwenal, answers more brusquely, saying that Isolde is in no position to command Tristan and reminds Brangäne that Isolde's previous fiancé, Morold, was killed by Tristan ("Herr Morold zog zu Meere her").

Brangäne returns to Isolde to relate these events, and Isolde, in what is termed the "narrative and curse", sadly tells her of how, following the death of Morold, she happened upon a stranger who called himself Tantris. Tantris was found mortally wounded in a barge ("von einem Kahn, der klein und arm") and Isolde used her healing powers to restore him to health.

She discovered during Tantris' recovery, however, that he was actually Tristan, the murderer of her fiancé. Isolde attempted to kill the man with his own sword as he lay helpless before her. However, Tristan looked not at the sword that would kill him or the hand that wielded the sword, but into her eyes ("Er sah' mir in die Augen").

His action pierced her heart and she was unable to slay him. Tristan was allowed to leave with the promise never to come back, but he later returned with the intention of marrying Isolde to his uncle, King Marke. Isolde, furious at Tristan's betrayal, insists that he drink atonement to her, and from her medicine chest produces a vial to make the drink. Brangäne is shocked to see that it is a lethal poison.

Kurwenal appears in the women's quarters ("Auf auf! Ihr Frauen!") and announces that the voyage is coming to an end. Isolde warns Kurwenal that she will not appear before the King if Tristan does not come before her as she had previously ordered and drink atonement to her.

When Tristan arrives, Isolde reproaches him about his conduct and tells him that he owes her his life and how his actions have undermined her honour, since she blessed Morold's weapons before battle and therefore she swore revenge. Tristan first offers his sword but Isolde refuses; they must drink atonement.

Brangäne brings in the potion that will seal their pardon; Tristan knows that it may kill him, since he knows Isolde's magic powers ("Wohl kenn' ich Irland's Königin"). The journey almost at its end, Tristan drinks and Isolde takes half the potion for herself.

The potion seems to work but it does not bring death but relentless love ("Tristan!" "Isolde!"). Kurwenal, who announces the imminent arrival on board of King Marke, interrupts their rapture.

Isolde asks Brangäne which potion she prepared and Brangäne replies, as the sailors hail the arrival of King Marke, that it was not poison, but rather a love potion.



Act 2


Tristan und Isolde

King Marke leads a hunting party out into the night, leaving Isolde and Brangäne alone in the castle, who both stand beside a burning brazier. Isolde, listening to the hunting horns, believes several times that the hunting party is far enough away to warrant the extinguishing of the brazier – the prearranged signal for Tristan to join her ("Nicht Hörnerschall tönt so hold").

Brangäne warns Isolde that Melot, one of King Marke's knights, has seen the amorous looks exchanged between Tristan and Isolde and suspects their passion ("Ein Einz'ger war's, ich achtet' es wohl"). Isolde, however, believes Melot to be Tristan's most loyal friend, and, in a frenzy of desire, extinguishes the flames. Brangäne retires to the ramparts to keep watch as Tristan arrives.

The lovers, at last alone and freed from the constraints of courtly life, declare their passion for each other.

Tristan decries the realm of daylight which is false, unreal, and keeps them apart. It is only in night, he claims, that they can truly be together and only in the long night of death can they be eternally united ("O sink' hernieder, Nacht der Liebe").

During their long tryst, Brangäne calls a warning several times that the night is ending ("Einsam wachend in der Nacht"), but her cries fall upon deaf ears.

The day breaks in on the lovers as Melot leads King Marke and his men to find Tristan and Isolde in each other's arms. Marke is heartbroken, not only because of his nephew's betrayal but also because Melot chose to betray his friend Tristan to Marke and because of Isolde's betrayal as well ("Mir – dies? Dies, Tristan – mir?").

When questioned, Tristan says he cannot answer to the King the reason of his betrayal since he would not understand.

He turns to Isolde, who agrees to follow him again into the realm of night.

Tristan announces that Melot has fallen in love with Isolde too. Melot and Tristan fight, but, at the crucial moment, Tristan throws his sword aside and allows Melot to severely wound him.



Act 3

Kurwenal has brought Tristan home to his castle at Kareol in Brittany. A shepherd pipes a mournful tune and asks if Tristan is awake. Kurwenal replies that only Isolde's arrival can save Tristan, and the shepherd offers to keep watch and claims that he will pipe a joyful tune to mark the arrival of any ship.

Tristan awakes ("Die alte Weise – was weckt sie mich?") and laments his fate – to be, once again, in the false realm of daylight, once more driven by unceasing unquenchable yearning ("Wo ich erwacht' weilt ich nicht"). Tristan's sorrow ends when Kurwenal tells him that Isolde is on her way. Tristan, overjoyed, asks if her ship is in sight, but only a sorrowful tune from the shepherd's pipe is heard.

Tristan relapses and recalls that the shepherd's mournful tune is the same as was played when he was told of the deaths of his father and mother ("Muss ich dich so versteh'n, du alte, ernst Weise").

He rails once again against his desires and against the fateful love potion ("verflucht sei, furchtbarer Trank!") until, exhausted, he collapses in delirium.

After his collapse, the shepherd is heard piping the arrival of Isolde's ship, and, as Kurwenal rushes to meet her, Tristan tears the bandages from his wounds in his excitement ("Hahei! Mein Blut, lustig nun fliesse!").

As Isolde arrives at his side, Tristan dies with her name on his lips.

Isolde collapses beside her deceased lover just as the appearance of another ship is announced.

Kurwenal spies Melot, Marke and Brangäne arriving ("Tod und Hölle! Alles zur Hand!"). He believes they have come to kill Tristan and, in an attempt to avenge him, furiously attacks Melot.

Marke tries to stop the fight to no avail. Both Melot and Kurwenal are killed in the fight.

Marke and Brangäne finally reach Tristan and Isolde.

Marke, grieving over the body of his "truest friend" ("Tot denn alles!"), explains that Brangäne revealed the secret of the love potion and that he had come not to part the lovers, but to unite them ("Warum Isolde, warum mir das?").

Isolde appears to wake at this and in a final aria describing her vision of Tristan risen again (the "Liebestod", "love death"), dies ("Mild und leise wie er lächelt").



Wagner's friend the poet Georg Herwegh introduced him in late 1854 to the work of the philosopher Arthur Schopenhauer. The composer was immediately struck by the philosophical ideas to be found in Die Welt als Wille und Vorstellung (The World as Will and Representation), and the similarities between the two men's world-views became clear.

Man, according to Schopenhauer, is driven by continued, unachievable desires, and the gulf between our desires and the possibility of achieving them leads to misery while the world is a representation of an unknowable reality. Our representation of the world is Phenomenon, while the unknowable reality is Noumenon: concepts originally posited by Kant.

Schopenhauer's influence on Tristan und Isolde is most evident in the second and third acts. The second act, in which the lovers meet, and the third act, during which Tristan longs for release from the passions that torment him, have often proved puzzling to opera-goers unfamiliar with Schopenhauer's work.

Wagner uses the metaphor of day and night in the second act to designate the realms inhabited by Tristan and Isolde.

The world of Day is one in which the lovers are bound by the dictates of King Marke's court and in which the lovers must smother their mutual love and pretend as if they do not care for each other: it is a realm of falsehood and unreality.

Under the dictates of the realm of Day, Tristan was forced to remove Isolde from Ireland and to marry her to his Uncle Marke – actions against Tristan's secret desires.

The realm of Night, in contrast, is the representation of intrinsic reality, in which the lovers can be together and their desires can be openly expressed and reach fulfilment: it is the realm of oneness, truth and reality and can only be achieved fully upon the deaths of the lovers.

The realm of Night, therefore, becomes also the realm of death: the only world in which Tristan and Isolde can be as one forever, and it is this realm that Tristan speaks of at the end of Act Two ("Dem Land das Tristan meint, der Sonne Licht nicht scheint").

In Act Three, Tristan rages against the daylight and frequently cries out for release from his desires (Sehnen). In this way, Wagner implicitly equates the realm of Day with Schopenhauer's concept of Phenomenon and the realm of Night with Schopenhauer's concept of Noumenon.

While none of this is explicitly stated in the libretto, Tristan's comments on Day and Night in Acts 2 and 3, as well as musical allusions to "Tristan" in The Mastersingers of Nürnberg and Parsifal make it very clear that this was, in fact, Wagner's intention.

The world-view of Schopenhauer dictates that the only way for man to achieve inner peace is to renounce his desires: a theme that Wagner explored fully in his last opera, Parsifal. In fact Wagner even considered having the character of Parsifal meet Tristan during his sufferings in Act 3, but later rejected the idea.

en.wikipedia.org/wiki/Tristan_und_Isolde

"Art is an Ennobling Mission Demanding Fanaticism". Quote by Adolf Hitler originally inscribed on a bronze plaque at the entrance of Haus der Deutschen Kunst (House of German Art) in Munich.

Last Edit: 15 Jan 2017 20:05 by annabelle.
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The Third Reich CULT 15 Jan 2017 20:57 #44

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The Third Reich CULT 15 Jan 2017 21:25 #45

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The Third Reich CULT 16 Jan 2017 08:13 #46

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The what if thread is in General,and the other spam is off topic
.But the flaring goodbye guy[2 weeks since move out and still spamming here] shows his cult behavior by spamming in this thread. :nono:
Hurry up and change your diaper and bump the Adolph thread before ........ beats you to it. :chuckle:
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The Third Reich CULT 16 Jan 2017 22:33 #47

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Represented in it's limited concrete form, the worksite found it's place in the museum, and as such became integrated into the national patrimony, alongside the "replicas of ancient images".

The worksite became integrated into the general cult of work, which was an extension of the cult of art, encompassing it in the worship of "creative work" through which and in which the collective 'genius' was confirmed.



The 'fluid link' between the artist and the engineer was the very same link between the idea and the vision and their concrete realization. So (those deemed) the creative of the race could now become incorporated into the technological universe.

Although landscapes made up the greater body of the painted works, sculpture as well as painting could exhibit or produce the collective 'genius' in the lineaments of a human figure. It was clearly here that the racist concept of that 'genius' was most manifest.

The selection of figures seem to have been guided by the aim to gather together in the temple a body of examples of successive incarnations of 'genius' in the course of history.

If, as Mein Kampf declared, the volkisch Reich's task was to "embrace all Germans" and to "assemble and preserve the most valuable stocks of the basic racial elements in this people", the selection of present examples of the race had to be complemented by a selection of examples of German human beings who had been 'racially pure' since their origins. Only artistic images could depict this epic of the Aryan 'genius' through all it's metamorphoses.

Accordingly, this body had to be clothed in a body capable of immediately manifesting it's 'eternal' character. Throughout the regime, nudity was considered to be the most effective sign of that eternal character.





In the first place, it was an obvious choice as a model for a community founded through and through on eugenism (the belief the human species can be improved through selective breeding.) Second, it presented the obvious advantage of visibly anchoring the history of the community with it's Greek past and simultaneously lifting the image of the community out of any concrete historical temporality that would inevitably be bestowed upon it by clothing.

The bodies portrayed in Joseph Reidl's Ready for Battle, Arno Breker's Departure of the Fighter, and Walter Hoeck's Young Germany
all showed how the same youth was always reborn, unchanged, to defend the Aryan culture, just as he had powerfully defended the culture of the Greeks in the past.

This first, summary of the clothing of the eternal soul was backed up by a second mode of signifying the Germanic-Nordic or Aryan sameness: namely the accumulation of all the historical moments, all the different times believed to have manifested the visible essence of that sameness.

Here, in contrast, clothing became the indispensable sign of the 'genius's' changing identity throughout and despite history. For it could be identified only because of the appropriation of the successive stages of it's deployment.

The same Aryan nature was thus passed on through Wilhelm Dohme's vaguely Assyrian Middle Ages, through Willy Meller's classical Greece, then through the latter Middle Ages of Rudolf Otto, and the at-once volkisch and revolutionary Renaissance of Albert Burkle, eventually to inhabit the clothes of Elk Eber's The Last Grenadier.

Setting out to conquer the eternity of the creative 'genius' of the race, the artists ruled by the Fuhrerprinzip were seized by an irrepressible mimetic frenzy that led them to imitate every historical style in order to construct the myth of that eternity and to reproduce it in images.

books.google.ca/books?id=QR_9T_8VLPAC&pg=PA110&lpg=PA110&dq=ex+national+socialist+says+it's+a+cult&source=bl&ots=zWyELwi7Tk&sig=YmyHiVd_U8E8CMJZ3nmRsT...s%20a%20cult&f=false

The Great German Art Exhibitions 1937-1944











Hitler and Mussolini in Roman Art Gallery




The above article appeared in Life Magazine’s October 30, 1939 issue






Die Meistersinger von Nürnberg is a music drama (or opera) in three acts, written and composed by Richard Wagner.





A German mail stamp, issued in 1933, bearing the likeness of Parsifal holding the Holy Grail.
Last Edit: 16 Jan 2017 22:35 by annabelle.
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The Third Reich CULT 17 Jan 2017 05:40 #48

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^ What does good and clean art have got to do with proving that the National Socialists were a 'cult' ? :dunno:

Fact of the matter is that the jews had wrecked real art and replaced it with hideous 'modern art' which demoralizes the people.

And of course, after WW II they continued wrecking it:



Last Edit: 17 Jan 2017 06:07 by Flare.
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The Third Reich CULT 17 Jan 2017 10:15 #49

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On July 19, 1937, the “Degenerate Art” exhibition opened in the Hofgarten arcades of Munich’s Residenz. It included 650 works of art confiscated from 32 German museums.

For the National Socialists, the term “degenerate” applied to any type of art that was incompatible with their ideology or propaganda. Whole movements were labeled as such, including Expressionism, Impressionism, Dada, New Objectivity, Surrealism, Cubism, and Fauvism, among others.

Many of Germany’s most talented and innovative artists suffered official defamation: for example, George Grosz, Ernst Ludwig Kirchner, Max Ernst, Karl Schmidt-Rottluff, Max Pechstein, Paul Klee, and Ernst Barlach. (only a small number were Jewish)

Avant-garde artists and museum directors who purchased or exhibited modern art had already been barred from professional activity as early as 1933.

With this exhibition, the visual arts were forced into complete submission to censorship and National Socialist “coordination” [Gleichschaltung].

Initiated by Minster of Propaganda Joseph Goebbels and President of the Reich Chamber of the Visual Arts Adolf Ziegler (1892-1959), the exhibition travelled to twelve other cities from 1937 to 1941. In all, the show drew more than 3 million visitors.

The exhibition sought to demonstrate the “degeneration” of artworks by placing them alongside drawings done by the mentally retarded and photographs of the physically handicapped.



These comparisons aimed to highlight the “diseased,” “Jewish-Bolshevist,” and inferior character of these artworks and to warn of an impending “cultural decline.”

As an exercise in contrast, the opposite – good, “healthy,” “German” art – could be seen in the “Great German Art Exhibition,” on view only a few meters away.

Paul Schultze-Naumburg (1869-1949) argued that modern art was the result of the degeneration and decay of the "Nordic" races. He illustrated his work with illustrations of modern works of art, as well as photographs of physically handicapped people, with which he wanted to prove that modernism was itself a result of illness and defect.

His book later served as a basis for the exhibition catalog for the infamous "Entartete Kunst" exhibition in Munich in 1937, which exhibited the confiscated works of art of forbidden artists.



Max Nordau - Degeneration

Degeneration (Entartung, 1892), is a book by Max Nordau (a famous Zionist) in which he attacks what he believed to be degenerate art and comments on the effects of a range of social phenomena of the period, such as rapid urbanization and its perceived effects on the human body.

Nordau begins his work with a "medical" and social interpretation of what has created this Degeneration in society. Nordau divides his study into five books.

Nordau establishes the cultural phenomenon of fin de siècle in the opening pages, but he quickly moves to the viewpoint of a physician and identifies what he sees as an illness:

In the fin-de-siècle disposition, in the tendencies of contemporary art and poetry, in the life and conduct of men who write mystic, symbolic and 'decadent' works and the attitude taken by their admirers in the tastes and aesthetic instincts of fashionable society, the confluence of two well-defined conditions of disease, with which he [the physician] is quite familiar, viz. degeneration and hysteria, of which the minor stages are designated as neurasthenia.

The book deals with numerous case studies of various artists, writers and thinkers (Oscar Wilde, Henrik Ibsen, Richard Wagner and Friedrich Nietzsche to name a few), but its basic premise remains that society and human beings themselves are degenerating, and this degeneration is both reflected in and influenced by art.

en.wikipedia.org/wiki/Degeneration_(Nordau)

Nordau’s idea of a “degenerate artist” of the late 19th century included composer Richard Wagner and author-philosopher Friedrich Nietzsche :chuckle: , the twin towers of Hitler’s ideal of Germanic art. Hitler and the National Socialists took Nordau’s idea, but replaced who were the “degenerates.”

They set the year 1910 as the cut-off point for acceptable art, thus catching Fauvism, Expressionism, Cubism, and even war-mad Futurism in their ideological net. By doing so, the National Socialists shifted this incriminated field, contrary to Max Nordau, clearly into their own present, while reviving Wagner and Nietzsche, whom Nordau had denounced as ‘degenerate.

Consistent only in their inconsistency, the National Socialists struggled to agree on the list of “degenerates,” with figures such as chief propagandist Joseph Goebbels considering the German Expressionists as a possibly acceptable group, at least until Hitler made his opinion perfectly clear.

Some artists appeared in both “degenerate” and approved exhibitions.

When one selection committee failed to pick the correct art, Hitler tapped his personal photographer Heinrich Hoffmann as curator, but even Hoffmann needed Hitler’s final, personal approval.

Artists such as Emil Nolde (a National Socialist himself) found themselves initially accepted by the National Socialists (especially Goebbels, who decorated his home in Nolde originals, at least until Hitler dropped by) only to find themselves later examples of “inner emigrates” (versus those emigrates who fled) who not only had their art removed from German collections to be sold or destroyed, but also were forbidden to make new art on pain of death. (Nolde continued to paint in watercolor, fearing that the smell of oil paint would give him away.)

Even Hitler-approved artists such as Adolf Ziegler, whose triptych Die vier Elemente (The Four Elements) once hung above Hitler’s fireplace in the Munich Führerbau could find themselves in a career- and life-jeopardizing situation with one wrong move. (Ziegler spent weeks at the labour camp in Dachau for his “defeatist attitude” before Hitler had him released.)

bigthink.com/Picture-This/the-sad-strange-history-of-degenerate-art
Last Edit: 17 Jan 2017 10:42 by annabelle.
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The Third Reich CULT 17 Jan 2017 10:42 #50

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^ Cinta... is Annabelle your sock? :D

1. those pictures of putting retards next to 'degenerate art' are fake of course
2. still haven't explained what is wrong to get rid of degenerate art and replace it with good and clean art.

Have you seen "The Greatest Story Never Told" btw, or will you just keep going with the "National Geographic / History channel / Discover channel" version of the truth that the National Socialists were some weird cult into voodoo-rituals and stuff like that?

Here's the link with the documentary in HD btw.
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The Third Reich CULT 17 Jan 2017 11:03 #51

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The Third Reich CULT 17 Jan 2017 11:25 #52

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The Third Reich CULT 17 Jan 2017 17:43 #53

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The Adolf Cult is alive and well and hiding out at TZ.
"From each according to his ability, to each according to his need."
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The Third Reich CULT 17 Jan 2017 22:55 #54

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bd wrote:
The Adolf Cult is alive and well and hiding out at TZ.

And so? Are you going to start reporting TZ members as well because they say things you don't like to hear?

You don't even realize that it are the National Socialists who are trying to save YOUR ass as well.

Because believe me, the communist elites don't give a. single. fuck. about gays and once they have fulfilled their 'purpose', they will be disposed of just like that. All the LGBT, feminism, white guilt, racemixing (etc.) agendas are just part of the program to tear up society.
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The Third Reich CULT 17 Jan 2017 23:51 #55

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Flare wrote:
bd wrote:
The Adolf Cult is alive and well and hiding out at TZ.

And so? Are you going to start reporting TZ members as well because they say things you don't like to hear?

You don't even realize that it are the National Socialists who are trying to save YOUR ass as well.

Because believe me, the communist elites don't give a. single. fuck. about gays and once they have fulfilled their 'purpose', they will be disposed of just like that. All the LGBT, feminism, white guilt, racemixing (etc.) agendas are just part of the program to tear up society.

@ bd the gay 'communist'....

Tadaaaa:

==============================================================================================================

What was it like for gay people in the Soviet Union?

Being gay in the USSR was not a fun experience, from the revolution to 1933 it wasn't illegal. The initial Russian Soviet criminal code contained no criminalization of homosexuality as the subject was omitted.

When Stalin came to power homosexuality was made illegal and punishable by up to 5 years of forced labor..etc..During the Soviet regime, Western observers believed that between 800 to 1,000 men were imprisoned each year under Article 15. The precise reason for the new law is still in some dispute.

Some historians have noted that it was during this time that Soviet propaganda began to depict homosexuality as a sign of fascism, and that Article 121 may have a simple political tool to use against dissidents, irrespective of their true sexual orientation, and to solidify Russian opposition to Nazi Germany, who had broken its treaty with Russia.

LGBT history in Russia

==============================================================================================================

So by being a communist you're basically digging your own grave and that of your fellow LGBT's.
Last Edit: 17 Jan 2017 23:55 by Flare.
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The Third Reich CULT 18 Jan 2017 00:18 #56

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What was it like for gay people in Nazi Germany?

Paragraph 175 (known formally as §175 StGB; also known as Section 175 in English) was a provision of the German Criminal Code from 15 May 1871 to 10 March 1994. It made homosexual acts between males a crime, and in early revisions the provision also criminalized bestiality as well as forms of prostitution and underage sexual abuse. All in all, around 140,000 men were convicted under the law.
The statute drew legal influence from previous measures, including those undertaken by the Holy Roman Empire and Prussian states. It was amended several times. The Nazis broadened the law in 1935; in the prosecutions that followed, thousands died in concentration camps as a widespread social persecution of homosexuals took place.

en.wikipedia.org/wiki/Persecution_of_homosexuals_in_Nazi_Germany_and_the_Holocaust

The Nazi Party launched its purge of homosexual (gay, lesbian, and bisexual; then known as homophile) clubs in Berlin, outlawed sex publications, and banned organized gay groups. As a consequence, many fled Germany (e.g., Erika Mann, Richard Plant).
In March 1933, Kurt Hiller, the main organizer of Magnus Hirschfeld's Institute of Sex Research, was sent to a concentration camp. On May 6, 1933, Nazi Youth of the Deutsche Studentenschaft made an organized attack on the Institute of Sex Research. A few days later on May 10, the Institute's library and archives were publicly hauled out and burned in the streets of the opernplatz. Around 20,000 books and journals, and 5,000 images, were destroyed. Also seized were the Institute's extensive lists of names and addresses of homosexuals. In the midst of the burning, Joseph Goebbels gave a political speech to a crowd of around 40,000 people.

====================

So by being a Nazi you're basically digging the grave of LGBT's.

:yerright:
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"What do you call 'genius'?" "Well, seeing things others don't see. Or rather the invisible links between things."
- Vladimir Nabokov (1938)
"The silence of conspiracy. Slaughtered on the altar of apathy." - Lords of the New Church (1982)
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The Third Reich CULT 18 Jan 2017 00:46 #57

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Gay people in America and Europe fared no better at that time.
Putin is no friend to queers either.
"From each according to his ability, to each according to his need."
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The Third Reich CULT 18 Jan 2017 00:49 #58

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Flare wrote:
bd wrote:
The Adolf Cult is alive and well and hiding out at TZ.

And so? Are you going to start reporting TZ members as well because they say things you don't like to hear?

You don't even realize that it are the National Socialists who are trying to save YOUR ass as well.

Because believe me, the communist elites don't give a. single. fuck. about gays and once they have fulfilled their 'purpose', they will be disposed of just like that. All the LGBT, feminism, white guilt, racemixing (etc.) agendas are just part of the program to tear up society.

Irony.
Nazis branded us with a pink triangle.
When have I ever said I would report anyone here?
That was gaia's buddy papa Legba.
You have trouble discerning fantasy.
"From each according to his ability, to each according to his need."
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The Third Reich CULT 18 Jan 2017 08:32 #59

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bd wrote:
Flare wrote:
bd wrote:
The Adolf Cult is alive and well and hiding out at TZ.

And so? Are you going to start reporting TZ members as well because they say things you don't like to hear?

You don't even realize that it are the National Socialists who are trying to save YOUR ass as well.

Because believe me, the communist elites don't give a. single. fuck. about gays and once they have fulfilled their 'purpose', they will be disposed of just like that. All the LGBT, feminism, white guilt, racemixing (etc.) agendas are just part of the program to tear up society.

Irony.
Nazis branded us with a pink triangle.
When have I ever said I would report anyone here?
That was gaia's buddy papa Legba.
You have trouble discerning fantasy.

Well, Ernst Röhm, leader of the SA, was a well-known homosexual back in the day. So something doesn't add up with the story don't you think? There's not much reliable information to be found on the so called persecution of LGBT's in the Reich either, except for the fact that the extermination was a total hoax ofc.

And well, you reported Matthew Heimbach's facebook page as you didn't agree with his views. But you could do that because you have the 'system' behind you now and you know the cultural-marxist system we are living in is corrupt. As that system only uses LGBT's for now, just like many other agendas, in order to break down society. I mean... it's estimated that about 2% of the people are gay, so how come we have LGBT's in literally every tv show or movie nowadays? :dunno: And why must a lot of them act so outrageous while it's all about 'acceptance' ? I prefer a gay or lesbian to behave more civilized/classy in stead of all those crazy parades they are holding, which makes them look ridiculous. If I'd be a homosexual I'd be appalled by that kind of behaviour which would make me look bad.
Last Edit: 18 Jan 2017 09:35 by Flare.
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The Third Reich CULT 06 Feb 2017 03:48 #60

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The Flaring Third Reciher Cultist is still here looking for converts to his Hitler Worship Cult....doling out advice to 221b--

221b wrote:

Flare wrote:
Looks like you haven't been searching enough for it and go along with the 'Zeitgeist' and Alex Jones theories regarding WW II.

Zeitgeist is pure BS (entry-level obfuscation) and Alex Jones should follow his own advice and down a half dozen of his friend's B12 sub-lingual supplements. Wherever you got the idea that I would fall for those things is beyond me Herr Flare.
You'll soon find out who are right and wrong here if you stick around a bit.

I haven't got a political bone in my body. I just call 'em the way I see 'em.
Seems you are a bit too hoaxy as well...

I hear that a lot :D Mostly from jews. First time a Hitlerite has told me. Hitlerites always tell me its not important that the world's powerful jews did not pass the hat around to raise funds to hire a crack team to "off" the one they say they detest. Do you think there is something morally wrong about bigshot jews driving German cars or bigshot jew surgeons swearing by German surgical instruments?
not saying that there aren't any hoaxes out there,

I know, just the NAZIS thing is wholesome and pure, right? :chuckle:
but careful, cause our forum-jüde Gaia will immediately leech onto you. ;) (for example, he denies there's such a thing as the New World Order, which are the basics of what we're talking about... just to give you a heads-up)

That does not concern me. Take it up with your analyst. :wissl: The way I see it is the new world order is just the old world order retooled.
truth-zone.net/forum/the-human-condition/68766-possible-solutions-to-the-jewish-question.html?start=20#249911

A month after vowing to leave if he didn't get his way,and he is still playing frick and frack with Gaia,following around Annabelle,and now doling out Nazi rhetoric to 221b. :chuckle:

FYI, 221b has been researching these conspiracies longer than Flare has been alive.So have I. :D

An admiited neophyte[see his older posts if you can stomach his crap] and Hitlerite that just saw the Nazi Light a couple of years ago just keeps flaring on and on in thousands of Germanic-oriented diddlypuff posts.
Last Edit: 06 Feb 2017 03:55 by zax.
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