Following news yesterday of the death of French Jewish filmmaker Claude Lanzmann, aged 92, I received notification via my inbox that a French small ads website (similar to GumTree) was in trouble for hosting an ad for a shower head purportedly coming from Auschwitz. The ad was removed: apparently someone felt grossly offended and complained. But what if the shower head was real? We know there were showers at Auschwitz – we saw them in Schindler’s List. Surely some ‘Holocaust’ museum would pay a hefty sum for such a rare object which could then artfully be put on display, i.e. ‘Gas vent intended for distribution of Zyklon B disguised as a shower head, never used as a gas vent’?
Cue dank lighting effects and subdued background music as sheeple and innocent school kids are shuffled along to the next Nazi atrocity porn exhibit…
Shower heads and crass humour aside, Lanzmann, of course, was director of the nine-hour long Shoah saga. Upon release of the film, Professor Robert Faurisson stated that Lanzmann shows us ‘above all that there is neither proof nor witnesses and that, as the Revisionists demonstrate, those alleged gas chambers and the extermination story are one and the same myth’. Hear hear!
Still, it is regrettable, from my humble point of view, that only the book version details one witness testimony provided by Filip Müller who, a propos of certain victims, claimed that Nazi doctors ‘felt the thighs and calves of men and women who were still alive and selected what they called the best pieces before the victims were executed. After their execution … the doctors proceeded to cut pieces of still warm flesh from thighs and calves and threw them into waiting receptacles. The muscles of those who had been shot were still working and contracting, making the bucket jump about’. (pages 46-47). Now that would have added spice to the yarn’s film version.
Perhaps even more extraordinary although predictably unsurprising, today’s New York Times obituary describes Lanzmann’s Shoah as ‘a nine-and-a-half-hour movie without a single frame of the by-then-familiar footage of the gas chambers‘..
‘By-then-familiar’? Excuse me, but you wouldn’t happen to have a copy of said footage would you? Why be coy? Out with it, and then we can bring an end to this Gargantuan accumulation of nonsense, bound together by an endless string of gossip, relayed to us as gospel truth by our controlled media, our so-called democratic leaders and the brainwashed masses. All without the slightest hint of actual proof!
My teeny-tiny tribute to Lanzmann came in 2016 with my song Kosher Brother which mentions the Franco-Israeli, albeit briefly, in the second verse. And by the way, in the list of those who made the film [Shoah] possible, especially financially, Lanzmann carefully avoids indicating his primary source of funding: the State of Israel. Menachem Begin himself began by arranging for $850,000 for what he called a “project in the national Jewish interest.” (The Jewish Journal, New York, 27 June 1986, p. 3, and the Jewish Telegraph Agency, June 20, 1986).
Kosher Brother was first published to YouTube in 2016 shortly before (((Survivors))), a song which recently saw me tried and convicted in an English court for offending the likes of Irene Zisblatt and Elie Wiesel. In fact, I was convicted twice for causing to be sent the exact same message – a YouTube video of which the whole context was not taken into consideration, contrary to the demands of s.127 of the Communications Act. Ergo, I was punished for blasphemy because of my songs rather than for causing a link to be sent over the Internet. My accusers have also shared (((Survivors))) but have yet to be brought to justice. They attracted wide attention to my songs. Since then, they have been doing their utmost to reverse a process for which they only have themselves to blame and, in the meantime, trying to have me locked up. If they can share my songs, then so can you.
Many thanks for your messages of support and donations. I am keeping quiet about my legal procedure for the moment. News will be forthcoming when the time arrives.