....ARE WORTHY OF THE WORST NAZI PRISONS COULD OFFER!

Iraqi female detainees say that they have been illegally detained, raped and
sexually humiliated by U.S. occupation forces.

One female detainee, who identified herself as "Noor", said that U.S.
soldiers at Iraq's Abu Ghraib raped women and, in many occasions, forced
them to strip naked in public. She also said that many female detainees got
pregnant.

The classified investigation launched by the U.S. army, led by Major General
Antonio Taguba, confirmed Noor's account and said that U.S. guards sexually
abused female detainees at Abu Ghraib.

According to Taguba's report, the 1,800 abuse photographs shot by U.S.
guards inside Abu Ghraib included images of naked male and female prisoners,
a male Military Police guard "having sex" with a female detainee, and naked
male and female detainees forcibly arranged in various sexually explicit
positions for photographing.

The Bush administration, which insists that these were the acts of a few
soldiers, blocked the release of photographs of Iraqi women detainees at Abu
Ghraib, including those of women forced to bare their breasts, although
these have been shown to Congress.

However, Taguba's fifty-three-page report, found that between October and
December of 2003 there were numerous instances of "sadistic, blatant, and
wanton criminal abuses" at Abu Ghraib".

Also, a British MP, Ann Clwyd, confirmed a report that an Iraqi woman in her
70s had been harnessed and ridden like a donkey at Abu Ghraib after being
captured last July. Clwyd said: "She was held for about six weeks without
charge. During that time she was insulted and told she was a donkey."

Moreover, the Italian reporter, Giuliana Sgrena, who was held hostage in
Iraq, reported that in one incident, U.S. occupation forces raided the home
of Mithal al Hassan, and arrested both her husband and son.

"The soldiers later ransacked the apartment. Denounced as part of a
vendetta, Mithal was condemned without trial to eighty days of horror in the
company of other women prisoners who, like her, were subjected to abuse and
torture. She has since spotted her tormentors on the internet."

Other reports state the U.S. forces violate international laws by kidnapping
Iraqi women to use them as a bargaining chip to persuade their male
relatives to surrender.

Iman Khamas, chief of the International Occupation Watch Center, a
nongovernmental organization that gathers information on human rights abuses
under occupation, said that "one former detainee had recounted the alleged
rape of her cell mate in Abu Ghraib."

According to Khamas, the detainee said that "She had been raped 17 times in
one day".

Attorney Amal Kadham Swadi, one of seven female lawyers representing women
detainees at Abu Ghraib, says that abuse and torture against Iraqi women is
not confined only to Abu Ghraib, but is "happening all across Iraq."

"Sexualized violence and abuse committed by U.S. troops goes far beyond a
few isolated cases," she said.

Edison may have invented the 'motion picture' - but Jewish immigrants from
Europe created Hollywood. (Read 'How The Jews Invented Hollywood' by Neal
Gabler) Remarkably, in the century since Meyer, the Warner Brothers and a
handful of other Ashkenazi Jewish immigrants who began the 'studio system',
Hollywood maintains a distinctly Yiddish accent. Some critics, however,
posit that Hollywood doesn't play fair, since it employs the mesmerizing
power of cinema to manipulate the mindset of complacent viewers. How? By
relentlessly injecting sordid scenarios and denigrating images of
once-respected American archetypes and institutions. Current targets: the
Catholic Church and , as usual, Arabs.

One very recent example out of many is the comic-book styled action film
"Sin City." Here, many of the villains are sporting multiple crucifixion
crosses, a symbol held sacred by many Christians, and mixed in with a
smattering of swastikas. Indeed, the film's arch-villain turns out to be a
satanic, cannibalistic Catholic cardinal! OK, this is fictional
'entertainment' but Hollywood knows these scenarios have a visceral, even
subliminal, impact. That's basically why we don't see any
Hollywood-fabricated demons and bad guys sporting a Star of David nor do we
see any rabid psychopathic rabbis dished up for popular entertainment.

The unspoken code of Tinseltown is simple: Jewish archetypes and Jewish
religious sensitivities are to be respected. Others may be casually
smeared.

Although Catholics and Arabs are expected to survive this non-lethal, but
inherently pernicious onslaught, considering the laudatory treatment
Hollywood's Jews regularly heap upon themselves when portraying their
brethren, it's becoming a bit of an outrage, as it should. How is it that
Jews, Arabs and Christians receive such different treatment under
Hollywood's gaze?

In polite terms, the Jewish presence in American film and media is "without
peer."

Hollywood is an insider business. While talent is essential, there is a
political element to success in Hollywood. One must pass muster with the
specifically Jewish dictates of political correctness. Otherwise, one may
find oneself very much unemployed and ignored. It took an actor/producer
with the stature of Mel Gibson to buck the kosher Hollywood code to produce
and distribute his controversial, but wildly successful film "The Passion."
He endured a tidal wave of organized, Jewish protest, including death
threats to his family.

Not surprisingly, Bob and Harvey Weinstein of Miramax Films declined to
distribute The Passion assuming it would offend their crowd and/or fan the
"eternal" flames of "anti-Semitism". On the other hand, the Weinstein
brothers did distribute "Sin City" as well as Michael Moore's much
ballyhooped Fahrenheit 9/11. Why? Both films respected the unwritten kosher
code: vilification and defamation of Arab and/or Christians is perfectly
fine, but one must never - even in the context of analyzing terrorism or
U.S. foreign policy in the Middle East - demean Israel, Zionism or
neo-conservatism. In fact, in Fahrenheit 9/11, Moore totally ignored the
roles of Israel, Zionism and neo-conservatives, while tossing in a
gratuitous, hefty dose of Arab-bashing. Good boy, Michael. Here's a million
dollars!

For the ambitious film maker, it's crucial to remember three things -

1: Jews remain at the top of the Hollywood food chain.
2: They intend to remain there.
3: Don't' forget those first two things.

Like it or not, the gatekeepers of American mass media are
disproportionately of Jewish stock. Though they famously disdain "white
racism", prevailing Hollywodd customs affirm aggressive white Jewish
networking. The results are nothing less than astonishing.

Much of America has come to "think Jewish" as attitudes have magically
shifted on matters such as race, 'minority rights', school prayer, abortion
rights, celebrating the 'holidays', and 'promoting our values' via an
aggressive mission to impose democracy in all Mid-East countries except for
the ethnocentric, and many say openly-racist, Jewish state of Israel.

OK, Israel may qualify as a "democracy" in the same way the white, apartheid
South Africa did but there's one huge difference: concerted interevention
from around the world finally brought the segregated Apartheid country of
South Africa to its knees. White racial discrimination was declared to be
"evil." Interestingly, Jewish activists played a decisive role in that
campaign. However, Jewish Israelis and international Zionists - both Jewish
and now so-called Christian Zionists - suffer no similar intense pressure,
except by a growing grassroots movement of human rights and peace
activists, who, thus far, lack any real significant political clout.
Without apology, Israel and its supporters get to play by their own rules.

It's no accident that America's expanding global militancy implicitly hold
the "security" of the Jewish state as its centerpiece. And with the help of
vital US aid, Israel militarily maintains its commitment to a segregated
society, with hellish consequences for the indigenous non-Jewish
Palestinians.

How are the highly-placed "friends of Israel" able to bamboozle so much of
the world? Through a complicated but interconnected array of media and
grass-roots propaganda, political pressure, complex legalisms, victimhood
identity via the Holocaust, and raw political muscle. In today's America,
just an allegation of "anti-Semitism" can damage the career of public
figures. And to fortify this taboo, Americans are regularly fed a hefty
ration of Holocaust lore.

As a sidebar, here's an additional fact that would be funny if only it
wasn't true: Holocaust "experts" are almost all Jewish. Does their
collective obsession produce scholarship, or an appetite and license to
propagandize? In any case, for the latest Holocaust news, about all one
needs do is simply turn on the TV or pick up any 'major' newspaper. Yet, an
accurate telling of the Jewish experience in America should spotlight not
suffering or persecution, but success, acceptance, privilege and influence.
Jews are, in fact, America's pre-eminent success story.

Although reportedly substantially less than 3% of our population, Jewish per
capita income is unsurpassed, as is their presence at our nation's top
universities and think tanks. As noted, American Jews make up a majority of
Hollywood's ruling class and beyond that, Jewish over-representation is an
accomplished fact in the fields of law, medicine and the entire
entertainment and general media, including print and TV. This is no small
matter. With the average American watching over four hours of TV or film
every day, listening to radio, and perusing mainstream newspapers and
magazines, these figures are evidence of a profound ethnic imbalance in the
management and dissemination of news and information. For America's Jews,
this translates into formidable political power.

The enduring fact remains that whoever owns and controls the media, can also
leverage public opinion, and from there, government policies.

Indeed, Jewish media mavens have the means to easily advance their
particular viewpoint of history, with far reaching consequences. And with
the Jewish state of Israel embroiled in a condition of near-perpetual war
since its founding in 1948, the question must be posed: might many of our
country's most accomplished editors and story-tellers, who qualify as
Israeli-Americans, have at least a minor conflict of interest?

Put another way: how can they NOT?

After all, Israeli 'security' remains the essential focus of organized
Jewry. Countless pro-Israel organizations famously apply incessant pressure
on government officials, political parties, candidates, journalists and
fellow 'tribe-members' to lobby on Israel's behalf, since countless
billions of dollars in U.S. aid are harnessed to advance the Jewish state's
regional hegemony.

Consequently, maintaining a public willingness to favor America's present
interventionist, pro-Israel/anti-Arab foreign policy is an essential
component in any scenario culminating in The Final Zionist Solution. It's
essential therefore that American gentiles "think correctly" on key Jewish
issues. Thus, when Jewish interests are at stake, good and evil are neatly
drawn (preferably in clear, unambiguous fashion) so that American consumers
of news and entertainment can easily and passively draw the proper
conclusions. Thus Arabs (particularly Palestinians) are "terrorists", Nazi
demonology is a growth industry, and Holocaust Revisionism (widely
misrepresented as "Holocaust Denial") is being peddled as a threat to
global security. In fact, in numerous "free, Western democracies", such as
Germany, the Netherlands, Austria and Switzerland, for example, to question
the version of The Holocaust promoted by Zionists, including the six
million figure and the gas chambers, is an actual crime punishable by fines
and imprisonment.

Ernst Zundel was deported from the U.S. ostensibly for "visa violations" to
Canada where he spent two years of his life in solitary confinement.
Following that outrage, he was then recently was deported to solitary
confinement in a German jail. His crime? Publicly questioning aspects of
the Holocaust. Who's next?

Organized Jewry, progenitors of "speech codes" on countless American
campuses, are raising the bar from censoring up to outright criminalizing
free speech.

A balanced and accurate view of history DOES matter. Yet, when the facts
don't fit, the media gatekeepers can purposefully misinterpret, obfuscate
or simply overlook them. This may explain why, for instance, there is so
little media interest in the annihilation of 20 million anti-Bolshevik
Russians preceding WWII. After all, 20 million Russians KILLED BY THEIR OWN
GOVERNMENT is the all-time tsunami of war crimes. But who were the
perpetrators? Where are they now? The average American simply knows nothing
about the dominant Jewish role in Communism's pernicious rise. Of course,
this oversight is no accident.

Considering that over 275 million humans have perished in wars during the
past century, America's nurtured obsession with, and elevation of, Jewish
suffering in Europe during WWII might be seen as a peculiar idiosyncrasy.
Indeed, many surmise that the American Mind is indeed under Zionist
management. The irony of our nation's preoccupation with Jewish war
causalities during WWII 55 years after the fact becomes even more repellent
when we consider the horrendous, ONGOING persecution of gentiles in
Palestine-Israel under Jewish occupation.

As for American cinema, there has been a sea of changes in the past
generation. There's now a multicultural array of celebrities, including
many Jewish ones. On the downside, Christianity doesn't get the kind of
coverage it enjoyed when Frank Capra was directing. Thus, we are treated to
seeing an array of stock Christian con artists, whores and criminals. As
for Arabs, they're still welcome to play terrorist schemers, religious
fanatics, or just plain unsavory characters. This is the mean-spirited side
to American film that goes unacknowledged and unchallenged.

Recently, after reading several glowing reviews, we succumbed to seeing the
aforementioned over-praised, over-hyped, action-revenge movie, Sin City.
Directed by Frank Miller and Robert Rodriguez, with special 'guest
director' Quentin Tarantino, Sin City is a gritty, sexy, violent and
surrealistic foray into a stylized, comic-book version of post-modern urban
mayhem. By contemporary standards of blood-letting, this film delivers far
more than its share, but there is probably worse in circulation. Sin City's
denigration of Christian icons, however, approaches new excesses, something
that was also very evident in Tarantino's previous Kill Bill movies.

Not only do many of the villains in this hyper-violent yarn wear gaudy
necklaces and earrings hung with Christian crosses, even multiple layers of
them, "Sin City" manages to associate blue eyes with depravity...although
for Hollywood, that's nothing new.

The two heroic characters (and they were not wearing any Christian crosses,
or swastikas, of course) where portrayed by Mickey Rourke and Bruce Willis.
It's Willis' character who finally manages to kill the the evil Catholic
priest.

At any rate, we can rest assured that Hollywood shall likely refrain from
depicting Jews in such a negative fashion. As for the rest of us, we are
not supposed to complain. In fact, we're not even supposed to NOTICE, since
it might indicated a racial loyalty which for anyone else except for Jews,
is a modern sin.

This very real double standard speaks volumes about who holds real power in
contemporary American
film and entertainment.

In a true democracy, EVERYONE has a voice. We advise that you use it. Or you
may lose it.

http://www.rense.com/general64/decon.htm
--
In an age of universal deceit, telling the truth is a revolutionary act. -
George Orwell, 1984

....in Darfur?

--
SAUDIA OMNIS IN PARTES TRES DIVIDENDA EST! Free Arabia by
splitting the Saudi tyranny into its three natural parts:
Hejaz-alHarameyn, Nejd-Wahhabistan, and Gulf-Petrolia.
Murderers are not Martyrs! http://symbolictruth.fateback.com/

There, too!