Holocaust Revisionism

By Carolyn Yeager

Here we see a very bizarre scene of clothed men being photographed lying in bunks, while a naked man sits on a bench in front of them. They are not looking at him and he seems unaware of them. And why not? This is clearly a composite photograph made up of two unrelated scenes.

The United States Holocaust Memorial Museum (USHMM) titles this photo #78713 “Survivors lie on wooden bunks that are four tiers high in a barracks in the Buchenwald concentration camp.”

No mention of the naked man. This is truly fitting of the expression “the elephant in the living room” wherein everyone pretends not to notice something they can’t or don’t want to try to explain.

The description by the USHMM  goes on to say:

The original caption reads, “This photo shows the conditions and the amount of sleeping space for the prisoners at Buchenwald concentration camp. They range from young kids to old men, all doing the same amount of work each day.”

According to the Signal Corps caption, the photo was taken on April 23, 1945.

Yet the date above this description for the photo is: Wednesday, April 11, 1945 – Monday, April 23, 1945; the photographer Donald R. Ornitz; courtesy of Mary Dickinson.

April 11 was “Liberation Day” and they always want to give the impression that all the pictures were taken on that day … that everything seen is unrehearsed and just as the liberating army found it. Yet this photo was “set up” 12 days after liberation. Another point:  Where are the “old men,” and where are the “young kids” in this photo? They all look to be in their late teens and 20′s up to their 30′s at the most.  No old men, no young kids. What were these ex-’prisoners’ doing during those 12 days; where were they living? How were they being treated? Well, they were being asked to participate in the creation of the post-war propaganda ordered by Eisenhower, and that’s what they did. Were they paid? What were they promised? Did they just hang around in the barracks as usual?

The naked man and his strange shadow

The men in the bunks are not sick or emaciated – they appear healthy and alert – so the military intelligence division responsible for creating photographic propaganda decided to add a sick man to the photo in order to support the message they were charged to send to the world of sub-human conditions at Buchenwald. It’s not hard to see how they did it — the two men on the bench were super-imposed on the other picture. The top edge of the bench is lined up with the bottom slat of the bunk, giving the impression that the bench is some feet away from the bunk.

Continue reading this article at Elie Wiesel Cons The World

By Carolyn Yeager

Do you remember the nursery rhyme that goes:

Sugar and Spice and all things nice, that’s what little girls are made of.

How about this one:

Magic and Trickery and all things fakery, that’s what “the holocaust” is made of.

This very famous image associated with the so-called “Holocaust” that was discussed in the previous post has turned out to be fraught with fakery. A sharp-eyed reader, Paul Borresen, noticed something that, once seen,  makes one wonder how it was not seen before!

What he noticed is that, in addition to the fake standing man exposed in my previous post,  one of the men in the bunks appears twice in this Famous Buchenwald Lie Photo, and the similarity is unmistakeable. 

Viewing the photo enlarged as much as it can be (2 times) … find the young man lying on his back with head turned toward the photographer,  in the 2^nd row up from the bottom, 3^rd from the left. His head is resting on his food bowl. (close-up on left, below, designated ‘Original’)

Now look at the young man in the same position in the bottom row, 4^th from the left. He is the same man! (close-up above, designated ‘Copy’) The food bowl has been removed from underneath his head, leaving it to a military intelligence photo-retoucher to redo his throat  and neck, but in a very un-anatomical manner. Have you ever seen a neck that looked like that? I have not. In an attempt to retain a lesser portion of the ‘gown’ he was wearing so that it would not look the same as the ‘original,’ more bare skin is left showing, but without any anatomical correctness whatsoever.

The retoucher was not a trained artist and was in over his/her head with this assignment. For example, look at the ear. It consists of a few strokes of light-colored paint in an attempt to make something resembling an ear, but failing.  Ears are one of the most difficult parts of the body to draw or paint in a convincing manner, but it was necessary to add an ear to this ‘copy’ because the ear is not showing on the original man in the bunk above; it is buried against the upside-down food bowl and some material that’s covering it. The botched ear of the ‘copy’ is one of the biggest giveaways of  fakery in this photo, but not the only one.

Continue reading this article at Elie Wiesel Cons The World

By Carolyn Yeager, Dec. 19, 2012

This is the photograph that Allied Supreme Commander General Dwight David Eisenhower ordered, in April 1945, to be posted in every German town and city 1 to show the defeated population the “true meaning of Nazism.”

Was this photo made to order according to Ike’s specifications?

A huge blown-up version then went on tour in the United States for the same purpose, to impress on the American people what evil they had gone to war against; why the sacrifice of blood and treasure was justified! Below: “A traveling exhibit of larger than life size photographs was first shown in St. Louis, MO in summer 1945 and then taken to Washington, DC.

It was plastered on the front pages of newspapers across the country. Thus it became one of the most iconic images representing WWII and of what later came to be known as “The Holocaust.” The intention was to portray the war as a noble effort to “save the Jews from enslavement and extermination,” just as the equally bloody American Civil War had come to be taught as a war “to free the slaves,” i.e. the Negroes who were not citizens of the country they were living  in.

Both are black propaganda campaigns that still use whatever is at hand, whether it be subterfuge or not.

In the case of above photograph, we have learned that the standing figure, the part that makes the biggest, most memorable impact on the viewer, was added later – it was not in the original photo allegedly taken by Private H. Miller of the Civil Affairs Branch of the U.S. Army Signal Corps on April 16, 1945, five days after the “liberation” of the Buchenwald Concentration Camp by American forces.

A blogger, the owner of the Winston Smith Ministry of Truth website who goes by the nickname Black Rabbit,  decided a week or so ago, out of curiosity, to order the New York Times newspaper article from May 6, 1945 in which this photo was published, and when it came the photo looked like this:

What a shock to see only an empty dark space, and in the New York Times no less!

What happened to the standing man? I was the first to bring it to the attention of the participants in the comment section of furtherglory’s Scrapbookpages Blog after Black Rabbit posted a link to the original article there, and then we quickly began noticing the tell-tale signs of FORGERY about this strange figure who had always appeared odd to me  standing there naked as he is, but did not arouse enough suspicion amidst all of the onslaught of “holocaust” imagery, stories and news articles with which we are constantly being bombarded. We see what we are supposed to see, what we’re told we’re seeing, and almost always leave it at that.  It is also one of the better photo-forgery jobs of holocaust black propaganda – could that be because it was being done at the behest of the Supreme Commander himself?

Continue reading at Elie Wiesel Cons The World

By Carolyn Yeager

Associated Press reporter Verena Dobnik may be guilty of intentional mis-represention in an AP story published Oct. 8, 2012 in which she said she saw a tattoo on Elie Wiesel’s left forearm.

The story was carried by many news outlets, including the Washington Times, Seattle Times, Huffington Post, Salon.com, the Bend Bulletin (Oregon), The Sun Chronicle, Flagstaff Today, Deseret News , Yahoo news, The Times of Israel (and other specifically Jewish news media).

No date for the actual sit-down interview is given in the report, which is titled “Elie Wiesel survives Madoff wipeout, heart by-pass,” and was contributed to by another Associated Press writer, Randy Herschaft. This is not the first time Dobnik and Herschaft have worked together. In the news story, Dobnik, who was born in Slovenia and lives in New York, claims to have seen Wiesel’s tattoo but does not describe what she saw. She writes:

He pulls back his left jacket sleeve to reveal a Nazi death camp number tattooed on his forearm as he sits comfortably in his Manhattan office for an interview.

“Usually, I don’t show it,” he says.

One of the exceptions was a 2009 visit to the Buchenwald death camp Wiesel survived, with President Barack Obama and German Chancellor Angela Merkel.

Was this extraordinary claim checked out for accuracy by the Associated Press before running the story? In all of his 62 years in public life (since 1950) Wiesel has never exhibted publicly a tattoo on his left arm. Furthermore, there are some photographs taken over the course of the years in which his bare left arm can be clearly seen (sometimes in bright sunlight, as in the untouched photo reproduced here taken from Wiesel's own film about returning to Auschwitz) and none show any kind of mark on his arm, let alone anything that resembles an Auschwitz concentration camp number.

I have become a real fan of Thomas Dalton. He has decided, it seems to me, to cut through all the "tippy-toe" concern for Jewish "sensitivities" we see far too much of in the Revisionist community and expose the lies in a straight-forward manner. The following essay was sent out as an email which I received yesterday and am happy to reprint here.

HOLOCAUST REVISIONISM IN 60 SECONDS

By Thomas Dalton, PhD

On the traditional view, the Holocaust was the deliberate murder of some 6 million Jews by the Nazi regime during World War II.  Hitler’s intention all along was to kill the Jews, and many died in specially-constructed gas chambers.  The corpses were burned in crematoriums, and the ashes scattered.  Some of the most infamous extermination camps—Treblinka, Sobibor, Belzec—were completely dismantled and have all but vanished, as have the remains of the victims.

Revisionists believe, on the other hand, that there was never an intention to kill the Jews; rather, the Nazis simply wanted them out of Germany.  They believe that there were no homicidal gas chambers, and that the number of Jews who died during the war, from all causes, comes to less than 1 million—and perhaps only 500,000 or so. 

Yesterday I received a letter from Gerhard Ittner, who since April is being held in a prison in Lisbon fighting extradition to Germany for "thought crimes" related to the "Holocaust." Ittner had been evading the Federal Republic of Germany (FRG) "justice" for 7 years; he has been in Portugal for most of that time.

But then the FRG issued a European Arrest Warrant for Ittner, which must be honored Europe-wide, and Ittner decided to risk arrest for the chance to bring his case to the International or European courts. He began writing again under a nom de plume, knowing he would sooner or later be discovered.

I interviewed Henrik Holappa about Ittner on July 7th, and a few weeks afterward sent the prisoner a short note. On August 26, he wrote a letter to me in return, in very neat longhand - which I only just received. I am reproducing most of that letter below.

August 18, 2012

Vincent Reynouard, the indomitable ‘holocaust’ and historical Revisionist who has faced the worst persecutions the French state can dish out for the last 20 years,  tells about his new work, his political views, his sparse living standard, and why he continues, with good cheer and dedication, to produce new videos and post them on his new YouTube channel. Volunteers who are able to write English and other language subtitles for these videos are encourage to write to Vincent.

Vincent says since young people don’t want to read books now (although they should). he makes videos. But he still publishes his bi-monthly magazine Sans Concession and sends it to subscribers. Soon the older issues will be available for free to websites that request them.

Send urgently needed contributions to help Vincent’s work, current information is here.

Hadding Scott co-hosts the program with Carolyn, and Vincent’s assistant Marie is heard speaking also.

By Thomas Dalton

July 31, 2012

(This article was freely distributed by Michael Santomauro, publisher of  "Debating the Holocaust", with permission of the author, after The Occidental Observer refused to publish it.  Thomas Dalton, Ph.D. writes for Inconvenient History Online Journal and is the author of Debating the Holocaust.)

"In the period of just six years, from 1933 to 1939, and amidst a global depression, Germany rose from a ruined, bankrupt nation to the strongest on Earth.  The Holocaust—the real event—is a nationalist success story. Rein in Jewish-controlled banks and capitalist enterprises, restore national integrity to the media, expel Jews from the seat of governmental power…and your nation will flourish.  What better lesson could revisionism provide?" ... Thomas Dalton 

Greg Johnson’s concise and articulate essay, “Dealing with the Holocaust,” is to be commended for grappling intelligently with two very controversial topics: White Nationalism and the Holocaust.  But amidst his many insightful observations, I sense a kind of misunderstanding of the nature of Holocaust revisionism, and an undervaluation of the role that it can play.  What follows are a few thoughts to clarify and elaborate on the important issues he raises.

Johnson’s basic position is this:  Revisionism is useful in its own field of inquiry, namely history, but is of dubious value to any White Nationalist movement.  This is true because (a) there is no necessary connection between the two topics; (b) a fixation on history is unhealthy for any forward-looking nationalist movement; (c) any revisionist successes (lower death tolls, explaining away the gas chambers, etc) are irrelevant; (d) the standard Holocaust narrative is actually useful for nationalist causes; and (e) revisionism avoids the moral and psychological basis for Jewish oppression of whites, and thus overlooks the central issue at hand.  I will address each of these points.

By Carolyn Yeager
copyright 2012 Carolyn Yeager

The latest White Nationalist figure to announce his flight from Holocaust Revisionism is the editor of Counter-Currents Publishing, Greg Johnson. In an article titled “Dealing with The Holocaust” published on June 20 at the Occidental Observer, Johnson gave a whole list of reasons why Holocaust Revisionism was not “necessary” to the prospering of what he has dubbed the North American New Right. Just three years ago, Mark Weber (pictured at right) used virtually identical reasons to explain why Holocaust Revisionism had become “irrelevant” to the work of the Institute for Historical Review (IHR).