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by Keith Johnson
On December 14, 2010, 56-year-old Clay Duke attended a board meeting of the Bay School District in Panama City, Florida. After a few minutes of deliberation, the meeting was opened up to the local citizenry. That’s when Duke rose from his seat, walked to a nearby wall, and spray-painted the letter “V” inside a red circle. The scrawl was a direct reference to the film V for Vendetta, whose hero—a masked vigilante named “V”—uses the same symbol as his signature trademark. Duke then pulled a gun, and ordered the room to be cleared of all but six board members.
“I’m going to die today,” said Duke, as he paced around the podium.
Duke had fallen on hard times. Like so many Americans, he was broke and unemployed. His wife, Rebecca, had been laid off from her job—with the same school district—and was about to receive her last unemployment check. To make matters worse, Duke suffered from a bi-polar disorder and was off his meds. He’d reached his breaking point, and decided to take his own life as a way out of his desperate situation. Unfortunately, he also planned to take a few people with him.
Two of the board members tried to reason with Duke, but to no avail. After a few minutes, he raised his firearm and began shooting. Luckily, none of the bullets made contact with his intended victims. Duke, however, was not so lucky. A security guard returned fire from behind and shot him in the leg. He fell to the ground and turned his gun on himself. That was the end of Clay Duke.
The incident received nationwide coverage, with the mainstream media placing heavy emphasis on Duke’s mental instability and past run-ins with the law. They were also very deliberate in their efforts to characterize him as a delusional paranoid. Several of the articles contained a statement from one of Duke’s previous defense attorneys, Ben Bollinger, who said, “He was one of these Y2K people. He was one of those believers that the world was going to [make a] turn for [the] worst and he was stockpiling weapons—assault weapons.”
Bollinger apparently got this impression from Duke when he represented him on a case back in 2000.
Think about what’s happened since then? Has the world turned for the worst? You tell me. Maybe Duke wasn’t as paranoid or delusional as the press would have you believe.
Prior to his action, Duke posted this statement on his Facebook page:
“My Testament: Some people (the government sponsored media) will say I was evil, a monster (V)… no… I was just born poor in a country where the Wealthy manipulate, use, abuse, and economically enslave 95% of the population. Rich Republicans, Rich Democrats… same-same… rich… they take turns fleecing us… our few dollars… pyramiding the wealth for themselves. The 95%… the us, in US of A, are the neo slaves of the Global South. Our Masters, the Wealthy, do, as they like to us…”
Again, this doesn’t sound like a man who is completely ‘off his rocker.’ You have to admit that he was quite prophetic in his prediction that the “government sponsored media” would say that he was “evil” and “a monster.” They have, in fact, done just that. But what do you make of the rest of his observations? Do any of you, in this so-called ‘patriot movement’ of ours, see anything in there that you’d disagree with?
For the most part, the patriot movement has been careful to avoid applauding Duke for his actions. But that doesn’t mean they’ve been un-sympathetic. Unlike the mainstream press, the citizen’s media has been correct in pointing out that Duke, himself, was a victim of this tragic event. He was the victim of an economy that has been deliberately engineered to collapse, of a pharmaceutical industry that prescribes dangerous psychotropic drugs, and of a Zionist controlled Hollywood that produces films like V for Vendetta.
Oh, Boy! I just heard a thousand jaws hit the floor as they read the end of that last paragraph. You were all with me about the “economy,” the “pharmaceutical industry,” and maybe even about “Zionist controlled Hollywood.” But many of you were certainly ready to part ways with me for suggesting that there may be something insidious behind one of the patriot movement’s most cherished films.
In terms of cinematic fiction, V for Vendetta has become a cult classic among many patriots. It ranks right up there with 1984 and The Matrix. Clips, quotes, and images from the film can be found on several patriot and alternative websites. If you visit any number of conspiracy sites, you will also find many posters using the Guy Fawkes mask as their avatar. A number of tax protesters in the United States, as well as in Europe, have dressed up in the V costume during some of their demonstrations. Some patriot groups commemorate the 5th of November—the day the real Guy Fawkes attempted to blow up Parliament—and have used that day to stage protests and hold rallies.
For those not familiar with the film, here is the basic premise:
In the near future, Britain is ruled by a totalitarian government under the fascist Norsefire party. Evey Hammond, a young woman who works at the state-run British Television Network, is rescued from an attempted rape perpetrated by members of the secret police by a Guy Fawkes-masked vigilante known as “V”. He leads her to a rooftop to watch his destruction of the Old Bailey. Norsefire tries to explain away the incident as a controlled demolition, claiming the building was no longer structurally sound, but V takes over the state television broadcast the next day, exposing the lie. He urges the people of Britain to rise up against the oppressive government and meet him in one year, on 5 November, outside the House of Parliament Houses, which he promises to destroy.
Patriots love films that are set in a dystopian future, where ‘lone wolf’ vigilantes take on ‘the system’ and sometimes sacrifice their own lives to inspire future generations to take up the cause from where they left off. Zionist controlled Hollywood understands this, and is more than happy to accommodate. They have their ear to the ground, and are fully aware of the rising patriot movement, and of the vast political awakening that has occurred since 9/11. Not only do they want to cash in on these disenfranchised people, but they also want to win them over to help propagate the Zionist agenda. They realize a revolution is imminent, and they want to make sure that they are instrumental in engineering and controlling that revolution.
If we are to believe that the New World Order is in control of Hollywood, and that they use all mediums to spread their propaganda, then we must be careful to scrutinize every little thing they offer us. Why would the NWO allow a film to be produced that inspires people to challenge their authority? Only the most naïve of us would suggest that this one flew low enough under the radar to escape their scrutiny.
No, this film was produced by the NWO specifically to direct the fear and loathing of its audience against the mythical image of a 4th Reich, and away from any criticism of Jewish power, the Israeli lobby, and the Zionist oppression of the Palestinian people.
V for Vendetta is rife with Hitler, Nazi, and Holocaust imagery that are intended to further embed into our consciousness that all of our modern fears are entrenched in events that occurred over 65 years ago.
Zionists want to convince you that your fears of a fascist police state are precisely what they were fighting against during WWII. Regardless of what concerns you, Zionist propagandists will find a way to connect it with the Nazis. They are determined to condition you to believe that all evil emanated from Nazi Germany, and that most of the contemporary mechanisms of government control originated from that source. We are to believe that they, alone, are the enemy. They always have been, and they always will be.
This propaganda is relentless. I recently scanned through the TiVo directory on my TV cable box. First, I typed in the keyword, ‘Hitler.’ Over 70 titles came up for programs scheduled over the next two weeks. Here’s a short list: Hitler’s Ghost, When Hitler Invaded America, The Hunt for Hitler, The Fatal Attraction of Adolph Hitler, The Making of Adolph Hitler, and Hitler’s Last Deadly Mission.
Next, I typed in the word, ‘Nazi.’ 74 titles came up. Here’s that short list: Nazi Ghost Train, Nazi UFO Conspiracy, Nazis: The Occult Conspiracy, Nazi Secret Weapons, Nazi Supership, and Hunting Nazis.
Finally, I decided to type in the names of two other famous dictators: ‘Stalin’ and ‘Mao.’ I came up with squat. You know what else I didn’t find? I didn’t find any programs dealing with the USS Liberty, The Lavon affair or Operation Cast Lead. Go figure.
Is it that the American people are just not interested in other historical figures and events, or is it that we are being told what we should be interested in? I think we all know the answer to that. We have been, and continue to be, indoctrinated to only one significant event in history. It is this event, and those characters from that era, that drive the propaganda of the New World Order.
If you are constantly on your guard against Nazism, you become less inclined to criticize Israel. In the minds of most Americans, the Nazis (who are the legendary oppressors of the Jewish people) and the Zionists (who purport to be the defenders of the Jewish people) are polar opposites. If you believe that the Nazis are the ultimate evil, it is very easy to be persuaded into believing that the Zionists are the ultimate good. This is exactly what the Zionists want you to believe.
But I know what some of you are going to tell me. You’re going to tell me that you haven’t fallen for that trick. You’re going to say that you are critical of Zionists precisely because they are acting like the Nazis, right? I’m constantly hearing this claim. What you are saying is that the abused child has now become the abuser. This is a defense argument. Attorneys who represent child molesters use it to play off the sympathies of the jurors, often resulting in lighter sentences for their clients. When you make this kind of argument, you are unwittingly coming to the defense of the Zionists.
In addition to that, you are breathing new life into Hitler’s lungs and keeping the imminent danger of his influence fresh in the minds of the public. It makes it that much easier for Zionist propagandists to convince the gullible that the New World Order is synonymous with Nazism. But don’t fall for it. Hitler is dead, and the Nazis went out of business in 1945.
Does that mean that Nazis have disappeared from the face of the earth? Certainly not. As a matter of fact, I can take you to where they live in my own community. You’ll find both of them standing outside of their singlewide trailer smoking cigarettes. They wear black boots, shave their heads, and have a swastika tattooed on their forearm. If you look in through one of their bedroom windows, you will see a Nazi flag that they use as a curtain because they are too poor to replace the one that was there before. Yes, they’ll tell you that they are Nazis. But I assure you; they aren’t plotting to take over the world. They’re too busy smoking methamphetamine and stealing bicycles. No, my friends, the NWO is not synonymous with Nazism. The NWO is synonymous with Zionism.
American Free Press writer Michael Collins Piper explains this best in his book, The New Babylon.
He explains that the NWO is “the intended realization of a Talmudic dream to establish a Jewish utopia.” Their idea of utopia is a “global imperium” that is ruled over by a “Jewish elite.”
The Zionist movement is at the very heart of this realization, which specifically set out to create the state of Israel as a “geographic and political entity.”
Piper states that, “The Zionist cause has been integral to the plan for a New World Order.”
He goes on to explain that, “It was the rise of international Jewish finance, and the consequent emergence of the Rothschild Empire—as a foremost influence in that realm—that is central to advancing the New World Order.”
To paraphrase him further, Piper points out that the consolidation of Rothschild power over the British Empire laid the foundation for the political, financial, and structural framework of the New World Order.
Piper says that the United States today has become “the virtual engine of Rothschild power.” In the Jewish worldview, the United States constitutes, “The New Babylon.” It has become “the seat of power,” and the mechanism whereby which “they want to achieve the New World Order.”
This is the reality of the New World Order. But the makers of V for Vendetta would have you believe otherwise. They accomplish this by introducing Nazi imagery into a contemporary setting, and blending it with modern images of the police state: surveillance cameras, black-clad paramilitary police, etc. By doing so, they propagate the message that the threat of Nazism is still very much alive.
The political party that rules over the people with an iron fist is called Norsefire, alluding to the Nordic/Aryan archetypes and mythology that are alleged to be integral to Nazi ideology.
The ‘Chancellor’ of the Norsefire party is an Adolph Hitler clone by the name of Adam Sutler, who delivers impassioned speeches in a Hitler-esque style.
Before being interrogated, the film’s heroine—Evey—is dressed down and has her head shaved. This familiar image of the concentration camp victim stays with her throughout the remainder of the film.
Part of V’s back-story reveals that he, himself, was among many other ‘political dissidents’ and ‘social deviants’ who were subjected to Nazi-like medical experiments while interned in a concentration camp. The facility was eventually burned to the ground. But unlike the other prisoners, V managed to escape. He emerges from the flames with superhuman strength and unbridled rage. This baptism by fire symbolizes V as both the embodiment of the Holocaust survivor, and of those who perished.
He then sets out on a mission of revenge—a vendetta—against those whom did him wrong. This mission of vengeance is the very essence of Talmudic Judaism. Lately, it has become a very popular theme in films like Steven Spielberg’s Munich and Quentin Tarantino’s Inglourious Basterds, the latter of which spawned a new film genre known as “Jewish revenge porn.”
V takes on the persona of Guy Fawkes, a real life British martyr who was part of the legendary “Gun Powder Plot” to blow up the House of Lords in 1605. He dons a Guy Fawkes mask both to cover up the disfigurements he suffered in the fire, and as a symbol of violent rebellion.
Throughout the film, V delivers very thought provoking monologues that are quite inspirational. One of the more often quoted monologues from the film takes place after V commandeers the state-run TV station and broadcasts his message throughout London:
“Words offer the means to meaning, and for those who will listen, the enunciation of truth. And the truth is, there is something terribly wrong with this country, isn’t there? Cruelty and injustice, intolerance and oppression. And where once you had the freedom to object, to think and speak as you saw fit, you now have censors and systems of surveillance coercing your conformity and soliciting your submission. How did this happen? Who’s to blame? Well certainly there are those more responsible than others, and they will be held accountable, but again truth be told, if you’re looking for the guilty, you need only look into a mirror.”
Who can argue with that? I’ll be the first to admit that there is a lot of truth that can be gleaned from the dialogue in this film. But then the message gets mired in overtones of orchestrated violence, which V makes very attractive.
Throughout the film, V uses terrorist tactics to disrupt the government’s infrastructure. He also romanticizes these acts of terrorism by setting music to his demolitions and quoting poetry as he kills his adversaries.
V’s exploits eventually inspire the population to take a stand against their oppressive government. At the end of the film, thousands of Londoners, all wearing Guy Fawkes masks, march on Parliament to watch it blown to Hell.
Obviously, V’s extraordinary success as a lone wolf vigilante could only be accomplished in a fictional setting. In the real world—particularly here in present day America—the expectation that one man’s acts of violence will inspire a mass revolt is absurd.
Terrorism only works to the advantage of the government. That is why rational activists, who are trying to gain the trust and empathy of the people, avoid violence like the plague. If we are to believe that government’s stages false flag events as a pretext to clamp down on the liberties of its people, we must also recognize that they do so for lack of the real, organic, homegrown acts of terrorism that they are constantly warning us about.
But, believe me, our government loves it when emotionally fragile individuals like Clay Duke take the Hollywood bait and emulate screen heroes like V. It saves the FBI the trouble of having to set up some poor Somali-born kid to blow up a Christmas tree lighting ceremony in Oregon, or the MOSSAD from convincing some Nigerian half-wit to stick firecrackers down his shorts before boarding an airliner. Governments fear mass uprisings, but encourage individual acts of aggression. Individuals are easy to contain, and their acts of terrorism are easy to absorb and exploit.
As we have witnessed with the Clay Duke tragedy, there is nothing romantic about violence. There was nothing cinematically breathtaking in his actions. There was no theme music playing in the background. He did not dazzle us with his acrobatic dexterity. In reality, all acts of violence are ugly and repulsive.
I am not accusing the filmmakers of deliberately inciting violence. But, in light of the actions taken by Clay Duke, it certainly played a part in doing just that. However, I am strongly suggesting that the filmmakers were deliberate in their efforts to advance Zionist propaganda for the very reasons I have outlined above. And who were those filmmakers?
First of all, the film was adapted from a 1982 graphic novel by Alan Moore, a self-described Kabbalist and Chaos Magician who also penned the 1986 graphic novel “Watchmen,” that advocated false-flag terror as a Machiavellian “end justifies the means” scenario that unites the world under a global government following the nuking of a major U.S. city. But Moore actually distanced himself from the film version of V for Vendetta, complaining that the producers changed the “Fascism Vs. Anarchism” theme to “American Conservatism Vs. American Liberalism.”
Then we have Joel Silver and the Wachowski Brothers, all three of whom are powerful Jewish Hollywood producers. The Wachowski Brothers penned the script. They are also the creative force behind another partriot favorite The Matrix, which likewise contained a great deal of Zionist propaganda. For instance, Zion is the subterranean refuge that serves as the only safe place for the unplugged humans to escape from the evil machines.
Then, last but not least, we have Israeli actress Natalie Portman playing the part of the film’s screen heroine, Evey. Now, this may surprise many patriot fans of this movie. Did you know that—at the same time this film was in wide release—Ms. Portman was dating 36-year-old Nat Rothschild? That’s right—Nat Rothschild—from the same Rothschild family that most all of us patriots can agree sits at the very tippy top of the New World Order.
Now, all of these things might seem inoccuous and innocent when weighed individually. But when added together, they make a strong argument for the thesis I’ve set forth.
I am not making a plea for patriots to censor this film from their minds, remove clips from their websites, or refrain from reciting quotes from the film. But I do suggest that they be cognizant of the underlying subtext of Nazi imagery, and how it being used to transport us out of the present and into the distant past.
We have all heard the term, “The enemy of my enemy is my friend.” Well, if you consider Nazism to be your enemy, and Zionism to be its greatest foe, then it can be argued that Zionism is your greatest ally. But Nazism is not our problem, and it hasn’t been a problem to anyone for over half a century.
Please don’t misunderstand me. I’m not coming to the defense of the Nazis. I am neither a Hitler apologist, a Nazi sympathizer, or a Holocaust denier. In fact, I am diametrically opposed to those who celebrate Hitler, advance Nazi ideaology, or adopt Nazi symbolism as part of their identity. Not for fear that these people might inspire a resurgence of Nazism, but because it works to the advantage of Zionist propagandists. They like nothing more than to use these cartoon images of bald headed youths—waving Nazi flags and giving the ol’ “Sieg Heil” salute—to scare little old ladies into thinking that Hitler is poised to march down Main Street at any given moment and bring about a second Holocaust. What’s even more dangerous, is that they superimpose these images on rational critics of Israel in order to advance un-constitutional hate speech legislation.
Listen, if you’re still worried about the Nazis, I’ve got a suggestion for you: Stop thinking about it! Stop talking about it! The only place they exist is in your mind. If you are concerned about another Holocaust, how about addressing the one that is going on in Palestine. If we don’t stop the Holocaust there, we may never have a chance to stop the one coming here.