Vladimir Putin and Donald Tusk met today in the Katyn Forest near Smolensk to commemorate the 70th anniversary of the Katyn massacre. 22,000 members of the Polish intelligentsia were murdered by the NKVD in the month of April, 1940. This wholesale slaughter of Slavs was masterminded by the Georgians Joseph Stalin and Lavrentiy Beria, and it only came to light when National Socialist Germans discovered the mass graves and exhumed the remains. Nevertheless, it wasn’t until 1990 that the Soviet Union finally acknowledged the perpetration of the massacre by the NKVD. Until that year, a memorial stood in the Katyn Forest which read that the Germans had been the culprits.

The Katyn massacre is one of the few proven mass murder of the Second World War (amongst others are the Dresden firebombing and the bombing of Hiroshima and Nagasaki), yet a quick search on the Internet shows that its 70th anniversary goes largely unnoticed by the mainstream media. There should be little surprise, for the people in control of the mainstream media are the descendants of the Marxists…

“The reaches opened up before us and closed behind, as if the forest had stepped leisurely across the water to bar the way for our return. We penetrated deeper and deeper into the heart of darkness. It was very quiet there. At night sometimes the roll of drums sustained faintly, as if hovering in the air high over our heads, till the first break of day. Whether it meant war, peace, or prayer we could not tell. The dawns were heralded by the descent of a chill stillness; the woodcutters slept, their fires burned low; the snapping of a twig would make you start. We were wanderers on a prehistoric earth, on an earth that wore the aspect of an unknown planet. We could have fancied ourselves the first of men taking possession of an accursed inheritance, to be subdued at the cost of profound anguish and of excessive toil. But suddenly, as we struggled round a bend, there would be a glimpse of rush walls, of peaked grass-roofs, a burst of yells, a whirl of black limbs, a mass of hands clapping, of feet stamping, of bodies swaying, of eyes rolling, under the droop of heavy and motionless foliage. The steamer toiled along slowly on the edge of a black and incomprehensible frenzy. The prehistoric man was cursing us, praying to us, welcoming us – who could tell? We were cut off from the comprehension of our surroundings; we glided past like phantoms, wondering and secretly appalled, as sane men would be before an enthusiastic outbreak in a madhouse. We could not understand because we were too far and could not remember, because we were travelling in the night of first ages, of those ages that are gone, leaving hardly a sign – and no memories.

The earth seemed unearthly. We are accustomed to look upon the shackled form of a conquered monster, but there – there you could look at a thing monstrous and free.”

Julius Malema–racist, black supermacist and ANC Youth Leader–once again encouraged his fellow kaffirs to murder Afrikaners by defiantly singing “Kill the Boer” in Zimbabwe a day after the grisly assassination of prominent Boer politician Eugene Terre’Blanche. In a speech given after the song, Malema also stated that it was wrong for South African mining companies to be owned by foreigners and that the situation “needs to be rectified”. Here I’ll have to agree with him, for all the mining companies (e.g. Implats, Anglo American, De Beers) are owned by parasitic Zionists/Marxists such as the Oppenheimers and the Rothschilds. In fact, Cecil Rhodes was working for the Rothschilds when he was rapaciously colonising South Africa and Zimbabwe. This is no secret, neither is the fact that the entire diamond trade is in the hands of Zionists.

Negroes were ruthlessly exploited by the upper echelons of European society in the 19th and 20th centuries. The blame rests almost exclusively on the shoulders of the English aristocracy and the Jewish money behind it. I would like to reminisce on the days of…

IF Klaus Straeck, president of the Berlin Academy of the Arts, were to have his way, the sculpture pictured on the left would be crated and stowed away in the deepest of caverns, never to make its hideous appearance again, not even at exhibitions dedicated to exposing the horrors of degenerate Nazi art. For according to him, “it is wrong to recognise an artist who created the physical images of Nazi ideology.” This was said in the summer of 2006, when Arno Breker’s works resurfaced on publicly funded display for the first time since World War II.

Upon hearing those words spoken by the venerable Staeck, someone well versed in Spielberg and Wiesel but completely ignorant of Breker would doubtless think that the Schwerin residents were financing an art exhibition depicting oppressed minorities being shoved into…

In his epic novel War and Peace, Leo Tolstoy warns young men to “never marry” until they’ve done all there is to do in life. He likens married men to “chained convicts” who have lost “all freedom” and whose lives consist of nothing but “drawing rooms, gossip, balls, vanity, and triviality”. A married man “knows nothing” and is “fit for nothing”, for he must devote himself to satisfying the whims of his wife, who, as a woman, is inherently “selfish, vain, stupid, trivial in everything”. So was Tolstoy also working for the Marxists and writing propaganda aimed at destroying the European family? Of course not. Tolstoy’s impassioned warning only indicates that feminism was the product of “Teutonic-Christian stupidity”, as Schopenhauer eloquently puts it in his treatise On Women, and not some Marxist conspiracy. Yes, the radical feminism which appeared in the 20th century was an exclusively Marxist affair, and the screech of feminism would certainly have never reached such ear-grating highs in the absence of Marxists, but then there wouldn’t have even been a screech at all if it weren’t for the foolishness of European men and their culture of romance, gallantry and woman veneration.

Marxists screech incessantly that race is a social construct and that the concept of inferior and superior races originated in 19th-century Europe. They also insist that beauty is relative and that the Aryan aesthetic is revered by today’s world only because it’s being forced on the world via the “Western” media (which, nota bene, Marxists control). According to them, the world was colour blind before evil proto-Nazis like Arthur Gobineau, Vacher de Lapouge and Johann Gottfried Herder began espousing racist doctrine. That, of course, is a complete lie, and medieval Persian texts prove it. 1000 years ago, Persians viewed Negroes as (and I quote from the texts below) “beasts among mankind” who “do not differ from animals in anything except the fact that their hands have been lifted from the earth.” They are “terrifying and ugly…with thick, hanging lips and pitch-coloured skin”, “noses flared like a buffalo’s nose”, and “have foul body odor or foul breath”. Some “eat each other” and “in their wars they eat the flesh of their enemy and most of them go naked, with no clothes.” To top it off, Persians were “repelled by the sight of a black man embracing a white woman” and considered “a woman touched by a black man” to be “soiled and defiled”. Texts like these are one of the reasons Marxists are dumbing down society with such zeal. An illiterate society is a malleable, obedient society–a blank slate–a veritable goylem.

Franz Liszt and Frédéric Chopin were friends, but naturally they were also rivals. More often than not, however, their rivalry was good natured. For a time, both of them lived in Paris, and during those days musical soirées were often held in the private apartments of aristocrats. During one such soirée, Liszt and Chopin decided to engage in some hearty merrymaking. Chopin was to play one of his nocturnes, but before he began playing he asked the hostess to dim the lights in order to set the mood and create an atmosphere in which the nocturne could be most appreciated. She did so, and nothing could be seen in the salon and nothing could be heard, except for the melancholy beauty of Chopin’s composition. Liszt had positioned himself near the piano before the lights had been dimmed, and now that it was thoroughly dark he replaced Chopin at the piano in such a way that there wasn’t a break in the music. When the nocturne concluded and the lights came back on, everyone was astonished to find Liszt sitting at the piano and Chopin standing beside it. Both composers bowed to a great round of applause, and Liszt declared: “Liszt has played like Chopin, now let Chopin play like Liszt!” This was a playful jab at Chopin, who could never really play as bombastically and vivaciously as Liszt due to his precarious health. Liszt, on the other hand, always admired Chopin’s poignant and delicate touch. Such was their good-natured rivalry, back when Europeans still dictated the culture and mores of Europe.

IT is a fact, as David Irving has proved, that at least 125,000 German civilians were burned to death by the Allies in the firebombing of Dresden, one of Europe’s most beautiful cities before WWII. It is also a fact that the bombing served no strategic or military purpose whatsoever, for neither did the city. Therefore, that the Dresden firebombing was a “crime against humanity” should go without saying. History, however, is written by the victors of wars, and all too often fact has the tendency to become fiction and fiction has the tendency to become fact, as demonstrated by British journalist Oliver Kramm in his latest article for the Times Online. Unfavourable death tolls are either divided by five or multiplied by 10. We arrive with uncanny ease at the conclusion that there were “25,000 fatalities” as opposed to 125,000 victims, and anything to the contrary is considered to lack “evidential basis” and to be a “consistent and deliberate falsification of the historical evidence”. We are told that “responsible historians” would never…

Beauty still triumphs in Vienna despite over 60 years of incessant Marxist tyranny, brainwashing and social engineering. Viennese gentiles have managed to retain their aesthetic sense despite being force-fed the judeo-pathology known as Modern Art for close to a century. Arnold Schoenberg’s wretched excrement of an “opera” Moses und Aron will be performed tomorrow at the Vienna State Opera, yet there are several hundred tickets remaining. By comparison, The Flying Dutchman of the “notorious anti-Semite” Richard Wagner, whose music is banned to this very day in the Zionist Entity, is to be performed on Sunday and the tickets are all but sold out. To top it off, masterpieces such as Verdi’s Simon Boccanegra and Puccini’s Tosca have sold out a month in advance. If Europeans were to be given a voice, this is how they would speak, time and time again, on matters of art, music, sculpture, architecture and literature. If Europeans were to be given a voice, Europe would begin to embrace beauty, family, culture, community and tradition. But these things are anathema to the Marxists controlling Europe, and they will do everything in their power to make sure that Europeans are never given a voice again.

WHILE on his European travels Dostoevsky, at the age of 46, found himself in the neighbourhood of Baden-Baden, the home of the infamous Kurhaus casino. Ill health and hounding creditors had driven him and his wife Anna Grigorievna Snitkina, 25 years his junior, from Russia. Their financial situation was poor and Dostoevsky had already asked his publisher for an advance of 3500 roubles, which had been granted.

It should be noted that by this point in his life, Dostoevsky had already survived a mock execution, served four years hard labour in Siberia followed by another four in the military, and written, among a number of other…