If, as the sticky post implies, the aim of this site (remember: he who controls the past controls the future) is to find the Weirwood to see the past as it happened, we will understand why historical revisionism is vital to save the white race.
In this instalment of the series on Roldán’s book, I would just like to comment on the thought that came to me when I came across the phrase on page 244 of his book: ‘Gauls disguised as Germans, whose hair he [Caligula] dyed blond’ to transport them to Rome.
What Ridley Scott’s blockbuster film Gladiator shows us in its opening scene, epic by the way, was Romans under Marcus Aurelius fighting dark-haired Germans (in that subsequent century of Caligula’s reign the Germans were still blond): an inversion of the facts for propaganda purposes. Typical Hollywood.
Scott is a gentile, but it reminds me of what the Jewish producers of the film Ben-Hur, to which I referred in yesterday’s post, did. This 1959 film, awarded as many Oscars as possible, dared to reverse everything. It cast Judah Ben-Hur, a Jewish prince from Jerusalem, as the handsome, Nordish-looking Charlton Heston, and the Roman Messala (Stephen Boyd) not only with dark hair. In real life, Stephen Boyd had blue eyes.
To film Ben-Hur, the Aryan Boyd was forced to wear dark contact lens so that his eyes would not compete with the light eyes of the Jew interpreted by Heston! This is revealed by the producers themselves on the DVDs that now accompany the film with commentary.
This inversion is typical of the way the story has been told to us, including Aryan depictions of Jesus and his holy family in Christian iconography, especially from the Renaissance onwards. 1st century Palestinian Jews looked like sandniggers: the opposite to Heston. No wonder that, if the collective white unconscious has been programmed in this way, they have taken the New Testament as the founding scripture of their race, when in fact it is a rabbis’ scripture for gentile consumption (again, read our latest PDF). And the 1959 film aggravates the matter by casting the Jews of first-century Palestine as white Europeans, including Jesus’ carefully coiffed straight brown hair that is only seen from behind.
Much of the psychological healing of the Aryan consists precisely in finding the Weirwood to see the real past, not the toxic myth our enemies have been telling us for two millennia.
Returning to Roldán’s phrase, could we imagine an epic scene with blond Germans fighting the Roman mudbloods of a couple of centuries after Caligula’s reign? What effect would a film shot by someone who has already touched the Weirwood have on an audience of white-skinned, blue-eyed, light-haired people?