Did anyone see American History X

[Big Buck]

barcoded-calm down before you're unable to post anymore.....

 

[barcoded]

Check out this site:http://www.symbols.com/encyclopedia/15/151.html

"The swastika was used well before the birth of Christ in China, India, Japan, and Southern Europe. Whether it was also used that early in the Americas, however, is not known. There are no swastika-like signs on the oldest rock carvings there. Neither did the Mayans, the Incas, and the Aztecs use it. However, many of the Indian tribes in the southern parts of North America seem to have begun using the sign after the arrival of the first Spanish colonists"


And here is another essay about the swastika representing sexuality:

"I will now make the case that not only is the Swastika a sexual symbol, but that it is the first primal and fundamental sexual symbol, the first truly pornographic symbol produced by man, and that Adolf Hitler used it knowingly with these properties in mind.


THE POWER OF THE SWASTIKA


I was walking in Brixton two weeks ago, and I passed two policemen standing, looking at a wall. On the wall was inscribed ”JEWS GET OUT” and next to it, a crude Swastika had been painted. After much frantic conversation, the policemen finally seemed to find a temporarily satisfying solution to their problem. They pasted a large piece of white paper over the swastika. ”What about the writing?” said one. ”Don’t worry, we’ll call someone to get rid of it later”. The writing was just writing, just a message. The swastika was more dangerous because it embodied more than words ever could, even if our two policemen could not understand why. I am reminded of the Nazi rallying cry:

Wir sind das Heer vom Harkenkreuz
Hebt hoch die roten Fahnen,
Der deutschen Arbeit wollen wir
Den Weg zur Freiheit bahnen

(We are the Army of the Swastika
Raise the red banners high
For the German worker
The way to Freedom we shall pave)


There is no room for confusion or misunderstanding here. ”We are the Army of the Swastika”; the swastika undeniably a totem for the Nazi state, more than just a means of denoting their party, it was means of denoting their way of life. This is reflected in Reifenstahl’s masterful propaganda video, ”The Triumph Of the Will”, which has Hitler walking out from under a massive Swastika to greet the masses, almost as a human envoy between man and the sunwheel.

In ’Mein Kampf’, Hitler makes no secret of this importance. ”..As National Socialists, we see our program in our flag. In red we see the social idea of the movement, in white the nationalistic idea”. But then he goes on to hint at an importance that goes beyond ordinary symbology: ”...and in the swastika the mission of the struggle for the victory of the Aryan man, and, by the same token, the victory of the idea of creative work, which as such always has been and always will be anti-semitic”.

The last part is a simply remarkable claim, and deserves specific attention. Hitler is openly claiming that the swastika as a symbol is not anti-semitic because of some attached Nazi meaning, but due to an *innate* quality within the symbol itself. Something that has long been so - long before Nazism - and long shall be so.

Hitler gives the reader no explanation or elucidation for this incredible, almost mystical, claim.
So we must examine the historical truths behind the swastika, to assess the origins of this claim, and to gain some insight into Hitler’s motives.


THE HISTORY OF THE SWASTIKA


At the start of the 1930s, in Germany, Herta Heinrich published the work ”Hakenkreuz, Vierklee Granatpfel” in the ”Zeitschrift for Sexualwissenschaft”. This summed up much research from previous years and concerned itself with the sexual connotations of the swastika, or better put, the swastika’s connotations for sexuality. Although quoted by the great sociologist Wilhelm Reich from source, I went to considerable effort to obtain the original paper, something increasingly difficult given the authorities’ desire to suppress documents from that era of history.

Heinrich’s work allows us to piece together the puzzle behind Hitler’s miraculous claim of a magical swastika with innate allegiance to anti-semitism.

It is widely acknowledged that the swastika, the sunwheel, has long been a symbol in both Northern and Eastern mythology. What is more surprising is that the Swastika was originally found amongst the Semites, for example in the Myrtle Court of the Alhambra at Granada. This immediately puts Hitler’s claim into some doubt. How can it be inherently anti-semitic, if the Semites have used it?

Herta Heinrich went to the Lake of Gennesaret in what was then East Jordania. In the ruins of the synagogue of Edd-Dikke she found two swastikas.




The swastikas had a facet (a head), and one represented male, the other the female. More importantly, the interlocking shape of the swastika made it quite obvious that the two were engaging in intercourse, the first one with the male entering the female from behind, the second with her on top.

We now remember that the original semitic tribes, those ostracised yet still Egyptianised Akhanatian followers, had quite different ethics from those espoused by Judaism today. Internal religious politics eventually necessitated the transforming of Judaism into an ascetic, ’anti-sex’ religion. This naturally required a complete expurgation of the swastika from semitic symbology, which is why you won’t find it synagogues built in recent centuries.

Now we approach an explanation to the puzzle. The Swastika is a sexual symbol and that which is exiled can return to haunt those who exiled it. This is why the swastika is also an anti-Christian symbol, and an anti-Islamic symbol (note how Muslims paint swastikas on images of ”Satanic” and ”sexually obsessed” America during rallies).

How sexual is the swastika? Gardner found it in Greece, there called Hemera, where it again depicted intercourse. Bilmans found one, dating back to Indo-European times, with the inscription:

”Hail to thee earth, O mother of man. May you thrive in Wotan’s embrace. Overflow with fruit for man’s benefit.”

This ideal of earth, sex and fertility also reflects its use as a millwheel, a symbol of duty, embodying our sexual duty to eachother, our duty of work in the fields to the earth and the earth’s duty of fertility to us.

We see it reflected too in the findings of Lowenthall, who also published with Heinrich in 1930s Germany on the subject. He had found the swastika on the altar cloth of Maria zur Wiese in Soest; here the swastika was embellished with a vulva and a double cross, appearing as the symbol of the stormy sky interlocking and impregnating the fertile earth.

Most importantly of all, however, are those found by Lichtenberg and Smigorski, which most closely resemble the form adopted by Adolf Hitler. Here the swastika cross had a human skull or head on the end of each prong.




Here we have four interlocking figures engaged in intercourse; the swastika thus as the symbol of the orgy.

Thus we are now in a position to explain the otherwise mystical connotations of the swastika, with the deep and profound effect it has on people. The fact that people react to the swastika as if it were an obscenity is not surprising. It originated as what one might call the most ancient form of pornography, depicting the sexual act, and eventually coming to represent sexuality itself. Further, the hooked nature of the cross represents the hold sexuality has over all humans, or at least did.

Originally the swastika appeared as a sexual symbol in most cultures, but Judaism thus had to reject the swastika when it rejected sexuality. This is why Hitler can feel safe in calling it an inherently anti-semitic symbol, for the semites have turned their backs on it.

It is obvious that the human being, as a repressed sexual animal, will respond to the most innate form of sexual symbology, a form of pornography, if you like, that has existed for thousands of years. Moreover, the swastika, the banner under which ancient sexuality rites and rituals were performed, is a hooked cross, a wheel, symbolising both intent and revolution - thus instinctually mobilising the repressed sexual impulses it invokes, channelling them into the orgiastic fury that Nazism required.

Of the different variations of swastika, Hitler chose the symbol of the orgy. This is quite significant, for only the most potent of latent sexual imagery could inspire that which Hitler’s quest necessitated, for which the correct term is indeed rabid orgiastic fury. We see it not just in the Joy Divisions of Auschwitz but in the esoteric rituals of the SS, in the importance of blood, the desecration of virginal weakness, the triumph of the will, Hitler’s assertion that the role of Fuehrer could only be held by one of intense potent imagination, the otherwise pointless destruction of the already stormed Warsaw to provide the delicious scenes that the swastika’s fury demanded - sky darkened, a billion shells raining down on the city and its people drowning in a sea of crimson red; as General Halder described it years later, an otherwise inexplicable ”lust for blood”.

Epilogue:

When the swastika fell at the end of the Second World War, the 1950s ushered in a new era of asceticism and conformity. The hooked cross buried under rubble, sexuality was again buried with it. Judeo-Christianity built suburbia on top. But then, what ends when the symbols shatter?



Postscript:

The fact that Hitler chose the orgy - the most dissipated form of genital sexuality - incarnation of the swastika as his symbol is also important from the point of view of Freudian mass psychology, since Hitler wanted to control masses."

I gave you the benefit of the doubt the first time I spoke of C93, but now I have to come clean and say that they're at least somewhat racialist. Neo-paganism by very definion entails pseudo-racial metaphysics. I'm not judging, just stating what's pretty self-evident.

This essay that you provided is horribly written (btw, who's the author?), full of outdated pseudo-scientific terms and ridiculous claims, is explicitly pseudo-theosophic, and reeks of ignorance of Christianity, Islam, and Judaism (listed in alphabetical order.)

IMO, www.symbols.com is a much better source of info on the evolution of the swastika as a symbol than the essay you posted. It's definitely more objective and not as biased as the essay.

 

[barcoded]

barcoded-calm down before you're unable to post anymore.....

I remember apologizing in this thread for the stupid shit that I said. I cooled down right away.

You might want to read the entire thread before you put me on the spot like that and flex your moderator muscles.

Take care.

 

[CRNT93]

Barcoded,the essay did seem somewhat subjective in some parts.But what was interesting,and true,was how much emotion symbols can evoke.How powerful they are.I don't know the author,just something I found on the net.

Pertaining bands like C93 and Death in June,both of which I like very much,DIJ's singer said it best:"I don’t feel any one person, and that includes myself, has the right to assume they understand my work better than others. That verges on pseudo-elitism that can be burst like a bubble. Whilst I know what initially makes me write something, and I have always composed for myself, I have often been illuminated by others interpretations of my work which have been made me wonder whether or not that was, in fact, what I was uncounsciously trying to say. "

Art should never be censored,IMO.That would be fascist if anything.
You know,Salvador Dali for example was almost morbidly fascinated with Hitler.I read his diary and he was even sexually very aroused by images of Hitlers rigid posture! Yet,artists like him had to flee to the US to escape the Nazis.I think artists should be allowed to explore even the darker sides of human nature and history.

As a native american artist using swastikas in his work said:
"if anybody want's to talk about atrocities attributed to symbols,lets talk about the christian cross"

 

[barcoded]

Barcoded,the essay did seem somewhat subjective in some parts.But what was interesting,and true,was how much emotion symbols can evoke.How powerful they are.I don't know the author,just something I found on the net.

I agree with you about the very nature of symbols.

Pertaining bands like C93 and Death in June,both of which I like very much,DIJ's singer said it best:"I don’t feel any one person, and that includes myself, has the right to assume they understand my work better than others. That verges on pseudo-elitism that can be burst like a bubble. Whilst I know what initially makes me write something, and I have always composed for myself, I have often been illuminated by others interpretations of my work which have been made me wonder whether or not that was, in fact, what I was uncounsciously trying to say. "

That is a really good quote. Art is all about interpretation - ultimately, it is the observer who decides what a particular piece means to him/her. All I'm saying is that it's rather silly to deny that both DIJ and C93 are neo-pagan with roots in the occult. Of course, they're entitled to express themselves freely, that's not my point. IMO, one's politics and ideological outlook are interconnected with their art. That cannot be denied. Please understand that I'm not attacking any particular artistic genre; I'm just saying that ideology and art cannot be separated when a specific piece of art is purposefully iconoclastic. Just my .02.

 

[6(SIC)6]

Re: My version............

I loved that movie, but I don't like that Ed Norton copied my "look" !!

Holy shit is that you? Man thats intimidating!

 

[BIG DONNIE BRASCO]

yep that's me.
I used to get picked on a lot in school...blah, blah, blah
I decided to try and "toughen-up" a bit. I really fell in love with training, and started doing mixed martial arts comps. Funny thing is, now I'm REALLY mellow, and never really even get upset much
I don't get picked on any more tho!!!!

D