Elvis Hitler was a psychobilly band from Detroit that came up in the late 80s & called it quits in the early 2000s. The band got its name from lead singer Jim Leedy's nickname, "Parmesan LaBoomBoom", i mean, "Elvis Hitler".
Here they are at the Church of Elvis in Portland, Oregon. Bet you wont see a Church of Hitler in Portland, Oregon! Nossir.
vegzetes joreggelt Thanks to Danny Shoup for alerting me to this one. Something has changed in the presentation of information & the way we approach information, you can call it META MEME RECOMBINANT ASSAULT BLIP BLOOP, but whatever it is, eating vomit & then vomiting it back out again & then eating it again & then vomiting it out again, i think it's FOR THE GOOD. Cave dwellers like Osama bin Laden might yearn for the days when there was no META MEME VOMIT STREMES & they could listen to Bikini Kill & feel the naive simplicity of their limited brain functions as they cast judgment upon the world, but in the NOW OF TODAY, 2010 EXTREME VOMIT STREME OF RAINBOW PIXEL SHNIXEL, it is better to WAX UP YOUR BOOGIE BRAIN, JUMP ON THAT FUCKIN' WAVE OF VOMIT & RIDE THE SHIT OUT OF IT.
From the Secret Sun blog by Christopher Knowles. The old 'Nazi UFO' meme is floating around again. Dave Emory's been taking about it for ages, never failing to toss in his "green-eyed aliens from Uranus" joke that just gets funnier every time he repeats it (and he's been doing so as long as I can remember). It's all part of his Robert Ludlum-like master conspiracy theory of Germany taking over while the rest of the major world powers look on helplessly. Emory does excellent research, but his analysis? I don't know.
Flying saucer over America, 1920
But the Nazi UFO meme has an internal logic, in that it ostensibly accounts for the appearance of flying saucers after the war. The only problem is that flying saucers and UFOs have been around a lot longer than since 1947. Like Ancient Egypt longer. Like prehistoric rock art longer. There are lots of other problems for me but let me just make note that Joseph Farrell's new book is picking up on the meme as well, vis a vis Roswell: In Roswell and the Reich alternative science and history researcher Joseph P Farrell presents a very different scenario of what crashed in Roswell, New Mexico in July 1947, and why the U.S. military has continued its cover-up to this day. By means of a meticulous review of the best-known Roswell research from both UFO-ET advocates and skeptics alike, as well as some not-so-well known Roswell research, Farrell presents a fascinating case sure to disturb both ET believer and skeptic alike, namely, that what crashed may have been representative of an independent postwar Nazi power, an extraterritorial Reich monitoring its old enemy, America, and its continuing developments of the very technologies it confiscated from Germany at the end of the war. Hoagland's been on the case too, writing this in his massive Norway Spiral piece, namechecking Richard Dolan, whose video we watched here a few months back. Hoagland claims that the secret space program is actually a secret Nazi army flexing its muscles to the big world powers.
Now that could all be so, and Farrell's thesis could be correct as well. But I don't know how much that has to do with the alleged saucers in the 40s. Let me also point out that Fortean Times addressed the issue in a major article a few years back and the author Kevin McClure concluded thusly: Secondly, there is no historical evidence – physical or photographic – of the supposed flying discs. We are repeatedly told of craft of immense power, and sometimes immense size, defying all scientific parameters known before or since. Yet not so much as a bolt or a tachyon drive remains to verify their existence. There are just the oft-reproduced, fuzzy post-war photos taken by those who wished to convince us of saucer reality, but who usually succeeded only in demonstrating the unexplored potential of domestic containers and the art of close-up photography. A lot of Emory types point to the "foo fighters" as proof of the German saucers, but in point of fact the actual phenomenon was quite a bit different than your average flying saucer: The first sightings occurred in November 1944, when pilots flying over Germany by night reported seeing fast-moving round glowing objects following their aircraft. The objects were variously described as fiery, and glowing red, white, or orange. Some pilots described them as resembling Christmas tree lights and reported that they seemed to toy with the aircraft, making wild turns before simply vanishing. Pilots and aircrew reported that the objects flew formation with their aircraft and behaved as if under intelligent control, but never displayed hostile behavior. If these were German aircraft defending the Fatherland, then why wouldn't they display hostile behavior? These foo fighters sound a lot more like the objects we've seen chasing the space shuttle around (which strike me as some kind of surveillance drone, rightly or wrongly). Those too could be part of the secret Nazi space program, but I'm not really feeling it.
Now, we have seen a lot of photos that look like they're of German provenance, but the funny thing is that most of the "craft" look like something out of an Ed Wood movie. And, oh yeah, most of them aren't flying. And the ones we see flying are obvious fakes. The ones we see on the ground don't match the ones in the air, and there seem to be way too many different models on offer to boot. Which would make sense if it was all smoke and mirrors, not so much if it were a real weapons program at a time when most of Germany's factories were rubble.
So how and why were these photos made? I'd suggest two possibilities. First- we know of all kinds of propaganda gambits during the war (the Allies even made inflatable scale models of airplanes to throw German recon off) and it could be that the Germans wanted the Allies to believe that they'd mastered this technology that had been seen in the sky for centuries, or perhaps had cut a deal with the saucer men themselves. Classic psych-out propaganda.
Or it could also be that the Brits or the US faked it all long after the fact to create doubt in the minds of the public in the wake of the saucers scares- particularly in the wake of the Washington flyovers in 1952. Joe Sixpack would sleep easier knowing the saucers were birds we stole from the Jerries and were fixing to use on the Reds, than if he thought the saucers were alien and there wasn't a damn thing Uncle Sam could do about it.
I'm sure we've got a lot of exotic flying tech up there, but how exotic I'm not sure. Call me crazy, but I still think that something that wasn't ours could well have come down at Roswell and that might account for the transistor and all sorts of other new toys hitting the market not long after.
It's a funny thing, a lot of people will believe pretty much anything before they believe that there could be non-human intelligences flying around up there for reasons unknown to us. I've never understood it but there are a lot of people who just can't deal with the possibility of ET. And it's usually people who like to fancy themselves as smarter than everyone else.
There are some other ads in this series including a Canadian Maple Leaf that says, "Yeah dude, legalize it." & a Nuclear symbol that says, "Nice rims! Do these come with spinners?" Hmmmm. The people behind the campaign don't seem to understand what the ACTUAL ignorance about the swastika is...
I decided to find more information about that Raphael punching Hitler picture i posted on monday. Apparently, it's from TMNT Adventures #64. Here's a synopsis from their website about the "important" bits. "Back in the past, we discover that the brain that was attached to the Time-Slip Generator is none other than Adolf Hitler's. It has somehow managed to create a robotic body for itself and is searching the ruins of Berlin for its former self. Soon after the Hitler robot has killed a member of the resistance and moved off, Raph, Leo and Don arrive. They discover the body just as more men arrive. Thinking that the Turtles killed their friend, the fighters open fire. The Turtles escape, but run headlong into a group of Nazis, who are lead by Adolf Hitler. The Turtles dive for cover as the Nazis open fire. The Hitler Bot arrives and attacks Don, but it's caught in the crossfire and the bubble protecting it is shattered. Adolf rushes to retrieve his brain, but Raph confronts him and knocks him cold. The Turtle picks up the brain and the three mutants head back to where the Time-Slip Generator is set to open a portal. As they wait for the passage to open, Hitler arrives and holds a pistol on our heroes. Leo convinces the maniacal dictator that the Turtles are demons and that Hitler is in Hell. Hitler asks if they've come for his soul and Leonardo replies that they already have his soul, they've come for his brain. Hitler holds the pistol to his head and states that they can't have his brain, and then pulls the trigger."
Nazi revisionism in America revolves around the idea that anyone you don’t like gets to be a fascist. By: Michael Scott Moore from Miller-McCune When Jonah Goldberg published his book Liberal Fascism in 2007, George W. Bush was still president, and no one had yet compared Barack Obama to Hitler. Goldberg’s ambition for his book, if you boil it down, was small. He wanted to clarify the word “fascism” for a popular audience and defend himself, as an American conservative, against the knee-jerk label “fascist.” Fair enough. “To suggest that Hitler was a conservative in any sense related to American conservatism,” he wrote, “is lunacy.” That’s true. Hitler hated almost everything about America, from its messy democratic system to its mingling races, from its seductive freedoms and modern jazz to Wall Street’s rise as a center of international (Jewish) finance. The tragic heroes of American history, for Hitler, were Native Americans: nationalists uprooted from their rightful soil by a bunch of foreigners. Even in this brief summary it’s easy to see that Hitler’s program trampled across easy categories of “left” and “right.” He was some of both, like most people. But Goldberg tries to argue that Hitler’s statist solutions to Germany’s woes — his whole “National Socialist” platform — was essentially a left-wing, revolutionary movement of workers. Being called “left-wing” would have horrified Hitler, but never mind. “The ‘social space’ the Nazis were fighting to control,” Goldberg writes, “was on the left.” What’s true is that Hitler took a ragtag, socialist-minded workers’ party in the 1920s and built it up with nationalist, militarist and racist rhetoric, until the Nazis appeared to be something new under the sun. With a baffling mixture of idealism and torchlight parades, he seized absolute control of a wounded Germany. The Nazi party made socialist noises while it cozied up to German industrialists. “The party had to play both sides of the tracks,” writes William Shirer in The Rise and Fall of the Third Reich. “It had to allow Goebbels [and other propagandists] to beguile the masses with the cry that the National Socialists were truly socialists and against the money barons. On the other hand, money to keep the party going had to be wheedled out of those who had an ample supply of it.” Goldberg prefers to focus on Nazi big-government policies toward everything from banking and gun control to health care, but he downplays the freakish rants against foreigners, homosexuals and modern art, against weak-kneed liberals, intellectuals and “urban cosmopolitans” — all in favor of German farms, German family values and German workers just struggling to get along. Hitler cleared at least as much “social space” on the right as on the left. He was no doubt a revolutionary. Hitler wanted to clear off German aristocrats as well as the German bourgeoisie, and this fierce populist anger against the comfortable middle classes and their weak-looking Weimar Republic is part of what makes Hitler seem “left-wing” when you begin to read about him. But the same anger animated loads of Germans back then; parties across the political spectrum wanted to tear down Berlin’s wobbling experiment with Anglo-American democracy and replace it with something glorious, uncompromised and pure, as long as it would bring swift prosperity to the suffering unemployed. It was political romanticism, and in this sense German Communists helped the Nazis along, even if Nazis and Communists held gang fights in the streets. Hitler hijacked their romanticism. The sticky question for Goldberg and his fans, particularly since the book came out, is whether this romanticism really is just a province of the left. Or is it possible to imagine a grassroots revolutionary movement from the right that dreams of patriotic renewal, resents Wall Street for trashing the economy, hates the lazy liberalism of the latté-drinking middle class, bashes homosexuals and immigrants, mistrusts intellectuals and “cosmopolitans,” loathes dissent, resorts to vicious name-calling and has been known to call for war when no war is needed? Most Germans can’t figure out what some Americans mean when they compare Obama to Hitler. Goldberg bears a lot of responsibility for this lunacy. He’s also begged people not to go quite so far, though the plea may sound disingenuous from the author of Liberal Fascism. “Some have taken to calling liberals fascists,” he laments in a new afterword to his book from 2009. “That isn’t what I wanted.” Oh, dang.
From his website. "After an experience as author and director for theatre, TV and cinema, Max Papeschi starts with digital art. As figurative artist his approach with Art-World was an immediate success among critics and public. His Politically-Incorrect pop cites the American Life and reveals in an ironically realistic way all the horror of his lifestyle. From the Nazi-Mickey Mouse to the Ronald McDonald Butcher the cult icons lose their reassuring effect and shift into a collective nightmare."
This kind of art has been being done since Dada, so that's almost a hundred years. In the USA this picked up in the late 70s, but you can find it in every decade as soon as mass media existed. What i'm wondering is, is who are the people who see the USA as represented by Ronald McDonald & Mickey Mouse & don't know anything about how things operate, & how do they keep the bag on top of their head for so long as to make this kind of work have any actual "impact" as it is probably intended. For myself, i've been conscious of this kind of art & social commentary since i became conscious of media at all. So Mickey Mouse & Ronald McDonald & John Wayne were demonized from the get go, representing Hitler & whoever out of the gate. When i meet people who actually believe in this commentary as a way of motivating political interests, the stench of Pollyanna-ism is almost overwhelming. This isn't to say that i don't like this work, because Mickey Mouse as an SS officer is good fun & would make a great cartoon in itself.
Under the post-1945 German constitution, the dissemination of Nazi philosophy has been a crime punishable by fines and imprisonment. But the copyright, held by the state of Bavaria where the Nazi movement began life in the 1920s, expires in 2015, 70 years after the death of its author in his Berlin bunker.
The Munich-based Institute of Contemporary History (IfZ) pledged to publish an "annotated version" with historical notes that it hopes will see the book used in schools and colleges. The finance ministry in Bavaria said it had still not decided whether to give its permission but it is understood that with the lapse in copyright, the IfZ will not need the green light from it. "Besides, we think our version, with sensible notes and comments pointing out the falsity of much of what he wrote, will be far better than neo-Nazis putting out their own versions," said the IfZ. Jewish leaders in Germany have already pledged their support for the project, saying they believe it "would prevent neo-Nazi from profiteering from Mein Kampf. while an aggressive and enlightening engagement with the book would doubtless remove many of its false, persisting myths". The IfZ wants the agreement of the finance ministry in Bavaria before the 2015 deadline so as to begin work on the project right away. Mein Kampf became a better seller than the Bible in the Third Reich. Hitler became a multi-millionaire through royalties while newspapers around the world, including some in the UK, serialised his work. It was written when he was sentenced to five years in jail for attempting to overthrow the government in 1924. It is filled with the prejudices and hatreds of an uneducated man and within its pages are endless rants against the Jews, who he would soon attempt to eliminate altogether. In another passage he foretells his plans for the conquest of Russia, writing: "We must eliminate the disproportion between our population and our area...... Some of this land can be obtained from Russia. We must secure for the German people the land and soil to which they are entitled." Over 12 million copies were sold in Nazi Germany. Recently an edition of the book became a best seller in Turkey.
While Nazi Germany was no laughing matter, the Three Stooges were not afraid to make Nazi leader Adolf Hitler the target of their slapstick comedy. Daniel Schroeder, of Laconia, has studied the how Larry, Curly and Moe took on Hitler in order to tickle funnybones on the home front.
This Sunday, Schroeder, who is a volunteer at the Wright Museum in Wolfeboro, will explore how The Three Stooges became the first performers to openly satirize Hitler. As part of its Cabin Fever Winter Lecture Series, the museum will have its first lecture of the year, entitled The Three Stooges Take on the Axis, where Schroeder will go over the history of the Three Stooges during the war and preview two film shorts.
Being a World War II buff and Stooge-a-holic, Schroeder plans on giving an hour-long lecture about the Three Stooges and what role they played during the war. He will be showing the first short the Stooges made during the war in 1940 called "You Nazty Spy!" along with the sequel made in 1941 titled "I'll Never Heil Again."
During the Stooges' career, they made a total of 190 short films, each lasting around 20 minutes. Before the United States entered the war, they had already begun making fun of foreign leaders. "Before we were in the war, the Stooges were actually attacking the head of everyone else," Schroeder said.
A total of eight shorts were made dealing with the war, including "You Nazty Spy!" which was made to help publicize the Nazi threat when the United States was still neutral.
"Nowadays, very few kids know who Abbott and Costello are, hardly anyone knows who Charlie Chaplin is and Laurel and Hardy are lost, but the Three Stooges are still here," Schroeder said.
The short came out several months before Charlie Chaplin's satire on Adolf Hitler and Nazi Germany called "The Great Dictator." After "You Nazty Spy!" debuted, Hitler had the Three Stooges immediately placed on his death list.
"You Nazty Spy!" is a short feature making fun of political leadership during the era, taking place in the fictional country of Moronica. The stooges are wallpaper hangers who are chosen to run the government, with Moe being installed as the leader (the Adolf Hitler role), Curly representing Hermman Goring and Benito Mussolini and Larry being a mix between Joseph Goebbels and Joachim von Ribbentrop.
"The short is packed with references making fun of Hitler and the Nazis," Schroeder said. "The more I watch it, the more I'm amazed with what they did with it. They were the first ones to openly stand up and everything they did in it has a meaning. It was genius at the time."
Schroeder said he hopes this lecture will bring new faces to the museum. He wants to try and open the museum up to as many people as possible to learn about wars past and show their respect for those who have served.
"It's not that we're slow or forgotten, but we want people to see it," Schroeder said. "I believe that service to your country is an important thing. Freedom is not free."
Schroeder hopes to have more people visit the museum to appreciate the history of the war.
The Three Stooges Take on the Axis will be presented Sunday, Feb. 7 at 2 p.m.
Each Sunday during February, March and April, the Wright Museum holds a different lecture.
For more information on the lecture involving The Three Stooges or others this winter, visit the Wright Museum website at www.wrightmuseum.org.
Nightclub bosses in Poland have been busted for using pictures of Adolf Hitler to promote their bar. Sklot rock club in Warsaw doctored a picture of the Nazi leader wearing sunglasses above a Third Reich eagle for posters plugging the club’s party nights.
Now the owners are facing two years in prison for promoting fascism, strictly illegal in Poland which was occupied by German troops in World War II.
“The content of this poster which uses images to promote fascism is a crime,” said Renata Mazur from Warsaw’s prosecutor’s office.
But club bosses say the row has been blown out of all proportion.
“The idea is that Hitler isn’t happy with the condition of Warsaw clubs so he plans to invade and make them better,” said club spokesman Kalina Koslinska. “It’s just a bit of fun.”
Reade Michal adds. "it actually goes deeper than that - the whole idea was related to one of dozens of 'Untergang' spoofs that can be found on youtube, in which Hitler complains about the state of clubs in Warsaw. the spoof quickly grew to a near-cult status among the polish college students and the poster used a quotation from that very spoof (it was directed at students, as they comprise the majority of the club's patrons)"
German born American artist Walter Gaudnek has managed to upset people by holding an exhibition of Adolf Hitler, showing him in a more casual and positive way. The artist tried to portray Hitler as human rather than as a monster and members of the Jewish community didn't find it very amusing. Gaudnek is now taking his exhibition down after just two weeks because of the controversy the works have created. Gaudnek told Reuters.. "I wanted to educate my students on the historical phenomenon of Hitler and show an aspect of him which has got lost over time".