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Informed, Aroused and Organized, the White Race is overwhelmingly the most Powerful Force on the face of the earth. (June 1985) Continued

Issue Number 25, June 1985
We have the Means

AROUSE THE SLUMBERING GIANT continued


White civilizations

199

of history. But the Jews are more than just a parasite. They have
also had the effects of a consuming cancer on those nations they in-
filtrated and infected, and they have maimed and/or destroyed every
nation they have surreptitiously invaded. This includes practically
the entire roster of the great White civilizations of history. Starting
with Egypt, they infested Babylonia, Persia, Greece, Rome, not to
mention a number of non-White nations like India, and a number
of the Moslem nations. From Rome they spread out along the trade
routes of the conquering Roman armies until they infested and in-
fected every formerly pagan White nation in Europe. With the spread
of Christianity (a Jewish concoction and an offshoot of Judaism) they
were quick to seize control of the White Man's finances, commerce,
religion and government in the then developing White nations of
Europe. They have held that control ever since.


I have said that the Jews were not creative as such, but that
they did have a knack of adapting anything useful for their own benefit
from their host nations. From no other nation did they learn as much
as the first great White nation they helped mongrelize, namely the
Egyptians.


In fact, every facet and fictitious concept that structured their
parasitic religion was originally conceived by the Egyptians. This in-
cludes a long list of which the following ideas are the main building
blocks: (a) the idea of a "soul" (b) the idea of "eternal life" (c) the
idea of "gods; ' both good and evil (d) the idea of "one god" (Ikhnaton)
(e) the idea of offerings and supplications to appease the god or gods
(f) the idea of baptism (purification by ablution) (g) the idea of building
grandiose temples to supplicate and honor their gods (h) circumci-
sion of the infants, and a number of other beliefs, customs and rituals,
including vague ideas of heaven and hell.


In fact, it was during their lengthy stay in Egypt that the Jewish
religion was fully incubated and took a structured form.
How many Jews are there in the world? The Jews claim (to the
goyim) that there are only approximately 20 million or so. But this
figure is completely meaningless, for two reasons (a) the Jews are
congenital liars, and (b) unlike Christians, Mohammedans, Mor-
mons, etc., the Jews have historically suppressed any count of their
own numbers and made that suppression an integral part of their
religion. This they have done to confuse and at the same time allay
the fears of the goyim that they are (ha! ha!) only a small group of
religious people, and no threat to anybody. Whether they secretly
have a true count of their numbers, I can only surmise, and since
they are so thorough in their study aud control of demography, I am
sure they not only have an accurate count of their own total numbers,
but also where each is distributed and located. What that total
number is I can only guess, and in comparison to the now total world

200

population of 5.3 billion, it is comparatively small. But I am sure
it is not 20 million. My guess is that it is more in the range of 80
million, but until such time as the White Man again regains control
of his own destiny and statistics, we can only guess. From that time
on, however, we can also be sure that their numbers will dwindle
rapidly. Since they are a parasitic race, we will let Nature take its
course and let them wither on the vine as rapidly as possible.


On the positive side we of The Church Of The Creator will give
the Jews credit on several counts. (a) Although they are anti-Nature
in their outlook and life-style, they have most faithfully obeyed one
of Nature's basic laws - the survival of their own species comes first.
(b) They practice Racial Loyalty with a fanaticism as has no other
race in history. (c) They are tenacious to a degree no other people
can equal. Their patience, persistence and perseverance in the in-
terest of their race is unmatched by any other people and has enabl-
ed them to endure all these thousands of years. (d) They have
developed the practice of racial teamwork to a fine art. (e) They are
pragmatic and realists.


On the negative side, the Jews are (a) The number one human
parasite. They are uncreative, uncultured, and could build neither
a nation, a state nor a civilization if left to themselves. Like a flea
or a maggot, they are condemned by Nature to subsist on the body
of another people, a race that is productive, especially such as the
White Race. (b) Being non-productive, they are culture destroyers,
and like a cancer, devour those host nations and peoples whose vitals
they bore into. (c) They are cruel, vicious, treacherous, perfidious
and deceitful. They are the world's greatest liars and the master
sneaks of all time. (d) They are, in fact, the scourge of mankind, and
the most deadly enemy the White Race has ever faced, and are still
the most dangerous menace we are saddled with today.
Nevertheless, be that as it may, we of The Church Of The
Creator have learned an overwhelming lesson from the history of
the Jews and it is this: Religion is a powerful weapon for the survival
of a race, and a racial religion properly matched to its adherents,
is unbeatable.


Unfortunately, until now the White Race has never had such a
religion. The Ancient religions of the classical White civilizations such
as the Egyptians, the Greeks and the Romans, were at best innocuous
superstitions that had absolutely no racial values as such and did
nothing to either protect or preserve the race. In fact, such religions
as the Egyptians had were so deeply engrossed in supplicating and
serving fictitious spooks that most of the time, energy and resources
of these people were poured down a bottomless rathole building
temples, statues and pyramids in honor of their gods or their god's
stand-ins, the Pharaohs.

201

Then in the first century, C.E., the Jews conceived the brilliant
idea of foisting a suicidal religion on the great Roman civilization
and the White Race as a whole. Their overwhelming success is
chronicled in Creative Credo Number 43 of the White Man's Bible and
there is no need to repeat it here,
Suffice it to say that the White Race as a result of this Jewish
poison is now a dying species and the need for drastic action is now
urgent and imperative. The answer to the Jewish poison is
CREATIVITY and the need is to convince our White Racial
Comrades that it is the answer the White Man has needed
for his own survival since the days of the Ancient Egyptians.

* * * * *

JUDAISM VS. CREATIVITY - A COMPARISON
In order to reinforce such convictions we offer a comparison bet-
ween Judaism and Creativity.


Foundation of belief.
(a) JUDAISM is founded on the story that the Jews are the racial
and tribal descendants of Abraham, Isaac and Jacob; that "God"
(a fictitious concept derived from the Egyptians) chose them as a
favored, special race above all others. It is this concept that they
are "God's Chosen" that has done more to propel the Jews forward
through history and persist than perhaps any other single fictitious
concept in their religion.


(b) CREATIVITY is based on the Eternal Laws of Nature: on the
experience of history, on logic and common sense. We believe that
the White Race is Nature's finest and greatest achievement, and that
Nature has endowed the White Race with a greater abundance of
intelligence and creativity than any other people. The White Race
also is unmatched in its ability to create culture and civilization; to
organize and govern itself; it is unmatched in the faculties of science,
technology, architecture, art, music and literature, and any number
of other civilized and cultural pursuits. Whereas the Jews proclaim
they are "God's Chosen," a fictitious concept, we believe we are
Nature's Finest. tor the good reason that the evidence is
overwhelming.


Books that form the Basis of Religious Beliefs.
(a) The Judaic religion is based on a number of basic books.
Listing them in chronological order they are: (1) The Old Testa-
ment (2) The Talmud (3) Karl Marx's Communist Manifesto
and Das Kapital and (4) The Protocol of The Learned Elders
of Zion.


Of all these, the Talmud is their holiest of all books. In nitpick-

202

ing form It covers and circumscribes just about every of Jewish
life, including law, custom, religion, and every other detail. (See
Chapter 9, Book I of NATURE'S ETERNAL RELIGION "Five Basic
Books").


The Basic Books of Creativity are Nature's Eternal
Religion, The White Man's Bible an Salubrious Living.
These books not only give the White Race goals and direction
for its own survival, expansion and advancement but a creed and
philosophy to live by and prosper for the next million years. Since
they have been amply described in all our previous literature, there
is no need to do so here.


(a) The Jews are inherently parasitic and their Judaic religion
strives to enable the Jews to live off of the productive peoples of the
world, mainly the White Race. The ultimate goal as set forth in The
Talmud is to undermine all the goy, to downbreed them, to
mongrelize them, and enslave them, with every Jew a king and every
goyim their stupid servant. Their further goal is for the Jews to ac-
crue all the gold, money and wealth of the world unto themselves
and have the stupid brown mongrels as their servants and slaves.
(b) The goals of CREATIVITY are manifold: (1) The survival, expan-
sion and advancement of the White Race exclusively. (2) To get the
parasitic Jews and other freeloading mud peoples off our back and
let them shift for themselves. (3) Since the Jews and other mud
peoples can neither feed themselves nor compete with an enlight-
ed White Race, their numbers will shrivel and eventually wither on
the vine. (A) By practicing Eugenics, to upgrade the gene pool of the
White Race. (5) Rebuild the land and environment of the Planet
Earth. (6) For the White Race to finally inhabit this planet exclusively.
(7) And in general, to build a Whiter and Brighter World.


CONCLUSION
We will state up front that in structuring a racial religion for the
White Race we have learned more from Judaism than all the other
religions combined, and we make no bones about it. The reason is
simple: If a racial religion such as Judaism can sustain a scurvy race
of parasites for 50 centuries and propel them upward to gain control
of the world, then just think what a similar racial religion can
do for the great White Race. The potential is unbounded and
the sky is the limit.


And that is exactly what we have done in Creativity - deliberate-
ly, logically and thoroughly. We are finally doing at long last what
the Egyptians should have done 5000 years ago - structuring a racial
religion for the White Race. Our basic Golden Rule in a way is the
same as that of the Jews: Whatever is best for our race is the highest
virtue; what is bad for our race is the ultimate sin.

203

But there the similarity ends. Whereas the Jews are the eternal
parasite, condemned by Nature to forever live off the backs of another
race or perish, we, of the White Race are just the opposite. We need
no other race for our well-being or our welfare, and would, in fact,
be a thousand times better off if this planet were completely devoid
of all the inferior mud races, including the Jews.


But we have several other overwhelming advantages over the
Jews. We are far more intelligent, creative, industrious and produc-
tive than are the Jews (or any of the other mud races). We greatly
outnumber the parasites a dozen times over. Cleansed of racial pollu-
tion, left to our own devices and culture, what with our program of
racial upgrading and eugenics, we could, in a short span of history,
build a virtual paradise on earth. And this, in fact, is our ultimate
goal.
* * * * *


204

Amadeus, you wuz robbed!
This dissertation is partly about geniuses, and what an ir-
replaceable treasure they are to our race and to civilization in general.
We also want to examine how they have been ignored, neglected and
abused, when they should have been nurtured, treasured and ap-
preciated. In fact, we want to look at the life and misfortunes of one
particularly bright star in the firmament who lived in the 18th cen-
tury. His name was Wolfgang Amadeus Mozart.


Johannes Chrysostomus Wolgangus Theophilus Mozart, the
name by which he was christened, was born at Salzburg, Austria,
on January 27, 1756 and died in Vienna, Dec. 5, 1791. There are
two observations that stand out in the preceding sentence (a) his
names were drawn from classical history and mostly end in -us, and
(b) he died in the prime of life at the relatively young age of less than
thirty-six.


Mozart's phenomenal precocity as a child and as a youth is
without parallel in musical history. Educated by his father, Leopold
Mozart, an able, pedagogically minded violinist in the service of the
Archbishop of Salzburg, young Wolfgang had harpsichord lessons
at three, composed at four, and at seven played the harpsichord,
the organ and the violin. Two sets of his sonatas for harpsichord and
violin were published in France when Wolfgang was still at the tender
age of seven.


He composed two symphonies in England at eight, an opera buf-
fa at eleven, Lafunta semplice, for Joseph II of Austria; and an opera
seria at fourteen, Mitridate, Re di Ponto.


The composer's fluency and seemingly inexhaustible produc-
tiveness continued unabated throughout his short life, resulting in
a total of six hundred and twenty-six known works, including forty
symphonies, twenty-two operas, twenty-three string quartets, twenty-
three concertos for piano and orchestra, twenty-five sonatas for violin
and piano, and a very large number of other compositions.
No less phenomenal was Mozart's ability as a performer on three
instruments. This was amply demonstrated by the impression he
made wherever he appeared as a child or as a mature man. Con-
vinced that his son deserved recognition and a secure position not
offered by the provincial circles of Salzburg, his father, Leopold, per-
sonally took the boy, or encouraged him to go, on tours of the chief
European capitals. The tours netted father and son little more than
lavish admiration, a legendary reputation and a few meager prince-
ly gifts.


Finanacially, they were disappointing, and they did not lead to
a court or other appointment comensurate with the gifts of this great

205

genius, nor with his financial needs. lt is one of the several tragic
factors in Mozart's life, that in an age when the artist and especially
the musician was particularly dependent on enlightened patronage,
no satisfactory post was open to the man whom Haydn called "the
greatest musician that I know, whether personally or by reputation,"
and who Johann Hasse declared, "will cause us all to be forgotten."
He did acquire several unremunerative positions such as
honorary maeatro di Capella, which he held with the Archbishop
of Salzburg; chamber musician and court composer for Joseph II
of Austria; and several other temporary appointments. But none of
these paid Mozart enough to keep body and soul together. He lived
mostly by commissions for operas and other compositions, and by
teaching. His income was always precarious and his later years were
haunted by poverty and debt.


Mozart's marriage to Constanze Weber in 1782, disapproved by
his ever cautious father, was the beginning of a desperate period of
anxiety and debt. He spent the last ten years in Vienna and the ex-
tent of his great productivity may be judged by the fact that in the
last five years of that period he committed to paper five extended
string quintets, the last three symphonies, two of the most impor-
tant of his piano concertos, and operas Le nozze di Figuro, Don
Giouanni. Cosi fan tutte, Die Zauberflote (The Magic Flute) and La
Clemenza di tito to mention only the most important of his works.
He was at work on the Requiem and had reached the crescendo of
the Lacrimosa when he was suddenly stricken with paralysis and died
on the following day, Dec. 5, 1791.


Although there is some doubt as to the cause of his death, it
is generally conceded that he was poisoned by a jealous composer,
who considered himself a rival of Mozart, although he could not hold
a candle to the great genius. His name was Antonio Salieri, and
although history is not clear on this issue, I suspect strongly that
he was an Italian Jew.


Why do I think he was a Jew? Because he had all the earmarks
of a Jew. He was without talent. He was insanely jealous; and he
had a criminal urge to destroy and kill the best.


Be that as it may, (and I will have more to say about this aspect
later) none of Mozart's friends even bothered to follow his body
through a violent storm as he was buried in a pauper's grave. His
wife, a few days later, could find no one to identify that grave and
it has not been discovered since.


So died in poverty, neglect and unappreciation one of the
greatest musical geniuses the White Race has ever produced.
We now bring this story up to the present. The life of Mozart
had all the elements of a gripping drama. It had greatness, genius,
fame, history, tragedy, jealousy, pathos and human interest. Not only

206

that, but it also had a great musical repertoire to draw from. In short,
it had all the basic elements for the production of a first-rate motion
picture.


The Jews, who dominate the motion picture industry and are
ever on the lookout to make a fast buck, did just that in 1984. In
order to enhance their profit, the picture was made in communist
Czechoslovakia, where costs are considerably lower, utilizing the
talents of many foreign artists. The result was "Amadeus," released
in late 1984.


As we are all aware, each year the Jews in the movie industry
stage an orgy in self-adulation. It is held in Hollywood and is called
the "Annual Motion Picture Academy Awards." This year "Amadeus"
was the star of the show and carried away eight Oscars.
This year, as I watched the nauseating display of the "Awards"
on TV, I almost felt as if I were watching a revolting spectacular stag-
ed not only in a foreign land, but on an alien planet. The bizarre
display of glitter, glamor, bad taste and degeneration consisted of
Jews, Jews, and more Jews, with some bizarre mulattoes and nig-
gers thrown in, each patting themselves and each other on the back
and reviewing the list of Jewish credits that had enabled them to
flaunt their vulgar "art." As usual, there were a host of screeching
niggers doing an imitation of singing, in a vulgar, disgusting display.
Especially revolting was the mass ensemble of the "We are the
Children of the World" monstrosity. Then, there was that bizarre
mulattoe, Prince, all painted and decked out as lavishly as any chief-
tain of the African bush niggers, with tight curls, gaudy headdress,
purple robes and all. There were all kinds of foreign Jews who could
hardly speak English.


But there was something special about the awards given
Amadeus." Smouldering in the background were several unresolved
hatreds in the black hearts of the Jews, who can carry more hatreds
for more centuries than anybody. And "Amadeus" was their vehicle
to again besmirch that which they themselves can never possess -
genuine greatness, real genius.


There was one little quirk I noticed as the Jews were patting
themselves on the back about what a wonderful production they had
achieved in "Amadeus." They generously granted that it was a totally
collaborative achievement in which, oh, so many countries had par-
ticipated. Why, there was Czechoslovakia with all their talents, and
there was Poland, and France, and England, and Spain, and Por-
tugal, and Rumania, and even America. But strangely, Germany was
never mentioned. Nor was it ever mentioned that Mozart was a Ger-
man, born in the German city of Salzburg and lived and performed
in the German city of Vienna. Although they were then part of the
Austrio-Hungarian dual monarchy, nevertheless this whole area was

207

thoroughly German, evolving in a long-standing German culture that
has produced more of the world's greatest music than any other na-
tional group anywhere.


Just as they have for more than 2000 years reviled an
desecrated the Romans, for centuries attacked and besmirched
everything German, and in this century poured out their voluminous
hatred and venom against Hitler, so too can the Jews never resist
attacking and befouling everything that is great and noble in the eyes
of the White Race.
And so it was with Mozart in his time, when he was hounded,
persecuted and finally poisoned by an insanely jealous Jew. But
greatness has a way of surviving all the vicious assaults of small mean
minds, and Mozart is still great and famous for his brilliant works
today, even more so than he was two hundred years ago.


A few weeks ago the movie finally came to our local theatre and
I went to see it. Since I had seen a few of the film clips on TV during
the Academy Awards show and in subsequent ads, I had a good idea
what to expect, and I was not disappointed. It was a Jewish rendi-
tion from beginning to end. Instead of making a beautiful, moving
drama of the life and times of Mozart, and taking advantage of the
great music available to them, the Jews butchered it. It was repulsive.
Mozart, who was played by Tom Hulce, was portrayed as being
course, vulgar and a semi-idiot. He was repeatedly characterized with
a whinnying type of horselaugh that could only come from a derang-
ed personality. His girl friend, and eventually his wife, who was played
by Elizabeth Berridge, was portrayed as a woman with a weak mind
and extremely large breasts, the better part of which were on cons-
tant display.
The real hero of the piece was Antonio Salieri, the man who
poisoned Mozart, and the whole story was told through his eyes as
he disdainfully boasted about his mixed contempt and admiration
for Mozart to a parrish priest. The part of Antonio Salieri was played
(no surprise)by a Jew called Murray Abraham.
One thing that was unusual about the "Amadeus" awards at the
Academy night was that there were two nominations for leading ac-
tor in the same film. It might have happened before but I don't ever
remember when. And herein, too, the Jews were playing their evil
little game. There was much speculation before the event - would
Tom Hulce, who played Mozart, get the coveted award, or would
the Jew, Murray Abraham who played Salieri, win?
You guessed it - even in death Mozart was subdued by the evil
Jew and the Best Actor award went to the villain who played the
part of the poisoner, Murray Abraham. Having an insight into the
Jewish character, I am sure this was all stage managed to come out
just that way, and collectively, the Jews were smirking to themselves

208

as to how they had again triumphed over the superior genius of the
goy. The Jews were indulging themselves in another Feast of Purim.

* * * * *

There are several lessons we should learn from the above. It is
not only the dead geniuses of our illustrious past that we have short
changed, but more to the point, we are doing so even more flagrarant-
ly with our vast pool of White Racial talents today. It is extremely
important that we must now learn to recognize such gifted creators
while they are alive, encourage them and help them to develop their
full potential. The White Race, more than the genius himself, will
be the greater beneficiary from such an arrangement.
This is what the School for gifted Boys is all about. We want
to be able to recognize a young Mozart at an early age, then help
promote him and propel him forward to develop his great potential.
Not only do we want to make sure that he has every opportuni-
ty to develop that latent genius, but there is another issue we want
to safeguard. We also want to make damn sure that such talents and
gifts are not stolen by our enemies and there by accrue to their benefit.
Tragically, this is just what has happened in the past on both
counts. We have neglected and ignored the best in our creative midst,
and secondly. when such genius did emerge with no help from us,
their contributions were quickly locked up by the Jews and invariably
turned into a weapon against the White Race.
The Jew openly brags that every major invention that the White
Man has ever produced, whether it be Gutenberg's printing press,
whether it be radio, television, or computers, the Jew has been quick
to take over and turn it into a weapon for the destruction of the White
Race.
All this MUST CHANGE. As the program of The Church Of
The Creator becomes more and more imbedded into the White Man's
thinking we will recognize the talented, the bright, the gifted, and
the geniuses in our midst. The White Race has unbounded poten-
tial. We must learn to nurture and harness that potential. No other
race can even come close. Having helped develop and harness that
potential we must then channel it in such a manner that it will ac-
crue to the best interests of our own race, not that of the enemy.
The School for Gifted Boys is a small beginning in that direc-
tion. Help support it, finance it and send us the boys. We will make
sure that they are oriented in the fight direction to develop their full
potential to help build a bright future for themselves and the White
Race.

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