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Background: what is propaganda?

Key principles of propaganda

How propaganda started the Spanish-American War. Grant Hamilton's "The Spanish Brute."

How propaganda drew the United States into the First World War. Louis Raemaekers' cartoons and "Stop This Mad Brute!"

Propaganda of the Second World War
"The Fighting Yank" and "This is the Enemy"

 
Palestinian propaganda: "Crucified Palestine"

Developing counterpropaganda for the Middle East

Distributing propaganda

An essay on offensive doctrine

An essay on inflammatory propaganda




Counteracting Islamic Supremacist Propaganda: History and Tutorial

"People will believe a big lie sooner than a little one; and if you repeat it frequently enough people will sooner or later believe it." OSS psychological profile of Adolf Hitler

"
Psychological warfare ranked second only to the atomic bomb in hastening the end of the war with Japan, in the opinion of Major Paul M. A. Linebarger, War Department representative, who addressed today's Rotary Club luncheon at the Bellevue-Stratford."

Background: what is propaganda?
"Propaganda consists of the planned use of any form of public or mass-produced communication designed to affect the minds and emotions of a given group for a specific purpose, whether military, economic, or political."
-Linebarger, Paul Myron Anthony. 1954. Psychological Warfare, 1954, Combat Forces Press, Washington (p. 39)
Premise: Like war, politics is a form of organizational competition, and many of the principles of psychological warfare are applicable to politics.

Paul Myron Anthony Linebarger is better known as the science fiction author Cordwainer Smith. Linebarger was an eminent Sinologist, and was the godson of Sun Yat Sen.

"All propaganda has to be popular and has to adapt its spiritual level to the perception of the least intelligent of those towards whom it intends to direct itself."
-Adolf Hitler, Mein Kampf ("My Struggle"), Vol. I
Hitler is obviously not a desirable role model but his methods worked. If effective propaganda can get the people to believe the biggest whopper you can tell, the corrollary is that, if you are going to tell the truth, you had better use effective methods. (Had the Nazis' opponents used similar methods during the late 1920s and early 1930s--- before the Nazis gained control of the press and prevented their opponents from expressing any ideas--- the Nazi Holocaust and the Second World War might never have happened.)
"This is my war. I bought and paid for it and if you don't stop bothering me about it I'll have you put off the earth- see!"  
-William Randolph Hearst to Joseph Pulitzer in "The Big Type War of the Yellow Kids," a political cartoon from the Spanish-American War.
There is little doubt that the "Yellow Press" played a major role in starting the Spanish-American War. We will also see that the American press (and its counterparts in England) played a major role in getting the United States into the First World War. The Germans were very ineffective in telling their side of the story during the First World War; their public-relations people seemed to churn out doctoral theses in German while the other side drew pictures of fanged apes in spiked helmets. Unfortunately, Adolf Hitler and Joseph Goebbels were two Germans who learned from this.
"...there was no point in seeking to convert the intellectuals. For intellectuals would never be converted and would anyway always yield to the stronger, 'and this will always be the man in the street.' Arguments must therefore be crude, clear and forcible, and appeal to emotions and instincts, not the intellect. Truth was unimportant and entirely subordinate to tactics and psychology... Hatred and contempt must be directed at particular individuals."
 
-H. Trevor-Roper (ed), The Goebbels Diaries, p. XX, cited in Regan, Geoffrey. 1987. Great Military Disasters. New York: M. Evans and Company.
Again, Joseph Goebbels is far from a desirable role model- but we had better learn from his success, or people like him can victimize us.
Key Principles of Propaganda
  1. The human brain is designed to process images, not words
    • "A picture is worth a thousand words" sounds trite, but it is accurate. Words are an artificial communication medium: symbols with meanings attached to them. The brain must decipher the words of an editorial or a speech, and convert them into images. Shakespeare had a lasting influence on the English language because of his talent for painting a picture with words.
    • Application to antismoking campaigns: Compare the statement, "Cigarette smoke contains carbon monoxide and, if you are a pregnant woman, gets into your baby's bloodstream," and a picture of a baby smoking a cigarette.
  2. Political cartoons are among the most effective means of communication.
    • The Yellow Press (Hearst and Pulitzer) used them to start the Spanish-American War (1898). No one ever proved that Spain blew up the battleship Maine, but the press published a cartoon of a semihuman ape wearing a Spanish uniform and holding a bloody knife.
    • Pro-English cartoonists used political cartoons to promote hatred of Germany, and to get the United States into the First World War. Germany failed to use similar methods to counteract this propaganda, which played a major role in losing the war. Hitler and Goebbels were, unfortunately, two Germans who took this lesson to heart.
    • In summary, effective cartoons (they sound so innocent, don't they?) have started wars, killed people, and changed history.
  3. Goebbels was, unfortunately, right. Arguments that will not persuade (and may even alienate) an educated person are often effective in persuading the masses.
    • Pro-gun control cartoons often feature a stereotyped, beer-swilling, pickup truck-driving, grossly overweight, and uneducated "NRA Member" as a symbol of gun rights advocates. Go back forty years and replace him with a Negro with exaggerated lips and bestial features- or sixty years, and replace him with a Jew with an exaggerated nose and other Semitic features. The principle is the same, and the NRA's failure to use the same methods against its detractors is a serious omission.
    •  If you tell a lie long enough and effectively enough, you can get the masses to believe it. For example, the Virginia Slims Tennis Tournament suggests to impressionable children and teenagers that tennis players actually smoke. Athletes have known for decades that "smoking cuts your wind." The tobacco propaganda machine is like the Ministry of Truth in George Orwell's 1984. If you work at it, you can convince the proles (proletariat) that war is peace, slavery is freedom, black is white, and two and two make five. Therefore, if you are going to tell the truth (and I do not advocate doing otherwise), you had better use the same methods or the Goebbels and Hitlers of the world will swamp you.
General Patton added the following advice. When we are at war, we must evoke hatred for the enemy. (From Porter Williamson's Patton's Principles.)
Men cannot be excited to kill by soft words spoken in an uncertain voice. When General Patton spoke, every man knew exactly what was demanded. Gen. Patton would explain, "It takes a lot of talking to get our American young men ready to kill, to murder. ...The language of war is not polite. War is hell. It is difficult to make our fine American youth understand that the enemy wants to kill him. ...I use the language of soldiers who are ready to kill."
How propaganda started the Spanish-American War

"The insurrection in Cuba that had been simmering for several years, provided [William Randolph] Hearst and [Joseph] Pulitzer with the excuse for a rip-roaring circulating-building crusade. Playing on the American people's sympathy for the insurrectos, Hearst artists drew fake atrocity pictures of Spaniards stripping American women on the high seas, while Pulitzer correspondents in Cuba cabled reports of 'Blood on the roadsides, blood in the fields, blood on the doorsteps, blood, blood, blood'" (Hess and Kaplan, The Ungentlemanly Art, 1968, 122).
The reference continues, "Of course artists in Madrid's Don Quijote and Blanco y Negro [White and Black] and Barcelona's El Nacional were equally busy drumming up hatred of the United States. Many of their cartoons were based on the Yankee Pig theme." Then the battleship U.S.S. Maine exploded in Havana. The cause was unknown and will probably remain so, although deteriorating ammunition could have been responsible. Several nations lost warships to internal explosions during the First World War without the involvement of hostile action. Despite the lack of evidence against Spain, cartoonist Grant Hamilton drew the following cartoon, "The Spanish Brute," for the cover of Judge magazine:  

The Spanish Brute
Note a basic feature of this picture: the enemy is portrayed as a brutal subhuman, in such a manner as to suggest that his violent and irrational nature makes it impossible to negotiate or reason with him. Compare to "Stop This Mad Brute: Enlist!" below.
Hamilton, Grant. "The Spanish Brute," lithograph, Judge, 7/9/1898. A subhuman with a bloody dagger in a tattered Spanish uniform triumphs over the grave of Maine's sailors. Portrayal of the enemy as a subhuman is a common theme of military-grade hate propaganda.

Caption: "The Spanish Brute: Adds Mutilation to Murder." 

Tombstone: "Maine Sailors Murdered by Spain" 

Bodies in background: "Mutilated U.S. Soldier" 

Source: Hess, Stephen and Kaplan, Milton. 1968. The Ungentlemanly Art: A History of American Political Cartoons. New York: Macmillan Company. 

Note: The cartoon is believed to be in the public domain, since it is more than 75 years old (World War I or earlier). 

 


How Anglo-France propaganda won the First World War (at the price of 110,000 Americans)  

Another basic feature of the most effective propaganda (in terms of evoking hatred for the enemy) is graphic depictions of the abuse of helpless people, especially women and children. In this cartoon, Germans are portrayed as child murderers even though there is substantial evidence that England was shipping munitions on the Lusitania, thus making the ship a legitimate target.
Rogers, William A. "He Had Expected to Find the President Alone," New York Herald, 6/3/1915. Meeting of the German ambassador with President Woodrow Wilson. The banner in the background says, "Little Lost Children of the Lusitania."

Source: Hess, Stephen and Kaplan, Milton. 1968. The Ungentlemanly Art: A History of American Political Cartoons. New York: Macmillan Company.

Note: The cartoon is believed to be in the public domain, since it is more than 75 years old (World War I or earlier).

Another cartoon that uses violence against children to evoke hatred and contempt for its target.
Rogers, William A. "Another Case of Wiping Hands on the American Flag," New York Herald, 2/21/1917. The Kaiser, standing over the slain O'Donnell children, is wiping his bloody hands on the American flag while Uncle Sam and (possibly) Woodrow Wilson look on. 

Source: Hess, Stephen and Kaplan, Milton. 1968. The Ungentlemanly Art: A History of American Political Cartoons. New York: Macmillan Company. 

Note: The cartoon is believed to be in the public domain, since it is more than 75 years old (World War I or earlier).

Rogers, William A. "What We're Going to do to those Neutrals Will Break Our Tender Hearts," New York Herald, 1/17/1917. The Kaiser (R) and von Tirpitz (L) are the "pirates." The spiked helmet on the Jolly Roger says, "Gott Mit Uns" ("God with us"), and the crossbones say, "Campaign of 1917" and "Frightfulness." Von Tirpitz was in charge of the High Seas Fleet, so the cartoon probably refers to unrestricted submarine warfare. 

Source: Hess, Stephen and Kaplan, Milton. 1968. The Ungentlemanly Art: A History of American Political Cartoons. New York: Macmillan Company. 

Note: The cartoon is believed to be in the public domain, since it is more than 75 years old (World War I or earlier).

This one shows violence against women and children. Raemaekers' material was so devastating that Germany allegedly tried to have him arrested or killed.
Excerpt from Raemaekers, Louis. "Kultur has passed here," from Raemakers' Cartoons (1917, Garden City, N.Y.: Doubleday and Page). Picture of dead woman and baby. "Kultur" is German for "culture."

Source: Hess, Stephen and Kaplan, Milton. 1968. The Ungentlemanly Art: A History of American Political Cartoons. New York: Macmillan Company. 

Note: The cartoon is believed to be in the public domain, since it is more than 75 years old (World War I or earlier). 
 

"Destroy This Mad Brute" Germany as a brutal apeRecruiting poster, World War I. Fanged gorilla in a Prussian spiked helmet carrying off a woman. The club is labeled "Kultur" (Culture), and the gorilla is invading America. (Source: IMSI Master Clips 500,000)

"German Atrocities" propaganda from World War One. One picture shows a German soldier with a baby on his bayonet.

This picture shows two key elements of the most vicious propaganda:
(1) the enemy is portrayed as a bestial subhuman (as in "The Spanish Brute" that understands only force, in the act of
(2) abusing a helpless captive, usually a woman. Joe Haldeman's The Forever War comments on this through psychological conditioning of soldiers, who are telepathically implanted with images of the alien Taurans raping women "with huge purple members." The conditioning is so powerful that it overrides the basic fact that a human female would interest an alien about as much as a farm animal would interest a normal human male. But, as Boss Tweed rightly complained about Thomas Nast's cartoons, "those damned pictures" can override reason and logic easily.



Propaganda of the Second World War
The ability to mass-produce color material allowed the deployment of even more vicious propaganda during the Second World War. Nazi propaganda confronted German soldiers with the prospect of Afro-American soldiers with exaggerated Negro features raping "Aryan" wives, sisters, and daughters. French were portrayed as lechers; I recall a cartoon of a German ambush that involved a machine gun crew behind a naked women with her open legs inviting salivating French soldiers to take advantage of her. The latter is, however, an example of "mocking" propaganda that is more useful as a joke for one's side than for whipping up hatred of the enemy. Hatred usually comes from fear and people do not fear stupid or incompetent enemies.

Example of Palestinian propaganda: "Crucified Palestine"

Crucified Palestine propaganda pictureFrom chretiens-et-juifs.org (CJF), which was given the following picture from Fatah. The Palestinian woman (in green, the color of Islam) is crucified while Jews with exaggerated Semitic features congregate at the base of the cross. (The fact that Arabs also are Semites did not bother the picture's creators at all.) Note the similarity in concept to the anti-Spanish and anti-German propaganda that was shown above. Again,

(1) the enemy is portrayed as a bestial subhuman  in the act of
(2) abusing a helpless captive, usually a woman.

To these basic features, the Palestinians have added Crucifixion imagery in the context of Jews being "Christ Killers."

One obviously cannot have any kind of a peace process with a group that is directing propaganda of this nature against you. The originators must be regarded as enemies with whom you are at war.


Developing Counterpropaganda

What is the message? The simpler, the better: focus on a few key points

  1. Militant Islam is a clear and present danger to Western Civilization, and also to genuine Islam
    • "Militant Islam" has nothing to do with Islam, just as the Spanish Inquisition and Crusades had nothing to do with anything Jesus taught.
      • As shown by Khartoum (1885), militant "Muslims" kill true Muslims for being the wrong "kind" of Muslims.
      • "Militant Islam: an oxymoron like kosher pig."
    • The leaders of militant "Islam" can deliver only poverty and despotism to their subjects. This is why they resent Western civilization, of which Israel is the most visible symbol in the Middle East. Some ideas one can use:
      • Western civilization makes deserts into gardens; militant "Islam" turns gardens into deserts.
      • Western civilization builds skyscrapers and airplanes; militant "Islam" hijacks airplanes and crashes them into skyscrapers.
Who is the audience? Propaganda must be customized for the people to whom it is to be delivered.
  • "Then go after the Propaganda Man [hypothetical listener on the other side] yourself. He is your friend. You are his friend. The only enemy is the enemy Leader (or generals, or emperor, or capitalists, or 'They')." (Linebarger, p. 154) The rank-and-file member of the opposing side is not a villain, he is a victim. His leader or boss is exploiting him. The opposing leader is not only your enemy, but your listener's enemy as well.
  • "For psychological warfare purposes, it is useful to define the enemy as: (1) the ruler, (2) or the ruling group, (3) or unspecified manipulators, (4) or any definite minority. It is thoroughly unsound to define the enemy too widely." (p. 51) "The sound psychological warfare operator will try to get enemy troops to believing that the enemy is not themselves but somebody else- the King, the Fuhrer, the elite troops, the capitalists. ... 'We're not fighting you. We are fighting the So-and-so's who are misleading you.'"
  • "Sending the Japanese cartoons of themselves, mocking the German language, calling Italians by familiar but inelegant names- such communications cropped up during the [Second World] war. The senders got a lot of fun out of the message but the purpose was unintelligently considered. The actual effect was to annoy the enemy, stiffening his will to resist." (Linebarger, p. 40. Emphasis is mine)
    • Hatred of specific groups of people, e.g. terrorists and "militant Muslims," can however be directed to third parties. As an example, England and France distributed anti-German propaganda in the United States during the First World War. Even then, however, specific leaders like the Kaiser were often portrayed as the chief villains.


Distributing propaganda
"To be effective, leaflets must scatter. Bundles of paper which fall intact make little impact on the enemy [or prospective audience, the general public in this case] unless they hit him on the head." (Linebarger, Psychological Warfare)

NOTE: Churches and synagogues should remember their obligations as 501(c)(3) tax-exempt organizations. It may not be appropriate to use church or synagogue office equipment to reproduce political leaflets unless someone reimburses the copying cost. Ask your organization's attorney or accountant to make sure. If there is any doubt, just copy them at Staples or Office Max.

Offensive Doctrine (Israpundit, 12/16/06)

The Islamofascists are winning the public relations war because of Civilization's defensive thinking. Conflicts, whether military or political, are won by offense and not defense.

Helmuth Karl Bernhard, Graf von Moltke, wrote (Hughes, 1993),Moltke at Versailles

The advantages of the offense are clear and permanent. He who acts on his own decision lays down the law to which the waiting party must conform his countermeasures.

...In doubtful cases and in unclear conditions (which occur so often in war), it will generally be more advisable to proceed actively and keep the initiative than to await the law of the opponent.

Moltke adds that the offensive is the basic form of the Prussian conduct of war and that even the defensive, when it is necessary, is always active and never passive.

The problem is that our side almost uniformly "awaits the law of the opponent" by reacting to the Islamofascist propaganda organs. We dance to the enemy's music instead of forcing the enemy to dance to ours.This article will consider two examples: Rachel Corrie and the use of the phrase "Christ Killers."

Rachel Corrie
The enemy has enjoyed enormous success with the Rachel Corrie controversy. The International Solidarity Movement encouraged a young women with far more idealism than sense to enter a semi-combat area and play "chicken" with an armored bulldozer. After she was accidentally crushed, the ISM and its Palestinian handlers wasted no time in trotting out pictures of a young, blonde, and blue-eyed American woman who had been, to use their words, "murdered" by an Israeli bulldozer driver.

Our side's reaction was at first entirely passive and defensive. It was pointed out that Rachel Corrie's own conduct had contributed to her death, and that the bulldozer driver almost certainly didn't see her. Then some people on our side pointed out that Ms. Corrie may have been helping to protect tunnels through which arms were being smuggled. The enemy replied by saying the dirty Zionazis and neocons were besmirching the memory of this young, idealistic, doe-eyed peace martyr. Our side was therefore dancing to the enemy's tune instead of playing our own through an aggressive counterattack.

How does one counterattack in this situation? The enemy has at hand the poignant tragedy of a young, idealistic, doe-eyed peace martyr whose fragile body was crushed by a multiton armored bulldozer. The enemy, however, provided the means of turning Rachel Corrie into OUR side's young, idealistic, doe-eyed peace martyr.

(1) Far from expressing sympathy over this woman's death, a Hamas terrorist said that he was glad it happened. "'Her death serves me more than it served her,' said one activist at a Hamas funeral yesterday. '...Her death will bring more attention than the other 2,000 martyrs.'" (Making of a Martyr by Sandra Jordan, Guardian Newspapers)

(2) Every account of the accident shows that about half a dozen ISM members watched Rachel Corrie die but not one raised a finger to pull her out of the slowly-moving bulldozer's path. Noting that head injuries may have contributed to Rachel's death, it could also be argued that ISM was criminally negligent in encouraging her to enter the bulldozer area without a hard hat.

(3) ISM was caught posting photomanipulated photographs of the events leading up to the accident.

These three pieces of evidence suggest the possibility that the ISM and/or its Palestinian handlers knowingly and willfully set Rachel Corrie up to be killed so they could make propaganda from an American citizen's death. Instead of defending against the enemy's attacks and innuendos, our side should counterattack the enemy with this accusation at every opportunity.

The concept of meeting a physical assault with an attack is a well-established military doctrine. Moltke wrote that an infantry charge should be repelled as follows:

...the firing line commences firing on command when the enemy closes to three hundred paces. If the enemy [nonetheless] continues to press forward and threatens an assault, the two remaining companies should immediately form in column and go to meet him with fixed bayonets and shouts of "Urrah." The second battalion should advance at a run upon hearing this shout.
As for assaults by cavalry,
Cavalry should everywhere live up to the glorious tradition that our cavalry never stands to await the attack of hostile cavalry but advances to meet it, even if outnumbered.

It may be added that, about a century before Moltke's day, Frederick the Great threatened to cashier or dismiss any cavalry officer who waited passively to be charged by the enemy. If one knows anything about animals and their instincts, this makes perfect sense. A small animal can chase, bite, harry, and even kill a larger one that gives ground and runs away. On the other hand, there are stories about bears and lions breaking off their attacks or even running when confronted by unarmed humans that stood their ground or even charged the much larger predator. The animal that attacks is showing that it is confident that it can win, while the one that runs has already given up.

The same principle applies to political as well as physical confrontations. Instead of merely defending against the enemy's accusation, we meet that accusation with one of our own-- preferably a far more serious one. In the Rachel Corrie case, we accuse the ISM and its allies of deliberately setting up an American citizen to be killed to make propaganda. This counterattack must be backed by evidence but, as shown above, the enemy himself provided it.

Now consider the Islamic supremacists' use of the old "Jews as Christ Killers" blood libel. Replying by calling this a blood libel is merely defensive, even if it calls the enemy a liar. Calling the Islamofascists "Twenty-First Century Christ Killers" and then proving that they are indeed Christ Killers is an aggressive and decisive counterattack against which they have no defense whatsoever. It shows that, not only is our side completely unafraid of the phrase "Christ Killers," we embrace it as a weapon to expose the enemy for the barbaric savage he is.

We have so far shown how the enemy's attacks must be met with vigorous, confident, and decisive counterattacks of our own but the ideal situation involves going over to the offensive entirely. The idea is to find issues against which the enemy has no defense whatsoever, such as his abusive treatment of women and Christians.

These issues must be brought up repeatedly. Deliberately-inflammatory terms like "femicide," "rape," "domestic violence," "wife battering," "child molesting," and "Christ Killers" must be used as frequently as possible and backed up with objective evidence to prove the truth behind them. No letup must be permitted; the enemy must be attacked in this manner as frequently and as aggressively as possible. Only through these methods can the menace of Islamofascism be whipped back into the pigsty from whence it came and then kicked through the rear walls of said pigsty.


Reference:
Hughes, Daniel J. 1993. Moltke on the Art of War: Selected Writings Moltke led the Prussian Army to victory over the Danes, Austrians (1866), and finally the French (1870-1871). Moltke's army was so effective that, during the campaign of 1870-1871, it lost only one flag and four guns in comparison to the French, who lost 107 flags and almost 7500 artillery pieces. Moltke also foresaw the utility of "trucks" in the mid-19th century; these Strassenlocomotives (street locomotives) were almost certainly the steam-powered "road engines" that Henry Ford cited as his inspiration for passenger automobiles. The idea of a vehicle that could operate independently of railroads was certainly innovative for its time.


An Essay on Inflammatory Propaganda
Men cannot be excited to kill by soft words spoken in an uncertain voice. When General Patton spoke, every man knew exactly what was demanded. Gen. Patton would explain, "It takes a lot of talking to get our American young men ready to kill, to murder. ...The language of war is not polite. War is hell. It is difficult to make our fine American youth understand that the enemy wants to kill him. ...I use the language of soldiers who are ready to kill."
The distasteful measures that I am about to describe are a reasonable, necessary, and effective response to Islamofascist propaganda and fifth column activities that are pervading Judeo-Christian organizations such as the Presbyterian Church USA, Unitarian Universalist Church, Union for Reform Judiasm (formerly the Union of American Hebrew Congregations), and so on along with women on the political Left. The enemy is in fact waging a very effective propaganda campaign to undermine Civilization's will to resist, e.g. by building a perspective of moral equivalency between Euro-American Civilization and Islamofascist barbarism and chaos. Israel's construction of a wall to keep terrorists out is morally equivalent to a Berlin Wall for keeping innocent people in. Palestinian terrorism is "resistance to the Israeli occupation." The United States' war against Saddam Hussein is morally equivalent to Saddam Hussein throwing political opponents into plastic shredders while his son Uday feeds women to attack dogs after he tires of raping them. An Iraqi terrorist who is murdering American soldiers becomes an "insurgent" or even, to quote filmmaker Michael Moore, a "Minuteman" and thus a heroic resistance fighter.

Civilization has not only the right but the duty to respond in kind and with compound interest. King Henry V said that modest stillness and humility were suitable peacetime behaviors but war requires us to behave like tigers and "disguise fair nature with hard-favour'd rage." Like actors stepping into a distasteful but necessary role on the world's stage, we must don the ugly and terrifying mask of war. This concept (which Patton also described) predates the Star of England by more than a thousand years. Pallas Athena, the namesake of Athens, was a favorite Greek deity who personified the highest aspects of Civilization. During peacetime she was the patron goddes of wisdom, the sciences, and crafts such as weaving but, when the polis or city-state went to war, she turned into a ruthless, terrifying, and cold-blooded killer.

By the enemy's choice and not ours, we must accordingly cry "Havoc!" and let slip the dogs of war: an indiscriminate propaganda campaign that uses the most inflammatory language possible, in effective and synergistic combination with pictures and facts, to evoke worldwide hatred of militant "Islam."

Adolf Hitler and Joseph Goebbels were among the worst people who ever lived but we must remember that their methods worked. (The two Nazis, incidentally, may have learned their craft from Anglo-French propagandists, who may in turn have learned from the American Yellow Press of 1898.) If Hitler and Goebbels could persuade an entire nation to hate productive and law-abiding Jewish citizens, Euro-American Civilization should be able to evoke worldwide loathing, hatred, and contempt for Islamofascist cultures that condone and sanction femicide, rape, domestic violence, wife battering, terrorism, slavery and religious persecution. Hitler's and Goebbels' methods can, like a German Mauser rifle that was captured by an Allied soldier or Resistance fighter, be turned against Nazis-- including the sand variety.

Basic Principles

"All propaganda has to be popular and has to adapt its spiritual level to the perception of the least intelligent of those towards whom it intends to direct itself."
-Adolf Hitler, Mein Kampf ("My Struggle"), Vol. I

Part of Germany's problems during the First World War was the fact that its public relations statements came in the form of long-winded academic statements from university Professor-Doctors (often without translation into English) while Anglo-French propagandists drew pictures of fanged apes in spiked helmets, "adapting their propaganda to the least intelligent of those toward whom it intends to direct itself." (As Boss Tweed once pointed out regarding Thomas Nast's political cartoons, even his illiterate constituents could savvy pictures.) Atrocity stories, some of which were doubtlessly imaginary, were circulated as news (thus anticipating Hitler's Big Lie theory by decades).

As an example, Anglo-French propagandists accused German soldiers of raping nuns and added that, to prevent venereal diseases in the German Army, any man who had VD was to cut off one of the nun's breasts so uninfected soldiers would not rape her. Other cartoonists depicted Germans sticking babies on their bayonets or tying a woman to an artillery carriage's wheel and then lighting a fire to burn one of her hands off. After a steady diet of such material, the American people were soon willing to march off (and be slaughtered in droves on the Western Front) to "make the world safe for democracy."

To Hitler's advice, Joseph Goebbels added,

Arguments must therefore be crude, clear and forcible, and appeal to emotions and instincts, not the intellect. Truth was unimportant and entirely subordinate to tactics and psychology... Hatred and contempt must be directed at particular individuals."

Our propaganda must use the same principles even though I do not advocate lying, as Goebbels did. The point of the above discussion is that, if Hitler and Goebbels could sell outright lies with the techniques they describe, we ought to be able to sell the truth.

Choosing the Right Words

When describing the conduct of the Islamofascists, we must use deliberately inflammatory words like "femicide," "rape," "wife battering," "child molesting," "child rape," and even "Islamofascist Christ Killers." Such words evoke powerful emotions and even rage in Euro-American audiences and we must use them as frequently as possible.

Meanwhile, the enemy is not an "insurgent" and he is certainly not, to use Michael Moore's words, a "Minuteman." He, or rather it, is a terrorist, jihad monkey, sand ape, or sand Nazi. Remember that Patton did not exhort his men to kill Germans, he told them to kill "lousy Hun bastards." An Axis soldier ceased to be a human being and became instead a Jap, Kraut, or Hun. A Korean War or Vietnam War enemy was not an "Asian," he was a gook, Chicom (Chinese Communist), or Charlie (Victor Charlie, a Viet Cong). This language was not, incidentally, racist; a good guy was a ROK (Republic of Korea) or ARVN (Army of Vietnam).

The same technique should be used in describing Islamofascist violence against Arabs and Muslims. As an example, a Palestinian woman murdered her daughter for being raped by her brothers. In describing this incident, one refers to the victim as "she" and "her," the mother as a "sow" and "it," and the rapist brothers as "bucks" or "studs" i.e. terms normally reserved for animals. Only the victim is given a human face and description as a human being; the perpetrators are described as less than human.

Choosing the Right Pictures

"The insurrection in Cuba that had been simmering for several years, provided [William Randolph] Hearst and [Joseph] Pulitzer with the excuse for a rip-roaring circulating-building crusade. Playing on the American people's sympathy for the insurrectos, Hearst artists drew fake atrocity pictures of Spaniards stripping American women on the high seas, while Pulitzer correspondents in Cuba cabled reports of 'Blood on the roadsides, blood in the fields, blood on the doorsteps, blood, blood, blood'" (Hess and Kaplan, The Ungentlemanly Art, 1968, 122).

That was before we had color pictures and the Internet. Today, pictures of beheaded victims, nail bomb victims, and rape victims can be circulated all over the world within hours. This site has an excellent video of the 9/11 terrorist attacks, including pictures of people jumping out of the burning World Trade centers along with exhausted firefighters. Omdurman.org, meanwhile, offers free cartoons that anyone can use on his or her blog or Web site.

If black-and-white newspaper pictures and cartoons could evoke enough hatred of Spaniards and then Germans to get the United States into two wars, we can blame only ourselves if we cannot evoke worldwide hatred of Islamofascists. Since hatred stems from fear (no one hates something he doesn't think is a threat), the enemy's most barbaric conduct should be illustrated graphically at every opportunity.

Backing them with Facts
Although one might sometimes get away with depicting the enemy as a barbaric subhuman ape, it is best to back such images with fact to prevent them from being written off as mere hate propaganda. My preference is to supply a very inflammatory image along with references to reputable news sources to prove that the event the image described really happened.

Here are some examples:
http://www.omdurman.org/cartoons/crucifixion.jpg, "Crucified Between Two Thieves" shows a picture of Sudanese "Muslims" crucifying a man for being a Christian, while referring to the Islamofascists as "Christ Killers." The inflammatory picture and words are backed up with an invitation to do a Google search on "Sudan" and "crucified" so the viewer can verify for himself that I am not just making this up.

http://www.omdurman.org/cartoons/bahai.gif "Hanging a Kafir" shows Iran hanging a young woman for being a Bahai. This is again backed up with facts.

http://www.omdurman.org/cartoons/s_allah.gif shows a Saudi whipping a man's back into bloody ribbons, and backs up the picture with a news reference. In all cases, the Islamofascist villains are given bestial and subhuman features, as suggested by Grant Hamilton's "The Spanish Brute."

In all cases, inflammatory pictures and words-- and they should be made inflammatory by intention-- must be backed up with facts.

Hijacking the Enemy's Words
Words are weapons but the enemy's own words can and should be hijacked whenever possible. "Allahu akbar" should always be used in the context of Islamofascists cutting off heads or committing other atrocities. Although it means "God is great" the context should always suggest, "Let's chop off heads!" or "Let's stone a woman to death!" Robert Heinlein did this in a nonfiction story in which the context of Pravda (truth) always suggested that Pravda meant "bull excrement."

The enemy has also dug out the old "Jews as Christ Killers" blood libel. This was a very bad place for them to go because we can and should reply with the phrase "Islamofascist Christ Killers" whenever possible. The facts are with us and totally against them because Islamofascists and not Jews are persecuting and killing Christians in droves all over the world.

Circulating the Propaganda

"To be effective, leaflets must scatter. Bundles of paper which fall intact make little impact on the enemy [or prospective audience, the general public in this case] unless they hit him on the head." (Linebarger, Psychological Warfare)

Royalty-free leaflets and cartoons that anyone is free to copy are one way of distributing our propaganda. The ideal result should be a chain reaction; e.g. if three people copy a royalty-free cartoon (which contains a statement giving permission to copy it as long as no changes are made) and post it to their own Web sites or blogs, and three visitors to each of their Web sites copy the cartoon, it will soon be all over the Internet. With regard to leaflets, we all remember imaginative amateur cartoons that circulated from one office to another even before there was an Internet; people who liked them photocopied them and gave copies to their friends.


visitors since 22 December 2003

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