"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.

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.

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 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:  

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).

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).
Recruiting 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.	What the Germans should have done in response to the "unrestricted submarine warfare" atrocity cartoons. Early in the war, German submarines usually surfaced before sinking a cargo ship and gave the crew time to get off first. Only afterward did the submarine sink the ship- usually with its deck gun to save a torpedo. Some submariners even radioed the British with the survivors' location. The Q-ship, a warship that was disguised as a merchant ship, took advantage of this conduct. (The English did not actually disguise themselves as women, but the idea is the same- they pretended to be civilian sailors.) A professional artist could, of course, do this a lot better than I did.

• Fighting Yank 1. Japanese are about to execute a captured soldier and a nurse. The Japanese on this cover have yet to acquire the exaggerated Asian features that appear in subsequent issues.
  
• Fighting Yank 8, June 1944. Japanese with exaggerated Asian features are about to use a red-hot iron to torture a Navy nurse but they are beaten up by a hero with an American flag on his costume.
  
• Fighting Yank 10, December 1944. Villains with exaggerated Germanic features are about to torture a captured soldier. (One wonders how they expect him to tell them anything with a gag in his mouth.)
  
• Fighting Yank 12, 1945. This is "mocking propaganda" that was published at the war's end; note that the cover no longer asks the reader to buy war bonds. Hirohito is tied to his own throne while the hero stands amid a pile of beaten Japanese with exaggerated Asian features.
• Fighting Yank 13. Japanese with exaggerated Asian features menace American children with poisonous snakes. (The issue number seems to be out of order with #12, which is postwar.)

• "This is the Enemy." A Japanese with exaggerated Asian features is carrying a naked woman over his shoulder. Again, the (1) subhuman enemy is (2) in the process of abusing a helpless captive, usually a woman or a child. This is fairly standard for enraging Euro-American audiences.
• "This is the Enemy." A stereotyped German watches a hanging through his monocle.
• "This is the Enemy." An arm with a swastika on its sleeve drives a dagger though a Bible.
• A modern "revision" of the above, with the swastika changed to a Democratic Donkey.
  

From 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."

Omderman.org offers repayment in kind with "Crucified Between Two Thieves: The Twenty-First Century's Christ Killers." The leaflet version adds factual accounts of  crucifixions of Christians by Sudanese Islamofascists. The idea is for the picture to catch the viewer's attention and then back up the picture with the truth.

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.

• "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.

• Propaganda to be directed to women
  
• Propaganda to be directed to Palestinians
  
• Fact-based atrocity propaganda
  
• Propaganda to be directed to Christians
  
• Heroic image or "recruiting poster" propaganda
  

This picture and the accompanying text combine the themes of physical abuse of women and rape. The enemy is portrayed with bestial and subhuman facial features, as should be standard practice for this type of material. The text that accompanies the picture appears to the right; note the emphasis on the word "rape." It is very important to back up pictures like this one with facts so enemies and detractors cannot dismiss it as "mere hate propaganda."

Although the Iranian is very reluctant to fight armed males, it is very good at brutalizing unarmed and helpless women and children as reported by "Woman, Islam, & Equity" "Mina Mohammadian was executed on February 29, 1987, on political charges. She was held in solitary confinement for eleven months prior to her execution. During that period, she went through forty interrogation sessions, during which she was subjected to the most horrendous tortures. She was repeatedly raped by the regime's Guards. She was 22 at the time of her execution." "Women political prisoners are kept in so-called "residential units" (cement cages, 50 cm square), with their heads cramped down onto their knees, for months at a time. They are beaten regularly, up to 50 times a day. Another common torture of women political prisoners, besides systematic flogging, is suspension for hours from the ceiling by the hands, or upside down, by the feet. In some cases, the torture leads first to paralysis, then to the woman's death. Nahid Shahrokhi- Mahalati, a 22-year-old teacher, was suspended from the ceiling for a prolonged period. She died under torture." "Exceptions are not made for foreign nationals. Annie Ezbar, a French nurse who had come to the assistance of the Iranian Resistance's National Liberation Army, was captured in an ambulance with her medical equipment. Hashemi Rafsanjani, then the regime's parliament speaker, acknowledged her arrest. After going through extensive torture, Mrs. Ezbar was executed." "According to a "religious" decree, virgin women prisoners must as a rule be raped before their execution, "lest they go to Paradise." Therefore, the night before execution, a Guard rapes the condemned woman. After her execution, the religious judge at the prison writes out a marriage certificate and sends it to the victim's family, along with a box of sweets."

This one underscores the concept that Palestinian "leaders" are willing to sacrifice their followers' lives, but not their own. That is, they are self-serving demagogues and not genuine leaders. "As for what a true martyr can expect, Chief Mufti of the Palestinian Authority Police, Sheik Abd Al-Salam Skheidm, spelled it out in 1999. "From the moment his first drop of blood spills, he feels no pain and he is absolved of all his sins; he sees his seat in heaven; he is spared the tortures of the grave; he is spared the horrors of the Day of Judgment; he is married to 70 black-eyed women; he can vouch for 70 of his family members to enter paradise; he earns the crown of glory, whose precious stone is worth all the world." (Mona Charen, "U.S. needs to recognize differences between Palestinian, Israeli responses.") This is about as good as the racket the Church had going in the Middle Ages, where you could buy indulgences for your sins. You could pay money to the Church to buy your way out of hundreds or thousands of years in Purgatory (where your soul had to atone for its sins on Earth before it could go to Heaven). If you didn't think you had to worry about spending time in Purgatory yourself, you could buy indulgences for your dead friends and relatives! Come on, Sheik Abd Al-Salam Skheidm, what are you waiting for? Unless you're an infidel pig who is defiling the Holy Koran with your unholy lies and blasphemy, you'll seek your own martyrdom. Those dancing girls are waiting for you in Paradise!

Leaflet text: "After reading a statement, the men were seen pulling the man [Nick Berg, an American civilian] to his side and putting a large knife to his neck. A scream sounded as the men cut his head off, shouting "Allahu Akbar!" "God is great." They then held the head out before the camera."

Accompanying leaflet text: " Note how one of Mr. Moore's Minutemen shot a female aid worker, Margaret Hassan, while she was blindfolded and tied to a chair, while others sawed the heads from living victims like Nick Berg. American troops, meanwhile, have found insurgent-run torture rooms in Fallujah, along with the bodies of eight Iraqi men who also were viciously murdered.

As with Grant Hamilton's "The Spanish Brute," the perpetrators are portrayed as subhumans. Atrocities against women (e.g. stoning and hanging victims) are always superb for enraging Western audiences. These incidents are true (I do not advocate the invention of atrocity stories), although victims are given Western European and North American features when they would most likely be Middle Easterners.

• "The Winning Argument" Iran hangs a man for "blasphemy"
• "Hanging a Kafir (infidel)" Iran hangs a woman for being a Bahai
• "Palestinian Warrior Initation Rites" portrays Palestinians as vicious cowards who prey on women and children. The Zulu warrior's leg garters are crudely drawn but the reader gets the general idea.
• "Allah's Love (as practiced by Saudis)" shows a man being whipped
  

This is an answer to "Crucified Palestine," and militant "Islamic" propaganda that portrays Jews as "Christ-killers." The truth, as reported on many Christian web sites, is that militant "Muslims" are persecuting Christians as badly as the Romans ever did. A lot can be done with classic Christian martyrdom scenes, and Christians-to-the-lions scenes as depicted in Cecil DeMille's The Sign of the Cross and the later movie Quo Vadis, with Islamic supremacists standing in for Roman persecutors.

The United Nations as a Roman arena. This is based on feeding-the-Christians-to-the-lions scenes in Quo Vadis and Cecil DeMille's The Sign of the Cross. Poser 4 allowed modification of the lion texture to include country flags as shown. Secretary-General Nero: "Now we'll pass another resolution to condemn Israel for 'human rights violations.' China? Yes. Myanmar? Yes. Saudi Arabia? SAUDI ARABIA? Please pay attention!" Saudi Arabia: "Sorry, Secretary-General Nero. I was about to have dinner with my friends and I was inattentive. I vote yes, of course." Secretary-General Nero is holding a lyre (to symbolize his fiddling while militant Islamic nations butcher Christians) and giving the "thumbs down" sign. Since Fatah brought up the idea of crucifixions, I decided to illustrate the actual treatment of Black Christians (thus introducing racism along with religious persecution) by Sudanese "Muslims" today. Al Qaida as a bomb-carrying snake, and Palestine as a Roman with a baby on his spear, are thrown in as extras whose behavior Secretary-General Nero also ignores.

You may ask, "Where do you get these ideas???" Compare the picture above to the one below:

Thomas Nast's "The Tammany Tiger's Loose: What are you going to do about it?" in Harper's magazine, and similar Nast drawings, played a major role in bringing down the corrupt Tweed ring. Boss Tweed is portrayed as the Roman Emperor. The reference (Hess and Kaplan, The Ungentlemanly Art, 1968)  says, "Unsurpassed for raw power- it measured 14" by 20"... The Times called it 'the most impressive political picture ever produced in this country.'"

The leaflet that goes with this picture combines (1) an enemy with bestial and subhuman features about to (2) execute a woman, whose cross indicates that she is a Christian. The accompanying text verifies that Saudi Arabia executes people for being Christians.

This picture, which we have already seen, shows Sudanese Islamic supremacists crucifying a man for being a Christian (as indicated by the cross he is wearing). The executioners mockingly stand two thieves next to him so he will die just like Jesus. This has the bonus of reminding the viewer about barbaric Sharia punishments like cutting off hands and feet.

The picture of a hero (e.g. a knight, adventurer, or warrior) defending innocents from barbarian savages has always been a staple of propaganda. Bring in actual history, in which Western civilization had to defend itself from the onslaughts of militant "Islam," and you have excellent propaganda for distribution in Western Europe and North America. The militants themselves supply some background:

Imam calls on Allah to 'annihilate Jews,' from Worldnetdaily.com

"A Muslim imam, calling on Allah to 'annihilate the Jews and their supporters,' envisioned a day when all the lands of the earth will be 'owned by the Muslim nation,' in his Friday sermon last week, broadcast live on Palestinian Authority television."

 

Although Roland's career may have been romanticized (the movie Charlemagne says he was killed by Basques, not Saracens), the story is still useful and there are plenty of historical heroes in the defense of Western civilization against militant "Islam."

• Charles Martel, "The Hammer," victor of Tours (732)
• Don Juan of Austria, victor of Lepanto (1571)
• King John Sobieski III of Poland, who raised the siege of Vienna (1683)
• General Charles "Chinese" Gordon, martyr of Khartoum (1885). The move with Charlton Heston and Sir Laurence Olivier is excellent because it reveals the Mahdi's intention to massacre genuine Muslims at Khartoum. It shows that militant "Islam" (an oxymoron like "kosher pig") is the mortal enemy of genuine Islam as well as of Christianity, Judaism, and Hinduism.
• Winston Churchill, who participated in a British cavalry charge at Omdurman (1898).

"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.

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),

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.

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.

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.

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."

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."

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.