KikeTube | DON'T Broadcast Yourself™



KikeTube | DON'T Broadcast Yourself™

YouTube | Broadcast Yourself™


Regarding your account: [SOMETHING KIKES DON'T LIKE]

The YouTube Community has flagged one or more of your videos as inappropriate. Once a video is flagged, it is reviewed by the YouTube Team against our Community Guidelines. Upon review, we have determined that the following video(s) contain content in violation of these guidelines, and have been disabled:


Your account has received one Community Guidelines warning strike, which will expire in six months. Additional violations may result in the temporary disabling of your ability to post content to YouTube and/or the permanent termination of your account.

For more information on YouTube's Community Guidelines and how they are enforced, please visit the help center.


The YouTube Team

Copyright © 2012 YouTube, LLC


We'd like to inform you that due to repeated or severe violations of our Community Guidelines your YouTube account [SOMETHING KIKES DON'T LIKE] has been suspended. After review we determined that activity in your account violated our Community Guidelines, which state that hate speech is not acceptable on our site.

"Hate speech" means content that promotes hatred or violence against members of a protected group (race or ethnic origin, religion, disability, gender, age, veteran status, and sexual orientation/gender identity).

Please be aware that you are prohibited from accessing, possessing or creating any other YouTube accounts.

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KikeTube: Fuck Christmas!

KikeTube: Fuck Christmas!

KikeTube: Fuck Christmas!


The Kike Shatting on Ireland doesn't like being named as the filthy, parasitic scumbag Kike he is. 


[Kike] Minister asks [fellow Kikes at] YouTube to remove video directing anti-Semitic [sic] abuse at him

The Irish Times, 2012.03.30

[Kike] Minister for Justice [and Immigration and Equality and Defence] Alan Shatter [a Kikestani citizen] has requested that a video posted on YouTube containing anti-Semitic abuse directed at him should be taken down.

The video, which starts off with a picture of Mr Shatter and the Israeli [sic] flag, contains a string of abusive [sic] text while Jewish folk music plays in the background.

The anti-Jewish and anti-immigrant sentiments expressed echo those of neo-Nazi groups in other European countries but there is a specifically Irish context for the abuse.

It goes on to make offensive [sic] remarks about the ethnic background of international bankers along the lines of those uttered by the Nazis in the 1930s ["Oy Vey! They're onto us again!"]. A constant refrain in the video is abuse [sic] of immigrants and the [correct and provable] claim that the Irish population is being replaced by newcomers [i.e., is being genocided].

One of [the Kike parasite] Mr Shatter’s officials was in contact with [his fellow Kikes at] YouTube [owned by Google, or Jewgle, which is owned by Kikes] on Wednesday to request that the video be taken down but it was still on the site yesterday ["Oy Vey! Voddya want awreddy. If we had to delete all the videos from the Goyeeeem who are onto us, you know how many damn videos we'd have ta delete!?"].

KikeTube: Video Removed: Hate Speech Violation









"One good thing about music: When it hits you, you feel no pain."





From Kike Mordechai Arbell's* "Jewish Settlements In The French Colonies", in Kike Paolo Bernardini & Kike Norman Fierin's The Jews and the Expansion of Europe to the West, 1450 to 1800 (pages 293-294):

Mordechai Arbell, 'Jewish Settlements In The French Colonies' [Paolo Bernardini & Norman Fierin, 'The Jews and the Expansion of Europe to the West, 1450 to 1800', p. 293 b

Mordechai Arbell,

Mordechai Arbell,

Unfortunately, this was an anomaly.

While Jesuits and other Christians constantly struggled to keep Christ-Killers out of the French, Portuguese and Spanish colonies in "The New World", corrupt merchants and bureaucrats undermined this Godly work and let the Kikes take over a large part of these colonies.

From Kike James C. Boyajian's "New Christians** and Jews in the Sugar Trade," in Kike Paolo Bernardini & Kike Norman Fierin's The Jews and the Expansion of Europe to the West, 1450 to 1800 (page 476):

Kike James C. Boyajian,


* Kike Mordechai Arbell: Former Kikestani Ambassador to Haiti.

** "New Christians": Kikes pretending to be Christians.

whatdoyoubelieve wenamethekike

What Do You Believe? We Name The Kike.



Edgar Allan Poe


TRUE! -- nervous -- very, very dreadfully nervous I had been and am; but why will you say that I am mad? The disease had sharpened my senses -- not destroyed -- not dulled them. Above all was the sense of hearing acute. I heard all things in the heaven and in the earth. I heard many things in hell. How, then, am I mad? Hearken! and observe how healthily -- how calmly I can tell you the whole story.

It is impossible to say how first the idea entered my brain; but once conceived, it haunted me day and night. Object there was none. Passion there was none. I loved the old man. He had never wronged me. He had never given me insult. For his gold I had no desire. I think it was his eye! yes, it was this! He had the eye of a vulture -- a pale blue eye, with a film over it. Whenever it fell upon me, my blood ran cold; and so by degrees -- very gradually -- I made up my mind to take the life of the old man, and thus rid myself of the eye forever.

Now this is the point. You fancy me mad. Madmen know nothing. But you should have seen me. You should have seen how wisely I proceeded -- with what caution -- with what foresight -- with what dissimulation I went to work! I was never kinder to the old man than during the whole week before I killed him. And every night, about midnight, I turned the latch of his door and opened it -- oh so gently! And then, when I had made an opening sufficient for my head, I put in a dark lantern, all closed, closed, that no light shone out, and then I thrust in my head. Oh, you would have laughed to see how cunningly I thrust it in! I moved it slowly -- very, very slowly, so that I might not disturb the old man's sleep. It took me an hour to place my whole head within the opening so far that I could see him as he lay upon his bed. Ha! would a madman have been so wise as this, And then, when my head was well in the room, I undid the lantern cautiously -- oh, so cautiously -- cautiously (for the hinges creaked) -- I undid it just so much that a single thin ray fell upon the vulture eye. And this I did for seven long nights -- every night just at midnight -- but I found the eye always closed; and so it was impossible to do the work; for it was not the old man who vexed me, but his Evil Eye. And every morning, when the day broke, I went boldly into the chamber, and spoke courageously to him, calling him by name in a hearty tone, and inquiring how he has passed the night. So you see he would have been a very profound old man, indeed, to suspect that every night, just at twelve, I looked in upon him while he slept.

Upon the eighth night I was more than usually cautious in opening the door. A watch's minute hand moves more quickly than did mine. Never before that night had I felt the extent of my own powers -- of my sagacity. I could scarcely contain my feelings of triumph. To think that there I was, opening the door, little by little, and he not even to dream of my secret deeds or thoughts. I fairly chuckled at the idea; and perhaps he heard me; for he moved on the bed suddenly, as if startled. Now you may think that I drew back -- but no. His room was as black as pitch with the thick darkness, (for the shutters were close fastened, through fear of robbers,) and so I knew that he could not see the opening of the door, and I kept pushing it on steadily, steadily.

I had my head in, and was about to open the lantern, when my thumb slipped upon the tin fastening, and the old man sprang up in bed, crying out -- "Who's there?"

I kept quite still and said nothing. For a whole hour I did not move a muscle, and in the meantime I did not hear him lie down. He was still sitting up in the bed listening; -- just as I have done, night after night, hearkening to the death watches in the wall.

Presently I heard a slight groan, and I knew it was the groan of mortal terror. It was not a groan of pain or of grief -- oh, no! -- it was the low stifled sound that arises from the bottom of the soul when overcharged with awe. I knew the sound well. Many a night, just at midnight, when all the world slept, it has welled up from my own bosom, deepening, with its dreadful echo, the terrors that distracted me. I say I knew it well. I knew what the old man felt, and pitied him, although I chuckled at heart. I knew that he had been lying awake ever since the first slight noise, when he had turned in the bed. His fears had been ever since growing upon him. He had been trying to fancy them causeless, but could not. He had been saying to himself -- "It is nothing but the wind in the chimney -- it is only a mouse crossing the floor," or "It is merely a cricket which has made a single chirp." Yes, he had been trying to comfort himself with these suppositions: but he had found all in vain. All in vain; because Death, in approaching him had stalked with his black shadow before him, and enveloped the victim. And it was the mournful influence of the unperceived shadow that caused him to feel -- although he neither saw nor heard -- to feel the presence of my head within the room.

When I had waited a long time, very patiently, without hearing him lie down, I resolved to open a little -- a very, very little crevice in the lantern. So I opened it -- you cannot imagine how stealthily, stealthily -- until, at length a simple dim ray, like the thread of the spider, shot from out the crevice and fell full upon the vulture eye.

It was open -- wide, wide open -- and I grew furious as I gazed upon it. I saw it with perfect distinctness -- all a dull blue, with a hideous veil over it that chilled the very marrow in my bones; but I could see nothing else of the old man's face or person: for I had directed the ray as if by instinct, precisely upon the damned spot.

And have I not told you that what you mistake for madness is but over-acuteness of the sense? -- now, I say, there came to my ears a low, dull, quick sound, such as a watch makes when enveloped in cotton. I knew that sound well, too. It was the beating of the old man's heart. It increased my fury, as the beating of a drum stimulates the soldier into courage.

But even yet I refrained and kept still. I scarcely breathed. I held the lantern motionless. I tried how steadily I could maintain the ray upon the eve. Meantime the hellish tattoo of the heart increased. It grew quicker and quicker, and louder and louder every instant. The old man's terror must have been extreme! It grew louder, I say, louder every moment! -- do you mark me well I have told you that I am nervous: so I am. And now at the dead hour of the night, amid the dreadful silence of that old house, so strange a noise as this excited me to uncontrollable terror. Yet, for some minutes longer I refrained and stood still. But the beating grew louder, louder! I thought the heart must burst. And now a new anxiety seized me -- the sound would be heard by a neighbour! The old man's hour had come! With a loud yell, I threw open the lantern and leaped into the room. He shrieked once -- once only. In an instant I dragged him to the floor, and pulled the heavy bed over him. I then smiled gaily, to find the deed so far done. But, for many minutes, the heart beat on with a muffled sound. This, however, did not vex me; it would not be heard through the wall. At length it ceased. The old man was dead. I removed the bed and examined the corpse. Yes, he was stone, stone dead. I placed my hand upon the heart and held it there many minutes. There was no pulsation. He was stone dead. His eve would trouble me no more.

If still you think me mad, you will think so no longer when I describe the wise precautions I took for the concealment of the body. The night waned, and I worked hastily, but in silence. First of all I dismembered the corpse. I cut off the head and the arms and the legs.

I then took up three planks from the flooring of the chamber, and deposited all between the scantlings. I then replaced the boards so cleverly, so cunningly, that no human eye -- not even his -- could have detected any thing wrong. There was nothing to wash out -- no stain of any kind -- no blood-spot whatever. I had been too wary for that. A tub had caught all -- ha! ha!

When I had made an end of these labors, it was four o'clock -- still dark as midnight. As the bell sounded the hour, there came a knocking at the street door. I went down to open it with a light heart, -- for what had I now to fear? There entered three men, who introduced themselves, with perfect suavity, as officers of the police. A shriek had been heard by a neighbour during the night; suspicion of foul play had been aroused; information had been lodged at the police office, and they (the officers) had been deputed to search the premises.

I smiled, -- for what had I to fear? I bade the gentlemen welcome. The shriek, I said, was my own in a dream. The old man, I mentioned, was absent in the country. I took my visitors all over the house. I bade them search -- search well. I led them, at length, to his chamber. I showed them his treasures, secure, undisturbed. In the enthusiasm of my confidence, I brought chairs into the room, and desired them here to rest from their fatigues, while I myself, in the wild audacity of my perfect triumph, placed my own seat upon the very spot beneath which reposed the corpse of the victim.

The officers were satisfied. My manner had convinced them. I was singularly at ease. They sat, and while I answered cheerily, they chatted of familiar things. But, ere long, I felt myself getting pale and wished them gone. My head ached, and I fancied a ringing in my ears: but still they sat and still chatted. The ringing became more distinct: -- It continued and became more distinct: I talked more freely to get rid of the feeling: but it continued and gained definiteness -- until, at length, I found that the noise was not within my ears.

No doubt I now grew very pale; -- but I talked more fluently, and with a heightened voice. Yet the sound increased -- and what could I do? It was a low, dull, quick sound -- much such a sound as a watch makes when enveloped in cotton. I gasped for breath -- and yet the officers heard it not. I talked more quickly -- more vehemently; but the noise steadily increased. I arose and argued about trifles, in a high key and with violent gesticulations; but the noise steadily increased. Why would they not be gone? I paced the floor to and fro with heavy strides, as if excited to fury by the observations of the men -- but the noise steadily increased. Oh God! what could I do? I foamed -- I raved -- I swore! I swung the chair upon which I had been sitting, and grated it upon the boards, but the noise arose over all and continually increased. It grew louder -- louder -- louder! And still the men chatted pleasantly, and smiled. Was it possible they heard not? Almighty God! -- no, no! They heard! -- they suspected! -- they knew! -- they were making a mockery of my horror!-this I thought, and this I think. But anything was better than this agony! Anything was more tolerable than this derision! I could bear those hypocritical smiles no longer! I felt that I must scream or die! and now -- again! -- hark! louder! louder! louder! louder!

"Villains!" I shrieked, "dissemble no more! I admit the deed! -- tear up the planks! here, here! -- It is the beating of his hideous heart!"


Edgar Allan Poe


THE "Red Death" had long devastated the country. No pestilence had ever been so fatal, or so hideous. Blood was its Avatar and its seal -- the redness and the horror of blood. There were sharp pains, and sudden dizziness, and then profuse bleeding at the pores, with dissolution. The scarlet stains upon the body and especially upon the face of the victim, were the pest ban which shut him out from the aid and from the sympathy of his fellow-men. And the whole seizure, progress and termination of the disease, were the incidents of half an hour.

But the Prince Prospero was happy and dauntless and sagacious. When his dominions were half depopulated, he summoned to his presence a thousand hale and light-hearted friends from among the knights and dames of his court, and with these retired to the deep seclusion of one of his castellated abbeys. This was an extensive and magnificent structure, the creation of the prince's own eccentric yet august taste. A strong and lofty wall girdled it in. This wall had gates of iron. The courtiers, having entered, brought furnaces and massy hammers and welded the bolts. They resolved to leave means neither of ingress or egress to the sudden impulses of despair or of frenzy from within. The abbey was amply provisioned. With such precautions the courtiers might bid defiance to contagion. The external world could take care of itself. In the meantime it was folly to grieve, or to think. The prince had provided all the appliances of pleasure. There were buffoons, there were improvisatori, there were ballet-dancers, there were musicians, there was Beauty, there was wine. All these and security were within. Without was the "Red Death."

It was toward the close of the fifth or sixth month of his seclusion, and while the pestilence raged most furiously abroad, that the Prince Prospero entertained his thousand friends at a masked ball of the most unusual magnificence.

It was a voluptuous scene, that masquerade. But first let me tell of the rooms in which it was held. There were seven -- an imperial suite. In many palaces, however, such suites form a long and straight vista, while the folding doors slide back nearly to the walls on either hand, so that the view of the whole extent is scarcely impeded. Here the case was very different; as might have been expected from the duke's love of the bizarre. The apartments were so irregularly disposed that the vision embraced but little more than one at a time. There was a sharp turn at every twenty or thirty yards, and at each turn a novel effect. To the right and left, in the middle of each wall, a tall and narrow Gothic window looked out upon a closed corridor which pursued the windings of the suite. These windows were of stained glass whose color varied in accordance with the prevailing hue of the decorations of the chamber into which it opened. That at the eastern extremity was hung, for example, in blue -- and vividly blue were its windows. The second chamber was purple in its ornaments and tapestries, and here the panes were purple. The third was green throughout, and so were the casements. The fourth was furnished and lighted with orange -- the fifth with white -- the sixth with violet. The seventh apartment was closely shrouded in black velvet tapestries that hung all over the ceiling and down the walls, falling in heavy folds upon a carpet of the same material and hue. But in this chamber only, the color of the windows failed to correspond with the decorations. The panes here were scarlet -- a deep blood color. Now in no one of the seven apartments was there any lamp or candelabrum, amid the profusion of golden ornaments that lay scattered to and fro or depended from the roof. There was no light of any kind emanating from lamp or candle within the suite of chambers. But in the corridors that followed the suite, there stood, opposite to each window, a heavy tripod, bearing a brazier of fire that protected its rays through the tinted glass and so glaringly illumined the room. And thus were produced a multitude of gaudy and fantastic appearances. But in the western or black chamber the effect of the fire-light that streamed upon the dark hangings through the blood-tinted panes, was ghastly in the extreme, and produced so wild a look upon the countenances of those who entered, that there were few of the company bold enough to set foot within its precincts at all.

It was in this apartment, also, that there stood against the western wall, a gigantic clock of ebony. Its pendulum swung to and fro with a dull, heavy, monotonous clang; and when the minute-hand made the circuit of the face, and the hour was to be stricken, there came from the brazen lungs of the clock a sound which was clear and loud and deep and exceedingly musical, but of so peculiar a note and emphasis that, at each lapse of an hour, the musicians of the orchestra were constrained to pause, momentarily, in their performance, to hearken to the sound; and thus the waltzers perforce ceased their evolutions; and there was a brief disconcert of the whole gay company; and, while the chimes of the clock yet rang, it was observed that the giddiest grew pale, and the more aged and sedate passed their hands over their brows as if in confused reverie or meditation. But when the echoes had fully ceased, a light laughter at once pervaded the assembly; the musicians looked at each other and smiled as if at their own nervousness and folly, and made whispering vows, each to the other, that the next chiming of the clock should produce in them no similar emotion; and then, after the lapse of sixty minutes, (which embrace three thousand and six hundred seconds of the Time that flies,) there came yet another chiming of the clock, and then were the same disconcert and tremulousness and meditation as before.

But, in spite of these things, it was a gay and magnificent revel. The tastes of the duke were peculiar. He had a fine eye for colors and effects. He disregarded the decora of mere fashion. His plans were bold and fiery, and his conceptions glowed with barbaric lustre. There are some who would have thought him mad. His followers felt that he was not. It was necessary to hear and see and touch him to be sure that he was not.

He had directed, in great part, the moveable embellishments of the seven chambers, upon occasion of this great fete; and it was his own guiding taste which had given character to the masqueraders. Be sure they were grotesque. There were much glare and glitter and piquancy and phantasm -- much of what has been since seen in "Hernani." There were arabesque figures with unsuited limbs and appointments. There were delirious fancies such as the madman fashions. There was much of the beautiful, much of the wanton, much of the bizarre, something of the terrible, and not a little of that which might have excited disgust. To and fro in the seven chambers there stalked, in fact, a multitude of dreams. And these -- the dreams -- writhed in and about, taking hue from the rooms, and causing the wild music of the orchestra to seem as the echo of their steps. And, anon, there strikes the ebony clock which stands in the hall of the velvet. And then, for a moment, all is still, and all is silent save the voice of the clock. The dreams are stiff-frozen as they stand. But the echoes of the chime die away -- they have endured but an instant -- and a light, half-subdued laughter floats after them as they depart. And now again the music swells, and the dreams live, and writhe to and fro more merrily than ever, taking hue from the many-tinted windows through which stream the rays from the tripods. But to the chamber which lies most westwardly of the seven, there are now none of the maskers who venture; for the night is waning away; and there flows a ruddier light through the blood-colored panes; and the blackness of the sable drapery appals; and to him whose foot falls upon the sable carpet, there comes from the near clock of ebony a muffled peal more solemnly emphatic than any which reaches their ears who indulge in the more remote gaieties of the other apartments.

But these other apartments were densely crowded, and in them beat feverishly the heart of life. And the revel went whirlingly on, until at length there commenced the sounding of midnight upon the clock. And then the music ceased, as I have told; and the evolutions of the waltzers were quieted; and there was an uneasy cessation of all things as before. But now there were twelve strokes to be sounded by the bell of the clock; and thus it happened, perhaps, that more of thought crept, with more of time, into the meditations of the thoughtful among those who revelled. And thus, too, it happened, perhaps, that before the last echoes of the last chime had utterly sunk into silence, there were many individuals in the crowd who had found leisure to become aware of the presence of a masked figure which had arrested the attention of no single individual before. And the rumor of this new presence having spread itself whisperingly around, there arose at length from the whole company a buzz, or murmur, expressive of disapprobation and surprise -- then, finally, of terror, of horror, and of disgust.

In an assembly of phantasms such as I have painted, it may well be supposed that no ordinary appearance could have excited such sensation. In truth the masquerade license of the night was nearly unlimited; but the figure in question had out-Heroded Herod, and gone beyond the bounds of even the prince's indefinite decorum. There are chords in the hearts of the most reckless which cannot be touched without emotion. Even with the utterly lost, to whom life and death are equally jests, there are matters of which no jest can be made. The whole company, indeed, seemed now deeply to feel that in the costume and bearing of the stranger neither wit nor propriety existed. The figure was tall and gaunt, and shrouded from head to foot in the habiliments of the grave. The mask which concealed the visage was made so nearly to resemble the countenance of a stiffened corpse that the closest scrutiny must have had difficulty in detecting the cheat. And yet all this might have been endured, if not approved, by the mad revellers around. But the mummer had gone so far as to assume the type of the Red Death. His vesture was dabbled in blood -- and his broad brow, with all the features of the face, was besprinkled with the scarlet horror.

When the eyes of Prince Prospero fell upon this spectral image (which with a slow and solemn movement, as if more fully to sustain its role, stalked to and fro among the waltzers) he was seen to be convulsed, in the first moment with a strong shudder either of terror or distaste; but, in the next, his brow reddened with rage.

"Who dares?" he demanded hoarsely of the courtiers who stood near him -- "who dares insult us with this blasphemous mockery? Seize him and unmask him -- that we may know whom we have to hang at sunrise, from the battlements!"

It was in the eastern or blue chamber in which stood the Prince Prospero as he uttered these words. They rang throughout the seven rooms loudly and clearly -- for the prince was a bold and robust man, and the music had become hushed at the waving of his hand.

It was in the blue room where stood the prince, with a group of pale courtiers by his side. At first, as he spoke, there was a slight rushing movement of this group in the direction of the intruder, who at the moment was also near at hand, and now, with deliberate and stately step, made closer approach to the speaker. But from a certain nameless awe with which the mad assumptions of the mummer had inspired the whole party, there were found none who put forth hand to seize him; so that, unimpeded, he passed within a yard of the prince's person; and, while the vast assembly, as if with one impulse, shrank from the centres of the rooms to the walls, he made his way uninterruptedly, but with the same solemn and measured step which had distinguished him from the first, through the blue chamber to the purple -- through the purple to the green -- through the green to the orange -- through this again to the white -- and even thence to the violet, ere a decided movement had been made to arrest him. It was then, however, that the Prince Prospero, maddening with rage and the shame of his own momentary cowardice, rushed hurriedly through the six chambers, while none followed him on account of a deadly terror that had seized upon all. He bore aloft a drawn dagger, and had approached, in rapid impetuosity, to within three or four feet of the retreating figure, when the latter, having attained the extremity of the velvet apartment, turned suddenly and confronted his pursuer. There was a sharp cry -- and the dagger dropped gleaming upon the sable carpet, upon which, instantly afterwards, fell prostrate in death the Prince Prospero. Then, summoning the wild courage of despair, a throng of the revellers at once threw themselves into the black apartment, and, seizing the mummer, whose tall figure stood erect and motionless within the shadow of the ebony clock, gasped in unutterable horror at finding the grave-cerements and corpse-like mask which they handled with so violent a rudeness, untenanted by any tangible form.

And now was acknowledged the presence of the Red Death. He had come like a thief in the night. And one by one dropped the revellers in the blood-bedewed halls of their revel, and died each in the despairing posture of his fall. And the life of the ebony clock went out with that of the last of the gay. And the flames of the tripods expired. And Darkness and Decay and the Red Death held illimitable dominion over all.


The Travellers Yellow Flag Programme of Religious, Ethnic and Racial Diversity Promotion for Ireland

I was quite moved by this, because the Traveller community is well-known for its tolerance of The Other, and for The Travellers Code of Pacifism. Naturally Tynkers would identify themselves with The LGBTTS Community, Salafis, Biafrans, Druze, Khazakhs, Jews, The English, and other oppressed peoples.

What is the Yellow Flag?

The Yellow Flag Programme provides a practical series of 8 steps that brings issues of interculturalism, equality and diversity into the whole-school programme and allows schools to apply them to the day to day running of the school. It works with students, staff, management, parents and wider community groups so that issues of diversity and equality are not merely seen as "school subjects" but can be understood and taken outside the school setting into everyone's personal lives. In parallel with the Green Schools, the Yellow Flag Diversity in Schools is both a practical programme and an award scheme, therefore; on completing these steps, and being assessed externally, the school is awarded its "Yellow Flag" in recognition of its work in promoting diversity & inclusion. The award is publicised locally, and the school can fly its flag with pride and use the logo on its official correspondence.


  1. Intercultural and Anti-Racism Training for Staff and Management
  2. Going beyond the School’s Walls: Engaging with the Community
  3. Establishing a Diversity Committee
  4. Conducting an Intercultural Review
  5. Formulating an Action Plan for a Diverse School
  6. Monitoring and Evaluation and Information Dissemination
  7. Curriculum work
  8. Production of a diversity code and anti racist policy for the school






"And a child shall lead them..."


Uploaded by  on Sep 25, 2011

Devorah Gottesman sings the chant called Sim Shalom.

Devorah is accompanied by Seattle Unity's music director, Erin McGaughan.

Members of the house band Olivia Hamilton, David Loy and John Stout; and DIOS singers Cindy McComish, Christina Sarver and Jaime Armstrong. 

Devorah's website is:

Erin McGaughan's website is:

Erin: "For somebody as pink and pointy as me, I got a real thing about diversity - spiritual, political, musical."

Christina Sarver's Facebook page is:

Kelly Gerling did the filming, editing, uploading. written descriptions, and annotating of these YouTube videos as a volunteer for the Seattle Unity Church.

His websites are:




Kike Ben Stein's Diary, The American Spectator, 2012.03.28

What if this recession NEVER ends? The Great Depression only really ended with total mobilization to fight World War II. What if ours is like that? What if Iran gets the bomb? What if there is a total meltdown in the Eurozone?

What a dope I am for worrying and complaining. I have plenty to eat. I'm not getting shot at in Burma or Belgium in World War II. I'm not being deported to a death camp.

Kike Ben Stein

Kike Ben Stein is a "Conservative" kike writer, kike actor, kike economist, and kike lawyer, living in Kike Beverly Hills and Kike Malibu. Don't say you weren't warned about vermin like him controlling the "mainstream" media. He writes "Kike Ben Stein's Diary" for every kike issue of The Kike American Spectator.



The name of Ireland shall of course be eternally cursed for the SIN of not having fought and died as a nation to defeat Hitler.

Ireland is a disgusting country, full of smelly racist bog-trotting shellelagh-wielding terrorists and shameless drunks.

It's not even illegal there yet to deny The Holocaust, the greatest crime of all time.

However, some small steps have been taken by the enlightened Irish elites to help make up for all the evil deeds of the more typical antishemitic Irish bastards.

Holocaust Education Trust Ireland 

Holocaust Education Trust Ireland

in association with the Herzog Centre, Trinity College Dublin

Certificate in Holocaust Education

Continuous Professional Development

for teachers, educators, clergy and community workers

A programme comprising 4 modules

Special Purpose award at NFQ level 7 carrying 20 ECTS


A Certificate in Holocaust Education providing in-depth tuition on the historical significance and contemporary resonance of the Holcaust. The programme provides participants with information, tools and skills to address this subject in their areas of work and to develop pedagogic expertise to complement their knowledge. The programme is divided into four modules, all of which must be completed by participants who wish to attain the Certificate.


Course Duration : 1 Year, August 2012 - September 2013

1. Learning from the Holocaust : October / November 2012 : 5 day programme that includes a 3 day study visit to Krakow and Auschwitz-Birkenau. In Poland, seminars, tours and lectures are incorporated into the schedule. The programme is supported by 2 separate seminar days, one in preparation for the study visit and one on reflection afterwards.

2. Irish Seminar at Yad Vashem International School : Jerusalem, July 2013 : 8 day programme for teachers at Yad Vashem International School for Holocaust Studies. The course is specially tailored for Irish teachers providing an in-depth exposure to the many facets of the Holocaust. The programme is supported by 2 separate seminar days, one in preparation for the study visit and one on reflection afterwards.

3. Teaching the Holocaust : August 2012 : Intensive 3 day Summer programme for teachers that addresses the complex subject of the Holocaust and how to teach it in the classroom. Lectures, interactive seminars, workshops, material and resources presented by renowned international Holocaust educators.

4. Dissertation or Special Project : There are four assignments to be completed on this programme : two essays (2000 words each), one field diary and one dissertation (5,000 words) or special project.

Cost : €1,495.00, this includes all tuition, travel and accommodation (p.p.s.)

This programme might be eligibke under the Teacher Refund Scheme

Modules 1, 2 and 3 can be undertaken independently of the Certificate

Enquiries : HETI, Clifton House, Lower Fitzwilliam Street, Dublin 2

Irish Holocaust Memorial Day

The national Holocaust Memorial Day commemoration takes place on the Sunday nearest to 27 January every year.

The event honours the memory of all of the victims of the Holocaust — six million Jews as well as over five million other victims - persecuted because of their nationality, ethnicity, sexual orientation, disability, religious beliefs or political affiliations. The inclusion of all of the victim groups is essential to the commemoration, highlighting the importance of education about anti-Semitism and all forms of intolerance.

The Holocaust Memorial Day commemoration demonstrates the Irish Government’s commitment to the Declaration of Stockholm, 2000, when the 44 signatory countries undertook to commemorate and teach about the Holocaust every year.

Holocaust Education Trust Ireland advises and assists Government with organising the annual Holocaust Memorial Day commemoration.

Remarks by President Michael D. Higgins at the Holocaust Memorial Day Commemoration, Sunday, 29 January, 2012

Is breá liom bheith anseo i bhúr measc ag an ócáid speisialta seo, agus ba mhaith liom mo bhúiochas a chur in iul díbh as an chuireadh agus as fáilte fíorchaoin.

Ladies and Gentlemen,

I am delighted to be here today for the national Holocaust Memorial Day commemoration this evening.

We are honoured to have among us this evening a small number of Holocaust survivors in Ireland who were children during this dark period of history. I would personally like to acknowledge those survivors present here this evening:

· Suzi Diamond,

· Jan Kaminski,

· Tomi Reichental and

· Zoltan Zinn-Collis.

I thank you for coming here and for so generously sharing your personal and traumatic experiences with the children in our schools and with the wider community.

I am also delighted to see so many children participating in this evening's commemoration. I believe there are one hundred school children here from around the country and I know that later on some of you will read from the scroll of names of cherished family members who perished in the Holocaust and who had personal links to people living here in Ireland.

The Jewish American writer and concentration camp survivor Eli Wiesel, writing about the dark and terrible moment in world history that was the Holocaust has posed the question 'how do we remember'? Today we are offered an opportunity to remember, to reflect on actions that sent waves of horror, shock and revulsion across the world, to remember a people whose culture and identity was sought to be eliminated, and the six million Jews who lost their lives in the concentration camps of Europe. This action, the crime of genocide, is of such an order that lifts it beyond consideration of murder. What is broken, what is violated is the human community itself as Hannah Arendt suggested.

The Holocaust is a huge stain on European history, one that shows us the true evil that can emerge from hatred, prejudice and intolerance; the terrible inhumanity that can arise and how an ideology can emerge that threatens the order of humanity itself. It showed us the horrific story that unfolds when genocide is unleashed, and allowed to become state policy and the consequences of such a silence as becomes complicity. It also shows us the dangers of looking the other way, of denial or of simply 'not wanting to know'.

The philosopher and writer George Santayana once reminded us that

'He, who does not learn from history, is doomed to repeat it.' Today, over sixty years after those terrible events, we continue to regard the Holocaust with horror, revulsion, shock and disbelief. It is important, however, that we also continue to learn lessons from the horrors of Nazi persecution and genocide and apply that learning to the present day in order to ensure that the consequences of discrimination, injustice, apartheid and intolerance are not forgotten by our own or future generations.

Today, the visible signs of war and death have largely disappeared from the streets of Europe, even if they are still all too present in other zones of conflict around the world. Fewer and fewer Holocaust survivors still live to testify and tell their stories. As time continues to pass, and we move further away from that dark and bleak chapter of inhumanity, we too, like Eli Wiesel, must ask ourselves 'How do we remember?'

There are, of course, those who would like to ensure that we would not remember; that we would not learn from the nadir to which human behaviour fell in this period; or, at its most perverse, that we would understate or indeed deny the horrific events that caused the slaughter of millions of persons across Europe. There can be no doubt that to deny the Holocaust is an abuse of history. It is a rejection of scholarship, a wilful denial of truth and, most grievously, it is a refusal to learn from a shameful moment in human history. Denial is a profoundly immoral act, the condemnation of which must never be a matter of equivocation.

As humanitarians or simply as fellow human beings, it is important that we continue to work to preserve the memory of the many people whose lives were taken so shockingly and so tragically, and that we commit to remembering and drawing lessons from actions that have taken place, as well as from the actions that should have happened but did not. It is important that, despite the passage of time, despite events and participants beginning to fade into the distance, we do not make the unforgiveable mistake of forgetting the cold, wilful annihilation of innocent people which was the Holocaust. The Jewish people, the communists, the gays, the gypsies, the trade unionists about whom so many were silent. It is critical that we do not become indifferent, or doubting, or allow people to distort the past for their own ends.

In signing the Stockholm Declaration in 2000, the Irish Government committed, along with its European partners and the wider international community, to commemorate the victims of the Holocaust and to honour those who took a stand against evil. Moreover, as part of its full membership of the Taskforce of International Cooperation on Holocaust Education Remembrance and Research, the Irish Government has recently committed itself to ensuring that the lessons of the Holocaust are promoted for the next generation. This is an important ongoing responsibility and one we must all play our part in discharging.

On this Holocaust Memorial Day let us commit to doing our part, no matter how modest, to remember and to ensure others remember now and into the future. And because we remember, let us work to combat any discrimination or inequality in our society as we build a now richly diverse Ireland and a country that is mindful of playing its part in the global struggle for human decency. Let us remain vigilant and continue to share a common obligation to value and uphold human dignity, freedom, equality and democracy.

I would like to conclude by commending everyone participating in today's commemoration. I would like to thank Dublin City Council and the Lord Mayor of Dublin for facilitating and hosting this event in this beautiful venue. I know that many people have travelled from all over Ireland and abroad to be present here this evening and I am very privileged to be part of this important event.

Holocaust Education Trust Ireland Podcasts








I Sensed That I Was Going Mad



Hara Setsuko 原節子 Cool



Hara Setuko (原節子) was the Shōwa-era icon of "Yamato Nadeshiko" (大和撫子) -- the personification of the ideal Japanese woman -- gracious, frugal, chaste, determined, hard-working, and able to endure any sort of hardship.

Yamato is an ancient name for Japan. It signifies traditional Japan, and the Japanese people in general. Nadeshiko (ナデシコ) is the frilled pink carnation (Latin: Dianthus superbus). The Japanese woman's soccer team (the current world champions) is called Nadeshiko.

Hara Setsuko's fifth starring role, at age 18, was in a 1937 Aryan-Japanese co-production, that was released in two different versions: as Atarashiki Tsuchi (新しき土, The New Land/Soil/Earth) in Japan; and as Die Tochter des Samurai (The Daughter of the Samurai) in Germany.

New Land / Daughter of the Samurai was directed by Itami Mansaku (伊丹万作) [Note 1] and by Arnold Fanck, who wrote the screenplay.

Fanck supposedly began working with the Japanese Ministry of Culture after being criticized by the German Propaganda Minister Joseph Goebbels, for having worked in 1934 with Gregor Rabinowitsch, a Kike movie producer. (The Kike Rabinowitsch suffered through the war years in Hollywood, and returned to post-war Germany to work again as a succesful producer of Kike propaganda.)

Fanck was a former geologist, and was well-known in Germany for mystical “mountain-films” such as Der Heilige Berg (The Holy Mountain, 1926), which starred a young Leni Riefenstahl. Mount Aso (阿蘇山, Aso-san) was featured in New Land / Daughter of the Samurai. Mount Aso is the largest active volcano in Japan, and is among the largest in the world.

The Story

The hero, Yamato Teruo (played by Kosugi Isamu), is a foolish, liberal-minded youth, who has been corrupted by his stay in Europe. He has come to despise his homeland, and to admire Masonic so-called "Democracy" and "Progress". Then he visits National Socialist Germany, and is amazed at its accomplishments.

Teruo then returns to Japan, where his fiancée, Yamato Mitsuko (played by Hara Setsuko) is waiting for him. But on the ocean voyage he falls in love with a German woman, Gerda Storm (played by Ruth Eweler).

Hara Setsuko 原節子  & Ruth Eweler, Atarashiki Tsuchi 新しき土, 1937

Hara Setsuko & Ruth Eweler

Distraught over Kosugi's love for the Storm woman, Mitsuko attempts to kill herself, by jumping into Mount Aso. Her father intervenes, and then educates the young couple about Japan's accomplishments, and reminds them of their patriotic duty. Also, Fräulein Storm sets the young hero straight, and sends him back to Mitsuko.

The happy newlyweds then move to Manchuria, take up farming, and have a son.

+ + +

The two directors disagreed intensely about the direction of the movie. Itami was disgusted with the movie's blatantly political message, and with the stereotypical presentation of life in Japan. Fanck insisted that the first German-Japanese cinematic joint venture had to have a clear pro-Nazi message.

The two directors then filmed the same scenes at different times. Fanck shot all of his scenes in the daytime, and Itami shot his at night, using the same sets and locations. The situation filled the cinematographer, Richard Angst, with great angst, since he had to work day and night.

Both versions premiered in Tokyo -- Itami’s first, then Fanck's a week later. The critic Sawamura Tsutomu 沢村勉 [Note 2] wrote, in his review: “It is no more than an attempt to form Nazi propaganda out of Japanese raw materials.” (Eiga Hyoron, March, 1937.)

In Germany the Fanck version was very well-reviewed, and was praised by Dr. Goebbels, in spite of his alleged vendetta against the director.

New Land / Daughter of the Samurai set new box-office records in Japan and in Germany.

The German Chancellor, Adolf Hitler, attended the premiere with Hara-san.

+ + +

In 1944, Fanck made a documentary about the sculptor Arno Breker called Arno Breker – Harte Zeit, starke Kunst. In 1945 -- at the beginning of our present Dark Age -- Fanck's movies were banned by the Kiko-Masonic UK-USA-USSR-French occupation authorities; and Fanck went to work as a lumberjack.

Hara Setsuko 原節子 Germany 1937

Hara Setsuko 原節子, Germany, 1937

Hara Setsuko 原節子 Atarashiki Tsuchi 新しき土 1937

Hara Setsuko 原節子 Atarashiki Tsuchi 新しき土 1937

Hara Setsuko 原節子 Atarashiki Tsuchi 新しき土 1937

Hara Setsuko 原節子 Atarashiki Tsuchi 新しき土 1937

Hara Setsuko 原節子 Atarashiki Tsuchi 新しき土 1937

Images from The New Land / The Samurai's Daughter

Hara Setsuko 原節子 Shochiku Film Magazine 1949.09

Hara Setsuko, Shochiku (Film Magazine), 1949.09

Hara Setsuko 原節子, Late Spring:

Hara Setsuko, in Late Spring: "Love doesn't always mean a happy marriage."


1. Itami Mansaku (伊丹万作):

Father of Itami Jūzō (伊丹十三); and father-in-law of the Communist agitator and Nobel Laureate, Ōe Kenzaburō (大江健三郎).

Itami Jūzō was the director o Tampopo, Marusa no Onna (A Taxing Woman), Minbo no Onna (Minbo—or the Gentle Art of Japanese Extortion), etc. He was either murdered by the Gotō-Gumi (後藤組) or "committed suicide".

The Gotō-Gumi is a Yakuza faction connected to the Sōka Gakkai (創価学会) cult. The head of the Gotō-Gumi was granted permission by the FBI to enter the US to buy a new liver; and then became a Sōka Gakkai monk. Sōka Gakkai is a Masonic Buddhist cult, which became a global force under the leadership of a shady Korean. It is very close to various Kike outfits, such as the Simon Wiesenthal racket.

2. Sawamura Tsutomu (沢村勉):

Sawamura was the foremost proponent of the concept of Kokumin Eiga 国民映画 (The People's Cinema), and demanded that the artist must serve The Volk. He wrote that cinematic artists must work with government agencies to promote the national interest, but was opposed to the idea of bureaucrats dictating artistic policies.

Throughout the war years, Sawamura kept a close watch on writers and directors' adherence to his shifting concepts of Nationalist ideological correctness, condemning anyone who failed to live up to his high-minded ideals of spiritual purity.

Sawamura, in 1940: "It is the new task of art to lead people out of the everyday reality toward the ideal shape of what they want to be."

He was a vigorous supporter of Japan's attempts to set up the New Order in Asia. He was drafted into the army and briefly sent to Manchuria as a Private, Second Class. The rigours of army life proved too much for the frail mandarin. He was soon hospitalized, and then shipped back to Japan as a civilian, to continue the ideological fight.

After the war, he produced and directed a series of trashy genre flicks.



Liam Stacey 56 Days Prison For Insulting Negro 

Liam Stacey sentenced to 56 days in prison for posting comments online about Fabrice Muamba | 27 March 2012

A student has been jailed for 56 days for posting comments on Twitter about Bolton Wanderers footballer Fabrice Muamba, a refugee from Zaire.

Liam Stacey was arrested after his tweets were reported to police by Twitter users from across Britain

The 21-year-old cried throughout the hearing and held his head in his hands when he was sentenced. He was led away in handcuffs.

District judge John Charles told Stacey: "It was racist abuse via a social networking site. ... I have no choice but to impose an immediate custodial sentence to reflect the public outrage at what you have done. You committed this offence while you were drunk and it is clear you immediately regretted it. But you must learn how to handle your alcohol better."

Other Twitter users criticised Stacey strongly. This prompted him to post a series of insults, some of a sexual nature, aimed at those who had attacked him. Users reported him to police forces around Britain.

In mitigation, Gareth Jones, defending, said: "My client simply lost his head and posted these disgusting comments to both the bitter shame of himself and his parents. He is no longer welcome at [Swansea University] because he has damaged their reputation and there are fears of reprisals."

Swansea University, where Stacey is a biology undergraduate, said after the hearing that he had been suspended and a disciplinary hearing would be held.

Lisa Jones, prosecuting, told Swansea magistrates that Stacey texted a friend to say: "I said something about Muamba that I shouldn't have and tweeted back to some people who abused me. Getting police on me now, which isn't good at all."

Police arrested him in Swansea. When interviewed, Stacey said he was drunk at the time.

He told police: "I don't know why I posted it. I'm not racist and some of my friends are from different cultural backgrounds."

After his initial court appearance, Stacey was released on bail on condition that he stayed off Twitter and other social networking sites.

The swiftness of the arrest demonstrates how seriously police are taking the posting of potentially criminal comments on social networking sites by so-called trolls.


It's The American Dream

Her thug son -- Trayvon "No Limit Nigger" Martin, Sayn't Trayvon uv da Hoodie -- gitz his-self shot dead.

Now she don gotz ta spend da nex 30 years til she dead visitin him in da pen, n she gitz ta score herself benjaminz-fo-life.

Big Kuntry King - My Turn To Eat 

From The Smoking Gun

Mother Seeks Trayvon Martin Trademarks

Records: Late teenager's kin filed pair of applications last week

Comments (271)

MARCH 26--The mother of Trayvon Martin has filed two applications to secure trademarks containing her late son’s name, records show.

Sybrina Fulton is seeking marks for the phrases “I Am Trayvon” and “Justice for Trayvon,” according to filings made last week with the United States Patent and Trademark Office. In both instances, Fulton, 46, is seeking the trademarks for use on “Digital materials, namely, CDs and DVDs featuring Trayvon Martin,” and other products.

The March 21 USPTO applications, each of which cost $325, were filed by an Orlando, Florida law firm representing Fulton, whose first name is spelled "Sabrina" in the trademark records.

Martin, 17, was shot to death last month during a confrontation with George Zimmerman, a 28-year-old neighborhood watch captain. Martin, pictured above, was visiting his father’s home in Sanford, Florida when he was shot to death by Zimmerman, who has claimed that he was acting in self-defense. (6 pages)

Sayn't Trayvon uv da Hoodie TM 01

Sayn't Trayvon uv da Hoodie TM 02

Sayn't Trayvon uv da Hoodie TM 03

Sayn't Trayvon uv da Hoodie TM 04

Sayn't Trayvon uv da Hoodie TM 05

Sayn't Trayvon uv da Hoodie TM 06


From "Notes From The Underground"

NFTU: True Orthodox and Ecumenical News

Letters: "Neo-apocalyptic Literature" and True Orthodoxy Today

By Deacon Joseph Suaide, 2012.03.16

A Letter from a Reader:

"True Orthodox must wake up and stop admiring their so-called adherence to Orthodoxy. Most of the hierarchs are looking out for their stomach. It is a scandal that there are so many sects of traditional orthodox and the people are left to the wolves. The world has a world religion. It is upon us and the True Orthodox are sleeping. Forgive me. See articles below. G."

Dear friend,

Thank you for your letter!

Near my home is an abandoned Masonic temple, designed in the classic "creepy" style of such structures, this one being apparently a triangular prism. It has been closed for many years, and is an example of the contributions of groups to our general history. Such groups controlled the architecture and urban development of much of the American landscape over the past two centuries and before, and it is a reminder that all man's plans laid are nought before God, who sees all and will judge all mankind from its inception to the present on the last day. I often consider how great those freemasons who built the temple thought themselves, and how worthless the structure has become, a home now to perhaps 200 generations of rats.

Watching the "All-Powerful Elite" Can Become a "Religion" All its Own

This current theme --  which becomes popular among many Orthodox trying to explain the origin of the evil and anti-Christian times in which we live -- of "elite-watching" is helpful to understand the state of humanity in which we're living but can oftentimes become a religion in and of itself. Your phrasing almost sounds like it would be of a benefit to me to abandon True Orthodoxy and spend more time following the "Vigilant Citizen" site. Believe it or not, I actually get updates from that site in my email, so while I appreciate your sentiment, I must point out that this is fundamentally misguided -- many True Orthodox Christians, long persecuted by both local and global forces against the Church, do in fact have a working knowledge of the general workings of these groups which control a large part of our "cultural development" (through music, television, cinema).

However, the response to such theories must simply be the same as it has been for two thousand years: we need to fast and pray, and remain obedient to the teaching of the Church, and keep our eyes watchful for the evil that lurks about us. The Fathers of the Church have taught consistently about the coming of Antichrist, and the world at that time. There is nothing more "advanced" or "comprehensive" that we need to learn. To say that "It is a scandal that there are so many sects of traditional orthodox and the people are left to the wolves...The world has a world religion... It is upon us and the True Orthodox are sleeping" tells me that you take "new apocalypticists" more seriously than you take Our Lord Jesus Christ, who is with the Church "until the end of the age".

The Goal of the Enemy is Always the Same: Separation from the Church

Many of these new "apocalyptic hypotheses" are in fact anti-Christian -- that is, they are designed to lead people from the faith -- and play into the hands of the globalists, who want nothing more than to lead us away from Orthodox truth: belief in mass annihilation without the providence of God (Georgia Guidestones hypothesis) or beliefs of a fully enslaved mankind to an elite (a constant theme in much of this "apocalyptic" literature) or that the earth can be destroyed by its residents (underpinning much of the climate change and global warning theses) go against what the plain teachings of the Fathers about the end comprise in terms of what must and will happen: the Temple must be rebuilt, 1/3 of the population will be destroyed by a fundamentally otherwordly process-- allowed not by man, but God -- the other 2/3 to be under the grip of Antichrist for a few years, et cetera. Such a straightforward teaching protects us from such proud ideas that man, not God, is in control of the general situation.

The Fathers versus the "New Apocalyptic Teachings": a last schism?

That said, while the record of most True Orthodox leaders has ranged from cautious to zealously protective for their flocks against the globalist agendas, the record of certain among the True Orthodox (far less so than in World Orthodoxy) has been incredibly disappointing. At least three Synods in Greece and Romania, for example, basically treat the events in the book of Revelation are allegorical, one going so far as to forbid the reading of even Orthodox literature on the subject and another dismissing concerns of the zealots about globalism as "superstition". Thus they have joined the many World Orthodox who likewise treat the evils of this era not as harbingers of the time of Antichrist, but a time of great "earthly progress". This was condemned by the Synod of the Patristic Calendar, as well as the Synod of Archbishop Makarios, and most Catacomb Churches in Russia as delusional at its core and potentially -- if not already clearly -- heretical. It goes very much against the Church's central teaching that society does not improve but worsens with each passing generation, as we come closer and closer to the end of days and the Final Judgment by Our Lord. Certainly many will repose before then, but the Orthodox teaching remains heretofore unchanged.

My hypothesis-- in part validated by the fact it is increasingly occurring throughout the world --  is that we shall probably see one more schism in our own lifetimes, which will fall outside the lines with the general Unia -- but not by much: a division between those with underlying modernist beliefs which see the advent of the demonic and its tools through the lenses which the monied elite want us to see them -- as "forward progress" -- versus those who humbly accept the Patristic teachings and try their best to live according to those dictates, taking, as Christians have done through all ages, that which is good of a time, making use of it, but never forgetting that nothing in this world should be an end in itself but a means to an end. That division, between "progressives" and "traditionalists", is the same as it was in the earliest days of ecumenism, and every heresy before it: those who want communion with the world and those who want communion with Christ.

In Closing: The Patristic Teaching on the End is Sufficient Foundation for Understanding

I would recommend this site,, which details the simple Patristic teaching on the end from the words of many Fathers of the Church. You will be surprised how surprisingly consistent they are, and once you are honestly knowledgeable about what is to come, you will worry less, and focus on your salvation, which is the purpose of the Church of Christ from its establishment to these last days.

Thank you again for your letter, and I hope my answer was helpful. Remember this is Great Lent and there is much for us to do.

In Christ,
Deacon Joseph




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