FREE REINER - A DOCUMENTARY

 This is the trailer:

https://www.bitchute.com/video/Hcc0h37ZJ7X4

Extraordinary

  

A historian none of us have heard about.  Explains a lot to me.

British.  History was his passion but he didn't become an academic because he didn't like paper pushing and hierarchies.  He decided to be a researcher into the archives, and to interview people still living who were direct witnesses of historical eras and figures.  Early in his twenties he found a job in a steel factory owned by Thiessen, who took him on as an unskilled worker. In the course of that work he learned German.

https://www.bitchute.com/video/NW8bFLN45guZ/?list=notifications&randomize=false

41:14   Falsification of documentation. For example, alleged Nazi documentation referring to the gassing of Jews in Auschwitz.  He pointed out the lack of stamps and codes on what had to be highly classified documentation, alleged to have been issued by the high German command and referring explicitly to the gas chambers for death camps.  

He pointed out that a series of diaries "by Hitler" were all written in identical notebooks, more than 20.  Diaries are never bought in one store in large quantities outright. Journals are always kept in notebooks that are all different because they are bought at different times, in different shops. Bingo.

42:43  "Holocaust" as referring to the gassing of Jews is a new word: it was not in the press before 1970. (There was a famous TV series with that title in the U.S. in the 70s that made it part of our vocabulary, I remember this.)

 43:38  "Holocaust Denier".  "Bits of the story are undoubtedly true." But if you question it, or are skeptical about the 6 million figure, you better run for the hills. 

Irving asks: "Was it done premeditatedly?  On the orders of Hitler as head of state? Or did it just happen? Was it premeditated, or was it second degree murder?" Was Auschwitz equipped to kill four million people by gassing them, then incinerating the bodies?

45:53   "Genocide vs Inocenticide. The killing of innocent people in war.  It wasn't a crime because they were Jews, it was a crime because they were innocent Jews that were being killed.  To make it only about Jews is to exclude all the other innocents killed during WW II, in Europe, in Asia. Genocide limits the concept and who is entitled to reparations (money).  It wasn't their race that made it a crime.  It was their innocence.  But an entire industry has been built around it."  

(And it became a religion that is unquestionable. If you question anything about it --- off to get burned at the stake you go.)

"It's Big Money.  American taxpayers paid 4 billion dollars are year to Israel because they were "guilty". (This was in 1995; actually it's more like per month now.)  You're guilty because you are the same religion and the same race as the Germans who perpetrated the Holocaust.  If anyone complains, he is instantly accused of being anti-Semitic.  Germany was paying a billion per year to Israel."

I'm amazed he hasn't gotten a plug of lead in the head. But at one point he did lose everything and was put in prison. He spent ---if I remember correctly--- four years in solitary confinement.

48:05   "I haven't got an ax to grind.  But I am a truthful historian and I'm going to ask certain questions."

 48:57   The Questions.  A problem of mathematics.  The original figure was that 4 million Jews were killed in Auschwitz concentration camp. "Since we revisionists, as we're called, began campaigning about this four or five years ago, suddenly the four million figure has been abandoned; there's now only one million. It's extraordinary. They wiped off four million from Auschwitz and yet the overall figure of six million hasn't changed." 

You can watch the video. It's interesting, to say the least.  He won the trust of all Hitler's former typists and got them to pull out from under bed all their cardboard boxes full of papers...

                                                                     Now in his eighties.

I left this comment:  

I imagine he wrote about the ghettoes, which were open-air concentration camps, before the war began and the bombings of Germany. They preceded the train transports to the real camps. It's all very complex, and we are invariably fed versions that are abridged, from sources with institutional bias who don't state their bias. Independent historians abounded in the 19th century, often independently wealthy scholars motivated by personal vocation. Irving is one from the 20th century. Time is needed to start to understand the past, but it's still a battle between factions who want to control the narrative.

 Individuals who decide to do their own investigating are rare, and they are absolutely needed.  The ones who break out of obscurity while they're still alive, are very rare.

Mircea Eliade (EN and SP)

 

April 30, 1997

Mircea Eliade said to Claude-Henri Rocquet:

(Cannibalism in religions)

"Set in the whole of which they are a part, these terrible, grotesque, revolting things recover their original significance, which was to provide a meaning for life that would incorporate the unavoidable fact that any life necessarily implies the death of others --- that one is doomed to kill in order to live.

They express the condition imposed on the human mind and spirit by history, a tragic condition, true, but very creative, too!

Confrontation with the void, with nothingness, with the demonic, the inhuman, the temptation to regress into the animal world --- all those extreme and dramatic experiences are the source of man's greatest spiritual creations.

Because, given those terrifying conditions, man was still able to say yes to life and find a meaning in his existence."

And:

"We don't live in a world of angels or spirits or in a purely animal world, either.  We are "between".

And I believe that confronting the revelation of this mystery always leads to an act of creation.  I believe that the human spirit is at its most creative when faced with great ordeals."

Ordeal by Labyrinth, 124-5.

.......................................................................................................................................................................

(El canibalismo en las religiones)

Mircea Eliade dijo a Claude-Henri Rocquet:

«Cuando se las sitúa dentro del conjunto del que forman parte, estas cosas terribles, grotescas y repulsivas recuperan su significado original, que era proporcionar un sentido a la vida capaz de incorporar el hecho inevitable de que toda vida implica necesariamente la muerte de otros; de que estamos condenados a matar para poder vivir.

Expresan la condición impuesta a la mente y al espíritu humanos por la historia: una condición trágica, sin duda, pero también sumamente creadora.

El enfrentamiento con el vacío, con la nada, con lo demoníaco, con lo inhumano, con la tentación de regresar al mundo animal: todas esas experiencias extremas y dramáticas constituyen la fuente de las más grandes creaciones espirituales del ser humano.

Porque, aun en medio de esas condiciones aterradoras, el hombre fue capaz de decir sí a la vida y de encontrar un sentido para su existencia.»

Y también:

«No vivimos en un mundo de ángeles ni de espíritus, pero tampoco en un mundo puramente animal. Estamos "entre" ambos.

Y creo que la confrontación con la revelación de este misterio conduce siempre a un acto de creación. Creo que el espíritu humano alcanza su máxima creatividad cuando se enfrenta a grandes pruebas.»

Prueba del laberinto (Ordeal by Labyrinth), pp. 124-125.

July 15, 1997 Joseph Campbell (traducido al esp.)

 

Joseph Campbell taught me something important last night.  He clarified what I'm going through, and why it was useless to approach Antonio Skármeta.

...in a small community like Athens, the relationship of the creative artist to the local social leaders would be forthright and direct, they would have known each other since boyhood; whereas in such a community as, say, our modern New York, London or Paris, the artist who would be known has to go to cocktail parties to win commissions, and those who win them are the ones who are not in their studios but at parties, meeting the right people and appearing in the right places. They have not been quite enough engaged in the agony of solitary creative work to press beyond their first acquisitions of marketable styles and techniques.

And the next consequence is "instant art," where some individual with as little formal agony as possible simply renders something unforeseen --- which is then criticized and either advertised or suppressed by either friendly or unfriendly newspaper folk (his language is quaintly dated), who have also had a lot of socializing to attend to and, with insufficient time for extracurricular study or experience, find themselves baffled before anything really complex or significantly new.

................................................................................................

Joseph Campbell me enseñó algo importante anoche. Me ayudó a entender lo que me está pasando y por qué era inútil ponerme en contacto con Antonio Skármeta.

En una comunidad chica como Atenas, la relación entre el artista creador y los líderes sociales del lugar era franca y directa; se conocían desde chicos. En cambio, en una comunidad como, digamos, nuestro Nueva York, Londres o París actual, el artista que quiere hacerse conocido tiene que ir a cócteles para conseguir encargos. Al final, los que se los llevan son los que no están en sus talleres sino en las fiestas, conociendo a la gente adecuada y dejándose ver en los lugares de moda. No le han dedicado el tiempo suficiente a la agonía del trabajo creativo en solitario como para ir más allá de sus primeros estilos y técnicas comerciales.

Y la siguiente consecuencia es el "arte instantáneo", donde cualquiera, ahorrándose toda la agonía formal posible, simplemente arma algo imprevisto. Luego, la gente de los periódicos (el lenguaje de Campbell es simpáticamente anticuado), ya sea por buena o mala onda, critica eso, lo publicita o lo censura. Ellos también tienen que ir a un montón de eventos sociales y, como no tienen tiempo para estudiar o ganar experiencia por su cuenta, se quedan colgados ante cualquier cosa que sea realmente compleja o significativamente nueva.

---

From my diaries. Volume 11. 27 April to 26 July 1997

 

24 April 1997

Started reading Morris Berman's book and I'm surprised to find that what I aspire to mobilize 

is the 5th body, the Zeitgeist!

21 April 1997

On the bus I started to cry at the thought of my new loss, but I discovered my motherless child self was the source of the pain. The other part of me simply accepts loss, accepts what is, neutrally.

And that is the part of me that I love and that I wish to follow always.

It seems capable of holding me steady on my course.  It's a tower I can lean on, 

it will never let me down.

The words carry me forward, and their inexhaustible source: Meaning.

Oh words, how you've led me to my destiny.

I can only thank you by giving you praise all my life.

Mi padre, Juan Medina Ortega, circa 1965, con sus amigos de San Miguel Brewery.

 

Mi padre fue un señorito mestizo de español.

Era muy sociable, cálido, educado, para nada fanfarrón, mantenía un bajo perfil.

Era vividor.  Amaba a las mujeres pero no las trató muy bien tampoco.  Era paliquero.

Me amaba a mí.  Admiraba mi buen inglés.  

Hablaba español pero nunca en casa, solo con aquellos amigos, mestizos como él.

Me acuerdo mucho de ese hombre en el centro, alto, moreno, muy atractivo.

Todos los hombres que trabajaban en la Cervecería San Miguel, en el edificio antiguo cerca del Palacio de Malacañán, eran buenmozos, mestizos de español muchos de ellos.  Filipinos de otra época.

Mi papá peleó contra los japoneses como guerrillero, porque su tío Ángel era un líder y lo salvó a él y a su medio hermano Críspulo, de ser asesinados por los guerrilleros filipinos hijos de puta.

Mi papá no era cobarde. Tenía principios.  Nunca lo sorprendí diciendo una mentira.  

Perdió a su papá cuando él tenía 19 años y su padre, 49.

Yo también lo perdí cuando él tenía 49 años y yo, por cumplir 20.  Le dio un tercer infarto, cuando viajaba a San Francisco, California para reunirse con nosotros.  Colapsó en la fila de la inmigración en Honolulu, Hawái.

Menos mal, alguien lo reconoció y pudieron llamar a mi mamá en San Francisco.

Yo en 1997

                                                      Mi abuelo paterno, Emilio Medina Lazo

Iglesia de la Veracruz, Barrio Lastarria, Santiago de Chile

 

La iglesia del barrio Lastarria que sufrió un grave incendio durante el estallido social es la Iglesia de la Veracruz. 

Este templo, declarado Monumento Histórico en 1983, fue incendiado el 12 de noviembre de 2019 por un grupo de encapuchados en medio de las manifestaciones que ocurrían en el sector. 

Detalles relevantes sobre el suceso y el estado del templo:

• Ubicación: Calle José Victorino Lastarria 124, Santiago Centro.
• Daños: El fuego consumió gran parte de su interior, incluyendo el salón principal, el piano, cuadros históricos, mobiliario, puertas y parte del frontis.
• Historia: Fue diseñada originalmente por el arquitecto francés Claude Brunet de Baines y terminada por el chileno Fermín Vivaceta a mediados del siglo XIX.
• Estado actual: Tras permanecer cerrada por varios años, ha pasado por procesos de rehabilitación y se ha mantenido abierta al público en un estado de "ruina abierta" o museo vivo, mostrando las huellas del incendio como parte de su historia reciente. Según reportes de medios como The Clinic y La Tercera, existen proyectos en curso para su restauración definitiva. 

See with your own eyes

 

Just do it.

https://rumble.com/v78ne5g-911-see-with-your-own-eyes.html?e9s=src_v1_eh_us

Casas-hacienda en Perú, Filipinas, Chile, Colombia, México, Cuba.

 

                                                             

Hacienda Limatambo

A hacienda house in 19th century Perú.

They superimposed the old photo over the video but you can appreciate

the grandeur of the Hacienda Limatambo.  This was part of it.

Now I understand why the Spanish pooh-poohed the Filipino hacienda house. In comparison it was the poor relation of these European-style estates in Hispanic-America.

Mexico was one of the richest countries of Hispanic America, a Virreino or Viceroyship.

Meaning it was the royal branch (along with Peru).

A very imperial casa-hacienda.

Casa hacienda San José - Chincha, Perú.

HACIENDA - DIÓCESIS DE IMUS (CAVITE, FILIPINAS)

One can see a unifying architectural aesthetic, though adapted to the tropics.

                                                       Also a photo of Hacienda de Imus.

                                         Casa en Santa Cruz? (The last word is hard to read.)

                              The photo caption in English says that this was a farm house owned by

                         the Augustine friars that was destroyed, 1896.  But it doesn't look destroyed.

                         There are other photos where it does.

HACIENDA BUCALEMU, CHILE:

HACIENDA CAFETERA, COLOMBIA

                                     I believe that this hacienda house is in the "Antillian style",

                                 developed in the Caribbean colonies.

                                    According to Google, some characteristics:

                                      

• Ventilación Cruzada: Uso extensivo de persianas, persianas de madera (persianas) y ventanas amplias que permiten el flujo de aire constante.
• Diseño: A menudo cuentan con amplios corredores o galerías perimetrales para generar sombra y espacios de descanso. 

Casa hacienda Trinidad de Cuba

Declarado también como Patrimonio de la Humanidad, se levanta majestuoso en Trinidad de Cuba el Valle de los Ingenios. El sitio aún conserva las casas haciendas que en el siglo XVIII convirtieron a la villa en uno de los lugares que más producía caña de azúcar, gracias al trabajo esclavo. 

Another beautiful casa-hacienda in Cuba:

                                                      Hacienda Fraternidad

Here it has clearly been renovated.

                                                        We appreciate the setting.

Video of Rizal done with AI: First (and Last) Visit to the U.S.

 

Of course, he wouldn't have carried his own wooden luggage.

He would have had a bigger trunk, lined with leather, the kind that opened up and 

you could hang clothes in.

Below are examples of traveling trunks in the late 19th century:

                                                        This trunk was made of rattan.

He was able to finance the trip to Japan and the U.S. because he had saved a lot of money during his stay in Calamba from July 1887 to February 1888, treating patients, many of whom could pay him well.

Especially because there were few opthalmologists of his calibre outside or even in Manila.

Rizal was also trained in general medicine before he specialized in opthalmology 

in Dr. Wecker's Paris clinic.

José Rizal in America ... Journey Across the US)

https://mail.google.com/mail/u/0/?hl=es&shva=1#inbox/QgrcJHsHkJzGgnWdKqghtTcsVBXbhLQbZxb?projector=1

Worth watching.

A longer version could be made that directly quotes from Rizal's diary.  It is true that one of his important themes was racism, which was hardly mentioned in the little we learned about him in our lessons in the 1970s.

This is excellent, I love to see the living, breathing portrayal of Rizal.