Thursday, May 16, 2019

'The Unwomanly Face of War' records Russian women fighting in WWII
Svetlana Alexievich, whose oral histories of Soviet and Russian lives earned her the Nobel Prize for Literature, collected the stories of hundreds of Soviet women World War II vets.


July 25, 2017
By Bob Blaisdell

In World War II, about a million Soviet women helped their country fight the Nazis. When the war ended, most of those women, who had served as pilots, snipers, mine-detectors, nurses, cooks, and laundresses, quietly went home and resumed everyday life.

Twenty million of their fellow citizens had perished, meanwhile, in those four years. Many of the women tried to forget what they had seen, but for the most part, even 40 years later, they hadn’t.

Svetlana Alexievich – a recipient of the Nobel Prize for Literature and a brilliant practitioner of the art of oral history – lent hundreds of Soviet women veterans an ear in the early 1980s and listened and listened.


The Unwomanly Face of War, Alexievich’s first oral history, was published to acclaim and alarm in the Soviet Union in 1985 and has been reprinted several times there and substantially revised since. It is now available in English in a new translation by Richard Pevear and Larissa Volokhonsky.





In 1941, most Soviet women believed fervently in the national effort (Stalin’s unforgivable crimes and betrayals against his own citizens were as yet unknown to most of the public), but many of the women Alexievich interviewed admitted they had no idea what they were getting into: “At first you’re afraid of death,” said one woman.

But she adds, “In the end only one fear remains of being ugly after death. A woman’s fear.”


If “The Unwomanly Face of War” is less intense than Alexievich’s terrifying “Voices from Chernobyl” or the hair-raising “Zinky Boys,” it is still continually shocking and tearjerking. As is her custom, Alexievich divides her book into loose categories, as among file folders. The themes reveal themselves through repetition: time, memory, identity, womanhood, youth, patriotism.

Alexievich reflects: “I was used to thinking that there was no room for a woman’s life in the war. It is impossible there, almost forbidden. But I was wrong.… Very soon, already during my first meeting with them, I noticed: whatever the women talked about, even if it was death, they always remembered (yes!) about beauty. It was the indestructible part of their existence.... They told cheerfully and willingly about their naïve girlish ruses, little secrets, invisible signs of how in the ‘male’ everyday life of war and the ‘male’ business of war they still wanted to remain themselves. Not to betray their nature.”



One woman recalled to Alexievich how she saved the life of a German soldier at the nightmarish siege of Stalingrad. “There can’t be one heart for hatred and another for love,” decides Tamara Stepanovna Umnyagina in the concluding section. “We only have one, and I always thought about how to save my heart.”

Alexievich believes that revelations come out of conversations – ideally, one-on-one conversations. “If,” explains Alexievich, “besides the storyteller, there was some family member or friend in the apartment, or a neighbor (especially a man), she would be less candid and confiding than if it was just the two of us. ”



Alexievich, one generation the junior of these women, became their confidant, but even so they held back about one area: “What came unexpectedly for me?,” she asks. “The fact that they spoke about love less candidly than about death. There was always this reticence, as if they were protecting themselves, stopping each time at a certain line. Guarding it vigilantly.”



The introductory materials here, in which Alexievich quotes from the journals she kept while working on the project and from her later reflections and dealings with censors, are as compelling as the primary text. She discloses some of her methods and experiences as the collector of these voices: “I listen when they speak.… I listen when they are silent.… Both words and silence are the text for me.”



In this edition, unfortunately, Alexievich has chosen to excise her questions that led to those responses. Another quibble: unlike in the marvelous 1989 Russian edition (published by Sovetsky Pisatel) that features more than 60 photographs of the very “womanly faces” as they were then, there are no photographs in this book.


(SO I HAVE ADDED PHOTOS TO THIS ARTICLE)



The veterans speak much about their appearances, and the images of themselves as the women (or girls) they tried to remain. One phrase Alexievich says she never got over was “I was so young when I left for the front, I even grew during the war.”



PAST IS PRELUDE TO THE FUTURE

 STANLEY KUBRICK FASHION SHOOT 1949

MADONNA CANNES 2019


‘Dutch Girl’ shows Audrey Hepburn’s wartime courage
Another side of Hepburn emerges in Robert Matzen’s book about her difficult childhood and how it shaped her as an actress and as a humanitarian.



‘Dutch Girl: Audrey Hepburn and World War II’ by Robert Matzen, GoodKnight Books, 373 pp.

May 16, 2019
By Terry Hartle

Audrey Hepburn was one of the most celebrated actresses of the 20th century and a winner of Academy, Tony, Grammy, and Emmy awards. She was a style icon and, in later life, a tireless humanitarian who worked to improve conditions for children in some of the poorest communities in Africa and Asia as an ambassador for UNICEF.

But this extraordinary individual was the product of an extremely difficult childhood. Her father was a British subject and something of a rake and her mother was a minor Dutch noblewoman. Both of her parents flirted with the Nazis in the 1930s. Her mother met Adolf Hitler and wrote favorable articles about him for the British Union of Fascists. After abandoning the family in 1935, her father moved to England and became so active with Oswald Mosley’s fascists that he was interned during World War II. As a child, Hepburn rarely saw him.

Hepburn was shipped off to a small boarding school in England where she fell in love with the world of dance. With the outbreak of the war, her mother brought her back to the Netherlands. There, she became a reluctant observer of the brutal Nazi occupation of Western Europe from 1940 to 1945.

Her early life is the subject of Robert Matzen’s latest book, Dutch Girl: Audrey Hepburn and World War II. This is the third book that Matzen has devoted to leading figures of Hollywood’s Golden Age during the war years. As with his earlier volumes, “Mission: Jimmy Stewart and the Fight for Europe” and “Fireball: Carole Lombard and the Mystery of Flight 3,” this book dives deep into a corner of his subject’s life that gets little attention from most biographers. Matzen believes that what Hepburn, Stewart, and Lombard did during the war is interesting in its own right, and that their experiences fundamentally shaped their lives and provide insights into their characters.

That clearly seems to be the case with Hepburn. She was 11 years old when the Germans invaded the Netherlands and made her hometown of Arnhem a primary base of operation. She experienced the full trauma of the war. She saw Jewish people loaded into train cars for deportation. A beloved uncle was executed in retaliation for resistance activities. One of her brothers was deported to a German labor camp and another spent the war in hiding.

Her family suffered from cold, malnutrition, and a lack of medical supplies. Their home was repeatedly damaged by bombing. After the Allies’ June 1944 invasion of Normandy, things got worse. The Dutch railroad workers went on strike to limit the Germans’ ability to resupply their frontline troops. But this also deprived the Dutch population of food. Starvation became commonplace, and at one point during the so-called Hunger Winter, Hepburn was so weak she gave up dancing. Nonetheless, she tried to pass her meager food rations to her mother and relatives.

Things would get worse: Operation Market Garden, the effort by British paratroopers to capture the bridge over the Rhine at Arnhem, brought the war to her front door. There was heavy fighting on the street where she lived while her family cowered in the basement.

Hepburn began helping the Resistance despite the clear penalties for those who were caught. She ran messages and, at one point, her family hid a British soldier and helped him escape. Already a gifted dancer, she performed in benefit events to help raise money for the resistance. These were called “black evenings” because the windows where the events took place were blacked out and silence prevailed. Hepburn would later say of these events that “the best audiences I ever had made not a single sound at the end of my performance.”

After the war, Hepburn moved first to Amsterdam to study ballet with Sonia Gaskell and later to London where she studied with Marie Rambert. She hoped to become a prima ballerina but at 5 feet, 7 inches, she was too tall. Moreover, she lacked the physical stamina for such roles, probably the result of sustained malnutrition during the war. Eventually, she turned to the stage and began dancing as a chorus girl. Before long, she started work as an actress and her career blossomed.

This book, like the others in Matzen’s so-called Hollywood trilogy, is a hybrid. Despite extensive research, it is not a complete biography because it only examines one part of Hepburn’s life, albeit in great detail. Nor is it as fully satisfying as a history because it focuses on events primarily as Hepburn experienced them.

But it offers a wonderfully complete and revealing character sketch of an individual who continues to fascinate millions around the world. Hepburn was, of course, gracious, talented, and elegant. But Matzen makes clear that she also was extraordinarily courageous. While being tested in the most difficult ways imaginable at a very young age, Hepburn demonstrated incredible poise, bravery, and selflessness. Little wonder that, having suffered so much herself as a child, after retiring from acting, she devoted her life to improving the lives of children living in terribly difficult circumstances. This entertaining and enlightening book adds another dimension to the legend of Audrey Hepburn.

'Blood Brothers' details the strange, history-defying friendship of Buffalo Bill and Sitting Bull
Sitting Bull toured with Buffalo Bill Cody’s Wild West show for a four-month period in 1885.



Why, then, did Sitting Bull agree to join the Wild West at all? At that point, after five years of exile in Canada, he was confined to the Standing Rock reservation in South Dakota for his role in Little Bighorn. He saw traveling the country with Buffalo Bill as his best opportunity to meet the American president, a desire he had long harbored, and to otherwise press the case for Indian rights.
Blood Brothers By Deanne Stillman Simon & Schuster 304 pp.
October 26, 2017
By Barbara Spindel

Buffalo Bill Cody’s Wild West toured the world for three decades beginning in 1883, but as Deanne Stillman notes in her intriguing new book, Blood Brothers: The Story of the Strange Friendship between Sitting Bull and Buffalo Bill, the traveling show was most successful during the four-month period in 1885 that Sitting Bull appeared with the troupe. The Hunkpapa Lakota Sioux chief, mistakenly believed by many Americans to have killed George Armstrong Custer at the Battle of the Little Bighorn in 1876, was “the one Indian whose fame was as great as Buffalo Bill’s,” Stillman observes. “Foes in ’76, Friends in ’85” read the caption of the publicity photo of Cody and Sitting Bull that announced the curious collaboration.

Cody’s Wild West was a frontier extravaganza that mythologized America’s recent bloody history, casting white men as the heroes and Indians as the villains. Stillman calls the show, whose climax was a dramatization of Custer’s Last Stand, “an epic spectacle of a vanishing America.” Its creator was many things at once, including buffalo hunter, cowboy, army scout, showman, entrepreneur, and all-around charmer, and "Blood Brothers" brings Buffalo Bill wonderfully to life. His personality, Stillman writes, was “much like the frontier that shaped him – big, exciting, dangerous, with a heart that was elusive and wild.”

In addition, Cody knew how to package himself for the masses. He was so conscious of his entertainment value that, according to Stillman, he once dressed for battle in a “black velvet vaquero outfit, bedecked with lace, silver buttons, and scarlet ribbon,” so that he could don the costume during future performances and truthfully say that he had worn it when he fought the Indians.

While Sitting Bull is more difficult to decipher – he didn’t, after all, have a publicist in his employ – he too was adept at using celebrity to his advantage. He was the Wild West’s highest-paid performer, despite the fact that his role in the show consisted solely of circling the stage gravely on his horse, often as the audience heckled him. He made sure that his contract stipulated that only he could profit from the sale of his photograph and autograph. Still, he gave most of the money away, to friends, relatives, and strangers.

Why, then, did Sitting Bull agree to join the Wild West at all? At that point, after five years of exile in Canada, he was confined to the Standing Rock reservation in South Dakota for his role in Little Bighorn. He saw traveling the country with Buffalo Bill as his best opportunity to meet the American president, a desire he had long harbored, and to otherwise press the case for Indian rights. (Stillman says it’s possible that he met Grover Cleveland during the tour, but the record is unclear.)



The Pioneers: The Heroic Story of the Settlers Who Brought the American Ideal West.

By Danny Heitman Correspondent
In “John Adams,” David McCullough’s acclaimed 2001 biography, he chronicled Adams’ achievements as a Founding Father and chief executive. But one of Adams’ accomplishments, which changed the country, has gotten relatively little attention. During the negotiations that ended the Revolutionary War, the British pressed to make the Ohio River the westernmost boundary of the United States. But Adams held firm, according to McCullough, and the British relented, giving what would eventually become the United States of America ample room to grow. Land, as it turned out, was nearly all the fledgling nation had to offer (notwithstanding that some of it was already occupied by Native Americans). Without cash to reward its revolutionary soldiers, the young government provided veterans with dirt-cheap tracts in its newly acquired Northwest Territory instead. The settling of that frontier, which contained the future states of Ohio, Indiana, Illinois, Michigan, and Wisconsin, is the subject of McCullough’s new book, The Pioneers: The Heroic Story of the Settlers Who Brought the American Ideal West. McCullough’s most arresting books have focused on a single figure, such as Adams, Theodore Roosevelt, or Harry Truman. “The Pioneers,” like “The Greater Journey,” his story of American expatriates in France, involves a lesser-known cast of characters. The story’s main hero is Manasseh Cutler, a New England minister who not only played a pivotal role in the passing of the Northwest Ordinance of 1787, but also pushed for anti-slavery language to be included in it. He’s the kind of man McCullough typically admires – a bibliophile and polymath much like Adams, Roosevelt, and Truman. Cutler, McCullough writes, “had succeeded in becoming three doctors in one, having qualified for both a doctor of law and a doctor of medicine, in addition to doctor of divinity, and having, from time to time, practiced both law and medicine. At one point he looked after some forty smallpox patients and seems to have gained a local reputation for his particular skill at coping with rattlesnake poisoning.”
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Toward A More Perfect Union

Exhibition about how the labor movement shaped New York tells a very Jewish story.




The Grand Demonstration of Workingmen in Union Square in September 1882. Published in Frank Leslie’s Illustrated Newspaper/Courtesy Private Collection
The Grand Demonstration of Workingmen in Union Square in September 1882. Published in Frank Leslie’s Illustrated Newspaper/Courtesy Private Collection
To strike or not to strike: It was Nov. 22, 1909, and that question was at the forefront of the minds of thousands of workers, many of them recent Jewish immigrants from Eastern Europe, who had gathered that day at the Great Hall of New York’s Cooper Union. For hours, the all-male roster of speakers droned on about poor wages and worse working conditions, while also cautioning against the hardship of actually going on strike.   
But a 23-year-old Yiddish-speaking immigrant shirtwaist worker named Clara Lemlich (1888-1982) wasn’t buying it. Shoving her way to the podium, she declared in a fiery voice, “I move that we go on a general strike!
Reacting to the crowd’s roar of approval, Jewish Daily Forward editor Benjamin Feigenbaum asked those present to take a Yiddish oath modeled on a traditional Hebrew pledge: “If I turn traitor to the cause I now pledge, may my hand wither from the arm I now raise.” 
Thus began the Uprising of the 20,000, the largest women’s strike in U.S. history, which, despite its name, brought upwards of 40,000 women to the picket line. 
Iconic labor leader Samuel Gompers, circa 1893. Published in Frank Leslie’s Illustrated Newspaper/Courtesy Private Collection
This is only one among many stories chronicled in “City of Workers, City of Struggle: How Labor Movements Changed New York,” the newly opened exhibit at the Museum of the City of New York. And many of them are, like this one, intertwined with the history of the Jews of New York. 
“The Jewish presence really comes through in the early 20th-century, where you have the rise of the International Ladies’ Garment Workers’ Union (ILGWU) and the Amalgamated Workers Union (AWU),” exhibit curator Steven H. Jaffe told The Jewish Week, adding that “many of the labor leaders were immigrants themselves or the children of immigrants.” 
That list begins with Samuel Gompers (1850-1924), who came from a poor Jewish family in London and began working as a cigar maker when he was just 10. He continued that work after moving to the United States with his family and settling on the Lower East Side, where he also quickly became active, first, in the cigar makers’ union and subsequently as a founder of the organization that became known as the American Federation of Labor (AFL).    
Workers hand finish garments while managers look on.Courtesy Kheel Center for Labor-Management Documentation & Archives, Cornell University Burton Berinsky
In the 1880s and 1890s, firebrands like Lemlich began arriving from Eastern Europe, where many had already been exposed to socialist ideas and been involved in labor movements there. Eking out a living from piecework or low-paying jobs, this new wave of immigrants constituted “a new Jewish working class that we particularly associate with the garment trades,” said Joshua B. Freeman, professor at Queens College and the Graduate Center of the City University of New York and editor of the companion book to the exhibit, also titled “City of Workers, City of Struggle: How Labor Movements Changed New York.”
Although it was not typical for women at the turn of the 20th century to work outside the home, many Jewish immigrant women were forced to work to help their families make ends meet. Many, says Freeman, “were really girls, 16, 17, 18 years old. … It was a step into independence,” but union involvement also carried the risk of getting arrested or beaten up by strike busters. And Lemlich was not the only Yiddish-speaking Jewish female labor leader. Already, in 1905, six years before the infamous Triangle Shirtwaist Factory fire killed 146 mostly female and immigrant workers, Rose Schneiderman (1882-1972) had begun publicizing the safety hazards rampant in such buildings. Later in her long career of labor activism, she was named to President Franklin Roosevelt’s National Labor Advisory Board and also served from 1937-1944 as New York State secretary of the State Department of Labor.   
ILGWU President David Dubinsky rallies voters along Seventh Avenue for Lyndon Johnson, Robert F. Kennedy and Hubert Humphrey. Courtesy Kheel Center for Labor-Management Documentation & Archives, Cornell University Burton Berinsky
As for the nature of needle work itself, an interactive video game set alongside a vintage 1910s Singer sewing machine invites you to “Try treading the repurposed machine and guiding the ‘fabric’ with your hand as accurately and as quickly as you can.” The goal is to virtually and accurately “sew” three simulated apron edges. Spread your fingers on either side of the far-from-straight seam pictured on the screen, while also treading the foot pedal below, always making sure the needle and the seam line up perfectly. In real life, you were being watched by the bosses for both your precision and your speed. In this video version, you can read the verdict onscreen. “We couldn’t use a single apron,” mine read. “In 1912, your pay might be 0.4 tenths of a cent for that level of performance. In one 53-hour, 6-day work week, you might earn $1.00 ($25.94 in today’s dollars).”
Freeman points out that while many of the needle workers were Jewish, so were a number of the owners and employers, a situation that made many Jewish leaders uncomfortable. Out of this tension emerged a lasting influence for settling labor disputes: the lasting interest in settling labor disputes and the development of mediation and arbitration procedures. Instrumental to that process was future Supreme Court Justice Louis Brandeis (1856-1941), who in 1910 helped mediate an end to a strike by 60,000 cloak makers. The agreement was solidified in a document titled the Protocol of Peace — a copy of which is on display here.
Beyond the many historic documents, memorable photos, prints, paintings and news clips on display, the exhibit also offers a number of not-to-be missed artifacts that also carry the story of labor in New York further into the 20th century. One favorite: the over-stuffed Rolodex that belonged to Albert Shanker (1928-1997), the longtime president of the American Federation of Teachers and the United Federation of Teachers. As a sign of Shanker’s political power, the Rolodex is open to the entry for then-Gov. Nelson Rockefeller, including phone numbers in Albany and New York, and handwritten annotations for contacting others in his office. Posters and booklets in Yiddish are also here: a 1908 issue of the Yiddish socialist magazine Zukunftand, and a 1927-1928 calendar booklet from the International Union Bank listing both Jewish and American holidays, among others.
The Jewish presence is only one aspect of the larger story of labor in New York City, and it is shown here side by side with the ways in which workers from every background throughout the city’s history have fought for fair treatment and fair pay. In highlighting the centrality of labor to the city from its founding, and ongoing into the future, the exhibit shows the city in all its social, economic, political and cultural diversity. Understand that history, said Jaffe, and you’ll understand New York City. 
“City of Workers, City of Struggle: How Labor Movements Changed New York” runs through Jan. 5, 2020, mcny.org.

CARS HAVE A DIE IN

Man accused of vandalizing Edson*** courthouse with anti-Semitic slurs is an extremist rapper

Kelvin Zawadiuk, 35, charged with public incitement of hatred


The accused, Kelvin Zawadiuk, is a part time musician who performs under the moniker La Haine. (La Haine/Reverbnation)

The man accused of driving a stolen vehicle through the Edson courthouse on Saturday and vandalizing the property with anti-Semitic slurs is a part-time rapper who appears to hold a dark fascination with Hitler.
Kelvin Zawadiuk, who lives in Edson, is a part-time musician who performs under the moniker La Haine, French for The Hatred.
"He's very clearly, a fairly traditional neo-Nazi," according to Barbara Perry, a criminologist specializing in hate crime at the University of Ontario Institute of Technology.
"He really cuts across the spectrum of the groups. There's racism, anti-Semitism, celebration of the Holocaust and also a whole heap of misogyny and homophobia in his music."
Perry, who researches white supremacist subcultures, said Zawadiuk's music shows how the movement uses music to recruit new members and spread their message online.
"The music and the videos and games really build that community and that sense of we, that sense of we-versus-them," she said.
"We are in the middle of a project looking at white power music videos and we often think about it being just metal music but we have identified up to 11 genres and rap was one of them."
Zawadiuk, 35, is charged with public incitement of hatred, according to court documents released Tuesday.
He is also charged with breaking and entering, dangerous operation of a motor vehicle, theft, mischief under $5,000 and failure to comply with a probation order.
He was arrested on Saturday after a suspect stole a vehicle from an ATCO Electric compound, drove through a fence, then plowed through the east entrance of the provincial building, exiting on the other side.
Soldiers don't stand and win without shedding blood.- Kelvin Zawadiuk
Zawadiuk's official music page includes Nazi choruses and imagery. One song called Zyklon B, the trade name of the cyanide-based pesticide used in the gas chambers at Auschwitz, includes excerpts of a Hitler speech.
The web page also features a rambling 1,000-word "author's bio" which includes violent misogynistic language and calls for "mass suicide social media campaign" and the need for "the awakened human race" to take up arms "within our brains."
"Soldiers don't stand and win without shedding blood and leaving their comrades silently in the dust littered with gunshots and laying upon his own spent shells and spattered with shrapnel from dirty bombs and the smell of the gun smoke permeating all around him," the post reads.

A screengrab from Zawaduik's music page. The site includes songs with Nazi choruses and references to the poison used in the gas chambers. (Reverbnation)
Perry said there has been a dramatic increase in extremist activity across the country, and Alberta remains a "hotbed" for these movements.
These ideological groups believe the white race is under dire threat, Perry said.
"That's really what it evolves around is the defence of not only the Canadian nation but the great white European nation as a global identity."
There are, at minimum, 200 active far-right extremist groups across Canada, Perry said. 
Longtime friend Justin Gilfoil said Zawadiuk had become increasingly isolated from friends in recent years.
The two met in 2005 and "made a lot of music together" but, Gilfoil said, they drifted apart.
Gilfoil said his friend was kind and his political views have been deeply misunderstood.
"I know he has German heritage and he had a really big fascination with World War II-era history," Gilfoil said in an interview with CBC News.
"He collected a lot of Nazi, or National Socialist, memorabilia from that time and just kind of had a fascination with that time period.
"He never was overtly racist or anti-Semitic … he had an alternative perspective on that time."
Zawadiuk remains in custody. He was due to appear in Whitecourt provincial court Tuesday.
The case remains under investigation and RCMP say additional charges may be laid.
Edson is a town in west-central Alberta, Canada. It is located in Yellowhead County, 192 kilometres (119 mi) west of Edmonton along the Yellowhead Highway ...

THROW BACK THURSDAY

WE COULD HAVE HAD EV's A CENTURY AGO!
A "Detroit Electric" all-electric car makes a promotional tour through the Cascade Mountains from "Seattle to Mt. Rainier," circa 1919. (Library of Congress photo)


WHY WERE THEY NOT POPULAR, 
WELL TESLA AND EDISON ELECTRIC COMPANIES WERE NOT AS POWERFUL
AS ROCKEFELLER AND STANDARD OIL SO FORD USED A GAS DRIVEN 
INTERNAL COMBUSTION ENGINE 

LATER GM WOULD USE THE SAME STRATEGY TO ELIMINATE PUBLIC TRANSIT IN LA

HAT TIP TO  

Only the full view is available for sale. ... The Detroit Electric was manufactured from 1907 to 1936, though most of its sales were in the teens. Advertised with an 80 mile range, its record (with special batteries and driving very slowly) was 241 ... Here we see a dealer's car making a promotional trip from Seattle to Mt. Rainier.

Electric Truck 1911 Antique Trucks, Vintage Trucks, Antique Cars ... How to Make Wooden Spoke Wagon Wheels thumbnail Wooden Wheel, Wooden .... End 19th Century - Bersey electric - by Sumit, via Flickr Current ElectricAll ...... Detroit Electric auto on promotional tour through mountains from Seattle to Mt.Rainier 1919 ...
1910 Rauch & Lang Electric Automobile Advertisement Car Advertising, Early American .... 1910 Detroit electric car manufactured and offering a range between charging. ... Over of all American cars were electric when this 1908 Silent Electric was new. .... 1910 Print Magazine, Print Ads, Touring, Motor Car, Automobile, Car, ...