Now that we have vindicated Lindbergh and America First, we may now turn to The Plot Against America, HBO’s latest anti-white propaganda production.
For much of the past decade, HBO was headed by the Jewish Richard Plepler, a member of the Council on Foreign Relations. WarnerMedia Entertainment, HBO’s parent, is run by Robert Greenblatt, a sodomite who has referred to President Trump as “toxic” and “demented.” WarnerMedia CEO John Stankey is also Jewish; Stankey also serves as the President and COO of AT&T, the parent of WarnerMedia. The Chairman and CEO of AT&T, the largest media corporation on earth, is Randall L. Stephenson, who presided over the Boy Scouts of America (now known as “Scouts BSA”) during its descent into sodomy and feminism, ultimately culminating in its bankruptcy. After homosexuals were allowed to serve as scoutmasters, child rape claims skyrocketed. Imagine that. Though Stephenson is not Jewish, he was awarded  an “honorary yarmulke.” The Jewish David Judah Simon is The Plot Against America‘s creator, executive producer, and showrunner, as well as one of its writers. Simon is the son of a B’nai B’rith public relations executive and is most famous for his acclaimed series The Wire. That program depicts the horror show that is the city of Baltimore, abandoned to Black kleptocrats long ago and despoiled by its Black population. Simon, however, used his show to blame “systemic and historical forces arrayed against” the Third World slum, including “federal housing policy, hypersegregation [sic], blockbusting, and white flight.” Black failure must be explained away as everybody’s fault but their own. Simon is also notorious for his vulgar online outbursts against President Trump. The Jewish Philip Roth, the eponymous novel’s author, gloried  in anti-Christian obscenity .
Immediately before the pilot episode began, a promotional spot for the series aired, featuring American schoolchildren reciting the Pledge of Allegiance; conspicuously, “under God” had been omitted. Though “under God” was not officially added to the Pledge until 1954, its omission from this historical revisionist television show does not seem to be one motivated by historical accuracy. This is further evidenced by a later scene in the episode, the full version of the clip used in the promotional spot. In this scene, the Pledge is jump-cut at the precise moment “under God” would be inserted; in other words, the program appears to have intentionally cut out the phrase, as if the children had been filmed saying the full present-day Pledge, with “under God.”
At best, Simon appears to know that this is historically accurate, precisely to deflect from any criticism of the anti-Christian contempt that he clearly intends his audience to revel in. The series’ title sequence begins, featuring a montage of grainy newsreel-style footage — some of it real, some of it fabricated — and set to the song “The Road is Open Again,” from a Warner Brothers short film produced to promote Roosevelt’s National Recovery Administration. That short film, also titled The Road is Open Again, portrays a man trying to come up with a song for the NRA. In his dreams, the man is visited by the ghosts of Presidents Washington, the tyrant Lincoln, and Theodore Roosevelt, all of whom extol the virtuous divinity of Roosevelt and his New Deal. The man is overcome with patriotic fervor, the song washing over him as the Holy Ghost.
The footage shows images of Lindbergh’s triumphs, including his Spirit of St. Louis, his magnificent ticker-tape parade, and a banner that reads “Welcome Lindy.” The montage then transitions to Depression breadlines, an NRA march, Americans back at work, and Roosevelt supporters, with signs like one that reads “Times are hard, the end is near, vote for Roosevelt and have no fear.”
We are then treated to the main attraction: a rally hall, featuring an enormous likeness of George Washington flanked by America First and Nazi banners; a group of children raising American and Nazi flags together; a sign that reads “Chamberlain: Peace in our time”; the laudable book-burning of the repulsive works of Weimar “sexologist” Magnus Hirschfeld, whose horrific transgender laboratory the Institut für Sexualwissenschaft was sacked (apparently some sort of assault on decency, quite ironic given the target); images of German military prowess, obviously to instill in the audience the German world conquest myth; and Kristallnacht. The title sequence concludes with goose-stepping Wehrmacht soldiers marching across the logo of the series. “America” is strung with barbed-wire.
A title card tells us that the events of the episode take place in Newark, New Jersey, in June 1940. The Levin family, Simon’s protagonists, are presented as all-American, as is their wholly Jewish neighborhood, an ethnically homogeneous enclave. When an orthodox rabbi walks into the Levin’s living room seeking donations “for the Jewish homeland in Palestine,” Herman, the patriarch, happily assents. One of Herman’s children asks, “Isn’t this your homeland?” His older brother answers for their father, saying, “It’s to settle Jews in Europe who are running from Hitler.” The younger child then asks, “Well, we don’t need another homeland, right?” Herman answers, “No.”
On the radio, a newsman reports: “Citing the anniversary of Jewish refugees aboard the MS St. Louis attempting to enter the United States, Senator Wheeler of Montana said maintaining strict border control merits focus over giving resources for a foreign war.” Herman has recently been promoted, and takes his family for a drive to a wealthier (white) middle-class neighborhood; the Depression has lowered home prices such that they can now afford a single-family home of their own. As they look at one house, Herman’s wife, Elizabeth, beholds one of their prospective Gentile neighbors from a strange distant gaze, with a mixture of fear and disdain. The man is simply washing his car.
I recall a story my mother told me of a Jewish acquaintance; the man had recently been hired as a highly-paid executive at a large corporation, and relocated his family to our Southern town. His wife was apoplectic and despondent because there were “not enough Jews” in our modest community. She threatened him with divorce if he would not agree to move, and lo and behold, the man quit his job and uprooted his family yet again for more Jewish pastures. Indeed, as they lie in bed later that night, Elizabeth tells Herman, much like my anecdotal Jewess, that she doesn’t want her children to grow up amongst the whites, recalling her apparently traumatic childhood, where she “was the only Jew in my class. I had no friends. People would walk by our apartment and point. . . It wasn’t that I was mistreated. I was just ignored and alone. I don’t want that for them.” One wrong glance away from a pogrom, indeed. Later, Herman quits his job so that his family can stay in their microcosmic ethnostate; why he could not have taken his promotion and simply not moved remains unclear.
The Levins pass a beer garden in their prospective neighborhood, brimming with muscular Aryan men singing in boisterous German, inebriated in the middle of the day. Herman, unprovoked, furiously calls them “sons of bitches” in his car, and the bar patrons begin to jeer at them. As they drive away, Herman yells, “G–damn fascist bastards!” His eldest son explains to his younger brother that “the fascists don’t like Jews. . . because of Hitler.” This incident, especially when coupled with the strange fear and loathing in Elizabeth’s eyes as she beheld the Gentile, lays bare one of the fundamental problems with the series: Its stated goal is to show us that Jews are just as American as we are, and yet cannot help but illuminate Jewish disdain for the Goyim. Elizabeth’s sister has an affair with a white man, and Elizabeth and her senile mother fervently disapprove. They do not disapprove because the man is married, mind you, but because he is a Gentile; of course, he also mistreats her. She bemoans that she would always be “the mistress, never the wife.” Though Simon’s goal appears to be to show that Jews are “just like us,” he cannot help but invert his mission; instead of showing that Jews are as “American” as whites, he argues that Jews are the real Americans, and that whites are un-American.
Herman visits his friend, a newsreel projectionist. The theater marquee reads: “France surrenders to Germany! Blitzkrieg ‘unstoppable.’” Herman’s friend tells him that Senator Wheeler and “the Republicans” (eliding the deep divisions within that party) have recruited Lindbergh to run for President. He warns: “He’s tapped into something. Maybe not around here, but among the Goyim. Did you read the Roper poll? Thirty-nine percent say Jews are like other people. Fifty-three percent say we’re different and should be ‘restricted.’ Ten percent say we should be reported. And that, my friend, is a lot of kindling. Lindbergh, if he runs, could be the spark.” These numbers, real or not, are clearly unreflective of reality; as aforementioned, Jews had already ascended to the ruling class and dominated the popular opinion-shaping apparatus. This poll is mentioned to imply that Jews faced some sort of looming threat at this time. While it might nominally have been possible to mount a campaign against Jewish power, what are we to conclude when we examine the reaction to Lindbergh’s relatively mild Des Moines speech? This also quite clearly serves as an attack not only on President Trump, the false avatar of white identity, but on Americans (read: whites) in general. We are to believe that whites are simply waiting for some demagogue to unleash the violence that lies within, to uncage the beast chafing at its chains. As one character says, “They’ve always been here, but now they have permission to crawl out from under the rocks.” We are the aliens, the ones who do not belong; they have coopted our national identity and made us the Other.
On the street, a newspaper hawker shouts, “War talk in Washington! FDR sells ships to England. Republicans say American neutrality at risk!” At home, Herman listens to the radio. Lindbergh delivers his Des Moines address, though over one year earlier than he actually did; contrary to what glowing reviewers have written, Simon and his co-writer did not accurately transcribe the address. The portion that we can hear is, of course, the few sentences Lindbergh devotes to the Jewish Question. They are rearranged, and introduced with lines Lindbergh himself never said. But though the portion is thus made to sound a bit coarser than it actually did, the transcription errors, whether purposeful or not, are not so egregious as to justify further detail. The gist of Lindbergh’s message still shines through. Lindbergh’s voice is cut short by an explosive Herman, erupting as he did earlier at the very sight of blonde-haired and blue-eyed whites. He shouts, “He’s calling us war agitators. . . ‘Other people?’ ‘Us and them?’ ‘Our interests?’ We’re Americans, you fascist son of a bitch! The lousy traitor. I bet he’s onstage right now, wearing that g–damn medal that Göring put on his chest. Fucking Nazi son of a bitch. . . good-for-nothing turncoat.”
Jews, we see, are the arbiters of what it is to be an American.
In the street outside, the whole neighborhood of Jews congregates. Herman agitatedly speaks to a neighbor, claiming that “this is how it starts, everyone thinking they can work with the guy, that they’ll bring him around. It’s just like Hitler! Everyone thinking he doesn’t mean what he says. Year after year, Hitler says terrible things and they said nothing.” A neighbor ups the ante, stating that “when a man tells you he’s a son of a bitch, believe him. Same with the America Firsters with all their crap about keeping pure European blood free from inferior blood. Which, by the way, they mean us. It’s always us.” Leaving aside the fact that racialism was by no means the overriding mission of America First, and this simply was meant to as a smear the Committee and the nationalists and identitarians who carry on its inheritance today, this is yet another expression of the perennial Jewish victimhood employed as a cudgel against “dominant” host societies. At the bottom of everything, they proclaim, “it’s always us.”
Herman says, knowingly, that Lindbergh is “giving permission. He’s a g–damn hero. So, if he says it, every anti-Semite has permission. ‘The Lone Eagle.’ He flew across the ocean. He wouldn’t lie, he’s a great American. They lap it up because it’s Lindbergh. If Coughlin [referring to Father Charles Coughlin] says it or even Henry Ford, they argue back. No one will go after Lucky Lindy.” As we have seen, this is manifestly false, considering that Lindbergh was marginalized overnight from ticker-tape to outer darkness, morally stained forevermore. A neighbor begins, “If the Republicans run him against Roosevelt, after all he did to get us out of the Depression–,” and Herman cuts him off, reassuring him that “Roosevelt’s a professional politician. A leader. Lindy’s an airplane pilot with opinions. If the Republicans are that stupid, Roosevelt will mop the floor with them.” Here we see Roosevelt worship on full display, as well as an apt homage to the 2016 election, seventy-six years later, in a cold (though growing warmer) war between white populism and faceless, credentialed global Leftism. Just as Herman celebrates Roosevelt as “a professional politician,” conflating this with “leadership,” egalitarian Leftists today prop up milquetoast cuckservatives like Charlie Kirk  or Senator Mitt Romney, Willkie reincarnated, as “presidential.” “Presidential” is a euphemism for “ethnomasochistic,” for those who are content to quietly murmur about marginal interest rates and Black unemployment while they further the dispossession of their own people.
Herman warns, however, that “win or lose, there’s a lot of hate out there. And [Lindbergh] knows how to tap into it.” At his local filling station, a Jewish mechanic friend tells Herman that “the Goyim [are] sharpening [their] knives again.” Herman agrees, saying, “It’s so bad, even a few Republicans broke ranks. Dewey and Willkie both came out against him. . . Lindbergh resigned from his reserve commission in the Army. Says he won’t serve under FDR as Commander-in-Chief.” This is patently absurd. Though Simon may, perhaps, be excused for altering the timeframe, the event in question happened precisely the other way around. As aforementioned, Lindbergh only resigned as a matter of personal honor in response to the President’s disgraceful slandering of the aviator as a traitor to his nation. As will be recalled, Roosevelt had compared Lindbergh to Clement Vallandigham, the Ohioan Copperhead who supported a negotiated peace with the Southern Confederacy, opposing the Lincoln Administration’s genocidal prosecution of the war. The tyrant Lincoln, in a move eerily redolent of the authoritarian Roosevelt, had unlawfully imprisoned and deported the dissident. Though Vallandigham might well be considered a hero, this comparison was meant to be a vicious attack.
The mechanic continues, calling Lindbergh a “traitor, flat-out. . . My brother was in Berlin back in ’32. He wrote to us about what Goebbels and Hitler were up to. The government there, they played by the rules. The Nazis, they made a joke of every damn rule, and now here’s FDR playing with his one hand tied behind his back like this is some kind of gentleman’s sport. Mark my word, if Roosevelt doesn’t do something soon, there’s going to be hell to pay.” Here we have a Jewish Leftist calling for Roosevelt to “take his gloves off” and stop Lindbergh by any means necessary, just as we see lunatics today, from verified Twitter accounts to law enforcement authorities and elected officials , advocating for a “war  against white supremacy.” This also leaves us with the false image of Roosevelt as some sort of chivalrous knight-errant, graciously upholding the house of cards that is “our democracy.” The President, as we have explored in some detail, was a monster who would stop at nothing to take what he wanted, including forcing our country into the most brutal carnage ever endured by white civilization.
At home, Herman, in a smug repose that millions of Jews imitate nightly across our nation, sits by his radio and tunes in to Walter Winchell. As will be recalled, Winchell was a happy volunteer in the efforts of British intelligence to disseminate propaganda in order to deceive the American public into agitating for a war that it did not want. This shill asked such questions as, “How long will Americans remain asleep while their cherished Constitution is torn to shreds by the fascist fifth column of the Republican right marching underneath the sign of the cross and the flag?” As Herman hangs on to and savors each word, Winchell fires on “Herr Lindbergh” and his “isolationist, pro-fascist platform,” declaring that his Des Moines address “revealed the Lone Eagle to be the Lone Ostrich, sticking his head in the sand to avoid the terrible threat facing our great nation. It appears Herr Lindbergh wants to be the second Neville Chamberlain and. . . he’s swallowed hook, line, and sinker, the lie that Hitler and the vicious thugs around him are eager to turn their swords into plowshares. . . they bought Herr Lindbergh with a cheap Nazi medal and a pack of lies.” Note that the lying press — truly the Enemy of the People — always refers to Rightists as “un-democratic” “dictators” and “thugs.” Herman goes outside, his neighbors teeming in the street, and celebrates that “whatever Winchell left standing tonight, FDR will tear down tomorrow.” This hostile, infinitesimal minority relies on the ruling class to enforce its rule over the traditional (read: white) majority. It seeks solace in the illusory realities spun into being by the credentialed press, which it not only lionizes as the intrepid guardian of freedom, but also constitutes. Sound familiar?
The episode truly drops its mask in its closing scene, in a display of a phenomenon I’ll call Nazi-Punch Catharsis. Herman’s nephew, the teenage Alvin, visits a fellow Jewish friend who has been beaten up, presumably by “fascists.” Alvin’s friend says, “I don’t even know how they knew.” Alvin quickly answers, “That you were a Jew? They always know. Fucking Krauts.” Alvin angrily says, as if he is Christian, “I’m tired of turning my cheek.” He, his beaten friend, and another seek vengeance. Blasting jazz music in their car and passing around a flask of liquor, they stake out the German beer garden, which has a large Lindbergh poster on display. The Jewish hoodlums wait to ambush the next Aryan who leaves. They spot two stumbling-drunk young men about their age, and follow them after toasting each other, “L’Chaim.” The innocent young men, labeled “Lindbergh supporters” in closed captioning, are brutally beaten by the three Jews. To dispel any moral uncertainty, this attack is intercut with newsreel footage of: downtrodden Jews in a German ghetto; Hitler speaking, untranslated; the German blitzkrieg into France and Japanese advance through Asia; and scenes of war, including German bombers.
So, as we are beaten over the head with images supposed to imply German barbarism, we are essentially told that these two Aryans deserve their assault at the hands of Alvin and his friends, stand-ins for their oppressed brethren. The “Lindbergh supporters” are stand-ins for all of us on the Right, from mainstream civic nationalists to those of us dissidents that frequent this outlet. Herein is Nazi-Punch Catharsis; the aggrieved and deranged HBO audience is allowed to sublimate its rage through the escapism that shows like this and Hunters, alongside films like Inglorious Basterds, provide. Anti-white violence is thus further underwritten with moral justification. We may only be smeared as “fascists” for so long before some unhinged Leftist decides to “fight the Nazis” and “save democracy.” Political violence has been rising on the Left for decades; it is only a matter of time before we begin to see a crescendo rivaling that of the 1960s. As one character actually says aloud, “We fight them over there, or we fight them here.” We remember, only a few short months ago, a Democratic Party totally united behind the outlandish contention  that Ukraine is our first line of defense against Russia, that without Ukraine, Russian forces would be invading the mainland.
On that note, the pilot episode ends. We are treated to a preview of the next five episodes, featuring suspenseful music as characters say things like, “We only think we’re Americans.” One character shouts, “This is my country!” Another replies, “Not anymore! It’s Lindbergh’s.” We see Stars of David spray-painted onto graves in a cemetery, and even an obligatory Klansman. To further explore the world of The Plot Against America, we will shift to Roth’s novel, as Simon is more or less following it to the letter. After Lindbergh appears at the 1940 Republican National Convention, he sweeps the nomination and, on a slogan of “Vote for Lindbergh, or Vote for War,” defeats Roosevelt in a landslide victory. The mass of Lindbergh’s support is presented as originating in the South and the Midwestern Heartland. Unsurprisingly, this is merely an attack the South, for Southerners simply must be “fascist” bigots, right? Of course the South would have supported Lindbergh! In reality, America First garnered the majority of its support in, as Roth indicates, the rural Midwest, as well as the Great Lakes region. Though America First had large-scale support across the nation, it was actually stunted in the Democratic South. Noninterventionists could not organize publicly for fear of suppression, and there was widespread disdain for America First in the region.
The propagandist Winchell features even more heavily than he does in the series pilot. In a cartoonish lionization of the heroic press, “the guardians of our democracy,” Winchell publicly attacks the Lindbergh Administration and is immediately fired. Winchell launches a Presidential bid for the 1944 election and tours the country. As anti-Semitic riots occur across the nation, Winchell is assassinated at a rally in Louisville, Kentucky (some Kentuckian must have abused Roth). New York Mayor La Guardia, whose maternal side of the family were elite Sephardic Jews, eulogizes Winchell, praising him for his struggle against “fascism.” Another major character in the novel who is only briefly introduced in the pilot episode (where we see him say, quite aptly, that “we have room but for one flag — the American flag”) is the Southern Jew, Rabbi Bengelsdorf; this conservative Jew endorses Lindbergh and works in his Administration. Bengelsdorf is the novel’s “Uncle Tom” character, hated as a “Nazi collaborator” by most of his Jewish brethren, including the Levin family. Previews for the upcoming episodes show that President Lindbergh taps Bengelsdorf to lead the newly-established Office of American Absorption. The OAA runs an exchange program called “Just Folks” that sends Jewish children to live with white families in the Midwest and South to assimilate, or “Americanize,” them. When Herman’s eldest son returns from his time in the program, he scorns his family as “ghetto Jews.” In one preview, we see Herman seething, “It’s how fascism works. They turn children against their parents!”
This comment about “fascism” turning children against their families is hilariously hypocritical. What are our universities and public schools but Jewish re-education camps that turn white children against their traditions and their people, ensnaring them in the nihilism of sexual profligacy and deviance, drug addiction, and ethnomasochism? Just as the Zionist ruling class proclaims “diversity for thee, but not for me,” Herman cries foul at having his children assimilated into an alien culture, just as his alien culture has fomented Year Zero of our Cultural Revolution. The OAA also clearly illustrates the juxtaposition between the rural white and the urban Jew. One of the more low-hanging fruits here would also be a comparison to “family separation,” which according to “our” ruling class is akin to “ethnic cleansing,” even as the Great Replacement continues apace against us.
Lindbergh also institutes an updated version of the 1862 Homestead Act, which Roth has named Homestead 42, whereby Jewish families are relocated to the West and the South. This family relocation is meant to be evocative of Amerindian relocation, as well as Japanese internment. Though the authors of our textbooks fall over themselves in their haste to condemn Japanese internment, referring to internment camps as “concentration camps” to conjure up “Holocaust”   imagery, they never fail to elide the internment   of German-Americans. Many of Herman’s neighbors decamp for Canada, and his thuggish nephew Alvin joins the Canadian Army to fight the Germans. Herman’s youngest son has a friend, depicted in the pilot episode as a shy math whiz, who along with his widowed mother is sent to Danville, Kentucky. There, she is murdered by Klansmen who rob her and burn her alive in her car. (I suppose this is the menacing Klansman we see in the previews.) Kentucky was a border state during the War for Southern Independence, riven with internal guerrilla warfare. As a Southern avatar, the choice of Kentucky makes little sense. That aside, this incident would still have been extremely unlikely to happen, as the Ku Klux Klan at that time was more predominant in the Midwest and in the Great Lakes region. Moreover, the Klan was then more focused on Catholicism than Judaism. Alas, it simply would not do for a Hollywood production to depict the South without the Klan making an appearance.
Lindbergh names Senator Wheeler as his Vice President and Henry Ford as his Secretary of the Interior. His first act of office is to sign the “Iceland Understanding,” an agreement with Hitler not to interfere with German expansion, and the “Hawaii Understanding,” the same agreement, though this time with Japan. In October 1942, Lindbergh vanishes while flying in his Spirit of St. Louis. German state media report that Lindbergh’s disappearance, as well as the murder of his infant son, was arranged by Jews attempting a coup. While anti-Semitic violence rages, Wheeler and Ford act on these allegations, arresting the Jews Morgenthau, New York Governor Herbert Lehman, and financier Bernard Baruch, as well as La Guardia and the “Uncle Tom” Bengelsdorf. First Lady Anne Lindbergh calls for calm, and the search for her husband is eventually ended. Roosevelt runs for office, recapturing the Presidency. Shortly thereafter, Pearl Harbor is attacked, and America enters World War Two.
Anne Lindbergh is committed to a psychiatric ward at Walter Reed Army Hospital, perhaps in a situation similar to the involuntary commitment of anti-Zionist press baron Lord Northcliffe  and future Secretary of Defense James Forrestal . Before being committed, she tells Rabbi Bengelsdorf what happened to her husband. Roth seems to have lifted the British intelligence operative Louis de Wohl’s ravings and elaborated upon them. Anne claims that her infant son had not been murdered, but rather was still alive in Germany. According to her, Hitler had had the boy kidnapped and raised in the Hitler Youth as leverage in a blackmail scheme. Hitler had threatened to kill the boy unless Lindbergh allowed the German government to organize a Presidential campaign with the aviator as the face. As President, Lindbergh refused to follow Hitler’s order for a “Final Solution” in the United States. For his disobedience, Hitler had the President kidnapped, promulgating the allegations of a Jewish coup to incite the American public into enacting his “Final Solution.”
Thus, even in this alternate reality, Roth uses a deus ex machina to ensure that Lindbergh is still eliminated, that Roosevelt still retakes the White House, that Pearl Harbor, itself a deus ex machina (along with the real-life 1940 nomination of Willkie), is still attacked. In other words, there is no conceivable reality in which we may imagine that America did not enter World War Two. Our intervention is simply a historical inevitability. We are not allowed any other trajectory than the one we currently follow. To add insult to injury, we are to believe that the only reason a man would oppose internationalist war, place his nation and his people first over all others, and resist or even expose Jewish power, is that his son has been kidnapped by anti-Semites. Whites must always be evil, Jews the eternal victim.
Strange that our victims always win in the end.
HBO’s The Plot Against America is part and parcel of the eight-decade plot against America First. This plot was largely successful; Charles Lindbergh and the America First Committee were, through no fault of their own, unable to prevent our entry into the infernal carnage of World War Two. Over four hundred thousand of our men had their lives stolen from them. Atrocities were committed under our flag. The seeds of our present despair, the first death knell for white civilization, were sown.
But America First was not a failure.
Lindbergh, along with the Committee, was the only stumbling-block in the American, British, and Jewish war agitators’ path. Had it not been for the strenuous labors of the noninterventionist movement, Roosevelt would have launched us far sooner into a bloodbath that we were totally unprepared for. As Pat Buchanan said , “By keeping America out of World War II until Hitler attacked Stalin in June of 1941, Soviet Russia, not America, bore the brunt of the fighting, bleeding, and dying to defeat Nazi Germany. Thanks to America First, no nation suffered less in the world’s worst war.”
I possess a coin minted in 1941 by the America First Committee, passed out at one of its rallies. On one side is the figure of Uncle Sam; below his feet is the year 1941, and above his head the words, “I am an American.” On the reverse side, there is the outline of a heart. Inside the heart are the words, “America is in my heart.” Outside, “My heart is in America.”
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  Dalton, Thomas E. Debating the Holocaust.
  Krammer, Arnold. Undue Process: The Untold Story of America’s German Alien Internees (Rowan & Littlefield, 1997).