Editor’s note: This is the transcript of Charles Krafft’s talk at the 2015 London Forum, November 27, 2015. We wish to thank Buttercup Dew for finding a copy of this video after it had been deleted from YouTube and Hyacinth Bouquet for the transcription. Charles says a few inaudible words that are noted in this transcription; any sharp-eared listeners are welcome to see if they can discern what Charles says and comment below.
Jez Turner: He is a multi-media artist known for his work in porcelain, and he’s here in London for an exhibition of his work, his third exhibition in London. But the current exhibition was canceled after threats of violence were made against the gallery by assorted Zionist thugs. He has kindly agreed to speak to today’s London Forum about his life, his work, and his experiences. So please give a very warm, English welcome to a very talented artist, a very talented craftsman, Charles Krafft.
Charles Krafft: Thank you very much, and it’s a pleasure to be among allies. I don’t really have a prepared speech for you, but I have some notes that I took while I was listening to the other speaker, and I have a few issues that I’d like to bring up, which I’ll do, after I get done telling you what happened to me this week at StolenSpace Gallery in Whitechapel.
I’d been working for the last seven months preparing an exhibition. I work in slip-cast, blue and white porcelain. I learned this technique from studying Delftware, both English and Dutch. What I’ve done with the Dutch and English Delft tradition, of blue and white surface decoration of pottery, is sort of turn it upside down and make it controversial by commemorating people like Nick Griffin.
My last time in London, my last show, was all teapots, and it was called “Pitchfork Pals.” It was a series of dictators, media personalities that are reviled, and serial killers. I worked for a year on that. These come as piggybank, a bust, a teapot, a Toby Jug, and that’s it. That’s what was on display, and I thought, when I prepared that last show before this one, that because the English drink tea, they would buy these crazy teapots. Well, nobody bought anything! It was a complete bust at this gallery.
I had some perfume that I created called, Forgiveness. The Forgiveness comes in a small bottle, a very nice crystal bottle, and it has a stopper like a perfume bottle does, very elegant. It’s a swastika. A swastika, and then “forgiveness” across it. I also exhibited bars of soap. Had a whole line of beauty products that included the Forgiveness perfume, the Forgiveness soap, and then an advertising campaign that went along with it.
There was absolutely no problem at that particular time, 2010, when I put that show on. There was a little bit of disappointment for me, because I’d spent so much time working on it, and I’d kind of customized the exhibition for England, with the teapot. Then I didn’t sell anything, but that’s fine. I don’t expect sell-out shows.
I went back, and the gallery wanted me to come back, and I kept putting them off because I had other obligations. Finally, I said, “Yes, I’ll put together another show for you.” I had to think about what to do, because, in the interim between 2010 and today, 2015, I was outed as a Holocaust “denier” and a White Nationalist.
I come from Seattle, Washington. A local critic there had been notified of some anti-Semitic comments on my Facebook feed. So this all generated from social media, which is something that I wasn’t really familiar with. I sort of came into social media through the back door. I’m from a different generation. I don’t have a cell phone. Some kid that likes my art thought it would be good for me to get on Facebook, and so he made me a Facebook page, and I was on there expressing myself.
This psychology professor at a local university took umbrage with these rather crude comments that were appearing on my feed, and she thought that it was me as a sock-puppet. It wasn’t me. I got this message. If you do Facebook there’s this message app. You can get private messages from your Facebook friends. This woman said, “I can’t believe the Seattle art community puts up with you with these kinds of comments that are appearing on your Facebook page.” I wrote her back, and said, “That’s not me at all! I just don’t like censorship. I don’t want to be here monitoring what people have to say about what I’m posting. This person, you don’t like his language, or you don’t like his attitude, his politics? I’m sorry, but I’m not going to censor it.”
My girlfriend was concerned, too. She said, “You’ve got to stop these people on your Facebook page making this kind of gutter anti-Semitism.” I said, “I don’t want to do that. I’m not a censor. They can say whatever they want.” I let it go.
Finally, the local critic e-mailed me and said, “I’ve received an anonymous e-mail from someone in the community who said you don’t believe in the Holocaust. Do you care to comment on that?” I said, “No, I care not to comment on it, unless it has something to do with some art that I have on display somewhere that you would like extra information about. Because, this is a no-win situation for me. If you write that I’m a Holocaust heretic, it’s like being called a pedophile.” There is no way to get out from underneath these charges once the media has tar-brushed you with this smear.
Of course, nobody wants to listen to why you have skepticism about the Holocaust. They just want to smear you, and they need to hang a story on a scandal. It sells more newspapers. I said, “I don’t want to comment about this. It’s a no-win situation for me. No, I don’t want to make a statement about it.” She said, “Fine. Fair enough.”
Eight months went by. I was in India at the Kumbh Mela, which is a great big Hindu spiritual festival that they hold every 12 years, at this one particular confluence of the three biggest rivers in India. I’m trying to spiritual, you know. I want to be with the yogis, and all this. I get the e-mail — I have my computer with me there — and it’s that woman again, in Seattle. She said, “Listen, I’ve decided I’m going to go ahead with this story about you, and you can either answer some of my questions, or you can just forget about it, but I am going to write about your politics.” I said, “Okay, fine and dandy, send me the questions.”
I got this list of questions, which I answered honestly. Within two weeks there was a big article, “Charles Krafft is a White Nationalist Who Believes the Holocaust Was Exaggerated.” She had polled these people in the community who knew me. The gist of the story, as she presented it to the world . . . It became viral. It went from Seattle, Washington. . . I wasn’t even worried about it. I thought it was going to be a local issue. It would die out. It’s a small paper. But it got picked up the Huffington Post first, and the UK, the Guardian, and Vice. It went all the way around the world, because of this Holocaust business. They made me look like I was an art celebrity. Well, I’m not an art celebrity. I’m just one of thousands of artists that try to make a living making objects with their hands.
They had me all pumped up, as if I’m sitting on some great academic, on a cultural pedestal so that they can knock me down.
The story would not stop, and my response was to do nothing; except, I did say “yes” to anyone who wanted to interview me. Either in print, about the scandal, or on a podcast. And I made no bones about their politics. The only people that were really interested in hearing my side of the story were nationalists, so I ended up doing about four podcasts with groups in the cyberspace who are nationalists.
That, of course, it leaves a trail. Anybody who wants to look into my case can go on Google, and then there I am, with my name, and it’s Charles Krafft: Stormfront. Charles Krafft: Counter-Currents. Charles Krafft: Rebel Media. Charles Krafft: wherever I spoke to anybody who was interested in hearing about what had happened to me. So, yeah, I guess I am now. I’m a Holocaust denier and a White Nationalist. I’m so sorry!
Back to the StolenSpace Gallery in Whitechapel: these people are kind of naïve, I guess. The gal that runs the space there, she said in a statement that was posted at their gallery website, after she canceled the show, she said, “We didn’t realize at the time we invited Charles back to have his third show, that this controversy would follow him here.”
What happened was that I was in the gallery on the second day of my arrival, unpacking my work and getting it ready to hang, and the director told me that she had been getting phone calls. The gallery had been receiving phone calls from people threatening some sort of protest. As they threatened the protest they’re saying, “We can’t guarantee, if we protest, there won’t be violence.” So, she assumes that there is going to be some violence. But it’s only implied, and it’s only implied that there will be a protest, too.
There’s the social media among some artists, I just learned this, Not Banksy. It’s an alternative website for kids that like to go around tagging up the public space with their graffiti. They have issues there that they discuss, and somebody started a thread at that particular place called, This is Not Banksy: “Charles Krafft at StolenSpace. You’ve got to be fucking kidding me!” Then it started. They’ve got five pages of young, left-leaning, anarchists, socialists, graffiti punks that have decided that I’m evil because I have some skepticism about the received history of the Holocaust, and I stand up for my own race on racial issues.
This woman at the gallery decided that this was too much. She said, “I’m going to have to hire some security.” At first she was going to stand up against it. I thought, “These are trolls!” These are trolls. These are young kids. They’re sitting at their computers. Nobody’s going to come to the gallery. Nobody’s going to assault anybody. It’s just a bunch of SJWs, they call them in America, Social Justice Warriors. They are young guys, and sometimes girls, that have these boring jobs, maybe working in a cubicle somewhere in an office. If they even have a job. They have a commitment to some sort of left-leaning socialist ideology, maybe in a network. And they get together, and they do these swarm attacks that are all happening in cyberspace. They don’t happen on the street, really, although, they do happen on the street. I was trying to put the fire out there at the gallery, to convince these people that what we have is just a bunch of kids here; this is mischief! We don’t have to worry about getting hurt. Well anyway, they shut it down. So that’s that.
I don’t know what to do about it. There is not too much I can do about it. I’m having the gallery send the work back to me, at their own expense. I didn’t lose my temper, really, and I didn’t express my disappointment. “Well okay,” and sort of walked away. I don’t know what else to tell you about this business.
This magazine, Mjölnir, is a cultural magazine for people on the Right, and it’s brand new. It’s David Yorkshire’s, and he did a bang-up job of writing, allowing me to have a bunch of space in there for this last issue. If you’re interested in my story, which is given, you can pick up an issue from him and read about it. Yeah, this is the bombing of Dresden [on the cover]. I started off commemorating disasters. The evolution of my art ideas is all in there.
I got the idea on commemorative china. You usually find something heroic or national: a national monument or a national hero. I thought, well, maybe it doesn’t have to be so prosaic. I wanted to commemorate natural catastrophes: hurricanes, fires, earthquakes, and such. Airplane crashes. Murders.
Then I got politicized when I went to Slovenia, and I ended up in Sarajevo the night that the peace accords in Dayton were announced. Maybe I should explain to you, the Bosnian militiamen were patrolling the city. And I was with a band called Laibach. They are a rock bank from Slovenia. I traveled with them to be their official tour photographer, because their tour photographer couldn’t go, and I got the job.
I got the bright idea — looking at these Bosnian militiamen with Kalashnikovs strapped on their backs; they were in the theater, where we were putting on this concert, during the siege of Sarajevo, the very last day of the siege — to recast weaponry in porcelain.
That’s kind of how I got famous. I created something called the Porcelain War Museum. It’s an ongoing project. Just life-sized weapons, guns, automatic weapons, and pistols, in Delft. It looks just exactly like your granny’s china, but it’s a life-sized, detailed, automatic weapon usually. If I can get my hands on them. I cast these in plaster. Then I re-cast them in porcelain, and then I decorate them in blue and white.
Another thing I do that you might be interested in, is bone china, which was invented in England by Josiah Spode, in 1789, in Stoke-on-Trent. The reason it’s called bone china is because it has calcinated cow bone ash in the clay body. I got my hands on the first formula for bone china, and I substituted the calcinated cow bone ash for human bone ash from the crematory. It’s a chemical thing, and they both do the same thing. Whether it’s human or cow, it doesn’t make any difference. You get this bone china out of it. That’s why it’s called bone china, not because it’s white.
So I thought, “I’m going to revolutionize the funerary arts.” I started advertising. I call this “Spone,” after Spode and bone. My product is “Spone: Human Bone China.” I took out ads in undertakers’ magazines in the [inaudible] United States, and I paid for these. It’s costly. A new way to commemorate your dead relatives, and loved ones, have them recast into a teapot, if you’d like! That went nowhere, too, I’m sorry to say. I made some interesting things for a few people, but it hasn’t really caught on.
I’ve got a few pieces. I brought this stuff to give away to friends at my opening, because I expected to see people I know there and say, “Here, have one of these.” Because I couldn’t give them away at my opening, I have them on display here. If you buy one, we’ll just give the money to Horst Mahler. Military lapel pins that I cast from real military lapel pins. Badges, cap badges. Spanish, Hungarian, and this really nice one — I wish I had more of these — it is the Artists Rifles regiment, which is a British artists’ battalion that was mustered by — Sir Edward Lord Leighton? in 1867, to protect the city of London from Napoleon III. It’s a great story, because they became the (British Army) SAS, eventually, after World War II. What they began as was just a bunch of ponces at the Royal Academy that wanted to dress up in uniform! They had kind of an illustrious career. They went through World War I, and in World War II they were subsumed in the 21st SAS. Anyway, it’s a good story.
I’ve been involved in following the revisionist cause for a number of years. I came into revisionism through my interest in Romania and the Legion of the Archangel Michael, which became the Iron Guard, which was the paramilitary part of the Legion of the Archangel Michael, which was a nationalist movement of students in Romania that were very aware of what was happening close by in Russia and how Bolshevism was creeping into Eastern Europe.
They protested against it, and some of their protests were violent. They had no compunction to shoot a person down in the street if they thought he was a traitor. The interesting thing about them is they shot Romanians, and they didn’t shoot the Jewish industrialists and politicians that were actually collaborating with the Romanians in bringing in Bolshevism and left-leaning Marxist ideas about the traditions in Romania.
Codreanu was the head of it. He was a very charismatic Romanian college student: absolutely handsome, matinée idol, good looks, and a committed Christian. He said, “If I had a pistol, and the enemy was in front of me, and then a traitor, who would I shoot first? Well, I would shoot the traitor first!”
So that’s what they did. They took it upon themselves to assassinate certain leaders during the interwar period, and then they would turn themselves on the mercy of the court. That’s another thing that they did. They didn’t run away. They’d say, “Yes, well, we shot them. Now, we’re prepared to take our punishment.” These were a certain group of extremely committed Legionnaires that did this. They were called the Death Teams. The rest of the movement was more of a populist movement. It was political. They ran candidates. They opened various centers around Romania. When Romania entered World War II, they’d been put down in a Putsch, so they didn’t have anything to do with the Holocaust.
When you go to a history book and you read about the Iron Guard, they have all this propaganda about them having been involved in the Romanian part of the Holocaust. I wanted to find out more about that. I took myself, twice, to Romania. I met with Catalin Codreanu, the youngest brother of Corneliu Codreanu. He was 92-years-old when I met him. He’d never met an American, and he liked Ronald Reagan. He wanted to know all about the “cowboy.” I didn’t know exactly what to tell him, because I’m not a Republican. He died, and his wife died. He went to prison, of course, after the war. They rounded up these Legionnaires before the war. They threw them into these dungeons. Then after the war, they were kept in these dungeons until 1965. They got an amnesty, and many of them were released.
That’s how I kind of drifted into revisionism, because a priest in America named Valerian Trifa had been the first poster-boy in America for deporting “Nazis.” Nazis among us. I got very involved in trying to help clear his name, because once I understood what had happened to him, then I understood Jewish power and how this whole thing was a political game. The man had done nothing. He just had been the head of the Christian College Student’s League during that particular time in Romania. Then he’d gone, sat [World War II] out in Dachau concentration camp, immigrated to Italy, and then came to America.
Then, all of a sudden, this Jewish organization and New York City took it upon themselves to get this smear campaign going. It took them 27 years to finally get this guy out of the country. He said to his congregation, “I cannot ask you to help me fight the American government, the Immigration and Naturalization Services. Their pockets are boundless. They have more money than God!” This guy had to ask his congregation every year to help him hire a lawyer, so that he could go back and make his case for himself. He’s a guy that got caught up in a terrible political game that has a lot more to do with Romania and America. “Free Trade,” it was a trade agreement. I won’t get into it.
Anyway, I wanted to clear his name. That’s how I found out about the lies about the Holocaust. I went to Romania and found out everything you read about this terrible pogrom that they had in 1941, in Bucharest, where these Jews were murdered — well, my God, they just talk about the Jews — as many Romanians died the same day! It was anarchy in the streets.
One thing I wanted to bring up is jailed Holocaust revisionists. In the course of my studying revisionism and being involved in revisionism, I can never find out the addresses of the people that are in jail in Europe, from anybody. I’ll write to David Irving, “Hey, how can I send a Christmas card to Horst Mahler?” Well, nobody can tell me! They don’t know where he is, none of these people. I asked Mark Weber. You would think, the Institute for Historical review [would know]. I said, “Hey, do you guys have a list? You’re always whining about people going to jail for Holocaust heresy. Could we have a list of the heretics that are in jail so that we could either send them a card to decorate their sorry little cells in the prison they’re being kept in? Or send them money for their families?”
I’ve ran up against a brick wall for years. I did get a list going, but every year it changes. My list, I don’t know how current it is today. I sent it to Irving, and he put it up over on his website. Well, what he’s got there is like five years old. I don’t think there’s anybody left in jail on that list. I’ve talked to Germar Rudolf about this, who’s taken over this magazine we have in America. It’s called Smith’s Report, and the CODOH website, for all you revisionists. I asked Germar if we could have a list, so that it’s always there, so that whenever you go for your information about revisionist news, there will be places to communicate with those guys.
Our soundman over there, Simon Shephard, got jailed in the United States. How was I going to find out where Simon was? It was crazy. I couldn’t find out where Simon was. I wanted to send him some mail. I finally found him, but you guys were making me work too hard! I want a directory somewhere. Where I can find out where these people are being held, so that I could send them a Christmas card. If Christmas is coming up, we should get together and find out where they are, so that they can get cards.
Alright, jailed Holocaust revisionists, I want to know where they are in jail. Where’s Sylvia Stolz? Is she in jail? She’s at home? When she goes back in, we’ve got to find out where they’re going to put her. Where’s Ursula Haverbeck? Is she at home or in jail?
I did run up against kind of a brick wall with the revisionists, who I assume would have this information, and they didn’t seem eager to help me get it. I went to the Jewish organizations! They don’t know where these people are. They’re not that organized. Really. I tried.
Economic and social ostracism, when you’re outed: I’ve had some serious problems with my family. I can still sell my art, occasionally, because I have the internet, and I have a bit of a reputation behind me. I have a website, and people can go to my website, and I can sell it off the website. But the family situation, I didn’t realize I was going to get this kind of treatment from the people that I grew up with. It’s really a sad thing. I used to be invited to Thanksgivings at my brother’s house. Thanksgiving in America is a big holiday. No more Thanksgivings over at my brother’s.
Going to prison is one thing, but getting a freeze-out from your family is almost worse than having to serve a sentence in prison. I wish that more of us could be more courageous about our beliefs, but I do understand what’s at risk here. I’ve come up against it, and I’m here to tell you, it’s hurtful. I just wish that people had broader minds, or more time to get the information that they need, so that they would understand why we are the way we are.
As a group, we know more than everybody else. I mean, Ursula Haverbeck probably knew more about everything than anyone in that courtroom that she went into. The judge, her lawyers, the press outside. She’s a walking library of information, and everybody else there are midgets, and they’re the ones that have convicted her.
Arthur Topham is a journalist/prospector that lives above me in British Columbia. I live in Washington state. Arthur’s up there. Friday [November 26, 2015], he just got convicted of insulting Jews on his website. Gilad Atzmon flew from here to testify for him in, it’s a logging community, I think it’s called Quesnel, up in British Columbia. I think Arthur is married to an Indian woman, by the way. He was a newspaperman, and then he has a website, and he’s involved in exposing Jewish perfidy and commenting on current events. Well, they convicted him. He’s going to jail. It was announced Friday. So, he’s another one. Ursula and Arthur, both last week, are on their way to prison. He ran something called the Rebel Press. He’s a Canadian free speech activist who has been treated very, very shabbily.
As far as art, I want to say one thing. As an artist involved in the arts community and working with dealers and museums and collectors, there is no free speech. There is a program. The arts are managed by bureaucracies, which are part of city, state, and national governments. As artists, we go to these bureaucracies for funding. Then there are private philanthropy groups. They provide some of the funding too. So when you’re an artist, you are competing for funds. You’re competing for commissions from your community. If you get beyond the community to the national level, you’re competing again nationally for commissions and grants and stipends. Above that, there’s international.
Well, all the way from the community to the international, it is completely cultural Marxist. By cultural Marxism, I mean they are promoting multi-culturalism. They are promoting equality of the races and the genders. You can’t hope for any kind of help from these people if you take on the Holocaust, or if you take on multi-culturalism, from the wrong side. Just forget about it. And they don’t like irony, that’s the thing. I was slipping it by them with this post-modern, ironical commentary on everything that interested me. That’s the way I could keep them off my back. “Oh, I’m being ironic, you know.” I was being ironic! This is kind of goofy. It’s irony. But, at the same time, I think that Nick Griffin is an okay guy. I’ve seen him get up in front of the EU and chew them out, and God bless him for it.
As a white, male, heterosexual, American artist, if I want to get ahead, I have to abase myself, come up with some sort of way to punish myself for my grandfather’s “crimes.” This is ridiculous. Why am I being held to this whole business about American imperialism? It’s not me. As an artist, I have to pretend that I’m guilty. That’s what we have to do. The art that they want you to make is about “white guilt.” And “white privilege.” You are to comment on it and say, “Oh, this is terrible, bad!”
It’s the law there, in my profession. The people that sit behind the desks, that present all this, and when you go to the museums, they’re the directors, and the curators, they are all on this same train going to a monoculture that doesn’t have any room anymore for any kind of real self-expression. Then this business about “we don’t want to hurt anybody’s feelings.” You can’t make hurty art. It’s hurty! It’s hurting someone, so don’t make it. I’m so sorry your feelings were hurt, gee!
Back to the Holocaust. I got this idea, and I’m going to explore it here. I’ve been watching the Holocaust revisionist movement since I discovered it, and that was in the 1990s. More people, yes, they are finding out about it, because of Facebook, websites, podcasts, and a few meetings like these. These meetings are small, by the way. I attend them in the United States. They’re no bigger than this. This isn’t big. So, there’s not very many of us in real-time, but there’s plenty of us on the internet. Kids are getting all hopped up about the Holocaust, and what a fable it is. Every day, people pick up the thing, and they re-post it, and share it. But I’ll tell you what. It’s all about the forensic investigations of the Holocaust that were done in the 1980s with Ernst Zündel and his team of revisionists in Toronto. And it’s stopped there. It hasn’t gone any further!
Holocaust revisionism went from obscure books and periodicals that you had to send away for to obscure places, to the internet where you can click on it. Then it went into YouTube videos, where it’s explained to you in a video. Because everybody’s getting too lazy to read. So, this next generation coming up behind ours, they don’t read. They don’t have time to read. They have been brainwashed with fast-paced bursts of information. So if you want to get the message across to them, you’ve got to present it the way they get it off the television.
I’m seeing the recycled information from the Zündel trials — there were two of them — over and over and over again on the internet. Nobody, but nobody, is talking about the Holocaust as a psychological warfare operation that was plotted by psychological warfare soldiers in London during World War II. They had departments. I’ve been to Kew Gardens. Sir Bruce Lockhart, C. D. Jackson: these are American and British psychological warfare, black ops departments, cooking this stuff up using the Polish government in exile — and Jewish charities, mind you — and the OSS in Switzerland. All to float this fable. It’s war surplus. It’s left in place. It’s like a rusty old tank that they forgot to break down and recycle.
I would like to be put in touch with anybody in the room, or anyone who knows somebody, that is looking at the Holocaust from the perspective of psychological warfare and the people involved. Because I never see the names of these people. I’ve heard about Sefton Delmer. I don’t think he was involved in this. Hollywood! The U.S. Department of Psychological Warfare sent these directors to Europe, into the camps during the liberation, and they helped create the fable with creative film editing. It’s very, very interesting if you pick yourself up, out of the camps and all of the nit-picking that goes on with the forensic argument, which has really been settled. We know that.
Look at it as brainwashing and how the media has delivered this message to us and how it was constructed by the media, with the help of these intellectuals who knew about the human mind. They were brought into the war effort. They’re psychologists and psychiatrists and Eastern European intellectuals like the Frankfurt School, for example. Franz Neumann was working with Wild Bill Donovan at the East European desk of the OSS, which was our secret service. This man is a Marxist, who was kicked out of Germany for spreading communism. His whole New School for Social Research: we just brought them to America! We put them in our universities. We gave them plum jobs in our universities to spread their poison.
Another thing that a lot of people don’t know about is the Ritchie Boys. We had a camp in the United States, in Maryland. There were 9,000 German-speaking, mostly Jewish, psychological warfare soldiers trained there and then sent to Germany after VE-Day as interrogators, lawyers, disinformation agents, and hangmen. These people were up to all kinds of crazy social engineering tricks to de-Nazify Germany.
Then they put the ones that worked to work on us after the war, in advertising. Those guys went into the Rand Corporation, and they went to work for people that will hire think tanks to figure out how to sell a new brand of Coca-Cola.
It’s been honed since World War II, this psychological warfare. That’s all you can call it. It was turned on the Germans, and after the war, it was turned on the citizens of the United States and the Allied countries. That’s how they get us to go along with all these hare-brained ideas that they have for this one-world government, with a one-world army, and a one-world court, and a one-world culture, and a one-world [inaudible] prison. A one-world religion!
Psychological warfare: I want to know more about it, and I want to communicate with people who are as interested in that particular subject as I am. Because it needs to be mined. I think that might be the next way that we can dismantle the fable.
That’s about all I’ve got to say.
Jez Turner: He’s a white male, heterosexual, American artist! He’s not brainwashed! He’s a heretic! He’s a man who cares about the survival of his race! He’s a brave man! He’s Not Banksy, he’s better! He’s Charles Krafft!
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