From the Warsaw copy of the Stroop report. Handwritten under the photo in a cursive style: “Pulled from the bunkers by force.” This is the photo I distinctly remember seeing in college and thought was a first generation print from the original negative.
I might not recall a whole lot about my days in college, but this one visit to my dorm room I do. In case liberal and Jew readers want to act all surprised that some “redneck hater” like me went to college, I can assure you that I did and graduated fairly decently in four years — one year I even made dean’s list (which I don’t believe either).
My parents drove me up to school in August of my first year, along with my bean-bag chair and other imagined cool campus guy stuff. I was assigned to a dormitory right in the middle of things and the room was a single, on the first floor — I could barely believe my luck. When I opened the door, my mother gasped. My room was quite small, probably a former bathroom by the looks of it and very dusty. Yet the ceiling was high, like the Victorian-style mansions back when it was built. Although my parents were mortified with where their son now had to live, I was quietly ecstatic since I knew exactly what I had to do.
After shooing them back home, I made my own devious plans (my distressed mother was crying about the room, or leaving her son to God-knows-what), and no, it wasn’t just the prospects of my new-found “Animal House” lifestyle that I was thinking about at the time (maybe a little). Read on.
Over the next couple of weeks I collected 2×4’s and 4×4’s from raided building demolition sites and maybe even a few legitimately. Then I borrowed a circular saw, drill and hammer and went to work erecting a really cool loft in the high ceiling, just big enough for my single size bed. I even put in a nice ladder off to the side. It really wasn’t much, but I did make sure it was well-constructed and engineered plenty enough to handle double my weight (as I secretly hoped to need).
All my new dormitory chums were mightily impressed. Next thing you knew, everyone else was building lofts. A couple rooms even had a triple bed canopy.
So what’s all this got to do with something called “The Stroop Report,” you might ask? Well, my hip dorm room was where I recieved a curious visitation one night. I was used to knocks on the door at all hours, but this one visit sticks out in my mind all those years ago (OK, a few others, but let’s not go there).
When I opened the door, I saw this friend of a friend, holding a plain brown paper grocery store bag in his arms (I’ve wracked my brain and looked in Alumni lists trying to figure out who he was). All I can recall about the guy is that he had long brown stringy hair and horn-rimmed glasses. Like in high school, I had friends in the jock circles, the straights and the hippie crowd. I do remember know he belonged to the dopers slash heavy metal circle and was buds with a loud bunch living across the hall who always drove me nuts playing stupid Kiss albums loudly late at night.
When I saw the brown grocery bag, I probably was suspicious about a drug deal gone bad or something. But I did let him in.
When he sat down, he told me excitedly that he heard I was a big WWII buff (i.e. I passed history classes). He had something to proudly show me. I expected a rusty bayonet, a few pieces of shrapnel and maybe some German Iron crosses — that kind of thing. But I soon saw the paper grocery bag was stuffed with only photos. He explained that his father or grandfather (I can’t remember which) was part of the American contingent at the Nuremberg War Crimes Tribunal and the photos were once used as evidence. I did not believe it.
Reaching into the bag, I started looking closely at the photos. Being into photography myself, I knew what to look for. They were mostly 4″ x 5″ prints on scalloped-edged photographic paper and some were just glossy white print paper.
But they seemed curiously new, like they were not developed all that long ago. I remember distinctly that they had not yellowed at all with age. Also, many were badly curled, like the darkroom person was in a rush and had quickly run them through a conveyor belt dryer without letting them flatten out first by hanging on a line.
That made me look carefully at them with a magnifying glass, where I saw that they were indeed continuous tone images — gray values and a real emulsion layer that exhibited cracks. They had every appearance of being chemically created and not formed from halftone dots, like in off-set or lithographic printing. The detail was sharp and the silver halide grains within the emulsion were distinct and not blurred. I was positive they had to have been printed from the original film negatives.
I was impressed, but extremely confused since they looked so recently made.
And my friend was right, I did know a fair amount of the “accepted” WWII history at the time. I started looking at the photos and saw that they were mostly your usual concentration camp horror stuff — Dauchau and Bergen/Belsen dead bodies piled everywhere kind of thing.
Now, I can’t remember all of what I saw in that brown paper bag, but I do remember for certain the shot I used above. As I found out later, it was supposedly taken during the first Warsaw “Ghetto Uprising” in April, 1943, after the Germans had defeated a “brave” Jew resistance. This shot was of them marching the supposed survivors out (it really wasn’t all that much of a fight, as I discovered researching more in depth).
There is a second image of this same scene, taken by the photographer only a moment or two before and from a different angle. I’ve looked carefully at both, but can only recall the one above specifically. The lighting in the real life photo in my hands was so remarkable that it had a distinct other-worldly feel which I strongly remember to this very day. It was one of those rare times when a ray of sunlight suddenly bursts in from behind the photographer and illuminates the entire scene before him at precisely the right moment. The computer image above, or those in the best halftone printed books fails miserably to convey this dramatic lighting.
I found out much that the photo was in something called “The Stroop Report” — a leather-bound “commemorative” book and military after-action report, supposedly prepared by a SS General named Jürgen Stroop on the “liquidation” of the Jew’s Warsaw Ghetto for his SS boss, Heinrich Himmler himself. The following shot was also in this supposed book:
One thing to clearly understand is that the Warsaw Ghetto Uprising is not the same as the Warsaw Uprising in October of 1944. That was a non-Jewish Gentile effort, mostly patriotic anti-Communist Poles who were left to their own devices by the Soviets who waited out the whole thing, not bothering to advance their armies in support, so the Nazis would kill off as many enemies to their future rule as possible.
The earlier Jewish uprising was much, much smaller and hardly bothered at all the Germans, who suffered very light casualties.
Another very, very important fact to make note of, was that the photo at the head of this article was supposed to have only existed in the second surviving copy of the Stroop Report located in Warsaw, Poland (the other is at the US National archives in Maryland and has the slightly earlier shot taken right before the one I remembered). But I didn’t know all this at the time.
Another photo in the brown paper bag, I remembered, was a gruesome shot of a man laying in the grass with his head bashed-in and his brains spilling out; alongside his body was this huge wooden mallet, like from a Gothic torture chamber. Being sick guys and all, my friend took pleasure in showing me that one. On the back was a handwritten or typed explanation (I can’t remember which) that it was supposedly an American POW killed by fleeing SS guards around the time of liberation. I’ve never seen the photo anywhere, before or since.
They were only three photos that I’m quite certain I remember seeing. The third (on the right) was of Germans walking down a street with a building in flames (the Radasky housing complex I found out later). I seem to remember two or three others taken in quick succession along with this one; yet only the one on the right was in the Stroop report, for whatever reason.
The others, I think were more the usual concentration camp shots (as far as that goes). I also seem to remember my friend was somewhat nervous about having the photos in the first place, like he couldn’t talk too much in detail about how or why his grandfather or father had them. Like maybe he was worried they were stolen. He only said that he worked as part of the US team at the Nuremburg War crimes trials. Or so he told me.
Now, it was possible that these prints were made years later from negatives in possession of the US or Army archives. I later found out that the Stroop shot at the head of this article was only in the Warsaw copy. One thing that struck me at the time of my brown bag visitor (and probably why I remembered the incident so much) was the question on how the victorious, bomb-the-hell-out of Germany allies could have discovered the actual film negatives in all the destruction of the war. I guess it was possible.
I think (but don’t really remember), that one of the shots may have been the infamous little boy shot, shown here:
Now, the above photo was in the Stroop Report, too. It was one of the most infamous of holocaust images. The little boy holding his hands up as the evil Germans hold guns menacingly on them, as they “juden raus” them out. This shot really gets Jew torqued-up to this very day — insanely hypocritical, I might add, since they are many of the same kind of shots of Israeli IDF soldiers (some are even American Jews) doing the exact thing to Palestinian civilians and children in the present, maybe even right at this moment:
Anyway, the Stroop Report’s many problems make people think it was something called “Black Propaganda” created by the Zionist/Communist Underground of the time, and are still being promoted to this day in the interest of Israel’s “right to exist.” This Black Propaganda is also known as “disinfo,” a manufactured forgery to paint your enemies in a bad way so you can get your own side worked-up.
Denierbud, the laid-back creator of the highly persuasive site Holocaust Denial videos (so dangerous to the lies of Jewry, that they’ve had almost all of his videos removed from Youtube), does a good job laying out all the doubts about the Stroop report. His essay can be read HERE.
Denierbud asks the logical question: Why would a German General submit something that shows his men in such a unheroic light, plainly bragging about the evils done? It would be just like a US Marine General in Iraq, sending back a photo album showing his Marines committing heinous acts on Iraqi civilians at the Abu Ghraib prison to the Chairman of the Joint Chiefs of staff.
Denierbud points this out when describing the little boy photo:
Above is most famous photo of the holocaust, and it comes from the Stroop Report. But would a German general choose such an un-chivalric, bullying photo for a commemorative book? The expression on the boy’s face seems to say, “What did I do wrong? Don’t shoot me.” It creates a strong emotional impression against the Nazis. The viewer’s reaction is “that’s outrageous!” which is precisely why the forger chose to include this photo in the report.
To grasp the unlikelihood the Stroop would have chose this photo, try to imagine General Patton sending General Eisenhower a commemorative book about victory in Germany that included a photo of an American soldier herding 8-year old German children at gunpoint into some enclosure. It’s not the kind of photo that would be chosen.
Denierbud also wrote another article specifically on this one photo and the curious facts surrounding it (you can read it HERE). He conclusively shows that one of these photos was really a “photo of a photo.” In other words, the original continous tone photo was NOT in both extant copies of the Stroop report, only that the Zionist Underground had taken another photo of it on the floor or in a copyboard (the distortions are evident). They also captured the handwritten caption of the first. Denierbud explains:
If it had really been Stroop’s project, his people would have just printed another image from their negative. On this supposed level of a German general working on a commemorative album to be given to Heinrich Himmler (who is the head of the SS) this shoddy workmanship isn’t believable.
It appears that the little boy shot was stuck in at the last moment to add dramatic import.
Also, there was a Lithuanian Jewish photographer named George Kadish (Zvi Kadushin) who gained fame for his photos of Kovno Ghetto life under the German thumb. After the war, Kadish said he “happened” to stumble on the lead plates that could have been used to print copies of this image and 35 others in a Munich second hand store. Denierbud believes this guy was part of the whole schtick to begin with and was the original photographer of the little boy shot, but kept mum for the Zionist cause, even though he now had himself a world famous “Pulitzer” shot. Denierbud’s very plausible theory:
“Kadish took the photo and was involved with putting it on the lead plate. They were going to mass produce the photo for underground anti-Nazi propaganda. But when higher Jewish Underground authorities decided to use it in the Stroop Report, not only could the photo no longer be used for that purpose, but Kadish could no longer claim it as his own. Even in the post-war period.”
Plus, it’s obvious from the photo that the Jews were not being captured during a military operation like the Warsaw uprising since they are not all dusty and dirty from hiding out in sewers and dug-outs, nor “pulled from the bunkers” as the caption below the photo says. They are cleanly dressed and carrying purses and luggage; they almost certainly had nothing to do with the Warsaw Ghetto uprising of 1943.
A New York Jew doctor, Tsvi Nussbaum, says it was him and said that he dimly remembers being told as a boy to stick his hands up for a photographer as his family were being cleared out from the Hotel Polski. He survived the war in relative comfort in the Bergen-Belsen concentration camp because they all had foreign passports.
Or he could be lying about the whole thing from the beginning. It’s often quite impossible with holocaust Jews since they all clamor for victimhood status among each other, while each relating their own personal run-in with the ever-present and evil Dr. Mengele.
Also, the Stroop report contains technical mistakes on the kind of weapons used by the Germans, which contemporary military buffs have repeatedly pointed out, hardly something the General’s staff would allow.
Another photo shows what appears to be a dummy dropped from a window, purporting to be a Jew jumping for his life from a burning building to his death, as the always evil Nazis are down below photographing all the fun. Only the building does not look like it’s on fire all that much, just a little whispy smoke from a window far from the figure.
Denierbud thinks that the real author of the Stroop report was a Jewess named Rachel Auerbach, headed by Zionists Adolf Berman and Emmanuel Ringleblum. He suspects her as the main text author from her bragging about the extraordinary Jewish feats of war and her personal style of writing. She also makes the mistake of using the word “Chaluzim,” a Hebrew term meaning “Young Pioneers” (total Zionism there), instead of the real names for the Jewish resistance groups of the time (the ZOB and ZZW), as if a Nazi general would use some obscure Hebrew term instead of what he could have known from his evil Nazi interrogations.
Auerbach gets a little too imaginative at times as she describes Jewish women “Young Pioneers” blazing away at the hated Nazis while holding pistols in both hands in a combat stance. One shot hit a German hand grenade blowing the soldier up (highly doubtful). The woman should have gone to work in Hollywood, but instead went to work for Israel’s holocaust holy site, Yad Vashem; which is not too different, one could suppose.
A lot of people who come here and see my blog immediately jump to the conclusion that I am such an “anti-Semite” that I think the German Nazis where completely innocent of wartime atrocities. I’m very certain they did commit such things, but not to the extent Jewry has been pushing. As a bona fide “holocaust denier” I have serious questions about the industrial death camp business, mostly.*
What I’m trying to get people to see, is that much of the history of WWII was written by the victors and it is not always the true facts. This is a very important thing to understand in today’s geopolitical landscape.
I think Denierbud has pretty well cast serious doubts on the Stroop report in the end. My little experience back in my hip single dorm room may only have been some well-done copies, or it may indeed have been connected in the distant past to the same circle of people originally behind the forgery — I don’t know.
My college friend’s dad or grandfather, may have grabbed himself a big old wad of out-takes, while working in the support staff of the Nuremburg Witch hunt run mostly by the Jewish Zionists out for some payback. These shots were printed directly from German army and SS film negatives, some captured by the Soviets, some taken by US army forces as they moved into Germany.
One more very important thing you should understand: I’m not saying that the photos used in the Stroop report were faked, as in Commies dressed-up as phony Germans acting out atrocities, just the propaganda context they were soon put to use after capture by the Soviet Jew NKVD. In the decades following the Nuremberg trials, International Jewry expanded this lie to the so as to justify Israel, inflame common Jews about all us potential Nazis out there and to further reparation money rip-offs of us foolish Goyim masses in the West.
— Phillip Marlowe
* What holocaust “deniers” like me say (chart courtesy of Gemar Rudolf):