ADKO

nurem

6 min read

The author argues that the Nuremberg Trials were fake, asserting that prominent Nazis were actually Jewish actors. The text points to several inconsistencies and “purple flags” within the mainstream narrative of the trials and the events surrounding them.

Key arguments include:

  • SS Guards: Nazi SS officers were allegedly used as guards for the arrested Nazi leaders at Nuremberg, which the author finds contradictory.
  • Trial Timing and Scope: The main trial lasted over ten months, with only 24 Nazis tried and 12 sentenced to death, which the author questions as a lengthy process for such a limited outcome.
  • Summary Executions: Winston Churchill, Joseph Stalin, and Franklin D. Roosevelt initially favored summary executions of top Nazis, with Henry Morgenthau, Jr. proposing the Morgenthau Plan, suggesting a preconceived narrative.
  • London Charter: The legal basis for the trials, the London Charter, was finalized on August 8, 1945, which the author links to the symbolic “aces and eights” and Chai.
  • Propaganda Film: A film screened for judges, “Nazi Concentration and Prison Camps” (1945), allegedly downplayed or omitted mention of Jewish victims, suggesting the Holocaust narrative was not yet established or was introduced later. The film also allegedly shows Nazis acting as benevolent caretakers and prisoners looking surprisingly healthy, contradicting the presented suffering.
  • Leni Riefenstahl: The text heavily scrutinizes Leni Riefenstahl, claiming she was a Jewish actress and director whose films like “Triumph of the Will” and “Olympia” were not mere documentation but staged events that Nazis followed. Her marriage to Eugen Jacob(s) (allegedly Jewish and a Nazi officer) and her subsequent libel suits are highlighted as further evidence.
  • Rudolf Höss: Rudolf Höss’s testimony claiming he never visited Auschwitz while admitting to mass murder is questioned. His alleged autobiography and inflated victim counts (3.5 million, later revised by Wikipedia to 1.1 million) are presented as fabricated. The author suggests Höss was a Jewish actor following a script. The number of trains and estimated deaths are also presented as logistically impossible.
  • Hans Frank: Hans Frank’s alleged involvement in the Beer Hall Putsch and his mother’s Jewish background are noted.
  • Speck Family Connection: Rudolf Höss’s mother’s surname, Speck, is linked to Richard Speck (who used the alias Richard Lindbergh) and Hermann Ritter von Speck, further connecting individuals through alleged Jewish ancestry and shared aliases. The Speck family is linked to wealthy Jewish wool merchants, Specks von Sternburg.
  • Habsburgs and Nazis: The author proposes that the Habsburgs were behind the Nazi fake, suggesting they went underground after WWI and controlled events through proxies. Otto von Habsburg’s connections to Franklin D. Roosevelt and Winston Churchill are cited.
  • Post-War Reintegration of Generals: A significant point is made about Nazi generals, including Hans Speidel, Adolf Heusinger, Josias Prince of Waldeck and Pyrmont, Friedrich Fuertsch, and Heinz Trettner, being re-hired into the Bundeswehr and NATO after the war, with their past crimes seemingly overlooked. The author emphasizes their alleged Jewish connections and noble backgrounds, suggesting they are the same individuals operating before and after major conflicts.
  • Evidence Destruction: The destruction of Nazi uniforms and decorations, and the unusual disposal of the bodies of those hanged at Nuremberg (cremated, ashes scattered in the Isar river), are presented as attempts to hide evidence of fakery. The conflicting explanations for face damage on corpses are also highlighted as evidence of poor scriptwriting.
  • Bormann’s Body: The differing treatment of Martin Bormann’s alleged body (allowed for potential forensic examination) compared to the executed Nazis at Nuremberg (quickly cremated and ashes disposed of) is presented as suspicious.

The overall argument is that the Nuremberg Trials and the Nazi era were a staged event, orchestrated by powerful Jewish financiers and orchestrated by Jewish actors and directors, with the true agenda being the continuation of power and influence by these same groups.

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