Turtle smuggling discovered in China


This video says about itself:

12 February 2012

A total of 79 illegal alien live turtles were intercepted by inspection and quarantine authorities Saturday at an airport in Shanghai, east China.

From Xinhua news agency in China today:

Thousands of smuggled turtles seized in Shanghai

SHANGHAI, Jan. 31 — Shanghai customs said Sunday they seized more than 2,000 endangered turtles last November in what could be the city’s largest turtle smuggling case.

Customs officials said they discovered large numbers of live turtles hidden in six containers of crabs imported from Indonesia on Nov. 19. The containers were claimed by a Shanghai company.

Most of the turtles were endangered species including Amboina box turtle, pig-nosed turtle and spotted pond turtle.

The turtles are now in the care of local zoos, officials said.

The customs did not give more details, saying the investigation was still underway.

Environmentalists have warned China’s rising market for rare and exotic pets, such as turtles and snakes, has fueled smuggling.

Anti-women Cologne crimes not refugee crimes, European Commission says


This video from Germany says about itself:

Refugees presents flowers in Cologne

COLOGNE, GERMANY – JANUARY 16: A group of activists, mostly refugees, holds banners. Following that they presented flowers to the other people in the street during a picket staged to highlight racist and anti-refugee actions in Cologne, Germany on January 16, 2016.

The demonstrators had with them, eg, banners saying in German: ‘We are Syrians. We are against anti-women violence’ and ‘We are refugees from Syrria. We oppose racism and sexism’.

From the (Conservative) Daily Telegraph in Britain:

EU leaders: ‘No link’ between Cologne sex attacks and migrant crisis

European Commission denies link between migration crisis and attacks on women in Germany

By Matthew Holehouse, Brussels

7:43PM GMT 29 Jan 2016

The sex attacks that took place in Cologne on New Year’s Eve were simply a “matter of public order” and had nothing to do with the refugee crisis, Jean-Claude Juncker’s inner circle believe.

The European Commission will be the “voice of reason” and tell the public that there is no link between the migration crisis affecting the continent and attacks on women in Germany, internal minutes disclose, amid growing fears of a “xenophobic” backlash. …

They called for “the unconditional rejection of false associations between certain criminal acts, such as the attacks on women in Cologne on New Year’s Eve, and the mass influx of refugees.”

Cologne police says that usually each year in all those years before those refugees from Syria etc. arrived, there were about 50 reports of sexual harassment and rape during carnival celebrations.

Swedish nazis’ violence against children


This video from Sweden says about itself:

Mobs of masked men in Stockholm station beat up refugee children

30 January 2016

Swedish media reported that the thugs, allegedly linked to Sweden’s football hooligan scene, were targeting unaccompanied minors with a ‘foreign’ background.

From daily The Independent in Britain today:

‘Hundreds’ of masked men beat refugee children in Stockholm

They handed out leaflets threatening to give ‘the North African street children who are roaming around’ the ‘punishment they deserve’

Samuel Osborne

Hundreds of masked men marched through Stockholm’s main train station on Friday evening, reportedly beating up refugees and anyone who didn’t appear to be ethnically Swedish.

Wearing all-black balaclavas and armbands, the men “gathered with the purpose of attacking refugee children,” Stockholm police spokesperson Towe Hagg said.

“I saw maybe three people who were beaten. That was no football brawl or something similar. They targeted migrants. I was quite scared and ran away,” an eyewitness told the Aftonbladet newspaper.

Before the attacks, the mob handed out leaflets with the slogan “It is enough now!” which threatened to give “the North African street children who are roaming around” the “punishment they deserve”.

The leaflet refers to the death of social worker Alexandra Mezher, who died after being stabbed at a refugee shelter for unaccompanied children.

Four people have been arrested in connection with the attacks – one for assaulting a police officer, while the others were charged with being masked in public, which is illegal in Sweden. All risk fines.

After the attack, the Swedish Resistance Movement, a neo-Nazi group, released a statement claiming the attack had “cleaned up criminal immigrants from North Africa that are housed in the area around the Central Station”.

“Police have clearly shown that they lack the means to stave off their rampage, and we now see no other alternative than to ourselves hand out the punishments they deserve.”

Sweden received a record 160,000 refugees last year.

The country has seen a sharp decline in newcomers since photo ID checks were introduced this month.

When fascists claim to care about rape culture, bear in mind their leaders include convicted sex offenders: here.

Nazis' bloody swastika on bus in England

Near Dover in England, today neonazis violently attacked pro-refugee people, and daubed with blood a nazi swastika on their bus.

Nazi attack in Kent, England

This photo shows the neo-nazi paramilitary attack.

See also here.

Refugee crisis: Toddlers and children wash up dead on Turkish beaches after at least 39 drown in latest boat disaster. Officials expected the death toll to rise as divers continued searching for victims’ bodies: here.

German neonazis throw grenade at refugee shelter


This video from Germany says about itself:

Germany: Hand grenade attack on refugee camp leaves site on lockdown

29 January 2016

A refugee camp in Villingen-Schwenningen was attacked with a live hand grenade early on Friday morning, with authorities inspecting the scene of the crime later in the day. The attackers removed the pin of the device and launched it at the Baden-Württemberg hostel which houses up to 170 refugees. However, the grenade failed to explode, resulting in no injuries. The incident comes as increasing levels of anti-immigrant violence swells in the region.

A good thing the nazi perpetrators of this were apparently clumsy nazis, preventing a bloodbath. If only their predecessors in Hitler’s Waffen SS would have been as clumsy, then the world would be a better place.

From daily The Independent in Britain today:

Hand grenade thrown at refugee shelter in Germany in latest attack on asylum seekers in wake of Cologne assaults

Asylum seekers were asleep in the building at the time and police said it was just ‘luck’ that the grenade did not detonate

Lizzie Dearden

A hand grenade was thrown into a refugee shelter in Germany overnight as officials said attacks against asylum seekers in the country hit a new level of “hate and violence”.

Police in the southern town of Villingen-Schwenningen said it was “just luck” that the device did not explode when it landed at 1.15am.

Around 20 asylum seekers were sleeping inside the building at the time and were evacuated while a bomb squad destroyed it in a controlled explosion.

Heiko Maas, the German justice minister, said the attack represented a new level of “hate and violence” that must be addressed by local and federal authorities.

“Grenades are already being thrown at refugee homes – we can’t wait until there is someone dead,” he added.

“We need to do everything we can to ensure xenophobic crimes are more rapidly solved and punished more severely.”

Herr Maas, it would help if the governments of Germany and other European countries would stop their policies of wars, which make more and more people into refugees. It would help if the authorities in Germany and other European countries would stop their anti-refugee policies, which contribute to a climate in which violent nazi crimes like this grenade throwing can thrive.

Attacks targeting refugees or their homes appear to have spiked in Germany following … sexual assaults … in Cologne on New Year’s Eve.

Several asylum seekers were badly beaten earlier this month after a vigilant group vowed to “clean up” the city, which has also seen thousands-strong protests by Pegida and other far-right groups.

In another assault near Dresden, a man wearing a swastika-emblazoned helmet and “Hitler moustacheattacked two Afghan men while they were sledging, and protesters on a violent rampage through Leipzig started fires and smashed windows.

Hundreds of incidents and plots had already been recorded before the Cologne assaults – mainly arson attacks on refugee accommodation, where swastikas and anti-immigration [slogans] have also been daubed.

Explosives were uncovered by police whoprevented a planned neo-Nazi assault on refugee centres with knives, baseball bats and guns in October.

Villingen-Schwenningen lies in Baden-Württemberg – one of two German states that have started taking refugees’ valuables and cash in controversial seizures also seen in Switzerland and Denmark.

Around 1.1 million asylum seekers arrived in Germany last year and the Government is now taking steps to restrict numbers after criticism of Angela Merkel’s decision to welcome all Syrian refugees.

Hand grenade, AFP photo

This photo shows the hand grenade type used in the Villingen-Schwenningen anti-refugee attack.

Son of Saul, film on Auschwitz mass murder


This video is called Son of Saul Trailer 1 (2015) – Geza Rohrig Holocaust Drama Movie HD.

By Dorota Niemitz:

A modern Antigone: Son of Saul by László Nemes

28 January 2016

Directed by László Nemes; written by Nemes and Clara Royer, based on the book The Scrolls of Auschwitz and various prisoners’ memoirs

Hungarian filmmaker László Nemes’s debut feature film, Son of Saul, treats almost unimaginable horror: a day and a half in the life of a member of the Sonderkommando [special unit], made up of prisoners who staffed the gas chambers, at the Auschwitz II-Birkenau concentration camp. More than one million people were murdered at Auschwitz from 1942 to 1944, 90 percent of them Jews, transported from all over German-occupied Europe.

Henryk Mandelbaum, the last survivor of the Sonderkommando at Auschwitz, who died in 2008, called the unit members living corpses. Their average life expectancy in the position was two to four months. Under threat of death, the Nazis used them to conduct people to the gas chambers and burn their bodies in the crematoriums.

Most of the death camp Sonderkommando members were Jews. An aspect of the Nazis’ diabolical plan was to make the victims partially responsible for the Holocaust. To other camp inmates they were traitors. Only about 200 of them survived the war.

The unit members had to extract gold teeth, remove jewelry and other valuables, cut hair and disinfect the chambers. After reducing the burnt corpses to ash, they had to throw them into the nearby river. Isolated for fear of spreading panic, they received more food than other prisoners, but had little time for sleep or rest. The work was constant, the tempo brutal. Many, of course, could not cope and experienced nervous breakdowns, some committed suicide. After being forced to cover traces of the Nazi crimes, the “bearers of secrets” themselves were shot.

Nemes’s Son of Saul depicts the events of October 7, 1944, when one of the biggest Sonderkommando uprisings took place. Some 450 out of 663 special unit prisoners took part in the revolt. Learning that they were slated for extermination, the prisoners attacked the SS and Kapos with two machine guns, axes, knives and grenades, killing three and wounding 12 German soldiers, as well as blowing up Crematorium IV. The rebellion was quickly crushed by the SS.

All the insurgents were killed. Those who managed to escape and reach the nearby village, Rajsko, were surrounded in a barn and blown up with hand grenades. Five young Jewish women who worked for the Weichsel-Union-Metallwerke, a munitions plant within the Auschwitz complex, and who had smuggled small amounts of gunpowder to aid the uprising, were later hanged.

Unlike previous portrayals of the Sonderkommando, such as the one in Tim Blake Nelson’s The Grey Zone, which treated the conduct of the individual members as “shameful,” Son of Saul is a sincere attempt to depict the complex reality of the concentration camp and the multiplicity of connections between victims and their oppressors.

Saul (Géza Röhrig) is a Hungarian Jew who––humiliated and paralyzed in the face of the enormous scale of the hellish mass murder––numbly collaborates with the Nazis to stay alive. After witnessing the murder of a teenage boy who has just arrived in a transport from Hungary, and believing the youth might be his son born out of wedlock, Saul decides to steal the body to ensure the boy’s proper burial.

The recreated reality of the movie is brutally precise and historically accurate. Cinematographer Mátyás Erdély uses a technique similar to that of the Dardenne brothers, following his main character very closely, providing a deliberately narrow field of vision, to immerse the viewer in the immediate surroundings. We can almost smell the dirt on Saul’s body, feel his torment. Screams and moans in Yiddish, Hungarian, Polish, Russian and German substitute for a soundtrack and broaden the imagery’s realism.

Despite the blurry background, we are well aware of what is taking place at all times. It is precisely the lack of details that horrifies the most. Then there are the scenes in which terrible discoveries are subtly conveyed, such as the realization that the mountains of dust shoveled into the river are composed of human remains.

Judaism forbids cremation of the body and treats it as a sin. The corpse needs to be wrapped in a tallit, a special fringed garment, and buried as quickly after death as possible.

Like Sophocles’ Antigone, who defies the tyrant Creon’s edict forbidding the burial of her rebel brother, Polynices, Saul revolts against the brutal laws of the Nazi totalitarian state in defense of human and, to him, divine principles. He knows beforehand the rules and the consequences––his “crime” is conscious and deliberate. Until the very end Saul remains untouched by and indifferent toward the authority that will crush him. Suffering beyond endurance, he accepts his fate: He can do nothing but die.

Saul dies, but all is not lost for humanity. We know the Nazi regime ultimately collapsed, like that of the of the King of Thebes in Greek mythology.

In Son of Saul Nemes accomplishes something rare for a modern artist, skillfully reviving the principles and themes of an ancient drama, sculpting the essence of a human tragedy. The viewer might question the uncompromising religious values Saul stands for. But it is undeniable that his clash with the camp authorities is of immense importance to human beings today who sense the vast gap between their innate sense of “what is right” and the doings of the global rulers.

Saul is defending an old and annihilated order, now only an unreal shadow. By desperately searching for a rabbi in a world where such an individual’s functions have been obliterated, he seeks to link the nonexistent with the existent. The respect paid to the body of what might be his offspring becomes a symbol of universal honor paid to all those slaughtered and then burnt in defiance of their religion in the inferno of crematoriums. Stealing the boy’s body becomes an act of retribution: the extermination of the Jews will not be completed because something will be left of them, even if in a grave.

In Nemes’s film, there is little room for subjectivity nor much interest in Saul’s individual personality: the man is a universal “self” and represents the community of people caught up by forces bigger and independent of themselves. He is an actor confronted on the stage not only with his oppressors, but with the chorus of camp resistance members who accuse him of “failing the living for the sake of the dead.” One of the chorus members, a Soviet soldier, even kicks him in the gut.

There is something fixated and even psychotic in Saul’s determination. It makes him endanger his own life––and the lives of others––to fulfill his “duty.” Had he not lost the gunpowder due to his obsession with the dead body, would the uprising have been successful?

It is perhaps difficult to identify with the cold, robot-like, half-dead Saul. But it is also difficult to condemn him. His face, although at times it resembles a predator’s, should invoke some compassion. Saul’s condition speaks to something broader than his own individual fate: the wretchedness of all those forced against their will to toil for a system they did not create, merely to survive.

Despite the film’s physical and intellectual constraints, which reduce the conflict largely to the ethical plane and omit any reference to the historical roots of the horrors it depicts, Son of Saul is a valuable artistic achievement. It is a matter of utmost importance that such a work reaches global cinemas. Fascist political tendencies are again on the rise and various European governments are adopting Nazi-style measures against refugees, including the confiscation of their money and valuables upon entry into miserable camps.