While hate bloggers continue to defame anti-jihadists with false and libelous charges of connections with or allegiance to white supremacism, neofascism, and neo-Nazism, back in the real world even the New York Times has begun to notice that the ones who are really echoing the Nazis are jihadists and Islamic supremacists.
“Nazis” “˜Terrible Weapon,” Aimed at Minds and Hearts,” by Edward Rothstein in the New York Times, February 23:
WASHINGTON “” The most haunting image in “State of Deception: The Power of Nazi Propaganda,” a major new exhibition at the United States Holocaust Memorial Museum here, may be the first one you see after the introductory videos. At the end of a darkened corridor is a black-and-white photograph on a black background. Underneath, with unornamented simplicity, is a single word: Hitler. […]
It is chilling because we know what that face unleashed, and as we make our way through the exhibition, we feel almost physically assailed. A muscular fist smashes into the face of a cringing, sweating Jew (1928). An enormous Hitler is superimposed on a crowd of ecstatic Germans raising hands in salute as red gothic letters shout, “Ja!” (1934). […]
As the show, organized by Steven Luckert, winds its way from the beginnings of Nazism in the aftershocks of the First World War to the Allied attempt to eradicate Nazi propaganda after the Second, the effect is overwhelming. Conceptually everything is familiar: the foundering Weimar Republic, the celebrations of Aryan virility, the Jew as embodiment of evil, the mass rallies, the death camps, the defeat. But the effect is not in the facts but in the images and artifacts, many of which have been lent by institutions in Europe for this show.
And if this is how powerfully these images affect an early-21st-century viewer who would have been a prospective victim, imagine the power they had on believers, flattering their highest vision of themselves while reminding them that endangering this imminent utopia was the conniving Jew, known from the Protocols of the Elders of Zion. In one 1943 poster a giant hand points accusingly at a corpulent caricature wearing a yellow star, “Jude”: “He is to blame for the war!” This, of course, while Jews were being carried off on trains heading east to feed the crematoriums. […]
Is anything rhetorically comparable today?
Perhaps. The exhibition points out that the Nazis financed anti-Semitic broadcasts by Haj Amin al-Husseini, “an Arab nationalist and prominent Muslim religious leader.” Now no sponsorship seems needed. Major Middle East media outlets have asserted that Jews use children’s blood to bake matzos. In recent weeks we have heard that Jews are following the nefarious plot outlined in the Protocols to exterminate all gentiles, this from the poet and former member of the Lebanese Parliament Ghassan Matar. An Egyptian cleric, Safwat Higazi, has described Jews being “as smooth as a viper”: “Dispatch those son of apes and pigs to the Hellfire.”
And an Egyptian cleric with strong ties to the West, Sheikh Yusuf al-Qaradhawi, has described Jews as “a profligate, cunning arrogant band of people”: “Oh Allah, count their numbers, and kill them, down to the very last one.”
The extent of these visions (chronicled by the Middle East Media Research Institute), the historical distortions they codify and the readiness with which they are taught to children and are secularized into political action suggest that the strongest contemporary analogy to Nazi propaganda may be one the exhibition leaves unmentioned.