There is nothing more dissatisfying, not to say desperately destructive, than having the right to say "I told you so".
Those who recognise political Islam and our Western political Traitor Class for what they are will very soon have acquired this soul-destroying right, if they don't have it already.
I do not believe that the criminally cowardly Traitor Class of Merkel, Obama, Hollande, Cameron and their accomplices will ever do the right thing by the people they pledged to protect - so the survival of our culture and even of our existence depends on how fast the absolutely necessary new Nuremberg Trials can be held.
Those who recognise political Islam and our Western political Traitor Class for what they are will very soon have acquired this soul-destroying right, if they don't have it already.
I do not believe that the criminally cowardly Traitor Class of Merkel, Obama, Hollande, Cameron and their accomplices will ever do the right thing by the people they pledged to protect - so the survival of our culture and even of our existence depends on how fast the absolutely necessary new Nuremberg Trials can be held.
I want to put it on record that I agree with everything Paul West says in this video, published shortly after the Paris horrors of November 13, 2015.
The description of this piece of music by The Spirit of Classical Music (TSCM) will explain the political relevance to my post above.
"The Marche Slave in B-flat minor, Op. 31 (published as Slavonic March) or Serbo-Russian March is an orchestral composition by Pyotr Ilyich Tchaikovsky published on october 1876.
In June 1876, Serbia was at war with the Ottoman Empire. Russia openly supported Serbia. The Russian Musical Society commissioned an orchestral piece from Tchaikovsky for a concert in aid of the Red Cross Society, and ultimately for the benefit of wounded Serbian veterans. Many Russians sympathized with their fellow Slavs and Orthodox Christians and sent volunteer soldiers and aid to assist Serbia.
Tchaikovsky referred to the piece as his "Serbo-Russian March" while writing it. It was premiered in Moscow on November 17, 1876, conducted by Nikolai Rubinstein.
The march is highly programmatic in its form and organization. The first section describes the oppression of the Serbs by the Turkish. It uses two Serbian folk songs, "Sunce jarko, ne sijaš jednako" (Bright sun, you do not shine equally), "Rado ide Srbin u vojnike" (Gladly does the Serb become a soldier), giving way to the second section in the relative major key, which describes the Russians rallying to help the Serbs. This is based on a simple melody with the character of a rustic dance which is passed around the orchestra until finally it gives way to a solemn statement of the Russian national anthem "God Save the Tsar".
The third section of the piece is a repeat of Tchaikovsky's furious orchestral climax, reiterating the Serbian cry for help.
The final section describes the Russian volunteers marching to assist the Serbs. It uses a Russian tune, this time in the tonic major key and includes another blazing rendition of "God Save the Tsar" prophesying the triumph of the Slavonic people over tyranny.
The overture finishes with a virtuoso coda for the full orchestra.
The piece shares a few refrains with the 1812 Overture, with which it is frequently paired in performance".
Pssst: (Can you see these "déjà vus" all over again? Oh and the bolds are mine)
Pssst: (Can you see these "déjà vus" all over again? Oh and the bolds are mine)
