Attaching the title of "child killer" to the Israeli regime has an obstacle and an older and more hidden root that may not even be clear to many people who rightly and correctly apply this title to the Zionist regime.
One of the nicknames that is commonly used for the Israeli regime is the nickname of "child killer". There is no doubt that in the first place such a nickname is rooted in the objective and field facts of the Zionist regime's crimes against children. According to the official statistics published by international organizations (there is no doubt about their prejudice and discrimination in favor of Israel), since 2008, at least 33,000 Palestinian children have died in Zionist attacks.
But attaching this title to the Israeli regime has an obstacle and an older and hidden root that may not even be clear to many people who rightly and correctly use this title to refer to the Zionist regime.
The truth is that Jewish "infanticide" has its roots deep in the history of this nation, and it is not difficult for researchers to extract evidence and evidence of this claim from Jewish sources. It is necessary to mention that what today is mainly known as "Jews" and presents itself as such, has little connection with the father of the monotheists of the world, Hazrat Ibrahim (pbuh) and the divine speaker, Hazrat Musa (pbuh). In other words, today's "Jews" have usurped the name, sign and identity of the children of Israel, who had Abraham, Isaac and Moses as prophets among them, which of course, this issue itself can be a place of scrutiny and research and study by the Ahl al-Nazar. It should be independent and not included in this article.
In July 1933, during the great event known as the Chicago World's Fair, images were recorded on celluloid tape by black and white video cameras, which vividly told the old story of "infanticide". Here was the scene of the biggest live Jewish "show" to this day. This show titled "The Romance of a People" was held in Chicago's Great Soldier Square on the evening of July 3, 1933. This huge show with the support of an organization called "Palestine Jewish Agency" was held on one of the days of the World Exhibition "A Century of Progress" in Chicago, and this day was called "Jewish Day" in the calendar of the exhibition. More than 125,000 people participated in the performance of "Love of a Nation".
Why Jewish Day and why support from the Jewish Agency for Palestine? The Exposition Committee had designated more than two dozen special days to highlight the nationalities that made up Chicago's immigrant population, and was building a religious hall to showcase Chicago's religious groups. For some Chicago Jews, their nationality was Zionism and their homeland was Palestine. The Jewish Agency was the body designated to represent the Jews in their dealings with the authorities of the British Mandate in Palestine. According to Meir Weisgal, the executive director of Zionist activities for the Middle West (and later the private secretary of Haim Weizmann, the first president of Israel), the Jewish Agency, as the representative of "Jewish national ideals", was an obvious choice to support and support this huge demonstration of several tens of thousands of people. Was.
Weisgall wrote in his autobiography, "Until Now," that in the early 1930s he arranged programs for the annual Hanukkah festival at the Chicago Opera House. In fact, these annual festivals were one of the first public relations and propaganda maneuvers by Jews to expand their influence in American culture and public opinion. Weisgall was one of the greatest Jewish propaganda figures of the 20th century.
According to Weisgall, Chicago Jews were asked to participate in the World's Fair. The debate over whether the Jews were a race, a religion, or a nation continued for months. After the success of his Hanukkah contest in 1932, Weisgall came up with the idea that instead of doing an exhibition work to introduce the Jews, they would organize a big show of music and dance and song: "Not a building, not an exhibition, but a show "It depicts five thousand years of Jewish history. It includes everything—religion, history, the longing for Zion, the return to Zion, and it's called the romance of a people."
Weisgal went to Rabbi Solomon Goldman and Judge Harry Fisher, two of Chicago's Zionist leaders, and received their support. Weisgall, according to his own account, visited Rufus C. Dawes, president of the Chicago World's Fair, a deeply religious man who loved his Bible. Weisgall was able to convince him that the Jews had "four thousand years of history, from Abraham to this day: which no one has!" Dawes agreed to plan a "special Jewish day" at the fair, the grand finale of which would be a grand spectacle produced by Meyer Weisgall.
In addition to the Jewish Day program, a Jewish exhibit was held in the Dean Hall during the Exposition, organized by non-Zionist Reform rabbis Lewisman and Gerson Levy. It included displays of Jewish works and portraits of famous Jews throughout the ages to illustrate Jewish contributions to social science, education, religion, literature, medicine, philanthropy, agriculture, statesmanship, music, art, drama and child welfare. The design and planning was done by Alfred S. Alschuler and Company. The murals were painted by artist A. Raymond Katz.
Weisgal turned this big show into his full-time business. He followed the general pattern of his previous Hanukkah festival, but on a much larger scale. "The Romance of a Nation" instead of telling a musical story, was supposed to tell the story of mankind from the time of creation to the modern age, according to the narrative of Zionist Judaism. It is said that the authors of the prose of "The Romance of a Nation" were Weisgal, Rabbi Solomon Goldman, as well as Morris Samuel, a talented writer, fanatical Zionist and close friend of Weisgal. The musical director, who also wrote the score, was Isaac Van Groove, a composer who led the Chicago Civic Opera Orchestra and had worked with Weisgall on Hanukkah celebrations. Cantor Orum Matthews (who was also an opera and concert artist) was the lead singer of the show.
Weisgall soon involved many Jewish institutions in the Chicago area, especially Jewish schools. 3000 young Jews formed the choir. The cast consisted of 3,500 singers, actors, and dancers drawn from Jewish performing arts groups in Chicago, Milwaukee, Waukegan, and Indiana Harbor. Among the music directors were Hay Resnick, director of the Holloway Choral Society and music director of the Board of Jewish Education in Chicago, and Evelyn Harris Fox, a prominent Jewish community leader. The broadcast director was Ralph Schoolman. Among the stage
directors were Ben Zion Gordon and Ralph J. Halperin. Nathan Wysonski directed the dancers.
"Soldier Square" was a large gathering place and had a capacity of nearly 100,000 people. In his autobiography, Weisgall reflects that since his father and brother were singers, he learned from them how to put on a musical show with singers and dancers—especially on Jewish holidays. So Weisgall decided to include a well-known religious speaker in the program to attract a crowd. The most famous Zionist Jew was chosen for this job in 1933, who was none other than Haim Weizmann. He was a famous chemist and at the same time the founder and head of the World Jewish Organization, and after the establishment of the Israeli regime, he became its first president.
Weisgal now had the star of his ceremony. With Weisman's announcement, national Jewish organizations suddenly decided to participate in Jewish Day in Chicago. The Zionist Organization of America moved its convention to the Palmer House in Chicago. B/nai B'rith moved its annual meeting to Chicago, and national youth groups, including Avukah, the Zionist youth organization, planned a July 3 rally in Chicago.
In the days leading up to Jewish Day, Jews flocked to Chicago. On the Jewish day itself, a large number of Jews came to the exhibition. Hundreds of extra police had to be called to the fairgrounds to handle the crowd. By afternoon, thousands of Jewish Chicagoans marched and danced in Soldier Square in preparation for the evening's ceremony. Harry Berkman, a prominent Chicago Jewish organizer and athlete, led 3,000 young Jews in afternoon marches and performances. In addition to Haim Weizmann, many other Jewish officials came to Chicago, including Nathan Strauss Jr., a famous businessman and wealthy New Yorker.
The show "Romance of a Nation" started at 20:15. James O'Donnell Bennett, reporter for the Chicago Tribune, wrote a detailed description of the show under a front-page banner titled "125,000 Witnesses to the Jewish Show."
This performance lasted about 90 minutes. It was a tremendous success. The Chicago Tribune devoted fourteen columns to describing the event. The paper's management were apparently so impressed that they undertook to rerun the program for the following Thursday evening, July 6.
The purpose of all these explanations and details about this show is to show that this show was held with the active participation of thousands of people from the American Jewish community, with the support of the most important Jewish organization of the time and the presence of its political and religious leaders. But what is the important point of this show in connection with the main topic of this report?
The whole show actually took place around a large statue of a "winged cow" and during the show, hundreds of Jewish youths were re-enacting an ancient "ritual" in the area of ancient Palestine. But what was this statue and which rituals did those rituals refer to?
According to the narration of the Old Testament, and the confirmation of the Holy Quran, God forbids them from entering the Holy Land for 40 years due to the continuous disobedience and excuses of the Israelites in the implementation of divine commands, and their wandering in the desert (Wadi Tiyeh) begins. One of the greatest sins of the Children of Israel, which provoked God's wrath, was gathering this people around the "Samaritan calf" in the absence of Moses (PBUH) and worshiping it. According to some researchers of the Old Testament, the Samaritan calf was the manifestation of one of the gods of the Phoenician and Canaanite atheistic tribes (as enemies of the Israelites) named "Moloch" or Molech.
Moloch is recorded as a horned and winged cow as well as an owl in the works of the Phoenician civilization, and one of the most famous recorded images of this incarnation of the devil is the anti-human and demonic ceremony of "offering a baby" to the door of Moloch's idol. In this ceremony, the big idol of Moloch would be so hot that it would turn red all over, and then his worshipers would put the innocent baby victim in the lap of the reddened idol so that it would be converted and the sacrifice would be accepted. It should be mentioned that the characteristic sign of both incarnations of "Moloch" is having horns, and the famous sign of Satan worshipers refers to this aspect of the devil.
The truth is that the secret Jewish circles and associations from the time of Prophet Moses (pbuh) onwards, were actually people who usurped the religious positions and positions of the Jews with their evil intelligence and the real law of Abraham (pbuh) and Moses (pbuh) ) and other true prophets abandoned the children of Israel. The family of Levites (Levits/Levi), who became the leaders and leaders of the Jewish community after the great prophets of Bani Israel, were actually a class of priests who, in their secret circles, preserved the heritage of worshiping demonic "gods" such as Baal, Moloch, and Baphomet, and Gradually, the pagan and anti-God ideas of their priestly forefathers took place in the fabric of the official Jewish law. The ones who made the biggest distortions in history and by manipulating and forging the books of Moses and David, the hideous traits and vices of their worshiped demons and their ancestors (Baal, Moloch, Baphomet, etc.) are all manifestations of the devil himself or his immediate representatives were) attributed to the only God of Abraham (pbuh) and described attributes and deeds to Jehovah that the eye is ashamed to read and the tongue to say!
In verse 21, chapter 18 of the book of Leviticus in the Old Testament, we read from Jehovah:
"And let no one of his seed pass through the fire for Moloch and profane the name of his God. I am Yahweh."
This shows that the slaughtering and burning of Moloch's foot child was a deep-rooted ritual among the Levites (priests of Baal).
And in verse 33 of chapter 8 of the book of Judges, we read:
"And it came to pass after the death of Gideon that the children of Israel returned, they committed adultery in following the Baals and made Baal Barit their god."
Interestingly, one of the most important temples of Moloch is located in the heart of the United States. The big statue is located in the city of Monte Rio, California, in a place called "Bohemian Grove". Every year (in the middle of July), this place is the gathering place of influential and decisive personalities of art, music, culture, politics and economy in America, who participate in a secret satanic ritual called "cremation of care". .
To express their devotion to Moloch, which this owl stone idol symbolizes, they perform this ritual in front of a large stone idol (at a spot known as the "Owl's Nest"), one of the parts of this satanic ritual is the burning of a "sacrifice". is human. For the first time, "Alex Jones" was an investigative and controversial American reporter who infiltrated this ceremony in the 1980s and was able to film it.
Until the consolidation of the hidden and open power of the Jews in the world after the Second World War, which led to the establishment of an iron system of censorship, boycott and suffocation in criticism of Zionism, and the stigma of "anti-Semitism" became a powerful weapon to suppress independent and free researchers and scholars in To criticize the Jewish policy and Zionism, many Western politicians, judges, historians, writers and ethnographers talked about the sinister and black record of ritual "infanticide" and the use of child sacrifice in rituals with sinister purposes such as seeking help from the forces of the dark world in the Jewish community. They wrote It was only after highlighting the so-called "Holocaust" story and turning it into a global honor, that the cost of exposing and enlightening against the common crimes among the Jewish community was very high, and there was a kind of terrible silence in this matter.