“WASHINGTON – A frustrated artist and an angry man, the suspect in the U.S. Holocaust Memorial Museum shooting once tried to kidnap members of the Federal Reserve board, a “caper” thwarted when a guard captured him outside a board meeting carrying a bag stuffed with weapons. James Von Brunn, 88, a white supremacist and Holocaust denier, describes the assault with apparent pride on his Web site, the source of fulmination against Jews and races other than his own.
Von Brunn was sentenced in 1983 to more than four years in prison for attempted armed kidnapping and other charges in his Fed assault. He was released in 1989.
“The subject resides in my memory like old road-kill,” he wrote. “What could have been a slam-bang victory turned into ignoble failure. Recalling all of this presents an onerous task. I am getting near the end of the diving board.”
Despite the revolver, sawed-off shotgun and knife found in his bag that day, Von Brunn insisted he was trying to place the board under “legal, non-violent citizens-arrest.”
A self-described artist, advertising man and author living in Annapolis, Md., Von Brunn wrote an anti-Semitic treatise, “Kill the Best Gentiles,” that he said no one would publish. He decries “the browning of America” and claims to expose a Jewish conspiracy “to destroy the White gene-pool.”
Von Brunn also wrote, “The ‘Holocaust’ Religion is destroying Western Civilization. The Aryan gene-pool dies, ‘unwept, unhonored and unsung.’”
Nothing new here, really. Spudboy has been covering it for years.
And in his latest book The Eliminationist he predicted everything that happened today, and shows how there’s no end in sight.
Because we are an evil people.
This country was founded on theft, rape and genocide and it hasn’t changed.
Born in Bakersfield, California, a graduate of the University of California, Los Angeles (UCLA), Harvey first established himself within the film community by programming the director’s cut of Sam Peckinpah’s The Wild Bunch at the Beverly Canon Theater in 1974. Peckinpah himself was in attendance. The film played that day to a sellout crowd.
The very concept of “the director’s cut” had no commercial viability until Harvey demonstrated it with this screening. After, as longer versions of such films as Touch of Evil by Orson Welles began surfacing from studio vaults, “director’s cuts” became a staple of the Revival House theater-circuit. (In the 1960s and ’70s, before the rise of Home Video, “Revival Houses” were the only way to see films as their makers intended.) Harvey’s passion for film won him great friendships with such maverick filmmakers and master directors as Robert Altman, James B. Harris, Monte Hellman, and such actors as Peter O’Toole. He brought these relationships to bear on his work at Z Channel, where he became director of programming in 1981. The films whose director’s cuts Harvey championed, using Z’s as a showcase, include: Michael Cimino’s Heaven’s Gate, The Ruling Class with Peter O’Toole, Sergio Leone’s Once Upon a Time in America, Karel Reisz’s The Loves of Isadora. John Ford’s Up the River, Bernardo Bertolucci’s 1900, and Sam Peckinpah’s Pat Garrett & Billy the Kid
An eclectic bill of fare to say the least.
“Harvey’s two older sisters, Mary and Ann, committed suicide in 1975 and 1978 respectively. These deaths, and the inherent despairs which triggered them, haunted and afflicted Harvey — destroying two longtime love-relationships, first with Doreen Ringer-Ross who lived with Harvey from 1973 to 1978, and photographer-filmmaker Vera Anderson, who married Harvey shortly after Ann’s suicide in ’78, and divorced him in 1984. Harvey’s second wife, Deri Rudulph (born December 21, 1949), married him in February, 1986. They remained together until April 9, 1988, when Harvey killed Rudulph with a pistol before turning the gun on himself.”
Less gaudy than Sam, perhaps, but the point was made. Violence is as American as Apple pie.
Or Onion rings.
And we Don’t Stop because we simply don’t want to.