This is a stark reminder of the foolishness of the voting public, sadly.  All those who poured onto the streets of Paris, shedding tears of “solidarity” with the “murdered” members of Charlie Hebdo’s editing team, did you take one moment to consider the ramifications of this event?  Did you take one moment to investigate who funds Charlie Hebdo, who pulls their strings and ensures a steady flow of hate speech and marginalisation of minorities in France?  Did you take one moment to reflect upon how many times you have been duped by your governments and their media megaphones?  Did you take one moment to unravel the lies and obscurantism that surrounded this whole keg of gunpowder? Did you for one moment wonder why all synagogues in France had an armed guard post CH, while Muslim mosques, schools and communities were being torched, desecrated and defiled?

Most importantly, did you once pause to consider how your moral compass got so buried that it allowed you to march alongside such an array of mass murderers, paedophiles, liars and hypocrites as those who led the marchers through the allees of Paris before the blood had even dried in the streets of Gaza?

Lets have a good look at what you marched for:

Aylan lying face down on the sand near a publicity board of a 2-for-1 McDonald Happy Meal saying what translates into: “Two childrens meals for the price of one.”

“The Proof that Europe is Christian,” the cartoon shows the little child drowning in the waters. On the left side, a man, supposedly Jesus, stands on the water while saying “Christians walk on waters… Muslims kids sink

Charlie Hebdo illustrator, Chanu, publised the following image on his facebook on the 3rd September, the same day that little Aylan perished.   Unsurprisingly he  has allegedly already received death threats.  Appearing on various French media channels to defend his work, he said, “this cartoon is one of homage, a poetic illustration.  It is not a cynical cartoon.  People have misinterpreted my work.  Its a cultural thing!”

« Ce dessin est un dessin hommage, un dessin poétique, ce n’est pas une caricature cynique. Si certains n’ont pas su décrypter le dessin, c’est parce que décidément il n’y a pas de caricature sans culture. »

Chaunu’s “homage” to Aylan

However Charlie Hebdo may choose to justify this gross insensitivity and of course they will, blaming it upon the ever widening chasm of cultural differences which will engender the evergreen argument of lack of integration by the Muslim communities in France..it is hard to escape the fact that CH is a Zionist owned magazine that is perfectly capable of manipulation, incitement, provocation and hate speech.  Therefore it can never be presumed that there is anything other than a malevolent secondary agenda behind any official narrative they choose to put out there as a smokescreen.

This is another piece of the refugee “crisis” jigsaw and the events that will dovetail from the publication of these cartoons will reveal the bigger picture.

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A Fitting Epitaph to the Charlie Hebdo Affair by Mary Scully

“We’re not going to rehash that Charlie Hebdo debate that goes nowhere about the character of satire. Either you get it or you don’t & those who do aren’t much inclined to quibble with the obtuse over whether CH’s racist pickaninny portrayal of African refugees is actually insightful social criticism. You can’t–to be frank–reason with white supremacy.
The thing about satire–the art of mockery–is that it’s so versatile. It can be lowbrow or highbrow. It can have vulgar farting & sexual bawdiness like Chaucer or picaresque fantasy & goofiness like Cervantes; it can be lacerating in social criticism like Jonathan Swift & Brian O’Nolan or completely apolitical like Month Python. It is often iconoclastic, nihilist, & cynical but it is also always funny & at its heart it is profoundly moral because it ridicules & vilifies social folly even if bereft of hope that things can ever be better.
Political cartooning is the most democratic art form, emerging in the 17th & 18th centuries with the democratic revolutions that overthrew feudalism & brought in capitalist nation-states. It’s a democratic genre because it indicates a change in power relations by the ability to lampoon power without being guillotined. The obsequious posture of serfs is replaced with the defiance & ridicule of free-born workers.
Regrettably, racist caricature has always been part of cartooning (except perhaps Daumier) because colonialism is a political feature of capitalism from its earliest days. Blacks, Jews, Arabs came in for the worst of it in European & US caricature. The simian portrayal of Irish shifted to the simian portrayal of Blacks that was used to incite violence & social hatred & stigmatizes caricature to this day–including of Obama & elite athletes. Unfortunately the racism led political cartooning to cooptation by the ruling elite so that, as an example, Dr. Seuss was drawing racist caricatures of Blacks, Arabs, & Japanese for commercial ads & WWII war propaganda.
So what does all that have to do with Charlie Hebdo & this recent blasphemy mocking the death of baby Aylan Kurdi–which offers a McDonald’s Happy Meal over the body of a child & says nothing about the barbarisms of EU refugee policy? In brief, because it is gratuitous & not just bereft of humor but of respect for anything. It is simply pornographic with amorality. And to what purpose? Only to show they hold nothing sacred.
When you hold nothing sacred there really is no need for satire, is there? When you skewer drowned infants rather than the abuse of power or human folly you are not longer producing satire but its parody in the service of social hatred. Charlie Hebdo wants us to gasp at their audacity when we are appalled more by their cruelty & complete lack of humour”