Theo Van Gogh's murder was not the first brutal slaying of a European on his own soil, but it captured attention and many saw it as a harbinger of things to come.
Geert Wilders heroically spoke the truth about Islam, made a short movie Fitna, (see below), was put on trial for inciting hate, but was eventually cleared of all charges. link
There is evidence that the general populations of Europe have awakened somewhat, but the politicians are still far behind. There have been many popular anti-Islamic demonstrations, and many participants were arrested. Meanwhile, it seems as though the "authorities" go to great lengths to protect Muslims so as not to appear being "racists". In reality, they appear to be too scared to stand up to the threat of militant Islam, and just shrink away.
America, we cannot let fear and/or political correctness lead to our submission to this evil.
Fitna
In Europe, nobody criticizes Islam anymore.
Article by Giulio Meotti
Nov 5, 2014
Ten years ago, the Netherlands fell into a state of fear. In Linnaeusstraat, a district of Amsterdam, Mohammed Bouyeri ambushed Theo van Gogh, the filmmaker and journalist who liked to call himself “the idiot’s village”.
In front of the “Dutchman” coffee house, the young Islamist slashed the throat of Van Gogh, and left a letter on his chest. That one little machete awakened the Netherlands from the complacent indolence in which it was holed up. But the Lowlands did not stay awake for long. The tenth anniversary of that multicultural martyrdom has been dominated by self-censorship.
Some artists do not speak today of the murder of Van Gogh “to avoid creating division”.
Translation: they are afraid.
And who would not be? The famous Dutch painter Marlene Dumas, admired for her collections exhibited at the Tate in London, the Centre Pompidou in Paris and the Museum of Modern Art in New York, was not afraid. These days at the Dutch Stedelijk Museum, Dumas exhibited a portrait entitled “the neighbour”. He, that neighbor, is the killer of Van Gogh, Bouyeri.
Dumas said: “I’ve always been interested in how to portray the criminal in terms of images. People will say, ‘you see he was the murderer’. I don’t think so. When I saw a photograph of the murderer of Theo Van Gogh, I saw this softness that reminded me some images of Jesus Christ”.
An ideological madness was exhibited by the mayor of Amsterdam, Eberhard van der Laan, who said that ten years after the murder, “the city is more harmonious and peaceful than it was in 2004”. It is – in the sense that no one dares to speak about Islam as Theo van Gogh did.
In the newspaper Elsevier Afhsin Ellian, an Iranian dissident who fled to Holland twenty years ago, wrote that “Bouyeri dragged the Dutch society into fear, especially academics, commentators and politicians”.
Ayaan Hirsi Ali, the indomitable co-author of the film “Submission”, left The Hague for the United States, while Geert Wilders, whose name was engraved on the belly of Van Gogh, politically lives on the dark and tragic legacy of that murder.
At the Oosterpark there was a vigil in front of the steel sculpture dedicated to Van Gogh by the artist Jeroen Henneman. It is called “De Schreeuw”, the scream. But it is a cry that is difficult to hear today in the Dutch society. That society is dominated more by silence.
The RTL4 television aired an interview with Lieuwe van Gogh, the director’s son. NPO 2 broadcasted “2/11”, a film scripted by the friends of Van Gogh, Theodor Holman and Gijs van de Westelaken. This is a film that spreads banal conspiracy theories, such as the idea that the director was a victim of the machinations of the CIA, which knew about Bouyeri but wanted to reach the entire Islamist cell that was behind him.
From prison, Mohammed Bouyeri shows gratitude to the Islamic charities that support him from outside: “You have to know that we don’t feel any remorse for the choices we have made and the path we have chosen to undertake”, reads a letter from him. “Never for a moment in all these years”.
Meanwhile, 140 Dutch Muslims went to fight for the Islamic State.
While being slaughtered, clinging to a trash can, Theo van Gogh begged his killer: “Can we talk?”
But can we really?
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