Two articles about Cole's unreleased film "The Ninth Circle" were copied in the 24th edition of the Revisionist Clarion newsletter in 2008 (
http://www.vho.org/aaargh/engl/actual/recla24.pdf). I didn't find either article on web.archive.org. The first article was part of a column titled "Michael St. John's Confidential File":
> ZIONIST INFILTRATORS
> MICHAEL ST. JOHN'S CONFIDENTIAL FILE
> HELLO AMERICA! The Tehran Holocaust denial conference was denounced by the United Nations, the U.S. Congress, the British and French Parliaments, and the Israeli Knesset. But even as outrage over the conference spread, the world could only guess at what was transpiring behind the closed doors of the clandestine meeting rooms where the deniers plotted their strategy.
> Now the world will have to guess no longer, because one man -- Holocaust historian and documentary filmmaker David Stein -- was able to infiltrate the conference and secretly record the proceedings. Stein, currently at work on the documentary film Nuremberg, starring Whoopi Goldberg, put all of his projects on hold when he learned about the Tehran conference. "I felt that someone had to document what was going on," Stein told me during a recent interview. "Someone had to record the deniers' plans, and someone had to tell the world. This was the first time that a government had sponsored a Holocaust denial conference. Deniers have had conferences before, but always in private or secret. Now, they were the honored guests at a state-sponsored event. That's a very ominous sign."
> As a well-known documentary filmmaker, and a Jew, Stein couldn't infiltrate the conference himself, so he worked in tandem with an associate who was able to slip in and out of the conference unnoticed. "At the close of the conference," Stein adds grimly, "President Ahmadinejad pledged twenty-five million dollars to the cause of Holocaust denial, and the attendees toasted to the destruction of Israel. And we have it all on tape."
> Stein is editing the footage from the Iran conference into a documentary film, which will explore the rise in anti-Semitism and Holocaust denial worldwide. Apart from the footage in Iran, Stein was able to score another exclusive -- an interview with Mel Gibson's Holocaust father. "Mel's dad had never before granted an on-camera interview," explains Stein. "I sat him down to ask him the questions that are on everyone's mind, questions like how deeply does anti-Semitism factor into Gibson family life, and what does Mel think about his dad's outspoken Holocaust denial. The answers I got were sometimes very shocking."
> David, whose production company is Nistarim International Media (
http://www.nistarim.com), hopes to have his film ready by the end of the year ('07).
> Canyon News 23 Aug. 2007
>
http://www.canyon-news.com/artman2/publish/Entertainment_1150/michael2000.phpThe second article was copied from the website of Cole's production company "Nistarim International Media":
> It was an event that made headlines around the world... an international gathering of Holocaust deniers, neo-Nazis, anti-Semites, and Muslim extremists in Tehran, hosted by the Iranian Foreign Ministry, and convened by Iranian President Mahmoud Ahmadinejad - a man who called the Holocaust a "myth," and who has repeatedly pledged to "wipe Israel off the face of the earth."
> For five days in December 2006, the world press was fixated on the Tehran "Holocaust denial" conference. Front page stories in The New York Times, The Wall Street Journal, The Los Angeles Times, The London Times, and every other major newspaper in the world; live coverage on CNN, Fox, and every major network. But as widespread as the media coverage was, the press was not in a position to tell the full story of what was going on at the conference, because only the invited participants were allowed behind the closed doors of the meeting rooms where the international collection of hate-mongers discussed the true purpose and goals of the gathering...
> And although the press was able to name some of the more well-known, "publicity-hungry" attendees like former Grand Wizard of the Ku Klux Klan David Duke, the media had no knowledge of the participants who preferred to remain in the shadows, including several European politicians and military leaders, and at least one internationally-wanted terrorist. Nor were any outsiders allowed to witness the conferences closed-door planning sessions, one of which was entitled "Cleansing Europe of Jews."
> The Ninth Circle is the result of an unprecedented effort by a group of documentary filmmakers and Holocaust educators to infiltrate and expose the proceedings of the the Iran Holocaust denial conference. Beginning nearly a year earlier (in January 2006, when President Ahmadinejad announced his intention to hold the conference), a "mole" - an undercover investigator - began gaining the confidence of the Iranian government officials who were in charge of arranging the conference... winning their trust, and ultimately being rewarded with a personal invitation once the conference became a reality.
> The result: the makers of The Ninth Circle were able to tape every moment of the conference... sometimes the "mole" was able to videotape openly, and sometimes, during the top-secret meetings, a hidden camera was used - a great risk, because, if caught, the undercover agent would have been at the mercy of Ahmadinejads secret police. The resulting footage will lead any viewer to a sobering conclusion: the Iran conference was about much more than "Holocaust denial"... it was about uniting hate-mongers of the world for an all-out assault against Jews.
> In The Ninth Circle, the footage of the Iran conference is used to anchor a wide-ranging look at what many see as a global resurgence of anti-Semitism.
> Included in the footage already shot: An in-depth interview with Mel Gibsons father Hutton Gibson (the only on-camera interview hes ever agreed to do) in which he addresses the questions that have been on everyones mind since Mels infamous Malibu traffic stop - questions regarding the role of anti-Semitism in Mels upbringing, its role in Mels adult life, and Mels views about Jews and Holocaust denial. To this day, Mel has refused to distance himself (or even discuss) his fathers obsession with Holocaust denial and Jewish conspiracy theories... so the makers of The Ninth Circle simply asked Hutton Gibson point blank - what does Mel really think about your views?
> When Mel apologized for the anti-Semitic rant that followed his drunk driving arrest, he wondered aloud where his "vitriolic and harmful" words came from. After viewing the footage of Mels father, the answer to that question is strikingly clear.
> Also included in The Ninth Circle: Footage of armed, paramilitary neo-Nazi units in Eastern Europe... many with ties to North American extremist groups;
> A shocking admission by an editor at one of the biggest newspapers in the U.S. that one of his star reporters helped popularize the anti-Semitic myth that Jewish employees who worked in the World Trade Center knew about 9/11 in advance and stayed home that day;
> Interviews with human rights activists in Latin America who are attempting to counter growing anti-Semitism in South and Central America;
> A devastating exposé of the acceptance of Holocaust denial and Jewish conspiracy theories among some of Americas leading academics;
> Interviews with journalists regarding the French governments attempt to cover up the details of a crime ring in Paris that kidnapped, tortured, and killed Jews throughout 2006. Amazingly, some of these journalists willingly went along with the cover-up.
>
http://www.nistarim.com/ninthcircle.htmIn the book "Republican Party Animal", David Cole wrote that he used the alias Caleb Tinbergen to make documentaries that supported the orthodox view of the Holocaust (
http://libgen.lc/index.php?req=republican+party+animal):
> With "never take money Dave" gone, I decided to figure out how to get a decent income. But what could I do? I'd "killed" David Cole. I couldn't go back to that. Plus, Irv Rubin was still alive and kicking. If I even tried to resurface and be my old self, he'd just try to kill me again (and he'd be angrier now, as he'd feel publicly humiliated for having accepted my "recantation" at face value).
> No, Cole was as dead as a doorknob. I was living as Stein, but nobody knew Stein from a hole in the ground. I'd laid down no footprints for him yet. And I wanted to protect Stein from any problems. I liked the name and I wanted to keep it.
> So, time for a few creative pseudonyms, and some rather ruthless profiteering.
> I knew Holocaust history backwards and forwards. My time as a revisionist, with the skeptical reporters, the hostile TV and radio hosts, the probing letters of inquiry from the likes of James Randi and Christopher Hitchens, the debates with other revisionists, and the appearances at college campuses filled with wary audiences, had forged me into a one-man encyclopedia on the subject.
> Sarah had left in August, and I spent about two months pining and whining. I turned thirty that September, and it was the piningest and whiningest birthday I ever had. But by November, I'd emotionally moved on, thanks in part to a new best friend I'd made in a beautiful young transplant from Nebraska named Deb, a super-intelligent goth-girl (blessedly not an actress) who would end up becoming instrumental in my financial recovery.
> Deb taught me how to use a computer. In my entire life, I'd never touched one. I liked reading "real" books, and writing by hand. The computer opened the path to direct mail, as I could now easily print my own catalogs, mailing address labels, etc. With my new computer skills, I could now sell things to whoever I wanted. So what's a knowledgeable but disgraced Holocaust revisionist to do? Play both sides. And make some decent scratch.
> I created two pseudonyms - one to sell books and videos to Holocaust studies departments around the world, and one to sell books and videos to revisionists. Naturally, because I'm a douchebag, both pseudonyms had to be in-jokes. My college and university pseudonym was "Cal Tinbergen," taken from my favorite early-1980s horror film, _Forbidden World_. In the film, Cal allows his own cancerous liver to be cut out of him while he's still alive so that it can be fed to the mutant that's terrorizing the research colony on one of Jupiter's moons.
> I'm not saying it was a good film.
> And then I created "Desmond Boles" to sell to revisionists. The in-joke there was that one of my favorite Italian zombie film actors, Ugo Bologna, who played "Mr. Desmond" in the seminal zombie film _Nightmare City_, also played "Dr. Bowles" in the creatively-titled _Zombie_.
> Neither of them were terribly good films, either, although _Nightmare City_ is one of Quentin Tarantino's favorite movies, serving as the inspiration for the Tarantino/Rodriguez "Grindhouse" film _Planet Terror_, and if Tarantino likes something, it must be g...oh, wait. No, forget that.
> "Cal Tinbergen" sold films through "The Tinbergen Archives." Desmond Boles sold films through "Contrarian Press" (I actually really liked that business name). I started making safe, completely unchallenging Holocaust documentaries for colleges and universities, and unsafe, revisionist documentaries for the other side. It was so damn easy, as I had years and years of collected archives, maybe only thirty percent of which I'd ever used publicly during my days as a revisionist. Hundreds of hours of footage from my trips; thousands of pages of documents I'd copied at archives and universities around the world. I truly thought I had enough to keep this "pseudonymous playing both sides" thing going for a year. In fact, I had enough to keep it going for four years.
> Needless to say, things got surreal. One of my archived films showed what I believed to be the first Nazi experiment with gas chambers, at an insane asylum in the town of Mogilev, in Minsk, in 1941. The Nazi doctor in charge was Dr. Albert Widmann. In 1994, when I discovered the footage sitting in the U.S. National Archives, I set about trying to authenticate it. There had always been rumors of such footage, supposedly shot so that it could be sent back to Berlin for Himmler's approval. The records of the postwar trial of Widmann were at the time only available in two places in the U.S., one of them being the UCLA Research Library. My good fortune - it saved me an out-of-town trip.
> I became convinced that the footage was genuine, and I wrote to the U.S. Holocaust Memorial Museum. I exchanged a series of faxes with their film archives director, Raye Farr. I wouldn't speak with her over the phone, for fear that my incredibly unique voice might tip her off that I was Cole (Cole's "death" was still fairly recent at that point). In several faxes, Farr told me that the experts she spoke with believed the "gassing" footage was a Soviet fake, staged to use against the Germans at the Nuremberg Trial.
> I actually disagreed. Funny - me believing the footage was genuine, Farr claiming it's a fraud. Talk about role reversal.
> "Cal" sold the footage to almost every Holocaust studies department in the Western world. And then "Desmond" used Farr's faxes (which he claimed to have bought on the Holocaust "black market") in order to sell the "fraudulent" footage to revisionists as an example of staged Soviet fakes.
> And so it went. For several years, I would sell materials to both sides. Using a complex series of DBAs, both "Cal" and "Desmond" had their own business accounts, and the money was pouring in. As my own views had become more complex when I left revisionism, I didn't think I was completely lying, as I partially agreed with both the mainstream and the revisionist positions. But since I knew that those two "sides" could never be brought together, I realized I'd have to cater to each one individually.
> I'm not going to evade the question of "moral responsibility." And by that I don't mean exploiting revisionists and mainstream historians. In their own way, they all asked for it, by stubbornly adhering to ideology, embracing evidence that supports their beliefs, and dismissing evidence that challenges it. I had no respect for either side. Their ideological blindness had opened them up to exploitation.
> By "moral responsibility," I'm talking about making a profit on the back of one of the most horrific events in human history. Millions of Jews weren't tormented and killed so that I could make a buck. I could deflect the issue by pointing out that lots of other Jews (and non-Jews) have made healthy profits from Holocaust-related media and materials. I’d be correct. But it would still be a deflection. At the time I made peace with my conscience by reminding myself of all the years I’d refused to take a dime. “I tried to be the Buddhist monk of Holocaust history, and what did it get me? Death threats and destitution!” But that, too, was a deflection.
> The truth is, I can't defend it. The only thing I can say is that after I was forced out of the field by the death threats of the JDL and the lies of people like Shermer, I had to emotionally divorce myself from the subject matter. It's where I am now regarding politics. I no longer care about it. When you're so deeply attached to a subject, and you're cast out of it, you have to train yourself not to care about it any more, or else you get torn up with longing and regret. I'd grown cold to Holocaust history just as, right now, I've grown cold to politics. It's the only way I can cope.
> But unlike my revisionist work, which I'll still defend, and unlike my conservative work, which I'll still defend, I can't defend the period in between.
> "Desmond Boles" was able to deplete the revisionist side rather quickly. It was an older demographic, and, frankly, they were dying off pretty quickly. And a lot of those geezers still wanted VHS tapes. It was a pain to mass-copy VHS tapes. In fact, I would reuse old tapes I had around the house, stuff that I'd recorded in the 1980s and '90s.
> One time, for whatever reason, the copying process failed, and I sent this poor old revisionist guy a video with episodes of _The Simpsons_ on it. Now come on, hate me as much as you want, but you have to admit that's funny. This guy orders a film that was probably called something like "The True History of Auschwitz," he puts the tape in, and it's Homer Simpson. That's just plain funny.
> But as "Desmond" was slowing down with the revisionists, "Cal" was on fire. His films were selling like hotcakes. As you might expect, I never did my own narration - Deb did that. At this point there wasn't a major college or university that wasn't using at least one of my films - Harvard, Yale, Princeton, Oxford, NYU, CUNY, Brandeis, Berkeley, the University of Chicago, UCLA, Vanderbilt, Boston College, you name it, my films were everywhere.
> I had a strong contempt for my audience, because the films were terrible. And nobody complained. They didn't complain because these bland, safe films reinforced what they already believed. It was "comfort food" to these folks. My lack of passion could be seen in every single one of those films. One evening, having finished laying down narration with Deb on one of "Cal's" films, I realized after she left that I'd forgotten to get her to record a significant closing paragraph. I didn't want to trouble her with having to drive back because of my own absent- mindedness. So I thought, well, I could present the closing spiel as on-screen text...but that would take WORK. Screw that.
> Just then, an old buddy of mine, a hulking three-hundred-pound black dude, stopped by. I asked if he could record about six sentences of narration for me. He was fine with it. "Do you want me to record any more?"
> "Nah - Deb did the rest."
> A little concerned, he asked, "won't the viewers be startled that at the emotional climax of the film, the narrator's voice changes from a soft-spoken twenty-five-year-old girl to a deep- voiced middle-aged black man?"
> "Nope," I replied, "they won't even notice. They'll be in the blissful state of mind that ideologues reach when they're being fed their intellectual morphine."
> And damned if not one of the thousands of professors who bought that film ever brought up the narrator's sudden climactic gender change. Not one.
> Whereas "Desmond" never had to be in any close contact with the revisionists (the revisionists are a non-demanding crowd. They have very few people to serve them, so they don't typically make a fuss if something goes wrong. I never even sent that "Simpsons" guy a replacement video), the professors were much more demanding. They wanted more than videos - they wanted study guides, classroom plans, etc. I mean, it's all about them teaching their classes on auto-pilot, right?
> By 2001, I felt safe to speak to them on the phone. Cole had made his last TV appearance in 1994. I doubted that any of them would recognize my voice. Initially, I would speak to them as "Cal Tinbergen." But I soon started rethinking that strategy. One reason was that it was a very difficult name to communicate. People kept thinking I ran the "Tim Burton Archives." The main library purchaser at Harvard was a woman with a very strong Southeast Asian accent. I never knew her actual name. Over the phone, it sounded like "Plasmagoo." Honestly, that's what it sounded like. I'd call the purchasing office and ask for Plasmagoo, and she'd reply "Thees Plasmagoo, hello Meester Tininbringing."
> Also, a weird phenomenon was happening. As my bland films were receiving wide acceptance, a lot of people were talking about them. And they weren't talking about David Stein. I wasn't going to hide behind "Tininbringing" my entire life. I needed to get Stein's name in on the action.
> Fordham University patron Sidney Rosenblatt added "Tinbergen's" films to the university's prestigious Rosenblatt Holocaust Collection. Dr. Bill Nichols, professor of cinema at San Francisco State, screened one at the Visible Evidence conference of documentary filmmakers and scholars. WWII vet Leonard Sattler (103rd Infantry) screened one at a conference of liberators, and former UN Ambassador William vanden Heuvel added "Tinbergen's" films to the catalog of the Franklin and Eleanor Roosevelt Institute, which he chairs.
> In the most surreal moment of all, Laurence Moss, an economics professor at Harvard and Tufts, claimed to have actually _visited_ the "Tinbergen Archives" (you know, the thing that existed entirely in my head). In a 2001 article in _The American Journal of Economics and Sociology_, which Moss edited, he wrote:
> > The Tinbergen Archives in Los Angeles, California are a monument comprised of books, lectures, and films - a monument that exists for the sole purpose of honoring the dead. Established to inform succeeding generations about this "century's greatest crime," the destruction of most of Europe's Jewish community, it "preserves the history of the Holocaust and the blessed memory of the Six Million who lost their lives so cruelly and unjustly." Mr. Cal Tinbergen, the Director of the Archives, has assembled media of all types to fortify "the fight against bigotry and hatred."...I admire the clarity of Mr. Tinbergen's vision about who he is and what he does.
> If big-timey professors are going to write things like that, they might as well write them about Stein. I made Stein "Tinbergen's" managing director. From then on, all Tinbergen business went through Stein.
> The final nail in "Cal's" coffin came in the form of one of those wonderful coincidences life throws your way every now and then. I had always joked that _Forbidden World_, the film from which I took the name "Cal Tinbergen," was so obscure, that the only person who might possibly get the reference is Allan Holzman, the guy who directed it. And why should I be afraid of ever crossing paths with him? He does low-budget horror films.
> Well, actually, it turned out that Holzman was now doing Holocaust documentaries! The _one guy_ who could get the Cal Tinbergen reference was now in the same field.
> It was time to ditch Cal. It was 2001. Stein could stand on his own.
> If I'm careful, I thought, I'll be fine. I had to speak to a lot of professors over the phone, but I wasn't going to be doing any media. There were times when the routine was frustrating, especially those times when this or that Holocaust history professor, not knowing that he was actually speaking to David Cole, would mention my old work with a sneering "yeah, that Jewish denier kid was actually on to something about Auschwitz, but we just can't talk about that stuff publicly."
> I remember having a phone conversation with a professor from Boston University, a good customer, in which he was complimenting me on "Cal's" film about Dachau. Somewhat solemnly, he said "You know, there are times I wish we could just tell the world that the 'gas chamber' at that camp was built by our troops after the war. But we can't encourage denial."
> "Yes, too bad," I replied, "we need to safeguard those secrets." Meanwhile, in my mind I was throttling the lying prick.
> I collaborated with Ellsworth Rosen, public relations director of the Combined Jewish Philanthropies (Greater Boston's Jewish Federation), on the film _Bearing Witness: American Soldiers and the Holocaust_, narrated by legendary newsman Morton Dean. My main job on that one was supplying historical footage from my archives, something I was asked to do several times that year, including for a documentary on George Stevens, and one on the Warsaw Ghetto.
> Stein was becoming so well known, I even received a death threat from a neo-Nazi! Immediately seizing on the profitability of that, I decided to send a copy of the letter to the entire Tinbergen Archives mailing list, explaining to them why this letter demonstrated the need to contribute to the good works of the Tinbergen Archives. That death threat brought in a hell of a lot of money.
> Turns out, the white supremacist who sent the threat to me, John Frederick Steele II, head of the Southern California-based "Brandenburg Division" of the Aryan Nations, was arrested in November 2002 for possessing weapons and bomb-making materials.
> Repeat after me: _This is why Dave uses pseudonyms._
> My Tinbergen Archives mailing list had become a hot property. Although only about 12,000 names strong, it was aggressively sought-after because most of the names were West Coast Jews (the typical Jewish mailing list consists of the same old East Coast names). I was repped by Negev Direct Marketing, the largest Jewish mailing list broker in the world, and I was able to trade my list for dozens of others, including the Simon Wiesenthal Center's Museum of Tolerance, the World Jewish Congress, the American Jewish Historical Society, and the Jewish Foundation for the Righteous. I also made some decent cash by selling the list to Jonathan David Publishers, Elderhostel, and MBI. By the end of it, I had a mailing list that included the home addresses of Spielberg and Streisand (and filmmaker Wes Craven, who actually wrote a fan letter to "Tinbergen").
In op-eds that David Cole wrote under his aliases, he advocated for a strong Israel and hawkish foreign policy (
https://www.theguardian.com/world/2013/may/03/david-stein-cole-holocaust-revisionist):
> "The best guess is yes, there were gas chambers" he says. "But there is still a lot of murkiness about the camps. I haven't changed my views. But I regret I didn't have the facility with language that I have now. I was just a kid," he said this week.
> As Stein, however, he shielded his views, not least during the next stage of his career odyssey: the maker of respectable, conventional Holocaust documentaries. He knew the subject, needed an income and US schools and universities had budgets to commission such projects. He said: "I gave mainstream audiences what they wanted."
> At the same time, he started writing op-eds under Stein and other pseudonyms, expressing what he said was his growing fervour for a hawkish foreign policy, a strong Israel and conservative social policy.
