Painting of the day:
John Collier’s Lady Godiva ~1898
Herbert Art Gallery & Museum
For those who liked a featured article I reproduced here under the title “Wagner’s wisdom,” Michael Colhaze has now written another piece on Wagner, but this time about “Barbarians who seem to lack any access to Beauty’s divine joy, and therefore hate it, and thus try to destroy what they can’t have.”
However relevant to understand how these “gay” barbarians of San Francisco want to destroy Aryan beauty, below I omitted most of the images chosen by Colhaze in his recent article at The Occidental Observer:
Let’s assume, just for the fun of it, that they blindfold you, help you up the wide stairs of the San Francisco Opera and lower you carefully into a velvet fauteuil. You hear the murmur of many voices, a squeaking and scraping of instruments being tuned, and a few harsh coughs as mucous residues are brought under control. Then, on a more mechanical note, a different squeaking and scraping as the curtain opens. Silence! Suddenly the tentative moan of wind-instruments, perhaps oboes and bass clarinets. Horns, or possibly tubas, trumpets, bassoons, bass trumpets, trombones, contrabass trombones and contrabass tubas join the gradually accelerating symphony until a ringing crash shatters the ominous tonal procession. As an old Wagner aficionado you have already twigged the conundrum: this is Mime wielding his hammer while forging anew the sword Nothung that was broken. A sword intended for his mighty foster-son Siegfried who must kill Fafner the Dragon and divest him of his most precious treasure, the one Ring of Power. Which, as the nasty dwarf hopes, will thus end up in his own claws and so make him Master of the World! With a deep sigh you lean back, and while the powerful music overwhelms your heart and mind, its visual setting unfolds before your inner eye.
When Mime laments the Forced Drudgery! with a voluminous tenor while doggedly banging his hammer, you can’t take it anymore. You jump to your feet and rip the blindfold from your eyes. And, from your Grand Tier Premium seat, what do you see?
The above! A hideously illuminated scrap-yard with a smashed-up trailer and a stunted street-bum banging his Made in China Wal-Mart mallet onto a piece of rusty iron.
Stunned, you sit down again. And while you do so, the terrible truth dawns on you. Namely that you have been tricked into attending the modern production of a great classical opera.
Now let’s assume you weren’t in such a great mood anyway, because some run in with your Japanese SUV or Siamese tomcat or crooked solicitor had darkened the day already, and all it needed to blow your top was a piece of theatrical hogwash like this. Thus you jump to your feet again and, with all the power your lungs can muster, begin to curse the heathen hogs to kingdom come.
Which, for a while at least, has the desired effects. The orchestra stops playing. Harp, trombone and first violin allow for a sip from the pocket flask while the conductor opts for a line. Mime drops his hammer and pops another upper. The audience is in turmoil. Some people stand and stare. Others use the opportunity and rip off programs when nobody looks. Old Rebecca Greenberg-Traurig, granny to some of the House’s foremost sponsors, goes down with the vapours. David Dunn Bauer, a celebrated art critic and rabbi, recognizes you as sincerely heterosexual and therefore, amongst other deviations, terroristically inclined. The House’s General Director, David Gockley, widely derided in certain circles as one of the major innovators in American opera, appears on stage while frantically hissing into his diamond-studded I-pod. Francesca Zambello, the production’s legendary artistic director, rolls into the main isle and yells insults at you that would make a harbour trollop blush. From your elevated position you glare down at her heavily powdered pizza-face and hurl your French fauteuil at it. But the damn thing misses by half a yard and only flattens her recently wed wife, Faith Gay (sic).
Finally the door is kicked down and all the world’s cops jump on you, and you are blissfully saved from watching the rest of the outrage.
Well, too bad really! Because by refusing so callously to consider the SFO’s magnificent production of Richard Wagner’s Ring des Nibelung, you’ve missed one the season’s cultural highlights. Just read what the assorted press had to say of the old semitophobe’s most acclaimed oeuvre:
Wagner’s Siegfried a Stunning Smasher, informs Opera Warhorses, which is most likely the most consummate praise ever.
Zambello’s “decaying American landscape” and “world ravaged by greed and neglect”—on Michael Yeargan’s sets with piles of garbage, polluted water and smoke-belching chimneys”—is OK, we are categorically assured by Janos Gereben in The Examiner.
Francesca Zambello, the first American woman to direct Wagner’s macho four-opera epic, was loudly cheered (if also booed by a handful), writes Mark Swed in the Los Angeles Times.
A Siegfried of unparalleled physicality and imagination. Director Francesca Zambello and her forces have created a five-hour opera that plays like a two-hour action flick, enthuses Michael J. Vaughan in The Opera Critic.
And more of the same. But to get a real in-depth impression of the grandiose event, let us look at what one of the more subtle and thoughtful art critics has to say in his international journal for the arts where we are treated prominently to his curriculum vitae:
David Dunn Bauer is a rabbi, stage director, critic, and educator. He is an alumnus of Yale University, Reconstructionist Rabbinical College, and Pacific School of Religion, in addition to having studied with Nadia Boulanger in 1976 and at the Liz Lerman Dance Exchange in 2010 and 2011. Based in San Francisco, he coordinates the Jewish Queer Sexual Ethics Project at the Center for Lesbian and Gay Studies in Religion and Ministry and is the Bay Area Director of Programming for Nehirim, the leading national provider of community programming for gay, lesbian, bisexual, and transgender (GLBT) Jews, partners, and allies. He writes regularly on issues of Torah, sexuality, Queer culture and community, and the arts.
Truly impressive credentials, you will agree, and particularly appropriate to give the stunning, smashing SFO production its proper due. In addition, Mr. Bauer’s journal styles itself The Berkshire Review, a somewhat misleading label since it clearly tries to give the impression that its editor is in some way akin to bygone critical genii like George Bernard Shaw who commanded the ethical and aesthetic clout to understand what the whole incredible Ring was really all about.
Here follows a brief compression of Rabbi Dunn Bauer’s critical acclaim:
Francesca Zambello forged something new and wondrous from Wagner’s tremendous and often toxic masterwork. I want to proclaim the true innovative triumph of the whole endeavour, the way in which Zambello told a worthy and contemporary feminist story through Wagner’s Romantic score, his heroes and heroines. While the sung (German) text remained unaltered, SFO’s (American) supertitles never referred to “the Rhine” (do you remember the Rhine?), only a nameless “river” and, as has become more and more the custom, often provided a slang and ironic commentary that bent the meaning of the original words.
For this Jewish Wagnerian who feels profound discomfort with Wagnerian anti-Semitism, I was deeply relieved at how thoroughly Zambello’s production eschewed the racist stereotypes implicit in the text and score. The prime Nibelungs, Alberich and Mime, were not by nature ugly or evil, more troubled and embittered. The Valhallan Gods were not lofty in manner or motivation. Neither the Volsung Twins, Siegmund and Sieglinde, nor their love-child Siegfried shone with gilded character against the dark horde of their moral inferiors. The ethical playing field was rendered strikingly even for a game played among deities and dwarves, goddesses of wisdom, demigod heroes, and scheming murderers.
As if to mete out a further measure of Borscht-Belt retribution for repugnant Aryan sins past, Zambello introduced an unprecedented amount of shtick into this portentous musical mythology. There were enough precisely timed elements of low comedy and enough laugh-provoking prop gags (beer bottles, butt kicks to God, telephones, televisions, remote controls, croquet mallets, and lap dances) to fill a revival of Gianni Schicci. In a rough tally, we find that Zambello transported the Ring out of the Rhine to the American River; brought the gods down (and the gnomes up) to a very humane plane; spiked Teutonic mead with vaudeville borscht; enriched the quality of women’s experience and agency beyond the stale limits of conventional heroine-ism; and erased the ethnic caricatures of the most offensively anti-Semitic work of dramatic art to hold an enduring place on the world stage.
And here a few visual highlights of the incredible extravaganza. The comments are lifted from Mr. Dunn Bauer’s unabridged critical piece. [images omitted]
Which seems to be a persiflage of Conrad’s “The horror! The horror!” and is therefore a perfect epitome of the entire hideous and miserable travesty.
Mr. Dunn Bauer, himself in danger to be labelled an ethnic caricature, and a damn queer one at that, has correctly identified Alberich as one of his own tribe. Though imperatives of loyalty forbid him to enlarge on the matter, he surely understands that the nasty dwarf is alive and well and wields the one Ring of Power to his heart’s content. What better therefore to divert attention to Siegfried’s heirs and crush a baby Nibelung for sport, an elegant simile clearly inspired by Elie Wiesel’s masterwork Night wherein the famed Nobelist and crackpot saw with his very own eyes how lorry-loads of small babies were hurled into a gigantic furnace?
Seen in this context, it is of course small wonder that a vengeful schmuck like Mr. Dunn Bauer rejoices about the mountains of shtick that disfigure Wagner’s incomparable magnum opus like plague spots a beautiful Rhinemaiden. Yet what seems odd is that he never mentions the generous sponsors who made this Twenty Five Million Dollar Enterprise possible. Because they are easy to make out. Just look at SFO’s official website and you will find, among small fry like La Boulange who occasionally doles out a free espresso, the usual suspects, namely a few international investment corporations who obviously laid out most of the aforementioned millions.
Just as in other great houses where there are frantic and vain attempts to destroy Wagner’s glorious legacy by presenting it as a theatrical garbage heap. Which gives us once again a clear idea about this particular type of barbarian who seem to lack any access to Beauty’s divine joy, and therefore hate it, and thus try to destroy what they can’t have.
As for those who are firmly grounded in Christian-humanist ethics and aesthetics, the smutty antics of the San Francisco Opera can’t be anything but the convulsions of an utterly diseased counter-culture that will slide back into the gutter once its sponsors have been divested of the one Ring of Power. Which, according to the developments in Greece and elsewhere, will happen rather sooner than later.
Chapter IV of Will and Ariel Durant’s The Lessons of History is titled “Race and History.” Although one of my favorite books is Will Durant’s The Story of Philosophy (1926), the Durants were already in the train on its way to political correctness when, after the ten first volumes of their monumental The Story of Civilization (1935-1967), they published The Lessons of History in 1968.
It is symptomatic that in the blogosphere people like to quote chapter passages where the Durants subscribed to political correctness in racial maters (search for “Chapter IV” here): blaming the environment, not blacks, for the poor cultures at Sub-Saharan Africa and concluding the chapter with the sentence that “racial antipathies” cannot be cured except by “a broadened education.”
Apparently the Durants were completely ignorant about IQ studies and HBD in general (see this splendid interview of Henry Harpending by Craig Bodeker). Also, when in the chapter on race in The Lessons of History they write about Mayan and Aztec cultures they completely ignore that both cultures were based on organized serial killing. (See for example my own book chapter on pre-Columbian cultures, a subject that I am far more knowledgeable than the Durants.)
If any “lesson of history” has been learnt it is that you can write ten or eleven thick volumes about civilizations and, still, be totally immersed in the Matrix of your own age and culture.
Below, the complete Chapter IV, where the Durants try to rebutt the theory of Madison Grant:
There are some two billion colored people on the earth, and some nine hundred million whites. However, many palefaces were delighted when Comte Joseph-Arthur de Gobineau, in an Essai sur l’inégalité des races humaines (1853-55), announced that the species man is composed of distinct races inherently different (like individuals) in physical structure, mental capacity, and qualities of character; and that one race, the “Aryan,” was by nature superior to all the rest:
Everything great, noble, or fruitful in the works of man on this planet, in science, art, and civilization, derives from a single starting point, is the development of a single germ; … it belongs to one family alone, the different branches of which have reigned in all the civilized countries of the universe… History shows that all civilization derives from the white race, that none can exist without its help, and that a society is great and brilliant only so far as it preserves the blood of the noble group that created it.
Environmental advantages (argued Gobineau) cannot explain the rise of civilization, for the same kind of environment (e.g., soil-fertilizing rivers) that watered the civilizations of Egypt and the Near East produced no civilization among the Indians of North America, though they lived on fertile soil along magnificent streams. Nor do institutions make a civilization, for this has risen under a diversity, even a contrariety, of institutions, as in monarchical Egypt and “democratic” Athens. The rise, success, decline, and fall of a civilization depend upon the inherent quality of the race. The degeneration of a civilization is what the word itself indicates—a falling away from the genus, stock, or race. “Peoples degenerate only in consequence of the various mixtures of blood which they undergo.” Usually this comes through intermarriage of the vigorous race with those whom it has conquered. Hence the superiority of the whites in the United States and Canada (who did not intermarry with the Indians) to the whites in Latin America (who did). Only those who are themselves the product of such enfeebling mixtures talk of the equality of races, or think that “all men are brothers.” All strong characters and peoples are race conscious, and are instinctively averse to marriage outside their own racial group.
In 1899 Houston Stewart Chamberlain, an Englishman who had made Germany his home, published Die Grundlagen des neunzehnten Jahrhunderts (The Foundations of the Nineteenth Century), which narrowed the creative race from Aryans to Teutons: “True history begins from the moment when the German with mighty hand seizes the inheritance of antiquity.” Dante’s face struck Chamberlain as characteristically German; he thought he heard unmistakably German accents in St. Paul’s Epistle to the Galatians; and though he was not quite sure that Christ was a German, he was confident that “whoever maintains that Christ was a Jew is either ignorant or dishonest.” German writers were too polite to contradict their guest: Treitschke and Bernhardi admitted that the Germans were the greatest of modern peoples; Wagner put the theory to music; Alfred Rosenberg made German blood and soil the inspiring “myth of the twentieth century”; and Adolf Hitler, on this basis, roused the Germans to slaughter a people and to undertake the conquest of Europe.
An American, Madison Grant, in The Passing of the Great Race (1916), confined the achievements of civilization to that branch of the Aryans which he called “Nordics”—Scandinavians, Scythians, Baltic Germans, Englishmen, and Anglo-Saxon Americans. Cooled to hardness by northern winters, one or another tribe of these fairhaired, blue-eyed “blond beasts” swept down through Russia and the Balkans into the lazy and lethargic South in a series of conquests marking the dawn of recorded history. According to Grant the “Sacae” (Scythians?) invaded India, developed Sanskrit as an “IndoEuropean” language, and established the caste system to prevent their deterioration through intermarriage with dark native stocks. The Cimmerians poured over the Caucasus into Persia, the Phrygians into Asia Minor, the Achaeans and Dorians into Greece and Crete, the Umbrians and Oscans into Italy. Everywhere the Nordics were adventurers, warriors, disciplinarians; they made subjects or slaves of the temperamental, unstable, and indolent “Mediterranean” peoples of the South, and they intermarried with the intermediate quiet and acquiescent “Alpine” stocks to produce the Athenians of the Periclean apogee and the Romans of the Republic. The Dorians intermarried least, and became the Spartans, a martial Nordic caste ruling “Mediterranean” helots. Intermarriage weakened and softened the Nordic stock in Attica, and led to the defeat of Athens by Sparta in the Peloponnesian War, and the subjugation of Greece by the purer Nordics of Macedonia and Republican Rome.
In another inundation of Nordics—from Scandinavia and northern Germany—Goths and Vandals conquered Imperial Rome; Angles and Saxons conquered England and gave it a new name; Franks conquered Gaul and gave it their name. Still later, the Nordic Normans conquered France, England, and Sicily. The Nordic Lombards followed their long beards into Italy, intermarried, and vitalized Milan and Florence into a Renaissance. Nordic Varangians conquered Russia, and ruled it till 1917. Nordic Englishmen colonized America and Australia, conquered India, and set their sentinels in every major Asiatic port.
In our time (Grant mourned) this Nordic race is abandoning its mastery. It lost its footing in France in 1789; as Camille Desmoulins told his cafe audience, the Revolution was a revolt of the indigenous Gauls (“Alpines”) against the Teutonic Franks who had subjugated them under Clovis and Charlemagne. The Crusades, the Thirty Years’ War, the Napoleonic Wars, the First World War depleted the Nordic stock and left it too thin to resist the higher birth rate of Alpine and Mediterranean peoples in Europe and America. By the year 2000, Grant predicted, the Nordics will have fallen from power, and with their fall Western civilization will disappear in a new barbarism welling up everywhere from within and from without. He wisely conceded that the Mediterranean “race,” while inferior in bodily stamina to both the Nordics and the Alpines, has proved superior in intellectual and artistic attainments; to it must go the credit for the classic flowering of Greece and Rome; however, it may have owed much to intermarriage with Nordic blood.
Some weaknesses in the race theory are obvious. A Chinese scholar would remind us that his people created the most enduring civilization in history—statesmen, inventors, artists, poets, scientists, philosophers, saints from 2000 b.c. to our own time. A Mexican scholar could point to the lordly structures of Mayan, Aztec, and Incan cultures in pre-Columbian America. A Hindu scholar, while acknowledging “Aryan” infiltration into north India some sixteen hundred years before Christ, would recall that the black Dravidic peoples of south India produced great builders and poets of their own; the temples of Madras, Madura, and Trichinopoly are among the most impressive structures on earth. Even more startling is the towering shrine of the Khmers at Angkor Wat. History is color-blind, and can develop a civilization (in any favorable environment) under almost any skin.
Difficulties remain even if the race theory is confined to the white man. The Semites would recall the civilizations of Babylonia, Assyria, Syria, Palestine, Phoenicia, Carthage, and Islam. The Jews gave the Bible and Christianity to Europe, and much of the Koran to Mohammed. The Mohammedans could list the rulers, artists, poets, scientists, and philosophers who conquered and adorned a substantial portion of the white man’s world from Baghdad to Cordova while Western Europe groped through the Dark Ages (c. 565-c. 1095).
The ancient cultures of Egypt, Greece, and Rome were evidently the product of geographical opportunity and economic and political development rather than of racial constitution, and much of their civilization had an Oriental source. Greece took its arts and letters from Asia Minor, Crete, Phoenicia, and Egypt. In the second millennium b.c. Greek culture was “Mycenaean,” partly derived from Crete, which had probably learned from Asia Minor. When the “Nordic” Dorians came down through the Balkans, toward 1100 b.c, they destroyed much of this proto-Greek culture; and only after an interval of several centuries did the historic Greek civilization emerge in the Sparta of “Lycurgus,” the Miletus of Thales, the Ephesus of Heracleitus, the Lesbos of Sappho, the Athens of Solon. From the sixth century b.c. onward the Greeks spread their culture along the Mediterranean at Durazzo, Taranto, Crotona, Reggio Calabria, Syracuse, Naples, Nice, Monaco, Marseilles, Malaga. From the Greek cities of south Italy, and from the probably Asiatic culture of Etruria, came the civilization of ancient Rome; from Rome came the civilization of Western Europe; from Western Europe came the civilization of North and South America. In the third and following centuries of our era various Celtic, Teutonic, or Asiatic tribes laid Italy waste and destroyed the classic cultures. The South creates the civilizations, the North conquers them, ruins them, borrows from them, spreads them: this is one summary of history.
Attempts to relate civilization to race by measuring the relation of brain to face or weight have shed little light on the problem. If the Negroes of Africa have produced no great civilization it is probably because climatic and geographical conditions frustrated them; would any of the white “races” have done better in those environments? It is remarkable how many American Negroes have risen to high places in the professions, arts, and letters in the last one hundred years despite a thousand social obstacles.
The role of race in history is rather preliminary than creative. Varied stocks, entering some locality from diverse directions at divers times, mingle their blood, traditions, and ways with one another or with the existing population, like two diverse pools of genes coming together in sexual reproduction. Such an ethnic mixture may in the course of centuries produce a new type, even a new people; so Celts, Romans, Angles, Saxons, Jutes, Danes, and Normans fused to produce Englishmen. When the new type takes form its cultural expressions are unique, and constitute a new civilization—a new physiognomy, character, language, literature, religion, morality, and art. It is not the race that makes the civilization, it is the civilization that makes the people; circumstances geographical, economic, and political create a culture, and the culture creates a human type. The Englishman does not so much make English civilization as it makes him; if he carries it wherever he goes, and dresses for dinner in Timbuktu, it is not that he is creating his civilization there anew, but that he acknowledges even there its mastery over his soul. In the long run such differences of tradition or type yield to the influence of the environment. Northern peoples take on the characteristics of southern peoples after living for generations in the tropics, and the grandchildren of peoples coming up from the leisurely South fall into the quicker tempo of movement and mind which they find in the North.
Viewed from this point, American civilization is still in the stage of racial mixture. Between 1700 and 1848 white Americans north of Florida were mainly Anglo-Saxon, and their literature was a flowering of old England on New England’s soil. After 1848 the doors of America were opened to all white stocks; a fresh racial fusion began, which will hardly be complete for centuries to come. When, out of this mixture, a new homogeneous type is formed, America may have its own language (as different from English as Spanish is from Italian), its indigenous literature, its characteristic arts; already these are visibly or raucously on their way.
“Racial” antipathies have some roots in ethnic origin, but they are also generated, perhaps predominantly, by differences of acquired culture—of language, dress, habits, morals, or religion. There is no cure for such antipathies except a broadened education. A knowledge of history may teach us that civilization is a co-operative product, that nearly all peoples have contributed to it; it is our common heritage and debt; and the civilized soul will reveal itself in treating every man or woman, however lowly, as a representative of one of these creative and contributory groups.
It is true that the video-series by Roger Scruton (“Why Beauty Matters”) and Scott Burdick (“The Banishment of Beauty”) expose today’s charlatanism in the Art world. But both series are marred by the constant presence of non-whites.
We need an identical message but this time filmed by someone like Craig Bodeker.
This said, what Scruton and Burdick proclaim is pertinent when we try to approach a sophisticated work like the classic The Story of Art by Ernst Gombrich, of Jewish ancestry, which I’ve just read.
In the final two chapters of the later editions of The Story, Gombrich speaks highly of the most soulless form of architecture that both Scruton and Kenneth Clark complained about. To boot, in these later chapters Gombrich reproduces several anti-art works as if they were genuine art, like Alexander Calder’s Universo (above).
The bullshit that Gombrich says in these last chapters was already refuted in “Why Beauty Matters.” For readers of TOO with good memory, perhaps they will also remember a Michael Colhaze article with the following vignette:
Both of us have no truck with Modern art and knew the artist only vaguely by name. Lucien Freud it was, grandson of you-know-who, and his hams about as uplifting as a dead rat under the sink. As we stood in front of one, an uncouth male nude reclining on a smutty bedstead with legs spread wide open while scratching reddish genitals dangling above a cavernous anus, my friend cast a look around and said: Grand Orc of the Crap Arts! Never had any sense of beauty, and never will! [image at TOO article]
I reproduce the anecdote again because Gombrich mentioned favorably the grandson of you-know-who as if he was a legit artist. So Gombrich put artistic junk at the end of his book (one more example: a whole unfolding triptych of one of Pollock’s nonsense paintings) but did not say a word of Parrish, the pictorial emblem of this blog, or about the art of Alma Tadema or the paintings of the pre-Raphaelites.
But let’s not dismiss all of Gombrich’s book: it is very erudite and often insightful. However, it is clear to me that he ignores the real art created in the century when we were born: genuine art that became heresy when these very sophisticated pundits monopolized Art Criticism (just as another Jew, Franz Boas, monopolized Anthropology).
At Age of Treason, last March an interesting debate ensued when the admin expelled a regular commenter (no ellipsis added between unquoted sentences):
Daybreaker, I get the distinct impression you are in some way jewish. Would you mind setting the record straight, one way or the other?
I’m not Jewish.
My personal background is not your business, and I’m not going to share it on the Internet, but I’ve been looking it up and I’m definitely not Jewish.
Your “distinct impression” lacks any foundation. The quote you gave just before saying you have this “distinct impression” (“Our default setting is highly universalistic compared to Jews, and likely compared to anybody else” [–Daybreaker]) is not a rational basis for an impression that I’m Jewish in any way.
Let me be blunt. You’re being paranoid.
Pat Hannagan said…
Well, Tan’s impression is one I got Daybreaker, or at least I questioned.
Your comments in this thread were beautiful but, when I’ve read you elsewhere you seem to me to have flip slopped and taken on the opposition’s side. It’s not paranoia, just trying to work out if you’re legit or not.
I’ve said what I am, minus what particular countries my all-White and all non-Jewish ancestors hail from. And I’ve done what I can to clear up the main points that may cause confusion.
There’s nothing else I can do. I accept that you and Tanstaafl are not being paranoid. But you’ll just have to keep wondering and working on it, because I can’t make myself any plainer than to give you a straight no, which I already have.
Daybreaker, let me be blunt. Your comments, here and on previous posts, are too long and too many. You seem to be trying to take charge of the discussion, to manage it. Stop it.
That’s one of several indicators that gives me the distinct impression you’re a jew. Calling me paranoid is another. People think you’re a jew because you act like one.
That’s a “shut up” and I will.
“That’s one of several indicators that gives me the distinct impression you’re a jew. Calling me paranoid is another. People think you’re a jew because you act like one.”
Based on that additional evidence, I retract my retraction. You definitely are paranoid about Jews and imagined Jews.
You definitely won’t be missed.
“Daybreaker, let me be blunt. Your comments, here and on previous posts, are too long and too many. You seem to be trying to take charge of the discussion, to manage it. Stop it. That’s one of several indicators that gives me the distinct impression you’re a jew.”
Wow, that’s all it takes to avoid the accusation?
What alarmed me was that other commenters at Age of Treason I respected continued to comment as if Daybreaker’s ethnicity had been properly demonstrated. It looked unfair to me even though I had no means to ascertain if Daybreaker was telling the truth. I felt disappointed and promised to myself, silently, not to comment at that blog again. But…
Yesterday and today I received some emails from Tanstaafl asking me if I have Jewish blood in my veins! Apparently Tanstaafl is now trying to see a Jew under the wrong stone because he’s extremely upset about my recent posts criticizing his pet theory, “monocausalism.” However upset he may be, that is no excuse for his rudeness in his recent emails. Here there are some sentences of our email exchanges. Originally, he reacted as a result of my comments at Carolyn’s blog:
Could you tell me what is going on in your mind? Do you not recognize a criticism of your position? Are you not willing or able to defend it? Did you discover some marrano roots or something?
If you don’t mind, I will respond in my blog, but first I must know if it’s OK with you to quote your email.
Haven’t you been “responding” at your blog, and elsewhere, for months already? You can’t sum up whatever you have to say to me in an email?
I can sum up: as far as I know I have zero J ancestry (a couple of old uncles are pretty obsessed with genealogy and I trust their research). And I am astounded that you may think of me having “marrano” ancestry.
Why would this be astounding anyway, then or now? Were you not aware of the marrano element sprinkled throughout latin America?
What is astounding about the question considering this position you’ve taken? Being marrano would help explain it.
Did Tanstaafl imply that I lied in my previous email when I explicitly said that I have zero Jewish blood? Since I consider his rudeness a personal insult (not only is he apparently doubting my word, marrano also means “pig” in Spanish) now I don’t feel compelled to ask permission to publish his above emails. This said, another clarification is in order. In his last email he also said:
“You seem similarly single-minded in your drive even farther back into Roman history. Naturally I’m curious why excusing the jews has become so important to you, especially when your criticisms are aimed, at least in part, at me.”
Where the hell Tanstaafl got the idea that I am “excusing the jews”? My criticism of monocausalism has nothing to do with defending Jews and everything to do with accusing Whites of weakness—as Severus Niflson explained so well last Monday in Yeager’s show, the subject of my previous entry.
It now looks to me that Tanstaafl is the symmetrical opposite of Fjordman. Just as Fjordman gets mad every time I suggest at Gates of Vienna that Jews have been involved in the West’s crisis, so Tanstaafl gets mad when I suggest at other forums that Whites are involved too in the same crisis. Although Fjordie and Tan are ideological antipodes with regard to the Jewish Question, for them the whole question is “either or”, never—God forbid!—“both.” As Niflson put it in his audio reply to Tanstaafl:
“We can’t just go out there and mention the jews the jews the jews, yeah we can mention other people, but we can’t be childish and just think that it’s all to blame on other people and by magically addressing the issue of their existence that suddenly our character will become magically well.”
Niflson is not alone speaking out about the character flaws of present-day whites. If I wrote for this blog the articles criticizing monocausalism it’s because notable people moved my train of thought toward that direction after Michael O’Meara became disenchanted with the webzine Counter-Currents:
1) Tom Sunic for one has been openly dismissive of monocausalism in his radio podcasts.
2) Michael O’Meara’s best 2011 article at Counter-Currents dismissed monocausalism as something silly and quite stupid.
3) Many of Harold Covington’s radio rants convinced me that, although the subversive Jew must be named, something horribly wrong—“yellow dogs” is one term used by Covington—is going on within the character of today’s Whites.
4) Hunter Wallace has been contradicting monocausalism for at least two years at Occidental Dissent. Although I disagree with his claim that America is run by blacks (I believe that Jews are far more influential) I have quoted some of his recent pronouncements on monocausalism, which Wallace calls “single-cause hypothesis.”
5) The harshest diatribes against these weakened whites I’ve read comes from the pen of William Pierce: one of the best minds that the movement produced in the continent.
6) Even Kevin MacDonald himself doesn’t seem to support strict monocausalism!
The heavyweights convinced me that strict monocausalism is silly, and that besides naming the Jew we must also note our flaws that empowered the tribe since the French Revolution.
Perhaps the next step in Tanstaafl’s escalating paranoia will be to ask these notable people if they too have some Jewish blood—and when receiving answers in the negative then insisting in follow-up emails that they must, notwithstanding, be Jewish?
This is the second time that this happens to me since I became involved in the white nationalist movement by the end of 2009. The first time happened when I criticized the 9/11 conspiracy theories. Monocauslaist J Richards, who even blames the American Civil War on the Jews, claimed at Majority Rights that that alone was proof that I was Jew! (see my comment about it here). Again, since the Majority Rights admin never apologized for allowing Richards’ claim within the main text of an article, I promised never to comment at that site again.
Aside of these insults directed at me by mail and in the blogosphere the real issue is, Are other monocausalists paranoid too?
I would appreciate comments on this question. It seems to me that character flaws are far more endemic in the movement than what I previously thought.
When I finished the above writing I learnt that Severus Niflson recorded a follow-up audio response to Tanstaafl even if this time Niflson didn’t name him. At Carolyn’s blog Niflson added a textual reply as well, of which I’ll quote a sentence:
Generally, my point is more on the side of practicality and honesty. The honest truth is that we have plenty of blame for our current situation, we could all make a list. This isn’t to remove blame on other people, but to be reasonable and forthright. Anybody who claims that all of our issues are to be laid on the feet of Jews is basically crossing the line into the realm of religion and faith, which in all honesty isn’t my favorite area since it crosses from rational into emotional.
Listen to Niflson here.
Here is the audio response by Severus Niflson to a couple of commenters that apparently believe that our current Western malaise is not, in part, the fault of Whites—but of Jews alone.
Of course, to understand the context of this curious audio-textual-audio exchange, you will have to listen to “The Heretics’ Hour: Are White Males Hooked on Weakness?”: Carolyn Yeager’s extremely didactic radio show last Monday.
“Read Evola on the metaphysics of sex. When sex becomes an end unto itself, rather than a means to an end, the Collapse phase of a Culture is well underway.”
—Fourmyle of Ceres, addressing homophiles at a WN webzine
“What a certificate of mental poverty it was for Christianity that it destroyed the libraries of the Ancient World!”
After reading page 44 of the translation of Edward Gibbon’s classic (Turner Publicaciones, 2006), I wrote in longhand (transl. from Spanish):
10 May 2012. It is unclear I will read the whole book (his prose is scholarly and academic), but I want to dwell on this point: The day before yesterday I posted the entry “Just an email,” where I openly advocate the extermination of mestizo-Americans to make room for the Hyperboreans in NorthAm (partly because of my revenge for what Mexico did to me).
Now that I read about this “conquest” by Trajan, it seems to me clear and transparent that my conquest à la NY Untermensch is far superior to these Italian pseudo-conquests, especially now that I cannot suffer these crowds of Untermenschen in Mexico that weren’t wiped out by Cortés and his successors.
If such brutal inferences arise constantly throughout my reading of this book, I’ll have to use a separate notebook for these notes as the white pages in Gibbon’s book will end long before I finish…
Page 47. The Roman policy: “A good soldier should fear his officers more than the enemy” reminds me of The Turner Diaries: how they rounded up and killed those white nationalists who failed to promptly cleanse Toronto from Jews. And now that I lost an online nationalist friend I see that I could order the original Gibbon in English to answer the faggotry of [the former friend’s webzine] with real Roman manhood and bonding among the soldiers.
Page 48. I just read these pages and long for the military life in contempt to the ethnic treason of today (the legions accepted people of my age).
Page 50. It is absolutely clear that a white consciousness hadn’t arisen remotely in the Roman Empire (not even with Hitler since he despised Slavs when he could start his conquests elsewhere).
Page 63. This makes me think several things. As mammals could not evolve when the dinosaurs reigned supreme, Gaul, Hispania, Germania and Britannia failed to develop their character under the yoke of Rome. The same applies to the United States: the Spanish Empire had to fall (cf. the grotesque independence of Mexico) for the US to discover its full powers. And now Europe is stuck with a US that has become Mammon and led by a Negro… It is obvious that the US must die so that the white race may regain once more its lost self-esteem and self-image. A pity that the Reich only lasted a few years. It is the culture that I like most because Hitler was the first white ruler of a State to speak out openly about race.
Page 65. I wonder if I will have to suspend this reading to read another book, The Passing of the Great Race. It seems that Gibbon has not written a racial history of the decline of Rome.
19 May. I was struck by what the Romans did in Gaul. Really: you see nothing of this barbarism in TV series like Rome or the other idealized series on the fall of the empire. Instead, in the program I saw today I finally heard some value judgments (“Caesar killed one of every four Gauls; if this is not genocide I do not know what it could be”) insofar as the figure included white women and children.
I’ll finish this book right away [an illustrated book about Caesar] because I see a discernible cause for the triumph of Christianity: something similar to why Amerindians embraced the Guadalupana after the reign of Huichilobos. For these peoples, god on the cross could mean nothing else than a desire for empathy for all crucified in Roman times (literally crucified).
20 May. I’ve seen several documentaries about Caesar and Rome, and my preliminary conclusion is that the Judeo-Christian reaction (reactive Yin) was due to the wild Roman Yang:
• The myth of Romulus and Remus, when Romulus kills his brother and took power is perfect archetype of fratricidal wars. For example, one commenter said that Caesar and Pompey were like two scorpions trapped in a jar. Another said that in those times if you were a politician you’d be killed in your bedroom or you had to commit suicide in the bathtub (the very destiny of Caesar and Brutus themselves). Another commenter said that the crossing of the Rubicon was an act of treason. I think that’s true: and the bust of Caesar that appears in the Wikipedia article reflects the real Caesar instead of the heads of the more idealized sculptures.
• It’s mankind’s folly to take the name of Caesar as something good and heroic (Kaiser, Czar, etc.) when the true heroes were Brutus and his followers for wanting to save the Republic. The crazy Romans did not recognize Brutus; they wanted a god and then would literally deify Caesar officially—cf. the deified Claudius image in my entry about Gospel Fictions. Precisely in that entry (St Mark implied that god must be better a crucified than an emperor) it’s easy to guess the reasons why the Jesus-god archetype took hold of the dispossessed under the rule of Rome. Caesar’s genocide of a million Gauls including women and children should not be glossed over. And that’s exactly where you realize that “Jesus” or the “crucified god” symbolized those poor bastards that the official story doesn’t glorify.
• The cash from the Temple’s treasures destroyed by Titus was used to construct the Roman building I hate the most: the Coliseum. This hatred of mine shows how I rather belong to the Christian rather than the pagan “psychoclass.” Rome was the mob, and the bloodthirsty spectacle of the mob in the Coliseum, as depicted in that illustrated book by National Geographic I read in 1977, shocked me into reality.
Without all this background along with my thoughts it was pointless to read Gibbon. I must understand Rome before its decline.
I keep seeing documentaries on the history of Rome and I’m once again with the Wars of Gaul. There’s something that catches my attention: the burning of the Gaul villages by the Gaul Vercingetorix. Not even the Nazis would have done that with their people to stop the enemy advance. Together with Vercingetorix’s expelling Gaul women and children from the fortress during the Roman siege, it shows that the Gauls constituted a lower “psychoclass” than the Romans (cf. my explanation of psychohistory).
May 21. I am completely surprised. Yesterday I finished twelve of the thirteen episodes of Rome: Rise and Fall of an Empire (I did not see the episode on Constantine). The picture of the events starts taking shape and I think it makes no sense to approach Gibbon without a mature idea of the historical issues. Keep in mind the last episode when Orestes, the father of Romulus Augustulus, put his pubescent boy as emperor in Ravenna, still believing in the idea of Rome after it had already fallen (in 410 AD when Alaric sacked it). The commentator said that while Rome was already dead for some decades, the idea of Rome persisted in some minds. For the first time in my life at one point I felt I understood the age; that I grasped the pathos visually.
Today I am watching another documentary, The Dark Ages that lasts an hour and a half, with some commentators of the previous series on Rome.
Greatly impacted me the genocide of Italians. As a result of his thirst to conquer the lost (Western) side of Christendom, just before the plague took 100 million lives, Justinian, emperor of Constantinople, perpetrated large massacres at the south of Italy. The commentator said that Justinian’s genocide was such “that Italy took two centuries to recover.”
What data, what story I didn’t know! It’s clear that the Western world was far more barbaric, brutal and psychologically dissociated than I previously thought. So clear. True: now I have psychohistory as my historical tool but these atrocities are still so surprising. Now I’ll finish watching The Dark Ages…
3:04 pm. Just today I posted in WDH “The Competition of Races” from Madison Grant’s book. It is abundantly clear that Islam was an animal that succeeded only because of the cultural suicide of the West during the centuries of darkness. Real darkness I mean. Europe was almost depopulated in the sixth and seventh centuries and the people of higher IQ, our best minds, instead of breeding joined the convents. How clear… A gap is made in nature and is filled with an inferior race through the Maghreb, yes: but unlike us that “inferior” race doesn’t suffer from guilt. Classical books were still burning in those centuries because of the triumph of the Galileans and the invoked “Monsters from the Id.”
27 May. I’m seeing again Rome: Rise and Fall of an Empire and it really was a psychoclass that is not ours.
“In the name of discipline, 4,000 men were put to this agonizing death.” That is, in 71 B.C. Crassus decimated his legions after their first defeat with Spartacus. Four thousand died by stoning or clubbing by their comrades, and the others compelled to contemplate. OK: since the decimation against the Volsci in 471 B.C. the Romans had not resorted to this method, but some argue that Caesar himself succumbed to this military self-punishment.
May 30. Now that I see the series again, I notice in the episode of Claudius that the Druids made human sacrifices (the Germans, or rather the Germanics, so did in the previous episode) and even ate the sacrificed. I mention this because the Romans, who belonged to a more advanced psychoclass, felt repelled by these practices. It is important to keep this in mind. Here the key that my psychohistory provides is useful, although the Romans also sacrificed the British captives by taking them to the gladiatorial spectacle (though never dared to join a pagan, cannibal feast).
17 June. I wrote almost a month ago that the sixth century A.D. shows that the West had already crossed through another “darkest hour.” It is evident that whites have not delved into the recondite chambers of their souls in order to detect the Monsters from the Id that have decimated their civilization two times in history, including our times.
In my Hojas Susurrantes I recount how I liked Planet of the Apes (1968) the same year I watched Kubrick’s magnum opus on the big screen. When I learned as a child that they were filming the second part of the Planet, I loved the idea and thought it would be a fascinating film that would respect the original story. I remember that I found very long the months that, with great anxiety, I expected Beneath the Planet of the Apes (1970) to be released.
When it finally was released in Mexico City and went with my cousin Julio to the Cine de los Insurgentes I was shocked. The film was light-years apart from what I imagined it should be a legitimate sequel. As a child I didn’t have the faintest idea of what Hollywood really was, much less did I imagine that much of Hollywood’s interests had nothing to do with art or with an indictment of humankind—the main theme of the 1968 film. The sequel Beneath the Planet of the Apes, which was released in Mexico about three years after the masterpiece of Franklin Schaffner, proved to be an absolute crap and the worst was that it made the boy I was feel completely cheated.
As a personal vignette I would say that, after watching the movie with my cousin, in the confusion we passed directly to the large roundabout which is in front of the now defunct Cine de los Insurgentes instead of going around it. (Incidentally, twenty years later they would film scenes of the 1990 Total Recall with Arnold Shwarzenegger in the commercial part beneath the roundabout.) We got stuck on it and the speed of the cars would not let us escape the roundabout. It was not built for pedestrians and Julio and I, who were about ten and twelve years old respectively, had gone to the theater without our parents. I discovered the roundabout was not made for pedestrians when I realized that the “sidewalk” had no room for my feet. In a sense we had risked our lives by rushing directly into the upper side of the roundabout when we left the movie theater. The chaotic and noisy Avenida de los Insurgentes and the congestion of the two children alone in the large roundabout turned out to be a pertinent corollary to my great disappointment.
Decades, and a dozen more disappointments of traitorous prequels, sequels and remakes to great sci-fi movies, passed until I grasped the fact that a market-driven society does not always coincide with my artistic sensibilities. In “Ridley Scott’s Prometheus” Trevor Lynch (Greg Johnson) recently put it this way:
As the credits rolled, I took off my 3-D glasses and rubbed by eyes in disbelief, trying to fathom the vulgarity of spirit behind this godawful movie. It is the same vulgarity of spirit that took the mysteries of Stanley Kubrick’s 2001: A Space Odyssey (1968) and gave us Peter Hyam’s sequel 2010 (1984), where the monoliths work to prevent nuclear war. It is the same vulgarity of spirit that took “the Force” of the original Star Wars trilogy and explained it in terms of little measurable material widgets called “midichlorians” in The Phantom Menace (1999). It is the same vulgarity of spirit that took the mysteries of Alfred Hitchcock’s The Birds (1963) and gave us Rick Rosenthal’s made-for-TV sequel The Birds II: Land’s End (1994), in which we are informed that the bird attacks are due to pollution.
Heidegger tells us that this vulgarization is the essence of modernity, which seeks to abolish all mystery and transcendence, replacing them with the transparent and available, which in cultural terms boils down to the vulgar and the trite.
But some of us are more modern than others, and it all fell into place when I spied the name of screenwriter Damon Lindelof, one of the principal culprits behind Lost […]. Prometheus is the same kind of portentous swindle: just Jews making millions peddling myths for morons. Don’t lose your money, or your lunch, at Prometheus.
I lost my money today watching this grotesque film and I agree. But about Star Wars Johnson failed to say that the real abomination started not with The Phantom Menace but with The Return of the Jedi: where an idiotic George Lucas completely betrayed the character of Darth Vader that had impressed many adolescents that had watched the splendid The Empire Strikes Back.
In the interview “Alien Special Features” of my DVD, Special Edition I heard a Ridley Scott saying that after Blade Runner he would never direct another sci-fi movie unless the story was really good, referring to the original script of the first Alien. With Prometheus Scott has just betrayed what he said.
Worst of all, of course, was 2010: Odyssey Two. Fuck you Arthur Clarke for having accepted the green bill, according to your own confession, to write a sequel you had promised never to write…
The ten books that made an impact in my life
before I became racially conscious
1.- Maxfield Parrish Poster Book
(discovered in 1978)
Parrish’s paintings made me discover something already existent in my inner soul: the potential divinity of the white race, the world we have to fight for with all our might (what eventually became Dave Lane’s fourteen words: “That the beauty of the white Aryan women shall not perish from the earth.”)
For the other nine books see here.