Painting by Charles Gleyre (1806-1814)
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Month: July 2020
On Twitter Will Westcott recently said:
The US right-wing is dominated by liberal conservatism, a perverse ideology that prioritizes extreme individualism and selfishness over the public good and GDP [Gross Domestic Product] as the reason for existence.
That’s why taking measures that hinder individualism or economic growth are opposed.
In order to justify this ludicrous value system, liberal conservatism engages in denialism or ridiculous conspiracy theories to explain away the pandemic.
Facing up and admitting there’s a real pandemic would mean exposing their real ideological motivations.
They can’t state what they really believe—that their personal autonomy is more important than public health and they don’t care how many get sick and die as long GDP keeps growing—because that would be deeply unpopular. Thus, they descend into denialism and conspiracy theories.
On the flip side, the US left-wing is dominated by liberal progressivism, an equally perverse ideology that believes “racism” and “white supremacy” is the real virus and more important to fight than an actual pandemic that’s infecting and killing thousands of people.
That is why the US left-wing initially opposed closing borders and isolating foreigners when the virus first appeared—that would be “racism” and “xenophobia” and then decided to form huge crowds to protest white supremacy in the middle of a pandemic.
Liberal progrssivism does not have to devolve into denialism and crackpot conspiracy theories to minimize the coronavirus because they openly state they believe fighting racism is more important than fighting a pandemic.
Liberal conservatism also agrees that racism is the greatest evil so the progressive left receives no pushback or condemnation for such an insane belief. Also, the conservatives want an excuse to deny taking public health measures and the protests give them that.
Based Barsoomian added:
At the same time they are doing nothing to stop blacks from destroying the city and killing people on the streets.
Michael Tracey commented:
The US right-wing impulse to deny the severity of the coronavirus has never made any sense ideologically. In other parts of the world (India, etc.) it’s the total opposite (right-wing extra “tough” on the virus). This is just nihilistic, knuckle-dragging, know-nothing posturing.
My two cents:
That’s the United States. Half of the population having Mammon as their god to the point of devolving into crackpot theories, and the other half indistinguishable from the Jews regarding what the Talmud says: that the best among the Goyim must be exterminated.
In a video, yesterday I listened a few words from William Pierce that Hunter Wallace embedded in his site. I had not listened to Pierce for some time and it made me reiterate what I already knew: that the Pierce who spoke once a week on the radio and the Pierce of Who We Are are two Pierces. Similarly, the Hitler who spoke to the masses was not the same as the one who spoke to his friends in private.
Perhaps the reason the National Alliance doesn’t publish Who We Are (the equivalent of Hitler’s table talks) is for not showing the most authentic Pierce to ordinary people, as Who We Are touches on taboo issues for American white nationalists: Nordicism, anti-Christianity, exterminationism and the story worth investigating to understand the white man is the European, not the American.
There is another problem with Pierce’s referred speech. Like Hitler’s public speeches, it seems monocausal, and it contrasts sharply with the posts we’ve been collecting from Robert Morgan about the American Civil War, which show that a fanatic, suicidal anti-racism already existed in the US before Jews came en masse to this continent. But the bottom line is what Will Westcott said above: almost all Americans, on the right or left, are bad people in one way or another. The only way to save them would be precisely what
Morgan said five years ago:
In order to accept being called a racist or a Nazi with equanimity, normal American whites would have to reconcile that with their country’s history of being violently opposed to racism of any kind, from the Civil War forward. They would have to admit to themselves and to others that all of that blood shed in trying to stamp out racism had been shed in vain, and in fact, worse than in vain, in an evil cause. They would have to admit that their ancestors were evil, and that they themselves had also been evil before they saw the light and became racists.
It’s safe to say the chances of that happening on a mass scale are almost zero.
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Five possible reactions for whitey
1) Fu*king die already
2) Grovel harder
3) Ignore & hope
4) Race realism (ethno nationalism)
5) Become the racist they fear
I am afraid that many people will not even pause at option 4 but go directly to option 5.
One of the things that strike me when I say that I am speaking to myself is that some respond that they are listening to me, or that they have learned about anti-Christian matters thanks to this site. The reality is that that would be only one aspect of being accompanied.
A few days ago I quoted once again what Nietzsche said of Luther. This monk, instead of kneeling in Rome grateful for the transvaluation of visual values that had started at the very headquarters of Christendom, none of that impacted him, but returned to his dark Germany to write religious texts.
White nationalism is a basically American phenomenon. All major websites are American, not European. Europe died after World War II when two Judaised nations to the core annihilated it. But we should not blame Roosevelt’s US and Stalin’s SU one hundred percent, as both socio-political experiments were two branches that emerged from the same egalitarian baobab that began to engulf the West right after the French Revolution.
White nationalism being basically an American phenomenon, a descendant of the Calvinist Puritanism of the first colonists, is blind to the values that the Renaissance advocated: the plastic and visual arts. If we remember the texts of Evropa Soberana, a European from the westernmost part of Europe, for the Greeks and the Romans the beauty of the statuary and the temples, more than the texts—not all of them could read—was central. Remember what Greg Johnson said in the comments section of The Occidental Observer in 2012: ‘We need a regime that (1) bans pornography and (2) erects statues of gorgeous naked nymphs and athletes in every public square and crossroads’.
The texts of white nationalism, including the ones Johnson posts on his webzine, bore me (worst of all is the very verbose Unz Review whose admin is a Jew). They are a direct result of those who conquered the American continent, alienated in the Old Testament ethos and consequently inspired by Judaic legalisms and moralising rather than by the visual arts. Unlike these Judaised whites, what interests me is the beauty of nymphs, sylphs, and dryads (and it doesn’t bother me in the least that some pederasts include androgynous ephebes in the list).
Instead, the pundits of white nationalism, even those who have read Nietzsche, as little and prudish Luthers are blind not only to the beauty of the Aryan body, insofar their webzines don’t dream about it in every crossroad, but blind also about the squares that should inspire them to create the ethnostate. Remember ‘What Did Ancient Rome Look Like?’ that I embedded not long ago!
If I am alone it is because I have not been understood when I speak of the transvaluation. Perhaps many believe that I am still referring to texts or cold reason, when what I want is an ethnostate whose architecture resembles the Rome that appears in the aforementioned video.
The anti-white climate of our time is exactly the reverse of the dream of putting gorgeous naked nymphs and ephebes in every public square and crossroads. If contemporary racialists had already transvalued their values, instead of verbose texts that few read they would show in their webzines that beauty.
This is one of the reasons why I am not in the least concerned that the insane American negrolatres, and the blacks themselves, are smashing white male statues in America. All the statues knocked down by BLM and the antifa have been statues of clothed Christians: statues that had to be thrown away anyway after the Nietzschean revolution. What we need throughout the re-conquered West are thousands of completely naked pagan statues showing Aryan beauty in their full frontal glory.
To save the race, values must be revalued, and that means understanding things as inconceivable to American racists as what I said to European Vig these days in the context of how music would sound like if Christianity had not murdered our souls.
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The Danaides
The Danaides is a 1903 painting
by John William Waterhouse
(Private collection)
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What happened to Michael Colhaze?
In the comments section of my recent piece about Parsifal I said: ‘This is the Verwandlungsmusik and the first version of Parsifal that I saw when I was still in my thirties. Nonetheless, without a couple of good speakers, almost all of the magnificence of Wagner’s music is lost in this YouTube video. And even with a couple of speakers the numinosity is lost if you are not in an elegant opera house’.
I omitted to add something fundamental. Currently, the scenery they use in most of the theatres is pure mud and one has to look hard to find a representation that respects the traditional scenery: a lotus, among all the mud.
Michael Colhaze had already complained about this profanation of Wagner in a 2012 article I copied and pasted from The Occidental Observer. Unfortunately, all the articles by this German, Colhaze, have been deleted in The Occidental Observer. Why?
Parsifal, which premiered at Bayreuth on July 26, 1882, is Wagner’s most numinous work. It was performed sixteen times that first year and was the most carefully prepared premiere of an opera in history. European royalty made the pilgrimage to hear Wagner’s new work.
The original sketches for the sets and costumes were designed by German-Russian painter Paul von Joukowsky, who based his design for Act One on the Cathedral of Siena, and for Klingsor’s Magic Garden, in Act Two, on the gardens of the Palazzo Rufolo in Ravello.
After Wagner’s death, this production acquired mythic proportions but in our times the sets have become increasingly dilapidated in most representations, where we see the rubbish scenery that Colhaze complained about another of Wagner’s musical dramas.
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WDH – pdf 350
Click: here
The software converter could not add the image of the video within the article ‘My thoughts on Moly’, but I’ve embedded it below:
Bach did not compose any opera at a time when the genre was very much in vogue. In this, he cannot contrast more with Wagner, mainly known for his operas (or, as some of his mature works later became known, ‘musical dramas’). Unlike Bach who used the Gospel text in his most ambitious works, Wagner wrote both the libretto and the music for each of his works. My father, a composer of classical music, used to say that Wagner’s art predicted cinema.
However, the narrator tells us in the aforementioned documentary that St Matthew Passion has operatic elements. It was music that inspired ‘contrition and remorse’, and it is striking how the pundits of white nationalism don’t want to see the elephant in the room when they agonize to explain how the guilt that currently kills the white man originated. St Matthew Passion lasts an hour and a half, and has twice the choir and orchestra than St John Passion.
Who has hit you
my Savior, and with torments
so harshly abused you?
The narrator tells us: ‘And it’s in that moment that I feel Bach is saying, This suffering is unbearable. We have to stop it. We have to show our sense of moral outrage’.
You know nothing of our sins…
Have mercy my God
for the sake of my tears.
After explaining St Matthew Passion the narrator made the mistake of passing the microphone to a psychologist to ‘psychoanalyse’ Bach. Readers of this site know that I think clinical psychology is pseudoscientific, and it’s not worth adding much here except to say that Freud and his disciples loved to ‘psychoanalyse’ geniuses to feel superior to them (see what I say about the Vienna quack: here).
After the shrink mistake, the narrator tells us that Bach’s obsession with composing religious music was such that, despite his Lutheran background, he composed a large-scale Latin mass for a Catholic court. As the lyrics of one of his last compositions say shortly before Bach died:
Before (((your))) throne now I appear…
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Ganymede and Zeus as an Eagle
Homer describes Ganymede as the most beautiful of mortals, and in one version of the myth, Zeus falls in love with his beauty and abducts him in the form of an eagle to serve as cup-bearer in Olympus.
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Wagner vs. Bach, 3
In the aforementioned documentary, after minute 46 the narrator talks again about Bach’s ‘life ambition’: writing music for the church. It is very interesting to observe how Bach worked frantically in Leipzig to compose, in a relatively short time, his two Passions.
Leipzig was ‘the city of churches’ and out of a population of thirty thousand, nine thousand of them gathered together in two churches, making Bach the centre of an audience ten to twelve times larger than an opera house. Wagner would have envied him! It was there that Bach premiered a Passion: a central gem in a series of cantatas and oratorios that told the story of a rabbi’s arrest, trial, and crucifixion. This was a fictional rabbi that the treasonous Aryans still adore, including a good many of the misnamed white nationalists. St John Passion is an amalgam of ‘storytelling, meditation and drama’ and let us remember that the Gospel of John was Luther’s favourite gospel.
If one takes a look at minute 56:40 in the referred documentary we see the narrator directing a group of musicians that includes a woman of dark skin: the perfect corollary of an ethic that commands the German to love every anthropomorphic creature. The narrator comments on playing St John Passion: ‘It’s like nails being driven into bare flesh’ and that’s exactly the feeling that that music causes me. But not in the sense that the narrator imagines: but in the sense of my dreams of terrifying cathedrals and my dislike for dad’s Christianity (and Bach’s music). I especially feel that when the choir sings together.
In a non-nightmarish world Aryan Germany would have continued without Levantine contamination. How would that Teutonic music have sounded in an 18th-century parallel world in which Julian had not been murdered? Maybe when Christianity finishes dying Bach’s music will die but even in secular Germany Christianity is alive. Just listen to the lyrics of St John Passion sung by the German choir after the 58th minute!:
(((Lord))), our ruler
whose fame in every land is glorious!
Axiologically (‘ethnocentrism for me but universalism for thee’), the Hebrew god still rules the West, even the secular West. In a ‘wonderful presentation of story-telling’ the Passion composed by Bach tried to transmit, in ‘an extraordinary amalgam between theology and music’, the drama of the rabbi’s crucifixion whom mad people ordered to be killed. It hurts to see these Aryans sing to the god of the Jews seven decades after a German Reich tried to get them on the right track.
St John Passion, the narrator informs us, is a masterpiece even though the authorities at the time disliked it so much that they forced Bach to make changes to it.