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Degenerate art Film Voltaire

It’s a Wonderful Life

Like Beauty and the Beast, this is another film that was shot while the Hellstorm Holocaust was being perpetrated. What if it were possible for the Anglo-Saxons and Anglo-Germans who fought against Germany in the 1940s to see our Woke century thanks, as in the film, to a guardian angel? Just as George Bailey, the central character in It’s a Wonderful Life, after the vision of the nasty alternative world shown to him by the angel decided not to kill himself, would these soldiers of the 1940s decide to fight Hitler?

Clockwise from top: James Stewart, Donna Reed, Carol Coombs, Jimmy Hawkins, Larry Simms and Karolyn Grimes.

My father loved a couple of Frank Capra films, including It’s a Wonderful Life. When I saw this film as a teenager, it was easy to grasp this idealised vision of American culture in those days. George Bailey’s Aryan children couldn’t help but make a good impression on the teenage César who, decades ago, was unaware of what the Allies had done to the Germans. Had I known, I wouldn’t have been left with the inspiring impression I was left with when I saw It’s a Wonderful Life.

With the above I have said all that can be said about this 1946 film, but I would like to use this evening to talk about the last film I saw tonight: the last film I will ever see on the big screen, inasmuch as, after tonight’s experience, I will never enter a cinema theatre again.

At this stage of my life it is extremely rare for me to go to cinemas. Before tonight, the last one I saw was The Northman, a film I debunk here despite the fact that many racialists loved it.

Given that Ridley Scott had made films like Gladiator and Kingdom of Heaven, I figured I might be entertained this Sunday with Napoleon (2023 film), that I thought it would be one more of those silly, though highly entertaining, Hollywood movies. What a surprise as soon as the film started!

Il y a une autre canaille à laquelle on sacrifie tout, et cette canaille est le peuple. —Voltaire [1]

The only memorable scene is the first one. A number of times on The West’s Darkest Hour I have repeated what I read in Pierce and Kemp’s histories of the white race: that the French revolutionaries guillotined a large number of blondes. This is clear in the first scene of Napoleon when the rabid mob, a mob in which I saw no blondes by the way, cut off the head of Empress Marie Antoinette. If Hitler had won the war there would already be several films in which we would see Marie Antoinette and other French blondes as the victims and the mob as canaille!

After Prometheus I hadn’t seen another grotesque disaster filmed by Scott. Unlike Gladiator and Kingdom of Heaven, Napoleon is filmed in dull colours: a sign of the decadence of recent years when even the vivid technicolour of yesteryear has mutated into the ochre tones of this decadent age. But that’s not the worst of it.

Scott uses Napo’s life to promote typical Woke propaganda, painting Empress Josephine as a character on par with that of her husband Napo. And even worse, Scott throws in a few Negro actors in Republican France here and there—even black children!

As I was saying, I will never enter a cinema again for the rest of my life. The only way for me to do so would be if there was a racial revolution in some Western country, the new government asked me to emigrate there to lend my services to the new state, and a cinematic art emerged that is perfectly antithetical to the merde we see in today’s cinema. As it is highly doubtful that this will happen, I will never see the big screen again.

By the way, although I watched Scott’s Napoleon this evening, and also tonight Sunday 26 November I wrote this review, I will post this entry after midnight.

_________

[1] There is another rabble to whom we sacrifice everything, and this rabble is the people. —Voltaire

Categories
Autobiography Degenerate art

Degenerate Xtian art

Now that I have been tidying up the study left by my late mother, I have found a wealth of documents of great interest to the autobiographer. She used to collect postcards and photographs of the countries she had visited and had some splendid postcards of Florentine art, including the famous sculpture sculpted by Michelangelo (which I also saw in Florence, though when I was travelling alone). You can’t contrast that Aryan art more with the degenerate Christian art that we also see in the photographs that my mother collected in other of her travels, in Spanish-speaking countries. For example, compare the grotesquely dressed ‘virgins’ with the nudist statuary of the Greco-Roman world!

There are things I have already said but they are so important that I never tire of repeating them. In his famous Civilisation series of 1969, Lord Clark put the image of the Greek Apollo and then contrasted it with an African mask and another image from an early medieval Irish religious book, and said that the most conspicuous thing was that, in the latter, the classical glory of the human figure disappeared. What we are left with, I would add, is an irrelevant little man full of self-destructive guilt because white people abandoned their beautiful Aryan Gods to worship a god that hated them: the god of the Jews.

I was about to throw away the photographs of this entry—degenerate art—when it occurred to me that I’d better upload them to a new blog post, and explain why I wanted to throw them away.

Since Julian the Apostate in the 4th century c.e., among European rulers only Adolf Hitler tried to transvalue Judeo-Christian values to our true values, already intuited by Renaissance artists. It is known that the Hitler of his famous speeches couldn’t speak so openly about these issues, but with his close friends he opened his heart. What I would give to listen to his after-dinner talks!

At least in this recording we can hear Uncle Adolf when he spoke in his normal voice instead of the pompous videotaped declamations that made him famous, when he couldn’t criticise Judeo-Christianity as fiercely as he did in private.

Categories
Blacks Degenerate art Dominion (book)

Dominion, 35

Or:

How the Woke monster originated

The opening pages of the next chapter, ‘Love: 1967, Abbey Road’ are so important in showing how the virus of Christian morality continued to mutate into neochristian morality, that I will quote them almost in full:

Sunday, 25 June. In St John’s Wood, one of London’s most affluent neighbourhoods, churchgoers were heading to evensong. Not the world’s most famous band, though. The Beatles were booked to play their largest-ever gig. For the first time, a programme featuring live sequences from different countries was to be broadcast simultaneously around the world—and the British Broadcasting Corporation, for its segment, had put up John Lennon, Paul McCartney, George Harrison and Ringo Starr. The studios on Abbey Road were where, for the past five years, the Beatles had been recording the songs that had transformed popular music, and made them the most idolised young men on the planet. Now, before an audience of 350 million, they were recording their latest single. The song, with a chorus that anyone could sing, was joyously, catchily anthemic. Its message, written on cardboard placards in an assortment of languages, was intended to be readily accessible to a global village. Flowers, streamers and balloons all added to the sense of a party. John Lennon, alternately singing and chewing heavily on a wad of gum, offered the watching world a prescription with which neither Aquinas, nor Augustine, nor Saint Paul would have disagreed: ‘all you need is love’.

God, after all, was love. This was what it said in the Bible. For two thousand years, men and women had been pondering this revelation. Love, and do as you will. Many were the Christians who, over the course of the centuries, had sought to put this precept of Augustine’s into practice. For then, as a Hussite preacher had put it, ‘Paradise will open to us, benevolence will be multiplied, and perfect love will abound.’ But what if there were wolves? What then were the lambs to do? The Beatles themselves had grown up in a world scarred by war. Great stretches of Liverpool, their native city, had been levelled by German bombs. Their apprenticeship as a band had been in Hamburg, served in clubs manned by limbless ex-Nazis. Now, even as they sang their message of peace, the world again lay in the shadow of conflict.

Only three weeks before the broadcast from Abbey Road, war had broken out in the Holy Land. The blackened carcasses of Egyptian and Syrian planes littered landscapes once trodden by biblical patriarchs. Israel, the Jewish homeland promised by the British in 1917, and which had finally been founded in 1948, had won in only six days a stunning victory over neighbours pledged to its annihilation. Jerusalem, the city of David, was—for the first time since the age of the Caesars—under Jewish rule. Yet this offered no resolution to the despair and misery of those displaced from what had previously been Palestine. Just the opposite. Across the world, like napalm in a Vietnamese jungle, hatreds seemed to be burning out of control. Most terrifying of all were the tensions between the world’s two superpowers, the Soviet Union and the United States. Victory over Hitler had brought Russian troops into the heart of Europe. Communist governments had been installed in ancient Christian capitals: Warsaw, Budapest, Prague. An iron curtain now ran across the continent. Armed as both sides were with nuclear missiles, weapons so lethal that they had the potential to wipe out all of life on earth, the stakes were grown apocalyptic. Humanity had arrogated to itself what had always previously been viewed as a divine prerogative: the power to end the world.

How, then, could love possibly be enough? The Beatles—although roundly mocked for their message—were not alone in believing that it might be. A decade earlier, in the depths of the American South, a Baptist pastor named Martin Luther King had pondered what Christ had meant by urging his followers to love their enemies. ‘Far from being the pious injunction of a utopian dreamer, this command is an absolute necessity for the survival of our civilisation. Yes, it is love that will save our world and our civilization, love even for enemies.’ King had not claimed, as the Beatles would in ‘All You Need Is Love’, that it was easy. He spoke as a black man, to a black congregation, living in a society blighted by institutionalised oppression. The civil war, although it had ended slavery, had not ended racism and segregation…

In the spring of 1963, writing from jail, he had reflected on how Saint Paul had carried the gospel of freedom to where it was most needed, heedless of the risks. Summoning the white clergy to break their silence and to speak out against the injustices suffered by blacks, King had invoked the authority of Aquinas and of his own namesake, Martin Luther. Above all, though— answering the charge of extremism—he had appealed to the example of his Saviour. Laws that sanctioned the hatred and persecution of one race by another, he declared, were laws that Christ himself would have broken. ‘Was not Jesus an extremist for love?’

The campaign for civil rights gave to Christianity an overt centrality in American politics that it had not had since the decades before the Civil War. King, by stirring the slumbering conscience of white Christians, succeeded in setting his country on a transformative new path. To talk of love as Paul had talked of it, as a thing greater than prophecy, or knowledge, or faith, had once again become a revolutionary act. King’s dream, that the glory of the Lord would be revealed, and all flesh see it together, helped to animate a great yearning across America—in West Coast coffee shops as in Alabama churches, on verdant campuses as on picket lines, among attorneys as among refuse-workers—for justice to roll on like a river, and righteousness like a never-failing stream. This was the same vision of progress that, in the eighteenth century, had inspired Quakers and Evangelicals to campaign for the abolition of slavery; but now, in the 1960s, the spark that had set it to flame with a renewed brilliance was the faith of African Americans…

That the Beatles agreed with King on the importance of love and had refused as a matter of principle to play for segregated audiences, did not mean that they were—as James Brown might have put it—‘holy’. Even though Lennon had first met McCartney at a church fête, all four had long since abandoned their childhood Christianity. It was, in the words of McCartney, a ‘goody-goody thing’: fine, perhaps, for a lonely woman wearing a face that she kept in a jar by the door, but not for a band that had conquered the world. Churches were stuffy, oldfashioned, boring—everything that the Beatles were not. In England, even the odd bishop had begun to suggest that the traditional Christian understanding of God was outmoded, and that the only rule was love.

In 1966, when Lennon claimed in a newspaper interview that the Beatles were ‘more popular than Jesus’, eyebrows were barely raised in his home country. Only four months later, after his comment had been reprinted in an American magazine, did the backlash hit. Pastors across the United States had long been suspicious of the Beatles. This was especially so in the South—the Bible Belt. Preachers there—unwittingly backing Lennon’s point—fretted that Beatlemania had become a form of idolatry; some even worried that it was all a communist plot. To many white evangelicals—shamed by the summons to repentance issued them by King, baffled by the sense of a moral fervour that had originated outside their own churches, and horrified by the spectacle of their daughters screaming and wetting themselves at the sight of four peculiar-looking Englishmen—the chance to trash Beatles records came as a blessed relief. Simultaneously, to racists unpersuaded by the justice of the civil rights movement, it provided an opportunity to rally the troops. The Ku Klux Klan leapt at the chance to cast themselves as the defender of Protestant values. Not content with burning records, they set to burning Beatles wigs. The band’s distinctive hairstyle—a shaggy moptop—seemed to clean-cut Klansmen a blasphemy in itself. ‘It’s hard for me to tell through the mopheads,’ one of them snarled, ‘whether they’re even white or black.’

None of which did much to alter Lennon’s views on Christianity. The Beatles did not—as Martin Luther King had done—derive their understanding of love as the force that animated the universe from a close reading of scripture. Instead, they took it for granted. Cut loose from its theological moorings, the distinctively Christian understanding of love that had done so much to animate the civil rights movement began to float free over an ever more psychedelic landscape. The Beatles were not alone, that summer of 1967, in ‘turning funny’. Beads and bongs were everywhere. Evangelicals were appalled. To them, the emergence of long-haired freaks with flowers in their hair seemed sure confirmation of the satanic turn that the world was taking. Blissed-out talk of peace and love was pernicious sloganeering: just a cover for drugs and sex…

Then, the following April, Martin Luther King was shot dead. An entire era seemed to have been gunned down with him: one in which liberals and conservatives, black progressives and white evangelicals, had felt able— however inadequately—to feel joined by a shared sense of purpose. As news of King’s assassination flashed across America, cities began to burn: Chicago, Washington, Baltimore. Black militants, impatient even before King’s murder with his pacifism and talk of love, pushed for violent confrontation with the white establishment. Many openly derided Christianity as a slave religion. Other activists, following where King’s campaign against racism had led, demanded the righting of what they saw as no less grievous sins. If it were wrong for blacks to be discriminated against, then why not women, or homosexuals? [pages 488-493]

My bold type.

Increasingly, to Americans disoriented by the moral whirligig of the age, Evangelicals promised solid ground. A place of refuge, though, might just as well be a place under siege. To many Evangelicals, feminism and the gay rights movement were an assault on Christianity itself. Equally, to many feminists and gay activists, Christianity appeared synonymous with everything that they were struggling against: injustice, and bigotry, and persecution. God, they were told, hates fags.

But did he? Conservatives, when they charged their opponents with breaking biblical commandments, had the heft of two thousand years of Christian tradition behind them; but so too, when they pressed for gender equality or gay rights, did liberals. Their immediate model and inspiration was, after all, a Baptist preacher. ‘There is no graded scale of essential worth,’ King had written a year before his assassination. ‘Every human being has etched in his personality the indelible stamp of the Creator. Every man must be respected because God loves him.’

Every woman too, a feminist might have added. Yet King’s words, while certainly bearing witness to an instinctive strain of patriarchy within Christianity, bore witness as well to why, across the Western world, this was coming to seem a problem. That every human being possessed an equal dignity was not remotely self-evident a truth. A Roman would have laughed at it. To campaign against discrimination on the grounds of gender or sexuality, however, was to depend on large numbers of people sharing in a common assumption: that everyone possessed an inherent worth.

The origins of this principle—as Nietzsche had so contemptuously pointed out—lay not in the French Revolution, nor in the Declaration of Independence, nor in the Enlightenment, but in the Bible. Ambivalences that came to roil Western society in the 1970s had always been perfectly manifest in the letters of Paul. Writing to the Corinthians, the apostle had pronounced that man was the head of woman; writing to the Galatians, he had exulted that there was no man or woman in Christ. Balancing his stern condemnation of same-sex relationships had been his rapturous praise of love. Raised a Pharisee, learned in the Law of Moses, he had come to proclaim the primacy of conscience. The knowledge of what constituted a just society was written not with ink but with the Spirit of the living God, not on tablets of stone but on human hearts. Love, and do as you will. It was—as the entire course of Christian history so vividly demonstrated—a formula for revolution.

‘The wind blows wherever it pleases.’ That the times they were a-changin’ was a message Christ himself had taught. Again and again, Christians had found themselves touched by God’s spirit; again and again, they had found themselves brought by it into the light. Now, though, the Spirit had taken on a new form. No longer Christian, it had become a vibe. Not to get down with it was to be stranded on the wrong side of history. The concept of progress, unyoked from the theology that had given it birth, had begun to leave Christianity trailing in its wake. [pages 494-495]

My bold.

The choice that faced churches—an agonisingly difficult one—was whether to sit in the dust, shaking their fists at it in impotent rage, or whether to run and scramble in a desperate attempt to catch up with it. Should women be allowed to become priests? Should homosexuality be condemned as sodomy or praised as love? Should the age-old Christian project of trammelling sexual appetites be maintained or eased? None of these questions were easily answered. To those who took them seriously, they ensured endless and pained debate. To those who did not, they provided yet further evidence—if evidence were needed—that Christianity was on its way out. John Lennon had been right. ‘It will vanish and shrink. I needn’t argue about that; I know I’m right and I will be proved right.’

Yet atheists faced challenges of their own. Christians were not alone in struggling to square the rival demands of tradition and progress. Lennon, after walking out on his song-writing partnership with McCartney, celebrated his liberation with a song that listed Jesus alongside the Beatles as idols in which he no longer believed. Then, in October 1971, he released a new single: ‘Imagine’. The song offered Lennon’s prescription for global peace.

Imagine there’s no heaven, he sang, no hell below us. Yet the lyrics were religious through and through. Dreaming of a better world, a brotherhood of man, was a venerable tradition in Lennon’s neck of the woods. St George’s Hill, his home throughout the heyday of the Beatles, was where the Diggers had laboured three hundred years previously. Rather than emulate Winstanley, however, Lennon had holed up inside a gated community, complete with a Rolls-Royce and swimming pool. ‘One wonders what they do with all their dough.’ So a pastor had mused back in 1966. The video of ‘Imagine’, in which Lennon was seen gliding around his recently purchased seventy-two-acre Berkshire estate, provided the answer. In its hypocrisy no less than in its dreams of a universal peace, Lennon’s atheism was recognisably bred of Christian marrow. A good preacher, however, was always able to take his flock with him. The spectacle of Lennon imagining a world without possessions while sitting in a huge mansion did nothing to put off his admirers. As Nietzsche spun furiously in his grave, ‘Imagine’ became the anthem of atheism. A decade later, when Lennon was shot dead by a crazed fan, he was mourned not just as one half of the greatest song-writing partnership of the twentieth century, but as a martyr. [pages 495-496]

The fact that the youth didn’t revolt when I was much younger at the sight of Lennon disowning the English roses of his country to marry a fucking non-white, means that they have embraced the cause of their ethno-suicide.

Not everyone was convinced. ‘Now, since his death, he’s become Martin Luther Lennon.’ Paul McCartney had known Lennon too well ever to mistake him for a saint. His joke, though, was also a tribute to King: a man who had flown into the light of the dark black night. ‘Life’s most persistent and urgent question is, “What are you doing for others?”’ McCartney, for all his dismissal of ‘goody goody stuff’, was not oblivious to the tug of an appeal like this.

In 1985, asked to help relieve a devastating famine in Ethiopia by taking part in the world’s largest-ever concert, he readily agreed. Live Aid, staged simultaneously in London and Philadelphia, the city of brotherly love, was broadcast to billions. Musicians who had spent their careers variously bedding groupies and snorting coke off trays balanced on the heads of dwarves played sets in aid of the starving. As night fell over London, and the concert in Wembley stadium reached its climax, lights picked out McCartney at a piano. The number he sang, ‘Let It Be’, had been the last single to be released by the Beatles while they were still together. ‘When I find myself in times of trouble, Mother Mary comes to me.’ Who was Mary? Perhaps, as McCartney himself claimed, his mother; but perhaps, as Lennon had darkly suspected, and many Catholics had come to believe, the Virgin. Whatever the truth, no one that night could hear him. His microphone had cut out.

It was a performance perfectly appropriate to the paradoxes of the age. [pages 496-497]

Think of the stunning woman in my previous post. Couldn’t Lennon, with all his fame and money, have married someone like her? In my humble opinion, all whites—racialists included!—who listen not only to the Beatles but to rock in general, or its contemporary derivatives, are betraying their race. Incidentally, I’m glad Mark David Chapman killed this guy. The most subversive thing an American ruler could do in the future is to pardon him, get him out of prison.

Categories
Architecture Degenerate art Film Psychiatry

Breaking Bad

As visitors to this site know, unlike what Kevin MacDonald says in The Culture of Critique (Frankfurt School, etc.), I believe that it is art for mass consumption that is central to making an x-ray of what’s wrong with the Aryan psyche. From this angle, as I have so often said, literary landmarks of the past such as Ivanhoe, Uncle Tom’s Cabin and Ben-Hur serve as x-rays for us to see the 19th-century soul of the white man. In our century as in the last century, it is the movies, and degenerate art, that can serve as X-rays.

Breaking Bad is an American drama television series created and produced by Vince Gilligan, apparently a non-Jew. It tells the story of Walter White, a chemist. To pay for his cancer treatment and secure his family’s financial future, he begins cooking and selling methamphetamine, along with Jesse Pinkman, a former student of his. The series, set and produced in Albuquerque (New Mexico), is characterised by its desert settings and has been described as a sort of contemporary Western. The series premiered on 2008 and ended in 2013. Breaking Bad has been enthusiastically acclaimed by many critics and audiences, and is considered one of the best television series of all time. In 2013 it was one of the most watched cable television shows in the US, behind Game of Thrones.

Unlike those for whom Breaking Bad has become almost a cult series, to the extent that Vince Gilligan filmed a sequel movie with the actor who portrayed Jesse Pinkman, I am repulsed by the series and want to expose it. (Remember I’m currently doing something similar with HBO’s House of the Dragon.) So here we go…

What disgusted me the most is that in several episodes Jesse inordinately loves a ‘Hispanic’ mother and her son, another mestizo. Walter and Jesse are capable of killing to survive in the underworld of drug trafficking, and yet they set Walt up as a good family man and Jesse as a good Samaritan to these ‘Hispanics’. It doesn’t even make sense to talk about the plot: this kind of thing wouldn’t be happening in the seventh art if Hitler, not Uncle Sam, had had access to the atomic bomb.

Jesse’s love for the spic family was what bothered me most about Breaking Bad, but there are other bad messages. Remember what Kenneth Clark says, that to understand a culture you have to look at its architecture? I have never been to New Mexico, but the total absence of inspiring monuments in the New Mexico filmed in Breaking Bad, and other US states, is striking to me. Aryan aesthetics are only seen in the interiors of the homes of middle- and upper-class people in Breaking Bad. But the visual message for someone used to contemplating what we’ve been seeing in our ‘European Beauty’ series is that of an empty American culture: the ideal platform for betraying one’s ethnicity and becoming a junkie.

Another thing that irritated me greatly about the series is that the roles of husband and wife are egalitarian. And I don’t just mean Walter and his wife but the latter’s sister and Walter’s brother-in-law, DEA agent Hank Schrader. An egalitarian marriage lends itself to inconceivable surrealisms and incongruities because of what Jamie, one of the commenters on this site, said and I picked up in On Beth’s Cute Tits:

I still remember my uncle mentioning something like this when I asked him for advice once: ‘If you are going to talk about serious matters, like killing someone or a coup, don’t ever let the women know about it’.

And I realised he is dam right, and so are you César.

Women will go hysterical at such things as planning a murder or a coup. They will most likely betray you and warn the authorities or government, which they believe is the strongest (expect this behaviour from very feminised men and homosexuals as well).

Dr. William Pierce once mentioned in one of his American Dissident Voices broadcasts that women, as a whole, do not understand abstract concepts such as honour and self-denial. It is not in their nature to understand. Security and comfort are their priorities, and so submission their way of getting it.

And the older I get, the more I realise how true that is. The empowering of women is truly a weapon of mass destruction.

Indeed. The wives in Breaking Bad don’t understand honour or self-denial (Walter, on the other hand, is the paradigm of the selfless man who seeks the good of his family). Another irritating thing is that Walter’s son is a hetero, albeit feminised handicapped man, to the extent that he betrays his father when the authorities realised that Walter was involved in illicit business. A true Aryan male doesn’t behave that way.

Another issue that irritated me is that the culture in which the characters move seems to have material comfort as its sole focus. One of the most abominable things I read in one of Isaac Asimov’s books, and it pains me but it is true, is that nowadays everyone in the West is working simply to live in more material comfort. (The true Aryan puts his race as the motive of his faith, his action and his wars, and the material aspect becomes secondary.)

Finally, this whole DEA (Drug Enforcement Administration) thing is aberrant. Walter’s illegal business only affected teenagers and adults, who voluntarily consumed methamphetamine. I’m not saying it’s right to sell drugs on the streets, but that’s infinitely less wrong than what psychiatry does legally. When abusive parents want to finish destroying one of their children, they turn to a third party: the psychiatrist. The first thing the psychiatrist does is hang an insulting label on the child (a pseudo-medical diagnosis) prior to involuntarily drugging him with drugs that induce a physical torment called akathisia (see my post on the subject here).

I have written a lot about psychiatry (see this summary). My point is that it is an act of astronomical hypocrisy to prosecute traffickers of illegal narcotics for adults and, at the same time, ignore the legal drugs that are used to torment defenceless children. Keep in mind that consuming illicit drugs is voluntary, and the drugging of the child with licit drugs is involuntary (insofar as the child doesn’t want to be tormented with akathisia). From this angle, all series like Breaking Bad do is reinforce the astronomically hypocritical narrative of the System. That’s why one of the few things I did like about the series is that Hank Schrader, the DEA agent, ends up with a bullet in his forehead.

In short, for a normie Breaking Bad is akin to taking methamphetamine, or rather, the soma drug from Brave New World. It is pop art that pulls us to the dark side, to continue to see ourselves through the prism of a System that wants to destroy us. The masses don’t read what the subversive Jews of the Frankfurt School write. The masses are being drugged with what Orwell called prole feed. The attitude a true Aryan should have is the opposite of the attitude of Counter-Currents, a supposed pro-white webzine that idealises Hollywood’s prolefeed.

Categories
Degenerate art Film Game of Thrones George R.R. Martin

House of the Dragon’s nigger

House of the Dragon is a Game of Thrones prequel that premiered tonight on HBO.

If you are interested in my critique of all 73 episodes of Game of Thrones in eight seasons (2011-2019), you can read the final essay of On Beth’s Cute Tits (this link is temporary: when I correct one more book article with DeepL Translator, I’ll delete the old link and upload a new one).

The screenplay for House of the Dragon was written by Ryan Condal, George R.R. Martin (whom I’ll just call Martin) and the Jew Miguel Sapochnik. Like Games of Thrones, House of the Dragon is based on Martin’s novels A Song of Ice and Fire.

The plot of ‘The Heirs of the Dragon’, the first episode of the first season of House of the Dragon, takes place almost two hundred years before the events of Game of Thrones, at the height of House Targaryen and featuring seventeen dragons. It tells the story of the origin of House Targaryen, and the development of an intra-family conflict known as the Dance of Dragons, which stems from the division of the royals into two camps over the choice of the heir to the Iron Throne: Rhaenyra Targaryen, daughter of King Viserys Targaryen (played by Emma D’Arcy) and Daemon Targaryen, brother of King Viserys Targaryen (played by Matt Smith).

In this new series there seem to be three main feudal houses: House Targaryen, House Velaryon and House High Tower. Corlys Velaryon is the head of House Velaryon.

In the books the Velaryons are much like the hyper-Nordic Targaryens, because the two families have been marrying each other for generations. In Martin’s universe, the Targaryens keep their Valyrian blood pure, within the family; so when they don’t marry a Velaryon they usually marry their sister. Thus, the Targaryens and Velaryons in the books are one big, albeit incestuous, family of inbred blondes. The show that premiered today directed by a Jew (remember that Game of Thrones was directed by two Jews) betrays this in the vilest way imaginable.

Lord Corlys is black: a perfect inversion from the books! To boot, the Aryan Queen Rhaenys Targaryen, a dragon rider, in the TV show has coffee-and-milk kids with Lord Corlys! What’s more, Mysaria is a woman from a brothel in Lys. In the books she’s described as ‘very pale’. Mysaria is a lover and trusted confident of prince Daemon. But in the show that premiered tonight she’s a mudblood!

But that’s not enough. In today’s premiere, Lord Corlys sits at the Small Council table across the bedside from the King of the Seven Kingdoms. That is, he also sits at a head table, albeit on the opposite side. And he does so in three Small Council sessions we just watched.[1]

Lord Corlys’ mulatto children, a boy and a girl, appear in tonight’s premiere during a tournament. Remember the tournament in the first season of Game of Thrones: in the blue-blooded people’s seats there were only white people. What the directors of this show are doing is similar to what Peter Jackson did after filming LOTR. In his traitorous The Hobbit trilogy, Jackson started introducing non-white characters in towns that were white in Tolkien’s tale!

Something that the various directors of this new show don’t realise, or perhaps they do get it, is that, as it is set almost two centuries before the events of Game of Thrones, if miscegenation was already being perpetrated back then there couldn’t have been Targaryens as blond and as white as the ones we saw in Game of Thrones.

Obviously, this new show is nothing but poisonous projection of the suicidal zeitgeist of our times onto Martin’s novels—TV shows where it’s increasingly clear that the religion of the West is to wage a war of extermination on the Aryan man.

If I do an episode-by-episode review of this new series as I did of Game of Thrones, Lord Corlys will no longer be called by that name, but Lord Nigger.

__________

[1] The ‘Small Council’ is a body which advises the king of the Seven Kingdoms and institutes policy at his command. It is the inner (thus ‘small’) council of the king, essentially forming the government cabinet of the Seven Kingdoms. Members are appointed to their position by the King; theoretically they can be dismissed at will by him.

Categories
Degenerate art Film Vikings

The Northman (film)

Today I was about to continue translating the preface to the most authoritative edition of Uncle Adolf’s monologues when I came across this recent paragraph by Kevin MacDonald on the film The Northman:

The deep question is how such a violent, hierarchical culture developed eventually into the highly egalitarian Scandinavian cultures we see today. My short answer is that the Indo-Europeans dominated a far more egalitarian hunter-gatherer majority and that the latter eventually came to dominate the area—a theory spelled out in Individualism and the Western Liberal Tradition.

It occurred to me that that paragraph alone merited saying that Scandinavian cultures today are betrayed by the malware bug of neochristian ethics, and especially by the ravages of civilisation and even more so the bourgeoisie lifestyles. Remember the essay in On Beth’s Cute Tits (pages 103-107) where the author compares the Yang culture of the chimpanzees with the yin culture of the bonobo apes. The yin empire of the new totalitarians in Scandinavia is a result of the brave new world (also remember Bolton’s essay on Yockey).

But before posting my reply to MacDonald, I thought I’d better go and see the film, which I did; especially since several pundits on racialist forums have been speaking out about this American-British drama, directed by Robert Eggers: a Viking story set in early 10th century Iceland.

Even before I had finished watching the film a few hours ago, I told myself that it wasn’t good, despite the critics’ acclaim. Anyone who wants to preserve the Nordic race can only see in The Northman one of those typical American films with a huge series of strident scenes: the kind of stridency that has become very fashionable in recent decades, a truly degenerate cinema.

Given that the American director wanted to do something different and has complained that pro-white advocates have become enthusiastic about TV series about Vikings, that should be enough to make us realise that we are dealing with an ethno-traitor. In Eggers’ film we see the Berserkers burn a Russian village hut with women and children inside at a time when, apparently, these Russians were still as white as the Berserkers; and before that expedition they killed, as if they were just serial killers, a father and son who were travelling on a ship very close to theirs.

I am no expert on the history of the Berserkers, but if these two scenes aren’t based on accurate historical facts, the film represents a Black Legend against the Vikings: part of the ongoing media defamation of the untainted white world of yore with a drop of mud blood. I also found the role of the ‘Viking’ bitch played by Nicole Kidman, a mother who is killed by the main protagonist, to be a smear on real Viking motherhood.

The Northman is pure Hollywood when we get to the love affair between this protagonist and a slave girl played by the same actress from Netflix’s The Queen’s Gambit. Given that both the protagonist’s behaviour with his mother and his blonde mistress isn’t based on historical fact, but on Hollywood dramatization, I am surprised that those who claim to defend the memory of the Northmen fail to see these distortions.

In fact, a priest of the fourteen words shouldn’t go to the movies. As I said, I made the exception because of the film reviews not only in The Occidental Observer but in other important racialist forums. Of the movies filmed in the present century, I would only recommend Artificial Intelligence (2001), the first Lord of the Rings (released the same year), Pride and Prejudice (2005), Apocalypto (2006) and Spotlight (2015), although the opening scene of A.I. contains a bad message. The fourteen-word priest must be a purist when it comes to raising pure Scandinavian children, like the child actors who appear in The Northman.

This image is not from the film that can currently be seen in the theatres of Gomorrah. Anyone who wants to learn about the Berserkers from the pen of a white supremacist should read pages 453-477 of The Fair Race’s Darkest Hour. Unless you have superhuman kidneys to filter the good from the bad, it is a blunder to watch the propaganda of the cinema billboard.

Categories
2nd World War Americanism Degenerate art Democracy Evil Film Francis Parker Yockey Holocaust Mainstream media Philosophy of history Sexual degeneracy Who We Are (book)

Yockey on the United States

Editor’s note: The following is my abridgement of Francis Parker Yockey’s chapter on his country, the United States, from Imperium: The Philosophy of History and Politics.

I recently speculated that William Pierce didn’t include a chapter on the US in his history of the white race because he didn’t want to put it in a bad light. Since I have been recommending Pierce’s Who We Are as a must-read, the absence of such a chapter moved me to use Yockey to fill the gap, but this very intelligent man failed to mention the American Christian ethos as a key factor in understanding the empowerment of Jewry.

Ben Klassen mentioned the anecdote that when he wanted to name the chosen people, some pious Christians of his adopted country, the US, put up all kinds of resistances. These fiascos led Klassen to conjecture that perhaps Christianity was a psyop to keep us from seeing the depredations of the subversive tribe. On this point, the Ukrainian-born Klassen had a better grasp of the American tragedy than Yockey, though intellectually he was Yockey’s inferior.

If I am to choose the below entry for a new collection of essays once I can relaunch my Daybreak Press, my above words will have to accompany that compendium as well. Yockey’s abridged chapter is over eight-thousand words long. But it never hurts to read Yockey’s Imperium. Yesterday when I read this chapter I was surprised that Yockey mentioned the Hellstorm Holocaust committed by his compatriots in Europe. He had a privileged mind, on a par with Pierce and Revilo Oliver. It is a real disgrace to our cause that, before I was two years old, Yockey died at the age of forty-two, in an American prison.

 

______ 卐 ______

 

The leaders who brought about the union were principally Washington, John Adams, Franklin, Pinckney, Rutledge — and, above all, Alexander Hamilton, the greatest statesman ever to appear in America… Hamilton wanted a monarchical State, on European traditionary lines, but Rationalist ideology and propaganda was too strong to be overcome and these demanded a republic.
 

The American ideology

This organic individualism was formulated in written constitutions and in a literary-political literature. Typical of the spirit of this literature is the Declaration of Independence. As a piece of Realpolitik, this manifesto of 1776 is masterly: it points to the Future, and embodies the Spirit of the Age of Rationalism, which was then ascendant in the Western Culture. But, in the 20th century, the ideological part of this Declaration is simply fantastic: “We hold these truths to be self-evident: that all men are created equal; that they are endowed by their creator with inherent and inalienable rights; that among these are life, liberty, and the pursuit of happiness; that to secure these rights, governments are instituted among men, deriving their just powers from the consent of the governed; that whenever any form of government becomes destructive of these ends, it is the right of the people to alter or to abolish it, and to institute new government, laying its foundation on such principles, and organizing its powers in such form, as to them shall seem most likely to effect their safety and happiness.”

In 1863, the charlatan Lincoln delivered an address in which he speaks of America as “a nation, conceived in liberty, and dedicated to the proposition that all men are created equal.” He then went on to say, referring to the War of Secession, then in progress, “We are engaged in a great civil war, testing whether that nation, or any nation so conceived and so dedicated, can long endure.”

This ideology continued right into the middle of the 20th century, and was even, after the First and Second World Wars, when a totally different and utterly incompatible outlook was in the ascendant, offered to the home of the Western Civilization as a model to imitate somehow. It was only the entirely fortuitous material success which attended American arms that enabled this ideology to survive late into a century which had outgrown it, and, not because it is important as a political outlook, but solely because it is an effective technique for splitting and disintegrating Europe, must this archaic ideology be examined here.

The Declaration of Independence is saturated with the thinking of Rousseau and Montesquieu. The basic idea, as in all Rationalism, is the equating of what ought to be with what will be. Rationalism begins with confusing the rational with the real, and ends by confusing the real with the rational. This arsenal of “truths” about equality, inalienable and inherent rights, reflects the emancipated critical spirit, devoid of respect for facts and tradition. The idea that governments are “instituted” for a utilitarian purpose, to satisfy a demand of “equal” men, and that these “equal” men give their “consent” to a certain “form” of “government,” and then abolish it when it no longer serves the purpose — is pure Rationalistic poetry, and corresponds to no facts that have ever occurred anywhere. The source of government is the inequality of men — this is the fact…

Contrary to a certain messianic feeling in America, America is not completely unique. Its morphology and destiny are readable in the history of other colonies, in our own, and in previous Cultures.

The reference in the Independence Declaration to government as having the purpose of effecting the “safety” and “happiness” of the population is more Rationalistic nonsense. Government is the process of maintaining the population in form for the political task, the expression of the Idea of the Nation.

The quotation from Lincoln still reflects the Age of Rationalism, and his contemporary Europe could feel and understand such ideology, although, since State, Nation, and Tradition existed still in Europe, even if weakened, there was always resistance to Rationalist ideologies, whether of the Rousseau, Lincoln, or Marx variety. No nation was ever “conceived in liberty,” and no nation was ever “dedicated to a proposition”…

The ideas of the constitution were mostly derived from the writings of Montesquieu. The idea of “separation of powers” in particular comes from this French theorist. According to this theory, the powers of government are three, legislative, executive, and judicial. Like all crystal-dear Rationalistic thinking, this is muddy and confused when applied to Life. These powers can only be separated on paper, in Life they cannot. They were never actually separated in America, although the theory was retained that they were. With the onset of an internal crisis in the 30’s of the 20th century, the entire power of the central government was openly concentrated into the executive, and theories were found to support this fact, still calling it “separation”…

In the 20th century, when the Rationalist type of ideology had been discarded by the advancing Western Civilization, the American universalizing of ideology turned into messianism — the idea that America must save the world. The vehicle of the salvation is to be a materialistic religion with “democracy” taking the place of God, “Constitution” the place of the Church, “principles of government” the place of religious dogmas, and the idea of economic freedom the place of God’s Grace. The technic of salvation is to embrace the dollar, or failing that, to submit to American high-explosives and bayonets.

The American ideology is a religion, just as was the Rationalism of the French Terror, of Jacobinism, of Napoleonism. The American ideology is coeval with them, and they are completely dead. Just as inwardly dead is the American ideology. Its principal use at the present time — 1948 — is in splitting Europe…

The ideology of a people is merely intellectual clothing. It may, or may not, correspond to the instinct of that people. An ideology may be changed from day to day, but not the character of the people. Once that is formed, it is definite and influences events far more than they can influence it. The character of the American People was formed in the Secession War.
 

The War of Secession, 1861–1865

Politics in America in the European sense there was none…

This dependence of party-organization upon a supply of funds brought about the situation in which rich men were able to make the party-leaders and party-organizations run things to please them. Even a party-leader in office was not independent, for the rich man alone could keep him there. The name given in the books to this type of government is plutocracy, the rule of money. This was the American form during the whole 19th century, and it continued to the year 1933.

The source of the wealth of the richest men in America during the period 1789–1861 was manufactures and trade. The richest men were found in the Northern states, the manufacturing and trading places. The Southern states had a totally non-plutocratic organization. A society arose there on a patriarchal and hierarchical basis. Half of the population belonged to the African race and was held as slaves by white land-owners and planters. Slavery was less efficient than industrialism, for capitalistic purposes, because the slaves enjoyed complete security — protection against illness, unemployment, old age — whereas the Northern factory-workers were as completely unprotected in these respects. This gave the Northern industrialist one more advantage over the humanitarian slave-owner. The industrialists’ “cost of production” were cheaper. Factory-workers who were wiped out by illness or other catastrophe were not the responsibility of the industrialists — they had only the disadvantages of slavery, whereas the Africans in the South had its advantages as well…

Once any issue, from whatever sphere of Life it derives, becomes of sufficient intensity to become political, other motives come in to support it. Thus Yankee ideologists fastened on the idea of slavery and made it a war-issue for the masses in the Northern states. The financial labor-exploitation of the Northern capitalists was held up as humanitarianism, and the patriarchal care of the Southern planter was branded as cruelty, inhumanity, and immorality. The ideological side of this war presaged coming American war-conduct…

This War was the largest-scale war in the Western Civilization up to the First World War. The armies numbered millions, the theater of war embraced more than a million quadrate kilometers. Railroads and ironclads entered tactics for the first time.

Napoleon had calculated, from his experience on 150 fields, that the ratio in warfare of the spiritual to the material is as three is to one. Assuming this to be true, the defeat of the South was the result of Yankee material superiority of more than three times.

This war had many lessons for Europe, but was mostly ignored in the European capitals, which were still in the nationalistic petty-state period, and not capable of large-space thinking. It showed the enormous military potentiality in America, it showed the Yankee character, which was thenceforth to be the American spirit, it showed the enormous will-to-power of the New York plutocracy — it showed, in short, that a base for a world-power had been laid here. The only European power which noticed it was the only one capable at that time of large-space thinking — England, and England’s attitude toward the War was throughout one of benevolent neutrality toward the South, to say the least. England was prevented only by the attitude of Russia from declaring war on the Yankee government…

 
The history of American imperialism

The great Hamilton, at the very beginning of the union, had counseled the annexation of Cuba, and others demanded it during this decade, but it was not to become actual until 1900. But at this time, occurred an event that ranks with the great audacities of History: the manifesto to be known as the Monroe Doctrine was delivered in the year 1823. This manifesto announced that America was preempting an entire half of the globe for itself… South America presented an inherently uninteresting field for further imperialistic ventures by the powers, and it thus happened that a tradition of success was slowly established in American foreign policy. The Calvinistic feeling spread that America was predestined to rule whatso it would. Almost a century elapsed before the “doctrine” was challenged, and by that time, the military force was present in America which its maintenance presupposed…

During the 30’s Americans had infiltrated into the Mexican Empire, and by a successful revolt, they separated the vast area of Texas from Mexico. Less than ten years had gone by before this area was annexed by the union. An area larger than any West-European power had been seized with only small-scale fighting. In 1842, by treaty with England, the northwest boundary was extended. Oregon was definitely incorporated in 1846…

After the War of Secession, the American union smashed the French attempt to add Mexico to its empire, and allowed Maximilian to be shot by a revolutionary firing squad. Also shortly after that War, Alaska was acquired by Yankee imperialism. This territory, of almost a million quadrate kilometers, was purchased by America from Russia for a trivial sum. In the same decade the border with Mexico was again rounded off, this time by a small money payment instead of a war, in the transaction known as the Gadsden Purchase.

American imperialism was everywhere active during the second half of the 19th century: Hawaii, Chile, Cuba, Colombia, China, Japan, Siam, Samoa. The American fleet bombarded foreign ports at will in the colonial areas of the world, and sent landing parties ashore when necessary to secure submission to American commercial-imperialistic or territorial demands…

The Spanish-American War marked, what the War of Secession had foreshadowed, the emergence of America as a world-power. This made seven world-powers at that time; the others being England, France, Germany, Austria, Russia, Japan. Among these, only Russia, Germany, and England were in the first rank. America was excluded solely by reason of its geographical isolation. It could act against a world power in the Eastern hemisphere only with allies, and in a subordinate role. This was the situation at the beginning of the 20th century, the Age of Annihilation-Wars…

For its empire, America had fought only one large-scale war. The first war, that of 1775, was for independence, and the War of 1812 is more accurately called the Second War for Independence. The War of Secession extended the Yankee empire southward, removing an emerging power from the North American continent, and this was the sole serious imperial war Yankee America had to undertake in its century of empire-building. For the landing parties all over Central America, the Mexican War, the fighting in Japan, China, and in the Pacific islands, the Spanish War, all had had slight casualties. Never before had an imperial power acquired so much territory and influence for such a trivial price in blood.

Yet this was not understood, either in Europe or in America. Americans were either embarrassed or smug about their empire. Europeans either did not know about it, or thought it was the result of wise and mature political-thinking. Neither Europeans nor Americans wrote or thought much about the new world-power, its potentialities, its soul, its imperial abilities.

Certainly no power in Europe, no government, no person, in 1900 thought that it was within the realm of possibility that within two decades an American army of two millions would be transported across the Atlantic to fight in an intra-European war.
 

The American Revolution of 1933

From 1890 on began the Jewish invasion of America. Within the next fifty years, the number of Jews in America increased from negligible proportions to a number estimated between 8 and 12 millions. New York City became in this period predominantly a Jewish capital. Of this Jewish immigration, approximately 80 per cent were Ashkenazic Jews. American reaction inevitably began against the phenomena which inevitably accompanied the immigration of these vast numbers with their own world-feeling, who immediately began to influence the American life in every sphere and on every plane. A clever propaganda making use of the American ideology to serve Jewish purposes was the answer to this reaction. America became a “melting pot,” after the phrase of the Jew Israel Zangwill, and the purely quantitative American ideology lent this picture convincingness in an America still in the money-obsession stage.

The word “American” was changed by this same propaganda to mean an immigrant who had improved his personal circumstances by coming to America, and to exclude the native American who was displaced by the immigrant. If the latter showed resentment, he was called “un-American.” Thus native American movements like the second Ku Klux Klan, formed in 1915, as an expression of the reaction of the American organism to the presence of the foreign matter, were more or less successfully called “un-American” by the propaganda organs in America, which even by that time had come under strong Culture-distorting influences.

The words “ America” and “American” were stripped of all spiritual-national significance, and were given a purely ideological significance. Anyone who came to America was ipso facto an American, regardless of the facts that he retained his own language, lived in his own racial-national group, nourished his old connections with Russia, South-eastern Europe, or the Eastern Mediterranean, and had a purely economic relationship with America. Americans of native stock however, the representatives before history of the new unit in the Western Civilization called the American People, were not ipso facto Americans. If they nourished any national feelings of exclusiveness whatever, they were “un-American.”

This transvaluation of values is an invariable accompaniment of Culture-Distortion, and represents a superpersonal life-necessity of the Culture-distorting element. The values of the host-Culture, or host-colony, are hostile to the life of the Culture-distorter, and for him to adopt them would be to disappear as a higher unit. Assimilation of the Jews would mean that there would no longer be a Jewish Idea, a Jewish Culture-State-Nation-People-Religion-Race. In fighting against nationalistic feelings in America, the Jewish Idea is fighting for its continued existence against the hostile Western Civilization. It is a tribute to the political skill of the leaders of Jewry that they were able in the 20th century to identify their Jewish Idea with America, and to label the nationalism of America with the term “un-American.”

* * *

Culture-distortion in America, as elsewhere in the Western Civilization, was only able to twist, warp, and frustrate the soul of the host. It could neither kill it nor transform it. American autopathic tendencies, arising from the disintegratory influence of Rationalism and Materialism, are the source of the possibilities of which the Culture-distorter made use. His technique was to push them ever further in the direction of decadence, but at the same time he could always refer to Rationalistic doctrines, themselves products of the Civilization-crisis, as a semi-religious basis for his disintegratory work.

Thus the “equality” rhetoric of the Independence Declaration of 1775, and pious platitudes from Lincoln and other party-politicians, were used as the basis of the “tolerance” propaganda which teaches Americans that they must not in any way, not even in thought, discriminate against the Jew. This propaganda is spread from the highest official places down to the level of home, school, and church…

The whole result has been to put the native American completely on the defensive, to confer a privileged position on the Culture-distorter, who embodies at the highest potential the idea of alienness, and to disintegrate progressively the American national feeling. Culture-distortion to this degree would not have been possible in Europe, because of the higher Culture-sensitivity and the higher exclusiveness of Europe, even under democratic-materialistic conditions…
 

World-outlook

Music is seldom heard in America, having been replaced by the cultureless drum-beating of the Negro. As an American “musicologist” put it, “Jazz rhythm, taken from wild tribes, is at the same time refined and elementary and corresponds to the disposition of our modern soul. It incites us without pause, like the primitive drum-beating of the prayer-dancer. But it does not stop there. It must at the same time take account of the excitability of the modern psyche. We thirst for quickly exciting, constantly changing, stimuli. Music has an excellent, time-honored means of excitation, syncopation.”

American literature, which produced Irving, Emerson, Hawthorne, Melville, Thoreau and Poe, is today entirely represented by Culture-distorters who make Freudian and Marxist motives into plays and novels.

American family life has been thoroughly disintegrated by the Culture-distorting regime. In the usual American home, the parents actually have less authority than the children. The schools enforce no discipline, nor do the churches. The function of forming the minds of the young has been abdicated by all in favor of the cinema.

Marriage in America has been replaced by Divorce. This is said with no paradoxical intent. In the large cities, statistics show that one of every two marriages ends in divorce. Taking the country as a whole, the figure is one in three. This situation can no longer be described as Marriage, since the essence of Marriage is its permanence. The divorce trade is a large business upon which lawyers, private detectives and other charlatans thrive, and from which the spiritual standards of the nation suffer, as reflected in the emotionally indifferent attitude of American children.

The Western erotic, grounded in the chivalry of Gothic times, with the concomitant honor-imperative of the centuries of Western history, has been driven out. The ideal of Wedekind, the Culture-distorter who preached compulsory Bohemianism in Europe around the turn of the 20th century, has been realized by the Culture-distorting regime in America. Inverted Puritanism has arisen. In this new feeling, the Puritan outlook is retained in sexual matters only to scoff at it in the cinema and in literature. Baudelaire’s thesis “In evil only lies bliss” has been taken over by the distorter, and has resulted in the progressive disintegration of American morality in all spheres. In this effort, jazz music is a useful appurtenance, for this primitive beating is nothing but the expression of lust in the world of sound, a world which is capable of expressing all human emotions, both higher and lower.

A part of this general perversion is the physical-youth-mania that has been spread abroad in America. Both men and women, but especially the latter are inwardly obsessed with the idea of remaining physically young in appearance. Advertising plays upon these fears and commercializes them. The “girl” is the ideal feminine type. The mature woman aspires to be a girl, but not vice versa. A “girl” cult has come into existence, which, together with cinema, revue, jazz, divorce, disintegration of the family, and uniformity, serves the vast purpose of destroying the national feelings of the American.

Together with uniformity is the technique of excitement. The press presents every day new sensations. For the general purpose, it is quite immaterial whether the sensation is a murder, a kidnapping, a government scandal, or a war-scare. But for particular, political purposes, the latter sensations are the most effective, and during the years of preparing the Second World War, the distorter administered every day a new “crisis.” The process increased until the population was ready to welcome the outbreak of war as a relief from the constantly mounting nervous tension. When the War did appear, the distorter immediately called it a “World War” despite the fact that only three political powers were engaged, and the strongest powers were not involved. It was, of course, intended to rule out the possibility in the American mind of any localizing of the War, and to prepare for American intervention.

The straining after excitement, pleasure, and constant motion has created a vast night-life, a crime underworld which staggers the imagination of Europeans, and a hurrying from one thing to another which excludes the possibility of contemplation, or individual culture. Almost one per cent of the entire population makes its living from professional crime. The art of reading has been taken away from the Americans, since the idea is to “do something.” Individual culture is generally strangled under such conditions, and the prevailing mass-ideals impose limitations on the form of such personal culture as is attained. All history, all thought, all events, all examples, are used to prove the soundness of the ideal of mass-life, and of the American ideology.

* * *

In the Rationalistic and Materialistic atmosphere of 19th century America, there was only a very weak link with the sublime Western Gothic traditions of the spiritualized meaning of life, but under the Culture-distorting regime since 1933, America has been completely disenchanted. On every plane, the ultimate reality of the world and life is materialistic. The aim of life is “happiness.” This must be so, since life itself is only a physico-chemical process, and articles appear which treat as imminent the discovery of a “formula” for life by “scientists.”

The contractual side of the old Puritan religion, which regarded Man and God as keeping accounts with one another, has been pushed to its uttermost limits, and all living is simply changing legal relationships. Patriotism is simply a legal duty to the world-proposition called America, which has been equated with the mission of distorting the entire Western Civilization through a process of “educating” Europe. Heroism in the Western sense is unknown, and the hero whom the population admires is a capitalist en grand who has converted a great part of the public wealth into his private resources, or else a smiling film actor. Such a thing as a great spiritual movement or a national rising is not understood in America, first because it has had nothing of the kind in its history, and secondly, because the distorter has made all such things ridiculous. The American is taught that life is a process of cultivating friendly relations with all, joining as many clubs and secret societies as possible, and confining all his thought and effort to the personal plane.

The “happy-end” is the ideal of life and literature. There is no thought of bearing up under the bitterest and most crushing blows of Fate. These are overcome by avoiding one’s glance. The lucky man, and not the man who has suffered in silence and become stronger, is the central figure in the happy-end literature.

The opposition between the Western idea of Destiny-fulfillment and the Culture-distorter’s disintegrating substitute called “happy-end” is actually the focal idea of the world-outlook that he wishes to force upon the prostrate American nation and its parent Western Civilization. The irreconcilability between these two ideas extends from the personal plane upward through national economy, society, State, religion and ethics.

The great Western Life-feeling is the necessity of being one’s self, of preserving that within one which cannot be compromised, which is synonymous with Soul, Destiny, Honor, Race. The distorter’s idea of “happy-end” is opportunistic, weak, degenerate, and revolting to the Western honor-feeling. The empty, smiling, face, the uniform mind, the senseless chasing after noise, movement, and sensation, the obsession with moneymaking and money-spending, the rejection of all spiritual standards of attainment — all this merely reflects the basic interpretation of Life as a seeking for a happy-end. For happiness one will compromise anything, give anything, sell anything. Happiness becomes synonymous with pursuit of economic and sexual motives. It absolutely excludes any profitless struggle against odds, merely in order to be one’s self. Understanding and respect for the tragedy of Life, the magic of Life, the power of the Idea, are precluded by the happy-end feeling.

Any idea of this kind is quite impossible for Europeans in the 20th century, even if they had not seen the horrible catastrophe of the Second World War, in which Europe succumbed to the double-invasion of barbarians and distorters. No great artist, no religionist, no deep thinker, has ever deluded himself that Life has the meaning of “happy-end.” In miserable and crushing times, the Western man trains himself rather to bear whatever blows Fate may have in store for him. He does not talk of either happiness or unhappiness, and he does not try to avoid facts by looking away from them. Looking away is no solution, but only a postponement of a later reckoning. Happy-end has a purely negative significance. It is a denial of Life, an escape from Life. It is thus a deception, and an untruth.

The racial chaos in America, which, deliberately perpetuated by the distorter, delivers the American nation more securely into his hands, is only possible because of the de-nationalizing program for Americans. This program begins with propaganda in the schools to the effect that America was not colonized, cleared, conquered, or built by Americans, but by a great conglomeration of aliens. The contributions of the Jew and the Negro are taught as the decisive formative influences on the “American dream.” In New York State, Shakespeare’s Merchant of Venice is forbidden to be taught in the schools. The promoting of the anti-spiritual and anti-national “happy- end” idea, with its economic and sexual obsession, and its social atomism, is the prerequisite of continuing the whole program of degeneration.

Races and nations express themselves at their highest potential in strong individuals, who embody the prime national characteristics, and acquire immense historical symbolic significance. Therefore, the efforts of the Culture-distorter to strangle American nationalism take the form of an offensive against individualism, not against freakish, insane, individualism, but against the only kind that is historically effective — individualism which concentrates in itself a higher Idea, and is devoted to its service.

Thus the highest social value is “getting along with people.” Strong characteristics of independence or strength must be put aside, and the ideal of mediocrity embraced. The universal spirituality, the same intellectual nourishment for all classes, replaces the natural, organic stratification of society. This nourishment again has only a quantitative measure of value. Just as the best product is the one most advertised, so the best book is the one that has the largest sale. The best newspaper or periodical is the one with the largest circulation. This equation of quantity with quality is the complete expression of the mass-idea, the denial of individuality.

A natural corollary of the happiness-sickness is pacifism. Only intellectual pacifism is meant, for the Culture-distorter knows how to make use of the fighting instincts of the native American type. Intellectual pacifism is war-propaganda. The enemy is identified with the idea of war itself, and to fight him is to fight war.

Naturally Hollywoodism is incapable of rousing a population to sternness, sacrifice, heroism, renunciation. Therefore American armies in the field in the Second World War had to be supplied with a vast, never-ending stream of picture-books, chocolate, soft-drinks, beer, juke-boxes, moving-pictures, and playthings of all sorts.

Fundamentals cannot be evaded, and so it was that despite eight years of preparation by the most intense bombardment of emotional artillery the world has ever seen, through film, press, stage, and radio, there was no war-enthusiasm whatever in the American population, and a negative feeling in the armies which were massed against Europe in the Second World War. Out of 16,000,000 men who were impressed into the armed forces from start to finish of America’s brief military participation in the Second World War, less than 600,000 were volunteers. Almost twice this many volunteers out of half as many people were raised in one year in one European nation in the First World War. A large part of the American volunteers had already been notified of imminent conscription, and volunteered for appearance’s sake…

The organic unit which regards the disintegration of America as a part of its own life-mission is, at its very widest base, only ten per cent of the population of the American Union. And within this ten per cent, it is a comparatively few brains, and a reliable stratum of leaders who actualize the policy of the Jewish Culture-State-Nation-Religion-People-Race. To these leaders, the great mass of their own people are mere soldier-material in the non-military war against the Western Civilization all over the world. Nor need these brains be regarded as animated by any malice or evil motives. To them the Western Civilization is the repository of the collective evil and hatred of the world, the source of a thousand years of persecution, a cruel and unreasonable monstrosity, a sinister force working against the Jewish Messiah-idea.
 

Propaganda

Thus, in America, the country where mass-thinking, mass-ideals, and mass-living dominate the collective life, propaganda is the prime form of dissemination of information. There are no publications in America addressed solely to the intellect; a Culture-distorting regime rests on its invisibility, and independent thinking by strong individuals is ipso facto hostile to such a regime. Nor are there any publications which purvey only facts. Any facts, and any viewpoints, are co-ordinated, with their presentation, into the ruling propaganda-picture.

The techniques of American propaganda is inclusive of every form of communication. The leading instrument is the cinema. Every week, some 80,000,000 people attend the cinema in America, there to absorb the propaganda message. During the period of war-preparation, 1933–1939, the cinemas produced an endless succession of hate pictures directed against the European Revolution of 1933, and its 20th century outlook and actualizations… It should be said that in America, effectiveness of propaganda is measured solely by the numbers which it reaches, since the mass-thinking ideal has triumphed over individuality, quality, and intellectual stratification of the population.

Fourth is the book press. Only such books may be printed as represent or fit into the larger propaganda framework. Thus an edition of the Arabian Nights for children was recently withdrawn in America because some of the contents were said to have the possible effect of prejudicing readers against Jews, and one objectionable illustration showed an unscrupulous merchant with the features of a Jew, in the story about Aladdin and his lamp. During the years 1933–1939, the larger policy of the distorter was entirely unquestioned in any paper, book, or magazine of wide circulation.

Next are the universities and colleges. The mass-idea, as applied to education means that “higher education” is generalized to an extent that the high academic standards of Europe make impossible. America, with only half the population of the Western homeland, has more than 10 times as many institutions granting academic degrees. Actually what is disseminated in these institutions is primarily a slightly more esoteric version of the prevailing ideological and propaganda world-view of the Culture-distorting regime…

The propaganda-picture has two aspects, the domestic, and the foreign. The domestic propaganda is a revolutionary one, supporting the American Revolution of 1933. All ideological revolutions, from the French in 1789, through the 19th century ones in Europe, down to the Bolshevik Revolution in 1918, have the tendency to take on the form of a cult. In France Reason-worship was the focus of the religious frenzy; in Russia, it was machine-worship, according to the God Marx. The American Revolution of 1933 is no exception. The central-motive of the new cult is “democracy.” In the propaganda-picture, this concept takes the place of God, as the center and ultimate reality. Thus, a Supreme Court Justice, speaking to the graduating class of a Jewish college, said in 1939: “In a larger sense there is something more important than religion, and that is the actualization of the ideals of democracy.”

The word has been endowed with religious force, and has in fact attained to the status of a religion. It has become a numen, and cannot be the subject of critical treatment. Apostasy or heresy bring immediate response in the form of a criminal prosecution for sedition, treason, income tax evasion, or other allegation. The saints of this cult are the “Founding Fathers” of the War for Independence, particularly Jefferson — despite the fact that they uniformly detested the idea of democracy, and were nearly all slave-owners — and also Lincoln, Wilson, Roosevelt. Its prophets are journalists, propagandists, film stars, labor-leaders, and party-politicians. The fact that the word “democracy” cannot be defined is the surest evidence that it has ceased to be descriptive, and has become the object of a mass-faith. All other ideas and dogmas of the propaganda-picture are referred to “democracy” for their ultimate justification.

Immediately below “democracy” in importance is “tolerance.” This is obviously fundamental to a Culturally-alien regime. Tolerance means primarily tolerance of Jews and Negroes, but it can mean the cruelest persecution of Europeans or other persons with a viewpoint differing fundamentally from the prevailing mass-idea. This persecution is social, economic, and, if necessary, legal.

To continue the atomizing of the host-people… feminism is preached, pursuing the mass-uniformity idea into the realm of the sexes. Instead of the polarity of the sexes, the ideal of the merging of the sexes is promulgated. Women are taught to be the “equal” of men, and the Western recognition of sexual polarity is branded as the “holding down” and “persecution” of women.

Pacifism is preached as a part of the propaganda. This is of course not true pacifism, for that supervenes without anyone preaching it, and often without anyone knowing it, and always without anyone being able to do anything about it. In practice, doctrinaire pacifism is always a form of war-propaganda. Thus, in America, Europe means war, and America means peace. American imperialism is always a crusade for peace. A prominent member of the regime recently spoke of America’s “duty to wage peace around the world.”

“Religious tolerance” is also a part of the propaganda, and it is so interpreted as to mean religious indifference. Dogmas and doctrines of religion are treated as quite secondary. Churches are often merged or separated for purely economic considerations. When religion is not merely a compulsory weekly social amusement, it is a political lecture. Co-operation between the churches is constantly being organized, and always for some utilitarian aim, having nothing to do with religion. What this means is: the subservience of religion to the program of Culture-distortion.

* * *

Far more important to Europe than the propaganda about domestic affairs in America is that about foreign affairs.
The numen “democracy” is used also in this realm as the essence of reality. A foreign development sought to be brought about is called “spreading democracy”; a development sought to be hindered is “against democracy,” or “fascistic.” “Fascism” is the numen corresponding to evil in theology, and in fact they are directly equated in American propaganda.

The prime enemy in the propaganda picture was always Europe, and especially the Prussian-European spirit which rose with such self-evident force in the European Revolution of 1933 against the negative view of life, with its materialism, money-obsession, and democratic corruption. The more surely it appeared that this Revolution was not a superficial political phenomenon, a mere transfer of one party-regime for another, that it was a deep spiritual, total revolution, of a new, vital spirit against a dead spirit, the more violent became the hate propaganda directed against Europe. By 1938, this propaganda had reached an intensity, both in volume and in emotional frenzy, that could not be surpassed. Ceaselessly the American was bombarded with the message that Europe was attacking everything worthwhile in the world, “God,” “religion,” “democracy,” “freedom,” “peace,” “America.”

“Aggressor” was another leading word in the intellectual assault. Again, it did not relate to facts, and was only allowed to work one way as a term of abuse. “International morality” was invented and formulated so that the enemy of the Culture-distorter became ipso facto immoral. If they could not find political reasons for their politics, they were all the more resourceful in creating moral, ideological, economic, and esthetic reasons. Nations were divided into good and bad. Europe as a whole was bad when it was united, and if Culture-distortion was able to secure a foothold in any European land, such land became thereby good. The American propaganda machine reacted with venomous hatred against the European partitioning of Bohemia in 1938. Every European power which had participated in the negotiations was denounced as evil, aggressive, immoral, anti-democratic, and the rest of it…

Any words whatever that had good connotations were linked with the leading catchwords of the picture. Thus Western Civilization was too impressive to treat as a hostile term, and it was used to describe parliamentarism, class-war, plutocracy, and finally — Bolshevik Russia. It was insisted by the propaganda machine during the time of the battle at Stalingrad in the Fall of 1942 between Europe and Asia that the Asiatic forces represented Western Civilization while the European armies were the enemies of Western Civilization. The fact that Siberian, Turkestani, and Kirghizian regiments were being used by the Bolshevik regime was adduced as proof that Asia had saved Western Civilization

This propaganda announced that 6,000,000 members of the Jewish Culture-Nation-State-Church-People-Race had been killed in European camps, as well as an indeterminate number of other people. The propaganda was on a world-wide scale, and was of a mendacity that was perhaps adapted to a uniformized mass, but was simply disgusting to discriminating Europeans. The propaganda was technically quite complete. “Photographs” were supplied in millions of copies. Thousands of the people who had been killed published accounts of their experiences in these camps. Hundreds of thousands more made fortunes in post-war black-markets. “Gas-chambers” that did not exist were photographed, and a “gasmobile” was invented to titillate the mechanically-minded.

We come now to the purpose of this propaganda which the regime gave to its mentally-enslaved masses. From the analysis in the 20th Century Political Outlook, the purpose is seen to be only one: it was designed to create a total war in the spiritual sense, transcending the limits of politics, against the Western Civilization. The American masses, both military and civilian, were given this mental poison in order to inflame them to the point where they would carry out without flinching the post-war annihilation-program. In particular: it was designed to support a war after the Second World War, a war of looting, hanging, and starvation against defenseless Europe.
 

The conduct of American foreign affairs from 1933

As was noted in the outline of the general thesis of Culture-distortion as a form of Culture-pathology, the Russian anti-Semitic outbreaks after the Russo-Japanese War, 1904–1905, brought about a rupture of diplomatic relations with the United States. Since no other racial, cultural, national, or religious outbreaks of this kind directed against non-Jewish elements in Russia, or in any other country, had ever caused an American government to break relations, this can only be explained as an example of Culture-distortion. The actual inspiration for this startling international move came from certain elements in the entourage of the then President Theodore Roosevelt, which belonged to the same Culture-State-Nation-People-Race as the victims of the pogrom.

Historians will be able to trace the appearance of Culture-pathology through American foreign policy from about 1900. The immediate period under consideration however is that since 1933, a year of fate for both America and Europe.

The first positive act of a non-routine nature by the revolutionary regime, after its preliminary consolidation of power, was the diplomatic recognition of Bolshevist Russia. It was explained away to a loudly resentful American public as being merely a routine act, without ideological significance, and quite harmless politically. Actually it was the beginning of a cooperation between the two regimes which continued with only surface interruptions until the Russian and American armies met in the heart of the Western Civilization, and London and Berlin had been thrown into the dust.

In 1936, the Bolshevist revolution and the 20th century Western authoritarian spirit met on the battleground of Spain. The officials of the America-based regime privately expressed their sympathy with Red Spain. The unequivocal opposition of the Catholic Church to American aid for Bolshevist Spain prevented intervention. The Catholic Church in America has twenty million adherents, and the Culture-distorting regime had not sufficiently consolidated its power to engage in a domestic conflict of the type that would have resulted. It was about to contest its second national election, and large organized groups were still in the field against it. A blunder in foreign policy could have been fatal at that stage.

The perfection of its election technique continued the regime in office. In October, 1937, the open preparations for a Second World War were begun. It was officially announced that the American government was going “to quarantine aggressors.” The propaganda organs had identified the word “aggressor” with Europe, and the custodians of the European Future. To satisfy nationalist elements, Japan was included in the term, but the regime continued to equip Japan with essential raw materials for its war-industry, while at the same time it refused to sell raw materials to Europe, and boycotted importation into America of European goods originating in areas not dominated by the Culture-distorting regime.

By the fall of 1938, the stage was set for a World War…

In the period after the Second World War, American foreign policy retained its continuity. Occupied Europe was treated as an area to be devastated, factories were dismantled of machinery, which was given to Russia, and other installations were blown into the air as part of a deliberate policy of destroying the industrial-potential of Europe. The population was treated as sub-human, and a large-scale starvation policy was introduced, which continues in 1948.

Although America was exporting food all over the world, not being under any obligation of honor or morality to do so, nevertheless it refused to send enough food to maintain human life into occupied Europe. Human rations were fixed far below qualitative and quantitative minima for health, and within a short time, malnutrition, skin-ailments, infections, and degenerative diseases began to kill millions. In the first wild exultation of its “victory,” the American army forbade its personnel even to speak to the population.

This continued until court-martials became too numerous, and it was discarded while in its place was substituted a violent hate propaganda among the American troops. The population of Europe was treated as totally and essentially inferior to the conquering Americans. It was officially referred to as “the indigenous population.” In public buildings special sanitary facilities were set aside for them, while the superior Americans and Negroes used their own… One European was sentenced to two years imprisonment for a hearsay reference to a Jewish member of the American forces as a “dirty Jew.”

The ghastly dishonor attending the American occupation of Europe is sufficient to show the presence of Culture-alien elements, for no Western nation or colony could possibly proceed to this type of conduct. Its very inner constitution, its historical essence, a thousand-year honor tradition, would preclude the possibility. What Western nation would reduce the women of another to the legal status of concubines, and forbid marriage between its members and those of another Western nation? Yet this is what the American command did. It permitted concubinage, and forbade marriage. As a result of this policy, venereal disease assumed plague proportions in occupied Europe.

In the presence of this starving, disease-ridden European population, the American armies and their families, guarded by guns and barbed wire, live in the houses which their bombs did not damage, and eat an unrationed diet. The spiritual qualities developed by these conditions are not the highest. In the early phase of the occupation, waste food and clothing were actually burned in the physical presence of the starving and freezing “indigenous population.”

When, in the summer of 1947, a food revolt threatened, one of the American governors announced officially that the American people had no duty in fact, in international law, or in morals, to feed its subject population in occupied Europe, and that if a revolt did occur, it would be put down with bayonet and machine gun. That which is here described is only partial, but the pattern of the facts is universal in American-occupied Europe. It continues today, and has a deep and wide influence on European thinking on the most important level…

Among a population which could furnish it with millions of the best soldiers in the world, the Americans conduct themselves with a ferocity and an affected superiority calculated to alienate the “indigenous population” forever. Finding themselves captors of the best military leaders in the Western Civilization, to whom they should go to school, they proceed to hang them for the crime of opposing American armies in the field.

In short, instead of increasing American power, the occupation-policy has decreased American power in every way. This shows conclusively that the motivation of this conduct is outside politics. Its motivation is derived from the complete, deep, and total organic irreconcilability between a High Culture and a parasitic organism within it. This relationship is one transcending ordinary international politics.

It is somewhat similar to the relationship between the Roman legions and the barbarians of Mithridates and Jugurtha, or to that between the Crusaders and the Saracens, or between Europe and the Turk in the 16th century. It is deeper even than these, because of the revenge-twist introduced into the soul of the parasite through centuries of silent sufferance of the unassailable superiority of the host.

When defeated Europe — and in particular, the most vital part of it, the bearer of the grand European Idea of the 20th century — lay at the feet of this-totally alien conqueror from a Culture of the past, no feelings of magnanimity, chivalry, generosity, mercy, were in his exultant soul. There was only there the gall which he had been drinking for a thousand years while he had bided his time under the arrogance of the alien Western peoples whom he had always considered, and still considers, barbarians, goyim.

Seen from this standpoint, the American armies were just as completely defeated as the armies from the mother-soil of the Culture. The real victor was the Cultural alien, whose triumph here over the entire Western Civilization marked the highest refulgence of his destiny.
 

The future of America

The origin of America contains its Future. As Leibnitz said, “The Present is loaded with the Past, and pregnant with the Future”…

The true form of the war was disclosed to everyone in 1945, when the victors emerged as the Culture-distorting regime in America, and the Mongols in the Kremlin. For the first time in world history, the world was divided between two powers. Europe had lost the war, and achieved the unity in defeat which it had not entirely reached in its victories. Europe passed temporarily into the same status that China and India formerly occupied spoils for powers from without…

When the American National Revolution takes political form, its inspiration will come from the same ultimate source as the European Revolution of 1933.

Categories
Autobiography Degenerate art Film Music

On music education

Two years ago, during the pandemic and lockdowns, I recommended half a hundred films. And about ten years ago an Australian asked me in the comments section of this site what pieces of classical music I would recommend for him to suggest to his daughters.

But music is not like films. One can watch typical Hollywood cinema, like Presumed Innocent and The Fugitive with Harrison Ford, and not degrade one’s soul. Those films are light cinema, but they don’t necessarily corrupt us.

Music, on the other hand, is like sex.

These days I have participated in a comment thread on The Unz Review about an article by Michael E. Jones in which he mentions his recent debate with Greg Johnson, where the Catholic Jones criticises homosexualism.

It has been over ten years since I distanced myself from Johnson because of his defence of the misnamed ‘gay’ movement, and for promoting what the Nazis called ‘degenerate music’ on his webzine.

To my way of thinking, sex education is like music education. It is not so much, as the Australian naively asked me, a matter of suggesting a dozen masterful pieces of classical music. Rather, we must prevent our children from listening to degenerate music just as, in a healthy society, we prevent our girls from having premarital sex.

What good is a long list of my favourite works in classical music if the average Westerner would then go on to listen to—and even enjoy!—degenerate music? It’s like showing a teenage daughter the old movie Ivanhoe starring an archetypically Aryan actor like Robert Taylor and an absolute adolescent beauty (Liz Taylor) when, on the weekend, that same daughter goes on a date with a black.

In music education it’s not the sums that count (remember the Australian who asked me for a list so his daughters could add my recommendations on their mobile phones). It is subtraction that counts.

So, in today’s world, it makes no sense to make a list of classical music pieces for our children to listen to. For education to work, one would have to cut the child off from the West as Russia has cut itself off, and create a traditional society—something impossible in the soft totalitarianism of today’s West.

I was educated musically. At the age of five or six I discovered my first musical love thanks to a record of my father’s, Mussorgsky’s Khovanshchina or Dawn Over the River Moscow, an anecdote I tell in more detail in one of my books.

My early discovery of that sublime prelude happened in the early sixties, a time when the little boy I was had not heard a note of degenerate music. And how could I not be well educated when in those years my father had gone to Utica in New York to re-release one of his symphonic works?

Do you understand what I mean when I say that in musical matters one educates by example? In Gomorrah it makes no sense to make a list of classical pieces when we are as surrounded by degenerate music as fish in water. But I would like to make an exception.

Below we can listen to my first musical love. It’s curious that my first loves were Russian pieces. That’s because, as we see in the old newspaper clip of my father in Utica, he confessed ‘Stravinsky is my idol’. (Not long after discovering Khovanshchina my dad used to play for me another Russian piece that, in time, would become one of my favourites: the Firebird Suite.)

Like decent sexual behaviour, good music can only be taught by example, and by strict prohibitions. With all that Russia has banned in recent days from the Gomorrahite and dying West, that country will soon become the healthiest white society in the world…

Categories
Degenerate art Neanderthalism Savitri Devi Souvenirs et réflexions d'une aryenne (book)

Reflections of an Aryan woman, 101

People will object that I am being unfair to the human elites who create culture. It will be pointed out to me that without a certain encroachment on the jungle, the savannah or the forest, and thus without the restriction of the natural domain of the wild animals, there would never have been cities or monuments, or all that is encompassed under the name of ‘civilisation’; the arts being all more or less linked to each other, as well as to certain fundamental techniques.

This is true, and no one can deny it. Or rather, it was true in the days when one could still think that it was worth cutting down a few trees to erect, on the top of a promontory or some other ‘high place’, a perfect temple or to build, in the middle of a plain, one or more pyramids with powerful symbolism, whose measurements corresponded to those of the Earth itself, if not the solar system. This was true in the days when, as an integral part of Nature, man had not yet risen against her in the laughable pride over other living species; in the time when, in the best societies—traditional societies—the most eminent minds, far from exalting themselves like Francis Bacon or Descartes at the idea of the ‘domination of man’ over the universe, dreamed only of expressing allegorically, in carved, painted, sung or written work, or by rhythmic sound and dance, their intuitive knowledge of cosmic truths, their vision of the eternal.

Then, human creation within certain limits fitted harmoniously into the natural environment. It didn’t spoil it or desecrate it. It couldn’t be otherwise, given that at that time only what René Guénon calls ‘objective art’ was considered ‘art’: work whose standards are directly linked to the artist’s knowledge of the standards of the visible and invisible, human and non-human universe. Thus were born the colossi of Tiahuanaco, the pyramids of Egypt and America, the Greek, Hindu or Japanese temples, the prehistoric or relatively recent paintings at the bottom of caves in Altamira, Lascaux, Ajanta; the Byzantine, Romanesque or Gothic cathedrals, the great mosques of the world, and all the sacred or initiatory music from Antiquity to Bach and Wagner, and the sacred dances of the Indies and the whole world. None of this takes away the soul of the native environment—on the contrary: it expresses it, translates it into the language of the eternal by linking it to it.

But all this was yesterday; it was mostly in the past. It dates from before, and in general long before, the appearance of the insect-man and before his sudden multiplication into not arithmetical but geometrical expression, the result of techniques for protecting the weak.

I repeat: quality and quantity are mutually exclusive.

Those whose numbers are increasing in geometric progression—doubling, and in some countries tripling every thirty years—can only ruin the land, the landscape, and the soil itself to which they cling like leeches. They need houses—any kind of houses quickly built and as cheap and ugly as possible. Art doesn’t come into play provided that, in technically advanced countries, they offer more and more comfort and allow an increasingly automatic life. In other countries it will be enough for them to line up, all alike, like a built-in series, on the site of uprooted forests. Corrugated iron will replace the fresh thatch. And fragments of rusty cans, roughly fixed together, will form the walls instead of palm leaves, which have become rarer. Thus these cheap dens are certainly not as good as the most primitive African or Oceanian huts or the ancient caves. But they do have the advantage that they can be built at the same pace as the human population.

As for the work of art, the visible reflection of the eternal, destined to last for millennia—the pyramid, the tomb, the temple or the colossus freed from the living rock, or erected like a stone hymn in the middle of the plain or at the top of an escarpment—has long since been out of the question. Man no longer builds under the direction of the wise, to give substance to a truth that cannot be expressed in words, but under that of entrepreneurs eager for quick profits to house as many people as possible, and any people whatsoever. The landscape is sacrificed, the forest is torn away, and its inhabitants—the beasts, the reptiles, the birds—are pushed back to where they can no longer live, or killed outright. Man, once an integral part of Nature, and sometimes its crowning glory, has become the executioner of all beauty, the enemy of the universal mother, the cancer of the planet.

Even the superior races no longer create symbols. They have replaced, or are increasingly replacing, temples and cathedrals with factories and medical research centres. And they ‘decorate’ their public squares with caricatures made of cement or wire. The music that their young people like, the music that they let blare out of their transistors all day long as a background for all their activities, all their speeches, all their remaining thoughts, is a bad imitation of Negro music.

 

______ 卐 ______

 

Editor’s Note: This is why, as soon as I hear degenerate music in the first minute of some white nationalist podcast, I immediately get off that website—just like I treat TV shows: as soon as I see a black guy I change the channel. Compare this attitude with WN pundits’ recent reviews of the latest Batman film.

Categories
Degenerate art Music Richard Wagner

Wagner’s Lohengrin

The last three days I watched Lohengrin on YouTube, one act each night, corroborating what I think of opera.

If a good film loses ten or twenty per cent of its art when seen on the small screen, opera easily loses ninety-nine per cent. It is art made to be seen live, with the flesh and blood characters in front of our seats, and with all the ritual of spending our meagre savings, as the adolescent Hitler did when he discovered Wagner; dressing up in our best clothes, and going to a palace (like this one in Mexico City: the only one where I have enjoyed an opera, inviting a lady of course, to accompany me).

Opera really misses almost one hundred per cent of its magic. It seems an outrage that in the next few days I will continue to use this medium to see other Wagnerian operas. But in the palace of the town where I live, operas by the Führer’s favourite composer are very rarely performed. And even in the single opera I have seen there, the subtitles in my native language were essential to understanding the songs and the plot.

It is impossible to understand National Socialism without enjoying the art of its background. And it is impossible to grasp Wagner’s art in all its glory without having the funds to go to Vienna or Bayreuth in Germany, where some of his operas are performed every year. But even if you have the money, say, to go to the opera theatre in the Judaized US, in recent times modern choreography has bastardised the German composer’s original vision, courtesy of the Jews (see for example these quotations of an article that was later deleted in The Occidental Observer).

In the performance I saw yesterday, embedded below, Lohengrin is not the blond Aryan that Europeans used to see in more accurate performances. While the singer I heard yesterday has a magnificent voice, we will have to wait for the Fourth Reich before we can, once again, enjoy Wagner’s works as they were seen by those born in much less obscure times than ours…