SPLC: “McInnes, Molyneux, and 4chan: Investigating pathways to the alt-right”

The $PLC has a new report titled “McInnes, Molyneux, and 4chan: Investigating pathways to the alt-right” written by “the Hatewatch Staff”. They are increasingly worried about how Alt-Lite and other identitarian-oriented individuals and sites are gateway drugs to dastardly Alt Right ideas.

Basically, they attempt to number-crunch some self-reporting done on some TRS threads and deduce who the Gateway Drugs are into red-pilling:

The alt-right is a motley movement, drawing in people from a number of venues and subcultures. The 107 individuals and platforms mentioned by posters in the TRS threads have been labeled according to their ideology, which include alt-right, legacy white nationalist, alt-lite, mainstream, libertarian, skeptic, men’s rights activist, and conspiracy, in addition to a random category for those not easily classified. This heterogeneity is a boon to the movement, creating a number of avenues for individuals of different taste and predilections to fall within its clutches.

“To fall within its clutches…”

“It was a dark and stormy night…”

From the chart above, and from the following passage below, we have a pretty solid explanation for why The Cathedral first went after the gentlemanly Jared Taylor. It was he, after all, who was first major AR figure booted from YT and Twitter:

Disconnected as they might seem, the most cited influences — the “politically incorrect” 4chan board /pol/ and the American Renaissance editor Jared Taylor — hint at two common paths to the alt-right: either through participation in the rampantly racist and misogynistic online trolling culture of 4chan and its offshoots, or through exposure to Taylor’s variety of pseudo-academic “race realism” that couches timeworn racist tropes in the language of science.

The Silicon Valley giants can’t boot people from 4chan because they don’t own the platform. But they can boot Jared and AmRen from the big social media platforms.

A very positive sign (and humorous) is that Stefan is #3!

Stefan Molyneux, a YouTube commentator, is also best known for amplifying scientific racism…

The prolific Molyneux has attracted more than 770,000 subscribers to his YouTube channel, adding up to more than 230 million views of his videos. He relies largely on charisma, delivering ill-researched and scientifically unsound lectures with a degree of confidence that eases viewers into accepting his arguments.

Molyneux, one TRS poster explained, “remains a great stepping stone between the alt-light and the alt-right.”

There are some real hoots in this report, which covers a lot of Alt Lite and AR figures (Gavin McInnes, Jim Goad, Paul Kersey, Millennial Woes, Red Ice, Mike Enoch, etc.)

Heidi Beirich is stressed. Extra Häagen-Dazs tonight!

In summary, we see the SPLC’s ever-widening cabal of villains spreading like a cancer, as quickly and tenaciously as Heidi Beirich’s paranoia and sense of victimization.

“Libertarianism is a common path to the alt-right,” the report notes. Ditto for anarcho-capitalism. Civic nationalism is thrown under the bus too, characterized as “a poorly defined catch-all term for those who embrace nativism but shy away from more radical racist rhetoric.”

Even Sam Harris and Charles Murray are implicated.

Oi vey! Something must be done! Shut it down!

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Memes: The Alt Right’s Art-Form

I have a new piece up at VDARE that touches upon the Alt Right’s use of memes as a form of art.

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Being, Place and Living Authentically

Here’s a nicely produced video short with various AR figures discussing the Heideggerian sense of place and its central role in forming authentic ethnic identity and the rootedness of Being.

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Dear White People – S02

Dear White People is an alleged sitcom that, along with Blackish, attempts to both show us how much ‘cooler’, with-it, and socially woke POCs are (relative to whites) & to make fun of white people in clever new ways. Well, Season 2 of Dear White People is about to launch on Netflix, and The Daily Beast tells us the season will ‘target alt-right trolls’.

More consequentially for the show’s main characters, the students displaced by that fire have now been integrated into the school’s previously all-black dorm Armstrong Parker.

The “white refugees” do yoga in the common room and introduce Cream of Wheat into the dining hall menu, but there are far more insidious actions afoot as well.

Yoga and Cream of White as hate-symbols, just like milk is.

Starting with his 2014 film version of Dear White People and continuing through this new season, Simien has been consistently adept at capturing the heightened way racial and political issues manifest themselves on college campuses, all the while remaining utterly hilarious…

Utterly hilarious? Umm, if the trailer is any indication, it’s not utter and it’s not hilarious.

Most of the premiere finds Sam in the “sunken place,” as her best friend Joelle puts it, battling online with a particularly vicious troll named @AltIvyW who calls her a “race baiter” and suggests she was only accepted by the fictional Ivy League school due to affirmative action.

Yeah, because only a dastardly Alt Right-er could make that argument.

When the troll insists that white people can be “oppressed” too, Sam goes off on an epic thread of tweets—or the show’s campus equivalent—listing the endless ways African Americans have been systematically kept down by a white-dominated society. She almost seems to be having too much fun with the never-ending digital back-and-forth, staying up for days at a time while her friends engage in more typical college behavior like studying and partying around her.

This war between Sam and her newly empowered alt-right classmates culminates when she shows up to host her radio show—also named “Dear White People”—and sees a group of students in the booth hosting a new show they’re calling “Dear Right People.”

“Why is the left allowed to dictate who gets to be oppressed?” one young blonde student asks. “Why do we have to suffer just because we were born white and straight and normal?”

“A straight white guy march? Can you imagine the vitriol?” her straight white guy host replies.

“Listen, I’m not a white nationalist, but…” the female student says later, before declaring that “inclusion and diversity programs” at the school “are all just code for white genocide.” To which her co-host adds, “Preach, girl!”

But just when Sam is about to “drag this Kirkland Signature Ann Coulter,” she looks down at her phone and sees the latest attack from @AltIvyW. Without giving too much away, the troll has discovered something about her heritage that he is using against her in the cruelest way possible.

I’m guessing it’s the fact that she’s a mulatto, just like our former POTUS. A mulatto who was probably raised by her white grandparents, just like our former POTUS was. A mulatto, who despite being at least 50% white, identifies as an Angry Black™.

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Big Dipper – Ron Klaus Wrecked His House (1988)

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“The Star and the Stripes: A History of the Foreign Policies of American Jews” (2016)

Here’s the book description for The Star and the Stripes: A History of the Foreign Policies of American Jews (2016) by Michael N. Barnett:

How do American Jews envision their role in the world? Are they tribal—a people whose obligations extend solely to their own? Or are they prophetic—a light unto nations, working to repair the world? The Star and the Stripes is an original, provocative interpretation of the effects of these worldviews on the foreign policy beliefs of American Jews since the nineteenth century. Michael Barnett argues that it all begins with the political identity of American Jews. As Jews, they are committed to their people’s survival. As Americans, they identify with, and believe their survival depends on, the American principles of liberalism, religious freedom, and pluralism. This identity and search for inclusion form a political theology of prophetic Judaism that emphasizes the historic mission of Jews to help create a world of peace and justice.

The political theology of prophetic Judaism accounts for two enduring features of the foreign policy beliefs of American Jews. They exhibit a cosmopolitan sensibility, advocating on behalf of human rights, humanitarianism, and international law and organizations. They also are suspicious of nationalism—including their own. Contrary to the conventional wisdom that American Jews are natural-born Jewish nationalists, Barnett charts a long history of ambivalence; this ambivalence connects their early rejection of Zionism with the current debate regarding their attachment to Israel. And, Barnett contends, this growing ambivalence also explains the rising popularity of humanitarian and social justice movements among American Jews.

Rooted in the understanding of how history shapes a political community’s sense of the world, The Star and the Stripes is a bold reading of the past, present, and possible future foreign policies of American Jews.

One caveat: The following sentence from above is not accurate: “They also are suspicious of nationalism—including their own.” It is true that some Jews are suspicious of all nationalisms, including Israeli nationalism, a great many other Jews are not.

Given current events in Syria, it would be nice to see this book hit the Amazon charts, but I suspect it won’t.

Posted in International, Jewish, Middle East | Comments Off on “The Star and the Stripes: A History of the Foreign Policies of American Jews” (2016)

The Unbearable Whiteness & Metaphorical Silence of “A Quiet Place”

With Wakanda Mania subsiding, and Get Out a distant memory, the #TooManyWhitePeople hive-mind is pivoting towards direct anti-white hatred. In The New Yorker, Richard Brody writes on ‘The Silently Regressive Politics of “A Quiet Place”’:

The noise of “A Quiet Place” is the whitest since the release of “Three Billboards Outside Ebbing, Missouri”; as horror films go, it’s the antithesis of “Get Out,” inasmuch as its symbolic realm is both apparently unconscious and conspicuously regressive.

“A Quiet Place” is the story of a white family living in rustic isolation that’s reduced to silence…

The one sole avowed identity of the Abbott parents is as their children’s defenders; their more obvious public identity is as a white rural family. The only other people in the film, who are more vulnerable to the marauding creatures, are white as well. In their enforced silence, these characters are a metaphorical silent—white—majority, one that doesn’t dare to speak freely for fear of being heard by the super-sensitive ears of the dark others. It’s significant that when characters—two white men—commit suicide-by-noisemaking, they do so by howling as if with rage, rather than by screeching or singing or shouting words of love to their families. (Those death bellows are the wordless equivalent of “I’m as mad as hell and I’m not going to take this anymore!”) Whether the Abbotts’ insular, armed way of life might put them into conflict with other American families of other identities is the unacknowledged question hanging over “A Quiet Place,” the silent horror to which the movie doesn’t give voice.

Or, perhaps the metaphorical silence of “A Quiet Place” simply alludes to the difference between the Sunday afternoon tranquility of The Hamptons vs. the not-so-silent Sunday raucous of the South Bronx.

Lastly, with respect to the question of whether “A Quiet Place” is implicitly racist or not, Taylor Swift’s silence on the matter is deafening.

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You Were Never Really Here (2017)

You Were Never Really Here is a trippy, brutal, very impactful, and overall excellent film (current RT score of 88%) by Scottish-born Lynne Ramsay, who both wrote the screenplay and most ably directs the film. Joaquin Phoenix, who always excels in playing damaged goods, turns in a riveting performance as an ex-Special Forces, ex-FBI loner, obviously scarred by the things he’s seen in the Middle East and, domestically, in the realm of human trafficking. As a man walking through his shell of a life with an ominous death wish, Phoenix resorts to becoming an off-the-grid gun-for-hire whose specialty is finding and rescuing missing persons (e.g., underage runaways who are plucked into the seedy world of high-end, Lolita Express/Pizzagate-styled, sex rings utilized by politicians.) His methods are brutal and unrepentant, offset by the love and care he provides for his ailing mother.

There is a false flag reference to Hitchcock’s Psycho, and a clear and obvious allusion to the aforementioned Pizzagate dynamic, wherein nameless, faceless, uber-elite, powers deploy assassins to ‘disappear’ any disruptions of the system. Through his careful process of identity-protection, Phoenix puts layers of intermediaries between himself and his work, which may serve as in illustrative metaphor for the Alt-Right today in its poking, prodding, taunting, and exposure of the corruptions in the bowels of The Cathedral.

You Were Never Really Here is no formulaic revenge flick ala Taken, but an example of brave and original filmmaking. The film pushes the boundaries of narrative and plot advancement, and blends the subjective and objective elements into a stylized, gritty, and fast-paced experiment. While an utter hopelessness saturates Phoenix, the film does land on a faint note of light and hope.

Highly recommended.

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The Cornell Rebellion

In TAC, Jack Howard Burke revisits the continued poignancy of Allan Bloom’s The Closing of the American Mind (1987).

Bloom’s point on the university is fully brought home when he recounts his experiences as a faculty member during the Cornell rebellion, perhaps the most infamous student protest of the entire 1960s. On April 18, 1969, in an episode burned into the memories of all those who witnessed it, contingents of racially aggrieved student radicals descended on the Cornell campus—shotguns and rifles in hand—to hold the university hostage for 36 hours. The event was reported in news across the world, as numerous professors received death threats and the insurgents actually opened fire on the Cornell engineering building. In the eyes of many, including Bloom, it was—as Thomas Sowell described it in 1999— “The Day Cornell Died.” When the liberal humanities professors blithely, almost eagerly, surrendered to the students’ list of demands—which centered upon the perceived racism directed against black people on campus—Bloom tendered his resignation in disgust. As numerous historians of Cornell have stated, the college was never truly the same afterwards.

How soon before we see a repeat of this?

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Make Russia Great Again

In the NYT (where else), Adam Hochschild reviews the book Never Remember: Searching for Stalin’s Gulags in Putin’s Russia by Masha Gessen (with photographs by Misha Friedman). Hochschild begins his review with the premise that:

Human beings have long slaughtered each other with gusto, but almost always choose mass victims from a group defined as alien.

This is something to keep in mind. Hoschchild then gives a few examples, before asserting that what transpired under Stalin’s reign was something different:

The Nazis killed about six million Jews; Japanese invaders massacred millions of Chinese; European settlers in the Americas enslaved millions of Africans; the list goes on. But the striking thing about Joseph Stalin’s Soviet Union, as the Russian-American journalist Masha Gessen observes in her new book, “Never Remember,” is that “Russians exerted the force of state terror against themselves. … The millions who died anonymously in the Gulag were not necessarily members of ethnic or religious minorities, or even homosexuals: The population of the camps largely corresponded to the population of the country.”

Hoschchild does not, however take a closer look at the milieu of perpetrators in the Soviet example, to see if any ‘group defined as alien’ dynamic might have taken place. Of Stalin’s murderousness:

Although at times the dictator’s venom did target particular groups, like Ukrainians, Crimean Tatars and, at the very end of his life, Jews, this is largely true. The mass deaths at Soviet execution sites or in labor camps were a self-inflicted genocide: “Russians had no other nation to blame for their nightmare.”

Hochschild’s only mention of Jews is as victims in the about-face Stalin, in his last years of life, took towards Jews, and makes no mention of the possible, emergent, identifiable, and activist role that Jewish Bolsheviks played during Stalin’s much more deadly ‘pre-about-face’ period. For instance, Hochschild makes no reference to the Holodomor in Ukraine, a genocide if there ever was one, wherein Jews were less the victims per se than a disproportionate percentage of the perpetrators. (The same could be said of the NKVD, the unimaginably brutal Soviet Secret Police.)

When, as Gessen adds, “every museum, indeed every country, ultimately aims to tell a story about the goodness of its people,” how, then, do you remember a system that led to the outright execution of somewhere around a million people and the deaths by starvation or exposure in the Gulag of an unknown additional number, generally reckoned far into the millions? The answer, in Vladimir Putin’s Russia, is hardly at all…

So, we have here Hochschild taking offense at an alleged white-washing of history by today’s Russian nationals, but not too concerned about any white-washing done on behalf of Jewish Bolsheviks, whether through the perpetual depiction of Jews as victims (in any and all contexts), as well as through the ever-expanding franchise of Holocaust Remembrance™, with museums popping up in every Western country to remind, for example, Americans how the Shoah apparently began on June 6, 1944.

Taking a page from his own ethnic group’s penchant for both pioneering and dominating the Remembrance Industry, Hochschild recommends it for Russia today. Why, just follow the Holocaust template!

But the man with me from the Memorial Society, a human rights group, eagerly talked about how places like this could be turned into remembrance sites with lessons for today, as has happened at Auschwitz and other Nazi death camps.

Somehow, I think that isn’t going to happen. It’s not only a question of generous funding, but of a higher-level, purposeful Narrative. No NYT article on communism or fascism would be complete without the requisite Trump association, and Hochschild’s is a case study of Trump Derangement Syndrome. The final paragraph of his review reads:

Gessen and Misha Friedman, who took the grainy, haunting photographs for this book, also visited Butugychag, but found no memorials there. Virtually the only place in Russia where this has happened is a former labor camp outside of Perm, in the Urals, carefully restored over some years. But then something occurred that was never anticipated. Under Putin — whose motto might as well be “Make Russia Great Again” — Stalin’s rule is now remembered as a time of glory and order. Scores of new books and films portray the era in glowing colors, and vintage secret police uniforms are on sale. The husband-and-wife team who spearheaded the restoration at Perm lost their jobs, and the rebuilt camp has now become a site of pilgrimage for those who want to celebrate the old days. It is a grim reminder that once again, as in the 1930s, all over the world authoritarian strongmen are riding high.

Just in case you weren’t clear on the matter.

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