This recent harangue by Glenn Beck (he’s still alive!) is quite possibly the greatest thing ever. Beck dons full tin foil hat on this one, arguing that the Alt Right, and Europe’s Identitarian & other populist movements, are part of a global conspiracy masterminded by…. drumroll… Alexander Dugin!
Yes, Dugin is the puppetmaster, and Beck’s chalk board shows him at the Center of Octopus. These dastardly villains are creating “a TIDES Foundation for the Right” and are “a threat to the entire world… the new Nazi movement”, etc.
Oh, and Dugin’s The Fourth Political Theory “is the Mein Kampf of the movement.”
The ‘At Charlottesville, Jared Taylor disguised himself with a wig to look like a Frenchman’ bit is gold, Jerry, gold!
To think, Beck used to talk about Alinsky and the Frankfurt School. Man, this guy’s descent is truly a fireball to behold.
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On Twitter today, someone (I can’t recall who) posted on Maurice Samuel’s You Gentiles (1924). This very brief book is well worth reading, as it is a candid portrayal of the Jew vs. Gentile dynamic written by an ardent Zionist. A free PDF of the book can be found here.
Born in Măcin, Tulcea County, Romania, to Isaac Samuel and Fanny Acker, Samuel moved to Paris with his family at the age of five and about a year later to Victoria University. Eventually, he left England, and from 1914 he remained in America.
A Jewish and Zionist intellectual, he is best known for his work You Gentiles, published in 1924. Most of his work concerns Judaism or the Jew’s role in history and modern society, but he also wrote more conventional fiction, such as The Web of Lucifer, which takes place during the Borgias’ rule of Renaissance Italy, and the fantasy science-fiction novel The Devil that Failed. He and his work received acclaim within the Jewish community during his lifetime, including the 1944 Anisfield-Wolf Book Award for his non-fiction work, The World of Sholom Aleichem. Samuel also wrote the nonfiction King Mob under the pseudonym “Frank K. Notch”.
Written in 1924, this shocking classic work of Jewish Supremacism maps out what the avowedly Zionist author saw as the cause of anti-Semitism through the ages: an irreconcilable difference between Jews and all Gentiles, but Europeans in particular. This difference, Samuel argued, was inherent and biological in origin. The author argues that the real point of difference between Jew and Gentile is that the Gentiles follow what he calls the base “triviality” of Gentiles versus the God-like “seriousness” of Jews. This huge psychological difference, Samuel says, is the reason why Jews regard “playful” Gentiles as backward and silly, and why Gentiles will never be able to penetrate the Jewish perception of the world. The book goes on to discuss the main points of difference in behavior between Jews and Gentiles focusing on physical activity, religion, concepts of good and evil, loyalty, science, fair play, and discipline. Maurice spells out why Jews have different attitudes to all these moral and philosophical issues—and why these values are the opposite of those endorsed by Gentiles. Samuel then says that these inherent and unchangeable differences will always make the Jews out to be “destroyers” and the “subverters” of European culture and society. Finally, he discusses the dangers presented to Jews by intermarriage with Gentiles, and concludes by saying that there will never be peace between Jew and Gentile until the last European state has “lost its racial homogeneity.”
That last sentence is a doozy.
The most famous (or infamous) quote from the book is certainly:
“We Jews, we, the destroyers, will remain the destroyers forever. Nothing that you will do will meet our needs and demands. We will forever destroy because we need a world of our own, a God-world, which it is not in your nature to build. Beyond all temporary alliances with this or that faction lies the ultimate split in nature and destiny, the enmity between the Game and God. But those of us who fail to understand that truth will always be found in alliance with your rebellious factions, until disillusionment comes. The wretched fate which scattered us through your midst has thrust this unwelcome role upon us.” (p. 155)
Some other choice quotes from the book can be found here.
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As part of NYC’s Film Forum, “Hitler’s Hollywood”, a new documentary by Rüdiger Suchsland, will be playing in April. From Film Forum’s webpage on the upcoming showings, check out the last sentence of this paragraph:
Filmmaker Rüdiger Suchsland suggests that the Third Reich was essentially an immersive movie starring the German nation, produced and directed by Propaganda Minister Joseph Goebbels. HITLER’S HOLLYWOOD collages key films from the more than 1000 features the Nazis produced from 1933-1945: musicals, melodramas, romances, costume dramas, war films – and when the real war got tough, insanely lavish, over-the-top fantasies. The German volk were portrayed as happy and sporty with lives of exaggerated cheerfulness or, conversely, full of morbid yearning for a death that would serve the Fatherland. Hannah Arendt gives perspective and context: “One of the chief characteristics of modern masses… (is) they do not trust their eyes and ears, but only their imaginations. What convinces masses are not facts, not even invented facts, but only the consistency of the illusion.” It’s a frightening insight that could just as easily apply to the American political landscape today.
Film Forum’s page on “This Is Our Land” is similarly histrionic, particularly in the review excerpts at bottom.
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The War on Whiteness is now really getting into gear at the high school level:
Social justice activists at a New York high school successfully shut down a production of “The Hunchback of Notre Dame” after a white student landed a lead role.
Protests of the production began when an African-American student quit Ithaca High School’s musical production due to the role of Esmeralda being given to a white classmate.
“It shows you that theater wasn’t made for you,” the student told the Ithaca Journal. “And it shows you that, if you can’t get the parts that are written for you, what parts are you going to get?”
Student activists then banded together under the umbrella of Students United Ithaca and wrote a letter that included a list of demands, saying that, while the young lady cast as Esmeralda was “a stellar actor, singer, and dancer” any production would be “lucky to have,” she couldn’t be cast in this role because she is the “epitome of whiteness.”
The FNC piece is accompanied by this photo of some members of the activist group causing this mess. As you can see, it appears to be two **** and an Indian.
Ari Cummings, left, Annabella Mead-VanCort and Prachi Ruina, members of the activist group at the school that canceled a production of “The Hunchback of Notre Dame.”
I wanted to give Eli a chance to respond to my findings, and I pondered the different ways I could bring it up. I was nervous about confronting him in person. What if he attacked me and my filmmaking partner, Andrew Michael Ellis, upon realizing that he had been found out?
I talked with The Times’s security consultant, who helped me outline a contingency plan…
Second best passage, which is the piece’s moralistic conclusion:
The movement itself also relies on falsehoods. It includes Holocaust deniers and pseudo-intellectuals who spout unsubstantiated theories about the science behind racial difference. In order to reach mainstream Americans, white supremacists have learned to cloak their racism in disorienting terms like “white identity politics.”
Deception is baked into the alt-right, so Eli Mosley is a perfect match for the movement.
All I know: the **** at the NYT are clearly worried about the AR, putting out pieces like this each week. I take that as, ultimately, a positive sign that the AR movement is growing.
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In The New Republic, Sarah Jones has a piece on the “garish racism” of Jean Raspail’s more-salient-than-ever novel Camp of the Saints (1973). I have 49 of the better quotes and passages from the novel here.
Amongst the courageous MSM big lions, those fearless champions of transparency (see All the President’s Men and The Post), I’m sensing a rather different, cocktail-party-driven narrative:
I know it’s a cliche rhetorical question, but imagine how these newspapers would be reacting to The Memo if the parties were reversed, that is, if it was about an outgoing Republican administration spying on the Democrat Party’s primary winner for POTUS.
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While in a café today, with an atrocious stream of music playing over the establishment’s speakers, a song called “Black Man in a White World” played. Turns out the song – a typical, modern, black, soul-R&B number – was a 2016 hit by one Michael Kiwanuka. From an article profiling the artist and the album the song is from:
Kiwanuka repeats the title phrase more than 40 times during the song’s four-minute expanse. But his tone isn’t confrontational or angry. It’s ruminative, suggesting someone earnestly grappling with the world as it is. The politicized nature of the song dovetails with a sharp rise in socially-attuned lyrics of late, evident on recent albums by Kendrick Lamar, Beyonce, Alicia Keys and A Tribe Called Quest.
A sharp rise. By the way, the “more than 40 times” part is what drove me to near suicide and prompted me to look the song up on the interweb.
“Black Man” isn’t just a statement on the power dynamics of race, but on Kiwanuka’s specific background. The singer’s parents emigrated from Uganda to the U.K. in the ‘70s, during the tyrannical reign of Idi Amin. In stark contrast to the U.K. of the Brexit era, the country at that time welcomed immigrants. Even so, Kiwanuka felt alienated.
Even so.
“Growing up in North London, in a middle-class white area, we were the only real black African family there,” he said. “It was a good upbringing but we were different. At the same time, when I’d go to Uganda and hang out with my family, we were seen as English guys. They have a word which means foreigner, or white guy. That’s what they called us.”
So, alienation of the foreigner may be a universal phenomenon, with the indigenous of any country never fully accepting the outsider?
There’s also this telling angle:
The cultural divides that have long inspired self-segregation between the races haven’t changed much. “We still like to stay with our own people,” the star said. “We don’t really mix.”
Accordingly, many black listeners still don’t feel comfortable attending shows by artists perceived to play music that appeals to whites, and vice versa. While Kiwanuka said he doesn’t mind that his audience is mainly white, he added, “it would be nice to see a spread.”
So, which side is it, exactly, that is reluctant to mix?
I’ve been low and I’ve been high I’ve been told all my life I’ve got nothing here to pray And I’ve got nothing left to say
I’m a black man in a white world I’m a black man in a white world I’m a black man in a white world I’m a black man in a white world…
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A very good recent article on the history of science fiction has this great quote from TV and comics writer John Rogers:
“There are two novels that can change a bookish fourteen-year old’s life: The Lord of the Rings and Atlas Shrugged. One is a childish fantasy that often engenders a lifelong obsession with its unbelievable heroes, leading to an emotionally stunted, socially crippled adulthood, unable to deal with the real world. The other, of course, involves orcs.”
This recent harangue by Glenn Beck (he’s still alive!) is quite possibly the greatest thing ever. Beck dons full tin foil hat on this one, arguing that the Alt Right, and Europe’s Identitarian & other populist movements, are part of a global conspiracy masterminded by…. drumroll… Alexander Dugin!
