Michael Brendan Cuckerty on “The Next Lost Cause”

How the mighty have fallen.

National Review is now exclusively the bastion of cucks like Michael Brendan Dougherty, who writes in “The Next Lost Cause” of the likely trajectory of felling Confederate statues leading to the felling of Founding Father statues, and what this implies for meaning:

In America… Generations of mass immigration all but guarantee that the future of our politics will almost certainly be more and more focused on achieving the equitable distribution of economic, institutional, and honorific resources in an ever-more-racially-diverse society, thereby ensuring social peace. Because I believe that human nature cannot be perfected, and that human ambition is very difficult to restrain, I doubt any government or society is capable of creating a distribution of resources that is fair and disinterested and perceived by everyone as such. Yet it is precisely this need to create harmony in an increasingly diverse society that prompted Christ Church to ditch George Washington. They explained in their statement that the plaques “create a distraction in our worship space and may create an obstacle to our identity as a welcoming church and an impediment to our growth and to full community with our neighbors.”

And so, if white supremacy will be named as the perennial problem of American life going forward, the Founders must eventually fall…

The pieces on the board are where they are, and the logic of the game requires that some of them will fall, even if the players cannot yet anticipate it. All that is required is for the game to continue on its current course.

So, Michael, what do you propose we do about it?

The NR crowd has no answer, because they are committed to and stuck in a naïve Civic Nationalism that has become a laughingstock notion when contrasted with the primal realities of tribal racial identity. It is truly astonishing how politically unprepared the NR crowd is to the realities of identity politics and how whites are beginning to realize that ‘identity politics for white people’ is the next logical step in the Culture Wars.

A rational response – lo, the rational response – is to clearly and confidently assert the historical reality that the founding of the United States of America was (like Western Civilization itself) the product of whites and the unique dynamics of white societies.

But that’ll never cross NR’s lips, even if it crosses their mind. They have accepted so many of the Left’s philosophical premises, and having purged all dissident voices (e.g., Derb, Brimelow, etc.) they are left in an deep, entrenched state of race-denialism (in terms of race & IQ, etc.) and hence languish as ineffective, navel-gazing, impotent neurotics.

It’s okay to be white, Mike.

And it’s okay to be proud of being white and proud of what a white civilization has built.

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DNC: Cisgender White Males Need Not Apply

I suppose this is a symbolic microcosm of where the Democratic Party is today: hostile to straight white men.

White men need not apply.

That’s the message out of the Democratic National Committee’s hiring team, currently on the hunt to filll multiple vacancies in their tech department.

The political organization, which routinely makes grand statements about inclusion, recently sent an email to its employees looking to recruit people for eight open spots including IT Systems Administrator, Product Manager and Chief Security Officer.

Though the Oct. 30 email says that the DNC is looking for a “staff of diverse voices and life experiences,” it apparently doesn’t mean white men.

DNC’s Data Service Manager Madeleine Leader purportedly wrote in an email that the desire for diversity excludes “cisgender straight white males.”

Leader adds, “I personally would prefer that you not forward to cisgender straight white males, as they are already in the majority.”

It’s also amazing that the new, Coalition-of-the-Fringes word “cisgender” is now being used in a non-academic employment setting.

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Benjamin Martin’s “The Nazi-Fascist New Order for European Culture”

In the NY Review of Books, Robert Paxton, a preeminent scholar on fascism, has a review of Benjamin Martin’s The Nazi-Fascist New Order for European Culture:

During World War I German patriotic propaganda vaunted the superiority of Germany’s supposedly rooted, organic, spiritual Kultur over the allegedly effete, shallow, cosmopolitan, materialist, Jewish-influenced “civilization” of Western Europe. Martin’s book shows how vigorously the Nazis applied this traditional construct. Hitler invested considerable money and time in the 1930s, and even after World War II began, in an effort to take over Europe’s cultural organizations and turn them into instruments of German power. These projects had some initial success. In the end, however, they collapsed along with the military power they were designed to reinforce…

An extensive network of international cultural organizations already existed before Hitler came to power. They had been greatly expanded after 1919 in the orbit of the League of Nations. Hitler saw them cynically as instruments of French cultural influence and as a reinforcement of Allied hegemony. Just as he planned to overthrow the political system set up by the victorious Allies after World War I, he was determined to overthrow the democratic cultural network. He intended to replace it with his own organizations headquartered in Berlin and dedicated to spreading throughout Europe the Nazi conception of the unique racial character of each national culture…

Cinema was the Nazi leaders’ first cultural target. Goebbels and Hitler were as obsessed with movies as American adolescents are today with social media. Convinced that cinema was their era’s main engine of cultural influence, they tried to control filmmaking as far as their influence could reach. At the Venice Film Festival in 1935, at Goebbels’s instigation, delegates of twelve nations agreed to create an International Film Chamber (IFC) designed to establish a continent-wide system of film exchange and regulation. As the possessor of the continent’s largest and most powerful film industry, Germany became the dominant force in the IFC. Fascist Italy, however, assured for itself a strong second position by exploiting its considerable film-producing assets, such as the technologically advanced studios of Cinecittà and the Venice Film Festival, which continued to be the main venue of IFC activities.

The IFC was a genuinely European organization, and even had a French president in 1937. Its inspiration had been German, however, and its organizational form was less international than something Martin usefully calls “inter-national,” a federation of national arts organizations on the model of the Reich Film Chamber, which Goebbels had formed in July 1933 on corporatist principles. Corporatist doctrine required that capital, management, and labor abandon their separate advocacy groups and sit down together to find their common interests, alongside state representatives. Corporatism smothered internal conflict in film production and gave determining influence to the state rather than to the market…

The main role of the IFC was to combat the Hollywood menace. The dominance of American films had troubled European filmmakers and intellectuals from the beginning. By 1928 54 percent of all films shown in France, 72 percent in Britain, and 80 percent in Italy came from Hollywood.

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CTRL-ALT-RIGHT-DELETE

Over at Jewamongyou’s blog, he posted some photos from a Portland rally he attended, including the one below which shows an Antifa-type holding an ostensibly anti-Alt-Right sign:

However, isn’t one of the steps toward rebooting a computer system to invoke CTRL-ALT-DELETE, which is exactly what we need right now?

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The Shiksa Chronicles: Woody Allen Ed.

To our rapidly collecting Shiksa Files, we can add this 2015 Vanity Fair article titled “Mariel Hemingway Says Woody Allen Tried to Seduce Her When She Was a Teenager”:

In Woody Allen’s 1979 comedy Manhattan, the filmmaker, then 44, dated a 17-year-old character played by Mariel Hemingway. The part earned Hemingway an Oscar nomination, and, according to the actress in a forthcoming memoir, also the unwanted romantic attention of Allen.

In Out Came the Sun, which will be released on April 7, Hemingway claims that Allen attempted to lure her to Paris once she turned 18—two years after she had filmed Manhattan. “Our relationship was platonic, but I started to see that he had a kind of crush on me, though I dismissed it as the kind of thing that seemed to happen any time middle-aged men got around young women,” writes Hemingway. The actress suggests that Allen attempted to act upon the crush by flying to her parents’ home in Idaho and inviting the teen to Europe.

According to an excerpt obtained by Fox News, the actress cautioned her parents “that I didn’t know what the [sleeping] arrangement was going to be [in Paris], that I wasn’t sure if I was even going to have my own room. Woody hadn’t said that. He hadn’t even hinted it. But I wanted them to put their foot down. They didn’t. They kept lightly encouraging me.”

Hemingway says that she woke up at night with the realization that “[n]o one was going to get their own room. His plan, such as it was, involved being with me.” She says that she went into his guest room and woke him up asking, “I’m not going to get my own room, am I? I can’t go to Paris with you.”

The actress says that Allen left Idaho the next morning.

A liberal NYC Jew in… Idaho.

Oh, the levels of Hell they’ll endure in pursuit of a young blonde Shiksa.

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NYT: “Staying in Crown Heights, Even as It Gentrifies”

One of the NYT’s recent jihads is against gentrification (code word: whitening) of the outer boroughs of NYC. The latest is “Staying in Crown Heights, Even as It Gentrifies”.

The piece profiles Lisa Mathis, a 57 year old black woman, who has lives in three-bedroom, one-bath, rent-controlled apartment at 80 New York Avenue for the past 12 years. (The new P.C. term for “rent controlled apartment” is now, apparently, “rent stabilized apartment”.)

The article starts with the usual “Her wonderful, fulfilling life was going well… until” angle:

The only thing she lacked was a lease, but over the next decade the rent never went up. Then, in late 2014, the building sold to new owners, Mendel and Chananya Gold, who offered tenants buyouts to get them to leave. Those who stayed endured months of construction as the other apartments were renovated.

Reached on the phone, Chananya Gold said, “No comment. No comment at all.”

We know who the villain in this piece is. But it must have been a struggle for the NYT writer, given the villain’s ethnicity. And is Jewish gentrification the same thing as ‘white’ gentrification? Such are today’s conundrums.

We learn her rent has been only $1,200… and has not gone up at all over the past 12 years! Nonetheless, the villainous Golds put pressure on a victimized Ms. Mathis to move:

Ms. Mathis didn’t want to move. Her son, Derek, a graphic designer who is now 26, was living with her, and she suspected that her daughter, a college student, might need to move back in when she graduated. She also knew that her aunt, who intended to stay in the building, had a rent-stabilized unit, so she went to see a lawyer.

We learn that the building’s non-rent-stabilized apartment “have been carved into four- and five-bedrooms that rent, per room, for nearly as much as Ms. Mathis pays for her entire apartment.” That gives you context of what the true market rate for Mathis’ apartment would be.

While not an angle of this story, of course, it again shows how the only people who can afford to live in a place like NYC are very wealthy [1](whites) and non-whites in rent-controlled apartments.

All the rest of the working class gentiles are forced further outward.

References

References
1 (whites
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Goya – Witches’ Sabbath or The Great He-Goat (1821–1823)

Witches’ Sabbath or The Great He-Goat (1821–1823) is one of Goya’s Black Paintings, currently housed in Madrid’s Museo del Prado, the most beautiful museum I have ever been to. To see this painting, with Saturn Devouring His Son close to it, was thrilling. The Prado has Goya’s Black Paintings in a separate darkened room, with low accent lighting bringing out the nocturnal feel of the works.

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The Flower Blooms

In Standpoint, Jonathan Kay writes on how “The American Mind Continues To Close”. I disagree with 80% of Kay’s interpretation of Allan Bloom, and Kay’s overt ethnocentrism is quite striking:

Which brings me back to Bloom — who was Jewish and gay, and the child of social workers whose own parents escaped Europe’s murderous anti-Semitism. These are not incidental biographical details. Bloom came to the defence of traditional Western literature and philosophy without the baggage of colonialism and racial supremacism that weighs down your average gentile to the point of intellectual paralysis. And if Bloom’s surname were Smith or Jones, I’m not sure The Closing of the American Mind would have been written.

Similarly, I do not think it is a coincidence that many of the most influential and vigorous critics of liberal orthodoxy to emerge since that book’s publication also have been Jews — a list that includes Richard Bernstein, Alan Dershowitz, John Podhoretz, Jonah Goldberg, Andrew Breitbart, David Brooks, Christopher Hitchens, Charles Krauthammer, William Safire and Ben Shapiro. Since 9/11, in particular, it has disproportionately fallen to Jewish commentators (and sometimes gay men or women) to sound the alarm against the normalisation of Islamist anti-Semitism, misogyny and homophobia. If the people with the least moral standing in arts and letters are seen to be straight, lily-white WASPs, and those with the most are visible minorities and indigenous peoples, then the Jew (perhaps especially a gay Jew) falls exactly in between.

The question of whether Jews are truly “white” or not is a semantic tangent that I will leave to others. But my own experience as a Jew is that we occupy a betwixt and between place in the marketplace of ideas. On the one hand, as Bloom’s example shows, we heirs to Maimonides, Spinoza, Freud and Einstein are bound closely enough to the Western intellectual tradition that we feel both proud and protective of it. On the other hand, we are not so saturated with colonial guilt that we are ashamed to assist in its defence. When Kipling wrote of “the white man’s burden”, and implored Washington to “send forth the best ye breed”, he was not speaking of Bloom’s grandparents.

It was only after I left my last job, where I was the only Jew in an office of several dozen (white) gentiles, that I realised how much my religious background had contributed to the ideological gulf between me and my colleagues.

That last sentence is a doozy.

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LVF’s American Nightmare

A redneck truck sporting a Confederate flag, a ‘Don’t Tread on Me’ front license plate, and… an Ed Gillespie bumper sticker (LOL) tries to run down some black, Mexican and Muslim kids. The ad is paid for by “Latino Victory Fund”. (Meditate on that one for a bit.)

https://www.youtube.com/watch?v=bYb2ZiQzL4M

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No Hiding Under the Rainbow

Kevin Spacey’s “I’m gay!” is Harvey Weinstein’s “I’m going to fight the NRA!”

Get some popcorn ready. The virtue spiraling we are witnessing is better than any Hollywood movie.

Oh, and there’s this.

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