To the glory of Mammon

 

1

“The Cathedrals were built to the glory of God; New York was built to the glory of Mammon.”

—Kenneth Clark

 

2

(From Francis Parker’s Yockey’s The Enemy of Europe:)

For the purpose of demonstrating with the utmost clarity the elements of the two world-outlooks in this period of Western history between the Second and Third World Wars, a paradigm is appended:

Primacy of the Spirit / Materialism

Will-to-Power / Will-to-Riches

Rank as social distinction / Wealth as social distinction

Society as organism / Society as a collection of individuals

Fulfilment of Duty / “Pursuit of happiness”

Absolute will to biological fertility / Race-suicide, birth control

Hierarchy / Equality

Aristocracy / Plutocracy

Sexual polarity / Feminism

Order / Freedom

Cultivation of soldierly virtues / Cult of bourgeois virtues

Eroticism as legitimate source of joy and fertility / Eroticism as vice, the cult of immorality

Affirmation of War and Conquest / Pacifism, preparation of the coloured populations for “self-government”

Western Man in the service of a great Mission / Man as a Machine

Art practiced in conformity with the Cultural task / “L’art pour l’art”

Politico-military expansion / Financial-military-economic expansion


3

(From an article by Frances Fowle:)

George Frederic Watts, in common with such social commentators as William Morris, Ruskin and Carlyle, began to question the benefits and purpose of modern industry and commerce and their dehumanizing effects. In 1880 he wrote, “Material prosperity has become our real god, but we are surprised to find that the worship of this visible deity does not make us happy.” (G.F. Watts, “The Present Conditions of Art”). Four years later he decided to personify this so-called deity—the evil “Mammon”—in paint.

mammon-george-frederick-watts

The picture is nearly life-size and the seated figure against a curtained backdrop calls to mind the portraits of Titian. However, instead of an established figure or celebrated beauty, Watts depicts an object of revulsion, seated on a throne decorated with skulls. Just behind the curtained background we are offered a glimpse, not of a peaceful landscape, but of fire and destruction. The picture is painted in a rich, almost hellish palette of red, gold and black. Watts visualizes Mammon as a brutish despot: an ugly, lumpen figure seated on his throne, nursing his moneybags on his lap. The ogre brushes aside a beautiful girl with one hand, and crushes a young man under foot. Both are symbols of youth, innocence and beauty; yet, naked and vulnerable, they are also lifeless and inert. Mammon sits in glory with his “gorgeous but ill-fitting golden draperies, which fall awkwardly about his coarse limbs” (M.H. Spielmann, “The Works of Mr. George F. Watts, R.A., with a Complete Catalogue of his Pictures,” Pall Mall Gazette, 1886, p. 21). In the oil study (Watts Gallery, Compton), Watts also gives Mammon a bandaged, gouty foot, a symptom of his indulgent and excessive lifestyle.

Mammon’s crown, with its upended gold coins and ass’s ears, symbolizes Mammon’s ignorance and stupidity, but also links him with Ovid’s King Midas, whose touch turned everything to gold and to whom Apollo gave ass’s ears because he did not respond to the music of the lyre. The best-known literary reference to Mammon occurs in Spencer’s Faerie Queene, book II, canto 7. Spencer describes Mammon as tanned by soot from the blacksmith’s forge, a detail that perhaps accounts for the smoke on the right hand side of the painting.

The subtitle of the picture—Dedicated to his Worshippers—is like an inscription on a monument. Watts apparently had plans to commission a sculpture of Mammon which would be set up in Hyde Park and “where he hoped his worshippers would be at least honest enough to bow the knee publicly to him.”

Civilisation’s “Heroic Materialism”

Originally I posted this article on April 25, 2012. But now that I have been postulating that the One Ring of greed and power—that we might start calling “the Aryan Problem”—could be the main factor in the West’s darkest hour, I am moving it at the top of this blog.

Below, some excerpts of “Heroic Materialism,” the last chapter of Civilisation by Kenneth Clark. (For an introduction to these series, see here.) Ellipsis omitted between unquoted passages. Also, the headings don’t appear in the original text:

The westerners’ new god: Mammon

Imagine an immensely speeded up movie of Manhattan Island during the last hundred years. It would look less like a work of man than like some tremendous natural upheaval. It’s godless, it’s brutal, it’s violent—but one can’t laugh it off, because in the energy, strength of will and mental grasp that have gone to make New York, materialism has transcended itself. It took almost the same time to reach its present conditions as it did to complete the Gothic cathedrals. At which point a very obvious reflection crosses one’s mind: that the cathedrals were built to the glory of God, New York was built to the glory of mammon—money, gain, the new god of the nineteenth century. So many of the same human ingredients have gone into its construction that at a distance it does look rather like a celestial city. At a distance. Come closer and it’s not so good. Lots of squalor, and, in the luxury, something parasitical.


Blake’s Satan

One sees why heroic materialism is still linked with an uneasy conscience. The first large iron foundries like the Carron Works or Coalbrookdale, date from about 1780. The only people who saw through industrialism in those early days were the poets. Blake, as everybody knows, thought that mills were the work of Satan. ‘Oh Satan, my youngest born… thy work is Eternal death with Mills and Ovens and Cauldrons.’

The [slave] trade was prohibited in 1807, and as Wilberforce lay dying in 1835, slavery itself was abolished. One must regard this as a step forward for the human race, and be proud, I think, that it happened in England. But not too proud. The Victorians were very smug about it, and chose to avert their eyes from something almost equally horrible that was happening to their own countrymen.

In its early stages the Industrial Revolution was also a part of the Romantic movement. And here I may digress to say that painters had for long used iron foundries to heighten the imaginative impact of their work with what we call a romantic effect; and that they had introduced them into pictures as symbolising the mouth of hell. However, the influence of the Industrial Revolution on Romantic painters is a side issue, almost an impertinence, when compared to its influence on human life. I needn’t remind you of how cruelly it degraded and exploited a mass of people for sixty or seventy years.

What was destructive was size. After about 1790 to 1800 there appeared the large foundries and mills which dehumanised life. Long before Carlyle and Karl Marx, Wordsworth had described the arrival of a night shift ‘that turns the multitude of dizzy wheels, Men, maidens, youths, Mothers and little children, boys and girls, Perpetual sacrifice.’

The terrible truth is that the rise in population did nearly ruin us. It struck a blow at civilisation such as it hadn’t received since the barbarian invasions. First it produced the horrors of urban poverty. It must have seemed—may still seem—insoluble; yet this doesn’t excuse the callousness with which prosperous people ignored the conditions of life among the poor on which to a large extent their prosperity depended, and this in spite of the many detailed and eloquent descriptions that were available to them. I need mention only two—Engels’s Conditions of the Working Classes in England, written in 1844, and the novels written by Dickens between 1840 and 1855. Everybody read Dickens. But his terrible descriptions of poverty had very little practical effect: partly because the problem was too big; partly because politicians were held in the intellectual prison of classical economics.

The images that fit Dickens are by the French illustrator Gustave Doré. He was originally a humorist; but the sight of London sobered him. His drawings were done in the 1870s, after Dickens’s death. But one can see that things hadn’t changed much. Perhaps it took an outsider to see London as it really was.


Degenerate architecture

At the beginning of this series I said that I thought one could tell more about a civilisation from its architecture that from anything else it leaves behind. Painting and literature depend largely on unpredictable individuals. But architecture is to some extent a communal art. However, I must admit that the public buildings on the nineteenth century are often lacking in style and conviction; and I believe that this is because the strongest creative impulse of the time didn’t go into the town halls or country houses, but into what was then thought of as engineering. In fact, all modern New York started with the Brooklyn Bridge.

In this series I have followed the ups and downs of civilisation historically, trying to discover results as well as causes; well, obviously I can’t do that any longer. We have no idea where we are going, and sweeping, confident articles of the future seem to me, intellectually, the most disreputable of all forms of utterance. The scientists who are best qualified to talk have kept their moths shut.

The incomprehensibility of our new cosmos seems to me, ultimately, to be the reason for the chaos of modern art. I know next to nothing about science, but I’ve spent my life trying to learn about art, and I am completely baffled by what is taking place today. I sometimes like what I see, but when I read modern critics I realise that my preferences are merely accidental.

Western civilisation has been a series of rebirths. Surely this should give us confidence in ourselves. I said at the beginning that it is lack of confidence, more than anything else, that kills a civilisation. We can destroy ourselves by cynicism and disillusion, just as effectively as by bombs. Fifty years ago W.B. Yeats, who was more like a man of genius than anyone I have ever known, wrote a famous poem.

Things fall apart; the centre cannot hold;
Mere anarchy is loosed upon the world,
The blood-dimmed tide is loosed, and everywhere
The ceremony of innocence is drowned;
The best lack all conviction, while the worst
Are full of passionate intensity.

Hunter – 3

dr_pierce


Excerpted from
William Pierce’s novel
Hunter, which depicts one man’s attempt to right the wrongs in society by murdering interracial couples:



“During the last 50 years or so, however, its subversive, anti-Western tendencies have come to the fore again, and today it ranks right up there with the mass media and the Federal government as one of the principal agents of racial destruction. It is a religion of equality, of weakness, of regression and decay, of surrender and submission, of oblivion. If our race survives the next century it will only be because we have gotten the monkey of Christianity off our backs and have found our way to a genuinely Western spirituality again. The Jews may claim Jesus as one of their own if they wish, but in the long run I hardly believe that we will consider ourselves in their debt because of it.

“As for Marx, including him in their famous foursome is really a bit of impudence on their part. There’s absolutely no doubt about his Jewishness; he came from a family of rabbis. And there’s no doubt that he has had an effect on the Western world: his followers have murdered more of our people than anyone else in history—30 million in Russia alone. Worse, they’ve usually been selective in their murder, deliberately killing off the best elements of our race, because those have been the elements most resistant to Marx’s nutty theories. Are we supposed to be grateful to the Jews for that?

“Marx’s doctrine is as anti-Western as Jesus’. It too was designed to appeal to the dregs of Western society, the worst elements among us, and to pull down the best and the strongest to their level. To the Jews he may be a great man, but as a system builder, a political theoretician, he was a zero. Communism has been a bust wherever it has been tried among White people. It simply isn’t workable, and it shows up its designer as a windy fraud.

“Freud, fortunately, hasn’t had a chance to do us as much damage as Jesus and Marx, but that’s not from lack of trying. Some of the bizarre notions of human motivation he foisted onto the Gentile world are still being promoted by his disciples. Imagine how many millions of dollars neurotic women have paid out to Freudian quacks posing as physicians or therapists!

“Can you see the common element in the effect all three Jews have had on our race? They were illusion builders. In each case the Jew involved concocted an illusion, and then his fellow Jews marketed the illusion to our people. In each case disaster followed. There was a lot more talent involved in the marketing than in any of the illusions themselves. The illusions would have simply faded away if a crew of talented hucksters hadn’t taken them in charge and successfully peddled them.

“In the case of Christianity the head huckster was Saul of Tarsus, alias Paul; he was the one who infected the Roman underworld with it. In the case of Marxism, Bronstein, alias Trotsky, came to New York and recruited a gang of his fellow Jews to go back to Russia with him and help spread the virus. They were lucky enough to have the assistance of Lenin, a truly gifted part-Jew, who was an organizer and strategist as well as a huckster.

“And I don’t have to tell you that the vast majority of the men who marketed Freud’s hokum, just like the majority of those who still peddle it today, were Jews. In each case the Jews saw a weakness in the Gentile world which they could exploit; in each case they took an illusion concocted by a Jew and used it as a crowbar to pry an opening for themselves at the point of weakness.”

Judeo-America: the slayer of Europe

Excerpted from Michael O’Meara’s “The Jitterbugs & the Vabanquespieler: On Yockey’s America.” This piece shows beautifully why I believe that the relationship between traitorous Anglos and noblest Germany lies at the deepest level of the rabbit hole to understand the West’s darkest hour:


The “Judeo-African cacophony” mesmerizing the jitterbugs on the dance floors of the Thirties was part of a larger program to debauch the conservative Christian rhythms of American life. Such at least was the argument Francis Parker Yockey made in his first published work, “The Tragedy of Youth” (1939).

In this early piece, full of promise and prefiguring aspects of his later critique of American life, the 22-year-old Yockey depicted an America whose youth had begun to keep step with the intonations and inflections of its Jewish bandmasters. Besides the folly of their un-European cavorting, Americans, he thought, were acting out the worldview of an alien-minded minority in control of the country’s media and entertainment. Drinking, smoking, and other bad habits glamorized by Hollywood became, in this spirit, marks of sophistication; sports were fetishized; public opinion was shaped and reshaped to legitimate machinations of every sort.

More seriously, God was “replaced by lust, the priest by the psychoanalyst, and the hero and heroine by the promiscuous lounge-lizard and the glittering harlot.” For the more educated, there were books and magazines promoting class war, racial equality, and anti-European (especially anti-German) hatred—aimed at destroying “whatever exclusiveness, national feeling, or racial instinct” still part of the American people.

Institutionalizing these subversions, Roosevelt’s New Deal, the granddaddy of the present anti-white system, took on debts and obligations favoring the Left forces—themselves puppets of the international financiers and bankers responsible for the deception and dissimulation entrancing the jitterbugs.

Against this backdrop of cultural distortion, usurious state policy, and agitations favoring causes alien to American affairs, the country’s youth, Yockey claimed, was being conditioned to fight as conscripts in liberal, Jewish, and Communist causes inimical to their national interest.


The True America

Basic to Yockey’s understanding of America was his belief that it was, at root, an integral and organic part of Europe.

Whenever he spoke of “the true America,” as opposed to the America that had been taken over by the “culture distorters” and become “the enemy of Europe,” it was the America that had originated as a European colony—the America whose “culture” was a branch of Europe’s High Culture—the America whose people still bore traces of the noble, heroic, and Gothic character of their ancestors.

cropped-schiller

“All colonials,” Yockey felt, “have a certain plane of their being which is susceptible to the centripetal attraction of the mother-soil.” For they share a common history with “the parent-organism”—no matter how much the distorters might insist otherwise.

The true American—i.e., the American whose highest loyalty was to his “mother soil and father culture”—thus instinctively isolated himself from all efforts to betray Europe: like French Canadians and South African Boers who refused to be conscripted by Washington in the Jews’ war against the Third Reich.

A child of European, especially German, culture, Yockey alone among American anti-liberals saw that America’s origin had tied its destiny to that of Europe, and that no matter how many cities the colony built, no matter how many millions of automobiles it turned out every season—no matter, even, how successful it was in reducing Europe to rubble and occupying it—no matter, it (the colony) would never, not in a thousand years, surpass the achievement and destiny of its mother soil and father culture.

To even think it was philosophically absurd.

The Culture of Distortion

Given their shallow culture and the dismissal of the tradition to which they were heirs, Americans were particularly vulnerable to the corrosions of 19th-century rationalism and materialism. Relatedly, they were an easy mark for “culture aliens”—for a world governed by money was a world indifferent to a man’s qualities. Foremost among the culture-aliens were the Jews: product of Spengler’s “Magian” culture, instinctually hostile to the European spirit, and bent on revenge.

In their counting houses, Americans would invariably overlook the Jews’ otherness, though they were of a different “Culture-Nation-Race.” Even before the War of Independence, they treated Jews as Europeans—Jews who had been shunned, ghettoized, and seen by most Europeans as an evil to be avoided.

Beginning in the 1880s, the Jews (these inassimilable aliens rejected by Europe’s High Culture) began their invasion of America. By 1905, they were already a power, evident in fact that the United States, for the first time in its history, severed diplomatic relations with Russia on account of the “anti-Jewish pogroms” that had followed the Russo-Japanese War.

Through its financial acumen and early control of media (the press, movies, radio), and in alliance with the native forces of decadence and degeneration, Jewish power in the New World grew at an unprecedented rate.

In a country where “mass-thinking, mass-ideals, and mass-living prevails,” Jewish propaganda (in the form of advertising, fashion, and a hundred other things) effortlessly reshaped the American consciousness, propelling the jitterbugs onto the dance floor of their world-conquering schemes. Stories of German sadism or Orson Wells’ Mars invasion were peddled with similar success, just as “the ethical syphilis of Hollywood and the spiritual leprosy of New York” infiltrated the larger cultural body.

In 1933, the year of the European Revolution, the Jews acquired outright political control of the United States—something that a thousand years of effort had failed to achieve in Europe.

From this point forward, “the formation of the Jewish-American Symbiosis begins.” Swarming into Washington, Jews and their “sub-American” contractors started dissimulating the Jewish world view and “bringing under control every factor of public expression.”

All who resisted were to be purged or ostracized.

Then, as the country’s racial instincts were worn down by the distorters, America (in accord with the policies of its liberal state and in the programming of its Culture Industry) assumed “a Jewish countenance” in its relations both with the rest of the world and with itself.

For Yockey, Franklin Roosevelt, “the monster who made of his life a study in infamy,” was a creature of the Jews, just as his New Deal was bent on Judaifying American government and society, promoting, as it did, principles of tolerance and universal brotherhood, which were further developed by Rockefeller-funded social-engineers intent on morally disarming the American people.

In this, the prescient Yockey might be criticized for confusing Jewish supremacy with the increasing Judaification of American society (which Matthew Arnold had warned of in the 1860s), for Jewish power in America was arguably not consolidated until the late 1960s (even if its secular low-church market, in making money the ultimate standard, had already Judaicized American life and sentiments).

That Roosevelt, in October 1937, began to maneuver the United States into the coming world war and that this war would be a war of annihilation—i.e., the sort of war fought between racially and culturally alien, rather then related peoples sharing the same civilization—was further evidence, in Yockey’s eyes, of Jewish hegemony and the Jews’ genocidal hatred of Europe.

Despite a certain exaggeration of Jewish power in this period, Yockey was nearly alone in seeing that the United States had become an anti-European power bound to the Jews’ vengeful compulsion to suppress Europe’s destiny.

Unlike other American anti-liberals, anti-Semitism for him evolved, rapidly and logically, into an anti-Americanism.

The Enemy of Europe

As long as America had been ruled by men of European Christian stock, it remained “a European colony.” But the America “distorted by the Revolution of 1933” (a revolution carried out by the allegedly Jewish-dominated New Deal), was now lost to Europe.

America’s Jewified anti-Europeanism was especially evident in the Second World War and in its subsequent occupation of the Continent.

For if the United States had possessed a proper ruling class, a tradition, and a regalian state, it would have stayed out of the Second World War, which became a defeat not just for Germany, but for all Europe—and thus, ultimately, a defeat for the true America.

Under its new Jewish-American regime, Washington after 1933 was instrumental in preparing the way for another European civil war—a war it would wage as if the enemy (their European kinsmen) weren’t human.

Instead of being the great moral crusade against the absolute evil of fascism, the war in actuality represented a giant step toward the Judeo-plutocratic inauguration of a New World Order, based on American open markets and American economic practices.

To this end, American bombers (supported by their British vassals) reduced every German city to a heap of rubble, intentionally targeting heavily populated working-class residences—that is, “homes and families”; cities in France, Belgium, Holland, Italy, and Eastern Europe were also bombed, adding further hundreds of thousands of civilian casualties to US “kills”; American fighter-pilots similarly sought out civilians to machine-gun and terrorize; vast stores of equipment and armaments, often denied to American troops, were supplied to Soviet Russia to defend the Communist state and encourage its penetration into the heart of Europe; and throughout this most barbaric and punitive war in the white man’s history, the Washington regime talked incessantly of the enemy’s “war crimes” and its “inhumanity.”

Yockey blamed America’s dishonorable conduct in the war on the culture-distorters, whose “motivation derived from the deep and total organic irreconcilability between a High Culture and a parasitic organism” (though I suspect that the country’s latter-day Puritans, given their tendency to dehumanize the enemy, ought also to share a large part of the responsibility).

Even after the guns were silenced, America’s “ghastly dishonor” continued. With the Red Army occupying Eastern Europe and the US Army Western Europe, the looting, raping, pillaging—and ethnic cleansing—began.

The Soviets plundered everything not bolted down; the greatest mass rape in Western history occurred in what became “East Germany”; and 16 million East-European Germans were forced to abandon lands and homes they had inhabited for centuries, two million of whom (mainly the very old and the very young) perished in the process.

With greater discrimination, the Americans raided German patent offices, steeling their superior technology; they rounded up their rocket scientists, confiscated the libraries they hadn’t burned, and made off with priceless art works. German women, most on the verge of starvation, were not subject to mass rape (except by black American and French African troops), but their favors could be had for a half-dozen eggs, some cigarettes, or a few chocolate bars.

If this weren’t enough, the culture-distorters (whose “fury had been heightened by the European Revolution of 1933”), along with their American accomplices (especially the budding military-industrial complex), introduced large-scale starvation, abused POWs (several million of whom died as a consequence), hunted down anyone who failed to bow to the new conquerors, and imposed laws with ex post facto application.

Adding insult to injury, the “American world-clown and the sadistic Jew” then endeavored to “re-educate” Europeans in the arts of anti-fascism, mammon-worship, and democracy (i.e., “the corruptibility of the government by private wealth”).

The war for Yockey represented a categorical defeat for the “true America”—and a total victory for the Jews over Western Civilization.

Since 1945, the two sides of the Atlantic have ceased to share the same inner experience of feeling, for it was essentially a war against Europe. European Americans who supported it, Yockey contended, were traitors—inner enemies of their own culture.

Then, after being reduced to “a beggar colony of America,” Europe’s pre-1945 elites were replaced by “Michel elements” (liberal philistines embodying “the sum of European weaknesses”), who could be trusted to do the Jews’ bidding.

In the name of democracy, press rights and free speech were henceforth abrogated; political parties were required to obtain licenses; any expression of nationalism was criminalized, just as all anti-liberal formations critical of the occupiers’ regime were driven to the political fringe.

America-Jewry in this way sought to sever Europe’s roots, suppress her will to power, and deprive her of a sense of destiny.

In no meaningful political sense did Europe, in fact, continue to exist after 1945, thanks almost entirely to this monstrous entity with the Jewish head and the American body.

America-Jewry’s anti-European vengeance was especially evident in comparison to its generous treatment of defeated Japan.

Indeed, the entire nonwhite world was soon made to know that the United States had conquered Europe and that the colored outer-revolt, encouraged by the distorters, was ready, at last, to triumph over its former white masters. More than Soviet Communism, Yockey argued that Jewish-controlled America was the “enemy of Europe.”

And this made America an enemy of “true America,” for the Jewish idea of America—as a land of immigrants, creedal propositions, and universal brotherhood—stripped it of any “national-spiritual significance” it may have once had, doing so, ultimately, for “the enslavement of the world by big business.”

Every European-American loyal to his ancestral homeland—loyal to his own inmost being—was, Yockey concluded, duty bound to be disloyal to what America had become (even as he struggled to return it to Europe).

The American Vabanquespieler

Yockey believed the 19th-century Age of Materialism and Rationalism, which had shaped America’s cultureless civilization and opened the way to the culture-distorters, came to an end with the First World War (1918), as a new age struggled to succeed it—a new age that would be animated by the same primordial sources that had brought about the European Revolution of 1933.

If not for America-Jewry’s Old Testament war on Europe, German-Prussian Ethical Socialism (in rejection of liberalism’s individualistic Reign of Quantity) would have inaugurated a New Age of Authority, Discipline, and Faith, bringing the whole world under Europe’s influence. Instead, the very opposite occurred.

But even though the America of the culture-distorters had emerged victorious from the war, it changed not in the least the fact that America (this apotheosis of the 19th-century rationalism and materialism born of liberalism) still represented the past—and the past, Yockey held, could never defeat the future latent in Europe’s High Culture.

The barbarian victory of America’s 19th-century capitalism over the Germans’ Ethical Socialism had, indeed, already spread chaos and disorder throughout Western Civilization, heightening the imperative for a revolutionary transformation.

Germany: be warned!

Denise, one of the commenters at Occidental Dissent today, addressing another commenter said:

Dammler: Jews created World War II. They created that mess. Hitler tried to prevent Jews doing to Germany what they did to Russia. Screw off. The problem with Adolf and the National Socialists is that they were too liberal. When one pulls up the rock on the real history of the kikenvermin one marvels at the fact that they weren’t all hunted down and killed off completely.

My sister and I were discussing this error of judgment at Easter Dinner. I’ve concluded that Jews escaped their well-deserved fate because we did not possess mass communications before. The Juden Tuefel would go to one place—wreck that, get the boot, then go somewhere else. The new Host knew nothing about what happened in “the last place.” The whole effing world is pretty much on to the Hebes, now. America is the Last Bastion of Cluelessness—but that miasma is rapidly dwindling. As the economy implodes, due the systematic, eternal malevolent machination of the Spawn of Satan, I see more and more folks wising up. When the USA is Cypressed hell will breaketh loose, and the Spawn of Satan will be sent back to their Daddy in Hell. Expulsion #110 will be global, and final—and they’ve brought it all on themselves.

Can’t wait. I’m stocking up on lots of popcorn.

Ditto: sooner or later the USA will get Cypressed. Those who have been following the entries of this blog under the category “currency crash” know that there is no question that the dollar will collapse and probably hyperinflate.

Germany: pay attention please!

Most of the thousands of tonnes of your gold in the Federal Reserve Bank of New York, located beside the gold that belongs to other countries, should be instead in Frankfurt or Berlin.

RickardsThe economist James Rickards has been predicting for some time that, after the dollar hyperinflates, the thousands of tonnes of gold in New York will be confiscated from the Europeans, Japanese and the IMF by the US government: a nation that already is the main perpetrator of the crime of the century when we were born.

If the dollar crashes under the watch of Ben Bernanke, and some Austrian economists are predicting that it will crash under this Obama administration, the US government will probably combine all of its gold with the confiscated gold of the nations that naively deposited it overseas and have 17,000 tonnes or upwards of 20,000 tonnes: 70 percent of all the official gold in the world.

Federal-Reserve-Bank-of-New-YorkThat would be enough to “reboot” the crashed economic system after the dollar hyperinflates! To boot, with that amount of gold the nation that led the crime of the century will be able to continue to dictate the international monetary system along with still more Americanism: exactly the sort of Yankee Americanism that has been leading the white race to extinction throughout the western world!

I would recommend Germany and other countries to withdraw all of your gold reservoirs from Yankeedom, exactly what Hugo Chávez did before he died.

Take heed, you have been warned…

Ex Gladio Libertas!
68 Anno Hitleris

On Kenneth Clark’s “Civilisation”

Kenneth Clark may have been clueless about the fact that race matters. Yet, that our rot goes much deeper than what white nationalists realize is all too obvious once we leave, for a while, the ghetto of nationalism and take a look at the classics, just as Clark showed us through his 1969 TV series Civilisation.

Compared to the other famous series, Clark’s was unsurpassed in the sense that, as I have implied elsewhere, only genuine art—not science—has a chance to fulfill David Lane’s fourteen words.

By “art” I mean an evolved sense of beauty which is almost completely absent in today’s nationalists. Most of them are quite a product of Jewish modernity whether with their music, lifestyles or Hollywood tastes, to a much greater degree than what they think. For nationalism to succeed an evolved sense of female beauty has to be the starting point to see the divine nature of the white race. In Clark’s own words, “For all these reasons I think it is permissible to associate the cult of ideal love with the ravishing beauty and delicacy that one finds in the madonnas of the thirteenth century. Were there ever more delicate creatures than the ladies on Gothic ivories? How gross, compared to them, are the great beauties of other woman-worshiping epochs.”

Below, links to excerpts of most of the chapters of the 1969 series, where Clark followed the ups and downs of our civilisation historically:

“The Skin of our Teeth”

“The Great Thaw”

“Romance and Reality”

“Man—the Measure of all Things”

“The Hero as Artist”

“Protest and Communication”

“Grandeur and Obedience”

“The Light of Experience”

“Heroic Materialism”

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