On movies

The comments thread of ‘Post-1950s décadents’ inspired me to add this entry.

Given that the vast majority of films have been produced by companies run by Jews, at first glance it is inexplicable that white nationalists, and Alt-Right people who are aware of the JQ, watch those movies and even like them. The mystery is solved when we realise that even the pro-whites of our time clearly maintain suicidal features, as I have said so many times.

A month ago, in ‘The Last Jedi’ I said that it is time for introspection to fulfil the mandate of the Oracle of Delphi. But it is obvious that these people are not very interested in introspection by the reading of the ‘first Jedi texts’ so to speak. On the contrary: if one visits most of their sites, we see that they spend much time on the news of the day: the opposite of what an initiate would do.

But going back to the cinema and the non-initiate world. In ‘Post-1950s décadents’ I talked a little about the movie Shane, a classic of the Western genre. It makes me want to see the film again and offer my comments not only about it, but also about other of the few movies that are worth watching.

If white nationalists were not décadents, they would like no film that features any non-white as a hero or ‘good guy’ of the movie. They would not even recommend ‘good’ films like The Godfather for reasons explained, e.g., here.

Published in: on November 14, 2018 at 2:24 pm  Comments (17)  
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Post-1950s décadents

In yesterday’s interview of Richard Spencer by JFG the audience asked Spencer, ‘Name some red-pill kids movies’ and Spencer mentioned a silly Disney film produced after the Jews had acquired Walt’s company.

Spencer’s response corroborated my observation that some pro-white Americans younger than me are alienated from their heritage. I watched many healthy American films on the big screen in the 1960s. They have not because they were not born.

As to the seventh art JFG is worse than Spencer. In other podcasts he reviewed The Godfather (filmed in 1972, the decade when the healthy movies fell out of fashion). Although I have not watched that JFG video, I doubt he said something akin to what I said about the Sicilian scum that plagued Nordish America. JFG and many white nationalists are also fans of a degenerate movie. In a 2012 a post I said:

Last January, in his [Counter-Currents] review of Fight Club Costello wanted us to believe that a film that starts with rock music, based upon a nihilistic novel authored by a homosexual author, Chuck Palahniuk, when properly interpreted it deals with rebellious, healthy fascist moods that could lead our young toward masculine identity.

The post got 41 comments and it still shocks me that people in the Alt-Right love this 1999 Hollywood trash produced by the subversive tribe. But as I said yesterday JFG is a degenerate.

As to Spencer, instead of recommending a movie filmed after the Jewish takeover of the Disney company, he could have recommended a healthy film for kids when Walt was still with us. (I remember so well the day Walt Disney died: precisely I went with my little sisters and cousins to watch a movie for kids when my blond cousin gave me the bad news.) A non-décadent man could have recommended Disney’s Sleeping Beauty, where the beauty of the white Aryan woman is introduced to a very young public with the music of Tchaikovsky and the background pictorial art of Eyvind Earle.

If I was asked which non-animated movie conveyed an inspiring message for American kids, I would have recommended Shane, also filmed in the 1950s. As an old reviewer put it, ‘it also contains a very wonderful understanding of the spirit of a little boy amid all the tensions and excitements and adventures of a frontier home’.

The Last Jedi

For boomers like me Star Wars was never the epic film that has been for younger generations. For me the master film was 2001: A Space Odyssey, which exerted a tremendous influence on my life, especially because of its philosophical implications.

The Star Wars saga lies not in the serious science-fiction league. Rather, it resembles the space fantasy comics that became fashionable in the 1950s and 60s. There is nothing wrong with the comics genre, if we take into account that in a 2018 interview George Lucas told James Cameron in Story of Science Fiction that he had designed his project for twelve-year-old children.

But that genre that Lucas chose, like the most serious science-fiction, can produce good or bad movies. I agree with Richard Spencer that, from the point of view of the messages, Star Wars: Episode IV: A New Hope, of 1977, is the best as the protagonists are white and coloured heroes are missing. In addition, in the final minutes Princess Leia awards Luke and Han with medals for their heroism: visually, with slightly fashy tones.

From the strictly cinematographic point of view I believe that Star Wars: Episode V: The Empire Strikes Back, that I saw with my family in 1980, is the only masterpiece of the eight episodes that have come out. It has a disadvantage: it introduces Lando Calrissian, a mulatoid character, as the administrator of Cloud City.

It was such an enthusiasm that that masterpiece caused me, that Star Wars: Episode VI: Return of the Jedi, which I saw on the big screen in 1983, caused me a huge disappointment. Darth Vader, so impressive in The Empire Strikes Back, here appears as the busboy of the emperor: an unpardonable blunder in Lucas’ story. I said above that the Star Wars genre was space comics taken to the screen. I still remember the American comics that came out in the 1970s and early 80s on Star Wars: infinitely better plots than the crap that occurred to Lucas when taking away all the aura of mystique from the figure of Vader.

So the series disappointed me since the eighties. When the first prequel was premiered in 1999, Star Wars: Episode I: The Phantom Menace, I was living in Manchester. If Lucas told Cameron that his original idea had been to make films for twelve-year-old children, in his first prequel he made it for children of even younger age: the age in which Anakin Skywalker appears in The Phantom Menace.

I saw on the big screen Star Wars: Episode II: Attack of the Clones, released in 2002. Although it seems more for teenagers, this second trilogy of Lucas can be summarized with these words: ‘Everything for the eye, nothing for the mind’. Unlike 2001: A Space Odyssey that can be described as ‘Everything for the eye and for the mind’, the new genre of space films do not leave food for thought.

When I saw the last of the prequels, Star Wars: Episode III: Revenge of the Sith, released in 2005, I told myself that the contemporary westerner knows nothing about the nature of evil (e.g., how Anakin became bad): a topic that I have pondered in my two books. That Lucas does not grasp evil is also apparent in his most recent interview by Cameron, another completely clueless guy.

Lucas is a white man. But since Jews bought the Disney Company, the messages have invariably become toxic. For that very reason I did not see, on the big screen, the sequels such as Star Wars: Episode VII: The Force Awakens, released in 2015.

At the corner of my house there is a travelling Mexican market of Indians every Monday, which includes stands of pirated DVDs. Only that way I dared to see part of The Force Awakens on my plasma television. Although Leia has behaved like a princess, in The Force Awakens the roles of the male hero are reversed to make room for a new heroine, the scavenger Rey. In this Greg Johnson, under the pseudonym of Trevor Lynch, has failed big time in his favourable reviews of the Star Wars sequels. With his tacit feminism Johnson seems to subscribe the Hollywood agenda of toxic messages.

Although Star Wars: Episode VIII: The Last Jedi was released in 2017, I saw it last week. For the ridiculous amount of $ 10 pesos (in dollars, 53 ¢) I bought a pirated DVD of The Last Jedi in the same travelling market (I would not give the Jews at so-called Disney more than a buck to watch both films).

There is something I would like to say about this latest movie. As I did with The Force Awakens, I did not even spend my time with the latest saga film, insofar as in most of these movies I used the fast-forward of my remote control! That’s how we should treat the films produced by Jewish firms: there is no point in pissing us off with their bad messages at normal speed. And regarding the special effects, we already saw all that in the pre-‘Disney’ Lucas prequels, right? So I still pressed the fast-forward button…

But that is not what I wanted to say. There are times that even in films with bad messages a master scene that contrasts with the garbage is sneaked. That scene happens almost at the end of The Last Jedi.

I refer when Luke appears to help escape the few remaining survivors of the Resistance. A frozen image after he walks straight ahead toward a row of Imperial Walkers, a few seconds after Kylo orders them to stop, is very artistic and deserves to be kept in our memories. (To me, it evokes the isolated white nationalist confronting single-handedly all the power of ZOG…)

Then the madman Kylo orders that all Imperial Walkers’ cannons shoot at Luke. But after an orgy of shots he appears unscathed among the reddish smoke that evaporates, slightly shaking something off his shoulder, in challenge to Kylo. The latter makes a gesture of shocked surprise, and decides to go down his haughty ship, against all advice from his envious second-in-command, to confront him alone.

He then engages Luke in a lightsaber duel never seen before in any of the other Star Wars films: as the swords never collide but Luke, wielding his blue lightsaber, deftly evades all the onslaught from the fire colour of Kylo’s lightsaber. There comes a time when Luke turns off his lightsaber to talk to him, and Kylo runs toward him to cut his body in twain. Upon striking Luke, in the climactic scenes of the movie Kylo realises he has been fighting a Force projection of Luke and shouts, defeated, ‘Nooo!’ as he comprehends Luke’s plan to save the Resistance (including his sister Leia) by buying time with the duel distraction.

In the subsequent scene, Luke, exhausted, becomes one with the Force and dies light-years away from his phantasmagorical encounter with Kylo, peacefully and purposely, on the planet of the first Jedi.

All those scenes I loved, but you have to see them ignoring almost the rest of the film to appreciate them—something very difficult, because in one of the climactic moments there is a cut and the white Rey girl allows a long hug from a Negro that has also been featured in another Star Wars film. (Sometimes I would like to edit my home DVDs and cut off all the offensive segments: about 95 percent, or more, from most films.)

Many fans have complained on YouTube that the personality of the Luke of the first films was betrayed in the latest film. I disagree. My previous entry referred to the life of Karlheinz Deschner, who was a parachutist who fought for the Third Reich as a young man and, much later, became a critical scholar of Christianity. I myself admired St Francis in 1974. But when I read the first Jedi books, so to speak, I transvalued my values and started to admire Himmler’s SS.

What Star Wars fans ignore is that the mind matures over the decades. If any of those who knew me as a teenager saw me now, they would be shocked by the changes, both external and internal.

If we think about the battles that Deschner waged as a young man in the Second World War, all that remains of the Resistance are a few nationalists. What happened in Charlottesville last year should move what’s left of the Jedi knights to consider that, perhaps, it is time for more reading rather than direct legal action. If they read the collection of The Fair Race (which includes a section from William Pierce’s Who We Are), along with Hitler’s Table Talk, Mason’s Siege (or The Turner Diaries); what Deschner and others unearthed from the true story of Christianity, and even Goodrich’s Hellstorm, the internal force that the initiate would develop would be equivalent to that of a hermit Jedi.

A single example will clarify the above. In The Fair Race it is explained that in the historical Republic blond and blue-eyed Romans were the good guys. When Rome became a racial melting-pot for all the peoples of the Empire, including the subversive Semites, they became really bad. Conversely, the later Star Wars trilogy depicts the Empire as whites and the Republic as practitioners of miscegenation: the exact opposite of what history tells us!

Internal Jihad (see Luke above with his books) must precede external Jihad. The time has come to do an internal work in the sacred island where the last Jedi became wise and powerful before confronting ZOG.

Messala to Sextus

I was one-year-old when Ben-Hur, the epic religious film directed and produced by the Jews William Wyler and Sam Zimbalist, and starring Charlton Heston as the title character, was premiered. I watched it about ten years later on the silver screen with my family.

The film made a huge impact in my life when I was a Christian. I must say that, even today, I can enjoy some scenes. The following is my favourite scene, with the old commander of the Roman garrison discussing with the new commander about the Jews:

Sextus: You can break a man’s skull, you can arrest him, you can throw him into a dungeon. But how do you control what’s up here? [taps his head] How do you fight an idea?

This happens while the Roman Messala is naively planning to use his childhood friend, the Jew Ben-Hur, to find the zealots who, as Sextus complains, ‘smash the statues of our gods, even those of our emperor’.

Messala: Sextus, you ask how to FIGHT [great emphasis in Messala’s voice] an idea. Well, I’ll tell you how… with another idea!

Presently the Roman-like idea is of course German National Socialism, not American white nationalism which through Christianity and Neochristianity is cucked to the core—as cucked as the 1880 novel Ben-Hur: A Tale of the Christ by Union general Lew Wallace.

Incidentally, in the 1959 film the Jews deceived us by using a Nordish-like actor for the title character. In the Judea of the 1st century a rich Jew should be looking more like the centurion of the above clip; and the centurion should look like Charlton Heston. But who’s really worse: the kikes who made the film or the Xtian general, a staunch supporter of the Union, who wrote the greatest religious bestseller of his time?

What is a youth

Yesterday I saw, after a long time, a film that, as girls, my sisters loved: Zeffirelli’s adaptation of Romeo and Juliet. Older people remember that it was a hit for the adolescents of other times.

Nowadays it would be unthinkable that a film of this kind would interest the directors or the degenerated youth who only listen to degenerate music.

When yesterday I saw the young man singing What Is A Youth (composed by Nino Rota, written by Eugene Walter and performed by Glen Weston) to an audience that included Italian beauties, I could not help but feel something deep about the world that I used to live in ideals, and that is now being betrayed in the most criminal way not only in Italy, but in the rest of the West.

Almost at the beginning of the film we see a dialogue between Juliet and her mother in which the mother begins to prepare her, at fourteen, for marriage. Later the visuals of the marriage, filmed in the interior of a Romanesque church, are also very moving and in a healthy culture should be a paradigm of love.

What is a youth?
Impetuous fire
What is a maid?
Ice and desire
The world wags on

A rose will bloom
It then will fade
So does a youth
So does the fairest maid

Comes a time when one sweet smile
Has its season for awhile
Then Love’s in love with me

Some may think only to marry
Others will tease and tarry
Mine is the very best parry
Cupid he rules us all

Caper the caper; sing me the song
Death will come soon to hush us along
Sweeter than honey and bitter as gall
Love is a task and it never will pall
Sweeter than honey and bitter as gall
Cupid he rules us all

(20 second flute interlude)

A rose will bloom, it then will fade
So does a youth
So does the fairest maid

If there is something that I liked in a Covington novel it is that, in the ethnostate of his story, the exhibition of films made after the 1960s is not allowed.

Kazantzakis on Paul

I have in my library Nikos KazantzakisThe Last Temptation of Christ. Although it’s not a good novel, it contains a masterpiece: an imaginary dialogue between Paul and Jesus: also, the only redeemable scene in Scorsese’s adaptation of Kazantzakis’s novel.

Published in: on December 20, 2017 at 7:55 pm  Comments (2)  
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What race were the Greeks —

and Romans?

athena

The evidence is clear—but often ignored

by John Harrison Sims

 
Recent [1] films about ancient Greece such as Troy, Helen of Troy, and 300, have used actors who are of Anglo-Saxon or Celtic ancestry (e.g. Brad Pitt, Gerard Butler). Recent films about ancient Rome, such as Gladiator and HBO’s series Rome, have done the same (e.g. Russell Crowe). Were the directors right, from an historical point of view? Were the ancient Greeks and Romans of North European stock?

Most classical historians today are silent on the subject. For example, Paul Cartledge, a professor of Greek culture at Cambridge, writes about his specialty, Sparta, for educated but non-academic readers, yet nowhere that I can find does he discuss the racial origins of the Spartans. Some years ago I asked several classics professors about the race of the ancient Greeks only to be met with shrugs that suggested that no one knew, and that it was not something worth looking into. Today, an interest in the race of the ancients seems to be taken as an unhealthy sign, and any evidence of their Nordic origins discounted for fear it might give rise to dangerous sentiments.

A hundred years ago, however, Europeans took it for granted that many Greeks and Romans were the same race as themselves. The famed 11th edition of the Encyclopedia Brittanica, published in 1911, noted that “survival of fair hair and complexion and light eyes among the upper classes in Thebes and some other localities shows that the blond type of mankind which is characteristic of north-western Europe had already penetrated into Greek lands before classical times.” It added that the early Greeks, or Hellenes, were Nordic, one of “the fair-haired tribes of upper Europe known to the ancients as Keltoi.” Sixty years ago even Bertrand Russell, the British philosopher and socialist, believed that the Hellenes “were fair-haired invaders from the North, who brought the Greek language with them” (History of Western Philosophy, 1946).

Scholars today recoil at this pre-1960s consensus. The Penguin Historical Atlas of Ancient Greece, written in 1996, scoffs at the “undoubtedly dubious racial theories underlying much of this reconstruction,” but offers no theory to replace it, conceding only that “the origin of the Greeks remains a much-debated subject.” The Penguin author makes this startling admission, however: “Many of the ideas of racial origins were developed in the 19th century and, although they may have had some foundation in historical tradition, archaeology or linguistics, they were often combined with more dubious presumptions.” The author fails to list these dubious presumptions. Beth Cohen [editor’s note: a jew], author of Not the Classical Ideal: Athens and the Construction of the Other in Greek Art (2000), asserts that the Thracians, distant cousins of the Greeks, had “the same dark hair and the same facial features as the Ancient Greeks.”

In fact, there was a good basis for the 1911 Britannica to write about blonds in Thebes. Thebes was the leading city of Boeotia, a rich agricultural region in south-central Greece. Fragments from an ancient 150 BC travelogue describe the women of Thebes as “the tallest, prettiest, and most graceful in all of Hellas. Their yellow hair is tied up in a knot on the top of their head.” Pindar, a fifth century Theban lyric poet, refers to the Greeks as “the fair-haired Danaoi,” using a poetical name for the Hellenes. Likewise, in his Partheneia, or “Maiden Songs,” the seventh century BC Spartan poet Alcman, praised the beauty of Spartan female athletes, with their “golden hair” and “violet eyes.” He also wrote of Spartan women with “silver eyes,” meaning light gray. The seventh-century BC Greek poet Archilochus praises the “yellow hair” of one of his lovers, and Sappho—also of the seventh century BC—writes of her “beautiful daughter, golden like a flower.”

As late as the fourth century AD, Adamantius, an Alexandrian physician and scientist, wrote in his Physiognominica, that “of all the nations the Greeks have the fairest eyes,” adding, that “wherever the Hellenic and Ionic race has been kept pure, we see tall men of fairly broad and straight build, of fairly light skin, and blond.” Several centuries of mixing had presumably changed the racial character of many Greeks, but blonds still survived, and Xanthos, which means “yellow” in Greek, was a common personal name.

Professor Nell Painter of Princeton [editor’s note: a negress], author of The History of White People (see “Whiting Out White People,” AR, July 2010), complains that “not a few Westerners have attempted to racialize antiquity, making ancient history into white race history.” She points out that the Greeks often painted their marble statues—“the originals were often dark in color”—that the paint wore off over time, and Europeans mistakenly concluded from the white marble that the Greeks were white.

Yes, the Greeks painted their statues, but the originals were not dark. Praxiteles’ Aphrodite, from the Greek city of Knidos, was the most famous and most copied statue in the ancient world. Hundreds of copies survive. Experts have determined from microscopic paint particles that Aphrodite was painted blonde. The Romans had their own name for this goddess, Venus, and likewise her “cult images” were ubiquitous and “painted with pale-coloured flesh and golden-blonde hair” (see Joanna Pitman’s On Blondes, 2003).

Phidias’ masterwork, the Athena Parthenos, stood in the Parthenon for nearly 1,000 years until it was lost, probably in the 5th century AD. When American sculptor Alan LeQuire set out to make a faithful copy for the full-scale Parthenon replica in Nashville’s Centennial Park he modeled it on descriptions of the original work. The 42-foot-tall Athena, unveiled in 1990, has light skin, blue eyes, and golden hair [editor’s note: see detail of this image above].

Many small terra-cotta figurines from Greece of the fourth century BC have survived with traces of paint. They show light hair, usually reddish brown, and blue eyes, as do larger statues from the time of the Persian Wars in the early fifth century BC. Even a cursory examination of ancient marble reliefs, statues, and busts reveals European features. Many of the faces could just as easily be those of Celtic chieftains or Viking kings.

There is more evidence of the appearance of the Greeks. Xenophanes, an Ionian Greek philosopher who lived in the fifth century BC, was amused to note that different peoples believed that the gods look like themselves: “Our gods have flat noses and black skins, say the Ethiopians. The Thracians (despite Prof. Cohen’s observations above) say our gods have red hair and hazel eyes.” Indeed, a fourth century BC fresco of a Thracian woman, found in the Ostrusha Mound in central Bulgaria, shows distinctly red hair and European features.

The Greek poet Hesiod (c. 700 BC) called Troy the “land of fair women.” According to the Roman historian Diodorus Sicilus, who lived in the first century BC, the Egyptian god Set had “reddish hair,” a color that was “rare in Egypt, but common among the Hellenes.” Plutarch (46–120 AD) tells us that while the Theban general Pelopidas (d. 364 BC) was campaigning in central Greece, he had a dream in which a ghost urged him to sacrifice a red-haired virgin if he wished to be victorious in the next day’s battle.
 

Two racial types

There were two racial types in ancient Greece: dark-haired whites and fair-haired whites, as well as gradations in between. The earliest known inhabitants were of the former type. These included the Minoans, who were not Greeks at all, and who built an impressive civilization on the island of Crete. The Pelasgians, which is the name later Greeks gave to the pre-Hellenic population of mainland Greece, were also dark. They tended to have black, curly hair and olive-shaped eyes. Their type is plainly visible on many Attic (Athenian) vases, and has lead some scholars to conclude that all Greeks looked as they did.

Neither the Minoans nor the Pelasgians spoke Greek—the linear A inscriptions of the Minoans have still not been deciphered—so the Greek language must have arrived with the light-haired conquerors who migrated from the north, most likely from the middle Danube River Valley. According to Greek national myth, the Hellenes were descended from Hellen (not to be confused with Helen of Troy), the son of Deucalion. Hellen had sons and grandsons, who correspond to the four main tribal divisions of ancient Greece: the Aeolians Achaeans, Ionians, and Dorians.

Scholars today tend to dismiss such myths but they would not have survived if they had not been generally consistent with the long folk memories of ancient peoples. In this case they point to what classical scholars have long believed was a series of Hellenic descents upon mainland Greece and the Aegean islands. The first Hellenes to arrive were the Ionians and Aeolians; then a few centuries later, the Achaeans, and finally the Dorians.

The early bronze-age Greek civilization (1600-1200 BC) was certainly influenced by Minoan and other eastern Mediterranean cultures, but it was unmistakably Greek. Linear B, which began to dominate Cretan culture around 1500 BC, has been deciphered and found to be an early form of Greek. Around the year 1200 BC this culture, known as Mycenaean, collapsed; its cities were destroyed and abandoned, and Greece entered a 400-year Dark Age. Earthquakes and volcanic eruptions probably played a part in the destruction, and later Greeks attributed it to invasions from the north. Waves of Hellenic warriors swept down and burned the Mycenaean citadels and became the ruling race in Greece. They also sacked the city of Troy, and Homer’s Iliad is about them. They also seem to have snuffed out much of Mycenaean culture: Greeks stopped writing, and abandoned the arts, urban life, and trade with the outside world.

We know something about the early Hellenes from the Iliad. It was first written down in the late eighth century BC, at the end of the Greek Dark Age, after the Phoenicians taught the Greeks how to write again. It recounts events some four to five hundred years earlier. Although we think of the poem as being about the Greeks, Homer’s warrior heroes belong to the Achaean nobility, which suggests that it was the Achaeans who overthrew Mycenaean civilization, not the Dorians, who would descend upon Greece and displace the Achaeans a hundred years later. Archeology confirms this supposition, for Troy was burned around 1200 BC, and the traditional date for the Trojan War is 1184 BC. The Dorian invasion is dated by various ancient historians at 1149, 1100, or 1049 BC.

There is good reason to think that Homer was recording stories handed down during the Dark Age. He was a bard who lived in Ionia, a region on the Aegean coast of what is now Turkey, and if he were making the stories up he would have claimed that the heroes were Ionian. Instead, he sings praises to the light-haired Achaean nobility: Achilles, their greatest warrior, has “red-gold hair,” Odysseus, their greatest strategist, has “chestnut hair,” his wife Penelope has “white cheeks the color of pure snow,” Agamede, a healer and expert on medicinal plants, is “blonde,” and King Menelaus of Sparta, the husband of Helen, has “red hair.” Helen, likewise, has “fair hair,” and even slave girls are light-skinned: “fair-tressed Hecamede,” “fair-cheeked Chryseis,” and “blonde Briseis.” This is significant, for if even some of the slaves were blond it would mean the Nordic type was not unique to the Achaeans, that it was present elsewhere in the Aegean world.

Homer (and Pindar) describe most of the Olympian gods and goddesses as fair haired and “bright eyed,” meaning blue, grey or green. The goddess Demeter has “blond” or “yellow hair,” as does Leto, mother of Apollo, who is also described as “golden haired.” Aphrodite has “pale-gold” hair, and Athena is known as “the fair, bright-eyed one” and the “grey-eyed goddess.” Two of the gods, Poseidon and Hephaestus, are described as having black hair. As noted above, Xenophanes complained that all peoples imagine the gods to look like themselves.

It was the Dorians, the last Greek invaders, who ended Achaean rule and probably provoked a mass migration of Aeolian and Ionian Hellenes—no doubt including Homer’s ancestors—across the Aegean Sea to the coast of Asia Minor. The Dorians who settled in the fertile valley of the Eurotas in the southern Peloponnesus were the direct ancestors of the Spartans of the classical age, and they claimed to be the only pure Dorians.

Werner Jaeger, Director of the Institute of Classical Studies at Harvard, writes:

“The national type of the invader remained purest in Sparta. The Dorian race gave Pindar his ideal of the fair-haired warrior of proud descent, which he used to describe not only the Homeric Menelaus, but the greatest Greek hero, Achilles, and in fact all the ‘fair-haired Danaeans’ [another name for the Achaeans who fought at Troy] of the heroic age” (Paideia: The Ideals of Greek Culture, 1939).

The classical Greeks made no claim to being autochthones, that is to say, “of the earth,” or the original inhabitants of the land. Rather, they took pride in being epeludes, the descendants of later settlers or conquerors. Two notable exceptions were the Arcadians and the Athenians, whose rocky soils presumably offered little temptation to armed colonizers. The historian Herodotus (484-420 BC) recorded that the Athenians were “a Pelasgian people [who] had occupied Attica and never moved from it,” as were the Arcadians. Language lends support to this view, for both the Athenians and Arcadians spoke unique dialects. They learned Greek from the northern invaders but retained Pelasgian elements.

Thus, classical Greece was a fusion, both cultural and racial, of these two types of whites. Some city-states, such as Thebes and Sparta, were predominantly Nordic. Others, such as Athens, were predominantly Mediterranean, and still others were mixtures of the two.

 
The Roman patricians

Nell Painter [the negress mentioned above], author of the above-mentioned History of White People, finds it “astonishing” that the American Nordicist Madison Grant (1865-1937) argued in The Passing of the Great Race (1916) that the Roman nobility was of Nordic origin, yet there is good evidence for this view. There are many lavishly illustrated books about ancient Rome with examples of death masks, busts, and statues that clearly depict the Roman patricians not simply as Europeans but as northern European.

R. Peterson’s fine study, The Classical World (1985), which includes an analysis of 43 Greek, and 32 Roman figures, is persuasive. Dr. Peterson explains that the Romans painted their death masks to preserve the color, as well as the shape, of their ancestors’ faces.

Blue eyes, fair hair, and light complexions are common. A good example of racial type is the famous portrait bust of Lucius Junius Brutus, the founder of the Roman Republic, which dates from the fourth century BC. Brutus’ face is identifiably Germanic, and so is the color of his eyes. The sculptor used ivory for the whites and blue glass for the pupils.

Or take the famous marble head of a patrician woman from the late first century AD, which is often included in illustrated surveys of imperial Rome to demonstrate the fashion for curled hair. Her features are typically northern European: a delicate, aquiline nose, high cheekbones, and a face angular and long rather than round. Another classic example is the famous fresco from the Villa of the Mysteries in Pompeii, which shows four women undergoing ritual flagellation. They are tall, light-skinned, and brown-haired.

There is also evidence from Roman names. Rutilus means “red, gold, auburn” and stems from the verb rutilo, which means “to shine with a reddish gleam.” Rufus, meaning red, was a common Roman cognomen or nickname used for a personal characteristic, such as red hair. The Flavians were an aristocratic clan whose family name was derived from flavus, meaning golden-yellow. The Flaminians were another noble family whose clan name came from flamma, meaning flame, suggesting red hair.

According to Plutarch, Marcus Porcius Cato had “red hair and grey eyes,” Lucius Cornelius Sulla, the general and dictator, had “blue-grey eyes and blond hair,” and Gaius Octavius (Augustus), the first Roman emperor, had “bright eyes and yellow hair.” Recent analysis of an ancient marble bust of the emperor Caligula found particles of the original pigment trapped in the stone. Experts have restored the colors to show that the demented ruler had ruddy skin and red hair.

The love poetry of Publius Ovidius Naso, better known as Ovid, (43 BC to AD 17) offers much evidence of the color of upper-class Roman women during the early years of the empire. That Ovid ascribes blond hair to many goddesses—Aurora, Minerva, Ceres, Diana, and Venus—tells us something about the Roman ideal of beauty; that he describes many of his lovers the same way tells us that the Nordic type was still found in imperial Rome. “I’m crazy for girls who are fair-haired and pale-complexioned,” he writes in his Amores of 15 BC, but “brunettes make marvelous lovers too.” He admires the contrast of “dark-tresses against a snow-white neck,” and adores young girls who blush. One of his favorite lovers is “tall” with a “peaches-and-cream complexion,” “ivory cheeks,” and “bright eyes.” Another was a “smart Greek blonde.”

So where did the Romans come from? They were a Latin people, although according to legend that may have some basis in fact, there were also Greek colonists and Trojan refugees among the founding races. The Latins were one of eight Nordic Italic tribes—Apulii, Bruttii, Lucanians, Sabines, Samnites, Umbrians/Oscians and the Veneti—who migrated into the Italian peninsula around 1000 BC. Of course, Italy was not vacant. The Etruscans lived to the north of Rome in what is now Tuscany, and there were other darker-complexioned whites living in the peninsula. The Etruscans are likely to have been Carians from Asia Minor.

What became of the Nordic Greeks and Romans? Their numbers were reduced and thinned through war, imperialism, immigration, and slavery. Protracted internecine war was devastating. The Hellenes lost relatively few men in their two wars with the Persian Empire (490, 480-479 BC), but they were decimated by the ruinous series of inter-Hellenic wars that followed. The Peloponnesian War (431-404 BC) pitted Athens and her subject Ionian cities against the Spartan Dorian confederacy. That was followed by 35 years of intermittent warfare between Sparta and Thebes (396-362 BC), which pitted Nordics against Nordics. These wars so weakened the Greek republics that they fell under Macedonian rule about 20 years later (338 BC), bringing to an end the classical age of Greece.

Money was, as always, a racial solvent. Theognis, a noble poet from the Dorian city of Megara wrote in the sixth century BC: “The noblest man will marry the lowest daughter of a base family, if only she brings in money. And a lady will share her bed with a foul rich man, preferring gold to pedigree. Money is all. Good breeds with bad and race is lost.”

The Roman experience was similarly tragic. All of her later historians agreed that the terrible losses inflicted by Hannibal during the Second Punic War (218-201 BC) were minor compared to the horrendous losses Rome inflicted on herself during the nearly 100 years of civil war that followed the murder of the reforming Tribune Tiberius Gracchus in 133 BC.

Immigration was the inevitable backwash of imperialism as slaves, adventurers, and traders swarmed into Rome. Over time, slaves were freed, foreigners gave birth to natives, non-Romans gained citizenship, and legal and social sanctions against intermarriage fell away. By the early empire, all that was left of the original Roman stock were a few patrician families.

The historian Appian lamented that “the city masses are now thoroughly mixed with foreign blood, the freed slave has the same rights as a native-born citizen, and those who are still slaves look no different from their masters.” Scipio Aemilianus (185–129 BC), a statesman and general of the famed clan of the Aemilii, called these heterogeneous subjects “step-children of Rome.”

One hundred and fifty years later, Horace (65–8 BC) wrote in Book III of the Odes:

Our grandfathers sired feeble children; theirs
Were weaker still—ourselves; and now our curse
Must be to breed even more degenerate heirs.

The last Roman writers therefore came to see their own people as both morally and physically degenerate. The subtext of Tacitus’ (56-117 AD) ethnological treatise Germania is a longing for the northern vigor and purity the Romans had lost. He saw the Gauls and Germans as superior to the Romans in morals and physique, and Roman women shared this admiration. Blond hair became the rage, and German and Gaulic slave women were shorn of their blond or reddish-brown hair to make wigs for wealthy women. By the time of Tertullian (160-225 AD), so many Roman women were dying their hair that he complained, “they are even ashamed of their country, sorry that they were not born in Germany or Gaul.” In the early second century AD, the satirist Juvenal complained of the dwindling stock of “the bluest patrician blood,” which is a figurative phrase for the nobility, whose veins appear blue through their light skin.

Viewed in a historical context, it is almost as if today’s northern Europeans have set out perfectly to imitate the ways in which the Greeks and Romans destroyed themselves. In both Europe and America, patriotic young men slaughtered each other in terrible fratricidal wars. In North America, the descendents of slaves are the majority in many great cities. Both continents have paid for imperial ambitions with mass immigration of aliens.

Will we be able to resist the forces that brought down the ancients?

 

________________

[1] This article was originally published in 2010 by American Renaissance. Mr. Sims is an historian and a native of Kentucky.

‘Racism is evil’

Barry Lyndon meets King George III

 
After Charlottesville only Tucker of Fox News is barely tolerable to watch, who yesterday mentioned once more The Daily Stormer in the context of free speech. I even find President Trump intolerable to watch. In his speech yesterday he said that ‘racism is evil’ in the context of ‘white supremacy’.

Yesterday I also watched some scenes of the 1975 film Barry Lyndon. I could not believe the beauty of many of the film’s exteriors, which were shot in Ireland, England and what was Prussia. Kubrick drew inspiration from the landscapes of painters such as Watteau and Gainsborough.

It is impossible not to compare the two images I saw yesterday: a brief shot of a Prussian city when Europe was healthy and awesomely beautiful, and the few seconds of the American president saying the exact opposite of the truth. (‘Racism’ should be considered the noblest of virtues in these dark times.)

I must paraphrase what Hunter Wallace said five years ago on the fourth of July: ‘We [Americans] invite King George III to come back and resume the throne. He could dissolve the Union, arrest the pretender in the White House, and round up our so-called “representatives” in Congress. In exchange for an apology and a promise to never misbehave again, we get lower taxes, a less intrusive government, secure borders, and an end to all the madness that has flowed from the “self evident” idea that “all men are created equal”.’

Alas, George is no longer with us.

Published in: on August 23, 2017 at 11:20 am  Comments (8)  
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Beware of Game of Thrones

In the last seasons of Games of Thrones:

1. A female knight, Brienne of Tarth, beats a couple of the best male knights: Ser Loras of House Tyrell (one of the great houses of Westeros) and The Hound (who was the personal bodyguard of king Joffrey Baratheon).

2. The wildling Ygritte, physically beautiful, goes to war as if she was just another guy. [1]

3. A few non-white, masculinized female warriors at Dorne are capable of inflicting a coup d’état on a society which architecture resembles Islam’s.

4. Daenerys Targaryen, the Queen of Dragons, a liberal-minded bimbo, thinks it’s her job to liberate the brown people from slavery. She lusts to conquer the Iron Throne and “break the wheel” (smash all Feudal Houses).

5. The adolescent Arya Stark (pic above) trains to become one of the two best assassins in Westeros.

6. Yara Greyjoy is depicted as smart and her castrated brother Theon as stupid. In the TV series Yara is lesbian or bisexual—though George R.R. Martin, the author of the novels A Song of Ice and Fire has confirmed that she is not in the novels. Of course: the hetero Theon has claimed that Yara, not he, is the one to be crowned as lord in the Iron Islands.

7. In what is perhaps the best battle ever filmed, Lady Sansa gives rational advice to Jon Snow, who fails to follow her advice and, in a rash decision to save his half-brother Rickon, lost the battle and almost got killed. Jon and his comrades in arms were rescued by the Knights of the Vale and Lord Petyr Baelish, popularly called Littlefinger, who surprisingly appeared in the last minute. (In real life it’s women who generally think with their emotions and men who think more coldly.)

8. The last season ended with blonde, bimbo Daenerys leading a mudvasion into the white part of Westeros.

Similarly, in the first episode of Season 7, which started tonight featuring the Lannisters (obviously Queen Cersei, not her twin brother Jaime, is the one who sits on the most emblematic symbol of the series, the Iron Throne):

9. The adolescent Arya—remember: she’s one of the best assassins in Westeros—is capable of wiping out an entire House (in the previous season she killed the Feudal Lord).

10. While preparing the defence of the North against the white walkers, a 12-year-old Lady Lyanna Mormont, the head of House Mormont, lectures a 60-year-old male: the head of another Feudal House.

“If the Jews speak the people must beware,” Goebbels warned. Well, well. The screenwriters of Game of Thrones are Jews. Beware of the subliminal messages of what has become the #1 television series!

__________________

[1] Compare it with Beowulf, a medieval epic poem and the most important piece of surviving literature in the Old English language. In the 2005 Icelandic film Beowulf & Grendel, Selma is abducted and tied around with a rope by the brute and handsome Beowulf, as used to happen in those times.

On Greggy’s review of Rogue One

Editor’s note: Irmin Vinson, the author of an important book on Hitler, has commented on the latest Star Wars film, recently reviewed by Richard Spencer and Greg Johnson (here and here). Italicized sentences come from Johnson himself. Vinson wrote:
 

On Spencer! On Johnson! My inclination is to vote for neither, and to avoid watching the movie as well. Sorry to sound obnoxious, but it seems bizarre to me that two grown men, both of whom read great books and can spell big words correctly, are babbling away about a children’s movie, a worthless piece of pop entertainment that was deliberately conceived as an attempt to multiracialize a revered film franchise.

We know that racial hostility toward us has shaped both of the new Star Wars films. That should be enough to keep white nationalists far away from them. Even when they were innocuous politically, Star Wars movies were never worth the trouble of learned analysis. The only justification for watching this particular movie would be to analyze its racial politics and to encourage others to stay away from any movie theater screening it.

If I had to vote, I would choose Spencer, since he eventually gets around to the real political purpose of this latest piece of anti-white propaganda. I figured it out without actually seeing it, which wasn’t difficult. As a Radix reader pointed out over at YouTube, if anyone desperately needs to watch this film, it will eventually be available on a torrent. Hold your breath for a while, and then get it for free. Think of your theft as a minor act of rebellion against people who hate us.

In short, casting non-whites in Star Wars is not the same as putting them in stories like King Arthur or Robin Hood.

In both cases the multiracial casting would be an attempt to remove us from, or marginalize us within, our own popular culture.

Many people have sentimental feelings about the original Star Wars movies. I don’t myself, but many people do. Today those old movies seem far too white in the eyes of liberal multiracialists and Jews. Hence the multiracial casting. If we are so weak that we tolerate being removed from our own popular culture, then they are more than willing to do it to us. It is part of their deliberate campaign to immerse us in a popular culture that embraces and promotes the demographic changes currently underway throughout the West. We could end their propaganda simply by refusing to pay for it, but they’re confident that we won’t.

The creators of the new Star Wars movies are hoping that twenty years from now young viewers from 2016 will have the same sentimental feelings about non-white Star War characters that older viewers today have about Luke Skywalker and Princess Leia. They do not want white film heroes for our future; they want non-white heroes. Unfortunately they have, at the moment, the media power to make their wishes a reality.

I can’t see any reason to be pleased by a film that carries so sinister a purpose. If the film is good, then its qualities are bad for us and good for all those who favor the destruction of the West. It would be great if Rogue One turns out to be a box-office disaster. I’m crossing my fingers.

Go see the film. Then come back and apologize for this obnoxious sperging.

Why should he waste his money paying a Jewish studio for the privilege of watching a multiracialist children’s movie? We’re not talking about Touch of Evil here; the movie under review can be nothing more than a high-tech, CGI-intensive version of an old Flash Gordon serial, with Asians and Negroes playing roles previously assigned to Europeans.

Published in: on December 23, 2016 at 3:12 pm  Comments (1)  
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