23andMe, a personal genomics and biotechnology company, has been much discussed since its launch in 2006. In 2008, when the company was offering estimates of “predisposition for more than 90 traits and conditions ranging from baldness to blindness”, Time magazine named the saliva-based personal genome test ‘Invention of the Year’. By 2012, the company had doubled its existing capital. In 2015, that capital hit $241 million.
When I first saw the adverts for 23andMe, it seemed that the primary purpose was to assess the customer’s predisposition to certain diseases and health problems, such as certain cancers, coronary heart disease, possible drug responses, and the possibility of various inherited conditions. This is the first advertisement that I ever saw from them. One of the last lines is “learn more about your health” as if to imply that medical testing is the primary function of their product and services. However, the company’s marketing has since changed with a greater focus being on ancestry and ethnicity. The latest version of the website now features two major services; one is for ‘health and ancestry’, while the other simply concerns ‘ancestry’.
This year marks the fiftieth anniversary of the production of one of the very few television series that achieved the status of high art. I speak here of The Prisoner, largely the vision of one man: Patrick McGoohan – although his Jewish script editor George Markstein tried to take as much credit as possible for its conception. Marginalised and ignored, Markstein left before the end of the series. The series did, however, owe more to co-producer as well as director and writer of several episodes David Tomblin. There has since been a re-imagined version of the series, in 2009, which was largely thinly-veiled propaganda for the homosexual lobby, but this is not the concern of this particular article.
Firstly, a note about the quality: some of the episodes are cobbled together and superfluous to the overall narrative. This is because McGoohan had conceived of a serial of seven episodes, but ATV head (((Lew Grade))) wanted twenty-six for commercial purposes. They settled on seventeen. Particularly the episodes Do Not Forsake Me Oh My Darling, Living in Harmony and The Girl Who Was Death can be ignored.
McGoohan stated in an interview that The Prisoner came out of an “impatience with the new morology of society and the way we were being made into cyphers and so on.” The series, then, is an explicit reaction against the 1960s counterculture that has taken hold of the contemporary mainstream. It is thus more relevant now than when it was first aired in 1967.
As all true nationalists know, and indeed anyone left with any common sense, different races create different cultures because the races of men are intrinsically different. This means that wherever one goes in Europe, one finds cultures that, while having regional differences caused by historical distance between groups and national differences caused by political boundaries, are nonetheless similar in character. In contrast, if one travels further to the Middle East or Africa, the cultures there are utterly alien.
This is why Oktoberfest has attracted people from all over the world and yet its clientele has remained 99% White European despite attempts at “diversification” (see above). In Islamic societies, of course, the consumption of alcohol is either frowned upon or forbidden. This contrasts quite starkly with the White European tradition where alcohol has always been consumed, sometimes for the better and sometimes for the worse. Sensible drinking enhances a pleasurable evening, but one ought never to make an important decision after a few pints: “When the beer is in, the wits are out,” as we say in Yorkshire.
Granville Thorndyke is a youtuber with a knack for marrying imagery to words. By juxtaposing the poetry of Coleridge against scenes from the void, TheAncient Mariner is transformed into our wearynarrator upon a sea of lost souls. The result is harrowing.
For many years in American and European politics, the left has utilised a political strategy to gain influence and win elections which involved uniting the minorities (the coalition of the fringes) and diving the majority (Whites). This is a kind of revamped Marxism (Cultural Marxism) which sees the heterosexual White majority as an oppressor class vis-à-vis the various “minority” groups; “liberated” women, Jews, Blacks, Muslims, Latinos, homosexuals, the poor, atheists, disaffected youth, disabled people etc. who must be united under an “oppressed” proletarian banner (with heavy organisational input from leftist “intellectuals”) to overthrow the “oppressive”, White neo-bourgeoisie. The New Left has been relentless in its opposition to White Western civilisation and it has largely been successful, and it will gradually become more successful in the future as demographics shift in their favour due to the mass third world immigration that they have instigated. The left, blinded by its hatred of traditional White people (especially straight White men) largely does not realise that its efforts to reconstitute society in an egalitarian, anti-White direction will not bring about a new era of liberty and equality but the destruction of European civilisation. Nevertheless, the ultimate consequences of the New Leftists actions whether intentional or not, are irrelevant to whether they will be successful in bringing about these changes.
By virtue of being alive, I feel obligated to those who have made my material existence possible in the first place. This sense of obligation and responsibility does not stop short of my immediate family but extends to every sage, warrior, and innovator who have fought to preserve my people and the land I live on.
For those of us fortunate enough to have grown-up with some semblance of parental involvement and guidance, most of what struck us as unfair at the age of six probably make perfect sense to us as reasonably mature adults. We understand that the limitations placed upon us were, for the most part, entirely for our own benefit. Boundaries kept us safe from harm, behavioural expectations ensured that we were fit for society, rules and regulations provided us with a sense of security and stability, and denial made us all the more appreciative of any privileges we did receive. As the years went by, parental authority softened and we were afforded more and more of our little freedoms; freedom to choose, freedom to decide, and freedom to accept this or reject that. Of course, these newly granted liberties turned out to be conditional. ‘With freedom comes responsibility’, as the saying goes. Without self-restraint, self-denial and the ability to self-limit, freedom gives way to chaos, therefore freedom is absolutely out of the question. And so our parents guide, nurture and provide for us as children, while our duty to them is to stand as the fruits of that labour, provide them grandchildren, and to offer them care in their old age. It is through a sense of responsibility and obligation that we ensure that life consistently improves for each successive generation. Families, and by extension, communities, nations and empires are built and sustained through self-sacrifice, not self-indulgence. As soon as the individual is elevated above the community that birthed and sustained him, that community starts to decay.
“There’s no avoiding the looming presence of U.S. culture on Canada, but our differences are substantive, concrete and homegrown. Our universal health care. Our social welfare system and collective sensibilities concerning the role of government, taxation and property rights. Our official bilingualism and take on multiculturalism. Our accommodations of Quebec’s cultural aspirations and of aboriginal rights and governance. Our rejection of gun culture — no constitutional right to bear arms here — and our liberal take on issues like abortion, capital punishment, drug enforcement and gay rights.”
“But English Canada, at least, never really found its footing as one of those nations [with a strong sense of identity]. (French Canada did, an essential point of difference.) Lucky for us, it is now too late, and we have no choice but to establish ourselves as something different – a culture that is many cultures, many stories, in a place that stretches across a continent and is richly occupied… ere we are in 2016, when few dispute any longer the unseemly length of English Canada’s colonial hangover. For the first century of nationhood, we didn’t bother moving away from imported and inherited customs and thinking, a stark disavowal of lived history and geography. Canada in the 21st century is certainly an energized place by comparison… we must get past one easy misconception – the outdated nation-state model – and one harder reality: the historic comfort level among Canadians with conceiving of themselves as parts of smaller, cozier self-definitions, as well an attendant incuriosity about who else lives reasonably nearby. The launching point for this project is obvious. Indigenous Canada is where we all live, in terms of geography, spirit, and history. In order for that to be real and meaningful, we must start with the stark: that a cultural genocide occurred, and most of us were unaware or, perhaps, just not concerned enough. Artistic expressions of these truths are necessary, and can only help. Overall, Canada as an experimental cultural space requires the right spirit in order to take shape. That spirit, simply, is an openness to having your history unsettled and your mind changed. As well, a certain comfort level with complexity and irresolution is probably good.”
“There is no core identity, no mainstream Canada… There are shared values – openness, respect, compassion, willingness to work hard, to be there for each other, to search for equality and justice. Those qualities are what make us the first postnational state.”
The above are quotes from a journalist, the CEO of a pro-immigrant cabal, and the current prime minister of Canada. My country is being destroyed from within and I know this is true of a great many White countries, but to an outsider, at least, it appears as if most of them have a greater chance of resistance than Canada. This seems especially true in Europe, where the inhabitants can look back to thousands of years of historical inheritance.
One of the most pernicious facts of politics is that the left has every incentive to encourage the spread of mediocrity, degeneracy and failure. The essence of the political left is egalitarianism; the view that all humans are “equal”. It is vital then to ask then, who favours egalitarianism? Aside from the leftist political and cultural elite who directly stand to increase their power from it, the people who most benefit from egalitarianism are those who are resentful or failing. People who are doing well don’t want to be dragged down to the level of equality, but those doing badly gain from being elevated to a position of equality. Therefore, the political left has an extremely strong incentive to increase the number of people who are failing in society or who perceive themselves as such. If we examine the political platform of the left, this pattern occurs time and time again.
The artist Charles Krafft should need no introduction to people on the Alt Right. His infamy in the art world is such since his “outing” by The New Yorker, The Guardian and other leftist publications. His exhibits in museums and art galleries now come with public health warnings. He is currently exhibiting in Texas and we wish him well and ask that others support him and invest in his work. Here he explains in his own words:
“CONJUGAL VISIT” is the name of a body of work with a prison theme that I prepared last year (2015) for an exhibition in the East End of London. My idea was to commemorate some of the more notorious American and British penitentiaries and their famous inmates on china. Due to juvenile social media shaming at the Not Banksy forum and a spate of obscene phone calls made to the gallery the show was cancelled before it opened and the work never got seen there. Texas is the crown jewel in America’s burgeoning prison industrial complex so I can think of no better place than Houston to premiere this work plus a selection newer and seldom seen pieces from my ongoing Porcelain War Museum and Disasterware™ series. Let’s hope the Iron Curtain of social justice sanctimony in the visual arts doesn’t drop again.
Luckily, his trip to London was not entirely wasted and I had the pleasure of welcoming him to the London Forum. Here is his speech: