WHY I DON'T CARE ABOUT THE SNOOPER'S CHARTER OR FREEDOM OF THE PRESS

In Saturday's Sun newspaper, Jeremy Clarkson, a motoring journalist who has been elevated to hero status and low-cultural icon beause he has mouthed a few mild utterances in favour of civic nationalism and, it must be said, due to his wit, humour and televisual acumen, used the fullness of his column inches to make a serious point about the legislation being brought in by the British government to curb freedom of speech and expression. This act has been called the "Snooper's Charter", although its real name is the Investigatory Powers Act 2016.

 

RED ICE INTERVIEW

 

This is the complete interview I did with Red Ice Radio. I have waited a year before posting the second part, as it is in the members section and I think people ought to subscribe to Red Ice, as it is a valuable resource. This is Red Ice's introductory text to the interview:

THE WICKER MAN AND IMPLICIT WHITENESS

We are of course concerned here with the 1973 classic of British cinema and not the 2007 remake, which should never be mentioned by anyone ever again. In fact, the only noteworthy aspect of the remake was Nicolas Cage's performance, as only he had realised the film was a parody. The original was largely the vision of three men: writer Anthony Schaffer, producer Peter Snell and actor Christopher Lee, who clubbed together to buy the film rights from the author of the novel Ritual David Pinner. The three were joined by director Robin Hardy, who also had a hand in the film's writing. A self-proclaimed conservative, Lee often stated that it was the best film he ever acted in. It is also, sadly, a film of which we will never see the director's cut, for the film was cut short by fifteen to twenty minutes and the footage edited out lost. Lee always maintained that there was a film ten times better than the one shown in theatres, if only the cans of reel could be found. That said, some of the lost scenes have since been recovered, which certainly give more of an insight into the premise of the film.

 

FILM REVIEW: EGON SCHIELE: TOD UND MÄDCHEN, Screening Paedophilia

 

Austrian arthouse film Egon Schiele: Tod und Mädchen is perhaps most disappointing in that Egon Schiele led a very interesting life, yet the scriptwriter Hilde Berger and director Dieter Berner have succeeded in making it appear rather dull, in the same way as Mike Leigh served up a snore-fest about J M W Turner a couple of years ago. Perhaps the two most interesting aspects of Schiele's life, his trial for paedophilia and his experiences in the First World War, are completely glossed over in favour of a superficial overview of more or less his entire adult life. There are of course reasons liberal fans of Schiele would want to avoid these issues, which we will address.

 

FORGOTTEN HISTORY: THE MARCONI SCANDAL

 The following article was first published in Candour Magazine, Volume 75, Number 4, Issue 857.

 G. K. Chesterton

"It is the fashion to divide recent history into Pre-War and Post-War conditions. I believe it is almost as essential to divide them into the Pre-Marconi and Post-Marconi days. It was during the agitations upon that affair that the ordinary English citizen lost his invincible ignorance; or, in ordinary language, his innocence […] I think it probable that centuries will pass before it is seen clearly and in its right perspective; and that then it will be seen as one of the turning-points in the whole history of England and the world." — G. K. Chesterton, 1936

The Marconi Scandal is an episode that has disappeared down the memory hole of history. There are reasons for this, as will be explained. It was a very complex series of events that have been difficult to distil into a short article such as this without leaving out anything essential. Nonetheless, I believe I have condensed the most important events and actions in this sordid affair. Firstly, we must begin with a little background history.

 

THE PURITANISM OF PERVERSITY II: WHITE NIHILISM IN THE ARTS

That the movers and shakers among the Jews hate White Gentiles is beyond question. From Susan Sontag's "The White Race is the cancer of human history" to Noel Ignatiev's "The White Race must be destroyed" (even though it simultaneously does not exist), Jews have attempted to create the conditions that will lead to our extinction. This does not concern me. I expect such things from a rival group. What concerns me are those among our own people who wish to see our own destruction, for Susan Sontag is partly right: part of our race is cancerous, and like a cancer, they are the part of our organism that has died and become rotten and threatens to rot the whole. Nihilistic ideas are like diseases: they like to spread and infect and destroy. The Puritanism of Perversity is one such mental and spiritual disease.

 

THE PURITANISM OF PERVERSITY I: MARINA ABRAMOVIC'S LEFTIST ANTI-ART OF POLITICS

The contemporary Left's dogma I have come to refer to as "the Puritanism of Perversity". There are historical, philosophical and even theological reasons for this term, which I will go into in another article, but the main principle rests on a certain fanatical pursuit of everything outside of societal norms, while simultaneously attacking even the very idea of normality with quasi-religious zealotry. This is very much reflected in the anti-art the Left serves up in the galleries, which is a kind of ritualisation of abnormality.

 

Leftist anti-art is very much political, for one thing the Left does is to politicise all aspects of life. Recently, the Podesta Brothers, Tony and John, the former being the head of a powerful Leftist lobby group, the latter Hillary Clinton's campaign manager, were implicted in anti-artist Marina Abramovic's "Spirit Cooking", which would appear to be some kind of Satanic ritual dressed up as art. As we see from these images, she very much sees herself as full-time Satanist and part-time poet Aleister Crowley's successor.

EYE OF THE MAELSTRÖM: A Tribute to Wyndham Lewis

The artist and writer Wyndham Lewis, born Percy Wyndham Lewis, styled The Enemy, was born on 18th November 1882 and is still very much alive, even if a cross-section of his brain has been dunked in a perspex case of formalin and stored in the Pathology Museum now in Hammersmith. A naturally rather antagonistic chap, he hit the London art scene like a dishevelled brick upon his arrival from Canada in 1908, and, while his effect on mainstream culture was extremely limited in his own time, his influence on the modernist movement from the 1910s onward has transformed contemporary art both in terms of succession and reaction to his life, politics and work.

THE ALT RIGHT AND THE ARTS

Originally published at Counter Currents

Charles Krafft with one of his creations.

I. The Road to Alt Right Artistry

Since Hillary Clinton’s mention of the Alternative Right in one of her speeches, there have been countless discussions about what the Alt Right is and represents, with everyone and anyone, no matter how inappropriate, suddenly declaring they are part of the Alt Right. I think it is quite easy to define what the Alt Right is: it is the postmodern manifestation of what Julius Evola termed the True Right.

The True Right has been almost completely disprivileged from the mainstream arts scene in the present day. The political Left, meaning firstly the Whiggish Left and then the socialist Left, realized as early as the late eighteenth century the power art had to shape political discourse by altering the masses’ perceptions of the world. They thus sought to seize the artistic mainstream as a means towards political power.

WELCOME TO THE GLOBAL VILLAGE

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.

 

 

INTRODUCTIONS TO THE YOUTUBE CHANNEL

These videos serve as an introduction to an ongoing series of videos exploring the tangled twine of history, the arts, philosophy, religion, society and politics. The first is a general introduction to culture as both a function of and reflection of society. I look at the relationship between aggressive and regressive culture and a people's spiritual power. The mask I'm wearing is explained in the second video.

Milo and Anglin: The Scylla and Charybdis of the Alt Right

There has been much written on the subject of the dangers or boons of Milo Yiannopoulos and Andrew Anglin to the Alt Right. I would rather we avoid them as much as possible and will explain why; but firstly, I will give a quick run down of the perceived positives and defences of the two that I have heard mentioned by other Alt Right commenters.

Oktoberfest: Cultural Diversity and Cultural Death

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.

David Yorkshire, Greg Johnson and John Morgan in conversation

A discussion I had with Greg Johnson of Counter Currents and John Morgan of Arktos. Please bear in mind that John and I were on the beer until the wee small hours the night before.

The Literary Vanguard — Interview with David Yorkshire of Mjolnir Magazine

The following is an interview I did with Dorin Alexandru of the Council of European Canadians. The Council was set up in 2014 by Professor Ricardo Duchesne to promote and defend the interests of European Canadians. Dorin's poetry is featured in the current issue of Mjolnir Magazine.

 On the threshold of the cultural struggle there exists the hammer that is Mjolnir. Now if you haven't heard about Mjolnir, you haven't been very active in keeping up with the Right. Mjolnir is the pet project literary magazine of David Yorkshire, self-described as "the first step in the cultural fightback against the tidal wave of leftist propaganda" — and a big step indeed. 

Mjolnir Magazine Issue IV out now!

 

The fourth edition of the White Eurocentric arts magazine is now available for purchase at http://www.mjolnirmagazine.com The magazine features artwork by Vig Scholma and Gary Persello, as well as handicrafts by his wife Bonnie van Hall. There are short stories by Juleigh Howard-Hobson and Ann Sterzinger, the latter's novel NVSQVAM also being reviewed by Nick Walsh. Then there is poetry by Ellin Anderson, Eliza Witte, Dorin Alexandru and Juleigh again. Our blast from the past is Thomas Ingoldsby and there is a short play and a review of John Lash's The Hero: Manhood and Power by me.

Tim Burton’s Batman: Putting the Gothic into Gotham

 

I. Origins & Evolution of the Gothic in Film

 

The gothic is a quintessentially European aesthetic. Moreover, it pertains and appeals more specifically to those of North-West European descent and is to be found in various modes and tropes throughout North-West European culture and contrasts with the Classicism of Southern Europe. Gothic as a term was first applied to medieval art and particularly architecture by Renaissance critics in similar propagandist fashion to how the term Dark Ages was also used to describe the period following the collapse of the Roman Empire. In both cases, the terms were coined to denigrate Germanic ascendancy in culture as unenlightened and barbaric in relation to the culture of Greco-Roman Classical Antiquity and its Renaissance.[1]

 

The Elizabethan Theatre: An Arena of Political Incorrectness and a Lesson for our Times

The following text is a transcript of a speech I gave a few years ago at a meeting of the National Front. Although I am not a member of any political party, I am happy to speak at any meeting where the organisers are committed racial nationalists. My role, as I see it, is, in my own small way, to educate and cultivate those who have been failed by the Marxist-Liberal education system.

 

I wish to talk today about the Elizabethan theatre. Why the Elizabethan theatre? There are many reasons, which I will come to later on, but one is because it was a time when we had a homogenous society and a natural, organic culture and a theatre as good as that of the ancient Greeks. Incidentally, it’s nice to see the rise of the Golden Dawn in Greece and perhaps it will only be fitting if the European revival is born in the place that was the cradle of European civilization.

 

Cultural Struggle: What it is and how to win it

The following is a transcript of a speech I gave at a nationalist meeting four years ago now. I still regard it as my finest speech and it was posted on the original Alternative Right website.

I’m here tonight not to talk about politics, but about something broader and more far-reaching. I’m going to talk about culture, because culture is that which shapes politics and ideas in general, and we are going to look at how this is achieved.

Tour of the Saatchi Gallery

In this video, your guide David Yorkshire takes you on an Odyssey of oddities through the Saatchi Gallery. Some exhibits are blatantly anti-White European, while others are mere expressions of ugliness and idle daubing.

 

 

Bedwyr Williams: When Artists are replaced by Clowns

"The people no longer seek consolation in art. But the refined people, the rich, the idlers seek the new, the extraordinary, the extravagant, the scandalous.... I am only a public clown, a mountebank. I have understood my time and exploited the imbecility, the vanity, the greed of my contemporaries. It is a bitter confession, this confession of mine, more painful than it may seem. But, at least, and at last, it does have the merit of being honest." (Pablo Picasso)

 

 This confession could apply to many artists today, but I will concentrate on one: the Welshman Bedwyr Williams. A product of the system of manufactured pseudo-artists, having been formed at St Martin's, his artwork displays a wealth of technical deficiency. The measure of an artist's talent, one remembers, is in his technique. This illustrates his technique:

 

 

Charles Krafft Exhibition

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 that 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:

An Introduction

This is a new website dedicated to the arts and culture from an Alt Right perspective. Anyone interested in contributing articles should contact me via my Facebook page:

https://www.facebook.com/david.yorkshire.58

For those who do not know me, I am the editor of Mjolnir Magazine, a print magazine created to collate and display the Eurocentric illiberal arts. More information can be found at our website:

 http://www.mjolnirmagazine.com/

I hope there will be a lively comments section. Please note that I do not tolerate comments I deem to be abusive. I am, according to Searchlight, noted for my intolerance.

Gods speed,

David Yorkshire