In the second episode of Erkenbrand's mini-series on classical music, Fausto, Wagenaar, Mr H and I conclude our look at the history of classical music as we discuss the classical period and Romanticism. In the next episode, we will analyse four composers chosen by one of the panel.
Andy Nowicki does not like the word "cuck" and I am beginning to agree with him. It is perhaps the most overused and misused word in the Alt Right lexicon. It had its uses when it was first coined as an abbreviation of the word "cuckservative", itself a portmanteau of "cuckold" and "conservative" used to describe the "America for Israel" type Republicans who engaged in the Leftist doublethink of being allegedly race blind, but yet gave preferential treatment to ethnic minorities, particularly to Jews, whom they worhipped through Jesus Christ, the Jew the Jews rejected as their Messiah. Christian Zionism, the Republican political religion, is the belief that Jesus promised Israel to those who either hate or don't believe in Jesus. I know it makes no sense. I never look to the Judaic faiths for logic.
Nothing more needs to be said about the Muslim attack in Westminster, London. These sorts of attacks are happening on a monthly basis around Europe, just as the rape of our girls and women and common assault of our boys and men is happening on a daily basis. But there is no war against us, we are told. This, apparently, is normal then.
I am one of the guests on a series on classical music currently being produced by the Dutch Alt Right movement Erkenbrand. The series will serve as an introduction to classical music and address why it is important for ethnic Europeans. This episode looks at the history of classical music from its beginnings to baroque. There is a brief introduction in Dutch and then the rest is in English. We also listen to a few pieces typical of their eras and discuss them.
If anyone is interested in the poetry by Lord Alfred Douglas mentioned from 1:04:32 onwards, it is the collection of sonnets In Excelsis (1924), which had been out of print for decades until I published it in Mjolnir Magazine Issue III.
Feminist novelist Naomi Alderman has been put on the longlist for this year's Orwell Book Prize for political writing, with her work of fiction The Power. I have not read the book and have no intention of doing so. The synopsis from the book's inside cover says it all:
'She throws her head back and pushes her chest forward and lets go
a huge blast right into the centre of his body. The rivulets and
streams of red scarring run across his chest and up around his throat. She'd put her hand on his heart and stopped him dead.'
Suddenly - tomorrow or the day after - girls find that with a flick of
their fingers, they can inflict agonizing pain and even death. With
this single twist, the four lives at the heart of Naomi Alderman's
extraordinary, visceral novel are utterly transformed, and we look at
the world in an entirely new light.
Spoiler Alert: I hope you have all watched Dark City by now, as I discuss the film's big revelation in this article.
In the last article on Alex Proyas' 1998 film Dark City, we took a general look at its meaning and themes from an Alt Right perspective. In this article, I wish to focus in on that increasingly marginalised subject regarding the philosophy of art: aesthetics. Take any course in the arts and humanities at university level now and I would be astonished if any professor touches upon it - unless it is as part of deconstruction theory or post-structuralism, where all positive notions of Occidental culture are torn down before students have even begun to appreciate what they really are. This has led to a complete detachment of form and style from content, where often arbitrary and deeply pretentious labels and descriptions are attached to museal artwork that has no content in and of itself, as I noted in my tour of the Saatchi Gallery.
Spoiler alert: Do not read this review before watching the film, even though I have tried to keep the biggest plot twist out of the review.
For the past twenty years, there have been very few great films. What do I mean by great film? I mean any film that has that ability to transport its audience seamlessly into the internal logic of its secondary world of hyperreality, while simultaneously demanding of its audience fundamental questions about existence. In this, it will blend drama with philosophy, scenery with art, dialogue with music. This requires a great scriptwriter, great actors, a great crew and a great director to bring them all together. Metropolis has it; Gone with the Wind has it; Night of the Hunter has it; The Good, the Bad and the Ugly has it; so too does the 1998 Alex Proyas film Dark City. Why then have so few people heard of Dark City?
