And lo! I saw the the sign above the gate to the ninth level of fuckwittery and yea! did the legend read: 'Abandon all hope for them ye see enter here.' And behold a queue had formed, for those gathered were legion, all nudging and jostling to get in - the multitudes who had strayed from the righteous path: the civic nationalists, the libertarians, the Alt Lighters, the readers of Breitbart, the followers of false prophets.
This is going to be a brief article, as I wish just to address a single point of sophistry that has been repeated in the mainstream media so often that it even seems to be infecting the more easily beguiled on the Right - even on the Alt Right. This is the idea that 'not all Muslims are terrorists'. Some on the Right have taken this further and added that 'not all Blacks commit crime' and 'not all Jews wish to destroy White Culture'.
Milo Yiannopoulos is as ubiquitous as he is annoying and perhaps all the more annoying in his ubiquitousness. Yet for some reason, he seems to be fawned over by many in the Alt Right, hence his ubiquitousness. Of course, to anyone who truly knows what Rightist values are, Milo is certainly not Rightist at all. He is a Whig, a liberal laissez-faire defender of corporate interests. He promotes mixed-race relationships, relationships to him in any case being all about stuffing as many large objects into his anal cavity as possible. He is of course himself mixed-race, which has led to psychological complex after complex, compounded by the fact that part of his racial heritage is Jewish, which always seems to bring with it its own peculiar collection of complexes. Like a spoilt child, he will say anything to shock, and many of his autobiographical stories are at the very least extremely embellished. Yet in this day and age, it seems he is to be held up as some sort of hero of the Right, which says a lot about these times and the people in them. For if this is a hero, how debased is the common man?
John Boorman's films are implicitly white, as they address themes that pertain to people of White European descent, whether historical, philosophical or mythical. For the latter, an example would be the film Excalibur that I recently reviewed. Zardoz is a film that addresses the philosophical. This is another of Boorman's films that the critic Roger Ebert neither understands nor cares for - and I suspect more the latter, for the film is a biting satire directed at creamy bourgeois Leftists. Beyond the satire, which is cutting rather than amusing, Zardoz falls into two categories: dystopian fantasy and sci-fi thriller. As is usual in such films, what is being critiqued is the present - in this case, the mid-1970s.
John Boorman's spectacular Arthurian epic Excalibur is one of those films everyone ought to have seen. It is one of those rarest of gems: a film that ennobles the spirit just by dint of having watched it. It is a Gesamtkunstwerk of the highest order that lifts one onto a higher plane, so that when one leaves the cinema, one has the barely controllable urge to do great deeds. And it is a film for the Right - not necessarily for the Alternative Right, but for the True Right, for the Right without compromise, for the Right that is elitist, for the Right that strives for the highest, for the Right that lies beyond the tainted, half-hearted measures of Fascism and National Socialism, yet which eschews despotism and embraces paternalism.
These are the last two episodes of the series on classical music I recorded with Erkenbrand, the Dutch Alternative Right group. Episode V sees Mr H selecting his choices for discussion, including Henry Purcell, Claude Debussy and a couple of surprises. Mr H and I were on location at the Opera House Cafe, which is part of the opera house building in Vienna, which another Mr H once famously painted. Sadly, the opera house itself had closed by the time we had finished the recording of the show, so we couldn't make the little documentary on the opera house that we wanted.
