SYSTEM OF A DOWN: NATIONALIST CULTURE GOES MAINSTREAM

Back in 2011, I wrote an article on the politics behind Azerbaijan's Eurovision Song Contest win, and how the competition was being used to showcase a fraudulent image of Azerbaijan as a westernised country full of liberty and tolerance etc., to use some Leftist buzzwords. In actual fact, the country is pretty-much a Muslim theocracy with a sham democracy directed and funded by Turkey and the European Union via its European Neighbourhood Policy, Eastern Partnership and Council of Europe, despite it being debatable whether Azerbaijan is actually geographically in Europe. The EU is largely interested in its oil and natural gas reserves, and the Baku-Tbilisi-Ceyhan Pipeline and a pipeline called the Southern Gas Corridor run oil and gas respectively from near Baku in Azerbaijan through Georgia and Turkey and into the EU for the benefit of international fuel companies. This explains the blind eye turned by the EU to human rights abuses and attempted genocide against ethnic Armenians in both Azerbaijan and Nagorno-Karabakh. It explains why the United Nations took Azerbaijan's side during the 1994 Nagorno-Karabakh War, also passing General Assembly Resolution 62/243 after skirmishes in 2008 that claimed Nagorno-Karabakh as sovereign Azerbaijani territory. It also explains why the Western mainstream cultural machine promotes Azerbaijani interests.

 

The cultural denigration of Armenians has been going on for a long time. In the wake of the Armenian genocide during World War I and the creation of Turkey from the remnants of the Ottoman Empire, it is quite extraordinary that the victims are subjected to ethnic hatred in mainstream culture, if one considers how the Jews are treated as martyrs to be worshipped after the supposed "Holocaust". The novel Ali and Nino came out in 1937, which depicts a noble Azerbaijani Muslim, a Georgian Christian princess who falls for him, and a double-crossing Armenian Christian who kidnaps her. The novel was written by the Jewish author Lev Nussimbaum under the pen name Kurban Said and who lived in Baku, and is a typical narrative trick of undermining a people and aggrandising their enemy by selling them the idea that their women are attracted to their enemies. Jews have ever opened the gates of Christian countries to Muslims, and here Nussimbaum is opening up the wombs of Christian women to Muslim men. And the main villain of the piece is of course a Christian Armenian.

 

 

The fictional story of Ali and Nino did not, however, disappear. In fact, as the greed for Azerbaijani oil grew, so the fiction grew into myth. In 2007, the Georgian artist Tamara Kvesitadze was commissioned to create a statue to stand in Batumi, Georgia, overlooking the Black Sea. Completed in 2010, it was originally named "Man and Woman" and depicted vaguely male and female automatons that merged together, passing through each other at 7pm every evening. It immediately attracted the attention of anti-globalists, who saw it symbolic of the globalists' very real war on gender norms, the merging of male and female in the statue representing the political agenda at hand. The statue was then renamed "Ali and Nino" around the same time as Azerbaijan's Eurovision "win". This all coincided with then-president Mikhail Saakashvili's politics of opening up Batumi as a centre of sex tourism for Muslims - particularly from Turkey - which it remains to this day.  

 

Ali and Nino was then made into a film of the same name in 2016, when tensions over Nagorno-Karabakh re-escalated, resulting in the 2020 Nagorno-Karabakh War in which the vastly-Armenian-majority region was ceded to Azerbaijan, as both Turkey and Israel supplied Azerbaijan with arms, the Jewish press in Britain taking the Azerbaijani side. Russia supplied both sides. Turkish, Chechen and Afghan mujahideen fought for Azerbaijan. The joint British-Azerbaijani production of Ali and Nino was again an obvious propaganda exercise to cast the villainous Armenian character of Malik and the heroic Azerbaijani character of Ali as personifications of their respective countries. Beautifully, the film was ham-fistedly realised by its "British Muslim" director Azif Kapadia and bombed at the box office, recouping less than £100,000 in both cinema and DVD sales against a £20 million budget. The deficit is so risible that Wikipedia has avoided any mention of it.

In contrast, something very unexpected occurred in December of last year, after the under-reported conflict came to a close the previous month. The Armenian-American heavy metal group System of a Down broke a 15-year hiaitus from recording to release two songs to raise funds and awareness for the Armenian victims of Azerbaijani aggression: "Genocidal Humanoidz" and "Protect the Land". I first came across "Protect the Land" while listening to the car radio on my way back from work a few months ago and was quite shocked. This sounds a bit right-wing for mainstream radio, I thought to myself. When I got home, I did a bit of research into it, which confirmed my suspicions. It was perhaps the more shocking as I had always regarded System of a Down as very left of centre, despite their obvious ethnocentrism when recruiting band members and collaborators and their overt anti-globalist stance. Perhaps that was one reason it had managed to sneak past the censors. Another reason may have been that the lyrics are obscure enough to avoid any accusations of hatecrimes. The imperative title is couched behind third person descriptions of the Armenian soldiers: "They protect the land" and "Those who protect the land", although it is never explicitly mentioned that it is they who are referred to, and the lyrics are very generalised and vague. "Genocidal Humanoidz" is more explicit and forthright in its mention of "terrorists", "prostitutes", "bastards" and "the devil", which is probably why I have never heard it on the radio. In any case, "Protect the Land" is far catchier. It has also been incredibly popular on YouTube and the like.

 

 

Another reason why "Protect the Land" escaped the censors is probably to do with the racial heritage of Armenians, who are a mixed bunch of Eurasians to varying degrees. The accompanying music video in which close-ups of Armenian faces are foregrounded bears testament to this fact. They reflect where they are geographically and historically as much as the blue eyes and angular features of Northern Europe. It works for them, for they are suited to the land they inhabit. Yet the globalists would like to see all peoples mixed irrespective of geography, history, culture and climate, not just as Eurasians, but with African genes thrown into the mix. This is because they do not merely ignore Nature's intrinsic goodness, but despise it and actively work against it. I have said it often, but will keep repeating it: the Left is the politics of anti-Nature. One can readily see this in how they defile and debase not just people, but the land itself. We are now threatened with endless surburbia and the destruction of ancient woodlands and greenbelt land to make way for the immigrant hordes that will create this artificial melting pot forced upon the native populaces of Europe by corrupt and ethnically alien politicians. And thus "Protect the Land" becomes an anthem for everyone who would, as the lyrics say, "stay and take a stand" and "protect the land" "from scavengers and invaders".