Saturday, June 30, 2018

Fast Food Fascism & It's Esoteric Meaning

Again, we have ANOTHER article about the “innate fascism” lurking behind crass popular culture. What a rag!

Spencer J. Quinn wrote a review about the new Incredibles 2 film. What did you expect from him?

“The Incredibles, in my mind, is a perfect gem of a film which transcends the artifice of merely excellent film making and enters the realm of timeless art.”

And then leading up to his climatic persuasion,

“It should be clear to all who watch The Incredibles 2 that when the man was the center of the story the women were treated realistically and with respect. But now that the woman is the center of the story, the men get nowhere near the same level of respect and behave quite unrealistically.”

There is a limit in the far-right intellectualism, and as well with this Žižekian style criticism, that popular culture, in all actuality, is bad. No need to bring up Evola, Derrida, or some observe philosophy talk promoted by these computer geeks, what they are doing is justifying bad art for normal people.

Jef Costello as well wrote a piece for Counter-Currents titled, “Our Sheep Are The Best,” arguing that a love for normal people is a must, because it’s family!

While the editor Greg Johnson will say that every author on his website will conflict with one another, the main argument found at Counter-Currents is that (to paraphrase) “there will still be a world that will have both the left and right, but white suicide will be off the menu.”

Johnson has declared himself “a man of the right,” even though his publications has to deal with being stuck in a “right-wing ghetto.

It’s hard to imagine that the far-right a few decades ago was classified as an evil child molester movement full of crackhead rednecks and James Bond super villains. Neo-Nazis were side attractions for a liberal circus, and gave normal people a good reason to be normal. Meanwhile, another movement, strongly influenced by punk culture and the decadent avant-garde art scene, published Apocalypse Culture and Answer Me!. Although these two books did not make an open association with the far-right, they had their best sympathies with Neo-Nazis because they had a common hatred of liberal normies. These individuals, from Jim Goad to Margot Metroland, have been published on Counter-Currents. (Although Goad has denied wanting to be published on a scary far-right website and has even called Johnson a faggot).

There was something interesting happening in the 1990s. Young people wanted to feel emotions from bands like Whitehouse and Anal Cunt. Now, millennials have cracked the liberal code that boomers find national socialism the most disgusting sin of all. And eventually, with the help of Richard Spencer’s webzine “Alternative Right,” and with the aid of Jack Donovan, the far-right became cool. And within the past four years, the “Alt-Right” movement grew as an exciting intellectual and hip movement of “far right intersectionality.” Boomers didn’t get it, but young people sure loved reading about Savitri Devi while being ironic by laughing at jokes from The Daily Shoah.

But ever since Unite The Right, the Alt-Right became a household name, and normies shunned it forever. The hipsters realized that the alt-right wasn’t giving them the street cred they needed, and so the most “innovative” bloggers and e-celebrities disavowed both Unite The Right and the Alt-Right altogether (although they were invested in the scene, they will make a casual “I hate jews” remark once in a while for browny points). The far-right scene has became nothing more than a sad Verso books knock off cashing in on “dank Hitler memes” and “esoteric” nonsense that popular culture is somehow innately fascist.

And I declare the far-right scene dead after Spencer J. Quinn’s horrendous approval of the Incredibles. To quote him again,

“Whether the film makers realized it or not, The Incredibles struck a blow for the Right in the culture wars, and a brilliant one at that.”

I simply cannot take Counter-Currents seriously if they continue to publish “Buttercup Dew” style arguments about far right trojans. There is absolutely no substance in these articles, but boring, New-York-Times-Sunday-Morning-opinionism.

Since the left died over a century ago, the Frankfort School took is over. So now the so-called “left” is what we call cultural marxism. The actual right-wing is also dead because it too is now a “cultural” ghost.

Young people, though radical and political, get caught up in Wikipedia definitions of how they should act in life, have a few things in common.

Preening, fitting in, finding meaning, and growing up.

Academics know that young students are open vessels. As once said by holocaust revisionist Bradley R. Smith, “I want to go to students. They are superficial. They are empty vessels to be filled.” Young people will believe in anything so as long you persuade them an agenda. But once they grow up, they grow out of the ideology that made them inexperienced and young.

People evolve, and so does both art and ideology. And this leads to something more important in the next era of the shock art scene.

Something I call, “fast-food fascism.”

There was another writer during the 90s by the name of Shaun Partridge, who later became obsessed with psychedelic rock, the 1960s, corporate logos, Hanna Barbara cartoons, lame sitcom shows, dated popular culture, and Anne Frank.

To make sense of this new collage art, Shaun Partidge, Boyd Rice, and Brian M. Clark created a movement called Unpop.


The rules of the movement follow:


pop: adj. -- Of or for the general public; popular or popularized; Of, relating to, or specializing in popular music; Of or suggestive of pop art. n. -- Popular music; Pop art; Popular culture.

un-pop-u-lar: adj. -- Lacking general approval or acceptance; Regarded with disfavor or lacking general approval. u

un-pop: adj. -- The application of pop aesthetics, stylings, or techniques to unpopular, unpleasant, repressed or otherwise censored ideas. n. -- Unpop art; Unpop music; Unpop writing; Unpop films.”


Ironically, the movement ended in 2010, because “it stopped being Fun and groovy. [Perhaps Unpop will return some day? Today is not that day].” Like a fashion sense and a hipster’s concerns of being cool, the movement was thrown to the side because of normie liberals “not getting it.” (Or that they were just being jerks and offending people). However, Shaun Partridge still practices fast-food fascism under The Partridge Family Temple or The Church of Anne Frank.

But more importantly, what is fast-food fascism? And what is it’s esoteric meaning behind it?

Matt P. wrote an article about “Neonnationalism” describing an alt-right that is based around old popular culture aesthetics. While Brandon Adamson describes movies from the 1970s and old American malls as the pinnacle of a movement called the “Alt-left.” And Adamson notes how cool it was walking into an outdated Arby’s restaurant. Surely fast food fascism is not legitimate fascism, but apart of something bigger going on.

(I made up my own term called “Asian-Aryanism,” describing a future where Eurasians reign supreme. This and the word “islamofascism” are not to be taken seriously. Muslims are not fascist, and Asians are not “aryan.” However, Asians will become like an Aryan nazi solider in the future if currents trends continue, and radical islamic terrorist have similarities to actual fascist).

Such origins can be traced back to the art of Frank Kozik and Ron English, where they juxtapose childhood cartoon characters mixed with political activism and punk culture. The vinyl toy scene was an extension of the low-brow art scene they were in. It was an appreciation of the kitsch and quirky children’s toys of the the past decades, found in cereal boxes and candy stores.

Fast food fascism is certainly a variant of Unpop art that it mixes popular culture with controversial subjects. If you can think of a “cringe” worthy character, like Chuck E. Cheese, singing “smile America” while in front of a flag from Nazi Germany, then you might be able to understand fast-food fascism.

Postmodernist claim no attachment to the work they present. A victorian poet would say, “I love you madly, my dear.” But this indicates that the poet sincerely loves a woman he is willing to die for. He has to commit and be authentic with his actions. But how does the new poet say he loves someone without being a fuddy-duddy victorian? As Umberto Eco writes, “Like a famous romance writer, i love you madly.” This way, the poet removes himself from his claim and puts his commitment to someone else. This not only makes him sound witty, but denies any association of sincere authenticity.

Chuck E. Cheese with a Nazi flag could be ironic, the same way the band Killing Joke flew a Nazi flag next to the image of the pope and got banned from playing in Scotland.

…But what if they are really sincere with such an action?

Since the alt-right has dissolved, fans who love far-right imagery still want to be appreciated without being labeled as a right-winger or nazi for it (most of them are not actual nazis anyway). While juxtaposing popular culture from the 1960s though the 1980s (and only those periods), could this art of symbolism be authentically appreciated.

Here is some fast food fascist art I made. I have juxtaposed the following,


1. A Chuck E. Cheese Pizza Time Theater banner above a Volkswagen eagle.



2. Chuck E.Cheese Pizza Time Theater being blessed with the Dukhanen gesture.



3. A Totenkopf being compared to CalArt faces.



4. The Hindu deity Vishnu compared to Huckleberry Hound.



And 5. How the new Mellow Yellow logo looks like the Othala rune.




As you can see, juxtaposition has a lot to do with the creation of fast-food fascism and it’s esoteric nature. Doug Pearce of Death in June doesn’t claim to be an actual fascist, but a gay hipster that loves the ancient and forgotten esoterica, which he realizes that certain symbols causes offense against normal people.

Isn’t it odd that a jain swastikas causes offense, when it is actually a symbol about life and death? This is the point of fast-food fascism.

Shaun Partridge also has taken fast-food fascism to a sincere point of actually making prayers and worshipping food institutions like McDonalds. Watch this video,



It could be a performance art, but in all respect, this is very similar of the alt-right belief of a problem solving “ethnostate.” A sincere belief can be absurd as worshipping Mcdonald’s. So why not worship fast food?

Big corporation are just as offensive as the far-right, as it is uniquely hated by every liberal white person. Movies like Super Size Me demonize McDonald’s while rival corporations like Panera Bread and Surf Shack shape their store to be a safe space for white yuppies. But when taking a closer look at “the golden arches,” we can make assumptions that the logo has some kind of innate fascist wisdom or some ancient hindu symbolism beneath it.


Two revered symbols in fast-food fascism are the NBC Peacock and the CBS Eye. The peacock’s feathers introduced America to the world of color TV, and the CBS Eyes is actually the eye of god that looks after us (and god actually could be something like of Cthulhu and the CBS corporation knows all about it). A blogger actually has an entire blog why he fears the peacock!



In the neofolk movement, there is a fascination with everything from ancient Europe to esoteric Asia. Dead Can Dance still plays on this motif and has opened up the viewers conscious to whole new levels of artistic exploration. However, in the “post neofolk” movement, where fans of Death in June are afraid of being called racist or Nazi smyphtatizers, Jamie Stewart’s band Xiu Xiu mixes imagery of pornography, shock art, sitcom weirdness, and Asian culture to create a neofolk that is based in both transgressive art and true unpop art. This is very similar to the post neofolk style of Shaun Partidge, who mixes the “Far-out, radical, and groovy,” nature of the hippies, with the up-to-date style of the “hate scene gang of the hardcore 90s.” Boyd Rice will concentrate on the neo-nazi and serial killer collage art, while Partridge keeps it cool with drug-tripping memorabilia, lost television programs, goofy commercial products, and Peter Max style art.

Often Partridge will remember “the good old days” of an obsolete decade of masculine, beer-drinking white handymen, without SJWs or liberal feminism. This is the genius behind Unpop art, that is takes the viewer back to a time where their suburban parents were both verbally and physically abusive, mixed with the psychedelic attitude of the very first youth movement of hipsters. A shock art that is both truthful to the past, esoteric in juxtaposition, and introducing new ways of thinking for the viewer.

Art has became incredibly stale in the far-right (and the left) is because the only thing they can write about is truth, justice, and a nice white country from the perspective of a cookie-cutter Disney film. The very notion that they take this normie art as sincere! No new feelings are expressed. You might as well say that Moana promotes child pornography because the movie shows topless little CGI girls in Trevor Brown fashion. Quinn’s is using normie art to proselytize norms onto the far-right, but ironically will get offended over a cool, communist fruit drink. (Which is a product of fast food fascism. Note, that the term “fascism” is used facetiously).

Quinn is a square! And not even radical one bit. It’s conformist, and sounds like he is developing a new type of normie that will hate on “degenerate” art. The avant-garde arts is against the interest of what normal people want, and I disregard Jef Costello’s article on the subject completely.

You can collage the Incredibles as a “fascist” family with swastikas all you want. But what point does it prove? Where is the meaning behind this text of nothingness? What is left is the juxtaposition of images. The feeling when a normie is scared of a swastika for no apparent reason.

The problem with Quinn’s piece is not acknowledging the absurdity of The Incredibles mixed with the message of white survival, but taking the movie as a “sincere” form of art that will help a dying movement called the Alt-right. A fast-food fascist would see the Incredibles for what it is. A crass, family-value cash-grab. …Now mix it with pictures of totalitarianism, esoteric religious art, or offensive symbolism or subjects. The work of Trevor Brown is controversial because he likes drawling little underage Asian girls in bondage or in violent positions. This is the real mind opener. The Alt-right is afraid to promote such art in fear that it will be called “degenerate.” Yet such art is true and authentic to a majority of intellectual individuals in the far-right.

Is fast-food fascism degenerate? It certainly is both offensive and mind expanding. This juxtaposition, similar to what the work of vaporware is doing, will reinvent the shock art scene, the far right, and the punk scene by going forward by appreciate the thing we all hate, …consumer culture. Consumer culture itself becomes a truth. And fast food fascist will sincerely like it!

National Socialism would borrow many of it's imagery through a mix Heideggerian philosophy, which came from Human Bio-Diversity and a Western admiration of Eastern culture and religion. Hence, the swastika was used as a symbol describe the super man, going through life, dying, and creating a new people over again. The greatest meaning of life. And this imagery is ancient wisdom. One day, the CBS eye will be on the coat of arms in 2200. And will the symbol be offensive after a certain political party commits an atrocity as well?

Consider the genre of vaporwave. 식료품groceries is a vaporwave act that mocks the mindless consumerism of food shopping in a grocery mart. The feeling, the “aesthetic” that we must embrace through consumerism, can be appreciated as a fine art.

Now add that with the 90’s hate scene, 60’s hippy movement, and 10’s anti-liberalism. You get the “picture.”

Move away from "The Incredibles is fascist," and lean towards "The Incredibles is our consuming doom."

Tuesday, June 5, 2018

June 5th, 2018

I have been lazy in the past six months. Disappointment from work? Yes. I mean, getting rejected from JET is one thing, and working at Home Depot is another. Why would such a turn of events happen like this? However, things like getting my cassettes out, performing live, relationships, and published works have improved. I write this with two bandages on my palms, one on my knee, and two scabs on my elbows and one around my stomach. I fell off my bike, listening to The Orb. Ouch.

 

I really only have the time to write when I get on my typewriter. This typewriter, an Alphasmart Neo2 (a digital one to be exact). If I am going to upload this piece on my blog, I have to attach this into my computer and send the text. It was nice having a cloud button on the Freewrite, but it was for show. This device is better to use. My writing has improved using this typewriter.

 

Now what I really wanted to write about was actually an update on my existence. I will upload some of my other writings to my blog as well, just will take some time. I am the introverted type, and tend to leave the work I made hidden from the public until I (or someone) gets the work up online. 

 

I swear a month ago I had some good ideas to write about. I wrote a “to-do” list like I always do. However, my ideas are still “blocks.” Only did I start to recently figure out that the action of writing breaks down this block into comprehensive meaning. The less I write, I will decay faster. Writing preserves my 26 year old self on a canvas. So many people live their life without recording the past. Yes, we have social media, YouTube, cooperate watchdogs farming us as capital. My blog is owned by Google, I can’t do anything about that. This blog is digital, not physical. Their is a high chance the internet goes down, and everything we uploaded is lost. It is why I published my books so that I have piece of the past recorded. 

 

I had many good ideas back in February, but I think I lost those theories. I wake up one day, write it on a post-it note, and tell myself I can forget it forever now that it has been written down. Too late, I did actually forget about it. 

 

I have been spending more of my time filming myself than writing. I can improve upon my acting. Improvised ideas come out naturally when I film myself for 10 minutes. Those 10 minutes speaking could actually be written on my Alphasmart. I could use my fingers and type out the words, by QWERTY standard (I gave up on COLEMAK two years ago), and get out the same thought, yet with bigger words and comprehensive logic. The latter makes me sound like a Harvard graduate, yes? Much of creative writing today has been boiled down as a transcript for those who speak. Logical writing is used as instructions and in academia. Too bad the system is becoming more depraved by being “creative.” 

 

Old people read. Young people watch. Yet as I watch, I am becoming more passive. 

 

…That one thought that came back to me. Why am I glued to my smartphone? Why, for the past three months, allowed myself to write “good morning” for a girl I am not so sure I will be with? Why, in my spare time, is binge watching random videos about how to work Reason and political echo chambers? There are good amount of projects I am getting out by the end of June, but in these past 6 months, have I changed into a passive consumer. I need to step out of the internet world and back in the physical. 

 

Working the internet is a job. It’s a drug. It’s also a mind killer. Instead of becoming an artist, I am joining the millennial collective as passive consumer, consuming things I could possibly do by action. Action means work, and work causes pain. This is a common translation for most people. Yet action creates art. It’s a matter of me getting off my smartphone and getting onto this Neo2 and writing something. 

 

Always that thought crosses me by as I write, “Why didn’t I write earlier? I feel so much better about myself. Starting today, I will create a new habit where I will write every day, until 2020, when I will become an expert.”

 

Everyone has those thoughts. I been doing those habits for quite some time now. But again, it’s about action, not consumerism. 

 

Right now, I am going to clean my room. 

Saturday, April 14, 2018

Universalism [unfinished draft]

Since the age of modernity, white people have been suffering greatly. They have turned the Christian ethos of guilt into shame and self-suicide and continue to buy things under cultural capitalism. But one uniting factor that makes white forgot all of this, is their arrogance in universalism.

In a board sense, universalism accepts the notion that people can have the same access to one practical thing. Christianity is universal on the fact that Jesus accepts the sins of any believer. Universalism in the material world suggest people can buy the same things and achieve the same greatness. While the reality of the world is deeply biological and innate, white people can be stuck in the middle of nowhere, working on a farm and suffering through the harsh reality of labor and survival. They can escape this through universalism. White people have build cities throughout no-mans land. To name a few; Cincinnati, Austin, Nashville, Topeka, and Las Vegas. These cities offer economic and (most importantly) cultural centers for white people to enjoy and achieve greatness. Along the way, most black Americans live in the cities, as some liberal whites feels it’s an obligations to keep their once pet slaves alive. The city is a place where white people can live out their dreams by becoming paid intellectuals and artist. The city liberates the farm boy and makes him become a hipster. It is through universalism that white people can have access to the bourgeoise life. White people also have a selection of many different things to consume at their disposal. For example; anime, black music that black people don’t like anymore, exotic food, art galleries, and exotic nonwhite women to have sex with (and lets forget about how these exploited girls will commit suicide a few decades later). White people will grow entitled to the sense that universalism creates more then free food, but creates cosmopolitanism. Cosmopolitanism makes white people feel that they are the “citizens of the world.” White people can do to a different city and still feel a greater uniting universalism, known as cosmopolitanism. In fact, white people will even go to Hong Kong, Tokyo, (city in South Korea) and even Dubai and still feel a sense of universalism from people unlike themselves. They have to justify this cosmopolitanism through a bigger ideology, namely egalitarianism. Egalitarianism argues that every human being on this planet are in same structure and intellect as white people. All of these philosophies; universalism, cosmopolitanism, and egalitarianism and innate with in the Faustian spirit of western civilization. However, this in turn can only be achieve through two opposing white people systems; capitalism and communism. Communism lost the war, but seethes through the culture that capitalism has one. But cultural capitalism is alive, and white people lives are determined by the things they buy and money they can can make. This has created a superficial reality of dishonestly, which confuses and upsets white people’s nature of universalism. So white people then want to push a democrat socialist environment so everyone can be liberated through egalitariansim. Because nonwhite people want universalism too, yes? It is through a screwed system called “social justice” where white people can serve this kind of “justice” to nonwhites. Justice is the act of serving what is right and wrong for society. But when it comes to something so artificial like “social justice,” it is only justice to serve universalism for nonwhites, ultimately advocating cosmopolitanism under the egalitarian religion. And one day, when white people and nonwhite people get so advance, whites will advocate for trans humanism, which will kill our natural biological realities and whites and nonwhites will be transplanted into Fankenstien-like monsters. No natural connection to mother earth anymore, but space marine robots, without a real biological identity, flying through space to create one big Borg empire. What kind of future that? Just so white people take on their own burden and beat mother nature? Isn’t that what western civilization wants?

Or am I taking this too seriously, and what really happening is that all these inner-city hipsters are dying by committing hedonism and nihilism, where all white people will die out, and the world will be left to overfed and pampered nonwhites (where ironically white people thought could be trans humanist robots). The world continues, while all nonwhites practice ethnonationalism, and white people have committed suicide or have become the second-class elite jews.

Either way, all of these problems are the root of every millennial’s miserable existence. They just want to run away from it all. But it all starts with having pride in your city. That is the first step towards universalism. This by the Heideggarian standard is called inauthenticity. If this is not checked, whites will develop cosmopolitanism, then egalitarianism, and finally, transhumanism.

But why do whites fall for universalism every time? This is the real tragedy. Is universalism only acceptable when thinking in terms of other white people? And nonwhite people can never truly become universalist?

So are we just going to uphold this religion of universalism so we can have sex with Chinese girls and watch lo-fi rap concerts on Saturday night? Just to escape our own boring replies? To live a life that is all in our heads?

Take on the white man’s burden.

Friday, March 30, 2018

"Does Writing Have a Future?" [unfinished draft]

What is the difference between watching a video and reading a book or article? What is the difference between learning from the two mediums?

D.W. Grifftn once said that film would replace the written word and libraries would be on-demand computers where film would be at our disposal. Yes, we now have YouTube.

But have people learned anything from these formats? I causally watch youtube from my iPad, and have I retained much of the images I passively observed. In fact, what is the information I am consuming?

I was at my community college library signing up for Japanese 101 again, and I grew a nostalgic feeling for the library that I was in. I remember I use to spend my study time getting lost in the library and avoiding homework. It was almost like a “live-action” internet website. I remember trying to get into Arts and Letters daily, but it turned out the entire website is for baby-boomer professionals. In the library, I could just pick up the latest issue of National Review, read H.L Menckens diary, read a collection of Issac Asimov stories, or discover a new book that might spark my interest. I remember reading a book about Richard Wagner’s antisemitism while my friends would talk to me in the library. Those were good days of my youth, where I took care of my brain and spent my time in education wisely. Now, I have graduated, and I earned the shallow piece of paper degree, “English and Communications.” If there was one thing I did not pick up when I ws 21, is that knowledge is not an accomplishment. It is a struggle, like lifting weights to grow bigger muscles. My parents told me nothing about this. My brother didn’t know either. It’s like I spent five years of my life locked up in a prison sentence full of knowledge that could benefit me. But did I learn any wisdom from this? No. I had to learn wisdom from social outings, which college does not give.

Much can be said about reading books. I am losing my vision as I grow older. Books do not help my vision, but hurt my eyes. Smartphone technology is smooth on the eyes, and encourages better readers. I am in favor of education liberation across the internet. It’s true that the internet has replaced academia. Liberal society realizes an “educated” mass of people cannot enlighten society. Some values, like book culture, vinyl culture, and steampunk fashion is becoming obsolete. Post-postmodern society is accelerating because technology is making our lives more progressive.

But back to the real question, I should I spend my time reading more physical books than viewing youtube? Already I spend my time writing, making music, and listening to great albums (like movies without visuals). If I took time out to read a book a month, or two a month, could I gain some new perspective in life. It’s just not possible to read every single book out there. Henry Rollins once said he was angry he could not read every book he saw at the book store (what a flaming liberal).

Not everyone is an “intellectual.” Liberal society wants to “uplift” every individual to the standard of a philosophy professor. Already we see anti-SJW Youtubers and the skeptic community. Academia does not control this. At the same time, normal people with no intentions of aiming for anything greater in life, become ideologues for the cultural marxist regime. They get out of college with a degree in English and work in a cubicle for Wal-mart. Did reading Derrida liberate their existence? No.

There is the normie class, and there is an elite class. Intellects are born, not made.

Normies still have the audacity to role-play their degrees (girls do this a lot). This is the superficial nature of our society. The youth has been corrupted.

…So should I read a book? it’s a maybe. I will pick one up and scan the words. There are books that have changed the way I think about things. I am looking to read a book that could change my perspective on life.

I may have an IQ limit. I’m not so sure that I could gain more knowledge as I get older. Maybe that is wrong. I could possibly learn a new language within a decade. …But then there’s atrophy.

If school taught me anything, I was looking into a mirror that looked right back at me. I am alone. And this society lies to me that I should be dependent on others. I am in my own jail sentence without my will. There is no outside help that can get my out of this prison. So like many other suburban millinials, I suffer. Where should I go?

No one told me rules about life. My parents have failed me. This society is becoming more transhumanist as we all plea for help.

Is anyone out there?

Thursday, March 15, 2018

Queerness, Homonationalism, and Post-Liberalism

There are a few individuals in the far right that are gay. All of them are quiet about it. Milo Yiannopoulos once stood out as being the alt-right faggot. Not anymore.

Gays in the far-right are an extroverted class. No one online proclaims themselves as “the gay alt-right guy.” But when you meet these guys at weirdo events, I’m sure they are happy to tell you how gay they are (and how cool it is).

Personally, I have met five closeted homos in the far-right sphere. Note: not “alt-right” scene. Right-wing gays are perhaps the most intellectual of all right-wing thinkers. It’s like being a monk. Women are sexual demons, and these sensitive men are favoring the bond of intellectualism.

Alisdair Clarke was one of the only esoteric gay people in the far-right, and did a good job fighting for a new Männerbund homosexuality. I will repeat, there is an esoteric reason for being gay in the far-right.

Death in June anyone?

But let’s get to the bottom of this. You are a snowflake for being in the alt-right.

I don’t want to hear how cool you are for hanging out with James Allsup, attending Unite The Right, and keeping up with the latest Murdoch Murdoch cartoons. Chances are, you’re a special individual. You’re a typical millennial. Your life depends on being special.

And that’s exactly what queerness is about.

Being “queer” does not mean having a deviant sexuality. A few decades ago, if you were some avant-garde beatnik into Ellsworth Kelly and Richard Williams, you were strange. You had feelings against the “squares” and the normative society. If only things were more about freedom of expression and complete liberalism.

The next thing you know, NAMBLA supporters, promiscuous flower children, and punk rockers all hijacked the word “queer.”

Face it. You are in the alt-right because you want to be strange yourself. It’s what empowers you. Your life is like a Steven Universe drama. This is the true meaning behind queerness.

Yet some have the audacity (and stubbornness) of thinking that being homosexual and associating with a movement that would literally throw them in an oven is not wrong at all.

…I know all you fags love the attention. You love this paradox. It makes your traumas more justified and your personality spicier.

Keith Haring would once plaster New York with his “Go Home Clones,” graffiti, because he believed there were “clone” gays and authentic ones. He apparently believed he was the authentic one (or so he thought).

Young people are in a high-school preening contest. And all of you homonationalist want a world without globalism just to sound cool. You know that being gay is a white virtue. You don’t want black cock, small Asian cock, or foreign cock that is scary (It feels like rape, I know). You want nice, ethical and charming white cock. You know if there are no more white people, there is no more gay culture. You are homosexuals that discriminate in favor of daddy rape fantasies, dressed in Nazi uniforms.

You get high off this stuff.

…But you’re also an anti-liberal.

We can all agree we hate SJWs. We hate our baby boomer parents. We want a world without public education teaching about the holocaust. Yeah, yeah, yeah.

So that is the narrative for all normies in the alt-right, isn’t it?” You see, the glacier gets deeper.

The left is all about progressive stacking, that is, letting the black tranny speak first. And how ironic is it, when the new “based” gay guy will make a new progressive stacking technique for all the far-right to see. “How about we let the cis-gendered white man speak first! Then let us cool faggots speak at a private invite-only freemason event. You wouldn’t think of us as normal gay people, because we are all about making society normal in favor of protecting our own queerness!

Blaire White, a right-wing tranny, is only saying the things he says for fame. Just like how XXXtentacion, Lil Pump, Liluzivert, Slim Jesus, and other Soundcloud rappers get into their own drama.

Google forces us to appreciate some bizarre artist every other day on their front “Google doodle” page to make even the dumbest normie feel enlightened. Some on the esoteric far-right are hard at work trying to dig up snowflakes that have been buried in the past for being too fringy (Miguel Serrano, Savitri Devi, Julius Evola). Is this good? Or is just another hipster outlet of finding “that really good record?”

Imagine one day, in 2050, when the new elite have Camille Paglia as a Google doodle.

If the millennial generation is defined by a trait, it is that we are a generation of hipsters, whether we admit this or not. Young people only care about impressing their social peers. It’s cool to be the black guy, asian girl, tranny, or gay guy in the far-right.

Oh well, Orwell! What have we gotten ourselves into?

I strongly believe that there needs to be a party for open far-right homosexuals. They have remained in closet because it is now actually “cool” to be a closet faggot again. However, it’s only “cool” to let the normie white guy speak, and ironically let the underground gay guys be hipsters again. Gay people always feel like outsiders (just like you, dear reader). This is the snowflake mentality.

I dare you! Take a step out of the closet and create a gay party for the far-right. Identity politics is inevitable. If human bio-diversity and the philosophy of Martin Heidegger is to flourish, then I suggest we end all white lies (pun intended). Truth lies in authenticity. Inauthentic people beat their wife and cheat on them (Matthew Heimbach).

The far-right in the coming decades will morph into cultural fascism, and all inner city hipsters will create a new “fashy” subculture. And it will be full of “poz,” contradicting that the introverted alt-right hates.

We can keep our unique homonationalism, but let us admit to the fact that we are all queer people, wishing to overthrow the neoliberal elite. If you can imagine a right-wing version of The Wild Boys: A Book of The Dead, so be it.

 

Friday, February 23, 2018

Fashwave Sectarianism Vs. Vaporwave Hegemony

In a recent liberal hit piece, fashwave was called “the suicidal retro-futurist art of the alt-right.” We are warned that this fringe art movement is proselytizing young people into a racist movement full of “hate.” The article presents the fashwave phenomenon as another mischievous creation of the far-Right, hijacking a popular genre, vaporwave, for its political aims. As Jack Smith writes, “vaporwave is set up perfectly for a right-wing heist, just as the far right has stolen leftist youth culture for decades, from Hitler to heavy metal.”

As if the only type of art we will ever have comes from the Left.

It is only natural for popular art to filter into all forms of intellectual discourse. And when chan culture, ruled by an order of isolated and socially inept young people, creates memes and clashes with the normie class, one such result is fashwave.

But a better understanding of fashwave should not come from why and what makes it popular, but where all this original art is coming from.

Vaporwave is one of the most significant and influential artistic movements of the last decade. You’ve seen memes where “A E S E T H I C” is spelled out as if written by a Japanese person. And you might have seen Greek busts of Helios and bubblegum pink tiles too. It’s all a function of the outsize influence of a “micro-genre” of music: vaporwave.

Music genres propagate and ramify like internet memes. But such micro-genres as seapunk, chillwave, witch house, and cloud rap all come from one original source, and that is vaporwave.

Vaporwave is a genre of electronic music that pays tribute to the music of the 1980s, 1990s, and earlier decades of nostalgic-tech and media.

Smith declares that fashwave is problematic for the globalist project: “Vaporwave and fashwave both play in the ruins of modern consumerism. And both genres force us to consider how much we have lost so quickly.”

Why is there such an End-of-the-World slant to vaporwave?

The first ever vaporwave release was Daniel Lopatin’s Chuck Pearson’s Eccojams Vol. 1. This was a humorous release of cut-up or “plunderphonic” samples of cheesy pop songs. “Ecco” was a reference to the Sega Genesis game of the same name (many millennials grew up playing the game or knowing about it).

Lopatin’s ethnic background is Russian and Jewish. He cites Deleuze, DeLanda, and Heidegger as philosophical influences. Typical of his postmodern upbringing, often Lopatin creates avant-garde, “guggenheim” style of electronic music under the name Oneohtrix Point Never. Eccojams has since became an early magnum opus in his career and in vaporwave. As Lopatin has stated in an interview:

“I remember reading this great philosopher named Julia Kristeva, a French feminist philosopher, and she says — generally, she says a lot of amazing things — but in this essay called “Powers of Horror” she talks about the abject things that come out that we have desire to see. So the things that we try to contain within us is like this pre-semiotic reality and society is the way we want to present ourselves. Like, we wear clothes, and things are not coming out, there’s no excrement or whatever.”

Lopatin feels a certain attitude of deracination towards everything (a term of praise for a postmodern philosopher). It is very common in the vaporwave genre to express feelings of consumer nihilism. And often this flirtation with so-called cutting-edge postmodern philosophy makes everything more pretentious.

Another important release to come out of the vaporwave canon was Mactintosh Plus’s Floral Shoppe. Its iconic album art, featuring that Greek bust, has become staple for all jokes about vaporwave. It was also the primary influence on the emergence of fashwave.

However, the album’s creator goes by the name “Ramona Andra Xavier,” a non-cisgendered person of color. Xavier was also in email contact with Lopatin, making this social connection all too conspiratorial.

In a popular YouTube documentary about the history of vaporwave, the narrator, Wolfenstien OS X, defines the fall of vaporwave after the adoption of the Floral Shoppe consumer ideology it promoted (6:40):

“This ideal for the genre continue to dominate the tone of most vaporwave releases… This gave the genre a bad rap as it seemed to be stagnant in its development and was doomed to be an awkward phase of music, which was shallow in meaning and production quality. Eventually most releases were horribly put together messes just to undermine the true essence of what of the genre was about.”

Traditionally, vaporwave was “hyponagogic,” meaning that the music was to evoke a dreamlike state and certain feelings of nostalgia in the listener. This is why often vaporwave releases are slowed-down versions popular songs, creating an otherworldly muzak. The genre took other names like “mall-soft,” or the rave style of “hardvapour.” This is what retro-wave music also does, as it feeds into nostalgia for 1980s synthpop.

It is very popular for vaporwave to be exclusively released on cassette tapes. Bandcamp.com has outsourced the entire genre through their website. Cassette runs are often limited to 30-60 copies and fetch high prices on Discogs and Ebay. Vaporwave dared to challenge the market of cassette culture by creating a genre of music that resembles nostalgic artifacts. Rather, as Wolfenstein OS X explains, it is “post-music,” and the genre is not to be casually listened to like “music,” but to be enjoyed for the fact of its own existence. Popular vaporwave cassettes are judged and sold on the fact that it gives the listener feelings of escapism.

There is even an essential guide to vaporwave, which is a good introduction to the genre. Not all of the music is good. In fact, most of it is bad. There are probably two or three albums you will admire from the list. I strongly believe the purpose of this guide and Wolfenstein OS X’s vaporwave documentary was to sell more cassettes from the Dream Catalogue label.

I believe that vaporwave is inherently reactionary, because it is nostalgic. But there is also something decadent about vaporwave. Music is being solely created as pretty pieces of artwork. Everything is alienated, and nothing meaningful is being established. Postmodern philosophy is running rampant, while SWPL hipsters use its logic to justify the genre. And ever since Eccojams, this formula has been regurgitating in the Bandcamp marketplace. It is an anonymous 4chan culture of “post-music” that has no greater meaning. This is the globalist agenda of vaporwave. It only wants you to buy more cassettes from Bandcamp while pretending you are an expert on Deleuze.

The genre of vaporwave has become a tool for chan culture, and thus it was only natural for The Daily Stormer trolls to take advantage of it. Thus, fashwave was created to instill meaning back into the vaporwave movement.

Fashwave’s most important acts are Xurious and Cybernazi. Both Xurious and Cybernazi typically create retro-futuristic, italo-disco-style music that differs from the hypnogogic style of releases of Eccojams and Floral Shoppe.

Xurious has played at NPI and conceives his target audience as the Alt Right. Cybernazi does the same thing, but remains anonymous over the internet. Fashwave is stuck in the Right-wing ghetto, as it became solely a vaporwave “cultural appropriation” for the Alt Right. I understand Right-wing genres of music can embrace everyone from Death In June and Peste Noire to Taylor Swift. The similarity is that these acts all openly or implicitly touch upon our people and our interests.

Since most of the Alt Right movement listens to Xurious, Cybernazi, and horrible “Weird Al” Yankovic neo-nazi dubs of pop songs, it’s a mistake to think fashwave is an up and coming music genre. It will soon die in its right-wing ghetto, until a new popular music genre will appear. And then the far-Right will appropriate that new genre for its audience, leading to another liberal hit piece.

But fashwave is just too good to confine itself to the Right-wing ghetto. To make a real impact on the culture, fashwave must adopt a “today the Alt Right, tomorrow the world” ethos. We have to make fashwave global.

The way forward has been blazed by Blank Banshee. If there is one major vaporwave act that is influencing music today that a healthy Right-wing person could like, my suggestion is Blank Banshee.

Blank Banshee is targeting inner-city hipsters and a majority of people who are just discovering vaporwave. Blank Banshee, or Patrick Driscoll, is an authoritative figure of post-vaporwave. Oneohtrix Point Never is too busy creating globalist friendly artsy music, and Vektroid is too arrogant, chasing after “scene” credibility.

Blank Banshee came into the genre as the first “vapor trap” act. That is a mix between vaporwave and trap music. His debut album, 0, was a viral meme and snowballed the success of his music career.

But perhaps Blank Banshee’s most loved album is 1, his second album. On the album, “Ecozones” is a tribute to Donkey Kong Country’s Aquatic Ambience. “Anxiety Online,” “LSD Polyphony,” “Big Gulp,” and “Cyber Slums” are some of the best vaporwave dance songs ever released. But tracks like “Doldrum Corp,” “Realization,” and “Paradise Disc,” bring about a certain aesthetic dream vision, more than what fashwave has tried to impose. What makes this album stand out are the CGI visuals that accompany the songs during live performance. It is very difficult for any artist to create such a Gesamtkunstwerk.

It is assumed that Blank Banshee created all the visuals to go along with the release. He is also said to have released some CD-Rs in the Chinese black market (this might be a joke). He shares a penchant for anonymity with another electronic act, Boards of Canada. Boards of Canada is known for avoiding all interviews and giving little information about their releases, yet they have a giant fan base, including a Fox News reporter. Blank Banshee wears a mask like Death in June and hides from all public interviews. His live performances include a giant movie projector of his animations, as he triggers samples from his MPC controller. His music ranges from sample snippets of video games to anime, from Super Mario 64to Akira, with lush and atmospheric hip-hop beats and textures. It supersedes the boring mall muzak of Eccojams and approaches a new form of pop music that truly envisions a new future.

Blank Banshee has released all of his albums on cassette, which quickly sold out during the Christmas season of 2017. His debut 2017 tour was very promising as it was the first major “vaporwave” act to tour the United States and Canada.

Blank Banshee does not align his music with any political ideology and is quite playful with his art. It is hard to admire something that is egalitarian and Marxist or the creeping postmodern message that is trying to latch onto vaporwave. But listening to fashwave, just because it is “fashy,” is stubborn and self-defeating.

At its core, the vaporwave genre nostalgically admires the past: VHS tapes, electronic synthesizers, retro-futuristic cars, vector grids, vintage arcade games, bad consumer products, Japanese culture, etc. Subverting it with fascist imagery is not enough. Death in June is a master at this collage art. Let’s just leave it to him.

Vaporwave is the music of the future. If vaporwave is inherently reactionary, nostalgic, and retro-futurist, it is already Right-wing. The whole thing is Right-wing. Not just the fashwave secession. What I would like to see is a critical discourse that accompanies and interprets the vaporwave genre as an essentially anti-liberal art form sprung from a sincere longing for the future we were promised but denied, without cutting itself on edgy National Socialist and Evola memes. Sure, people will try to trot out Capitalism and Schizophrenia, but  it’s up to us to call out such errors in thinking. It is up to us to construct a dominant anti-liberal paradigm to eventually turn vaporwave discourse, and the music itself, against the globalist nihilism and transhumanist philosophy of Eccojams and Floral Shoppe.

Fashwave is dead! Long live fashwave!

 

Sunday, December 24, 2017

Truth and Fantasy

If you read a white nationalist publication like counter-currents, often the argument is that they are providing the “truth” on their side. This truth is based upon objective and grounded reality. This can range from race studies, classical philosophy, and The Bell Curve.

What makes white nationalism and the Alt-Right so appealing to our generation, is not only that it is anti-liberal in nature, but it offers Sargon-of-Akkad-tier arguments for the truth which millennials have been fogged over by the boomers. Once someone goes 1488, they can never switch back over to a Marxist ideology. Why is that? Because truth is on the white nationalist side.

Marxist have created a utopian dream society that can only be realized through social engineering and propaganda. In other words, there is a trans humanist war against the natural world. Marxists are rebelling against mother nature, and ethnonationalists are trying to find commune within nature (creating a “human bio-diversity” future and Martin Heidegger style socialism).

This spiritual war is between two parties. Yet, the argument is twofold. Ethnonationalists believe you should come to their side because they have the truth, while Marxist believe we should fight against all forms of oppression and create the selfish society we want to live in as individuals.

…Both unfortunately seem to be wrong.

Marxists are wrong for many reasons, but white nationalists are wrong for assuming radical honesty is the answer. There is nothing wrong with being honest. In fact, I hate people who are inauthentic and hypocritical, even those who show one drop of it. What white nationalists do not understand is that youth is a motivator for truth.

Often drug-addicted and perverted nazis will say that “youth is a folly and everything I learned from my cultural Marxist professors was wrong. If only I had been more ‘based’ and became a Traditionalist I would have found greater meaning in life.” Millennials, now hitting their mid 20s, are going through something similar.

Liberals tend to call this “woke,” while the Alt-Right says its taking the “red pill.” (Personally, I believe these coming-to-age terminologies are postmodern in nature and divide the individual with irony and eclecticism). Youth was only a “phase” for them and nothing special. It was the loss of innocence handed over to guilt created the complex scientist-playing-god adult. Right?

I am very skeptical (and have intense hatred) for the individual who claims they are an “adult” now. (Because they drink beer, smoke cigarettes, work a full-tine job, use tinder for inane and disgusting one night stands, do drugs at “parties,” swear like a sailor, while upholding that they are someone the descendent of Socrates).

Religion has proven throughout time that humanity needs to build civilization in order to go forward. That means morals and ethics must be enforced. A true man against the kali yuga role-plays the Christ figure. Someone must become a martyr in order to show this decadent world there is hope in humanity. I am strong advocate of Rene Girard’s philosophy.

“Adultism" runs rampant in society by those who are irresponsible. “When you’re 30, you will realize there is more to life than partying!” (ironically said by someone who did those same things), and “I am 22 years old and I can work at Apple!” (said by someone who lacks experience and is full of arrogance).

Life is an ongoing journey through wisdom and knowledge, and any healthy human being should grow, not die, as they age. Faulty conclusions are reached at certain points, such as the The Asian Feminist Fallacy. Or that the adult is still a kid trapped inside a grown-up body. It should be a priority for every human being to contribute towards society and create a greater civilization for future generations.

…But all of this I have just written… is any of it grounded in “truth?” It sounds like it. But what if one does something different to achieve a greater society, like through Asian-Aryanism or Marxism? A white nationalist would argue that both are living in a dream bubble. That a magazine like Cosmopolitan sells dreams. And now pornography controls our sexuality. 

In 2017, we live in a society behind computer screens and communicate writing digital letters. We use virtual avatars to represent ourselves and play video games for fun. The outside world is becoming bleak and darker, as the white people who consume in this technology run away from the nature of the world. Technology progresses and the population is booming. The western world is becoming “Asianized.”

All of this is a fantasy, yet in practical terms, it is becoming a reality. White nationalists argue that by reversing such trends, whites could find the Heidegger-style “truth” and make rational, Christian choice. White men would then choose white women simply because “it’s for the greater good.” Again, where is this greater good if everyone is already enjoying watching anime and watching Lauren Rose videos?

For all the white people that end up reproducing with other white people, they will have to grow another generation of “racially aware” whites, preferring them over the seething masses of nonwhites. (maybe something like The Node will happen). This hyper-conscious attempt to uphold society is based upon anxiety and racial duty. And white nationalism will continue to argue that it is based upon the “truth.” In other words, if you can imagine the philosophy of Martin Heidegger becoming a movement, it would be ethnonationalism.

That is not to say Martin Heidegger is wrong. But the radical attempts to try and box people away from their own freedom of association is wrong. White people have an amazing trait to go beyond the limit of mother nature, and in doing so, they wish to create something much greater in life. White people have created rockets to the moon and modern forms of art.

In a bleak world full of nonwhites, white people will not be there to create the progressing future. It’s why I subscribe to ethnonationalism. But at the same time, ultimately, I am a eurasian futurist. I am an anti-liberal at heart trying to find the right system that will cause the least conflict and make every person on earth happy.

A communist country can exist over there, and a Spencer all-white-utopia down there. But I would like to live in that hip place over there, that has all the whites, Asians, and Eurasians living together in harmony. That is ethnonationalism in a nutshell.

And still, there are Nazis who claim that any form of coexistence and biculturalism is wrong and not based upon “truth.” If they had it their way, they would eliminate the future possibility of a bicultural or mixed-race person. Either they are “red” or they are “blue.”

Truth does exist. We often have fantasies about our future. We can make our dreams become a reality if we work hard to achieve them. Most normies live in fantasies they learn from watching television and browsing the internet. Obviously if someone is “gay,” 30% of the country must be gay too! And if Enid from OK KO: Let’s Be Friends is a black, purple haired ninja girl, well, there must be a person like her in this world.

René Girard argued that life is about the mimic throes. People desire what other people want. “If he has an Asian girlfriend, then I want an Asian girlfriend too!”

Is it bad life is based upon envy, jealously, and dreams to escape reality? There are negative consequences that a smart person must realize in order to overcome. But desires don’t change.

I know too many white nationalists that once had Asian girlfriends in their youth (and had sex with them), only then to “grow up” and say “I’m into traditionalist white girls now and the alt-right is the future.” This is a great example of hypocrisy, inauthenticity, and stupidity.

People who do this are denying their true nature. They are running away from their true desires of life to pursue something that is artificial and not them. As Girard puts it, they take the life of someone else. Other symptoms, like depressions and lack of confidence might be a motivator of this action. But ultimately, I strongly believe it has to do with stupidity, adults, and true immaturity.

And these same people will tell you “truth” is on their side. Mind you, it’s a trick for hipster racism. Watch out. Realize its they who are misguided in life and sin by becoming too “edgy” for preening purposes.

If there was any truth to this, they want life to become like an anime.

The argument they make is the same Ryan Anderson makes in The Birth of Prudence. “Well, it has nothing to do with the fact that she is Asian, but, choosing white over Asian is the right thing to do.” I also assume Ryan is guilty of Asian-sexual desires. But he doubles down and pretends he’s doing the “right” thing. Why would you write a book in the first place? 

To refute Asian-Aryanism? No. It’s about himself. This “truth” veneer is quite dangerous for most young people. It denies their desires and gives into “truth-nihilism.” A bleak system of “well it doesn’t accord with white nationalism, so I can’t truly respect this piece of art.”

Millennials are trying so hard to be unique. But in the end, they are still snowflakes. Just like me.