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."

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