Saturday, January 16, 2010

Problems of the Failure of Reason to Predict Emotions.

We value the ‘rational’ life because there’s a certain logic and consistency to reason. We prefer order to chaos–well, maybe not in rock music and sports(though they too require basic order or form at the core. Thus, we have a tendency to project reason onto emotions. Since it may be possible to predict result B following from action A, there is a temptation to believe that action A will not only lead to result B but produce emotion B. But, the emotional side of the equation has its own logic–or illogic, as the case may be.
 
Long ago, I had a friend who took home a stray puppy. He intended to take care of the pitiful creature marked by much suffering. But, the puppy had too many behavioral problems, and my friend gave up on the dog. So, he thought the most humane thing would be to take it to the anti-cruelty society and have it put to sleep. He figured or rationally predicted he wouldn’t feel so bad since the dog would be peacefully laid to rest and suffer no longer.
It didn’t turn out that way. His emotional prediction had been way off the mark. He went into a deep funk. He thought he was doing the wretched dog a favor–since he’d saved it from homelessness and sent it into eternal sleep–, but he was overcome with grief and guilt the moment he called the anti-cruelty society and confirmed what happened. It was no surprise that the puppy would be put to sleep since it had behavioral problems. Indeed, his mood was rather upbeat prior to the phone call. But, the news made his emotions spiral downward. He got me worried because he called me everyday to talk about it for like 3 months. It got me depressed too–if only because I had better things to do than emote over the phone with some whimpering dude. At any rate, his rational prediction about his emotional state proved to be utterly wrong.
 
I knew of a similar case involving a young woman who had an abortion. She was one of those annoying liberal types, but I’d known her pretty well in college, and we kept in touch for awhile. She was working, doing okay, and living the sex-and-the-city lifestyle before the stupid show even aired. Anyway, to make things short, she got pregnant from unprotected sex and decided to abort the child. She asked me for advice, and I didn’t really offer any except to say she ought to do what she felt was right. She figured she was too young to have a kid–and besides she didn’t really care for the guy and vice versa–, and the smart(and modern) thing seemed to be rid of the kid. Of course, she knew it would be an unpleasant experience but still thought she would get over it quickly. Now, it is true that many women–especially Negresses and white trash–suffer no great emotional pain following an abortion, but in the case of my friend, the emotional prediction had been the equivalent of an air ball. Like the guy who had the puppy put to death, she was overcome with severe depression and guilt-borne trauma for a long time.
 
Now, consider feminism and all that it promised. The radical new order would liberate women, raise their consciousness, bring forth new happiness, and so on. But, how did a lot of women really end up feeling in the feminist and post-feminist era? They found out that life is still what it is–a bitch–, and there is no pot of gold–nor even potted ham–at the end of the rainbow.
Many women had thought they would do just fine without men and children, but approaching their 40s they looked around and grew envious of women with family. They began to feel alone, isolated, and dejected. They thought they would be young and vibrant forever and surrounded by ‘sisters’, but not only were their youth passing away but many ‘sisters’ had gotten married and were busy with their own families. ‘Liberated’ women tried to compensate for their loneliness by striving for more money and power, but they felt emptier and emptier. (Besides, the fact remains that only a tiny percentage of the population–male or female–will make big bucks or gain major power. Most people, despite their effort, will remain working stiffs–even if relatively well-paid working stiffs.)
The point the emotional aspect didn’t work out as the feminists had predicted. Feminists had been convinced of the ideological and rational infallibility of their movement and thought that human–or womyn–emotions would follow suit upon changes in the socio-economic realm. In truth, emotions, though connected to and shaped by the rational mind, swirl in a deeper and darker pool.
Emotions have a way of overriding, violating, subverting, or defacing ideological or rational justifications and certitudes. Thus, no ideology or thought system–including religions–can map out or predict human emotions perfectly. There are predictable emotions to be sure: if you lose all your life savings, you’ll be very upset–no shit. But, more often than not, ideologies or rationales tend to repress or deny certain deep or basic emotions that make up our inner souls.
Thus, communism did not bring forth happiness for all ‘comrades’ as it had predicted. Thus, a man who thinks money and/or power brings happiness may find misery upon success. Thus, a woman who chooses a career over home & hearth may not be happy in the rat race. Conversely, a woman who tells herself that she will be content as a simple housewife may end up feeling depressed and trapped.
The important thing is to know that different people have different personalities just like no two cats or dogs are ever alike. Thus, what may be true of one person may not be true of another person. Different people feel varying degrees of sensitivity, guilt, self-doubt, confidence, and so forth. Ideologies or rational systems argue that there is a universal or collective one-size-fits-all for all people or for everyone within the group. This simply isn’t so.
 
Richard Nixon thought his political career was over when he lost to Kennedy and then the gubernatorial race. In 1968, he saw his star rise again and CONSCIOUSLY+ thought he would be truly happy and grateful IF he won the presidency. Yet, he was not a happy president, and his emotional instability led to the catastrophe of Watergate. He–and those closest to him–had thought the presidency would make a new person out of him, but it didn’t. He turned darker and more morose.
 
In 2008, many Americans thought a bright new era would be upon the nation with the election of Barack Obama. They didn’t merely support Obama politically but emotionally invested their heart and soul into Obama-ism and Obama movement. Many educated and intellectual people who prided themselves on their rationalism THOUGHT Obama would change everything. If people who take pride in their rationalism ‘think’ and feel like this, what does it say about the relation between the mind and emotion? Not only is the mind often wrong about the future of one’s emotions but what passes for rational thought is, as often as not, drugged by emotions.
Indeed, even if Obama had done everything to the delight of stupid white liberals, many ‘progressives’ were bound to feel let down by the fact that Obama there is no happy ending in life.
 
Sometimes, emotional letdowns follow rationalist promises because promises are often not forthcoming–true of communism and other radical ideologies–, but even when the promises are delivered the emotions one had expected fail to materialize or may even be eclipsed by opposite emotions. Why do so many dream marriages fall apart? For example, celebrities get all excited about marrying someone equally famous in a glamorous star-studded ceremony, but the minute it’s over, it’s a downer. Or, consider the movie "The Graduate" where Benjamin Braddock thinks he’ll be happy forever if he wins the girl, but he feels empty when he does. This is all common knowledge, but in the realm of politics we keep foolishly dreaming of Hope and Change, the City on the Hill, or some kind of Deliverance. Even the most secular, well-educated, and rational people think higher happiness can be attained through utopianism. Perhaps, the Founding Fathers were wise to talk of ‘pursuit of happiness’ than happiness itself. They didn’t promise happiness to the American people through government or ideology. They only said people should be free to pursue their own happiness, with an added implication that happiness is really in the chase than in the destination of which there is no final one.
 
Perhaps, there’s something in the human psyche that thinks and feels this way. Maybe, evolution favored this kind of trait. After all, those who get all excited about the prospect of great victory, triumph, happiness, and riches are more likely to be motivated to go out and achieve something. Upon reaching his goal, he may feel an emotional letdown as his emotional expectations hadn’t materialized, but the letdown may motivate him to pursue yet another Great dream, vision, or idea. Consider that Alexander the Great didn’t initially plan to conquer the entire world. But, every time he conquered a new piece of land, he felt empty, a kind of ‘been there, done that’ before a Roman coined the term. Thus, he had to keep looking for newer conquests. Alexander learned that the happiness was in the searching, in the expectation of great things. Same must be true of politicians and businessmen. They seek the dream of happiness by pursuit of ever greater power or wealth, and they gain our support or money by promising us greater happiness if we vote for them or buy their products/services. Things nearby look commonplace while things far away–in time or distance–seem alluring. So, you go for new discoveries, conquests, or progress, but once you have them and the initial novelty passes, they too become commonplace or depressing. Thus, you set out for yet newer discoveries and conquests. Genghis Khan was probably motivated by a similar kind of mindset.
In this sense, it is our profound unwisdom–search for the impossible El Dorado–which drives us toward newer and greater(and sometimes reckless and dangerous)possibilities. Of course, even if we were to find an actual El Dorado, we shall never find an emotional El Dorado for human nature turns gold into lead upon contact. King Midas got his wish, and everything he touched turned into gold which became common as lead and burdensome as chains around his legs.
In a way, this is necessary for our minds need to achieve emotional equilibrium upon finding happiness or pleasure. If we were excited or thrilled by our achievements or acquisitions 24/7, our neurons would burn up from too much ecstasy. A star that shines brightly burns out quicker. If a person had a non-stop orgasm, his or her nerves would turn to cinder soon enough. Why do meth addicts deteriorate so quickly? Meth heightens their sense of pleasure, in the process overcharging and frying out the nervous system and much else.
 
Anyway, the thing is to know that what you think you’ll feel and what you’ll really feel are two different things.
 

Friday, January 15, 2010

Are Nations Artificial or Natural Constructs? What Is the True Nature of Globalism?



It’s often been said by the Left and even by the Right that nations or political/cultural/ethnic boundaries are artificial or created by man. In other words, nothing ordains Germany, France, Vietnam, Mexico, or Canada as natural entities. They were all created by man or tribes of men, and thus they are said to be ‘artificial’ or ‘imagined’ communities.
After all, a deer doesn’t understand the meaning of border between Canada and the United States. A bird doesn’t know it’s flying from Mexico to the US nor vice versa. A bear in Russia doesn’t know it may be crossing into some Central Asian republic. An elephant in South Africa doesn’t know it’s crossing into Zimbabwe. Nature doesn’t recognize any of the borders and boundaries established by man.
 
And yet, even if nations don’t exist in nature, don’t they exist because of our (inner)nature? There are two aspects to nature, after all. There is external nature and internal nature. External nature comprises rocks, rivers, trees, hills, mountains, oceans, and flesh and bone. Internal nature consists of how living organisms perceive, respond to, and mold natural reality. All higher life forms function in external nature through their internal nature. Nature isn’t just WHAT IT IS but HOW IT APPEARS to a particular organism.
Thus, even though the internal natures of various organisms are different–i.e. they mentally and emotionally perceive and order reality in different ways–, the fact remains that a genuinely natural force shapes their perception and behavior. In this sense, even if nations are indeed artificial creations, one may argue that national-ism is a natural emotion–a complex variation of the territorial instinct. If true, nations are, at the very least, creations of internal nature–projection of human nature on external nature. Even if nations rise and fall or national boundaries shift over time, there is something within the natural heart and mind of man that favors ‘tribal’ boundaries. Indeed, nothing is fixed in external nature. Mountains rise sky high but eventually crumble away, glaciers form and melt, rivers dry up, continents break apart and form new land masses. But, the natural forces that create mountains and rivers remain constant. Just as there are certain natural constants–laws or forces of nature such as gravity, electro-magnetism, etc–that exert their power on and transform external nature(or physical reality), there are certain instinctive or psychological constants(or laws of internal nature) within organisms which drive their external selves–physical bodies and behavior–to work on and re-order the natural reality around them. Mountains may rise sky high and erode over time, but gravity is always in play. Nations may rise and fall, but the territorial mentality is a psychological constant of internal nature.
 
Though Leftists will say borders and boundaries are the artificial creations of foolish man, few things are as natural as territoriality or territorialism. Indeed, we see it in the wild world itself. To a layman or New Age romantic, it may seem as though animals run or roam free. As children, we grew up watching movies like BORN FREE or FREE WILLY. But, do animals run or roam free? Or, do they follow or obey their particular internal natures. In truth, a bear or a pack of wolves do not run or roam freely. They are constantly MARKING TERRITORY. Thus, the ‘nationalist’ instinct already exists in the primal animal level. Man elaborated it into a political creed. Though a bear marks his territory differently than how wolves or cougars do it, each animal is keen to mark his territory as distinct, especially to warn off rival members of its own species. Thus, though a bear and wolves may occupy the roughly the same territory, a bear will defend his territory from other bears, and wolves will defend their territory from other wolves. Of course, these markings are not eternal or permanent. One bear may lose his territory to another bear. A pack of wolves may take over the territory of another. But, if there is a natural constant in all of this, it’s the INTERNAL NATURE of organisms. Who is to say internal nature is any less natural than external nature? That would be like saying gravity is less natural than mountains.
 
The territorial imperative may seem aggressive, nasty, mean-spirited, and vicious in both animals and man, but it is necessary in order for organisms to compete for scarce resources and ensure their survival. Territorialism is also necessary to reduce violence between males of the species who compete for the attentions of females. Take wolves for instance. Wolves may have to hunt all day to bring down a deer or moose. Thus, they mark a territory as their own so as to concentrate on the hunt than on fighting other wolf packs that might intrude on their turf. Without well-marked territories, rival wolf packs will stumble into one another’s path far more often. This is also true of bears, cougars, or any other animal one may mention. Even herbivores mark territory as the males–or even the females–among horses, elks, moose, buffalos, and elephants fight one another out of fear, suspicion, or panic. The rule of internal nature is not "this land is my land, this land is your land" but "THIS land is MY land, THAT land is YOUR land." The territorial imperative is the basis for much violence, but there would be even more violence without it. Territorial imperative at least ensures that the violence will take place along marked borders. Thus, if two nations were to fight, they would fight along the border areas than in all areas. If one side were to conquer the other, new borders would be drawn; it would be the expansion than a nullification of territorialism. (To be sure, air power has given us the TOTAL WAR where all areas of the nation are instantly vulnerable to attack.)
Without the territorial imperative, there would be violence EVERYWHERE at ALL TIMES since no place would be safe from the constant flux of peoples from all over the world with different values, cultures, and ideas. If animals didn’t mark nor delineate territories in nature, they would likely cross into each other’s path far more often. This is why we see cats and dogs peeing on trees wherever they go. They are marking territory or checking to see if the territory ‘belongs’ to some other dog or cat. This is why tigers pee in various spots in the forest. The pee is meant as a warning to other tigers: ‘this here is my land.’ If animals cannot find sufficient food or mates on their own marked territory, they’ll try to take over the territory of others of their species. Thus, if a wolf pack has lean pickings on its own territory, it may wage war on the territory of another wolf pack. In the process, territories may be redrawn but the territorial imperative or instinct remains the one natural constant.
 
So, even if nations are not natural geographical realities, they are natural psychological realities. Organisms, whether they be wolves or humans, don’t just live physically in the natural world but re-order the natural world to suit their psycho-survivalist interests. This re-ordering of nature is profoundly influenced if not entirely determined by the psychologies of organisms. This is as true under the sea as above on ground.
To be sure, certain organisms are oriented more towards nomadism than others. This is especially true of birds and whales. As such, they may bump into and cause more problems because they end up violating the spaces of other organisms. On the other hand, the survival of other species rely on the arrival of the ‘nomadic’ species as there is a mutually beneficial ecology or symbiotic relationships among many species.
Nomadic animals are not to be confused with nomadism commonly associated with Jews. No animal I can think of is nomadic on principle; it moves about in search for food during lean times or in search of mates. As for birds and whales, they are more migratory than nomadic. Their human equivalents would be Mexican migrant workers who seasonably move up north to work as farm laborers and then go back to their homes in south of the border. There is an established pattern in migration whereas nomadic peoples–like the Jews–tend to be more creative, adventurous, and ambitious in their wandering about the world. Nor should nomadic types be confused with discoverer types. Discoverers are seduced by the great unknown, the dark mystery, of going where no man has gone before. Though there are plenty of modern Jewish individuals who are like that, Jews have historically been nomads than discoverers. Even if nomads tend to be more creative and adaptive in their wandering than migratory people are, they generally seek out the KNOWN world than seek NEW worlds. Jewish nomads sought out cities where they could ply their trade and work themselves up by manipulating the system of the gentiles. In the movie EUREKA by Nicholas Roeg, Gene Hackman is the discoverer type whereas Joe Pesci, in the role of the cunning Jew, is the nomadic type. In the end, the discoverer is bound to lose to the nomad. The discoverer is romantic and loses the torch of inspiration when there’s nothing more to discover. There’s something childlike in his need for excitement. The nomad, on the other hand, is an inheritor of a long tradition. He isn’t tempted by excitement and thrill but by a patient and ruthless craving for more money and power.
 
For obvious reasons, humans make special territorial claims on land. We are land creatures and nothing is as valuable to us. Water is valuable too–fresh water for drinking and washing, rivers for travel and shipping, and oceans for food and sea routes. But, it’s not as easy to claim ownership of the seas, thus most of the ocean is an open space accessible to all nations. Land is solid, something we can stand on, defend readily, and drive stakes through or build walls around. Power over the land is more permanent than power over the seas. Russia is still a huge nation whereas the British Empire came to mean little in the long run since its main possession was the seas.
 
Jews could not lay claim to most lands ruled by gentiles. They did carve out a piece of territory for themselves by committing genocide against Canaanites and Philistines but lost even that–until it was reclaimed in 1948 with the support of US and USSR. Since Jews could not lay claim to land, they laid claim to the heavens. Their concept of ownership became abstract, spiritual, intellectual, and/or idealized. Jews believed that even if they owned no land or were kicked out of various lands dominated by hostile goyim, the heavens belonged to them because the One and Only God ruled all the heavens.
Similarly, Jews played a crucial role in the development of an abstract form of wealth based on paper contracts and money. Through such means, Jews could come to own the world even if they didn’t occupy much land. Their wealth was all there on paper handled by lawyers, ensured by politicians, and enforced by lawmen who must follow the letter of the law formulated by lawyers and legislated by politicians(bought by the super-rich).
 
Another way Jews laid claim to all the world was through the idea of universal spiritual/moral righteousness or social justice. Jesus(and especially Paul)got this ball rolling by profoundly universalizing the Jewish God. To the Jews, Yahweh was the One and Only God of All the World but NOT all the people. According to Paul, Yahweh or Jehovah didn’t favor anyone but wanted ALL people to worship Him and earn His blessing. Paul turned God against the Jews. He said Jews are stingy & petty, and want to keep the One and Only God all to themselves. Paul argued that Jesus was the bridge between what had formerly been the Jewish God and all of humanity.
This was a new kind of (abstract)territorialism, one that sought to conquer and occupy the hearts of all men around the world, and it’s not surprising that this idea arose from the Jewish tradition. Jesus was a Jew, and Paul was a Hellenized Jew. People like Alexander the Great had sought to conquer the world in the literal or territorial manner. He didn’t expect nor necessarily desire for conquered peoples to adopt Greek ways. In some occasions, he even adopted the ways of the ‘barbarians’–if only to satiate his half-gay sensibilities. Greeks had a land of their own and sought to expand their territorial empire.
Since Jews were never strong in the area of territorial power, they developed a kind of meta-territorialism. They sought to control the world by controlling the hearts and minds of people around the world. To be sure, the original Jews were not interested in this. Though they developed monotheism, they were content with the idea that God was mainly for the Jews. But the arrival of Jesus and Paul changed all that. A new kind of universalist Jewish thought arose. In the beginning, almost all the Christians were Jews. They were seen as heretics by tribal Jews and distrusted as subversives by pagan peoples. But, their ideas eventually caught fire among the gentiles, and in time, Christianity became a gentile religion. Because of the notion that Jews-Killed-Jesus(plus the fact that far fewer Jews embraced the New Faith than did pagan peoples), it also became an anti-Jewish religion. Since gentiles owned large areas of land, Christianity eventually became a territorial religion. Christian universalism fused with territorial interests. As such, Christianity came to be associated particularly with Western power, just as Islam, though also universalist, came to be associated with the Near Eastern power.
 
Because of Jewish rejection of Christianity, this abstract creation of heretic Jews came to hurt the Jews. But, many Jews in the 19th and 20th centuries clung to another form of meta-territorialism, one devised by Karl Marx. Marxist communism condemned national boundaries and called for an eventual one-world order through the ideology of ‘social justice’. Though Marx didn’t see himself as a Jew, he thought in a typically Jewish fashion. He emphasized the Idea over Territory. His ideology sought to break down all barriers among nations and unite humanity through an idea. By laying claim to the hearts-and-minds of all peoples around the world, Jewish communists sought to control the entire world: Control the organism and you also control the territory on which it lives. Consider the distressing fact that though most of United States is inhabited by gentiles, it is like an extension of Israel or Jewtopia since the Jewish media networks control our hearts and minds.
 
Anyway, even communism failed to live up to the expectations of Jewish radicals. As most people in communist nations were gentiles whose consciousness had long been shaped by territorialism, communism too turned into form of nationalist ideology. Russian communism became Russian, Chinese communism became Chinese, Yugoslavian communism became Yugoslavian, Cuban communism became Cuban, and Vietnamese communism became Vietnamese. A branch of Jewish socialism morphed into Zionism.
 
In time, Jewish communists came to be seen and distrusted primarily as Jews in communist Russia, Hungary, Poland, Romania, and etc. Eventually, Jews figured that no OPENLY COERCIVE ideology can work in their interest in the long term. Though the radical Jews had tried to create the New Man, the New Man always seemed to revert to his territorial instincts, even as he spouted the New Values. Russians and Chinese, for instance, went on forever about the brotherhood-of-man but were really looking out for their national interests. And though the coercive system of communism had initially given radical Jews in Eastern Europe a political and social advantage over the gentiles, once the gentiles adopted communism and joined the system, they far outnumbered the Jews and used the COERCIVE system of communism against the Jews.
So, rather than the COERCIVE means of control–which could badly boomerang on the Jews–, the Jews came to favor a MANIPULATIVE means of control which they developed to cunning and devious perfection in the US. Since American Jews embrace ‘liberty and freedom’, even the most radical and hate-filled–anti-white, anti-Christian, or anti-American–Jews would be protected by the law. Thus, we are told over and over that Joe McCarthy was an evil man who violated constitutional rights through his ‘witch hunt’ against communists, many of whom were Jewish. (It doesn’t seem to bother Jews much that far more innocent Japanese-Americans were shipped to prison camps at the behest of their hero Franklin Delano Roosevelt.) By embracing ‘freedom of speech’ in America, Jews were protected from legal or political prosecution for their hideous radicalism and hostility.
But, since Jews also came to control much of the media, they got to decide who were good or bad, which groups were noble or tainted, which ideas or values were worthy or worthless. Though INDIVIDUAL liberty existed for ALL people thanks to the Constitution, INSTITUTIONAL liberty was concentrated in the power of the Jews. ‘Antisemitic’ individuals had the right of free speech but were not allowed any institutional power. How and why? Because Jews controlled so much of the economy and media, no politician or businessman wanted to be associated with ‘antisemitic’ ideas or positions. The Jewish media would shame and drag them through the mud if they were. Who got tarred-and-feathered in the public sphere was determined by the Jewish media. Jews not only had individual freedom but institutional power, and they used it brazenly and ruthlessly to shoot down anyone they didn’t like. Thus, even as the Jewish-dominated A.C.L.U. defended individual rights, its main purpose and effect was to protect the rights of radical Jews. ACLU might, on occasion, defend a ‘far right’ individual, but that was just tokenism, just for show. As long as Jews controlled all the INSTITUTIONAL power, individual liberty didn’t do much good for those opposed to Jewish power. How far could one get with his counter-Jewish message if he could express his views only to himself or his near friends and families–who were generally no less brainwashed by the liberal Jewish media and academia.
 
Of course, with the rise of the internet and a near-total Jewish control of laws, academia, new economy, and government, many Jews and their lobotomized/castrated gentile puppets are trying to curtail free speech altogether for those on the Right. Though Jews developed much of the internet and have made the most money from it, they feel threatened by the fact that the web is a medium where individual liberty and institutional power can be one and the same. Theoretically and even practically, anyone can access David Duke’s site just as easily as David Brooks’ site. Though the main hubs like Google, Yahoo, and Bing are controlled by liberals and Jews, we now have full and unfettered access to all kinds of ideas. Indeed, there is a lot of information about Jewish power that had never existed before in the MSM. Prior to the internet, anti- or counter-Jewish views were limited to few local journals or organizations without the means to expand their readership or membership since they weren’t allowed to gain institutional power or support. Through the internet, it doesn’t cost anything to gain access to email, social networking sites, forums, or blogs. An isolated right-wing geek in Montana can conceivably have as big an audience as Maureen Dowd or Arianna Huffington. It is for this reason that Google–a totally leftist Jewish enterprise–is fully behind Obama’s effort to let government control the internet. One may wonder why a private company would want government to gain such powers. It’s because liberal and neocon Jews also run the government. Obama may be an ideological socialist but he’s a puppet of the rich Jews who promoted him. Thus, Goldman Sachs was only happy to help ‘socialist’ Obama take power and get in return $100s of billions in ‘bail-out money.’ Finance capitalist Wall Street Jews are not afraid of the Obama administration since Obama’s economic handlers are all part of the Wall Street gang. They’ll go after Main Street, but they’ll make sure that their Jewish pals in Wall Street get theirs–before the rest of us get to nibble on left-over crumbs. Sure, Obama and Tim Geithner put on the seething-angry act over the CEO bonuses, but it’s just masquerade. Even with caps on their ‘salaries’, there are many ways these Wall Street sharks can tweak the system to rake in gazillions more.
 
So, even as we on the White Right have cause to be alarmed by the government takeover of internet, Google doesn’t mind since the kind of people who run the government are the liberal/leftist brethren of the Google Jews. Google Jews will say it’s for The People, but it’s really for themselves. I mean since when has the government been for the people except to drug them with ‘bread and circuses’, thus making them more stupid and dependent? Government takeover of the internet means liberal Jewish control of the internet. Google Jews know that ‘hate speech laws’ will only be applied against the White Right but never against the leftist/liberal Jews nor against most of their allies who are being funded/supported/manipulated by Jews against the white population.
 
Of course, Jews will insist that there would be no violation of Freedom of Speech since ‘hate speech is not free speech’. Jews know that gentiles are dumb and docile enough to swallow such nonsense. Besides, if their rational argument fails, liberal Jews will spiritually and emotionally trot out the usual stream of Holocaust imagery, black slavery, and so on. People will be so emotionally and morally bullied that even those who oppose ‘hate speech laws’ won’t step forward to stand on principles. They wouldn’t want to be smeared as "the vile creature that embraces hate and approves of skinheads and neo-nazis." Hate Crime Laws have come to a point where it’s against the law to say things which ‘might incite others to commit acts of violence’ against certain groups. But, this is purely selective. Marxists, black rappers, and Zionists often express views which encourage violence against property holders, businessmen, white people, and Palestinians, but they will never be dragged before a hate crime tribunal. No, the only people who will be targeted are those who speak out against Jewish power, the gay agenda, black lunacy, and illegal ‘immigration’.
 
Finally, let’s consider the issue of globalism and the NWO–New World Order. Is globalism really antithetical to territorialism or the territorial imperative? It may seem that way if we go by the statements from the Left and the Right. Many leftists promote the creation of a New World Order in the name of dissolving ‘tribal’, ‘xenophobic’, ‘atavistic’, ‘reactionary’, and ‘racist’ national boundaries. Many leftists were distressed by the fall of the USSR and the resurgence of nationalism in the former Soviet republics and in Yugoslavia. They want EU to succeed and then keep expanding into larger entities and invite the entire world; it is anathema in Europe to conflate nation with race and culture. Liberals often speak of a World Culture. Leftists promote a weird and funky ‘cosmopolitan’ blend of universalism and the cult of diversity–two ideas which are actually contradictory as mixing the entire world into one goulash will reduce the richness of diversity; after all diversity exists only because people developed separately from other peoples and cultures; it’s one thing to be open-minded and curious about other peoples and culture, but it’s quite another to invite the entire world to your country and promote a kind of mongrelization which does to human genetics what the Big Mac has done to world cuisine. If leftists promote internationalism in the name of the collective unity and brotherhood of man, libertarians promote it in the name of the free individual who isn’t bound to any nation, culture, or tribe.
 
The Right attacks globalism as an affront to national sovereignty and territorial integrity–and to the internal human nature of the territorial imperative. As barriers between nations dissolve and third world migration swamps the West, what will happen to national territorial claims? Of course, the Right in non-white nations also complain that globalism gives multi-national corporations–mostly Western–free access and reign over developing or ‘Third World’ countries. Globalism is not to be confused with international trade, which is a good thing. Trade is natural and can be mutually beneficial. In contrast, globalism is an ideology committed to creating the ‘global village’ whether the consequences are good or bad. It is a secular dogma, a religion. Closely connected to globalism is Free Trade, which too can be good in practice but dangerous as an ideology. Free trade is good for a nation if it has more or as much to sell as to buy. It is detrimental if it perpetually buys more than sells. After WWII, free trade was good for the US, and US had every right to promote it for national interest. But, as other nations caught up and devised national economic strategies, free trade turned into Free Trade, an ideology which said US must commit to free trade even if it were bad for the US. Ideologies tend toward dogmatism and radicalism.
So, one could make a case that globalism is a ruthless and naive form of utopianism that goes against territorialism, which is part of human nature. But, there is another way of seeing globalism, and this views is shared by people on the alternative right and the radical left–albeit for different reasons. The radical left sees globalism as essentially a form of neo-colonialism or neo-imperialism. It is not an equitable or egalitarian way of uniting the world but a means by which Western Imperialists reclaim the territories they’d lost after WWII. This view is popular in the less successful parts of the developing world–Latin America(except successful Chile), Africa, and the Middle East especially. East Asians and increasingly Asian-Indians are less likely to share this view since they’ve been able to intelligently use globalism for their own national benefit; consider the rise of China and India in the past two decades. But, in nations like Bolivia, Mexico, Venezuela, Yemen, Egypt, and Nigeria–where the elites are utterly corrupt and the masses are hopelessly inept–, globalism is perceived as a means by which the West seeks to re-exploit their old colonies which had been ‘liberated’ in the 1950s and 60s. And, there are many Western leftists who agree with this Neo-Marxist view that globalism is really neo-imperialism in disguise. (Also keep in mind that many Middle Easterners see Zionism as a means why which the West re-conquered the Holy Land through a modern crusade fronted by the Jews.)
 
Some–though not all–on the ALTERNATIVE Right also agree that territorialism is alive and well in globalism, but they see the main form as neo-aristocratic than neo-imperialist. The Alternative Right doesn’t see the conflict within globalism as between West vs the Rest but between the elites and the masses. What the Alternative Right fears is a re-emergence of the aristocratic world order akin to the pre-French Revolution world.
Of course, this NWO is said to be liberal, progressive, and based on Enlightenment principles–flowing from the French Revolution–, but look more closely, and one is reminded of the saying, "the more things change, the more they remain the same." Prior to the great but violent French Revolution, the kings and noblemen generally looked down on the masses. Though kings and noblemen fought amongst one another on occasion, they considered each other as members of the same royal tribe. Kings and noblemen felt little sympathy or connection with their own people. A Prussian King was likely to feel closer to the Austrian Emperor or French King than to his own people. Though kings and princes carefully guarded their domains, they identified with others of their blood and class than with the ‘rabble’.
This changed with the great French Revolution which gave The People a chance to rise up and fight for their freedom and rights. Though it turned ugly and led to one bloodbath after another, the French Revolution did much good for people power. The leaders of the Revolution represented their own people and didn’t identify with the kings and noblemen of other countries. Though Napoleon made himself emperor, he was the People’s Emperor. The French masses loved and honored him like no people ever had loved their leader. People who lived under kings had to bow down before the royal pompous ass who held his nose up at his own subjects. But, Napoleon inhaled the spirit of the masses, body odor and all. He turned out to be a looney-bin megalomaniac, but he was truly a revolutionary figure who forged an iron bond with his people. The French people weren’t his subjects but his supporters.
Though Napoleon ultimately failed and revolutionary France eventually lost the war, they did shake up Europe enough for two decades to politically and socially re-order the whole of the European continent. Though the aristocratic forces regained power in 1815, there was no way they could put the genie back in the bottle. All the king’s men couldn’t put Humpty Dumpty back together again. Nationalism was the new reality, and even kings and aristocrats could no longer simply lord over their people but had to represent and respect them. Though kings and aristocrats in the 19th century up to the first World War maintained warm and close relations with one another, they had to appeal to the masses in their own countries. Everything had to be wrapped in nationalism, and as such, the people came to matter more in the political equation. But, what eventually gave nationalism a bad name? The ensuing bloodbath of World War I and all the diabolical forces it unleashed across the whole spectrum of the right to the left. Some of these forces were ultra-nationalist–Nazism–while others were ultra-anti-nationalist–communism. If Nazism turned nationalism into a demented ideology, communism turned universalism into a bloody hammer. Of course, one could argue that Hitler was a pan-racist than a true nationalist and that communism turned out to be no less nationalist in the end. But, the horrors of WWII came to be interpreted as the evil products of nationalism–and imperialism–, and the educated elites of the West have been reluctant or nervous to embrace nationalism in any form.
 
So, even though nationalism continued to be a powerful force after WWII–indeed, it fueled most of the anti-colonialist movements around the world–, the two superpowers talked less of national power than of ‘freedom’(in the West) and ‘justice’(in the East). US prided itself in promoting not nationalism but ‘human rights’ and ‘democracy’. USSR prided itself in promoting ‘equality’ and ‘social justice’. But of course, there were undercurrents of nationalism(s) on both sides. Russians equated Soviet power with Russian might. Those in the Eastern Bloc, on the other hand, saw communism as Russian imperialism. Americans came to see democracy not merely as a political system but the core essence of Americanism; thus, it became convenient to justify American ‘expansionism’ or influence in terms of spreading democracy and ‘human rights’, something the Chinese, Russians, Iranians, Venezuelans, and even many Europeans have been very skeptical about. Israel, as a kind of mini-me of the United States, has justified its nationalist existence on the fact that it too is democratic–though this doesn’t seem to apply to Palestinians who elected Hamas government through democracy.
There was a resurgence of French nationalism under De Gaulle. And, leftists were defacto pro-nationalist as long as non-whites were fighting for national ‘liberation’ from Western imperialism or American ‘neo-imperialism’. And, black nationalists like Malcolm X were greatly admired on the Left. Israel was supported by many Jewish leftists . As long as nationalism was identified with anti-imperialism or underdog-ism, it could be politically and morally acceptable to ‘progressives’.
 
However, nationalism in the West–especially if identified with the white population–was deemed as unacceptable. For this reason, white Americans tried to expand their power or interests by dancing around the issue of nationalism. Thus, they tried to expand American hegemony in the form or name of anti-communism, anti-terrorism, pro-Zionism, pro-democracy-ism, and such. But, this strategy was usurped by the liberal and neocon Jews. What had once been used to expand white American power under another label was made to promote Jewish power at the expense of white American power. (Same thing happened with Christianity. It had been used by whites to expand white power. White justified their conquest of the world in the name of spreading of light of God and love of Jesus. But, Christianity later morphed into communism and into ‘progressive’ and Liberation Theology which accused white nations of having cynically employed Christianity to keep the masses down or to conquer non-white lands.)
 
But, whether internationalism or globalism is employed by white gentiles or Jews(or any other people), there is an element of territorialism at its core. It’s not the end but a reconfiguration of territorialism. And, things like this had happened before. Prior to the rise of empires, small kingdoms had been the core territorial units. When an empire swallowed up various kingdoms, was it the end of territorialism? No, it was the creation of a larger territorial entity. Romans, for instance, were not ridding the world of territorialism by breaking down the tribal borders of other peoples; they were merely laying claim to a larger piece of territory as their own.
 
Prior to the rise of nations, the primary territorial unit could be tribal or clannish. It could be a city-state or a principality. When a nation swallowed up all those units and developed a national identity, it wasn’t violating territorialism but merely expanding it to another level.
In this light, the globalist elites are not so much trying to rid the world of the ‘atavistic’ territorial mindset but laying claim to ALL OF THE GLOBE. It is territorialism in its highest and most radical form. For the global elites, their own nations are too small for their ambitions and power-lust. Their own people–the rabble or the masses–are too boring, dull, stupid, and insipid. A global elitist in NY feels closer to a fellow elitist in Paris, London, Mumbai, Hong Kong, or even Cape Town. Just as the kings and aristocrats preferred the company of one another–and married with one another–across national boundaries than cared much for their own peoples, the globocrats of today prefer one another to the humdrum masses of their own kind. In the old days, a English monarch would marry a German or Austrian princess. Or, a Prussian prince or princess may be married into the Russian elite. The masses existed mainly to toil in the fields and work like cattle for the snobby aristocrats. Not much is different today. The globocrats, especially the white gentile kind, don’t care about their own people who aren’t as well-educated, ‘sophisticated’, and well-traveled. This is what much of the anti-Sarah-Palin contempt is all about. She is ‘one of us’–the people–but not ‘one of them’–the elites.
 
And, though the liberal Western elites frown on racism and carry out witch-hunts against those who speak truthfully on race(and racial differences), they practice the most brazen kind of biologism. They seek to marry the ‘best and the brightest’–and the best looking–, and often do so since affluent smart kids attend the same schools and later earn lots of money and have the jobs that attract the most appealing and desirable sexual partners. Why have Jews been getting better looking over the yrs? They made a lot of money and married a lot of good looking goyim–who also happened to be above-average in intelligence since the smarter gentiles attend schools like Harvard and Yale, which are teeming with genius Jews. And, even if a rich Jew marries a dumb shikse, his kids will get half his brains and half her looks. Not a bad deal. The kid may only be half as smart as the father but will be at least be half as attractive as the mother.
 
For all their egalitarian talk, do rich feminist bitches marry humble janitors with low IQs and low pay? No, they seek out lawyers, academics, politicians, and other big shots. Is the ‘take your daughter to work’ a great idea for most women who work at hum-drum jobs? Does it make any sense for a housewife? No, it’s only cool for rich Jewesses who rake in $100,000s or millions a year. "More things change, the more they stay the same." No matter how you slice or dice it, the system produces a new elite, and that elite seeks to consolidate its power militarily, morally, spiritually, politically, socially, and/or intellectually.
 
Of course, the globalist elites will never come out and say they are laying territorial claim to all the world. They’ll yammer about ‘sharing the world’, ‘uniting the world’, ‘free flow of goods and ideas’, ‘promoting human rights’, etc. But, who gets to really enjoy the world via travel, money-making, fine dining, luxury goods, influence, and power? The average Joe or the superrich & their privileged underlings? The Joe the Plumbers of the world or the Rahm Emmanuels of the world?
What matters most to an Average Joe is his home, job, and country. He has enough to survive on and feels pride in belonging to a nation and cultural community. He has little to gain from globalism except cheap goods made overseas. But, the global elitists get to rake in billions, travel all over, have power sex and shower sex, manipulate government to make their businesses even richer, and feel ‘at home’ at any part of the world. Why should they remain loyal to one nation when they can own the entire world? The radical left may see this as ‘Western neo-imperialism’, but we on the White Right disagree because globalism is NOT good for most Westerners. The imperialism of old, good or evil, was indeed about the glory of all the people within the imperialist nation. Thus, all Britons shared in the power and greatness of the British Empire. It wasn’t just the British elite but the British people who laid claim to the British Empire. This is NOT the case with globalism. MOST white people in the US and EU get nothing out of globalism but cheap foreign goods. And, they will never have enough money to travel around the world and own homes on all five continents, enjoy yachts, enjoy first-class air boarding or own private jets. Only the global elites will enjoy such goodies. The dumb masses will think they are enjoying a good life because the media hooks them to celebrity news and encourages them to identify with millionaire celebrities. Thus, even poor slobs think they are glamorous because they go gaga over Lady Gaga. Or, the dummies will watch American Idol–a show that sneers at MOST people as lame no-talents–and believe that they are sharing in a fairytale-come-true. This is how the global elites–especially the heinous liberal super billionaire Jews who run the media–manipulate the masses.
 
Worse, globalism opens up the West to waves and waves of immigration–legal and illegal–from the Third World. Especially damaging to Europe are marauding immigrants from Africa and Muslim countries who come to commit crime, live off welfare, and impregnate white women with mulatto babies. In the US, waves of Mexican Illegals may well turn the SW territories into Greater Mexico. The global elites in the US and EU aren’t bothered by such developments since they OWN ALL THE WORLD and can choose to live in safest and richest neighborhoods. Since they’ve politically, economically, and intellectually laid claim to all the world, what does it matter if they lose their own country? They still have the WORLD which they can enjoy via private jets, yachts, finance capitalism, high-tech expansion, ‘free trade’, and etc.
 
But, what about the average Joes who cannot enjoy the world that way. To them, losing their nation means losing EVERYTHING!! It’s about time the VAST WHITE MIDDLE bring forth another cataclysm in the spirit of the French Revolution. The French Revolution dethroned the international aristocracy and put in power leaders who felt a great bond with the French masses. Napoleon was the Man of the People. Of course, power corrupts and revolutions can get out of hand, and the French Revolution turned out badly because of excesses and dogmatism. But, it played a heroic role in smashing the OLD ORDER where kings and noblemen were aloof about their own people and more intimate with the kings and noblemen of other states. The global elites look upon us the same way.
 
Even if it’s understandable that educated, privileged, and intelligent people look down the masses–I do too as the masses are indeed stupid and dumb as a doorknob–, the extent of the treachery and betrayal by the elitists is vile and inexcusable. After all, in good faith, we listened to them and followed their plans all these yrs. We supported free trade, amnesty in the 1980s, outflow of American jobs, and inflow of cheap goods. We cheered on the millionaires, billionaires, and gazillionaires as the heroes of capitalism, as what America is all about. Yet, at the end of the day, what did we get in return from these weasels and sharks? We got more illegal immigration for cheap labor(and for Jews to pit against the native populations). We got more out-of-control legal immigration to take jobs away from American workers. We got shit like the GAY AGENDA shoved up the tender asses of our children, which is why so many kids think ‘gay marriage’ is a human right. We got pink slips as good manufacturing jobs disappeared. We got Obama as the supreme leader. We got liberal and some Neocon Jews laughing at us behind our backs. Indeed, what did we get from the Jewish community for our loyal service to all things Jewish? They shat on us and forced Obama on the nation. Whether it’s Milton-Friedman-ims or Noam-Chomsky-ism, it all comes down to the same thing. Rise of the intellectual/economic global elite and the loss of power and meaning of life for the Vast White Middle.
 
This is why we must reject not only leftism but also libertarianism. If leftism is inter- or trans-nationalist for collective reasons–brotherhood of man, equality of man, global village, etc–, libertarianism is inter- or trans-nationalist for individualist reasons. A libertarian argues that a free person shouldn’t be fettered to a culture, a polity, a place, or system. He should be free to travel anywhere, live anywhere, work anywhere, invest anywhere, f**k anywhere, and so on. This wouldn’t be such a bad idea if EVERYONE could enjoy the Ayn-Randian libertarian life, but let’s get serious. How many people get to travel, love, and live like Bill Gates, Sergei Brin, Matt Damon, or Bono? I’m for freedom and individual liberty, but let’s not delude ourselves with Hollywood fantasies. Freedom and liberty in a functional and meaningful sense can only exist and operate within a context or a system. They are meaningless without laws, and laws have no meaning without borders and the cultural values that inform the people within them. Sure, there can and should be some degree of international laws and mutual cooperation. If a Japanese guy visits the US and kills someone, we expect Japanese law enforcement to aid American law enforcement in capturing the killer. If we travel to France or Mexico, we do want certain legal guarantees even if we are not citizens in those countries. On the other hand, there are American laws, French laws, and Mexican laws that exist primarily for their citizens. And those laws must reflect the values of the people of those nations than be imposed by the NWO globalist elites.
 
Also, libertarianism is linked with globalism because, despite all the leftist ideology spouted by the rich and powerful globalist elites, they are really Ayn Randians deep down inside. Guys like Sergei Brin and Rahm Emmanuel love money and power. They are utterly ruthless. Bill Gates made his billions not by being a decent humanitarian but by being a ruthless monopolist shark in the software business. They talk a leftist plan but play the libertarian game. They are wolves-in-sheep’s clothing. They are ruthless total capitalists. Money, power, and control-of-truth are what motivate them. With tremendous money, their ilk has essentially bought up all the media outlets, all the think tanks, all the universities, and the government. They collude with the left for mutual benefit. The left gets generous funding for their radical and ‘progressive’ ideas, and the superrich get to manipulate ‘social reform’ via big government to their advantage. The superrich capitalists employ socialism to grab more power in government and also to pacify the ‘bitter’ masses with more bread-n-circuses. Give the people more American Idol to worship and fatten their arses with more freebies so they’ll be too lazy to organize and fight the NWO elites.
 
Ayn Rand was NEVER for the individual. She was for THE Individual. She admired and blessed the super-smart, the super-ambitious, the super rich, the super creative, and super brilliant. There is nothing wrong in admiring excellence. Indeed, if ‘elitism’ is defined as acceptance of hierarchy as natural or as a preference of excellence over mediocrity, I think all of us can agree it’s a good thing. Surely, we admire a work by Da Vinci or Picasso over that of hack artists. We admire the music of Beethoven or the Beatles over Britney Spears.
The problem with Ayn Randism is that it was marketed to the masses even though it holds the masses in utter contempt. Rand had every right to sneer at the masse and see them as stupid and mediocre–as most people indeed are. But, she did something else. She marketed and sold her pathologically Nietzschean elitism as something that was accessible to the masses–like L. Ron Hubbard’s Dianetics.
 
I’m sure you’ve met mediocre people who won’t ever amount to much in life but who think they are something special because they read FOUNTAINHEAD or ATLAS SHRUGGED. They think they’re intellectual because they read a thick novel. They think they are free because they identify with an uncompromised hero of the novel. They think they too can succeed and become a giant in life. Or, they think they’ve failed because they are TOO GOOD for society ruled by helots that can’t appreciate true genius when they see it. Or, they think they are fair-minded and wise because they feel admiration than envy for the super rich and the super successful. (One of the hidden subliminal messages of Rand’s novels is, "dumb goyim should worship than oppose/challenge the smarter Jew who is bound to gain more wealth, power, and influence." This message is HIDDEN because the brilliant and heroic characters in her novels are tall and handsome gentile WASP types; therefore, many dimwit gentiles read the book thinking it’s about their own empowerment when Rand’s ruthless libertarianism favors Jewish power over gentile power.) There is no great difference between dimwit goyim who jerk off to Ayn Rand’s fantasies or to Lady Gaga’s lunacies. They are both about becoming blind to one’s true reality & limitations and losing oneself in the escapist identification with fairytales.
Ayn Rand novels may apply to the Bill Gates, Sergei Brins, and George Soroses of the world, but they mean NOTHING to the 99.99% of us. Besides, her extreme libertarianism is no less anti-nationalist, anti-culture, anti-race, and anti-communal values as international leftism is.
 
The NWO is being created by closet-Randians who’ve adopted the language of Marx. People like Obama is useful to them–especially to the globalist Jews–since his presidency fools the world–especially the non-white world–that the global order is controlled by a black guy who cares about The People, the oppressed, the underdogs, and the little guy. And, Obama does follow cues on occasion and makes noise about those ‘greedy’ bankers. And, it may well be that Obama is a stealth black nationalist and socialist, but look at the forces that really control him and control our minds through the media and academia. Obama’s "Hope and Change" is a doggy biscuit thrown to the masses to slobber over. Obama’s ‘progressive’ messiah aura gives the NWO elitists cover for their ambitious and greedy plan to lay claim to the entire world.
 
Now, it may well be true that most white global elitists really believe that they are good, idealistic, noble, conscientious, and progressive people. After all, there is no limit to how much people can fool themselves out of vanity, ego, or self-righteousness. There are plenty of cutthroat greedy sharks who consider themselves as ‘good Christians’ because they attend church regularly or made generous donations to ‘good causes’. And, on the Right, Pat Buchanan sincerely believes himself to be a good Catholic though his main loyalties are not universalist but tribalist/nationalist.
 
But, let’s look beyond all this BS or self-BS. Deep down inside, Buchanan is a blood-and-soil racial tribalist, not a good Catholic–except in matters of form and ritual.
Deep down inside, the globalist elites are ultra-territorialists who are simply laying claim to all of the world as their front yard, backyard, private pond, jacuzzi, and playground. They want it all. They want to spread international law not so much because they care about the poor around the world but because they wanna feel at home–as masters–in every corner of the world. The world is their oyster, and all that we masses get from this are crumbs. Worse, while the global elites gain the world, we lose our nations. Most of us don’t have the means to enjoy the world as our oyster–except through the fantasy of TV shows. Most of us don’t have the means to globetrot around the world–except through the fantasies of cyberspace. The only way we can share in the fun and glory of global elitism is through the virtual fantasy reality of entertainment and social network gadgets. Are they enough to sustain meaning in our lives? No, the meaning of our lives really comes from family, community, nation, and culture. Of course, change is natural in the world, but do we want change that gives power and meaning to all of us or change that gives all the power and pleasure to the elites while we dummies lose ourselves in virtual fantasy via movies(Avatar), Ipods, Myspace.com, or Google Earth?
They are enticing and fun but are they real?

Thursday, January 7, 2010

A Reason Why So Many Jews Are Angry and Left though They Are the Most Successful People in the World.

 
It may seem odd that there are so many angry and bitter left-wing Jews when Jews are the most successful people in America. Even most leftist Jews make more money than most conservative white Americans. Some of the richest people in America are leftist Jews with innovative ideas, professional connections, and business acumen. And, even non-business leftist Jews do quite well in journalism, education, academia, and other institutions of power and influence. So, why are there so many angry Jews? It’s easier understand why many blacks are angry. They are on the bottom and understandably feel resentful toward those who earn or have more. And, one would expect a lot of Mexican-Americans to be angry and bitter too, but in fact your average Mexican-American–even if poor–is less likely to be as bitter and angry as a lot of affluent Jews who happen to be leftist.
 
Some of the reasons for Jewish anger seems obvious. The Book of the Jews stresses moralism, and a severely judgmental outlook has defined Jewishness. The Bible is filled with prophets condemning the Jews and mankind for this transgression, that sin, and whatever else. Even as most Jews became secular, this aspect of Jewishness remained and shaped their intellectual and moral development in the modern world. In this sense, Karl Marx could be regarded as essentially a modern Jewish prophet carrying on the long proud tradition.
 
Another reason for the angry and activist Jewish mindset is the widespread poverty that had been prevalent especially among Eastern European Jews in the late 19th and early 20th centuries. Not all Jews were rich bankers, lawyers, or doctors; many Jews struggled to make ends meet. Thus, there has long been a certain distrust between rich successful Jews and the less fortunate ones–although there has also been much collusion between Jewish capitalists and leftists. To the extent that much of modern Jewish thought and identity were formed during this period, the culture of radicalism and activism still colors much of the Jewish community.
 
But, there are also the factors of high intelligence, the vanity of self-pride, and the culture of contempt so integral to what it means to be Jewish. Since Jews are smarter than non-Jews, even relatively unsuccessful or less wealthy Jews tend to have an higher opinion of themselves than most other peoples do. A middle class white person can be content with a job and home in the suburbs. A Mexican-American can be happy with a steady job, an apartment, picnics in the park, and lots of tacos to chubby up his kids. A Negro is a wilder kind of creature, but supply him with enough watermelons, bling blings, and ass-shaking music(and maybe a basketball), and he can be pretty happy in a child-like manner too. But, Jews never seem very happy even when they got many times more wealth and/or power than us. As far as the Jew is concerned, ‘enough’ is never enough. Since they have a very high opinion of themselves as intelligent and superior, they desire more money, power, or influence. Thus, even a reasonably successful Jewish college professor feels he should lead and be teaching at TOP colleges; he thinks he should have as much power and influence as rich billionaire Jews. Thus, leftist Jews in government and academia want more and more power. They see themselves as the best of the best, and as such, deserving of more and more respect and power over the rest of us.
When Jews believed in God, they were instilled with some degree of humility. But, ever since Jews rejected God, each Jew began to see himself as a god or God Himself. Indeed, one can ever argue that the righteous, intolerant, contemptuous, and arrogant God of the Old Testament is essentially the projection of the collective Jewish personality. It could be that Jews needed this God in order for cooperate since each Jew had such a high opinion of himself. If most other cultures had a pharaoh(or some such leader) and the masses willing to bow before him, every Jew thought he should be the pharaoh. Thus, Jews needed an abstract God who demanded collective humility on the part of ALL Jews. The creation of Yahweh was a subconscious contract among individual Jews not to seek total power and mastery over all the other Jews. Social order could be less stable among ancient Hebrews because the Jews were generally less slavish and more assertive than other peoples. Since each Jew thought he was the best, the only way to infuse him with some humility was through faith and obedience in the Great Lord. In the movie 10 COMMANDMENTS, Moses has one hell of a difficult time making Jews follow his lead. Thus, he has to invoke God over and over.
 
Seen from this angle, the creation of the Jewish God was a subconscious agreement among Jews that there is an higher being above themselves; otherwise, each Jew would have debated endlessly with other Jews as to who knew best and should rule the community.
Higher intelligence can mean greater wisdom, but it can also mean greater contempt for those deemed less intelligent, knowledgeable, or wise.
Though Jews profess to be ‘progress’ and egalitarian, the fact is many Jews really do look down on us dumb goyim–which is justifiable to some extent since many goyim are indeed dumb as a doorknob. Just look at John Hagee, that stupid hippopotamus. Sarah Palin and her followers aren’t exactly the intellectual creme of the crop either. And every time Jewish Hollywood and music industry spew out new garbage, you have countless dumb goyim lapping it all up. So, the smarter Jews indeed do look down on us–justifiably or unjustifiably.
 
But, having such contempt based on the arrogance of high intelligence and moral narcissism(based on the religion of Holocaust Remembrance), most Jews don’t like to be in an inferior position of any kind. Thus, there are lots of Jews who are angry that there are people better off and richer than they are. To an extent, the relatively less successful Jews feel great deal of communal pride in the magnitude of Jewish success, and indeed most Jews will stick together in regards to the non-Jewish community. But among Jews themselves, the lesser Jews are bitterly resentful of the greater Jews. Of course, lesser Jews–those with less power or money–cannot honestly admit that they are resentful or envious of richer or more powerful Jews. No, they must conceal their resentment with a lot of hogwash about ‘social justice’ and ‘progress’. Thus, leftist Jews like Naomi Klein and Noam Chomsky will say they are against capitalism and the rich because they care for The People. Saul Alinsky pulled the same shit.
Many of these lesser Jews have, in time, become greater Jews. Naomi Klein is a millionaire in her own right after a series of best-sellers. And, Chomsky too is a very rich man. But, since they’ve specialized in fields that generally don’t turn people into gazillionaires, they still see themselves as underdog Jews fighting for underdogs all over the world.
 
In reality, there is a kind of intra-Jewish battle between the book-keeping Jews–the profit-driven Jews–and the book-reading Jews–prophet-inspired Jews. It may be that Jews like Klein and Chomsky could have made a lot of money in business or computers or whatever, but they chose the academic or the ideological fields. They did so out of their own volition, desire, and pleasure–because they wanted to. They could and should have been happy pursuing their careers, but their Jewish nature made them want to stick their big noses into the business of everyone else. Since, they see themselves as intellectually superior to non-Jews and morally superior to Jews-who-only-care-about-money, they feel they should have the most power. Since their power don’t generally come by the way of business, they turn to political, social, and cultural agitation. Though many young people have been ‘inspired’ by Noam Chomsky or Naomi Klein, the fact is they are mere puppets serving the vanities of contemptuous and rotten radical Jews who want to monopolize power, influence, and virtue.
It’s amusing that so many non-Jews who fall behind the likes of Chomsky or Klein never ask themselves, "How come I can’t think for myself? How come I have to be a sheep of Jewish intellectuals?" The slavish dimwit goyim who worship Ayn Rand on the ‘right’ aren’t much better.
To know the true nature and source of Jewish ideas, one must study the Jewish personality and emotional character. There is cultural Jewishness but also biological Jewishness as the Jewish bloodline remained relatively pure over the centuries. A certain kind of personality prevails among Jews more than among other peoples. This personality came to shape much of Jewish religion and historiography. And even when Jews dropped the religious tenets of Judaism, their Jewish personality remained. Though there have been some converts to Judaism, Jewishness has been as much about blood as about faith. Thus, it can be said there is a Jewish race–or sub-race–in the way there can be no Christian or Muslim race. Thus, what post-religious Jews share with religious Jews is the same personality and genetic attributes. Of course, not all Jews have the same personality, and ‘Jewish traits’ may be found among non-Jews. But, Jews generally have more of certain traits than other groups. For whatever reason, Jews grew to be highly intelligent, devious, witty, subversive, distrusting, arrogant, contemptuous, creative, penetrating, wise, weasely, and sly. Some of these attributes can be found in other peoples in spades, but the combination of these elements among Jews tend to be better calibrated for maximum impact. In other words, you need worry less about being conned by a dumb Polack than by a smart Jew.
 
People with higher opinion of themselves tend to become angrier, more resentful, and more bitter if they feel that their power or influence isn’t commensurate to their talent or worth. Thus, Germans were especially bitter about the rise of Jewish power. Germans, having high opinions of themselves, suffered a bigger blow to their collective ego and pride when Jews outperformed them in many top-level professions and endeavors. And, this explains the venomousness of French antisemitism as well as the French were also full of themselves. It was one thing to allow Jews to assimilate and accept them as equal citizens but quite another to observe the small Jewish minority grow fabulously rich and powerful, indeed much more so than the gentile elites.. Japanese too went crazy in the 20th century because they saw themselves as a great people and felt their power should match their innate greatness. And, this is why we should be watching China carefully since China has long entertained a self-image as the ‘Middle Kingdom’ but then suffered a great blow to his cultural vanity with the arrival of Western gunboats and incursions of Japanese imperialism. There is a degree of vanity and arrogance in American Exceptionalism, but most Americans have a live-and-let-live view of the world unless US is attacked by a foreign power.
 
Jews, in contrast, are bound to be the most resentful people in the world since they justifiably consider themselves to be the smartest people on Earth–by a light year–and half-justifiably see themselves as a long suffering people victimized by various gentile peoples. On top of that, Jews never had a country of their own for a very long time before the creation of Israel, and even Israel is small and faces an uncertain future.
Jews do control and own much of the United States, but they are still only 2% of the population. China may still be poor, but over a billion people own a big chunk of land to call their own. Russia may be going through hard times, but Russians own a giant piece of real estate. Except in Israel, Jews are a small minority in all the other countries–and there is no guarantee that Jews will be the majority in Israel indefinitely. Thus, Jews are bound to feel bitter, angry, resentful, beleaguered, and paranoid. They are so intelligent, so creative, so innovative, and so brilliant, yet they only have a dinky little country to call their own–surrounded by hostile nations and unloved by most–and they are vastly outnumbered by the goyim in all the other countries. Even in nations where they are successful, Jews feel that all their wealth and power may vanish at the drop of the hat if the goyim lose faith in Holocaustianity and see Jews as a bunch of Ron Jeremys or Bernie Madoffs.
Thus, it is not surprising that smart, rich, influential, and powerful Jewish minority would seek to maintain as much control and influence over the majority population as possible and also to cut every other group ‘down to size’. Jews are filled with envy and resentment. In the US, they seek to maintain domination by dividing the white race down the middle. This way, proud white nationalism is undercut by self-abnegating white liberalism. Jews also seek to increase the number of non-whites so as to use ‘divide and rule’ among the various races. Jews want to break the spine of white American unity and power for good so that Jews may rule America forever. As long as there is a solid white majority, whites can unite–if white liberals wake up from their suicidal doldrums–and take on the Jew. But, once whites are no longer a sizable majority in the country–and even fated to be a minority–, it won’t matter even if 100% of whites turn into white nationalists since their wishes can be overridden by the black and non-white majority funded and manipulated by Jews. Jews were ecstatic about the rise of Obama not because they saw a dawn of a ‘progressive’ era but because they saw it as a sign that the back of White America is near breaking point. After the back is broken, White America will be paralyzed from neck down and won’t be able to unite head, torso, and legs to take on the power of the Jews and non-whites. The Jews are giggling with hideous glee over the fact that so many white American males have been castrated into metro-sexual suckers of Jewish dick and so many white American females have been voodoo-ized to give their bodies to Negroes and give birth to Obama-babies–just when the white population is declining precipitously.
Anyway, though Jews are always preaching to us about how we on the White Right are motivated by the politics of resentment, no people have been as resentful as the Jews. A lot of ugly Jewish women have been resentful over the fact that gentile women are prettier. A lot of nebbish Jewish men have been resentful over the fact that gentile are physically tougher. Of course, there are pretty Jewish women and strong Jewish men, but the ugly mugly Jewish women and nebbish shmebbish Jewish men, due to their high intelligence, have never been able to just accept the fact that they are ugly or weak and get on with life–like most ugly or gimpy Mexicans, Chinese, and whites do.
Their higher intelligence has motivated ugly and/or weak Jews to seek power like the Nibelung creatures in Wagner’s operas. Just consider Woody Allen. He’s an ugly and weakling Jew, but his higher intelligence and sharp wit have made him sensitive to his disadvantages, and he has cleverly used them to uglify and weaken much of white gentile culture. If a Jew cannot get something, he must find some way to subvert or undermine it. For centuries, the Talmud taught Jews to spit, piss, and shit on the goy order–if only behind goy’s back. Thus, Jewish men who lusted after blonde and blue eyed goddesses sought to turn them into drug addicts, porn stars, and sex slaves of jungle fever. Jewish men jealous of the bigger and stronger white males took pleasure in promoting and watching gorilla-powered black males destroy the white male in body and soul. An arrogant sense of superioritism motivates the Jew to do this. Even the ugliest and most pitiful Jew feels that since he’s smarter–and a noble victim of the Holocaust–, he has a right to enter the Sacred Hall of Power and Wealth. If the doors are apparently shut to him, then the Jew will use whatever means to tear and burn down the entire Hall. To be sure, this kind of resentment and vindictiveness has been universal in all peoples and cultures. The mythologies of various peoples tell many stories of vengeance. But, no people are as successful in sharpening and plying their resentment as the Jews are.
 
There was a time when aspiring Jew found the top echelons of power shut to them by the gentile powers-that-be. For example, even as the kings and noblemen across Europe came to rely on Jewish bankers, scientists, and doctors, there were certain areas of power which remained shut off to the Jews. So, a lot of Jews felt a great deal of resentment toward the gentile powers-that-be, and the more radical elements sought to undermine the entire goy system.
Today, many of the top corridors and sanctums of power are controlled by the Jews, especially in America. Look at the top media networks, Wall Street, the Fed, and academia, and it’s like a Jew Fortress. Thus, Jews no longer need to feel the kind of resentment they used to against the gentile elites who’d kept the REAL power to themselves.
Today, it’s a matter of lesser Jews feeling envious and bitter about greater Jews. So, we have the superrich Jews chanting the mantra of Milton Friedman and awash in oceans of wealth, AND we have other lesser Jews still invoking Marx to challenge the power of the greater Jews. Of course, the really clever Jews play both ways. Thus, George Soros is a vile stinking rich Jewish shark but funds leftist-Jewish causes either to appropriate and control them or to use them ‘hide’ his wealth. When a rich guy lavishly funds ‘progressive’ causes, he’s less likely to come under liberal media scrutiny since his money is considered to be do. It is a form of bribery. Or, it could be that Soros is vain enough to think that he can have the cake and eat it too–be a stinking rich capitalist AND a holier-than-thou revolutionary. And why not? Just look at all those stinking rich and crass millionaires and billionaires in Hollywood who really think they are political saints and ‘progressive’ heroes. Look at Armand Hammer who served commies on the one hand and made billions in America on the other.
 
Anyway, one thing we must realize is that resentment is a natural thing. It is a form of fear and envy that must be controlled, but it is natural and should not be denied. So, when Jews admonish white gentiles for their culture of resentment, just tell the Jews to shut the hell up. While it is true that many white gentiles do feel resentment–toward stronger blacks who can punch harder, run faster, or ‘sing & dance better’; toward Jews who are smarter and more successful; toward Asians who outperform the lesser or ‘trashier’ white elements–, whites are no different than other groups. Blacks feel a lot of resentment too–not just against whites but against Hispanics, Asians, and Jews. (Though blacks and Jews are opportunistic political allies, they don’t really like one another though many liberal Jews fantasize that they do by imagining the ideal Negro than dealing with the real one. Indeed, it is the presence of the large white middle in America that binds Jews and blacks together into as a force against the common white enemy. It’s too bad that whites don’t unite against this godforsaken alliance of Jews and blacks.)
In some ways, black resentment is like Jewish resentment. Jews feel they are intellectually superior and therefore should rule society. They feel frustrated and resentful over the fact that they are outnumbered, less attractive, and less physically imposing than other peoples.
Blacks feel that they should rule society since they are the baddest, coolest, toughest, and have the biggest penises or bounciest buttocks. If Jews rely on BRAINS as their main weapon, it’s the FIST with the blacks. So, there is the whole gangsta rap music and sports culture among the blacks. Since blacks are intellectually lacking, they tend to rely more on physicality and musicality as the basis for their superiority. But, it just so happens that modern society is more about brains than brawn. Indeed, even athletes would be nowhere without smart businessmen to create and expand the sports franchises. Of course, there are smart blacks–especially those with some white blood–, but a lot of blacks aren’t smart enough to gain power the brainy way. Therefore, a lot of blacks are bitter and resentful. According to the logic within the black world, the people who are toughest, baddest, and the coolest–the brothas and sistaz–should rule. Indeed, that seems to be the case in many crime-infested black communities where badass muscle power rules the streets. But, in the larger community, brains and discipline(and diligence) are what matter most, and blacks lack those attributes.
 
One might think Jews and blacks would be natural enemies since Jewish advantage is intellectual whereas the black advantage is physical. Yet, they’ve formed a perverse alliance based on MORAL superiority. According to the liberal or ‘progressive’ narrative, the greatest villains of history are white gentile Christian folks, and their primary victims have been blacks–slavery–and Jews–the Holocaust. Never mind that blacks had been murdering and enslaving one another for 100,000s of yrs in the Dark Continent. Never mind that it was blacks who caught and sold other blacks to whites. Never mind that a lot of Jews bought and sold European slaves to the Middle East. Never mind that Jews owned a lot of slave ships during the Atlantic Slave Trade. Never mind that Jewish communists played a key role in the mass killing of millions of white gentiles. Never mind all that. The people who’ve taken control of the media and academia are the liberal Jews and their dingbat wasp running dogs. Thus, the whole of history has been reduced to EVIL WHITES OPPRESSED NOBLE BLACKS AND WONDERFUL JEWS. Thus, as long as EVIL AND GUILTY whites remain the majority in the US, blacks and Jews will forge an alliance of moral superiority, narcissism, and bullying to destroy the white race. However, this alliance is NOT natural. If US were made up of only Jews and blacks, they would not be friends but bitter enemies, just like Jews and Palestinians are. Jews would be afraid of and feel contempt for the rowdy savage blacks, and badass blacks will look upon the Jews as filthy rich greedy-ass mothafuckas who be hoarding all the dough!!
 
Anyway, don’t let the Jew fool you into thinking that your feelings of resentment are unhealthy, unnatural, or evil. While it is true that uncontrolled resentment and envy can be venomous and negative, a constructive channeling of such emotions can be a big plus to white people. Indeed, it is fear, resentment, anxiety, and envy which have often driven people to greatness. In the 18th and 19th centuries, France and Britain were highly competitive and resentful of the rise of the other. Indeed, one of the reasons why the West developed faster than Asia is there was no dominant power to rule the entire continent; thus, there was more mutual fear and resentment among the various kingdoms and states, and this fueled competition, innovation, and progress. There was no China or something like the Mogul Empire that ruled India. Rather, Europe was divided into many kingdoms and principalities which competed with one another. Fear and resentment of rivals and enemies was one of the driving forces of innovation.
Similarly, Japan had been more innovative prior to unification as the various warring clans sought to learn the latest military technology from the West in order to defeat their rivals. Once Japan was unified, it slowly stagnated under the Tokugawas. Japan finally woke up and began to make progress only in the latter part of the 19th century when its territory was intruded upon by the West. This threat made the Japanese anxious, fearful, and resentful of the more advanced West. It also made the Japanese admiring of the nations that were stronger than Japan, and Japan determined to learn and catch up. It was also resentment which led to the American Revolution. American colonialists hated the fact that they were not accorded the same respect and rights as British citizens.
China stagnated for a long time because it was SATISFIED and SATIATED as the Middle Kingdom. It was only when China came under threat from other nations that the Chinese were filled with fear and resentment and driven to action and change. Russia similarly stagnated over a long period compared to other European nations because its vast spaces and lack of sufficient threat made the Russians complacent. Russia only begin to make real progress and changes when it began to feel the pressure from the rising power of the West.
Thus, resentment is the fuel of empowerment. The trick is to control and use it correctly. If used unwisely, it can lead to crazy movements like Al Qaeda, communism, or Nazism. But, used correctly, it can lead to positive movements such as the American Revolution, French Revolution(at least before things got out of hand), and the rise of Japan(before the stupid militarists took over and drove the nation over the cliff).
Don’t believe what the Jews(and blacks) tell you. Jews will have us believe that Jews have been motivated only by a sense of fairness, justice, and progress. Bullshit! Jews were motivated mostly by resentment which they disguised with nice sounding ideas, values, and principles. A lot of Jewish women turned to radical feminism because they were UGLY. A lot of Jews supported were motivated by resentment and hate because some rich gentile said, "you can’t marry my daughter" or "you can’t join our country club".
Jews also turned to leftism because their intellectual arrogance made them feel superior to everyone else and entitled to rule all of society. Thus, whenever a Jew doesn’t have the power of a Lenin or Stalin, he or she gets all pissed. Of course, many lesser Jews feel resentment toward the richer Jews. So, you have leftist Jewish journalists ragging on and on about Wall Street and Hollywood Jews. But, all said and done, most Jews will stick together since they figure that the REAL ENEMY is the white gentile. How foolish then for most white gentiles to look upon Jews as their friends?
Blacks have also been motivated by resentment. Sure, what Rosa Parks did was perfectly understandable. Why should anyone have to give up his or her seat to another person on a bus? It was indeed true that segregation in the south was NOT ‘separate but equal.’ Even so, blacks were also motivated by something other than fairness and justice. Many blacks didn’t simply demand equality but superiority over the non-blacks. Blacks have long felt that they should be the real masters of society since they can kick everyone’s ass and blow the trumpet faster. Black men have long felt resentment over the fact that they were denied the white meat of white women. Black men felt they were entitled to have ‘prime pussy’ since they are the studliest dudes while ‘white boys’ are a bunch of pear-shaped flabby ‘pussy-ass mothafuckas’. Indeed, you can hear blacks talk like this all over the place and openly. Of course, black women felt resentment too over the fact that while white women were desired by black men, most men were not attracted to black women. Sure, black women had nice bodies and could shake their booties faster/harder than most, but their faces looked ape-like and their voices–though capable of hitting the high notes–often sounded like some wild jive-ass howling monkey in heat.
 
Therefore, much of what has motivated many groups toward action and ‘empowerment’ has been rooted in a sense of resentment. Whether it’s call for more liberty or more entitlement, resentment has fueled the flames. People hate or are envious of those who have more, especially if they are of another group. The reason why so many Muslims hate Israel isn’t simply because Israel is RICHER than Muslim nations. It’s because JEWISH ISRAEL is richer.
And, Jews feel resentment toward China because there are lots of Chinese in a large country. Indeed, the Chinese may come to confront Jewish power in the future. Indeed, with the West now firmly in the hands of Jewish power–and the Middle East occupied and clobbered by the West(especially America)–, the ONLY power standing in the way of total Jewish domination is China. Jews now control almost all of America. White Americans are mostly running dogs of Jewish foreign and domestic policy. If Jews tell Americans to go and kill Muslims, dumb white Americans will do just that. If Jews tell white Americans to hate Russia and start another Cold War–mainly because Putin reined in the Jewish oligarchs–, dumb white Americans will do just that. If Jews say it’s ‘racist’ to oppose OPEN BORDERS and ILLEGAL IMMIGRATION, most white Americans are too afraid to object. If Jews tell young people to embrace ‘gay marriage’, young people do so. If Jewish cultural doctors insist that white males must be psychologically castrated, white gentile parents make sure that their sons have their psychological balls cut off just like Jewish babies are circumcised in the cradle. (Of course, whereas circumcision strengthens the sense of Jewishness, castration weakens the sense of whiteness.) Thus, white boys grow up worshiping Michael King–aka Martin Luther King Jr–and convince themselves that it’s okay for white girls to go off with Negroes and leave white boys behind as a bunch of quasi-faggots addicted to porn where blacks hump white broads. So, white boys aren’t bothered by the fact that white women are all cheering for black athletes and ogling at black Hollywood stars promoted by the Jews. What a bunch of pussy-boys, right? Financially, culturally, and politically, America belongs to the Jews, and most Jews are ‘progressive’ or radical. The Middle East may be mostly Muslim, but it’s too backward and stupid to mount any challenge to Jewish power. Africa too belongs to the Jews since the Jewish globalists have promised the black Africans that if they participate in the New World Order devised by Jews, they’ll be rewarded with lots of global welfare. India may not be pro-Jewish but as its culture and history owe a lot to the West, it too be can be seen in many ways as part of the Jewish-dominated Western world. Why do Thomas Friedman and the venal Jews at The New Republic(or Jew Republic) have a hard on for India? Because both Indian entrepreneurs and intellectuals have been profoundly influenced by the global Western elite. Indeed, India is the geo-political creation of the West. Since the West is now ruled by the Jews, India is bound to be closer to the West than China ever will be. Though India will never be a puppet of Jewish power like the West has become, there is a certain understanding between Jews and the Indian elite. Also, no matter how rich and powerful they become, both Jews and Asian-Indians can always pull out the we-were-victims-of-white-imperialism-or-racism card. Both groups can grow rich by doing business with or in the West, all the while guilt-baiting white gentiles for more concessions and apologies(which never seem to stop).
China, on the other hand, is a different animal altogether. China, unlike India, was not the geopolitical invention of the West. And despite the process of modernization, Chinese intellectuals and politicians are not mere wanna-be imitations of the West–like so many Indian thinkers, writers, and politicians are. Also, China feels NO GUILT regarding the Holocaust whatsoever. If anything, Jews need to feel guilty for having spread communism, a disease which even came to infect China. The current Chinese regime still goes by the name of communism, but China is essentially a nationalist power. Thus, it’s one nation that the Jews cannot really touch. Ths is why the Jews are trying to engineer the fall of China. Jews encouraged the Chinese invest heavily in US bonds. By making the Fed print a megaton of paper money, the Jews are turning Chinese dollar holdings into worthless paper. Venality is something essential to modern Jews.
Jews are also remaking RED DAWN, with the Chinese invading America. The purpose is to make Americans see China(a nation hated by Jews) as a bitter enemy, and most white conservative and right-winger types will take the bait. Fuming about China while watching this dumb movie, white right-wingers will miss the bigger picture: that US is already the occupied zone of Jewish power, and it’s the Jews, not the Chinese, who are cutting the balls off of white men, encouraging white women to go with Negroes, and opening borders wide open to the Third World so as to undermine white power. No wonder Jews hold white conservatives in such contempt. White conservatives are SO easy to manipulate and distract.
Of course, Chinese are no saints. They are mostly cruel dog-eating lowlifes, but the White Right must use the Chinese–and the Iranians–against the Jews in the way that Jews use other peoples against white folks.

Wednesday, January 6, 2010

Is "Culture Gap" Crucial to Creativity? What Is the Nature of Creativity? Relation between Creativity and Crisis.

I came upon an interesting article by Steve Sailer which surmises that the rate of cultural change slowed down significantly since the 1970, and this may account for the waning ‘Culture Gap’ between genertions: http://www.takimag.com/blogs/article/generation_gap/ (Of course, some may argue that we tend to take less notice of generational gaps less because they’ve become ubiquitous; one seems to be forming every five yrs or every year. Prior to the 50s/60s, it took a while for one generation to be sufficiently different in norms and expectations from the earlier one. Besides, adults were in control, so even generations with different values and tastes shared the element of patriarchal maturity. But, there was a clear break between young people of the late 50s/60s and their parents and grandparents. Since the 60s, we’ve all become accustomed to generational gaps as not only inevitable but desirable, thus we tend not to notice them even when they form right before our eyes. It’s like you don’t notice NUDITY in a nudist colony.)
Sailer’s theory is enticing but worth challenging. It could be that Steve Sailer is merely less sensitive or appreciative of (profound)changes since the 1970s because they mean less to him personally. He may be dismissing as insignificant what may appear significant and important to others. I harbor a similar bias. To me, the late 70s and much of the 80s were very significant as formative years. But, I tend to regard much of the culture and music since the late 80s to the present as trivial, trashy, stupid, and repetitive. But, young people in their teens and 20s beg to differ. So, cultural significance is partly in the eye of the beholder. I recall critics of Pauline Kael’s generation tended to favor Hitchcock’s earlier movies over later ones like Vertigo and Rear Window. It could be Kael and her peers were passionately introduced to cinema through Hitchcocks’ films of the 30s and 40s. So, while Vertigo came to be regarded as Hitchcock’s greatest movie among the younger critics, it was a stuffy, arty, and heavy-handed rehashing of worn cliches to Kael . It’s also possible that some older people in the 60s didn’t really find the decade all that new. Those who remembered the Jazz Age 20s might have felt a sense of deja vu. Yet others didn’t even acknowledge rock as significant or worthy music but as barbaric noise–how I feel about most of rap, heavy metal, goth, punk, grunge, etc.
 
So, let’s make a case for significant cultural change since 1970. The first half of the 1970s is considered by many to have produced a flowering of personal filmmaking in America–a kind of American New Wave. The second half of the 70s saw the rise of blockbuster cinema which changed the entire culture and business of cinema. Hollywood had always made mega-movies, but Spielberg and Lucas pioneered what might be called the Rock Concert movie. Movies lagged behind in pop culture trends because of their huge expense. If young people of the 60s generation could buy a guitar, write songs, and perform right away, a would-be young filmmaker or cineaste in the 60s had to wait his turn in an hierarchical industry where one had to gradually climb to the top. So, Lucas and Spielberg had to wait til they were past 30 to realize their dreams. Good or bad, who can deny that Star Wars, Jaws, and Close Encounters fundamentally changed the direction of cinema? Lucas and Spielberg may have drawn from old ideas–Flash Gordon, matinee serials, etc–, but their conceptualizations were bold, original, and daring.
I would also argue that 70s music was markedly different from the 60s variety, especially with the rise of disco. Disco produced a lot of good tunes, but it was stylistically embarrassing and lacked immunities to mounting ridicule. It died of self-inflicted cultural HIV. Pop music was crap from 79 to 82, but mid 80s were a great time for pop music–even if many of the memorable songs were one-hit wonders. Also, something doesn’t have to be bold or original to be worthwhile and pleasurable. Furthermore, conventional works generally enjoy more popularity and longer cultural life-span than many ‘bold and daring’ stuff. Who cares about dada today or any number of ‘experimental filmmakers’ who came up with wild and crazy visual ‘manifestos’ in the 1930s? Even most film geeks prefer feature film narratives. Most film scholars would rather study and appreciate the films of John Ford, Howard Hawks, or even Douglas Sirk than the films of Maya Deren or her kind. Not that Deren was a bad filmmaker, but only time decides real value. Sometimes, time favors a ‘conventional’ work, sometimes a ‘experimental’ work. What finally matters is "Is it any good?’ Some eras favored the conventional over the experimental, only to see the experimental works vindicated over time. But, there have been times when the experimental was automatically favored over the conventional, with the passage of time enshrining the latter. Consider the many critics who dismissed David Lean in the 60s as a dullard and a fogey. In contrast, everything done by Godard was hailed by the Zeitgeist. Today, "Lawrence of Arabia" and even the much disdained "Doctor Zhivago" look better than ever while several of Godard’s 60s films look hopelessly dull and dated.
 
In the same vein, even if the 80s didn’t produce astoundingly new forms of music, it doesn’t mean that the decade wasn’t culturally fertile or productive. Consider that the basic language of cinema had been fully established in the silent era. True enough, but that didn’t mean cinema since 1929 lacked greatness, originality, quality, etc. 80s had some great music. Springsteen’s BORN IN THE USA is a great classic. REM released some wonderful albums. U2 was exciting and fresh. The 80s were a golden era of pop music for those young enough to feel the excitement. Personally, I listened more to 60s and early 70s rock in the 80s, and I couldn’t stand the big hair, the gay music videos, and sterile synthesized sound. There was A LOT of bad stuff in the 80s, but there were enough good stuff to make one feel that the music scene was alive and well.
 
It’s too bad that ‘our’ collective assessment of culture has been dominated by the boomer generation, a huge demographic unit which, in their wanton narcissism, kept relating or referring everything back to themselves–with the not-so-subtle hint that everything before or since their heyday was inferior, lame, inauthentic, or compromised . If Jews want the whole world to know about the Holocaust, Boomers want everyone to know about Woodstock. Significant events of pre- and post-boomer generations were never given that kind of attention–unless related to Civil Rights(which was indirectly connected to events in the 60s in any case) or the election of the first Negro Mofo piece-of-shit president. Also, as the 60s were the time when Jews made the significant move to replace wasps as the nation’s cultural, social, and political elite, the decade was romanticized by the national media controlled b liberal Jews in NY and LA. Consider the fact that most of the books written about the 60s have been by leftist or liberal Jews.
Also, we must be careful not to confuse NOISY change with REAL change. The 60s were a noisy period of slogans, clenched fists, rocks, and protests. So, we are led to think that far more changed than actually did. In contrast, we tend to think of the 50s and 80s as quiet times so we tend to think they were about stasis, conformity, and apathy. But, look closely, and this was not so. Profound changes happened in the 50s, which really was the bedrock of the 60s. And, America had changed a great deal economically, socially, and culturally from 1980 to 1990. Just because the President happened to be conservative and just because no great ‘progressive’ or ‘radical’ slogans or manifestos were part of the cultural landscape didn’t mean that things ground to a halt. If anything, great changes were afoot.
 
Of course, change isn’t always good or worthy–from a moral or artistic point of view. Hip-hop has been a world phenomenon for quite some time, but I doubt its artistic worth or moral value. But, good or bad, we’ve seen great changes since the late 80s and 90s. One of the major changes–related to hip-hop and rap–has been the rise of interracialism or interracism, mostly that of black males and white females.
This is partly due to Spike Lee’s groundbreaking movie "Jungle Fever". The movie, in and of itself, wasn’t much, but it finally broke the ice in a devastating way when it came to depiction of interracial relationships. There had been interracial themed movies before, most famous being ‘Guess Who’s Coming to Dinner’, a movie about a white daughter marrying a white guy who just happened to be black. Sidney Poitier was a doctor in the movie and acted so very bourgeois. There was nothing scintillating about it. I don’t even recall Sidney and the white girl kissing if they did. "Jungle Fever" made a much bigger difference because it got down and dirty and funky and wunky. It was not about color-blind attraction of the liberal ideal, but a movie which said that the attraction between white female and black male was indeed racial. Lee spelled it out that black men are more muscular and have bigger dicks while white women are more attractive to a lot of black men.
But, more important was the rise of Rap and Hip-Hop. Many white kids found the groove and beat irresistible and were awed by the image of the tough gangsta pimp stud or sexy skanky slut. White kids had been interested in black music before, especially with Motown in 1960s and Disco in the late 70s, but there had been a dividing line between the black stuff and the white stuff. Also, the black stuff wasn’t as youth-oriented as the white stuff. Though black roots were crucial to rock n roll and much of rock, black musical culture wasn’t as rebellious as white musical culture. There were many reasons for this. Black adults tended to be wilder and funkier than white parents, so there was less stuff-shirtedness for black kids to rebel against. Even their elders were gittin’ down and grooving even in the 1940s and 1950s. Also, as blacks were a suppressed minority in the larger community, the entire black community was in a kind of rebel mode. So, even though or precisely because black people as a whole were more rebellious, there was less of a chance of black musical culture spawning a rebellious youth culture. Many black youths could well see that their elders were pretty wild, crazy, and badass whether they be singing the blues, playing jazz, or even chanting in churches. Indeed, an average black church in the 1950s was wilder than most heavy metal concerts in the 1970s. Even old black ladies were gittin’ down crazier than most white kids at a Black Sabbath concert. So, how could black youths rebel against this stuff?
Of course, black elders and youths had different preferences in the 60s. Motown appealed mainly to black youth–and white youth–, but it wasn’t anything that might be offensive or objectionable to black elders. Indeed, the black pop figures who became associated with the Rebel Image tended to work in white rock. It was mostly white kids who dug Chuck Berry and Jimi Hendrix. Blacks generally liked music they could dance to in a groovy or funky way, but Berry’s music was too honkytonkish and Hendrix’s music was too spaced-out trippy. Of course, many blacks admired Hendrix as a black power icon in the late 60s, but he was a bigger hero to white rock fans than to black soul fans. It’s not easy to rebel against adults who are wild to begin with, and black adults had been wild for a long time. Also, consider that when Elvis first arrived on the scene, many whites rejected his songs and act as ‘nigger music’. But, blacks couldn’t possibly reject their own music as ‘nigger music’ since they were a bunch of ‘niggers’. So, in a way, white people became kinda ‘niggerized’ in this sense since the 1950s. With the boomers–who embraced loud and wild rock music–growing older, rebellion against stuffy social norms became as pointless among white kids as it had been for black kids. It was pointless for white kids to rebel against parents who were into Led Zeppelin in the 80s and 90s just as it had been pointless for black kids to rebel against parents who were into Howling Wolf and crazy gospel singers in the 1950s. White folks became crazy or at least semi-crazy like black folks.
 
This is why we should not consider Rap music as a youth rebellion in the black community. To be sure, there is some of that in Rap. Black kids in the 60s, 70s, and 80s surely envied white kids for having a youth culture whereas black musical culture tended to be for a much wider black audience. In the 60s and 70s, white kids were listening to something other than what their parents listened to. So, there was a sense OUR music among white kids. But, in the black community, Marvin Gaye and Smokey Robinson could be a favorite of both black elders and youngsters. So, black kids must have been aware that they lacked something white kids had–a cool rebel youth culture. And, we know this is true to some extent because Public Enemy guys said they were inspired by The Clash.
 
But, the rise of Rap still had little to do with generational rebellion. It grew out of a generational vacuum. By the 1980s, the Black Family had pretty much gone the way of the dinosaurs, especially among lower-class blacks. (Even among the well-to-blacks, there was a problem because black women tended to be socially and economically better off than black males, which meant an imbalance between successful black females and successful black males; besides, many successful black males preferred to settle down with some white girl than with a more demanding and aggressive black ‘ho’ while most non-black men didn’t like black women.) Since the Great Society 60s, more and more black kids grew up in single parent households. But, things were actually even worse. Many single-mothers were totally worthless as parents. They had many kids, had no responsibility, and lived off welfare or petty crime(and had series of awful boyfriends). There was no discipline in the home and plenty of social craziness. When we compare the music scenes of blacks and whites in the 60s, 70s, and 80s, we find crazier and more corrosive stuff among whites. Sure, there were the Carpenters and other white-bread fluff, but there was also Satanic Heavy Metal, Ugly Punk, and other retarded stuff. Black music, even for hoodlums in the black community, used to be stuff like Earth, Wind, and Fire, Lou Rawls, and Barry White. Sexy, shad, and funky but not viciously crazy.
Yet, the black community suffered more in this period because of the near total breakdown of the black family. Young girls had babies and lived off government handout. And, kids grew up without fathers and got all their ideas from TV, streets, gangs, and demagogues. So, by the 80s, there was nothing for black youths to rebel against because relatively few black kids even knew their fathers. Fathers are supposed to socially and emotionally link their children to the future and the past. The Future because a child hopes to grow up to be like his father or marry someone like him. The Past because the father tells his child about how things were like ‘back in the days’. With no fathers, a lot of black kids were cut off from both the black past and from a sense of black future. A vertical sense of historical development, moral hierarchy, and social progress was lost in the black community. There wasn’t much to emulate but also not much to rebel against. So, what developed among black youths was a kind of a horizontal community of badass punkass jiveass juvenile delinquints–the kind you see in the French film La Haine(or among the criminal urchins in the Brazilian movie City of God). Rap was aggressive, loud, and brash, but it wasn’t necessarily rebellious because there were almost no black elders saying NO to that stuff. (Also, though some elements of Rap was anti-white and pretended to have a political bent, the essence of rap was about ‘niggaz’ trying to act tougher than other ‘niggaz’. It was more about internecine aggression among young black punks than about blacks vs the outside or older world–as the outside world avoided blacks and as older blacks had no control over the younger ones. If there is a rebellious element in rap, it could be a sublimated rage against single-mothers. Since the majority of black males grew up under single mothers who often beat and cussed them out, the young punks grew up seeing the BLACK BITCH as the authority figure. But, as their mothers were the ONLY people with whom they had an emotional bond, rappers couldn’t go all out and dis their own mamas. Indeed, nothing drives a Negro crazy as bad shit said about his mama. Thus, the black thug had to repress and sublimate his resentment over all the beatings and neglect he suffered at the hands of his mama and take out all his frustration against the abstract HO–every woman except his own mama. )
There had been strong and influential moralistic folks in the black community decades ago who called Jazz "the devil’s music" or objected to guys like Ray Charles using spiritual music for secular expression. But, there were no parents who effectively said NO to black kids in the 80s because most black kids had no fathers–and their single mothers were useless and on crack or watching TV all day and dumb enough to find amusement in their children singing and acting like shit. (If black mothers beat up their kids, it tended to be abusive than disciplinary.)
Also, most ‘respectable’ black politicians were okay with rap since they were a bunch of aggressive, hateful, vain, and disgusting louts themselves who wanted to be thought of ‘with it’ and cool. So, Jesse Jackson said Rap turns ‘mess into a message’ when it actually does the opposite. And, there’s Al Sharpton and etc.!
 
And, though many white people didn’t like or even hated rap, they kept mum because it would be ‘racist’ for them to say so. Besides, even whites who hated rap kinda envied it because it was efficient, powerful, propulsive, and intimidating. A white guy was afraid to say denounce rap since people might interpret his disdain as pussy-ass fear and envy–like the whiny whimpering of a small dog afraid of a big dog who won the fight and the mating rights. I’ll bet every White Nationalist who denounces rap secretly wishes white guys had come up with something as effective and infectious. So, when a white guy says he can’t stand rap, it’s not just the music he’s objecting to. He’s objecting to the power of the black dude, just like white men had been offended by the power of Jack Johnson which blew away all those white guys in the ring. Also, it frustrated a lot of white conservatives that so many white kids dug rap culture and chose to become ‘whiggers’. It was a fact and fate of nature–guys admiring toughest guys as role models and girls being attracted to studliest guys as sexual fantasies. (Thus, every white man is filled with insecurity. Even if he has a pretty girl friend or wife, he wonders, "does she secretly desire the stronger Negro over me? Would I be able to protect her and defend my honor if I were to be challenged by some ‘nigger’ in the street?")
 
There was another reason why whites didn’t oppose Rap. Many white liberals felt ‘guilt’ toward blacks and regarded Rap as the authentic voice of the ‘disenfranchised’.
Many liberals agreed that, yes, much of Rap is ugly, hideous, demented, and sick BUT those disturbing aspects were the symptoms of the pathologies in the black community created by centuries of white oppression. In other words, if you poison someone, you should not complain if he throws up on you.
Another reason why many in the white community didn’t complain was that the real power-holders of the media and cultural institutions were Jewish. For either radical or economic reasons, most Jews supported Rap and Hip Hop. Liberal Jews claimed that blacks were expressing righteous rage. Jewish Hollywood even signed the likes of Ice-T and Ice Cube to multi-million dollar contracts.
Also, conservative whites were mostly silent about rap because they didn’t want to look ‘square’ and ‘dorky’ like so many white people in the 50s who’d called Elvis’s stuff ‘nigger music’ and have been ridiculed ever since.
 
So, generation gap had little to do with the rise of Rap. It’s also pointless to argue that rap has exhausted itself as Steve Sailer does because it is exhaust-proof. It’d be like saying people will stop drinking coke or beer because it’s the same old thing over and over. But, people keep drinking the same sodapop and munching on the same hotdogs and bigmacs day in and day out because they offer a kind of elemental-eternal pleasure. Rap has that kind of appeal to many. People are not looking for something new but something that feels ‘right’. Rap never started out as a form with much stylistic variability or possibility. Indeed, its very power lay in its essentialness. Rap is like refined sugar or a cheese burger. Refined sugar got rid of everything except the sweetness. Rap got rid of everything in black music except the beat, thumpity-thump, humpity-hump, and aggression. It is the porno-ization of black music. Similarly, cheese burger is a perennial and universal favorite precisely because it is just ‘right’ and nothing more. People don’t expect a fancy or highfalutin burger, which is why the Arch Deluxe was a laughable failure. People who consume porn are not looking for art, creativity, range, or insight. They want the same in-and-out action day in and day out. Of course, they want some variety in the kinds of women and sexual positions, but the basic formula is the same. Porn lovers don’t want more dialogue, fancier camera tricks, and all that auteur stuff. What really matters to them are (1) is the woman hot and sexy? (2) is the guy a stud? (3) is it at least competent technically (4) will it get me excited. Porn is creativity-proof.. This isn’t to say porn can’t be creative but only fact that the primary appeal of porn is about orgasm, not creativity or originality. Similarly, people who like Rap and Hip-Hop want the same thing over and over. They want some variety but within the same formula. Though I find Rap to be ugly, hideous, and retarded–essentially foul-mouthed baby talk–, who can deny that it has a certain primal and animal magnetism? Just as a gorilla thumping its chest or a panther’s growl attracts our attention and even awe, the animal power of Rap has a pull on our emotions. To totally deny it is to be dishonest(just as it would be for a Jew to deny that Ride of the Valkyries has awesome power.) Though rap is generally annoying, nagging, retarded, and irritating, the truth is young people–especially raised by trashy single mothers–don’t have much in the ways of dignity, values, and sense. They grow up in a tough empty world and come to believe that the ONLY thing that matters is how tough you are, how effectively you can cuss and defend yourself and fend off enemies and rivals with fists and f-words. Just as boxer cannot waste his moves and must use his bodily motions to punch and win, Rap must be compact, aggressive, muscular. It’s the social evolutionary product of the law of the urban jungle. In the ghetto, you can get killed by saying the wrong thing the wrong way. You get whupped if you act weak. You gotta act like you’re tough and strong and express it through words and fists. A boxer will get clobbered if he experiments with his movement to emulate a ballet dancer or hindu yogi. He must be focused on defense, offense, and nothing else. Same goes for Rap. Rap is more than a musical expression. It is more like the musical manifestation of survival instincts within the black community where things got really tough as young hoodlums began to fight one another for mastery. Paradoxically, all this aggressiveness only reduced the chances of survival among black youths. With every black male acting tough to ‘survive’ and scare off rivals, the black community turned into a battleground of trash talking lunatics. Each moron may have justified his tough talk as a means to ‘survive’, but it must be said black males in the Hood would have a better time surviving if they didn’t try so hard to ‘survive’. (It’s interesting that the musical culture of societies ruled by military elites–feudal or aristocratic Europe and samurai Japan–was far less aggressive than that of modern democracies where civilians have power and freedom. I guess since a strict social order was maintained by the military classes, the elites could concentrate on gaining respectability through serious art while the masses behaved themselves and didn’t get to uppity. The elites back then probably feared free-wheeling emotions since such may lead to rowdiness and over-confidence among the masses that may come to challenge the social order. Indeed, the Old American South was like the aristocratic order in Europe; the white elite tended to be genteel, and the blacks were shuffling and obedient and singing songs like Old Black Joe.)
 
Now, let us consider some of the factors and conditions that may lead to cultural or artistic ferment at any given period in history. Sailer points to the Generation Gap as having been crucial to the creative/innovativel ferment of the 60s. He even quotes a line or two from Jacques Barzun’s ‘From Dawn to Decadence’–a book which I haven’t read–which seems to indicate that this was indeed true all throughout history. But, is the Generation Gap THE crucial element in the birth or burst of new ideas and creativity? That it can be one seems indisputable, but what about tremendous artistic ferments in periods where Generation Gap didn’t play a significant factor?
The Generation Gap leaps out as a factor in the case of the 60s because YOUTH REBELLION defined the period, but upon a closer inspection we discover that much of the creativity had less to do with Generation Gappery than to a burst of Maverick Orientation among the pre-boomer generation. Though 60s music was largely created and directed by boomers or immediate antecedents, many of the key thinkers, artists, and entertainers in the 60s were of the older generation. Indeed, they belonged to the ‘over 30 crowd’ who were not supposed to be trusted by young people. And, even in the field of pop music, the new music owed a great deal to the traditional roots in country, blues, rhythm and blues, folk, and jazz. There couldn’t have been folk rock without centuries old folk music and rhythm-n-blues & country which became the basis of rock n roll. Though we tend to think of music prior to Elvis and Beatles as only Perry Como and the Andrew Sisters, it’s a crude caricature. There had long been a rich history of music in America even if it happened to be regional, local, or ethnic or ‘race’ music.
 
Anyway, outside the musical arts, it becomes more apparent that the creative geniuses in literature and cinema of the 60s were generally not of the 60s boomer generation obsessed with generation gappery, youth rebellion, and so forth. This was the case in both America and Europe. The preeminent European thinker in the 50s were Sartre and Camus. In the 60s, the most important Marxist thinker was Louis Althusser. These men were NOT of the 60s generation. Indeed, their own youths had spent in the 30s or 40s. Among the most important European filmmakers of the 60s were men like Bresson, Bergman, Fellini, Antonioni, Resnais, Visconti, Bunuel, Leone, and Melville, but all these men were not of 60s youth rebellion. They were in their middle ages or even older. But, who can deny that their creativity in conjuring up an entirely new language of cinema. There was an element of rebellion in the French New Wave and subsequent New Waves in other countries, but even here, the reality is far more complex. Most New Wave directors were born around 1930, which means that they were already 20 by 1950. By 1960, they were already 30. Young but not exactly Boomer. Also, the New Wavers, though rebellious against the French Film Industry, were deeply reverential toward the Old Masters, especially Hollywood greats like Alfred Hitchcock and many others. One of the key New Wavers, Eric Rohmer, was much older than others. He was born in 1920!
 
And, if Generation Gap is so crucial to artist ferment, how does one explain the great achievements of 1950s American cinema by men who were neither young nor particularly rebellious(in the generation gap sense.) Consider that Hitchcock made his two greatest films in the 50s–Rear Window and Vertigo. Orson Welles made Touch of Evil in 1958. He wasn’t really old but he wasn’t young either. And, John Ford made his greatest film in the 50s too when he was in his 60s. That movie was, of course, The Searchers. Indeed, many of the key 50s movies were made by middle aged or even old men. Though 50s cinema was still restrained by certain censorious codes and conventions, one could argue that it was the high artistic peak of American cinema. Now, let’s look at American cinema of the 1960s. Even here, most of the key filmmakers were not of the Generation Gap(Boomer) generation though their films came to define the attitudes and spirit of 60s youth. The Wild Bunch was made by Peckinpah when he was 44. Bonnie & Clyde was made by Arthur Penn when he was 45. The Graduate was made by Mike Nichols when he was 36. He was still young but not a gapper. Indeed, he confessed that he was rather put off by young people who saw Benjamin Braddock as a hero. Stanley Kubrick was 40 when he made 2001 a Space Odyssey. So, even the great landmark 60s films were made by men known for their expertise, professionalism, and experience than by young men obsessed with youth angst. To be sure, they were rebels in the sense of going up against the Studio System, but it’s safer to categorize them as mavericks than as rebels, not least because many felt no particular affinity with the 60s youth crowd. They were men of strong personalities, individuality, and vision, but it would be misleading to say their art and genius were fueled mainly a generation gap.
(Indeed, maverickness, not rebelliousness, is the key to creativity. Maverickery is an individual or personal attribute, and all great artists are strong individual personalities whatever their ideologies or beliefs may be. Rebellion, on the other hand, is a collective mindset, movement, or attitude; and for that reason, it can easily be appropriated by governments or corporations and fashioned into a slogan or a brand. Corporations cannot mass-manufacture maverick talents like Miles Davis or Sam Peckinpah, but it can mass-produce rap and heavy metal music clones whose mindset tends to be collective and conformist. Mavericks like Albert Camus cannot be mass-manufactured, but governments can mass-produce lots of rebels like Red Guards or Hitler Youths. Rebels may be against something, but they all need to stick together to form a viable movement. Thus, rebellions all become new conformities. Mavericks, on the other hand, are eternally blessed or condemned to be loners in their own expressive, visionary, or emotional universes.)
 
If 1970 witnessed the slowdown in the evolution of American pop music, the early 70s is considered the highpoint of New American Cinema by many critics. Films by Bob Rafelson, Robert Altman, Hal Ashby, William Friedkin, Cassavettes, and many others redefined film art. So, just as originality in popular music was winding down, it was picking up in American cinema. And, the latter part of the decade saw Lucas and Spielberg setting forth a new template for not only American but world cinema. Whatever one thinks of Lucas and Spielberg–the childlike or childishness of their visions–, who can deny their originality and ingenuity?
 
Men like Ashby and Altman, though pioneers of a new kind of cinema, were certainly not of the 60s generation. By 1970 when he made MASH, Altman was already 45. And, Ashy was 41 when he made Harold and Maude. Altman was 20 in 1945 which means that he could have served in WWII and could be considered a member of the Greatest Generation. Ashby didn’t quite qualify as a member of the Greatest Generation but certainly was too old to be a boomer.
Of course, one could argue that their main sensibilities, ideas, and vision had been formed during their younger rebellious days and that they merely applied their imagination in later life when given a chance to make the movies they wanted to make. But, this could be said for artists of any generation. Artists have Big Ideas in their youth but don’t often get to realize them until much later in life. This may account for great young poets. Any young poet can jot down his poetry and gain fame right away. But, art forms requiring lots of money, support, and networks are not friendly to young talents. A young architect with Big Ideas may have to wait until he’s in his 40s or even 50s for his chance. By then, his inspiration may have dried up, and he may be sustaining his career with backlog of ideas developed from youth.
 
There is most certainly an optimal relation between the nature of the art form and age of the artist. Rock music requires youthful energy, even immaturity and brashness. Other artforms require experience, thought, reflection, etc. Classical symphonies probably favor men who tend to be older though there have been many young geniuses in classical music. Some artforms stress forthrightness and simplicity of emotions while others require richness of texture, nuance, depth, and complexity. There’s no way to determine whether youth and energy OR maturity and reflection are better for art. Each has its advantages and disadvantages. Young people possess fresher senses and are more neuron-charged and ambitious. Old people tend to have greater perspective, more wisdom, and deeper understanding. Perhaps, just as daybreak and dusk are the most beautiful & special parts of the day, creativity is most special when one blooms into adulthood(daybreak of consciousness) and when adulthood sets into old age. Youths growing into adulthood are filled with crisis. Their ideas and actions may be stupid and brash but also filled with boldness and energy. Adults settling into oldness also go through crisis. They are beginning to lose grip of a life they’ve become accustomed to. They feel their energies sapping and muscles weakening. Crisis inspires or forces people to think and grapple with reality in new or different ways. To a young person, going off to college or graduating from college can be profoundly meaningful. To an adult faced with mid-life crisis, big questions about life must be confronted. This isn’t to suggest that these periods of life are necessary for great art. Indeed, many great works of art have been created at all stages of life. Rather, the point is that art created at these crisis-points in life tend to have an extra charge, power, intensity. To be sure, crisis doesn’t necessarily have to be related to a person’s age. It can come about due to loss of a dear one, political or historical calamity for a nation, loss of faith in one’s ideology or religion, a horrible personal tragedy, social revolution, etc.
 
Much of the creative spark comes from conflict. Even pleasant-seeming artworks and entertainment are often created by oddballs and misfits. This is especially true of comedians. We may think comedians are happy people full of laughs, but many are manic depressives who constantly hog for attention to feel self-worth. Many of them happen to be ugly, funny looking, or have weird habits or outlooks on life. They are outsiders, and their comic routine is often an attack on society or self-loathing attack on themselves. They beg for out attention through special pleading but also through insult. Jews are great comedians not only due to their high intelligence and wit but their ‘hostile’ relationship with rest of society. Also, comedy is a deeply unsatisfying business. While on the stage, the comedian may produce lots of laughs, but the fact is he must act the clown, fool, or jerk. The audience is partly laughing with him but also laughing at him. All comedians are, to some degree, object of ridicule and self-ridicule. So, after the lights go down and they go back home, they are likely to feel lousy. A comedian is also like a drug addict looking for another fix–a killer joke or something to laugh at–because his life feels empty without the barbed cushion of laughter. There is also the pressure to come up with ever new jokes. A singer can sing the same song over and over, but a comedian cannot tell the same joke over and over. Like the truism about sharks–sink or swim–, a comedian must constantly surf the waves of laughter. With a life, identity, and career defined by clowning around, a comedian feels like a nothing when sober. Consider Peter Sellers.
A comedian may make a lot of money, but his whole life is about making a fool of himself before others. It’s no wonder that Woody Allen has never been very happy. A comedian can only be taken seriously as a person who cannot be taken seriously. People may seriously admire comic wit and talent, but the comedian remains a caricature than a real character. Blacks have also been good at comedy, not only because they are naturally wild and expressive but because, like the Jews, they’ve had a rather hostile and conflicted relation with white America. In the distant past, blacks often hoped to win white affection or approval by acting like clowns, children, animals, or various Negro stereotypes. It made many white people laugh, and it even made some blacks rich and famous. But, the fact remained that blacks were, to an extent, demeaning themselves through a Jive-ass coon act before white folks. It’s no wonder that Black Liberation in the 60s was often Angry and Humorless. To an extent, black radicals were reacting to the image of the Happy Negro who always be munching watermelons, singing, dancing, and laughing.
 
Crisis is always better for art and creativity than stasis, but crisis can come from anything. Ingmar Bergman’s crisis, for instance was partly personal, religious, political, and psychological. His tortured relationship with his father led to both personal and spiritual crisis which stay with him all his life. His early enthusiasm for Hitler and Nazism led to a moral and political crisis later when the horrible crimes of the Nazi regime were exposed. But, he was a born weirdo, so Bergman suffered psychological crisis all his life. Even as a successful world-renowned filmmaker, he was a very tormented artist, a fact which can be seen in films like PERSONA, HOUR OF THE WOLF, and PASSION.
 
There’s no guarantee that crisis will produce great artists. Indeed, most of the world is saturated with crises of all kinds, but most societies don’t produce great artists. How many great poets, painters, or filmmakers came out of Cambodia or the Congo in recent decades? For artists to be able to work, there has be a kind of balance of crisis and stasis. When Japan was in full crisis during WWII, there wasn’t much room for artists. But, postwar Japan had both crisis and stasis. There was peace and gradual economic rebuilding, but there was also the poverty, huge social problems, and the horrible memory of the recent war. People like Akira Kurosawa were naturally talented to be sure, but their psyche had been shaped the great events of history–not just the war but the rapid and dramatic modernization of Japan prior to the war.
Similarly, it could be that China since the 80s produced a number of great filmmakers and writers because of the balance of crisis and stasis. China has always been in crisis mode for over 200 yrs, but since the 1980s, there was stability as well as crisis. Besides, many crises since the 1980s have been of constructive than destructive nature. Any rapid change–even positive–leads to crisis in how people perceive and react to reality. People are forced to struggle, adapt, and/or to see things in a new way. The Mao yrs were especially bad for the arts. They were violent and oppressive. Maoist crisis was entirely destructive and Maoist stasis–communist totalitarianism–was entirely repressive. But, since the 1980s, China has had a different kind of stasis and crisis. The stasis was based on economic growth and political stability, and the crisis arose from grappling with socio-cultural changes. Also, the horrible Mao yrs became a fertile subject matter for Chinese artists and filmmakers. It’s sad but true that horrible events often tend to be more interesting than static continuance. Far more books have been written of Hitler and Stalin than the leader of Switzerland. Far more books have been written and will be written on World War II than on East German auto-making in the 1960s. So, just as the horrors of WWI and WWII served as great material for books, movies, ideas, and art for many artists in the West, the horrors of the Maoist period served as great material for Chinese writers and filmmakers since the 1980s. Chinese couldn’t write or express themselves freely during the Mao yrs, but since the 1980s many Chinese artists had something compelling to write and think about.
 
This is also true of postwar Italy. Defeat in WWII forced Italians to do a lot of soul searching. Also, left-leaning Italian artists gained new freedom to write books and make movies about various social problems in Italy. The result was Italian Neo-realism. Neo-realism might have materialized even if Italy hadn’t lived through 23 yrs of Mussolini and WWII, but the liberation from political repression and the harrowing experience of war made it all the more urgent, powerful, and necessary. The generation of Italian filmmakers from the 1940s to the 1960s all had been directly or indirectly impacted by the war yrs. Now, compare them with Italian filmmakers of the 70s and 80s who grew up in relative stability and prosperity. Whatever their talent, they’ve lacked the same powerful and urgent connection to Art as a life-or-death passion. The rise of neo-realism had nothing to do with the Generation Gap. Indeed, Vittorio De Sica was already 47 when he made BICYCLE THIEVES and was 51 when he made UMBERTO D, a movie about an old man and his dog–considered by many to be his best. Though the crisis wasn’t generational, it was still a genuine crisis of some kind.
 
But again, crisis isn’t enough. A society needs to have some kind of cultural and critical community, tradition, and heritage. Italy enjoyed a rich history in the arts. Also true of France and Russia. Same could be said for Japan and China. But, some nations, no matter how crisis-ridden, never developed much of an aesthetic or expressive tradition. As such, few people know about art, care about art, create art, nor critique art. So, crisis remains just a crisis instead of serving as the fodder for creativity. Arts and culture never exist in a vacuum. Arts and culture, even when created in the Name of the People, occupy a privileged position in society. They can be supported by rich patrons, government, or by mass business models but don’t exist on their own. Novelists would have no reason to write in a society without publishers, critics, scholars, readers, and universities to preserve the memory of such stuff. Filmmaking is expensive and requires the infrastructure of movie industry, movie theaters, marketing apparatus, and retail outlets(for dvds and other movie-related material). Of course, certain humbler artforms, especially folk music, can exist in a world of their own. Even an illiterate hillbilly or Negro could pick up an old banjo or broken guitar and sing a tune which might pass from person to person and become part of the larger culture. But, higher or grander forms of art require more than illiterate hillbillies and wily Negroes. This is even true of Serious Poetry–as opposed to folk poetry amounting to limericks about funny stuff. It may be that it didn’t cost T. S. Eliot anything to write poetry with pen and paper, but for Eliot to have reached his level of knowledge, mastery, and complexity, he had to have enjoyed the benefit of extensive education provided by Institutions. Also, his work was such that they could only be appreciated by equally Serious People who care about and care to sustain that kind of High Culture. So, even though it only took pen and paper for Eliot to write his poems, it required a complex and advanced society to produce and appreciate a man like Eliot to begin with.
 
Generally, people like to avoid crises though they are curious about the crisis of others. In other words, few of us want to fight in wars, but we like to see stuff like SAVING PRIVATE RYAN. We wouldn’t want a meteor to hit our planet, but we love disaster movies. We’d rather see a movie about a plane falling out of the sky than a plane flies and lands safely. Lack of crisis compels us to examine something closely, clinically, and analytically if we want to escape the boredom of stasis. For example, it’s exciting just to watch a car plow into other cars and blow up. But, if a car is standing still, it becomes interesting to us only if we try to know more about it–design, history, engineering, etc. When there’s no crisis, we must bring our attention to the matter since the matter won’t grab our attention in wham-bam-thank-you-ma’am manner. (This could indeed be the difference between civilized peoples and backward peoples. Even when all seems normal and ‘boring’, civilized people patiently seek MORE knowledge and understanding about the reality whereas backward people–like children–don’t use their minds or engage their senses unless something crazy happens or something fun is available. Animals are the same way. Without OBVIOUS stimuli to grab their attention they just wanna sleep all day.)
For this reason, a Negro is likely to be more entertaining than other peoples. Even when childish and nonsensical, a Negro is often in an elemental crisis mode. Happy or sad, a Negro is ‘flipping out’, hollering a lot of yabbity-dabbity gibberish, clucking his neck, shaking his booty, and/or acting all jive-ass and shit. It could well be retarded and even offensive, but it grabs our attention. We wouldn’t want such a Negro as a next-door neighbor, but he’s more fun to watch than a serious and sober Swedish bureaucrat or German engineer.
This may be why some Afro-centrists take pride in black folks being so ‘creative’, and indeed, there is a peculiar kind of creativity in the black community generally lacking in others. But more often than not, blackness is more expressive–even destructive–than truly creative. Even so, the musical, behavioral, and linguistic contributions of blacks cannot be denied. Many of these contributions may seem stupid, childish, and ugly to us, but some of them certainly possess great power, vibrancy, and brilliance. Who can deny the power and genius of samba, jazz, and other musical forms? Also, though rap is a childish and savage musical form, who can deny its infectious beat irresistible to angry, frustrated, bullying, or rebellious young kids all around the world? The fact is young men(and even girls) in their teens(and even early 20s) aren’t the most thoughtful and mature people in the world. Rap does indeed supply them with a kind of beat, rhythm, style, and thrust which makes them feel alive, important, relevant, etc. They may be fools, and Rap may be stupid, but its formula is undeniably potent. It is to young thugs and idiots what sugar is to kids and coca-cola is to fast food eaters. Not good for you but with undeniable appeal.
The group most interesting in our consideration of creativity and crisis is the Jews. No people have been as original, brilliant, creative, productive, destructive, dangerous, and subversive as the Jews in the modern era. This is all the more remarkable since Jews have been a small minority in all nations except Israel. Indeed, even in Israel, the most productive and creative Jewish group, the Ashkenazi, has been a minority. Why would this be? One of the reasons is surely biological. Jews have higher intelligence and a naturally wily personality. The Jewish mind, for bio-cultural reasons, tends to be more busy, restless, and ‘wandering’ than those of other groups. If blacks are excited in a yabbity-dabbity way, Jews are lively in a yadda-yadda way. If blacks are roaring with wild emotions, Jews are raging with furious intellect. The black dude loves to move his body and sing and dance. The Jew loves to analyze and challenge everything. So, the Jew, like the Negro, is constantly in crisis mode.
This mode may partly be rooted in his DNA, but it’s also the product of nomadic and Mercurian Jewish history and experience. On the one hand, Jews have historically clung to the notion of One God who Chose and Blessed the Jews over rest of mankind. Thus, according to the Sacred Jewish Texts, Jews SHOULD BE the most successful and happiest people on Earth. But, as a nomadic people, Jews remained a minority in foreign lands and lived uneasily surrounded by goyim. On the one hand, Jews felt superior to goyim, and on the other, Jews had less power or were even at the mercy of the goyim. This could only lead to spiritual and social crisis in the Jewish soul. Socially, Jews learned to feign loyalty to the goy order but secretly subverted, weakened, and undermined goy power order. In most cases, Jews succeeded to a point... before being exposed for their two-faced venality and being kicked out. The countries where Jews succeeded most were USSR up to end of WWII and in the USA where Jews have truly become masters over all of us(and are fully implementing their plans to destroy the white race). Anyway, the fact is the Jews, in most cases, could never gain the full trust of goyim who, in due time, figured out what the Jews were up to. Jews might have acted like they were loyal and offer up their talent to the rulers of the goy order. But eventually, the goy elite and masses could detected the same old pattern. Jews would never honestly assimilate, instead setting up a Jewish network to grab the most amount of wealth and power in the goy order. This is why it’s crucial for Jews to control the media and harp about the Holocaust. With control of the media, the Jews can condition us to think that ANY criticism or examination of Jewish Power is ‘antisemitic’ or ‘crypto-Nazi’. Jewish media churn out the same old Holocaust images, as if to imply that if you’re critical of Jewish power, you must want to gas Jews. (Though this is a dirty Jewish trick, it must be said there are plenty of dumb, insipid, and stupid morons on the Right who belittle the Holocaust or say it didn’t happen, thus only giving credence to Jewish groups that the White Right is full of enraged and seething retards. Holocaust Deniers are unwitting friends of Jewish power. Their stupidity lends validity to Jewish paranoia and stains the Right. It’s one thing to re-examine the records pertaining to the Holocaust, but it really takes a moron or sicko to deny that the Nazis committed unspeakable crimes through genocide and other horrors.)
 
Anyway, what are the reasons for Jewish creativity other than high intelligence? After all, intelligence isn’t necessarily synonymous with creativity. There are many intelligent people without much in the way of artistic impulse. Though high intelligence always helps, other factors are also necessary. Indeed, most artists a bit ‘crazy.’ The great ones don’t just dabble in art but immerse themselves as their obsessive calling in life. It completely defines their ego, dreams, ‘spirituality,’ and agenda. Some people have high intelligence but not the ‘craziness’ elemental to great/powerful art. Some people have the ‘craziness’ but not enough intelligence. Generally, a great artist has (1) high intelligence (2) obsessive ‘craziness’ (3) creative temperament–generally more right-side-brained than left-side-brained (4) flexibility of mind (5) natural talent–the right kind of hand-eye coordination or imagination-application connection.
 
Many Jews are highly intelligent, but what were the factors that favored them in traits from (2) to (5)? Jewish ‘craziness’ may come from cultural, historical, and biological factors. As a nomadic and restless people, Jewish merchants had to hustle and bustle from community to community. Jews could never settle down to a long-lasting stable communal life like those of most Christian peasants or noblemen. So, Jews were likely to have come under greater emotional duress and cultural neurosis, especially as they were always regarded as ‘outsiders’. In a way, all artists are kind of like self-exiled outsiders. They are bohemian eccentrics who seek another reality through creativity that unavailable or hidden in the real world. This imaginary realm of art can be perfectionist, rebellious, dysfunctional, subversive, noble, or corrosive, but each challenges the world as it seems to most people. A painting of a beautiful woman, for example, implies and bemoans that most women aren’t as beautiful. An ugly painting, on the other hand, implies that truth is indeed ugly and that people pre-occupied with prettiness are ignoring True Reality. Whether idealistic, realistic, imaginative, or satirical, art is great only when created by a ‘crazy’ obsessive artist of great talent and determination. ‘Craziness’ or eccentricity makes art special. We know, for example, that there is something more than prettiness or handsomeness to the great masterpieces of Greek antiquity and the Renaissance. This is why Neo-Classical Nazi aesthetics was unsatisfying and deficient. Beyond cardboard handsomeness, healthiness, and ‘noble’ posturing, there wasn’t much else. We saw ideology, not individuality. A great work of art can be both ideological and individualist, but it cannot be ONLY ideological–though it can be only individualist.
 
Anyway, Jews occupied a ‘crazy’ position in society because of the nature of their profession, their cultural/tribal identity(among goyim), and their religion. Their religion was, at once, severely intolerant, self-enclosed, and moralistic AND flexible, adaptable, and pluralistic. It insisted there is only One God. It commanded that Jews live and marry among themselves. It put forth a very demanding set of moral laws. But, the Torah also told Jews that it was their fate to live amongst other peoples and grow rich through trade. It advised the Jews to trade, mingle, and work with other peoples. One aspect of Judaism denounced materialism and ‘greed’. The other part encouraged Jews to succeed in moneymaking and gaining social status. These contradictions could never be resolved, and so the Jews became kind of ‘crazy’. Also, because of the demanding moralism of Jewish culture and religion which persecuted homosexuality(well-spring of much creativity through human history) and representational art(‘do not make false idols, etc), Jewish creativity had been stifled and self-censored over the millennia.
This may explain the explosion of Jewish creativity in the liberalizing atmosphere of 19th century Europe. Eccentric Jewish creative talents and voices felt liberated not only from the repressive gentile order but from their own taboos. Yet, this ‘craziness’ had been brewing among the Jews over the millennia, and so it still serves as fuel for the fire of Jewish creativity.
 
Also, even after Jews were accepted into mainstream society, the fact is they remained outsiders because they were still a ‘special’ people–successful way beyond their numbers, sensitive and even paranoid about perceived or potential persecution, obsession with their deficiencies in looks and physical strength. If many Jews reacted to and triumphed over the hostile goy world by working harder, studying harder, and making more money, other and more maladjusted Jews sought meaning of life through comedy, literature, cinema, music, entertainment, and etc. A relatively normal Jewish kid who made good became a doctor, lawyer, or an accountant. A relatively neurotic Jewish kid felt not only rejected or repressed by(or alienated from) goy society but by respectable Jewish society. So, they became the Lenny Bruces, Woody Allens, Marc Chagalls, Bob Dylans, Don Rickles, Philip Roths, Arthur Millers, Norman Mailers, etc.
 
As Jews become better adjusted to mainstream society, it remains to be seen if their high level of creativity will continue. In the movie ANYTHING ELSE, Woody Allen worries about the success of modern Jews. Part of the fear is that old antisemitism may return, but the other fear is that it is dead and gone for good. If Jewishness has been defined by its difference, separation, and even persecution by rest of society, can a meaningful Jewish identity, culture, and sensibility survive/thrive in a world where everyone loves the Jew? Indeed, imagine a Woody Allen without social, historical, sexual, political, and cultural complexes related to being Jewish. He might have been content to become just another Jewish dentist or insurance salesman.
 
Of course, Jews may need not worry. It’s possible that Jewish ‘craziness’ is as biological as well as cultural or historical. After all, most persecuted minority groups never produced great intellectuals, artists, and the like. Asian-Americans were treated as outsiders through most of American history, but Japanese- and Chinese-Americans haven’t been nearly as creative, original, or ‘crazily’ interesting as the Jews. Could it have been because Asians are naturally or biologically more submissive/conformist whereas the Jews are naturally more cunning, wily, clever, and curious? Most Asian-Americans try to get along with the majority or mainstream whereas most Jews try to re-define the entire mainstream according to their likes and dislikes–even when they make up a small percentage of the population. There were many Chinese rebels and revolutionaries in China, but how many outside China? Yet, there were many Jews who challenged the entire social order in societies where they were just a small minority. Even if many Jews sought assimilation, plenty of other Jews of radical or contrarian inclination had the chutzpah to overturn or transform the entire social and cultural systems of non-Jewish nations. Indeed, even the neocons–mostly Jewish–have been accused to trying to transform the ENTIRE world by using the power of the US, a nation that has already been largely redefined and reshaped according to liberal and left-wing Jewish ideas and agendas.
 
Anyway, if Jewish creativity or ‘craziness’ is biological, then Jews will continue to be a restlessly original, daring, and challenging force in society no matter how much we praise them, embrace them, love them, etc. After all, white Americans have completely embraced the Jews, yet most Jews still decided to support Obama to PUNISH white society. The liberal Jewish owned media still sought to brainwash white people that their sins could not washed away until they bowed before Obama and vote for him in the Presidential election.
And, even though white Christians died in huge numbers to defeat Nazi Germany, most American Jews have shown little or no appreciation, have compared white Americans with Nazis(especially through documentaries such as ‘The Liberators’), pushed for illegal immigration to increase the number of Mexicans so as to reduce white American power, promoted miscegenation between black males and white females(so as to break the sacred bond between white men and women which had lasted for 10,000s of years), and crammed ‘gay marriage’ down our throats and up our asses so as to undermine the very foundations of eternalist morality. Having been embraced by the white mainstream community, you’d think most Jews–wealthy and privileged–would embrace mainstream values and become one of us. But, most Jews have sought to undermine our power, our values, our borders, our sovereignty, and etc. So, it’s possible that Jewish restless ‘craziness’ is biological than merely cultural. It is essential than existential.
 
It is no wonder that the Jewish community has been so close to the homosexual community. Both are culturally and biologically committed to the subversion and the destruction of our people, values, power, and values. They sometimes pose as ‘mainstream’ and ‘normal’. So, gays say that their demand for ‘gay marriage’ is merely to become normal like us. But, if we accept the perverted concept of ‘gay marriage’, the very institution of marriage will no longer be normal or decent. By normalizing the freaky, you freak-ize the normal. If you legitimize dogshit as food, you equate feces with a turkey sandwich. Posing as normal to destroy real normality is the goal of the gay agenda. It is what Saul Alinsky has been up to with socialism. Since people will reject the shock of socialist change overnight, the trick is to dress up aspects of socialism as ‘middle-class’, ‘normal’, and etc. Instead of presenting radicalism as the enemy of Americans, you coat it with candy and tell Americans it is American-as-apple-pie! (Similarly, during the Spanish Civil War, Jewish-American communist volunteers called themselves not "Marxists", "Leninists", or "Stalinists" but the "Abraham Lincoln Brigade". And, why do the liberal Jews and their white goy puppets keep comparing the radical Saul Alinsky-ite Obama with Abraham Lincoln? Again, they are trying to mainstream-ize what is essentially radical. They are trying to whitewash what is essentially black-ish and radical Jewish.) So, the Jews have given us president Obama and are helping the gays–whose most influential members also happen to be Jewish–to push ‘gay marriage’. If some Jews are subversive through wildness and craziness, other are subversive through a termite-like patience.
 
Anyway, homosexuals too have been a very creative and artistic people all throughout history. Part of their eccentric craziness in inborn. Confused as a result of living in a man’s body with an effete personality or a woman’s body with a masculine personality, homosexuals have a DIFFERENT and CRISIS-ORIENTED way of looking at reality. That alone accounts for their EXILE status whether it be self-enforced or by society-at-large. Also, homosexuality aids in the field of sublimity as it opposes, fuses, and harmonizes–if only through imagination–the yin and the yang. To be sure, one doesn’t have to be a homo to have this sublime quality as an artist, but it certain helps. There is night, there is day, yet the most special times are during sunrise and sunset. Homosexual sensibility at its highest form accesses that heartbreaking sunrise/sunset of the imagination. Of course, there’s plenty of bad homosexual art, and much that is ugly, putrid, annoying, campy, and ridiculous. When it is bad, it is REALLY REALLY bad.
 
The point is homos have been ‘different’ or on the outside, and this condition tweaked their creativity. Most great artists are maladjusted, eccentric, oddball, neurotic, manic-depressive, etc. As homos become more welcome in mainstream society, it remains to be seen if their creative edge will wane, and there are already indications of that. Though homos are still vastly over-represented in the arts, entertainment, and other creative fields, there has been fewer outstanding homosexual artists who made a real difference in the past 30 yrs. Even as the Gay Agenda heats up, the gay sensibility in the arts has been turning lukewarm.
 
Here are some other conditions or factors that may encourage or inspire artistic or cultural ferment and/or innovation.
1. Precious-ism vs Taking-for-Grant-ism.
 
Too much of a good thing can be a bad thing. Familiarity breeds apathy if not contempt. Consider the days before the VCR, DVD, and hundreds of cable channels(and now the internet). Movies were special. You got to see them in theaters when first released, in revival movie houses, or on late night TV(often chopped up and loaded with commercials). Because you couldn’t see them anytime you wanted, you savored and appreciated every viewing as precious. Since you had to rely on your memory, cinema was mythically alive in your heart and mind. But with the advent of the VCR and the DVD, you could watch just about any movie anytime. Now, you can even watch a timeless classic on your cell phone. Though more people have access to great movies now than ever before, the culture of cinephilia has diminished because we don’t attach any special meaning to cinema. So, even though many people still see movies and many kids go into film making, they don’t have the kind of ‘spiritual’ devotion and sacred awe/respect for the medium as previous generations did. The loss of the precious principle probably has undermined a certain mindset necessary for creating great art. Many people in the film world still have an old-time reverence for cinema but they are a fading breed. For those raised in the cyber age, Art or Cinema is not sacred but merely Fun. Among previous generations, cinema was like an artform of the gods. Especially as filmmaking–even 16 mm–was expensive, everyone who went into Film knew it was going to be a serious calling in life. Since movie making was expensive and time-consuming, the idea was that one should not approach filmmaking nor film appreciation lightly.
Today, with internet software and cheap digicams, anyone can make a movie and upload it on youtube. It’s not exactly Hollywood, but everyone can be a filmmaker, an auteur. But, has the cinematic community become more elevated as a result? Is youtube teeming with great geniuses and innovators? No. There is a lot of talent out there, a lot of clever and even brilliant people who do all sorts of funny tricks. But, they aren’t visionaries and seers like the great masters of the past–Fritz Lang, Alfred Hitchcock, Orson Welles, Akira Kurosawa. There is no lack of talent but there is a lack of vision, a lack of sacred attachment to Art and creativity. It’s mostly smart aleck stuff.
 
2. Hunger-ism vs Satiate-ism.
 
Hunger-ism vs Satiate-ism is related to Precious-ism vs Taking-for-Grant-ism but tends to be individualistic whereas the latter pans out generationally and collectively. All great artists start out Hungry. They have something to prove. They want attention, recognition, and fame. They feel wronged by society for the lack of recognition and fame or for whatever reason. This hunger and frustration–in regards to society or elite’s lack of recognition for one’s presumed genius–build up over time. This passion is, at once, respectful and resentful of successful artists. The hungry artist wants to prove that he’s just as good or even better than the Great Masters or Established Artists. He has fire in his belly fueled by hunger and frustration. Through the leans yrs when his supposed genius isn’t recognized, he furiously works on ideas and stores them away for his final breakthrough. In many cases, the long successful run of an artist is less the product of continual inspiration and innovation than of using up the creative fuel he had stored up during the long hungry years when he’d been an unknown. This is why an artist who is discovered later often has a more promising career than an artist who was discovered early on. The artist who is discovered later has experienced a history of hunger during which he created and stored away many ideas for later use. In contrast, an artist who was discovered early on is showered with all the love and attention and loses the hunger that fuels creativity. Of course, this is only a general principle and certainly not true in every case. Mozart and Welles were discovered early, yet their creativity never ebbed nor declined(though some will disagree with this on Welles). But, it’s no wonder that so many rock artists don’t last long. Partly, it’s because most rock music is emotionally attuned to youthful spirit and generally unsuited for themes of maturation/maturity. But other than the danger of burning out, many rockers who gain early fame become big stars and have little to rebel against or much to prove. To the extent that all artists–great ones anyway–are eccentric rebels or mavericks of sorts, it’s not to their advantage to be loved and embraced too early or too much. Many rockers seem to have learned this and have gone out of their way to remove themselves from the public lest they lose their Edge. (Also, an artist or entertainer who is over-praised becomes either too arrogant or anxious. He either starts thinking anything he does is great or fears his next work will not be good enough and develops a creative block.)
 
3. Forage-ism vs Cannibalism(or Eat-One’s-Own-Excrement-ism).
 
Creativity must feed on creativity just like trees must draw sustenance from the moist Earth. Though some artists are spectacularly innovative, all artists work within a context or tradition. Even when they rebel against a certain tradition or convention, they are defined by the very process of resistance or rejection–just as a boxer or wrestler’s skills are defined and judged in relation to his opponent. So, whether in reverence or rebellion, artists need to feed on previous and present art–those of his rivals and peers. "You are what you eat," it’s often said of nutrition. Same is true of art.
 
The problem occurs when an artform loses contact with the original sources of its sustenance and begins to feed on itself. Suppose lions began to feed only on other lions. Suppose wolves began to feed only on their own excrement. This leads to a process of self-devourment. It also happens in politics, usually when radicals take over.
Consider two artforms for now: Rock music and Anime. Rock music had no single root. Rock n Roll was essentially a sped up hybrid of rhythm n’ blues and honky tonk country music, but Rock music that arose with Beatles, Dylan, Stones, Folk Rock movement, and others was something far richer. It drew inspiration not just from rock n roll but the sources of rock n roll and much more. Bob Dylan was steeped in blues, country, and the entire spectrum of ‘weird’ folk tradition of American music. Though Beatles started out as rock n rollers, they matured into something deeper by the mid 60s. This could be said of any number of great rockers in the 60s and 70s. But, something negative happened. The generation that grew up on rock music only knew rock music. They had little or no link to the sources that inspired and nourished the creation and rise of rock music. In time, rock music came to feed on rock music. Though initially created from a wide pool of creative sources, it had turned into a narrow formula. Metalheads only knew metal. Punkers only knew punk.
If pre-rock(n roll) forms of popular music had appeal to(and expressed the feelings of)adults as well as to young people, rock music emphasized youth at the expense of all else. If Dylan was inspired by songs of old cotton pickers and middled aged hobos as well as those of young rock n rollers, the subsequent generations of rockers and rock fans grew up with an artform that was mostly about youth. Even as the first generation of rockers aged and greyed, their music said everything about youth and not much about emotions beyond youth. If blues music had meaning to both young and old, heavy metal, punk, and rap were only for the young. Sure, heavy metal guys grew old and still toured. Sure, kids into rap music today may still groove to rap in their 50s and 60s. But, the range of emotions was limited to youthful hangups and passions. Heavy metal guitarists may make some spectacular noise but they are emotional midgets. Rappers may be clever with rhymes and rhythm, but their emotions are purely those of retarded thugs.
 
Next, consider what happened to Japanese Animation (Anime) and Comic Books (manga).
The golden age of manga was in the late 60s and 70s, and the golden age of Anime was in the 80s. So, why did these forms turn to total shit as time passed? It’s because both manga and anime began to cannibalize themselves. The original manga artists were actually wanna-be movie-makers. They were steeped in the rich history of cinema and its complex grammar. Since filmmaking was restricted to a lucky few, many Japanese wanna-be filmmakers turned to comic books. So, their comic books were not merely comic books in the silly kid sense. They were essentially graphic cinema.
Much the same could be said for the anime artists of the 80s. They were inspired by Star Wars, Alien, Blade Runner, and other sci-fi movies and other cinematic genres. "Akira" is far from a perfect manga or anime film, but it is inspired indeed. So, what happened?
 
The new generation of manga and anime creators and fans grew up on little other than manga and anime. They knew little or nothing of the ideas, forces, and forms that inspired the ground-breaking artists in the Golden Age of Manga and Anime. They only ate, slept, and excreted anime and manga. They had no connection to the rich world of creativity outside or prior to manga and anime. As Anime and Manga cannibalized themselves and then ate their own excrement produced from the cannibalization, it grew artistically inbred, pale, and retarded. Compare some of the inspired titles of the 80s with the garbage of the 90s(especially latter part of the 90s) and 2000s. It’s like heaven and earth.
4. Burst Dam-ism vs Even-Flow-ism.
 
Some cultures experience an explosion of cultural and artistic activity at a particular time and place. Oftentimes, it’s a bursting of creative energy that had been suppressed or stifled for a long time. Consider United States in the 1950s and 1960s. Though US was always a democracy, the so-called Greatest Generation was busy with the Depression and War and had little time to think about artistic or cultural matters, and so there had been an air of conformity in the air. A kind of cultural liberalization took hold of the nation in the late 50s and fully blossomed in the 60s. Despite the fact that much of the cultural explosion of the 60s were stupid or destructive–and fated not to last–, a good deal was indeed fresh and exciting.
Much the same can be said for Europe in the post-war era. Italy, after decades of cultural restriction under Mussolini, saw the explosion of artistic activity in the late 40s and 50s.
Filmmakers who came to define the French New Wave had lived through the drab shortages of WWII and immediate aftermath. Japan similarly saw a great deal of cultural activity following the fall of the restrictive and stifling militarist regime. And, much attention is today being paid to the cinema and literature in China, a nation which witnessed an explosion of cultural activity following the fading away of Maoism in the 80s.
Of course, not all nations rising out of authoritarian or totalitarian darkness produce great or interesting art. German culture has been mostly lackluster following the fall of the Nazi regime. Nothing much has come out of former East Germany after the fall of the Berlin Wall. Same can be said of Russia after the fall of communism. One can even argue that Eastern European culture as a whole was more interesting under communism than after its fall. There were three advantages for art and culture under communism despite the censorship, ideological correctness, and political corruption. One was generous state funding for men of genuine talent. The communist state also funded artists who might not have made it in a free market system where an artist must pander to market forces. Another reason was that the artist under communism had to fight for his liberty and freedom, and as such his art had an element of nobility and courage. Some of these artists living under communism had to creatively work around or under the system. It’s interesting that so many movies made under communism were implicitly or indirectly critical of communism. The third benefit of working under communism was censorship’s check on sheer self-indulgence. Though censorship is generally bad for art, many artists working under total freedom tend to be excessive or mindless with their artistic license. It’s been said of Roman Polanski that he made better movies under the communist Polish government than in the free West. Since communist censorship didn’t allow him to do whatever his sick mind felt like, Polanski’s vision had to work in subversive, witty, and subtle mode. In the West, he could indulge in his fantasies and make some really deranged and retarded movies.
 
Once the artistic/cultural dam bursts after a long period of censorship or conformism, it’s exciting for awhile but eventually the water ebbs and flows and eventually turns into a lake. There may still be a lot of talent in the pool but we are less likely to notice it or get excited over it. The sense of newness or rebellion is gone. This apathy is shared by audience and artists alike, which is why artists have to go for more and more crazy gimmicks to draw attention to their ‘originality’ or ‘genius’. In the early 20th century, artists like Picasso or Cezanne could cause a scandal and excitement simply by coming up with a new way of painting. By the 1980s, one had to dip a crucifix in urine or take photos of perverts buggering one another to win attention and NEA grants. There may be a lot of fine artists in art schools across America, but the excitement simply isn’t there among the general public nor even among the educated class. Too much freedom and artistic license has made everything seem passe. The only way to create a scandal today would be to be thoroughly politically incorrect and make fun of ‘niggers’ and ‘kikes’, but as most ‘daring’ and ‘bold’ artists tend to be of the Left, they will just paint or sculpt another foul-smelling mess about the evil of Christianity or Ronald Reagan.
 
5. Sublimation vs Blatant-ism.
 
It’s true of all great art that "there’s more than meets the eye." No matter how loud or brash, there’s more than the obvious, simple, and direct. Some great works of art may appear deceptively simple or obvious, but they reveal layers of depth and richness upon closer inspection. This is the difference between a nude portrait by a master and a naked photo of a skank in Hustler magazine. It’s the difference between a great Led Zeppelin song and a brash stupid song by a dumb Metal band. It’s the difference between Beethoven’s symphony and some Hollywood movie score by some hack.
 
Great artists produce works with several layers of meaning, feeling, and mood. They are multi-textured or organically complex beyond rational analysis. There is an element of mystery that cannot be appreciated nor penetrated by the mind or the heart alone.
In today’s permissive society, one can express just about anything as long as it’s not too politically incorrect. Because we live in a vulgar and open society, there’s much less impetus for sublimation. Had Wagner grown up as a teenager in the 80s, he might have joined a rock band and belted out loud songs about big breasted women or how he’s ‘so f___ed up.’ Wagner lived in the 19th century when one could not be openly obvious or direct with human emotions. As such, his art was one of sublimation. It had elements of powerful emotions layered within social norms of respectability and high-minded themes of nobility. Though vulgarity has always been a feature of mankind, there had been social strictures and norms that instilled a public sense of shame. Even among the dirty and uneducated lower classes, there was a sense of social and moral hierarchy with the family patriarch at the top and with the church as the center of social and spiritual life. Class distinctions were a genuine reality, and even if the lower classes resented the higher classes, there was a sense that the lower should aspire to emulate the manners and sensibilities of the higher–unlike today when the higher imitate the lower. Even when the lower classes rose up to overthrow the higher classes–as with communism–, there remained a strong moral and political component to the rebellion. People embraced serious ideas and were working towards a New, Better, and More Just Order than merely embracing rebellion for the rebellion-sake–for the fun of it as so many of our bad boy radicals–badicals–do.
 
Great art is always interesting for its intensity of conflict and contradiction. This is even true of seemingly pleasant or peaceful great art. Even a great serene landscape painting is frightening in the implication than a mere mortal has the power to replicate, express, and distill such beauty. The hand of man touches upon the realm of the Divine.
But, there are other kinds of tensions as well. When an artist tries to create something perfect, he is consciously or subconsciously disturbing the established order–social or psychological. Even chaotic art must play by some set of rules or vision. A great artist hurls himself into the art he creates. To create the perfect creative expression, he makes a mess of his own life. He must go mad to put together a new aesthetic order. In this sense, all great art is a dance of chance between sanity and insanity. In social terms, a great artist has to struggle against the public and elite critical opinion that fails to understand his originality, vision, or genius. Oftentimes, the great artist realizes he must compromise his burning ingenuity with the general demands or established conventions. Though this process can dilute the work of a great genius, in other cases it can enrich the art by adding yet another layer of tension. This has certainly been the case with Hollywood filmmaking. For every near-great film that missed out on true greatness due to artistic compromise, there’s a great movie because of the integrated conflict between individual genius and populist/conventional demands. Some artists, instead of just submitting to populist demands or established conventions, are able to subvert or circumvent them through the process of compromise-zation. Hitchcock’s Vertigo and Welles’s Touch of Evil–both made in 1958–are prime examples of such works. On the one hand, they are familiar who-done-its or pulp thrillers. Yet, given that the main theme of both films is illusion and deception, Welles’s and Hitchcock’s brilliant navigation back and forth between genre formula and genuine feelings make for dark and rich cinematic experiences. Both movies use the notion of the movie-as-myth to explore and portray the possibility of psychology-as-myth–that even as we live in the real or material world, our inner reality is a shifting dreamworld of desires, fantasies, and self-delusion. Before there was cinema on the silver screen, there was the cinema of the human mind, projecting its dream imagery on its inner walls.
 
The rise of permissiveness and blatant-ization of society surely did wonders for certain forms of artistic or creative expression such as punk, heavy metal, rap, hard rock, sitcoms with sex and foul language, and etc. But, the freedom to do and say whatever, even while expanding new expressive possibilities, has robbed creativity of subtlety.
Consider how black aggressiveness and sexuality manifested themselves when the black community still had moral values and social norms. Jazz musicians were sexual but they could not be outright pornographic. They had to be suggestive and insinuating than say stuff like, ‘hey, bitchass ho, come and suck my cock.’. Social norms forced black artists to be complex, multi-textured, and multi-layered. Such isn’t necessary with something like rap where you can just blurt out, ‘hey bitchass ho, come and suck my dick.’ Of course, I’m sure some rap music has elements of rhythmic brilliance or originality, but the main thrust of rap music is sheer simple-minded childishness. It’s pornographic than sexual, thuggish than threatening. There is no interplay of light and darkness, of the object and its shadows. It’s just a one-colored object that says, ‘hey, bitchass ho, come and suck my dick.’ Much the same could be said of punk and heavy metal. Though some claim that heavy metal took inspiration from classical music, that’s like saying super hero comic books are like great myths around the world. Both Metal and super hero comic book are reductionist ‘artforms’ that filch the simplest ideas or modes but leave out all the richness, depth, and complexity.
 
At any rate, if everyone and everything become more permissive and blatant, we lose as much as we gain. People may jump into bed or backseat of cars faster than ever, but gone is the courtship, romance, and the Bogie-and-Bacall thing.
 
Paradoxically, art becomes more vulgar as the pleasure component becomes ever more refined. In search of sweetness, we learned to extract sugar from vegetables and fruits. The result was refined sugar which is pure sweetness but also bad for health. Coarse whole grain bread with bran and wheat germ is healthy but white bread made of refined white flour is nutritionally crap.
Similarly, we want to be excited, turned on, and thrilled by art and entertainment. So, entertainers have found ways to refine art forms into formula. The end result were genres. But, genres were further refined down to the elements that people like most. So, most Hollywood movies are now car chases, fights, and explosions. Horror movies are less about ideas and mood than graphic violence and cheap effects. Sci-fi and fantasy movies have little in the way of story and just have lots of WOW effects.
 
Much the same has happened to popular music. Rhythm and blues was a simplified formulation of the richer blues and Jazz. It gave birth to even simpler rock n roll. Even so, they were far from the kind of pornographic pop music we have today. Logically, rock n roll should have immediately paved the way to punk and rap–further refined versions of raucous and fast rock n roll–, but that didn’t happen. Instead, rock n roll, after a brief hiatus in the early 60s, paved the way for the reasonable complexity of Rock Music. For some reason, kids who had been into rock n roll turned to stuff like folk music, serious social and political agendas, and psychedelic drugs which ‘expanded’ consciousness. The 60s generation didn’t just want to dance and party but connect with the far-out cosmos. Rockers picked up on this vibe, and so the Beatles, Stones, The Who, Moody Blues, and Beach Boys turned more arty. There was also the influence of Bob Dylan. Though Dylan sold far fewer record than Beatles, Stones, or Beach Boys, he had tremendous influence on the top rockers of the period. Guys like Lennon aspired to be like Dylan, and the race was on to come up with the more complex, dense, and multi-faceted rock album. But, all said and done, most rock fans wanted fast and furious fun than meaning and depth from rock music. By the late 60s, Dylan, Beatles, Stones, and the Who were going back to their earlier roots and dispensing with overly arty, ‘spiritual’, and psychological psychedelic thing.
 
Another thing that distinguished 60s rock and culture–as crazy as they became–from what came later was that the 60s generation, as children, had been conditioned by distinctions between serious and trivial, between moral and immoral, between high brow and low brow, between good taste and poor taste, and between meaning and style. Even while rebelling against pre-existing social norms, the 60s generation was affected by them to the extent that it sought serious meaning and justification in what they did. Consider, for instance, that many hippies didn’t just listen to rock music but had interest in the works of Hermann Hesse and Carl Jung.
Unlike Jeff Spicoli and the whole California Teenager thing in the 80s–where partying was the Only thing–, many hippies actually rejected mainstream society as too crass and materialistic. There was a spiritual and intellectual component to their quest, and this was reflected somewhat in the rock music of the 60s. Because it was a generation searching for meaning, there was certain distrust of the purely pornographic and thuggish. Hippies wanted to be one with nature, not act like crazy animals. They wanted to be sexually ‘liberated’, not sexually perverse. Of course, too much drugs, hedonism, and loud crazy music ultimately led to one social disaster after another, whose effects are still felt today, but there was a degree of rich and interesting sublimation in 60s rock music that’s missing in today’s pop scene. 60s rock and culture had some whole graininess to it whereas stuff like hip hop, Britney Spears, and whatnot are pure sugar puffs.
 
6. Elite Appreciation and Middle Brow Support.
 
For serious art to flourish, there generally needs to be a strong elitist culture with genuine appreciation for artistic hierarchy and an extensive middle brow support. The elite of any society isn’t big enough to sustain serious or high culture in the modern world without kings, noblemen, and clergy to dictate what is or isn’t art. There has to be a big enough middle brow population aspiring for something higher than instant popular culture. Though middle brow folks may lack the taste and training to fully appreciate high art, they can still be involved and support the cultural Zeitgeist. People like Picasso, Dali, and Cezanne would not have become as important had they been appreciated only by the elite. Their fame and reputation grew as a result of the interest shown by the educated and aspiring middle class.
 
The relation between the cultural elite and the middle brow folks has never been an easy one. Also, cultural elite divided into three factions with the rise of modernism. There was the traditional cultural elite suspicious or hostile of modernism and steadfastly clinging to the old criteria of Art as beauty, nobility, and meaning. This breed nearly died out, but we still have some left in people like Paul Johnson. Another cultural elite was intensely political and intellectual. Often Marxist, they argued that (1) all art is political (2) since all art is political, it must be politically useful. People like Antonio Gramsci and Georg Lukacs were the deans of this cultural/intellectual elitist school. But, the most powerful and influential were the avant-garde elite. This coterie of people were often hostile to traditional notions of art and embraced the daring and ‘radical’, but they still insisted on ‘art for art’s sake.’ Though generally leftist-leaning, they valued artists who were, above all, independent of mind and spirit. In many cases, they were Marxist or Marxist-leaning but preferred to work under a democratic and capitalist–‘bourgeoisie’–system than under a communist system such as existed in the Soviet Union. And, they required the patronage of rich bourgeois collectors–and also the attention of the curious middle brow eager to gain some degree of cultural and intellectual respect. The ability to appreciate artists like Picasso became part of the requisite Cultural Literacy for Middle Brow people in 1940s and 1950s America.
 
Unfortunately, a powerful and vibrant synergy between the cultural elite and middle brow folks have pretty much disappeared. First, modernism eventually burned or petered out. The ‘new’ became old, and the damage done to the traditional appreciation of art by the modernist assault seemed almost irreversible. Taste for the new was gone but so was the attraction to the old.
Late modernism also grew terribly decadent and auto-subversive(having destroyed the Old Guard, it began to devour itself), producing trashy anti-artists like Andy Warhol and Roy Lichtenstein. New artists had no more sacred cows to challenge or desecrate, no new territories to expand into; and so, they turned art into ‘art,’ just a game of self-hype.
 
As for the cultural elite functioning as critics and collectors, they offered no challenge to the artistic community. If artists at the dawn of modernism and during early modernism were misunderstood and mis- or underappreciated–or downright loathed–, and therefore defined their ‘heroism’ through the struggle against the status quo, artists in the age of late modernism faced fewer obstacles. If people like Clement Greenberg–foolish or not–still had use for artistic criteria, that was no longer the case by the time Andy Warhol and gang took over the art scene. Artists in the late modernist and post-modernist era were feted, favored, and fawned over by the cultural elite.
Of course, chance of success in art was still close to nil. Of course, there remained art critics and collectors who were finicky about artistic value. But, because being ‘radical’ and ‘cutting edge’ was now the dominant convention, the kinds of artists who were rewarded most were those with a knack for pulling some (pseudo)intellectual gimcrack shtick. If early modernists were misunderstood by the cultural elite and crazily(and bravely)struggled against being misunderstood(or reveled in it), the new artists were understood all too well by the cultural elite which had already appropriated the avant-garde. Since the moneyed and privilege elite was now (supposedly) on the side of ‘cutting edge progress’ in the arts, artists really had nothing to rebel against. They could only play to the ‘radicalism’ of the cultural elite. It was a form of radical chicanery. It is this collusion in the art world that has made contemporary art the staple of artistic poseurs, rich cynical collectors, and intellectuals/scholars jaded or pretentious enough to fool themselves that they are indeed dealing with the cutting edge in culture.
 
 
7. Cautious Self-Doubt Is Bad for Art.
 
An artist may be of whatever temperament–funny, depressed, angry, bitter, pessimistic, optimistic, confident, self-loathing, etc–but, he must embrace strong emotions and plunge into art. Post-war Germany has been striking for the relative absence of great artists. Sure, Gunter Grass has been hailed as a great writer, and German cinema was much lauded in the 1970s. But, compare the cultural output of pre-war Germany with post-war Germany, and the latter pales in comparison. Most commentators have blamed it on the lingering effects of Hitler’s reign, but the reasons are more complex. Though Nazi art policy was detrimental to the German creativity as a whole, the Nazis lasted only 12 years. Besides, Nazi art policy wasn’t as repressive as the Stalinist art policy, and great art has been produced under censorious regimes. One could argue Germany was wrecked by war and millions died, the same happened to Japan yet the Japanese were brilliantly creative in the 50s and 60s. Poland was devastated by war–even worse than Germany–, yet Polish culture–even under communism–was more interesting than the German output in the postwar era. Also, Jews suffered terribly during WWII, especially due to the Nazi Holocaust, yet Jews were among the most culturally creative people in the postwar period–even among actual Holocaust survivors. How does one explain the general failure of German creativity in the postwar era?
 
I would argue that the reasons have something to do with Nazism but for different reasons than are generally given. Of course, there was the fact of Jewish populations having been driven out or killed during the Nazi reign. Whether Jews were noble or venal, they’d been highly intellectual and creative.
But, that doesn’t seem to have been the main reason, as many European nations with few Jews produced important cultural works in the postwar era. And, Japan didn’t have any Jews either in the 1950s and 60s.
The main problem was not so much what Nazis did to German cultural policy or institutions per se–easily reversed after the fall of regime–but what the Nazis did to the German psyche as a whole. Germans started the war that led to the deaths of tens of millions. Germans carried out the Holocaust where an entire population was slated for destruction. After the war, Germany wasn’t just a defeated nation but a pariah nation.
Germans had been regarded as the main instigators of World War ONE, but despite how others saw Germany and its role in the first Great War, many–perhaps most–Germans saw things differently. They were bitter and angry about the defeat and maintained their confidence, pride, spirit, and will as Germans. They still believed in their own Germanness, creative genius, destiny, and vision. In the First World War, Germans were beaten physically but not spiritually. The German Right continued to believe that the war could have been won if it hadn’t been ‘stabbed in the back’. The German democrats believed in a new era of liberal freedom. The German Left believed radical revolution was possible–modeled on the Russian Revolution.
The German spirit, across the spectrum from the Right to the Left, was very much alive. The Weimar period was economically and socially depressed but in intellectual, artistic, and political ferment. A nation with a living spirit has a creative spirit. Creativity isn’t just about the mind and ideas but about the energy and hormones that energize them. During the Inter-War period, the German testicles were connected to the German mind. Germans still envisioned German redemption, revenge, and revival. The German Left saw the Russian Revolution as the product of German intellectual development from Hegel to Marx. Germany leftists believed that the crisis following the war was a golden opportunity for rebellion and revolution so that Germany, rather than Russia, would lead the worldwide revolution. Though the upper echelons of German leftism had many Jews, it cannot be said that German communism was solely a Jewish affair. Many German and intellectuals joined the party and movement. At the center, the German liberals and moderate conservatives hoped for a democratic and pluralistic future for Germany. They rejected the radicalism of both the Right and the Left and may well have succeeded had it not been for the crazy Treaty of Versailles which bled Germany economically dry. The German economic slump affected all of Europe as Germany was the biggest economic power in the Europe. With German production and demands way down, other nations were bound to suffer to as both seller and buyers.
Anyway, compare the Inter-War period with Germany after WWII. East Germany came under communism and was little more than a fiefdom of the Soviet Union. West Germany became a democracy, but the once fertile and important German Right was intellectually, morally, and culturally dead. Some were still around but they’d lost all their pride, honor, and confidence. They hid in their homes like rats. Though not all of the German Right sided with the Nazis, the Entire spectrum of Rightist Thought and Culture became suspect. Thus, Germans were without the confidence and the will to be boldly creative. They became afraid of their own Germanic souls. The power of the German soul had produced Beethoven, Brahms, and Wagner; but had those Germans lived in the post-war era, would they have had the will, vision, passion, and confidence to produce powerful music? Unlikely. The German mind and spirit had produced great philosophers like Nietzsche, Spengler, and Heidegger, but could they have thought so boldly and freely in the post-war era? No. Caution and self-doubt were there modus operandi of German culture in the post-war era. Though self-doubt isn’t necessarily fatal to art–as many great artists are insecure–, caution isn’t what creativity is about. All artists must be bold and daring whether they be traditionalist or experimental. Creativity cannot be a half-measure.
To be sure, Germany did produce its share of crazy and outrageous artists in the post-war era, but filled with little more than self-loathing, their emotions were purely negative and nihilistic. It wasn’t the kind of positive nihilism with a vision of a new order but one that was purely ugly, destructive, and self-abnegating. It was little more than anti-art terrorism.
 
There are surely other issues related to the nature of creativity but let’s call it a day.