Friday, 16 February 2018

An Ode To Laura Trott: The Movie






Theberton and I have created a video version of my post ''An Ode To Laura Trott'' It's one of my personal favourites and particularly pleased with how the video turned out.

 I hope you enjoy it.



Please click through to YouTube via the video, because we plundered the Olympics archive for footage it can't be viewed on third party sites.


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Wednesday, 14 February 2018

Living In A Madhouse: All Hail Our Lord, The Great World Eating Money Lender








I thought I'd breathe some new life into my ''Living in a Madhouse'' series of short, off the cuff posts by taking a look at something I find rather odd about the British Government's ''Tax Summary''.

 Right now the Government is sending out their annual tax summaries to every employed tax payer across the country, essentially it's a breakdown of where our money went, here's the government's example:


Saturday, 10 February 2018

Cheddar Man, Barry Stanton and the British






Another superb post by House of the West




A question beloved by leftists, government officials, members of their ethnic vote crop, celebrities, journalists, BBC presenters, assorted agents of the state and Marxist ideologues alike is; ‘what is it to be British?’

This is not so much a question as it as lead into a narrative that rejects and dismantles what we historically took for common sense, that the British were simply the British. We had some thousands of years of heritage and it was ours and ours alone, with the exception of trading and business and some historic overlap here and there we were never in doubt about our claim to a homeland. Our castles, stone circles and universities were the unique claim and inheritance of our children. The other was clearly defined, they were not British because they were not British. They were Swiss, French or Somali.

Sunday, 4 February 2018

Morgoth's Review Hangout 3: White Terror and Technocrats





Exploring the increasingly common phenomenon of white men resorting to violence against the liberal establishment.


Just to reiterate, nobody involved with the hangout condones or supports any form of violence, threats or intimidation in any way shape or form.
















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Wednesday, 31 January 2018

Memorials To Brutalism





With Holocaust season mercifully behind us for another year I've found myself contemplating various comments and diatribes I came across online regarding the aesthetics of the increasingly numerous Holocaust memorials springing up across Western cities.

 One Twitter user lamented:
''Every modern Jewish monument betrays a terrifying and inhuman soullessness. Always stark concrete and steel, some assault the senses by aggressively flouting any notion of symmetry of balance. Others simply erect giant, inhospitable planes to crush the human spirit.''
Now that's harsh, but is there any truth to it?

 I've often blogged about the moral uses and abuses of the Holocaust narrative, but in this case let us leave history aside and look at this from a purely aesthetic perspective and see where it leads. Firstly though, I'd like to take a closer look at non Holocaust related memorials so we can see how other people are marking historical tragedies.

Below is the main monument at Kiev's Holodomor memorial site. The site itself is a rather modest affair sitting atop a rather scenic park.


The emaciated girl signifies millions of Ukrainian children deliberately starved to death by the Bolshevik regime. The statue itself is the size of a young girl and visitors often place stalks of wheat and corn through her arms to mark the crops seized by the Bolsheviks. The statue and poise of the girl seems to be telling the story of an innocence betrayed and the vulnerability of children when ruled over by psychotics and or hostile ethnic groups.

Saturday, 27 January 2018

Morgoth's Review Hangout 2: Merry Holocaustmas






In our second ever hangout the wonderful YouTuber Arya Sattya joins us to discuss religion, and Holocaustianity on Holocaust remembrance day:




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Tuesday, 23 January 2018

The Avocado Smash Socialist








I was recently sent this wonderful post dissecting Champagne Socialists on ''Instagram''. The piece is from a blog called ''House of the West''......

 My job is pretty easy, so I can’t envy people who have worked hard and made something of themselves. I have it easy, so I don’t get much in return for my work. This is a temporary arrangement that leaves me with plenty of time to go to the gym, write and study and it will probably be over by next Spring. I’m enjoying it while I still can. I do not envy the people I will go on to write about, or wish to take anything from them. They no doubt deserve their success, the issue I will take is with their worldview alone.


Tuesday, 16 January 2018

The Trials Of Henry Bolton







 Rock legend Meatloaf once poignantly sang:
 I would do anything for love, but I won't do that!
UKIP leader Henry Bolton dumped his long time wife and the mother of his kids by text, just before Christmas, in order to jump ship for Jo Marney, a fellow UKIPer and glamour model half his age, he would do that, no problem. 
 However, when it was revealed via a leaked Facebook conversation that Jo ''wouldn't with a Negro'' it was too much for Bolton, she had to go, that's simply not the Cuckservative way.



Thursday, 11 January 2018

Napoleon (1927); A Nietzschean Film






On my recent appearance on Millennial Woes' Christmas extravaganza I mentioned that I'd be happy to help out any new bloggers by posting their material here. I didn't expect much of a response and I didn't get one, however, one blogger called ''The Shandy'' contacted me asking if I might be interested in his exploration of the themes in a classic of French cinema........





Crack!– the starting pistol fires. Gance caused much consternation among his cast by firing a live revolver past Albert Dieudonn√©’s ear to begin each shoot. That intensity is a microcosm of the Faustian dynamism that characterises Gance’s epic. To take the shoot literally, in ironic fatalism, in triumphant mania– such was Gance’s attitude in the middle stages of the twenties.

In 1919 Gance released J’accuse…! a scathing and fatalistic critique of the first world war– a brother war, an absurdist war, a war of European capitulation– and so it is interesting that, almost a decade later, he would create its thematic counterpoise– perhaps even its resolution: a celebration of the heroism of militarism shorn of the fetishism of war. Militarism and warmongering are distinct, and it was the tradition of enlightened militarism, which Napoleon inherited from Frederick the Great, that Gance was celebrating; the sublimity of war before industrial death.

After the artistic success of J’accuse…! and other works in the early 1920s, Gance won the freedom to create a biography of the greatest European: Napoleon. Originally Gance had intended to create a six part biography spanning a Wagnerian forty hours of film. The film itself is an extraordinary vision, smothered in the crib in some ways. Due to production problems, the Wall Street Crash, and a somewhat tepid response to his film from the mass ranks of bourgeoisie, only part one of Napoleon (1927) was released. The film still runs for about six hours with intermissions, which grants it the status of epic despite its incompleteness.

Gance’s influence in European cinema was monumental, inspiring not only much of French New Wave cinema but the greats of NAZI and Soviet cinema, and classic Hollywood directors like Kubrick. Gance believed that the camera should be liberated, so that the audience were no longer mere spectators– producing extraordinary scenes where he runs around with the camera, straps it to a horse and lets it gallop off, swings it from high wires, dives into the sea with it to see “what one wave looks like to another” and so on. This visceral artistic attitude, particularly in relation to the subject of Napoleon is similar to that of Thomas Carlyle. The harshness and biblical severity of Carlyle’s prose– broken, with extensive uses of the dash– create a living text. When we read Carlyle’s French Revolution we feel as though we are a part of it. Gance’s cinematic representation of the French Revolution was Carlyle’s text transliterated into film. When Napoleon is escaping Corsica– alone, on a dingy, using the tricolour as a sail– and the scene cuts between the seas and the purge of the Girondins, we are no longer mere spectators– the two eccentric artists above grab us by the collar and hurl us into the tumult of the revolutionary vortex.

Gance’s quasi-demonic energy, frenetic cutting, and intense close shots were first explored in his 1924 film, La Roue, which prefigured much of the techniques later adopted by Eisenstein in Battleship Potemkin (1925). The scenes of the French revolution in Napoleon so influenced Eisenstein’s October (1928), that in the year following the its release he– along with Pudovkin, Aleksandrov, and the rest of them– travelled to Paris to personally thank Gance for teaching them everything they knew.