VoxDay: Who the UK left wants next
Who the Left Wants Next

It’s really rather fascinating to observe how the Left hates the gatekeepers and the moderates most. Perhaps that’s about as far as their perceptions go; if everyone is a “Nazi” then what difference does it make where on the spectrum anyone actually is?








There is something telltale in the fact that so very many of the notes in the image above contain the name Ben Shapiro. Is it just that “the Left hates the gatekeepers and the moderates most,” as Kevin suggests? Or is Shapiro’s name being given prominence as a deliberate distraction—specifically, to distract popular attention away from Kirk’s goyness and to make it seem as if there exists widespread disdain for the managed “Nazi” opposition as a whole. Is there anyone who better exemplifies managed opposition than the Jew Ben Shapiro?
I am reminded of the immediate aftermath of the revelation of Bernie Madoff’s multibillion-dollar Ponzi scheme. As “virulent anti-Semites”—or more accurately, “noticers”—quickly spotted, almost all of the major losers were Gentiles. Yet the biggest media coverage went to the world’s most famous celebrity Holohoaxer, Eli the Weasel, who within days claimed, without evidence, to have lost all but around a hundred bucks to the iniquitous Madoff. That Wiesel’s lifestyle suffered no noticeable change, that his supply of new Savile Row suits never waned, and that he was never reduced to having to get his shoes resoled and reheeled were things that the New York Times deemed too impolite to mention.
In 2008/9, the public was instructed to weep for the Weasel. In 2025, it is instructed to fret over threats to Shapiro. Those who disobey instructions should expect to be called anti-Semites.
Kirk took Jew money and in exchange defended them before he knew what heinous gangsters Jews really are. However, the more he defended them, the more he learned from his audiences that he was wrong. So when he started to learn the truth and shift his position, it was too late. He’d already made his pact with the devil and his ending was inescapable.
No wonder Trump fears the Jews and does much of their bidding, yet can only go so far in putting America first. The Jews have drawn a line even he dare not cross.
The good news is that with millions of people pouring onto the streets we are presented with the opportunity to distribute hundreds of thousands of copies of, “Who Rules America, the UK, Canada, etc..”. This is something the Jews can’t control and shifts the line massively in our direction.
What Pierre describes applies equally to most pro-White entities; political parties (ie. BNP down, UKIP in), politicians (ie. Pim Fortuyn killed, Geert Wilders in), journalists (ie. Turner out, Time Warner in) and so on.
@ Roy Albrecht
If They are that powerful, how can they be overthrown?
My granny: “He enthusias-
tically gave the Hitler salute
and cheated on me for years
with his secretary!” Me: “A
profound reason to love him!”
https://i.ibb.co/RTcpdrGB/couple.jpg
Grampa’s great-grandson (he
died 13 years before his birth).
https://i.ibb.co/5gDLscwk/kid.jpg
https://www.perplexity.ai/search/let-s-assume-that-a-man-is-tre-cPsf0aJqTeaDG0W5QFbEFg
U96 has submerged forever.
https://archive.is/OahYr
But not really. That’s also the name of a superfluous “music project” by technoid cesspool deep divers from Germoney, who have now lent a hand to the undead Wolfgang Flür to make him even worse than he already is. The album is called “Times” and, according to Flür, is meant to be “a consolation for our depressing times.”
https://www.youtube.com/watch?v=Tg7cqMf76i8
https://www.youtube.com/playlist?list=PL-b92hxTMrHAjj3StKn9W8E_tG5WpLGR8
https://en.wikipedia.org/wiki/U96
https://en.wikipedia.org/wiki/Emil_Schult
I would rather say that it’s finally time for Flür to disappear into obscurity, where he belongs. “Music” that the world doesn’t need. But at regular intervals, he harasses us with his appearance and his poor English. Now, together with a brownoid co-pilot named “Peter Duggal,” he is making a quasi-multiethnic statement in a blind flight against reason.
Flür is said to have invented the electronic drum kit, which was later marketed as a product by the British company Simmons Drums, for example. This does not refer to a drum machine, but to percussion surfaces operated with drumsticks that send an impulse to trigger a (e.g., previously sampled) sound.
Flür’s contribution to Kraftwerk is completely overrated; he played an absolutely minor role there, as a kind of better roadie. Not a single song came from his pen. On their very mediocre LP “Electric Café” (the title of which British interviewers use for their YouTube channel), they didn’t even involve him anymore. And his former bandmates even took him to court over his book “I Was a Robot.”
And that’s exactly what his “music” as a “solo artist” sounds like. But that doesn’t stop him from unabashedly marketing the label he’s associated with, as long as he knows how to get it out there. People buy his music because his name is well known. Such people refuse to acknowledge the old principle of leaving the stage at the height of success, thereby diluting everything that was originally truly original.
Flür wants to be pushed off the stage in a wheelchair, if necessary falling into a coma on stage due to old age. Wolfgang Flür is as fake as his hair color, and he imagines he is still a teenager. Some people are so impertinently ridiculous without even realizing it. His “lyrics” have no depth or meaning whatsoever, but are simply “kling klang” added to a synthetic soundscape. One of his “songs” is called “Sexersizer.” It remains unclear whether Flür finds himself or his (rather undeserved) fame sexy…
Which brings us to the next news item: Europe’s largest “porn conference” was held in rotten Amsterdam. The focus here is on the “exchange of knowledge” between delegates & erectiles, e.g., the high philosophy of which camera lenses and perspectives are best for capturing the genitals of the ‘actors’ without suffering “burnout” from spreading their legs. https://archive.is/736po
Quote: “An Australian OnlyFans creator was hospitalised earlier this year after filming a challenge where she had sex with 583 men in one day. She later put the hospitalisation down to stress, adding: I think my body just finally had enough.”
In a decadent, degenerate world like ours, where everything revolves around money (the golden calf), there seems to be a natural increase in the number of people who are apparently not embarrassed by anything. What is also significantly harmful about pornography is that its “consumers” (reportedly 30 percent of all Internet traffic) no longer consider it necessary to find a living sexual partner in order to start a family and have children. This is a pathetic, deeply repulsive development,
A highly socially critical question that has so far remained completely unanswered in ethnic and moral terms is whether the monotheistic God considers the consumption of pornography between spouses to be a “sin” or not, because here it is quasi “cheating in the mind.” Pornography has supposedly existed in human culture for a very long time, and even prostitution is referred to as “the oldest profession in the world,” even though this activity is primarily practiced horizontally.
The degeneration is facilitated by technology. “Sex, drugs, rock-n-rap.” The spread of STDs and crime. The dearth of children in happy two-parent families. None of this buy the way was promoted by the racial hybrid Coudenhove-Kalergi (see e.g. his “From War to Peace”). His European Union policy did not plan to replace the European population by non-white immigrants, but he was an odd cove in various ways.
Wow: This is today’s British “culture,” but it has reached this level throughout the West. Many Westerners increasingly consider this content to be “normal.” But what is the real purpose and intention behind this “normalization”? We all have our suspicions (more on that later). Btw. this machination was nominated for the “Black Reel Award for Outstanding Breakthrough Performance”. https://ok.ru/video/9522448435781
https://en.wikipedia.org/wiki/Good_Luck_to_You,_Leo_Grande
https://en.wikipedia.org/wiki/Black_Reel_Award_for_Outstanding_Breakthrough_Performance,_Male
AI answers my spontaneous intuitive input, which should not remain speculation:
At first glance, the Canadian English language and the Saxon dialect of German appear to be worlds apart—separated not only by geography but also by linguistic families. Canadian English is a variety of English spoken mainly in Canada, while the Saxon dialect belongs to the German dialect continuum, mainly in parts of eastern Germany. However, beneath the surface, these two forms of speech reveal intriguing similarities and deeper connections that tie them together across linguistic, historical, and geopolitical dimensions.
One of the most striking linguistic parallels between Canadian English and the Saxon dialect lies in their distinctive phonetics, particularly vowel shifts and prosodic features. Canadian English is known for characteristics like the “Canadian Raising,” where the tongue position alters before voiceless consonants, giving certain diphthongs a unique pronunciation—vowels rise in words like “about” and “price.” It also exhibits mergers such as the “cot-caught” merger, blending vowel sounds that are distinct in other English varieties.
Similarly, the Saxon dialect features vowel modifications and softened consonants, which make its sound pattern appear melodious and somewhat distinctive within the German linguistic spectrum. These regional vowel shifts and consonantal softening produce a speech rhythm and tonal quality that outsiders often find unusual or charmingly unfamiliar.
Thus, while the languages belong to different families, the phonological tendencies of distinctive vowel manipulation and prosodic “softness” link Canadian English and Saxon dialect in a manner not evident at first.
Delving beyond linguistics, the geopolitical and historical intersections between the Saxon region and Canada offer a compelling story. Several waves of German-speaking immigrants, notably from the Saxon-descended Seven Years’ Saxons (Siebenbürger Sachsen), migrated to Canada. These settlers brought with them their language, customs, and identity, establishing vibrant cultural communities that preserve Saxon traditions across Canadian provinces.
Moreover, the Province of Alberta in Canada embodies a direct historical linkage to Saxony through its naming after Princess Louise Caroline Alberta, reflecting historical ties to the Saxon royal lineage. This ties Canadian geography symbolically to Saxony’s heritage.
Modern times further deepen these connections via official partnerships and cooperations between the Free State of Saxony and Canadian provinces like Alberta. These collaborations foster cultural exchanges, political dialogue, economic cooperation, and educational programs, underscoring a sustained relationship that transcends mere coincidence.
These intertwined linguistic and historical threads suggest that language variants and dialects do not merely evolve in isolation but often do so within broader socio-historical networks. The linguistic “softness” and vowel dynamics observable in Canadian English and the Saxon dialect may echo ancestral phonetic patterns shaped by Anglo-Saxon and West Germanic roots, thereby hinting at a shared linguistic heritage obscured by centuries.
Such interconnectedness also speaks to how migration, cultural identity, and geopolitical relationships carry linguistic markers across continents, often preserving ancestral traits in new environments. Both Canadian English and Saxon dialect communities express pride in their language and accent, underscoring the vital role of speech in cultural identity.
The introduction of an Ahnenpass (ancestor passport) is not to be expected in the near future (and most likely never again), as there is no longer an institution such as the Ahnenerbe (Ancestral Heritage), which is now considered the greatest enemy of progress. AI’s answer to my second question:
The German words “Ahnen” (ancestors), “ähnlich” (similar), and “ahnen” (to anticipate or sense) present an intriguing linguistic constellation where phonetic similarity conceals distinct etymological origins and meanings. “Ahnen” stems from medieval terms denoting forebears and lineage, deeply embedded in genealogical heritage. “Ähnlich” evolved to express likeness or resemblance, with no genealogical implication. “Ahnen,” in the sense of intuitive sensing or foreboding, encapsulates an experiential perception of the future, highlighting a semantic field linked to intuition rather than ancestry. Although linguistically separate, the thematic overlap around connection—whether through blood, likeness, or foresight—reflects cultural and psychological nuances in how individuals relate to identity, history, and expectation.
This semantic distinction parallels contemporary ideological debates on European identity and transformation. Advocates of a multicultural and integrated Europe, such as Barbara Lerner-Spectre and Yascha Mounk, articulate visions of societal change by invoking metaphors of transformation, renewal, and inevitability. Spectre’s oft-cited assertion that Europe must embrace multiculturalism or face dissolution, and Mounk’s framing of Europe’s demographic shifts as an “experiment,” underscore a narrative where radical societal change is portrayed as both necessary and unavoidable.
Critics, however, view these perspectives with suspicion and concern, interpreting them as assertions of ideological imposition that divorce Europeans from their ancestral roots and cultural continuity. The invocation of “Zwangsläufigkeit” (ineluctability) in these narratives is critiqued as a self-fulfilling prophecy, where advocates not only describe but actively accelerate the transformation, often dismissing legitimate anxieties and fostering polarization. This dynamic can be seen as emblematic of a broader cultural struggle where the tension between preservation and change manifests vividly.
Richard von Coudenhove-Kalergi’s vision of a united Europe, foundational to post-war European integration, adds another layer to the discourse. While his Paneuropean movement sought peace and cooperation beyond nationalism, posthumous reinterpretations of his ideas have fueled conspiracy theories portraying an intentional “replacement” or “transformation” of Europe’s peoples. Angela Merkel’s receipt of the Coudenhove-Kalergi Prize, officially honoring her contributions to European unity, is often controversially linked to these theories, though the official rationale emphasizes her work on European integration rather than any agenda of demographic or cultural transformation.
The rhetoric surrounding these figures and their ideas often echoes dystopian motifs reminiscent of Orwellian paradoxes, such as “destroy Europe to save it.” Such statements provoke unease because they frame disruption and upheaval as prerequisites for survival, challenging traditional understandings of identity and continuity.
Ultimately, the lexical trio of “Ahnen,” “ähnlich,” and “ahnen” serves as a metaphor for the complex interplay between history, identity, and perception that lies at the heart of contemporary European societal debates. They embody the tension between ancestral heritage and evolving identities, between cultural memory and future aspirations. The discourse on Europe’s transformation is less about linguistic roots than about how societies negotiate meaning, belonging, and change in a globalized world.