In Part 1 of this article, consisting of email responses to The Plot Against Art, I tried to give the reader a cross-section of emails I had received. Most of these came from failed artists who felt aggrieved at the insults and humiliations heaped upon them by an art establishment almost entirely controlled by organized Jewry. Here is a further selection of emails. I had intended originally to suppress these for fear of causing needless offence. I was finally persuaded to offer them for publication in the interests of free speech.

MIMI HOFFMAN: I won’t mince my words. I AM SPITTING MAD. I hated your article from start to finish. Because everything you said was false, false, false! Everyone I showed your article to, Jew and non-Jew alike, couldn’t believe such utter rubbish could ever be written. Why on earth would we Jews go out of our way to “create a hell on earth”? Would a people who’d experienced untold misery in the past, driven from country to country by bloodthirsty Christians — Christians who ended up killing six million of us in the cruelest circumstances — would a people familiar with suffering on such a vast scale attempt to “make life impossible for everyone”? For what purpose? Such sick behavior on our part would be counter-productive! It would only increase anti-Semitism! Don’t tell me you think we’re actually going out of our way to get ourselves hated!

DARKMOON: The quotations I provided in Part 1 of my article, in which leading members of the Frankfurt School openly state their agenda, are not quotations I concocted. The people who said these things were influential Jewish intellectuals, originally from Germany, who later taught at American universities. They are connected to a vast infrastructure in the media and the educational system. They said quite plainly that they wanted “to create a culture of pessimism”, “to corrupt society’s values”, “to make Western civilization stink,” and, finally, “to make life impossible for everyone.” So I’m not making anything up. I’m not inventing anything or spinning fancy theories. I am simply quoting these influential Jews.

Tell me this: Do you think the goyim are likely to love Jews more if you say to them: “Look, we’re going to corrupt your values! We’re going to push you to the edge of despair and drive you nuts! We’re going to make Western civilization stink and do our best to make your life totally impossible!” I seriously suggest that, if you and your fellow Jews want to be more popular in the countries which gave your forefathers hospitality, that you mind your manners! Treat the peoples and cultures where you live with respect! You want to be loved? Well then, be nice to your neighbors! Don’t spit in people’s faces if you want them to love you! Above all, don’t keep spitting on the Cross!

STEVEN K RYMER: These articles are EXCELLENT! Some of the best stuff I ever read. Especially these memorable quotes: “To summarize [the Frankfurt School agenda]: “Let’s create a culture of pessimism. Let’s make Western civilization stink. Let’s create a godless world and drive people to despair. Let’s corrupt society’s values and make life impossible. In short, let’s create hell on earth.” And this: “To undermine. To corrupt. To create discord. To drive crazy. To destroy. Verbs to remember.” The Frankfurt School in a nutshell. Yes! They are destroyers — trained for destruction like killer dogs — determined to create a hell on Earth! I don’t think I have ever heard a better description of the basic core of the issue before.

DARKMOON: Thanks for these kind words of encouragement. I need to remind you, however, that when I speak of the “Jews”, I mean organized Jewry — not ordinary Jews. It’s necessary to bear this distinction in mind. There are four possible statements we can make about Jews: (1) All Jews are hostile to the people and the culture of the West. (2) No Jews are hostile to the people and the culture of the West. (3) Some Jews are hostile to the people and the culture of the West. (4) Most Jews are hostile to the people and the culture of the West.

To say that no Jews have these negative attitudes is as absurd as saying that all Jews have them. We are therefore left with a choice. Either we say that some Jews have these attitudes or that most Jews do. To say that some Jews are bad is pretty safe; most Jews would agree with that, although they would probably deny that these Jews have much influence. But just try saying that most Jews have these attitudes, and that such Jews are a critical force in creating a culture hostile to traditional Western mores and values, and you’re in deep trouble.  Someone sent me an email the other day that said: “If Jews act hatefully, isn’t it only natural to hate them? If they make it clear they’re out to destroy you and your cherished values, doesn’t it make sense to destroy them first? In such circumstances, isn’t there a case for anti-Semitism?” Frankly, I didn’t know what to say. I’d never heard it put like that before.

DALE RUSHTON: I would like to thank you for your brilliant article The Plot Against Art. In fact, I had been waiting for something like this to happen for years. An honest exposé of the contemporary art world. And it finally came! Thank you! I was myself an artist once. I tried to build an artistic career. It was pure madness on my part. I wasted ten years trying to achieve it with a truly fanatical determination; ignoring education, income, health, and success in every other occupation. I had nearly reached the point when my wife was about to walk out on me. I chased this pipe dream along with the best of them. And finally I began to suspect that this sort of career, this sort of artistic ‘fame’, was basically a form of prostitution. Art had been replaced by art business — a politicized and commercialized activity that no sane or moral person would even touch.

DARKMOON: If it’s any comfort to you, I have received scores of emails from artists who have traveled through the same dark wood that you have: years of passionate dedication to their work, the acquisition of exemplary skills, and, finally, the creation of beautiful objects which the Jewish art mafia decided to reject because they failed to satisfy their peculiar demands. The works produced were simply not shocking enough, not ugly enough, not depraved enough. They failed to produce that “culture of pessimism” so beloved of Georg Lukács and Walter Benjamin leading lights of the morally bankrupt Frankfurt School. Having failed to undermine moral values, poison the springs of life, and induce in the general public a state of suicidal despair, these artists were naturally fit only for the scrap heap.

DALE RUSHTON: I am quite familiar with almost everything you have mentioned in your article. For instance, an influential Jewish art critic once offered to help me with my career. He told me he would give me a favorable review if only I would “come out of my closet.” This happened in San Francisco where I lived for many years. I ignored these distasteful suggestions, being entirely heterosexual, and so I decided to persevere on my own. I succeeded in selling some of my work to private art lovers who seemed to appreciate my style, but no established art gallery showed the slightest interest in my work. Without the backing of this Jewish art elite, I was doomed to failure.

DARKMOON: Artists such as yourself, working in the old tradition, were under the false impression that what was needed were beautiful objets d’art to elevate the minds of the public. The opposite was in fact the case. The quest for beauty had been replaced by the systematic uglification of life. That was the new aim. “We must organize the intellectuals and use them to make Western civilization stink,” Marxist revolutionary Willi Munzenberg said. “Only then, after they have corrupted all its values and made life impossible, can we impose the dictatorship of the protelariat.” (My emphasis).

At least you know why you failed now. You failed because you aimed for beauty, not ugliness. Because you refused to promote “a culture of pessimism”. Because you did nothing “to make Western civilization stink.” Because you forgot the critical ingredient: to “make life impossible for everyone.”

DALE RUSHTON: I’m sorry if I come across as sad and embittered. That was not my intention. I still can’t understand how, after all my efforts, I managed to fail so spectacularly.

DARKMOON: You failed because you didn’t give the Jewish art establishment what it wanted. You refused to stuff your excrement into a can, for example, and try and pass it off as “art” — as Piero Manzoni did. If you had done so, you might well have sprung to international fame a few years later when your canned feces went under the hammer at Sotheby’s for $180,000.

Piero Manzoni, Artist’s Shit. The perfect symbol for modern art? Unfortunately, many people appear to think so.

Did you ever turn up at a prestigious art gallery in New York and demonstrate your masturbatory skills for your adoring fans? Victor Acconci stole a march on you there! You could have tried putting on a frock and a woman’s wig, like British artist Grayson Perry, and produced pottery depicting scenes of sexual perversion. You didn’t do this, did you?

The potter wore bobbysox … Grayson Perry poses with his wife Phillippa and daughter Flo after winning the Turner Prize.

DARKMOON (next day): Consider only these titles by one world-famous artist, Tracey Emin and draw your own conclusions: Everyone I Have Ever Slept With, Fucking Down An Ally (sic), Asleep Alone With Legs Open (several large-scale canvases of her splayed legs and vagina), I’ve Got It All (legs splayed again, clutching banknotes to her crotch), Weird Sex, CV Cunt Vernacular, Is Anal Sex Legal, Masturbating, Get Ready For the Fuck Of Your Life.

With titles like these, Tracey Emin could hardly fail. Her rich Jewish patron, advertising mogul Charles Saatchi, knew he was on to a good thing. As the Gadarene swine hurtle over the cliff top, Tracey Emin leads the pack.

Demon-possessed Swine

‘DMITRI’: I am a Russian Jew who settled in California forty years ago when my Paris-based family emigrated to America. I would like to correct two distortions which your otherwise excellent article has helped to promote: (1) that Jews have an inbuilt “visual deficiency” which always makes them second-rate artists, and (2) that the Jewish “art mafia” favors Jewish artists over non-Jewish ones and gives them preferential treatment. You are wrong on both these counts. I am a visionary artist who paints in the same style as Jewish artist Joseph Parker. See his painting below. How can you say this meticulously drawn painting shows a “visual deficiency” on the artist’s part? Isn’t it stunningly beautiful?

This is what I aspire to paint like. For the last 20 years I have painted hundreds of paintings in this style. No one recognizes my genius. I am regarded as a “poster artist”, as painting in a retro and outworn style. I have been damned with faint praise. They call me King Kitsch. The Jewish “art mafia” will do nothing to promote my work. Why? I suspect this is because my work uplifts the human spirit, and this is precisely what they do not want. They want ugliness and moral squalor. I could tell you about my failures and humiliations as an artist, but I won’t.

I will just say this. I have lost everything — my wife, my children, my life’s work. All I have left is my sanity and the new religion that saved me. Christianity. This gives me the will to go on. (By the way, I no longer consider myself a Jew). I go round the galleries with three small canvases in a carrier bag. I try to persuade the gallery owner (and the dealers I sometimes meet there) to look favorably on my work and give me a break. I dream of an exhibition. Of final recognition. Nothing happens. They won’t even look at my canvases. I have recently started taking round slides and leaving them with these important people — all of them, incidentally, Jews like myself. They have lost the slides. Or they have returned them with the rubber bands in exactly the same position as I’d arranged them. Showing me they’d never even bothered to take a look at my slides.

Why do I tell you this? So that you may know the truth. These rich Jews have no time even for their fellow Jews when they produce uplifting art. They much prefer the Useful Idiot Goyim who march to their drum and produce the crap they crave.

DARKMOON: Thank you for these fascinating insights into the art world. You have persuaded me to change my mind. Or rather, to modify my position from “extreme” to “moderate”. I readily concede now that some Jewish artists are striking exceptions to the general rule that Jews make lousy artists.

TIFFANY BLACKSTONE: Your amusing essay on art brought to mind Charlotte Whitman’s witty remark: “Whatever women do they must do twice as well as men to be thought half as good. Luckily, this is not difficult.” Still, I regret to say that in your haste to take a swipe at the Jews, you failed to point out that the emergence of the female artist can be attributed largely to Jewish influence. But for the feminist movement, which the Jews have been so active in promoting, we female artists — I am myself one — would have been neglected and scorned and forced to take a back seat by the male chauvinist patriarchal swine who call the shots in our society. We have the Jews to thank for the emancipation of the female artist, don’t you think?

DARKMOON: I’m afraid I cannot agree with your basic assumption that women have been “held back” by chauvinist pigs for centuries, and that their hitherto hidden talents have at last received recognition — thanks to the benevolent patronage of the Jews! The facts speak for themselves. How many great female musicians and artists can you name? The fact that more women have muscled in to these areas recently has nothing to do with the sudden recognition of their amazing talents, previously suppressed by “the male chauvinist patriarchal swine who call the shots in our society.” It has more to do with publicity and the promotion of silly girls with sex appeal.

I ought  to mention at this point that some of the same promoters of the “Silly Girls” are also the promoters of the “Swaggering Boys”: such as tearaway shark artist Damien Hirst, transvestite potter Grayson Perry (see above), and painter of porno Madonnas Chris Ofili. All these artists were made famous by Jewish advertising Tsar Charles Saatchi. They were his Frankenstein monsters.

Damien Hirst

It can truly be said that wherever artists are to be found with a penchant for insulting Christianity or giving maximum offense to the public, there you will generally find the munificent Mr. Saatchi with his open check book.

DARKMOON (next day): There is nothing intrinsically admirable about Tracey Emin’s unmade bed or her attention-seeking leg-and-vagina paintings. If you were a man of taste, which of these two depictions of the Eternal Feminine would you prefer: this gorgeous creature by Botticelli or the feminist icon who appears below?

Botticelli’s Venus

Feminist icon Tracey Emin: “I’ve got it all”

The sad truth is that so many female “artists” have nothing to sell but vaginas. I need mention only these twelve, though there are scores of others queuing up to flash their fancy bits: Tracey Emin, Annie Sprinkle, Karen Finley, Hannah Wilke, Carolee Schneeman, Andrea Fraser, Sarah Lucas, Marlene McCarty, Vanessa Beecroft, Malerie Marder, Katy Grannan, Kembra Pfahler.

Some of these vaginocentric exhibitionists, like lesbian “performance artist” Annie Sprinkle (Ellen Steinberg), maintain websites blocked by porn filters. The aptly named Sprinkle — a nom de porn in honor of “urolagnia“ — is the lady who douched her vagina onstage in 1991, before lying down and opening her legs so that members of the audience, mostly male, could inspect her cervix with the help of a flashlight and speculum. There was a “Public Cervix Announcement” of the event at the Brooklyn Museum’s Elizabeth A. Sackler Center for Feminist Art (whose main claim to fame is “The Dinner Party,” a depiction of the vulvas of 39 mythical and historical famous women by Judy Chicago [nee Cohen]). It’s not “performance art” we’re dealing with here, it’s pornography — an area of expertise in which, as we all know, Jews reign supreme.

Annie Sprinkle (Ellen Steinberg), whose show was funded by the National Endowment for the Arts, masturbated on stage with sex toys, inserted a speculum into her vagina and called up audience members to examine her cervix with a flashlight. Please note: all this depravity is indirectly funded by the American taxpayer without that taxpayer’s knowledge or consent.

MIRIAM KATZ: A friend of mine gave me a printed copy of your ridiculous essay to read. I took it into the bathroom with me, hoping to peruse it there at my leisure, only to find to my dismay that I’d run out of toilet paper. Guess what? I used your inspired work of fiction to wipe my ass. Handy, no?

DARKMOON: I’m pleased to hear my article made an impact, if not on your brain, at least on your behind. Actually, I’m surprised to hear you make use of toilet paper at all. Well done. 

MIRIAM KATZ: Touché! I guess I asked for that. The contemporary art scene, I have to admit, looks pretty bad. But why blame the Jews for it? It seems to me you go out of your way to be needlessly anti-Semitic.

DARKMOON: Why do I blame “the Jews” for what they have done to art, music and Western culture in general? Perhaps you should reread my essay, particularly the distinction I draw between organized Jewry (bad) and ordinary Jews (often good). Why do I do blame “the Jews” for their ongoing genocide in Gaza? Why do I blame them for their penchant for committing war crimes? Why do I blame them for the theft and plunder of Palestine? Why do I go out of my way to be “needlessly anti-Semitic” like the Pope and the Archbishop of Canterbury, like Ex-President Jimmy Carter and Bishop Desmond Tutu, like John Meersheimer and Steven Walt, like Israel Shamir and Israel Shahak, and like billions of other disgusting anti-Semites? I honestly don’t know. I can only speculate. Could it have something to do with the behavior of the organized Jewish community?

DARKMOON (to Paul Norrland, translator of The Plot Against Art into Czech): Dear Mr Norrland, I came across this comment today in an article by Gilad Atzmon, “I learned recently from an American Jewish professor who teaches in Prague, that convoys of young American Jewish students make their way to the beautiful Czech capital every summer. They apparently use the opportunity to spit on the many Churches and golden crucifixes around. [My emphasis]. I also learned from the professor that the crucifixes on Prague’s famous Charles Bridge were initially decorated with the Hebrew words Kadosh Kadosh Kadosh Adonai Tzvaot — “Holy, Holy, Holy is the Lord of Hosts” — back in the 17th century just to stop Jews spitting on Christian symbols and the Crucifix in particular”. I wonder if you could comment on this bizarre phenomenon of “spitting mad Jews” who apparently fly all the way from America to Prague in order to spit on the image of Jesus Christ.

RED AVENGER: fuck the Jews. may they burn in hell forever. if I could build a hundred new auschwitzes and put all fifteen million of these vermin in it, i’d do it right now. good one darkmoon, keep it up…

DARKMOON: I am saddened by your comment. I sincerely hope my essay has not contributed to your sickness. There are many good Jews and I’d ask you to remember this. Your anti-Semitism is getting out of hand when you’ve reached the stage of thinking that all Jews are evil and wishing they’d all died in Hitler’s death camps. I’m afraid this puts you beyond the pale. I’ve recently made friends with a Jewish painter — a truly remarkable woman, generous and caring — and I’d hate to see her come to any harm for no other reason than that she happens to be Jewish. The only hope for mankind, in my opinion, is the mass conversion of the Jews to Christianity. A collective exorcism is what they need. Building new Auschwitzes will not solve the problem.

RED AVENGER: well then, fuck off you sad Jew lover…

MIRIAM KATZ: Anti-Semitic bitch, you win first prize for insolence! Freud thought anti-Semitism was caused by sexual frustration. Not getting enough, eh?

DARKMOON: Enough already! (From you, I mean). I must remind you that Freud has long since been exposed as a fraud and psychoanalysis dismissed as “a sectarian political movement masquerading as science.” (See Chapter 4 here). A Freud fan who spent his life producing smut and who offers a convenient paradigm of Talmudic attitudes to Christianity is Al Goldstein — he likes telling people that “Christ sucks”.

Al Goldstein, publisher of Screw magazine, said (on lukeford.com – note: is adult content), “The only reason that Jews are in pornography is that we think that Christ sucks. Catholicism sucks. We don’t believe in authoritarianism.”

When asked if he believes in God, Goldstein says: “Fuck God. I am your God, admit it. We’re random. We’re the flea on the ass of the dog.” When his partner is asked what attracts her to this foul-mouthed pornographer, Goldstein butts in: “It’s my big Jewish dick.” One can’t reason with men like this. One can only refer them to the nearest psychiatric clinic. Unfortunately, thousands of such Goldsteins are now to be found everywhere, spreading all over America like a mad rash: in Hollywood, the media, the judiciary, academia, high finance, and in the higher echelons of the government. Even the best torture experts are now Jewish, as Alan Dershowitz would be the first to testify.

DARKMOON: (later, unsent email): And now for the final twist of the knife. Rabbi Schmuley Boteach, author of Kosher Sex and The Kosher Sutra, has just announced that “Jewish values” are America’s way forward. Jewish values? Did I hear the good Rabbi correctly?

Are these the “Jewish values” America needs: ADL National Director Abraham H Foxman denounced Mel Gibson’s Passion as “anti-Semitic”, but nevertheless waxed eloquent about the Jewish role in the porn industry. “Those Jews who enter the pornography industry have done so as individuals pursuing the American dream,” he enthuses fatuously.

Or perhaps this charmer will provide America with its new “Jewish values”?

Sarah Silverman: “I hope the Jews DID kill Christ! I’d fucking do it again — in a second!“

To summarize: Al Goldstein: “Christ sucks!” Abe Foxman : “Porn, the American dream!” Alan Dershowitz: “Let’s have some torture!” Sarah Silverman: “I hope the Jews did kill Christ!” American Jew in Prague: “Hey, let’s spit on the Cross!”

If these are the Jews who are going to heal America and lead it into the future, God help America.

Albrecht Dürer: Self Portrait

The idea of physical beauty — and its plastic, graphic, or verbal expression — is of European origin. The grotesque reality is that non-White races and ethnicities know this fact, but for obvious reasons do not wish to admit it. Or rather, over the last half a century, they have been forced, by their White repentant masters, along with their leftist Marxist acolytes — not to admit it.  The irony is that even when racial out-groups publicly rebuke the European idea of beauty for its alleged Eurocentric and xenophobic message, or when they forcefully attempt to express their own endogenous beauty — they end up mimicking the White European style and form.

Therefore the much vaunted noun ‘diversity’ is both a lexical and conceptual fraud — whose victims are not just Whites but also non-Whites. Diversity presupposes that that there is a plurality of beauties. Yet in real life within Western societies, ‘diversity’ carries the denominator of distorted Whiteness — in style, looks, form, narrative, etc.

The examples are startlingly numerous — beginning with the physiognomy of Oprah Winfrey to that of Barack Obama, or for that matter to movies from Bollywood (India) in which, as a rule, a Hindu hero displays some European features,  sports a quasi-dolicochephalic face, or short of that, postures with his tall stature. Soap operas throughout Latin America notoriously feature blond, blue-eyed Whites in the main roles.

Racial Self-Image: The Ideal of Beauty

Theologies and ideologies come and go but the merciless laws of racial biology are here to stay. One can flee his country’s oppressive rulers, but one cannot escape his heredity. It was not some wicked proverbial “Nazi,” but the Jewish British Prime minister and author Benjamin Disraeli, who said: “The difference of race is one of the reasons why I fear war may always exist; because race implies difference, difference implies superiority, and superiority leads to predominance.”

Not tons, but megatons of book titles were  seized, burned down or simply shoved down the Orwellian  memory hole by the victorious Allies in defeated Germany. And among those were works by prominent European geneticists, anthropologists, artists and biologists, whose work long predated the National Socialist seizure of power.  The entire Allied inquisition against European scholarship and science was euphemistically called the “The List of the literature to be singled out (Die Liste der auszusondernden Literatur); see here and here. The Lamarckian-Marxian idea of racial equality and human interchangeability has become so powerful that the most modest academic skepticism regarding contemporary “self-evident truths” is severely punished.

Figurative and plastic forms of art are the best vectors for studying racial types and subtypes, but also an ideal mirror of physical beauty among Western men and women. Ideas of race and beauty were perhaps best described by Paul Schulze Naumburg, the much acclaimed art critic and artist himself in the Third Reich, and Hans Günther,  a racial anthropologist. Both were among the thousands of authors banned by the post-WWII Inquisition.

One does not need to be an expert in anthropometry or eugenics to distinguish between racial ugliness and racial beauty. Glancing at classical art exhibits in European museums tells us all. 

As a rule, artistic creation reflects not just the personality and the race of a depicted human, but also of the subject, i.e., the artist himself. Portraits and pictures of naked women tell us much about the idea of race and beauty of a given nation, at a given historical time period.  Schulze Naumburg writes that every artist crafts his characters in his own image. Sandro Botticelli’s face, his blue eyes,  lank stature, and  his racial Nordic-Mediterranean (“westisch”) makeup found their way on his canvasses, particularly in his famous, elegant and long-limbed Nordic looking, beauty with high cheekbones,  the Primavera — albeit embellished in a timely fashion.

Botticelli: Primavera

Botticelli: Self-portrait

So does Rembrandt’s own facial combination of a Nordic-Dinaric-Mediterraneanman, including his stocky limbs, find its way on his canvass. The portraits of Titian’s naked females tell us two things: a) the idea of female beauty in Europe of his time; b) the personality and Nordic racial makeup of Titian himself. A Black artist or an Asian artist can never ever have such racial empathy.

One could probably explain the relationship between the artist and his work simply as a preference of every human being for his own race and his own type. It appears quite obvious that each artist presents that which in his perceptions lives and what is preferably his subject of preoccupation. Decisive is the choice of the role model based on preference for his own race or (corporal) type. (p. 31–32)

When two races mix, there is a likelihood that the rhythm will be upset or that it will disappear. Surely, there are cases in which harmony occurs — which is more likely the closer the races that are to be mixed are. Thus the relation between the Nordic and the Dinaric man will be easier achieved than the relation between a member of the Nordic race and an Oriental man (“einem Mongoloiden”) (p. 34) (my translation) Schulze-Naumburg, Kunst und Rasse (Art and Race) ( 1928, 1942)

[adrotate group=”1″]

Japanese or African art differs from European art because it reflects a different gene pool. The African woodcutting has nothing in common with the German woodcuts of Nordico-Dinaric artist Albrecht Dürer. What strikes the eyes of the White observer is that the women bathing, shown on some of the 17th-century Japanese woodcuts, have expressionless faces, flat hips and breasts, and instead of the eyes one can see two slits above their tiny nose. The brush of vivid and different colors is nonexistent.

Dürer: The Knight, Death, and the Devil

African Woodcut

For obvious reasons, despite their high verbal IQ and their proverbial ears for music, Jews have never excelled in plastic and figurative art. Their religion strictly forbids them worshipping of idols and their pictorial representation. The poor sense for imagery and the lack of the metaphor seems to be primal racial traits of Jews. A good connoisseur of the Jewish spirit, the French linguist and philosopher, Ernest Renan wrote that “the desert is monotheistic” (“Le désert est monothéiste“) — hence by definition devoid of mystery and pictorial imagination. It is debatable to what extent the much vaunted Jewish Russian painter, Marc Chagall fits into the European artistic and racial consciousness. His paintings depicting flying goats or Jewish newlyweds floating in the sky above a shtetl in Russia make one wonder whether Chagall was high on vodka at the moment of his artistic exuberance.

The Frankfurt school attempt at pathologizing European art and particularly the concept of European physical beauty was in full swing shortly after WWII. But one could use exactly the same procedure, albeit in a reverse manner, to describe racial psychology of many Jewish writers, as for instance Franz Kafka.  In his convulsive prose, the main Kafka’s hero identifies himself constantly with images of ugliness (The Castel, The Metamorphosis). For that matter even books by the famed Jewish “father of psychoanalysis, ” Sigmund  Freud testify of a troubled man with compulsive neurosis, whose work today, after having done so much damage in creating guilt feelings among Whites, is no longer considered very serious —  even by his former disciples.

Scores of Jewish  intellectuals, like Bruno Bettelheim went to great lengths in order to criminalize the beauty of European fairy tales (and by detour provoke guilt feelings among non-Jewish parents), ascribing them a barbaric character — while prudently avoiding to delve into morbid tales  from the Old Testament — whose violence is proverbial .

In his classic Rasse und Stil (Race and Style, 1926), Hans Günther writes that different White racial subtypes are not only physically and facially different, they also express artistic feelings differently. A Western man with predominately Nordic features (Scandinavia, Northwestern Germany, Holland, central Britain) shows unwavering perseverance, “will to power,” and disinterestedness — what Nietzsche called the “pathos of distance.” This is despite the fact that Nietzsche and scores of “Faustian-Promethean” Western thinkers had a clear streak of Dinaric genes, as seen on Nietzsche’s own face. From the architectural point of view the Nordic spirit is best embodied in Gothic cathedrals.

Günther points out that vividness, verbosity, occasional theatrical posturing, yet amazing courage in military close combats, are racial features that one encounters in the European Dinaric racial subtype (Bavaria, Lombardy, Austria, western Balkans). This is best seen in popular folk costumes, love for music and dance, unwavering friendship, and love for ornaments — so typical for the spirit of the Central European Baroque.

The Alpine round-headed man (‘ostisch’) appears all over the White race in the USA and Europe, although historically the bulk of Alpine Europeans are located in Eastern Europe and Russia. The Alpine man is sentimental and home-bound, but also tends to be moody and cranky. Older comics and caricatures in Europe and the USA, when depicting a petty bourgeois, or an un-intellectual person, use the round-headed Alpine as a symbol of social derision.  Günther writes that “the work of an artist with an Alpine (‘ostisch’) trait is mostly calm, conciliatory, in contrast to the Nordic artist whose work appears shocking and demanding. … ‘German accuracy’ is a Nordic-Alpine feature. Nordic man is punctual; he loves order and discipline — as long as he can combine this proclivity with generosity.… The Alpine streak transpires in precision, combined with pettiness and grumbling” (pp. 70, 79).

A Dinaric-Mediterranean Macho Touch?

It is no accident that the ideal type of White male beauty in the West never appears in a single racial type but rather as a combination of all three. Historically, the ideal type of an attractive White male has Nordic stature and skull with dark Dinaric or Mediterranean hair.  No wonder that White women in the West are attracted to this combination, as embodied by films stars Antonio Banderas, Sean Connery, etc. Seldom is a pure Nordic male specimen viewed among White women as the epitome of male attractiveness. There are jokes in continental and southern Europe about blond-haired White males being “albinos” or “faggots.” Manliness, with a grain of machismo, has traditionally been associated with the Dinaric and Mediterranean subtypes.

The ideal type of woman for a White male is also supposed to have other admixtures — next to her Nordic substance. Surprisingly, for many White males attractive White woman must have high cheekbones and a slight Oriental touch — to be fully “sexy.” (White males in the US are courting and breeding en masse with Asian women — perhaps partly due to Asian women poaching into the White gene pool. This is a socio-psychological topic that will be addressed separately in a later column).

A touch of Oriental lasciviousness, if not outright vulgarity, is what makes many White males seduced by the likes of Michelle Pfeiffer.

Michelle Pfeiffer

Is it an accident that the Nordic Botticelli’s Primavera has very un-Nordic high and sexy cheekbones with a seducing glance lurking in her eyes? This feature we never find among classical Nordic nudes whose perfect bodies, yet with serene and tragic looks on their faces, rarely ever trigger erotic fantasies among White males.

Tom Sunic (http://www.tomsunic.info; http://doctorsunic.netfirms.com) is author, translator, former US professor in political science and a former Croatian diplomat. He is the author of Homo americanus: Child of the Postmodern Age (2007). His new book of essays, Postmortem Report: Cultural Examinations from Postmodernity, prefaced by Kevin MacDonald, will soon be released. Email him.

National Public Radio has always struck me as a highly-polished jewel in the crown of hard-left, Jewish-dominated media. On my drive home from work, I listen to Robert Siegel, a quintessential liberal Jewish male, and Michele Norris, a quintessential liberal Black female, co-hosts of All Things Considered, the nightly news reflections program.

All Things Considered is a laughable title, given that the only things NPR will consider are jazz, the Holocaust, and the plight of the yellow-breasted Amazonian snail darter.  The voices ooze with calm contempt for the White suckers whose tax dollars pay their salaries — a uniquely twisted form of White dispossession.

I once called it Not So Fresh Air.

So I had a chuckle when I heard about the recent firing of Greg Peppers, a long-time Black news producer for NPR, and the reaction it caused.  Reportedly, Peppers had to be escorted from the building.

A Black media blogger, Richard Prince, reported the firing, and the reaction of the National Association of Black Journalists.

Neither Prince nor the NABJ, of course, is actually interested in whether the firing was justified.  Any time a Black person is fired, by their standards, it’s because of “racism.”

I personally have no idea.  If you do, send me an email.

NPR’s response is predictably apologetic about not having enough non-Whites, NPR President Vivian Schiller stating, “I couldn’t agree more that NPR must increase the diversity of its staff — particularly in management and editorial.”

Surprisingly, the response pointedly notes that listenership for NPR’s flagship programs is made up of a much lower percentage of Blacks and Latinos (5% and 4% respectively) than their percentage of the population — even though these groups constitute 18% and 25% of the entire radio audience.

It’s not clear why they point this out, but the most obvious interpretation is that they are suggesting that NPR management ought to reflect the ethnic composition of its listenership, not the population at large.

This would be rather obviously illiberal for such a far left outfit. Imagine what that might do for, say, sports management where one could argue that the management of the National Basketball Association should reflect the audience, not the percentage of Black players. Networks that appeal primarily to Whites would be able to have White management. Companies that sold products mainly to White people wouldn’t have to worry about diversity quotas.

[adrotate group=”1″]

Sounds like leftist Whites (and Jews) in the media are starting to get worried about all that diversity they are pushing on the rest of us.

I have only speculation about Peppers’ firing.  In my journalism experience, Blacks were erratic and profoundly incompetent.  The notorious Jayson Blair was less of an aberration from Blacks than Stephen Glass was from Jews. (In general, Jews — hostility to Whites aside — are amazingly hard-working journalists).  The Black journalists I came across made mistakes, didn’t put in much effort, and generally put out lousy work-product. Inappropriate behavior wasn’t uncommon.

One of their arguments was that only Blacks could properly cover Blacks, an argument that, if consistency reigned, would mean that only Whites can properly cover Whites.

As recounted in books like Coloring the News: How Political Correctness Has Corrupted American Journalism, loading the paper with Blacks often meant that criminal Black politicians, like Washington, D.C. mayor Marion Barry, got cover-ups instead of coverage.

Yet Blacks demanded to be anywhere and everywhere, and could rely on the bullying of racial interest groups like the NABJ to get their way.  Blacks would be promoted over much harder-working — and much more talented — Whites on a regular basis.

All of which created a particularly sticky problem for American journalism, dedicated to multiculturalism and liberalism as it is.  It desperately wants to hammer Whites and elevate Blacks, but it ran into the problem of actually executing this plan internally because of Black incompetence.

NPR, I’m sure, would love to have dozens of smart and talented Black reporters and producers. But they don’t, for the simple reason that the talent pool isn’t there.  And NPR is not about to squander its reputation as a left-wing media powerhouse in order to indulge the demands of Blacks.  Viewed more broadly, NPR is a deadlier weapon against Whites when controlled by smart liberal Jews than incompetent, erratic Blacks.

I have this fantasy (which I do not intend to act upon) of breaking in to the NPR studios in the middle of a story about Afghanistan troop levels, grabbing the microphone, and reading some key passages from The Israel Lobby.

It’ll never happen.

But it’s comforting to know that the racial reality NPR hides from listeners can be found right there in its own building — the raucous and uncomfortable clash between Blacks and Whites (or Jews) clamoring down the stairway, soundproofed out of the studio where Michele Norris’ warm voice smothers us with notions of multiracial harmony.  It’s enough to make me want to make my pledge.

Christopher Donovan (email him) is the pen name of an attorney and former journalist.