Danmarks Frihedsraad

The central strategy of leftism is very simple and very effective. It runs like this: “Heads we win, tails you lose.” In pursuit and preservation of power, leftists will distort, mutilate and censor reality ad libitum. Or they will simply lie. When the Black criminal George Floyd caused his own death in 2020, the left responded with deadly riots and lying rhetoric about the “murderous racism” of the police. When three little White girls were slaughtered by an imported Black savage in 2024, the leftist politician Humza Yousaf, former First Minister of Scotland, demanded something entirely different:

Our only response to the evil we witnessed in Southport yesterday should be an outpouring of grief for the children and adults killed in such a senseless attack.

If you use such a horrific tragedy to fuel bigotry, then you are the worst of humanity. (Tweet by Humza Yousaf, 30th July 2024)

Yousaf demands that Whites “thinka da paw ickle kiddies” – and do nothing more than that. Leftists like him want grief to be the “only response” because grief is useless. It will not solve the very serious problem of non-White violence against Whites. Leftists don’t simply refuse to care about that problem: they refuse to admit that it exists. It’s real, after all, and leftists don’t believe in realism. Instead, they believe in feelism, in the exploitation of emotion to promote or protect leftist lies. When Number 10 Downing Street, the official residence of the British prime minister, was bathed in pink light “to remember the Southport victims,” the Labour government was using feelism to protect leftist lies. When the Guardian published a cartoon of an entirely imaginary little girl, it was using feelism to promote leftist lies. Here is the cartoon in question:

Saccharine cartoon and soyboy cartoonist: Ben Jennings demands sympathy for an imaginary little brown girl

As Tom Sunić pointed out in a comment at the Occidental Observer: “Excessive sentimentality and hypermoralism are trademarks of the Liberal System.” The cartoonist Ben Jennings was dishonestly exploiting the innocence and helplessness of little girls (note also the slender, unthreatening neck of the caring non-White father). His cartoon says: “Finka da paw ickle kiddies!” But unlike Humza Yousaf, Jennings wants a lot more than that. He’s not just being sentimental, he’s also justifying the harsh repression of the White working-class whom he sneers at the cartoon. It was his leftist response to the White riots of 2024 and to a violent attack on a hotel housing so-called “asylum seekers” in the Yorkshire town of Rotherham. White girls and women have been raped, prostituted, tortured, and murdered by non-White Pakistani Muslims in Rotherham for decades. Jennings has never drawn any cartoons about the rape-jihad in Rotherham or about the murder of three little White girls in Southport. After all, the rapes and murders are real.

Realism vs feelism: the thuggish Trayvon Martin near the time of his death and the much younger Trayvon Martin used in leftist propaganda (images from the Occidental Observer and CNN)

Instead, he has drawn a cartoon about an entirely imaginary little girl. The hotel in Rotherham was housing adult male non-Whites. There were no little girls on the premises. If there had been, they would have been at serious risk of molestation and rape by the non-White men. After all, those men come from the most misogynist and rape-friendly countries on earth. If you want to learn more about the rape-culture and misogyny that flourish in the Third World, the Guardian itself is an excellent source. On the day after the newspaper published that cartoon about an imaginary non-White girl being menaced by White men, it published this story about real non-White women being brutally harmed by non-White men:

She wanted a divorce so her father hacked her legs with an axe: how Pakistan fails women

Sobia Batool Shah is being protected in hospital after a mob of male relatives attacked her in a harrowing case that highlights Pakistan’s epidemic of gender-based violence

The household was fast asleep when the six men broke in. They sought out Sobia Batool Shah, 22, and one of them attacked her with a hatchet, chopping at her limbs in an effort to sever her legs. “He was relentless and must have hit me at least 15 times,” she says. … Shah was attacked by men from her own family – including her father, Syed Mustafa Shah, her uncle and cousins – who broke into the house, in Naushahro Feroze, in Pakistan’s Sindh province, as “punishment” for refusing to withdraw her application to divorce her husband. …

“It’s all about power control,” says Dr Summaiya Syed Tariq, chief police surgeon in Sindh’s capital, Karachi. Syed Tariq, who also heads the Sindh police medico-legal department, has seen hundreds of women physically and mentally abused, raped, burned and murdered over the last 26 years. “We are nurturing abusers who are worse than animals,” she says.

On an average day, the department receives reports of about six cases of sexual violence and 10 to 15 cases of domestic violence across the medico-legal centres at three public hospitals in Karachi. “In the case of sexual violence against minors, my assessment is that for every three cases that come to us, seven more go unreported. And I am not counting the dead bodies that we receive,” Syed Tariq adds.

Gender inequality is a global problem, but Pakistan’s indicators reflect especially alarming rates of disparities and violence faced by women. According to this year’s World Economic Forum’s Global Gender Gap report, Pakistan is ranked second from bottom out of 146 countries, behind only Sudan. It ranked 164 out of 193 countries on the 2023-24 UN gender inequality index. (“She wanted a divorce so her father hacked her legs with an axe: how Pakistan fails women,” The Guardian, 6th August 2024)

To repeat: “Pakistan is ranked second from bottom out of 146 countries, behind only Sudan.” Guess what? The Guardian had reported on Sudan a few days before. The headline ran like this: “Girls as young as nine gang-raped by paramilitaries in Sudan.” The following report said that “Some of the attacks … were so brutal that women and girls died ‘due to the violence associated with the act of rape’.” Both Pakistan and Sudan are non-White and Muslim. But what would happen if you told a Guardian-reader that the Guardian’s own reporting proves that immigration from Pakistan and Sudan will be very bad for White women in Britain? You will of course be denounced as a disgusting racist and Islamophobe.

“I’m so glad you’re safe here” – Chuck the Cuck schmoozes Sudanese Blacks on Holocaust Memorial Day (image from HMD Memorial Trust)

In other words, you’ll be denounced as a realist, a hate-filled bigot who believes in basing his ideas on objective reality rather than ego-feeding emotion. Leftists believe in feelism, not realism. King Charles III, or Chuck the Cuck as I prefer to call him, is one of those leftists who prefer feelism to realism. He places feeding his own narcissism far above the welfare of his White subjects. Indeed, he doesn’t care in the slightest about the welfare of his White subjects. In March 2023, the BBC reported how Chuck the Cuck had met “former refugees from [the] Sudanese community” and told them “It’s been such a pleasure to meet you all — I’m so glad you’re safe here.” Chuck the Cuck can be “glad” about Blacks invading Britain because he doesn’t have to pay the costs of their presence. But a White woman had to pay those costs in 2019. She nearly died after her skull was shattered during a brutal rape by a Sudanese enricher called Zakarya Etarghi.

Raping White women delighted him

Among the many reasons that Blacks should not be residing in White nations is the stark fact that Black men commit sexual crimes at vastly disproportionate rates. Not only that: they specifically target White women, as the American Black Eldridge Cleaver (1935–1998) boasted way back in 1968:

Rape was an insurrectionary act. It delighted me that I was defying and trampling upon the white man’s law, upon his system of values, and that I was defiling his women – and this point, I believe was the most satisfying to me because I was very resentful over the historical fact of how the white man has used the black woman. I felt I was getting revenge. From the site of the act of rape, consternation spreads outwardly in concentric circles. I wanted to send waves of of consternation throughout the white race. (Quote from Cleaver’s Soul on Ice, 1968)

Black men have a genuine “rape culture” directed at White women. But leftists in 1960s America did not care about the rape and murder of White women by Black men. That would have been realism about Blacks and leftists were concerned only with feelism about Blacks. Here’s a definitive example of that leftist feelism in one of the iconic images of the Civil Rights era:

Norman Rockwell slathers schmalz in The Problem We All Live With (1964)

Norman Rockwell (1894-1978) was both an excellent artist and a lying leftist. Like Ben Jennings’ cartoon, his painting dishonestly exploits the innocence and helplessness of little girls. It says: “Finka da paw ickle kiddies!” To be fair, Rockwell’s painting, unlike Jennings’ cartoon, was at least based on a real little girl, the now-sanctified Ruby Bridges (born 1954). But Bridges was not at all representative of Blacks and the threat they posed to Whites. That’s precisely why Rockwell chose her, of course. She’s a helpless little girl who has to be protected by large law-enforcement officers from evil White racists. She just wants to learn, as you can see from the ruler, pencils, and books she’s carrying. But that portrayal of Blacks as simultaneously helpless and studious is a lie. It’s feelism, not realism. In reality, Blacks are disproportionately violent and stupid. The entry of Blacks into White schools was a disaster for Whites and did nothing to improve academic achievement among Blacks.

And although Rockwell’s painting was based on feelism, it does contain one element of realism. The large US marshalls reflect the reality of state force. Whites did not want their schools to be ruined by Blacks. But the state forced desegregation on them even as lying leftists like Norman Rockwell slathered schmalz over the process. Nor did Whites want their neighborhoods to be ruined by Blacks. Again, the state forced desegregation on them. And lying leftists like Norman Rockwell again slathered schmalz. Here’s another of Rockwell’s dishonest pro-Black paintings:

Norman Rockwell slathers more schmalz in New Kids in the Neighborhood (1967)

Again Rockwell uses a helpless little girl to propagandize for Blacks. Look at her in her pink dress and pink ribbons, with her adorable little pig-tail. She’s no possible threat. And see the white cat she’s affectionately holding. She loves animals just like the White children facing her with their young black dog. The whiteness of the cat and blackness of dog are symbolic, of course: the Black girl already loves something white even as the White children already love something black. This time there’s a Black boy in the painting too, but he’s slender-necked and goofy-looking. He’s no threat either. He’s carrying a baseball glove, so he loves baseball just like the White boy facing him in a baseball uniform. The Black and White children are the same under the skin, united by their love of pets and baseball. Harmony will surely reign after the moment of mutual uncertainty that Rockwell so charmingly captures.

That’s what the highly dishonest painting says. In reality, harmony didn’t reign after Blacks moved into White neighborhoods. Instead, violent crime reigned. So did noise, vandalism, and street-strewn garbage. In reality, the goofy-looking Black boy in the painting would have been beating up the White boys and, within a year or two, raping the White girl. And the little Black girl would have been torturing the white cat, not treating it with affection. Abuse of animals is characteristic of Blacks, not love of animals. But that’s realism about Blacks and leftists believe in feelism about Blacks. However, there are two sides to leftist feelism. Recall Tom Sunić’s comment about how “Excessive sentimentality and hypermoralism are trademarks of the Liberal System.” He went on to point out that the sentimentality applied only to approved groups, while the moralism justified any level of violence against unapproved groups: the Royal Air Force and United States Air Force “firebombed German cities during WWII – considered lairs of nonhumans.”

You can see those two aspects of leftism in the Guardian journalist Marina Hyde. She no doubt nodded with moist-eyed approval over Ben Jennings’ cartoon about the imaginary little brown girl. But a few years before she had sniggered and joked about the White nationalist Eugene Terreblanche being hacked to death by Blacks in South Africa. Countless other Guardianistas will have nodded with moist-eyed approval over the cartoon. And some of them were in the crowd that cheered, clapped, and laughed when the non-White Labour councillor Ricky Jones recommended a robust response to the “the disgusting Nazi fascists” who don’t like little White girls being slaughtered by Black savages. Jones said: “We need to cut all their froats [throats] and get rid of ’em all.” He then paused to let the cheers and laughter die away before leading the crowd in a chant of “Free, free Palestine!” Here’s a still from a video of the incident:

Leftists cheer and laugh as a non-White Labour councillor recommends throat-cutting for the White working-class

Note the two White woman grinning with approval as they stand next to the aspiring throat-cutter. The woman in glasses is wearing a tabard for Amnesty International, a self-proclaimed humanitarian organization that is resolutely opposed to violence. Out of sight she’s holding another of the SWP placards that say “SMASH FASCISM & RACISM By any means necessary.” The SWP is the Socialist Workers Party, a Trotskyist cult that hates White workers even more than the so-called Labour party does. When a senior male apparatchik in the SWP was accused of rape in 2010, the SWP responded not by reporting the matter to the police but by smearing the female accuser and clearing the male accused in a kangaroo court.

As ever, you can see that leftists are interested in only two things: pursuing power and feeding their narcissism. They are not interested in helping the groups they claim to care about. And they are certainly not interested in helping the White working-class. In this article I’ve discussed a leftist drawing a saccharine cartoon about a non-existent little brown girl menaced by the White working-class. And I’ve discussed another leftist recommending that his comrades “cut the throats” of the White working-class. Those are the two complementary sides of one evil ideology: “Excessive sentimentality and hypermoralism are trademarks of the Liberal System.”

Why are lighthouses so fascinating? In part, it’s because they’re luminal zoons in liminal zones. And why is Tom Nancollas’ Seashaken Houses: A Lighthouse History from Eddystone to Fastnet (Penguin 2019) such a good read? In part, it’s because it doesn’t use pretentious phrases like “liminal zones” and “luminal zoons.” Instead, it uses clear prose and simple illustrations to describe the huge effort and astonishing ingenuity of the White men who designed and built an essential but often overlooked part of the early modern world: the rock-based lighthouses that saved countless lives and ensured safe voyages for countless ships.

Seashaken Houses: the cover of Tom Nancollas’ unconscious celebration of White male achievement

Or they ensured safer voyages, at least. The sea has never ceased to be a dangerous place and lighthouses didn’t end the wrecks and the drownings. Indeed, the first chapter of Seashaken Houses describes how lighthouses sometimes couldn’t save their own keepers, let alone the ships and sailors they were built for. Tom Nancollas asks his readers to “imagine a time-lapse film” of a dangerous patch of sea “13 miles” off the southern coastal town of Plymouth, England. If the film reached “back three centuries” and were “rewound at speed”:

It would show four towers falling and rising upon the Eddystone reef: one disassembled, one combusting like a firework, one destroyed in a storm, their materials cycling from stone to wood, their forms regressing from engineered simplicity to experimental folly, the types of ships darting around them devolving from diesel to steam to sail, until the time-lapse halts at the first Eddystone lighthouse, a thing of outlandish fantasy. (ch. 1, p. 17)

The “outlandish fantasy” of Henry Winstanley’s Eddystone lighthouse (image from Wikipedia)

It was a fantasy that failed during “a storm of unprecedented ferocity” in November 1703. Henry Winstanley (1644–1703), the “eccentric creator” of that first lighthouse, had expressed “the hope that he might chance to be inside his Eddystone during the fiercest storm nature could muster.” As the Great Storm of 1703 began to grow, he realized his hope and sailed to the reef with workmen, seeking to reinforce his creation against the rising wind and waves. But his efforts were in vain: when the storm subsided, the lighthouse had vanished from the reef with Winstanley and his men. They had defied Mother Nature and been rewarded with death.

The pale male paradox

But in its four years of existence, the lighthouse “had become vital for Plymouth’s prosperity.” (p. 22) That’s why more ingenious and courageous White men defied Mother Nature and built lighthouses on the reef, maintaining Plymouth’s prosperity even as other White men did the same for other ports around the coast of Britain. One of them was Robert Stevenson (1772–1850), the Scottish engineering and architectural genius responsible for the lighthouse on Bell Rock off the coast of Angus. As Tom Nancollas describes, Robert was the grandfather of another White genius, the writer Robert Louis Stevenson (1850–94). Not that Nancollas ever refers to race in any way in his book or celebrates the creators and keepers of Britain’s lighthouses as “white men.” He’s interested in their achievements, not their genetics or gender, and he celebrates their ingenuity and courage, not the color of their skin.

Turner’s drawing of Robert Stevenson’s Bell Rock Lighthouse (image from Wikipedia)

After all, he’s a White man like them and it’s characteristic of White men that they aren’t obsessed with themselves and their own identity. Unlike Jews or Blacks or women of all races, White men are exotropic, directed outward to the universe, not endotropic, directed inward to themselves and their own advantage. As I described in “The Pale Male Paradox: How White Men Achieve Most And Are Vilified Worst,” this explains both the mighty achievements of White men and their lowly status in the racial hierarchy of leftism. Contra the claims of leftists, White men don’t constantly seek their own advantage and empowerment, which is why they’re been so vulnerable to the culture of critique. It’s also why under-achieving Blacks have been elevated so far above them. In modern Britain, we hear very little about the ingenuity and courage of White men like Henry Winstanley and Robert Stevenson.

Turning history against Whitey

But we hear incessantly about the Black teenager Stephen Lawrence, England’s new patron saint. Lawrence was an aspiring architectural student who was stabbed to death in London in 1993. Hundreds of other young Black men have met similar or worse fates in the same city, stabbed, shot, kicked, beaten or bludgeoned to death. But those others have never become the subject of a martyr cult, because all of them were murdered by their fellow Blacks. Stephen Lawrence was highly unusual, because he was murdered by “a gang of white racists.” That’s why he can be used to promote an enormous lie: that evil and aggressive Whites are an ominous and ever-present threat to the lives and well-being of vulnerable Blacks. The truth is entirely the reverse. Despite still being a relatively small minority, Blacks kill far more Whites every year in Britain than Whites kill Blacks. Blacks also rape, wound, rob, and defraud Whites in vast disproportion to their numbers.

But leftists care about power, not about truth, which is why the martyr-cult of Stephen Lawrence was created and is now lavishly funded by the state. Modern Britain celebrates Blacks and denigrates Whites. For example, Britain’s astonishing history of maritime adventure and exploration is now turned against its native Whites, because what did Whites do with their ingenious ocean-braving ships? They committed horrible and unforgivable crimes against the noble and innocent Blacks of Africa, wrenching them from their homes and carrying them across the Atlantic at huge expense in lives and suffering to toil at voyages’ end in sugar-plantations and cotton-fields for the enrichment of Whites. That’s why Britain is so rich and Africa so poor today, as Black scholars like these are happy to explain to the Whites whose taxes fund their propaganda:

In this essential two-part lecture, Dr Kennetta Hammond Perry and Professor Kehinde Andrews will draw on historical fact to demystify [sic] the notion that the Western economy owed its bounty to scientific advancements, industry and democracy — and was instead built on violence, slavery and colonialism. (“The Guardian at 200: Windrush histories and mythologies of race in Britain,” Online workshop at The Guardian, 19th May 2021)

The anti-White hatemongers Dr Kennetta Hammond Perry and Professor Kehinde Andrews

I would suggest that Dr Kennetta Hammond Perry and Professor Kehinde Andrews are as mediocre in intellect as they are biased in racial politics. After all, they don’t appear to understand the simple difference between “demystify” and “debunk.” I doubt that they have any concern at all for “historical fact.” No, they’re not historians but hatemongers, driven by envy and resentment of White achievements. As I described in “The Pale Male Paradox,” the humble screw undoubtedly contributed (and contributes) more to the “Western economy” than what Kehinde Andrews calls “centuries of African enslavement.” The lighthouses described in Tom Nancollas’ Seashaken Houses also contributed more. But Perry and Andrews aren’t interested in screws and lighthouses, fascinating as those things are in so many ways. Perry and Andrews are Black and endotropic, directed inward to themselves and to their own advantage and self-glorification.

No wheels or sails in Africa

That’s part of why they and other Black pseudo-scholars will never consider another vast crime against the Blacks of Africa: the theft of the rich and abundant natural resources of the island of Madagascar. By all standards of geography and natural justice, Madagascar belongs to the Blacks of the south-eastern coast of Africa. After all, it lies a few hundred miles off that coast and is separated by vast stretches of ocean from all other large land-masses. But Madagascar was peopled and exploited not by Blacks but by Austronesians, a race that began its seafaring on the distant island of Taiwan, thousands of miles from Africa. You see, despite the very long coastline of Africa and its many large lakes, sub-Saharan Blacks never invented the sail or built ocean-going ships. Austronesians, in contrast, were excellent sailors and spread their genes and languages over an astonishing area, from Madagascar in the east to the Pacific islands of the west. When Europeans arrived in the Pacific, they discovered that Polynesians practised both slavery and cannibalism.

Madagascar was stolen from nearby Blacks by far-off Austronesians (image from Wikipedia)

But that isn’t held against them today, as I described in “The Island of Slave-Keeping Cannibal Saints.” Instead, Polynesians are celebrated as the noble and nature-loving indigenes who were cruelly oppressed and exploited by brutal White invaders. Once again, Britain’s astonishing history of maritime adventure and exploration is being turned against its native Whites and their diaspora. Captain James Cook (1728–79), the highly intelligent and courageous navigator who rose from humble origins to remarkable achievements, was once justly celebrated as a hero in White-majority nations like Australia and New Zealand. Now he’s unjustly reviled as a villain. Once again, we’ve got the Pale Male Paradox of White men achieving most and being vilified worst. But I think I’ve explained that paradox. White men have achieved most because they’re not obsessed with themselves and their own advantage. But it’s because they’re not obsessed with themselves that they’re vulnerable to the culture of critique that casts them not as the greatest heroes of history but as its darkest villains.

“Stone, air, water, light”

Tom Nancollas and his book Seashaken Houses are another example of the paradox at work. Nancollas is a White man writing about the vast achievements of White men, but he’s interested in the achievements, not in the Whiteness or the masculinity. He doesn’t refer to race in any way in the book and I doubt that race ever crossed his mind in any way when he was writing it. But that absence of race and self-obsession is part of what makes Seashaken Houses so interesting and so satisfying to read. This is Nancollas explaining what attracted him to his subject:

The [lighthouses] may be sophisticated, but my experience of them felt primal. Out in the starkness of the sea, the basics – stone, air, water, light, dark, life, death – were just as vividly emphasized as engineering prowess. By achieving a home, a presence, in the most hostile of environments, the rock lighthouses provide a poignant insight into what it means to build and endure – and to bring light into places where previously there was none. Entwined with the stories of the houses is the story of their purpose – how lights were established and maintained in these liquid places, then improved, made crisper, more powerful, until certain sectors of the sea were as brightly and safely lit as Grosvenor Square [in the heart of London]. (Introduction, pg. 13)

As you can see, Tom Nancollas would never indulge in pretentious prose like “luminal zoons in liminal zones.” I described lighthouses like that at the beginning of this article. But what did I mean by it? Well, a “luminal zoon” is a light-bearing creature (Greek ζῷον, zōon, “living being”). When lighthouses are operating, casting strong light through salt-laden darkness, they seem alive in an uncanny way. And they exist in liminal zones, that is, places that stand on a threshold between one realm and another. They’re built on solid rocks or reefs but are constantly menaced by the ever-shifting sea.

Black Barack Obama pays tribute to White Neil Armstrong with a photo of Barack Obama (image from Daily Mail)

That uncanny life in precarious places explains part of the appeal and fascination of lighthouses, I think. But you could also say that White men are luminal zoons, light-bearing creatures who have entered the world’s most liminal zones. Who was the first to reach the world’s highest spot? To plumb the world’s greatest depth? To reach the north and south poles? To stand on the surface of the Moon? In every case, it was a White man. But those White men did so as individuals, as exotropic explorers of the outer universe, and not one of them regarded his achievement as casting luster on the male half of the White race. After all, if they’d thought like that, they wouldn’t have achieved what they did. White men are doers of deeds, not celebrators of the self. That’s why, after achieving most, they’ve become vilified worst.

“Destination Unknown: Can You Feel the Resistance?” carries both maritime and musical motifs. This short article explains some of the euphemisms, metaphors, symbolism and messaging of the fictional story’s details. While much if it may seem confusing, twisted or odd, that is the author’s intent in stressing the chaotic world we currently live in. Much of our culture today is entirely nonsensical. And so many with a keen eye for reality these days wonder why so few can see what is happening, what is going down (as the ship is similarly going down).

The Vikings dominated the European continent and high seas prior to Christianity taking firm hold of its people’s religious and spiritual direction. “The West” is the larger ship that represents the greater civilization of the European peoples and their colonial nations around the world since the demise of the Vikings, roughly the last thousand years as described by Oswald Spengler’s four seasons—spring, summer, fall and Winter—of our European culture. Perhaps this story will spur the great seafarers (metaphorically) of our time to begin building new ships and boats so as to regain command of our own Destiny as opposed to having our vessels and people commanded by forces hostile to our interests, those of Orange Star and Clown World who are clearly sinking our fleet. In this regard, the West obviously contained many flaws that were consistently exploitable. Hopefully this euphemistic storyline will inspire any future Heroes (Yockey liked this term) to begin engineering our more seaworthy boats and ships that could result in a stronger and more efficient fleet, much like we have seen new materials and technology vastly improve upon today’s transportation vehicles.

Music has been credited to initiating peaceful revolutions in some countries like the Baltics’ resistance against the Soviet Union/communism and advocating for nationalism. Apparently their choirs sang themselves into freedom! Music culture has also been philosophically critiqued, again by Spengler, as a measure of a culture’s season and artful spirit. The different types of music referenced in the author’s story, the musicians themselves, and the lyrics symbolically tell a story on its own. Reading history of the 1930s shows how fearful many Europeans were of the new “Jazz” from America that was penetrating the old continent. So should there be concern for us today on where music is now going and how little control our own musical talent has in steering it? The music motif, after the reader listens to the samples linked in the storyline, also expresses a critique on the modern technological world, compares it to the serene song at the story’s end, and hopes that the new maritime fleet will include musical composers that will entertain our people with aural sensations akin to the Ride of the Valkyries, or as soothing as Edward Grieg’s Norwegian folk classic, Morning. Can music bring us salvation? Now for some symbolism on the bands and songs:

The band King Crimson of the time frame featured (1982) consisted of Robert Fripp, Bill Bruford, Adrian Belew, and Tony Levin (two Brits and two Americans, with one of the Americans being a highly liked and respected Jewish musician and the non-Jewish American from Kentucky — the South — where the South has always been over-represented in our military: Thank you Southerners!) This band is comprised of immensely talented individuals, but the “progressive rock” (also known as “art rock”) usually only appealed to the fans of esoteric instrumental music. These are the same fans that might appreciate Wagner’s symphonic music today, but are culturally chained to the product of the modern music industry. Just as the fans of King Crimson music are considered to be on the fringes of popular music, it is men like Erik who appreciate historical research and esoteric (or non-mainstream) writings that find themselves on the fringes of society for the educated viewpoints they hold. This doesn’t make them crazy (or lunatics, as the story would later reveal), but places them statistically in the one percent of the far-right bell curve, whether analyzing musical tastes or political opinions.

The allies of the West during WWII mainly consisted of the British and the Americans, with considerable warm-nudging influence by the Jewish community of America (as suggested in a famous 1939 Des Moines speech by Lindbergh, who is mentioned in the story). These three elements are found in the composition of King Crimson. In the story we find a link to a video clip where King Crimson is playing Munich (1982), the city that launched the resistance to Jewish internationalist influence in the West. The first song of this videotaped concert is “Waiting Man,” and two interpretations found on the internet as to its meaning are (1) The song is from the point of view of a person going to a funeral and then coming home. Home is forever changed by the loss, but retains its integrity. What is he waiting for? What we all wait for after losing a loved one; their return. Something irrational and impossible, yet what we wait for all the same as we grieve; OR (2) It seems pretty obvious to what this song’s about. I think it’s about a guy who falls in love with a girl, the girl goes off to a new (possibly better looking, richer, but not nicer) guy, and the waiting man knows that their relationship will end, so he just sits and waits for her to come back to him. Really a deep and touching song. The story’s author leans towards the first interpretation regarding Western Man returning home. But strangely enough, the opening of Waiting Man sounds like drum beats and melodies more attune to an African vibe, symbolizing the musical and even cultural trends of our last seven decades or more in the West. Is he returning to his home in the West from his modern Africanized cultural enrichment? Did King Crimson re-conquer Germany and the West with its Americanized modern music and all it entails?

The second featured song from King Crimson is Elephant Talk, which alphabetically presents the myriad types of talk we receive in our daily lives. While effective communication are important in our lives, we are unnecessarily inundated with “too much talk” (as the song emphasizes), and at this point in our civilization the bicker bicker bicker, the commentary, controversy, criticisms, and double talk are simply unhealthy for us all. Or so this author suggests. We are overwhelmed with it, and King Crimson’s song suggests the absurdity of what we have grown to tolerate! The guitar solos of the band might sound incredible to the one percent of listeners, but to the majority — especially those women who largely look at music for its danceable aspects — the unique electric guitar effects from Adrien Belew represent noise to ears of the masses, noise that might as well be coming from an elephant, and if an elephant were in the room nobody would recognize it today because the masses only absorb what the system emphasizes. And they don’t want you to notice the big elephant, and you are not allowed in polite society to notice or analyze patterns. And patterns are a great part of King Crimson’s songs, especially the tape-looping and complex Frippertronics of guitar player Robert Fripp. The average music listener in the West could never appreciate Fripp’s guitar work, but the protagonist Erik’s mind is wired with more critical and insightful senses, and watching a King Crimson concert from the front row could equal the fascination he might find in discovering the patterns contained in the books of the web page www.Samisdat.in as found linked in the story. Finally regarding King Crimson music, the author finds it extremely technically advanced and modern for its time period of the 1980s, and we are heading towards technical complexities that will inevitably cause us all profound problems, as great as those constructed by Orange Star/Clown World, and maybe together with them, just as King Crimson was probably under the sway of record-company management.

Red Rider’s Lunatic Fringe signals the messaging mastery of the music and entertainment industry, in that Erik never paid much attention to the lyrics of the song, but loved it his entire life for the rock-styled instrumental elements, just as he probably would enjoy King Crimson purely for the instrumental works while caring little at all for the lyrics. Not only does he hear the introductory slide guitar sounds three times, but the wolf-howling is repeated three times for reasons unknown. There is an inner-wolf residing in all of us of the West, but for now Westerners are droning in repetitive manner to the tunes of their media masters, socially engineered by Orange Star and media controlled by Clown World. Even Erik, with his razor-sharp mind and experience, falls prey to the collective drum beat found in the song.

Lunatic Fringe was written as political commentary (and the word “commentary” being found in the song “Elephant Talk”) that chooses a side that most likely supports those who are destroying the lives of university anti-genocide protestors these days (in 2024), because Orange Star can do no wrong and America is the land of the free. The 2021 interview of the songwriter linked in the article clearly indicates his influences, those being his readings of a Swedish historian, and a particular girlfriend. The author of the story ponders if the songwriter might have had different feelings if he knew of another Swede, Count Folke Bernadotte and the terrorists that assassinated him during his negotiating efforts for Middle East peace after having saved thousands of prisoners from WWII prisoner camps? Did the songwriter’s girlfriend even know about the Count —  few Americans or Canadians ever heard of him because our history is consolidated into a neat little package of approved content suitable for a sixth grader.

Lunatic Fringe is a song that incites hatred against the well-learned, history-revisionists or history aficionados, and hatred for the reader with the critical eye and mind that can score a perfect 1600 on an SAT like Ron Unz did as a high school junior. The lyrics are intended to instill fear in anyone considering to think outside the Orange Star/Clown World box, because they’re on to them now and “can hear you coming.” The lyrics “this is open season, but you won’t get too far” seem to at least tacitly condone the vigilante violence and terrorism so prevalent with the anarchists of today and witnessed a few years ago across our nation. While the songwriter uses the phrase “your final solution” as an obvious reference to WWII villainy understood by all the masses in their Western imperial education, the author of the story suggests that if left unchecked, the final genocide will be of the masses in the West themselves, and what we really need is a “final resistance” (or “waking up”) as a defensive and peaceful measure to this slow-going and insidious attack (as many these days compare to boiling frogs very slowly in a pot).

The name of the lifeboat, “The Savior,” and its listing to the left while it is sinking is an overt reference to how Christianity has morphed sharply in favor of leftist politics, while the right-wing flavor of evangelical Christians favors an end-times eschatological narrative to bring back their savior once and for all. Both of these religious paths are, in the author’s view, detrimental to nationalism and the future of “The West,” and probably are contributing to its sinking. But if it all needs to sink in order to start fresh, that nightmare is becoming more plausible for each new generation.

The passengers on the lifeboat are all like NPCs — non-player characters (such as in a video game) — of the famous internet meme and image included with the story, in that it is tremendously difficult to express views outside what is approved by Orange Star and propagandized by Clown World. To do so would incur ostracism or worse, and maybe even hostility from loved ones who find the repetitive pattern recognitions as representing a rather pessimistic attitude towards the comfortable lives we live today (compared to that of our past). And honestly, most people invest too much of their time working to- make-ends-meet to begin a truth-seeking journey that exposes uncomfortable facts. The sum total of our masses reflects the repetitive picture of the NPCs, since the depths of critical investigation fall statistically to the one percenters of society with exceptionally critical and curious minds.

Erik’s noticing the same behavior in the other lifeboats is comparable to the decline of all Western nations simultaneously while “The West,” the ship representing the greater civilization of European ancestry, is almost sunk as a larger collective. The passengers having their backs to “The West” foreshadows the paragraph that exposes the true attack on America’s Navy ship USS Liberty in 1967, where even lifeboats were strafed by Israeli fighter jets, 34 servicemen were killed and 174 wounded — and hardly anybody knows! This is well concealed from the general public, even Navy personnel, by Orange Star and Clown World and off limits for discussion. The ultimate betrayal capping this off is the downplaying of the Medal of Honor ceremony for its skipper, Captain William McGonagle, and by patriotic museums like the National Medal of Honor Heritage Center (Chattanooga, TN) ignoring requests to honor today’s Liberty survivors. The masses represented in the lifeboat also are betraying the West by reinforcing the unwritten ban on having pride in their European heritage and people, the only people and interests one is not permitted to advocate for today — thanks to Orange Star. Just ask former congressman Steve King and look into his inability to speak positively about Western Civilization without becoming snared in a media trap or reprimanded by his congressional peers (and ultimately removed from his job). This furthers the point made in the author’s storyline that these NPC passengers have their back facing to “The West.”

The mojitos reference points to our addiction and abuse of alcohol, and how it tends to motivate our regular activities and behaviors, to the point that we can’t function in society without it. Henry Ford had a great deal to say about control of the liquor trade in America. But that’s unauthorized reading. The fact that the mojito is a Caribbean drink emphasizes our drift into the culture of the islands like Jamaica. Consider the impact of reggae on Western culture. Has the laid back, pot-promoting music scene been all positive on Western man? Don’t we all see a slow drift into a drug culture that has the entire population entranced and dysfunctional?

The story ends with Erik waking up to the Nordic folk song with natural orchestral instrumentation — one that everyone associates with “the Morning” as the song title indicates. The “Morning Song” by Grieg signals that it is a new day, and perhaps it signals a return to his roots after the noise of the post-modern-civilization Decline of The West (as Oswald Spengler might suggest): The great beginnings of a new culture, but with our same people just as it was the same Vikings who became Christians. Can we (once again) become who we are?

As the ending dedication states, we are all in the same boat that is largely under the command of the Orange Star and Clown World international corporations (representing social engineering and entertainment/mass media respectively), and so the maritime euphemism encompasses this point that these entities have global control. And for today’s political circumstances it further asserts that we are all Gazans. Today’s political news misrepresent “the resistance” just as the song Lunatic Fringe does in its lyrics. Few realize how long ago this all began, but this author’s article on 1922 gives some clues. Will the real, authentic “resistance” please stand up!