Sunday, June 27, 2010

European race seriously facing extinction

This post:
an English translation
of a previous incarnation
of my webpage’s index

My last name is French and I may look
like an Iberian white, definitively not like a guy with the skin of an Aryan blond or a WASP. Nevertheless, a finding I made the last year with regard to the demographic dilution of the white people—both Nordish whites and Mediterranean whites—transformed my inner life. I refer to the massive importation of non-Caucasians into the West. Such population replacement threatens with extinction the most beautiful specimens of Homo sapiens, like this pair of nymphs that Maxfield Parrish painted beside a youth in more civilized times.

Visualize in your mind the current situation in a pie diagram. The white race covered more than 30 percent of the world population when my grandmother was born. Our generation, the result of the so-called sexual liberation of the 1960s, was reduced to 15 percent and the trend is that both the Nordish and the Mediterranean Caucasians will shrink to 5 percent in the near future! The Demographic Winter of the people of my ethnic group is an issue censored in the media, which fears everything related to race as if it were the devil himself. Understanding the taboo moved me to write a number of entries in my blog (a more extensive treatment appears in hundreds of articles in other blogs, linked to The West’s Darkest Hour).

The population replacement currently being perpetrated in Europe, North America and Australia is the greatest betrayal in history from the elite—government, academia, media—against its people. Along with feminism, such immigration policies for a suicidal population rate are prompted by liberalism, and ideology overrepresented by the members of an ethnic group that owns most of the media (“non-Gentiles”).

What I have read to date in the blogs I linked in The West’s Darkest Hour has made me see that unless we secede to create an ethnic state in, say, North America, or expel the millions of migrants from Europe, the Nordic and the Mediterranean Caucasians are heading toward extinction.

Since combating such treason requires every ounce of our energy, the previous incarnation of this site [my webpage, not this blog] has receded into the background. That does not mean I’ve forgotten what originally motivated me to write. It means that from now on what I write will have as a starting point the West’s darkest hour: even darker than the fall of the Roman Empire because our ethnic group was not endangered then.

* * *

A picture is worth a thousand words. I recently watched the movie The Sound of Music, which I had first seen over forty years ago in the then splendid Manacar Theater of Mexico City. Considering that every day I see in those blogs how hordes of third-worlders invade the European soil, a deep agony covered my spirit when I thought, during the first minutes of the movie, how these once sacred and green Austrian lands are now inundated with a swarm of non-whites.

Take a specific example. The anti-music, which includes not only the black rap but the crappy music composed by brown or white people, reflects the extreme degree of degradation to which we have fallen today. Music is worth a thousand syllogisms. This family scene with the Von Trapp family, the perfect antithesis of the current degeneration, conveys why all and each one of us who identify with high culture in our civilization—exemplified in this Hollywood idealization of Salzburg—must fight.

Not to mention Christopher Plummer and Julie Andrews dancing the Ländler. Every time I see it, albeit in homely mini-screens so far from those great old theaters of yore, I can only think of its antithesis: the heinous “disco” dancing through which, compared with the elegance from a bygone era, makes it evident that the westerners have lowered to truly Dantesque cultural nadirs. If through a radio telescope an extraterrestrial listened such anti-music light-years away, it would be obvious that those who are fond of it are in their final stages of civilizational exhaustion, cultural suicide and spiritual death.

* * *

The guiding theme of the previous incarnation of my site had been the abuse of children by their parents, and the psychiatrists hired by them. I’ve moved most of my critique of psychiatry to an external blog, so that anyone who wishes to offer comments may do it there. “Moved most” I said but not all. In this new page I will publish the first chapters of that book when I have time to review and correct the text. Also, here I will also publish half of another book I wrote about the universal blindness with regard to the hell endured by children at home.

True, I have suffered a genuine political conversion since the last year, when I discovered white nationalism. But something compels me to upload to the Internet texts I had originally intended for the printed press. I am convinced that parental abuse of children and adolescents is related to the hatred that, as adults, many feel for the culture of their parents. Among the people of my ethnic group the transfer of these emotions to runaway liberalism (like this crazy Spanish woman) is related to the darkest hour of our civilization.

The subject is complex, but in my spare time the next days, weeks and perhaps months I will add to this new site [again: my webpage, not this blog] some texts that I wrote thanks to the legacy in depth psychology of Alice Miller and Lloyd deMause.


Anonymous said...

I don't want to be overly pedantic or overly negative, but looking nostalgically to the Rodgers and Hammerstein version of Austria, their 'Sound of Music,' is directly analogous to the John Derbyshire nostalgia for Tin Pan Alley Christmas jingles that Kevin MacDonald pointed to as being at least better than the modern Jewish-American need to take the Christmas out of the 'Holiday Season,' but nevertheless representative of an earlier, less ambitious Jewish-American need to take the Christ out of Christmas.

Rodgers was Jewish and Hammerstein partly so, Sound of Music was produced and directed by a Jew, Robert Wise, and the screenplay was written by a Jew, Ernest Lehman. Their musical is an obvious propaganda piece (albeit an admittedly enjoyable one at the level of simple entertainment) designed to whitewash the real post-Napoleonic history of Austria, which until 1945 was steadily growing pan-Germanism, culminating in the 1938 Anschluss that, at least insofar as it represented the 120 year-old dream of Prussian-Austrian unification, was welcomed by the vast majority of Austrians.

I suppose White Christmas is better than Kwanzaa Tree, oh Kwanzaa Tree, but even for this atheist, give me Adeste Fideles over the work of Tin Pan Jewry any Christmas. And I suppose The Sound of Music is better than The Producers, but give me Tannhauser any time.

Chechar said...

I’ve been a fan of Richard Wagner since my teens.

I didn’t know that Robert Wise was a Jew; he sounds like a nice guy in the commented DVD version of the film. But yes: I knew the script was a piece of Hollywood propaganda. The image of the captain tearing down the Nazi flag from his house was the very first item of anti-Nazi propaganda I ever saw in my life, and it made a deep impression in my tender psyche. In my soliloquies I’ve told to myself many times that hadn’t the Jews launched a campaign against Germany in the American press prolific Austrian families would still exist in Salzburg.

Nevertheless, I still enjoyed the film after forty-five years of watching it on the big screen. It reminded me the more civilized times of my childhood, and the family scene that I ulpoaded is obviously Aryan. (Can you see it? YouTube says that for copyright infraction my clip “is unavailable in some countries”.)

Despite its obvious propaganda, I still love to watch a movie depicting a Germanic family with seven children. Just compare it to today’s suicidal 1,3 childbirth rate among Germanic couples!

Of course, if we ever take the West back, including Salzburg, films will be directed and scripted by non-Jews. Yesterday I listened to the audio interview of Merlin Miller saying this sort of things at Occidental Dissent.

Anonymous said...

Chechar, to be fair, I had trouble finding out whether Robert Wise was Jewish; Wikipedia is usually reliable on this but didn't specify in his case, and the biographical details Wiki did have; his rural origins, his father's occupation (meatpacker) and his mother's very German (not German Jewish) maiden name; all inclined me to think he was likely of German, not Jewish, origin. However, I had grave doubts when I discovered he both directed and produced SOM. I could imagine SOM having a Gentile director (barely), but never a Gentile producer, still less a Gentile conbining both roles. I therefore googled "Robert Wise Jewish" and did find him on one list of Jewish directors, so that was good enough for me. It is quite possible, however, that that site was mistaken, so if you do decide to take the time to find out more, I'd be interested in the results.

Chechar said...

Have you seen the film recently? The first scenes in the monastery surprised me: long scenes that I had forgotten since I saw them as a child. The nuns are treated very respectfully by the director. Also, the casting of the children was obviously Aryan. Two of them were chosen precisely because of their German looks. Even the mailman who woos the captain’s eldest daughter (“You are sixteen, I am seventeen” song) had his hair dyed so that he looked pure blonde. But again, what I liked about the film are the traditional family values: what is missing in today’s rotten culture.

So can you see my YouTube clip?

Anonymous said...

I thought of you and this entry again a few days ago on hearing a piece about Oscar Hammerstein II on NPR (for a strange combination of reasons, I actually like NPR, though I welcome and support the recent calls to defund it as a tax recipient). One small hole in my argument (at least I thought it was a hole), was that Hammerstein's mother was a gentile and he was raised in the Episcopal Church; as the librettist, he would have been far more responsible for setting the all-important STORY of the Sound of Music than the overtly Jewish Rodgers, yet he appeared less Jewish.

Well, the NPR piece featured an interview with Oscar Hammerstein III, who established two important items. His father was far more than a simple rhymesmith librettist; he revolutionized Broadway musicals by PLACING THE LYRICS WITHIN THE PLAY AS A LITERARY WHOLE. One can see the obvious importance for such a seamless, and crucial, propaganda piece (propaganda, but beautiful in its way) as SOM.

Just as relevant was OH III's discussion of the dynastic founder, OH I. His was a classic story of rapid success in vaudeville for an ambitious Jewish immigrant from Germany. He climbed fast and high, high enough to achieve the great status symbol of a Gentile society wife, OH II's mother.

Whatever else this means, in the context of Jewish-American history, this makes OH II culturally VERY Jewish, not half-Jewish, whatever rabbinical dictate says about religious status. In the Jewish climb to power in America, the only character more Jewish, in terms of cultural influence, than the successful Jewish male who attains a Gentile society wife, is perhaps the offspring of such a pairing.