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Aryan Skynet

It may surprise the reader – or, then again, it might make perfect sense – to discover that the white minority combat experience in sub-Saharan Africa would have a ripple effect on urban policing in the United States. In 1974, after a radical coup in Lisbon signaled the end of Portugal’s African adventure, all hell broke loose in the country’s colony of Mozambique. That is where one of that era’s notorious Rhodesian soldiers of fortune enters the picture. “Mike Rousseau was one of the mercenaries hired to fight in that war,” beginsShooting Illustrated’s Sheriff Jim Wilson.

In the course of the conflict, Rousseau was engaged in the fighting at the airport in the city of Lourenco Marques (since renamed Maputo). During that scrap, Rousseau, armed only with a Browning Hi Power, rounded the…

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Aryan Skynet

As highlighted previously at Skynet, many Americans during the 1970s took more than a casual interest in the plight of embattled Rhodesians, seeing in them brother defenders of a free and white way of life against the encroachments of communist terrorism and black militancy. The story of the Rhodesian Bush War, moreover, contains an American chapter, and one of its protagonists is Robert K. Brown, a retired Special Operations soldier and mercenary and the publisher of the infamous Solider of Fortune magazine. “In 1975, while visiting an American friend who had joined the Rhodesian police, Brown had a life-changing revelation,” writes Kyle Burke.

Rhodesia, like many other countries, needed American volunteers to fight, yet few in the United States knew this. Realizing the potential of an untapped market, he created Soldier of Fortune – a “journal for professional adventurers” that sold the mercenary life through in-depth, first-person reporting about…

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Aryan Skynet

The happa/Asian boy hates it. The one kind of prim and proper white girl says her dad plays it but it’s obviously too masculine for her to really like it. The red headed boy with long hair is trying to be too cool but he obviously likes it and even already has a favorite. The one mulatto (?) girl doesn’t hate it and and kind of makes a good faith effort to get into it but maybe her black half rejects it.

The redhead girl with the hazel eyes, she says, “this is good! That one’s awesome! Oh yeah, let’s go! It’s pretty good it get you like hyped up, like ‘I can do anything!’ I love it! Powerful, it’s just amazing overall. I mean I just love it.”

Notice how she explains how she feels she is supposed to dance and move depending on the song, it’s all about…

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Jurassic World Fallen Kingdom

Star-Lord (Chris Pratt) is reluctantly recruited by ex-girlfriend Gwen Stacy (Bryce Dallas Howard) to rescue as many species of dinosaurs as they can from Isla Nublar before the island’s volcano erupts. The enterprise is being bankrolled by a mysterious philanthropist (Rafe Spall) – but is his offer what it appears to be? Most importantly, can the unfossilized and feral creatures be contained after they are transported to safety? Jurassic World: Fallen Kingdom delivers the mayhem fans are expecting and more, with the volcano’s explosion providing the perfect pretext to fill the screen with giant reptiles of every variety as they scurry and stomp for their lives.

4 out of 5 stars. Ideological Content Analysis indicates that Jurassic World: Fallen Kingdom is:

[WARNING SPOILERS]

4. Feminist and pro-miscegenation. Representing the Coalition of the Fringes are a tattooed Latina man-hater (Daniella Pineda) and a nebbishy mulatto computer whiz (Justice Smith).

3. Anti-white, anti-gun, and animal-rights-militant. Ted Levine appears as a “great white [sic] hunter” whose hobby of assembling necklaces from the teeth of endangered species earns him a dinosaur jaw’s worth of trouble. Guns, in addition to being unreliable, are problematic in the possession of trigger-happy white men in particular.

2. Disingenuously antiwar but actually anti-Slav and neoconservative. The dinosaur rescue operation turns out to be a nefarious military-industrial plot – what? social justice hijacked for capitalist plunder? I’m shocked! – and the movie climaxes at an auction at which arms procurers from around the world bid on weaponizable reptiles. Present at the auction are representatives from Russia, Slovenia, and Indonesia, the world’s most populous Muslim nation. “Too many red lines have been crossed,” as well – ostensibly with regard to Frankenstein genetic science, but probably also in reference to Syria.

1.Racist! Bookending the film are testimonies from learned elder of science Jeff Goldblum, who warns that humanity, by saving the dinosaurs, is risking its own extinction. Underlying the film is the West’s anxiety about the acceptance of “refugee” populations from the Third World. The dinosaurs, as savage, prehistoric animals – rather like Africans, the film seems to imply – are objects of both amazement and civilizational trepidation. Indicative of the mingled fear and excitement experienced by mentally ill social justice warriors in the presence of rapefugees is an unsettling scene in which a dark-colored dinosaur creeps into a little girl’s room and hovers over her in her bed, extending a claw to caress her. This same child’s decision at the end of the film to release the dinosaurs into the modern world can be read either as a parody or a celebration of naïve Europeans’ – and particularly women’s – childishness and erotic retardation in ushering in their own racial and cultural annihilation. She makes her momentous choice after discovering that she is a clone and not the person she thinks she is – which is to say, after having her sense of identity undermined.

Alternatively, Jurassic World: Fallen Kingdom can be read as an allegory about the danger inherent in providing succor to Jews. After rescuing the dinosaur-Jews from the volcano-Holocaust, western man is faced with the problem of how to survive with these troublesome creatures in his midst – an interpretation bolstered by an attempt to exterminate the dinosaurs with cyanide gas at the end of the film and which, furthermore, would put a somewhat different and perhaps self-revelatory spin on the aforementioned scene of the giant lizard in the little girl’s bedroom.

Rainer Chlodwig von K.

Rainer is the author of Protocols of the Elders of Zanuck: Psychological Warfare and Filth at the Movies – the DEFINITIVE Alt-Right statement on Hollywood!

Lock Up

One of my favorite Sylvester Stallone movies from my childhood is 1989’s Lock Up, a satisfying prison flick that stars Sly as Frank Leone, a model convict with six months to go and what appears to be a bright future ahead of him – until he is unexpectedly transferred in the middle of the night to a hellish correctional institution run by the sadistic Warden Drumgoole (Donald Sutherland), who harbors a long-festering vendetta against Leone. “This is hell, and I’m going to give you the guided tour,” he promises. Full of memorable bits like a cockroach race, a barbell assassination, and a brutal slow-motion football montage, not to mention a sentimental piano theme that I’ve never forgotten, Lock Up also delivers the adrenaline in its inevitable escape and comeuppance sequence.

following orders

Following orders.

Sutherland is perfect as the mannered antagonist, and Drumgoole is easily one of the greatest bad guy monikers ever, putting me in mind of the canistered zombie who kicks off Return of the Living Dead (1985) – and Drumgoole is a zombie of sorts, at least in a figurative sense, as he reanimates for the viewer the corpse of the evil Nazi villain stock character. Viewers only hoping for a fun Sylvester Stallone vehicle and harmless action fix instead find themselves the captive audience for a dose of Hollywood Holocaust propaganda when Drumgoole has Leone sealed into a glass chamber for delousing with Zyklon gas! Naturally, Drumgoole leaves Leone struggling to hold his breath way longer than is necessary, and Stallone’s partial Jewish family background makes the moment that much more piquant. Reinforcing the notion that there is something Nazi-like about the prison staff is Tom Sizemore’s character Dallas’s nickname for one of the guards – “Col. Klink” – a reference to the WW2 POW camp sitcom Hogan’s Heroes. Then, too, there is the racial makeup of the guards, with whites like Manly (Jordan Lund) being among the meanest and most stereotypically fascistic and blacks like Braden (William Allen Young) revealed to have compassion in their still-beating hearts. There is an undeniable thematic overlap between the prison and Shoah film and fictional genres, with prison movies as far back as Brute Force (1947) serving as social commentaries on the dangers of authoritarianism and with entries like the Holocaust (1978) miniseries, various salacious Nazisploitation movies of the seventies, and Escape from Sobibor (1987) combining elements of both genres – and Lock Up implicitly acknowledges this connection, so that it could be classified with Soylent Green (1973), for example, as a crypto-Holocaust movie.

Three writers, including Die Hard (1988) bard Jeb Stuart and some nobody named Richard Smith, are credited with Lock Up’s screenplay – but somehow I have to suspect that it is the third name, Henry Rosenbaum, that accounts for the Zyklon delousing scene. The film was directed by John Flynn, whose other credits include the obscure made-in-Israel thriller The Jerusalem File (1972), vigilante movies Rolling Thunder (1977) and Defiance (1980), and the top-notch Steven Seagal revenger Out for Justice (1991). Rocky (1976) composer Bill Conti, meanwhile, contributes the score to what adds up to an audience-pleasingly macho but sensitive send-off for the eighties, Stallone’s most successful decade – even if the gassing scene does give it just a whiff of a fishy-smelling air of high camp for those racially conscious viewers in the audience.

Rainer Chlodwig von K.

Rainer is the author of Protocols of the Elders of Zanuck: Psychological Warfare and Filth at the Movies – the DEFINITIVE Alt-Right statement on Hollywood!

Aryan Skynet

Ian Smith Rhodesia’s Prime Minister Ian Smith

Concurrently with the ostensible threat from communist domino-toppling in Southeast Asia, American conservatives in the 1960s and 1970s found themselves preoccupied with developments in African countries undergoing decolonization. “For those right-leaning Americans who saw black freedom struggles in the United States and Africa as two sides of the same coin – and who saw Africans and African Americans as essentially the same people – the spread of leftist national liberation movements in Africa was profoundly disturbing,” recounts historian Kyle Burke:

By the late 1960s, many nationalist movements in South Africa, Rhodesia, Mozambique, Angola, and elsewhere had taken up the Marxist cause and allied themselves with Cuba and the Soviet Union, which offered funds, weapons, advisers, and soldiers. Unfolding on a massive scale, these movements mobilized large swaths of the black populations against racial inequality, political disenfranchisement, and economic injustice. The proliferation of popular revolutions in…

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Aryan Skynet

We shall go on to the end. We shall fight in department stores …

“They’re not going to be able to go to a restaurant, they’re not going to be able to stop at a gas station, they’re not going to be able to shop at a department store,” Waters said. “The people are going to turn on them, they’re going to protest, they’re going to absolutely harass them.”

Waters seemed adamant the protests would continue until cabinet members tell Trump, “No, I can’t hang with you. This is wrong, this is unconscionable.”

Maxine Waters

Literally Winston Churchill

… we shall fight in the Mexican eateries and ethnic cafes …

In the past five days, two Trump officials made high-profile visits to pricey Mexican restaurants: White House adviser Stephen Miller and Secretary of Homeland Security Kirstjen Nielsen. The timing couldn’t have been more ironic — Miller and Nielsen played a…

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Aryan Skynet

Africa in Soviet Studies Collecting dust in academic libraries around the world …

Being the seeker after the obscure that I am, I’ve been perusing some Soviet commentaries on the politico-economic situations in various African countries during the 1960s, following ostensible independence from European colonial powers. Most of this material is as boring as one would expect, and the hokey Marx-posting of references to the “petty bourgeoisie” of Ghana and so forth sound rather corny today – probably back then, too. There is also, however, in these writings a willingness to explore dimensions of issues to which American newspapers would be less inclined to expose their readers. In “The World Bank and the Economic Development of Africa”, for example, Y.S. Popov criticizes the emergence of what today we know as the program of neoliberalism and how the World Bank, headed at the time by former Secretary of Defense Robert McNamara, “is known to advocate…

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kiki

[…] Whilst a seemingly normal family film on its own merits, it is peculiar and unique viewed from the standpoint of 2018. It is specific to its production time of 1989, when anime (previously “Japanimation” in common parlance) began to find traction in mainstream consciousness in North America, with corporations like MGM and Fox producing English dubs. Kiki’s Delivery Service was the first Studio Ghibli film distributed by Walt Disney (in 1997), and looking at the source material, style, and content, it isn’t difficult to discern why. A thematically faithful, but loose on plot details, adaptation of a children’s book written in 1985 depicting a classic “European” Witch girl replete with broomstick and black cat, Kiki’s Delivery Service is something of an international anime. Both the film and book are set in a fictional Northern European country and feature native European characters, but is written and animated in tune with Japanese sensibilities. It is this Japanese slant on “Europeanness” that makes the film an interesting watch for ethnocentrically-minded, racially-conscious whites. […]

Again, this is a family film, but when us whites look at ourselves, we can tend towards the tragic-romantic or the tragi-comic, self-depreciation, gallows humor, the sardonic and ridiculous. In Kiki’s world (and anime at large), this element is almost entirely absent or manifested by otherworldly apparitions (for an extreme example, A Letter to Momo shows comedic demons who play the goof to an ordinary girl). It seems the Japanese are uncomfortable making dark jokes about themselves, even when looking through a European-tinted lens. It is this reverence for the ordinary which both beautifies Japanese society through well-regulated lifestyles and social harmony, and yet makes anime often incredibly tacky in its excessive seriousness and melodrama. Thankfully, extreme over-reaction has been toned down to suit the subject, and Kiki’s story centers on introverted self-realization over social capability. […]

[Read the rest of Buttercup Dew’s review at Counter-Currents.]

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What’s with these homies, dissing my girl?
Why do they gotta front?
What did we ever do to these guys
That made them so violent?

“Why do you like this song?” my girlfriend asked one time while we were driving somewhere. She had her iPhone plugged into the stereo, and I had been asking her to play various jams before at some point I requested to hear Weezer’s Buddy Holly.

Weezer is one of many bands that would likely be deemed too politically incorrect to be mainstream today, and if present trends continue, may one day be retroactively banned or censored. Of course, there isn’t really anything particularly offensive about their music or lyrics, but that just doesn’t matter anymore. People will find something whether it’s there or not.

I don’t recall being that interested in Weezer when I was in high school. I didn’t own any of their…

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