The Coming Muses of the Alt-Right

Despite decades-long waves of decadent disinformation, Whites are waking up. The Alt-Right boasts of a successful year in 2015 and plans to move further this forthcoming year. We are fighting a war that transcends politics. It transcends culture. It transcends biology. Encompassing all of the above, the Alt-Right is in a war for the heart and soul of the West—to regain the vitality of a once proud and mighty civilization not so far away (both past and future).

No war is fought through societal coercion. To win back civilization, one must assert their vision. Every great movement has its bard—the drummer who inspires in the hearts of his comrades the will to carry on, the poet who encapsulates the soul of the Nation. Greece had Homer. Britain, Shakespeare. The hippies, Woodstock. The Alt-Right, as every early movement, needs its bards. T.E. Lawrence said “All men dream: but not equally. Those who dream by night in the dusty recesses of their minds wake in the day to find that it was vanity: but the dreamers of the day are dangerous men, for they may act their dreams with open eyes, to make it possible.” Artists are the dreamers of the day.

Up until the “New Hollywood”, the period from the late '60s through the early '80s, American cinema had become old and stale as the result of the puritanical sterility of the '50s. Americans had grown dulled by the banality of watching married couples sleep in two separate beds and lawful authorities always depicted as unquestionable heroes in the name of reactionary patriotism. With Bonnie and Clyde, and an entire generation of filmmakers and artists (many of whom trained by the newly Frankfurtized university system) who grew up with the traumatizing Kennedy assassination and Civil Rights movement, American cinema would never be the same. In an increasing and unstoppable fashion, American social norms were being questioned—from the politics of American exceptionalism, to race relations, to gender roles. What could have been a reasonable challenge to the bourgeoisification of America, grew into an inversion when put in the hands of young and spoiled Baby Boomers who grew up with lives devoid of purpose. Awkward chastity was replaced by disillusioned nihilism under the guise of progressive idealism.

Fast-forward 50 years and the children of those Baby Boomers have become the establishment, and no different than the American reactionaries of the past, they have become stuffy and stale. The average Hollywood film or television show is the same—the cast is multicultural, but the characterization identity-less. Gender roles have been abolished. Aside from Tarantino, a homegrown Gen-X L.A. liberal, racial slurs are not tolerated. Every other commercial consists of a passably attractive mulatto living in a picket-fenced white house—desperately teaching us “great unwashed” through increasingly less subliminal imagery that “we all bleed red”. Anything aside from this narrative is a rarity, and usually the work of an elite auteur or independent filmmaker. Meanwhile, America is more bourgeois than ever.

Something is in the air, though. While the majority of Americans are too dense to even interpret a narrative, let alone know what a narrative is, a great many are waking up. They're beginning to see the blatant politically correct normalization of our culture.

To this reaction there must be an action. While past rightist filmmakers such as John Milius made their mark in Hollywood with quasi-B films like [Conan the Barbarian](http://www.radixjournal.com/journal/2015/6/9/the-riddle-of-conan?rq=Conan%20the%20barbarian) or Red Dawn, and “morally fascist” films like Dirty Harry and Death Wish became hits with phrases like “Make my day” (yes, I know this comes from Sudden Impact, the fourth in the franchise) entering the household lexicon, the small flicker of rugged rightist masculinity left in cinema soon parodied itself out of existence with innumerable sequels and ripoffs. James Bond is no exception.

This brings us to now. Visions and sounds muster conviction greater than any written word. Cinema is the ultimate Gesamtkunstwerk—the art of totally bullshitting an audience into entering a conjured world by evoking all of their art-perceptive senses. Cinema, through its magical manipulation of our voyeuristic tendencies, possesses the power of altering our perception of reality. The only reason my ex-girlfriend used to harp on my racial consciousness is because every racially conscious White male she knew was an Illinois Nazi—a two-dimensional caricature confined to a two-dimensional square in her living room. Hence, cinema is the prevailing art form of the day.

Nietzsche said, "In art man enjoys himself as perfection." Nietzsche believed the artist is a man who uses his will to power, not in the service of shaping reality, but to become lord of an imaginary world. While this may seem rather masturbatory or voyeuristic to some, never forget that many of man's greatest achievements sprang forth from his myths. Before the Wright brothers there was Daedalus. Before Apollo 13 there was Jules Verne and Georges Méliès. Where would retail stores and their sliding doors be if it wasn't for Star Trek? The fact that T. E. Lawrence, the author of the quote atop, is best known for his namesake film, testifies to the power of myth. For decades the Left has artificially constructed multicultural ensembles on television screens, convincing Americans that diversity is a commonplace occurrence. For better or worse, art distorts reality. It can also be utilized to provide men with a vision for the future—a blueprint for the less visionary among us. Men must dream before they do. The job of the artist is to make men dream.

What will the history books say? What kind of music will our children listen to? The two are really the same question. As the Alt-Right marches its way through human events in these coming years and takes its rightful place at the forefront of the West's political (or more importantly, metapolitical) future, we must confront these questions. What will an Alt-Right future look like? What heroes will our children dress as on Halloween? Again, the same question. If we are to take our culture back we must make the culture. We can save the West. We can give birth to a Renaissance greater than the last. We can travel into the final frontier. But before we do those things we need our bards and drummers to make men dream again.