Alternatif, Autonome & Identitaire! 

Giuseppe Tomasi di Lampedusa (1896-1957) was the last hereditary Prince of Lampedusa, a barren, seven-mile long island situated between Malta and the African coast but belonging to Italy — the last in a line of nobility extending back into Roman and Byzantine myth, surfacing clearly in Tuscany in the 12th century and one branch gradually migrating southwards, until it became established in Sicily in the late 16th century as barons of Montechiaro, dukes of Palma and princes of Lampedusa…

Upon publication in 1958, The Leopard was greeted with hostility by two usually opposed camps —the Catholic church, which disliked its religious scepticism, and the newly rampant beast in the Italian bestiary, the Marxist left, which disliked the author’s family background, real or imagined political views and the book’s lack of “commitment.”

Lampedusa, opined his biographer David Gilmour, was always “too sceptical and too disillusioned to be a genuine democrat or a liberal” — at least in the Italian context. He admired the British political system, but thought such a system could never work in a country that so loved the grandiloquence of opera.

Robert Lepage’s company Ex Machina and the Metropolitan Opera took Manhattan on Monday night, filling Lincoln Centre and Times Square with the sights and sounds of Lepage’s production of Wagner’s Das Rheingold. A glittering opening-night crowd gave the premiere a standing ovation, flecked with boos, as the Met launched its new Ring cycle with a performance unusually rich in stage magic and musicianship.

The libertarian scholar Charles Murray has described how surprised he was, after traveling in France, that he actually liked the French. “The French are Europe’s Americans,” says Murray. “Describe the French, and you’re usually describing Americans.” […]

Murray’s assessment of the French and Americans may not be completely accurate. But it is more right than it is wrong. And our French Canadian neighbors are very, very French while still being Canadian, North American, and, again, a lot like us.

American-style entertainment is sweeping the globe, but its appeal is severed from anything specifically Anglo-American in form or content. American-style democracy is envied and imitated around the world, while it ruthlessly erodes the traditions and culture of the American people. McDonald’s golden arches are planted on every continent, but they belong to the world and not to us.

All of this is cultural suicide masked as triumph.

Remarks on the Politics of Black Metal: “an unstable amalgam of Stirnerite egoism and Nietzschean aristocratism: a radical anti-humanist individualism implacably hostile to all the ideological ‘spooks’ of the present social order, committed to creating an ‘aristocracy of the future’ (Nietzsche 464), and auto-engendering a ‘creative nothing’ (Stirner 6).”

In the late 1700s and early 1900s a new form of interactive media was invented. Considered lowbrow at the time, it was the 3D movie of its day, a fully engaging visual experience for the masses, known as panoramic paintings.

Generally displayed either in a large circular room, and surrounding the viewer, or occasionally stretched across two rollers like a ribbon and cranked across them to create a moving landscape for the audience, they were wildly popular in their day.

“German movies of the 1920’s receive a remarkably poor press in conservative circles. Some critics regard them as little more than obvious reflections of Weimar decadence…” Yet: “German expressionism in film is often merely the best kind of indigenous romanticism (the tradition of Novalis or Hoffmann) reacting to the psychological breakdown of its own culture.”

Part III: Transvestism in Music