~ As we travel through the desert,
Storms beside us by the way
But beyond the river Jordan
Lies a field of endless day ~
Others are better suited for detailing the attacks against our people over the past week. Monuments are being torn down, flags are being lowered, and the graves of our heroes are being vandalized. Demonic Jacobins shout with glee as one after the other of our sacred relics are removed from public life. On top of it all, laws forcing vaccinations on school children are being passed, the Federal Reserve is diving into a new currency war with the Euro, and sexual depravity is now the law of our land. It’s as if this Fourth of July will be a celebration of the new French Revolution – a mop-up operation to rid the world of the last vestiges of an old worldview. The last of the Knights and Ladies will be found out and destroyed.
There is resistance though. Some of the white grazers have dusted off their Confederate battle flags and marched on their state capitols. It’s inspiring to see, but the cynic in me, despite my efforts to pen him up, crawls out and runs his big mouth:
“Look at those ‘heritage, not hate!’ signs!” he says. “That’s a rainbow Confederate saying if I’ve ever heard one.”
Cynic me is right.
I want heritage *and* hate! Where’s the flag for that?
Without a religious hell-fire passion, the grazers will go back to grazing. Worse: they’ll go back to their televisions and learn how wrong they were to have stirred in the first place.
That brings me to my point:
A few years ago, PBS’s “Frontline” made an interesting documentary called “Merchants of Cool” which detailed the handful of organizations that control everything we see in pop culture. The documentary ends by asking its audience to consider if the culture influences television or if television influences the culture.
This confused me for years. I knew the Satanists who run television were shaping culture but I couldn’t decide to what extent. It’s true that producers dip into pop-colloquialisms and the herd-mind to make up their episodes and to run their advertisements. Their greed vies with their will to serve Satan so they’re always balancing culture-shaping with mass appeal.
I didn’t realize it, but the question of which influences which (culture or television) was answered decades ago by Neil Postman in “Amusing Ourselves To Death”. I’m kicking myself for not having read it until now.
While his dismissal of computers as “overplayed” seems silly today, he has some striking points about media modes and epistemology. His model of how the typographical age was replaced by the television age plays well into Victor Hugo’s discussion of how the typographical age replaced the architectural age (in “Hunchback of Notre Dame”).
On Postman’s view, there’s no question of which influences which because our culture has been effectively “uploaded” to television. Who we are and what we think of ourselves is no longer controlled by thousands of small, regional duchies, related by a tenuous sense of tribal, then racial (read: national) loyalties. No. In the television age, we’re taught what to think of ourselves by a television screen, making the kid in Alaska virtually interchangeable with the kid in rural Arkansas. Our culture and our television are the same now.
I’ve thought of a way to help illustrate this for modern readers:
Think of Leonard Nimoy, the actor who played Spock in that horrible television show “Star Trek.” His character in that show was so iconic that he had trouble finding other roles. Everyone knew him and wanted to see him as Spock. Consider another example: In the early nineties, there was a black sitcom marketed to white families, called “Family Matters.” It featured a black nerd character named Steve Urkel played by actor Jaleel White. White, like Nimoy, often complained that his character was so iconic, he had difficulty getting work. These days, actors often complain of being tied down to one sort of role and seek to diversify their work; known heroes sometimes play villains, or known comedians sometimes star in serious roles.
As white people, especially as white men, we’re “pigeonholed” by the television-culture in the same way Nimoy and White were pigeonholed. The only problem is, the majority of whites either don’t realize it, or worse, they subconsciously play along and, over time, become what the television makes them out to be.
What we’re seeing on the national stage at the moment (the destruction of all our monuments) is a television show, essentially, with the bad guys getting our comeuppance from the generous, kind-hearted good guys (the Jacobins).
This has to end. It’s killing our people. We’re literally amusing ourselves to death. Postman was hesitant to offer a solution, and when he did (in the final chapter), it was tenuous at best.
At this point my inner cynic cries victory…but not so fast!
Postman didn’t believe in miracles; at least, he didn’t care to mention them in his work. Nor did he live to see society transition from the television age into a new age: the internet age. With this invention, the television is becoming more and more obsolete; the cultural mind is being re-settled provincially, all be it in digital rather than organic communities. And while this age has its problems, it seems as if the internet, like the printing press, has the power to destroy the stranglehold of modernity and ring in a new era of prosperity for Europe. With the internet, the poets are regaining the upper hand.
Where there are European poets, there are European Knights and Ladies.
Hope is just a little farther…a little farther on…