Once Aryan Skynet Goes Live It Doesn't Matter Who Pulled The Switch
The cultural and political spheres are rife with references to the Roman Empire. Supporters and critics alike of the Zio-Atlantic screwus quo are quick to point out the similarities between the Rome of antiquity and today’s Empire with No Clothes, a.k.a. ZOG a.k.a. the New World Order a.k.a. the Kakistocracy – whichever terminology one prefers, depending upon the individual reader’s relative taste for constraint or salaciousness. The historical parallels of military overreach and moral decadence are immediately apparent.
Some celebrate this triumphant gluttony, while others, wary that the infamous fate of D.C.’s distant sister city also awaits the American Empire, point to the parallels with alarm. Barbarians surely are gathering along the far-flung frontiers, but scholars and pundits disagree as to who the new barbarians are or will be. Mexicans? Blacks? Putin’s reconstituted Hetero-Fascist U.S.S.R.? The big neocon money right now says it will be the pickup-truckin’ redneck ninja movie extras known as ISIS.
The historical sackers of Rome the First were the Vandals, a tribe of Germanic warriors, or – as John Dryden, in his poem “To Sir Godfrey Kneller, Principal Painter to His Majesty”, describes them – “a rude northern race“. The Vandals eventually faded from the historical stage as important players and as a distinct ethnicity, but have not disappeared from posterity’s consciousness. Their legendary reputation as bad boys of history is immortalized in the word “vandalism” – actually something of a linguistic slight in that this usually means mere defacement of property as opposed to an ambitious and destiny-minded world-historical undertaking.
Sadly, this “rude” European heritage has been allowed to lapse and to fall into decidedly less stylish hands – as evidenced by the ubiquitous spray-painted crudities to be found in all the gang-infested urban centers across America. Graffiti remain perhaps the most neglected form of political speech, a situation with which those in power must be totally comfortable. In an era when the combination of ideological polarization and the infinite availability of media alternatives allows every individual to cherry-pick his information and insulate himself from opposing viewpoints, the street continues to furnish the canvas that everybody shares.
Is Aryan Skynet suggesting that readers should go out and break the law and – for instance – spray-paint bridges and sidewalks with scheming merchant caricatures or messages like “Open Borders for Israel” or “Anti-Racist is code for anti-white” or “No More Wars for Israel” or “Israel Did 9/11” or “Google PNAC New Pearl Harbor” or “ISIS is kosher“? Heavens, no! This writer, for one, would never dream of such a thing. One does, however, wonder why one sees so little of such material.
Clearly, the omnipresence of the police state‘s cameras on city streets makes guerrilla paint propaganda a riskier proposition than was the case for the recreational spray can artists of the seventies and eighties. Unsurveilled art space is out there, however, for those spiritual heirs of that “rude northern race” who would dare to be so indecorous.
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