Hitler, The Artist
Why the Aryan man should pursue art.
What separates the white race from the others?
Hitler answers: “The ability to create Civilization.”
East Asians are the only race that appears to come close. And indeed they can rival our own civilization through imitation, but they cannot create the initial civilizational spark, and they are always playing a continuous game of catch-up. This is the most important racial difference for civilizational matters and for questions of politics.
But there are racial differences that appear at the level of the individual, too – among these are the exceptional beauty, intelligence, and strength of the Aryan. And while these may not be as important for matters of politics, such attributes appear better equipped to shed insight into how the Aryan should live his life. What is the Aryan uniquely good at? What endeavors can’t the lesser, striver races outwork him in? Where are his efforts likely to bear the most fruit?
Certainly, endeavors that involve lying, duplicity, cheating of the system are not ideal paths for the Aryan – while he is capable of finding success in such endeavors, such paths are better left for the shameless Jew or the Nepotistic Indian.
Careers that involve hurdles of accreditation and testing – law, medicine, academia, are best gamed by the Indian and the Asian. The white man faces a significant hurdle in such fields relative to his merit.
Endeavors that entail subversion and immorality are best done by the jew. It is not merely that the white man would have to “bend his morals” in order to succeed in these fields – but he may have to overcome such a large portion of his innate racial character that it would leave him in state of perennial spiritual sickness even if he were capable of doing so. I do not discourage the white man from such pursuits merely because they are wrong, but because he is unlikely to succeed, as a practical matter.
What does this leave for the white man?
The priesthood, the military, the civil service, the development of useful technology. The trades, and all manner of honest labor.
These are things the white man can do. But in most of these, the Mexican can compete.
In Chapter 2.21 of Mein Kampf Volume 2, Hitler tells us that there is only one sphere where the person’s family of birth means less than his innate gifts. And such a sphere cannot be gamed by ethnic imitators and conspirators.
This sphere, according to Hitler, is art. I believe this is equally true in our own time as it was in his.
Not only is art the only level playing field, but it is an endeavor where the Aryan far outshines the other races. Just as the Aryan is more physically beautiful than the others, he possesses a far greater ability to create beauty; indeed he is compelled to in his blood. The Ancient Chinese created art only for the sake of imperial majesty and displays of wealth. Their recorded writings were bureaucratic ledgers of production and imports. The Greeks wrote, sang, and sculpted for the sake of these things alone.
In our own time, ethnics appear to make art, but usually this is just a cover for advancing their ethnic interests. Nearly all black literature, for instance, is naked propaganda. The jewish arts of film and comedy are better disguised, but always carry an element of subversion of the host society – stand up comedy has an unfortunate tendency to glorify sexual deviancy, impure thoughts, profanity, violation of social custom.
Andrew Dice Clay’s act took this to its platonic form, being little more than simple vulgarity for its own sake.
I recommend Royal Endeavor’s article on the jewish subversion in “12 Angry Men” and film generally.
In Chapter 10 of the first volume of Mein Kampf, Hitler talks about how art has been bolshevized—in other words judaized. How the supposed great works of the present are cubist monstrosities, how the great art of the past is vilified so that people cannot see with their own eyes how hideous modern art is in comparison, how the purpose of all of this is to confuse the people, make them forget what beauty is, and prepare them for political bolshevism. In our own times, this trend has continued unabated. The recent statues of obese black women popping up all across metropolitan areas in the west furnishes proof of this.
What is the mechanism by which Jews and other ethnics seize control of art?
I believe a primary mechanism is through the creation of ‘artist culture’. The kind of person who calls themselves an artist is usually a degenerate leftist, usually a childless woman or a gender goblin of some sort.
These people seize control of institutions and hire their own. They create a culture that is instinctively repulsive to the heterosexual white man, and actively try to push him out of the artistic professions.
This is particularly malignant in the Public Schools, where the aesthetic sensibilities of children are warped by spiritually hideous ‘educators,’ and those who resist this process develop a sour taste in their mouth with regard to painting and drawing and so on—at least this is what happened to me.
The more they succeed at flooding the world with degenerate art, the harder it is for people with artistic talent to retain their connection to the great art of the past that inspires them to create. I am sure we have lost many potential Michaelangelos this way.
To summarize, beauty for its own sake is something only the white man can do. He alone possesses the talent. He must not let the Jewish Bolsheviks hold him back from his calling. But there is another reason to pursue it besides beauty: It is what we most need for the movement at present.
Why do I say this? It is no coincidence that the enormously successful political movement of National Socialism was founded by an artist. This man mastered painting, as he later mastered oration and photography. He designed the infamous flag of the NSDAP, the Swastika in white on a red background. He directed the artistic and aesthetic character of the Reich – its uniforms, its symbols, its typography.
Even today, even by jews, the singular aesthetic excellence of the Reich cannot be denied. Hollywood appropriates its aesthetics at every turn. It is aura magic. The Jews at Disney have turned Star Wars uniforms from “inspired by” Nazi aesthetics in the original trilogy to “carbon copy.” in Rogue One and others.
Hitler’s work in aesthetics continues to pay dividends from the grave. The aura of the national socialists continues to attract attention to the movement, and indirectly to its political philosophy. Hammer of Blood Tribe is another who has used Hitler’s aesthetics to great effect in generating infamy. Organizations will live or die in no small measure based on their aesthetic quality.
Why does art work for political movements? Hitler explains in Chapter 6.5 of Mein Kampf Volume 2.
“Only a leaflet or poster, by its brevity, can hope to arouse a momentary interest in those who think differently. The visual image, in all its forms, has better prospects-including films. Here there's even less need of intelligence ; it suffices to simply look, or at most to read a short text, and hence many are quicker to accept a pictorial presentation than to read a lengthy essay. In a much shorter time even in one stroke, I might say-people will understand a visual image, compared with the laborious effort required to read something.”
We must entertain, appeal to people’s aesthetic taste in directing their attention toward Hitler and National Socialism. The way we do this is through art of all kinds. How do we reach people, how do we make them smile, how do we give them beauty? These are among the most important questions we can ask ourselves today.
When the Aryan man pursues beauty, he humbles the degenerate imitators and reveals them for the frauds that they are. They badly want to keep us from this. We mustn't let them.
Heil Hitler.
This is such a great work. Thank you.