The interrogators did not write up charge sheets because no one needed their papers. And whether or not a [prison] sentence would be pasted on was of very little interest. Only one thing was important: Give up your gold, viper! The state needs gold and you don’t.
This is all from Aleksandr Solzhenitsyn’s Gulag Archipelago. There’s more:
If you in fact had no gold, then your situation was hopeless. You would be beaten, burned, tortured, and steamed to the point of death or until they finally came to believe you. But if you had gold, you could determine the extent of your torture, the limits of your endurance, and your own fate.
It’s a good book, so far, but trying to compare the Soviet Union after World War I and a brief civil war to the present-day United States is a bridge too far. The only Americans today who might share the Gulag experience are the black ones, and even then their situation is less of a gulag archipelago and more of a traditional oppressed ethnic minority.
My latest at RealClearHistory:
It was also the heyday of the Cold War, a nearly 50-year struggle for power between the liberal-capitalist United States and the socialist Soviet Union. The struggle was real (as the kids say today). The United States and its allies were losing, too, at least in the realm of ideas. The Soviet Union was funding groups that would today be considered progressive — anti-racist and anti-capitalist — around the world. One of the sticks that Moscow used to beat the West with was racism in the United States, especially in the officially segregated South.
It is doubtful that most of the African-American groups who took part in the struggle for liberty were funded, or even indirectly influenced by Soviet propaganda. The clear, powerful contrast between black and white in the United States was enough for most African-Americans to take part in the Civil Rights revolution. Yet Soviet propaganda still pestered Washington, and Moscow wasn’t wrong.
Please, read the rest.
On the new year day, searching on Youtube for something to watch, by chance, I stumbled upon a low budget and poorly made Western Yellow Rock (2012). By now, I watched enough of Hollywood products that were tailored to current “diversity” ideology and PC tastes. At least, some of them (e.g. Django Unchained, Black Panther, Dances with Wolves) were well crafted . But this Yellow Rock really “rocks.” It totally “overwhelmed” me.
An official plot description is rather innocent:
“A man searching for his missing son hires a group of rugged cowboys to take him into territory controlled by the Black Paw Indians. When they come upon an ancient burial ground, their own greed tears them apart, as the posse turns on itself.”
Yet, in reality, from the first scenes, you are literally plunged into the “diversity pulp fiction”: caricature whisky-drinking and swearing white male rednecks (the posse) approach a camp of no less caricature noble American Indians who are taken care of by an all-female team of noble physicians and nurses. The head of the posse claims that he is looking for his missing son. Yet, in reality, they need to secure a permission from the tribe to cross Indian lands to reach an abandoned gold mine to get hold of some sacks with gold dust. Through their wooden characters, from the very beginning, producers defined clearly ideological sides: noble victims (Native Americans), allies (white women), and oppressors (white males). Not a single shade of grey. The only exception is a white male alcoholic scout who takes the posse into the wild. As a victim of his addiction, he is also somewhat qualified to be noble, and, in fact, he acts as an ally too.
The cliche plot is painfully predictable: the posse of the “whitey” wants to cross straight across Indian burial grounds, although the “Injuns” warn them not to do it. Of course, by violating the sacred land, the “whitey” offend local spirits, who send against the rednecks a pack of wolves who appear as grotesque caricature shiny silver wolves resembling their brethren from New Age postcards and posters. Finally, the evil posse, which en route harasses an accompanying female physician and a male Indian, finds the gold. Yet, driven by an expected greed, the members of the posse take on each other. The rest of them are finished by the physician who is able to snatch a gun and by Black Paw Indians who arrive just in time to commit the act of justice. The movie ends with a scene of a slow motion collective execution of the last greedy redneck by a group of the Black Paws who repeatedly shoot the guy holding tightly a sack of gold. When the justice warriors lean over the dead corpse, they find out that gold dust somehow miraculously turned into regular dust; elements of paranormal and New Age mystique are rather common in latter day Westerns.
I would not have ventured into the description of this “movie” unless it had not provoked me to jump to an obvious conclusion: at times a trashy cultural product might serve as a good learning tool. Trashy stuff highlights dominant ideological cliches and sentiments more than any other more or less well crafted movie. Like an imbecile who mimics the behavior of surrounding people, such “masterpieces” clone the mainstream ideology that is superimposed on people in public schools and colleges. To me, Yellow Rocks demonstrated how deeply the educational system (film studies along with the rest of humanities) and print media has ingrained in the minds of movie makes the pillars of what people on the right label Cultural Marxism and that people on the left call Critical Theory. In its turn, this elusive theoretical “beast” served as a major fountainhead of the Multiculturalism ideology.
Watching that particular movie, I suddenly felt catapulted to the “good old” Soviet Union. Replace noble Indians+female do-gooders with noble workers (proletarians) and greedy white evil males with greedy capitalists and you will get a solid Soviet movie tailored according to the cliches of Socialist Realism. For those who do not know what Socialist Realism is, I want to note that it was a Stalinist doctrine that required from movie makers, poets, writers, and the rest of the intellectual gang to depict the surrounding life not as it was but as should be in the ideal future. I have also realized that comparing old Soviet and communist Chinese movies with current multikulti products in European and American realms might have a pedagogical value. It will allow us to trace the genetic links between the Marxism of old that had been obsessed with political economy and class warfare and the current Cultural Marxism that is obsessed with racial and gender identity wars. In the 1920s and the 1930s, both in the Soviet Union and Western progressive subculture the ultimate noble savage was a metaphysical muscular male proletarian.
Since the 1960s, “noble savages” of old Marxism became replaced by the new cultural left with new “noble savages”: third world, people of “color,” females, gays….The list of victims who are simultaneously to act as redeemers from the evil Western civilization is not yet complete.
In a typical Soviet heroic movie a people-friendly misfit character without a stable class-based moral compass chaotically fought against oppression. He or she needed a solid back up form a wise muscular industrial proletarian who, with his working class salt of the earth wisdom, was to take this character to the highest level of consciousness. In Yellow Rock, the alcoholic scout similarly was upgraded by female and Indian wisdom. Incidentally, the same trope one can observe in the third part of the famous (and well made) Hunger Games trilogy that I watched again last night. The major character, Katniss Everdeen, a noble female warrior, was not complete without receiving an endorsement (in the final scene of that trilogy) from the victim/redeemer of a “higher caliber.” After Everdeen defeats dictator Snow, an aged cunning white male, a black female elder approaches Everdeen and gently leads her to the center of the new power, where masters of the multikulti paradise gathered to usher the new world.
That’s the subject of this weekend’s column over at RealClearHistory. An excerpt:
9. The battles didn’t actually take place on Christmas Day. They actually occurred in early January. However, under the old czarist Julian calendar, the battles occurred over the Christmas season, from Dec. 23-29. The Germans were caught by surprise because even though it was January in the West, it was Christmas season in Russia and the Germans believed the Russians would be celebrating their Christmas rather launching a major counter-offensive.
3. The Siberians were eventually slaughtered. The Siberians who refused to fight were not necessarily betraying their Latvian brothers-in-imperium. They knew they were cannon fodder. And, indeed, when the Siberians finally went to reinforce the Russian gains made, they were greeted with a massive German counter-offensive. The Siberians (and others) were left for dead. They received no food, no weapons, and no good tidings of comfort and joy.
Please, read the rest (and tell your friends about it). It’s my last post at RCH for the year, so there’s lots of links to other World War I-themed articles I wrote throughout 2018.