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Tag: World War II

“Mad Men”: The Dispossessed Elite on TV

“All I’m going to be doing from here on is losing everything.” – Roger Sterling

Some of my friends across the Ocean have asked me what I had been up to lately. Well, I’ve mostly been catching up with TV series.

TV drama is a genre I had neglected for years, mainly because of its inferiority to movies (or so thought I). However, being a movie buff is painful these days, with the obvious “creation crunch” that is crippling the industry.

So, before Marvel releases another Iron-Man 28 or The Avengers 42, I wanted to pay a tribute to some TV series I have been watching these last months. Most have made me reconsider the unjustified contempt in which I was holding fiction on TV.

Today I will begin with AMC’s Mad Men. This may not be the most obvious choice, compared to shows that have been far more successful, and that are maybe more relevant to our purposes: Breaking Bad, House of Cards, or Game of Thrones, among others.

Nevertheless, I think that for “craftsmen of the word” like us, the story of a creative director in an ascendent advertising agency is full of precious lessons. Besides, the whole show seems to revolve around a hidden theme that is familiar to Radix readers: the dispossession of the Old Anglo Elite by a new class using its verbal skills to gain power.

For a cultural contrarian, there is always a risk of overreading the producers‘ intent. However, while I believe they wanted to depict this Old Elite negatively, and express some relief about its downfall, I can’t help thinking that the initial expectation wasn’t fully met (think of Cabaret or American History X as similar failed attempts).

For the sake of clarity, I won’t recount the 85 episodes, as I assume most of you have watched the show (for the others, you can keep reading; there will be spoilers, but the general plot is not as important as the atmosphere).

That being said, a rough summary should be done. The story takes place in New York, in the 1960’s. When the show begins, Don Draper (Jon Hamm) is the creative director of Sterling Cooper, a relatively small ad agency on Madison Avenue. He’s tall, strong, handsome, always perfectly-dressed, smart (though not particularly educated), socially savvy and uncannily successful. Successful in his work, and, of course, successful with women. Despite having a wife that would be rated as a “9” if not a “10” in the manosphere (Betty Hofstadt, played by Nordic beauty queen January Jones), he enjoys the company of many other women, who enable him to escape the sanitized boredom of his white-picket-fenced suburban house®.

We don’t see Don Draper work much. He’s always late, even for meetings, spends most of his office time smoking, drinking (Canadian Club rye at work, “Old Fashioned” cocktails at bars), and taking naps to recover from it all. When the afternoon comes, he often calls it a day to join some mistress in a luxurious hotel room. Despite that, every one of his pitches to the clients is a home-run, making him the main money-maker of the agency (his jaw-dropping Kodak carousel presentation should be turned into a mandatory training in communication and marketing programs). This reminds us that creation requires laziness as much as hard work. All those who write for a living know that their best ideas pop up when they are doing something else, or doing nothing at all.

Alpha/Übermensch Don Draper is “just too good to be true,” to the point that NBC did a spoof “Don Draper’s guide to picking up women”, in which the viewer learns that all he has to do to be as successful as Don is… impossible to fulfill.

So, why do the opening credits show a cartoon version of Don falling from a skyscraper into a sea of advertisement junk? In a Hollywoodian clichéd way, the character can’t be that successful without having a secret flaw, which, in time, will be revealed to be fatal.

As we soon learn, Don’s secret flaw is nothing less than identity usurpation. His real name is Dick Whitman. Son of a prostitute (who dies giving birth to him) and a drunk farmer (who is killed by a horse), Dick grows up in a whorehouse. When he turns 25, he takes the opportunity of the Korean war to flee. There, a field officer named Don Draper is mortally burnt in a fire Dick accidentally starts. Since the officer is totally disfigured, Dick manages to switch the identification tags and become the man who just died, giving him his former identity. This identity theft is symbolized by Season 5’s finale, which ends with Nancy Sinatra’s “You Only Live Twice.” The story takes place in 1967, which is the year the eponymous James Bond movie was released. (By the way, the song’s powerful lines “You drift through the years — And life seems tame — Till one dream appears — And love is its name” could summarize the dissident rightists’ increasing impatience; just replace “love” with some synonym, like “power,” “victory” or “glory.”)

This 92-episode series (the seven final ones will be broadcast next year) would get boring if it wasn’t for the supporting characters. Though Jon Hamm’s acting is excellent, the contradiction between Don Draper’s rise to success and his growingly incapacitating original sin wouldn’t be sufficient to support the show from Season 1 to 7. The main thing that can be said about Don Draper is that in the age of materialism, which has been the Postwar era so far, such a talented man couldn’t express his genius in a meaningful field. Rather than being an artist, a scientist, or a statesman, he had to devote his talents to selling laxatives, ketchup, and lipstick.

Still, being an outsider, Don Draper is generally benefitting from the cultural revolution of the 60’s, that he fully embraces, despite losing his own family in the process:

Completely different is the fate of other characters, who embody the declining WASP elite. Here are the most representative ones:

Roger Sterling

If there had to be a single one quintessential elite Anglo-Saxon on screen, that would be him. Heir of the original agency’s co-founder (hence his “name on the building” he’s so proud of), Roger always had it easy until the 60’s. To paraphrase one of my famous countrymen, Roger “took the trouble to be born, no more,” except during the Second World War. Roger’s wittiness and charms enable him to be very efficient in handling clients, but can’t shield him from the cultural tsunami that washes America throughout the 60’s. Unable to resist the sexual revolution, he repudiates his wife Mona in favor of an Ashkenazi secretary, Jane, who will give him no heir. Once high on LSD, Roger realizes it was a bad move, which will leave him with two alimonies to pay for. His former wife Mona only gave him a daughter, who ends up living in a rural commune with degenerates after having abandoned her “beta provider” husband and her son.

Drugs are not enough to make him forget his feeling of void, which results in an explicit recognition of his own dispossession:

Having received a Classical European education, Roger thinks he can afford the luxury of playing dumb, for example when he intentionally mixes Spanish conquistadores, Portuguese navigator Vasco da Gama, and “Mexicans” in a single sentence. In an other episode, he explains to Pete Campbell what “Munich” (i.e., surrender) means when it comes to negotiation, only seconds before he attributes to his mother the famous Churchill quote “You were given the choice between war and dishonor. You chose dishonor and you will have war.” Obviously, someone who knows what “Munich” means also knows who delivered this statement after the Munich Agreement of 1938. Unfortunately for Roger, the 60’s are no longer the time for playing dumb, especially since his leadership is under siege.

“Duck” Phillips

While he’s not a very important character, Herman “Duck” Phillips plays the role of a scapegoat in the official narrative about the ’60s. Everything in his behaviour is wrong, to the point that the whole character becomes rather incredible. Incapable of self-mastery when he’s drunk, “Duck” makes fun of the speaker during an adverstising awards ceremony and tries to defecate in Roger Sterling’s office (believing it’s Don Draper’s) after having been fired from the agency. In spite of all these flaws, he’s always impeccably attired, very charming, and quite well-spoken. He’s also a war hero, having killed 17 Japanese soldiers in the Battle of Okinawa. The message seems to be as follows: when a man is handsome, well-educated, and successful, there must be something deeply wrong about him. This should explain why such types have almost entirely been driven out of Western elites in favor of ugly, incompetent, and sociopathic ones . . . but I digress.

Bert Cooper

Cooper is the other co-founder of the initial agency. Unlike Roger Sterling, who is a generation younger than he, Bert Cooper is a self-conscious conservative. He is very skeptical of “civil rights,” and implicitly asks she-office manager Joan Holloway/Harris to make sure the receptionist girl remains White. Bert Cooper is why conservatives can’t win. Though he disagrees with the triumph of the Moral Left in the ’60s, he never dares express it. Quite symbolically, he lost his testicles in a surgical operation that went wrong. He dies childless and heirless, the day Neil Armstrong sets foot on the Moon. One small step for a man, indeed . . . and one giant leap to the dustbin of history for country-club Republicans.

Conrad Hilton

Speaking of the Moon, the only real character of the series, hotel chain-founder Conrad Hilton (“Uncle Connie”), is a very telling one. He randomly meets Don Draper at a . . . country club, and then becomes a client for a short time. He ends his contract with the agency when Don fails to give him “Hilton on the Moon,” a literal request Don thought was only figurative. In a monologue that leaves the viewer wondering whether Hilton is mentally ill, he displays a worldview that is actually quite typical of the postwar Right:

Can we see “Uncle Connie” as a member of the dispossessed elite? Yes, if we bear in mind who one of his great-granddaughters is.

Lane Pryce

In his three-part review of the series at Counter-Currents, James J. O’Meara defined Lane Pryce as the agency’s sacrificial victim. That is true, though in my opinion, O’Meara doesn’t really explain how Lane Pryce is so. Pryce is a former auditor from the British company that had bought the initial Sterling Cooper agency. Then he becomes a junior partner in the new agency started by Sterling, Cooper and Draper. Due to fiscal problems with the United Kingdom, he tries to steal money from the agency. When Don confronts him about his forged check, Pryce resigns and hangs himself in his own office. I would suggest that Pryce is sacrificed for his very Britishness, the same way the Cosmic America fantasized by Conrad Hilton was born out of the sacrifice of English and British heritage. Jared Harris, who stars as Pryce, looks like the usual caricature of the English people in rival countries: a toad face at the top of a fat, listless body.

Pete Campbell

Pete Campbell is maybe even more representative of this dispossession: being 10 years younger than Don Draper, he has been deprived of his birthright before he was even born. At some point in the series, the viewer learns that his ancestry in America goes back as far as the Mayflower. Yet his father found a way to dilapidate his family’s fortune before dying and leaving his two sons with crumbs. Still believing in the American myth of the self-made-man, Pete thinks he’s going to make up for his father’s failures with hard work, only to discover that the dices have been rigged from the start against young, ambitious men like him (which, of course, is more of a concern for our generation than Pete Campbell’s, who is a baby-boomer; this is not the only way the writers managed to inject contemporary issues into the series). In a half-drunk rant, Campbell expresses his impatience about being patronized by the former generation. That reminds me of something.


I could go on and on, since there’s no shortage of examples, from the clients to the employees, as well as their families.

I keep thinking that the producers wanted to celebrate the replacement of this Old Anglo Elite by a Rainbow Coalition including women, gays, and minorities, chiefly Jews, given that the production crew is predominantly Jewish. In the very first episode, Roger Sterling asks Don Draper whether the agency has ever hired a Jewish copywriter. “Not on my watch,” jokes Don. It’s 1960. In the coming decade however, the agency is going to recruit many Jewish copywriters and Black secretaries.

Nevertheless, to show how hard it was for the Rainbow Coalition to overthrow this Old Anglo Elite, the producers had to depict it as a formidable enemy: a caste of good-looking, refined, well-mannered, educated aristocrats. By thus doing, they made this elite appealing, and many viewers could conclude that they would rather be ruled by such a gang than by the current one.

That said, one could have the same feeling watching Stanley Kubrick’s Barry Lyndon (which was arguably the last liberal movie Kubrick made, before he started making conservative films, or outright reactionary ones like Eyes Wide Shut). The 18th-century aristocracy was, in many ways, admirable by its style and its brilliance. But it adopted the set of ideas and values that would lead to the removal of English rule in the thirteen colonies and of the King’s head in Paris. In like manner, Roger Sterling’s capitulation before the sexual revolution and Don Draper’s abandonment of his own family were foreshadowing the Great Erasure that was just about to happen. In the early 60’s, the agency sells a patriarchal and hierarchical American Dream. At the end of this crucial decade, the agency promotes alternative lifetsyles, women’s independence from their husband and family and minorities’ march through the institutions, with the partners hardly noticing this radical shift, and completely ignoring that it might undermine their rule.

Don Draper may embody all a man could dream of being and may succeed in all ways imaginable. He is also the last specimen of a dying breed. Let’s hope that the next European elite will know better and not confuse the Will to Power with the suppression of the very institutions that make it sustainable.

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Emanations of Wotan

Surely as Wotan/Odin personifies the warrior god amongst many of his emanations, Wotan also epitomizes the mystic priest, as well, as the All-father is unbound to simplistic distillations. The emanations of Wotan, as suggested by Jung in his essay, change, evolve, and adapt to the time at hand.

The Spirit of White Consciousness WWII to the Present

Much has been written about Carl Jung’s 1936 essay entitled “Wotan,” where Jung provides an esoteric traditionalist criticism of contemporary events during this precarious era of European history, focusing specifically on the rising atavistic Teutonic ethos embodied by the Nazis and the German people. However, the following paragraphs will not focus on the coming renaissance of Odinism, nor will it focus on erroneous rationalizations for RAHOWA, or any other spurious exegeses the essay has inspired.

Surely as Wotan/Odin personifies the warrior god amongst many of his emanations, Wotan also epitomizes the mystic priest, as well, as the All-father is unbound to simplistic distillations. The emanations of Wotan, as suggested by Jung in his essay, change, evolve, and adapt to the time at hand. In this manner, the ethos and Zeitgeist of modern White consciousness in all the major European theaters of the world (North America, Europe, Australia, etc…) no longer exhibits the ethos and characteristics of Wotan, the war god; instead, the contemporary White, Occidental world reflects Wotan, the master of words, language, and mysticism, as our world moves away from mass violence and mass warfare as the most effective and efficient means of communication both literal and symbolic.

The most important, and often quoted, metaphor extracted from Jung’s essay concerns Jung’s metaphor of the river bed. Through this image, Jung asserts that the gods of our ancestors, as archetypal mechanisms of the psyche, have existed as long as we have existed as a race. The subconscious archetypal gods of the Teutonic peoples are the innate creations of our earliest ancestors. The trough of their riverbed, or the subconscious erosion made by these archetypes over such a great period of time, extends the deepest and remains most readily to be filled when the flood of mystic waters flows over this subconscious topography once more. This explains how these ancient gods continue with us. Even if the river bed is dry for a time and the gods seemingly dead, the riverbed remains waiting to be filled by the spirit of these same gods. More often than not, the gods never die; rather, their aspects and nomenclature change and shift.

Jung’s riverbed metaphor explains the power that this Teutonic ethos wielded during the Nazi era. Even though the pagan period had all but lied dormant for a thousand years, this atavistic Zeitgeist remerged in the mid-20th century, irrevocably altering the landscape of the time and the people who survived the period. Viewing the Nazi period objectively, without moralism, their return to ancient ideologies, symbols, perspectives, and philosophies at least lends empirical credence to the idea of racial memory, how there is a narrative unfurling in every racial culture and spirituality, and how these aspects endure and adapt overtime.

Considering the occultic phase “As above, so below,” in other words “the macrocosm will reflect the microcosm and vice-versa,” archetypal gods such as Wotan and the Aesir macrocosmically reflect the microcosm of the Teutonic soul. In Germanic metaphysics of the soul, there existed the idea of the soul complex made up of different, yet complimentary parts, much unlike the unified soul idea of Christianity. One particular aspect of the soul complex is the fetch. On this concept, Esoteric Germanic Scholar Stephen Flowers asserts,

The fetch can be understood in the traditional sense as an entity separate from the individual, but which is attached to him for the duration of his life. It is the conduit through which the gods communicate to him, and the embodiment of all that he has ever been. It is a storehouse of images and powers from beyond this life and from beyond Midgard. (…) In this is housed all of the echoes of all of the deeds ever done by the bodies to which the fetch has ever been bound (58-59).

In other words, the fetch represents the racial collective unconscious that Jung himself introduce as a concept. On the macrocosmic level, Wotan reflects the mechanism of the fetch to the whole race instead of the mere individual. If one ponders about this archetypal role of the gods in connection with Oswald Spengler’s view of civilization as reflecting the microcosmic cycle of birth, life, and death of the human individual on the macrocosmic level, then the notion that the spiritual, that which is immaterial yet ever-present, must function on the macrocosmic level, as well. Therefore, the body of the civilization must die; however, the ancestral spirit and ethos is eternal in some sense.

The spirit of the civilization lives long after the corporeal civilization. Both the spiritual and residual physical legacy continues. The spirit of Wotan, operating as the fetch on the macrocosmic level, detaches from the dead civilization and reattaches to a nascent civilization of the same racial stock. The physical legacy is more obvious. The best example of physical legacy would be in the consideration of how important classicism (the legacy of Greek and Rome) is still to the present day. Wotan and the Aesir still linger in our subconscious though Germanic and Scandinavian practice ended a thousand years earlier. Plato’s Republic or Artistole’s Treatise on Rhetoric still reach from beyond the ancient grave to influence modern thought. In turn, the runes and the gods lied mostly dormant, much like the One Ring of Tolkien’s epic, until both the runes and the gods revealed themselves once more during the German Romantic period of the late 19th century.

It is my assertion that Wotan, the War god, reared his ugly head during this period of turmoil as the most effective means of communication and action. Unexhausted by the First World War, nations and principalities on both sides of the Ally and the Axis powers malevolently postured in the perilous geopolitical situation. The goals of these various parties and their globalist banker “philanthropists” could only be achieved through mass warfare. The most effective means of communication to fight the growth of Marxism in the Soviet Union, the Fascism of Mussolini’s Italy, or the National Socialism of Germany was to forego intellectual debates of merit and dive head strong in a measure of brute force. Though “mass” media of the period could reach and influence great numbers over great distances of geographic locations, its distribution was far too slow to keep apace with the escalating situation of World War II. The metaphysical semiotics of War, whether Ally or Axis, were far more powerful statements than the written word. Only the mass blood shed of Dresden, Nazi and Soviet Death Camps, post-war German civilian concentration camps, and last, but hardly least, the atomic bombs dropped upon Nagasaki and Hiroshima both provided the shock-and-awe military leaders, politicians, and globalist bankers wanted while also sobering the frenzied bloodlust of the world’s population for a time.

Today, Occidental denizens, White or otherwise, have reached our threshold for wanton and mass violence. There is no longer a fervor, no longer a romanticism of war. Vietnam and the War on Terror shattered the last vestiges of the idea of noble warfare. Hardly 10 years since the beginning of the War on Terror, ordinary Americans and our ordinary global counterparts no longer call for blood against nebulous, barely-identifiable groups. I feel even a true, authentic sense of shame in America for our initial reaction to 9/11 and the exponential mess originating therefrom. Not even the rednecks of my home state have the gall nor the want to wish ill-fates upon “towel heads” any longer. Too many pictures of dead women and children. Too many destroyed lives. Too many raw, uncensored videos. Even the toughest, most cynical vanguardist would be hard pressed not to be affected by an Arab father losing his daughter, wife, son, etc. Though the signs of degradation surround us, we still understand on some level that we are blessed.

The rise of global communications, the Internet, alternative journalism, and the like have begun to decimate the globalists’ logos and rationale for the continuation of purposeless wars that benefit none but the globalists themselves. Blind faith in politics, political leaders, and their agendas is seemingly less and less tolerated or fashionable on either the left or the right. We are now so much unlike the Great Generation willing to die for God and Country, a generation whose members sometimes committed suicide if unable to fight for freedom and liberty. Even the poorest of the cracker proletariats are hardly that naïve in 2014. Military service is a means-to-an-end, not a service of valor, honor, and courage. There is no authentic ethos that guides the passions of youthful combatants, only the promise of a paycheck, skills specialization, and a means of going to college. I surely do not mean this as a slight to service men and women, but they must be willing to accept the vast difference in what it means to be a part of the military now as opposed to then.

The priestly avatar of Wotan, that archetypal spinal column of the Teutons, emerges once more. No longer does the god of the Wild Hunt scorch the land. The Valkyrie no longer trails behind in such great force to lift up the 60 million slain Einherjar as the result of fratricidal World War II. Now Wotan, the god of poetry, mysticism, and language wanders the information superhighway. Wotan is present at every church, every community, every group within instinctually/inherently white cultures and subcultures. Is there any doubt there is a correlation between Odin the wanderer and the migratory nature of White “racism”? At White cultures most pacifist, our ethnic migratory trends and patterns reflect the desires of White Americans at large whether they are conscious of the fact or are completely unawares. If White culture has been rendered mute by the established hierarchy and artificial structures that reinforce cultural Marxist norms, then Whites silently congregate. Whether this is the White churches, from the “mega” to the bible study at home, or at concerts/festivals of inherently White music, or certain particular geographically insular wWhite communities, we still seek those like us. Hysterically, few Whites who engage in the latter activities would be galled to admit this is true. Yet when Christians “fight for Christmas,” they fight for Wotan. When yuppies and hipsters converge for music where they lift up their voices in one accord comfortable in the safety of familiar demographics, they sing for Wotan in their transcendent groupthink. And one day, when the place between that which is hard and the rock closes in, the spirit of Wotan will guide our voices once more.

Communication now vastly outweighs war as the most effective means of transfiguring cultural and societal landscapes. Now is the age of the “Info War,” a term Alex Jones poignantly coined. He is correct in this affair. In the First World still, battles of words and intellect have mostly replaced military or crusader tactics of submit-or-die type conversion techniques. We can take the skirmish to Twitter or Facebook instead of bloodletting on the battlefield. As such, a new spirit of Wotan now emerges. Some readers may be offended that I have reduce Wotan to the role of some beta male who is somehow emasculated; however, I would argue that Wotan is not an unlearned, uninitiated, lowly warrior. The modern world is now far too complex to apply brute strength as a means of change. The modern world is far more like a vast and complicated game of chess than a game of Battleship. The oversoul of the Teutonic, Scandinavian, Slav, and Celtic peoples must adapt to this new paradigm of warfare. A long-game strategy must be deployed. We may be forced to into defensive stance at present, but being on the defensive in the chess analogy does not mean we will lose. It means we must, we have to, play a serious, committed, and smart game for the win.

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