I apologize for the brief lapse in this column – I’ve been taking a mild hiatus and catching up on some rest after finishing my manuscript. I felt it was deserved. New York has been kind of magic these days. Lots of parties. Lots of friends in town. I try not to let my notoriety go to my head but, damn – notoriety goes to your head. I’m on the ascent. Safety Propaganda Rising!
The world’s greatest living avant-garde jazz musician Anthony Braxton is interviewed by Morgan Enos and he is not pleased with the state of affairs. Specifically, Braxton is disgusted by critical race theory, which the composer accurately describes as “evil”: “The new woke academia is like everything else we see in this period: An inversion where far more people can't tell the difference between reality and fantasy,” says Braxton. “This has become a problem.”
The great Aleksandr Dugin talks to Michael Millerman about mysticism, the occult, and the precipitous collapse of liberalism, emphasizing the importance of finding new political theories. Most leftists still love to smear Dugin as a fascist, but who don’t they smear as a fascist? Anyone not being called a fascist by the leftist horde these days is suss, if you ask me. To not be smeared as a fascist is to not be an interesting thinker. For Apocalypse Confidential, Will Samson detects a connection between the aesthetics of Throbbing Gristle and the processes of information warfare. Also at AC, Tom Will (who has published poetry with Safety Propaganda) finds the cosmic powers of the demiurge in the cinema of Lynch. DC Miller debates Zeroh HP Lovecraft, and there are some truly interesting divergences in the ways that they think; in the third conversation of the series on “The Left,” Miller makes the claim that what we are facing has no beliefs, and thus there are no bad beliefs that we can replace with good ones. I wholeheartedly endorse this sentiment.
Communia goes after the green deal and its problematizing of meat and dairy. How typical that one of the environmentalist tree hugging libtards’ solutions to climate change involves raising the prices of meat, and thus making working class people’s diets shittier, less appetizing, and less pleasurable. Commemorating my friend Julien Nguyen’s fucking amazing new exhibition at Matthew Marks — truly the best paintings I’ve seen in a long time — Mónica expands upon her essay on Julien’s work that was published last year in Mousse with an elongated version of the text on her site. As always, her text is rather delirious and mind expansive: “As far as boy wonders go, this one’s less Tao Lin than Lautréamont—evil in the Blakean sense,” she writes. “Without the rounded edges favored by contemporary branding..” In honor of my childhood, I had to include this video about THE BOSS and arguably the greatest street skateboarder in the history of the sport, Andrew Reynolds. The Baker Skateboards head honcho discusses his entire career through his many classic video parts. Great stuff if you care about this kind of thing (and if you don’t, well – whatever, you’re probably a nerd).
In the wild world of based podcasting, the painter Nick Campbell (a homie of mine) and the multidisciplinary artist Negashi Armada are on Contain talking about the late Kentaro Miura and Berserk, gnosticism, and the collapse of values. Sterling Bartlett (whose graphic novel How Did we Get here? I blurbed) is on Outsider Theory talking about art world libtards. And on my brainchild System of Systems, casting director and self made man Walter Pearce goes off on fashion world libtards! Can you dig it? This is a FUCKING MOVEMENT!
Some girl makes an account on Twitter and accuses Virgil Texas of “grooming” her when she was 16, culminating in a truly “traumatizing” event in which the two wanked off to each other a couple years later. Virgil is a lame pseud and probably a creep, but if we were to consider this to be “abuse” then we would have to problematize basically fucking everything weird about sexual dynamics, which is the point of course: a shittier world where sex is little more than a commodity and a discourse. Now of course, Virgil is part of the political apparatus that legitimized these bizarre fetishizations of weakness and trauma, but in no way will I ever endorse this bullshit. Predictably, the “cryptofashes” all voiced skepticism of the accusations and begrudging support of Virgil (principled) and Virgil’s leftist friends have been silent (cowards). It appears that the cryptofash network has the chance here to recruit Virgil and make this high ranking dirtbag leftard an asset… Just kidding. Virgil might not be a rapist but he’s still very, very lame.
Lauren Oyler writes about the artistic role of “the troll,” (which is literally something I wrote over a year ago, shark biters are everywhere), and that’s fine. The essay is pretty innocuous, at least until Oyler claims that Houellebecq’s only talent is “saying troubling things,” and that he’s never been formally transgressive. The greatest still visible literary artist reduced to an angry, mean old man. God, feminism is just the worst. Noam Chomsky complains about “elites waging a non-stop class war,” which of course didn’t stop him from demanding that we vote for those elites not but six months ago, or else “be fascist.” Typical shit…
Cori Bush, the squad member who still acts like she’s leading a socialist revolution (except one in which “the whites” aren’t allowed), yells at the FBI director for the surveillance she endured when she was an activist, trying to create the illusion that somehow her activism was antagonistic towards state interests. Don’t let her fool you. She’s a psyop. All leftist activism is a psyop. Christopher Wray and Cori Bush are on the same team.
Alice Gribbin basically rewrites my essay “Art’s Moral Fetish” but in the most defanged, least comprehensive way (hate to be petty but…. just kidding, I am petty). Some WaPo retard is happy about being magnetic after spiking Moderna, or something…. The goofballs of Hyperallergic are hype on some filmmaker who is quite “passionate about social justice.” Theo Anthony’s new film All Light, Everywhere discusses the history of cinema and its role in developing surveillance technology. Sure, let’s blame the most important art form the 20th Century gave us that happened to develop the technology that would be used for surveillance, and not the tech monopolies, security state apparatus, and political parties (like the Democratic Party, who Theo definitely votes for) that use surveillance technology to subjugate us now. Finally, and without being too mean, I just had to talk about this Vogue article about a Ugandan woman who “uses photography to challenge how we see disabilities,” because it checks off so many wokelord boxes that you just have to have a chuckle at it. It’s the spice of life, no?
All right. Final thoughts…. No. Not really. It’s a void.
Illustration by Adam Lehrer