Clement Pulaski

Daily Stormer

January 21, 2014

During both WWI and WWII, one of the main features of anti-German propaganda was the ridiculous idea that the Germans were somehow “barbaric” or “a threat to civilization”. The Germans, who had produced Mozart, Leibniz, Kepler, Goethe and countless other intellectual greats, were far from being barbarians. It would have been much more accurate to call them the most civilized of all nations.

This gross misrepresentation was key to tricking the British and American people into taking up arms against their racial kinsmen. And just as this propaganda lie was used to convince our grandparents to fight and die, the same lie is still being used today in order to keep before the public eye the boogeyman of “right-wing extremism”. The latest high-profile example of this is the new George Clooney film The Monuments Men.

The film promotes the absurd idea that the allies were the natural defenders of Europe’s artistic heritage, while the National Socialists were barbarians intent on the destruction of high culture. This is a complete inversion of the truth, as it was the Jew-controlled allies who were responsible for the destruction of Western art and civilization, in both a physical and spiritual sense.

We first of all point to the fact that the Germans spared Paris and its artistic treasures from destruction, while the allies undertook a merciless bombing campaign of Dresden, one of Germany’s cultural jewels. Of course we are most concerned with the slaughter of innocent German civilians that accompanied the bombing, but the barbaric destruction of artistic beauty cannot be overlooked.

But of far greater consequence than the physical destruction of artistic treasures, is the loss of our traditional artistic sense. The Jews have destroyed the soul of Western man, as well as his ability to create and appreciate profound artistic beauty.

Hitler was a great admirer of the arts, and himself a skilled artist, but more than this, he was concerned that the essence of Aryan civilization was being destroyed by degenerate Jewish culture and modern “art”.

All modernism is intent on the subversion of traditional values. In place of the family we have sodomy and the sick hook-up culture; in place of heroism and self-sacrifice we have materialistic pleasure-seeking; in place of piety we have vapid self-absorption; and in the realm of art, in place of beauty we have ugliness. Modern “art” substitutes ugliness for beauty, and this is the visual representation of our inner decay.

As a reaction against this idolization of moral and physical ugliness, the National Socialists instituted measures against both degenerate art and degenerate lifestyles. The brilliant work of German sculptor Arno Breker perfectly typifies the National Socialist program. His art exudes both a stoic strength and a refined delicacy, and its style pays homage to past Aryan greatness while also being fresh, innovative, and distinct.

The Jews try to pretend that they are the defenders of high culture, but at the same time they work to tear down the traditional societal norms that allowed the creation and appreciation of high culture in the first place. Unless we succeed in smashing Jewish tyranny, the soul of our folk will continue to decline, and we will never be able to reproduce the artistic greatness of our ancestors.