An important vector of human difference is that between the Nomadic and the Sedentary. It allows us to interpret a host of related issues, ranging from the uprooting of Europeans to the celebration of Nomadism itself, and the unequal toleration for certain groups.

What do the terms mean? Nomad comes from the Greek νομάς, designating shepherds who moved with their flocks from pasture to pasture. Sedentary comes from the Latin sedentarius, which can be interpreted as designating a state of sitting, but also a state of stability or rest.

The Biblical story of Cain and Abel presents two embodiments of each lifestyle: Cain is a farmer, hence a Sedentary, to the point of being the alleged founder of the first city, while Abel, as a shepherd, is the archetypal Nomad. Interestingly, the Bible shows that despite their common origin, the relationship between Nomad and Sedent is fraught with tragedy.


Finish the sentence:
‘Jews are disproportionately represented in…’

Whether we’re talking about Nobel Prizes, the banks, Hollywood or any other well-paid profession, you’re guaranteed to read or hear the term ‘disproportionately represented’ thrown about generously online. I’m not for a moment suggesting that Jews don’t do well – they do – but I am suggesting that the term ‘disproportionate’ is out of place and redundant. It’s not entirely meaningless, but it simply isn’t relevant if we’re talking about the qualities of an ethnic group.


Contemporary Media seen from the Right

Star Wars Episode 7 is a big disappointment. The trailer only gave two segments of the movie away, so there's plenty still to see which is good. On one level it's a mildly diverting, two-hour-and-a-bit sci-fi movie that is not without some good moments and pacing. But really it's all rather soulless. And as Star Wars Episode 7 – one of the most hotly anticipated films in history of genre cinema – it feels like a huge let down.

The main problem is: the plot and the director.


The following passage is taken from the text of Andy Nowicki's new book Conspiracy, Compliance, Control, and Defiance. Additional excerpts can be found herehere, and here.

The suffering soul must ask himself the question: Why is he sad? 

In typical cases of acute or chronic melancholia, there is usually a proximate cause, such as, inter alia, the death of a loved one, the dissolution of a marriage, the loss of a job, or other failure, setback, sorrow, or similar provocation of grief, sorrow, or distress. When, however, the source of one’s melancholia is more generalized or abstruse, then the antidote to this condition is elusive, if not plainly non-existent.


Don't worry, numbers can explain this.

Between 2000 and 2014, the White share of the US population declined from 69.1% to 61.9%. In other words, the non-white share rose from 30.9% to 38.1%.

Lets imagine that over this same period, some state or county went from being 98% to 96% white, from 2% to 4% non-white. 98% to 96% is a smaller decrease than 69.1% to 61.9%, but 2% to 4% is a larger increase (percentage wise) than 30.9% to 38.1%. So how does the local newspaper spin it? Do they say that the local non-white percentage increased faster than the national rate, or that the local white percentage declined slower than the national rate? Both narratives are technically true, though obviously misleading.


"How much for a copy of Cuckgasm?"

by Colin Liddell

The National Review—which I will henceforth refer to by the more appropriate monicker of National Rearview—is like a forgotten great aunt whom you assume to be dead until you hear one day that she has broken out of her care home and has been caught wandering around in her nightie attacking postmen.

Yes, the old girl has found a way to remind you she is still alive – just in time for her imminent death. This is more or less how we should view the recent issue of National Rearview attacking Donald Trump. Rather than the "kingmaker" role the magazine is LARPing as, what we have here is an impotent and embarrassing incident at the tail end of its life, because unfortunately we don't shoot old mags like we shoot old nags.


An excellent video by "Libertarian philosopher" and egghead Stefan Molyneux, in which he explains how and why Donald Trump is succeeding and is doing so without tapping into his enormous fortune.


 Contemporary Media seen from the Right

This film is by the Mexican Director Alejandro G. Iñárritu, who really should think about Anglicizing his impossible-to-pronounce name to something simpler, like Alexander Inwood, especially as he's now so well established North of the border. Despite this quibble, I thought his film was one of the best pieces of cinema I've seen in the last year.

I saw The Revenant by preview first and then on the big screen, which is the way it should be seen. I thought it had a very strong Nietzschean theme and was very beautiful in fact. Some critics have compared it to Apocalypse Now – but more a Heart-of-Darkness-on-land affair than a carry-on-up-the-river one – but certainly a valid comparison.


A review of Sarah Kitz’s “Agamemnon”

I decided to impress the missus the other night by taking her out to the theatre, opting for something "a bit classical" – a modern retelling of Aeschylus’ Oresteia, reworked for a modern Canadian setting by Nicolas Billon, a playwright previously honoured with the Governor General's Award for English-language Drama.

What could possibly go wrong? Quite a lot actually as I hadn’t done my homework.


Novelist Ann Sterzinger joins Andy and Colin to commemorate the life of David Bowie. Topics under discussion include his music, acting, proto-trolling activites, and relevance for the Alt-Right, as well as why his death has had such a big impact decades after his most creative period.


'Participation' trophy??? What you talkin' 'bout, sucka???

By now, we should all know that global corporations are the Enemy, perhaps an even more egregious collective enforcer of loathsome cultural edicts than the state itself. In recent years, corporations have used their hefty power and ill-won clout to perpetrate innumerable anti-white, anti-Christian, and generally anti-normal outrages, and to foster tyranny against independent-minded people of all races, creeds, and orientations.


Andy was recently interviewed by Jay Dyer at the latter's weird, wild, challenging and altogether intriguing "Esoteric Hollywood" site. The two discussed Andy's new book Conspiracy, Compliance, Control, and Defiance,  now available on


Someone doesn't quite fit into Nazi Barbie's gang.

by Ryan Andrews

Unlike people, culture is never entirely black or white, but it does move around a lot between these theoretical poles. As the Obama administration has progressed (by happy coincidence), the aesthetic of youth pop culture has increasingly turned towards the “black.” Judging by the recent lifespan of these swings, we may be at “Peak Black;” but this is not an exact science. I do however think—and I base this opinion on historical precedent and what I think is commonsense—that these things go in cycles. Eventually, one or several of the various reactions against the “black aesthetic” will develop into a mass phenomenon—an alternative pop cultural aesthetic will emerge, and my hope is that the Alternative Right will play some role in creating it (as opposed to merely latching on to it).


"Throughout history, rape during war has been commonplace, even encouraged. Homer's Iliad opens with an argument between the Greek warriors Agamemnon and Achilles over possession of women seized during the Trojan War. In Biblical times, warriors also considered women spoils of war; they treated women as livestock, children, and other property in a conquered city. Biblical law told warriors that they ‘may take these as plunder ... [a]nd you may use the plunder the Lord your God gives you from your enemies.’"
Danise Aydelott, Mass Rape During War: Prosecuting Bosnian Rapists Under International Law, pp. 585-631]
Womenfolk have long been regarded as the spoils of war. Cologne, Rotherham, and countless other contemporary instances of Muslim gang rapes of European women tell us that the liberal project and feminism have failed, that women are not interchangeable with men; that the Open Society has failed.


David Bowie, who recently died after an 18-month battle against cancer, will be remembered for many things. But one of the most interesting points about the man was the degree to which his creativity, especially at its height, coexisted with what came to be considered extremely taboo views, and the degree to which his talent tapered off as he became more acceptable in the eyes of the establishment.

We live in an age of oppressive political correctness, where almost anybody of prominence is forced to toe the line, lest they offend, "trigger," or commit "micro-aggressions"; and, if they do, they are required to humbly beg for forgiveness even where none is offered. Such intolerance even includes rock stars, the wild, shamanistic figures we reared up in the spiritual vacuum of the 1960s and 70s, through our appreciation of the Dionysian aspects of a fast-mutating musical culture.

But what about David Bowie and his obvious interest in Nazism and Fascism? Going by comments made in interviews, song lyrics, and stage imagery, the singer clearly had a crush on the 20th century's real counter culture. Why wasn't more made of this? Why was he let off the hook?

First the evidence of Bowie's fascism. Back in his 1970s heyday, he gleefully told reporters that "Hitler was the first pop star" and declared that "the best thing that can happen is for an extreme right government to come."

In his 1971 song Quicksand, he wrote:
I’m living in a silent film

portraying Himmler’s sacred realm of dream reality.
 Then there is his 1977 composition China Girl, which became a hit in 1983:
I stumble into town, just like a sacred cow

Visions of Swastikas in my head, plans for everyone.
But Bowie had gone even further than that. There are famous pictures of him waving and sieg heiling from an open-top black Mercedes of the kind that Hitler used.

Here's Hitler in a similar car (and with a better crowd response):

Definitely not a coincidence. Then there is the lightning flash mark, a symbol of fascism, that was used for Aladdin Sane, as well as the SS symbols he used onstage for the Ziggy Stardust tour:

Of course, Bowie was an eclectic style stealer and far from being an "actual Nazi." His general sexual and narcotic degeneracy would have precluded that. However, he was at least open to elements and aspects of Nazism and Fascism in a way that made sense for someone in his creative, cerebral, and iconoclastic niche.

His Nazism quotient was certainly high enough to provide endless ammunition for "Social Justice Warriors" and "antifa" with nothing better to do. It is surprising therefore that more was not made of Bowie's flirtations with fascism and his frequent one-night stands with Nazism. Throughout his long career, no public statement or press conference was forced from him, in which he begged for forgiveness for his "hurtful" and "insensitive" comments, lyrics, or actions.

Communism killed 100 million
and all I got was this lousy
Manic Street Preachers T-shirt.
But then again, in the 1970s and 80s countless bands, including the likes of  The Sex Pistols, Joy Division/ New Order, The Skids, and Spear of Destiny played with Nazi imagery. Even the Jewish musician Mick Jones, who later found fame with the Clash, started off in an outfit called London SS!

Toying with Nazi imagery was certainly no worse than toying with Communist imagery, and in my opinion a lot less offensive, as Nazism only killed large numbers of people under wartime conditions, whereas Communism did the same and much worse under peacetime conditions.

But, given the hysteria that surrounds such symbols as the swastika and Confederate flag today, and the totalitarian "zero tolerance" attitude of political correctness, it is still surprising that the PC bigots left Bowie and his legacy alone.

Why is this? Probably it was due to a combination of factors – his age, his Somalian wife (perhaps that's one reason he married her), and his past bisexuality and androgyny. All these factors made him a slightly awkward target for SJWs to attack, as did his powerful lawyers.

But there was also some clever PR management. In rock histories and biographies of the man – like the one I read most recently, Christopher Sandford's Bowie: Loving The Alien (a solid, "meat and potatoes" effort) – Bowie's fascistic dalliance is more-or-less explained away as an aspect of his drug-addled years, rather than anything significant. This, of course, is the kind of excuse an average member of the public would not be allowed if he or she tweeted or shared similar words or imagery on social media after a few drinks too many.

But has PC exacted a cost on Bowie?

Some will say that his talent declined simply because of age; while others will ascribe his creative decline to the same cause as his "fascism" – a brain burnt out on massive amounts of drugs. Both explanations are quite feasible. But I would entertain a third possibility, that for an iconoclastic soul like Bowie his creative downturn was related to the growing intolerance of our age and the unrealistic expectation that rock stars be "respectable" and line up their ideological ducks with the establishment.

This trend really started to get going in the 1980s, and it is perhaps the reason why that decade was also the last truly creative decade in the history of popular music. Bowie's dip in creativity almost perfectly matches the growing imposition of political correctness in the 1980s, with his 1983 album Let's Dance being his last potent record (with the possible exception of his just released final album). Alongside the fascistic China Girl, that album also included gestures towards political correctness, like the narrative touting the "oppression" of the Aborigines on the video for the album's title track.

What is a rock star if he cannot exist beyond the taboos that circumscribe the rest of us? Answer: a mere musician with an stupid hair cut. During the lifetime of David Bowie (1947–2016), visions of swastikas were incapable of ever bringing back the Third Reich, but they might have helped the occasional taboo-busting rock star find a seam of true creativity.

A version of this article was originally published at The Revenge of Riff Raff


Unless you've grown so sick of the modern West's dysfunction that you've decided to completely tune out, then you're all undoubtedly aware of the rape wave that transpired in Cologne, Germany, on New Year's Eve. Understandably, those of us on the alt right are outraged by these attacks on German women. Colin Liddell has already written an excellent article on migrant rape, highlighting the many problems it poses for modern Western countries like Germany. However, what rankles me so much about this incident – just the tip of the iceberg as far as diversity related rapes in Europe are concerned – are the responses of various white elites and pundits, which range from lackluster to downright absurd.


Announcing the release of Andy Nowicki's new book, Conspiracy, Compliance, Control, and Defiance now available in paperback and Kindle.

From the page:
"In this passionately-worded treatise, Andy Nowicki considers the nature of power, both political and personal.

"Nowicki observes the ruthless, cold-blooded, patently reptilian nature of the contemporary ruling class. Assessing this demonic claque's infernal ability to keep their subjects 'zombified' through calculated campaigns of manipulation, bribery, and sheer psychological terror (with an extended commentary on their contrived responses to catastrophic events like 9/11 and Sandy Hook), Nowicki addresses the struggles faced by the proud man who attempts to render himself immune from the maddening mesmeric machinations of totalitarian tyrants.

"A penetrating, shocking, and uncompromising meditation on 'what is, and what is to be done' by Andy Nowicki, controversial scribe of the current 'Alt-Right' scene."
Passages from CONSPIRACY, COMPLIANCE, CONTROL, AND DEFIANCE, published at Alternative Right:


Feral Islam.

Tensions are high all over Europe because of Muslim acts of terrorism and rape, the latest ones being the mob attacks on German women in Cologne.

While acts of terrorism will come and go, and may even abate for long periods of time thanks to the efficiency of our surveillance and police states, acts of Muslim rape are much less likely to cease. They will continue to be a regular and recurring phenomenon wherever Muslim migrants are housed, and can be expected to keep tensions between migrants and the locals simmering over.


Contemporary Media seen from the Right

I hate to say this about The Hateful Eight, but my initial response to Quentin Tarantino’s latest offering is that it's just OK. I should say upfront that I am usually a fan and supporter of QT’s work. Maybe it's his weakest film, barring the self acknowledged failure of Death Proof.


The Big Short is a clever, engaging, and enraging movie about the predations and depredations of a criminal ruling class.

Like 2014's Wolf of Wall Street, The Big Short is based on a best-selling non-fiction novel detailing Wall Street high-stakes sleaze and fraudulence. This time, however, instead of being an autobiographical account of one man's life of unrelenting sociopathic greed, the tale is told from the collective point of view of a gang of both insiders and relative outsiders to the New York financial establishment.


Porn and games: there goes your life!
by Brett Stevens

Time is precious. As far as we know, we live, then we die. Maybe there’s something afterwards; maybe not. Either way, we don’t get to be us again. We can’t go back to being two years younger, or not knowing something that scares us once we’ve learned it. Life is a rare commodity.

And yet, most people can’t stop wasting it. I don’t mean the kind of loafing where you look back on an afternoon or a weekend and think, "What did I do?" in a haze of laziness, but I mean that they need to be constantly occupied. People no longer have an internal narrative. They need constant distraction or they feel empty and lost.


In my last post, I used an image from a humorous meme called "Islamic Rage Boy," which uses well-timed photos to regale us with hilarious facial expressions. As funny as the pictures are, the man behind the meme, Kashmiri activist Shakeel Ahmad Bhat, has lived a rather harrowing life. It's no wonder he's so angry. If I were illiterate, crippled on account of being tortured, and had watched my sister get thrown out of a window, I too would be enraged; and to top it all off, the poor man is now an object of international ridicule.

The reason why I bring up someone like Islamic Rage Boy is because he made me ponder immigration, nationalism, and the supposed obligation that Western countries have to allow destitute people like Bhat to emigrate and seek a better life. Obviously, the nationalistic alt right would prefer that the likes of Bhat stay put in their home countries. But in my opinion, for nationalism to function as a truly powerful force, it requires more than a defensive fear about immigration and shifting demographics – as rational as such fear may be.