Friday, January 06, 2012

‘Outlaw’ Justice…

Sometimes, much of the time in fact, it is not easy being a White Nationalist. It is increasingly difficult to resist the feelings of despair when confronted, on a daily basis, with the many and varied vile abominations of the MultiKult. We must take inspiration and morale boosting encouragement wherever we can and sometimes that includes the, admittedly imperfect, world of entertainment media.
Recently, over the Christmas Holidays, your Old Uncle Victor re-watched one of his all time favourite movies, Clint Eastwood’s 1976 film ‘The Outlaw Josey Wales’ based on the book ‘Gone to Texas’ by Forrest Carter and whose main character and storyline is in turn based on the life of a real life Missourian ‘bushwhacker’ named Bill Wilson. Okay, so it is true that Eastwood is not exactly ‘one of ours’ having been a long time industry man, miscegenator (preferring dusky ‘Latino’ types over White Women) and weaving in the ‘noble savage’ and even ‘oppressed Black’ into the Western theme as well as his other categories of film.
Nevertheless, he has given us much entertainment and pleasure over the years with his various heroic and even anti-heroic characters and, let's face it, there are so few movie characters that embody the sort of qualities we White Nationalists admire, like bravery, courage, determination, loyalty, honour, truthfulness, that we tend to perhaps over romanticise these rare examples. But seriously, what White Nationalist has not imagined being a Josey Wales or even a Dirty Harry? There are no 'grey areas' in these stories. Only Black and White, Good and Evil. The simple morality, basic storylines, minimalist dialogue and iconographic imagery of his so-called 'Spaghetti Westerns' is actually quite refreshing in contrast to the deliberately contrived ethical ambiguity, moral relativism and politically correct sophistry of more supposedly ‘clever’ cinema. In fact, your Old Uncle Victor would go so far as to say that, particularly on a purely visual level, the Sergio Leone movies in particular were truly ‘Art’ films.
Forget the fact that ‘Josey Wales’ is a well produced and directed ripping yarn full of wry humour, dry as dust, deadpan acting from Eastwood, that it has the obligatory evil villains, the required body count, acts of wickedness, retribution and revenge etc. What is truly stunning about this film is how much plain and simple truth managed to make its way into the finished product. Whether or not this was down to, or in spite of, Eastwood and/or his researchers/writers/producers etc is unknown to this writer. It is certainly not intended to be a ‘docu-drama’ but, in some ways, it almost is. Set during the immediate aftermath of Lincoln’s hateful war of Genocide against the Southern Whites many of the characters are based quite closely on real people and in and around real events.
It is well documented that as well as foreign mercenaries, the North deployed bands of ‘irregulars’ as terror troops to subjugate the Southern civilian population with guerrilla type raids and scorched earth tactics. Among the most notorious of these bands were ‘Jenison’s Jayhawkers’ (the 7th Kansas Cavalry) and the ‘Kansas Red-Legs’ who are shown in the movie as the main villains.
Their favourite hunting grounds were in the so-called ‘Outlaw State’ of Missouri where they raped, looted and murdered their way to a supremely barbaric notoriety. Their riders were fond of scalping their victims and attaching the scalps, and other grisly trophies, to their saddles. In response to these marauding Kansas criminals, and in reality that is all they were, the Missourians formed their own, equally ruthless vigilante guerrilla brigades like ‘Quantrill’s Raiders’ led by William Clarke Quantrill (31st July 1837 6th June 1865). The ‘Raiders’ rode under the Black Flag which indicated that they neither asked nor gave quarter during combat. Any encounter with a ‘Black Flag’ unit, and both sides had them, was a fight to the death, period. The ‘Captain Fletcher’ character played by actor John Vernon in the ‘Josey Wales’ movie is based on the Raiders’ Captain Dave Poole or, alternatively, depending on which you choose to believe, perhaps Charles Fletcher ‘Fletch’ Taylor.
One of Quantrill’s senior lieutenants was a man named William ‘Bloody Bill’ Anderson (1838 – 26th October 1864) who had a massive axe to grind with the hated Yankees. The well known Western actor John Russell plays his character in the film. His parents and sisters had been massacred by the Red Legs and, according to legend, he would literally foam at the mouth with rage as he went into battle roaring his rebel yell, so intense was his fury. The so-called ‘Civil War’ was anything but civil.
It is a magnificent testament to the bravery and stoic tenacity of the Agrarian South that they withstood the onslaught of the Industrial North, with its technological advantages and capacity for mass production of weaponry, for as long as they did. A people with a lesser degree of Racial/Cultural identity and a lower moral character would surely have succumbed much sooner.
Hateful Hollywood and TelAvision propaganda streams endless caricatures of illiterate, toothless hillbillies and ‘Rednecks’ when, in reality quite the opposite was the case. But this is so tiresomely typical of Jew/Liberal/Humanist/Marxist hatemongering to utterly invert reality in the most arrogant, brazen and shameless fashion. We know it as insolence, the Jews proudly call it Chutzpah.
Quite to the contrary, the South had a very proud and time honoured tradition of education, civic pride, community duty, social etiquette and chivalry. This makes the propaganda we have been fed all the more obscene but, considering these ‘histories’ were created by the victors and their lickspittles, somewhat understandable. What is not understandable is that these cruel lies and parodies of History have stood for so long and, in the cases of the current U.S. Government seeing to it that the school curriculum reflects this ‘North good. South Evil’ version of reality and the continuing removal of monuments and statues in public parks dedicated to Southern heroes,
Other Southern so-called ‘Partisan Rangers’ included ‘Mosby’s Rangers’ (43rd Battalion, 1st Virginia Cavalry) led by Commander John Singleton Mosby, nicknamed the “Gray Ghost”, (6th December 1833 – 30th 1916). John Hunt Morgan (1st June 1825 – 4th September 1864) of the Kentucky Militia’s ‘Rebel Raiders’ who was murdered by Union Cavalry forces after surrendering in Greeneville Tennessee. Samuel “Champ” Ferguson (29th November 1821 – 30th October 1865) born in Clinton County Kentucky on the Tennessee border, he was a Partisan Captain who was falsely promised a pardon at war’s end, only to be betrayed and hanged after a kangaroo court found him guilty of 53 counts of murder.
This sort of treatment, trickery, betrayal and summary execution (murder) of Confederates is not only similar to events portrayed in ‘Josey Wales’ and typical of Northern war crimes but is indicative of what the present Federal U.S. regime is capable of. Infamous Federal crimes such as Ruby Ridge, Waco etc should remind all White dissidents of what is in store for them if they do not prevail in their struggle.
Captain Edward Terrill was a turncoat who had originally ridden with John Hunt Morgan’s Rebel Raiders but had switched sides to hunt down Southern guerrillas for money. He is portrayed in the movie by the actor Bill McKinney. Terrill is a parallel for all the other Race Traitors and scum who sell out their former comrades to the ZOG for a handful of shekels. We all know at least one ‘Terrill’ and we also know there is a very special corner of Hell reserved for such filth.

The ‘prequel’ to all this of course though was the war, its true causes and its instigators. An insane, Abolitionist Race Traitor, bleeding heart renegade and 33rd Degree Freemason John Brown earned himself and his sons everlasting fame with the people in the Northern States for his antislavery crusade in Missouri. The more White people he and his sons hacked to death with swords in Missouri, the louder the sick Race Traitors in the North cheered him on. But Brown did not act alone. He was financed and directed by six vile Race Traitors from Massachusetts, all 33rd Degree Freemasons like himself. They were George Luther Stearns, Franklin B. Sanborn, Gerrit Smith, the ‘Reverend’ Thomas W. Higginson, Dr. Samuel Gridley Howe and the vile ‘Reverend’ Theodore Parker, the most famous ‘preacher’ of his day who turned against Christianity in favour of Unitarianism. These six Racial turncoats, known as the Secret Six, were responsible, along with Abraham Lincoln and the Masonic Lodges, both North and South, for the incredibly bloody so-called ‘Civil War’.
But there IS Justice in the end as the following illustrates. It may not be as good as official trials and executions for the perpetrators but it gives one hope that there is a God up there settling the accounts.

A few years after the war, Charles ‘Doc’ Jennison came down with a long and painful illness that emaciated and killed him. Near the end of the war he was cashiered from the Army, leaving in disgrace. Senator Jim Lane, chief of the Kansas Red Legs, went insane after the war and blew his own brains out. In 1896, Union General Ewing, who enforced the infamous Order No.11, was hit by a streetcar and killed instantly. Dr. Samuel Gridley Howe, one of the Secret Six, whose abolitionist wife wrote “The Battle Hymn Of The Republic” was struck blind and dumb in 1876. He slowly lost his mind from his stroke and in 1882, he wandered aimless and lost in the rain, catching pneumonia from which he died. John Brown, the infamous Masonic Race agitator, was hanged for his crimes at Harper’s Ferry Va, before the war. He would become the North’s greatest martyr and patron saint. The Reverend Theodore Parker sank into melancholia and died miserably in Rome in May 1860. Gerrit Smith endured the humiliation of a Chicago Tribune exposé of his role as a conspirator at Harper’s Ferry and as a coward and a liar in the raid’s aftermath. He was a lawyer who knew the rules of evidence and the laws against being an accessory to murder and treason. His reputation was ruined and he and his wife were confined to a lunatic asylum before the war. George Luther Stearns died just after the war in 1867. The great warmonger himself, Abraham Lincoln, himself a Melungeon, (a Negroid, Native American and Eurasian blend also referred to as ‘Atlantic Creoles’) hence his coarse skin and ‘dirty’ complexion, (telangiectases are a common dermatological manifestation evident in mulattoes, the Negroid actor Morgan Freeman is one example) also suffered from ataxia, a well known hereditary genetic disorder. Your Old Uncle Victor has often referred to this as ‘Lumpy Gravy’ Syndrome, where poorly blended genes result in a form of mosaicism. Lincoln was mercifully euthanized by John Wilkes Booth (10th May 1838 – 26th April 1865) an outspoken Pro-Confederacy advocate who was enraged at Lincoln’s ruthless tyranny and War of Genocide on the South.
And the point in telling you all of this? Well, gentle reader, you would certainly be aware of the sayings that “What goes around comes around”, “The truth will always out”, “nothing stays the same forever”, “the wheel turns”, etc. Well, one day, the ‘Outlaws’, the ‘dissidents’ (that’s you and me) will be the ones settling the scores and dispensing the justice. Just stay true to the cause and be patient. Our time will come.
Additionally, by way of illustrating how deeply ingrained the slander toward the South is and has been maintained, the following letter from February 2000, written by a Canadian subscriber to a White Nationalist magazine, is most informative:

“Hollywood's Dixie. Everything I know about the South I learned from the Silver Screen. I have never travelled throughout the American South and yet I feel I know it as well as my own home turf. I know its people, how they think, their attitudes, morals, lifestyle and their outlook on the world. In fact, I would go so far as to say that there is no group of Americans with which I am as well acquainted as the denizens of Dixie.
Over the years, a clear and distinct image of the Southerner has been formed in my mind. Even though I have never met these people, I feel that I am well acquainted with all of them. What do I know? Well for instance, even though the South contains some large cities most Southerners live in small towns where the middle class is almost nonexistent. If you're a poor dirt farmer, you walk around in bib overalls and a straw hat. If you've got money, you wear a white suit and smoke fat cigars. Southern women come in two types-the old ones are nosey, gossiping snoops. The young ones are sluttish, oversexed teases. Both speak with irritating whiny drawls.
Wealthy old Southern men are powerful, greedy and ruthless and are usually called “Daddy” or “Colonel.” Their sons are young Hell-raisers who drive fast cars and regularly get into trouble as they break all the rules trying to impress some young girl. The sons of poor farmers simply drink too much and wind up in jail.
Southern towns are run by politicians who are grasping and corrupt and are usually the same types who operate the feed store, the used car lot and the farm implement dealership.
The law, such as it is in the Deep South, is dispensed by a pot-bellied, tobacco chewing sheriff, a sadistic evil brute who is probably the living descendant of some whip-wielding plantation overseer. No one ever talks about it but most townsfolk suspect that the sheriff and the gang of low-lifes who hang around the local pool hall all day are actually members of the Klan. Running afoul of the law anywhere in this region, even for a minor infraction, might very well get you sentenced to a year on the chain gang where you'd be at the mercy of a demented prison warden and his cruel guards. Their idea of fun is to chain a black man and white man together to see if they'll tear each other apart. Talking back to the bossman will get you a flogging.
For black people life in the South is an even grimmer proposition. Old black women are very religious and look forward to getting dressed up for church on Sunday. They adore children and love to take care of them, even white children. Old black men spend most of their days whittling pieces of wood or trying to catch catfish on the riverbank. Life for a young black male, however, is a daily encounter with danger. For simply smiling at a white woman, he can be arrested, beaten up by that pot-bellied sheriff and thrown into the hoosegow. From there he will be hauled up before a judge and charged with rape. Regardless of his innocence, an all-white jury will convict him. Before he can be taken away to the county prison, an unruly mob or the Klansmen will break into the jailhouse, drag him out and lynch him.
A young black woman, if she is attractive, the threat of a sexual assault from a white man or group of white men is ever present. Even the most prejudiced of white males is not averse to “a bit of the dark stuff,” if he is given the opportunity. Such is the image I have of every town in the South. White men are all corrupt, drunk and evil, and their womenfolk are simple-minded tramps or busybodies. Blacks, on the other hand, are noble, courageous and long-suffering.
Where did I get all these ideas, you ask? From the movies, of course! Starting with I Am A Fugitive From A Chain Gang and on through A Streetcar Named Desire, Cat On A Hot Tin Roof, The Defiant Ones, In The Heat Of The Night, To Kill A Mockingbird and Cool Hand Luke right up to Deliverance and Mississippi Burning, Hollywood has carefully moulded the pattern for all Southern characters which still persists to this day. Through film after film we have been led to believe that Dixie is a land dominated by degenerate, illiterate, dishonest cretins that most of us would shun on sight.
Tinseltown also has nothing but contempt for the Southerner's mountain-dwelling cousin, that retarded, inbred subhuman known as the Hillbilly. Earlier films depicted him as a toothless, gun-toting clown always feuding with some other mountain family. More recent films have shown his darker, sexual predatory side. The one admirable member of the hilltop dwellers seems to be the young moonshine runner who turns out to be a pretty good stock-car driver as he careens around mountain ledges in his souped-up Chevy with the revenooers in hot pursuit.
Why after all these years does Hollywood still give us nothing but distorted images of those who live below Mason-Dixon line? Probably because screenwriters are running short of villains and every good story needs a bad guy. In this politically correct, racially sensitive age, they cannot show blacks, Hispanics, native Indians or Orientals in a bad light. Immigrant groups, such as the Italians, Greeks, Irish and Poles, have enough clout to make sure they are not cinematically defamed. God forbid we should ever see a Jewish villain in our lifetime! If he's making a WWII movie, any producer can get lots of mileage out of those hideous Nazis, but if the film is set in the good old U.S.A., who can he safely cast as the baddies? Southerners, naturally. Those sweaty, trashy Dixie whites are stereotypes that we have all grown up with and which few people question to this day. Sambo, Rastus and Uncle Remus are gone forever but that nasty, grinning redneck and his hot-to-trot daughter are still with us and still going strong.
A film set in Boston, New York or Los Angeles shows us people that we can all relate to. But any film set in Mississippi or Alabama will be filled with characters that seem to be from another world. The slow-witted, slow-talking inhabitants of this hot and White men are all corrupt, drunk and evil, and their steamy backwater of civilization as normal people. So we are prepared to believe them capable of any wickedness. For those who would argue the point, simply ask yourselves: Is there any other region or any other population group in the U.S. that has been so constantly ridiculed, maligned, pilloried and dehumanized by generations of filmmakers as the inhabitants of the American South?
One of my favourite contributors to this magazine, N. B. Forrest, writes about the South with great pride and often mentions gallant Southern gentlemen, well-bred genteel Southern ladies and the courageous soldiers of the Confederacy.
I cannot believe that the descendants of those people have all disappeared. Yet when do we ever see normal Southerners portrayed in the movies? I can think of only a very few examples. If you would like to see some decent and uplifting sons and daughters of Dixie on your home TV screen, let me suggest that you rent the video version of ‘Gone With The Wind’ and watch only the first hour. This film may have been made by a man named Selznick, but the images he provided us of this gallant race of people was one of the finest portrayals of Southern nobility ever shown to the world. Until someone forms a Southern Anti-Defamation League, it will probably be the last honest film Hollywood ever gives us.”

Yet again, it kinda makes you wonder about everything you think you 'know' don't it? THINK!

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