MOSCOW, 27 Nov 2021, RUSSTRAT Institute.
What is happening to modern America can be called the cultural tragedy of the American nation. The phenomenon of American culture arose in the 18th century and reached its peak in the middle of the 20th century and absorbed all the main European cultural trends. Emigrants brought to America the culture of France, England, Spain, Italy, Russia, Germany, forming a synthesis of subcultures peculiar to European different nations and classes.
The collision with the cultures of Africans and Mexicans gave rise to an American colourful cocktail, which has a certain attraction for carriers of European culture, and this was American specifics. Being the youngest, American culture carried a charge of cheerfulness and optimism, was considered more democratic in comparison with aristocratic European primary sources bearing the imprint of the snobbery of class Europe.
It was democracy combined with a higher income level that was the main beacon that attracted all European masters to rustic America, who for some reason could not achieve the desired success at home. Until now, the elite of the United States is experiencing a certain inferiority complex in relation to Europe, compensating for its general spiritual second-rate by expansion in the field of mass culture.
In the field of elite culture, America has never been and still is not a world leader, absorbing all the currents from old Europe and simply luring intellectuals and craftsmen with high incomes. The literature of America was an imitation of the literature of Europe.
Music is still developing in line with European canons. Composing and performing is influenced by Russia, Italy and Germany. Vocals are Italy, Russia and Germany. If you see world-class American pianists, be sure – they studied with Russian teachers. Painting and design have European technical and aesthetic guidelines.
Modern urban architecture, especially in suburbia (suburbs), is the only area of culture where America has gained undoubted primacy and has generated imitation in Europe, although European classics are at the heart of American architectural canons.
American cinema is also an area of mass culture, but in the segment of elite cinema, the influences of European masters are clearly traced. Acting and directing in America are based on Russian and European (English, French, Italian) schools. What Hollywood has brought here is the use of special effects and scaling of filming. That is, again, the technological, and not the spiritual aspect.
The theatrical culture of America is the domination of the Stanislavsky school. The art of reincarnation, working on the image – this is in American culture from Russians. Nine movable scenes and a real herd of camels on the stage of the Rockefeller Center in Verdi’s opera “Aida” are from the Americans. And how else can an American clearly show that this is Egypt?
Theatre in America is not a temple, but entertainment. There are spectators in T-shirts and jeans in summer and outerwear in winter. They chew popcorn from huge bags. Opera or ballet is consumed like an American football match. It’s a show. It is no coincidence that the musical is a product of American culture.
The world of dance is a special sphere of culture, where America’s mission is similar to all of the above. Classical ballet is entirely in line with the schools of Russia and France. Germany and Italy are imitators here, but England is not at all, apparently they do not want to compete with the French. The modern dance of the West is based on this Russian-French base.
The ballroom dance all over the world is the sphere of England’s domination. It was created there, the most profound, one might say scientific and aristocratic methods of preparation, performance and judging were developed there. Even the tango here is not Argentine, but recycled by the British.
Exceptions are Spanish paso doble and American jazz-influenced jive. Italy and Germany make their own elements, but they stand on an English foundation – this is more an internal technique, which only professionals who have studied with the British can develop, see and evaluate. It’s not customary to run around the ground here. This is art.
American ballroom dancing, even professional, is more of a sport – they like to rush around the ground like crazy, accentuated to portray power, expression, and they don’t really like all the English snobbish things. Even the school of refereeing in the USA and England is different: what Americans willingly judge, the British despise. English arrogance towards Americans has its own justification: English culture differs from American as English football differs from American. Or as a lord from a worker.
Jazz (both as music and as dance) is a cultured American mestizo, born of Negro rhythms and introduced into the white Anglo-Saxon environment. Being interpreted according to European cultural canons, jazz has become the hallmark of American culture, giving rise to other dance variants. All these boogie-woogie, twists and rock ‘n’ roll came out of the jazz overcoat.
Rock and all its varieties are the product of a symbiosis of African and Anglo-Saxon standards. While in America blacks were kicked out of bars and buses, whites danced their dances and did not bother with any pangs of conscience. A purely American cultural product is a hybrid of several races, whether they are Peruvian Indians, Mexican shepherds or African slaves.
What is in American culture from whites is a European import. They don’t go to America for culture, they go there for money. For elite culture, they go to its cradle – Europe. This is still the case. Although Europe is rapidly losing its primogeniture and switching to imitation of Americanism – one has only to look at the tragedy of French and Italian cinema.
The degradation of white culture is stimulated by America. All these decadences, whether in painting, literature, theatre, or music, are of American origin. Moreover, the order is often American, and the contractors are Europeans. It is they who in America, and then in Europe, most skilfully destroy the culture that their predecessors created.
The Russian dancer Baryshnikov, who took place as a classical ballet dancer, was the first to abandon the classical repertoire in the USA and switched to modern. All this panopticon of perverts that is now in the West has become a cultural mainstream in theatre and ballet, gradually spreading in Russia, originally from the United States. The degradation of American culture is the Rome of the times of decline. An American tragedy. But American literature is no longer able to conceive and nurture new Dreisers, and if it does, it will immediately have an abortion.
Back in the 1930s, Ilya Ehrenburg went to Hollywood and heard there the main criterion of acceptability for American cinema. One venerable director rejected Ehrenburg’s script, saying of him: “Too much social and too little sexual.” It should be the other way around. This is America.
The current atmosphere of America is a celebration of LGBT and BLM, deliberately cultivated by a part of the white Anglo-Saxon elite who stood at the cradle of American statehood and defended its European cultural origins. The liberalism of America was Protestant, and conservatism was Protestant, with a Catholic touch. That is, it was a moderately conservative (even in its progressive part) culture with Christian foundations in the base.
Even the hippie sexual revolution still carried the spirit of communes and love, such a distorted interpretation of Christianity. “All you need is love” – the Beatles sang, penetrating into the mass consciousness of the generation whose parents went through World War II and considered the “American dream” to be the main values: a big house, a big family, many children and good prosperity.
Then the substitution happened softly. Love was replaced by sex. Now having sex has become known as “making love.” The doublet was accustomed both to the vulgarisation of the sacred and to the substitution of meaning. It seems like a joke, but it was a joke that was the reason for the penetration of the thesis bypassing critical filters. The joke quickly ceased to be a joke and became serious.
Back in the late 1990s, the topic of LGBT people in the United States was being practiced. In Europe, the blue lobby was freer than in the conservative United States. For thirty years, the proportion of coloured population in the United States has grown and shows a further upward trend. While whites are declining, the American consumer society (and the elites formed on its basis) does not envisage other trends.
That is why the American Democratic Party, as the vanguard of the US financial elite, has taken a course to develop the theme of racial revenge of coloured people simultaneously with the sacralisation of LGBT topics. Democrats control the reference points of the electoral process, where there will be more and more people of colour.
Since the dominance over manipulative technologies is in the hands of the Democrats, the “colour card” allows them to win with the involvement of the black plebs, whose ocean is growing and expanding. This is a desire to seize control of an important electoral stratum in the conditions of still remaining political domination.
The topic of LGBT is not only an important electoral resource of the Democrats, although this is also the case. This is the legalisation of the preferences of the elites themselves, teeming with homosexual clans. First of all, this is a topic that is easy to address to the already corrupted population of American cities. Hedonism is part of the ideology of these people, and homosexuality is part of hedonism. The protection of the right to hedonism is a political part of the ideology of the United States, and therefore the protection of LGBT rights easily fits into the focus of the political consciousness of this electoral stratum.
Thus, cultural sabotage is a condition for the survival of the current American political elite, concentrated in the US Democratic Party. Globalism, in which financial technologies have rested, requires the unification of cultures. Christianity and conservatism are replaced here by the religion of hedonism.
All the repression against those who think differently automatically becomes legitimate. For them – covidisation and digitalisation of the whole country. Those who do not have a smartphone and a QR code automatically experience a civil execution. They are excluded from society without a court verdict, which they could at least try to appeal.
Besides another civilisational code, the invasion of the marginal masses into American culture entails the death of the America that we know and remember. This death is slow, stretched over decades. But by the end of this century, there will be more people of colour in the United States than whites. Apartheid-era South Africa has become a role model for American Democrats: a system where blacks are in the majority, but whites have power.
Blacks and non-blacks will never be allowed into the elite. They will remain window dressing, huge, like any window dressing in the USA, like a herd of camels on the opera stage. The main thing is that the director will be white. And it’s not about skin colour. It’s about genetic memory: only the Anglo-Saxons have skills of colonial suppression and manipulation sewn there.
It’s not enough to be mentally prepared and want to do it. It is necessary to have innate abilities for this. Since world history does not know examples of empires and colonies created by Africans, they will be allowed only to the level of political puppets, such as Condoleezza Rice, Colin Powell with his test tube and Barack Obama. But this is far from the elite.
The murder of culture is an imperative of the current American elite to its governing class. Cultural ones are difficult to manipulate, as Gref said. They are rooted in their moral and ethical matrix, which does not accept the goals of the current globalist government. The American nation is dying, and barbarians are coming in its place.
This is a typical plot for a story. The only specificity is that ancient cultures died from side diseases inherent in old age. Now the culture is being killed by assassins. The clients and their motives are known. In the global world, it is difficult to isolate oneself from the sick. The death of culture is the same spiritual COVID. Vaccines and medicines for both have not yet been invented. The only hope is immunity.