No day goes by without with some outrage involving the victimization of a European, often a very young or a very old one, by third world filth. In one case earlier this summer GoFundMe suspended a murdered Irish teenager’s account. That’s life under occupation by illegitimate western European governments.
Sometimes in national struggles you have the backing of the state. At other times such as today, you are on your own, unprotected by the state of which you are a citizen. Seventy five years later you might finally have a country of your own.
The (Un)banned Songs Concert. Held in Warsaw to commemorate the start of the 1944 Uprising and to honor the Home Army (Armia Krajowa, or AK) partisants who participated in the battle. Some of the videos from various performances show the few still-living veterans in the audience, visibly fewer each year. I post these video because:
- This stuff is inspirational to me
- They serve as an aspirational example that Westerners don’t have to accept what they have; namely, to have to share their land and destiny with Diversity all the while watching their heritage destroyed because they’d gotten stung by the tolerance-toxin administered by their blackmailed sexual-pervert ruling class. Just as the west was once an example of freedom to those on the east side of the Iron Curtain, so is the nationalist revolt in the east now an example to those in the west of it being possible to be whole.
The concert has been held in Warsaw for some years now, featuring fighting songs that were written by actual participants in the ’44 Uprising, rather than by professional songwriters. Those songs were illegal during the early years of the post-war Communist regime. I showcased three other such songs in October of last year. They are performed in their original 1940s style with none of the contemporary vocal affections.
A word on the vocal technique of the singer in the video at the end of this post, and I know nothing about music: there are, to my understanding, two ways of singing. One way is to sing with the belly or the diaphragm, which is what you see opera performers do. The other way is to sing with your “head,” a technique in which the locus of the performer’s vocal power lies somewhere above the roof of the mouth. The imagined mechanics of this kind of vocalization strike me as more difficult and I in fact nearly work up a tension headache just thinking about it. It appears to let you sing those nuanced notes. The female soloist in the featured video sings that way.
A Bullet Dodged. The man at 2:04 in the video at the end of the post is Poland’s president Andrzej Duda of the center-right party. Physiognomy: honest. He eked out a narrow election victory three weeks ago over the Rafał Trzaskowski, the candidate of the globohomo party. The leftist’s high percentage of votes tells you that the enemy played an almost-effective hand. The Left appealed to the psychological insecurity of the weaker half of the electorate. Their message was twofold: the EU is the global strong horse with a radiant vision of progress; Poland should embrace the strong horse and not backward clinging to God and nation.
The problem with Progress is that it’s the same judeo-communism it’s always been, this time with rainbow flags instead of the red star. But its rhetoric works on many. There are enough people, unmarried female voters in particular, that can be manipulated into voting for evil things. This is why muscular public demonstrations by the traditionalist Right are important, such the commemoration of Zero Hour or the Independence Day march every November 11th. It’s a spiritual war.
See Trzaskowski speak at a TED Talks event, in excellent English. Physiognomy: a lowlife. He has an arrogance about him, which works on the weaker half of the electorate in democratic politics because it comes across as alpha. His pro-EU message to his own countrymen: “flattery flattery, flattery, newspapers in Spain and Scotland are finally NOTICING us!” His paeans to the EU, by the way, never otherwise acknowledge any of the peoples of Europe. It’s all about the abstraction represented by that gay blue flag being big and powerful and progressive. “Austria took in more immigrants than Brazil!”
One of the things you notice, under his air of dynamic optimism, is his hatred and contempt for the people and for the office of Presidency itself. In the linked video above he self-deprecatingly jokes that he was once a respectable member of society as a professor, and now as a politician he’s as disreputable as a used car salesman. On July 12th he lost, Western Civilization won that one.
The Zero Hour Tradition. Warsaw Uprising ’44 commemoration started during Communism era, with a moment of silence at Zero Hour, or 1700 hrs. every August 1st, to honor the outbreak of the insurgency. People pulled their cars over or stopped walking and stood silently for a minute. The Uprising was a politically incorrect historic event to bring up under Communism, somewhat like citing crime statistics in the USA is now. The city’s official holiday was the anniversary of the mid-January ’45 Soviet liberation of Warsaw.
Therefore, the silent commemoration of the Uprising became a passive defiance of the official narrative. This tradition continued after the fall of Communism and in recent years it grew into this dramatic spectacle.
The Waltz. Its lyrics follow the narrative arc of drama – despair – victory. The first two verses set the scene, with the heavily-armed foreign occupant and his savage Asiatic henchmen on one side, “the boys from AK” on the other. The third and fourth verse salute England’s RAF for their airlifts of arms and supplies. Those were a dangerous undertaking because Stalin had denied them permission to fly over Soviet-controlled territory, which negated the possibility of any emergency landing. In addition to the RAF, the air forces of the United States and South Africa also flew over the city with air drops for the insurgents. The fifth verse is about Soviet treachery. The sixth verse likens the haunting visage of the fallen city to that of a wraith. Every verse ends with a variation on “the boys from AK.”
(The historic clips displayed on the stage screen are restored original film from the Uprising). The music is a traditional waltz, the words were written in 1944. The most exciting part of a waltz is the choral or instrumental crescendo. In a formal ballroom dance your mind’s eye sees the couples whirling. In a tavern setting or perhaps at a country wedding when the waltz reaches this culmination of spirit you would see the patrons singing together with their glasses high in the air. Here that peak moment occurs midway through the performance and then with the final verse:
One day when Poland’s free
Her capital will be a sight to see
A monument for the ages
For the heroic boys from AK
In seventy five years, we’ll either all be browned-out by Communism they wish or Europe will clean out the filth and hold concerts in honor of those who helped take down globopedo.