Art, beauty and Zionism’s corruption of taste

Art is the method the artist uses to lift the spirit. Art is a spiritual relief from materialism; a need or requirement similar to that which religion attempts to provide but fails by becoming dogmatic. Spirituality is the search for the best part of us and art is the physical manifestation of this search. Remnants of this can be viewed all over Europe. For much of his time the artist resides in a place that the mass cannot perceive. Part of the work of the artist is to allow the public to glimpse into his world. The true artist fishes raw from a dimension familiar to very few. These discoveries compel him to interpret within a more inclusive realm. However, what Marxism calls ‘art’ serves only to debase, corrupt and drag down he who participates in its space.

Case in point some things are universally disgusting: all cultures and nationalities are repelled by faeces and urine. Naturally this gives Marxist the excuse to slap it on a canvas, call it ‘art’ and stick it in the galleries of Europe. All at once the exalted place of the ‘artist’ as redeemer of the Aryan spirit is ‘condemned’ as he is replaced by comedians airing the Zionist ‘Europeans’ dirty laundry.

This is England, land of Green Mountains and pleasant pastures, but the landscape is also being changed. It is very subtle at first, a palm tree appearing in a neighbouring garden. Then next-door-but-one follows suit. This might sound somewhat innocuous. After all not all garden plants are indigenous to the British Isles’. The point is though it is usual for a garden plant to blend with its environment. The palm tree is an obvious interloper, a definite foreign element. In fact it has become a rather common sight so see a dead palm tree in English Gardens precisely because they are not ‘designed’ for the British weather!

Modern architectural design has also been affected. A dangerous ‘design’ fault to have landed on the British shore is the ‘Dome’ fetish. Rather than reflecting the religion of the land, new designs have seen fit to incorporate the faith of foreign imports. As stated this was subtle to begin with, but clearly our traditional forms-ancient gothic structures are no-longer ‘the fashion’. Instead modern structures are often stark mirrored or glass-utilitarian boxes. The gradual phasing out of great gothic arches, huge towers and spires in favour of a flat box or ever more ‘inverted’ design is suggestive of the purging of Christian heritage from Britain and the invasion of an architectural atheism.

The colour palate is also out of control. Hot Pinks, Vivid Limes, and Bright Purple are not traditionally associated with Britain and Europe. Colours such as these belong on a beach in the Caribbean. Yet traditionally BLACK hackney cabs parading around as if in an eternal Caribbean Carnival… and city council vans seeking ‘gay abandon’ in shocking pink. Of course White male emasculation is clearly one reason for a Marxist inspired politically correct council to paint their vans hot pink. Another is not content with importing a replacement population; the corrupt Zionist authorities need to introduce this import’s tastes along with them, thus eradicating any remnants of a British culture or identity. This is multiculturalism at work one of the various aspects of cultural Marxism (Communism). While the illusion of Cultural Marxism (Communism) promises utopia and ‘equality’ in reality it initiates chaos and destroys difference.

Liverpool’s 2008 City of Culture was a prime example of this. Billed as the “world in one city” evidence of indigenous Scouse culture was at best ‘hidden’ or worse eradicated. The canny Scouser saw the Liver Bird, an ancient symbol of Liverpool steeped in history, replaced with a lurid yellow Japanese invention with absolutely no connection to the City. This inane monstrosity, one mans apparent response to genetic engineering, was to be Liverpool’s new Global logo. The indigenous people of Liverpool have never been asked if they wanted their identity replaced by Japanese mass produced ‘plastic’. Never the less multicoloured reproductions of this freakish foreign import clutter OUR City. 

2008 was also the year that the Liverpool Metro Newspaper ran an “alternative A to Z of Merseyside entitled A Great City with Culture to spare. No doubt this was to coincide with the “City of Culture” farce. This article featured a letter I for “in a parallel universe”. In this nightmare vision Liverpool’s dock region is barely recognisable. A lumpy mirrored ball called “The Cloud” but looking in reality far more like a crumpled crisp packet dominates the scene. In the passage that accompanies the picture we are told that Japanese-designed domed structures will house a Caribbean beach! Yes this is apparently a “parallel universe”. However, it was planned and designed, think about those palm trees. How long before we do see Caribbean beaches encroaching on our ‘pleasant pastures’. The Zionist does not like European culture and is seeking to destroy the Britain and Europe that we know by infecting it with foreign and Marxist influences. By stealth what the White man fails to see is the lowering of his standards of taste and decency. Only reflect on the rampant paedophilia displayed within the Labour Party http://labour25.com/ and consider if these are the ‘leaders’ that should be legislating over your children.

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7 responses to “Art, beauty and Zionism’s corruption of taste”

  1. arquiteturaorganica says :

    The ‘Holocaust’ has been a 70 year long running construct that was invented by the Jewish tribe to conceal their murderous atrocities against ethnic Europeans…………..Great site by the way!

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