ALL we need to do is take one look at what State, Media and Academia are peddling to realize that Marxists permeate every aspect of our lives. Beauty, purity, harmony, maternity, health, love, strength and valour—all of which were, once upon a not-so-distant time, universal and apolitical concepts and the subject of art dating from Classical Greece through to Romantic Europe—are today outmoded things of the past, particularly when it comes to the masses that are to be kept on a strict diet of degeneracy, depravity and savagery. And no, it isn’t because that’s what the masses love to eat, but rather because that’s what they’ve been taught to eat.

We live in a time where degeneracy is beauty, diversity is purity, abortion is maternity, sodomy is health, egoism is love, tolerance is strength and ignorance is valour. But we didn’t get there overnight. It’s all been very gradual and systematic. If you were to give 1920s Americans and Europeans 50 Cent and Madonna, they’d lynch you. So you gave them the foxtrot and Marlene Dietrich. Then you gave them Elvis and Marilyn. Then Hendrix and Fawcett. And finally 50 Cent and Madonna. Ne plus ultra. Sub-Saharan Africans have been jumping around to the monotonous beat of a drum for thousands of years. Mongrelized, bastardized Europeans, stripped of history, culture and identity, will—nay, are doing the same.

The 21st century has its bourgeoisie and its market and its geniuses just the same, except in place of Bouguereau, Alma-Tadema, Collier and Waterhouse we have Picasso, Pollock, de Kooning and Warhol. Art is by all means an institution today—an institution dominated by a clique of Marxist critics, curators and financiers and aimed at robbing toiling taxpayers of their ducats, aesthetic sense and cultural history.

Something’s amiss when there’s no entrance fee to government-subsidized Auschwitz-Birkenau and all other government-subsidized Holocaust museums in the Western world, but if someone wishes to appreciate high art, architecture and history he has to pay for entry (ie, to art museums, castles, chateaux, etc.).

Something’s amiss when no one can publicly question why Europe has to receive almost one million Third World immigrants annually—especially in today’s times of economic hardship and skyrocketing unemployment—without fear of being ostracized and labeled a racist, xenophobic, anti-Semitic neo-Nazi.

Something’s amiss when innocent people are being imprisoned for thought crimes in Western countries that pride themselves on “freedom of speech”.

Something’s amiss when the EUSSR steals $5.3 trillion (http://www.bloomberg.com/apps/news?pid=20601109&sid=aI.TvvSBYXBM) from European taxpayers and hands it over to bankers without rhyme or reason. It’s called privatized gains and socialized losses, and it’s theft in broad daylight, but the proletariat doesn’t care because it’s too busy convulsing to the beat of the drum.

Professor Kevin MacDonald calls it a culture of critique. I think he’s being too kind. At best it could be called a culture of deconstruction, but I’d sooner call it a culture of bacterial decomposition. Yes, decomposition, meaning that the West is already dead.