Richard Bledsoe “At the Crossroad” acrylic on canvas 24″ x 30″
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I’ve written before about how vital music is in our studio, as the soundtrack of our art. Recently my wife Michele Bledsoe and I took our musical influences to an even greater intensity. One afternoon while we were painting, we identified songs that we felt epitomized the way that each other approached creating our art.
You see Michele and I have very different methods to the way we paint; we are diametrically positioned, which is why being a married artist couple works so well for us. Opposites attract. We both act as conduits in our artistic expression, but it’s very different forces that we channel.
Michele has spent years watching me paint in a kind of frenzied trance, taken outside of my normal senses in service of the art. While I paint I tend to pace, curse, pray, rant. It’s an ecstatic process for me; not just in the sense of happiness, even though it fills me with joy. It’s so intense I’m not paying attention to the way I’m behaving. An unknowing witness would not understand all my frantic swearing is actually a sign of overwhelming engagement, as I push further.
Michele’s song for me is “Crossroads” by Tom Waits, a collaboration with writer William Burroughs. The story it tells shows the sense of abandonment to the demands of creation, no matter the personal cost. There is nothing diabolical about what I’m going for, but the reckless commitment is there. I always say painting is my healthiest addiction.
Click the image to see the video “Crossroads” here:
The lyrics:
Now, George was a good straight boy to begin with, but there was bad blood In him someway
and he got into the magic bullets that lead straight to Devil’s work, just like marijuana leads to heroin;
you think you can take them bullets or leave ’em, do you? Just save a few for your bad days
Well, well we all have those bad days when we can’t hit for shit.
And the more of them magics you use, the more bad days you have without them So it comes down to finally all your days being bad without the bullets It’s magics or nothing Time to stop chippying around and kidding yourself. Kid, you’re hooked, heavy as lead
And that’s where old George found himself Out there at the crossroads Molding the Devil’s bullets Now a man figures it’s his bullets, so it will take what he wants But it don’t always work out that way
You see, some bullets is special for a single target A certain stag, or a certain person And no matter where you aim, that’s where the bullet will end up And in the moment of aiming, the gun turns into a dowser’s wand And points where the bullet wants to go
George Schmidt was moving in a series of convulsive spasms, like someone With an epileptic fit, with his face contorted and his eyes wild like a Lassoed horse bracing his legs. But something kept pulling him on. Now He’s picking up the skulls and making the circle.
I guess old George didn’t rightly know what he was getting himself into The fit was on him and it carried him right to the crossroads
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Michele’s mode of painting could not be more different.
Michele Bledsoe “The Great Fear of Falling” acrylic on canvas 14″ x 11″
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I have spent years watching Michele work tranquilly at her easel. She sits down and the art just begins to flow out of her, methodically, with great order. Layer upon the layer the intensity builds without interruption until she has crafted a mysterious and moving environment. She calmly renders complex compositions with profound depths and eruptions of otherworldly expressiveness.
What musician other than Ludwig Van Beethoven could reflect such a method?
My song for Michele is Beethoven’s Symphony no. 7 in A major, Op. 92, the second movement, Allegretto. It starts so quietly, but goes through cycles of growth until it is truly cosmic in scale. Such precision and feeling. That is how Michele makes her art.
There aren’t any lyrics, but there’s no need for those when the music speaks so eloquently on its own.
Click on the image to see the video for the 7th Symphony, “Allegretto” here:
What would be the theme song of your artistic method?
“The Remodernist’s job is to bring God back into art but not as God was before. Remodernism is not a religion, but we uphold that it is essential to regain enthusiasm (from the Greek, en theos to be possessed by God).”
I don’t fundraise off of my blog. I don’t ask for Patreon or Paypal donations. If you’d like to support the Remodern mission, buy abook. Or a painting.
In large part, the creative classes are saturated in globalist propaganda. The institutional indoctrination is very thorough, and of course most funding opportunities rely on conforming to the elitist gentry agenda. Sad!
However, there are examples of artists who spoke their minds about the fantastic nature of the American experience. In the United States our culture is currently experiencing the death throes of manipulative, oppressive Postmodernism. As we enter the new era of Remodernism, the return of art as a revelation, expect to see more artists express the ethos of liberty in deeds, words and pictures.
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Andy Warhol “Van Heusen (Ronald Reagan)”
“I met someone on the street who said wasn’t it great that we’re going to have a movie star for president, that it was so Pop, and when you think about it like that, it is great, it’s so American.”
-Andy Warhol
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Thomas Eakins “The Champion Single Sculls”
“Of course, it is well to go abroad and see the works of the old masters, but Americans… must strike out for themselves, and only by doing this will we create a great and distinctly American art.”
-Thomas Eakins
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Arthur Dove “Me and the Moon”
“What constitutes American painting?… things may be in America, but it’s what is in the artist that counts. What do we call ‘American’ outside of painting? Inventiveness, restlessness, speed, change..”
-Arthur Dove
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Jacob Lawrence “The Migration Series Panel 58”
“Maybe…humanity to you has been reduced to the sterility of the line, the cube, the circle, and the square; devoid of all feeling, cold and highly esoteric. If this is so, I can well understand why you cannot portray the true America. It is because you have lost all feeling for man.”
-Jacob Lawrence
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Willem De Kooning “Dark Pond”
“I feel sometimes an American artist must feel, like a baseball player or something – a member of a team writing American history.”
“I felt like a million dollars; I was adventuring in the crazy American night.”
-Jack Kerouac
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Grant Wood “Stone City, Iowa”
“I had to go to France to appreciate Iowa.”
-Grant Wood
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Richard Bledsoe “The Pop Star”
“Remodernism is the latest iteration of the American character: ordinary people working as explorers and inventors, optimistic, self-reliant and productive.”
-Richard Bledsoe
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RICHARD BLEDSOE is a visual story teller; a painter of fables and parables. He received his BFA in Painting from Virginia Commonwealth University. Richard has been an exhibiting artist for over 25 years, in both the United States and internationally. He lives and paints happily in Phoenix, Arizona, with his wife Michele and cat Motorhead. He is the author ofRemodern America: How the Renewal of the Arts Will Change the Course of Western Civilization:
“Remodernism is not a style of art, it is a form of motivation. We express the universal language of inspired humanity.
“We do not imitate what came before. We find in ourselves the same divine essence of love and excitement which has inspired masterpieces throughout history. We are strengthened by drawing on traditions thousands of years old.
“We integrate the bold, visionary efforts of the Modern era into a holistic, meaningful expression of contemporary life. Remodernism seeks a humble maturity which heals the fragmentation and contradictions of Modernism, and obliterates the narcissistic lies of Postmodernism.
“Remodernism is the return of art as a revelation.”
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I don’t fundraise off of my blog. I don’t ask for Patreon or Paypal donations. If you’d like to support the Remodern mission, buy abook. Or a painting.
An earlier version of this article was posted June 3, 2015
Miriam Elia illustrates a point
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In America, older generations than mine grew up with “Dick and Jane” books. The simple words and clean cut imagery of these works were meant as a teaching tool for young readers.
It seems the British version was “Peter and Jane.” The names might have been different, but the intent was the same: an educational experience for kids, presented in an easily assimilated, non-threatening format.
As society grew more cynical, succinct statements like “Look Jane, see Dick” took on an unwholesome, ironic taint. The images now evoke a whole vanished era, a time of earnest naivete and lost innocence.
UK artist and writer Miriam Elia took full advantage of this gentle nostalgic vibe in 2014. She released “We Go To The Gallery,” appropriating the traditional format associated with Ladybird, the British publisher of children’s easy reader books. But in Elia’s version, the kids are being subjected to the soul crushing ordeal of viewing contemporary establishment art.
In panel after panel, Elia skewers the nasty nihilistic productions of the decadent cultural elitists.
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Along the way many recognizable conceptual art works are referenced, with the Mummy character spewing the stale turpitude so essential to post modern poseurs. The corruption and presumptions of culture industry hacks make them ripe targets for such mockery.
On her site Elia used to advertise a lecture on “learning principles”:
-Helping children understand there is nothing to understand
-Ensuring the child’s own opinions match those of the arts elite
-Preparing young people for a lifetime of crippling uncertainty
She’s presenting this as a joke. But when I realize that is exactly what our institutions are actively doing for real, I find it less amusing.
When I first discovered this book in 2015, it was unavailable. It seems the traditional publisher didn’t appreciate the mockery and some legal shenanigans ensued. In some of the images on the internet the character names were changed to John and Susan, and I wonder if that wasn’t an effort to bypass some of the copyright concerns. Now, in 2021, We Go the Gallery is back at Amazon; the site explains: “The 2014 limited edition of We Go to the Gallery was threatened with a lawsuit by Penguin UK (owners of the Ladybird imprint), which was withdrawn following a recent change in UK copyright law allowing for parody and satire.”
There is an extreme disconnect between the feebleness of contemporary art and the attitude of sophisticated superiority the elitists display. Irony was once their weapon. Now it is their shield. Soon it will be their tomb.
A generation’s worth of careers, reputations and investments have been built in a dead end, a pitfall of decadence and power lust. Outside of their carefully screened zones of consensus they are meaningless. But we can’t cede the custodianship of our civilization to these perpetrators. It’s time we start invading their enclaves and confronting their failures both as artists and as human beings.
Concise observations like Elia’s, presented with inescapable deadpan humor, will be the death of the current art bubble. Smart people are looking for the exits already.
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RICHARD BLEDSOE is a visual story teller; a painter of fables and parables. He received his BFA in Painting from Virginia Commonwealth University. Richard has been an exhibiting artist for over 25 years, in both the United States and internationally. He lives and paints happily in Phoenix, Arizona, with his wife Michele and cat Motorhead. He is the author ofRemodern America: How the Renewal of the Arts Will Change the Course of Western Civilization.
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I don’t fundraise off of my blog. I don’t ask for Patreon or Paypal donations. If you’d like to support the Remodern mission, buy abook. Or a painting.
A repost of a blog I originally wrote on January 28, 2017
Joseph Cornell “Untitled (Hotel Eden)”
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“Beauty should be shared for it enhances our joys. To explore its mystery is to venture towards the sublime.”
-Joseph Cornell
After I moved to Phoenix, Arizona in 2000, and spent some time absorbing the local art scene, I noticed something very different than what I was used to. I had come from Richmond, Virginia, where at the time painting was the predominant art form. In Phoenix I saw lots of assemblage. Assemblage Art is like making three dimensional collages, creating composed groupings out of just about any object imaginable. I’ve become a huge fan of this technique, which can be utilized to create such poetry: visual fragments shored against our ruins.
On thinking of assemblage art I think of Joseph Cornell (December 24, 1903 – December 29, 1972), the undisputed master of the genre. Looking at the mysterious little worlds he evoked out of dime store trinkets, you would never imagine the seemingly mundane life the artist lived. He spent his entire adult existence in a tiny suburban home in Flushing, New York, which he shared with his mother and invalid brother, for as long as they lived. His workshop was in the basement. Here he created the shadow boxes that described his romantic dreams about legendary ballerinas, faded Continental hotels, contemplative aviaries, and the celestial heavens themselves. This painfully shy self taught artist was accepted as a colleague by the Surrealists during their War World II exile in New York City. They recognized true vision when they encountered it.
Joseph Cornell “Tilly Losch”
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Joseph Cornell “Untitled (Celestial Navigation)”
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Joseph Cornell “Naples”
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Joseph Cornell “Observatory – Corona Borealis Casement”
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I don’t fundraise off of my blog. I don’t ask for Patreon or Paypal donations. If you’d like to support the Remodern mission, buy abook. Or a painting.
The Left Goes to the Devil: Satanism is the New Black
Despite the ongoing pandemic psyop and hysteria which requires us to cover our faces, this is actually the era of the Great Unmasking. Our Postmodern credentialed classes have been exposed; their corruption, hypocrisy, and ulterior motives are on full display. Now as their monopoly on power and mass communications are being challenged as never before, many elites are openly siding with a cause they feel is the source of their authority. They want to redefine Satanism as the hip philosophy for the Twenty-first century.
Looking at the oppression, suffering, and destruction the Left has caused whenever they gain control, it’s not like it’s any secret they are a force for evil. Hillary Clinton’s mentor, Saul Alinksy, was an early adopter of this establishment trend. On his dedication page for Rules for Radicals, his 1971 destruction of Western Civilization how-to book, Alinsky wrote:
“Lest we forget at least an over-the-shoulder acknowledgment to the very first radical: from all our legends, mythology, and history (and who is to know where mythology leaves off and history begins —or which is which), the first radical known to man who rebelled against the establishment and did it so effectively that he at least won his own kingdom — Lucifer.”
Better to rule in Hell, right Saul? What a shame he seemed to gloss over another quote on the very same page:
“Let them call me rebel and welcome, I feel no concern from it; but I should suffer the misery of devils, were I to make a whore of my soul….”
– Thomas Paine
Paine identifies it: to be a devil is to be miserable. So why go there? Best I can figure it, what is happening here is people who are already miserable are drawn to Leftist activism. It gives them license to try to make others as unhappy as they are.
Something is happening in the culture though, very much against the plans and preferences of the SJWs. Their monolithic totalitarians schemes are fading, as people actually dare to disagree with progressive priorities. So the hacktivists are reacting with all the stability and foresight that is always the hallmark of the Left: They are calling on Satan to save them. Numerous news stories have demonstrated the subsequent apparatchik acknowledgement of allegiance with the powers of darkness.
Hyperallergenic is an online “arts” magazine, which like most of the culture industries these days, performs a bait-and-switch, and presents Marxist proselytizing in place of creativity. In September 2020, they vomited out this little thinkpiece like Linda Blair spewed pea soup: The Story Behind a Misunderstood Satanic Monument:
“Satanic Panic” never really ended; it just fell out of fashion in mainstream media. With the rise of QAnon in Trump’s America, however, Satanism has received renewed interest across the conservative media spectrum. When the Black Lives Matter protests started bringing down Confederate memorials in June, far-right publications and organizations like The Washington Times and Turning Point USA called for the destruction of the Satanic Temple’s bronze statue of Baphomet, its patron deity with the head of a goat and angel wings.
These attempted takedowns betray long-held Republican beliefs in freedom of religion and respect of private property, leading Temple co-founder Lucien Greaves to denounce their legal and spiritual corruption. In an open letter posted on his Patreon, Greaves critiqued the false equivalence between Confederate monuments and the Baphomet statue, arguing that Satanists pose no real threat to religious freedom, and that Baphomet does not even currently stand on public property. (The statue is currently housed in the Temple’s headquarters in Salem, Massachusetts.)
“You can really learn about people’s cultural baggage by seeing how they react to the Baphomet monument,” Greaves told Hyperallergic. “It’s interesting to think this debate could merely be about what’s offensive to some type of individual, and that there is nothing qualitatively different about the Baphomet statue — which is openly symbolic of pluralism, diversity, and nonbinary identity.” (The Satanic Temple does not believe in the existence of Satan, nor does it worship the occult.)
Oh it’s a misunderstanding. A “temple” featuring a grotesque idol of a patron deity isn’t occult or religious, you rubes. Nor should it be compared to the real evil: historical tributes to Democrats who caused a civil war to trying to preserve their entitlement to own other human beings. No, you see, Satan is the good guy in Postmodern globalism. As the article continues:
Greaves and sculptor Mark Porter intentionally designed its calm and stoic facial expression to reflect the Temple’s non-violent mission and political status.
“People do not automatically think of Satanism as this murderous force anymore,” Greaves said. “There has been a perceptual shift in which people are able to embrace images that may have previously seemed untouchable and blasphemous. As much as this is a religious and cultural movement, it is also an art movement, and it all ties together.”
Much like the GOP’s fear-mongering around socialism, this new wave of Satanic Panic is a form of projection. What many Christians really fear is opposition to their notions of religious dominance, in both theory and practice. The Satanic Temple’s core principles include peaceful protest, adherence to science, body autonomy, and empathy toward all living beings. Many of its local chapters perform rituals from a non-superstitious, non-supernatural perspective while actively serving and beautifying their communities. They lead cleanup efforts for parks and beaches, hold sock and clothing drives for homeless communities, and distribute menstrual hygiene products for those without access. The Baphomet statue is the embodiment of this new paradigm, representing the only organization of its kind to gain political leverage in recent history.
Conservative reactionaries have always needed a scapegoat to blame for vice and deviance, and the Baphomet monument fills that role. In reality, though, Satanists are helping to debunk pseudoscience and organize against a theocratic status quo. It is no wonder, therefore, that far-right internet trolls want to portray Satanists as cannibals working for the deep state. Grieves views Baphomet as an entry point into the Temple’s efforts to mitigate religious racism and combat white supremacy throughout the country.(emphasis mine)
Please. The only theocratic status quo with any clout these days is the Authoritarian State as Religion, the creed of progressives everywhere.
Hillary Clinton herself, a woman of wealth and taste, recently signaled in a sly artistic reference she still is following in her mentor’s footsteps. Whether you want to assign the mentorship to Alinsky, or cut out the middleman and go right to the source, is up to you.
The Devil is in the Details
Clinton appeared in her new podcast with her laptop oh so casually propped up on a stack of books. Sharp eyed observers identified one on the props: Erotics, a book of sculptures by artist Lucio Bubacco.
A Little Light Reading for Madam Not-President?
Google Books gushes:
“Lucio Bubacco’s works in glass are unparalleled examples of extraordinary Venetian flame technique – A witty play with the borders of kitsch, and biblical and carnevalesque iconography…Most of the subjects of Lucio Bubacco’s (b. 1957) glass art are provocative and polarizing; at the same time they are sensual and beguiling. In a kind of erotic ‘trance dance’ – Mephistophelian and frequently riotous – nightmarish fabulous creatures and mythological phantasms virtually undulate about each other…Full of wit and irony he thus explores the limits of kitsch without overstepping them. Follow him into a world of carnavalesque orgies, crystalline incubi and erotic fantasies in glass!”
Here is one of the tamer images:
Bubacco: Crystalline Incubi
Everything about Hillary Clinton is calculated, and she doubtless has a team of people facilitating all of her PR efforts. If that book was displayed, you can be sure it was deliberate.
I am a 40-something attorney and mother who lives in a quiet neighborhood with a yard and a garage full of scooters and soccer balls. I am not the type of person who would normally consider becoming a Satanist, but these are not normal times…
Our democracy has become so fragile that the loss of one of the last guardians of common sense and decency in government less than two months before a pivotal election has put our civil and reproductive rights in danger like never before. And, so, I have turned to Satanism.
Members of the Satanic Temple do not believe in the supernatural or superstition. In the same way that some Unitarians and some Jews do not believe in God, Satanic Temple members do not worship Satan and most are atheists. They are not affiliated in any way with the Church of Satan. Instead, the Satanic Temple uses the devil as a symbol of rebellion.
Just like other faiths, the Satanic Temple has a code that their members believe in deeply and use to guide their lives. These Seven Fundamental Tenets include that “one should strive to act with compassion and empathy toward all creatures in accordance with reason,” that “the struggle for justice is an ongoing and necessary pursuit that should prevail over laws and institutions,” and that “one’s body is inviolable, subject to one’s own will alone.”
Reading through the Seven Tenets, I was struck by how closely they aligned with the unwritten code I had used to try to guide my own life for several years. I realized, happily, that these were my people and that I had been a Satanist for several years without even knowing it. When Justice Ginsburg’s death suddenly made combating the threats to reproductive rights and a government free from religious interference more urgent, I knew it was time to join them and support their conceptual and legal battles.
It’s hard to know in this sorry tale where the mental illness ends and the evil begins.
Conceptual battles are turning into real ones, thanks to these diabolical agitators. Research uncovered that the media-connected thug Jeremiah Elliot, the Denver assassin of a Trump supporter, also has ties to Satan flaunting activities.
These people are toying with something dangerous. Whether they believe in the supernatural or not, they are engaging in the worst impulses of humanity: hatred, selfishness, self-deception, manipulative lies, and reckless pride. Nothing positive can result in this cultivation of the demonic.
There’s nothing new about turning to evil to try and get your own way. That story goes all the way back to Adam and Eve, and dictates much of human history. The contemporary form of this affliction has the extra nasty twist of being insufferably smug about it, too.
“Despite the vast economic opportunities that improved the situation for much of the population, there were serious issues relating to the sudden upheaval of the social order. Customary roles and lifestyles were obliterated by the transformations. Poverty and exploitation continued, and even increased in the swelling city populations.
“But humankind, arrogant with increased power, imagined the same kind of empirical approach that reshaped the natural world could work equally as well on the human heart.
“The efficiency of the mechanistic view, once applied across all fields of human endeavor, seemed to promise human life and society must be perfectible. In the Nineteenth century, there was faith that the same kind of progress industrial science achieved could be applied to society. New interpretative social sciences and theories tried to match the accomplishments of technology.
“Modern age optimism assumed while religion and tradition had failed to create a worldly paradise, logic would prevail. The intellect would be humanity’s new savior, and pragmatic philosophy would make heaven on earth.
“The overreach and false equivalence at the heart of this assumption has caused cataclysmic consequences ever since. To think human existence can be operated like an orderly, regimented machine, or to even believe that this is a desirable thing, remains the dehumanizing legacy of the materialistic concepts that gained traction in the 1800s.
“For example, Karl Marx and Friedrich Engels published The Communist Manifesto in 1848. Since that time, an estimated 100 million people have been massacred in the name of their historically necessary “perfected” society.
“It seems all those ordinary lives were just not perfectible enough. The miraculous material progress the Modern age gave us did not make us better people. Instead, it gave us new justifications for evil behavior.
“The corruption and downfall of good intentions is the inevitable consequence of trying to live without God.”
Our elites have chosen to exercise their self-serving demons, and they aren’t even pretending about it any longer. Our culture needs an exorcism.
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I don’t fundraise off of my blog. I don’t ask for Patreon or Paypal donations. If you’d like to support the Remodern mission, buy abook. Or a painting.
Winston Churchill’s masterful summary of the totalitarian blockade around captive cultures as an Iron Curtain has received a Twenty-first century revision.
Thanks to Big Tech, the repressive dynamic being enforced now is a Silicon Curtain. It’s no longer limited to Eastern Europe. We have a worldwide will to power attempting to throttle the greatest source of information and communication in history: the internet. Early innovators grew into citadels of monopoly. Being smart with computers gave these would-be overlords conceits of their own omnipotence. Look at that nasty Bill Gates, eager to inject the world’s population with his own special blend of God knows what, in a response to a manufactured Scamdemic he sure seemed to be planning for. With a creepy scheme like that, Gates is one volcano headquarters away from being a James Bond villain-and who knows? He may have one already.
Big Tech has partnered with authoritarian regimes to beta test techniques of tyranny they have every intent of inflicting upon us all. Have no trust in these trusts, which are sorely in need of busting.
But in the meantime, freedom still manages to break through the controls. Officially condemned Wrongthink can still be found online, if you know where to look. That’s why I was so glad to rediscover Day by Day, a daily political webcomic by Chris Muir.
I used to follow Day by Day in my early days of internet political obsessing in the early 2000s. It was the glory days of the Blogosphere, before so much of online engagement was squashed into filtered social media silos. The strip was featured on various sites I compulsively visited. DBD’s combination of sharp, insightful commentary and expressive drawing was very compelling.
Day by Day in 2008
Through the years, as my browsing habits changed, I lost touch with comic. But when I recently rediscovered it, I observed it had undergone an upgrade. The Alinsky-style weapons of satire and sarcasm directed at leftist tropes was as powerful as ever, but the art was richer, more elaborate.
Muir has great skill at figurative work, especially when depicting lovely ladies. As Muir’s dialogues are often set in intimate domestic situations, he frequently draws his characters nude. Any criticism directed at him for celebrating the female form, coming from cultural thought leaders who promote Cardi B, is rank hypocrisy. To me, Muir’s frank depictions prove his commitment to honestly sharing his free expressions. The salty politics are leavened with some sweet beauty.
“Remodernism acknowledges artists as individuals responsible for their own actions. Artists have the duty to honestly express the spirit of the age filtered through their unique perspective and skills. Remodern artists use their art to show the enduring triumph of the human spirit over any negative circumstances.
“We must overcome the Postmodern efforts to censor and subvert the culture by suppressing free expression. We don’t need anyone’s approval or permission to create.”
I recently conducted an email interview with Chris Muir, discussing the past, present and future of his creative endeavors.
Question: How did you begin Day by Day? How is it going currently?
Chris Muir: In 1996, I became frustrated at the bias I saw in media-all media. I always had a thing for American history, and to see how warped the presentation of it was in ‘News’ and comics-like Doonesbury and many other syndicated toons-I thought ‘I can do better than this’, and set out to do so. I did practice toons from 1996 to 2002 (unreleased) to see if I could do this as a night job (my day job for 30 years was as an Industrial Design consultant). I also did a single panel/day non-political strip for FL Today called ‘Altered States’ as additional practice to ensure I could meet a daily deadline.
Q:Your draftsmanship is part of what keeps Day by Day so interesting. What’s your artistic background?
CM: I’m self taught, much practice at Photoshop and Illustrator inasmuch as I did renderings of designs for various clients over the years-boats, electronic products, etc. This set me up well for the inevitable time when comics would be all digital.
I was one of the first to do an all digital comic strip, and being versed in Production techniques, I was able to do it all with one person-me! Today there are hundreds of cartoonists and artists who are all digital (Like Deviant Art), though I chose this method primarily because my day job took 80% of my time, and I had to be fast and accurate, as daily strips must be daily without fail. One has to get on readers’ short list of daily reads, especially now (unlike back in 2002 when I launched) because of thousands of content choices. One must become a habit for that reader(s) for they are your income(and shared values).
Q:Were there any notable influences on your art or content?
CM: Richard Corben, Vargas, Milton Caniff, Dean Yeagle, Wallace Wood, Gil Evgren, Bruce Timm.
Q; What’s been your most controversial strip?
CM: I had Hillary in blackface, pandering to the black vote, back in 2003? That was notable back then, but in today’s political climate, Americans don’t debate much with the Left as they have truly gone off the reservation.
Q: When did the censorship begin? Were you surprised, or did you see it coming? How have you been censored?
CM: First Facebook, then Google, around…10 years ago, I think. I was not surprised, saw that coming from the start, having gone through the Cold War with the Left’s Idol, the USSR. I would guess I have been shadow banned to some extent, but inasmuch as I have always decided to be direct to readers, it doesn’t affect me that much. I was lucky to have been a slightly large frog in the Blogosphere Pond when it bloomed, and that set the readership pretty much from there.
Q: What’s your new project?
CM: A SciFi project based on today’s Red vs Blue conflict but set on a different world. www.HolyTera.com should be up November-December this year.
Q: What appeals to you about the science fiction genre?
CM: I suppose the invention of Worlds, what might be, and especially Men and Women-not Xis or Zirs- in such settings.
Q: What do you want your fans to take away from your comics?
CM: A desire to fund me! Well, mostly I aim to be a 15 second read on the day’s political/cultural/MenWomen news in comic format. In today’s attention span deficit era-and I include myself on this-it is a powerful way to entertain and inform in a multiverse of endless online content. So, readers get a summary, in a fun form, of what’s going on.
Q: In this technologically advanced but fragmented age, what future do you see for comics?
CM: A good one, actually-there’s never been a better time for any content provider or artist, as the ‘net delivers for free to unlimited readers-no gateway, editor, middleman, or social justice idiots to drag one back down into the crab bucket. But I would suggest whatever you do, make it constant, for once you lose a reader, you are lost to them in the noise of Many Choices!
I don’t fundraise off of my blog. I don’t ask for Patreon or Paypal donations. If you’d like to support the Remodern mission, buy abook. Or a painting.
2020 is an appropriate year to indulge in hindsight. I must admit now, when looking back, I got played.
I profoundly misunderestimated the true intentions and agenda of a man I once respected. I suspect I was not alone in buying into the delusion. We all can’t blame ourselves too much for being fooled. We were up against a massive psyop of enormous subtlety and resources, and the alternatives we had presented at the time were outright monstrous.
No, the only way we could be at fault would be to deny the reality of what we underwent, now that it’s been revealed.
I now thoroughly distrust George W. Bush. Not for the same reasons that the deranged Leftists who loved to hate him during his presidency did. They were fooled too. They shouldn’t have been melting down over this guy, they should have been celebrating him.
I distrust W because, in many important ways, he advanced Anti-American globalist interests, carrying on his father’s work. In this, Bush was on the same side as the Leftists all along.
W was taking an active part in the same Postmodern schemes that have brought Western Civilization to the brink of collapse. Bush was both controlled and colluding “opposition,” enabling the illusion of choice in the direction of our Republic. He invoked the authentic goodness and power of the USA, and used that as cover while he and all his Uniparty political cronies continued to arrange for our destruction.
It’s hard to reconcile this with my long term impressions of George W Bush, of a flawed but ultimately decent man in a very difficult role. I believed he loved America. Could he really be that good of an actor? Or has he just been able to persuade himself of the inevitability of the totalitarian cabal’s domination, and he was trying to manage our decline as gently as possible?
As we continue to undergo the illuminating unmaskings of the Trump era, Bush has exposed himself. The motivations of all his actions and inactions, his talking points and silences, all need to be examined in a new light. We see what he is willing to do, and who he is really aligned with.
It’s a Big Club, and We Ain’t In It
Now, in another sad move, George W Bush is taking his sincerely felt art, and applying it as a backhanded propaganda ploy.
I’d written before on Bush’s paintings of veterans he’s come to know. In his interviews regarding the book, Bush described his authentic engagement with painting, speaking a language that I recognized through my own experiences as an intuitive painter:
“The thing about painting is you never finish a painting. I mean, there’s always something, at least in my case, there’s always something I could do to improve, and so at some point in time, you had to have the discipline to say I’m moving onto another portrait.”
“…I don’t think the quest to develop a style that you can express yourself as fully as you want ever ends.”
Bush has a new book coming out now. Given the moment we find ourselves in, I believe this offering does capture Bush’s true style: Take something positive, and give the appearance of revering it, while simultaneously delivering a Deep State Parseltongue-bath twist which taints the whole enterprise.
Bush’s latest book is Out of Many, One. He evokes the motto of the United States to present 43 portraits of immigrants. So far so good. The melting pot was the traditional American immigrant experience. These immigrants loved the idea of freedom so much, they worked hard on a difficult process to come to our nation of laws. They left their old lives behind to start again, taking on all the risks and benefits of liberty; it is the essence of the American dream. Those are exactly the kind of people we should be welcome here.
We are the only country ever founded on the idea that the people tell the government what to do, and not the other way around. We are the only country that acknowledges our rights and equality come from God, and are not granted to us by any earthly authority.
American is not a race, or an ethnicity, or a class. American is a set of principles, and appreciation for the opportunities those principles provide. That’s why the United States was called a melting pot for so long: despite all of our varied origins and circumstances, America gives a fresh start. We were forming a new civilization together, making many into a new dynamic Unum, the likes of which the world had never seen.
The world didn’t like this.
But Out of Many, One, being by George W Bush, we have to scrape off the appearances and get to the implied implications. After all, W’s beholden to that world that hates the USA so much, and he’s doing his part against us.
Our Postmodern administrative class fractured the Melting Pot long ago. Arrivals are no longer encouraged to unify as part of our great national efforts. Now they are encouraged to hyphenate and separate, and above all, to despise the very land which has offered its hospitality. Look no further than the growing Mogadishu in Minneapolis for the results of those efforts. You can take the war lords out of the ruins, but you can’t take the ruin out of the war lords.
Another pose struck here is the relentless conflation of immigration with illegal invasion. “Act of love,” droned the feckless Bush brother Jeb! Wrong. Illegal immigrants by definition have blown their side of the deal right off the bat, by disregarding the same system of laws that made our country thrive. You can’t cheat your way into being an American. Yet the elites lump the criminals in with the promising citizens, and accuse anyone who knows the difference of being a racist.
This, of course, segues right in the real point of George Bush’s book: Orangemanbad, and you’re bad too, if you support him. End of story.
Sorry George W Bush, I’m not buying your propaganda any more. I’m sorry that I now have to look at your paintings knowing what you’ve done, and why.
I don’t fundraise off of my blog. I don’t ask for Patreon or Paypal donations. If you’d like to support the Remodern mission, buy abook. Or a painting.
“I’m only interested in an art which can change the ideology of society….”
-Marina Abramovic
Part of what I want this blog to do is highlight certain notable figures of the commercialized contemporary art world to a new audience.
I’d like to help educate all those good people who, up until now, have been uninterested, alienated, or even hostile to the efforts of today’s educated creative classes and their deep-pocketed supporters. From what I see, this potential audience of the disengaged is practically everyone in entire world.
What I want this newly attentive audience to appreciate is how correct they were to reject this garbage all along. This involves exposing the corruption festering away in the greedy and debased hearts of the institutions who have forced these toxins on an unwilling culture.
I also like to talk about inspirational figures and exciting new paths I see developing, but that’s for another post. I do see this as a time of renewal and opportunities. The future will be what we make of it, and I see a gathering of forces that ultimately will change the course of civilization. It’s part of what artists do; on an archetypal level we get the news before others, and help spread the word. Big changes are coming.
But the first step of recovery is to admit we have a problem, and the art world is a serious problem indeed.
Postmodernism rejects the combination of disciplined skills and inherent talent that made traditional art such a powerful human achievement. Postmodernism believes reality is shaped by manipulation and control of communications. It’s a form of magical thinking by the elites. They think they can break the endless chains of cause and effect, action and consequences, by stubbornly insisting on getting their way, always.
Marina Abramovic wanted to be an artist. In the 1970s she decided to become an artist not by making art, but by being a “performance artist.” This is when an artiste enacts some kind of public display, usually without the talent, coherence, or skills the traditional performing arts require.
Abramovic’s shtick was stupid rituals: playing with knives, cavorting around flaming pentagrams, and publicly undergoing drug intoxications. Many later pieces feature feats of endurance, sort of like the one-time trend of flag-pole sitting, but with the added cache of pretentiousness and snobbery. Her risky yet pointless acts took her far in in the debased art world. She made good connections in the years since.
How good? How about right to the pinnacles of political power?
Wikileaked 2015 “Spirit Cooking” Invite for the Podesta Brothers
That’s right, this celebrity artist was intertwined with the super-creepos Tony Podesta, and Hillary Clinton handler John “Skippy” Podesta. Tony Podesta’s “art collection” in particular is such a combination of unwitting confession and blatant horror show, I’ve never been able to finish the piece I started writing describing it.
The referenced “spirit cooking” seems to refer to an earlier piece by Abramovic which features a litany of nasty behaviors. The website Artsy was quick to explain away how any concerns raised over such ideas passing as art in the ruling class must be due to alt-right-nutsy-tinfoil-hatter-hater-fascists:
The email, which referenced Abramović’s 1996 performance piece Spirit Cooking, set off a false conspiracy theory concocted by the alt-right. It grossly misrepresented the email, distorted Abramović’s work, and drew the unsupported conclusion that Abramović, the brothers Podesta, and even Hillary Clinton were in cahoots as Satan-worshipping occultists…
It seems innocent enough: a dinner prepared by a controversial but influential artist whose work has been honored by prominent institutions the world over with large-scale exhibitions, honorary degrees, and more. (Her 2010 mid-career retrospective at MoMA, “The Artist is Present,” was one of the most popular shows the museum has ever mounted.) But members of the alt-right community decided to focus on selective facts about the performance, and in turn make massive “logical” (if that word even applies) jumps…
The ensuing bogus conclusions were inspired in large part by fairly buried documentation of a previously rather unknown 1996 Abramović performance and book of the same name. Unknown, not because Abramović had anything to hide, but because, in the grand scheme of her daring oeuvre, it wasn’t the strongest or by any means the most shocking piece she created. In it, a bespectacled, calm Abramović wrote absurdist phrases that resemble discombobulated, dark self-help mantras on the walls of an entire gallery in pigs blood.
Several of the phrases read:
“Fresh morning urine. Sprinkle over nightmare dreams.”
“With a sharp knife, cut deeply into the middle finger of your left hand. Eat the pain.”
“Mix fresh breast milk with fresh sperm milk. Drink on earthquake nights.”
“Sitting on a copper chair. Comb your hair with a clear quartz crystal brush, until your memory is released.”
Yes, the phrases resemble incantations or recipes for storybook potions. And true, they make little sense. But that’s precisely Abramović’s point. Across her career, she’s tapped into and simultaneously questioned the influence of ritual and religion, highlighting both their potency and, occasionally, their absurdity. Spirit Cooking isn’t a ritual meant to conjure spirits or worship devils—it’s a comment on humanity’s reliance on ritual to organize and legitimize our lives and contain our bodies.
John Podesta Overlaid On Spirit Cooking Instructions
Did He Eat the Pain?
There’s more upper crust shenanigans Abramovic has been mixed up in, like the entirely-not-Satanic-at-all mock cannibalism soiree at the Los Angeles Museum of Modern Art in 2011. Punk icon Debbie Harry assisted in butchering a life-size cake replica of herself to serve the A List guests.
Say it Ain’t So Blondie:
Marina Abromovic and Debbie Harry Stab It With their Steely Knives
Doubts about Abramovic’s infernal intentions have cost her. She has stated despite her denials of serving Lucifer, she fears some nut will do her harm. She even lost a gig with another super-rich creepo, Bill Gates. Microsoft had to pull an ad for her “mixed reality” holographic projection due to her controversial reputation. What a loss. Who wouldn’t want to strap secretive technology onto your head to summon a sinister crone into your presence? It’s like a variation of the plot of Halloween III.
I would never presume to judge the state of someone’s soul. The nature of Abramovic’s beliefs are between her and the Lord. I too am familiar with the often dark places the pursuit of art can lead. It’s something of an occupational hazard for creatives.
However, I can speak plainly on Postmodernism, the destructive deconstructive philosophy had enables cultural institutional support for absurdities and abuses like Abramovic’s body of work. In my 2018 book, Remodern America: How the Renewal of the Arts Will Change the Course of Western Civilization, I wrote of the revolting relativism which drives the Postmodern ideology:
Where the Modern age formed a mandate to question everything, the Postmodern age demanded we accept anything. At least that’s what the rhetoric advertises. Like most Postmodern assertions, the claims of impartiality do not stand up to scrutiny; it’s just more camouflage for self-serving attitudes.
The expansion of Western civilization had been nurtured by belief in objective standards, which originated from an underlying order. Whether this order was divine or merely natural was debated, but the acceptance of universal laws was pretty universal. Objectivity meant comprehending reality, which existed beyond our personal preferences. We held these truths to be self-evident.
Postmodernists understand such objective standards are an obstacle to their desire for unaccountable power. Where Modernist skepticism was believed to be a tool to gain deeper understanding, Postmodernists project the notion that all the questioning and differing conclusions means there are no underlying truths.
To the Postmodernist, the cosmos is subjective. There is no reality to know, no morality, no way to gauge effective behavior; there are only opinions. These opinions aren’t even our own, but are determined by whichever group identity we subscribe to. We have no individual responsibility. It’s impossible to judge the quality of anything.
To the Postmodernist, because feelings exist, there can be no such thing as facts.
For people who claim it’s impossible to judge anything, Postmodernists are very judgmental. No culture is better than another, they propose, unless it’s the traditions and accomplishments of Western civilization. The West, which has given rise to the most prosperous and liberated societies in world history, is automatically bad, and needs to be destroyed.
Here the mask comes off. It’s those same old Cultural Marxists at work, lusting after the social control the freedoms of the West denies them.
Postmodernism is a ridiculous conceit. It cannot make anything new, it only creates pale imitations of the achievements of the past. It could only be embraced by pampered people who’ve never really experienced the uncompromising roughness of life. And even then, while advancing this phony philosophy, the Postmodernists have to overlook the glaring hypocrisy of their own behavior versus their words. They are seething with cognitive dissonance.
I have no problem in saying Postmodernism is evil. It’s whole purpose is to switch off the Enlightenment, so the New Aristocracy of the Well Connected can rule over a new dark age. Fortunately, the new force of Remodernism is rising as the spirit of the reconstruction we greatly need.
As far as Marina Abramovic goes, I’ll be praying for her-and for us all, as we endure the chaotic death throes of Postmodernism.
Marina Abramovic
Why Would Anyone Think She Was a Satanist?
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I don’t fundraise off of my blog. I don’t ask for Patreon or Paypal donations. If you’d like to support the Remodern mission, buy abook. Or a painting.
Richard Bledsoe “Fugue” acrylic on canvas 20″ x 16″
“Every record has been destroyed or falsified, every book has been rewritten, every picture has been repainted, every statue and street building has been renamed, every date has been altered. And that process is continuing day by day and minute by minute. History has stopped. Nothing exists except the endless present in which the party is always right.”
-George Orwell, 1984
art
That quote, and many others from the same seminal work, are frequently cited on the internet these days. Orwell’s prophetic concepts are being enacted in real time right now, all around us. It’s frustrating because it’s all so contrived, and choreographed; nevertheless, actual damage is being done.
But the great unmaking is not a new phenomenon. The long-planned destruction of Western Civilization has been going on for decades, hidden in plain sight. The corrosion was gradually implemented by the imitation of improvements, so-called updates and upgrades enacted under the camouflage of compassion, done in the sacred name of “progress.”
Across our nation, the sleeper cells have been activated. The Democrat Party is openly fomenting crime and treason. The Republican shtick of acting like feckless nincompoops has been exposed as just another aspect of the racketeering. The GOPe isn’t really the Stupid Party; they are in on the plot, and are knowingly betraying us.
What the last few months have proven is that the elites intend to progress us right back into feudalism. The portion of the general population allowed to survive will be the cowering serfs under the New Aristocracy of the Well Connected.
Who gets to be part of these new overlords? To be part of the ruling establishment, you don’t need to actually be competent, or effective, or creative; you just need to conform to the dogmas, assertively and ostentatiously. That’s where their conceits begin to break down.
Postmodernism is the default globalist position. This rancid philosophical disguise for Marxism denies truth, dismantles rationality, and seeks to create unaccountable power for its acolytes. Virtue signaling and parroting work great for navigating the intricacies of the Postmodern hierarchies. However, outside their invented ecosystem, reality is a ruthless judge of the results the drones of the hive mind produce.
Postmodernists often raid from the past and the efforts of actual craftsmen in order to cobble together their disjointed offerings. The elitists presumed an aristocratic privilege to loot and pillage. They justified the misuse by asserting they were doing it ironically, which leads to questioning, and just what is art anyway, blah blah blah.
But now a more insidious tactic has taken form. The Postmodernists want to keep us frozen in this cultural moment, where they call the shots. This involves stifling new developments. They are still stealing like crazy, but are fencing their booty in such a way they are pushing sentimental buttons, not ironic ones. It’s a warmer, cuddlier version of the con.
The clearest cultural examples of this can be seen coming out of Hollywood. The film industry has been devoured by remakes, reimaginings, sequels, prequels, and self-referential “universe” combines. We’ve even had to invent a new term for awkward hybrids of remake and sequel: the requel.
Instead of displaying actual creativity, movies are just hoping to remind the audience of something that was once creative. The 2015 production Star Wars: The Force Awakens is a prime example. I’ve already discussed how George Lucas exposed himself as a haughty Postmodern technocrat in the terrible prequels he released. Those pictures might have made big box office coasting on the reputation of the original Star Wars trilogy, but the money-men were alarmed by the poor quality of the product. The studios don’t really care about quality, but they needed to keep the brand name viable, and they didn’t trust the mind that brought us Jar Jar Binks. To save the franchise, Star Wars was purchased from Lucas and farmed out to hired studio hands.
I enjoyed The Force Awakens as a superficial popcorn movie. But I noticed it was constructed out of self-conscious references and obvious rehashes of elements from the original Star Wars. It was like a washed up band with a couple of its elderly members still on board, playing alongside politically correct diversity hires. They trotted out the golden oldies from decades before. Hey, remember this one— Luke’s Jedi training drone? And so on and so on.
The film and its subsequent followups are full of shout outs like that. It is distracting to keep seeing oblique references to earlier, better movies. Not only that, but these updated versions ruin the legacy of the classic previous films with the addition of nasty, muddled Postmodern philosophizing. These artless attempts to reprogram the archetypes are off-putting, and add another layer of disgraceful failure to the projects.
(Note that I wrote this before the franchise killer The Last Jedi shat upon us all. I won’t be watching The Rise of Skywalker, because it’s pointless at this point. )
Ah, those were the good old days, when the elites were still feeding us soma to keep us passive and distracted. No more lulling for us. Now we are getting the boot to the face, good and hard. The intimidation, destruction and violence were lurking behind the pleasure dome ambiance all along. It’s the Leftist way.
As our current establishment is seemingly committed to descending from cultural stagnation into outright collapse, what can be done?
Enduring changes start in the arts, because real art gives tangible form to ideas. Art translates concepts into action and influence.
I will continue to use the liberty I have to express my visions. I will encourage art that understands life is a beautiful gift, full of both individual and shared significance.
I’m finding inspiration from outside of the arts, and looking to transmute convictions into communications. For years I’ve been following the persecution prosecution of General Michael Flynn. To me, this man is potentially the linchpin for undoing the globalist scheme. The Deep State puppet judge is still stalling, but it seems like the conclusion of Flynn’s show trial may be coming.
Don’t fret. Through smart, positive actions of resolute citizen-patriots, we can prevail. Always keep in mind that our enemy (these dark forces) invariably have difficulties of which we are ignorant.
For most Americans, these forces appear to be strong. I sense they are desperate. I also sense that only a slight push on our part is all that is required to defeat these forces. How should that push come?
Flynn goes on to recommend prayer and support for our beleaguered law enforcement, vital advice. But even more so, he calls on all lovers of freedom to take action. Now. While we still can.
I’m a painter, not a pastor, policeman or a politician. But I get the message. I can do my part of making that slight push, through art. To provide an alternative to the institutional dreck being forced on us. Break the monopoly, and break this evil spell.
I became involved with the international arts movement Remodernism over 10 years ago. Finally I saw people speaking out against Postmodern decay, and providing an alternative.
It was so much more fun to counter the silliness, when the art market was presenting obscenely priced obscenities and folly. Now the art world, like every other aspect of life under our credentialed-but-ignorant elites, is merely another part of the totalitarian combine. Grim and incompetent leftwing propaganda has assimilated the art world.
Our current cultural institutions are run by toadies and apparatchiks, not creatives. They can’t compete in an open exchange of artistic efforts and ideas, because all their training and inclinations consist of spreading ideology, not art. And let me tell you, despite the irrelevance which elitist malfeasance has forced onto art, it remains a potent force of humanity, currently being underutilized.
Real art provides society the inspiration to live up to ideals, the encouragement to think and feel deeply, the yearning to harmonize with truth and beauty. Real art can tear the wheels off the dehumanizing, corrupt juggernaut that was stealthily constructed to crush us all.
The unexpected tenacity of American citizens has rattled the insiders. They’ve had to make their move too soon, before their battlefield was fully operational. Exposed, they are weakened.
As I share in Remodern America:
We need an art for this era, and we won’t get that by mimicking the outer appearances of works from long ago. Remodernism does not imitate what came before. We find in ourselves the same divine essence of love and excitement which has inspired masterpieces throughout history. We do our own work.
As Modernism showed us, genuine art both reflects and shapes the time of its creation. Remodernism is about capturing the spirit of this age in personalized expressions. The Postmodern institutions are working hard to suppress this cultural evolution. They are desperate to maintain their social monopoly, and the stakes are even higher than the art world. The longstanding globalist plot is in real jeopardy.
Renew the arts, and renew the civilization. Where we go one, we go all. Envision the opportunities of a Remodern America, represented by art of the people, by the people, and for the people.
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I don’t fundraise off of my blog. I don’t ask for Patreon or Paypal donations. If you’d like to support the Remodern mission, buy abook. Or a painting.
Richard Bledsoe “Tank” oil on wood panel 30″ x 36″
When I was a teen I read some of Ian Fleming’s James Bond books. The last book of the series Fleming created, not really completed at the time of his death in 1964, was The Man with the Golden Gun. Considered a weak finale for the legendary spy, the plot had Agent 007 travelling to Jamaica to disrupt an attempted alliance between the Mafia and the expansionist forces of international Communism.
Bond missed the real target here. He should have gone to Chicago.
The crime syndicate dominated Windy City was fertile ground for the plot of world conquest. The Mob was already in the business of brutality, deception, and despotism, the same means Leftists use to achieve their goals. It was a natural partnership. Through the bait and switch tactics of “community organizing,” Frankfurt School corruption of education, and the nurturing of toxic radicals like Saul Alinsky, Bill Ayers, and Barack Obama, the Illinois spawned alliance of Marxist Crime has now long marched its way into being the political system of Globalism.
It’s not called what it is, of course. Leftists lie and distort; it’s necessary to hide their evil intentions. We’ve come to call this mass cultural subversion Postmodernism. And what we’ve been going through in 2020 is the push to bring Postmodernism to its final solution: the destruction of Western Civilization. Postmodern partisans seek to switch off the Enlightenment, in order to rule over a new Dark Age.
When I started writing this piece just a few short weeks ago, I had plenty to say about how the wacky woo hoo virus hysteria exposed massive corruption and Chinese influence in our traitorous elitists. Arbitrary and needless shutdowns devoured American prosperity, coincidentally right when a new trade agreement undercut Chinese market manipulations, and a tectonic scale spy scandal started emerging regarding the Obama administration and all their cronies.
China’s rigid totalitarian system is the desired outcome of the majority of the world’s administrative classes. They won’t admit this, but look at their actions, instead of listening to their empty words.
Events overtook the essay I was preparing. So now we have divisive race riots being inflamed, on top of the Overblown Outbreak. This is just a continuation of the same war, a new battlefield of the thoroughly planned and prepared Postmodern assault on the United States. It’s being facilitated across our culture by a massive betrayal by the New Aristocracy of the Well Connected, our own countrymen. As they’ve demanded society mask up to pretend to prevent disease, and to facilitate looting, our betters have been unmasked as the deeply embedded enemies within.
This is Postmodern War for the 21st century. It’s not fought openly with bombs and soldiers. It’s combat waged by other means, with biological agents, economics, propaganda, data manipulation, sabotage. President John F. Kennedy warned what was coming in a 1961 speech:
“For we are opposed around the world by a monolithic and ruthless conspiracy that relies primarily on covert means for expanding its sphere of influence — on infiltration instead of invasion — on subversion instead of elections — on intimidation instead of free choice — on guerrillas by night instead of armies by day.
“It is a system which has conscripted vast human and material resources into the building of a tightly-knit, highly efficient machine that combines military, diplomatic, intelligence, economic, scientific and political operations. Its preparations are concealed not published. Its mistakes are buried, not headlined. Its dissenters are silenced, not praised. No expenditure is questioned, no rumor is printed, no secret is revealed”.
Speaking out on these schemes is probably what got JFK killed. The plans continued to advance in all the decades since. We are living through the harvest of the wind which was sown.
How to describe the present moment? Some say it’s a civil war. This time instead of being divided along roughly geographic lines, we are in opposed camps of status: The rich and gentry class have been co-opted into being the enemies of liberty and order. They are all-too-willing accomplices for authoritarianism, as they have been indoctrinated into the Postmodern philosophy for generations now. Conformity is mandatory for advancement in society; elitists don’t mind though, because in the looming tyranny, they assume they will get to be the tyrants.
We can plainly see the strategy of the Postmodern establishment. In areas under blue dominion, the governing class has ruthlessly oppressed normality, while at the same time stepping back from their duty to prevent chaos and crime, actively encouraging destruction. The goal of these domestic enemy combatants seems to be to collapse stability in the areas they control, and drag the entire country down with them.
Others talk about China’s Cultural Revolution. The dynamics are sure the same, with vicious mobs of no-nothings incited into targeting opponents of the Cause. The moral panics being whipped up let the current stealthy controllers remain discretely in control.
We have something though that the poor oppressed Chinese populace did not have: a choice. We have a clear alternative to the Leftist monolith which has been so carefully constructed for a century or more. An enduring American Nationalism exists, despite all the media, government, academic, and corporate efforts to deny or suppress it.
A new energy has been rising around the world, and the United States is a natural environment for it’s expression. Remodernism is taking the place of failing Postmodernism. Because Postmodernists are losing. They never intended to have to come out into the open like this, and make a stand for their lack of any principles apart from their own lust for power. It’s ugly right now, because they are like wounded beasts, dragged from their safe spaces, the plan for gradual covert conquest thwarted. Exposed, they know they can be smashed.
Instead of the Postmodern takeover of the institutions leading to the conversion of the population, we’ve wound up with an establishment fundamentally at odds with the greater populace. In America the citizens are the real leaders. We are not willing to surrender our birthright of freedom. The current crop of elitist manager-types need to be reminded of this.
Us against them was not the traditional way in the USA. However, recognizing we are now at war with an infection that will kill the host if not extinguished, it’s going to have to be that way for a while.
It will not be easy. Our country’s domestic enemies implemented their schemes virtually unopposed. Now, after decades of absorbing slow but steady sabotage, the sleeping giant America is stirring.
Remodernism is the wake-up call.
Some call what we are experiencing a Cold Civil War. Let us pray it remains cool. Parasitic Postmodernism will be destroyed, but it will not go quietly. I look to President Abraham Lincoln as an example for the Remodern Reconstruction to come.
Our first Civil War took place in the 1860s, when Democrats resorted to rebellion and violence in an attempt to maintain their political power. It’s estimated over 600,000 died to resolve that conflict.
Once the Union was victorious, Lincoln planned to bring former adversaries back together into a unified national identity. Sadly, he was murdered before he could implement his vision, and the defeated Democrats kept their radical racial injustice in place for another 100 years. They are still playing that race card; it’s an easy tool to use to divide and conquer.
America does not need to waste another century like this. We must heed the better angels of our nature.
The course of a civilization follows where its art leads it. Before the Marxists started working their sorcery on society as a whole, they corrupted the arts first. The coming Remodern renewal first started in the arts as well, in England in 1999.
It may seem art is minor compared to the turmoil of current events. That is only because the true power of art has been stolen from our culture. Art is a mighty weapon that the Leftists made sure they took over before they launched their war. We can take it back, and we have already begun.
Renew the arts, and renew the civilization.
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I don’t fundraise off of my blog. I don’t ask for Patreon or Paypal donations. If you’d like to support the Remodern mission, buy abook. Or a painting.
THE REMODERN REVIEW 